YunJie_Poh 720549_Final_Journal by Nicki Poh

STUDIO AIR JOURNAL | 2015

POH YUN JIE (NICKI) | 720549

CONTENTS Introduction

Part A: Conceptualisation 07 Part B: Criteria Design 37 Part C: Detailed Design 85

Introduction

About Me

Being a triple mathematics

student in high school, I was inspired to obtain a Diploma in Accountancy in Singapore Polytechnic. However, i grew to a different perspective after graduation and decided to go with something out of the box, something life changing. It was quite a struggle at the start of this amazing journey, nevertheless, I completed my Diploma in Architecture in Singapore. With a very basic artistic background and no extraordinary talent, never did I know I would be in this major, learning something so fresh, interesting and meaningful.

My interest in Architecture is influenced by the bond between humanity and the environment. The theory of how every piece of Architecture has their own profounding characteristics and influence, how the aesthetics and compositions of each stimulate mankindâ&#x20AC;&#x2122;s daily lifestyles differently. With that being said, I was captivated by how Architecture play such an essential role in the connection and provides more than just a roof over our heads. Architecture has indeed changed my life.

INTRODUCTION

Past Experiences

During my studies in Singapore

Polytechnic, the size of my projects grew through the years, from a double storey Bungalow House to a five storeys Social House, then a four storeys Museum for my final year project. I was first introduced to AutoCAD and 3D Max during the first year of diploma, in a subject called Computer Aided Digital Programs. Soon after, we were introduced to more Building Information Modeling (BIM), such as Revit and Google Sketch Up.

INTRODUCTION

This is my first year project on designing an artist retreat based on clientâ&#x20AC;&#x2122;s background and surrounding site, my first taste in Architecture. It was first drawn on AutoCAD as 2D plans and completed using 3D Max. It was an enjoyable experience to see the translation of 2D to 3D, with materials, textures and furnitures. Entering this studio, I see it as a perfect opportunity to advance and futher develop my skills in producing exclusive abstract forms and designs.

PART A: CONCEPTUALISATION

A.1

Design Futuring

A.2

Designing Computation

A.3

Composition/Generation

A.4

Conclusion

A.5

Learning Outcomes

A.6

Appendix - Algorithm

08 14 24 30 30 32

Part A.1: Design Futuring

Exterior night render of World Trade Center Transportation Hub, NYC, USA Image by Santiago Calatrava, courtesy of Silverstein Properties [1]

DESIGN FUTURING

Part A.1

Design Futuring

World Trade Center Transportation Hub, NYC, USA 2015 Santiago Calatrava

This unique piece of Architecture

is designed by a Spanish architect, Santiago Calatrava. He is known for his graceful and organic structures; his works are immediately recognizable, and it transcends the common architectural distinction between spare modernist forms and playful postmodernist ones. [2] The Hub, which is expected to be complete in 2015, will be the third largest transportation center in New York City. [3] It’s structure is the most outstanding feature, as it resembles a ‘soaring bird’, complementing the original design by Daniel Libeskind of having monolithic glass structure reflecting the sky and topped by a sculpted antenna. The design, which is an expression of Calatrava’s signature skeletal structures, features distinctive retractable 150-foot-high, glass and steel ‘ wings’ that allow natural light to penetrate the rail platforms, down 60 feet below street level. [5]

This compromised on Libeskind’s previous design on the “Wedge of Light” as an illuminated tribute to the victims of the terrorist attack on the World Trade Center. [7] However, the Oculus received great controversy by the public and is labelled as “the world’s most expensive train station.”, and construction is delayed close to 10 years. [4] Calatrava’s parametric structures are challenging and costly to build, as he insisted on column-free interiors, labor-intensive building methods and sculptural and curvilinear steel elements that could only practicably be manufactured abroad. [6] Calatrava authorized 4 columns to scrapped the suspicion of The Port Authority of permitting the Oculus’s wings to retract; instead, there will now more sunlight lighting up the interior. The structure became stockier and spikier, to strengthen and withstand explosive blasts. [8]

DESIGN FUTURING

World Trade Center Transportation Hub, NYC, USA

Interior Transit Hall Level Render of World Trade Center Transportation Hub, NYC, USA Image by Santiago Calatrava, courtesy of Silverstein Properties [1]

Calatrava put in great effort in integrating the building into the site. The use of parametric

design is reflected on the self-standing structure and the building form of the project. The pattern formed does not only complement the previous design by allowing the penetration of natural lighting, it is integrated to the surrounding environment to commemorate the tragedy happened on site. Although the project is yet to be completed, Calatravaâ&#x20AC;&#x2122;s ambitious ideas are being reflected on the ribs of the exterior, appears to be significant in the surround environment.

DESIGN FUTURING

Exterior render of Latvian Pavilion, Milan, Italy Image by U-R-A [9]

DESIGN FUTURING

Design Futuring

Latvian Pavilion Proposal, milan, Italy United Riga Architects

This extraordinary proposal is

designed by the United Riga Architects for Latvian Pavilion Expo. The pavilion offers and open space towards the world where, like apiary ecosystem, to allow an effective and natural cultural exchange, socializing and cognition of Latvian values. [10] Latvians are known for having folk songs, as they construct a vision in which the natural, human, and supernatural worlds are intertwined. [11] The project consists of three basic elements: The interior of the cell, open outdoor space and its unifying “natural channel”. The interaction of these elements form a continuous story, where every visitor finds Latvian value, which is close himself. The pavilion is singing Apiary – a symphony of natural sounds in every cell, but the roof stage used for artist performances. The interior shaped like a hive, where each cell displays the Latvian natural ecosystems – the sea, forest, freshwater, marshes, meadows and land. [10]

Each cell has a singing – the sound of according ecosystem – winds, trees, waves, and birds – a special symphony composed by the nature. Interactive digital horizon allows you to explore the Latvian culture, nature and traditions of food synergy. The entrance portal is a special object – a waterfall like installation with online translation from Latvia. [10] The façade of pavilion molds a parametric design of the hive by showing the repeated patterns through the whole exterior. The natural elements integrated into the project has a strong connection of stimulating Latvian values, culture, tradition, social practices via the use of architecture. The experiential spaces harmonized the occupants and nature, portraying the origin of civilization. However, the have yet to experiment with inhabitants as it is still a proposal.

DESIGN FUTURING

Part A.2: Design Computation

Part A.2 Design Computation

Technology today has greatly

affected the society and the world in various ways, the argument on this evolution is still debatable if it is for the better or for the worse. [7] Like everything else, the introduction of technology to Architecture is no exception. Designers are progressively relying on Digital Architecture to improve on the virtual aspects, an aid to improve their visions on the designs and surrounding site. The usage of digital architecture has in fact made an impact on the design process with the influential capabilities of the programs. In comparison to the traditional way of designing, creating complex forms and designs are now childâ&#x20AC;&#x2122;s play; corrections to the drawing are made easier too. Design stages can be explored through computing by making 3D prototypes and conceptual models before committing to the final form. This will cut down the cost of materials and time. Creative ideas and concepts can also be generated, as the flexibility of tools is to the convenience of the user. The relationship between Architecture and the Information Age is bio directional; despite the convenience in designing, the use of digital architecture

changes the traditional architectural, culture, practices on sketches and parti diagrams are taken over by 3D modeling. [9] Although digital architecture is used to promote the use of new technologies with the conception, representation and communication of the built environment, it is the truth that the conception of more fluid forms is closely related to the use of different software solutions. [8] Digital architecture is able to display only the rational appearance and aspects, but not the accurate execution of the design. Parametric designing allows architects to be largely involved in the overall design and development process, extending it effectively beyond production and lifestyle. It is a process based on algorithmic thinking, for designers to capture and exploits the critical relationships between design intent and geometry. Learning parametric design strategies enhance architectsâ&#x20AC;&#x2122; critical engagement with their designs and their communication. Subsequently, the computational aid of parametric modeling alters substantially how and what students learn and architects practice. [10]

DESIGN COMPUTATION

Jellyfish House Physical Model Image by Iwanmotoscott [16]

DESIGN COMPUTATION

Part A.2

Design Computation

Jellyfish House, California, USA IWAMOTOSCOTT

Jellyfish House design was

produced for the invited group exhibition, Open House: Architecture and Technology for Intelligent Living, co-curated by the Vitra Design Museum and Art Center College in Germany of Design in Pasadena. The house is designed with the concept of a sea creature, which has a mutable layered skin that mediated internal and external environments.

Jellyfish have no brain, no central nervous system, no eyes, and consists largely water around them. Yet, they sense light and odor, are self-propulsive, bioluminescent and highly adaptive to changing aquaculture. Like jellyfish, the house attempts to incorporate emerging material and digital technologies in a reflective, environmentally contingent manner. [16]

Interior Render of Jellyfish House Image by Iwanmotoscott [16]

DESIGN COMPUTATION

The repetitive pattern created on

the facade is derived from the hood of a jellyfish under a microscope. It is designed as a parametric mesh, which uses efficient geometric logics of Delauney triangulation and the Voronoi diagram. It deforms in thickness locally for geometric, structural, visual, and mechanical performance. Jellyfish House is integrated with water filtration strategy as it captures, stores and filters rain and gray water for use in the home. There is also latent heating and cooling system using phase change materials layered into the skin. Conceived as a largely transparent fluid filled â&#x20AC;&#x2DC;water jacketâ&#x20AC;&#x2122;, areas of the parametric pattern and thickness transform to become quilted baffles. [16]

DESIGN COMPUTATION

As the project is designed based on the integration of a sea creature, an organism

of nature, organic forms and patterns are more achievable using digital architecture. Computational design makes it easy to inspire more profound design thinking and methods with the flexibility in the tools control. The project cultivated a latent technological relationship using digital and material by combining the structure and envelope with the physical infrastructures, to create an ambient experience revealing the function in a peripheral manner using the parametric exterior of the building.

Jellyfish House Physical Model Image by Iwanmotoscott [16] DESIGN COMPUTATION

Elevation view of TFK Image by Nelson Garrido Photography [17]

DESIGN COMPUTATION

Design Computation

TFK, The Fragrance Kitchen store Al Hamra Mall, Kuwait ARCHJS, Jassim Al Shehab Architects

The Fragrance Kitchen store, commonly known as ‘TFK’, is a thought through concept aimed to enhance the typical retail experience. The Signage, TFK, is extruded and backlit upon the dark façade of the entrance to create a sense of contrast to attract passing shoppers. The Journey of the retail experience begins as it captivates the consumer with its minimal and discreet exterior appearance. [17]

Design Process of TFK Image by Nelson Garrido Photography [17]

DESIGN COMPUTATION

Design Concept of TFK Image by Nelson Garrido Photography [17]

DESIGN COMPUTATION

It is designed to emulate the smoke of Arabian incense. As the consumer enters the store, they will be struck with the seductive, sensual, and directed ambience of the shop. [17] The parametric wall display the products on a backlit surface aligned under a parallel direct light, consists of 500 laser cut wooden pieces. The feature of the laser cut wooden pieces carries through from the wall

to the ceiling of the shop space guiding to another retail display. The consumer is then further drawn towards the multimedia black mirror wall reflecting the wooden wall display, a symmetrical layout. [17] This parametric design not only mimicked the nature of the smoke, it integrated into the store as a wall display for the products, bringing out the attributes of the Arabian incense.

Interior view of TFK Image by Nelson Garrido Photography [17]

DESIGN COMPUTATION

Part A.3: Composition / Generation

Part A.3

Composition / Generation

The theory of Architecture is

guided by two emphases: a pattern language, and a form language. The pattern language is the regulation of how humans interact with built forms – a pattern of practical solutions developed over millennia, which are appropriate to local customs, society, and climate. On the other hand, a form language consists of geometrical rules for putting matter together. They are traditionally cultivated from available materials as an alternative of images. [19] The practice of Architecture is constantly changing in various ways, such as cultures, traditions, generations, or even through revolution and beliefs. However, the practice of architecture today has already transformed from the traditional way of hand sketches to a computer aided way of designing. With the regular exposures of science and advanced technology, the community is often caught thinking about “The Future”. [20]

“The Future” is something so phenomenon and philosophical, and to design something “futuristic” in this century, it means to design something different from what is already built or thought of. With that being said, it brings us back to the mentioned points in ‘Part A.2 Design Computation’; Computing Architecture encourages designers to be inspired differently, at the same time, it allows them to design faster and more efficiently. Mass production and customization in a short time is easily achievable, allowing their clients to have a variety of designs to choose from. Therefore, the manipulation on the traditional architecture practice to computation architecture is mainly based on the perception of the community. The daily involvement to science and technology cause the society to have increase demand on efficiency and cost effective ideas, resulting in digital architecture.

COMPOSITION / GENERATION

Interior render of Galaxy Soho Image by Hufton + Crow [21]

DESIGN COMPUTATION

Design Computation

Galaxy SOHO, Beijing, China Zaha Hadid

Galaxy SOHO in China is a mixed

development, designed by Zaha Hadid Architects. The design responded to the varied contextual relationships and dynamic conditions of Beijing, a variety of public spaces that directly engage with the city, reinterpreting the traditional urban fabric and contemporary living patterns into a seamless urban landscape inspired by nature. The natural rhythms and flows of the city, of the environment and of the people have been integrated within the

design to define its formal composition. [23] The different positions of the points on the curves bring out the natural and rhythmic flows, satisfying to the design concept of an urban â&#x20AC;&#x2DC;landscape inspired by natureâ&#x20AC;&#x2122;. The dynamic yet soft and malleable volumes are achieved by adjusting certain components on digital architecture, bringing out the organic feature of the project, credited to parametric design.

Exterior render of Galaxy Soho Image by Hufton + Crow [21]

DESIGN COMPUTATION

Exterior view of New Milan Trade Fair Image by AECCafe [25]

DESIGN COMPUTATION

Design Computation

New Milan Trade Fair Milan, Italy Studio Fuksas

New Milan Trade Fair is designed

by Studio Fuksas, inspired by the intimate elements of the surrounding environment. The form was derived from constant altimetric variations as found in the natural landscape. The complex is covered by a large span lightweight structure. It is supported by steel columns, covered by a freestanding glass canopy to express the lightness of the material. [24] Computation architecture plays a huge role as the design concept is

mainly inspired by digital architecture, by refining numerous iterations. The roof, which is also the form and the structure of the building, is created by placing gridshell in a strategic position, utilizing triangular panes to efficiently achieve the â&#x20AC;&#x2DC;warpedâ&#x20AC;&#x2122; design. The creative concept and dynamic structure of New Milan Trade Fair can be created via many ways, such as mesh and force field. Such effiency can only be attributted by algorithmic thinking, parametric architecture design.

Exterior render of Galaxy Soho Image by Archdaily [24]

DESIGN COMPUTATION

Part A.4 - A.5: Conclusion and Learning Outcomes

Part A.4 - A.5

Conclusion and Learning Outcomes

Architecture envelopes us all, it

revolves around the world’s evolution and development of the community. The introduction of technology has shaped us differently and eventually developed the architecture industry through the idea of “Design Futuring”. The difference in the society’s vision plays an important role in the way of designs. Parametric Design is a huge turning point for the architects, as they aid in lightening their jobs and produce designs more efficiently. However, computation is also the result of the standard and typical designs of the buildings today. They are often closely related to the digital softwares and only a handful of them are designed differently. As mentioned, Architecture is the bond between humanity and the surrounding environment, my intended design will be determined by the influences and impacts of the community on Architecture through algorithmic

My experience with the theory and practice of architectural computing has been compelling. Before entering Studio Air, I am always attracted to the simple rectilinear designs more than organic architecture. However, after the introduction of algorithmic thinking, i am captivated by the charm of parametric design. The reasearch broadens my knowledge and improve my understanding in architecture, allowing me to see parametric designing in a different light. My biggest takeaway will be the ability of computation as this is the first time i am exposed to Rhino3D and Grasshopper. Despite the fact that Grasshopper is a rather complex program to operate, it holds the potential of creative and inspiring designs. Through this learning process, I forsee more opportunities ahead in developing my knowledge on parametric design and algorithmic thinking.

CONCLUSION AND LEARNING OUTCOMES

Part A.6: Appendix - Algorithmic Sketches

Part A.6

Appendix - Algorithmic Sketches

This was my first experience with Rhino 3D and Grasshopper. I was trying to

create different types of abstract forms by using simple commands of pulling and joining the points together. The reason why i chose these sketches is to show my first taste and exploration on the programs. It was then i discovered the potential of Grasshopper in developing creative ideas just by playing around with the tools. The different type of sketches show the flexibility of digital computation just by playing around with the same few simple commands. I believed that i am able to produce more abstract and unique forms after a few more attempts.

APPENDIX - ALGORITHMIC SKETCHES

References

[1] - Santiago Calatrava, “Construction on Santiago Calatrava’s WTC Transportation Hub making headway”, March 20, 2014, designboom [accessed March 17, 2015] <http://www.designboom.com/> [2] - The Gale Group Inc, “Calatrava Santiago”, Encyclopedia of World Biography, 2007 [accessed March 17, 2015] <http://www.encyclopedia.com> [3] – WTC Media Center, “World Trade Center Transportation Hub” [accessed March 17, 2015] <http://www.panynj.gov/> [4] - Vinnitskaya, Irina, “Calatrava to Build World’s Most Expensive Transportation Hub”, June 3, 2013, ArchDaily [accessed March 13, 2015] <http://www.archdaily.com> [5] – Andrea Chin, “Construction on Santiago Calatrava’s WTC Transportation Hub making headway”, March 20, 2014, designboom [accessed March 17, 2015] <http://www.designboom.com/> [6] - David W. Dunlap, “How Cost of Train Station at World Trade Center Swelled to $4 Billion”, December 2, 2014, The New York Times [accessed March 17, 2015] <http:// www.nytimes.com/> 34

[7] – Edward Wyatt, “Shadows to Fall, Literally, Over 9/11 ‘Wedge of Light’”, May 1, 2003, The New York Times [accessed March 17, 2015] <http://www.nytimes.com/> [8] – “A Glorious Boondoggle: Will a New WTC Station Permanently Taint Santiago Calatrava’s Career?”, March 9, 2015, New York Magazine [accessed March 17, 2015] <http://www.nytimes.com/> [9] – U-R-A | United Riga Architects, “EXPO 2015 LATIVIA Pavilion Proposal”, 2015, Archello [accessed March 17, 2015] < http://www.archello.com/> [10] – U-R-A | United Riga Architects, “Milan Expo 2015: Latvian Pavilion Proposal by United Riga Architects”, July 3, 2014, Archi Scene [accessed March 17, 2015] <http:// www.archiscene.net/> [11] – “Culture of Latvia”, May 11, 207, Every Culture [accessed March 17, 2015] [accessed 17 Mar 2015] <http://www.everyculture.com/> [12] – Prashant Magar, “”How does Technology Affect Society”, September 28, 2011, Buzzle [accessed March 17, 2015] <http://www.buzzle.com> [13] – Branko Kolarevic, “Architecture In The Digital Age: Design and Manufacturing”, (New York: Spon Press, 2003)

REFERENCES

References

[14] – Caramelo Gomes, C. & Correia, M. “The Impact of Digital Architecture Design in the Conception and Management of Dwelling Environments”, 2009, Academia [accessed March 18, 2015] <http://www.academia.edu/> [15] – Tsai, J. J., J. W. Kan, X. Wang, and Y. Huang. 2012 “Computational designmethods and technologies: applications in CAD, CAM and CAE education / Ning Gu and Ciangyu Wang”, 2012 p. 185-198 [accessed March 18, 2015] [16] - Iwamottoscott, “Jellyfish House”, 2005-06, Iwaottoscott, [accessed March 18, 2015] <http://www.iwamotoscott.com/> [17] – “TFK, The Fragrance Kitchen store”, 2012 [accessed April 6, 2015] <http://www. archello.com/> [18] – [19] - Nikos Salingaros. “A Theory of Architecture Part 1: Pattern Language vs. Form Language” 23 Mar 2014. ArchDaily [accessed March 18, 2015] <http://www.archdaily. com/?p=488929> [20] - Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 2 [21] – Hufton + Crow “Galaxy Soho” 16 Nov 2012 Arch Daily [accessed March 19, 2015] http://www.archdaily.com/ [22] – Zaha Hadid Architects, “Pierresvives and Galaxy Soho win RIBA Awards 2013” June 18, 2013, Zaha Hadid Architects [accessed March 20, 2015] < http://www.zahahadid.com/> [23] – David McManuc, “Galaxy Soho Beijing”, Janunary 27, 2015, e-architect [accessed by March 20, 2015] <http://www.e-architect.co.uk/> [24] – “New Milan Trade Fair / Studio Fuksas” July 7, 2012. ArchDaily. [accessed March 19, 2015] <http://www.archdaily.com/?p=248138> [25] – Sumit Singhal, “New Trade Fair in Milano, Italy by Studio Fuksas” August 10, 2012 AECCafe [accessed March 20, 2015] <http://www10.aeccafe.com/> [26] - “Galaxy SOHO” [accessed March 20, 2015] <http://galaxysoho.sohochina.com/>

REFERENCES

PART B: CRITERIA DESIGN

B.1

Research Field

B.2

Case Study 1.0

B.3

Case Study 2.0

B.4

Technique: Development

B.5

Technique: Prototype

B.6

Technique: Proposal

38 40 50 60 68 72

B.7

Learning Objectives & Outcomes 78

B.8

Appendix - Algorithmic Sketches 80

Part B.1: Research Field

Part B.1

Research Field

Biomimicry is an approach

to innovation by emulating nature’s time-tested patterns and strategies. [27] It is an imitation of a natural phenomenon’s or environment’s efficiency and survival merchanisms. Biomimicry advocates looking at nature in new ways to fully appreciate and understand how it can be used to help solve problems. It can be achieved by three different ways: looking at nature as model, measure and mentor. [30] Nature as model means copying the nature’s forms, processes and systems to solve human problems. Nature as measure means evaluating our designs and solutions against nature, such as improving the efficiency and sustainability of our current methods. Nature as mentor means the acceptance of being part of nature and to behave accordingly. The application of biomimicry in design allows us to create more innovative and sustainable design through the emulation of nature, for the purpose of gaining inspiration in order to solve manmade problems.

The origin of organic architecture is very similar to the philosophy of biomimetric architecture as both draw inspiration from nature and seeks the connection with the surrounding. However, there are three levels of biomimicry in Architecture: the organism, its behaviors, and the ecosystem. On organism level, it is to copy the appearance and applying it’s form or functions to a building. On the behavior level, it is to mimick the interaction of the organism with the environment to build a self-standing structure without resistance. Building on the ecosystem level involves the mimicking of many components working together in an environment rather than a solitary structure. [31] Personally, the main challenge of biomimetric architecture is to demostrate the integration of the forms and process of nature, such as mimicking an ecosystem’s level, in building a nature-inspired architecture. The design process should not only be reflected on the physical appearance, but also covers the manufacturing process, structure, and the way it works.

RESEARCH FIELD

Part B.2: Case Study 1.0

Exterior view of Spanish Pavilion Image by Foreign Office Architects [32] CASE STUDY 1.0

Internal Points: Iteration 1&2 I first studied on the four internal points of the vector using the given default range of -1.0 to 1.0, before extending it to the range of -3.0 to 3.0.

DEFAULT [0.2/0.2] [0.4/0.0] [0.0/0.0] [0.2/0.0]

ITERATION 1.1 [-1.0/0.6] [0.4/0.0] [0.0/0.0] [0.2/0.0]

ITERATION 1.3 [-1.0/0.6] [0.9/0.4] [1.0/-0.9] [0.2/0.0]

ITERATION 1.2 [-1.0/0.6] [0.9/-0.4] [0.0/0.0] [0.2/0.0]

ITERATION 1.4 [-1.0/0.6] [0.9/0.4] [1.0/-0.9] [-1.0/0.5]

The sliders connecting to ‘X’ determines the direction of the points along the X axis, while ‘Y’ determines the direction along the Y axis. When the sliders are being manipulated, the points will then create different patterns on the hexagon grid depending on the values implied. ORIGINAL HEXAGON [0.0/0.0] [0.0/0.0] [0.0/0.0] [0.0/0.0]

ITERATION 2.1 [-2.2/2.2] [0.0/0.0] [0.0/0.0] [0.0/0.0]

ITERATION 2.3 [-2.2/2.2] [2.9/1.5] [-3.0/-0.5] [0.0/0.0]

ITERATION 2.2 [-2.2/2.2] [2.9/1.5] [0.0/0.0] [0.0/0.0]

ITERATION 2.4 [-2.2/2.2] [2.9/1.5] [-3.0/-0.5] [2.7/-2.4]

ITERATION 3.1, SQUARE GRID [0.0/0.0] [0.0/0.0] [0.0/0.0] [0.0/0.0]

Grid: Iteration 3&4

ITERATION 3.2, SQUARE GRID [2.3/-0.4] [0.0/-2.8] [0.0/0.0] [0.0/0.0]

As the grid acts as the base of the pattern, the nodes react differently depending on what grid is being imposed. I explored the definition by using different grids such as square, radical and triangular grid. The pattern is therefore no longer round and circular after replacing it with the following grids. However, triangular grid does not work for this definition and internal point 4 does not have effect on radical grid. Cell and Points: Iteration 5 Despite changing the values on the cells and points components, there are only slight offsets in the cells and are not obvious enough to be noticed.

ITERATION 3.3, SQUARE GRID [2.3/-0.4] [0.0/-2.8] [1.5/1.4] [-0.6/3.0]

ITERATION 4.1, RADICAL GRID [0.0/0.0] [0.0/0.0] [0.0/0.0] [0.0/0.0]

ITERATION 5.1, CELL [5,6,7,8] [1,4,5,2]

ITERATION 4.2, RADICAL GRID [1.0/-1.9] [-2.1/-0.6] [-1.6/0.4] [0.2/0.0]

ITERATION 5.2, CELL [0,1,2,4] [1,5,4,2]

ITERATION 5.3, CELL [5,9,3,6] [2,9,4,1]

ITERATION 4.3, RADICAL GRID [0.0/-2.9] [3.5/2.9] [1.9/0.3] [0.2/0.0]

Array: Iteration 6 Mathematics expressions such as pythagoras formula is being imposed in the definition to manipulate the spacing between the cells. The following iterations show how positive and negative values make an impact on the spacing for array.

ITERATION 6.1, ARRAY [+1]

ITERATION 6.2, ARRAY [+3]

ITERATION 6.3, ARRAY [-2]

ITERATION 6.4, ARRAY [-4]

ITERATION 7.1, IMAGE SAMPLER

47 ITERATION 7.2, IMAGE SAMPLER

ITERATION 7.3, IMAGE SAMPLER

IMAGE 1

IMAGE 2

Image Sampler: Iteration 7 The image cull plays a part in the pattern formed on the grid. I explored by replacing the original image to achieve different patterns. IMAGE 3

Part B.2

Case Study 1.0

Generative Process The case study is based on the wall panel on the Spanish Pavilion that was designed with algorithmic thinking. It was explored using simple modifications on the directional levels to understand the roles of the components and the impact on the product. Then it was replaced with different images to explore on the possible patterns using the same definitions.

Brady Peters mentioned “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.” This explain on discovering the potential and limit of the nodes is essential as they determine the complexity and design of the product.

Exterior view of Spanish Pavilion Image from www.architecture.com [33] CASE STUDY 1.0

Case Study 1.0

Highlights

Speculation

Being mindful of the fact that the definition is the generative process for a wall panel, Iterations 2.3, 4.2+4.3, 5.2+5.3 and 7.1+7.2 +7.3 are seen to be the more successful outcomes of all.

To speculate is to consider the theory and the possibilities of a matter.

Iteration 2.3 shows that despite using a hexagon grid, different shapes can also be generated with the same cells consistency. This is also the furthest that the definition can go within the boundaries. The geometry created on Iteration 4.2 and 4.3 are potentially seen for wall cladding as to portray a stong and impactful experience.

After toggling with the definition, it creates geometry that differes substantially from the original project, which are potentially can be used for other architectural purposes. Instead of translating the pattern into a building facade, the consistency and behavior of the cells can also be used to explore on other architectural features. It can be as literal as a building form, or it can be as conceptual as culture or the tradition.

Despite the unobvious alterations on Iteration 5.2 and 5.3, those slight changes however, can be useful while designing a wall panel in terms of light penetration. Iteration 7.1, 7.2 and 7.3 shows that the inputted image might not reflect on the behavior but the complexity of the cells. This allow the designer to have a wider variety of design for a wall panel depending on what kind of image is being used.

CASE STUDY 1.0

Part B.3: Case Study 2.0

View of Canopy Image by United Visual Artists [33]

CASE STUDY 2.0

Close up view of Maple Leaf Square Image by United Visual Artists [33]

CASE STUDY 2.0

Part B.3

Case Study 2.0

United Visual Artists (UVA)

created a permanent installation for Maple Leaf Square in Toronto, Canada, with a design concept derrived from the nature. The design intent behind this project was to create a work that people could connect to, immerse themselves within, and almost escape momentarily from the hard environment of the city. It is composed by a thousands of organized identical modules, yet in a non-repeating growth pattern. [34] The form was abstracted from the geometry of leaves to reflect nature and the experience of walking through the dappled light of a forest.

During the day, natural light reflects and refracts through apertures in the modules to the pavement below; at night the canopy bursts into life with particles of light beaming across their environment and then dying. The changes in light patterns depending on the surrounding is a mimicked behavior on a general idea of living organism responding to different types of environment. The project’s integration of ‘forest’ in the ‘city’ demonstrated the capacity of nature-inspired thinking to produce parametrically designed form. The idea on the modular system can be further explored on potential algorithms, which can eventually be developed and generate more parametric designs.

CASE STUDY 2.0

Maple Leaf Square is made up of a pentagon grid with different sizes on a surface. To create a reverse engineering on this parametric design, a pentagon grid must be first produced. Despite the simple explaination on the parametric design, it was not as easy as it sounds. Grasshopper comes with many types of grids that are useful in creating patterns on a surface. However, pentagon grid was not one of them. I started modeling the canopy by creating a rectangular surface before dividing into a series of points.

However, the duplicated polygons across the surface are arranged in straight rows and columns. Unlike the original design, the faces of the polygon are against one another despite the inconsistent sizes of the cells. Making use of what was already achieved, I figured out that many components such as ‘cull pattern’, ‘graph mapper’ and ‘mesh’ do not work in this definition and needed a more efficient way to generate a similar design which is closest to Maple Leaf Square.

CASE STUDY 2.0

Out of all the methods that were tried and conducted, the definition above is the more successful and efficient way to obtain a schemetic algorithm of the canopy. Instead of pre-creating a surface in rhino and dividing into points manually, the ‘Rectangle’ component was used to achieve a similar outcome with easier manipulation of ‘X’ and ‘Y’ axis. Inputting the points with ‘Pop2D’, ‘Voronoi’ played the most crucial role in generating a grid of pentagons. The pattern that is represented by ‘curve’, was offset twice along the ‘Z’ axis to create the depth and sharp edges of the cells. After baking, some of the edges are removed to depict a mixture of two patterns on a same grid.

CASE STUDY 2.0

â&#x20AC;&#x2DC;Voronoiâ&#x20AC;&#x2122; is one of the most useful tools in grasshopper as it is flexible in generating different kind of patterns, depending on the input. I have discovered different ways of making customized grids instead of using the given component like Case Study 1.0. and managed to explore and rectify what works and what does not in creating a pattern on surface using fundemental components through this exercise. Although the resulting products were not the accurate representations of the canopy, the outcomes are successful in extracting the point of interests and overall idea of the parametric installation.

CASE STUDY 2.0

Part B.4: Technique: Development

TECHNIQUE: DEVELOPMENT

Being mindful of the initial intention on developing a biomimicry canopy, this series of iterations is highlighted as one of the more successful outcomes.

A similar pattern to Maple Leaf Square was first generated with the use of â&#x20AC;&#x2DC;Voronoiâ&#x20AC;&#x2122; on a new curve, and was further developed by scaling and two attraction points. Then, lofting.

Responding to the chosen case study 2.0, the structure is made up of many extruded hexagon cells strips, shows a rather close represenation of a selfstanding canopy.

The lower part of the outcome appears to have adequate strength to hold the cantilevered overhanging eaves. A set of hexagon grid, which has close resemblance of tree cells, can be seen at the end of the canopy.

With that being said, the slits above the product are also seen to be potentially used for the penetration of natural lighting, giving the essence of a forest walk.

TECHNIQUE: DEVELOPMENT

Starting off with the input of hexagon cells within a rectangle, the typography on the surface was generated using the ‘Bend’ component.

The geometry was then created by lofting two exact same surfaces together. The structure of the product is held together by tubes, with the ‘Pipe’ component.

Responding to the chosen case study 2.0, the depth of the cells in the iteration is an representation of the trees biometric structure.

Despite the indentation, the algorithm is further developed using the ‘Bend Deform’ component, which is controlled by drawing an arc angle and the direction. Two arcs were used in this case.

With that useful tool, a hierarchy of the extrusion was being generated, thus, contributing to the experiential role of a canopy.

TECHNIQUE: DEVELOPMENT

This iteration is my first touch with ‘Weaverbird’ plug in. It has very useful tools on parametric subdivision on surfaces and geometry.

The algorithm is first made up of polylines that were drawn in rhino before exploding and flattening. Using ‘Weaverbird’s Mesh From Lines’, the polylines were meshed together. ‘Weaverbird’s Split Polygons and Serbinski Triangles Subdivision’ were used to create textures on the product.

Two attraction points were then integrated to control the frequency of the pattern. ‘Weaverbird’s Offset Mesh’ was then used to show how the attraction points create an impact on the subdivisions.

Through this iteration, I have discovered the functions of Weaverbird and explored on the connection of selfstanding structure. The outcome of the components created small triangles that seek reliance on one another for support.

As triangles are known for minimal deformation and the balance in stretching and compressive forces inside a structure. Hence, this iteration is an interesting feature and can be integrated in design proposal.

TECHNIQUE: DEVELOPMENT

Iteration 6E shares a similar definition as Iteration 5C with different set of curves. Instead of using ‘Split Polygons’, ‘Serbinski Triangles’ and ‘Offset Mesh’, 6E used ‘Midedge Subdivision’, ‘Split Triangles’ and ‘Stellate’. The relocation of attraction points and difference in the definition created a different effect on the polygon. Unlike ‘Offset Mesh’, ‘Stellate’ add a pyramid on each faces, thus allowing the texture to seem more rigid.

In response to the design intention of the project, 6E shows a representation of an oceanic ‘shell’. Behaving like a canopy, the algorithm also give a sense of how the cantelievered load is being transfered and spreaded on the wide and long base. This algorithm is highlighted as it shows potential biomimicry design. It has a self-standing structure, and can be further improved with the help of Iteration 5C.

As mentioned, Iteration 6E shows a close resemblance of an oceanic shell. Shell is usually known as ‘a hard outer cover that encases certain organisms’, which this brings me to my following design proposal.

TECHNIQUE: DEVELOPMENT

Part B.5: Technique: Prototypes

Part B.5

Technique: Prototypes

It is easy to design something;

but to make them into reality, that is the challenge. In many cases, designers are often carried away by the aesthetics, thus neglecting the functional and economical aspects. Producing prototypes of the designs is essential, as they allow us to think about materialisation. Through fabrication and assembly of the elements, we will have a clearer picture of the connections. From there, we are able to test the performance of the prototype. Judging on the iterations from B.1 to B.4, most of them are mainly derived from the use of grids, therefore, exploring on the connection between the cells will define the fundamental structure of the prototype. In respond to the design field and given site, trees’ anatomy is integrated into the design intention. In this case, triangles are used as a representation of tree cells.

Triangle is known to be the most important shape in engineering, and is widely use to construct bridges, roofs and other architectural structures. The shape cannot be deformed without changing the length of the sides or breaking one of it’s joint. [36] With that being said, triangles can not only demonstrate the cells on the structure grid, it also behaves as the support of the entire structure. In general, trees are typically supported by a Y-shape trunk in order to take the weight of the plant. Hence, the ‘Y’ structure is being utilized for the triangular cells to be supported. Through the exercise of fabricating part of the prototype, I have learned that the ‘Y’ structure plays an essential role in keeping the cells together as it acts as the ‘grid line’ of the triangular cells.Therefore, the challenge of assembling the prototype together is the connection between the ‘Y’ structure and the triangular plates.

TECHNIQUE: PROTOTYPES

Materials used

6.6mm x 2mm thick balsa sticks 2.5mm pvc board 1mm pvc board 0.5mm white card

Balsa sticks are used to represent the ‘Y’ structure, while strips of 20 x 0.2mm white card are used to represent steel angle plates.

In actual fact, the ‘Y’ structure will be prefabricated like the images shown. The steel angle plates are sloted in between the voids for the connection with other ‘Y’ structure. 70 However, the same connection is being integrated for the ‘V’ and ‘I’ to keep them together as a ‘Y’ structure. In order for the plates to rest on the grid, there will be a recess in between ‘Y’ as shown in the images.

‘Tongue and Groove’ joint is integrated for the triangular plates to rest on the ‘Y’ structure while ‘Double Rabbet’ joint is used for the connection between the two plates, allowing them to appear as flushed.

TECHNIQUE: PROTOTYPES

Wood Wood Wood Steel

The triangular plate, which is represented by the combination of two 2.5mm boards and one 1mm board, is slotted in between the recessed area on the ‘Y’ structure.

‘Dovetail’ joint is also used for the connection between the plates for the other side, to strengthen the structure as whole. 71 While assembling the elements, i have discovered that the connection of ‘Y’ and the plates is pretty much similar to the connection of a typical floor slab and an ‘I’ beam.

Despite the success in the joints, it was discovered that the triangular plates depend heavily on the ‘Y’ structure. This concludes if any of them happen to fail in supporting the plates, it will affect the entire structure in whole. It has brought to my attention that the structure has to be designed in a way where a deflected ‘Y’ structure can be easily replaced and will not affect the overall structure.

TECHNIQUE: PROTOTYPES

Part B.6: Technique: Proposal

Part B.6

Technique: Proposal

My research into biomimicry with the incorporation of parametric modeling techniques has produced this intial design concept. The chosen location of the site is situated near CERES Community Environment Park and the residential estate. I propose to provide a pavilion which mimicks the nature, and is able to cater to the community and the wildlife along Merri Creek.

From the site plan provided, the highlighted blue area are where the main CERES community located at, which is also one of the main targetted audience. Whereas, the area which is highlighted in red is the chosen site location for the project. It was noticed that there is no spot for social activities to take place along the creek, hence making the place undesireable for gatherings and visits. 73

Site Plan of chosen location Image by Google Earth

TECHNIQUE: PROPOSAL

View of surrounding Site Image by Yun Jie (Nicki) Poh

TECHNIQUE: PROPOSAL

During the visit to the site, I have discovered that despite the pollution, there is still wildlife along the creek such as ducks and birds. Along the way, I happened to learn from a resident who stays around the estate, that the creek used to be inhabited by many wildlife, including kingfishers.

However, due to the pollution, they decided to migrate elsewhere. From this, it brings me back to my design proposal of providing a pavilion which mimicks the nature, for the wildlife, and of course the community.

View of the ducks spotted on site Image by Yun Jie (Nicki) Poh

TECHNIQUE: PROPOSAL

View of part of Merri Creek Image by Yun Jie (Nicki) Poh

TECHNIQUE: PROPOSAL

As mentioned earlier in B.1, there are three levels of biomimicry: the organism, behaviors, and the ecosystem. In respond to the demonstration of the ecosystem and the given site, trees’ anatomy is integrated into the design, such as triangles are used to make a hexagon, in representation of tree cells. Triangle is a shape that cannot be deformed without changing the length of the sides or breaking one of its joint.

With that being said, it will not only demonstrate as cells, it also behaves as the support of the entire structure. As trees are typically supported by a Y-shape trunk in order to take the weight, drawing the inspiration from there, a ‘Y’ structure is being utilized for the triangular plates to be supported, and also, to compromise to faces of the triangles.

View of typical tree cells Image by British Museum [37]

TECHNIQUE PROPOSAL

View of a typical tree Image by Free Great Pictures [38]

Part B.7: Learning Objectives and Outcomes

Part B.7

Learning Objectives and Outcomes

The turning point in the

development of my design proposal is displayed in the reverse engineering of Case Study 2.0. The diversity of iterations generated in B.4 is also an act of explorations as a kickstart for the proposal. Despite the struggle in understanding and have reasonable controls in the programs, I have adopted fundamental skills in generating a variety of design possibilities for a given situation. However, they are not enough to erect an outstanding parametric project.

The ability to make a case for proposals is not so much of a success as more in depth research has to be done, with the integration of the knowledge through critical thinking. The research of Biomimicry in Architecture shows the natureâ&#x20AC;&#x2122;s assistance to designers in relation to the environment, inspiring them to produce creative and sustainable designs. It was made known to me that good biomimicry projects do not only mimick the physical appearance, but demonstrate the system of nature through the entire design process.

After being exposed to a range of different digital tools, I am now able to identify the roles and the capabilities of each, which then allow me to narrow down my areas of application to explore on the tools that are useful to my project.

LEARNING OBJECTIVES AND OUTCOMES

Part B.8: Appendix - Algorithmic Sketches

Part B.8

Appendix - Algorithmic Sketches

The use of data tree allows me to understand that every techniques and systems used will affect a design in whole, such as it only functions through the connection of the components of the same tree. From this, I have learned that there should be a consistent flow of theme or design in the project.

The use of ‘Force Field’ allows me to understand that despite the differences in point charges, they can be combined to generate dynamic patterns. From this, I have learned that it is possible to incoroperate the negative aspects of the site into the design.

‘Graph Mapper’ is an interesting component as it varies 2D lines into 3D. The variety of graphs in this component allows me to understand that every designs should have a language of their own, and the design should explain the intention of the project.

‘Cull Pattern’ was used to remove the false items in an algorithm and aid in the integration of different shapes into the pattern, hence, contributing to the complexity of a pattern. From this, I have learnt that designs do not have to be complex or beautiful, it should be of a reasonable ratio of aesthetics to the functions of it.

APPENDIX - ALGORITHMIC SKETCHES

References

[27] - “What is Biomimicry”, 2006, Biomimicry, [accessed April 2, 2015] <http://biomimicry.org/> [28] - Victoria Lambert, “Biomimetics: taking inspiration from jobs done by nature “, Oct 24, 2014, The Telegraph [accessed 2 Apr 2015] <http://www.telegraph.co.uk/> [29] - “What is Biomimicry” 2012, Richard Lander School [accessed April 2, 2015] <http://www.richardlander.co.uk/> [30] - “biomimicry”, Design Boom [accessed April 6, 2015] <http://www.designboom.com/contemporary/biomimicry.html> [31] - Salma Ashraf El Ahmar, “Biomimicry as a Tool for Sustainable Architectural Design: Towards Morphogenetic Architecture” (master’s thesis, Alexandria University, 2011), p 22 [accessed April 6, 2015] [32] - “Tile of Spain awards”, May 11, 2009, bdonline [accessed April 11, 2015] <http://www.bdonline.co.uk/> [33] - “Canopy, Toronto”, 3rd Feb 2014, Media Architecture [accessed April 20, 2015] <http://www.mediaarchitecture.org/> [34] - Nico Saieh, “Maple Leaf Square Canopy / United Visual Artists“, October 15, 2010, Arch Daily [accessed April 20, 2015] <http://www.archdaily.com/> [35] - “Most Stable Shape - Triangle” [accessed April 28, 2015] <http://www.mathsinthecity.com/> [36] - Joyce Cooke, “Triangles in the Real World”, Schoology [accessed April 28, 2015] <https://www.schoology.com> [37] - Christina Harrison, “Handkerchief tree”, British Museum [accessed April 29, 2015] <http://www.britishmuseum.org/> [38] - “Tree 1609” [accessed April 29, 2015] <http://www.freegreatpicture.com/>

REFERENCES

PART C: DETAILED DESIGN

C.1 C.2 C.3 C.4

Design Concept

Tectonic Elements & Prototypes

86 106

Final Detail Model 110

Learning Objectives & Outcomes 126

Part C.1: Design Concept

Part C.1

Design Concept

The comments received at the

interim presentation has guided me on my next step of the project. The prototype has achieved in expressing the relationship of biomimicry through the demonstration of joints, which are promising in keeping the entire structure as a whole and solitary. Nonetheless, it was mentioned that the current focus should be more on macro before ehancing them into micro design. Despite having an idea of the how the project will be like, a form was not provided in the presentation Therefore, it is an urgent requirement to develop a form of the proposed design. My biggest takeaway from the feedbacks is to narrow down to a certain type of nature, which will allow me to strengthen the design concept and make stronger connection with the chosen research field. Hence, I will be focusing on typical tree cells and typical trunk support.

The client for this project is CERES Community Environmental Park, a nonprofitable organization. It is known as an international leader in community and environmental practice and Australiaâ&#x20AC;&#x2122;s largest delieverer of environmental. CERESâ&#x20AC;&#x2122; sustainability is displayed through buildings, education and training programs and social enterprises, such as Organic Market, CafĂŠ, Permaculture Nursery and Fair Food organics delivery. They demonstrate food security, sustainable agriculture, energy efficiencies, renewables and water conservation in action. Built on a decommissioned rubbish tip that was once a bluestone quarry, today CERES is a vibrant eco-oasis. 350,000 people visit CERES each year. [42] However, it was noticed that the people who visits Merri Creek are constantly moving, such as jogging, strolling or cycling; there is no place for them to stop and appreciate the surrounding and wildlife.

DESIGN CONCEPT

The target audiences for this project are the visitors and community of CERES, elementary schools, visitors of Merri Creek, and of course the animals along the creek. As mentioned previously in Part B.6, it was said by a resident from the estate, that the creek used to be inhabited by more species of wildlife, but most of them migrated due to the pollution. Hence, these factors bring back to my design proposal, which is to provide a pavilion that mimicks the nature, and is able to cater to CERES community and the wildlife along Merri Creek.

The intention of this is to allow the people of the community, or visitors, to take a break at the pavilion, and to restore the habitable creek. The pavilion also behaves as a ‘meeting’ point for the people and wildlife of the creek; it helps to promote on the conservation of Merri Creek of preventing pollution, which brings harm to them living organisms and to fufil CERES’ goal of ‘promote social wellbeing and connectedness’ among the community and visitors.

Animals at Merri Creek Images by Yun Jie (Nicki)

DESIGN CONCEPT

Visitors/Residents of CERES Images by Yun Jie (Nicki) Poh & CERES [43]

DESIGN CONCEPT

The proposed site is located at Merri Creek near CERES, as shown in the diagram. The chosen area is located near the junction of the creekâ&#x20AC;&#x2122;s foot path and the foot path from CERES to Merri Creek.

The surrounding views of the chosen location is the main connection of the project to the site as it will be made known to the people coming from 3 different directions. Therefore, the pavilion can be seen from the foot path along Merri Creek, the housing estate at CERES, the junction that connects CERES to Merri Creek and have a direct view and interaction to the creek.

DESIGN CONCEPT

From the photos and plans, the site appears to be rather bare and empty; there is no approriate place for social activites and potential habitats for the wildlife. The positioning of a pavilion for the two main users in this unpopulated area will not only prosper the CERES community, it will reintegrate and provide a living space for the life along the creek. CERES is also able to make use of the proposed project in enhancing the educational programs to promote the importance of conserving the nature and the consequences of pollutions.

Location and surrounding views Images by Google Earth and Yun Jie (Nicki) Poh

DESIGN CONCEPT

The Sun, Wind and Foot Path contributed largely to the chosen location at the site. The Sun path aids in maximizing the play of light and shadows and determines the orientation of the openings and the filteration of heat. The project is located at an open area to allow cross ventilation of the prevailing wind, which reduces the invasion of heat to the interior. Itâ&#x20AC;&#x2122;s location between the foot path and the creek acts as an invitation to the pavilion. The existing wetlands at CERES are seen to be fenced and no significant sign of life.

Hence, an improvised, unfenced and natural wetlands will be integrated into the design. As the chosen location has a slight gradient, the water will run down from the top, towards the creek. The soil around the area will also be loosen due to the weight of the pavilion. This would help in creating patches of wetlands for the animals and organisms to grow. Wetland is a popular place for the inhabitation of animals and organisms, therefore, this will help in increasing the population of the wildlife at the creek.

Sun, Wind and Footpath of the Site Image by Google Eath

DESIGN CONCEPT

Surrounding view and exisiting wetland Images by Yun Jie (Nicki) Poh

DESIGN CONCEPT

The 2011 Research Pavilion by ICD/ITKE explores on the architectural transfer of biological principles sea urchinâ&#x20AC;&#x2122;s plate skeleton. Prefabricated 6.5mm thin sheets of plywood panels are joined with finger joints, to form inconstant cells that are able to adapt to the curvature and discontinitues. The form finding and structural design of the project are closely interlinked.

Despite the difference in sizes, the cells are still able to support one another and adapt to the curvature of the form. [43] This brings me to my design of creating modules that are able to support one another, despite the form. In respond to my research field and given site, typical tree cells are integrated into the design.

ICD/ITKE Research Pavilion 2011 Image by UniversitĂ¤t Stuttgart [43]

DESIGN CONCEPT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

View of Microscopic cross-section of cells Image by Michael Clayton [39]

DESIGN CONCEPT

View of a typical tree Image by Free Great Pictures [38]

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

The basic structural unit of trees Trees are typically supported by a is a cell, millions of which connect Y-shape trunk in order to take the and coordinate into a harmonious weight of the structure. Drawing whole. As they are typically in the inspiration from the load hexagon shapes, hexagons are transfer of a tree, a ‘Y’ structure used to express the modules. is being utilized for the modules Triangular plates willAUTODESK be usedEDUCATIONAL to to be supported, and also, to PRODUCED BY AN PRODUCT PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCTstrength. form the hexagon modules to enhance the structure allow bending at the center for PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT flexibility. PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Design Development

DESIGN DEVELOPMENT

fsdf

Lesson Learnt:

Use of Voronoi is not very handy for fabrication as the shapes are randomized.

DESIGN DEVELOPMENT

fsdf

Lesson Learnt: Need something to manipulate the form and make it more attractive

DESIGN DEVELOPMENT

100

DESIGN DEVELOPMENT

fsdf

101

Lesson Learnt: Need to push further with the use of kangaroo physics

DESIGN DEVELOPMENT

102

DESIGN TECHNIQUE

103

DESIGN TECHNIQUE

fsdf

104

DESIGN DEVELOPMENT

RIGHT-SIDE VIEW

FRONT VIEW

105

BACK VIEW

LEFT-SIDE VIEW

FINAL DESIGN

Part C.2: Tectonic Elements & Prototypes

Part C.2

Tectonic Elements & Prototypes

107

The definition above creates

the connection between the ‘Y’ structure and triangular panels (which form a hexagon cell). In respond to the surrounding site, the material choice for the pavilion would be wood. The purpose of using this natural material is to allow the pavilion to be more approachable for the wildlife along Merri Creek and to create a rather “natural” and calm experience for the users.

As the chosen material is rather rigid, the joinery of the elements will determine the buildability of the project. Therefore, the joinery and tectonic elements of the project are explored through the making of prototypes. The first prototype mentioned in B.5 does not work for a curve surface and has minimal play of light and shadows. Hence, the second and third prototype are improvised from the first prototype.

TECTONIC ELEMENTS & PROTOTYPES

Prototype 2

Material used Number of Elements Joinery

1mm Box Board 4 Dado Joint & Slotted Elements

Hexagonal cells are connected to the ‘Y’ structure with circular slotted elements, while the ‘Y’ structure is connected to one another with Dado joint.

108

Hexagonal cells no longer sit on ‘Y’ to minimize the stress exerting on the structural frame. They are also offset to allow the connection and the play of light and shadows.

However, the connection between the ‘Y’ support is too rigid and only work best on a flat surface.

TECTONIC ELEMENTS & PROTOTYPES

Wood

Prototype 3

Material used Number of Elements Joinery

1mm Box Board 3 Slotted Elements

Wood

Making use of the scrap pieces from prototype 2, the dado joint between the ‘Y’ structure is being replaced with the same slotted element as the hexagonal cells.

As seen, the slotted elements allow the structure to reach a certain angle before deflection, but they have to be improved to achieve a wider angle than the ones designated for the hexagonal panels.

With that being said, the corners of ‘Y’ structure have to be shaved in order for the slotted elements to sit perfectly between connections.

TECTONIC ELEMENTS & PROTOTYPES

109

Part C.3: Final Detail Model

Part C.3

Final Detail Model

Material used Number of Elements Joinery

1mm Box Board 9 Tongue ‘n’ Groove & Slotted Elements

Wood

Hexagonal cells are made up with triangles to allow flexibility for bending and twisting of structure by tongue & groove joint. (Different sizes of cells will be fabricated according to the design connected by the same joinery)

Improvised ‘Y’ support with shaved corners are connected to one another with a similar but designated slotted element for the ‘Y’ structure.

The slotted element allows the structure to be placed in 3 different angles. (Different sizes of ‘Y’ structure will be fabricated according to the design connected by the same joinery)

FINAL DETAIL MODEL

111

The model is a part of the final design due to time constraints. The physical model is more detailed compared to the digital 3D model, as it is fabricated using a laser cutter and manually pieced together to show the joinery and connections of each elements.

112

FINAL DETAIL MODEL

From the observation of the modules, the voids in between the panels and â&#x20AC;&#x2DC;yâ&#x20AC;&#x2122; structure not only allow the play of light and shadow, they also allow the penetration of prevailing wind through the pavilion, hence creating a calm and soothing experience for the users.

113

FINAL DETAIL MODEL

114

FINAL DETAIL MODEL

115

FINAL DETAIL MODEL

116

FINAL DESIGN

Slotted elements between ‘Y’ supports Structure/Shell with Joinery

117 Slotted elements between ‘Y’ supports + Panels Structure/Shell with Joinery + Hexagon cells

Slotted elements between ‘Y’ supports + Panels + Slotted Elements of hexagonal cells Structure/Shell with Joinery + Hexagon cells + Joinery

FINAL DESIGN

118

FINAL DESIGN

119

Exterior view from Foot Path (Junction that connects CERES to Merri Creek)

FINAL DESIGN

120

FINAL DESIGN

121

Exterior view from Foot Path (Along Merri Creek)

FINAL DESIGN

122

FINAL DESIGN

123

Interior view of Proposed Pavilion

FINAL DESIGN

124

FINAL DESIGN

125

Interior view of Proposed Pavilion

FINAL DESIGN

Part C.4: Learning Objectives and Outcomes

Part C.4

Learning Objectives and Outcomes

The main objective of this project

is to generate a parametric design using Rhino3D and it’s plug ins on the given site, and demonstrate a clear utilisation of parametric tools and digital models of fabrication. Despite the struggle in pushing the design further with the use of digital tools and fabrication, I have developed skills in various 3D media, and specifically in computational geometry, parametric modeling, analytic diagramming and digital fabrication. However, more practices are required to erect a practical, buildable and economical parametric project. The use of digital tools helps in expanding my capabilities and provide inspirational ideas, contradictingly, it limits my design creativity at the same time. Therefore, I have discovered that each digital tools’ are only useful for their key features, and only when one has already have a rough design in mind. Hence, it is important to narrow down the areas of application which are useful for my project.

The feedbacks received at the final presentation are much valuable as it allows me to have a clearer and better understanding of my project. The prototype has achieved in demonstrating the digital tools for fabrication, joinery used for different elements and design intent of the project. However, it was commented that the final form of the pavilion is unexpectedly simple, but rational. 3D printing is also preferred in demonstrating the overall form, unfortunately, this was not achieved due to time constraints and tight in budget. Studio Air is an eye opener for architecture as it taught me in designing in a different way such as generating more complex forms. During this challenging 12 weeks, there are times where I felt discouraged and unmotivated when operating the programs and producing a “parametrically recognised design”. Nevertheless, the skills I possessed now are enriching and beneficial to my future education and work projects, and also allow me to improve as a designer.

LEARNING OBJECTIVES AND OUTCOMES

127

128

References

[39] - Anil Bawa-Cavia, “a transcript of a talk delivered at the Bartlett school of Architecture”, October 4, 2010, Urbagram [accessed March 7, 2015] <http://www.urbagram.net/> [40] - Magdalena Wasiczek, “Macro Photography”, Xaxor [accessed March 7, 2015] <http://xaxor.com/> [41] - “Primefact 541: About Wood”, May, 2008, NSW DPI [accessed May 11, 2015] <http://www.dpi.nsw.gov.au/> [42] - “About CERES”, CERES [accessed May 10, 2015] <http://www.ceres.org.au> [43] - “ICD/ITKE Research Pavilion 2011”, Universität Stuttgart [accessed June 14, 2015] <http://icd.uni-stuttgart.de/>

129

REFERENCES