Studio Air Part C Miki Ueda by Miki Ueda

STUDIO A I R MIKI UEDA (779237) 2017 SEMESTER 2, FINN

TABLE OF CONTENTS 4 A.0 INTRODUCTION 6 A.1 DESIGN FUTURING 20 A.2 DESIGN COMPUTATION 34 A.3 COMPOSITION GENERATION 41 A.4/5 CONCLUSION & LEARNING OUTCOMES 44 B.1 RESEARCH FIELD - MATERIAL PERFORMANCE 48 B.2 CASE STUDY 1.0 58 B.3 CASE STUDY 2.0 64 B.4 TECHNIQUE: DEVELOPMENT 80 B.3 CASE STUDY 2.0 86 B.4A TECHNIQUE: PROTOTYPING TRIANGULATION 90 B.4B TECHNIQUE: PROTOTYPING KERFING 110 B.4B TECHNIQUE: PROTOTYPING KERFING 116 B.7 LEARNING OBJECTIVES AND OUTCOMES 120 PART C.1: DESIGN CONCEPT 138 C.2 TECTONIC ELEMENTS & PROTOTYPES 154 C.3 FINAL DETAIL MODEL 178 C.4 LEARNING OBJECTIVES & OUTCOMES 184 APPENDIX - ALGORITHMIC SKETCHES 186 BIBLIOGRAPHY 188 LIST OF FIGURES

FIG. A-1: IMAGE OF AUTHOR PAINTING

I am Miki Ueda. I am an Architecture major, third year student. The extent of my proficiency with digital tools have been developing over the course of the last few years but nonetheless I find myself opting for using traditional hand drawings where possible. I have experience using digital mediums of architecture such as Revit, AutoCad and Rhino. My most significant work using technology was during last semester in a subject called Digital Design and Fabrication. This subject lays major focus on how to use Rhino as a 3D modeling tool. It also laid a foundation for me in terms of my exposure to technological theory within architecture. Research and readings within the subject, as well as using digital fabrication tools such as a laser cutter, has given me an opportunity to have a small head start on considering the capacity for which digital tools can help design processes. This experience has also equipped me with understanding the short comings of digitisation as well. Designing in

vacuum such as that of the Rhino interface where th effects of gravity for example is not acting upon the digital form, there can be a misrepresntation of what is on screen to what you fabricate in real life. An issue that I regularly fell upon was the lack of engagement with materiality in the digital world, where in the fabrication process it would be revealed that certain materials such as thin perspex can be highly brittle and break under strain such as gravitational forces. Having had actual experience interacting with digital fabrication and feeling a lack of digital engagement with materiality, I look forward to seeing how the algorithmic tools of grasshopper and the physics simulation of kangaroo may change my perspective upon my current perspective towards the limitation of digital technology.

A.0 INTRODUCTION 4

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FIG. A-2: RENDERING OF SECOND SKIN PROJECT

FIG. A-3: FABRICATED OUTCOME OF SECOND SKIN PROJECT

These images above show the final outcome of the group project in DDF. The structure encapsulates a personâ&#x20AC;&#x2122;s personal space and is designed as a piece of architecture upon the human body. The two structures allow a space to be created between two people engaging with one another, promoting interaction.

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A.1 DESIGN FUTURING 6

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FIG. A-4: TANGEâ&#x20AC;&#x2122;S TOKYO BAY

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TOKYO BAY PROJECT // KENZO TANGE Tange’s urban plan for a city is a significant project which shows the positive attributes of unbuilt forms making an impact on architecture for the future. The fact that this is paper architecture is beneficial in the realm of architectural theory as it gives space for creativity in design because not defined by restrictive parameters.;“Design speculations can act as a catalyst for collectively redefining our relationship to reality”1.

1. Anthony Dunne and Fiona Raby, Speculative Everything: Design, Fiction, And Social Dreaming (Cambridge, MA [etc.]: MIT Press, 2013) 8

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FIG. A-5: TANGEâ&#x20AC;&#x2122;S TOKYO BAY MODEL

). p. 4. CONCEPTUALISATION 9

FIG. A-6: TOKYO BAY DIAGRAM

The plan proposes the idea that a city is not a fixed landscape, rather that a city is a process. Kenzo proposes a structure which utilizes the ability to replace components. Figure 5 shows how the way the city extends from landforms and utilizes water area. Figure 6 shows the composition of the dwelling places to branch off from a central linear structure which serves as places for market activity. The project was revolutionary. Its contributions within architecture and urban planning resulted in instigating changes within society and even philosophy1. The project proposed a solution toward the problem of overpopulation and rethinking the way areas covered by water can be used. The designers recognized the importance of redirection in tackling design problems.This was achieved by being critical of the historical mindset of how water serves purely as a boundary element architecture. Redirection was also practiced as the designer became critical of the concept of a dwelling, and proposed that perhaps dwellings need no longer to serve as a permanent structure in an environment that is changing at increasing rates. This was a milestone in the development of the philosophy of a city as metabolism. This is evidence showing good design as it is critical of perspective and questioning the current state of things. It does not accept that the given is given2. Thus, ideas are continued to be appreciated in current context, as demonstrated by the creation of man-made landforms providing areas for economy, recreation, and housing such as Abu Dhabi and Sentosa island in Singapore, as well as future projects such as Zira Island by Bjarke Ingels Group.

1. ArchEyes, â&#x20AC;&#x153;A Plan For Tokyo 1960 Kenzo Tangâ&#x20AC;?, Archeyes, 2016 <http://archeyes.com/plantokyo-1960-kenzo-tange/> [accessed 9 August 2017]. 2. Anthony Dunne and Fiona Raby, Speculative Everything. p. 2. 10

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FIG. A-7: TANGEâ&#x20AC;&#x2122;S TOKYO BAY AERIAL

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ZIRA ISLAND // BIG Zira Island is an architectural proposal on a urban planning scale where the focus of the project is to create sustainaible living by creating a habitable space on an otherwise non habitable island. This shows the impact which Tange’s project had in the realm of design thinking, however I will criticize this project in that it is recreating Tange’s proposals in such a way that is wasteful. I take this stance given that while the proposed plan of a carbon neutral city seems like a solution to sustainability, it can also be recognized that the internal energy of sourcing materials is hugely unsustainable. “By channeling energy and resources into fiddling with the world out there rather than the ideas and attitudes inside our heads that shape the world out there”1.

1. Anthony Dunne and Fiona Raby, Speculative Everything. p. 2. 12

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FIG. A-8: ZIRA ISLAND BY BJARKE INGELS GROUP RENDER

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FIG. A-9: ZIRA ISLAND ECOSYSTEM PLAN

FIG. A-11: ZIRA ISLAND WIND SIMULATION

FIG. A-10: ZIRA ISLAND ENERGY PLAN

such as over population and polution. This is done through creating habitable space on an otherwise non habitable island, as well as the use of wind energy to sustain itself.

The plan is to have a neutral carbon footprint, relying solely on green wind energy so that the island sustains itself as seen in figure 9. This island is a desert1, the design is then intended to enhance living quality through creating an ideal habitable area for plants and life by planting trees as well as providing areas protected from winds as shown in figure 8 and 10. The diagrams of the island plan demonstrates an anthropocentric method towards design. The Zira Island project is a perfect example where man implies that nature can be maintained by humans and technology will be our solution towards problems

I am critical of the ambition behind a project such as this, as it promotes a falsely optimistic way of engaging with the world. This is not as a personal attack towards Bjarke Ingels Gorup, but more so relates to a general theory in regards to the way we define the word ‘design’ and its underlying optimistic thinking. The term ‘design’ is widely accepted to be defined as problem solving. Dunne and Raby are critical of this association and deem that this leads many of today’s designs down a path of ultimate failure2. The problem solving mindset of ‘design’ positions us to expect that any ‘problem’ that a design is imposed to tackle is able to be fixed. An unrealistic optimism instilled within the term ‘design’ destines us for failure when today’s designs tackle wicked problems. These wicked problems are topics such as pollution, climate change, finite resources, etc., these cannot be solved by a single building design.

1. TED Talks, Bjarke Ingels: 3 Warp-Speed Architecture Tales (Youtube: TED Talks, 2009). 2. Anthony Dunne and Fiona Raby, Speculative Everything. p. 6. 14

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FIG. A-12: ZIRA ISLAND BY BJARKE INGELS GROUP LIFESTYLE RENDER

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RESIDENTIAL HOUSES // IBUKU Elora Hardy of Ibuku has sourced vernacular Balinese architecture, which has influenced her future vision for a sustainable architecture. The revolutionary element lies in the level of sensitivity towards materiality within their work. Their work consists of residential homes as well as the Green School in the Indonesia; all of which is made with a focus on bamboo and entirely handmade.

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FIG. A-13: IBUKU RESIDENTIAL HOUSES

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FIG. A-14: IBUKU EXPERIMENTATION MODEL

As a result of the perspectival limitations of our human centred world view, we treat the planet as an infinite resource at our disposal1. The conditions of our current world is in a state of defuturing, where the existence of a future for human life can no longer be assumed, rather become accepted only a mere possibility 2. Maybe now should redirect. Must shift from anthropocentric world view to ecocentric. Capitalism is the instigator of the boom in industry and unsustainable consumption. Deny capitalism as a social structure and find a different social structure by seeking inspiration from communities that have achieved sustainable living. Because of choice material, designer found a solution by reframing the problem. This revolutionary architecture embraces the imperfect form of bamboo

FIG. A-15: IBUKU PLAN

and uses it as a point of strength in building design by creating organic shapes3. This is shown in the use of small scale experimentation in figure 13. Such a method is used to in order to understand structural systems and physical behavioral responses of natural materials when a load is applied to it. Figure 14 shows the type of plans which were generated for these projects. Pay special attention to how the plan uses curves and lacks rigid straight lines. Bjarke Ingels critiques how contemporary design which aim to be eco friendly tend to propose lifeless, boring designs4. This demonstrates how sustainable practice which refers to finding inspiration in vernacular does not imply boring design. On the contrary, it actually allows forms to be generated which with traditional western materials, has not been able to be achieved before. This architecture is truly innovative.

1. Tony Fry, Design Futuring: Sustainability, Ethics And New Practice (Oxford: Berg Publishers Ltd, 2008) p. 3. 2. Tony Fry, Design Futuring. p. 1. 3. TED Talks, Magical Houses, Made Of Bamboo Elora Hardy, 2007 <https://www.youtube.com/watch?v=kK_UjBmHqQw> [accessed 11 4. TED Talks, Bjarke Ingels (2009) 18

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FIG. A-16: IBUKU FINISHED HOUSE

1 August 2017].

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A.2 DESIGN COMPUTATION 20

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FIG. A-17: ALVAR AALTOâ&#x20AC;&#x2122;S CEILING AT VIIPURI LIBRARY

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VIIPURI LIBRARY // ALVAR AALTO Alvar Aalto is known to create architecture through a process of thorough study to produced highly delicately designed spaces attuned to function for a specific atmosphere. Viipuri Library is an example of this, as the interior design of auditorium has been detailed to have an acoustic ceiling. Aaltoâ&#x20AC;&#x2122;s analysis of the soundwaves reacting to the surface of the interior space is demonstrated in these drawings.

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FIG. A-18: VIIPURI CEILING ALVAR AALTO

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FIG. A-19: ALVAR AALTO’S SOUND STUDIES

FIG. A-20: GRASSHOPPER AND KANGAROO OPTIMISATIONS OF CEILING

It is apparent that Aalto was highly considerate of the acoustic affects in the design of the space, however his design is not optimised. Figure 17 shows are Aalto’s original sketches of sound reactions against the timber waved surface of his ceiling at Viipuri. In order to make a fair judgement of Aalto’s analytical work, an analysis of the acoustic effect of the ceiling is processed through the use of simulative software grasshopper and kangaroo, as demonstrated in figure 18.

sound reflectivity and projection can be a method of overcoming this, ideally through focusing upon projecting sound to the back of the classroom. Aalto furthermore lacks in this area as further iterations of design optimisations have not been developed to show improvement in the design. This is another instance where the computerized model excels, as the surface has been tweaked to propose better versions of the design. An optimised version of the ceiling with such projection is demonstrated through computation in the final sequence in figure 182.

Computation as a processing of information which can allow the rediscovery of material through computation1. This is shown as the acoustic analysis of the acoustic ceiling demonstrates the quality of timber having an absorbative quality which Aalto did not consider. This is made apparent by the red shaded areas within the 3D simulations in figure 18. Figure 17 of Alvar Aalto’s drawing clearly shows a negligence of this information. However, the

This comparison of a non computer generated design vs. a digital analysis of the form shows the way that digitization can help the architectural process. While Aalto’s analysis of acoustics was limited by the human quality of simply whether or not he was committed enough to invest effort and time into simulations, a computer can otherwise step in and perform such simulations without tiring out.

1. Yehuda E Kalay, Architecture’s New Media: Principles, Theories, And Methods Of Computer-Aided Design (Cambridge, Mass: MIT Pre 2. Jason Lim, ETH Zurich and Atelier Panda, “Let’s Work Together”, Acadia, 2011, 403. 24

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FIG. A-21: VIIPURI INTERIOR

ess, 2004).

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RESONANT CHAMBER // RVTR The resontant chamber was created by a toronto-based design research group rvtr. Their aim was ‘to create an instrument at the scale of architecture, flexible enough that it might be capable of being played‘1. In contrast to Aalto’s acoustic design, rvtr’s engagement with computation for this project demonstrates a deeper engagement with the material performance. Computation can even go one step beyond, to elevate architecture into becoming dynamic, catering to various programs of the space.

1. Cre.A.te, “Origami Architectural Acoustic Panels”, Cre.A.Te, 2012 <https://nandishjagad.wordpress.com/2012/05/04/origami-architec 26

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FIG. A-22: RESONANT CHAMBER FOLDED OUT

ctural-acoustic-panels/> [accessed 9 August 2017]. CONCEPTUALISATION 27

FIG. A-23: SIMULATION OF SOUND IN CHAMBER

An algorithm is an unambiguous, precise, list of simple operations applied mechanically and systematically to a set of tokens or objects (e.g., configurations of chess pieces, numbers, cake ingredients, etc.). The initial state of the tokens is the input; the final state is the output. The operations correspond to state transitions where the states are the configuration of the tokens, which changes as operations are applied to them2. The resonant chamber makes use of algorithms in a number of ways Computation is found in rvtr’s analysis of sound in relation to material with an analysis of reflectivity of bamboo and absorbative quality of bamboo, as

shown in figure 21. Analysis of texture and form was also experimented with, where they could predict the dispersive behavior of sound from a point source upon a series of angled planes and perforated surfaces. Further, computation was used to give the architecture a quality of ‘learned behavioral responses’ to situations1. Depending on the type of sound the structure is subjected to, the either contract to expose smooth sound reflective surfaces, or spread to allow sound to be projected back into the space using DML loud speakers. The development of the digital in architecture has resulted in the digital creation process to be in congruence of the development of technology; creating a symbiotic relationship3.

1. Cre.A.te, “Origami Architectural Acoustic Panels”2012 2. Robert A. Wilson and Frank. C Keil, “Algorithm”, The MIT Encyclopedia Of The Cognitive Sciences (London: MIT Press, 1999). 3. Rivka Oxman and Robert Oxman, Theories Of The Digital In Architecture (London: Routledge, 2014). 28

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FIG. A-24: DIFFERENT STAGES OF FOLDING AS A RESULT OF ROBOTIC ARMS

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DRX 2012 PROTOTOWER 01-03 // HENN The Design Research Exchange is a program hosted by HENN. In 2012, experts from various fields collaborated together to produce designs for high rise structures. Three designs were developed using a generative form finding method called minimal surface1.

1. Henn, â&#x20AC;&#x153;DRX 2012â&#x20AC;?, Henn.Com, 2012 <http://www.henn.com/en/research/minimal-surface-high-rise-structures> [accessed 9 August 30

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FIG. A-25: 3 SKYSCRAPERS USING GENERATIVE METHOD

2017]. CONCEPTUALISATION 31

FIG. A-26: DIGITIZATION USED TO GENERATE FORM AND SIMULATE WIND PRESSURE

This project generates architecture without a site. It is in vacuum. This gives designers the ability to take focus upon pure form that is achieved through digitization. Digitized product inspires architecture that can be applied to several contexts. Therefore this collaborative piece produced 3 proposed towers in order to maximize the computational potential at the same time as maximizing human creativity. The generative method of finding form using minimal surface technique, as shown at the top of figure 24, means that forms can be developed using as little material as possible. This is good in terms of cost efficiency in building envelope material in the built context. The computational structures can also be used to find at what point the structural integrity of the primary building members can be found at the lowest cost. This is shown at the bottom of figure 24 where force analysis of the structure is tested.

world and is not site specific, it can be argued to be pointless. However, I argue it to be useful as projects at any site will need to make considerations towards the surface area covered by the building envelope and creating buildings subject to wind loads. These studies can still be useful to any proposal for a skyscraper. “Computation and the use of the computer facilitates the sharing of codes, tools and ideas”1. Peters refers to this sharing of ideas to produce an accumulation of ideas as “building of algorithmic thought”2. The point where archi can truly integrate with digital is when we have sufficient understanding of algorithmic concepts. We are heading in this direction, with this project as an example. Common language between collaborators of different disciplines which can maximize the output of a design with the interdisciplinary contributions.

While this project is generated completely in the virtual

1. Brady Peters, “Computation Works: The Building Of Algorithmic Thought”, Architectural Design, 83.2 (2013), 8-15 <https://doi.org/10.1 2. Brady Peters, “Computation Workst”, 2013. p. 43 32

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FIG. A-27: FINAL PROPOSAL USING A MEMBRANE

GENERATED BY MINIMAL SURFACE TECHNIQUE

1002/ad.1545>.p.40

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A.3 COMPOSITION GENERATION 34

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FIG. A-28: SHADOWING DETAIL OF PROTOTYPE

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SERPENTINE PAVILION // BIG What is valuable in art changes radically. We should always be reevaluating what we deem to be great creativity1. This was said in response to the Pollock’s abstract expressionist painting, Blue Poles from 1952. The same can be said about architecture. Bjarke Ingel’s Serpentine building is a temporary outdoor structure. For ease of installment and in order to make it as lightweight as possible, BIG have used the generative tools of grasshopper in order to compose a structure that is modular yet structural, enclosing yet perforated. Computation is a method which promotes collaboration, this was discussed in the earlier precedent. However the Serpentine Pavilion explores this in a different way, BIG uses the generative in order to make composition accessible to all.

1. Brad Elias, “Wk 3 Composition And Generation”, 2017. 36

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FIG. A-29: BJARKE INGELS GROUP SERPENTINE PAVILION GENERATED FROM ALGORITHMIC

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FIG. A-30: SCREENSHOT OF USER FRIENDLY INTERFACE INTERACTING WITH ARCHITECTURE

The temporary nature of the structure means that indicates that it can only be experienced for a limited time. This sets limitations towards the public as people may be physically unable to view the installation. Generative code embedded in a user friendly interface called ArchiLogic allows public interaction. The tool allows one to toggle and compose new forms for the pavilion and this is made possible because of the generative nature of the placement of the blocks. It even allows one to reimagine the space to serve a different purpose. This reimagining

CONCEPTUALISATION

is only been made a possibility as a result of the digitization providing this opportunity, by allowing the user to input couches and other furniture. Firstly, this mode of sharing can facilitate an environment for which everyday people who arenâ&#x20AC;&#x2122;t privileged with a code writing background to engage with architecture. This allows for a second affective level of accessibility, where even people who arenâ&#x20AC;&#x2122;t going to visit the built form can still engage with it and learn from it.

FIG. A-31: ITERATIONS OF PAVILION USING DIGITIZATION

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A.4/5 CONCLUSION & L 40

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FIG. A-32: SHADOWING DETAIL OF PROTOTYPE

LEARNING OUTCOMES

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Design futuring is a complex task which requires the exercising being critical of oneself, onesâ&#x20AC;&#x2122; perspective and reevaulation of such in order to give possibility to a future. Humanity is faced with wicked problems such as population growth and global warming, we must utilize anything that may help us come up with methods of redirecting our future. Computerisation is a method which we as designers can benefit from, as they can do repetitive tasks which is already existent in the design process of architecture. The extent of completing such repetitive tasks in person is a time

consuming, costly process which is also restricted to ones available effort to commit themselves to such tasks, as well as being subject to human errors. If this isnâ&#x20AC;&#x2122;t already enough argument to promote the use of digitisation, computation has also shown to open new fields of thinking, as well as promote collaboration of ideas between people of various fields resulting in ongoing building of algorithmic thought. Algorithms can further be used to make architecture fun and accessible to the public through using a rule based system of allowing the public to engage with architectural form without

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needing to understand the elements. Architecture which usly only been able to be educated, privileged people, oming more accessible. This n order to instigate reform urrent environment, relating he aforementioned wicked we now face. We need people, hose from varying disciplines groups, to engage in topics icked problems in order to scussion to generate a path on.

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create a second skin which achieves the function of personal space. Composing a general form for these structures was something that I spent a lot of time trying to figure out. The final form of the structure wasnâ&#x20AC;&#x2122;t bad, it encapsulated a space and gave ability to connect two separate bodies together. However, had I used generative methods to come up with an abstract visual representation of ones personal space then that would have been very interesting to incorporate into the composition of the form.

to further explroe the computational ability of being able to focus on a certain material and â&#x20AC;&#x2DC;rediscoverâ&#x20AC;&#x2122; its potential through sound, including projection, reverberation, absorption and reflection. If possible, I would like to incorporate materials which are very natural and raw, whether it is to use such material in the final outcome itself, or to use it as a source of generating form for inspiration.

Having done this research, I would want

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B.1 RESEARCH FIELD - MATERIAL PER

CRITERIA DESIGN

RFORMANCE

FIG. B-1: TIMBER MATERIAL DETAILING FOR ACOUSTICS

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FIG. B-2: STEEL STRUCTURE

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FIG. B-3: CONCRETE STRUCTURE

FIG. B-4: TIMBER STRUCTURE

MATERIAL PERFORMANCE Steel has the ability to span large distances with little material. Concrete can be used structurally and as an envelope. Timber is organic and ecofriendly. One must consider the behavior of the material that they want to fabricate. I am studying material performance as a form finding technique specifically using characteristics which timber has, as this is ideally the material I will use to construct my final project. I will study two areas for form finding, looking at a structural aspect using physics simulations of bendability, and then the characteristic of sound upon timber-like surfaces. CRITERIA DESIGN

B.2 CASE STUDY 1.0 48

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FIG. B-5: SHADOWING DETAIL OF PROTOTYPE

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VOUSSOIR CLOUD // IWAMOTO SCOTT

This precedent applies concepts of material performance. The overall form of this structure was found through using generative techniques. This simulation recreates real life graviational effects in order to generate a form using the theory behind the hanging method of form finding in order to find an efficient compressive structural system.

FIG. B-6: IWAMOTO SCOTTâ&#x20AC;&#x2122;S VOUSSOIR CLOUD

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FIG. B-7: VOUSSOIR CLOUD COMPUTATION

Scottâ&#x20AC;&#x2122;s Voussoir Cloud utilises computation generative techniques to inspire the form of the structure using the hanging method. This is interesting for me to study, as the construction of this membrane which is both an envelope and structure means that the form relies heavily on the fact that it should be able to support itself. The Voussoir Cloud aims to act as a structural paradigm of pure compression using light materials of that of thing laminated wood sheets1. This shows design potention for how the structural aspect of a design can be considered even from the very

beginning of the design. I am exploring this as a precedent in order to explore the capabilities of the kangaroo exension on grasshopper. I want to focus on studying the generative method of this precedent, so focsuing on the form finding rather than the paneling, however I am keen to explore the paneling aspect in my following precedent study. The selection criteria I am deciding upon for this digital exploraiton is to create a smooth structure.

1. Scott, I. (2017). IwamotoScott Architecture Voussoir Cloud. [online] Iwamotoscott.com. Available at: https://iwamotoscott.com/proje

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FIG. B-8: VOUSSOIR CLOUD CONSTRUCTION

ects/voussoir-cloud [Accessed 13 Sep. 2017].

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FIG. B-9: VOUSSOIR CLOUD MATRIX

Voronoi Radius

Stiffness

Number of columns

Stiffness

Number of columns

Stiffness

Number of columns

U Force X-Axis

U Force Y-Axis

Weaverbird Smoothing

Voronoi Radius

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Weaverbird Smoothing

Voronoi Radius

Stiffness

Number of columns

Voronoi Radius

Stiffness

Number of columns

Voronoi Radius

Stiffness

Number of columns

U Force X-Axis

U Force Y-Axis

Weaverbird Smoothing

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FIG. B-10: 4 BEST ITERATIONS

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These are the most interesting outcomes to be produced from the iterations. The one to the top left corner was created after performing multiple processes of smoothening. The outcome however shows to be spikey and very much reverse from the intent. This shows that in order to simplify and smoothen a structure, this must be done at an earlier point, probably before the kangaroo simulation has been run through. Smoothening a complicated mesh is a complicated task.

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B.3 CASE STUDY 2.0 58

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FIG. B-11: AREAâ&#x20AC;&#x2122;S ACOUSTIC PAVILION INTERIOR

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ACOUSTIC PAVILION II // AREA AND MADS BRATH JENSEN This following excerpt by Rasmussen beautifully describes the relationship between acoustics and materiality in relation to spacial experience: “Can architecture be heard? Most people would probably say that architecture does not produce sound, it cannot be heard. But neither does it radiate light and yet it can be seen. We see the light it reﬂects and thereby gain an impression of form and material. In the same way we hear the sounds it reﬂects and they, too, give us an impression of form and material...”1

AREA’s collaboration with Jensen produced this structure using timber’s inherent material characteristics as a method of form finding to meet acoustic needs for a performance space. The Acoustic Pavilion is a temporary structure evolving and being reinstalled in concurance with culture festivals. This is AREA’s second time creating an acoustic pavilion, and publishing academic texts produced upon their acoustic research of timber structures. They are specialists in the field of designing symbiotically with generative techniques striving to optimise ‘sound based morphogenesis’ 2 . 1. RASMUSSEN, (1964), “ARCHITECTURE AND ACOUSTICS”

2. FOGED, I., PASOLD, A., JENSEN, M., & POULSEN, E.,(2016) “ACOUSTIC ENVIRONMEN

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FIG. B-12: AREA’S ACOUSTIC PAVILION II

NTS: APPLYING EVOLUTIONARY ALGORITHMS FOR SOUND BASED MORPHOGENESIS”

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FIG. B-13: ACOUSTIC PAVILIION SECTION DIAGRAM

AREA have done a deep amount of studies in regards to producing structures specific to cater for specific acoustic programs. They utilise generative methods of optimising structures through acoustic analysis, both with the use of simulations and calculation1. The acoustic simulation they use is called a genetic algorithms (GA) system.

FIG. B-14: ACOUSTIC PAVILION SOUND REFLECTION ANALYSIS

They then also use mathematical equations for acoustics to deduce a formula for acoustic simulation and finally defining an equation for fitness function in order to abstract the acoustic effectiveness of a form. I will study this precedent in order to understand the capabilities of triangulation. It is a simple way of constructing a form, as well as having its own inherent capabilities for being able to be textured, or create spikes, which is fundamentally useful whenever designing an environment which should be treated with an acoustic affect in mind.

FIG. B-15: ACOUSTIC PAVILION PANELING ACOUSTIC FINISHES

1. Isak W. Foged, et. al. , “Acoustic Environments”, 2012. 62

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FIG. B-16: ACOUSTIC PAVILION PERFORAMNCE SPACE INSIDE

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B.4 TECHNIQUE: DEVELOPMENT 64

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FIG. B-17: SOUND EXPLORATION

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FLOWCHART OF HOW TO REVERSE ENGINEER

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FIG. B-18: VITRUVIAN WORKFLOW REVERSE ENGINEERING

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PROCESS OF RE-ENGINEERING

The red species in this diagram show the iterations that failed, one was due to using attractor points to direct the depth of the panels. The attempt to make perferations in a triangular panel also led to a failed iteration as I tried to deselect vertices at the perimeter, only half succeeding.

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FIG. B-19: VITRUVIAN WORKFLOW REVERSE ENGINEERING RESULT

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REVERSE ENGINEERING FINAL OUTCOME

This is the reengineered outcome of the exploration, making the acoustic pavilion upon a lofted form which is deconstructed into triangular panels where the interior panels and fashioned with perforations upon selected panels.

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FIG. B-20: REVERSE ENGINEERED OUTCOME

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FIG. B-21: REVERSE ENGINEERING MATRIX I

U-Value

V-Value

Culling

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U-Value

V-Value

Culling

U-Value

V-Value

Culling

U-Value

V-Value

Culling

U-Value

V-Value

Culling with perforations

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FIG. B-22: REVERSE ENGINEERING MATRIX II

Attractor point inside

Number of attractor points Attractor point strength

Kangaroo bending iterations

Kangaroo spring strength downwards Number of attractor points

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Attractor point inside

Number of attractor points Attractor point strength

Kangaroo Bending iterations

Kangaroo spring strength downwards Number of attractor points

Attractor point outside

Number of attractor poin

Attractor point stren

Kangaroo Bending iterations

Kangaroo spring stre

Number of attractor po

nts

ngth

Attractor point outside

Voronoi Radius Number of attractor points

Kangaroo Bending iterations

Attractor point outside

Attractor curve Number of attractor points

Kangaroo Bending iterations

ength

Kangaroo spring strength

oints

Number of attractor points

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FIG. B-23: REVERSE ENGINEERING MATRIX III

Curved base lines

Sound scattering analysis in precedent form

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Concave vase lines

Sound scattering analysis in dome form

Conve

Soun

ex base lines

nd scattering analysis in concave from

Curved baselline with z-direction

Intersecting curved base lines

Sound scattering analysis in triangulated cup Sound scattering analysis in paneled cup form

form with kangaroo bend deformation

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FIG. B-24: 4 BEST ITERATIONS

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Iâ&#x20AC;&#x2122;ve selected these as my most successful iterations as it has given me insight on how a form can be shaped to achieve some acoustic affect. I was mostly loking at the capabilities of triangulation and in what ways I can create irregularity such that to diffuse sound bouncing off of surfaces. The middle two I have included here used kangaroo physics to create a form which was then triangulated. This shows potential for using kangaroo to create irregular geometries. The final exploration with sound dispersion analysis was the most interesting exploration. Later I will like to use this simulation to test various designs that will be developed in part C.

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B.3 CASE STUDY 2.0 80

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FIG. B-25: MYCELIUM BLOCKWORK BAKED

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SHELL MYCELIUM // BEETLES 3.3 ARCHITECTURE & YASSIN AREDDIA DESIGN This structure located in South East India looks at triangulated panels, the most basic method of creating a doubly curved form using planar materials. They then use these panels as formwork for growth of organic material, mycelium; the ‘roots’ from fungus.

1. Brad Elias, “Wk 3 Composition And Generation”, 2017. 82

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FIG. B-26: BEETLES 3.3 ARCHITECTUER & YASSN AREDDIA DESIGN SHELL MYCELIUM

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FIG. B-27: MYCELIUM GROWING IN MYCELIUM SHELL STRUCTURE

Mycelium is used to achieve an insulative effect on the structure and to promote the use of this structurally strong mycelium material1. Figure 10 shows how the mycelium is held by the formwork of the panels in the shell structure. Figure 11 demostrates how mycelium can be cast into blocks using formwork which is later stripped after being baked, this makes it a dry and durable material.

FIG. B-28: MYCELIUM BLOCKWORK BAKED

I am interested in exploring this concept of using the triangulated formwork as a panel which something can be cast inside it. This give potential for manipulating a surface post computation and fabrication, already fabricated, to then treat it manually giving it an organic element to it. this may enhance acoustic dampening affects by giving the surface a depth to it.

1. Frearson, A. (2017). Beetles 3.3 and Yassin Arredia Design use fungus for pavilion in Kerala 84

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FIG. B-29: MYCELIUM SHELL CLOSE UP

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B.4A TECHNIQUE: PROTOTYPING TRIA 86

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ANGULATION

FIG. B-30: SHADOWING DETAIL OF PROTOTYPE

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FIG. B-31: GROWTH OF VOID FILLERS

FIG. B-32: CULLED PANELS ALLOWING LIGHT PENETRATION

TRIANGULATION, JOINTS, AND VOID FORMERS My precedent studies have had a common theme of triangulation. This prototype was constructed to test the effectiveness of the method of triangulation where a 3D form can be made of planar components. An experiment was done with 2 elements; one looked at filling voids made of foam fillers and the other looked at creating gaps between formwork to allow light penetration. I was aware that the foam would expand a lot but even so it was not expected that the foam would grow so large. Nonetheless this made it more interesting, and inspired the idea that perhaps this method could be used not on the outside but rather that the void filler be used on the interior of the panels to act as acoustic tiles. Culling some tiles has some nice optical effects. It may also be a means of allowing out sound and allowing in sound into the form which I would like to further play with. One thing I did struggle with was the joinery of the tiles. Working with rigid triangulated panels has its draw backs because there is no room for flexibility. That made the construction of it very hard, as a level of flexibility is needed 88

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to fit the tiles. Tearing can be seen between triangles because of this shear stress.

FIG. B-33: PROTOTYPING TRIANGULATED FORM

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B.4B TECHNIQUE: PROTOTYPING KER 90

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RFING

FIG. B-34: SHADOWING DETAIL OF SIMEONâ&#x20AC;&#x2122;S RESEARCH FIELD PROTOTYPE

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FIG. B-35: PROTOYPING HONEYCOMB KERFING

FLEXIBILITY OF PLANAR SURFACES This protoype was fabricated using Simeonâ&#x20AC;&#x2122;s study of kerfing. It looks at cutting out a pattern on a 2D plane in order to create a more flexible version of that material through means of kerfing. This prototype uses the application of a honeycomb pattern cut onto MDF board so that the material can stretch or contract depending on the horizontal force acting upon it. Figure 29 shows me testing the flexibility of the prototype. This kerfing method is successful in making the panel flexible. This component however is very fragile especially if a lateral load were to act upon it. The next step is to explore a module that is perhaps more structural, or that it has a bendable character when a lateral force is applied to it.

CRITERIA DESIGN

FIG. B-36: MEASURING STRETCH CRITERIA DESIGN

FIG. B-37: PROTOYPING HONEYCOMB KERFING

KERFING LARGER SPANS This prototype aims to be able to give a panel of MDF flexibility in bending. This is done through cutting a geometry in thicker strands. This prototype was incredibly flexible and successful in that sense. However soon we realized that that came as a cost as the stress made it easy to reach the point of breakage. The points of joinery between ‘strips’ of MDF are detailed to 1mm, which shows to be too thin. The panel broke before we got the chance to take images of the full bending capabilities. Though the breakage does come to a benefit as it shows that the two sides which don’t have gaps between ‘strips’ rather are composed of slits seem to have very good and durable flexibility. We found that the most fragile places of joinery are areas where the gaps are the largest. We will take this into further consideration in the next design and create thicker joined areas at these places with larger gaps. 94

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FIG. B-38: BREAKING

FIG. B-39: MEASURING BENDING CRITERIA DESIGN

FIG. B-40: PROTOTYPING KERFING ON NON REGULAR SIDED PANEL

KERF WITH THICKER JOINERY This prototype applied the use of using larger areas of joinery between ‘strips’ where there are larger gaps measures to 3mm. This prototype is to test if that indeed does make it less fragile while still allowing similar bending abilities. The detailed joinery to be changed to a longer length was very effective to make it more stable as this panel did not break. However that does come at a cost where the bendability is compromised to a small extent.

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FIG. B-41: MEASURING BENDING

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FIG. B-42: Prototyping kerfing on circular geometry

REFLECTION The curved panel shows the limitation to defining a curtain geometry to a panel. This curved component creates curves in the kerfing which makes it not very flexible.

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FIG. B-43: BENDING CIRCULAR GEOMETRY

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FIG. B-44: PROTOYPING KERFING ON A PANEL

KERF ON A GEOMETRY Where previously the prototypes played with kerfing geomety and thicknesses of the kerfed curves, this exercise looks at the kerfing depending the way that the base geometry is shaped. The first is a fan-like shape, while the other is a panel like shape. This second iteration with oscillating curve direction provides more flexiblity. The panel has also been detailed with a clip in joinery component which brings in the scope of modular panels which can begin to explore the idea of clipping the panel into a structural component.

100

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FIG. B-45: BENDING PANEL CRITERIA DESIGN

101

FIG. B-47: FRINGING OF KERFING EDGES

KERF ON A GEOMETRY This prototype shows an oscillating kerfed panel being mounted at two edges. An interesting thing to be produced by this was the fringing effect of the ends of the kerfed panel. This produces an element of non calculated effects of curving upwards at the ends. This imperfect effect is something we would like to further explore.

102

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FIG. B-46: PROTOTYPING A CONTINUOUS PANEL

CRITERIA DESIGN

103

FIG. B-48: OVERLAPPING

JOINERY This prototype looks at a way of joining the kerfed panels with clips at the edges which attach to the formwork. We furthered the inspiration of the effect of the kerf lines flicking outwards in the previous prototype by using it as a method of joining panels by overlapping kerfed surfaces. The overlapping of the elements make those fringing kerfed lines stand out to really make the fringing of the kerfed â&#x20AC;&#x2DC;stripsâ&#x20AC;&#x2122; at the ends of the panel stand out rather than try and hide it.

104

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FIG. B-49: PROTOTYPING CONNECTION OF MULTIPLE PANELS

CRITERIA DESIGN

105

FIG. C-1: PROTOTYPE HOLISTIC SHOT

FIG. C-2: JOINERY DETAIL

PROTOTYPE I This prototype is an experimentation where kerfed panels are assembled together using a structural framework system. The framework functions such that the vertical members which sandwich and secture the panels on either side, and then two horizontal pieces secure the vertical members. The curvature of the stud is extracted form a cross section of the lofted overall form which was generated earlier, showing that this method is efficient for articulating any desired form into a kerfed structure. It is evaluated to be successful as a structural framework for the kerfed panels as a stud design has been vastly explored traditionally. This non inventive form of structure which supports an inventive system like that of kerfed panels 106

PROJECT PROPOSAL

gives an element of reliability where structural conpetence can be easily predicted without extensive material testing. Bolts are used here, and this example shows how effective and time efficient it is. Another joinery method here is explored as well, where the stud members are joined using jigsaw like brackets which fit into one another. This resolves an issue where something that needs to be structurally continuous can be made up of fragments. The issue here is that these brackets can misalign, as seen in the image to the right. The next step is to resolve this issue of missalignment.

FIG. C-3: JOINERY DETAIL PROJECT PROPOSAL

107

FIG. C-4: JOINERY DETAIL

The acoustic tile is bolted onto the framework directly. This was both challenging to get aligned as well as resulting in an unaesthetic finish wehre the joinery is painstakingly visible. In hindsight, we reflected that it would be wiser to detail the framework such that a joinery is alreayd incorporated into the structure.

108

PROJECT PROPOSAL

Kerfing Acoustics Structure Materiality

FIG. C-5: PROTOTYPE INTERIOR SHOT

PROJECT PROPOSAL

109

B.4B TECHNIQUE: PROTOTYPING KER 110

CRITERIA DESIGN

RFING

FIG. B-50: SHADOWING DETAIL OF SIMEONâ&#x20AC;&#x2122;S RESEARCH FIELD PROTOTYPE

CRITERIA DESIGN

111

DRAGON SKIN PAVILION // EDGE LABORATORY This structure located in South East India looks at triangulated panels, the most basic method of creating a doubly curved form using planar materials. They then use these panels as formwork for growth of organic material, mycelium; the ‘roots’ from fungus.

112

CRITERIA DESIGN

FIG. B-51: DRAGON SKIN PAVILION

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113

FIG. B-52: DRAGON SKIN CONNECTION DETAILS

PROTOTYPE Inspired by the Dragon Skin Pavilion, we looked at how

the kerf panels could possibly be liberated from a support structure. Diamond panels are connected by notches, intersecting and overlapping each other in both x and y directions. While this generated an aesthetically pleasing form, it carried multiple problems of its own that we were not confident we would be able to resolve satisfactorily. Firstly, it was next to impossible to maintain and repair panels if they broke due to the permanent nature of the connections. Secondly, while this freed each individual panel from a direct, separate structure, the ends still had to be held in place by formwork till the ply had assumed its final shape. This combination of maintenance difficulty, high tensility in installation, fragile material and technique creates a volatile recipe for failure that led us to shy away from this technique.

114

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FIG. B-53: DRAGON SKIN PROTOTYPE

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115

B.7 LEARNING OBJECTIVES AND OUTC 116

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COMES

FIG. B-54: SHADOWING DETAIL OF PROTOTYPE

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117

The material performance study was fruitful in sparking ideas for form finding, utilising physics simulations and acoustic analysis. Because I am working with such a large concept being a form finding method of creating an overall surface, it is logical that I found myself working a lot with triangulated surfaces as those are the most basic ways of constructed doubly curved surfaces out of planar material. I tried to explore the potential and benefits of using triangulated panels, such as using it as formwork for void fillers or culling patterns out of them. I also found the set backs of using triangulation, as you the rigidity of panels is very restrictive and often results in messy outcomes because there is no room for mistakes while looking neat. The prototyping of my group mate Simeonâ&#x20AC;&#x2122;s kerfing technique was very fruitful in that this proposes a different approach to constructing surfaces. I think this is a good direction to continue towards for part C as surfaces with flexible properties can be very useful considering the struggle I experienced putting together non-flexible panels. The next step now in the project is to integrate the study of material performance and kerfing techniques. My studies have all been based around the idea that a single surface should be able to support itself. Now with the introduction of kerfing techniques, a structural system must now be considered separately. This is the next challenge to be faced. The brief calls for the design of an acoustic pod to be located within the office of a local Architecture practice. We believe that the pod should not aim to for complete acoustic insulation from the exterior, but rather reduce the ambient sound to a comfortable level for the occupants, while minimize the amount of sound that escapes outwards. We aim to achieve this through the manipulation of form, designing surfaces that redirect or absorb sound to achieve the effects we need. Kerfing will serve as the main mode

118

CRITERIA DESIGN

of articulation of the complex forms required, while also providing an emotive aesthetic experience. In essence, we want to create form through function, and function through form. While the use of kerfing for acoustic purposes is not a novel one, it has mainly been relegated to the walls and ceilings, separate from human interaction. We hope to achieve a more in-depth exploration of the technique, developing new forms, techniques and methods of connections. We want to use the lessons learnt to design a space that will be far more inclusive, and that will effect a much deeper and meaningful influence on the people that inhabit it.

FIG. B-55: PROTOYPE EXAMPLE

FIG. B-56: PROTOYPE EXAMPLE

CRITERIA DESIGN

119

PART C.1: DESIGN CONCEPT 120

PROJECT PROPOSAL

FIG. C-6: ACOUSTIC POD 3D PRINT RENDER

PROJECT PROPOSAL

121

3620

BRIEF 1719

1 2

5 1

FFICE The brief calls for the design and construction of an RICHMOND LAW TO acoustic pod within the office space of a Melbourne EMAIN practice, HACHEM. There should be a deliberate use of parametric tools to elaborate material performance, and to exhibit a nuanced architectural effect.

KITC

SHARED PRINTINGS 3 1

OFFICE

150

3708

1234

2 1

5 1

0 1

SH OF

MEETING ROOM 9 8

DESIGN INTENT 7

To provide: •

A space with a comfortable level of ambient sound.

•

A place for discussion and brainstorming in private. 2

A viable and buildable design proposal.

5 PROJECT PROPOSAL

1 : 100

122

• An atmospheric experience as both an ornamental and RECEPTION functional centerpiece. •

COMMS ROOM

LEVEL 1 LEGEND 4 1

1504

3 1

1976

0 2

1 2

CHEN

4500

5 1

MURALS TO STAIRS

LEATHER LINING TO LIFT

GRAFFITI TO LOBBY

OCCASIONAL CHAIRS

HIGH TABLE WITH STOOLS

SIGNAGE UPGRADE

IMPORVED ACCOUSITICS

UPGRADED LIGHTING

10.

TIMBER SCREEN

11.

PRINTER

12.

PLOTTER

13.

STANDARD FRIDGE

14.

PROFESSIONAL COFFEE MACHINE

15.

SHARED STORAGE

16.

MEETING SPACE

17.

SAMPLE TABLE

18.

DRAWING TABLE

19.

DRAWING REVIEW AREA

20.

SHOWER

21.

UNISEX WC

6 1

HARED FFICE 1100

YIELD EXISTING NUMBER OF SEATS: 16 PROPOSED NUMBER OF SEATS: 42

7 1 8 1

1088

7887

FIG. C-8: OFFICE SPACE 3D

882

9 1 FIG. C-7: OFFICE SPACE PLAN

LEVEL 1 LEGEND

PROJECT PROPOSAL

123

DESIGN STRATEGY The bubble diagram to the right (figure 4) demonstrates the design approach, showing the relationships between elements. The approach up until this point has largely been an investigation of individual characteristics which will be incorporated into the design, such as acoustic explorations and experimenting with the ornamental effects of kerfing. The next step is to marry these features into one design, and the device which will allow that is a conceptually reasoned form. The form finding will then undergo process of considering two additional elements, a mindfulness of people moving inside and outside the space and rationalising a structural framework.

124

PROJECT PROPOSAL

FIG. C-9: BUBBLE DIAGRAM OF DESIGN PROCESS

CRITERIA DESIGN

125

FIG. C-10: SEASHELL

MEMORIES OF THE SEA How much do we know about ambient sound and the effects it has on us, both direct and indirect? How can we explore ambient sound as both a functional and conceptual element within our design? Seashells provide both a visual and acoustic portal to the sea, and the numerous memories and emotions that are invoked along with it. The sound that one hears when a seashell is placed to the ear is the local ambient

126

PROJECT PROPOSAL

sound bouncing, echoing and resonating within the shell, transforming whatever enters it into the crashing of the waves, feet crunching the sand, whisper of the wind. This experience is referenced in our design, explored in the deliberate consideration and allowance for ambient sound, as well as the logarithmic spiral, extrapolated from the shape of the seashell. This spiral will be used to inform the overall form of our design.

FIG. C-11: GOLDEN RATIO

PROJECT PROPOSAL

127

FORM GENERATION A portion of the logarithmic spiral was used as the input geometry for our form finding algorithm. The algorithm takes a mapping of the officeâ&#x20AC;&#x2122;s circulation and uses that to deform the input geometry 3 dimensionally. The form is pushed inwards, generating more room for people walking, as well as providing a safety distance between them and the fragile kerf panels. At the same time, a uniform force is projected outwards from within the form, maximising its internal space, and thereby creating a balance between the needs of the officeâ&#x20AC;&#x2122;s inhabitants when inside and outside the acoustic pod.

FIG. C-12: EXTRUDED GOLDEN RATIO SPIRAL 128

PROJECT PROPOSAL

FIG. C-13: CIRCULATION BASED FORM PROJECT PROPOSAL

129

FIG. C-14: 3D MODEL EXPLORATION DOWNWARD OVERLAP

TESTING EFFECTS The images here showcase the process of testing the experiential experience and feasbility of construction of our overall form on a 1:75 scale if we were to implement our kerfing technique. Various tests were made, each differentiating in the sequential direction of overlap. This exploration shows the way that the organic lofted form generated from the form finding simulation earlier can be resolved using the kerf and structural frame technique as an envelope system. We are able to manipulate the size of kerfed panels, the direction that the kerfed panels overlap, and how much they overlap with one another. This was all feasible through the use of toggling with graph mappers in the grasshopper simulation. These experiments led us to deduce that the method where the panels overlap from bottom to top was the direction to go. This was reasoned because of aesthetic needs; we wanted shadows and light to stream down directly from the openings between the panels down towards the floor in order to create shadows which will have atmospheric affects. Another variable which made us decide upon this method was constructability. The easiest way for the panels to be mounted into the frame is by installing the pnaels from the bottom, allowing the next panel to rest upon the lower panel for support.

130

PROJECT PROPOSAL

FIG. C-15: 3D MODEL EXPLORATION UPWARD OVERLAP

FIG. C-16: D MODEL EXPLORATION FORM

PROJECT PROPOSAL

131

132

PROJECT PROPOSAL

APPLYING PANELS TO FORM The golden ratio and impact based form that was previously rationalised is used as a framework to which panels can be used to envelope it. Two types of paneling methods will be used, and that is demonstrated in the 3D printed model placed in the office environment as seen to the left (figure 12). The exterior of the pod facing the office uses kerfed panels that are overlapped vertically downwards. The kerfed panels are distributed such that larger panels are used near the entrance and the number panels that make up each vertical section increases further down the spiral. This is considered as the smaller, more fragile panels are ornamental and should be directed away from human contact and potential damage. The interior is lined with horizontal strips of acoustic panels.

FIG. C-17: 3D MODEL IN OFFICE SPACE PROJECT PROPOSAL

133

FIG. C-18: ISOMETRIC VIEW OF POD INTERIOR

134

PROJECT PROPOSAL

FIG. C-19: PERSPECTIVE VIEW OF ENTRANCE

ACOUSTIC INTERNAL The acoustic interior will be composed of strips of acoustic panels which are mounted such that they seem to envelope a person who enters the space. It is also fashioned this way as more acoustic consideration is placed inside the space where noise must be attended to, while there are less acoustic needs for moments such as entering the space.

PROJECT PROPOSAL

135

FORM

TECTONICS JOINERY

SITE ANALYSIS

CONCEPTUAL FORM

Draw curves around critical zone of pod showing circulation

Place extracted logarithmic curve from cross section of a shell into the site

Move curve upwards and sideways creating the basic profile of a person

Loft curves

Surface trim holes into bottom and top plate

Loft curves

Extrude curve in y-axis 2400mm

Scale 2D surface edge at top and bottom of studs

Attractor surface to point to make circulation impact based form

STRUCTURE Extrude surfaces from area center and distribute via graph mapper

Extract curves intersection between surfaces to find center points of studs

Extrude stud 100mm in vector direction from center point

Extend surface by 7mm at top and bottom

PANELING

Rationalise areas of greatest potential for damage

Arc between stud centers

MATERIAL TESTING Update design

136

PROJECT PROPOSAL

Loft to make panels

Adjust panel sizes and distribute number of panels per row via graph mapper

Unroll surfaces

FABRICATION MATERIALISATION

INSTALLATION

CONSTRUCTION PROCESS

Top and bottom plate

Fragment stud and apply jigsaw connection

Spheres

Trim sphere from 2D studs and kerf panel connection

CNC

Orientate perpendicularly along stud

Lasercut Assemble studs by sandwiching and bolting the right, left and backing studs

Clean kerfed panels

Draw clamp joinery Hammer studs into top and bottom plate horizontally

2D studs

Orientate structure upright

Left stud

Spray gloss varnish x5 at 20 minute intervals

Mount downlight with velcro

Mount kerfed panels chronologically from bottom to top and bolt

Mount acoustic panels with 50mm horizontal overlap between tiles

Right stud Bolt L-plates between connections in framework

Hide services behind acoustic tiles

Backing stud

Kerf panel connection

Align panel connections to kerfed surfaces

Apply kerf pattern

Kerfed panels with large openings and increased fringing

Kerfed panels with slit openings and less fringing

Rectangle 400x750mm

Etch vertical lines at 10mm centers

Reflect

Test

FIG. C-20: VITRUVIAN WORKFLOW OF PROTOTYPE CONSTRUCTION PROJECT PROPOSAL

137

C.2 TECTONIC ELEMENTS & PROTOTY 138

PROJECT PROPOSAL

YPES

FIG. C-21: SHADOWING DETAIL OF PROTOTYPE

PROJECT PROPOSAL

139

FIG. C-22: STRETCH

FIG. C-24: BEND

MDF 3

FIG. C-23: STRETCH

FIG. C-25: BEND

Bamboo

140

PROJECT PROPOSAL

FIG. C-26: POINT OF FAILURE

FIG. C-28: BREAKAGE RESULT

FIG. C-27: POINT OF FAILURE

FIG. C-29: BREAKAGE RESULT

3.0 mm

o 2.8 mm

MATERIAL TESTS We looked at few material alternatives to MDF, assessing them based on both visual aesthetic and physical attributes when kerfing was applied. Bamboo, a material with a crosslaid grain similar to plywood proved to be extremely tough, but faces issues in that it is extremely expensive and limited at 600x600 per panel as compared to MDF which available at 1000x700. PROJECT PROPOSAL

141

FIG. C-30: STRETCH

FIG. C-32: BEND

Bamboo

45 degree FIG. C-31: STRETCH

FIG. C-33: BEND

Hardwood P

142

PROJECT PROPOSAL

FIG. C-34: POINT OF FAILURE

o 2.8 mm

FIG. C-36: BREAKAGE RESULT

It was interesting to see how much more brittle bamboo became when it was not cut along its component layersâ&#x20AC;&#x2122; grain. It did however still remain considerably stronger than MDF.

es rotation FIG. C-35: POINT OF FAILURE

FIG. C-37: BREAKAGE RESULT

Ply 3.6 mm

PROJECT PROPOSAL

143

FIG. C-38: PROTOTYPE HOLISTIC SHOT

FIG. C-39: JOINERY DETAIL

PROJECT PROPOSAL

FIG. C-40: JOINERY DETAIL PROJECT PROPOSAL

145

FIG. C-41: JOINERY DETAIL

146

PROJECT PROPOSAL

Kerfing Acoustics Structure Materiality

FIG. C-42: PROTOTYPE INTERIOR SHOT

PROJECT PROPOSAL

147

FIG. C-43: PROTOTYPE HOLISTIC SHOT

PROTOTYPE J While the dragon skin inspired structural system was abandoned, the exploration of a technique where kerfed panels are supported using minimal structural framework continued. Here, the kerfed panel is mounted directly upon an acoustic tile. This prototype was done to test the structural capacity of the acoustic panel. The test shows that while the acoustic panel is suprisingly able to support the tensile loads of the kerfed panel, it does add a lot of limitations and variables in terms of flexibility in design of kerfed panels. Already on this small scale, splitting of the material can be witnessed as the bolt which joins the kerfed panel to the acoustic tile wedges into the acoustic tile that splits it, and breaks it. If these undesired results occur on this small scale, it can only be anticipated that these structural problems will occur more seriously once transferred into a larger scale. This technique involves using a structural system which cannot be easily presumed rather can only be deduced through testing. A design decision had to be made where the chosen framework had to be able to be resolved in a scope of a week, meaning that we abandoned this idea of using the acoustic panel as a structural system. 148

PROJECT PROPOSAL

Kerfing Acoustics Structure Materiality

FIG. C-44: JOINERY DETAIL

FIG. C-45: JOINERY DETAIL

FIG. C-46: STRUCTURAL DETAIL PROJECT PROPOSAL

149

FIG. C-47: MOUNTING SEQUENCE

FIG. C-48: MOUNTING SEQUENCE

FIG. C-49: MOUNTING SEQUENCE

FIG. C-50: MOUNTING SEQUENCE

PROTOTYPE K This prototype involved experimenting with the method of how the acoustic tiles are joined to the structure and how they get mounted. Here, the stud framework are detailed with slits which are fitted for acoustic tiles to slide into the framework and get held in place in by flexing the panel in compression. Similar to the external structure, the kerfed language is reiterated here where the acoustic panels are etched with simple lines to give it increased flexibility. While this technique is well resolved, it does also mean that the structural integrity of the stud framework is sacrificed. It also means that each acoustic panel will be individuall made for each individual framework, and that means wasted material. A better system is to use modulised acoustic panels. The edges of the studs are also visible and that is not aesthetic, so the next step is to find a joinery system for the acoustic panels which hides the structure.

150

PROJECT PROPOSAL

Kerfing Acoustics Structure Materiality

FIG. C-51: HOLISTIC PROTYTE SHOT

FIG. C-52: FITTED JOINERY

PROJECT PROPOSAL

151

FIG. C-53: CNC FILE

PROTOTYPE L

The studs are separated such and articulated with jigsawed joints to explore making a two meter stud being deconstructed into fragments, with the intent to make transport friendly pieces. The joinery has been changed here since the previous exploration as the previous version only had two jigsaw notches, while this is made of 5. This is to test if perhaps an increased amount of notches will mean more friction joint which will decrease the potential for delineation to occur in this joinery to make it more structurally sound.

Kerfing Acoustics Structure Materiality

a huge failure. The structural integrity of the element was completely abandoned as soon as the continuous member was fragmented. Even with the reinforcement of the backing stud members, it was wobbly. The quality of the wood also affected the structurality of the prototype as the AA grade marine ply was manufactured poorly meaning that the plywood began to fall apart when cutting the small jigsaw details, and this did not occur when MDF was used. The assembly of this also took a very long time. This led to the conclusion that transport feasability was not worth the cost of labor, construction time, loss of structural integrity and Fabricating this taught many lessons. This prototype was material. 152

PROJECT PROPOSAL

FIG. C-54: OVERLAPPING

FIG. C-55: OVERLAPPING

FIG. C-56: CNC MISHAP PROJECT PROPOSAL

153

Lasercut 3.6mm Hardwood Ply

Lasercut 7mm Softwood Ply

Lasercut 7.0mm Acoustic Panel

C.3 FINAL DETAIL MODEL 154

PROJECT PROPOSAL

CNC 6mm Marine Grade Ply

FIG. C-57: FABRICATION SHEET

PROJECT PROPOSAL

155

FABRICATION SEQUENCE

PREPARING KERFED PANELS After the kerfed panels were lasercut, they were spread out and cleaned delicately by extracting small cut segments in the kerf openings. This was essential to give the panels maximum flexibility and minimize its potential of breakage, and these pieces become a challenge to extract once the panels have been lacquered as this seals the material. The varnish is applied in coats, allowing 20 minutes of rest between each coat. The process accumulated to about 5 coats of gloss varnish.

FIG. C-58: KERFED PANELS

156

PROJECT PROPOSAL

FIG. C-59: BEFORE SPRAY

FIG. C-60: SPRAYING PROCESS

FIG. C-61: AFTER LAQUER HAS BEEN SET

PROJECT PROPOSAL

157

PREPARING THE STUDS The stud members were then assembled and reinforced. The long CNCâ&#x20AC;&#x2122;d members sandwich inbetween a series of lasercutted backing studs. This behaves as reinforced stud members which will also ease the process of mounting kerfed panels into the structure thanks to the backing studs. These fully assembled studs are then lined into the top and bottom plate which get fitted in by hammering it in with a mallet. This gives a structural framework ready for the kerfed panels to be mounted upon.

FIG. C-65: DEMON

FIG. C-62: DEMONSTRATING SANDWICHING ASSEMBLY

158

PROJECT PROPOSAL

NSTRATING SANDWICHED EFFECT

FIG. C-63: SANDWICHING

FIG. C-64: SANDWICHING

PROJECT PROPOSAL

159

PREPARING FRAMEWORK The stud members were then assembled and reinforced. The long CNCâ&#x20AC;&#x2122;d members sandwich inbetween a series of lasercutted backing studs. This behaves as reinforced stud members which will also ease the process of mounting kerfed panels into the structure thanks to the backing studs. These fully assembled studs are then lined into the top and bottom plate which get fitted in by hammering it in with a mallet. This gives a structural framework ready for the kerfed panels to be mounted upon.

FIG. C-66: DEMONSTRATING FRAMEWORK ASSEMBLY 160

PROJECT PROPOSAL

FIG. C-67: ASSEMBLY

FIG. C-68:JOINERY

FIG. C-69: ASSEMBLY

PROJECT PROPOSAL

161

MOUNTING KERFED PANELS The kerfed panels were installed starting from the bottom to the top. The most challenging part of the construction process was mounting the kerfed panels. This was due to the fact that the panels are at their most fragile state when subject to many forces coming in multiple directions. The design also was very exact without any room for mistakes. Each bolted hole had to align perfectly.It was important to get this process done swiftl. There were moments where the kerfed panels began to crack. Thi was resolved by reflecting that the reason that this occured was because the panels needed a certain amount of bending before being mounted in order for it to achieve its optimal flexibility. We also reinforced areas on the kerfed panels which we deemed had potential to crack, such as structural vital areas of the kerfed panels which happened to align with knots in the timber. Bolts were used to maximize efficiency. The photo montage to the right demonstrates the swift process of mounting the kerfed panels onto the framework thanks to the use of bolts. The holes for the bolts were cut using the lasercutter and CNC, ensuring that the assembly would be precise.

FIG. C-70: DEMONSTRATING KERF PANEL MOUNTING SEQUENCE

162

PROJECT PROPOSAL

FIG. C-71: MOUNTING KERFED PANELS

FIG. C-72: BOLTING KERFED PANEL

FIG. C-73: SWIFT ASSEMBLY

PROJECT PROPOSAL

163

MOUNTING ACOUSTIC PANELS The acoustic envelope came next. The panels were trimmed from a large sheet into lasercuttable dimensions, which then were cut and etched into flexible strips. These were then mounted by wedging them into the clamp joinery in the stud members. Mounting these panels made us realize how structurally strong these joineries were. The joinery fundamentally acts most significantly because of friction and not from gravity, giving us a thought that it would be possible to mount these panels if they were held at the top of the panels rather than necessarily from the bottom.

FIG. C-74: DEMONSTRATING ACOUSTIC PANELS MOUNTING SEQUENCE

164

PROJECT PROPOSAL

FIG. C-75: LASER CUT PREPARATION

FIG. C-76: MOUNTED FROM THE BOTTOM

FIG. C-77: PANELS WEDGED OVERLAPPINGLY

PROJECT PROPOSAL

165

FIG. C-7

FIG. C-78: DEMONSTRATING FINAL PROTOTYPE 166

PROJECT PROPOSAL

79: PROTOTYPE KERFED EXTERIOR

FIG. C-80: PROTOTYPE HOLISTIC

FIG. C-81: PROTOTYPE ACOUSTIC INSIDE

PROJECT PROPOSAL

167

168

PROJECT PROPOSAL

PROJECT PROPOSAL 169 FIG. C-82: JOINERY DETAIL

170

PROJECT PROPOSAL

PROJECT PROPOSAL 171 FIG. C-83: FRINGING AND OVERLAPPING

172

PROJECT PROPOSAL

PROJECT PROPOSAL 173 FIG. C-84: LIGHTING EFFECTS

174

PROJECT PROPOSAL

PROJECT PROPOSAL 175 FIG. C-85: LIGHTING EFFECTS

C.4 LEARNING OBJECTIVES & OUTCO 176

PROJECT PROPOSAL

FIG. C-86: LIGHTING EFFECTS

OMES PROJECT PROPOSAL

177

178

PROJECT PROPOSAL

This diagram demonstrates how the project can be taken further, having incorporated the feedback that was received from the crit. These further developments are presented in a timeline structure which demonstrates the further work that could be done upon this project if the client was willing to go with those design decisions. This is within the scope of up to 3 months time.

FIG. C-87: IMPROVEMENTS

PROJECT PROPOSAL

179

As stated in the subject guidelines, this project has given us an opportunity for us to “interrogate a brief” by considering the process of brief formation in the age of optioneering enabled by digital technologies. Grasshopper, rhino and digital fabrication allowed a huge amount of experimentation and exploration to occur at a relatively small cost regarding time, labor and material. This gave us the ability to push and explore our design technique to truly come up with something structural, ornamental and atmospheric. We developed ‘“an ability to generate a variety of design possibilities for a given situation” by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive design-space exploration’. This is seen in our form finding method where we inputted paths of circulation into a simulation which spits out a geometry that morphs according to the amount of activity that occurs around it. This allowed us to visualize how the structure could look, and to consider potential problems which we could consider then. Had it not been for digital modelling, these problems would not be brought to our attention until much later on in the design process, thus showing that digital tools contribute to streamlining the design process. We developed “skills in various three dimensional media” and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication. There are many examples of this throughout our project, but one thing that demonstrates this is the breadth of digital fabrication techniques we delved into, including lasercutting, CNC routers and 3d printing. Thanks to studio Air we were able to learn and regularly practice using these methods of fabrication. “An understanding of relationships between architecture and air” was also developed throughout this course, through interrogation of design proposal as physical models in atmosphere. The essence of a design is captured by our experience of space and there are shortcomings of digitization where if one’s lack in

180

PROJECT PROPOSAL

technique may restrict their ability to make justice of the experience of a space. While the atmospheric experience of the acoustic pod was anticipated, it was never realized until we put it into test with the right lighting conditions placed at full scale which allowed the structure to tower over a person for them to feel a taste of the atmosphere of the space. We developed “the ability to make a case for proposals” by practicing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourse shape the way we encounter projects now. Similarly we developed capabilities for conceptual, technical and design analyses of contemporary architecture projects. This was implemented by taking the messages of the readings in part A and projecting them into the real life context of projects in order to philosophically reflect upon the implications of their work. This was also practiced in part B where we reengineered projects in order to deconstruct the technical make up of the built form. A foundational understanding of computational geometry, data structures and types of programming has been learnt throughout this course. This studio marks the birth of the first time trying Grasshopper, then to adolescent understandings of the way the software works to then get to a point where we feel that this algorithmic based language can become an extension of creative expression. A personalised repertoir of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application has been pondered upon. This studio has given us a wealth of knowledge regarding computational techniques. Furthermore it has given us insight of how much we have yet to explore, fueling our desire to continue on our paths of architectural design in a landscape surrounded by opportunities that is digital advancements.

FIG. C-88: SIMULATION

FIG. C-89: LASER CUTTIN G AS DIGITAL FABRICATION

FIG. C-90: UNFORESEEN SHADOWING EFFECTS

FIG. C-91: REVERSE ENGINEERING

FIG. C-92: EXPLORING ATTRACTOR POINTS

FIG. C-93: CNC MISHAP

PROJECT PROPOSAL

181

APPENDIX - ALGORITHMIC SKETCHES

FIG. C-94: OVERLAPPING

FIG. C-95: OVERLAPPING

BIBLIOGRAPHY ArchEyes, “A Plan For Tokyo 1960 Kenzo Tang”, Archeyes, 2016 <http://archeyes.com/plan-tokyo-1960-kenzo-tange/> [accessed 9 August 2017] Cre.A.te, “Origami Architectural Acoustic Panels”, Cre.A.Te, 2012 <https://nandishjagad.wordpress.com/2012/05/04/origamiarchitectural-acoustic-panels/> [accessed 9 August 2017] Dunne, Anthony, and Fiona Raby, Speculative Everything: Design, Fiction, And Social Dreaming (Cambridge, MA [etc.]: MIT Press, 2013) Elias, Brad, “Wk 3 Composition And Generation”, 2017 Flickr user ninara, Alvar Aalto Viipuri Library Ceiling, 2008 <http://www.archdaily.com/630420/ad-classics-viipuri-library-alvaraalto/547e49ede58ece8b6f00001f-the-restored-lecture> [accessed 9 August 2017] Fry, Tony, Design Futuring: Sustainability, Ethics And New Practice (Oxford: Berg Publishers Ltd, 2008) Henn, “DRX 2012”, Henn.Com, 2012 <http://www.henn.com/en/research/minimal-surface-high-rise-structures> [accessed 9 August 2017] Kalay, Yehuda E, Architecture’s New Media: Principles, Theories, And Methods Of Computer-Aided Design (Cambridge, Mass: MIT Press, 2004) Lim, Jason, ETH Zurich, and Atelier Panda, “Let’s Work Together”, Acadia, 2011, 403 Oxman, Rivka, and Robert Oxman, Theories Of The Digital In Architecture (London: Routledge, 2014) Peters, Brady, “Computation Works: The Building Of Algorithmic Thought”, Architectural Design, 83 (2013), 8-15 <https://doi. org/10.1002/ad.1545> TED Talks, Bjarke Ingels: 3 Warp-Speed Architecture Tales (Youtube: TED Talks, 2009) TED Talks, Magical Houses, Made Of Bamboo Elora Hardy, 2007 <https://www.youtube.com/watch?v=kK_UjBmHqQw> [accessed 11 August 2017] Wilson, Robert A., and Frank. C Keil, “Algorithm”, The MIT Encyclopedia Of The Cognitive Sciences (London: MIT Press, 1999)

Boyer, M. (2014). Mycelium block. [image] Available at: http://inhabitat.com/phillip-ross-molds-fast-growingfungi-into-mushroom-building-bricks-that-are-stronger-than-concrete/mushroom-furniture-7/ [Accessed 14 Sep. 2017]. Frearson, A. (2017). Beetles 3.3 and Yassin Arredia Design use fungus for pavilion in Kerala. [online] Dezeen. Available at: https://www.dezeen.com/2017/08/26/shell-mycelium-fungus-pavilion-beetles-3-3-yassin-arrediadesign-kerala-india/ [Accessed 14 Sep. 2017]. Scott, I. (2017). IwamotoScott Architecture | Voussoir Cloud. [online] Iwamotoscott.com. Available at: https:// iwamotoscott.com/projects/voussoir-cloud [Accessed 13 Sep. 2017]. Scott, I. (2010). Voussoir Cloud Building Process. [image] Available at: https://www.flickr.com/photos/129890815@ N08/ galleries/72157649557530346/ [Accessed 14 Sep. 2017].

LIST OF FIGURES Fig.1: Image Of Author Painting (Source: Author) Fig.2: Rendering Of Second Skin Project (Source: Author) Fig.3: Fabricated Outcome Of Second Skin Project (Source: Author) Fig.4: Kenzo Tange’s Tokyo Bay Model: (Source: Http://Www.noel-Murphy.com/Rotch/2016/03/11/Tokyo-Bay-And-The-Economics-Of-FloatingCities/) Fig.5: Tokyo Bay Diagram: (Source: Http://Www.noel-Murphy.com/Rotch/2016/03/11/Tokyo-Bay-And-The-Economics-Of-Floating-Cities/) Fig.6: Tange’s Tokyo Bay Aeriala: (Source: Http://Www.noel-Murphy.com/Rotch/2016/03/11/Tokyo-Bay-And-The-Economics-Of-Floating-Cities/) Fig.8: Zira Island Ecosystem Plan (Source: Http://Www.ziraisland.com/Downloads/Mipim_brochure.pdf) Fig.9: Zira Island Energy Plan (Source: Http://Www.ziraisland.com/Downloads/Mipim_brochure.pdf) Fig.8: Zira Island Wind Simulation (Source: Http://Www.ziraisland.com/Downloads/Mipim_brochure.pdf) Fig.11: Zira Island By Bjarke Ingels Group Lifestyle Render (Source: Http://Www.ziraisland.com/Downloads/Mipim_brochure.pdf) Fig.12: Ibuku Residential Houses (Source: Http://Greenbyjohn.com/Tag/Bamboo-Design/) Fig.13: Ibuku Experimentation Model (Source: Http://Greenbyjohn.com/Tag/Bamboo-Design/) Fig.14: Ibuku Plan (Source: Http://Greenbyjohn.com/Tag/Bamboo-Design/) Fig.15:Ibuku Finished House (Source: Http://Majesticplumage.blogspot.com.au/2013/10/Alvar-Aalto-Viipuri-Library-Lecture-Hall. html) Fig.16: Viipuri Ceiling Alvar Aalto (Source: Http://Majesticplumage.blogspot.com.au/2013/10/Alvar-Aalto-Viipuri-Library-Lecture-Hall. html) Fig.17: Alvar Aalto’s Sound Studies (Source: Jason Lim, Eth Zurich And Atelier Panda, “Let’s Work Together”, Acadia, 2011, 403.) Fig.18: Grasshopper And Kangaroo Analysis Of Sound And Optimisations (Source: Jason Lim, ETH Zurich and Atelier Panda, “Let’s Work Together”, Acadia, 2011, 403.) Fig.19: Viipuri Interior (SourcE: Jason Lim, Eth Zurich And Atelier Panda, “Let’s Work Together”, Acadia, 2011, 403.) Fig.20: Resonant Chamber Folded Out (Source: Http://Rvtr.com/Research/Resonant-Chamber/) Fig.21: Simulation Of Sound Upon Chamber (Source: Http://Rvtr.com/Research/Resonant-Chamber/) Fig.22: Different Stages Of Folding As A Result Of Robotic Arms (Source: Http://Rvtr.com/Research/Resonant-Chamber/) Fig.23: 3 Skyscrapers Using Generative Method (Source: Http://Www.henn.com/En/Research/Drx-Prototower-02) Fig.24: Digitization Used To Generate Form And Simulate Wind Pressure (Source: Http://Www.henn.com/En/Research/Drx-

Prototower-02) Fig.25: Final Proposal Using A Membrane Generated By Minimal Surface Technique (Source: Http://Www.henn.com/En/Research/ Drx-Prototower-02) Fig.26: Bjarke Ingels Group Serpentine Pavilion Generated From Algorithmic (Source: Http://Www.archdaily.com/Tag/SerpentineGallery-Pavilion) Fig.27: Screenshot Of User Friendly Interface Interacting With Architecture (Source: Http://Www.archdaily.com/Tag/SerpentineGallery-Pavilion) Fig.28: Iterations Of Pavilion Using Digitization (Source: Http://Www.archdaily.com/Tag/Serpentine-Gallery-Pavilion) Fig.29: Rotated Curve (Source: Author) Fig 30: Same Form But Pixelated (Source: Author) Fig.31: Two Attractor Points (Source: Author) Fig.32: Image Out Of Circles (Source: Author)

Fig.1 Prototype (Source: Simeon Chua) Fig.2 Steel Structure (Source: https://www.detail-online.com/magazine/timber-construction-16643/) Fig.3 Concrete structure (Source: https://au.pinterest.com/pin/415527503089251645/?autologin=true) Fig.4 timber Structure (Source: https://www.worldcoal.org/coal/uses-coal/how-steel-produced) Fig.5 Scott, I. (2008). Voussoir Cloud. [image] Available at: https://iwamotoscott.com/projects/voussoir-cloud [Accessed 14 Sep. 2017].

Fig.6 Scott, I. (2008). Computation method. [image] Available at: https://iwamotoscott.com/projects/voussoir-cloud [Accessed 14 Sep. 2017]. Fig.7 Scott, I. (2010). Voussoir Cloud Building Process. [image] Available at: https://www.flickr.com/photos/129890815@ N08/

galleries/72157649557530346/ [Accessed 14 Sep. 2017]. Fig.8 voussoir cloud matrix (Source: Author) Fig.9 4 best iterations Fig.10: AREAâ&#x20AC;&#x2122;s Acoustic Pavilion II Fig.11 Acoustic paviliion section diagram Fig.12 acoustic pavilion sound reflection analysis Fig.13 acoustic pavilion paneling acoustic finishes Fig.14 acoustic pavilion perforamnce space inside Fig.15 Final re-engineering outcome Fig.16 Reverse engineering matrix I Fig.17 Reverse engineering matrix II Fig.18 Reverse engineering matrix III Fig.19 4 best iterations Fig.20 Boyer, M. (2014). Mycelium block. [image] Available at: http://inhabitat.com/phillip-ross-molds-fast-growing-fungi-into-mushroom-buildingbricks-that-are-stronger-than-concrete/mushroom-furniture-7/ [Accessed 14 Sep. 2017]. Fig.21 Frearson, A. (2017). Beetles 3.3 and Yassin Arredia Design use fungus for pavilion in Kerala. [online] Dezeen. Available at: https://www.dezeen. com/2017/08/26/shell-mycelium-fungus-pavilion-beetles-3-3-yassin-arredia-design-kerala-india/ [Accessed 14 Sep. 2017]. Fig.22 mycelium blockwork baked

Fig.23 mycelium shell close up Fig.24 Prototyping triangulated form Fig.25 void fillers Fig.26 growth of void fillers Fig.27 culled panels allowing light penetration Fig.28 Protoyping Honeycomb kerfing Fig.29 Measuring stretch Fig.30 Prototyping kerfing Fig.31 breaking Fig.32 measuring bending Fig. 33 Prototyping kerfing on non regular sided panel Fig. 34 measuring bending Fig. 35 Prototyping kerfing on circular geometry Fig. 36 Protoyping kerfing on a panel Fig. 37 Bending circular geometry Fig. 38 Bending pending Fig. 39 Prototyping a continuous panel Fig. 40 Fringing of kerfing edges Fig. 41 Prototyping connection of multiple panels Fig. 42 Overlapping Fig. 43 Algorithmic sketch 1 Fig. 44 Algorithmic sketch 2