Architecture Design Studio Air - Project Booklet by Rayyan A. Roslan

JOURNAL

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INTRODUCTION Currently a third year student pursuing studies in the Bachelor of Environments and majoring in Architecture at the University of Melbourne. Architecture to me is a fusion of both the artistic expression and functionality; where its form and narrative is boundless. I consider it as a visual art for the architect to relay their story and purpose for society and environment.

RAYYAN A. ROSLAN SINGAPORE // MELBOURNE

UNIVERSITY OF MELBOURNE BACHELOR OF ENVIRONMENTS (ARCHITECTURE)

PHOTOSHOP INDESIGN AUTOCAD RHINO GRASSHOPPER

Growing up in the ‘Garden City’ of Singapore, I was constantly surrounded by the infinite growth of buildings with its own unique aesthetic forms and expressions. A hobby of sketching landscapes and buildings begins at an early age, which develops into a strong passion for the built environment as I have always been fascinated by the notion of turning ‘paper architecture’ into reality. I was fortunate to be exposed to different cultures and environments as I moved to Melbourne at the age of 15. The experience allows me to appreciate a diverse group of society as well as a vast ideology and concept of the built environment outside my hometown. I completed VCE in Werribee Secondary College and selected an architectural subject scheme which progressively leads me to embark my journey towards the goal of becoming an architect. My experience with digital design tools begins in university as I experimented with CAD programs which I developed the skills over time. Being used with hand drawings made it difficult for me to grasp the techniques of computer drafting initially. However, I gained confidence through design studio modules in the second year where I find it efficient to express myself better through CAD as it allows multiple invention of our own conceptual ideas with accuracy of functional structure and complex forms. Technology has infact progressed tremendously over time and computer aided drafting allows designers and architects to move a step forward in generating design ideas efficiently for the purpose of improving our built environment. By this, I would like to take the opportunity in design Studio Air module to improve my skills in digital design tools and to expand my knowledge of different computational methods in my journey of learning architecture, translating my passion into the reality of designing for the environment.

FINAL PROJECT M

T A T

DESIGNING ENVIRONMENTS, YEAR 2, 2016. CONCRETE LAWN PAVILION.

DESIGN STUDIO: WATER, YEAR 2, 2016. LEARNING FROM THE MASTER: ALVARO SIZA.

A T U E P

S A L I

O T I

PART A CONTENTS // 6

A: CONCEPTUALISATION

A.1 // [DESIGN FUTURING]

13 A.2 // [DESIGN COMPUTATION] 19 A.3 // [COMPOSITION/GENERATION] 24

A.4 // CONCLUSION

A.5 // LEARNING OUTCOME

A.6 // APPENDIX: ALGORITHMIC SKETCHES

REFERENCES

CONCEPTUALISATION

A.1 DESIGN FUTURING Modernisation has in fact taken over humanity in many ways. It has changed the way we live and our perception towards the built environment. Technological advance has indeed improved the way we work, build, and produce. But it has been taken for granted as we neglect the conditions of nature that is in fact supporting us; and our future. It is vital that we reconsider the design processes and thinking as it has placed our future in jeopardy. We restrict ourselves by focusing too much on the present, instead of the future, without realising that we are moving towards a defuturing condition of unsustainability. To intervene this catastrophe, we need to move away from traditional modes of thinking and to invent ideas of design which secures the condition of the future. In such a complex world we live in, â&#x20AC;&#x2DC;design futuringâ&#x20AC;&#x2122; is therefore needed to ensure that humanity progresses towards sustainable modes of habitation, which has to be by design rather than by chance.1

Fry, Tony (2009). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1-16.

CONCEPTUALISATION 7

A.1 DESIGN FUTURING

CASE STUDY 01 PARK ROYAL HOTEL WOHA ARCHITECTS PROJECT YEAR: 2013

S I N G A P O R E Understanding the relation of creation and destruction is a fundamental aspect in the design process in order to move towards the goal of securing a sustainable future.1 High-rise constructions are the most common practise in Singapore in order to accommodate buildings within such a limited area and to maximise the use of natural land. By this, it is understood that nature has to be taken away at a large scale which in turn constitutes to ecological damage. In order to address this, it is important that the design of these high-rise buildings leads towards the progression of sustainability which serves as a purpose of securing future conditions. WOHA Architects is prominently the advocates of Singapore’s ‘Green City’ as their ideology of buildings ‘built straight out of nature’ is made possible by including vast vegetation area in their architectural design. WOHA’s Park Royal Hotel reflects this ideology as it was designed as a ‘garden hotel’ which included sky-gardens flourished with tropical plants throughout the entire complex, emerging back to adjoining parks (Fig.01).

Therefore, the built-up area of Park Royal Hotel does not neglect the existing natural surrounding but the design of the building itself has successfully doubled the green-growing potential of the site. 2 The aesthetic of the building is also cleverly designed as the open-spaced terrace were carved to imitate natural landforms of asia’s rice padi fields which flows seamlessly into the interiors (Fig.01-02). Sustainability was infact the priority in the design brief of the hotel. Apart from the forms and ever-lasting effect of vegetation areas throughout the hotel complex (Fig.03), WOHA has included several green features to ensure that the building reaches the highest potential of being a sustainable designed building. Rainwater harvesting as well as Singapore’s system of recycled water (NEWater) is used throughout the building, the design ensures an extensive use of natural light, and spaces such as hotel corridors were designed to be naturally ventilated to reduce carbon emissions from airconditioning systems. 3

Fry, Tony (2009). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1-16. ArchiDaily (2013). PARKROYAL on Pickering: WOHA. [online] Available at http://www.archdaily.com/363164/parkroyal-on-pickering-woha-2 [Accessed 31 July 2017] GreenFuture Solutions (2013). Singapore’s PARKROYAL on Pickering: Hotel in a Garden. [online] Available at http://www.greenfuture.sg/2013/10/08/singapores-parkroyal-on-pickering-hotel-in-agarden/ [Accessed 31 July 2017] 2 3

CONCEPTUALISATION

OPEN SPACED TERRACE

TERRACE FLOOR PLAN

BUILDING SECTION VIEW

PERSPECTIVE VIEW

All images retrieved from http://www.archdaily.com/363164/parkroyal-on-pickering-woha-2 [Accessed 31 July 2017].

CONCEPTUALISATION 9

A.1 DESIGN FUTURING

CASE STUDY 02 THE STAR VISTA ANDREW BROMBERG OF AEDAS PROJECT YEAR: 2012

S I N G A P O R E Located right next to Buona Vista MRT train station, the design brief of the Star Vista is to provide an active social interface in the local neighborhood area of Singapore for civic and cultural activities. The architectural response also comprises of technical requirements which makes the iconic architectural form able to conform to the constraints of pedestrian circulation, site topography, and addresses the issue of climatic influences.

The aim of the design for this building to be sustainable is made possible with technological design tools to determine an appropriate orientation where natural light, solar heat gain, glare and thermal comfort were all analysed. The design tools also assisted in implementing a hybrid ventilation which optimised ventilation in areas where comfortable conditions cannot be achieved through natural ventilation alone.

Due to Singaporeâ&#x20AC;&#x2122;s warm and humid climate, most commercial buildings demands for an extensive use of air conditioning to provide ventilation and cooling for the comfort of patrons. Such increase in carbon emissions is evidently speeding global warming and climate change which promotes defuturing conditions of unsustainability.1

By adopting such design principles with the ideology of moving towards the progression of sustainability together with the aid of modern technology, Star Vista has become and example of not only a sustainable design building but also incorporates a passive design which complements and intergrates with the surrounding site.

Star Vista address this issue by reducing carbon emission by designing a building form that collects prevailing northernly and southernly breezes and accelerating natural ventilation without relying on air conditioning for a comfortable environment. 2

Fry, Tony (2009). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1-16. ArchiDaily (2014). The Star / Andrew Bromberg of Aedas. [online] Available at http://www.archdaily.com/510587/the-star-andrew-bromberg-of-aedas [Accessed 31 July 2017]

CONCEPTUALISATION

PERSPECTIVE VIEW

AXONOMETRIC SECTION All images retrieved from http://www.archdaily.com/510587/the-star-andrew-bromberg-of-aedas [Accessed 31 July 2017]

CONCEPTUALISATION 11

CONCEPTUALISATION

A.2 DESIGN COMPUTATION â&#x20AC;&#x153;The digital in architecture has begun to enable a set of symbiotic relationships between the formulation of design processes and developing technologies.â&#x20AC;? - RIVKA & ROBERT OXMAN, 2014.

The progression of technological advancements is increasing with time as humanity is constantly developing new tools to provide efficiency in living, working & producing. Digital technology has re-defined architecture as it provides designers with the capability to create scriptable variations at a large scale to generate differential innovative solutions within the design processes. Ever since the emergence of design computation, developers have been creating softwares that made simulations possible to analyse energy, structural & material performances, allowing designers to have a better understanding of the design outcomes and to progress towards an upmost efficient solution for a sustainable design for the future.1 This new paradigm of architectural computation tool establishes a conducive architectural practise for a collaborative design relationship between the architects and the engineers. Design computation is not only regarded as an analytical and communication tool between professionals within the architecture industry, but it also allows designers to expand their creativity; turning envisions into reality. With the accuracy of computers, the fusion of aesthetic and function improves the design quality of buildings as compositional forms driven by performance is made possible by design computation.1 It is by this revolution in architecture through digital technology that strengthens major components of the design processes (Analysis, Synthesis, and Evaluation)2 which enhances the methods in which design and construction industries generates innovative solution and ideas, breaking away from traditional design thinking that may be hazardous to the natural environment, as the current purpose for us to design and build is to improve our built environment and also, to provide back to Mother Nature.

Oxman, Rivka and Robert (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp.1-13. Kalay, Yehuda (2004). Architectureâ&#x20AC;&#x2122;s New Media: Principles, Theories, and Methods of Computer-aided Design (Cambridge, MA: MIT Press), pp.5-25.

1 2

CONCEPTUALISATION 13

A.2 DESIGN COMPUTATION

CASE STUDY 01 SWISS RE TOWER FOSTER + PARTNERS PROJECT YEAR: 2003

L O N D O N Swiss Re Tower by Foster and Partners is one of the fundamental examplars of an ecological tower which became an influential design in research studies on digital technology methods and sustainable design.1 Design computation is adopted in the design process which enables for a highly controlled variable solution towards the form of the structure which conforms to environmental and climatic conditions. Foster and Partners collaborates digital technology tools of parametric and analytical modelling which contributes to a design solution that makes Swiss Re an ecological tower. With this architectural innovation, the building resulted in a reduction of energy and resource consumption which therefore becomes successful in decreasing the catastrophe of climate change and damage to the natural environment. Not only does the design outcome promotes sustainability for the environment, parametric design allows for a scriptable and controlled solution in the facade which generates a profile that reduces wind deflections, providing a comfortable environment internally for users through natural ventilation created by external pressure differentials 2 (Fig.03). Computation tools made this possible which facilitates the progression of inventing new ideas in designing a sustainable built environment. Therefore, design computation is evident in strengthening the components of analysing and synthesising in the design process which also leads to the capability of producing a simulation model which can be fabricated through digital fabrication (Fig.04). This allows designers for a better understanding of the design outcome performance as well as a communicative tool to present these ideas to the public, showcasing a revolutionised architecture with digital technology in developing innovative design ideas for the future.

1 ArchiDaily (2013). The Gherkin: How Londonâ&#x20AC;&#x2122;s Famous Tower Leveraged Risk and Became an Icon [online] Available at http://www.archdaily.com/447205/the-gherkin-how-london-sfamous-tower-leveraged-risk-and-became-an-icon-part-2 [Accessed 07 August 2017] 2 Foster+Partners (2017). 30 St Mary Axe [online] Available at http://www.fosterandpartners.com/projects/30-st-mary-axe/

CONCEPTUALISATION

PERSPECTIVE VIEW

PARAMETRIC & ANALYTICAL MODELLING

INTERNAL VIEW

DIGITAL FABRICATION

FIG 01-04: 30 St Mary Axe. Retrieved from http://www.fosterandpartners.com/projects/30-st-mary-axe/

CONCEPTUALISATION 15

A.2 DESIGN COMPUTATION

CASE STUDY 02 SOUTH AUSTRALIAN HEALTH & MEDICAL RESEARCH INSTITUTE WOODS BAGOT PROJECT YEAR: 2013

A U S T R A L I A Wood Bagotâ&#x20AC;&#x2122;s design and construction team aims to develop a healthy and sustainable facility for the South Australian Health & Medical Research Institute (SAHMRI) which houses researches in developing improvements in health services.1 The team associates digital technology in achieving such design outcomes through the use of design computation by parametric modelling methods. The design process consists of using RHINO and Grasshopper computer-aided software which reveals a balance of form and function. It allows designers to generate multiple variations of the triangular sunshade forms which narrows down to a selection of profiles to accomodate the orientation of the building based on climatic analysis 2 (Fig.05-06). It is by design computation that allows the team to fabricate and identify the positioning of each selected triangular sunshade forms to control the amount of natural light and unobstructed views in specific areas that provides a comfortable working environment for the researches. This is determined by the use computer modelling to identify areas in the facade which is exposed to solar heat gain and daylight. 3 (Fig.04). Also, through the capability of computational simulation, which enables designers to understand the performance of SAHMRI, Woods Bagot generated the overall form of the building that takes advantage of the open space ground area (Fig.03) which directs cool air into the building and vents warmer air at the top, creating a chimney effect, reducing the demand of energy consumption, leading towards one of the sustainibility component in the design outcome. 4 Therefore, unlike earlier traditional theories and methods of architecture, design computation is able to facilitate innovative ideas in architecture in progressing towards an improved development for our built environment. 01 Woods Bagot (2017). South Australian Health and Medical Research Institute [online] Available at https://www.woodsbagot.com/projects/south-australian-health-and-medical-research-institute 2 Keller, Candice (2015). There are 15,000 pieces to the puzzle making SAHMRI one-of-a-kind [online] Available at http://www.architectureanddesign.com.au/news/infolink/there-are-15-000-pieces-to-the-puzzle-making-sahmr 3 Risen, Clay (2016). South Australian Health and Medical Research Institute [online] Available at http://www.architectmagazine.com/design/buildings/south-australian-health-and-medical-research-institute-designed-bywoods-bagot_o 4 Clay et al., South Australian Health and Medical Research Institute. 1

CONCEPTUALISATION

PERSPECTIVE VIEW

INTERNAL VIEW

PARAMETRIC & ANALYTICAL MODELLING

DIGITAL FABRICATION

FIG 01: SAHMRIâ&#x20AC;&#x2122;s glass scales. Retrieved from http://indaily.com.au/arts-and-culture/design/2013/08/26/sahmris-glass-facade-a-spiky-wonder/ FIG 02-06: SAHMRI Development scheme. Retrieved from http://www.architectmagazine.com/design/buildings/south-australian-health-and-medical-research-institute-designed-by-woods-bagot_ot FIG 07: Glass facade. Retrieved from http://www.architecttureanddesign.com.au/news/infolink/there-are-15-000-pieces-to-the-puzzle-making-sahmr

CONCEPTUALISATION 17

CONCEPTUALISATION

A.3 COMPOSITION/GENERATION “For computational techiques to be useful, they must be flexible - they must adapt to the constantly changing parameters of architectural design” - BRADY PETERS, 2013.

As discovered in the previous part, computation has indeed revolutionised the architecture field. We have move forward into an era where developing tools are essential in progressing towards an efficient way of living. Computation has not only allowed current architectural practise to compose and draft ideas efficiently, but to generate variation of ideas and solutions based on highly complex situations where further design potentials can come into existence within the design processes. This is highly incompetent before technological revolution in architecture, as design process was limited to the practicality of design and construction. Therefore, the growth of computation in architecture has now shifted the boundary of composing restricted ideas to a generation of variable solutions made possible by algorithmic thinking, parametric modelling and scripting cultures. With these technological advancements, it is important that it is integrated into the design process to fully utilize the advantage of computation in architecture. The design processes through computation needs to be flexible in order to support the generative approach in providing multiple design potentials and have the ability to accommodate changes based on design objectives. Therefore, computation needs to be used as a tool to address the changing parameters within the design environment rather than a single crafting tool where the purpose of design is obscured.1

Peters, Brady (2013). ‘Computation Works. The Building of Algorithmic Thought’. Architectural Design, 83, 2, pp. 08-15

CONCEPTUALISATION 19

A.3 COMPOSITION/GENERATION

CASE STUDY 01 CALLIPOD PAVILION ARCHITECTURAL ASSOCIATION’S WOODLAND CAMPUS PROJECT YEAR: 2014

S O U T H

W E S T

E N G L A N D

The 4.4 metre wide “Callipod” pavilion, shaped like natural roots, was built by a team of students from the Summer DLab visiting School which reflects the design exploration of earth scaffolding, fabric formwork, and the integration of structural properties of concrete within multiple architectural parameters. The design process was the main focus as it consists of algorithmic exploration of form and structure which combines both traditional and digital fabrication methods in constructing the pavilion. The natural shape of imitating tree root patterns was created by computation to branch algorithms that generated variable forms via digital sketches. This generative method provides the team with a selection of profiles which were then used to test its structural properties with Scan&Solve in Rhino and Karamba in Grasshopper1 (Fig.01-0.2). After a final form was decided, digital fabrication is utilized by having a CNC router to map the shapes onto fabric (Fig.03). This fabric is then stitched together to create a fabric formwork for concrete casting on-site, where earth scaffold is also used to maintain the shape of the dome traditionally 2 (Fig.04-05). The fusion of both digital and traditional methods allows the team to be able to construct the pavilion within one week, which is impossible if the design process were managed entirely by conventional architectural practise. Through the use of digital technology and generative design approach in this project, we are able to identify the capability of computation for generating variable solutions that is flexible based on the design objective, and realising design potentials for further developments in the field of architecture.

“Architecturally, the aim has been to combine a highly efficient, natural-like form with elements of traditional materiality and to create a structure that is sustainable, welcoming and culturally of its place,” -The Architectural Association Tutors, Elif Erdine and Alexandros Kallegias

CALLIPOD PAVILION

1 Rory Stott (2014). AA DLAB 2014: The Natural and Digital Worlds Combine with Root-Like “CALLIPOD” Pavilion. Available at http://www.archdaily.com/582672/aa-dlab-2014-the-natural-and-digital-worlds-combine-with-root-like-callipod-pavilion [Accessed 10 August 2017]. 2 Architectural Association (2017). Hooke Park: Callipod. Available at http://hookepark.aaschool.ac.uk/callipod/ [Accessed 10 August 2017].

CONCEPTUALISATION

ANALYTICAL MODELLING

ALGORITHMIC & ANALYTICAL MODELLING

CNC ROUTER MARKINGS

STITCHING MARKED FABRIC

DIGITAL FABRICATION PROCESSES

All images retrieved from http://www.archdaily.com/582672/aa-dlab-2014-the-natural-and-digital-worlds-combine-with-root-like-callipod-pavilion/549f2f9ce58ece5157000051-summerdlab2014_016-jpg [Accessed 10 August 2017).

CONCEPTUALISATION 21

A.3 COMPOSITION/GENERATION

CASE STUDY 02 ICD/ITKE RESEARCH PAVILION UNIVERSITY OF STUTTGART PROJECT YEAR: 2015

G E R M A N Y Generative design is regarded as part of a major exploration component in the design process within an architectural discourse. This exploration and generative approach has the capability to recreate variable design techniques based on biological developments. The ICD/ITKE Research Pavilion reflects this ideology through the potential of an architectural design method inspired by the water spider’s underwater nest construction. Through the studies of biological behaviour of the water spider (Fig.01), the team were able to transfer nature’s evolutionary approach into an architectural application by the potentials of computation, simulation, algorithmic modelling and fabrication processes.1 The pavilion’s shell geometry and fiber-reinforced locations are generated by computational form finding processes through the analysis of the water spider’s behavioural patterns, which integrates fabrication and structural simulation (Fig.02). These computational processes emulate the water spider’s construction behaviour, generating various design parameters of performative fiber orientations and densities (Fig.03). 2 It is therefore evident that the development of computational tools has become integrated with architectural design processes in the construction of the pavilion as computation is fully utilized as tools of developing different strategies of efficiency in designing through the ability of variative design generations. This generative methodology in design resulted in a sustainable outcome due to the resource efficient construction process, providing new opportunities for adaptive robotic construction techniques in architecture as we design for the future. 3

RESEARCH PAVILION University of Stuttgart (2017). ICD/ITKE Research Pavilion 2014-15. Available at http://icd.uni-stuttgart.de/?p=12965. [Accessed 10 August 2017]. 2 ArchiDaily (2015). ICD/ITKE Research Pavilion 2014-15: The University of Stuttgart. Available at http://www.archdaily.com/770516/icd-itke-research-pavilion-2014-15-icd-itke-university-of-stuttgart [Accessed 10 August 2017]. 3 ArchiDaily (2015). ICD/ITKE Research Pavilion 2014-15: The University of Stuttgart. Available at http://www.archdaily.com/770516/icd-itke-research-pavilion-2014-15-icd-itke-university-of-stuttgart [Accessed 10 August 2017]. 1

CONCEPTUALISATION

WATER SPIDER NEST MICROSCOPIC STUDIES

ALGORITHMIC MODELLING & STRUCTURAL SIMULATION

ALGORITHMIC GENERATIVE SKETCHES

DIGITAL FABRICATION PROCESSES

FIG 01: Microscopic image of Diving Bell Water Spider nest. Retrieved from http://icd.uni-stuttgart.de/?p=12965 FIG 02: Conceptual Fabrication Strategy, design parameters, and analysis of the composite shell. Retrieved from http://icd.uni-stuttgart.de/?p=12965 FIG 03: Comparison of various fiber reinforcement strategies. Retrieved from http://icd.uni-stuttgart.de/?p=12965 FIG 04: Robotic placement of carbon fiber reinforcement layers. Retrieved from http://icd.uni-stuttgart.de/?p=12965

CONCEPTUALISATION 23

A.4 CONCLUSION Part A has provided with an insight towards understanding a revolutionised field of architecture through the development of technological advancements. It has been discovered that obstinate methods of modern architectural practise as well as obsolete ideology is accelerating the state of ‘defuturing’, causing destruction to our natural environment. This brings to the attention of adapting new ideas within the architecture discourse to provide for a strategic, flexible and sustainable design solutions to decrease the process of ‘defuturing’ and to progress towards the future. We have moved forward to an era where developed technological tools have improved the way we live, work and produce. It is without a doubt that digital technology has influenced the field of architectural discipline which introduced digital computation design, simulation software and digital fabrication in assisting designers with the capacity to invent logical and comprehensive design ideas. Through recent architectural precedence, we can critically analyse the influence of computational capabilities towards contemporary designs that has successfully reflected effective design solutions with these tools of digital technologies in providing a sustainable outcome within the realm of our deteriorating environment. However, the practicality of creating digitally is also restricted within the boundaries and the capabilities of computational softwares. In order to fully utilize the benefits of digital technology in architecture, the integration of generative design methods in architectural design processes must be realised where parametric and algorithmic exploration through computation can provide the capabilities to expand and leverage further design potentials and improvements for both our built and natural environment. Instead of using computers as simple crafting tools, generative computational revolution has redefined the architectural practise by enabling the generation of flexible design thinking, processes, and solutions, which is adaptable to the constantly changing parameters of the design environment. With this conceptualisation of the revolutionised architectural field, I intend to explore algorithmic processes based on the natural surrounding site’s biomimetic in creating a design with a responsive skin that emulates and blends in with the surrounding environment. The ideology is to create a functional design that responds to the site context, with the fusion of a visual experience to users that dictates a strong relationship between architecture and the environment, aiming to promote the essence of a sustainable development.

CONCEPTUALISATION

AL BAHAR TOWER RESPONSIVE FACADE //

CONCEPTUALISATION 25

CONCEPTUALISATION

A.5 LEARNING OUTCOME CONCEPTUALISATION [A] // The exploration of parametric design theories and practice of architectural computing in this phase has expanded new knowledge and perspective towards the integration of digital technology in architecture. I am beginning to appreciate the development of computational tools, and the capabilities of parametric design that provides current architectural practise with efficiency of working and developing towards comprehensive design solutions and objectives. I realised that I have never experimented with computation techniques throughout my past design studios as the experiences I had with computeraided tools for drafting and drawing digitally are purely techniques of computerization. The opportunity given to learn Grasshopper 3D has provided me with a start of developing new skills in computation by using software that builds generative algorithms with capability of generating parametric designs. The studies of architectural precedence has also strengthen my understanding of utilizing computational techniques for my design approach in this project as well as future design studios.

CONCEPTUALISATION 27

A.6 APPENDIX

ALGORITHMIC SKETCHES

CONCEPTUALISATION

WEEK ONE // LOFTING & VORONOI Generating variable tiles within a dimension of 200x200mm for a responsive skin facade where its curvature of form may change or spread the flow of wind direction whilst the voids may have light control capabilities.

WEEK TWO // IMAGE SAMPLING & CONTOUR Experimenting with the generation of natural forms through the techniques of image sampling and contouring. Emulating natural landscape of hills and mountains. Generated forms can be used as potentials for digital fabrication in the construction during further developments into the project.

WEEK THREE // GENERATIVE PATTERNS Experimenting with algorithmic thinking in generating and composing different possible variation from a singular pattern at first. In this exercise, the task is to create different kinds of Islamic Patterns through this ideology. CONCEPTUALISATION 29

PART A REFERENCES LIST

CONCEPTUALISATION

Architectural Association (2017). Hooke Park: Callipod [online]. Available at http://hookepark.aaschool.ac.uk/callipod/ [Accessed 10 August 2017]. ArchiDaily (2015). ICD/ITKE Research Pavilion 2014-15: The University of Stuttgart [online]. Available at http://www.archdaily. com/770516/icd-itke-research-pavilion-2014-15-icd-itke-university-of-stuttgart [Accessed 10 August 2017]. ArchiDaily (2013). PARKROYAL on Pickering: WOHA. [online] Available at http://www.archdaily.com/363164/parkroyal-onpickering-woha-2 [Accessed 31 July 2017] ArchiDaily (2013). The Gherkin: How London’s Famous Tower Leveraged Risk and Became an Icon [online] Available at http://w w w.archdaily.com/447205/the-gherkin-how-london-s-famous-tower-leveraged-risk-and-became-an-icon-part-2 [Accessed 07 August 2017] ArchiDaily (2014). The Star / Andrew Bromberg of Aedas. [online] Available at http://www.archdaily.com/510587/the-starandrew-bromberg-of-aedas [Accessed 31 July 2017] Foster+Partners (2017). 30 St Mary Axe [online] Available at http://www.fosterandpartners.com/projects/30-st-mary-axe/ Fry, Tony (2009). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1-16. GreenFuture Solutions (2013). Singapore’s PARKROYAL on Pickering: Hotel in a Garden. [online] Available at http://www. greenfuture.sg/2013/10/08/singapores-parkroyal-on-pickering-hotel-in-a-garden/ [Accessed 31 July 2017] Kalay, Yehuda (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-aided Design (Cambridge, MA: MIT Press), pp.5-25. Keller, Candice (2015). There are 15,000 pieces to the puzzle making SAHMRI one-of-a-kind [online] Available at http://www. architectureanddesign.com.au/news/infolink/there-are-15-000- pieces-to-the-puzzle-making-sahmr Oxman, Rivka and Robert (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp.1-13. Peters, Brady (2013). ‘Computation Works. The Building of Algorithmic Thought’. Architectural Design, 83, 2, pp. 08-15 Risen, Clay (2016). South Australian Health and Medical Research Institute [online] Available at http://www.architectmagazine. com/design/buildings/south-australian-health-and-medical-research-institute-designed-by-woods-bagot_0 Rory Stott (2014). AA DLAB 2014: The Natural and Digital Worlds Combine with Root-Like “CALLIPOD” Pavilion [online]. Available at http://www.archdaily.com/582672/aa-dlab-2014-the-natural-and-digital-worlds-combine-with-root-like-callipod-pavilion [Accessed 10 August 2017]. University of Stuttgart (2017). ICD/ITKE Research Pavilion 2014-15 [online]. Available at http://icd.uni-stuttgart.de/?p=12965. [Accessed 10 August 2017].

CONCEPTUALISATION 31

C R I T E R I A

D E S I G N

CRITERIA DESIGN

PART B CONTENTS //

B: CRITERIA DESIGN

B.1 // [RESEARCH FIELD]

PRECEDENT STUDY // [AEGIS HYPOSURFACE+]

B.2 // [CASE STUDY 1.0: VOUSSOIR CLOUD]

SPECIES & ITERATION // TESSELLATION

SELECTION CRITERIA // CASE STUDY 1.0

B.3 // [CASE STUDY 2.0: DIGFABMTY1.0]

REVERSE ENGINEERING

B.4 // [TECHNIQUE DEVELOPMENT]

SELECTION CRITERIA // CASE STUDY 2.0

B.5 // [TECHNIQUE PROTOTYPES]

72 PROTOTYPE#01 80 PROTOTYPE#02 93

B.6 // [DESIGN PROPOSAL]

103

B.7 // [LEARNING OUTCOMES]

104

B.8 // [APPENDIX]

108

REFERENCES LIST

CRITERIA DESIGN

B.1 RESEARCH FIELD

TESSELLATION IN ARCHITECTURE

Tessellation is the process of using repetitive shapes forming patterns, either periodically or non-periodically, towards the creation of forms generated computationally. It has been adapted even in early Islamic architecture where periodic system of patterns was used based on filling of spaces within polygons. This technique has evolved and is integrated in various architectural applications as a part-to-whole system that can now vary based on specific domains.1 For instance, the geometric structure of tessellation has the ability in creating a system of patterns through the repetition of basic parts within a specific boundary. It has the flexibility of organizing the system into becoming domain-specific and rationalizing it into regular or complex geometric panels. 2 With the possibility of such system, tessellation has the capacity in producing species which is more varied and generative, providing the potential of a diverse design solution which can be controlled based on the specific needs in architectural designs.

David Celento & Edmund Harriss, Potentials for Multi-dimensional Tessellations in Architectural Applications, (ACADIA, 2011), 309. 2 Farshid Moussavi & Michael Kubo, Tessellation in Architecture, http://www.gsd.harvard.edu/ course/tessellation-in-architecture-spring-2007/, [Accessed 17 August 2017]. 1

CRITERIA DESIGN

B.1 RESEARCH FIELD

RESEARCH FIELD STUDY THE AEGIS HYPOSURFACE dECOi ARCHITECTS With its distinctive forms of basic parts and shapes, the Aegis Hyposurface is deemed to be characterized as inexpressive and vague. However, this partto-whole structure is a modelling system that uses techniques of tessellation that allows numeric command machine manufacture, making it adaptable to changes with the development of parametric system within the connected geometries. It revolves around machine coding and mathematical programming that controls specific domains which organises the panels according to the desired outcomes. The construction of the ‘Aegis’ consists of a faceted metallic surface that deforms physically in response to environmental stimuli in real time such as movement, light and sound. With computation tools and machine coding, a bed of 896 pneumatic pistons generates dynamic ‘terrains’ within the panels, responding to stimuli based on real-time calculations.1 Led by Mark Goulthorpe along with other teams of architects, engineers, mathematicians and computer programmers, this system marks the transition from autoplastic (determinate) to alloplastic (interactive) space, creating a new species of a reciprocal architecture. With such potential of an interactive system and adaptable structure, such changes can be readily incorporated globally made possible with parametric modelling. It is the team’s design strategies that states that their approach “was not to design the form”, moving away from defining a model that is definite, but “aims to set constraints by which the form could find itself”. 2 With this conceptual design strategy, it radicalises architecture by introducing the opportunities for a dynamic form and the exploration of cultural possibilities provided by this new medium.

Mark Burry (2017). Aegis Hyposurface. Available at https://mcburry.net/aegis-hyposurface/ [Accessed 14 September 2017] 2 Mark Goulthorpe (n.d.). Hyposurface: from Autoplastic to Alloplastic Space. Available at https://www.generativeart. com/on/cic/99/2999.htm [Accessed 14 September 2017] 1

CRITERIA DESIGN

B.2 CASE STUDY 1.0

VOUSSOIR CLOUD TESSELLATION STUDIES

The Voussoir Cloud by IwamotoScott Architects describes another form of tessellation technique through the repetition of curved geometries of wood that acts as a structural element which also allows porosity within the constraints of the materials. The structure of the Vossoir Cloud vaults consisted of a Delaunay tessellation that contains connective modules, known as â&#x20AC;&#x153;petalsâ&#x20AC;?. Smaller petals are grouped together at the base of each vault edges to form strengthen ribs for support. Towards the upper section, these petals increase in size, curves and density, as it loosens to gain porosity in the vault.1 This design strategy produces four different cell types of petals within the Voussoir Cloud, with either zero, one, two or three curved edges (Fig.01). These curvatures produce variations in relation to the size and position to conform to the overall design and is dependent on the adjacent voids which is controlled by computation tools with a script to determine the order of the petals in creating the vaults and voids in the form of the Voussoir Cloud. 2 With the advantages of parametric modelling tools, design outcomes can be explored further to generate different results making the design flexible to potential architectural applications. With the script of the Voussoir Cloud, a matrix of iterations will be produced to explore and investigate the possibilities and capabilities of the parametric modelling definition.

FIG.01

IwamotoScott (2008). Voussoir Cloud: Installations. Available at https://iwamotoscott.com/projects/voussoir-cloud [Accessed 14 September 2017] 2 ArchDaily (2012). Voussoir Cloud: IwamotoScott Architecture + Buro Happold. Available at http://www.archdaily.com. br/br/01-54024/voussoir-cloud-iwamotoscott-architecture-mais-buro-happold [Accessed 14 September 2017] 1

CRITERIA DESIGN

SP ECIES 02

SPEC I ES 01

B.2 CASE STUDY 1.0 // MATRIX ITERATIONS ITERATIONS

APPLYING UNARY FORCE TOWARDS UNIT Z (Fz)

Fz = -6.00

Fz = -25.00

+ ADDING 5 DIFFERENT POINTS & MOVING THE ANCHOR POINTS TOWARDS UNIT Z (PT.1-5) 06

Fz = +25.00 PT.1 = +25 PT.2 = +6 PT.3 = 0 PT.4 = -25 PT.5 = -6

ITERATIONS

SETTING A CIRCULAR BOUNDARY & CHANGING VORONOI RADIUS (VR)

VR = 7 SC = 0.5

+ CHANGING THE SCALE (SC) & MOVING OF ALL ANCHOR POINTS TOWARDS UNIT Z (PTS)

Fz = +25.00 PT.1 = +10 PT.2 = 0 PT.3 = +5 PT.4 = 0 PT.5 = -10

VR = 11 SC = 0.5

+ APPLYING UNARY FORCE IN UNIT Z (Fz)

SC = 0.15 PTS = -20 Fz = 13 SELECTION 02

CRITERIA DESIGN

SC = 0.15 PTS = -20 Fz = 13 Stiffness = 4

Fz = 0.00

SELECTION 01

Fz = +6.00

Fz = +25.00 PT.1 = -25 PT.2 = -10 PT.3 = -15 PT.4 = 0 PT.5 = -5

Fz = +1.00 PT.1 = +25 PT.2 = -10 PT.3 = +15 PT.4 = 0 PT.5 = +5

VR = 5 SC = 0.5

Fz = -5.00 PT.1 = +25 PT.2 = -10 PT.3 = +15 PT.4 = 0 PT.5 = +5

VR = 5 SC = 0.15 PTS = -20

SC = 0.15 PTS = +20 Fz = 13 Stiffness = 25

Fz = +25.00

VR = 7 SC = 0.15 PTS = -20

SC = 0.15 PTS = +20 Fz = 5 Stiffness = 25 Rest length = -2

MIRROR CRITERIA DESIGN

SPEC I ES 03

ITERATIONS

ADDING OF POINTS FOR NO. OF COLUMNS (C.PTS) + ADDING DIFFERENT SCALES TO EACH COLUMNS (SC) & MOVEMENT OF POINTS IN UNIT Z (PTZ) 06

C.PTS = 5 SC.1 = 0.5 SC.2 = 0.3 SC.3 = 0.1

C.PTS = 3

MIRROR EXPERIMENTATION WITH UNARY FORCE APPLIED (Fz/Fx)

SP ECIES 04

MIRROR XY PLANE

ITERATIONS

MIRROR YZ PLANE

WEAVERBIRD PLUG-IN EXPERIMENTATION (WB) + UNARY FORCE IN UNIT Z (Fz) & MOVING OF ANCHOR POINTS IN UNIT Z (PT.1-4)

CRITERIA DESIGN

WB BEVEL EDGES = 7 Fz = +10 PT.1-4 = 0

WB BEVEL EDGES = 24 Fz = +10 PT.1 = +10 PT.2 = -10 PT.3 = -5 PT.4 = 0

WB STELLATE = 1 Fz = -5 PT.1 = 7 PT.3 = 5 PT.2 = 4 PT.4 = 5

WB THICKEN = 1 Fz = +5

C.PTS = 9 SC.1 = 0.2 SC.2 = 0.5 SC.3 = 0.1 SC.4 = 0.8 SC.5 = 0.1

C.PTS = 14 SC.1 = 0.2 SC.2 = 0.5 SC.3 = 0.3 SC.4 = 0.8 SC.5 = 0.1

PTZ.1 = 20 PTZ..2 = 10 PTZ.3 = 15 PTZ.4 = 0.5 PTZ.5 = 5 SELECTION 03

COMBINING MIRROR (XY) MIRROR (YZ)

Fz = -4 Fx = 10

WB BEVEL EDGES = 76 Fz = +10 PT.1 = +10 PT.2 = -10 PT.3 = -5 PT.4 = 0

SELECTION 04

WB THICKEN = 1 Fz = -2

Fz = -10 Fx = 10 Rest Length = 1

WB WINDOW = 16 Fz = +5 PT.1 = +10 PT.2 = -10 PT.3 = -5 PT.4 = 0

WB FRAME = 18 Fz = +1 PT.1 = +10 PT.2 = -10 PT.3 = -5 PT.4 = 0

WB TRIANGLES DIV = 1 Fz = -2

WB OFFSET = -7 CRITERIA DESIGN

B.2 CASE STUDY 1.0 // MATRIX ITERATIONS

SELECTION CRITERIA

SPECULATING MATRIX ITERATION PROCESS

SELECTION 01 SPECIES 01 iterations experiments with anchor points and moving the points in Z direction to create different forms. Unary Force from Kangaroo is applied to exaggerate the forms further. I experimented with these elements to generate variations to the extreme limit and I had in mind to produce a roof or pavilion structure that is both parametric and functional. SELECTION 01 is successful in creating such structures with perforations on each ‘columns’ where the ‘skin-flow’ is produced with Unary Force. The form can be used as a pavilion which collects rainwater and directing it to other desired location

SELECTION 02 SPECIES 02 iteration experiments with a different set boundary which is made to be circular instead of rectangular and the voronoi radius as well as its scale is altered in producing variations. Unary Force, Stiffness and Rest Length is then applied towards the end to generate a skin-flow within the iterations. SELECTION 02 is successful in creating a form that is elevated off the ground surface which includes a roof structure that imitates the shape of an umbrella. Several architectural design possibilities can be realised in this form: for example, Rain Harvesting pavilion system.

CRITERIA DESIGN

B.2 CASE STUDY 1.0 // MATRIX ITERATIONS

T H E C R I TERI A

CONSTRUCTIBILITY & RESPONSIVE SKIN SELECTION 03

SPECIES 03 iteration experiments with number of anchor points by manually adding points in Rhino and setting the points to Grasshopper to generate more ‘columns’ to the form. The scale and direction of points is then altered to generate variations to the extreme limit. SELECTION 03 is successful in creating a form that describes different column heights which can be useful to control light intensity or creating a sense of depth to a roof structure. This form can be applied to a pavilion as a roof which can enhance the experience of users walking through it with the height variation of the roof structure.

SELECTION 04 SPECIES 04 iteration experiments with Weaverbird plug-in. The iteration describes different types of surfaces that can be generated with the components in the plug-in. The anchor points for each ‘columns’ are altered to change the height of each ‘columns’. Unary Force and mirror components are also applied to generate variations to the extreme limits. SELECTION 04 is successful similarly to Selection 03 where its form can be used as a roof structure or even a facade profile. Unary Force is applied to define the ‘skin-flow’ which is able to direct rainwater to a desired location.

CRITERIA DESIGN

B.3 CASE STUDY 2.0

CRITERIA DESIGN

DIGFABMTY 1.0

ANDRES MARTINES & ALEX The DIGFABMTY 1.0 was designed and constructed by a team from Tecnologico De Monterrey Campus in Mexico. The pavilion was built using laser cut pyramidal shapes which are attached together by cables ties and PVC pipes. With the materials and techniques used, the team was successful in creating a naturally-lit porous parametric pavilion which was designed with the intention of encouraging future students to use digital fabrication techniques. The design process includes mathematical algorithms to generate vaulting techniques used in the support structure as well as the creation of the overall parametric form that allows differential light intensity based on the height changes on each panel surfaces. Constructing such pavilions would be costly due to the complexity of forms, structure and skin profile. Initially, the teamâ&#x20AC;&#x2122;s set budget was under $10,000 to fabricate the pavilion. However, with computational algorithmic and digital fabrication techniques, the team was able to significantly reduce the cost and the use of materials to achieve the finish product. 1 Arguably, the initial set budget in creating such a pavilion is comparatively expensive based on the size. Nevertheless, the team was rather successful in proving that techniques of digital fabrication through computation is able to achieve a low overall cost and realising the potential in creating a sustainable built design with the reduction of materials without compromising the design.

1 ARCH20 (2017). DIGFABMTY 1.0: Arquidromo. Available at http://www.arch2o.com/digfabmty1-0-arquidromo/ [Accessed 28 August 2017]. Image (Left): DIGFABMTY1.0. Available at https://archinect.com/arquidromo/project/digfabmty-1-0 [Accessed 28 August 2017].

CRITERIA DESIGN

B.3 CASE STUDY 2.0

REVERSE ENGINEERING DEVELOPMENT PROCESS THINKING

I approached the Reverse Engineering process by sketching the basic form of the pavilion to understand the structure and the skin profile in order to re-create such techniques using computational tools. Curved lines of different sizes and angle rotation represents the structure. Lofting within this curves creates the skin and panels have to be added to the skin to generate such pyramidal shapes on the skin as its overall profile.

STRUCTURE

CURVES+LINES

PAVILION SKIN

SKIN PROFILE

LOFTING+GEOMETRY

EXTRUDING MIDPOINTS

GRASSHOPPER DEFINITIONS SCRIPT DIAGRAMS & PROCESS IDEAS

With the sketches above, I have a better understanding of the elements that needs to be incorporated with definitions in Grasshopper3D. In this stage of process thinking, I developed a script diagram to identify possible definitions in creating the form and skin profile of the pavilion. This will become an experimental stage where components in Grasshopper3D will be integrated with the process ideas in the diagrams below.

SCRIPT DIAGRAM

CURVES

LOFT+ GEOMETRY

SUBSURFACE+ DIVIDE

MIDPOINTS+ AREA

EXTRUDE POINT (BASE SURFACE+ POINT)

CRITERIA DESIGN

B.3 CASE STUDY 2.0

STEP ONE

CREATING FORM & SKIN PROFILE

5 CURVES

CRITERIA DESIGN

LOFT CURVES

CONVERTING INTO GEOMETRY

B.3 CASE STUDY 2.0

ISOTRIM SUBSURFACE

AREA MIDPOINTS

DIVIDE DOMAIN

‘PANELS’ CONTROL

MOVE POINTS

EXTRUDE POINTS EVALUATE SURFACE

CRITERIA DESIGN

B.3 CASE STUDY 2.0

STEP TWO

CREATING PERFORATION ON PROFILE

DECONSTRUCT BREP

SELECTING TRIANGULAR FACE (LIST ITEM 1)

CRITERIA DESIGN

SET LINE IN TRIANGULAR FACE SELECTING TRIANGULAR EDGES (LIST ITEM 2)

EVALUATION OF CURVES (3 POINTS)

B.3 CASE STUDY 2.0

WEAVE (LIST ITEM 1+2)

JOIN ALL COMPONENTS (FINAL PROJECT)

RULED SURFACE SET LINES TO TRIANGULAR FACE

CRITERIA DESIGN

B.3 CASE STUDY 2.0

CONCLUSION DIGFABMTY 1.0 REVERSE ENGINEERING PROCESS

SIMILARITIES

DIFFERENCES

PAVILION STRUCTURE

SKIN PROFILE PERFORATIONS

OVERALL FORM

PERFORATION SIZE & PATTERN

PYRAMIDAL SHAPE (SKIN PROFILE) In this stages of Reverse Engineering, I had the chance to experiment with different components in order to integrate them together and make the script work to produce the forms of DIGFABMTY1.0 Pavilion. I learnt to understand the relationship of components within inputs & outputs, as well as realising the logic in creating complex geometries and profiles within the surfaces or domain. In my opinion, the idea of TESSELLATION, as discussed in Part B1, is evident in this project as the technique used to create the pavilion includes repetition of patterns within a set domain and it is then organized further into more complex geometries including â&#x20AC;&#x2DC;trimmingâ&#x20AC;&#x2122; of surfaces to generate perforations on the pavilion skin. Algorithmic thinking generated through computation made the construction of the model possible, which I find useful in generating multiple sets of solutions rather than a definite design. As described in the table above, I was successful in generating the structure, form and skin profile of the pavilion where the parameters for each elements can be controlled to generate variations of iterations. However, I was unhappy with the perforation of the skin as my capability hinders me to figure out the solution to control the areas of perforation and variations of size and void geometry. However, if I was unconstrained by the original form, I would take it further by exploring different variations based on the skin profile as well as the overall structure with the definitions that I have produced. The exploration process will be further developed in the next part in B4 TECHNIQUE DEVELOPMENT. 54

CRITERIA DESIGN

B.3 CASE STUDY 2.0

CRITERIA DESIGN

B.4 TECHNIQUE DEVELOPMENT

MATRIX ITERATION REVERSE ENGINEERED DEFINITION EXPLORATION

The experimentation process of Reverse Engineering the form of DIGFABMTY 1.0 has provided me with a set of knowledge in using parametric tools such as Grasshopper to develop my own definition script by understanding the structure of the pavilion. With parametric tools, I come to realise the potential of generating variation of forms within the script and the ability to develop the design of the pavilion further. In DEFINITION EXPLORATION process, I aim to push the form and design of the pavilion further by changing and adding to the parameters of DIGFABMTY 1.0 to create variations that differs from the original overall form. Four different species will be produced with a generation of iterations in order to push the boundary of the parameters to the limits in generating the variations. This exploration stages will provide with a set of recorded documentation to describe the potentials of generating variable forms with parametric tools.

CRITERIA DESIGN

SPEC I ES 01

B.4 TECHNIQUE DEVELOPMENT ITERATIONS

DECONSTRUCTING BREP + CONTROLLING PERFORATIONS SIZE AND ADDING PERFORATION POINTS (PP)

ORIGINAL REVERSE ENGINEERED

PP1 = 0.86 PP2 = 0.84

PP1 = 2.06 PP2 = 1.22 PP3 = 0.65 PP4 = 0.69 58

CRITERIA DESIGN

PP1 = 2.51 PP2 = 2.48 PP3 = 0.65 PP4 = 0.69

PP1 = 0.40

PP1 = 0.40 PP2 = 0.40

PP1 = 0.37 PP2 = 0.58 PP3 = 0.31 PP4 = 0.37

PP1 = 0.59 PP2 = 0.67 PP3 = 0.65 PP4 = 0.69

SELECTION 01

PP1 = 3.31 PP2 = 3.03 PP3 = 3.58 PP4 = 3.50

PP1 = 5.86 PP2 = 6.00 PP3 = 5.75 PP4 = 6.65 CRITERIA DESIGN

B.4 TECHNIQUE DEVELOPMENT

SPEC I ES 02

ITERATIONS

CONTROLLING SCALE OF CURVE STRUCTURE (SC1) + SKIN PROFILES (PF) +

SC1 = 7 SC2 = 7 SC3 = 1

CONTROLLING PERFORATIONS POINTS (PP)

SC4 = 6 SC5 = 4 PF = 10

SC1 = 4 SC2 = 7 SC3 = 4

SC4 = 15 SC5 = 3 PF = 50

SELECTION 02

SC1 = 7 SC2 = 14 SC3 = 18 60

SC4 = 17 SC5 = 20 PF = 50

PP REPEATED

CRITERIA DESIGN

PP1 = -0.09 PP2 = 0.93 PP3 = 2.62 PP4 = 2.00 PF= 50

SC REPEATED

SC1 = -1 SC2 = 2 SC3 = 4

SC4 = 6 SC5 = -3 PF = 15

SC1 = -1 SC2 = 2 SC3 = 8

SC1 = 15 SC2 = 10 SC3 = 15

SC4 = 17 SC5 = 20 PF = 0

SC REPEATED PP REPEATED PF = 0

SC4 = 3 SC5 = 3 PF = 30

PP1 = 0.34 PP2 = 0.64 PP3 = 0.43 PP4 = 0.43 PF=15

SC REPEATED

PP1 = 0.85 PP2 = 1.07 PP3 = 3.42 PP4 = 6.00 PF= -10

SC REPEATED CRITERIA DESIGN

SPEC I ES 03

B.4 TECHNIQUE DEVELOPMENT ITERATIONS

CONTROLLING DIRECTION OF CURVES (Z) + SKIN PROFILES (PF) Z1 = 46 Z2 = 35 Z3 = 100 Z4 = 0 PF = 20

Z1 = 50 Z2 = -30 Z3 = -50 Z4 = 60 PF = 5

Z1 = -96 Z2 = -78 Z3 = -93 Z4 = -98 PF = 30 62

CRITERIA DESIGN

MIRRORED

Z1 = 54 Z2 = -5 Z3 = 31 Z4 = -19 PF = 20

MIRRORED

Z1 = 100 Z2 = 100 Z3 = 30 Z4 = 100 PF = 10

Z1 = -30 Z2 = 90 Z3 = 100 Z4 = -30 PF = 5

SELECTION 03

Z1 = 50 Z2 = -30 Z3 = -50 Z4 = 60 PF = -100

Z REPEATED MIRRORED

Z1 = -18 Z2 = 12 Z3 = 98 Z4 = -13 PF = 10

MIRRORED PP1 = -2.71 PP2 = 1.01 PP3 = 097 PP4 = 0.93

MIRRORED CRITERIA DESIGN

SPEC I ES 04

B.4 TECHNIQUE DEVELOPMENT ITERATIONS

CONTROLLING DIRECTION OF CURVES (X) + APPLYING KANGAROO FORCE TO SKIN PROFILE (KS)

X1 = 80 X2 = -20 X3 = -50 X4 = 80 PF = 40

+ CONTROLLING SUBDIVIDED PANELS ON SKIN (SUBD)

X1 = 20 X2 = 20 X3 = 60 X4 = 100 PF = 30

ITERATION REPEATED MIRRORED

CRITERIA DESIGN

X1 = -30 X2 = 30 X3 = -50 X4 = 100 PF = 50

KS = 35 SUBD = 5

X1 = 11 X2 = 50 X3 = 10 X4 = 60 PF = 10

X1 = 60 X2 = 20 X3 = 30 X4 = -50 PF = -10

KS = 19

X REPEATED PF = 10 KS = 27

SELECTION 04

X1 = 50 X2 = -50 X3 = 40 X4 = 40 PF = 0

X1 = -100 X2 = 10 X3 = 80 X4 = -50 PF = 20

KS = 10 SUBD = 3

X1 = 0 X2 = -50 X3 = 80 X4 = -50 PF = 20 CRITERIA DESIGN

KS = 30 SUBD = 7

B.4 TECHNIQUE DEVELOPMENT

SELECTION CRITERIA

SEPCULATING REVERSED ENGINEERING

MATRIX ITERATIONS PROCESSES

SELECTION 01 SPECIES 01 iterations experiments with the skin surface and exploring the capability of adding more points to profile surfaces in order to generate more perforations. Sizes and angles of perforations can be controlled throughout the variations in the matrix iterations. SELECTION 01 is successful in creating a similar structure to the Reversed Engineering Case Study (DIGFABMTY 1.0) however, generating more perforations on all surface of the skin profile. Instead of having just one sided perforations, voids are created on each sides to widen the perforated area allowing more natural light in. Height of the skin profile controls the emittance of direct sunlight preventing glare. Overall, this iteration has the potential of generating a design for a pavilion that provides sunshading for users.

CRITERIA DESIGN

THE CRITERIA:

CONSTRUCTIBILITY & RESPONSIVE SKIN

SELECTION 02 SPECIES 02 iterations explores with the scale of the structures that creates the overall form of the pavilion. Skin profiles is also experimented with to describe how it might affect the perforation on the skin. SELECTION 02 is successful in generating a dome shape structure that provides more space in the pavilion. Similar to SELECTION 01, the perforations and height on skin profile has the ability to control direct natural light. Depending on the materials used, this structure can even provide with acoustic properties for users in the dome.

CRITERIA DESIGN

B.4 TECHNIQUE DEVELOPMENT

SELECTION CRITERIA

SEPCULATING REVERSED ENGINEERING

MATRIX ITERATIONS PROCESSES

SELECTION 03 SPECIES 03 iterations experimented with the directions of the structure to generate a variation of form. Perforation control points are then explored towards the end of the matrix to generate variations to its limits. SELECTION 03 has a design potential of a canopy structure that can be self-supportive at its corner ends. It can be applied as an architectural feature for a shading device from sunlight and rain with limited perforations. Skin profile is able to control direction of light as well as rainwater flow.

CRITERIA DESIGN

THE CRITERIA:

CONSTRUCTIBILITY & RESPONSIVE SKIN

SELECTION 04 SPECIES 04 iterations experiments with directions of structure and applying force to the skin by using Kangaroo plug-in. Instead of applying the force to the overall skin mesh, panels are generated on the skin for the force to be applied on each panels in order to produce complex variations based on the stretching force. SELECTION 04 is successful in creating a tensile canopy system. The height of the skin profiles can be controlled for a flexible design outcome. It can also act as a sunshading element as well as capturing and directing rainwater flow away from the interior spaces below.

CRITERIA DESIGN

B.5 TECHNIQUE PROTOTYPES

RESPONSIVE SKIN ARCHITECTURAL APPLICATION

In collaboration with Jesslyn & Sharleen, we formed a team that focuses on designing an architectural application that is responsive to the environment in relation to weather and climatic aspects. We aim to combine all three individual ideology on our selected techniques to produce a modular structure with a brief criteria that responds to solar heat radiation and natural daylight. Several prototypes are produced as a first step to experiment and explore the possibilities of combining digital and traditional fabrication techniques in relation to our brief criteria before developing a design proposal. Our technique aims to develop towards an adjustable fabrication system that allows our design to be flexible within the focus of environmental responsiveness (solar heat radiation and sunlight) for it to be readily incorporated as an architectural application.

CRITERIA DESIGN

B.5 TECHNIQUE PROTOTYPES

PROTOTYPE #01 DESIGN THINKING PROCESS

01 EXPLORING BASE FORMS FORM ANALYSIS

SQUARE

MODULAR COMBINATION

Square configuration are too linear and does not provide much flexibility in defining complexity in geometries.

RECTANGLE

SINGULAR

Similarly, rectangular configuration does not provide flexibity of arrangements and are too linear. Complexity of geometries that provides flexibility in design is desired to achieve different variation to the base form for an adjustable fabrication system.

TRIANGLE

SELECTED FORM Triangular form meets the selection criteria towards the base form as it is able to create other geometries such as hexagons, trapezium and parallelograms which is useful in form-finding process to generate different variation based on the factors of environmental responsiveness.

CRITERIA DESIGN

02 FORM-FINDING PROCESS

Exploring different possibilities of forms based on the selected triangular base boundary which will be part of the base structure of the modules for PROTOTYPE #01. Unary force and different extrusion heights applied to mesh in order to obtain the results of the overall form with the occurence of selected effects. ITERATION 01 form will be used as part of the experimentation process in Prototype #01 to test the results of our fabrication techniques and materialisation. CRITERIA DESIGN

B.5 TECHNIQUE PROTOTYPES

PROTOTYPE #01 FABRICATION PROCESS

01 FORMWORK ASSEMBLY: DIGITAL DRAFTING

CONNECTION TABS

Integrating connecting tabs in each modular base formwork to aim for a rigid connection when modules are combined to create a whole system of configuration.

ASSEMBLY DIAGRAM SET BASE FORMWORK

BASE FORMWORK

SUPPORT STANDS

GRID MESH

OVERALL BASE SUPPORT

Set base formwork are used to support the base structure of the modules during casting process. Grid mesh is introduced and fixed to overall base support as a control point when mesh is pull down when setting it for casting.

CRITERIA DESIGN

02 FORMWORK ASSEMBLY: MANUAL FABRICATION

Perspective of PROTOTYPE #01 Formwork Assembly.

Close-up of base formworks.

Clamping of base formworks during casting.

CRITERIA DESIGN

B.5 TECHNIQUE PROTOTYPES

MODEL-MAKING PROCESS 03 PLASTER CASTING PROCESS

Scuba fabric is experimented with in PROTOTYPE #01. It is secured between the set base formworks and clamped into position. Styrofoam is used as the mother mold and set into the middle to create the void in the module. Plaster mix is then poured into the formwork and left at room temperature to let it set. In this model-making stage, we found out that scuba fabric has the capabilities of absorbing water from the plaster mix and preventing the mix from leaking through due to its low porosity level.

CRITERIA DESIGN

04 PLASTER CASTING SET OUTCOME

After 5 hours, unwrapping the formwork takes place. Peeling of fabric was rather easy and the module obtained an organic texture due to the fabric formwork. Texture of plaster was smooth and the connection tabs was casted and set in place as planned. Styrofoam mother mold will be removed with acetone acid for the void in the casted module. Using triangular timber formwork allows the base form to obtain the triangular shape while fabric formwork produced an organic texture to the module.

CRITERIA DESIGN

B.5 TECHNIQUE PROTOTYPES

05 FINAL TOUCH UPS

After removing the cast from the formwork, acetone acid is poured onto the styrofoam mother mold to dissolve it, leaving a void in the module.

THE FINAL OUTCOME In this prototype, we experimented with basic shapes and selected triangles as the basic parts that has the capabilities of combining triangular modules into an arrangement of creating other complex geometries as a whole system. This describes the ideology of modulars and repetition of pattern arrangements of TESSELLATION technique in which we explored further in the fabrication techniques. Form-finding process allows us to visualise different possibilities in generating a variation of form within a specified domain. We tested it out using fabric and timber framework by translating the chosen iteration into our fabrication process and chose plaster casting for our first prototype. In relation to our brief criteria of environmental responsiveness, we aim to produce modules of forms with voids in the middle to allow sunlight penetration and having an extrusion of height for the possibilities of controlling the amount of natural light emittance based on different seasons. However, with our fabrication technique of pouring plaster mix & the design of mother mold used, it did not achieve an adequate size for the void in order for the design strategy to be possible. Also, pouring large volumes of plaster mix resulted in a heavy module for such a small scale, which does not seem feasible for an architectural application like a facade or even roof structure. This also causes the joining system of the connection tabs to be brittle and will break if friction or force is applied between modules. Overall, the advantages of using combination of fabric and timber formwork is that it is able to produce a form that is aesthetically organic due to the folding of fabric as well as the ability to retain the desired base formwork which was selected from the form-finding iterations. Through this outcome, we decided to proceed to PROTOTYPE #02 and experiment our fabrication techniques further. 78

CRITERIA DESIGN

PROTOTYPE #01 FINAL MODULE OUTCOME

CRITERIA DESIGN

B.5 TECHNIQUE PROTOTYPES

PROTOTYPE #02 DESIGN THINKING PROCESS

01 FORM-FINDING PROCESS

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Taken from the design process in developing the base forms from PROTOTYPE #01, we explored further by producing a matrix iteration of the chosen triangular form and expanded it further. The idea in PROTOTYPE #02 is to focus on a macroto-micro scale within the modules, as we decided on the hexagon as our bigger module which will then have the potential of breaking down into smaller modules of parallelogram, trapezium and triangles. These shapes will be the basis of the structures that make up the variation of modules that can be controlled with parametric tools based on the level of exposure to solar heat radiation and sunlight. The SELECTED ITERATIONS will be the start point to our exploration in this prototype as we begin to introduce a more adjustable and flexible fabrication system to translate this iterations into our prototype modules in relation to our brief criteria.

CRITERIA DESIGN

B.5 TECHNIQUE PROTOTYPES

FORMWORK PROCESS

01 DIGITAL FABRICATION TECHNIQUES FABRICATION: LASERCUTTING Form structure of modules will be produced from boundary patterns in form-finding matrix. It will be used as a permanent formwork as well as a structural element to form the basis of the modules. LASERCUTTING will be used instead of manual fabrication to enhance the quality and accuracy in T E R I Aproducing L: MED I U M D E Nforms S I T Y of F I Bformwork R E B O A R D& mother production as well as to increase the potential M ofAmass different F A B R I C A T I O N : L A S E R C U T & P L A S T E R CASTING molds to achieve the aim of developing a flexible fabrication system.

ORK PROCESS RICATION

METHOD

TECHNIQUES

// FORM STRUCTURE BOU NDARY

// FORM STRUCTURE

HEXAGON HEXAGON

TRAPEZIUM TRAPEZIUM

F O//RSUPPORTS CE VARIATIONS ATION

PARALLELOGRAM PARALLELOGRAM

TRIANGLE TRIANGLE

// SUPPORTS

FORM STRUCTURE SUPPORTS

FABRIC

FORCE/ HEIGHT GUIDELINES

DOUBLE STAND SLOTS

LEG SUPPORTS OF FORMWORK WITH GUIDELINES THAT REPRESENTS THE FORCE & HEIGHT VARIATIONS OF THE MODULE PROFILE.

FABRIC

SUPPORT GUIDELINES Leg supports of formwork with guidelines fabricated with lasercutting to represent the force & height variations of the module profile when fabric is pulled to ensure a more controlled and accurate fabrication system. 82

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02 FORMWORK ASSEMBLY

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B.5 TECHNIQUE PROTOTYPES

FABRICATION PROCESS 01 FABRICATION ASSEMBLY FABRICATION METHOD: PLASTER CASTING

Different sizes and shapes of mother mold is produced by lasercutting to achieve variables of perforations in modules. A selection of fabric will be tested based on the level of stretch, porosity as MATERIAL: SELECTION OF FABRICS well as texture. A different technique of casting will be explored. Instead of pouring plaster mix, it FABRICATION: PLASTER CASTING will be brushed on the inside and outside of fabric as well as structure. This is to achieve a M E the T H O form D DIGITAL FABRICATION TECHNIQUES lightweight module as compared to the heavy module in PROTOTYPE #01 due to pouring technique.

FABRICATION PROCESS

MOTHER MOLD CUTOUT TO CREATE PERFORATIONS

FABRIC CLAMPED ONTO FORM STRUCTURE

SELECTION OF FABRIC

03 FABRIC IS STRETCHED DOWN FROM THE MOTHER MOLD TO MAINTAIN ITS FORM.

FINAL MODULE FORM

CRITERIA DESIGN

PLASTER MIX IS THEN BRUSHED ON INSIDE & OUTSIDE OF FABRIC LEAVING THE AREA WITHIN MOTHER MOLD FOR THE VOID.

02 MATERIAL TESTING TESTING FABRIC FORMWORK Three fabric were introduced into PROTOTYPE #02 to test out its strength, level of stretch and porosity. All three will be casted with plaster to reveal their qualities when incorporating plaster casting with the fabrication methods that we have chosen to explore. The timelapse images below describes the strength and level of stretch of each fabric which is based upon the force variation guidelines on the leg supports.

M AT E R I A L T E S T

NETS - mesh

STOCKING - translucent

BANDAGE 3

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B.5 TECHNIQUE PROTOTYPES

FABRICATION PROCESS 03 PLASTER CASTING PROCESS 01 (NETS & STOCKINGS)

TRIANGLE & PARALLELOGRAM

In this casting process, we come to realise the advantages of digital fabrication in reducing material usage as within one fabrication system, we are able to fit 2-3 modules on the formwork which enabled us to cast them at the same time and allowing mass production of modules at a faster rate. The force variation guidelines on the leg supports also provide us with an indicative measure of the height distance which enabled us to produce an accurate variation on each module while casting all of them at once. Nets fabric took a longer time to cast with at least 3 coatings of plaster due to its high level of porosity while stockings fabric took a lesser time to cast with 2 coatings of plaster. However, both fabrics works well in producing a higher force & height variation due to its stretch level. 86

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NETS STOCKINGS

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B.5 TECHNIQUE PROTOTYPES

FABRICATION PROCESS 04 PLASTER CASTING PROCESS 02 (BANDAGE)

TRAPEZIUM

In this stage, bandage is tested with plaster to test its overall strength and level of stretch. It can only stretch to a maximum of 300mm before failing and requires several coatings to give the overall form of the module its maximum strength. Even after setting the form requires addition coating which results to a failure of structure and overall strength for this particular material.

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BANDAGE

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B.5 TECHNIQUE PROTOTYPES

05 FINAL TOUCH UP

THE FINAL OUTCOME In this second prototype, a different set of techniques were explored which includes changing of fabrication method from pouring to brushing plaster mix onto fabric to create a lightweight modular of forms, and developing the formwork process further by using digital fabrication of lasercutting. In addition to this, a flexible fabrication system was produced as the design of the formwork enabled multiple sets of modular forms with different variations to be placed onto the formwork base and casted all at the same time. With the force & height variation guidelines provided on the leg supports, we can ensure accuracy of fabrication which also informed our digital model based on the controlled variation of forms in relation to our brief criteria. We tested different materials of fabric to explore the potentials of a feasible fabric that we can use for our final project. The test were based on its overall strength and elasticity, which can cause an impact towards the overall form of our modules. The results identified that stockings and mesh fabric are the most feasible outcome due to its high elasticity and strength level, however, other fabric should be tested further before finalising it in the final project. The perforations or voids that we wanted to achieve based on our brief criteria, in its responsiveness to sunlight, was created by lasercutting different sizes of mother mold. This also reflects back to our digital model as well as the matrix iterations where the sizes of perforations, depending on the mother molds, can be controlled based on the level of light exposure on a specific area. Similarly, extrusion of heights and force acting on the fabric formwork can also be controlled digitally, and translating it physically, in its responsiveness to solar heat radiation on a specific surface. Finally, we redeveloped the joint system and incorporated slots to enable the potential of generating different connecting systems such as clips, cable ties or even bolts. Overall, PROTOTYPE #02 was successful in producing a lighter module suitable for roofs & facades, and producing an adjustable fabrication system to enable variable of forms. However, the overall texture is a failure as the techniques of brushing causes the module to be rough and further explorations will be carried out towards the final stages. 90

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PROTOTYPE #02

FINAL MODULE OUTCOME

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B.6 DESIGN PROPOSAL

URBAN CORAL

ATOLL FACADE RESPONSIVE SKIN

With the development of fabrication techniques and exploration within the prototypes produced, our team proposed a design of a responsive skin for a building facade that responds to issues of solar heat gain and direct sunlight in an urban district. Our design targets buildings that are often exposed to solar radiation that resulted in a demand of cooling system which causes high overall building cost as well as producing dangerous amount of carbon emissions to the environment. The design strategy is to generate variation of modular forms, based on the level of exposure to solar radiation and sunlight on a surface, in creating a facade system that is interchangeable and can be readily incorporated in different locations and orientations to minimise the intensity of such climatic aspects acting on the building. With this design proposal, we aim to achieve in providing a comfortable living & working space for building users from excessive heat gain & glare, as well as reducing the production of carbon emission from the demand of cooling systems.

CRITERIA DESIGN

B.6 DESIGN PROPOSAL

SITE LOCATION

URBAN S I TDISTRICT E L OCONTEXT CAT

ION

BUILDING: ERNST & YOUNG OFFICE LOCATION: MELBOURNE CBD (CNR EXHIBITION ST & FLINDERS ST)

FEDERATION SQUARE

FLINDERS STREET STATION

CRITERIA DESIGN

For this design proposal, we would like to focus on Ernst & Young Headquarters building as it is located on the edge of the CBD, with the south facade facing surrounding parks and north facade facing the urban district surrounded by high-rised towers. Areas marked red are the context surrounding the building, showing the potential of each facades having different exposure to sunlight and solar heat radiation which can produce variation of forms to our proposed facade system.

CRITERIA DESIGN

B.6 DESIGN PROPOSAL

S I T EANALYSIS ANALYSIS SITE HEAT RADIATION & SUNPATH

SUN PATH DIAGRAM

Based on both analysis on the Southern Hemisphere sunpath and solar heat radiation analysis produced by parametric tools of Ladybug, we were able to obtain different results based on the exposure and intensity of solar heat radiation acting SOUTH-EAST on each facades.

With this data, we will be able to provide NORTH-WEST with a digital prototype visualisation to describe the application of our design proposal on the selected site.

SUM

RS UN

SUN PATH ANGLE

Due to the direction of the sunpath in Melbourne, Ernst & Youngâ&#x20AC;&#x2122;s north facing facade gains the most exposure of heat radiation throughout the year, whereas south facing facade experiences the least solar radiation intensity acting on the surface.

N CRITERIA DESIGN

Sunlight Exposure Analysis Melbourne_VIC_AUS 1 JAN 1:00 - 31 DEC 24:00

NORTH-EAST

NORTH-WEST

SOUTH-WEST

W CRITERIA DESIGN

FACADE ANALYSIS

Sunlight Exposure Analysis Melbourne_VIC_AUS 1 JAN 1:00 - 31 DEC 24:00

EXPOSURE PERSPECTIVE

SOUTH-EAST

B.6 DESIGN PROPOSAL

IDEA DEVELOPMENT COMBINATION OF TECHNIQUES TESSELLATION 01

// RAYYAN

TESSELLATION 02

// JESSLYN

My ideology of TESSELLATION consists of repetition of patterns within a system of modules which can be reconfigured into a more complex geometry as a whole. Extrusion of skin profile and creating perforations is adapted from my technique of TESSELLATION as a contribution to the design proposal.

Jesslyn explored TESSELLATION through the overall form by experimenting with the undulating shapes that was caused by the choice of material in constructing the modules. Unary force variations towards the overall form is adapted from Jesslynâ&#x20AC;&#x2122;s technique of TESSELLATION as a contribution to the design proposal.

CRITERIA DESIGN

BIOMIMICRY

U R B A N

// SHARLEEN

Sharleen explored BIOMIMICRY with adaptation of natural patterns and light filtering installations. Using analysis of solar radiation in determining the modular arrangements and sizes is adapted from Sharleenâ&#x20AC;&#x2122;s technique of BIOMIMICRY as a contribution to the design proposal.

C O R A L

A T O L L FACADE

Combining all 3 techniques, we aim to produce a design that incorporates the fabrication systems as explored in PROTOTYPE #02. The design aspects will consist of a lightweight structure, perforations for sunlight emittance and extrusion of height and force that varies based on solar heat radiation. URBAN CORAL ATOLL FACADE represents the idea of imitating natural arrangement of corals in the sea which protects the habitats of fishes, reflecting on our aim behind our design proposal in preventing building users from the intense solar heat radiation and glare of direct sunlight. CRITERIA DESIGN

B.6 DESIGN PROPOSAL

VISUALISATION PROTOTYPE APPLICATION

NORTH FACADE

F R O N T A L V I E W

SOLAR RADIATION & SUNLIGHT

The design proposal aims to produce different variation of modular arrangements on each facade but in this visualisation stages, we would like to focus on the north facing facade where there is itensity of solar heat radiation exposure throughout the year. By this, we are able to visualise the application of the design proposal on the site. Sizes of perforations and height extrusion of modules will be based on the analysis of solar heat radiation acting on the surface. Larger perforations will be position in areas with lesser sunlight emittance in Summer and higher sunlight emittance in Winter. Higher level of height extrusion will be position in areas where solar heat radiation is the highest to prevent the surface from absorbing the heat.

S E C T I O N

DEVELOPMENT OPTIONS - Creating an official parametric script to enable the design proposal to work.

V I E W

- Exploring and experimenting the modular forms further based on more research on solar heat radiation and sunlight emittance. - Experimenting further in materialisation and techniques of fabricating modules. - Combination of the different geometries within a hexagon in developing a part-to-whole system.

100

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101

B.7 LEARNING OUTCOMES

CONCLUSION

Within 8 weeks of Studio Air session, I begin to appreciate the learning journey even more as I gained a significant amount of knowledge on digital design and parametric modelling tools. I learnt to understand the relationships of datas within computation tools and the parameters in which they work. Going through the 8 Learning Objectives introduced at the start of this module, I come to realise how much I have stretched and pushed myself to achieve higher standards working with algorithmic design. In B1:RESEARCH FIELD, being exposed to architectural precedents on digital fabrication techniques, and the many possibilities arising from parametric modelling tools, triggers me to critically analyse the methods and potentials in which the projects has realised a new language in architecture by moving away from norms and creating something that is unprecedented. It allows me to understand the logic of applying algorithmic thinking into the design process towards developing capabilities for a conceptual yet technical architectural discourse. This pushes me beyond as I progressed into B2 and B3 CASE STUDIES as I explored and experimented with parametric modelling tools to generate a variety of design possibilities within a specified situation. Even though I was struggling to REVERSE ENGINEER the original form of my selected precedent, it pushes me beyond my boundaries to explore even deeper into the realm of parametric design and realising the infinite options availble for a design solution. It became more evident in B4:TECHNIQUE DEVELOPMENT as I aimed to achieve in pushing my own generated reverse engineered script to the limits in order to develop the skills in three dimensional media and parametric modelling tasks. Progressing further into B5:PROTOTYPES, my critical design thinking and processes were put to test as I incorporated both digital design and physical fabrication of models into harmony to ensure that they reflect one another as I translated my knowledge of algorithmic thinking and designing into practise. Working in a team, I was encouraged to go the extra mile to conduct several tests of materials and fabrication techniques before finalising on a prototype based on our brief criteria. Critical thinking skills is essential in this process as I learnt to adapt and fuse ideas of parametricism into the technicality of fabrication. With all these sets of knowledge I have obtained, I was able to develop a design proposal as a group in part B6, based on the prototypes and fabrication systems we have produced. This is to explore the potentials of our prototype further as we visualise and test our modules on the selected site context in relation to responding to solar heat radiation and sunlight. Within this stage, we tend to realise more development options for us to improve on our design and the proposal itself with parametric tools to gain more variations and control over the selected design. With this, further exploration and experimentation will be carried out in Part C: Detailed Design, as I embark on another journey of gaining the knowledge of algorithmic thinking and parametric design, aiming to achieve higher standards in making the stated design proposal possible and feasible for an architectural application in the design field.

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B.8 APPENDIX

ALGORITHMIC SKETCHES

104

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ANCHOR POINTS & KANGAROO EXPLORATIONS

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105

SCALE & PERFORATION EXPLORATIONS

106

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PATTERN WEAVING & RELATIVE ITEM EXPLO RATIONS {0;0} {1;1} {0;1} {0;0} {1;1} {0;1}

{0;0} {1;1} {0;2}

{0;0} {1;1} {0;1}

{0;0} {1;1} {0;1} {0;0} {1;1} {0;1}

{0;0} {1;1} {0;2} {0;0} {1;1} {0;2}

{0;0} {1;1}

{0;0} {1;1} {0;2}

{0;0} {1;1} CREATING PATTERNS WITHIN A SPHERE WITH

CREATING PATTERNS WITHIN A SPHERE WITH

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PART B REFERENCES LIST

108

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ArchDaily (2012). Voussoir Cloud: IwamotoScott Architecture + Buro Happold. Available at http://www.archdaily.com.br/br/01-54024/voussoir-cloudiwamotoscott-architecture-mais-buro-happold [Accessed 14 September 2017] ARCH20 (2017). DIGFABMTY 1.0: Arquidromo. Available at http://www.arch2o.com/digfabmty-1-0-arquidromo/ [Accessed 28 August 2017]. IwamotoScott (2008). Voussoir Cloud: Installations. Available at https:// iwamotoscott.com/projects/voussoir-cloud [Accessed 14 September 2017] Mark Burry (2017). Aegis Hyposurface. Available at https://mcburry. net/aegis-hyposurface/ [Accessed 14 September 2017] Mark Goulthorpe (n.d.). Hyposurface: from Autoplastic to Alloplastic Space. Available at https://www.generativeart.com/on/cic/99/2999.htm [Accessed 14 September 2017]

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D E T A I L E D

D E S I G N

110

DETAILED DESIGN

PART C CONTENTS //

113

C.1 // [DESIGN CONCEPT]

128

FINAL DESIGN VISUALISATION // [URBAN CORAL FACADE]

133

C.2 // [TECTONIC ELEMENTS & PROTOTYPES]

134

CASTING OUTCOMES // [PROTOTYPE REFLECTIONS]

138

FABRICATION TESTING // [DEVELOPMENT OF PROTOTYPES]

146

FABRICATION METHODS // [FINALISING PROTOTYPES]

152

CONSTRUCTION PHASES

158

C.3 // [FINAL DETAIL MODEL]

186

C.4 // [LEARNING OBJECTIVES & OUTCOMES]

C.1 DESIGN CONCEPT

URBAN CORAL

ATOLL FACADE DESIGN DEVELOPMENT

After presenting our ideas and design proposal to the external panels during interim presentations, our team gained valuable feedbacks based on our design concept and we initiated further research and developments to our design. The design development ideas will be demonstrated in detail within PART C1: Design Concept, to improve our initial concept ideas and proposal, as we progress towards the final design of the Urban Coral Atoll Facade.

DETAILED DESIGN

113

C.1 DESIGN CONCEPT

DESIGN FEEDBACK ITERIM PRESENTATION

DESIGN OBJECTIVES

NORTH FACADE

F R O N T A L

RE D UCE SO L AR R AD I AT I O N O N BU I LD I NG FACAD E & TO PROVI D E SHAD I NG E LE M E NT FROM I NTE N SE SU N LI GHT

AI M S TO RE TAI N VI E WS E VE N WI TH TH E APPLI CAT I O N O F U RBAN COR AL MO D U LE S

POS SI B I LIT Y OF PROVI D I NG A GRE E N FACADE I NTO TH E DE SI GN BY USAGE OF PL ANT S TO I MME N SE LY RE DUCE H E AT GAI N & URBAN H E AT I SL AN D I N TH E CBD

V I E W

SOLAR RADIATION & SUNLIGHT

S E C T I O N V I E W

D E S I GN F E E D BACK 01

DEVELOPING A MODULE DESIGN THAT CAN ACCOMMODATE SHADING BASED ON DIFFERENT SUN ANGLES DURING ALL SEASONS

SITE ANALYSIS SUN PATH DIAGRAM

SUN ANGLE CONSIDERATIONS

JOINING SYSTEMS

CONSIDER JOINTS OF MODULES TO FACADE & THE FEASIBILITY SOUTH-EAST OF CONSTRUCTIONNORTH-EAST

DESIGN FLEXIBILITY DEVELOP THE DESIGN FURTHER TO DEMONSTRATE THE FLEXIBILITY OF FORMS AND DESIGN OPTIONS TO THE MODULES

RS UN

DETAILED DESIGN

114

NGLE

NORTH-WEST

SOUTH-WEST

AD D R E S S I N G T H E F E E D BACK : D E LIVE R AB LE S SUN ANGLE ANALYSIS Computational design methods will be explored further to determine how our design can be developed to respond to different sun angle throughout the seasons in Melbourne. Summer & Winter sun angles will be our main research to enable our design to allow sunlight and heat into the building during winter, and blocking off sunlight and heat during summer.

CONSTRUCTION JOINTS Further research on rigid connections within module panels to ensure that joints can accomodate lateral forces from wind and earth movements. Construction joints to building facade will also be considered and detailed documentation will be provided.

DESIGN FLEXIBILITY Explorations within design computation methods will be pushed further to produce variation to the design scheme of the modules which can be readily applied to any building and context. The design will merge together with sun analysis to enable flexibility of facade design based on clientâ&#x20AC;&#x2122;s desires.

DETAILED DESIGN

115

C.1 DESIGN CONCEPT

PRECEDENT STUDIES DEVELOPMENT INSPIRATIONS

Further research of precedents were carried out by the team to provide us with inspirations to develop our ideas and to push the boundaries of our design further.

ANALOG & DIGITAL METHODS

Us i ng g ravitati ona l fo rce a s pa r t of the des ig n methods s i m i l a r to Ga ud i’s Hang i ng model tech n iq ue

I nco r po rati ng ana l og o r t rad iti oan l methods tog ethe r w ith d ig ita l des ig n too l s to dete r m i ne the ex t r us i on of mod u l es.

GAUDI’S HANGING MODEL

MODULAR PANEL STRUCTURE

MOSS VOLTAICS

FIG 01: 1889-Gaudi’s Hanging Chain model. Retrieved from http://dataphys.org/list/gaudis-hanging-chain-models/ FIG 02: Moss Voltaics Pods. Retrieved from https://www.archdaily.com/782664/this-modular-green-wall-system-generates-electricity-from-moss

116

DETAILED DESIGN

Creati ng panel s that i s mod u l a r fo r ea se of con necti on and fea s i b i l it y of jo i nt s

Cons t r ucti ng a shel l l i ke s t r uctu re s i m i l a r to Mos s Vo lta ics pods w h ich can accom modate fo r a w ide r pe r fo rati on to a l l ow vi ew s, a s wel l a s ensu r i ng a l ig hte r ove ra l l weig ht to the mod u l es

KANGAROO PHYSICS (DIGITAL)

E x p l o r i ng the use of com putati on tech n ia ue to ref l ect g ravitati ona l fo rce and to dete r m i ne ex t r us i on s t retch l evel s

Fo r m - f i nd i ng functi on to dete r m i ne the fo r m s of each mod u l e, s i m i l a r to the panel s i n the va u lt s of the Vous so i r Cl oud

VOUSSOIR CLOUD

RESPONSIVE FACADE

I nspi rati ons f rom G reen Ca s t that a respons ive facade does not need to be k i netic

G reen Fo l iag e on G reen Ca s t facade sk i n responds to envi ron menta l cond iti ons on s ite. O u r team a i m s to del ive r s i m i l a r obj ectives by p rovid i ng comfo r t to bu i l d i ng use r s w ith ou r mod u l e panel s

GREEN CAST // KENGO KUMA

FIG 03: Voussoir Cloud. Retrieved from https://iwamotoscott.com/projects/voussoir-cloud FIG 04: Green Cast - Kengo Kuma & Associates. Retrieved from https://www.archdaily.com/245156/green-cast-kengo-kuma-associates

DETAILED DESIGN

117

DESIGN DEVELOPMENT CONCEPT IDEA PROGRESSION

Development of the design concept based on feedbacks and precedent studies.

INITIAL MODULE DESIGN BASE MODULE STRUCTURE 01

Module panels with irregular base

N O R T Hform structure resulted to issues arrangements & connections. FACADEwith Hence, regulating the base shape

as shown in visualisation diagram in front view.

02 03

EXTRUSION HEIGHT & PERFORATION SIZE Extrusion of modules is difficult to control as perforation size of the panels will be affected.

SOLAR RADIATION & SUNLIGHT

SECTION VIEW

S E C T I O N

V I E W

F R O N T A L

DETAILED DESIGN

V I E W

This will cause an issue of blocking the views and design flexibility will not be possible.

FRONT VIEW

118

MODULE ARRANGEMENT

F R O N T A L

H E

C.1 DESIGN CONCEPT

DEVELOPED MODULE DESIGN IMPROVISATION 01

MODULE DESIGN Initial form idea of triangle, hexagon, trapexium & parallelogram which was used as base structure is now developed as the form of the solid element in each modules. This solid element will act as SHADING DEVICES from solar radiation & sunlight.

BASE MODULE STRUCTURE 01

02 SOLID ELEMENT

SOLID ELEMENT

MODULE PERFORATIONS The module panels are selected based on its perforation sizes which allows views from inside of building as well as responding to the effects of SUN ANGLE throughout the seasons.

The selected modules will be refined further as it goes through a form-finding process in the next stage. 03

MODULE JOINTS

SELECTED MODULE PANELS 01

Rigid connections & arrangement of modules can be ensured with standardising hexagon as base structure and making the panels modular similar to Moss Voltaics Pods. A base form module is created in a form of glass panel to provide design availabilities within the modules DETAILED DESIGN

119

C.1 DESIGN CONCEPT

FORM-FINDING MATRIX SELECTED MODULE PANELS

Selected module panels form-finding process & filtered based on solar radiation analysis

MATRIX ITERATIONS

120

DETAILED DESIGN

THE PROCESS Altering the form of selected modules within the solid region which will serve as the shading element. Computational methods is used to alter the parameters of the form. Gravitational forces inputs from Kangaroo Physics plug-in determines the texture and stretch level of each module panels. A different variation of height extrusion is also explored with as well as the angle towards the end of extruded form. Shell-like structure is created, as taken from the precedent studies, to ensure a lightweight module as compared to our initial design concept which resulted to a heavy module due to the massing of volume. SELECTION CRITERIA The form-finding iterations is selected based on the following aspects: - AESTHETIC - EASE OF FABRICATION - FUNCTIONALITY It will also be selected to satisfy the brief of providing sun-shading efficiency based on solar radiation analysis.

C.1 DESIGN CONCEPT

SOLAR RADIATION ANALYSIS MELBOURNE SUN PATH DIAGRAM EY BUILDING RADIATION FOCUS

EXPOSURE PERSPECTIVE

NORTH-WEST

SOUTH-WEST EY BUILDING FACADE ANALYSIS

Sunlight Exposure Analysis Melbourne_VIC_AUS 1 JAN 1:00 - 31 DEC 24:00

122

DETAILED DESIGN

NORTH FACADE W

The North Facade of Ernst&Young (EY) building will be our main focus in this project, as presented N in our design proposal, due to its wide variation of solar radiation analysis acting on the facade.

FACADE ANALYSIS

Sunlight Exposure Analysis Melbourne_VIC_AUS 1 JAN 1:00 - 31 DEC 24:00

FACADE ANALYSIS

SUN PATH ANGLE

MELBOURNE SUN PATH RS UN

SOUTH-WEST

NORTH-WEST

NORTH-EAST

SUM

NORTH-EAST

SUN PATH DIAGRAM

SOUTH-EAST

EXPOSURE PERSPECTIVE

SITE ANALYSIS

This will enable us to demonstrate the potential of design variation in our modules & to set a selection criteria from our formfinding process.

MODULE SELECTIONS FORM-FINDING MATRIX

EXTRUSION HEIGHT (EH) EXTRUSION ANGLE (EA) FRONT VIEW

MODULE PANELS

EH = 2.1m 01

EA = 30째

EH = 1.2m 02

EA = 15째 MODULE 01

MODULE 02

MODULE 03

MODULE 04

EH = 0.9m EA = 10째

EH = 0.9m EA = 0째

ELEVATION VIEW

SELECTION CRITERIA

MODULE 1&2

MODULE 2&3

MODULE 3&4

MODULE 01 Panel with highest extrusion height to block off sunlight in areas with the most solar light intensity. MODULE 02 Panel with one sided extrusion for shading which can be rotated and adjusted based on the sunpath. MODULE 03 Panel with minimal extrusion height however angled to maximise efficiency of shading. MODULE 04 Panel without perforation. Entirely made of glass with flat surface. For areas with minimal solar intensity. DETAILED DESIGN

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ALGORITHMIC PROCESS ALGORITHMIC C O M P U T A T I O N A L D E S I PROCESS G N T E C H N I Q U E S C.1 DESIGN CONCEPT

ASSIGNING

HEXAGONAL GRIDS

MODULE

PANELS

OFFSET HEXAGONS

APPLY IMAGE SAMPLING SUNLIGHT EXPOSURE ANALYSIS

SETTING NORTH FACADE IRRADIANCE MAP TO MONOCHROME FOR PIXEL ACCURACY 124

DETAILED DESIGN

SET BOUNDING BOX

SUN PATH

MODULE 01

MODULE 02 WEST

MODULE 03

MODULE 04

EAST

Module 02 is adjustable during construction to facilitate shading based on sun path rising and setting. Grey shaded area shows the shading element of the module

COMPUTATIONAL DESIGN A Grasshopper Script is created by the team to assign the selected module panels based on the solar radiation analysis recorded with Ladybug. This is to ensure that our design of each module panels meets the design criteria of providing the most efficiency of sun shading. FINAL DESIGN OUTCOME

ASSIGN MODULE PANELS TO SET BOUNDING BOX

As each module is selected to respond to areas of a specific solar light intensity level, computational methods such as Grasshopper is able to provide us with an accuracy of design & ensuring that the design outcome is functional as it satisfies the brief. An image sampling process is undertaken within the Grasshopper script & coloured pixels are converted to monochrome to maximise the accuracy of assigning the module panels based on the analysis recorded.

DETAILED DESIGN

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C.1 DESIGN CONCEPT

SUNLIGHT EXPOSURE ANALYSIS SUN PATH INTENSITY & ANGLE STUDIES MELBOURNE SUN PATH DIAGRAM

WINTER SUMMER

SUNLIGHT PATH INTENSITY ANALYSIS

SUNLIGHT ANGLES Another analysis is conducted to obtain the sun angles in different seasons. SUMMER SUN= 75.53° WINTER SUN = 28.53° With this angles, we are able to determine the areas in which solar radiation & sunlight are to be blocked off or allowed into the building.

S U M M E R 126

DETAILED DESIGN

W I N T E R

This will enable our design of the module panels to be functional & to accommodate design flexibility.

DESIGN FLEXIBILITY FA C A D E

V A R I A T I O N

SUMMER SUN

NORTH FACADE ELEVATION

EFFICIENT S H A D E D A R E A S

REGION WITH REDUCED

POSSIBILITY OF VOIDS

SUNLIGHT INTENSITY

IN FACADE

FINAL OUTCOME

FRONTAL VIEW OF VOIDS

IN NORTH FACADE

With the recorded sun angle studies, we are able to provide clients with the flexibility of design options. Voids can be considered, otherwise MODULE 04 glass panels can be substituted in efficiently shaded areas. These areas with voids or full glass panels will also allow solar radiation & sunlight from low winter sun angle, providing building users with comfort from the winter sun heat & light. DETAILED DESIGN

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C.1 DESIGN CONCEPT

FINAL DESIGN VISUALISATION URBAN CORAL FACADE APPLICATION URBAN CORAL APPLICATION A solar irradiance map is again recorded to produce the effect of solar radiation acting on the facade after the application of our Urban Coral module E panels. N

NORTH

BEFORE

AFTER

With this developed design proposal, we achieved our design brief of: - providing shading from the intensity of sunlight, - retaining of views even with the application of modules - providing comfort for building users by efficient shading & controlled natural light

Overview of Urban Coral Facade application with voids incorporated to the design

128

DETAILED DESIGN

URBAN CORAL FACADE OVERVIEW

TOP VIEW

INTERNAL VIEW

GREEN FACADE POSSIBILITIES

INTERNAL OFFICE VIEW

Creating the potential of applying Green Foliage on facade based on clientâ&#x20AC;&#x2122;s desires. Module is adjustable during construction to adhere to such potentials

Algorithmic process ensures efficiency of shading as well as retaining views from inside of building

DETAILED DESIGN

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C.1 DESIGN CONCEPT

FINAL DESIGN VISUALISATION

ULE URBAN CORAL FACADE APPLICATION

Perspective view of Ernst & Young Building with facade application design that includes Module 04 glass panels

130

DETAILED DESIGN

ERNST & YOUNG BUILDING PERSPECTIVE

APPLICATION ON SMALLER SCALE BUILDING 01

APPLICATION ON SMALLER SCALE BUILDING 02

Computational tools that allow the design to accommodate for any building within any context. This is made possible by merging solar studies & algorithmic design together

The flexibility of incorporating voids and green facade to our design even with the application to smaller scale buildings

DETAILED DESIGN

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C.2 TECTONIC ELEMENTS & PROTOTYPES

URBAN CORAL

ATOLL FACADE

FABRICATION & CONNECTION DETAILS The process of prototyping and fabrication is critical as it allows designers & clients to have a clear communication & visualisation of the design proposal & the outcome. It also allows our team to test our design based on the materiality & fabrication methods. We explored both analog & digital fabrication techniques in creating our prototypes, and aim to develop & refine the final model of Urban Coral modules from the learning outcomes we received from earlier prototypes #01 & #02. A detailed documentation of the connection process will also be provided to ensure feasibility of construction and rigid connections within the skin facade structure.

DETAILED DESIGN

133

C.2 TECTONIC ELEMENTS & PROTOTYPES

CASTING OUTCOMES EARLIER PROTOTYPE REFLECTIONS

PROTOTYPE #01

POURING PLASTER MIX CASTING TECHNIQUE PROTOTYPE #01 PROS & CONS PROS 01. Organic finish of fabric embedded to the module. 02. Pouring technique ensured smooth & clean finish. 03. Use of styrofoam which is dissolved by acetone creates perforation in module. CONS 01. Pouring technique resulted to a heavy module due to its volume. 02. Joining structure will fail in regards to the overall weight. 03. Perforation size in module is too small to enable views and light penetration.

134

DETAILED DESIGN

PROTOTYPE #02

BRUSHING PLASTER MIX CASTING TECHNIQUE PROTOTYPE #02 PROS & CONS PROS 01. Use of formwork was successful in delivering the desire form. 02. Brushing technique ensured a light weight module. 03. Form is achieved based on the desired stretch level of fabric materials. CONS 01. Overall finish is rough due to brushing several layers of plaster. 02. Formwork is not embedded into plaster mix but brushed. Hence, resulted to weak base structure. 03. Overall form is aesthetically unpleasing.

DETAILED DESIGN

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C.2 TECTONIC ELEMENTS & PROTOTYPES

FABRICATION PROCESS IDEA DEVELOPMENT OF TECHNIQUES

The team constructed deliverables on the form we want to achieve for Urban Coral final prototype model from the learning outcomes by combining the positive results in our previous prototype #01 & #02. FRONT VIEW

MODULE PANELS

FINAL PROTOTYPE AIM DELIVERABLES: 01

01. Smooth & clean finish of final model. 02. Organic form of fabric embedded into model. 02 03. Structural stability and rigidity of base form.

MODULE 01

MODULE 02

MODULE 03

MODULE 04

04. Lightweight and shell-like structure to the overall form. 05. Ensuring that perforation sizes are 04 adequate and reflects the design brief of Urban Coral. ELEVATION VIEW

FABRICATION METHODS

MODULE 1&2

IDEA WORKFLOW DIAGRAM

POURING PLASTER MIX INTO FABRIC F O R M W O R K

VACUUM FORM MOTHER MOLD

ENSURING THAT ORGANIC FORM OF FABRIC WILL BE EMBEDDED INTO PROTOTYPE MODULE. ALSO PROVIDES CONSISTENCY TO THE FORM & SHAPE OF MOULD.

ABILITY TO CONTROL THE VOLUME OF POURING PLASTER MIX BY ADDING NEGATIVE MOULDS. VACUUM FORM PLASTIC WILL ACT AS FORMWORK.

136

DETAILED DESIGN

MODULE 2&3

POURING PLASTER MIX INTO VACUUM FORM FORMWORK

MODULE

ENSURING A SMOOTH & CLEAN FINISH TO 3&4 PROTOTYPE MODULE AS THE VOLUME ADHERES TO THE FORM OF VACUUM FORM FORMWORK.

MATERIAL TESTING

FABRIC MAXIMUM STRETCHING

NETS -MESH

SCUBA FABRIC

BANDAGE

VERY STRETCHABLE AND FLEXIBLE.

EXTREMELY STRETCHABLE AND FLEXIBLE.

EXTREMELY POOR STRETCH LEVEL.

FABRIC WILL EXPAND WHEN STRETCHED OVER A LONG PERIOD.

FABRIC WILL REMAIN ITS SHAPE WHEN STRETCHED AND FIXED TO POSITION.

FABRIC IS DIFFICULT TO WORK WITH AND NEEDS TO BE LAYERED TO ENSURE THAT IT IS RIGID.

DUE TO ITS NATURE OF BEING A MESH FABRIC, POURING PLASTER MIX WILL BE AN ISSUE DUE TO ITS PERFORATION SIZES IN FABRIC.

FABRIC WILL BE ABLE TO CONTAIN PLASTER MIX WHEN POURED INTO THE FABRIC FORMWORK.

FABRIC WILL ONLY BE ABLE TO CONTAIN PLASTER MIX IF LAYERED AND SECURED PERMANENTLY.

WILL NOT BE ABLE TO ABSORB WATER FROM PLASTER MIX DURING CURING PROCESS.

ABSORBS WATER FROM PLASTER MIX AND ENSURES AN EFFICIENT CURING PROCESS TO THE MIX.

POURING PLASTER MIX IS NOT ADVISABLE AS FABRIC WILL COLLAPSE.

SELECTED FOR FABRICATION

DETAILED DESIGN

137

C.2 TECTONIC ELEMENTS & PROTOTYPES

FABRICATION TESTING DE VE L O P M E NT OF PROT OTYP E S

PROTOTYPE #03

TESTING FABRICATION METHODS

Fabric is stretched based on desired extrusion level for this prototype test model.

Height guidelines on formwork supports assists in accuracy of stretching. MODULE 02

MODULE 04

MODULE 04 is set to be our prototype testing form. Since MODULE 04 is entirely designed to be glass panel, we will incorporate a perforation to the form for this testing & make it a solid plaster form to test our chosen fabrication methods to achieve our set aim deliverables.

138

DETAILED DESIGN

PLASTER CASTING PROTOTYPE #03 MATERIAL TESTING

Pouring plaster into FABRIC FORMWORK. Casted module creates the mother mould for VACUUM FORMING.

MOTHER MOULD set and finish outcome shows organic form of the fabric embedded into it. VACUUM FORMING the mother mould to retain this organic folds.

High Impact Polystyrene is heated and MOTHER MOULD is forced upwards before VACUUM FORMING technique is applied. Final product will serve as the formwork of second step of pouring.

DETAILED DESIGN

139

C.2 TECTONIC ELEMENTS & PROTOTYPES

FABRICATION TESTING DE VE L O P M E NT OF PROT OTYP E S

PROTOTYPE #03

TESTING FABRICATION METHODS

FINAL OUTCOME

DELIVERABLES CHECKLIST Smooth & clean finish of final model. Organic form of fabric embedded into model.

Structural stability and rigidity of base form. Lightweight and shell-like structure to the overall form. Ensuring that perforation sizes are adequate and reflects the design brief of Urban Coral.

140

DETAILED DESIGN

FRONT VIEW

BACK VIEW

Pouring plaster mix into Vacuum Form. Negative mold is created and fixed into vacuum form to create perforations.

PROTOTYPE #03 final outcome.

PERSPECTIVE VIEW

CLOSE-UP OF INNER THICKNESS

Overall form is successful in delivering a smooth & clean finish. Both fabric and vacuum form framework is successful in creating the desired form with pouring techniques. However, the prototype does not have a shell-like structure and have a thickness to the inside due to the design of the negative mould. This also resulted to a heavy mass which causes the structural base form to crack and break.

DETAILED DESIGN

141

C.2 TECTONIC ELEMENTS & PROTOTYPES

FABRICATION TESTING DE VE L O P M E NT OF PROT OTYP E S

PROTOTYPE #04

TESTING FABRICATION METHODS From PROTOTYPE #03 OUTCOME, we aim to test our fabrication methods of using AIR DRYING CLAY to create the shell-like structure & to produce a lighter module towards the end product. We used the same MOTHER MOULD as our PROTOTYPE #03 to create the VACUUM FORM formwork, in which we aim to apply the clay on the inside surface of the formwork.

Hence, a change of fabrication method workflow is constructed for this prototype.

FABRICATION METHODS

IDEA WORKFLOW DIAGRAM

CHANGE OF METHOD FROM PLASTERING CASTING TO AIR DRYING CLAY APPLICATION

POURING PLASTER MIX INTO FABRIC F O R M W O R K

VACUUM FORM MOTHER MOLD

APPLYING AIR DRYING CLAY TO VACUUM FORM FORMWORK

ENSURING THAT ORGANIC FORM OF FABRIC WILL BE EMBEDDED INTO PROTOTYPE MODULE. ALSO PROVIDES CONSISTENCY TO THE FORM & SHAPE OF MOLD.

VACUUM FORM PLASTIC WILL ACT AS FORMWORK SO THAT OUTCOME OF MODULE WILL HAVE SMOOTH & CLEAN FINISH.

AIR DRYING CLAY APPLICATION TO THE INSIDE OF VACUUM FORM FORMWORK TO CREATE A SHELL-LIKE & LIGHTWEIGHT STRUCTURE.

142

DETAILED DESIGN

AIR DRYING CLAY

PROTOTYPE #04 MATERIAL TESTING Using similar MOTHER MOULD and VACUUM FORM to deliver a consistent test within our prototype testing phase.

AIR DRYING CLAY is applied to the inside surface of the VACUUM FORM formwork. It is successful in delivering a shell-like structure & producing a lightweight structure. However, the structural base form does not exist & will result to failure of connections between modules.v

DELIVERABLES CHECKLIST Smooth & clean finish of final model. Organic form of fabric embedded into model. Structural stability and rigidity of base form. Lightweight and shell-like structure to the overall form. Ensuring that perforation sizes are adequate and reflects the design brief of Urban Coral. DETAILED DESIGN

143

C.2 TECTONIC ELEMENTS & PROTOTYPES

FABRICATION TESTING DE VE L O P M E NT OF PROT OTYP E S

PROTOTYPE TESTING OUTCOMES

ANALYSING RESULTS & FINALISING FABRICATION METHODS

PROTOTYPE #03

PLASTER CASTING

DELIVERABLES CHECKLIST

144

PROTOTYPE #04

AIR DRYING CLAY

DELIVERABLES CHECKLIST

Smooth & clean finish of final model.

Organic form of fabric embedded into model.

Structural stability and rigidity of base form.

Lightweight and shell-like structure to the overall form.

Ensuring that perforation sizes are adequate and reflects the design brief of Urban Coral.

DETAILED DESIGN

PROTOTYPE #05

ADDRESSING TEST OUTCOMES

The issues faced towards the end of the prototype tests is dealing with structural stability towards the base form. To address the issue, we plan to incorporate both ANALOG & DIGITAL FABRICATION METHODS in this prototype leading towards the final model. With DIGITAL FABRICATION METHODS, we aim to use computational tools to design our negative moulds with accuracy so that our pouring technique is able to conform as close to the inside surface of the vacuum form formwork to create our desired form & shell-like structure. Also, lasercutting structural base framework will be casted into the plaster mix which acts as a permanent structural formwork to strengthen the base form of the module. ANALOG FABRICATION METHODS will be used by the techniques of stretching our fabric formwork and relying on the nature of gravity acting on plaster mix which will reflect the textures & extrusion height determined by computational gravity forces tool.

FABRIC FORMWORK STRETCHING

NEGATIVE MOLD DESIGNED WITH COMPUTATIONAL TOOLS

LASERCUT STRUCTURAL FRAMEWORK WITH TABS FOR CONNECTIONS INTO CASTING

ANALOG FABRICATION METHOD

DIGITAL FABRICATION METHOD

DETAILED DESIGN

145

C.2 TECTONIC ELEMENTS & PROTOTYPES

FABRICATION METHODS FINALISING PROTOTYPE FORMS

PROTOTYPE #05

FINAL FABRICATION WORKFLOW DIAGRAM FABRIC CASTING

MOTHER MOLDS

VACUUM FORMING

MODULE 03

MODULE 02

MODULE 01

SCUBA FABRIC STRETCHED TO

MOTHER MOLD FORM FOR

HIGH IMPACT POLYSTYRENE

SPECIFIC HEIGHTS AND

VACUUM FORMING MODULE

SHEETS HEATED AND

CASTED WITH PLASTER MIX

146

DETAILED DESIGN

VACUUM TO FORM SHAPES

VACUUM FORM CASTING

FINAL OUTCOME

AIMS OF WORKFLOW DIAGRAM Changes were made after analysing the prototype test #03 & #04. In this FINAL PROTOTYPE #05, we aim to improve our modules and to achieve a lightweight structure with an improved stability to its base structure which is critical to support the form of the modules and to enable connection between the module panels. This will be made possible by incorporating DIGITAL COMPUTATIONAL TOOLS to design the negative mould with higher accuracy so that plaster mix will conform within a boundary as close to the inside surface of the vacuum form. With this technique, it will ensure the production of a SHELL-LIKE STRUCTRE which will produce a LIGHTWEIGHT MODULE. LASERCUTTING METHODS will also be incorporated into the fabrication methods especially for the structural framework which will include tabs to enable voids after plaster is cured in the module for connection joints.

PLASTER MIX CASTED INTO RED

FINAL MODULES AFTER

REGIONS IN VACUUM FORM WITH

PLASTER MIX IS SET &

NEGATIVE MOLDS INCLUDED

CURED

This structural framework will be embedded into the vacuum form formwork and will STRENGTHEN THE BASE FORM STRUCTURE of the overall module.

DETAILED DESIGN

147

C.2 TECTONIC ELEMENTS & PROTOTYPES

FABRICATION METHODS FINALISING PROTOTYPE FORMS

PROTOTYPE #05

CASTING TECHNIQUES OF FINAL MODEL

REPETITIVE FABRICATION PROCESS FOR MODULE 01, 02, 03 & 04

148

DETAILED DESIGN

FRONT VIEW

MODULE PANELS

PROCESS DESCRIPTION 01.

MODULE 01

MODULE 02

Stretching of fabric depending on each module extrusion height & angle.

02. Pouring of plaster mix into fabric formwork to create mother mould. 03. Mother mould curing process.

MODULE 03

ELEVATION VIEW

MODULE 1&2

MODULE 04

04. Height extrusion can be controlled based on guidelines on supports. 05. Mother mould form cured. 06. Vacuum forming of mother mould.

MODULE 2&3

MODULE 3&4

07. Additional supports added to ensure spacing for structural framework to sit in vacuum form formwork. 08. Close up view of the inside of vacuum form formwork. 09. Close up view of the outside of vacuum form formwork. 10. Overall view of vacuum form formwork. *PROCESS FOR MODULE04 WILL END HERE 11. Joining the negative mould which was design using computation and lasercut for precise dimensions.

12. Setting negative moulds & structural framework into formwork before casting 13. Side view of formwork during casting. Structural framework being embedded into the cast to provide strength. 14. Pouring of plaster mix to fill the formwork.

15. After plaster has cured, formwork and negative mould is removed and tabs along structural base form is removed to create voids for connections between the module panels.

DETAILED DESIGN

149

C.2 TECTONIC ELEMENTS & PROTOTYPES

FABRICATION METHODS FINALISING PROTOTYPE FORMS

PROTOTYPE #05

FINAL MODEL FABRICATION OUTCOME

FINAL OUTCOME OF MODULES FOLLOWING FABRICATION PROCESS

MODEL SCALE 1:10

150

DETAILED DESIGN

COMPUTATIONAL DESIGN URBAN CORAL FORM PRODUCTION IN COMPARISON TO PRODUCT OF FABRICATION

DETAILED DESIGN

151

C.2 TECTONIC ELEMENTS & PROTOTYPES

FABRICATION SUMMARY FRAMEWORK DESIGN POTENTIALS

DESIGN FLEXIBILITY

DESIGN POTENTIALS & VARIATION PROPOSAL

THE POTENTIAL OF OUR FRAMEWORK DESIGN With our casting framework, we are able to propose design flexibility & options to our clients based on their desires. Base form of modules can be changed to different shapes that our framework can accommodate as shown in the diagram. For larger scale buildings, hexagon can be applied. For a smaller scale building, clients may opt for triangles or parallelogram as the base form of the modules. This can also be reflected in COMPUTATIONAL TOOLS by modifying the parameters of the module base boundary to conform to the desired shapes. The framework can be introduced to the industry for a real scale construction in a form of a casting bed in precast factories for a similar production of our modules

152

DETAILED DESIGN

ANALOG & DIGITAL

FRAMEWORK TOP VIEW WITH SECTION CUTLINE

TRANSLATION OF DIGITAL TO PHYSICAL

FABRIC STRETCHING WITH GUIDELINES

SECTION 01

SECTION 02

ALGORITHMIC FORM-FINDING PROCESS

COMBINING ANALOG & DIGITAL

Our fabrication process combines analog & digital techniques by reflecting the amount of stretching and textures (developed by computation design) into physical models by fabric formwork where the fabric is stretched with accuracy based on guidelines & allowing gravity acting on the cast to form the texture on the module. With the design of our framework that includes guidelines, we can ensure that we are able to translate digital models into physical models with accuracy. DETAILED DESIGN

153

C.2 TECTONIC ELEMENTS & PROTOTYPES

CONSTRUCTION PHASES CONNECTION BETWEEN MODULES

GENERAL CONSTRUCTION NOTES PRECAST CONCRETE All module panels will be constructed at a precast concrete factory on a mould casting bed. This will save time and cost with efficiency & speed of modular casting. Precast fabrication will also ensure that concrete reaches a high performance level for every panels. Base form will include steel reinforcement to strengthen overall concrete casting. It will also ensure structural rigidty between connections of modules.

*PROTOTYPE MODEL REPRESENTATION PLASTER = CONCRETE MDF = STEEL PLASTIC FORM = GLASS PANELS

154

DETAILED DESIGN

STEEL PLATE JOINTS WITH

MODULE CONNECTION MODULE CONNECTION DETAILS

H BOLTS & NUTS

STEEL PLATES Connection between module panels will be connected on base form with steel plates and fasten with industrial bolts & nuts to ensure rigid connection.

*PROTOTYPE MODEL REPRESENTATION

FRONT VIEW

MODEL SCALE 1:10

DETAILED DESIGN

155

C.2 TECTONIC ELEMENTS & PROTOTYPES

CONSTRUCTION PHASES CONNECTION TO BUILDING FACADE FACADE CONNECTION DETAILS MODULES TO FACADE 01

380 PFC STRUCTURAL STEEL bolted to facade concrete floors with 24mm CHEMSET ANCHORBOLTS which carried module loads

200x480 STEEL BRACKET bolted to PFC with three 25mm bolts for module panel supports

Two STEEL BRACKET drilled & bolted to module panels providing rigid connection and stability

RESISTING LATERAL FORCES As module panels are already provided with fixed connections between its base form, only a selection of panels that meets the PFC will be secured to the PFC structural steel. Connections to facade as well as between modules is efficiently secured to resist lateral forces

3.4m 1.7m

4.0m

156

DETAILED DESIGN

157

C.3 FINAL DETAIL MODEL

URBAN CORAL

ATOLL FACADE

DETAILED MODEL REPRESENTATIONS Detailed model is critical in an architectural design phases as it is a physical representation of the aspects in a design. It communicates and provide visualisation of the design outcome and to present the design ideas to clients with scaled models demonstrating the functions, aesthetics and design quality. In PART C.3, we constellate our final physical models at a scale of 1:10 to demonstrate the form of our Urban Coral module panels. All material used in the model is a representation of the real scale module panels. Concrete is represented as plaster, steel is represented as MDF timber cuts.

DETAILED DESIGN

159

C.3 FINAL DETAIL MODEL

MODULE PANEL 01 SCALE 1:10

Panel with the most highest extrusion height level to efficiently block off solar light intensity & provides the most shading from sunlight above. Applied to areas in facade with the highest solar exposure intensity throughout the seasons in Melbourne.

160

DETAILED DESIGN

C.3 FINAL DETAIL MODEL

MORNING

162

DETAILED DESIGN

N O

O N

E V E N I N G

DETAILED DESIGN

163

C.3 FINAL DETAIL MODEL

MODULE PANEL 02 SCALE 1:10

Panel with a bias shading element on the top two side of the module to efficiently block off sunlight based on the sun-path (rising & setting) movement from East to West. Applied to areas in facade with mid-range solar exposure intensity and assigned according to sunpath directions.

164

DETAILED DESIGN

C.3 FINAL DETAIL MODEL

SUNSET (WEST)

166

DETAILED DESIGN

NOON

SUNRISE ( E A S T )

CAPAB I L I T Y OF ROTATING DURING CONSTRUCTION TO ACCOMMODATE DIRECTION OF SHADING BASED ON SUNPAT H

DETAILED DESIGN

167

C.3 FINAL DETAIL MODEL

MODULE PANEL 03 SCALE 1:10

Panel with full shading element however with a low extrusion height to block off any excessive solar light intensity in the surrounding without diminishing the views. Applied to areas in the facade with low solar exposure intensity.

168

DETAILED DESIGN

C.3 FINAL DETAIL MODEL

MORNING

N O O N

E V E N I N G

DETAILED DESIGN

171

C.3 FINAL DETAIL MODEL

MODULE PANEL 04 SCALE 1:10

Panel with the lowest height extrusion and entirely made out of glass. Applied to areas in the facade with the lowest solar exposure intensity or in areas efficiently shaded by module panels above. Provides clients with design flexibility & options to incorportate voids or to apply this glass module panel in their facade.

172

DETAILED DESIGN

DESIGN OPTIONS FOR CLIENTS TO SELECT VOIDS OR GLASS

CAPAB L E OF REFL ECT I NG SUN L IGH T AWAY FROM FACADE

174

DETAILED DESIGN

C.3 FINAL DETAIL MODEL

DETAILED DESIGN

175

C.3 FINAL DETAIL MODEL

MODULE COMBINATION SCALE 1:10

176

DETAILED DESIGN

C.3 FINAL DETAIL MODEL

A representation of combining the modules with joints. Module panels are joined together with steel plates and fixed with four industrial bolts & nuts to form rigid connections. Connection slots in base form are provided to allow a feasible construction joint process.

178

DETAILED DESIGN

179

C.3 FINAL DETAIL MODEL

SITE

MODEL

APPLICATION OF URBAN CORAL ON ERNST & YOUNG BUILDING SCALE 1:500

A visualisation model demonstrating the overall application of the Urban Coral module panels. Arrangement of modules is generated by algorithmic process with computational tools that is based on the analysis of solar exposure on the facade. With this technological advancement of the design process, it enables Urban Coral module panels to be readily applied to any building context, made possible by parametric & algorithmic design.

180

DETAILED DESIGN

C.3 FINAL DETAIL MODEL

SHADOW CASTING ON AREAS WITH VOIDS SHOWING EFFICIENT SHADING

M O D U L E PA N E L 0 2 S H A D I N G S O L A R L I G H T FR O M E A S T

182

DETAILED DESIGN

P E R S P E C T I V E V I E W O F N O R T H FAC A D E M O D U L E PA N E L S A P P L I C AT I O N

S HA D OW CAS T I N G O N W ES T FACA D E

DETAILED DESIGN

183

URBAN CORAL ATOLL THE

FACADE

184

DETAILED DESIGN

185

C.4 LEARNING OUTCOMES

CONCLUSION

It has been a fruitful learning experience within this 12 weeks of studio as we step into the realm of algorithmic and parametric design. Reflecting from the start of semester, I am much more confident with my computational design skills as I am now able to grasp the fundamentals and logic behind the relationships of datas within computation tools. I learnt to appreciate the interaction between digital and physical fabrication processes which broaden my scope of designing through the use of both techniques. Going through the 8 Learning Objectives introduced at the start of the module, I believe that I have achieved my own personal goals of developing my skills in various visual programming with algorithmic design and parametric modelling tools. At the start of C1: DESIGN CONCEPT, I was excited to begin another learning phase which enables me to push the boundary of my parametric design skills. In collaboration with the team, we were able to work together in developing our design proposal of URBAN CORAL. Through interim presentation feedbacks, we were able to brainstorm to think of solutions leading to our development stages. The feedbacks posted by external critiques were consideration of sun angles & how our modules can respond to all seasons, the joining systems of modules, and considering design flexibility options within our design proposal. With these feedbacks, we were able to generate solutions and design possibilities for a given situation through the use of visual programming, algorithmic design and parametric modelling tools which we pushed ourselves to explore the potentials of our design through digital design techniques. Within the development phases, we gain knowledge of understanding the relationship of inputs and outputs as well as the processes within the program to enable us to engage in critical thinking skills to make a case for our proposals. We explored various options within the tools of parametric modelling to address the feedbacks provided and aimed to deliver a respond to improve our design proposal further. We were able to develop a script where our design is able to accurately respond to sun angles and movement throughout all seasons in Melbourne, and to propose a design flexibility from the analysis data conducted through algorithmic modelling tools. As we progressed into C2: TECTONIC ELEMENTS & PROTOTYPES, we aimed to reflect and combine analog and digital fabrication methods by translating our digital design to a physical prototype model. We tested various materials and fabrication techniques to develop an optimized method of fabrication for our final model which conforms to our design brief and proposal objectives. We learnt to be able to combine both analog and digital techniques by understanding the computational structures which can be converted into physical geometries and forms by using both methods. However, digital design techniques can be limited within the program itself and needs to be complimented by analog design methods by using conventional processes. Towards the final presentation, our team were successful in delivering our design brief and have presented the solutions for the feedbacks provided from the interim presentations. We have developed a strong working ethic in improving our design through various prototype testing and digital design explorations. Final feedbacks given were considering the details of construction and real-life fabrication which we believe is a critical phase in an architectural design industry. I believe the 8 Learning Objectives has been fulfilled towards the end of the studio in which I have gained essential knowledge in parametric architectural design. I am now able to apply visual programming and algorithmic design skills in my future studio course as I progress further into achieving my goals in the architectural design industry.

186

DETAILED DESIGN

E N D

O F

PHOTOSHOP INDESIGN AUTOCAD RHINO GRASSHOPPER

S T U D I O

PART C REFERENCES LIST

188

CRITERIA DESIGN

1. “1889-Gaudi’s Hanging Chain model.”, Memetician, 2007 <http://dataphys.org/list/gaudis-hanging-chainmodels/> [accessed 28 October 2017] 2. “Moss Voltaics Pods.”, Stott, 2016 <https://www.archdaily.com/782664/this-modular-green-wall-systemgenerates-electricity-from-moss> [accessed 28 October 2017] 3. “Voussoir Cloud.”, Iwamotoscott, 2008 <https://iwamotoscott.com/projects/voussoir-cloud> [accessed 28 October 2017] 4. “Green Cast - Kengo Kuma & Associates.”, ArchiDaily, 2011 <https://www.archdaily.com/245156/green-castkengo-kuma-associates> [accessed 28 October 2017]

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189

190

CONCEPTUALISATION