Cfi monica santoso 550346 fin

STUDIO

AIR M O N I CA SA N TOS O

TABLE

OF CONTENT A. EOI . I: Case for Innovation A.1. Architecture as Discourse A.2. Computational Architecture A.3. Parametric Modeling A.4. Algorithmic Explorations A.5. Conclusion A.6. Learning Outcomes A.7. References B. EOI . II: Design Approach B.1. Design Focus 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. Algorithmic Sketches B.8. Learning Objectives and Outcomes B.9 References C. Project Proposal C.1. Gateway Project: Design Concept C.2. Gateway Project: Tectonic Elements C.3. Gateway Project: Final Model C.4. Algorithmic Sketches C.5. Learning Objectives and Outcomes C.6. References

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witness the parameter of architecture, starting from the old renaissance to the futuristic kind of architecture. The trip then inspires me as an emerging architect to strive even more in pursuing this career.

In regards with my digital skills, I usually uses adobe software for editing and presentation. Other than that, I have only started to use the Rhino software when I got in the first year for my Virtual Environment class. We were assigned to create a lantern by going through a long research process. To be honest it was quite a challenge that I had to overcome during the very beginning of this path. Yet in the end, I was quite satisfied with the outcome that I achieved.

Despite of its trouble, I have enjoyed the process of making the model itself.

INTRODUCTION

Similarly with this studio air, just by being in this course, I am thrilled to see and eager to learn what this journey has to offer. Although I have never used grasshopper before, but I am looking forward in deHi my name is Monica Santoso and I am currently a veloping my critical thinking along with widening third year student studying at The University of Mel- my software ability in communicating my design bourne. I am undertaking the Bachelor of Environ- ideas. ment program, majoring in architecture. I am from Indonesia, and I first came to Melbourne right after High School, during the midyear of 2011.

The opportunity to study abroad has allowed me to explore the diverse culture around me. Growing back in Indonesia, I have been captivated with the various customs and traditions. Likewise with the field that I have chosen to embark. Ever since I was young, I have been fascinated with the world of Art. Their range that varies from visual, literary and performing arts has always intrigued my interest. I believe, architecture extends the combination of those elements. It creates a multiple sense of communication that bring groups together.

Along this course, I have been even more grateful to get the chance of taking the summer exchange in Stuttgart, Germany. The trip itself showed me another new range of architecture. It enables me to-

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DIGITAL DESIGN

EXPERIENCE

A. EOI.I: CASE FOR INNOVATION ARCHITECTURE

AS DISCOURSE The idea of architecture as discourse can be interpreted in many different approach. The term discourse itself is generally used to designate a way of communication. Throughout the past two decades, the world of architecture has been greatly intensified. Architecture is a form of art that is inevitable in our daily basis. They highlight the discipline and movement throughout the cities 1. Its alteration of function, scale and complexity seeks its viewers to dig even deeper into its detail, and more of its spatial experience. Without realizing, the world of architecture has merged into our identity. It brings a great influence to our way of living. The way we spend our time in daily basis to the way we perceived what we thought as style and trend.

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‘Nearly everything that encloses space on a scale sufficient for a human being to move in is a building; the term architecture applies only to buildings designed with a view to aesthetic appeal. The good architect requires the sculptor’s and the painter’s modes of vision in addition to his own spatial imagination. Thus architecture is the most comprehensive of all the visual arts and has a right to claim superiority over the others.’

As I began to criticize this way of thinking, I realized that architecture is not just about its aesthetic form or an enclosure that provides a mere shelter. The idea of architecture as discourse could be interpreted as a dynamic architecture. As architects do not have a monopoly over architecture. In reference to Jonathan Hill, the world of architecture evolves within various authors and agents such as the architect, user, site and weather. It is a form of art that celebrates the knowledge

and practices of social and political values 2.

I believe architecture exists as a social expression that bounds multiple groups together. It is not only the view of an architect that matters, but the overall design and critical ideas that can travel from the artist to its viewers and from its designer to its users. As a result architecture as discourse is a responsive architecture. It is a movement that is open to more than just one interpretation; a language that not only reflects but constructs social reality3. I am interested to see how cultures and traditions that we hold as an individual could transform in communicating and conveying our design thinking3.

Louvre Abu Dhabi ATELIERS JEAN NOUVEL Abu Dhabi, UAE

“Architecture is about harnessing the will, desire and skills of a handful of people in order to modify a place at a given point in time. architecture is never something you create alone. you always create it somewhere in particular, at the request of one person or several people, but always for everyone to enjoy.” - Jean Nouvel

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FIG 1. Elevation of Louvre Abu Dhabi

The architect Ateliers Jean Nouvel planned the Louvre as the centerpiece of Saadiyat Island, Abu Dhabi. The dome is supported by four points around its perimeter truss. It is 180m wide in diameter and spanned over the cluster of the buildings. The design that commemorates the new tourist and cultural development of the island is so captivating. The idea of having a large shallow dome is to bring forward the perspective of a bridge for global cultures. The patterning within the surface of the dome is to commemorate ‘the lost city that recovered archeologically from the sands’4. This precedents can be applied in developing the gateaway idea of 3D printing. Creating layers of patterns within the computation and experimenting with its materiality by obtaining the stacks of 3D printing method.

The building itself inherits the perception of entering a new world. The highlight of the ambiance is located within its design method from algorithm. The stacking of layers allows manipulation of pattern that generates a dramatic effect of lights and shadows within its dome. The dome commemorates the visual expression of a digital fabrication process.

Aside from its site culture and history, the Louvre Abu Dhabi Museum was also influenced by the exploration of its spatial geography, understanding the site and weather within the tropic area. The design utilizes water as to reflect every part of the buildings delivering the rain of light towards its interior. The Louvre Abu Dhabi is appreciated for understanding every bits of detail, bringing the comfortable microclimate from the wind. The unique and modern movement of design is aim for the user’s spatial experience.

This dynamic and responsive architecture re-highlights the notion of architectural authors and agents. It furthermore challenges not only aesthetic form of architecture but also its critical thinking behind its social culture and political view.

FIG 2 & 3. Interior of Louvre Abu Dhabi

The design production may fall into a parametric design as it uses 3D modeling to elevate the planning of spaces.

The overall structure speaks as a form of movement without any sort of limitation.

FIG 4. Exterior of Mercedes Benz Museum

Mercedes Benz Museum UN Studio Stuttgart, Germany

The Mercedes Benz Museum is located in Stuttgart, Germany. It is designed by Dutch architects, UN Studio. Its original concept was depicted through the cloverleaf shape. By using three overlapping circles with the center removed to create a triangular space for atrium 1. The intertwining ramps are spiraling around the three main circles; while the height of the building was essentially used to support the main concept and maximized the space of the building. With the help of computation and generation of technology, the architects and engineers of the Mercedes Benz museum were enabled to execute twisting skeletons of steel and concrete. The abstract idea of emerging two different type of materials is enabled by understanding the design process withint the computational technology.

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FIG 5. Design process of Mercedes Museum

I personally got the chance to visit the museum myself.

Once I went inside I could feel an instant change of atmosphere. There’s a contrast between the outside appearance and the spacious interior. The museum doesn’t feel like any other kind of museum. It has a dramatic-surprised effect towards its viewers. As I was exploring the spaces, layers upon layers of its route is full of surprises. The viewers are first brought to the very top floor. From there we follow the long path, that opens up the historical journey of the Mercedes Benz. In a way the layout and design o the building suits perfectly the main proposal. The building is truly the centerpiece of Stuttgart. In response with the gateway project, I would like to create a centerpiece that elevates a contrast atmosphere between the exteriorsurface and its interior.

FIG 6 & 7 . Design process of obtaining cloverleaf concept

COMPUTATIONAL

ARCHITECTURE Computation enhances the performance in architectural world. It explores the ranges of designing, fabricating and constructing. The term computational design has somehow been referred to as ‘just a tool’ in our society6. Nonetheless its qualities ranges.

a bridge for design process which allows its users to understand the behaviour and characteristic of the material within its environment. As properties within the material subjects the way we shape and create our design, thus through computation we began to see the simplified relationship between the form Nowadays, architects have been evolving and its materiality. It decreases the chances from manual work to the advance technol- of failure along with the timescale needed in ogy of computers and software. Computer shaping our design. and software are used as medium to simplify the norms of drawings precision. The The term algorithmic itself is a way of deterterm used in servicing that particular stage mining the technique that were determined is called computerization. It is a stage where by number of systematic and precise operadesigners went on building up the idea of tion. It is a set of language that utilizes series what the final outcome would look like. They of function within its input and output. (Wilelevate its design by conceptualizing the fac- son, Robert and Frank (1999). tors of typology, form and existing scenario for the design problem itself.

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“Architecture is currently experiencing a shift from the drawing to the algorithm as the method of capturing and communicating designs. The computational way of working augments the designer’s intellect and allows us to capture not only the complexity of how to build a project, but also the multitude of parameters that are instrumental in a buildings formation.” – Peters, Brady (2013)

While in contrast with that, computation provides a way for designers to manage an even more complex system. It acts as a puzzle making stage, which remove the existing pre conception of typology, site, form and those existing scenarios. It allows designers to undergo a design problem and move towards an unexpected outcome. Computation are useful in understanding building performance. It enables the users to conduce material performance analysis. The benefits of using computation may help us as a designer in attaining a faster timescale of construction. It challenged us as an architect to think critically. It is a design tool that link virtual with physical environment. According to Menges (2012), computation provides

Michael Hansmeyer Building Unimaginable Shapes.

What kind of design will we obtain if we free ourselves from experience and education?

What does the unseen design looks like?

Will it be delightful? Will it intrigue its viewers? Those are questions that challenged Michael Hansmeyer in thinking critically. His talkshow in TED has somehow arouse my thoughts of this computation world.

‘Architect can predict the outcome.

But through algorithm, there would be unpredictable number of outcomes.’

Computation allows designers to explore various design that could not be obtain by our own hands. Surfaces could intersect themselves and generate numerous forms.

One of his greatest work of columns encomIt is interesting to know how simple ques- pass the notion of computation. Columns tions could lead from nothing to everything. are depicted as the ideal of beauty and techThe idea of mimicking biology and nature nology. The work of computation does not has always been used in developing our design the actual form but it commemorates thoughts. Nature has always been a great- its design process of generating the form. est architect of form and design. This idea is true. Michael Hansmeyer started his design Through trial and error, the information that by generating upon a simple process of fold- once was not seen has been uncovered. Laying a paper. Through computation, he then ers within layers, it established the property grasps the same concept and turn it into a 3D of the surface and produced even more outperspectives. Encoding it through algorithm. comes. The results that have been conducted are very detailed and undrawable as it could ‘Algorithm allows designers to fold million only be obtained through algorithm. faster with thousands of variations’7 Michael Hansmeyer made computation As a designer, computation helps to specify look even simpler. He originally started with the position of the folds while allowing the cube as his base form, and just by allowing designer to control its pattern and folding computation algorithm to fold and refold its ratio. It commemorates the idea of architec- form multiple times, it finally resulted in an ture as an art in multi dimension. By utiliz- exquisite design of columns. ing the current technology it allows designer to sculpt over the form while at the same The columns are then made through 3D time hinder ourselves from any physical printing. It is made up of layers of thinly slices of ABS plastic that are stack on top of constraints. each other. Steel load are also used inside for its structure. Computation and algorithmic design makes any design possible along with the promising technological development.

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FIG 8 - 10. Columns Fabrication using layers of ABS Plastic and steel

The technology used in expanding the parameter of the roof design is by integrating the programming language of Rhinoceros. Analyzing the panels in regards with its pattern and fabrication constraints 6. The approach taken is by initiating its maximum mould size, geometric efficiencies and location of its anchor6. The program acts as a language that look after the boundaries of the panels, examining the efficient placement of geometries, extracting its ratio and data. Instead of initiating manual way of cross checking its data, the computation allows a faster route in informing its properties; creating a faster way of fabrication process from its 3D model8.

FIG 11 - Exterior of Arnhem Central

Arnhem Central UN STUDIO Arnhem, Netherlands 1996-2014

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FIG.12. Concept of continuity

The design process of Arnhem Central station and master plan project has spanned for over than a decade. The design has undergone ranges of working methods starting from the deep planning principle up to innovating practices. The main proposal started from an observation of transport interchange per day that reached up to 108,800 journeys. The architects were challenged to create a continuous route around the city that accommodating the multiple directions. Nonetheless, now the architects are developing the paneling system of its roof, while at the same time balancing its material, structural and economic factors. The design of the roof could be seen as a continuous roof-wall that encompasses the molding of the panel boundaries.

FIG 15. Interior of Arnhem Central

FIG 13-14. Patterning within roof surface and Glass Fiber reinforced concrete panels.

In regards with SANAA’s EPFL Rolex Learning Center, the main structure used in its roofing panel comprises of continuous concrete structure that accommodates 600 people. To carry out the bold-curved concrete surface the architects are encouraged to work with the engineers by utilizing computer simulation in order to find suitable shapes that could balance out its bending stress9.

In developing the proposal, SANNA architect tried to forget the exisiting typology and work directly using the computation. Computation program allows the architect to pursue an unexpected outcome. While brief sketching allows the architect to understand and refer back to their main goal-concept11. The other concept that drives SANNA architect to the final design was by understanding the circulation of its users. They created a form based on dynamic interaction. With just the idea of: curvy path creates diverse interaction while straight pathway creates just a crossroad and predicted pattern, the SANNA architect has finalised a natural continuity between theinside and outside.

The main structural material that support its structure comprises of steel and wood, while the poured concrete are responsible to bind in the continuous surface. The properties of poured concrete give flexibility in designing a bold surface. It lessens the joineries and the structure would not fail in connection. Design wise, SANAA’S continuous roof structure looks more stable as it fasten the pre structural elements of the wood and steel.

Yet Arnhem Central’s roof panels demand more various techniques in securing the glass-fiber reinforced concrete panels.

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FIG 16 - 17. EPFL Rolex Learning Center exterior and axonometric view of the exterior

EPFL Rolex Learning Center

SANAA Switzerland 1996-2014

PARAMETRIC

ARCHITECTURE

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“Set of equations that express a set of quantities as explicit functions of a number of independent variables, known as ‘parameters’” – Weisstein (2003)

In digital architecture parametric is a type of geometric model whose geometry is a function of a finite set of parameters10.

It enables direct editing and transformation of design based on a specific rule. It is a style after modernism that has been introduced for the last decade. Instead of using classical geometrical figures such as rectangles, cylinder, cubes, parameticism enables its architects to widen its boundaries by utilizing splines, nurbs, and subdivs. Parametric design facilitate its users to go beyond the typical way of thinking.

Exploring the geometries and shapes that have never been used before; as well as allowing an easy and direct ways of editing a design that may not seem to be possible before10. It changes the quality and style within our design with a higly precision.

Parametric design makes it possible for designers to make ammendments without having to alter the undesire components. Yet in order to achieve the state of having a desireable outcome, its downfall may be found in a way that users have to be able to understand the language of its tools. Knowing that the nature of scripting may allow various designers to obtain and manipulate it easily as theirs. Nonetheless, parametric design is a powerfull tool in grasping a new possibilities of design. In regards with the Wyndham City Gateway project, this modern technology would furthermore enhance the idea of designing an innovative scheme. (Woodbury)

Developed through the idea of loose and flowing grid, Toyo Ito then decided to design the Metropolitan Opera House that is situated in Taichung, Taiwan. The fluidity of the forms is suitable in accommodating the various spaces. The architect’s interest for the continuousity design could be seen through his other work of art, such as Tama Art University Library in Hachioji City, as well as the Crematorium in Kakamigahara 1. Some might see continuousity and smoothness as just a mere aesthetic appeal. Yet throughout the precedents that have been analyzed, it is proven that continuousity and fluidity is one of the main characters in enhancing the structural efficiency. The stacks of the animated form depict the idea of infinite gridded spaces. The precedents is chosen for its materiality, that features and celebtrates the succession of its continous form.

The surface is generated by rotating the curve through its axis of symmetry. The term ‘sound cave’ is then used to describe the open structure of the shell. The crossroad between the vertical and horizontal elements is to uphold the different arts and artists. The spatial area has contributed in enhancing the unity of the shell. Situated within a park near a high rise area, the architect thus extends the cohesiveness of the interior towards its exterior. The shell is covered with double surface of cement with equal in thickness. Yet the space within the two surfaces is used to withhold the out-of-plane forces 11 . It is interesting to know how this form of monolithic maerial could enahance the continous design without having any disruption within its joinaries of wireframe.

FIG 18. 3D Model of Metropolitan Opera House

Metropolitan Opera House TOYO ITO Taichung, Taiwan

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FIG 19. Construction of upper levels using concrete and steelframe work

The digital model of the surface is therefore experimented using the Rhino 3D software that has been assisted by Arup’s Advanced Geometry Unit. The advance software helps to visualize the interface. Similarly with the studies done with the continuous roof and wall of the Arnhem Central; the wireframe study model was used to assist the structural software in obtaining the Coons patch, which could furthermore, extends the findings of structural analysis.

FIG 20-22. 3D wireframe model and Exploration of computation.

Archim Menges Porous Cast

The research regarding the formation process of diatoms and radiolarian done by Archim Menges, arouse an interest within me. This particular poject was done by utilizing concrete as its main material. Yet the final outcome has again highlight the ability of concrete that are able to work under any kind of forms.

The materiality of monolithic comprises of mainly the uniformity and uninterrupted surface of the design. The experiment done by Archim Menges has somehow taught me to be open with any kind of possibilities. With the optimization of computation along with conceptualizing the ideas beyond the standard, the system was developed by focusing on a skeletal framework that explored the ways of casting plaster between the air-filled cushions12.

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FIG 23 & 24. Computational Exploration of diatoms project and Final result of materiality

Algorithmic Exploration

LOFTING AND STATE CAPTURE & TRIANGULATION ALGORITHM Week 1

During the first week, the grasshopper tutorial seemed to be quite straightforward.

I am still fascinated how this computation enables us as an architect to bring forward an unpredictable outcome. This may look like just a simple lofting and patterning, yet it is the beginning of my computation work.

To be honest, I thought grasshopper software would be unenjoyable, as it demands its users to design based on vectors and plugins, nontheless, through the first few tutorials, I realized that the lofting done in grasshopper has simplified and enhance the editing of my design. Just by starting with a mere cylinder, within seconds, grasshopper enables my design to progressed into another form.

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CURVE MENU AND TRANSFORM MENU EXPLORATIWeek 2

The second week’s practice in grasshopper widens my perspective upon how my design could evolve. I could design the supporting form if I choose to embark on the idea of a continuous surface.

The layering of the supporting forms has been challenging at first as the curvier the shapes, the more supporting piece there will be, and it often overstack on top of each other. Yet, after playing around with the sliders I then noticed the purpose of this tutorial.

Week 2 Class Tutorial DESIGNING A SOFA

SOFA 1

PARAMETRIC ARCHITECTURE WITH GRASSHOPPER Week 2 The tutorial that uses mesh still seem to be kind of challenging, as I can’t figure out how to obtain the 2D meshing in rhino.

But through the those tutorials, I could see how simple it is to develop our design by changing its parameter along with its geometric shapes. I tried to create an abstract mesh for the surface, yet I think I still need to work on my computation skills.

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In this tutorial, I can finally design something that is functional and noticeable.

Utilizing pipes as the based of the form’s components seem to be fascinating. The pattern that came forward from the layering of the pipes set another inspiration upon me. Monolithic may seem to be a continous surface, but I could also apply multiple layers of pattern that could intensify its design and structural aspect.

SOFA 2

CREATING A GRIDSHELL & CLASS TUTORIAL Week 3 The third week’s tutorial is very interesting, as I’d really like to know how the design of the precedent works. The fountain -like precedent that were made out of bendable woods, expands the flexibility of desgining idea. No matter what its design, the computation turns out to be a support that enables its users to achieve the unachievable. Even with this kind of design, I could incorporate monolithic material too.

CLASS TUTORIAL The practice done for the class tutorial seemed to be a failure, as its sphere doesn’t turn out as expected. The one shown in class has somehow broadens the features of design. The computation celeberates any kind of form and geomtries. It allows any kind of size and scale. The practices has again reminded me that htere are no limitation in designing. Especially when incorporating this kind of software as not just a mere tool, but also as a puzzle that needs to be solve.

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Conclusion and Learning Outcome

Throughout the first phase of Cas of Innovation, I began to understand what this course has to offer. Last semester when looking at the previous students who were working on their models experiments, I wonder when will I be able to play along those modes and materials. Yet throughout my precedents and research work, I began to understand the meaning of architecture. The idea that it is not just about making something beautiful. Through the Architecture as discourse phase I began to shape my way of thinking regarding Architecture as a dynamic and responsive field that enables its designers to explore the concept beyod the visible boundaries.

It challenged the designers to be critical in making their decision, understanding which outcomes are important and need to be refine according to its main purpose and goal.

During the previous studios as well as construction classes, I have always been challenged when it comes to design ideas and critical thinking. I have limited experience with computation and programming. Yet, so far, just by going through this stage of design process, I have come to realization that there’s no such thing as easy and fast route. Everything takes process, and by developing this notion and method, my view regarding architecture has also widen. Reading those recommended articles has open my thoughts towards the architecture world that I have never seen nor heard.

By developing my alogrithmic explortion and knowledge, my design approach would be to implement the idea of creating a gateway that depends not only by its instantaneous shock but also enduring ambiguity, the ability to appear every changing and remain as a discourse that are open to interpretation.

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Reference

FIG 1. Elevation of Louvre Abu Dhabi, 2013, (http://www.designboom.com/architecture/jean-nouvellouvre-abu-dhabi-under-construction/) FIG 2. Interior of Louvre Abu Dhabi, 2013, (http://www.designboom.com/architecture/jean-nouvel-louvre-abu-dhabi-under-construction/) FIG 3. Interior of Louvre Abu Dhabi, 2013, (http://www.designboom.com/architecture/jean-nouvel-louvre-abu-dhabi-under-construction/) FIG 4. Exterior of Mercedes Benz Museum, 2013, (http://www.unstudio.com/projects/mercedes-benzmuseum) FIG 5. Design process of Mercedes Benz Museum, 2013, (http://www.unstudio.com/projects/mercedesbenz-museum) FIG 6. Design Process of obtaining cloverleaf concept, 2013, (http://www.phaidon.com/agenda/architecture/picture-galleries/2010/october/28/history-in-the-making-highlights-from-the-moma-architectureand-design-departments-collection/?idx=12).

FIG 7. Design Process of obtaining cloverleaf concept , 2012, (http://www.schwartz.arch.ethz.ch/Vorlesungen/ParamTE/Dokumente/lecture0.pdf) FIG 8. Columns Fabrication using layers of ABS Plastic and steel, 2013, (http://www.michael-hansmeyer. com/projects/columns.html) FIG 9. Columns Fabrication using layers of ABS Plastic and steel, 2013, (http://www.michael-hansmeyer. com/projects/columns.html) FIG 10. Columns Fabrication using layers of ABS Plastic and steel, 2013, (http://www.michael-hansmeyer. com/projects/columns.html) FIG 11.Exterior of Arnhem Central, 2013, (http://www.unstudio.com/projects/arnhem-central-masterplan).

FIG 12. Concept of continuity, 2012, The New Mathematics of Architecture, Thames & Hudson.

FIG 13. Patterning within roof surface, 2013, (http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/ doi/10.1002/ad.1559/pdf) FIG 14. Glass Fiber reinforced concrete panels, 2013, (http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu. au/doi/10.1002/ad.1559/pdf) FIG 15. Interior of Arnhem Central, 2013, (http://www.unstudio.com/projects/arnhem-central-masterplan) FIG 16. EPFL Rolex Learning Center exterior, 2013, (http://www.wallpaper.com/designawards/2011/rolex).

FIG 17. Axonometric of the EPFL Rolex Learning Center exterior, 2013, (http://www.wallpaper.com/ designawards/2011/rolex) FIG 18. 3D Model of Metropolitan Opera House, 2013, (http://welldesignedandbuilt.com/page/2/).

FIG 19. Construction of upper levels using concrete and steel frame work, 2013, (http://welldesignedandbuilt.com/page/2/).

FIG 20. 3D wireframe, 2012, The New Mathematics of Architecture, Thames & Hudson.

FIG 21. Exploration of computation, 2012, The New Mathematics of Architecture, Thames & Hudson.

FIG 22. Exploration of computation, 2012, The New Mathematics of Architecture, Thames & Hudson.

FIG 23. Computational Exploration of diatoms project, 2013, (http://www.achimmenges.net/?p=4389).

FIG 24. Final result of materiality, 2013, (http://www.achimmenges.net/?p=4389).

(1) Hill, Jonathan (2006). ‘Drawing Forth Immaterial Architecture’, Architectural Research Quarterly, 10, 1, pp. 51-55 (2) Richard Williams, ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), pp. 102 - 11 (3) Richard Williams, ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), pp. 102 - 11 (4) Thames & Hudson, 2012, The New Mathematics of Architecture.

(5) Thames & Hudson, 2012, The New Mathematics of Architecture.

(6) Brady, Peter (2013) Computation Works: The building of algorithmic thought. Architectural Design, 83, 2, pp. 8 - 15 (7) Michael Hansmeyer: Building unimaginable shapes (http://www.ted.com/talks/michael_hansmeyer_ building_unimaginable_shapes.html) (8)Architectural Design, Volume 83, (http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/doi/10.1002/ ad.1559/pdf).

(9) Lecture by Ryue Nishizawa, SANAA,(http://www.youtube.com/watch?v=hjvDGMMcJqc&list=PL124

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B. EOI.II: DESIGN APPROACH

The concept that we undertake focused on a dynamic architecture. Although monolithic may perceived to be a solid and static, nonetheless, as stated by Jonathan Hill,

‘A building is critical depends not only on its instantaneous shock, but also enduring ambiguity, the ability to appear ever changing’.

DESIGN

FOCUS

Architecture grows through the work of various authors and agents, which includes its site, weather and users.

Consequently my group is determined to get the viewers and users to be engaged in experiencing and interpreting the form and structure of our design. The concept then commemorates the idea of growing and branching out; a design that is ever lasting and remains open to interpretation throughout the time and space. As Wyndham City is also a site that is currently expanding and undertaking a great development, therefore, the idea of Nonetheless, our term of monolithic is a material that branching based approach fits in the growing concept. can take the form of the framework through the process of transforming from liquid to solid phase. We derived A dynamic architecture can be both static, yet it has its this concept by exploring the type of liquid to solid state features that intrigue the interest of the users. Through of material, which were mainly concrete and plaster. As the generation of computational technologies, we inWyndham City is a site that highlights the importance tended to bring about a design that underline our conof preserving nature and its resources, thus, the used cept as well as a design that can be merge in to the Wynof monolithic material would be beneficial, as it has a dham City community. From here, our main idea is to strong properties that endures its structure for a long focus on how to reinvent the concept of bricks in our time. If focused within the technology, monolithic ma- own way. terials could over ranges of design that would celebrate Wyndham City’s features.

Heading towards our second discourse, we then focused our research based on the material performance we chose, which is monolithic. Monolithic is a structure that incorporates joints without overwhelming the total form and surface. There are basically two ways of achieving monolithic structure, through carving or moulding. The ranges of monolithic material covers concrete, plaster, acrylic, plastic, wax, metal and even timber, depend on the way we treat each properties.

‘“In any building, there is a particular balance between repeating and unique elements, which gives the architecture much of its character” 38

Common monolithic design seems to be heavy and compact, while our approach of using the type of monolithic material such as plaster in particular would deceive the typical thoughts of monolithic material.

Plaster has properties where when the material is let dry for more time; its structure would become even lighter.

This material would thus give a sense of lightness and sharpness towards our way in treating this monolithic design.

The matrix exploration features the development from a cross reference point, to point attractor, lofting, extruding, as well as the metaball plug-ins. This exploration opens up my view regardin g the ranges that the digital technology could offer.

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MATRIX EXPLORATION 1.0

The liquid to solid properties material that we mainly explored are concrete with plaster. In this material exploration we were aiming to explore the time taken of both materials to dries, the ratio of the ideal mixtures, and the type of joineries along with the type of moulds that can be used to fabricate our design.

It turns out that the joineries within the structure of plaster were not as easy as we thought. Two approaches we undertake were by using wires and glue. The by wires doesn’t bring a significant impact towards the structure while the glue would make the overall structure seemed to be weak and fragile. Nevertheless, after several trials along with number of days of air drying, we were able to understand how the plaster properties work. The more we let the plaster to dry, the lighter and securer the form would be. Thus, facilitating wires as well as adding more plaster to its joineries would work quite well, although the downside would be the orderliness in smoothing its edges.

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Aside from it, we also experimented on the ‘Crease, Pour and Fold’ technique, which utilizes thin-plastic surface and stapling each side. It turns out that the technique works quite

well. With plaster, it sets very fast, and once its set we took off the mould to let them air dried properly. Differently with concrete, which took longer days to dry, as well with the ratio of sand and cement mixture that could be the downside of using this type of material.

Throughout the experiment, we understand that there are several factors that really need to be undertaken into our consideration: 1) time management for material properties to set 2) moulds used to fabricate our design.

We tried using the big straws to pour in our plaster, just to see how ‘exoskeleton’ and ‘pipes’ would turn out if we a similar form. In the end, it doesn’t look that good, as plaster dries out quite fast, and we didn’t have an appropriate material in pouring the plaster liquid into the small holes. From there we realized that 3) we need to consider the scale of our design. Bigger form would be easier, but would it give the same impact of dynamism?

A sense of attractiveness towards our users?

Texture wise, the plaster could replicate the texture of the moulds. It could print out the details that were fabricated into the plastic surface.

Through that result, we understand that texture can also be incorporated into our fabrication.

MATERIAL

EXPLORATION

The followings are the more impactful material exploration that influence our way of thinking about pattern, and origami folds. The material used is the plaster paper which gives us a flexibility and more control in fabricating our design.

We used plastic moulds in obtaining the circular design, and tried to create a dynamic surface and see how the joineries between each single circular component would work. Turns out that it is quite easier when compared to concrete and powdered plaster; yet the way of connecting the edge has to be considered since the

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strength of the joineries depends on the number of layers of plaster-paper used.

This also led into the idea of forming one shape that can be implemented into forming a structure and overall form; fabricating a generic shape in order to obtain a complex design.

The folded origami has also been influential as we furthermore explore the idea of folded parametric definition as well as researching further into the patterning process.

DEVELOPABLE AND FOLDED

An approach that we’re interested in creating a pattern for mould.

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Seroussi Pavilion Paris , 2007

Seroussi Pavilion was formed by using a selfmodifying pattern of vector that was based on electro-magnetic fields (EMF) behaviour 1. The design approached was taken through the attraction and repulsion of curve or surface that cuts the curves or surface of a given system at constant angle that were computed in plan1. Then the form was lifted through different frequencies of sine function. Algorithmic and parametric relationships were explored in order to obtain the materialization procedure as well as the adaptation to the site conditions.

The roof tiling pattern was achieved by increasing the algorithmic components features. Then the effect from distribution of lighting and shading is carried out through sine wave functions, which furthermore alter the parametric angle, orientation and size.

This particular biothing mesonic fabric merge in 3 different algorithms. The electro-magnetic field is developed through the biothing’s custom written plug in for rhino. Then with the use of resonating pattern, that transformed its pattern to the ground and emits the second algorithmic logic.

This is an effective precedent in our concept, as it perpetuates the idea of growing and flourishing. The points of roots also reminded us of meeting point, of how the Wyndham City stands as a point to bring the Melbourne city loop together with the suburban area. This precedent generates the idea of dynamism in the randomness of

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This particular biothing mesonic fabric merge in 3 different algorithms. The electro-magnetic field is developed through the biothing’s custom written plug in for rhino. Then with the use of resonating pattern, that transformed its pattern to the ground and emits the second algorithmic logic.

This is an effective precedent in our concept, as it perpetuates the idea of growing and flourishing. The points of roots also reminded us of meeting point, of how the Wyndham City stands as a point to bring the Melbourne city loop together with the suburban area. This precedent generates the idea of dynamism in the randomness of its branch. The design could structurally support itself and bring the atmosphere that attracts and engages the users.

MATRIX 2.0

our direction, as when reviewing the pattern in regards with the type of material, this effect wouldn’t execute our main argument. The effect of patterning would give the design a mere 2D effect instead of dynamism. Smoothen and extracting features were also used in experimented this definition. Smoothen plug-ins creates a random surface that manipulate the shape of the branches, while extracting is used to look the possibilities of creating points in In this matrix, we were looking at the possi- generating more 3d effect to it. bilities of generating the design into the monolithic material. From top towards the bottom, During this stage, we wanted to base our dewe aimed to explore the different number of sign with the pouring of plaster technique. Solines in relation to the possibilities of struc- lidifying the branches into a 3d structure. We ture by using features such as piping and exo- felt the simplified branches are more attainable skeleton. The piping method gives a smoother as it gives a great number of controls in fabrisurface, but the downgrade of it is some point cating it. As each input changed, we began to of intersection extrudes more than what is understand how the simplified-sharp form was should, thus it doesn’t suggest us the continu- chosen as their final design; this definition only ous feature; while the exoskeleton inputs allow gives our material a limited range of form and its shape to have a smoother and continuous structure based. Yet it consequently inspired us branching. Using the additional plug-ins from in pursuing our branching concept. weaverbird as suggested, we explored the concept of dynamism of design by playing around The highlighted outcome is more successful with its pattern and texture. The subdivision as it has the component that suits our fabricaplug-ins give ranges of pattern and define sur- tion process of moulding. This particular defiface, yet my group thought that it wouldn’t suit nition reemphasizes our idea of structure and From the Biothing Mesonic Fabric case study, we obtained the list of matrix that explores the branches idea. Starting from the rooting system with lots of branches towards simplified branches. We tried to observe the difference between the curves. The matrix shows how the simplified branches can furthermore be extracted onto another system of grids and continuous patterns.

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form. How form, or skin, can also be accentuate through its structure. The main feature of structure we used in this stage are pipes and exoskeleton. From there we choose to observe the effect of incorporating cubicles texture, which could also be utilized in our design, as it gives a sense of dynamism towards the strong structure.

The explorations of this matrix allow us to alter the number of inputs and outputs easily.

It gave us the chance to learn and see how we could create and edit the plug-ins within this parametric software. One simplified curve was managed to be extracted into branching points that could furthermore be modified until reaching a desired outcome.

From the crowded branches, we then simplified to a several lines which opens up an option into a patterned surface form. Yet, this particular design constraints our concept of a dynamic structure.

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CASE STUDY 2.0

CREASE, FOLD AND POUR Maciej Kacynski

An exploration into the process of casting concrete in a flexible formwork. The digital fabrication and algorithmic model aimed to propose a new method of casting liquid to solid state material, such as concrete within a geometric structure. The folded thin gauge plastics are used as the semi-rigid formwork.

The architects used the folding method to implement the design. The research of construction with folded plastic formwork act as a proof for alternative of fabrication process.

This precedent highlights two main points of 1) Incorporating fabric formwork with conventional rigid formwork and 2) expanding the methods of casting freeform concrete.

The folded origami concept allows a greater control, articulation and precision of concrete forms. This Creasing, folding and tabbing technique create efficient yet innovative formwork which shows us that there is s greater complexity within the unrealizable geometric.

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From this particular precedent, we were greatly encouraged in pursuing our liquid to solid state material. The used of material gives a sense of sharpness towards its overall form.

This type of structure that generates form has been the main idea that we would like to explore. The repetition of one form is well used in forming the circular structure. By observing their work, we understand the constraints that we might oversee 1) how the ‘surface’ mould can only generate one two dimensional structure. In a way the shape of the form intrigues the viewer’s interest, yet nonetheless it hides the sense of dynamism in its 2D form.

From this point, we were thinking of obtaining a form that can also be integrated into a curvy or over-arching structure.

Through the crease, fold and mould precedent, we were thinking of designing a structure that can be mould using plaster in one shot. The in-situ process of pouring the plaster onto the overall mould would give us a continuous and smooth effect, which reemphasize the sharpness within our monolithic structure. Nonetheless, as we began to experimented with the actual material, we understand that there were several limitation into our material as plaster tend to hardened and dries quite fast, thus pouring the plaster in one go throughout the continuous joints wouldn’t be a smart decision, especially when it comes to the joints that curves into another direction; it would be hard to control the risk.

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MATRIX 3.0

From here, again we played with the main structure that we cherished: exoskeleton and piping. We played around with forming a flat surface that was merged in to the circular form, as well as implementing patterns and solid forms onto the surface. At this point, we were considering our design on form and skin, instead of form and structure only. Nevertheless, at the end of this stage we were having a hard time in unrolling the surfaces, as each tiny pipe from the exoskeleton for instance, would have 8 strips that have to be unrolled. Thus, as we began to notice the limitation of fabrication as well as the material properties, we reconsidered the design approach.

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Throughout the matrix, the form that mostly inspired my design would be with the textured based pattern, as it retrospects our main concept of dynamism which should aroused the interest of the users. Yet similarly with the previous matrix, we were setback with the material that limits our way of generating innovative design. This particular stage has been the turning point of considering a simplified form that generates structure and surface, or an actual form which has incorporated structure within it. By observing the fabrication precedent, we were able to dive deeper in understanding the boundaries of our material.

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CASE STUDY 3.0

TECHNIQUE DEVELOPMENT “I wanted to think about how to reinvent the brick in my own way” – Lynn

The Blob Wall Gregg Lynn

The Blob wall is a collaboration between Greg Lynn FORM, an innovative redefinition of bricks.

Converting it into a lightweight object made by using colourful plastic that was interpreted into a modular form. The precedent is a freestanding indoor or outdoor wall system, built using lowdensity, recyclable, impact-resistant polymer. 1.

The ‘bricks’ are mass-produced through rotational moulding. The shape itself is a hollow tri-lobed, which makes it flexible when being assembled with a interlocking system of joints to form the wall.

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The architect fabricated 500 individual pieces, which could be easily configured to custom shapes and colour combination. The shape was firstly generated from maya, which resulted with a smooth bulbous of spheres. From a far it looks

textural while it’s actually smooth. The computational design software assisted the fabrication and construction possibilities.

The pieces clicks to one another and could form a panel or even arching structure. It also has variety of hues of colours. Just like the bricks. The architect experimented on meatball graphical software along with the ‘blobby’ software to create an unusual form. He manipulates the algorithms within the modelling platform. The computational design software assisted the fabrication ad construction possibilities.

Both precedents has been very significant for our design, as blob walls’ structure and system motivated us in thinking about ways of disassembly, relocation and assembly that could lead us in obtaining the dynamic form and ever last concept. Where each pieces has a modular form that are easily joined and treated in a similar way as bricks.

While the morning line precedent reminded us to think about the generation of forms. Referring back to its modular form, we’re encouraged in refining the technique and form of our model. By focusing on one form that embodies a similar face, we were able to efficiently fabricate one mould that can be used multiple times. Furthermore it simplify the fabrication process since each pieces join together in the same way and the forms can then be assemble into a complex structure.

TheMorning Line Matthew Ritchie Istanbul

Collaboration between artist, architects and structural designers, The Morning Line is exhibited in ‘Youniverse’ dedicated to celebrate art, science and technology. It is an 8 meter high and 20 meter long structure, built using 17 tons of coated aluminium. The installation represents the intersection of art, music, architecture, engineering, math, physics, technology and cosmology.

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A sprawling metal frame structure is aimed to engage the viewers. It is an interactive public art display with the used of regular tetrahedron shape. Ranging out of different scales from bigger pieces breaking down to a smaller ones. The components can thus be deconstruct and reconstructed in numerous locations. The numbers of curves were used to connect the range of hexagonal surface at its edges. The basic geometric shape

turns out to be an unexpected factor and thus arouses its architectural discourse. Architecture sometimes invents and designs a new form, yet this precedent proves the instantaneous factors that can also be depicted from utilizing a definite form. This design is reached through the playful design of computation.

The pattern laid within morning line is found with the knowledge of crystallography and patterns found in nature. The design undergoes a transformation and truncation of pattern within a single geometry that are incorporated into different scales. This is again a simple yet complex design, accomplished through the patterning, overlayed faces, and truncated tetrahedrons; joining the element through specific joints.

TECHNIQUE

DEVELOPMENT

MATRIX 4.0

Dervived from the Biothing Mesonic Fabric definition, we highlighted the main features that we’re interested in, which is the roots of the components.

The developed matrix shows the different components of formulating a successful form, starting from intersecting form, curving into one direction form as well as crossing form. Nonetheless, when we tried to connect the baked pieces together, it doesn’t form a continuous design. Some of the edges doesn’t meet each other, and some creates just a planar form.

The most successful one must be the one highlighted, as it has a simple form with two branches that can be connected quite well with the other peices.

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This matrix development explored the idea of roots, growth, and branching. By minimizing its roots towards the edge points, we simplified the number of lines and branches. Forming into a simple shape which consisting of 2 to three branches which has a geometric faces.

necting the faces to generate our final form. Of all the geometric shapes, we chose to focus on triangles, as it suits best in controlling the connection between each piece. Common monolithic design seems to be heavy and compact; whilst this shape allow us to obtain a clean and effortless fine edges that we don’t usually see in monolithic architecture; it gives a sense of lightness Although the two branches seem easier to construct; and sharpness towards our monolithic design. yet, the two branches constraint our idea of growing and forming in a larger scale. While the three branch- We aimed to derive a form that has equal faces which es concept is structurally stronger and stable; in a way would give a greater flexibility in joining the pieces toit is more complex and free in the manner of con- gether.

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ALGORITHMIC

“From rooting to branching�

SKETCHES

The approach taken from the reverse engineering of Biothing Mesonig Fabric, altering its pattern, direction of curves, set of branches, and shape of the faces, we obtained the following result...

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TECHNIQUE

PROTOTYPES

After considering the number, curve and direction of branches, we simplified the shape to three roots that comprise of equilateral faces. Just like our previous precedents, we aimed to create a simple yet complex structure that offers great flexibility during the process of fabricating and forming the overall design. We tested the fabrication process by initially forming the framework and pour the plaster to make the mould, treating them as bricks by our definition.

The material of framework we experimented on was plastic and photo paper. Comparing both materials,

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photo paper is more controllable. It holds the liquid plaster quite well and has great flexibility which enables us to staple the different pieces together to create a framework. It allows the mould to dry quite fast, and can be taken out easily to air dry.

To join the pieces together, we experimented on using wires and more plaster, but it wasn’t as strong as using the screws. Once the plaster is in a lumpy-liquid-solid state, we positioned the screws and left to dry in place. Once all the plaster throughout the form dried, the form would be strong enough to hold the When these simple forms joined together, they give components together. This feature makes our design a sense of dynamic and playfulness that engaged the adjustable just like the blob walls precedent. viewers into thinking about its time and space; interpreting the design in their own way and thus giving rise to an architectural discourse.

TECHNIQUE PROPOSAL The shape of the branches was obtained through the concept of ‘growing’ and ‘expanding’. When relating its shape to the site B in particular, a site where people can interact with the design in personal level, the shape of site B itself branched itself to two different parts. Aside from its developing community along with the used of monolithic materials that ever last which highlighted the idea of reusable materials, this design also roots back to the idea of nature. In a way it will have the longevity appeal. Aside from it, in the recent years Wyndham City holds several public art and sculpture, thus this design is a representative of art within the community that has merged in to the everyday life and this design will mark the central point of connecting people and place. Compared to other design with the various materials offered such as timber, tensile, and composite, monolithic material offers a stronger and durable structure. Moreover, the simplistic shape that conveys a complex form in a way represents the merging of the growing community with the advance metropolitan city.

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LEARNING OBJECTIVE AND OUTCOME main points that have to be taken into consideration is how the overall form would stand as well as how the connection would meet if we execute the joineries using screws along with what kind of forms would the pieces generate.

After this stage we were advised to think about the next approach of assembling the faces within each form together. An alternative would be explorUp to this stage, we were able to attain a form that ing the hoopsnake definition that allows generatwe thought can be fabricated to different sizes. ing randomness of points that could connect and Nonetheless, after looking up the Denzer Tiling, branch out our forms through those points. particularly with ‘The very many’ precedent, we understand how the shapes we thought would Through this design approach stage, I realized work, is not really secured when connected to that I have increased my knowledge of computaother faces. We though by using this particular tion process. It is true that computational algoshape, we have went away from taking a predict- rithm can help designers to adjust and refine their ed geometric shape of tetrahedron. Nonetheless, work flexibly. Although there were some part that through the presentation we realized that we still still seem to be challenging, but throughout this have to work on the refinement of our materials; process I’ve began to notice how much I’ve grown thinking of ways that could somehow join a line in improving my critical thinking and design. By playing around with given algorithm I could genwithin each shape. erate a new set of my own. Testing and marking out Adding the number of shape and making the the limitation of different structure and possibilimoulds to 2-3 types would also be a good approach ties in applying pattern. This step has developed as it gives more dynamic sense towards the overall the possibilities of outcomes that could furtherdesign. Aside from it, other type of materials that more be implemented into my design. The matecould also be implemented to our design would be rial exploration shows how monolithic structure resins. It has a light structure and clear surface that could efficiently be used in generating the mould allows our design to be fabricated quite well. The as well as the design. The knowledge I’ve gained in Through the mid-semester presentation, my group was told to put into consideration other types of material that could be utilized as part of our liquid to solid state of concept. One of them includes resin. As it has a similar light properties and solid structure, the transparent glass itself could furthermore enhance our dynamic concept.

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Reference

FIG 1. Elevation of Louvre Abu Dhabi, 2013, (http://www.designboom.com/architecture/jean-nouvellouvre-abu-dhabi-under-construction/) FIG 2. Interior of Louvre Abu Dhabi, 2013, (http://www.designboom.com/architecture/jean-nouvel-louvre-abu-dhabi-under-construction/) FIG 3. Interior of Louvre Abu Dhabi, 2013, (http://www.designboom.com/architecture/jean-nouvel-louvre-abu-dhabi-under-construction/) FIG 4. Exterior of Mercedes Benz Museum, 2013, (http://www.unstudio.com/projects/mercedes-benzmuseum) FIG 5. Design process of Mercedes Benz Museum, 2013, (http://www.unstudio.com/projects/mercedesbenz-museum) FIG 6. Design Process of obtaining cloverleaf concept, 2013, (http://www.phaidon.com/agenda/architecture/picture-galleries/2010/october/28/history-in-the-making-highlights-from-the-moma-architectureand-design-departments-collection/?idx=12).

FIG 7. Design Process of obtaining cloverleaf concept , 2012, (http://www.schwartz.arch.ethz.ch/Vorlesungen/ParamTE/Dokumente/lecture0.pdf) FIG 8. Columns Fabrication using layers of ABS Plastic and steel, 2013, (http://www.michael-hansmeyer. com/projects/columns.html) FIG 9. Columns Fabrication using layers of ABS Plastic and steel, 2013, (http://www.michael-hansmeyer. com/projects/columns.html) FIG 10. Columns Fabrication using layers of ABS Plastic and steel, 2013, (http://www.michael-hansmeyer. com/projects/columns.html) FIG 11.Exterior of Arnhem Central, 2013, (http://www.unstudio.com/projects/arnhem-central-masterplan).

FIG 12. Concept of continuity, 2012, The New Mathematics of Architecture, Thames & Hudson.

FIG 13. Patterning within roof surface, 2013, (http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/ doi/10.1002/ad.1559/pdf) FIG 14. Glass Fiber reinforced concrete panels, 2013, (http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu. au/doi/10.1002/ad.1559/pdf) FIG 15. Interior of Arnhem Central, 2013, (http://www.unstudio.com/projects/arnhem-central-masterplan) FIG 16. EPFL Rolex Learning Center exterior, 2013, (http://www.wallpaper.com/designawards/2011/rolex).

FIG 17. Axonometric of the EPFL Rolex Learning Center exterior, 2013, (http://www.wallpaper.com/ designawards/2011/rolex) FIG 18. 3D Model of Metropolitan Opera House, 2013, (http://welldesignedandbuilt.com/page/2/).

FIG 19. Construction of upper levels using concrete and steel frame work, 2013, (http://welldesignedandbuilt.com/page/2/).

FIG 20. 3D wireframe, 2012, The New Mathematics of Architecture, Thames & Hudson.

FIG 21. Exploration of computation, 2012, The New Mathematics of Architecture, Thames & Hudson.

FIG 22. Exploration of computation, 2012, The New Mathematics of Architecture, Thames & Hudson.

FIG 23. Computational Exploration of diatoms project, 2013, (http://www.achimmenges.net/?p=4389).

FIG 24. Final result of materiality, 2013, (http://www.achimmenges.net/?p=4389).

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(1) Hill, Jonathan (2006). ‘Drawing Forth Immaterial Architecture’, Architectural Research Quarterly, 10, 1, pp. 51-55 (2) Richard Williams, ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), pp. 102 - 11 (3) Richard Williams, ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), pp. 102 - 11 (4) Thames & Hudson, 2012, The New Mathematics of Architecture.

(5) Thames & Hudson, 2012, The New Mathematics of Architecture.

(6) Brady, Peter (2013) Computation Works: The building of algorithmic thought. Architectural Design, 83, 2, pp. 8 - 15 (7) Michael Hansmeyer: Building unimaginable shapes (http://www.ted.com/talks/michael_hansmeyer_ building_unimaginable_shapes.html) (8)Architectural Design, Volume 83, (http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/doi/10.1002/ ad.1559/pdf).

(9) Lecture by Ryue Nishizawa, SANAA,(http://www.youtube.com/watch?v=hjvDGMMcJqc&list=PL124 6F4AAE28F4604&index=1).

(10) Thames & Hudson, 2012, The New Mathematics of Architecture.

(11) Thames & Hudson, 2012, The New Mathematics of Architecture.

(12) Porous Cast Material (http://www.achimmenges.net/?cat=292).

Algorithmic Exploration RELEVANT EXPLORATION OF PIPING AND EXOSKELETON Although the piping and exoskeleton plugins doesn’t suit the method that I would like to undertake, but this particular algorithmic exploration remphasize the randomness of pattern that could be obtained by exploring the points of its surface.

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C. PROJECT PROPOSAL GATEWAY PROJECT:

DESIGN CONCEPT Referring to the site of Wyndham City, we aim to develop a proposal that inspires and enriches the community. As Wyndham city is a site that is expanding and undertaking a great development, thus we believe a ‘branching’ based approach fits in the growing concept.

As art has been woven into the everyday life of Wyndham city thus we want to bring out a design that can be integrated to the everyday life of the community. The design that we undertake would highly promote a sense of pride within the community.

The key words that helped us in developing this par- “A structure that incorporates joints without ticular proposal are: branching, roots and growing. overwhelming the total form and surface.”

Those key words are significant in focusing our design towards our architectural discourse that highlights the main idea of ever last, time & space, experience and dynamism.

Our design would be easily fabricated. It would have longevity appeal as the characteristic of our monolithic materials would be highly durable and has a great compression. In the actual site we would use recyclable plastic with translucent properties that complements our everlasting and longevity concept.

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‘“ A concept that focused on a dynamic architecture. Merging in both instantaneous yet enduring shock effect that engage the viewers and users to experience and interpret the form and structure of our design. Celebrating the idea of growing and branching out. A design that is ever lasting and open to interpretation throughout the time and space.”

Structurally, it would be achievable as the overall forms would compress and balance out each other. At the same time, the forms connected to the ground were anchored in order to support the loads added onto it.

The lightings within the design will enhance the physical environment. During the night, the lighting acting on the design could be integrated as a media to provide safety. It will also enhance the sharpness of the curves and highlight the structure during the night. Consequently, we seek to bring out a design that would be appreciated during both night and day.

CRYSTAL

FORMATION

Furthermore we incorporated the exploration of crystalline as a way to understand the different form of growths. As crystal has properties that mirrored monolithic materials, we then tried to conceptualized and examine how its components of atoms, molecules and ions could similarly be arranged to form a pattern in all three spatial dimensions. Large crystal structures are identifiable with its geometric shape that consists of flat faces with specific orientation. This re-highlights our way of perceiving our ‘brick’ form. Crystal formations are usually symmetrical and grown in an arrangement that replicates one another. The unit cells within the atoms are in three-dimensional space to form up a repetitive yet unique structure and loop. Similarly, their structures are constrained with the necessity of stacking its faces perfectly without having gaps.

The crystal concept opens up the possibilities of generating _ outcome.

As crystals grow, it attracts the other parts (atoms attach easily to rougher and less stable parts of surface) As a crystal grows, new atoms attach easily to the rougher and less stable parts of the surface, but less easily to the flat, stable surfaces. Therefore, the flat surfaces tend to grow larger and smoother, until the whole crystal surface consists of these plane surfaces.

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FORM

MATRIX

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Refering back to the brick design concept, the three branches concept is structurally stronger and stable; in a way it is more complex and free in the manner of connecting the faces to generate our final form. When these simple forms joined together, they give a sense of dynamic and playfulness that gives a rise to an architectural discourse.

Of all the geometric shapes, we chose to focus on triangles, as it suits best in controlling the connection between each piece.

Common monolithic design seems to be heavy and compact; whilst this shape allow us to obtain a sense of lightness and sharpness towards our monolithic design that we don’t usually see in monolithic architecture.

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1000 mm

FORM

FINDING

The spreading shape of our overall design is obtained by expanding our hoopsnake definition that incorporates both curving and looping. Taking into account the concept of how the edges of crystal meet when growing into a particular shape and space.

We locate our design towards the station in order to make it highly accessible to the users that are entering and exiting the site. In a similar way it replicates the shape of the triangular site that branches into two directions in accordance with the movement of the road.

We consider the scale that ranges from bigger scale with just several branches to a smaller scale (of 1000mm per forms) that spreads out throughout the site in order to target both the pedestrians and the drivers from both directions. The modular form itself will be attainable to interact with the pedestrian, while the overall structure will target the drivers.

The branching form will provide an entry statement towards the both drivers and users. As mentioned, like the blobwall, this design can both be assembled and disassembled easily at other places. Yet the form of the sculpting would only be relevant to each site.

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A. Straight Line

B.Curving

C. Looping

+ D. Point Attractor

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E. Point Attractor + Looping

F. Final Design Incrorporating All

CONNECTION SCHEME

AND INNOVATION The connection of using a hollow interlocking system is to innovate the idea of placing in wires and light bulb to enhance the sharpness within the edges of the forms along with the beauty of the translucent plastic material.

In regards with the site, the approach of design that we undertake focuses on three categories of sun, wind and users. The design grows up, reaching for the sun, and is sculpted in accordance with the direction of the wind, expanding it sideways, while looping in certain area to target the users; From the route of street it would be big enough to catch the drivers eyes and detilaed enough to engage and attract the pedestrian.

Another innovative design that we consider is by implementing LED Solar Panel to our design; drawing forth sustainable energy.

Placing it on the very top of the branches, the energy can be used during the night time to enhance the design and safety standard along the route.

A. Screw system

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B. Placed at faces depending on the placement of the form

C. Wires and Light bulb

D. Structure of wires and light within the form

0 10

E. How it connects together

F. Solar Panel LED innovation

CONNECTION

REFINEMENT

The first scheme of locking system as our connection system would work in a smaller scale, as it is simple to lock in one twist; and the size of the brick is considered as relatively small.

We could determine where the edges of the triangles will meet when it locks. While in compared to our previous connection system of screwing, it needs certain twist to get the edges to meet in a specific degree. It would be trickier to determine the number of twisting in order to secure the connection.

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CONNECTION

REFINEMENT

Yet the connection system of interlocking might not work in a larger scale, since it would be highly time and labor consuming in ‘twisting’ a 1000mm form one by one. As suggested from our presentation, breaking the unit and construct it individually might work, yet it wouldn’t convey the same aspect as our main definition of continuous

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uniformity.

Second connection system is by interlocking the panels using the simple hexagonal form. Joining the two faces with the simplified shape and fastened it with an adhesive substance. The hexagonal shape allows many sides that could enhance the strength of the adhesive substance.

FABRICATION

PROCESS

Polyproplene mould, Casting with resin and Exploration of light upon the resin

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PROCESS

Silicone Mould

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FABRICATION

Throughout the semesters we’ve experimented with different types of fabrications.

Yet, out of all molding and casting materials (plaster, concrete, silicone), we chose resin as our casting material along with silicone as the mould. Based on our previous experimentation, resin has flexible and controllable properties, which suits the mass fabrication process. Furthermore the clear and transparency within resin then enhances our crystal concept. The elasticity in silicon itself allow us to obtain the sharp edges of each branch.

“A material that can take the form of the framework through the process of transforming from liquid to solid”

We venture different colors from opaque, champagne and clear resin. Yet the champagne translucent color gives us a sense of gradual change between the transparent and opaque properties. The colors itself shows the changeable properties between liquid to solid state, which therefore reemphasize our definition of monolithic material.

The first method didn’t turn out quite well, as the edges where the three branches joined is not as sharp as we expected, so similarly with the fabrication of a real brick, we decided have a mass production of the branch, fabricate each branch individually and joined them together once we achieved the desirable amount of branches. At the end we connected the branches together using super glue.

The second prototype is made by using the 3d printing; the smaller scaled pieces is use to observe whether the structure and concept of ‘bricks’ is obtainable. Turns out the way we connect the pieces together is as precise as building a structure using bricks and mortar. Joining each pieces using glue gun. Finishing it off with another coat of spray paint.

Originally we tried to re-use the fabrication process before, utilizing the photo paper, plastic or polypropylene mould and cast it with resin. Nonetheless the time taken to create each mould and let the resin set is too long. Consequently, we choose to 3D print the branches experimented with two methods of 1) Mould the shape as a whole and 2) Mould the shape individually per branch.

3D Printing and Casting

FINAL

MODEL I

SCALE 1:20 - USING 3D PRINTING AND SUPERGLUE

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FINAL

MODEL II

SCALE 1:10 - USING RESIN CAST AND SILICONE MOULD AND CONNECTING IT WITH SUPERGLUE

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PROJECT PROPOSAL - DAY TIME

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PROJECT PROPOSAL - NIGHT TIME

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PROJECT PROPOSAL - FROM A FAR - DRIVER’S PERSPECTIVE 122

PROJECT PROPOSAL - AT THE SIDE ROAD -FROM DRIVER VIEW

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LEARNING

OUTCOME Based on the final presentation feedback, we were told that there could be a furthermore aspect in refining our form. We felt that what we did in terms of concept and design has been satisfying; nonetheless, I realized there’s no such thing as ‘end’ in designing, there will be parts that can furthermore be modify and develop; especially in this modern era where computational technology has been highly accessible and convenient in refining our designs. From our final presentation, there were still some questions regarding our design that seemed to be an arrangement of chances and incidental, instead of a rigorous investigation.

In some ways, I understand that there may be some aspects that can be executed, yet the aspects of tiling system, altering scale or overall shape for instance might have contradicted our concept. This been told, I realized that the main aspect that we learned from a presentation is to be confident in translating our design. This has been a constant reminder throughout my whole semester, as architects has the responsibility to not only ‘design’ but also to ‘communicate’ and explain their design in a thoroughly manner.

Just as the judges say, putting 100% effort into

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our design process and lacking 10% effort in the final presentation wouldn’t be sufficient, as clients could not tell the design process of obtaining the final outcome. This is a crucial aspect as even in the real circumstances, designers have to be persuasive in grasping the interest of the audience in selling our proposal.

All in all, in regards to this subject, I have developed my skill in not only parametric design, but also by presentation, photo editing and refining concept wise. I am quite amazed with the progress that I have overcame with throughout the semester; designing an actual proposal using software that I had limited knowledge in.

Along the way there have been some ups and downs, well at first it has been a constant frustration with the time taken in understanding how the system within grasshopper software work. As it looks like a chance of learning another foreign language, constructing sentences with words that I don’t even know of its existence. The time taken to complete 2 hours work ended up as 10 hours work. Nevertheless, the final outcome of this whole process has been very rewarding, as I have gained lots of knowl-

edge in a very short amount of time. Being able to actually construct a design based on a thorough investigation, integrating aspects of design not only on its own but along with the logical structural and materiality. I had a blast in constructing our model, from just a mere plaster, concrete to 3d printing, molding and casting. This class has widened my knowledge of designing a structure with various materials of not only monolithic, but also composite, tensile and timber. It opens up a new perspective of architecture. I began to know more of the amazing architects and design out of my usual comfort zone. At the end of this subject, I began to understand the beauty of using computational technology. I once again found the courage and assurance in pursuing this path as a career. It is a long way to go, yet the process is very rewarding. This entire process proved that the limited skill I faced wouldn’t be a constraint in developing my parametric design, since as long as I set my mind onwards; I believe this modern technology would furthermore guide me in obtaining a satisfying outcome.

Reference

FIG 1. Elevation of Louvre Abu Dhabi, 2013, (http://www.designboom.com/architecture/jean-nouvellouvre-abu-dhabi-under-construction/) FIG 2. Interior of Louvre Abu Dhabi, 2013, (http://www.designboom.com/architecture/jean-nouvel-louvre-abu-dhabi-under-construction/) FIG 3. Interior of Louvre Abu Dhabi, 2013, (http://www.designboom.com/architecture/jean-nouvel-louvre-abu-dhabi-under-construction/) FIG 4. Exterior of Mercedes Benz Museum, 2013, (http://www.unstudio.com/projects/mercedes-benzmuseum) FIG 5. Design process of Mercedes Benz Museum, 2013, (http://www.unstudio.com/projects/mercedesbenz-museum) FIG 6. Design Process of obtaining cloverleaf concept, 2013, (http://www.phaidon.com/agenda/architecture/picture-galleries/2010/october/28/history-in-the-making-highlights-from-the-moma-architectureand-design-departments-collection/?idx=12).

FIG 7. Design Process of obtaining cloverleaf concept , 2012, (http://www.schwartz.arch.ethz.ch/Vorlesungen/ParamTE/Dokumente/lecture0.pdf) FIG 8. Columns Fabrication using layers of ABS Plastic and steel, 2013, (http://www.michael-hansmeyer. com/projects/columns.html) FIG 9. Columns Fabrication using layers of ABS Plastic and steel, 2013, (http://www.michael-hansmeyer. com/projects/columns.html) FIG 10. Columns Fabrication using layers of ABS Plastic and steel, 2013, (http://www.michael-hansmeyer. com/projects/columns.html) FIG 11.Exterior of Arnhem Central, 2013, (http://www.unstudio.com/projects/arnhem-central-masterplan).

FIG 12. Concept of continuity, 2012, The New Mathematics of Architecture, Thames & Hudson.

FIG 13. Patterning within roof surface, 2013, (http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/ doi/10.1002/ad.1559/pdf) FIG 14. Glass Fiber reinforced concrete panels, 2013, (http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu. au/doi/10.1002/ad.1559/pdf) FIG 15. Interior of Arnhem Central, 2013, (http://www.unstudio.com/projects/arnhem-central-masterplan) FIG 16. EPFL Rolex Learning Center exterior, 2013, (http://www.wallpaper.com/designawards/2011/rolex).

FIG 17. Axonometric of the EPFL Rolex Learning Center exterior, 2013, (http://www.wallpaper.com/ designawards/2011/rolex) FIG 18. 3D Model of Metropolitan Opera House, 2013, (http://welldesignedandbuilt.com/page/2/).

FIG 19. Construction of upper levels using concrete and steel frame work, 2013, (http://welldesignedandbuilt.com/page/2/).

FIG 20. 3D wireframe, 2012, The New Mathematics of Architecture, Thames & Hudson.

FIG 21. Exploration of computation, 2012, The New Mathematics of Architecture, Thames & Hudson.

FIG 22. Exploration of computation, 2012, The New Mathematics of Architecture, Thames & Hudson.

FIG 23. Computational Exploration of diatoms project, 2013, (http://www.achimmenges.net/?p=4389).

FIG 24. Final result of materiality, 2013, (http://www.achimmenges.net/?p=4389).

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(1) Hill, Jonathan (2006). ‘Drawing Forth Immaterial Architecture’, Architectural Research Quarterly, 10, 1, pp. 51-55 (2) Richard Williams, ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), pp. 102 - 11 (3) Richard Williams, ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), pp. 102 - 11 (4) Thames & Hudson, 2012, The New Mathematics of Architecture.

(5) Thames & Hudson, 2012, The New Mathematics of Architecture.

(6) Brady, Peter (2013) Computation Works: The building of algorithmic thought. Architectural Design, 83, 2, pp. 8 - 15 (7) Michael Hansmeyer: Building unimaginable shapes (http://www.ted.com/talks/michael_hansmeyer_ building_unimaginable_shapes.html) (8)Architectural Design, Volume 83, (http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/doi/10.1002/ ad.1559/pdf).

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