STUDIO AIR 2015, SEMESTER 1, BRAD PUI YEE CHEW
Table of Contents 1.0 Introduction 2.0 Design Futuring 2.1 Sagrada Familia in Spain 2.2 Digital Cloud Skyscraper in Singapore 2.3 Project Eco Link in Hong Kong 3.0 Design Computation 3.1 Swiss Re 3.2 ICD/ITKE Research Pavilion 2011 4.0 Composition/ Generation 4.1 Subdivided Columns 4.2 Beijing National Aquatics Centre 5.0 Conclusion 6.0 Learning Outcomes 7.0 Bibliography
INTRODUCTION
Computational Design
About Me Pui Yee Chew. From Malaysia. Third Year Bachelor of Environments (majoring in architecture) in University of Melbourne. From the age of 9, I started following my father to the construction sites. Feeling excited when looking around and exploring all the interesting things at the construction sites. Father is a builder. Thus, he taught me how to mix cement, how to lay bricks, how to saw timber etc. This is how my passion in architecture started.
I adopt simplicity as my philosophy in architecture. I like to explore the form of buildings and its spatial arrangement. Like most of the modern architects, I believe form follows function. Decoration is minimal. Good architecture allows us to live/work in a comfortable environment, making our life better. It is interesting to see how human and architecture interacts. Like Winston Churchill once said, “We shape our buildings; thereafter they shape us.�
The emergence of technology has shifted towards digital. Knowing that computational design is an essential skill in architecture, I have learnt a few programmes in my first year. I have learnt Rhinoceros in the subject Virtual Environment, using it for modelling and fabrication. I have also learnt Illustrator, Indesign and AutoCad in the subject Visual Communication. Also I have taken the initiative to self-learn Photoshop, SketchUp and Revit. With the lack of knowledge in these programme, I always got frustrated when I could not get the product of what I want. It constrained my design outcome. Thus, my aim for this year is to brush up my computational skill. I believe that Studio Air provides a great opportunity in developing computational skill.
Rhino
Illustrator Indesign
AutoCAD Photoshop SketchUp
Revit Grasshopper
FIG.1: MY KNOWLEDGE IN PROGRAMMING SKILL
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DESIGN FUTURING Design for sustainability
Architecture: a kind of problem solving The definition of architecture is controversial. Many people claimed that architecture is an art piece. However, I believe architecture is not just about aesthetic and not just about appearance and style. Instead, architectural design should be functional and critical. Critical architectural design uses critical theory as an approach to design.[1] “We are more interested in critical thinking, that is, not taking things for granted, being sceptical, and always questioning what is given. Designers start by identifying shortcomings in the thing they are redesigning and offer a better version.”[2] Thus, design should help us in solving our problems in life. Architecture, the design of space, is to allow people live/ work comfortably. The space is designed to suit our life.
“It is hard to say that what today’s dreams are; it seems they have been downgraded to hopes-hope that we will not allow ourselves to become extinct.”[3]
The problem of today’s world: environment The persistence of the global environment is highlighted for the recent years. Many people have realised on the environmental issues as there are many alarming signs of the unsustainability such as global warming, speeding climate change, rise of the sea level etc. Population growth is continuing. However, the resources are not able to sustain. Likewise, the planet’s renewable resources are being used up at a rate 25 percent faster than they can be renewed.[4]
We certainly need to think about how to sustain the world with the scarce resources. If we ignore this problem, our future will be at risk. There are two elements: design intelligence and technology that can help us in moving the world towards sustainability.
a) Design intelligence Design intelligence is important in realising the qualities of form and content of the designed environment.[5] This is a sense that helps us in judging about actions that increase or decrease the sustainability.[6] With the design intelligence, architects would not sacrifice sustainability for the sake of aesthetics. Architects, as involved in part of the action, have the responsibilities in creating the buildings that have no harm to our environment.
However, in today’s world, green buildings are the new trend. For example, we can see that few modern buildings in University of Melbourne campus such as The Spot, Alan Gilbert and MSD are environmental friendly. This is because the society has realised the importance of sustainability. Thus, when designing a space, we should not only look at the behavioural and social science, but also the environmental aspect.
b) Technology
“The mother art is architecture. Without an architecture of our own we have no soul of our own civilization. – Frank Lloyd Wright”
[1] ANTHONY DUNNE & FIONA RABY, SPECULATIVE EVERYTHING: DESIGN FICTION, AND SOCIAL DREAMING (MIT PRESS, 2004), P. 34.
[5] IBID., P. 12.
[2] IBID., P. 35.
[7] IBID., P. 14.
[4] TONY FRY, DESIGN FUTURING: SUSTAINABILITY, ETHICS AND NEW PRACTICE (OXFORD: BERG, 2008), P. 4.
Architecture reflects the culture of the society: A change in culture During 1980s, building is designed to generate wealth and to provide a layer of designer gloss to every aspect of our daily lives.[8] This capitalism has driven the overuse of resources.
With the advent of technology, many works are becoming easier. As such, the rapid prototyping in industrial design, rendering programmes in architecture, photographic retouching programs in graphic design and fashion to the full-blown design ‘democratic software’.[7] They are able to show us the details of the architecture and how the architecture affects nature. Also, with the technology like pre-fabrication, resources are fully utilized.
[3] IBID., P. 1.
“Architecture is an expression of values. – Norman Foster”
[6] IBID., P. 12. [8] DUNNE & RABY, P. 8.
The first precedent focuses on the design process takes many factors like material, structure system into consideration. The second and third precedent look at two examples of sustainable architecture, how these architecture are designed for sustainability.
The reason why the columns are designed like that is because to supporting the load of building as mentioned earlier. The branches connect with the ceiling at several points, allowing the load transferred down to the columns. Apart from that, it is to suit the interior surface that is rich in ornamentation of abstract shapes. It is believed that these columns are inspired by nature. “All forms are developed from the transformation of basic geometric shapes without discontinuities, as Gaudi found in nature.”[1]
SAGRADA FAMILIA IN SPAIN
Vault-and-pillar system Interior
These columns are the result of Gaudi’s research -- the vault-and pillar system. “It is a knotted rope construction in which the columns correspond to the ropes. He turned the construction of the pressure points and hung small weights to stimulate pressure gradients in the columns.”[2]
The interior’s columns designed by Gaudi look like trees and branches. The branching helps supporting the load of the building. The columns are formed by different geometric shapes. As evidence, one column starts from a square base evolving into octagon, 16 sided form and then ended up with a circle on top. The interval of the transformation gets proportional shorter as going up to the column.
Material
FIG.: THE INTERIOR OF SAGRADA FAMILIA (SOURCE: HTTP://WWW.ROVENKO.COM/2011/10/27/ INTERIOR-OF-THE-SAGRADA-FAMILIA-BARCELONA/)
These columns are made up by different materials. The longest and thickest columns are formed by red porphyry (a kind of hard volcanic rock). Smaller ones are made up of basalt, granite whereas others are made up by the soft rock from the mountain of Barcelona.
Influence Richard Rogers’s split columns and Estudio Lamela’s Terminal 4 at Barajas Airport in Madrid are under the influence of this design.
FIG.: THE EXTERIOR OF SAGRADA FAMILIA (SOURCE: WWW.TRIPANDRATE.COM)
The Sagrada Familia located in Spain is designed by Antonio Gaudi. The construction begins at 1882 and the construction is ongoing now. The Sagrada Familia combines Gothic style and curlinear Art Nouveau. There are a total of 8 spires and 3 facades. They are decorated with the sculptures of traditional symbols.
FIG.: THE INTERIOR OF SAGRADA FAMILIA (SOURCE: HTTP://WWW.ARCHITECTURAL-REVIEW. COM/GAUDIS-SACRED-MONSTER-SAGRADA-FAMILIABARCELONA-CATALONIA/8633438.ARTICLE)
REFERENCE [1] DAVID COHN, GAUDI’S SACRED MONSTER:SANGRADA FAMILIA, BARCELONA, CATALONIA (2012) <HTTP://WWW.ARCHITECTURALREVIEW.COM/GAUDIS-SACRED-MONSTER-SAGRADA-FAMILIA-BARCELONA-CATALONIA/8633438.ARTICLE> [ACCESSED 18 MARCH 2015] [2] BARCELONA.DE, THE INTERIOR OF THE SAGRADA FAMILIA <HTTP://BARCELONA.DE/EN/ BARCELONA-SAGRADA-FAMILIA-INTERIOR.HTML> [ACCESSED 19 MARCH 2015] 8
DIGITAL CLOUD SKYSCRAPERS IN SINGAPORE
The digital cloud skyscraper by Kay Ngee Tan was a pavilion design for World Expo 2010. The design has a theme: “My Dream, Our Vision” to bring in the Singapore culture: efficient, dynamic, progressive, and futuristic.
The users will first enter a dark underground space with services in the city as background noise (signifies the city), then this space will lead them to the bright digital cloud where the users can post their dreams.
This design uses a total of 3866 blocks to form a sculpture. More blocks are arranged differently and most of the blocks are accumulated at the upper part to give a feeling that these blocks are floating like clouds.
This design promotes the spirit of transforming life. It captures the culture of Singapore trying to promote. FIG. 4: IT IS LOCATED AT THE SLOPE TO ALLOW THE VISITORS TO HAVE A FULL VIEW OF SITE.
FIG.3: THE TRANSPARENCY LEVEL OF EACH CUBE IS DIFFERENT. IT MAKES USE OF NATURAL LIGHT.
REFERENCE FIG.2 DIGITAL CLOUD SKYSCRAPERS
[1] DESIGN FOR TOMORROW, SINGAPORE’S STUNNING DIGITAL CLOUD SKYSCRAPER (2009) < HTTP://WWW.DESIGNINGFORTOMORROW. ORG/PROJECTS/VIEW/SINGAPORES-STUNNING-DIGITAL-CLOUD-SKYSCRAPER> [ACCESSED 11 MARCH 2015]. [2] SHARN, SINGAPORE’S STUNNING DIGITAL CLOUD SKYSCRAPER (2009) <HTTP:// INHABITAT.COM/?P=22155> [ACCESSED 11 MARCH 2015].
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PROJECT ECO LINK IN HONG KONG Functional It allows people to reach the other side of river easier as it joins distant destinations with rail and wheeled conveyances.
FIG.6: PROJECT ECO LINK IN DIFFERENT PERSPECTIVE
FIG.7 & 8: PROJECT ECO LINK MAKES USE OF NATURAL LIGHT IN ITS DESIGN TO CREATE SHADOWS
FIG.5: PROJECT ECO LINK
Project Eco Link by Junkai Jian and Jinqi Huang is a passenger terminal building sited on a river side (Liantang/Heung Yuan Wai Boundary Control Point). The design form is asymmetrical and organic. The design connects both sides of the river with the use of spatial elements like nodes, branches and collective spaces. Apart from that, design also focuses circulation, viewpoints and accessibility.
Sustainability? REFERENCE
The crisscross form allows natural light enter to the building. It has solar panel roofing for power consumption (create zero carbon environment), rainwater harvesting for irrigation and a self-sustain green landscaping system.
[1] ECOFRIEND, PROJECT ECO LINK: THE NEXT GENERATION ITERATION OF NATURAL AND SUSTAINABLE ARCHITECTURE (2011) <HTTP://WWW.ECOFRIEND.COM/PROJECT-ECO-LINK-THE-NEXT-GENERATIONITERATION-OF-NATURAL-AND-SUSTAINABLE-ARCHITECTURE.HTML> [ACCESSED 10 MARCH 2015]. [2] AMELIA ROBLIN, THE PROJECT ECO LINK BUILDING BRIDGES CITY AND NATURE (2011) <HTTP:// WWW.TRENDHUNTER.COM/TRENDS/PROJECT-ECO-LINK> [ACCESSED 10 MARCH 2015]. [3] WORLD ARCHITECTURE COMMUNITY, ECO LINK – INTERNATIONAL DESIGN IDEAS
COMPETITION FOR LIANTANG/HEUNG YUAN WAI BOUNDARY CONTROL POINT PASSENGER TERMINAL (2011) <HTTP://WWW.WORLDARCHITECTURE.ORG/WORLD-BUILDINGS/MPHH/
ECO-LINK-INTERNATIONAL-DESIGN-IDEAS-COMPETITION-FOR-LIANTANGHEUNG-YUAN-WAIBOUNDARY-CONTROL-POINT-PA-BUILDING-PAGE.HTML> [ACCESSED 10 MARCH 2015].
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DESIGN COMPUTATION
Computer is not just a tool in communicating ideas. Many people will think that computation comes after architects identify issues of the site, research and come out with idea (or solution). Computation is to communicate the ideas in mind, and then document it and fabricate the design. The former is actually computerization. In this new era, computer is used during the design process. This means that it provides assistance designing. As such, architects can insert the parameters found from the site into computer and the computer programme can help generate a range of solutions. These solutions can then be modified after the architects judge the solutions. Thus, there are generally two forms of design process: come out with design ideas and then computation and use computation to come out with design ideas.
[9] RIVKA OXMAN AND ROBERT OXMAN, THEORIES OF THE DIGITAL IN ARCHITECTURE (LONDON, NEW YORK: ROUTLEDGE), P. 3. [10] IBID., P. 3. [11] IBID., P. 7. [12] IBID., P. 4.
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There are many benefits of using computers in the architecture design process. Firstly, architects are able to use their algorithmic thinking to understand parameters of the site and materials.[9] With inserting these constrains (site and materials), computer is able to generate a range of solutions.[10] This can stimulate the creativity of the designers. As computer can generate different forms of solutions, we saw a shift in the design style, from imaginable and achievable geometries into a more organic form of design. Also, with computers, architects are able to see the 3-dimensional form of the design. As our brain may not be able to imagine the form of the design, computer can assist us in this way. Apart from that, manufacturing process is easier now as the presence of digital fabrication[11]. Every parts that are produced with the use of computer would be more accurate and less time consuming. The material used can be minimised and cause less wastage. Not forgot to mention, the dimension would be very accurate if we communicate our design in computer. Last but not least, we can know the workability of the design. We can know the performance of the design before we construct the design.[12]
Change in design process
Architecture in the near future
Other than the advantages mentioned earlier, computation has changed the design process. People involving in the architecture (not only architects, but also engineer, builder) are brought together at the design phase to work out how to design/construct the architecture. The design outcomes then are more integrated compared to the ‘normal’ design process. Before this, architects design the architecture and the engineers only come in during the construction phase. In that case, engineer and designer need to reach a compromise before building the architecture.
With computation,
The integrated design process is important because the decision-making process is non-linear. It involves many elements and complex relationship between the elements. Not forgot to say that some of the elements are variable. Everything is co-related.
“The dominant mode of utilizing computers in architecture today is that of computerization; entities or processes that are already conceptualised in the designer’s mind are entered, manipulated, or stored on a computer system. In contrast, computation or computing, as a computer-based design tool, is generally limited.
The symbiotic relationship between computer and architects The relationship between computer and architects is described with the word symbiotic.[13] This is because computer is good in rational and analysis. But it cannot feel and lack of creativity. Human can feel the site, is able to identify the problems and is creative. Thus, computer and architects should work together.
[13] YEHUDA KALAY, ARCHITECTURE’S NEW MEDIA: PRINCIPLES, THEORIES, AND METHODS OF COMPUTER-AIDED DESIGN (CAMBRIDGE, MA: MIT PRESS, 2004), P. 3.
1. We will have more complex form of architecture. 2. We will have more pre-fabricated buidings. 3. The possibility to have green buildings is higher as we can have the performance test of the buildings.
–Terzidis, Kostas (2006), Algorithmic Architecture (Boston, MA: Elsevier), p. xi.
Precedents The two precedents focus on the benefits of computational design. At the same time, the approaches architects used is studied.
FIG.12: THE DESIGN OF THE CEILING (SOURCE: HTTP://WWW.FLICKR.COM/PHOTOS/770/2111972360/)
SWISS REINSURANCE COMPANY IN LONDON FIG.11: MODEL OF AIR CURRENTS FLOWING AROUND THE GHERKIN (SOURCE: HTTP://PLUS.MATHS.ORG)
FIG.9: THE DESIGN OF SWISS REINSURANCE COMPANY IN LONDON FIG 10: MAIN ENTRANCE OF SWISS RE (SOURCE: HTTP://MING3D.COM/DAAP/ARCH794SU2011/?P=85)
Form
Structure
With the use of computer tool, the architects got a range of design solutions: curved shaped buildings. The building is narrowing at the bottom so that it doesnâ&#x20AC;&#x2122;t take more space at the ground level and that allows the passengers can still walk around the building. Computer also can help the architects in testing with the wind digitally.
Like all other skyscrapers, it has a steel framework structure. Walls are suspended.
Although this building has a curved shape, however, but the glass used is flat (only the cap at the top is curved). Computer is also used in the fabrication. It transforms the building into individual flat pieces of glass.
Sun Apart from that, parametric tool is also used to experiment the curvature of the building. This is to ensure the building got right amount of sunlight entering the building. As a result, the building is just like a bullet, has a big circumference at the centre and got narrow down to the top and bottom of the building. With this approach, more light can be penetrated to the offices in the middle part of the building. FIG 13: THE WINDOW FACADE SHOWING THE FLAT WINDOW (SOURCE: HTTP://WWW.FLICKR.COM/PHOTOS/770/2111972360/)
Swiss Re, is also named as Gherkin, is located at the financial district of London. This building is designed by Foster and Partners. It has 40 floors and 180 meters high.
Problems of the site There are many old low rise buildings surrounded Gherkin.
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So while designing this building, the architects need to consider how this building can fit into the limited land, and also avoild passengers be affected on the sidewalk. The other concern the architects have is the existence of turbulence at ground level if architects adopt the normal rectangular shape. These two issues are the parameters of the design brief.
Material
REFERENCE [1] MOLLY WIMMEL, PARAMETRIC THINKING AND NON-LINEAR DESIGN (2011) <HTTP:// MING3D.COM/DAAP/ARCH794SU2011/?P=85> [ACCESSED 10 MARCH 2015]. [2] GIUSEPPE DOMINIJANNI, NORMAN FOSTER, GHERKIN (2008) <HTTPS://WWW. YOUTUBE.COM/WATCH?V=UZKD31GX5WO> [ACCESSED 10 MARCH 2015].
FIG 16-19: FABRICATION PROCESS (SOURCE: HTTP://VISUALL.NET/2012/05/22/ICDITKE-RESEARCH-PAVILION-2011/)
The morphology of sand dollar The basic principles of sand dollar were realized before design came about. The skeletal shell of the sand dollar is the modular system. These modules are connected with the finger-like calcite protrusions.
ICD/ITKE RESEARCH PAVILION
Testing performance
FIG 15: THE INTERIOR OF THE PAVILION (SOURCE: HTTP://VISUALL.NET/2012/05/22/ICDITKE-RESEARCH-PAVILION-2011/)
Computer is also used in testing the performance of the design especially the spatial and structural material-system. This design has proven that it is a strong structure that can withstand high bearing load. This is because the idea of three plate edges meet at one point trans misses the shear forces at the rigid joints (no moments). Due to the material used (very thin and lightweight), it is needed to anchor to the ground to resist wind loads. Before construction, the joints were tested.
Fabrication For the fabrication, computer modelling tool allows the adaptability of the plate components and the fabricated finger joints. We are able to know how these plates are connected with the finger joints. These plates are prefabricated before construction. All the digital information is computer numeric machine controlled. This project has fabricated 850 plates of different sizes and 100000 joints. Then all these modules/elements were jointed together.
FIG 14: THE SITE OF THE PAVILION LOCATED (SOURCE: HTTP://VISUALL.NET/2012/05/22/ ICDITKE-RESEARCH-PAVILION-2011/)
Institute for Computational Design (ICD) and the Institute of Building Structures and Structural Design (ITKE) have done many parametric design and fabrication. One of the famous examples is the Pavilion 2010.
How design came about?
sea urchinâ&#x20AC;&#x2122;s plate skeleton. The presence of computer-based design has allowed the architects to transform the principles of sea urchin to different types of geometries. Also, the study of material (in this case, 6.5mm of plywood) generates the parameter for design in computational design process. FIG 20 & 21: USING COMPUTATION IN DESIGN PROCESS (SOURCE: HTTP://VISUALL.NET/2012/05/22/ICDITKE-RESEARCH-PAVILION-2011/)
In 2011, they came out with a pavilion with the biomimicry of REFERENCE [1] MOLLY WIMMEL, PARAMETRIC THINKING AND NON-LINEAR DESIGN (2011) <HTTP:// MING3D.COM/DAAP/ARCH794SU2011/?P=85> [ACCESSED 10 MARCH 2015].
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COMPOSITION/GENERATION “ 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”[19] The emergence of computation has led to a shift in architecture practice. Many of the architecture firms not only use computer to express the imagination of the architects but also use in the design process. Computation helps us to sort the complex information and interactions of the elements and thus generate solutions. This is refered to generation.
Why do computation? Today’s world issue, sustainability, is a complex issue. Sustainability is not just dealing with nature, but also human interaction with nature, social influence time and so on. Computation can increase our capacity to solve these complex problems.
Benefits 1. Generation approach allows us to generate complexity. 2. The interconnected relationship of the elements (nature, human) is well studied and analysed. Thus, more relevant to the site and it produces more integrated design.
Shift in architecture practice 1: All sorts of computation programme are developed
Shift in architecture practice 3: Architecture literature shapes future thinking
Due to the increasing importance of computation, computation programme has been developing from initial “Sketchpad” in the early 1960s to Grasshopper/ Revit computer programme. The scripting languages are then become important. Architects need to understand the scripting language and use it to write algorithm.
Many of the architects introduce computational design through architecture (physical form) and architecture literature. This architecture literature talks about the advantages of using the computational design, encouraging the society moving towards this practice.
Short comings
Generation-Good or Bad?
2. Architects might impose unnecessary constraints on the design process so that the outcome looks novel to them. This might leads to redundant forms.
Shift in architecture practice 2: Architecture firm structure has changed The term ‘computational designer’ is used in today’s architecture firm. There are 4 ways of how computational designer is integrated with design process: internal specialist, external specialist consultancy, computationally aware and integrated practice, and the lone software developer/designer. [14] Internal specialist is the most common approach among all whereby the computational designers work separately with the design team.[15] Other than this, computational designer can be hired as consultant for architecture firms. [16] The third approach is that computation is fully integrated with design.[17] The last approach, which I believed will be the future trend, is hybrid software engineers/architects.[18] This is because importance of computational design is growing.
“Generative systems offer a methodology and philosophy that view the world in terms of dynamic processes and their outcomes. It offers a paradigm shift for the process of design and the expression of that process. Conceptualisation shifts from primacy of objects to envisaging interacting components which in turn generate new artefacts”[20] By studying the interrelated elements and developing the algorithm, we generate and explore architectural spaces and concepts.
1. The use of generation approach does not preclude the architect’s recognizable style. Thus, every building is unique in a way that they are formed by different parameters of the design brief. However, they look similar as they all formed by the adoption of complexity.[21]
Process Generative design process always starts with idea. The abstraction of idea forms the algorithm. These parameters form source code and thus generate output. Architects therefore hold the role of judging the output and make modifications.
Precedents The two precedents focus on the approaches architects used.
[14] BARDY PETERS, ‘COMPUTATION WORKS: THE BUILDING OF ALGORITHMIC THOUGHT’, ARCHITECTURE DESIGN, 83 (2013), 2 (P. 4).
[19] BARDY PETERS, ‘COMPUTATION WORKS: THE BUILDING OF ALGORITHMIC THOUGHT’, ARCHITECTURE DESIGN, 83 (2013), 2 (P. 12).
[15] IBID., P. 4.
[20] JON MCCORMACK, ALAN DORIN, TROY INNOCENT, ‘GENERATIVE DESIGN: A PARADIGM FOR DESIGN RESEARCH’, PROCEEDINGS OF FUTUREGROUND, 2004 < HTTP://CITESEERX.IST.PSU.EDU/VIEWDOC/ DOWNLOAD?DOI=10.1.1.146.3398&REP=REP1&TYPE=PDF> [ACCESSED 16 MARCH 2015] (P. 1).
[16] IBID., P. 4. [17] IBID., P. 4. [18] IBID., P.4. 20
[21] ABID., P. 7.
FIG 24: DIVIDE INTO SMALLER SURFACE (SOURCE: HTTP://WWW. MICHAEL-HANSMEYER.COM/ PROJECTS/COLUMNS_VIDEO. HTML?SCREENSIZE=1&COLOR=1)
SUBDIVIDED COLUMNS BY MICHAEL HANSMEYER FIG 25: DIVIDE INTO SMALLER SURFACE (SOURCE: HTTP://WWW. MICHAEL-HANSMEYER.COM/ PROJECTS/COLUMNS_VIDEO. HTML?SCREENSIZE=1&COLOR=1)
FIG 26: SUBDIVISION WITH DIFFERENT DIVISION RATIOS (SOURCE: HTTP://WWW. MICHAEL-HANSMEYER.COM/ PROJECTS/COLUMNS_VIDEO. HTML?SCREENSIZE=1&COLOR=1) FIG 23: THE FORM OF COLUMNS (SOURCE: HTTP://WWW. MICHAEL-HANSMEYER.COM/ PROJECTS/COLUMNS_INFO. HTML?SCREENSIZE=1&COLOR=1)
This is generative approach, different from just designing the column. With the information of proportions of column, fluting and entasis, the parameters are found. Then these parameters generate the form of the columns. Subdivision process generate from overall until the very detail part of the column.
Result/Outcome and then fabrication The columns formed have high complexity and very detailed. They do not have a single motif in common. They are different. These columns were fabricated by using 1mm cardboard. They are then undergo lasercutting and stacked together.
FIG 24: THE DETAILS (SOURCE: HTTP://WWW. MICHAEL-HANSMEYER.COM/ PROJECTS/COLUMNS_INFO. HTML?SCREENSIZE=1&COLOR=1)
An abstracted doric column, which contains topographical and topological information, acts as the input of subdivision processes. Before subdivision, these columns have data of proportions of the column’s shaft, capital, supplemental base, fluting and entasis.
Subdivision defines the column order with ornament, generating the form that we saw now. This allows us to differentiate the individual components. REFERENCE [1] MICHAEL HANSMEYER, SUBDIVIDED COLUMNS (2010) <HTTP://WWW.MICHAEL-HANSMEYER. COM/PROJECTS/COLUMNS_INFO.HTML?SCREENSIZE=1&COLOR=1> [ACCESSED 16 MARCH 2015]. [2] MICHAEL HANSMEYER, SUBDIVIDED COLUMNS (2010) <HTTP://WWW.MICHAEL-HANSMEYER. COM/PROJECTS/COLUMNS_VIDEO.HTML?SCREENSIZE=1&COLOR=1> [ACCESSED 16 MARCH 2015].
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Structural It is a combination of architecture and technology. A total of 3065 bubble-like cushions of all sizes are used. They are hold with the external structural framework, forming roof, ceiling and walls. The internal steel frame is based on geometry of biological cells. Polyhedrons if arranging in recurring pattern can create space (Weaire-Phelan structure)
BEIJING NATIONAL AQUATICS CENTRE IN CHINA
Material used The material used in the façade is Ethyl tetrofluroethylene (ETFE). This material contains only 1% of glass. It is a very good thermal insulator and it puts off fire immediately when fire is approaching. (1) Material used help in passive design As the material used (ETFE) is a very good thermal insulator, part of the solar energy is trapped inside the architecture for heating. During the day, sunlight enters the architecture to light up the space. With that, it can save up to 55% of the energy load. ETFE is in blue to reflect sunlight. At night, it is like LED-lit bubbles. (2) Performance based Material encounters problem because ETFE is a bad sound insulation. Several tests is undergo to reduce the acoustic impact.
Elements related to environment
FIG 22: THE EXTERIOR OF BEIJING NATIONAL AQUATICS CENTRE
1. Water recycling system: the wastewater pass through two-stage filtration system before returning it back to the swimming pools.
2. Thermal insulation system: vent regulates indoor temperature of the building through heat exchange. During winter, the vent is sealed off.
Construction A total of 22000 stainless steel and 12000 spherical steel nodes are prefabricated and then bolted together onsite.
Design approach Generation approach was used on the building’s design, engineering and construction. Arup used MicroStation, MicroStation TriForma, Bentley Structural and Bentley’s generative design technology in designing the building. Unlike parametric design that generates multiple outcomes for architects to decide which the best is, National Aquatics Center uses complementary approach. Architects use computation to look for the structural solutions. They are formed by the genetic algorithm. “Arup wrote parametric software that automated the drawing and analysis process. Based on specified design constraints and less than 190 loading scenarios, the algorithm iteratively checked the distribution of forces through the entire structure based on specific member sizes, allowing the team to test different design configurations and receive feedback within 25 minutes. The result was a spectacular building with a sophisticated structure that is optimized in terms of material weight-to-strength ratio, and it was achieved with relative ease.” Steel members and connecting nodes are analysed in terms of their configurations.
(SOURCE: HTTP://WWW.DAILYMAIL.CO.UK/NEWS/ARTICLE-2183785/BEIJINGS-AQUATIC-CENTRE-THE-CUBE-TRANSFORMEDMULTI-COLOURED-WATER-WORLD-HIGH-SPEED-RIDES-FLOATING-JELLYFISH.HTML)
National Aquatics Center was built in 2003 for the Olympics 2008. Its construction finished in 2008. It is located at the Landscape Avenue in Olympic Green, next to the Bird’s Nest National Stadium.
Design concept National Aquatics Center has a soap bubblelike structure. China’s tradition conceptualised Earth as square and Heaven as round. Its shape has allowed it to work in harmony with Bird’s Nest by Swiss architectural team, providing a visual of ‘yin and yang’. FIG 22: THE INTERIOR OF BEIJING NATIONAL AQUATICS CENTRE (SOURCE: HTTP://WWW.DAILYMAIL.CO.UK/NEWS/ARTICLE-2183785/BEIJINGS-AQUATIC-CENTRE-THE-CUBETRANSFORMED-MULTI-COLOURED-WATER-WORLD-HIGH-SPEED-RIDES-FLOATING-JELLYFISH.HTML) 24
REFERENCE [1] ARUP, NATIONAL AQUATICS CENTER (WATER CUBE) (2013/2014) <HTTP://WWW.ARUP.COM/ PROJECTS/CHINESE_NATIONAL_AQUATICS_CENTER.ASPX> [ACCESSED 14 MARCH 2015]. [2] TRAVEL CHINA GUIDE, NATIONAL AQUATICS CENTER (WATER CUBE) (2015) <HTTP://WWW. TRAVELCHINAGUIDE.COM/ATTRACTION/BEIJING/WATER-CUBE.HTM> [ACCESSED 14 MARCH 2015]. [3] DESIGN BUILD NETWORK MARKET, WATER CUBE - NATIONAL AQUATICS CENTRE, CHINA (N.D.) <HTTP://WWW.DESIGNBUILD-NETWORK.COM/PROJECTS/WATERCUBE/> [ACCESSED 14 MARCH 2015]. [4] ANGUS W. STOCKING, GENERATIVE DESIGN IS CHANGING THE FACE OF ARCHITECTURE (2009) <HTTP://WWW.CADALYST.COM/CAD/BUILDING-DESIGN/GENERATIVE-DESIGNIS-CHANGING-FACE-ARCHITECTURE-12948> [ACCESSED 14 MARCH 2015].
LEARNING OUTCOMES
CONCLUSION
Computation is the leading trend in architecture practice. The use of digital tool in architecture brings many benefits to us. Generative approach is very useful as the outcome of designing is formed by a set of data (algorithmic) which is developed from the constraints in the site, material and so on. Generative approach focuses on the interconnected relationship between these elements (constraints) and the powerful computer programming is able to analyse and produce us a range of solutions in a short period of time. This certainly led us to a more efficient way of designing. Apart from that, generative approach widens our possibilities in design outcomes. It is interesting to see many approaches for computational design. What I am very sure of doing is incorporate the factors in designing. In design futuring, i have mentioned some of the designs in the past developed from the political/social influence. I would like to focus on the inter-connected relationship of the elements (like site, material and so on), taking them into consideration while designing the architecture.
26
The benefits talked about in the precedents Swiss Re in London and Pavilion 2011 has reinforced my idea of using computation in looking at the complexity of the relationship of the elements. Swiss Re in London is specifically uses parametric design in solving the wind issue whereas Pavilion 2011 is looking at bio mimicry and then develop the algorithms. Beijing National Aquatics Centre uses the same approach too. I am more interested in this kind of approach in which we look at natural form or problem of the site and then develop the algorithm from there. I am also interested in exploring more on the material performance. It is interesting to see how Beijing National Aquatics Centre brings in the use of plastic-like material into design; making use of the opportunities that material brought us. This plastic-like material is very useful in the thermal insulation and energy saving system.
It is really a new insight into architecture practice. By studying the precedents, I know that the computation provides us new possibilities of design outcomes. I learnt about many benefits of different aspects such as parametric designing, digital fabrication, performance testing and so on. Before this, I was always wondering about is computation a kind of design process? Do architects really design when computer programme generate the form of architecture from the algorithms? I soon realised that the role of architects in the future designing will not be the same as the past. Architects develop the algorithms and justify on the design outcome. Not to say that architects do not design. It is just that architects are using computer programme as tool in designing (problem solving too).
The invent of technology has provided us many new opportunities. Since the use of computer gives us many new opportunities (that s digital fabrication, parametric design) in designing architecture, we should fully utilize it. Architects and computer have symbiotic relationship, we complement each other.
Bibliography Arup, National Aquatics Center (Water Cube) (2013/2014) <http://www.arup.com/Projects/ Chinese_National_Aquatics_Center.aspx> [accessed 14 March 2015]. Cohn, David, Gaudi’s Sacred Monster:Sangrada Familia, Barcelona, Catalonia (2012) <http://www.architectural-review. com/gaudis-sacred-monster-sagrada-familia-barcelona-catalonia/8633438.article> [accessed 18 march 2015]. Design Build Network Market, Water Cube - National Aquatics Centre, China (N.D.) <http://www. designbuild-network.com/projects/watercube/> [accessed 14 March 2015]. Design for Tomorrow, Singapore’s Stunning Digital Cloud Skyscraper (2009) < http://www.designingfortomorrow. org/projects/view/singapores-stunning-digital-cloud-skyscraper> [accessed 11 March 2015]. Dominijanni, Giuseppe, Norman Foster, Gherkin (2008) <https://www.youtube.com/watch?v=uZKd31Gx5wo> [accessed 10 March 2015]. Dunne, Anthony & Raby, Fiona, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2004). Ecofriend, Project Eco Link: The Next Generation Iteration of Natural and Sustainable Architecture (2011) <http://www.ecofriend. com/project-eco-link-the-next-generation-iteration-of-natural-and-sustainable-architecture.html> [accessed 10 March 2015]. Fry, Tony, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008). Hansmeyer, Michael, Subdivided Columns (2010) <http://www.michael-hansmeyer.com/projects/ columns_info.html?screenSize=1&color=1> [accessed 16 March 2015]. Hansmeyer, Michael, Subdivided Columns (2010) <http://www.michael-hansmeyer.com/projects/ columns_video.html?screenSize=1&color=1> [accessed 16 March 2015]. Kalay, Yehuda, Architecture’s New Media: Principles, Theories, and Methods of Computer-aided Design (Cambridge, MA: MIT Press, 2004). Mccormack, Jon, Dorin, Alan & Innocent, Troy, ‘Generative Design: A Paradigm for Design Research’, Proceedings of Futureground, 2004 < http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.146.3398&rep=rep1&type=pdf> [accessed 16 March 2015]. Oxman, Rivka & Oxman, Robert, Theories of The Digital in Architecture (London, New york: Routledge). Peters Bardy, ‘Computation Works: the Building of Algorithmic Thought’, Architecture Design, 83 (2013), 2. Roblin, Amelia, The Project Eco Link Building Bridges City and Nature (2011) <http://www. trendhunter.com/trends/project-eco-link> [accessed 10 March 2015]. Sharn, Singapore’s Stunning Digital Cloud Skyscraper (2009) <http://inhabitat.com/?p=22155> [accessed 11 March 2015]. Stocking, Angus W., Generative Design is Changing the Face of Architecture (2009) <http://www.cadalyst.com/cad/ building-design/generative-design-is-changing-face-architecture-12948> [accessed 14 march 2015]. Travel China Guide, National Aquatics Center (Water Cube) (2015) <http://www.travelchinaguide. com/attraction/beijing/water-cube.htm> [accessed 14 March 2015]. Wimmel Molly, Parametric Thinking and Non-linear Design (2011) <http://ming3d.com/DAAP/ARCH794su2011/?p=85> [accessed 10 March 2015]. Barcelona.de, The Interior of The Sagrada Familia <http://barcelona.de/en/barcelona-sagrada-familia-interior.html> [accessed 19 march 2015]. World Architecture Community, Eco Link – International Design Ideas Competition for Liantang/Heung Yuan Wai Boundary Control Point Passenger Terminal (2011) <http://www.worldarchitecture.org/world-buildings/mphh/eco-link-international-design-ideascompetition-for-liantangheung-yuan-wai-boundary-control-point-pa-building-page.html> [accessed 10 March 2015]. 28
PART B CRITERIA DESIGN B1 BIOMIMICRY B2 CASE STUDY 1.0 B3 CASE STUDY 2.0 B4 TECHNIQUE: DEVELOPMENT B5 TECHNIQUE: PROTOTYPE B6 TECHNIQUE: PROPOSAL B7 LEARNING OBJECTIVES AND OUTCOMES B8 APPENDIX
FIG.24: FABRICATION LAYOUT (SOURCE: HTTP:// DESIGNPLAYGROUNDS.COM/DEVIANTS/CLJ02-ZA11-PAVILION/)
ARCHITECTURE FOLLOWS NATURE What is Bio-mimicry?
Architecture and Nature in the past
Bio-mimicry, by definition, is emulating nature’s characteristics into architecture.[22] “Nature does nothing uselessly,” a quote by Aristotle suggests that the form of nature has its own meaning. The form of nature provides an inspiration on how to solve the problem of built environment.[23] This integration of nature’s solutions with problem solving for built environment made the strong interconnectedness between nature and human’s life. [24] This harmonizes the relationship of nature and human. Thus, bio-mimetic design can be seen as an approach for sustainable design, helping us to solve complex problems such as climate change. This is important because after all our aim of architectural design in today’s life is building with limited impact on nature.
Many architecture in the past incorporated nature in its design. As evidence, Corinthian columns have plant life ornamentation to symbolize nature. Louis Sullivan arts and craft movement also focused on nature. Villa Mairea by Alvar Aalto uses irregular posts and columns to connect the exterior (forest) and the architecture. [28]
Human and Nature Human has been getting inspiration from nature, making us closer to the nature and experience the feeling of connected to nature. From the past, the followers of Greek religions named the Gods after natural elements.[25] As evidence, Zeus is the sky-God. Leonardo da Vinci also invented a flying machine Ornithopter by investigating the flight of birds.[26] Jean-Marie Le Bris invented Artificial Albatross in 1857. [27]
[22] BIOMIMICRY INSTITUTE, WHAT IS BIOMIMICRY (MONTANA: BIOMMICRY INSTITUTE2014)
Precedent 1: CLJ02: ZA11 Pavilion It is a pavilion designed by students Dimitrie Stefanescu, Patrick Bedarf and Bogdan Hambasan and built at the ZA11 Speaking Architecture event in Cluj, Romania. [29] This design is to integrate the historically-charged context and attract the passers-by to the event.[30]
Opportunities Architecture in the future In the future, architectural design will increasingly focus on nature, material science, computational and parametric design.
It is a flexible design as it can exhibit space for new events accommodated for all types of ages such as bookshop stand, openair cinema, small concerts and so on. It can be dismantled easily.[31]
Prefabrication and its concern With the limited budget, material and tools, this pavilion is finally built with 746 unique pieces. After all these pieces are connected, a free-form ring is created in hexagon shapes.[32] These pieces are pre-fabricated with labelling on top.[33]
FIG.25: FABRICATION LAYOUT (SOURCE: HTTP:// DESIGNPLAYGROUNDS.COM/DEVIANTS/CLJ02-ZA11-PAVILION/)
FIG.23: DESIGN USING PARAMETRIC TOOL (SOURCE: HTTP:// DESIGNPLAYGROUNDS.COM/DEVIANTS/CLJ02-ZA11-PAVILION/)
<HTTP://BIOMIMICRY.ORG/WHAT-IS-BIOMIMICRY/> [ACCESSED 1 APRIL 2015]. P.1. [23] ABID., P.1.
[29] TRACY GRECH, ZA11 PAVILION (2011)
[24] IIARIA MAZZOLENI, ARCHITECTURE FOLLOWS NATURE: BIOMIMETIC PRINCIPLES FOR INNOVATIVE DESIGN (BOCA RATON: CRC PRESS, 2013), P. 3.
<HTTPS://TRACYGRECHDESIGN.WORDPRESS.COM/2011/11/06/ZA11-PAVILION/> [ACCESSED 8
[25] ABID., P. 6. [26] ABID., P. 8.
[30] THINK PARAMETRIC, CLJ02: ZA11 PAVILION (DESIGN PLAYGROUND, 2015) < HTTP:// DESIGNPLAYGROUNDS.COM/DEVIANTS/CLJ02-ZA11-PAVILION/> [ACCESSED 8 APRIL 2015], P.1.
[27] ABID., P. 11.
[31] ABID., P. 1.
[28] ABID., P. 11.
[32] ABID., P. 1.
APRIL 2015]. P.1.
[33] ABID., P. 1. 30
Precedent 2: Canopy by United Visual Artists
Precedent 3: Fallen Star
Conceptual Design Implications
Design Implications
Canopy by United Visual Artists is inspired by the experience of walking through the dappled light of a forest.[34] The geometry of leaves gives the shape of the modules.[35] Thousands of similar modules are connected in a non-repeating growth pattern, spanning from the front façade of the building.[36]
FIG.26: CANOPY MODULES CLOSE-UP (SOURCE: HTTP://DESIGNPLAYGROUNDS.COM/DEVIANTS/ CANOPY-BY-BY-UNITED-VISUAL-ARTISTS/)
Opportunities The canopy, just like what leaves does, filter the natural light during the day.[37] However, at night, artificial light is lighted on.[38]
Material Concern The materials used in this design are the powder coated steel, anodised aluminium, injected moulded polycarbonate.[39]
Fallen Star by Architectural Association DLAB Visiting School whose aim is to explore the biological structure and abstract the biological structure into design proposal.[40]
Analysis Design Implications
Opportunities Fallen star’s main idea is to allow interaction between users and installation.[41] The student teams break down their own natural growth algorithms into parameters that can be manipulated with an iPad interface.[42] The installation then reacts differently according to the user’s sound and produces different patterns onto the star design.[43]
Joints and functional space-protection
Fabrication concerns The student team first explore the formation rules of star and plan an architectural installation carefully.[44] This installation is then fabricated and assembled.
Light-communication
Interaction-communication Like the 3 precedents above, biomimicry always implies the the biological principles morphology (most common: communication, protection, water balance and thermal regulation) of the animals/plants. This helps us to understand the theory behind the animals and plants and makes us feel that we are closer to nature. From these 3 precedents, we understand that the design is then transformed into geometry shape modules for fabrication purpose. This geometrical modules are connected with joints.
[40] SUCKER PUNCH, FALLEN STAR @ AA DLAB VISITING SCHOOL (SUCKER PUNCH, 2015) < HTTP://WWW.SUCKERPUNCHDAILY.COM/2012/08/16/ FALLEN-STAR-AA-DLAB/> [ACCESSED 8 APRIL 2015], P.1. FIG.27: CANOPY (SOURCE: HTTP://DESIGNPLAYGROUNDS. COM/DEVIANTS/CANOPY-BY-BY-UNITED-VISUAL-ARTISTS/)
[34] THINK PARAMETRIC, CANOPY (DESIGN PLAYGROUND, 2015) < HTTP://DESIGNPLAYGROUNDS.COM/DEVIANTS/CANOPY-BY-BYUNITED-VISUAL-ARTISTS/> [ACCESSED 8 APRIL 2015], P.1. . [35] ABID., P. 1. [36] ABID.,P.. 1. [37] ABID., P. 1.
32
[38] ABID., P. 1. [39] ABID., P. 1.
FIG.28: FALLEN STAR FABRICATION AND PERFORMANCE TESTING (SOURCE: HTTP://WWW.SUCKERPUNCHDAILY. COM/2012/08/16/FALLEN-STAR-AA-DLAB/)
[41] ABID., P. 1. [42] ABID.,P.. 1. [43] ABID., P. 1. [44] ABID., P. 1.
CASE STUDY 1.0: SPANISH PAVILION SPECIES 1
HEXAGONAL GRID
SPECIES 2
HEXAGONAL GRID CHANGED TO GRID WITH RECTANGULAR CELLS
SPECIES 3
HEXAGONAL GRID CHANGED TO TRIANGULAR GRID
SPECIES 4
HEXAGONAL GRID CHANGED TO RADIAL GRIDS
The formation of this project can be divided into three main phases. The algorithm begins with 3 by 2 hexagonal grid. Disconnect all the hexagons and make changes on the length of the individual sides to form distorted hexagonal grid. Second phase involves the duplication of the 3 by 2 hexagonal grid. The spacing of the array of the hexagonal grid follows pythagoras. Third phase is using photo image sampling to create offset pattern for the grids. FIG.29: FACADE DETAIL (SOURCE: HTTP://WWW. ANTONRAUBENWEISS.COM/EXPO/WEEK02.HTML)
FIG.30: EXTERIOR (SOURCE: HTTP://WWW. ANTONRAUBENWEISS.COM/EXPO/WEEK02.HTML)
34
ITERATIONS ORIGINAL FORM
INTERNAL POINT 01 X-VALUE CHANGED TO 1.0
S P E C I E S 1
S P E C I E S 2
S P E C I E S 3
S P E C I E S 4 *SPECIES 2, 3, 4 EVERY ITERATION INVOLVED CHANGES IN PYTHAGORAS EQUATION, N
36
INTERNAL POINT 02 Y-VALUE CHANGED TO 1.0
CHANGE PYTHAGORAS EQUATION, N
OFFSET VALUE SETS AT NEGATIVE
DECREASE/ INCREASE OFFSET VALUE (POSITIVE)
SAMPLING IMAGE INVERTED
CHANGE SAMPLING IMAGE
DESIGN SELECTION CRITERIA Design Brief
Design is selected based on
rule: cannot touch ground and water
1) constructability consider the design buildability
number of users: 1-10 people
2) educational links to biomimicry
type of design: net, hammock, web
3) potential functional provides space or any other potential function for program
Hexagonal grids are joined together. It can be seen as emulating the honey bee comb. The offset area can be certain relaxation of web (hummock) for people.
This can be seen as emulating the animal cells. These modules shape fits well with each other. The offset area can be connected to form hummock for users.
This is formed by the radial grid but it looks like forming by the triangles. Every offset can have different degree relaxation of mesh. This can be used as a roof system. Imagine a spectacular roof with different degree relaxation of web hanging from the roof.
Design potential -Different mesh pattern -Functional: as roof and floor -Light and shading
38
This design looks like the Canopy designed by the United Visual Artist, emulating the leaves in the forest. This can be a hanging net acting like a roof. The individual modules provide lights and shading for program like recreation.
CASE STUDY 2.0: ICD/ITKE RESEARCH PAVILION 2011 FIG.32: SEA URCHIN (SOURCE: HTTP://WWW.UCMP. BERKELEY.EDU/ECHINODERMATA/ECHINOIDEA.HTML)
This pavilion is designed by the Institute for Computational Design (ICD) and the Institute of Building Structures and Structural Design (ITKE).[45] It is emulating the plate skeleton of sea urchin.[46]
Testing performance Form finding and patterning The presence of computer software (in this case, grasshopper) has allowed the architects to find the form of the pavilion.[47] Then the sea urchin sand dollar plate skeleton effect is used to pattern the pavilion.[48] Also, the study of material (in this case, 6.5mm of plywood) generates the parameter for design this pavilion.[49]
The spatial and structural material system is tested using parametric tools to ensure the design is strong and is able to withstand high bearing load. Three plate edges meet at one point transmisses the shear force at the rigid joints (no moments).[50] The design needs to anchor to the ground the resist wind loads, especially when lightweight material is used.[51]
Fabrication Fabrication joints is tested to make sure the modules can hold up the design to create space. Parametric tools then is used for the adaptability of plate components and finger joints.[52]
FIG.31: ICD/ITKE RESEARCH PAVILION 2011 (SOURCE: HTTP:// VISUALL.NET/2012/05/22/ICDITKE-RESEARCH-PAVILION-2011/)
[45] VISUALL, ICD/ITKE RESEARCH PAVILION 2011 (VISUALL, 2012) <HTTP://VISUALL. NET/2012/05/22/ICDITKE-RESEARCH-PAVILION-2011/> [ACCESSED 15 APRIL 2015], P.1. [46] ABID., P. 1. [47] ABID.,P.. 1. [48] ABID., P. 1. [49] ABID., P. 1. [50] ABID., P. 1. [51] ABID., P. 1. [52] ABID., P. 1.
40
REVERSE ENGINNEERING PROCESS TRIANGULATION OF MESH
FORM GENERATION WITH FORCES
The project starts by using a circular mesh. This mesh is triangulated and referenced to grasshopper as mesh.
By using Kangaroo and Mesh Edit plugin in Grasshopper, generate the form of the pavilion. This form is under influence of 5 forces: equalization, bending, spring, pressure and unary force. This form is anchored at the circumference of the circle mesh.
1
ANCHOR POINT
TWO LAYERS INFLATION
Change the anchor point by having anchor points at the circumference of the semi circle and part of the other half of circle. Run Kangaroo to get the form (with 2 openings).
2
3
The pavilion is inflated twice. Scale the original circular mesh to 0.75. Place the smaller circle mesh in the inflated form from Step 3 and anchor them at the opening of the first inflated form and part of the circumference of the smaller circle mesh. Run Kangaroo to get the smaller inflated form.
PATTERNING
The inflated form is patterned with hexagonal grid (in this case, circular packing).
4
5
KEY DEFINITIONS
42
1) Triangulation
2) 5 Forces
-Enable forces apply on every triangle vertices
a) Equalize
b) Bending
c) Spring
d) Pressure
e) Unary Force
-This is to make sure every side of triangles strengthen at the same length. This is for circle packing.
-This is for circle packing as well.
-This is to transform the pattern into elastic web.
-This allows the pattern inflat into a volume.
-This is to lift the pattern up. Fixing the inflated pattern into the pavilion outline is needed.
REDUCE STRING STIFFNESS TO 30
TECHNIQUE: DEVELOPMENT S P E C I E S 1
S P E C I E S 2
S P E C I E S 3
S P E C I E S 4 44
ORIGINAL FORM
PRESSURE LEVEL IN NEGATIVE 50
STRING REST LENGTH INCREASE TO 2
ANCHOR AT POINTS
S P E C I E S 1
S P E C I E S 2
S P E C I E S 3
S P E C I E S 4 46
ANCHOR AT POINTS AND INCREASE STIFFNESS OF THE STRING
ANCHOR AT LINES
ANCHOR AT LINES AND INCREASE STIFFNESS OF THE STRING
ORIGINAL FORM
S P E C I E S 5
S P E C I E S 6
S P E C I E S 7
48
PRESSURE LEVEL IN NEGATIVE 50
REDUCE STIFFNESS TO 30
REST LENGTH INCREASE TO 2
ANCHOR AT POINTS
ANCHOR AT POINTS AND INCREASE STIFFNESS OF THE STRING
ANCHOR AT LINES
ANCHOR AT POINTS AND INCREASE STIFFNESS OF THE STRING
S P E C I E S 5
S P E C I E S 6
ANCHOR AT POINTS AND LINES
S P E C I E S 7
50
DESIGN SELECTION CRITERIA In previous part, design is selected based on constructability, link to biomimicry and potential functional 3 factors. These selection criteria are still relevant. In addition to the 3 criteria stated before, material used, site condition, emotional effect should put into consideration. 4) Material used Material used affects the design as the stiffness of the material and the rest length of the material will influence the form of the design.
This evolves a strong feeling of anger. The hole in the middle provides an emptiness, connection to the sky. If the hole does not exist, the user might feel like he/ she is trapping in a net.
This looks like a bird. This provides a feeling of smooth and calm.
5) Site condition Site condition like pressure will influence the form of design. As goes to the surrounding of the site, this will decide the anchor points so then affect the constructability. 6) Emotional effect One of factor can be explored is how design expressed emotionaly. This will link to what i want to explore in the future about monumentality.
Design potential -Different mesh pattern -Functional: as roof and floor -Light and shading -Emotional effect
52
The irregular dome shapes produce a feeling of dynamic,. This looks like the movement of river water flows from higher point to lover point. .
This gives calmness and smoothing effect. .
TECHNIQUE: PROTOTYPES Mesh Fabric Material Testing
1) Bending and stretching effect
As mentioned in the previous part, constructability and material used are important. Thus, in this part, several material is used to test the performance of the material. Two materials that are used in testing are Tulle Veil mesh fabric and nylon mesh.
Mesh fabric is very flexible. It bends and stretches a lot when a load is put to the model. Configuration
Nylon Mesh 1) Bending and stretching effect
2) Visual effect
Concerned outcomes are
Balsa wood strips are used to represent the columns/posts/trees that can be anchored at.
1) bending and stretching effect 2) visual effect aesthetics and emotional 3) structural effect able to hold 1-10 people
Fishing line is used to tie the mesh to the posts/columns/trees. Hammock knots are researched to hold loads of several people. However due to the unconstructability, hammock knots are not used.
It produces a translucent effect. It can produce a visual protection for users.
The mesh do not bend and stretch much when a load is put to the model. 2) Visual effect
3) Structural effect It might not able to hold load of one person as it will stretch all the way to the ground. It is not strong.
Its stiffness gives a smooth form when the mesh is anchored uniformly. 3) Structural effect It is able to hold a load of more than one person provided that the knots connected mesh to posts are strong.
FIG.33: MESH FABRIC AND NYLON MESH (SOURCE: AUTHOR)
Tulle Veil mesh fabric is stretchable, has low stiffness. Its mesh is relatively smaller than the nylon mesh and it is translucent. Nylon mesh is stretchable as well but its stiffness is higher than the mesh fabric. Its mesh is larger when compared to the mesh fabric.
How to tie hammock knots [53] 1) Bend the loop over the string at 90 degrees. 2) Pull the loop behind the underlying rope. 3) Pull the loop through the newly-made hole and tighten. 4) Wrap around the tree. 5) Take the end underneath and back over, forming a knot that should have the free end facing the same way as before you wrapped it around the tree. 6) Continue this process for as many times as you see fit. 7) On the last time through, pull the end through the eyehole created by looping around itself. FIG.34: MODEL: MESH FABRIC (SOURCE: AUTHOR)
[53] EAGLES NEST OUTFITTERS INC, IHOW TO TIE YOUR HAMMOCK TO ANYTHING THAT STANDS (EAGLES NEST OUTFITTERS INC, 2015) <HTTPS:// WWW.EAGLESNESTOUTFITTERSINC.COM/BLOG/HOW-TO-TIE-YOUR-HAMMOCKTO-ANYTHING-THAT-STANDS/> [ACCESSED 21 APRIL 2015], P.1.
54
FIG.35: MODEL: NYLON MESH (SOURCE: AUTHOR)
FIG.37: SITE PHOTOS (SOURCE: AUTHOR)
TECHNIQUE: PROPOSAL Proposal on site response My choice of design site is located at the south of Merri Creek, 6.8km (about 25 minutes drive) from Melbourne CBD and near CERES Environmental Park.
Site Response Merri Creek is 70km long, flows southwards from Wallan (Melbourne North).[54] It meets Yarra River at Dight Falls.[55] Although much efforts has been done to improve the quality of the site, pollution can still be seen.
Parametric modelling with grasshopper creates a series of solutions to deal with the problem mentioned earlier. The location of graffiti in the covered area can be the parameter and use that to generate a form.
Many of the bridges and signage are spray painted or covered by pen graffiti. Most of them are not visually attractive. Those on the signage has affected the signageâ&#x20AC;&#x2122;s function. Some of these graffiti contains obscene language too.
My study on biomimicry will take part in addressing this issue too.
CERES
As the graffiti pen/spray paint contain high level of toxic, removal of graffiti can cause water pollution.
My Site
Thus, this is the main focus of my design. Apart from that, these graffiti evokes a kind of emotional feeling.
6.8km
My argument To stimulate visual representation of social issue and improve view and spatial use of Merri Creek.
FIG.36: GRAFFITI ON COLUMNS (SOURCE: AUTHOR)
CBD [53] FRIENDS OF MERRI CREEK, WELCOME (FRIENDS OF MERRI CREEK, 2014) <HTTP:// WWW.FRIENDSOFMERRICREEK.ORG.AU/> [ACCESSED 25 APRIL 2015], P.1.
N SCALE 1:500000
56
Justification of the site choice 1) Near CERES Community Environment Park CERES 500M
MY SITE
4) Opportunity: Slope near the river bank, posts and beams CERES is a centre for education and research in environmental strategies. It promotes the awareness of environmental friendly. Many people take part in environmental events held in CERES and parents/teachers like to bring kids to CERES. Thus, this can help bringing users to the design. In other words, easy accessible. 2) Opportunity: close to nature (relaxing sounds of natural flow of running water) When i walked into the site, the graffiti evokes my feeling. However, when i stay in the site for a while, the relaxing sound of water flowing makes me feel calm. This completely contradicts with the graffiti. This is an opportunity that can be included in the design.
FIG.38: RIVER LOCATED NEAR MY CHOSEN SITE (SOURCE: AUTHOR)
This space can be fully utilised. It provides a good spot for recreation. This is because this space is protected by the weather and yet allow light penetrating into the space. This serves an opportunity for functions. The posts and beams located at this site can served as anchor points for web-liked design. 5) Opportunities: View to the site Trees on both sides of the river bank obstruct the views to the site. From most of the angles, the bridge is unable to be viewed. FIG.39: SLOPE, POSTS AND BEAMS (SOURCE: AUTHOR)
3) Issue: connection There are 3 main paths linking the site to CERES on left river bank. However, there is only 1 way to get to CERES on right river bank. The only way to get to CERES on right river bank is to cross the busy road..
FIG.39: 3 WAYS CONNETED FROM SITE TO CERES (LEFT RIVER BANK) (SOURCE: AUTHOR)
FIG.40: TREES OBSTRUCT THE STRUCTURE (SOURCE: AUTHOR)
58
Research Field: Biomimicry Spider Web for mesh finding FIG.41: TREES OBSTRUCT THE STRUCTURE (SOURCE: AUTHOR)
Graffiti Connection from site to CERES
DESIGN OUTCOME Biomimicry: Spider Web
Design Brief: Web like design
The pattern of mesh of volume (Kangaroo outcome) can be explored. Rather than triangles, voronoi form is explored.
-Cannot touch water or ground
Monumentality: Form finding
-Possible function, walk on the mesh or mesh as roof
-Emotion representation of social issue
FIG.42: SPIDER WEB IN IRREGULAR SHAPES (SOURCE: HTTP://FOLLOWYOURNOSE.ME/TAG/GRATITUDE/ HTTPS:// WWW.PINTEREST.COM/LACEYSSTUFF/SPIDERS/)
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-Attribute like vast
LEARNING OBJECTIVES AND OUTCOMES From the course so far, I am able to come out with a proposal. I have learnt to develop a habit on making research on design approach, using the research findings to support my argument. Sometimes, the research findings might not support the argument. However it makes us reconsidering our argument. In addition, throughout the first half of the semester, i have been developing my skill in Grasshopper. It is interesting to explore this software. When errors occur, I will always understand why the errors are here and from there try to solve errors. Also this course also helps me in learning how to use softwares illustrator and indesign. Google provides a series of videos and websites with detailed instructions for us. The use of prototype to test the idea is taught in Virtual Environments too. This reminds me of the mess doing the prototypes. While doing Air’s prototype, i make sure myself has careful thought of what i want to test and how to test it to avoid doing unnecessary works. Also, my skills in modelling site by using Rhinoceros have developed too. Using parametric tools in designing a project gives me a lot of uncertainties. This might because I am not familiar with the approach. Using reverse engineering and iterations to develop a series of outcomes and analyse the outcomes give me an insight on parametric design. I think this helps us in designing because we can develop our idea/ concept from the outcomes we had from reverse engineering and iterations.
BIBLIOGRAPHY BIOMIMICRY INSTITUTE, WHAT IS BIOMIMICRY (MONTANA: BIOMMICRY INSTITUTE2014) <HTTP://BIOMIMICRY.ORG/WHAT-IS-BIOMIMICRY/> [ACCESSED 1 APRIL 2015]. P.1. EAGLES NEST OUTFITTERS INC, IHOW TO TIE YOUR HAMMOCK TO ANYTHING THAT STANDS (EAGLES NEST OUTFITTERS INC, 2015) <HTTPS://WWW.EAGLESNESTOUTFITTERSINC.COM/BLOG/HOW-TOTIE-YOUR-HAMMOCK-TO-ANYTHING-THAT-STANDS/> [ACCESSED 21 APRIL 2015], P.1. FALLEN STAR FABRICATION AND PERFORMANCE TESTING (SOURCE: HTTP://WWW. SUCKERPUNCHDAILY.COM/2012/08/16/FALLEN-STAR-AA-DLAB/) GRECH, TRACY, ZA11 PAVILION (2011) <HTTPS://TRACYGRECHDESIGN.WORDPRESS.COM/2011/11/06/ZA11-PAVILION/> [ACCESSED 8 APRIL 2015]. P.1. MAZZOLENI IIARIA, ARCHITECTURE FOLLOWS NATURE: BIOMIMETIC PRINCIPLES FOR INNOVATIVE DESIGN (BOCA RATON: CRC PRESS, 2013), P. 3. THINK PARAMETRIC, CLJ02: ZA11 PAVILION (DESIGN PLAYGROUND, 2015) < HTTP://DESIGNPLAYGROUNDS. COM/DEVIANTS/CLJ02-ZA11-PAVILION/> [ACCESSED 8 APRIL 2015], P.1. VISUALL, ICD/ITKE RESEARCH PAVILION 2011 (VISUALL, 2012) <HTTP://VISUALL.NET/2012/05/22/ ICDITKE-RESEARCH-PAVILION-2011/> [ACCESSED 15 APRIL 2015], P.1.
FRIENDS OF MERRI CREEK, WELCOME (FRIENDS OF MERRI CREEK, 2014) <HTTP://WWW. FRIENDSOFMERRICREEK.ORG.AU/> [ACCESSED 25 APRIL 2015], P.1.
APPENDIX- ALGORITHMIC SKETCHES PLEAASE REFER TO ANOTHER DOCUMENT ‘ALGORITHMIC SKETCHES’’
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