STUDIO AIR 2015, SEMESTER 1=, BRADLEY ELIAS METANIAWATI LIMANTO 618475
PART B CRITERIA DESIGN B.1. RESEARCH FIELDS B.2. CASE STUDY 1.0 B.3. CASE STUDY 2.0 B.4. TECHNIQUE: DEVELOPMENT B.5. TECHNIQUE: PROTOTYPES B.6. TECHNIQUE: PROPOSAL B.7. LEARNING OBJECTIVES AND OUTCOMES B.8. APPENDIX - ALGORITHMIC SKETCHES
B.1,
RESEARCH FIELD
green void // LAVA Sydney, Australia 2008
A ccording to Oxford Dictionaries1, geometry is “the
branch of mathematics concerned with the properties and relations of points, lines, surfaces, solids and higher dimensional analogues.” In terms of design computation, it can be explored even further as ruled surfaces, paraboloids, minimal surfaces, geodesics, relaxation and general form finding booleans. The Green Void is designed by Chris Bosse, Tobias Wallisser and Alexander Rieck of LAVA Architecture. It was exhibited in the atrium of Sydney’s Customs House from 10 December 2008 to 10 June 2009. It consists of a luminescent green lightweight membrane structure that is suspended from a few different points in the atrium. Green void is one project that is resulted from the exploration of geometries. It is inspired by the relationship between man, nature and technology 2. “The shape of the pavilion is not explicitly designed; it is rather the result of the most efficient subdivision of three-dimensional space, which can be found in nature in things like organic cells, crystals and the natural formation of soap bubbles” says Bosse2. LAVA applies a theory to work in a three dimensional space as a three dimensional phenomenon using the concept of minimal surface theory. They utlise the soap bubble analogy for the five boundary conditions (rings) which correspond to five points in the atrium of Customs House. This natural evolving
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RESEARCH FIELD
system led into design computation that simulates the design process. It results in a complex version of the soap bubble experiment. It is then structurally engineered and subjected subsequently to a computer controlled material (computer numerical controlled/ CNC) cutting and mechanical re-seaming. The form of the sculpture consists of a “double stretch” or a “two-way woven fabric,” which is specially treated high-tech nylon (lycra). This is mechanically attached to aluminium track profiles, which are then suspended from above and attached to the sides of the atrium with stainless steel cables2. The installation has an organic branch-like form with a seamless flow of narrow and hollow tubes which each of them culminates in a funnel like form2. The twenty meters length structure hovers above ground weighs a mere forty kilograms and encloses three thousands cubic meteres of space. This project takes sustainability into account as it is portable, reuseable and it makes an optimum use of material. The installation also consider the site context that the atrium has clear glass floor and the building has a heritage status. The material chosen for Green Void is a lightweight material that can be suspended and leaving the floor unobstructed for passage, pause and observation. Also, the installation and removal of the project have minimal impact to the heritage fabric of the building2.
FIG.1: (EXPLAIN HERE & REFERENCE AT THE END OF YOUR DOCUMENT)
RESEARCH FIELD
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B.1.
RESEARCH FIELD
LAVA brings us to a new premise of architecture2. The purpose of architecture is to connect, bridge and weave things (ideas, events, people and spaces) that were previously disconnected2. Like in the project, they treat the void of the atrium as the three-dimensional canvas and its five branches form and organic ‘weave’ through it. It perceives experience as it engages the human body - the mind, the body and the eye. It is believed that its extraordinary form evokes curiousity which compels one to look up, walk up, walk around, look across and down, to contemplate and appreciate its multiple visual effect 2. This research field is relevant for my project as the brief is to design a hammock/cocoon/net/ canopy/web which has to be suspended. The idea of considering installation in part of the project inspires me to think even further than just the geometric form of the product.
RESEARCH FIELD
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B.2.
CASE STUDY 1.0
green void // LAVA Sydney, Australia 2008
Computation design plays a big role to achieve the relaxed surface of Green Void. The base form of Green Void is made on Rhino, then manipulated using Grasshopper. Kangaroo plug-in for grasshopper is used to optimize the geometric form. It can set different anchor points and control the elasticity of the surface.
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CASE STUDY 1.0
:: aALTERING ANCHOR POINTS
CASE STUDY 1.0
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B.2.
CASE STUDY 01 // ITERATION :: ORGANIC BASE GEOMETRY
:: KANGAROO-ING VORONOI
:: EXOSKELETON
:: SQUARE BASE GEOMETRY
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CASE STUDY 1.0
:: aKANGAROO DEFORMATION This experiment use series to make the holes and weaverbird stellate to achieve the post-effect after Kangaroo-ing the mesh.
CASE STUDY 1.0
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B.3.
CASE STUDY 2.0
bach chamber music hall // Zaha Hadid Manchester, United Kingdom 2008
ZHA design the chamber music hall for Johann Sebastian Bach’s chamber music masterpieces solo performances. The design is intended to enhance the multiplicity of Bach’s work through a coherent intergration of formal and structural logic 3. The form of the project is a suspended ribbon of translucent lightweight synthetic fabric (150g/m2) articulated by an internal steel structure, translates the intricate relationships of Bach’s harmonies into an architectural spatial condition. “The single continuous ribbon fabric swirls around itself, creating layered spaces to cocoon the performances and audience with in an intimate fluid space,” Hadid stated. The ribbon wraps around the stage, the audience and itself, creating different layered conditions by
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CONCEPTUALISATION
“alternately compressing to the size of a handrail then stretching to enclose the full height of the room”.3 In terms of its installation and materiality, there are a few things to consider. As the music hall must provide clear acoustic for those viewing the concert, it is a big challange for the desing to achieve the optimum condition for chamber music. The design needs to ensure that the reverberation time is not too long as this blurs individal notes so music can lose its intricacy. Also, it should not be too short as this will cause a lack of response for the performer and the music will sound overly dry. Hence, they explore various materials such as different fabrics, plastics and metals to ensure that the architectural elements would not take away the musical experience.
CONCEPTUALISATION 13
B.3.
CASE STUDY 2.0 // REVERSE ENGINEERING
DIVIDE CURVE 02 MOVE POINT VEC 2 PT TWEEN CURVE COUNT
SORT
POINT
DIVIDE SURFACE CP
EVAL SRF
AMP
NEG
MOVE
POINT
POINT LOFT CURVE 01 VECTOR 2 PT DIVIDE
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CONCEPTUALISATION
AXB
EDGES
JOIN
ITEM LOFT
EVAL SRFC
AMP MOVE
MERGE INT CRV
T
POINT VEC 2 PT
SORT
ITEM
SRFC SPLIT ARC
AREA
T
NEG
MOVE
SRFC cCP SHIFT
PATCH
CONCEPTUALISATION 15
B.4.
TECHNIQUE: DEVELOPMENT :: BACH CHAMBER MUSIC HALL ITERATION
37 0.27 0.20
28 0.40 0.34
:: MESH AND KANGAROO DEFORMATION
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CONCEPTUALISATION
18 0.13 0.63
6 0.60 0.87
15 0.08 0.17
:: DESIGN PROPOSAL
CONCEPTUALISATION 17
B.5.
TECHNIQUE: PROTOTYPE This prototype is experimenting on how a surface is pulled by the structure. In this early stage, I used wooden stick as the structure and plastic tape as the stretch fabric.
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CONCEPTUALISATION
B.6.
TECHNIQUE: PROPOSAL
Both of the research field and case studies used are cocoon-like structure. They both explores the possibilities of form that may be produces by geometries using parametric design approach. The design proposal wants to enhance the value of the existing site by engaging the architectural structure on the wishing tree to the users around the labyrinth. The Merri Creek Labyrinth is located in a linear park that runs the length of Merri Creek in Clifton Hill. It is easily accessible as it can be reached on foot by walking north along the Merri Creek path from Wright St, or south from The Esplanade. It lies in a hollow (Hewson’s Hollow) under a cliff, opposite a willow tree on the bank of the creek. The labyrinth was created by the community for the community over ten years ago. It is a significant environmental art installation, and is the only known Labyrinth in a Melbourne park. The cocoon will be hung on the tree near the wishing tree. The site level is higher than the bank of the creek which will prevent the cocoon being flooded. The trees are also load-bearing trees which will be strong enough to hold the structure of the cocoon.
CONCEPTUALISATION 19
B.7.
LEARNING OBJECTIVES AND OUTCOMES
Design computation allow us to achieve a huge amount of design possibilities. So many algorithms that can be combined together. However, it is not that easy as those algorithms also have some constraints in particular areas. I found it hard to have a mindset of letting the algorithm do the design process, but once a definition works it can produce various design possibilities. This subject made me realise that computer is a tool for us to reach any possible outcomes instead of just helping us producing things. The research fields and case studies reminds me that design is not just about the form but also the material and installation. It is important to consider the site context during the design process. It affects the design in many ways such as size, material, shape and function. Material should come early in the design process as it will definitely affect the design flexibility.
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CONCEPTUALISATION
REFERENCES 1. Baraona Pohl, Ethel. “Green Void / LAVA” 16 Dec 2008. ArchDaily. Accessed 29 April 2015. <http://www.archdaily.com/?p=10233> 2. http://www.sydneycustomshouse.com.au/whatson/documents/ AnuradhaChatterjeeessayonGreenVoid.pdf 3.Cilento, Karen. “Chamber Music Hall / Zaha Hadid Architects” 08 Jul 2009. ArchDaily. Accessed 29 April 2015. <http://www.archdaily.com/?p=28250>