Rahman naila 639398 final journal air

D ES I G N STU D I O A I R 2015

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PART A CONCEPTUALISATION 2

CONTENTS

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ABOUT ME

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PREVIOUS WORK

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DIGITAL ARCHITECTURE

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A.1. DESIGN FUTURING

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One Central Park, Sydney-Ateliers Jean Nouvel, 2014

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ROCK MELT- Jamie North, NGV International, Federation, 2015

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A.2. DESIGN COMPUTATION

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The nonLin/ Lin Pavillion, FRANCE- Marc Fornes-2011

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Helix Bridge, Singapore- Cox Rayner Architects, 2010

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A.3. COMPOSITION/GENERATION

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Khan Shatyr entertainment centre,Astana, Kazakstan-Foster & Partners, 2010

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Al Bahr Towers, Abu Dhabi, UAE- Abdulmajid Karanouh,2012.

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A.4. CONCLUSION

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A.5. LEARNING OUTCOME

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My name is Naila Rahman. I am currently completing my third year at University

of Melbourne, majoring in architecture. I am originally from Dhaka, Bangladesh and I am proud of it as I feel a lot about me has been shaped a lot through the rich cultural values and tradition thats comes with my nationality. However having lived in Australia for more than 9 years now it feels like a second home to me. I absolutely love traveling and exploring new places. My family and friends mean a lot to me, so I try to spend quite a fair bit of time with them whenever I get time off uni or work.

Some of my hobbies include shopping, taveling, watching movies and scrapbooking.

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PAST PROJECT- VIRTUAL ENVIRONMENTS

Initially in my first year of uni I was an ameture at using computer softwares. However, throughout the

years I had to get used to different computer programs for each of my design subjects which has developed my understanding of the importance of computation in desing.

For Virtual Environments, my partner, Ingrid and I had to develop a second skin given a folding fan which our design had to be based on. Our system was both skin and bone (i.e. timber ribs, paper fabricated skin) and a folding system. To generate this design we used rhino, which was our very first digital program used. It was a struggle to get a lot of things right. However, by the end of the semester we were successful in creating a second skin which allowed a sense of privacy and a blurry effect was intended to create a distance from the outside world.

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DI G I TAL A R C HI T E C T U R E The emergence of new technologies redefines a man’s relationship to his environ-

ment. We are increasingly close to the technologies we invent and they have acquired considerable influence over our beliefs and symbolic relationship with the world. The concept of digital architecture does not find general consensus. Nowadays many architects use the range of possibilities offered by digital tools to design differently. Beyond the use of tools, the particularity of digital architecture is to be seek harmony with a certain state of mind, in the resonance between the project and what appears to be a digital thought process in the work. Certain projects establish technological tools in their implementation which appear to be imbued with a certain “digital” state of mind.

For example the façades of Brisbane airport created by the artist Ned Kahn in collaboration with different architects comprised of metallic strips which oscillate in the wind, visually producing a responsive environment that reacts to climatic conditions.

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7 Facade of Brisbane Airport

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A.1. DESIGN FUTURING The ‘state of the world’ and the state of design need to be brought together. It can be

seen that climatic change is the key driver for the problems in our environment which is leading towards unsustainability. Undoubtedly, there is a huge gap between urgently needed action and the current and forthcoming availability of the means to create, globally, the political, social and economic changes. These changes are our only hope to enable humanity and all it depends upon to be sustained. Even though there are technological challenges, a more significant challenge is creating the will and means to assemble appropriate technologies at the scale needed to make a real difference. Problems can only be solved through design.

The important aspect depicted by Dunne & Raby is the ‘Cone of Futures.’ The future is seen as a series of widening cones extending from the present. The narrowest cone is the ‘probable,’ the limited range of futures that we are already heading for with no visions for alternate futures. However to start dreaming about alternatives, would give us a much wider cone, called the possible. Of course, some possible future visions are fairly unlikely, so the cone midway between the possible and the probable is the plausible. Their brief intends to affect design by creating space for different kinds of futures, or at least consideration of different kinds of futures. The aim is to use design to open up all sorts of possibilities that can be discussed, debated and used to collectively define a preferable future for a given group of people. Their theory is that through speculation and exploring alternative scenarios, reality will become more malleable and, although the future cannot be predicted, this will result in factors that will increase the probability of a more desirable future happening.

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One Central Park, Sydney-Ateliers Jean Nouvel, 2014.

One Central Park comprises two residential towers and a lower retail podium which sits

on the western edge of Sydney. French architect teamed up with botanist to create these plant-covered built forms that reflect light into their lower levels with a huge cantilevered panel of mirrors.

A defining feature is the ‘monumental cantilever’ expressed as a Sky Garden extending from level 29 of One Central Park’s taller East tower. The cantilever supports a light-reflecting heliostat system, while the large vertical gardens clad the exterior facades. The heliostats track sunlight and redirect it deep down into the mass of the building. Also onto overshadowed parklands, passing solar energy to places which cannot be reached by direct sun beams. Another interesting feature consists of the 320 glittering reflectors cantilever 42m from the East tower, introduces the concept of remote solar power plants to their inner city neighbourhood.

This residential intends for plant life and redirected sunshine to be used in new, sustainable ways to improve the quality of high rise living. With the use of hydroponics and heliostats, vegetation and daylight can be accessed into all the unreachable places of the building. Ateliers Jean Nouvel explains: “Beyond the functional convenience, their towering green presence is also a universal signal of life on Earth. This knowledge that vegetation means life is so deeply engrained in human perception that parks and gardens have at all times been the most desirable places to live next to.”

One Central Park is the most ambitious ‘living architecture’ projects in Australia. It can inspire future urban projects to also use urban greening to create more environmentally and socially sustainable cities. This urban precinct is sustainable in many aspect, in the selection of durable materials and planting, the reuse of waste water for irrigation and ease of maintenance.

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Rock Melt- NGV International, Federation, Melbourne.

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ROCK MELT- Jamie North, NGV International,Federation Court, 2015 Rock Melt is an artwork by Sydney-based artist Jamie North consisting of six large monu-

mental columns which features plant life growing from concrete pylons in an apparent state of erosion. Rock Melt is currently being exhibited as part of the NGV’s ongoing series of Federation Court commissions.

Rock Melt is inspired by native flora growing randomly from mortar cracks in buildings and the aesthetics of mineral extraction and industrial waste, exploring the relationship between nature and architecture, decay and regeneration and the traditions of cultivated gardens. The project takes its name from the Karl Marx quote, ‘All that is solid melts into air’, which is also a key conceptual inspiration for the work.

Fundamental to North’s practice is his exploration of the relationship between nature and architecture. His inspiration for ‘Rock Melt’ comes from the enduring strength of common flora; small shoots growing through cracks in the concrete and growing into holes in walls.

This innovative artwork is constructed from recycled slag, which is a bi-product of an smelting iron ore and concrete. The columns appear aged, their heights staggered, with the tallest towering at five metres. Each of these columns vary in height, rising from a solid base to a condition of reduced materiality. Also, local plants play a key role in North’s practice and in this work he sourced a Melbourne native vine, the ‘pandorea pandorana’ also known as Wonga Wonga.. “North’s work elicits an elegant dialogue between the natural and the industrial. These sculptures look ancient, like ruins, an especially clever effect given that the sculptures are in fact modelled from a bi-product of an industrial process.”

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A.2. DESIGN COMPUTATION The most remarkable technological transformation is the invention of electronic com-

puters in the mid 20th century. The automation of repetitive arithmetic, logical tasks and the speed at which they are executed is definitely advantageous in today’s world. With computers, came a change in the way different professionals communicate, collaborate and perceives tasks. Not to forget the architectural industry has been significantly reshaped ever since computers were introduced. Design teams progressively rely on computer technology as an aid to virtually represent their ideas and vision. It is obvious that with the change in design media, came a reorientation of the design process as everything is influenced by the environment within which it exists. There are various perception of the influence of computation, it is considered an intellectual revolution for architects.

With the help of computation, the accessibility of advanced programs is ever increasing.

The development in digital designing programs present a promising future for architecture. There are very few firms in the world that still rely on tiresome methods of hand drafting.

The importance of ‘digital architecture’ is more prominent in the field with the development of computer interfaces. Each year more and more innovative electronic devices are emerging and circulating. Architecture firms are more easily gaining access to 3D plotters and BIM programs. Assuming this trend continues, there may be a day where architecture is entirely governed by the computer. Maybe someday the process of construction could be entirely automated which would allow for increased cost-effectiveness and accuracy.

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The nonLin/ Lin Pavillion, FRANCE- Marc Fornes-2011

Designed by French architect, Marc Fornes from ‘The Very Many’, nonLin/Lin Pavilion is an aluminium pavilion which resembles a giant piece of coral. It is a part of the FRAC centre in Orleans, France.

Beyond its visual insight of sculptural and formal qualities, the prototypes are built forms established using custom computational protocols. The parameters of these protocols are based on form finding (surface relaxation), form description (composition of developable linear elements), information modelling (re-assembly data), generational hierarchy (distributed networks), and digital fabrication (logistic of production). It is assembled from 27 components which results in a four metre-high structure.

The nonLin/Lin Pavillion is flexible in the way it’s built, i.e. the parts can be taken apart and reassembled in different locations. This prototypical structure is an exploration of transformations from one state to the other.

Members within the structural system open up and recombine themselves into larger openings while their reverse side is generates a surface condition provided that as density increase eventually results in the person evolving within a sensation of enclosure.

The pavilion project refers to its own scale. Its structural integrity does not rely on any camouflaged cables and it can resist water. It is light yet very strong. One could sit on it, even hang or climb it. It is scalable to a degree. It is not produced through academic facilities. It is a prototypical architecture. Fundamental in this pavilion design is the pattern shift from linear spaces (tube or donuts alike), not only on a formal level, but rather to engage a diversity of social situations – pushing further than “bi” or dual alike.

The project is conceived as a resultant product of a very explicit research line, investigating the design and build component of a coherent environment. Aims to engage people to experience the idea of limitation, filtration, and spatial depth. The structure follows an unconventional creation where a pattern of elements such as openings and dimensional measurements turn out of scale where the audience are exposed to cultural references and correlations from nature (i.e. corals, flowers). The nonLin/Lin Pavilion is a very detailed experiment towards constructability within a precise economical and cultural context.

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NonLin/Lin Pavilion, France

Helix Bridge, Singapore- Cox

The Helix Bridge is one of the few, if any, bridges in the world to be named after its structure. Providing a connection across the devoted partnership between archi The concept intended to curve the bridge in an arc so that it flows fluidly into foreshore walkways on each side. Pursuing a de canopy, required by the brief, to be integrated as segmented panels of glass and perforated steel, unlike other bridge structure movement flow a The great intrigue of the structure is derived from its ability to curve in plan and section while maintaining continuity of its dua through which the proportions and connections were progressively refined. To emphasise the ribbons of structure, LED lighting canopy segments. The design intent of the bridge is to optimize pedestrian experience of the bridge as new urban

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Helix Brigde, Singapore

x Rayner Architects, 2010

e head of the Singapore River between the city’s existing CBD and its new Bay front district. The bridge design is the outcome of itect Cox Rayner and engineer Arup. elicate, lightweight contrast to the vehicular bridge, the concept evolved around a double helix structure. This form enabled the es. The structural typology also proved highly effective in working to a curvilinear plan, and in generating an intriguing sense of along the journey. al spiral over the 280 metre length. The design was generated through a process of highly sophisticated 3D computer modelling, g is incorporated along both spirals, and in ground lighting embedded to highlight the combination of glazed and perforated steel place as well as of its role as a vital connector between Singapore’s major existing and emerging urban precincts.

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A.3.

Composition/ Generation The practice of architecture is being redefined by computation. Architects are developing digital

tools that create opportunities in design process, fabrication and construction. ‘Computation’, on the other hand, allows designers to extend their abilities to deal with highly complex situations.

The term ‘computation’ means the use of the computer to process information through an understood model which can be expressed as an algorithm. This results in the exploration of new ideas: computation enhances the understanding of the designer and increases capability to solve complex problems.

Algorithm is a key function for solving design problems. It is a set of instructions which can understood by the computer, i.e. code.

Algorithmic thinking refers to a revealing role to understand the results of the generating code, knowing how to modify the code to explore new options, and speculating on further design potentials. There is a shift from an era where architects use software to one where they create software.

“When architects have a sufficient understanding of algorithmic concepts, when we no longer need to discuss the digital as something different, then computation can become a true method of design for architecture.”

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Khan Shatyr entertainment centre,Astan British architects Foster and Partners have completed the world’s tallest

tensile structure in Astana, Kazakhstan. The Khan Shatyr entertainment centre stands 150 metres tall, covers 10,000 square metres and is to become the capital’s major civic and cultural venue.

The massive tent-like cable net structure is clad in ETFE, allowing light to wash the interior spaces while sheltering them from extreme weather conditions.

ETFE, Ethylene tetrafluoroethylene, a fluorine based plastic, was designed to have high corrosion resistance and strength over a wide temperature range.

At the core of the building is a large flexible space that forms the cultural hub of the centre, accommodating a diverse programme of events and exhibitions.

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na, Kazakstan- Foster & Partners, 2010 There were a lot of challenges in building this centre. Firstly, challenged with creating

a giant, free-spanning enclosure with minimum support, engineer Buro Happold felt a single-masted cable net in a conical form was the natural choice due to the simplicity and efficiency of the material being used. The construction of the roof skin is in tension and uses cables to carry the load.

The envelope was designed using a ‘form-finding algorithm’ to generate possible designs for the cable skin structure and to come up with refined structure design. In addition, with the aid of parametric modelling, where these intricate algorithms were analysed, this entertainment centre was generated.

The Entertainment Centre, situated at one end of Astana’s main axis is a strong ‘iconic’ form on the skyline, providing a much needed place for Kazakhstanis to meet, socialise and shop, or relish the more exotic attractions of an indoor beach and pool.

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Khan Shatyr Entertainment Centre, Kazakhstan

Al Bahr Towers, Abu Dhabi, UAE- Abdulmajid Karanouh, 2012.

The innovative Al Bahar Towers, a great invention of Abdulmajid Karanouh, consist of two 29-sto-

rey towers, 145 meters high. What stands out about these towers is the advanced screening system (the skin) which was designed to integrate the building with its cultural context and respond directly to the climatic requirements of the region. Corresponding to Abu Dhabi’s weather conditions which can be quite extreme, reaching temperatures above 100 degrees.

The “mashrabiya” form of the screens directly anchors the buildings in the Islamic tradition of the Middle East, while the dynamic movement of each of the individual units evokes the response of natural plants. This system comprises a series of transparent umbrella-like components that open and close in response to the sun’s path. Each of the two towers comprise over 1,000 individual shading devices that are controlled via the building management system, creating an intelligent façade.

This approach was facilitated with the use of highly developed modern technological methods using parametric and algorithmic modelling. The screen operates as a curtain wall, sitting two meters outside the buildings’ exterior on an independent frame. Each triangle is coated with fiberglass and programmed to respond to the movement of the sun as a way to reduce solar gain and glare, so, in the evening, all the screens will close.

“The façade has an interactive relationship to the environment which is reminiscent to the opening of a morning glory flower to the sun.”

- Richard Cook, CTBUH 2012 Awards Chair, Cook+Fox Architects The design information in the manual is based on associative wireframe geometry and semantic rules attached to the geometry. While the wireframe model sets out the building form and defines the relationships between different elements (e.g. façade panels and the shading device), the attached semantic meta-data specifies the required performance parameters and acceptable construction tolerances.

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A.4. CONCLUSION “Sustainable development is development that meets the needs of the present generation without compromising the ability of future generations to meet their own needs.� United Nations World Commission on Environment and Development 1987.

During the course of this assignment, I have developed a good understanding of computation. Hence, I intend thinking in a dynamic way and exploring ideas with the aid of grasshopper will expand any restrictions during the exploration/ ideation phase. In terms of the site analysis and designing in response to its context, things that need to be considered are, the natural environment, social and cultural environment. All these have a story,which creates a frame for the design process to unfold and to propose creative and innovative solutions which take into account the four principles of sustainable architecture: cultural, social, environmental and economic.

I want my design to be based on the main concept of this studio, to design futuring, something which will be sustainable and dynamic in its form and construction.With the structure being structurally flexible and adaptable to climatic changes, along with space expansion and stainability, fluid architecture could be the answer to the this design approach.

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A.5. LE A R N I NG O U T C O M ES Throughout the past few weeks the theory and practice of architectural computing has been quite intense and helpful.

Initially the amount of online tutorials on grasshopper and its content was fairly hard to get a grasp on. However, I now have developed a good understanding of how parametric modelling can take our ideas to the next level by allowing us to explore various different tools which can generate our initial concept in a more enhanced, detailed manner.

Having past experience in using Rhino assisted me to get a better experience of how to use the tools to process different topics that needed to be covered in the past few weeks.

I feel grasshopper explains everything in a more logical and systematic way. A solid understanding of the theory and practices in grasshopper will allow me to develop a better understanding of parametric modelling and design, which could further help me and my design approach in the future. Whether it is triangulation which allows me to create innovative facades/skins or to generate designs rapidly using algorithm sequences, it all depends on the extent of exploration with grasshopper which will take me to the next level.

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REFERENCES DIGITAL ARCHITECTURE - Sebastian Jordana, ‘UAP + Ned Kahn To Create Kinetic Artwork For Brisbane Airport’, ArchDaily, 2010 <http://www.archdaily.com/69219/uap-ned-kahn-to-create-kinetic-artwork-for-brisbaneairport/> [accessed 10 March 2015].

A.1. DESIGN FUTURING - Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45 - Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 One Central Park, Sydney-Ateliers Jean Nouvel, 2014.

- Architecture And Design, ‘One Central Park, Sydney, Ateliers Jean Nouvel And PTW: Architecture In Focus [Video]’, 2014 <http://www.architectureanddesign.com.au/news/one-central-park-sydneyateliers-jean-nouvel-and-p> [accessed 12 March 2015] - Dezeen.com, 2015 <http://www.dezeen.com/2014/10/10/one-central-park-sydney-jean-nouvel-vertical-gardens/> [accessed 12 March 2015] ROCK MELT- Jamie North, NGV International, Federation, 2015.

- Green Magazine, ‘Rock Melt | Green Magazine’, 2015 <http://greenmagazine.com.au/rock-melt/> [accessed 14 March 2015].

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A.2. COMPUTATION - Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Desin (Cambridge, MA: MIT Press), pp. 5-25 -Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 The nonLin/ Lin Pavillion, FRANCE- Marc Fornes-2011 - Architizer, ‘Nonlin/Lin Pavilion’, 2011 <http://architizer.com/projects/nonlinlin-pavilion/> [accessed 12 March 2015].

- Dezeen.com, 2015 <http://www.dezeen.com/2011/08/02/nonlinlin-pavilion-by-marc-fornes-the-very-many/> [accessed 12 March 2015].

Helix Bridge, Singapore- Cox Rayner Architects, 2010 - AJ Welch and others, ‘Helix Bridge Singapore – Cox Rayner Architects’, e-architect, 2010 <http://www.e-architect.co.uk/singapore/helix-bridge> [accessed 14 March 2015].

A.3. COMPOSITION/GENERATION -Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp.

08-1 Khan Shatyr entertainment centre,Astana, Kazakstan-Foster & Partners, 2010 - AJ Welch and others, ‘Khan Shatyry Entertainment Centre, Astana’, e-architect, 2008 <http://www.e-architect. co.uk/kazakhstan/khan-shatyry> [accessed 14 March 2015].

- Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp.

08-15 Al Bahr Towers, Abu Dhabi, UAE- Abdulmajid Karanouh, 2012.

- CTBUH- Council on Tall Buildings and Urban Habitat, ‘Al Bahar Towers, Abu Dhabi’, 2013 <http://www.ctbuh.org/ TallBuildings/FeaturedTallBuildings/FeaturedTallBuildingArchive2012/AlBaharTowersAbuDhabi/tabid/3845/language/en-GB/Default.aspx> [accessed 16 March 2015].

- kyscrapercenter.com, ‘Al Bahar Tower 2 - The Skyscraper Center’, 2015 <http://skyscrapercenter.com/building/al-bahar-tower-2/9130> [accessed 16 March 2015].

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PART B CRITERIA DESIGN 32

CONTENTS The Site- Merri Creek

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B.1. BIOMIMICRY

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Fallen Star, AADLAB, Lodnon, UK,2012

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Canopy, United Visual Artists, Toronto, 2010

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B.2. Case study 1.0 The Morning Line, Architects: Aranda\Lasch, 2008-10

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Matrix

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B.3. Case Study 2.0

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Spanish Pavilion, Foreign Office Architects,2005, Japan

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Reverse Engineering

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B.4. TECHNIQUE: DEVELOPMENT

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B.5. TECHNIQUE PROTOTYPE

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B.6. TECHNIQUE PROPOSAL

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B.7. LEARNING OUTCOME

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THE BRIEF: MERRI CREEK

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path the and trail path way Brun mun

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mo to â&#x20AC;&#x153; rich I ex as to t 3434

MERRI CREEK TRAIL

he Merri Creek Trail is 21 km long. The h joins the Western Ring Road Trail in north and meets the Yarra River Trail the Capital City Trail in the south. The follows the creek, with most of the h right next to the creek. Along the y it passes Coburg Lake Reserve, the nswick Velodrome and CERES Comnity Environment Park.

CERES Environmental Park

The site which I chose for my intervention is CERES Community Environmental Park. CERES is a

odel for a future with sustainability, innovation and connectedness at its heart. CERES’ purpose is “initiate and support environmental sustainability and social equity with an emphasis on cultural hness and community participation.” The reason I chose CERES as my site is mainly because as xplored CERES I was fascinated with the activities that went on in there and how everything had symbolism in relation to nature or history. However, I felt a discontinuation as I explored my way the Merri Creek trail. It seemed as if these two paths weren’t meant to be linked. A visually strong connection can overcome the isolation between the two paths.

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B.1 RESEARCH FIELD

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BIOMIMICRY Biomimicry is an attitude to innovation which seeks sustainable solutions to human challenges

by matching natureâ&#x20AC;&#x2122;s time-tested patterns and strategies. The potential for biomimicry is far beyond direct imitations of natural forms. The aim is to create products, processes, and policies which leads to new ways of living that are well-adapted to life on earth over the long haul. Based on the ideas and designs which nature has demonstrated to be successful, biomimicry is able to provide a wealth of inspiration for those solving problems, something designers do every day.

I believe if we look beyond the nice shapes in nature and understand the principles behind them, we can find some adaptations that can lead to new innovative solutions that are radically more resource efficient. Itâ&#x20AC;&#x2122;s the direction we need to take in the coming decades. Biomimicry changes our perspective of nature with the hope to improve our environment through designs which are influenced by natureâ&#x20AC;&#x2122;s ingenuity.

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Fallen Star, AA DLAB 2012, London, UK

FALLEN STAR AA DLAB, LONDON, UK, 2012.

The ‘Fallen Star’ installation is the final working prototype of the Architectural Association (AA) DLAB Visiting

School, which took place in AA London and AA Hooke Park during July 23-August 5.

This project explores the concept of regeneration, emergence, and growth through their broad existence in natural and biological structures. The installation focuses predominantly on biomimetics, interaction, and perception.

The installation reacts to the user’s input on sound, choice of algorithm to run, and the manipulation of the algorithm itself by changing its parameters from the interface.

The formal grammar of the workshop explored the variations seen in natural growth processes, such as the Lindenmayer system, fractal theory, reaction-diffusion systems, and Voronoi algorithms. As a further level of design sophistication, the design teams incorporated their green interpretations (serves as the inspiration for observing natural and biological structures of differing scales) into a live animation vessel that transforms the concept proposals from the digital realm to the three-dimensional world of the human perception and its illusions.

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Canopy, UVA, Toronto, canada, 2010.

CANOPY U n i t e d V i s u a l A r t i s t s , To ro n to , 2 0 1 0 .

Canopy is a 90-meter long light sculpture spanning the front facade of the Maple Leaf Square building in Toronto, Canada. The form of it is inspired by the experience of walking through a forestâ&#x20AC;&#x2122;s dappled light, The United Visual Artists (UVA) wanted to create a sculpture that simultaneously evoked man made rationality, natural irregularity, and blurred the distinction between the two.

This architectural installation is made of thousands of identical modules, organised in a non-repeating growth pattern. Their form, abstracted from the geometry of leaves, reflect nature. A combination of daylight and artificial light sweeping through the work resembles the action of cells within a leaf, leaves in a forest canopy, or a city seen from the air.

Canopy resembles a city seen from the air, the particles of light become people steering the sidewalks, vehicles moving through traffic, or the constant changing motion of lights in the surrounding.

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B.2 CASE STUDY1.0

The Morni ng Li ne, Aranda\Lasch,2010

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Line connection to form the netwrok of ‘The Morning Line’

The Morning Line Artist: Matthew Ritchie, Archi tects: Aranda\Lasch Structural designer: Arup AGU 2008 - 2010

The Morning Line is both ruin and monument, the blackened frame of a cathedral-like structure;

a drawing in and of space; an ‘anti-pavilion’. Unlike traditional architectural pavilions, it takes the form of an open cellular structure rather than an enclosure.

This project focuses on lines which connects to other lines to form a network of intertwining figures and narratives with no single beginning or end, entrance or exit, only movements around multiple centers which traces out a dense web of ideas concerning the history and structure of the universe and our place in it.

Built from an idealized ‘universal bit’ that can be reconfigured in to multiple architectural forms, The Morning Line uses fractal cycles to build a model of the universe that scales up and down.

The Morning Line to be a modular structure, which is capable of being radically reconfigured for alternative performance venues and can adapt to a changing program of contemporary music.

To date, the Morning Line has travelled from Seville, Spain to Istanbul, Turkey to Vienna, Austria, constantly adapting its form to its new site. It is currently in the permanent collection of the ZKM in Karlsruhe Germany.

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MATRIX EXPLORING â&#x20AC;&#x2DC; SPECIES 1 Varia tion 1

Varia tion 2

Varia tion 3

Varia tion 4

Varia tion 5

Varia tion 6

Varia tion 7

Varia tion 8

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SPECIES 2

THE MORNING LINE’ SPECIES 3

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SPECIES 4

T E TA H E D R A L

Different hexagonal solids of vary-

ing scales were joint and rotated to form this matrix

The base geometry of hexagon

has been extruded and composed with vector components with varying scale and solid difference to acheive this crystal cut form.

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EXPLORAT ION

varying solids generated from

triangles of different scale were joint and roated individually to generate this matrix formation

The basic geometry of a triangle

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has been extruded and composed with vector components of varying scale and solid difference was applied to acheive this complex tatehedralform.

Spanish Pavilion- Foreign Office Architects (FOA) ,2005 World Exposition, Aichi, Japan The Spanish pavilion by Foreign office architects can be identified as a more abstract way of biomimetic

thinking through the effectiveness of change in patterning across the façade.

The main focus of this project are the external walls built of lattices of irregular ceramic hexagons of mixed colours. These walls are an outer skin, separated from the inner pavilion to give a ‘half-in, half-out’ space. The hexagons in the facade are colour coded, which means the colours that match are of the same hexagonal composition. There are six different hexagons and each hexagon either is formed solid or with an opening.

What was the reason behind it? It is important to identify the steps of the face design before I attempt to reverse engineer this project in Grasshopper.

I believe the Spanish pavilion consists of a complex composition with simple geometry which serves as a successful project in being a functional space. It highly reflects on the colourful, creative feel to the Spanish culture.

I tried to reverse engineer the façade of the pavilion and had a play with the hexagonal composition to give it 46a more irregular approach. For part B.4 I would like to create different patterns and surfaces using this hexagonal grid as a starting point.

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B.3 REVERSE ENGINEERING Plane

HEXAGRID

RANGE x cells, y cells

GEOMETRY

Point

OFFSET

image sampler

cull

project

TESTING DIFFERENT PATTERNS FROM THE BASIC PATTERN THAT WAS REVERSE ENGINEERED FOR THE 47

SPANISH PAVILLION FACADE

B.4 TECHNIQUE

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E DEVELOPMENT

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EXPLORING

Being inspired by the organic forms a

CERES and the bushland which surrounds creek trail I wanted to explore creating a which has an organic expression in its fo relating to the nature. In order to discove the technique for the organic skin, I used Spanish Pavilion from Case Study 2 as a erence point where I explored basic hexa shapes. After trying different methods of voronoi, hexagonal grid, triangular patter ing I was able to create a bunch of comp patterns which stand out from the regula hexagonal grid pattern as seen in the rev engineering part for the spanish pavilion Once these patterns were generated into mesh, I tried different sufaces and forms see what corresponds to the site require Some of these were lofted and extruded the basic mesh generated in the explora process of finding an organic skin.

5050

TECHNIQUE

at s the skin orm er d the refagonal f using rnplex ar verse n. oa s to ement, from tion

51

This

pattern consists of organic forms within each hexagon. It looks somewhat like a chaos but also reflects on nature to some extent.

The first attempt was to put the mesh onto a curved surface.

The second one had been extrud-

ed to gather a better dimension of the mesh in 3d.

the third one consists of a surface

with the geometry of the mesh which produces this form through box morph,

B.5 TECHNIQUE PROTOTYPES

Exploration during reverse engineering- B.3

exploration during Matrix- B.4

5252

Prototype My aim was to try and see if the mesh pattern

works in a curved manner. Although none of the connections are shown which means that to make this mesh sit up in a curve form of any sort it would need to be supported by either structural ribs or joints.

Therefore, my prototype didnâ&#x20AC;&#x2122;t justify what I was aiming to generate as one of the main aspects, the structural connection was missing. However, once I had a look at the prototype it did add the affect of casting a contour on the ground surface which was one of the features I wanted to incorporate in my design.

53

REFINED DESIGN PROPOSAL

As the prototype failed to show structural integrity and basic connections, I need to

take into consideration of how each of the panels will connect to one other in order to form this structure. Hence, I have decided to look at KREOD pavilion as a reference point to get an idea of one way of putting hecagonal membranes together. I will try to integrate these ideas and explore other ideas to see what works the best to put this structure into this form.

54

KREOD Pavilion

Architect: chun qing li at pavilion architecture greenwich peninsula, london, UK PRECEDENT STUDY

Inspired by nature, organic in form and environmentally

friendly: KREOD pavilion combines three 20 m² capsules in a variety of spatial configurations. The hexagonal structure is based on a simple recurrent joint connection detail.

The KREOD Pavilion represents a new approach to the difficult problem of creating a functional, demountable enclosure in an attractive, interesting and sustainable way.

The points of incidence of the connection nodes have been cunningly separated to minimise local stresses, and to enable the skew-cutting and practical assembly of different elements without the need for additional bracket – achieving a gracefully curved overall geometry.

The structural connection was achieved using EvoluteTools PRO and it’s powerful Rhino Script interface, in which around one thousand members were parametrically generated, along with their labelling.

Connection Detail of the KREOD Pavilion

55

56

S H A D O W C O N T O UR I NG

57

B.6 DESIG N TEC HN IQ U E PR O PO SA L Merri Creek is a place where one can find comfort amidst its environ-

mental salvage. Considering the problem addressed earlier where the CERES environmental park fails to maintain a continuity to the Merri Creek trail. This project will focus on creating a continuity between the spaces. An organic pavilion which serves as an entry from the CERES to the trail allows users to engage with the space and explore further. The pavilion attempts to create a visual experience for the users which reflects on nature in the surrounding context. This project aims to serve not only as a link between spaces but also act as an artwork which is versatile in its function.

This can be acheived through the technique that I have explored in the process, with the aid of a complex pattern mesh which is gathered through the connection of several hexagonal membranes covering the surface formed.

58 58

TECHNIQUE

DEVELOPMENT OF FORM FINDING TECHNIQUE GEO-SURFACE- BOX MORPH

The technique Iâ&#x20AC;&#x2122;ve explored maintains a relation between nature and space which constructs an experience for users. What is interesting about the organic skin is it casts a contour which acts as a guide of circulation for the users to explore the space further. The tunnel come pavilion form bridges a connection between the creek and CERES.

59

Shadow of the pattern from the mesh skin

60

61

B.7 LEARNING OBJECTIVES Throughout the past few weeks the practice and theory of architectural

computation has been quite intense yet helpful in expanding my knowledge on grasshopper and computational design.

Initially getting started on the case study wasnâ&#x20AC;&#x2122;t so bad. However, exploring different parametric tools to take those designs to the next level was very challenging. Through the help of weekly videos and online resources on the grasshopper website I was able to expand my knowledge on computational design and generating design which arenâ&#x20AC;&#x2122;t only complex to look at but has a complex structural integrity which I hope to get a grasp on in the upcoming weeks. From week 1 until week 4 working with grasshopper gave me the most basic and fundamental understanding which is required to start any project I believe. However, I still feel very new to grasshopper and at times it does get a bit overwhelming as a lot of research and assistance is required to get to a complex stage and succeed in it.

The proposed design for my project will have to be refined and improved to get to that level where it can be prefabricated. the next step would be to look at case studies which focus on holding 3d membranes up rather than a mesh trying to fold a surface according to the feedback from the guest critiques. for the final project my aim is to explore the study of structural formation of these hexagons and take my design to its optimum potential.

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REFERENCES Biomimicry Biomimetic Architecture, (2015). What is Biomimicry? - Biomimetic Architecture. [online] Available at: http://www. biomimetic-architecture.com/what-is-biomimicry/ [Accessed 18 Apr. 2015].

Designboom, (2010). biomimicry – finding design inspiration in nature. [online] Available at: http://www.designboom. com/contemporary/biomimicry.html [Accessed 18 Apr. 2015].

FALLEN STAR, aa DLAB, LONDON, UK, 2012.

Erdine, E. (2012). Student Works: Fallen Star | Features | Archinect. [online] Archinect- AA DLAB. Available at: http://archinect.com/features/article/56310866/student-works-fallen-star [Accessed 22 Apr. 2015].

Furuto, A. (2012). ‘Fallen Star’ Installation at AA DLAB Visiting School. [online] ArchDaily. Available at: http://www.archdaily. com/265116/fallen-star-installation-at-aa-dlab-visiting-school/?utm_source=dlvr.it&utm_medium=twitter [Accessed 22 Apr. 2015].

Canopy, United Visual Artists, Toronto, 2010.

United Visual Artists, Toronto, 2010.DesignPlaygrounds- ThinkParametric, (2015). Canopy by United Visual Artists. [online] Available at: : http://designplaygrounds.com/deviants/canopy-by-by-united-visual-artists/ [Accessed 22 Apr. 2015].

Saieh, N. (2010). Maple Leaf Square Canopy / United Visual Artists. [online] ArchDaily. Available at: http://www.archdaily. com/81576/maple-leaf-square-canopy-united-visual-artists/ [Accessed 22 Apr. 2015].

The Morning Line, Architects: Aranda\Lasch, 2008 - 2010 Aranda\Lasch, (2010). The Morning Line. [online] Available at: http://arandalasch.com/works/the-morning-line/ [Accessed 22 Apr. 2015].

TBA21, (2015). Matthew Ritchie with Aranda\Lasch and Arup AGU – The Morning Line CAAC, Seville. [online] Available at: http://www.tba21.org/augarten_activities/49/page_2 [Accessed 22 Apr. 2015].

Spanish Pavilion, Foreign Office Architects (FOA) ,2005 World Exposition, Aichi, Japan Digiitalarchfab, (2005). Spanish Pavilion, Foreign Office Architects, Expo 2005, Aichi, Japan. [online] Available at: http:// digiitalarchfab.com/portal/wp-content/uploads/2012/01/Spanish-Pavilion [Accessed 22 Apr. 2015].

Galinsky- people enjoying buildings worldwide, (2005). Spanish Pavilion 2005 Expo Aichi Japan. [online] Available at: http://www.galinsky.com/buildings/spainaichi/ [Accessed 22 Apr. 2015].

KREOD Pavilion, Architect: chun qing li at pavilion architecture, greenwich peninsula, london, UK Andreas, J. (2012). Evolute delivers geometry for KREOD. [Blog] Evolute- the geometry experts. Available at: http://blog. evolute.at/?p=407 [Accessed 24 Apr. 2015].

63Furuto, A. (2012). KREOD / Chun Qing Li of Pavilion Architecture. [online] ArchDaily. Available at: http://www.archdaily. com/275460/kroed-chun-qing-li-of-pavilion-architecture/ [Accessed 24 Apr. 2015].

PART C DETAILED DESIGN 64

CONTENTS

65

The Site- Merri Creek

66

C.1. DEISGN CONCEPT

72

C.2. TECHNIQUE ELEMENTS & PROTOTYPES

80

C.3. FINAL DETAIL MODEL

94

C.4. LEARNING OBJECTIVES & OUTCOME

132

66

67

â&#x20AC;&#x153;To protect Red Gum seeds through the

68

process of timed collection and release.â&#x20AC;?

69

70

71

C . 1 . DESI G N

Merri Creek has a diverse and thriving ecology yet due to recent urbanisation and industria

ecosystems in and around the creek have quickly deteriorated. Accord

â&#x20AC;&#x153;indisputable evidence of a significant decline in the diversity of the waterway ecosystem due

It is also outlined explicitly in the

â&#x20AC;&#x153;Strategic and statutory planning to

PROB

Red Gum Eucalypts are considered an iconic Australian species of Eucalypt - growing by rive

dulensis) is heavily reliant on the floodwaters and rising water levels of Merri Creek during win winter, the seeds can travel downstream and germinate across the riverbank. However, seeds often become submerged and die. The high levels of toxicity due to indus

SOLU

To address these issues, our design is composed of a cellular canopy which hangs beneat

into the canopy for safe-keeping during Spring and Summer and thus during the winter time wh downstream. By keeping the seeds above the ground, there is less risk of seed loss a

72 72

CO N C E P T

alisation as well as the development of the Craigieburn sewage treatment plant, the quality of the ding to the Merri Creek And Environs Strategy 2009-2014, there has been; to degradation and loss of riparian vegetation (especially loss of overhanging Red Gums)” .

e Strategy that key actions include:

o protect sites especially Red Gums”.

BLEM

er banks in every state of the country. The reproduction of Red Gum Eucalypts (Eucalyptus camalnter - Red Gums drop their seeds during the warmer months and as the water levels rise during s are often carried away by insects during the months before the floods and the ones that remain strial stormwater also undermines the health of the seeds before dispersal.

UTION

th the Red Gums, placed strategically so that the seeds of the strongest and healthiest trees fall hen river levels rise, the uncontaminated seeds can be dispersed through the river to germinate and contamination so that there is a maximised and optimised dispersal during Winter.

73

Waterway Ecosystem Degradation The waterways of the Merri catchment show ind

due

• degradation and loss of physical habitat, both in-st

• degradation and loss of riparian vegetation(especial

• degradation and loss o

• hydrological changes typical of urban streams resulting from higher ‘flashiness’ of flo gieburn STP; impact of farm dams and

• deterioration in water quality due to stormwater inputs, with toxican

• deterioration in water quality due to sewage overflows during high ra 74

Source: Merri Creek Management Committee,. 201 http://www.mcmc.org.au/file/MCES/MCES%20version%20pr

disputable evidence of a significant decline in the diversity of the waterway ecosystem e to:

tream and linkages to floodplain(including wetlands);

lly loss of overhanging Red Gums and weed invasion);

of in stream vegetation;

ows; stream flow change associated with the constant level of discharge from the Craion-stream dams on some tributaries;

nts associated with industrial stormwater being the biggest problem;

rainfall events and illegal connections or leaks from sewerage system 75

15. â&#x20AC;&#x2DC;Merri Creek And Environs Strategy 2009-2014â&#x20AC;&#x2122;. rovisionally%20adopted%20by%20mcmc%20for%20web.pdf.

76

77

78

79

C.2 TECHNIQUE ELEMENTS & PROTOTYPES

80 80

81

MATRIX GEOMETRY

82

Y EXPLORATION

83

MATRIX GEOMETRY

84

EXPLORATION

85

MATRIX PATTERN

86

EXPLORATION

87

88

89

SHADOW C O NTO U R O F PA N ELS

PROTO

90

OTYPE

91

PROTO

92

OTYPE

93

C.3. FINA MOD 94 94

L DETAIL DEL 95

96

97

98

99

100

101

102

103

104

105

106

107

108

109

110

111

CANOPY SHADOW CONTOUR Our aim was to create a panel which contours a

shadow in order to enhance the aesthetics of the canopy as well as to act as a guide for visitors at Merri Creek

112

113

114

115

PROTO

116

OTYPE

117

FINAL

118

MODEL

119

120

121

122

123

124

125

126

127

128

129

130

131

C.4. LEARNING OBJEC

Throughout this semester I feel I have learnt a lot of things in terms of designin

spective changed about parametric designing but also my thinking about how d my career as a future architect, parametric modelling will be my norm to appro modelling provides a lot of opportunities in terms of flexibility, form finding, effi

Reflecting on the final outcome and innovations, I feel as expected in the intro

preciation for parametric modelling. It definitely serves to be the most high-tec this course, I have further developed my ability to analyse and interpret design t and techniques behind a design can act as the main drive for coming up with a

For the final group project for this studio, Kim, Josh and I addressed our cellu

final project together. Starting from the concept, to parametric modelling (trying time and dedication had to be given for this studio but it was all worth it to see a tribution of my group members Kim and Josh, and of course our tutor, Chen. W team would be like. There is a lot to learn from each other and I believe that all ou

Studio Air has been the best design studio throughout my bachelorâ&#x20AC;&#x2122;s degree b

part of doing this studio, I feel I have gained a lot of knowledge which can help m 132 132

CTIVES & OUTCOME

ng for a better future and solving problems to achieve it. Not only has my perdesign works as a whole. I do believe parametric architecture is the future and in oach design. Throughout the course of Studio Air, I have gathered that parametric ficiency, accuracy and innovation.

oductory week of the course I have gained an in-depth understanding and apch tool in the design process. Through the help of my tutor, Chen, and the outline of techniques. I learnt how the significance of identifying and analysing the intents solution to a problem which carries a meaningful concept.

ular canopy as “SEEDSCAPE”. I feel we have all worked really hard in putting the g various possibilities with grasshopper) to building the 1:1 scale model. A lot of a successful model standing. The project wouldn’t be what it is without the conWorking in a group has helped me visualise what the environment in any design ur individual strength put together has made our project successful.

by far. Although a lot of time, work and cramming with stress has been a major me in the future studios and my career.

133