STUDIO AIR FINAL SUBMISSION by LKKim

STUDIO AIR 2016, SEMESTER 1, MATTHEW MACDONNELL LUKE KIM (699277)

CONTENTS A.0 INTRODUCTION

A.1 DESIGN FUTURING

1.1 ONE CENTRAL PARK 1.2 IN-ORBIT

A.2DESIGN COMPUTATION

2.1 COOPER SQUARE 2.2 YOKOHAMA TERMINAL

A.3 COMPOSITION/ GENERATION

3.1 EDEN PROJECT 3.2 LA SAGRADA FAMILIA A.4 CONCLUSION

A.5 LEARINING OUTCOME

A.6 APPENDIX

INTRODUCTION

ABOUT ME

Hello My name is Luke Kim, I am currently in my third year of architecture this semester. I was born in South Korea, and have moved to New Zealand at a young age, and completed my last year of high school at Perth, and ended up coming to Melbourne. Through my adaptation around varies of different cities, from dense to dispersed, I started to grow an interest in architecture by seeing how architecture is heavily influence by culture and function making every architecture unique and fascinating. I always thought architecture as the face of a city; how in every different city there is at least one architecture representing its city. My architecture goal is to one day design an architectural piece that can represent the city that I live in. architecture for me I believe is not just about the functionality or the aesthetics of the building rather its creating new experience for people. My overall exposure to studio includes ; design environment, studio earth, studio water and AA visiting school program. Through these studios I have taught myself softwares such as sketchup, photoshop, indesign, autocad and a bit of rhino and grasshopper.

CONCEPTUALISATION

FIGURE 1- PROJECT TITLE-” GET OUT OF MY PERSONAL BUBBLE” AA VISITING SCHOOL PROGRAMME (COMPLETE FEB-2016)

FIGURE 2- PROJECT TITLE-” JOURNEY THROUGH SOUND” STUDIO WATER (COMPLETE SEMESTER 2 2015)

Fig.1: (studio water -2nd year 2nd semester)

FIGURE 2- PROJECT TITLE-” BUILDING THAT EATS NATURE ” STUDIO EARTH (COMPLETE SEMESTER 1 2015)

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conce p tua l i z ation

CONTENTS A.0 INTRODUCTION

A.1 DESIGN FUTURING

1.1 ONE CENTRAL PARK 1.2 IN-ORBIT

A.2DESIGN COMPUTATION

2.1 COOPER SQUARE 2.2 YOKOHAMA TERMINAL

A.3 COMPOSITION/ GENERATION

3.1 EDEN PROJECT 3.2 LA SAGRADA FAMILIA A.4 CONCLUSION

A.5 LEARINING OUTCOME

A.6 APPENDIX

A .1

“STATE OF DESIGN SHOULD REFLECT THE STATE OF THE WORLD” BY Tony Fry

CONCEPTUALISATION

d e s i g n

f u t u r i n g Living in a more or less anthropocentric world, the act of designing is seen as an unsustainable process; “leading to our own extinction.” Part A.1 “Design futuring” confronts the contemporary architectural practice; where architect tries to satisfy the rapid development of urbanization which blinds us from seeing the future. “Answering the ‘design futuring’ question requires having a clear sense of what design needs to be mobilized for or against.”1 Even more significantly, it means changing our thinking, then how and what we design. Equally, it also requires understanding that the ‘dialectic of sustainment’ is another basic feature of being human. inorder to further supporting this discussion two precedents- One central park and In-orbit are analyzed.1

1. Tony Fry, Design Futuring (Oxford: Berg, 2009), p.1-16.

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“Landscape is architecture,” declares Nouvel. “Here we have created a continuity so the façades extend the park into the sky” 10

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A.1-1

O n e

c e n t r a l

pa r k

Ateliers Jean Nouvel

Location: LOT 1 Broadway, Central Park, Chippendale NSW 2008, Australia Design architect: Ateliers Jean Nouvel. Green Walls: Patrick Blanc Project Year: 2014

In contemporary urbanized cities it is merely impossible to see any greenery, due to the conflicting relationship between urban growth and natural environment. One central park challenges this perspective of design, where 250 different species of Australian flowers and plant are used as a system revolving around the design of the building. When seen from a distance the design almost looks as if the nature is embracing the building. The design represents a harmonies relationship between the building and nature; where the system work coherently bringing benefits to both systems. For example the plants are growing on the façade of the building providing natural shade; whereas it can also be seen as building direct the plants so that it gains the optimum sunlight possible. Additionally the incorporation of plants decreases the CO2 present on the site enhancing the inhabitants’ comfort and performance.

In order to facilitate this harmony, the design have featured the installation of motorised mirror which provides plants with sunlight in areas of design where there is no direct sun-exposure. “After dark the structure is a canvas for leading light artist Yann Kersalé’s LED art installation that carves a shimmering firework of movement in the sky. This brings a new starlit architectural shape to the One Central Park design.”1 FIGURE 1- DIRECTING OF SUN LIGHT USING MOTOEISED MIRROR

Referring back to the designing futur sustainability is a very critical aspect in contemporary architectural practice. There practically aren’t any architecture which can increasing or enhancing the concept of sustainability as the optimal condition is when the land is left alone. 2 However since it is impossible for humans to move forward without any kind development. The One central park displays some sense of sustainability through the use of plants, where extra budget on shading can be lowered dramatically,also lowering the embodied energy required for the construction. One Central park can be seen as a successful green building. This precedent have proven that architecture can be created to satisfy both human and nature.

1.Central Park Sydney”, Centralparksydney.com, 2016 <http://www. centralparksydney.com/live/one-central-park> [accessed 7 March 2016]. 2. Tony Fry, Design Futuring (Oxford: Berg, 2009), p.1-16.

FIGURE 1.1- REPRESENTING THE GREENERY AROUND THE FACADE

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A.1-2

i n - o r b i t tomas saraceno

Location: Kunstsammlung Nordrhein-Westfalen Germany Architects: TOMAS SARACENO Project Year: 2013 project statues: temporary installation

“ TO DESCRIBE THE WORK MEANS TO DESCRIBE THE PEOPLE WHO USE ITAND THEIR EMOTIONS.”

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The In-orbit installation by Tomas Saraceno is a temporary installation to provide users the experience of weightlessness by suspending a steel net structure two-hundred meters above ground. This safety net, covers the distance of 2500 meters square.1 When viewed from below or from intermediate levels of the Standehaus, it gives the illusion of people floating on the air.1 In contemporary architecture the exploration of material is very limited where most of the building now a days are created using material such as concrete. Due to this factors architecture nowadays are seen very grounded and static. Therefore through this installation Tomas Saraceno is challenging the notion of contemporary architecture. He explores the nature of floating architecture to examine the relationship between a peoplesâ&#x20AC;&#x2122; movement with the space, which I believe one day will change people perception on architecture and view it in a more wider spectrum.

1. internetagentur programmmierung, "Kunstsammlung NRW: TomĂĄs Saraceno", Kunstsammlung.de, 2016 <http://www.kunstsammlung.de/en/discover/exhibitions/tomas-saraceno.html> [accessed 6 March 2016].

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A.2

CONCEPTUALISATION

design computat ion Design in contemporary society is heavily driven by the use of technology such as softwares like, Autocad, Rhino and etc. Design Computation talks about the necessity of these computer aided software in architectural discourses. Some says it’s a tool in which frees the architects creativity in creating something new and extraordinary; on the other hand it is represented as the creator, in which architects are no longer needed.1 Part A.2 “Design Computation” will create an argument in which to prove how computation is a tools that enhances the architects’ ability to design and create; by analysising two precedents- Cooper Square and Yokohama terminal.

1. Yehuda E Kalay, Architecture's New Media (Cambridge, Mass.: MIT Press, 2004). CONCEPTUALISATION 15 2. Rivka Oxman and Robert Oxman, Theories Of The Digital In Architecture (London; New York: Routledge, 2014), pp. 5-6.

A.2-1 4 1

c oo p e r

s q ua r e

morphosis

Different to many other designing industries, Architecture are required to deal with external factors such as “site conditions. Climate, functionality, cost, building codes and so forth.”1 Which make architecture a discourse that doesn’t solidly rely on the use of creativity but also the analytical aspects such as-calculating the load capacity of a material, the angle of shading devices and so forth.1 There is no universal design solution as all the sites are unique and factors that arise from these site are all independent. Therefore in-order for architects to design computer programs are required to fasten the process of analytical thinking.

How does computing affect the design process ? The modern architecture design evolved from simple schema to a more agorithmic process (through parametric design) where design development is recorded with variable parameter to identity the optimum solution.1 Not only this enhance the speed of designing but also creates a more desirable design outcome. As represented in figure 2 Morphosis architects have generated a design process involving logical step to produce the optimum form of the atrium represented in Cooper Square. The facade of the Cooper Square represents a complex curved geometry which without the aid of computer will have been hard to achieve.

FIGURE 2- AGORITHMIC PROCESS REPRESENTING THE CHANGE IN THE FORM OF THE ATRIUM

Computation also enchance the architects ability to represent and organise ideas, This is critical, as architecture is a discourse revolving around communication. The 41 Cooper Square design consist of a complex exterior building skin which allows the control of the sun penetration, enhancing the comfort of the inhabitants. As represented in figure 2.1 the diagram clearly represents the sustainable strategies that have been undertook by the design of Cooper Square with the aid of computer software.

FIGURE 2.1- DIAGRAM REPRESENTING THE SUSTAINABLE STATEGIES WITHIN THE DESIGN

CONCEPTUALISATION

1. Yehuda E Kalay, Architecture's New Media (Cambridge, Mass.: MIT Press, 2004).

The Cooper Square by Morphosis architects, is an academic and labaratory building, that have attempt to incorporate the characteristics of culture and vibrant represented by the 150 year old institution and the city itself. The complexity of this design comes from the exterior facade and the atium itself. 2 The exterior skin of the building is created out of semi-trasparent layer of peforated stainless steel with the buidling glazed. This provide the critical interior eviromental control while also allowing for transpariencies to reveal the creative activities that takes place inside. 2 As stated the Cooper Square building like many other contemporary building tackles the notion of function and form at the same time looking into the concept of sustainability. Due to the complex relationship between the factors that arise during the design phase of this building; computer is used to break down some of the elements into parameters which can be easily adjusted during the design process.

2. "41 Cooper Square | The Cooper Union", Cooper.edu, 2016 <https://www.cooper. edu/about/history/41-cooper-square> [accessed 4 March 2016].

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A.2-2

yo ko h a m a foa

t er m i n a l

The Yokohama terminal by FOA is a ship terminal which is the creation of inventive architectural methodology and socially conscious thinking.1 Where through the use of computation unqiue form is generated which challenges the social responisibilty of large-scale projects in enhance the environment of urban space. 1 The futuristic appearance of the terminal was heavily derived from the use of computer-aided design.1 The design originally was designed using section, with highly complex series of geometry that are later lofted together. The form almosts looks as if an atificial landscape have been constructed; with series of different topographical level (creating a sense of hieracial order.) enhance the overall comfort of the inhabitant.

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1."AD Classics: Yokohama International Passenger Terminal / Foreign Office Architects (FOA)", ArchDaily, 2014 <http://www.archdaily.com/554132/ad-classics-yokohama-internationalpassenger-terminal-foreign-office-architects-foa/> [accessed 7 March 2016].

â&#x20AC;&#x153;Computers, by their nature, are superb analytical engines. If correctly programmed they can follow a line of reasoning to its logical conclusion. They will never tire, and never make silly mistakes and will gladly search through and correlate facts buried in the endless heaps of information they can store.â&#x20AC;? 2 As stated by Kalay, Yehuda there are areas in which computers are far beyond the capability of normal human beings- however due to this outstanding performance the role of the architects are under looked and questioned. Due to the overpowering capability of the computer shadows the fact that computers are totally incapable of making up new decision; they lack any creative abilities or intuitions. Which make it a nothing but a tool. 3

FIGURE 2.3- AERIAL IMAGE OF THE TERMINAL

What are the ongoing and incoming changes within design and construcion industries? Computing have brought a signifcant changes to the design and construction industries. As discussed previously the use of computing enhance the quality and the speed of both the industries. 2 Additionally not only thatcomputing have created a communication system; which enables designers to share knowledge. 2 computing have enhance the way in which we commucate ideas where computing allows architects to design beyond the limit of the two-demisional construction drawing, This also enables architecture to become more complex and can incorporate curved geometries that is difficult to achieve by normal means. 2 Can computing be used to refine practice? It is obvious that the computing have bought siginificant changes in the way architects think and design. the development of computing design changes and redefine the way we view the practice, as prior to 21st century architecture was a course which was based around the idea of compostion. Where composition compose a building through geometrical qualities; where as through computation the shift to generation is represented which is a complete different way of generating different forms through the use of algorithmic thinking. This will be discussed further in part A3. FIGURE 2.4- THE SECTIONAL REPRESENTATION OF THE TERMINAL

2. Yehuda E Kalay, Architecture's New Media (Cambridge, Mass.: MIT Press, 2004). 3. Rivka Oxman and Robert Oxman, Theories Of The Digital In Architecture (London; New York: Routledge, 2014), pp. 5-6.

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A.3

CONCEPTUALISATION

composi t ion/gener at ion In the recent years of architectural practice we can identify the shift from compositions to generation design. In order to examine how architectural literature and practice react to this shift; the question of what is composition and generation design has to be established first. The Composition in architecture looks into the fundamental characteristics of design such as space, pattern, line and abstraction- As mentioned in the lecture it also looks into the idea of symmetry and size of human body (by Le Corbusier); where then the form of the design is based around these characteristics. Whereas On the other hand Generation design links heavily with the development of computation.1 Generation design generate new form through the use of computation which enable the architects to think algorithmically. 2 Software such as Grasshopper branches of the notion of parametric design which part A3 will discuss about through investigating two precedents Eden project and La Sagrada Familia and discuss the advantage and shortcoming of this approach to design. 1. Brady Peters and Xavier De Kestelier, Computation Works (Architectural Design), pp. 8-15.

CONCEPTUALISATION 21

2. Robert A Wilson and Frank C Keil, The MIT Encyclopedia Of The Cognitive Sciences (Cambridge, Mass.: MIT Press, 1999), pp. 11-12.

A.3-1

eden

project

grimshaw

The Eden project by Grimshaw architect is a multiple greenhouse complex. The complex is dominated by two huge enclosures consisting of adjoining domes that house thousands of plant species. 2 In order to provide a in-door condition which satisfies the survivability of the diverse plants- rises the complexity in the factors that needs to be achieved by the structure such as the amount of sun exposure and temperature of the overall condition. The generative design enable Grimshaw architects to create a structure in which allow to generate a form that optimizes the condition; making the design even more contextual (incoporating the environmental factors.)1 . The one negative aspect about the generative method is that due to digital world that the architects are trapped in, the architects lose the quality of handcrafting.1 The advantage of handcrafting is represented through material choices. In digital world the ability to explore and test out different types of material such as its load bearing capacity is still very limited. Which might result in problems in the construction process.

However despite this limitation Grimshaw architect resolve this problem very professionally. Since Eden project is a construction of green house complex the ability to allow light in is a very critical factor that arise during designing phase. The Grimshaw decides to use ETFE instead of using glass which is a primary material to enhance the light penetration. 2 ETFE is an inflatable material which brings a very similar characteristics of glass into the architecture discourse. The advantage of using ETFE comes from the light weight of this material, which in comparsion to glass will be much lighter. This will dramtically lowers the load capacity of the structure lowing the cost in creating the form. Additionally other advantage of using ETFE for this case come from the round nature of the structure; where the surface created are not planar making the costruction with glass fairly impossible. 2

FIGURE 3- DIAGRAM REPRESENTING THE ETFE MATERIAL QUALITY TO REACT TO SUNLIGHT.

1. Brady Peters and Xavier De Kestelier, Computation Works (Architectural Design), pp. 8-15. 2. Footnote: "Top Eco Visitor Attraction - Rainforest, Gardens & Educational Charity - Eden Project Cornwall UK", Edenproject.com, 2016 <http://www.edenproject.com/> [accessed 13 March 2016]. CONCEPTUALISATION

Architect(s) - Grimshaw Architectural- Biodome Estimate Completed- 2000 Location- St Blazey, Cornwall, UK

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A.3-2

l a

s ag r a da

aniomi gaudi

The la Sagrada Familia project by Antomi Gaudi is a Roman Catholic Church which is influenced by gothic architecture. The construction of the project commenced ever since 1882, till the contemporary society; where itâ&#x20AC;&#x2122;s expected to be complete in 2026.1 As the Church was design in 1882 computation was not an option of designing method; making the project ever more rely on the use of composition. from the observation we can identify a strong sense of symmetry represent from its external and internal deisgn. The advantage of composition comes from is aesthetic and spatial quality which is created, where the design represent a sense of order in terms of proportion. However the disadvantage of composition come from the slow nature of design and construction phase; additionally it will be less site contextual compared to generation. (due to the lack of data that computers can provide.)

fa m i l i a

FIGURE 3.1- PLAN OF THE LA SAGRADA FAMILIA (DISTINCT SYMMETRY REPRESENTED.)

In recent decades, La Sagrada Familia has adopted contemporary digital design and construction technologies.1 Architects and craftsmen use Rhinoceros, Cadds5, Catia, and CAM to understand the complex geometries and visualize the building as a whole. Plaster models are still used as a design tool, now generated by a 3-D printer to accelerate the process. A digitally rendered.1 La Sagrada Familia adapt the comtemporary method of design through the aid of computers- taking the advantage of the speed provided by the computers. La Sagrada Familia represents both traditional and comtemporary method of designing, taking the advantage of both the methods. Making the la Sagrada Familia ever more extraordinary.

FIGURE 3.2- INTERIOR CEILING AND COLUMNS OF LA SAGRADA FAMILIA

1. "AD Classics: La Sagrada Familia / Antoni Gaudi", ArchDaily, 2013 <http://www.archdaily.com/438992/ ad-classics-la-sagrada-familia-antoni-gaudi/> [accessed 12 March 2016]. 24

2. Brady Peters and Xavier De Kestelier, Computation Works (Architectural Design), pp. 8-15. CONCEPTUALISATION

Architect(s) - Antoni GaudĂ Architectural style-Modernisme Estimate Completed- 2026-2028 Location-Barcelona, Catalonia, Spain

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A.4

CONCEPTUALISATION

Living in a rapid developing society, understanding the theory of conpectualization is very critical. In order to facilitate the development of our society we need to understand that architecture itself have evolved in-order to enhance the ability to reflect back to our community. As in the modern era of architecture the use of computer aided design (CAD) arises. The notion of computer aided design have caused a great debate in architectural literature and practice; whether it actually facilitate or hinder the creativity of the architects. The study of part A have summaries the importance of computer aided design- As “A1 design futuring” states that the direction in which the design in contemporary society is heading- is to defuturing. The idea of defuturing rises from the fact that in modern architecture, does not consider the fact that our world have limit resource with infinite demand. The reading states that “the state of design should reflect the state of the world” inorder for design to work with the development of our society rather the working against it. This creates an indirect link to part A2 design computation; where computation is represented as the new era of architecture which is a way of responding to the state of the current society. continuing on, part A2 discussed the idea of computation how it brings positive influence to the architectural practice. The computer enable architect ability to think and design in 3 dimension with complex geometries including curves. The current world of architecture is very demanding as it incorporate and reflect the value of functionalilty, aesthetic while hindered by the notion of sustainability. This make architecture ever more a practice of analytical thinking rather the creativity. This highlights the necessity of computer aided design in the architectural practice -where computers are perfect analytical engines. moving on, the shift of compostion to generation as the computation in architecture is no longer considered as an improper way of designing; The idea of generation in ever more present in the contemporary practices. The advantage of generation is far more outstanding compared to the advantages of composition as discussed in “A3 composition/ generation.” From this study of Part A we can clearly identify the evolution of architecture with the aid of computation, and how this evolution is to reflect the state of our society; and rather then question this notion of “new generation” Architects should realised that their in an era in which computers are there to enhance the quality of the architecture in modern society. CONCEPTUALISATION 27

A.5

CONCEPTUALISATION

l e a r n i n g Through the completion of part A it has broaden and at times challenged my understanding of the role in which computer software take place in the architectural discourse. Prior to the studio air my understanding on computer aided design was very limited to the idea of computerization where I believe architects used computer to enhance the quality and the speed of the design that we have finalized through pen and paper. I had a very shallow understanding of parametric design which I came across through the studying AA visiting school initially I was very against the idea of computation as I thought of it as a fake creativity. Where you explore and generate cool looking forms with function like lofting and etc.

o u tco me However after actually exploring parametric design through the creation of algorithmic sketchbook. I can to appreciate the power of computation how it can not only fasten the process of designing, but finds the optimum solution for a design through the variable parameter which we can set.1 Looking back to my previous works the understanding of parametric design would have provide me with design solutions in a more earlier state; and would have resulted in a more desirable design outcome.

1WW. Brady Peters and Xavier De Kestelier, Computation Works (Architectural Design), pp. 8-15. CONCEPTUALISATION 29

A.6

CONCEPTUALISATION

Through the creation of algorithmic sketchbook. we were introduced to the basic functions of grasshopper (form of parametric design software). The learning outcome of part A sketchbook, consist oflofting, triangulation, and exploration of meshes and grid structure. The basic understanding of variable parameters were also covered. The outcome of some of the exploration is included, in PART A.6.

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WEEK 1 LO F T I NG VASE The lofting technique using grasshopper enable the creation of three different outcome of a vase design. series of different size circles were lofted together then the radius of the circle were then changed using the control points. out of 6 different iteration 3 best looking result were taken and photoshopped.

VASE ONE

CONCEPTUALISATION

VASE TWO

VASE THREE

WEEK 3 M E S H E S PERGOLA The meshes tool through grasshopper enables the creation of difference outcome of pergola shades. The advance to the lofting, few variable parameters were set which enable the control of the density and the height of a individual struts as represented through the renders on the right.

PERGOLA ONE

PERGOLA TWOE

PERGOLA THREE

CONCEPTUALISATION 33

CONCEPTUALISATION

Bibiliography “41 Cooper Square | The Cooper Union”, Cooper.edu, 2016 <https://www.cooper. edu/about/history/41-cooper-square> [accessed 4 March 2016] “AD Classics: La Sagrada Familia / Antoni Gaudi”, ArchDaily, 2013 <http://www. archdaily.com/438992/ad-classics-la-sagrada-familia-antoni-gaudi/> [accessed 17 March 2016] “AD Classics: Yokohama International Passenger Terminal / Foreign Office Architects (FOA)”, ArchDaily, 2014 <http://www.archdaily.com/554132/adclassics-yokohama-international-passenger-terminal-foreign-office-architectsfoa/> [accessed 7 March 2016] “Central Park Sydney”, Centralparksydney.com, 2016 <http://www. centralparksydney.com/live/one-central-park> [accessed 7 March 2016] Dunne, Anthony, and Fiona Raby, Speculative Everything Fry, Tony, Design Futuring (Oxford: Berg, 2009) Kalay, Yehuda E, Architecture’s New Media (Cambridge, Mass.: MIT Press, 2004) Oxman, Rivka, and Robert Oxman, Theories Of The Digital In Architecture (London; New York: Routledge, 2014), pp. 5-6 Peters, Brady, and Xavier De Kestelier, Computation Works (Architectural Design), pp. 8-15 programmmierung, internetagentur, “Kunstsammlung NRW: Tomás Saraceno”, Kunstsammlung.de, 2016 <http://www.kunstsammlung.de/en/discover/ exhibitions/tomas-saraceno.html> [accessed 19 March 2016] “Top Eco Visitor Attraction - Rainforest, Gardens & Educational Charity - Eden Project Cornwall UK”, Edenproject.com, 2016 <http://www.edenproject.com/> [accessed 13 March 2016] Wilson, Robert A, and Frank C Keil, The MIT Encyclopedia Of The Cognitive Sciences (Cambridge, Mass.: MIT Press, 1999), pp. 11-12

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C ritic a l design

CONCEPTUALISATION

CONTENTS B.1 PATTERN

B.2 CASE STUDY 1.0

2.1 MATRIX 2.2 ANALYSIS

B.3 CASE STUDY 2.0

3.1 REVERSE ENGINEERING 3.2 AL BAHAR REVERSE ENGINEERING

B.4 TECHNIQUE DEVELOPMENT

4.1 M AT R I X 4.2 ANALYSIS B.5 PROTOYPE

B.6 DESIGN PROPOSAL

B.7 LEARINING OUTCOME

108

B.8 APPENDIX

111

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CONCEPTUALISATION

B .1

p a t t e r n REPETITION OF ELEMENTS

The implementation of pattern in design industries have been around from the time of classical architectures used mainly for aesthetic purposes (e.g. shown through ornaments). In the contemporary architecture the uses of pattern is focused on the external skin of the building bringing both aesthetics and functional performance. Through the use of parametric designing, patterning have been ever more implemented in architecture in means to controling amount of sunlight the building lets in or out. The recent studies are looking into the kinetic aspects of facade patterns, where patterns will move according to the angles of the sunlight enabling the optimum sunlight gain. Further implementation of pattern extend to the idea of phenomenology.

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B .1 -1 p h e n o m e n o l o g y Galleria centercity

CONCEPTUALISATION

unistudio

Through the evolution of architectural practice in response to the development of technology; the implementation of patterning have develop for beyond the point of aesthetics. Since the time of classical architecture patterning was a technique in which to enhance the overall beauty of the building. In the contemporary architectural practice patterning are implemented in a far more sophisticated applications through the help of computation. As represented by architectural project Galleria Centercity by Unstudwio implements patterning on the exterior skin of the building bring both aesthetic and more significantly creates a stimulating experience for the users. In the field of architecture which deals with the concept of phenomenology, often stimulate the users experience through the spatial and visual qualities which can be achieve through patterning, scale and lighting. Through the development of computation phenomenology architecture are much more easier to achieve. As represented by the exterior skin of Galleria project represents a double layered faĂ§ades which are articulated in a trompe lâ&#x20AC;&#x2122;oeuil pattern of vertical muilons.1 The vertical patterning of the facade creates a sense of illusion where the idea of scale is blurred out. (E.g. viewers would not know how many stories the building might be from the outside.) Additionally through out the internal space of the center implements patterning as represented on figure 4.1. Through the development of technology the patterns are complemented with LED coloured lighting enhancing the experiential aspect of the architecture.

1. "Galleria Centercity Interior By Unstudio", Unstudio.com, 2016 <http://www. unstudio.com/projects/galleria-cheonan-2> [accessed 2 April 2016].

CONCEPTUALISATION 41

B .1 - 2 K i NETIC al bahar tower A edas A rchitects

In the recent architectural discourse the exper imentation in k inetics and architectural skins is more widely implemented as a means for envi ronmental related design issues. The albahar tower by Aedas Architect challeges the typical high- rise typology of the area, suggesting that more responsive and dynamic solution to climatic conditions are more appropriate than that of the traditional static. In response Aedas Architects create a responsive faรงade where the patter n opens and closes mediating the control ove r l ight. The shape of the pat te r n were inspi red by Japanese or igami where the folding movement fol lows same line of logic. Through the uses of parametr ic algor ithms it enable the Aedas architects to explore the folding movement of the tr iangula r panels in respond to the envi ronment allowing for the op -timum solution. As stated pa rametr ic design have been essential pa r t of the development of k inetic design where it allow Architects to explo re mechanic movement in relation to envi ronmental context; sitimulating the daylight projector y to successfully g a i n c o n t r o l o v e r s u n l i g h t s .1 d i f f e r e n t t o al bahar tower project such as breath architecture by Dor is Kim through the mater ial proper t y the k inetic movement is achieved. (biometal - reacts to heat which t r igge r it f rom bendi ng.)

CONCEPTUALISATION

1. Ayman Hassaan Ahmed Mahmoud and Yomna Elghazi, "Parametric-Based Designs For Kinetic Facades To Optimize Daylight Performance: Comparing Rotation And Translation Kinetic Motion For Hexagonal Facade Patterns", Solar Energy, 126 (2016), 111-127 <http://dx.doi.org/10.1016/j.solener.2015.12.039>.

CONCEPTUALISATION 43

comparation

pattern TECHNIQUE: KiNETIC PURPOSE: CONTROL OVER LIGHT

CONCEPTUALISATION

pattern TECHNIQUE: LAYERING PURPOSE: VISUAL STIMULUS

After exploring the two different types of patterning which are seen in contemporary society: I was interested to see how these development was generated to fullfill its functions. While examining the properties of these two techniques; the question of whether the technique can be used to full-fill the function of the other was my main argument of the research. Therefore Through the exploration of Part B Iâ&#x20AC;&#x2122;m going focus of these two different types of patterning technique and explore how these two technique will respond to its contrasting functions.

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CONCEPTUALISATION

B.2

CASE STUDY 1 . 0 DE Y O UNG MUSEUM

HER Z O G DE MEUR O N

De Young Museum by Herzog De Meuron. The facade of the building is approximately 18,000m^2. The facade. The copper sheets, embossed with constantly changing patterns, that are based on digitally enhanced photos of trees in Golden gate park, gives the facade a multifarious surface which is rich in nuances. In Case study 1.0 through the uses of parametric software I am going to manipulate the alternating convex and con-caving patterns represented by the De young museum. The changes that I will undertake comprise of changing existing parameters, imputing new parameters, geometries and components The aim is to result in diversity of possible design that can be derived from the De young museum pattern with the aid of grasshopper.

CONCEPTUALISATION 47

permutat ion matr i x S P E C I E

B A S E -

C I R C L E

S P E C I E

B A S E -

S P E

R E C TA N G L E

R E S O L U T I O N 1 5 X 1 5

A D D I T I O N - N U L L

B A S E -

C I R C

R E S O L U T I O

R E S O L U T I O N

A D D I T I O N -

B A S E -

C I R C L E

R E S O L U T I O N 2 0 X 2 5 A D D I T I O N - N U L L

B A S E -

C I R C L E

R E S O L U T I O N 2 0 X 4 0 A D D I T I O N - N U L L

CONCEPTUALISATION

B A S E -

R E C TA N G L E

A D D I T I O N - N U L L

B A S E -

R E C TA N G L E

R E S O L U T I O N -

B A S E -

C I R C

R E S O L U T I O

R E S O L U T I O N 2 0 X 2 5

2 5 X 2 0

A D D I T I O N - N U L L

A D D I T I O N -

B A S E -

C I R C

R E S O L U T I O A D D I T I O N -

De youngs museum case study 1 C I E

S P E C I E

B A S E -

C L E N -

1 0 X 3 0

I M A G E

S A M P L E R

C L E N -

I M A G E

S A M P L E R

C L E N -

1 5 X

I M A G E

2 0 S A M P L E R

2 5 X 3 0

B A S E -

C I R C L E 3 2 X

3 2

A D D I T I O N - I M A G E S A M P L E R+ L O F T

B A S E -

4 0 X 3 5

A D D I T I O N - I M A G E S A M P L E R+ L O F T

11 X 11

C I R C L E

R E S O L U T I O N -

2 5 X 3 5

A D D I T I O N - I M A G E S A M P L E R+ L O F T+ D I V I D E S U R F A C E + C I R C L E + cull pattern

B A S E -

C I R C L E

R E S O L U T I O N -

C I R C L E

R E S O L U T I O N -

A D D I T I O N - I M A G E S A M P L E R+ L O F T+ D I V I D E S U R F A C E + C I R C L E + cull pattern

A D D I T I O N - I M A G E S A M P L E R+ L O F T

R E S O L U T I O N -

B A S E -

C I R C L E

R E S O L U T I O N -

B A S E 11 X 16

S P E C I E

C I R C L E

R E S O L U T I O N -

2 0 X 16

A D D I T I O N - I M A G E S A M P L E R+ L O F T+ D I V I D E S U R F A C E + C I R C L E + cull pattern

CONCEPTUALISATION 49

permutat ion matr i x 2 S P E C I E

B A S E -

S P E C I E

C I R C L E

R E S O L U T I O N -

B A S E 2 0 X 4 0

R E C TA N G L E

R E S O L U T I O N -

1 5 X 1 5

A D D I T I O N - C H A N G E I N S U R F A C E G E O M E T R Y

A D D I T I O N - P R O J E C T T O S U R F A C E

B A S E -

C I R C L E

R E S O L U T I O N -

2 0 X 2 5

A D D I T I O N - C H A N G E I N S U R F A C E G E O M E T R Y

B A S E -

C I R C L E

R E S O L U T I O N -

CONCEPTUALISATION

R E C TA N G L E

R E S O L U T I O N -

2 0 X 2 5

A D D I T I O N - P R O J E C T T O S U R F A C E

B A S E 4 0 X 3 5

A D D I T I O N - I M A G E S A M P L E R+ L O F T+ C H A N G E I N S U R F G E O

S P E C I E

R E C TA N G L E

R E S O L U T I O N -

3 0 X 3 5

A D D I T I O N - P R O J E C T T O S U R F A C E

B A S E -

C I R C

R E S O L U T I O N

A D D I T I O N - I L O F T+ D I V I D pattern + p

B A S E -

C I R C

R E S O L U T I O A D D I T I O N L O F T+ D I V I pattern +

B A S E -

C I R C L

R E S O L U T I O N

A D D I T I O N - I M L O F T+ D I V I D pattern + P

De youngs museum case study 1 8

S P E C I E

L E

N -

2 5 X 3 5

I M A G E S A M P L E R+ D E S U R F A C E + C I R C L E + cull p R O J E C T T O S U R F.

C L E

O N -

2 5 X 3 5

I M A G E S A M P L E R+ D E S U R F A C E + C I R C L E + cull project T O S U R F .

L E

N -

B A S E -

M A G E S A M P L E R+ E S U R F A C E + C I R C L E + cull R O J E C T T O S U R F.

S P E C I E

3 2 X

B A S E 3 2

A D D I T I O N - I M A G E S A M P L E R+ L O F T

R E C TA N G L E

R E S O L U T I O N -

4 0 X 3 5

A D D I T I O N - I M A G E S A M P L E R+ L O F T

11 X 11

A D D I T I O N - I M A G E S A M P L E R+ L O F T+ C U L L P AT T E R N

R E C TA N G L E

R E S O L U T I O N -

C I R C L E

R E S O L U T I O N -

2 5 X 3 0

A D D I T I O N - I M A G E S A M P L E R+ L O F T

B A S E -

1 0

B A S E -

R E C TA N G L E

R E S O L U T I O N -

B A S E 2 0 X 16

C I R C L E

R E S O L U T I O N -

11 X 11

A D D I T I O N - I M A G E S A M P L E R+ I T E M L I S T+ S H I F T L I S T

B A S E -

C I R C L E

R E S O L U T I O N -

3 0 X 2 5

A D D I T I O N - I M A G E S A M P L E R+ I T E M L I S T+ S H I F T L I S T

CONCEPTUALISATION 51

analysis

successful species itteration 12

Iteration 12 Iteration 12 represents a dynamic aesthetic qualities which highlight a sense of movement. Iteration 12 as a shading device shows potential from its hierarchy in surface which bring control over angular sunlight. The offset loft of the two surface create a triangular fin reflecting the lights out.

itteration 8

iteration 8 iteration 8 represents a two very contrasting surfaces giving it a very futurist looks. The density of the pattern will enable control over the light to a certain degree. the varieying sizes of the pattern creates a image of distortion. Additionally it allows the relationship between internal and external space,

itteration 30

ilteration 30 ilteration 30 represents a very plan surface, however if looked carefulliy some of the patterns are lofted creating a sense of heiarchy between the layer. What makes this ilteration so interesting is the distribution of pattern in each layer- some overlap creating a division between dense area to non- dense (where infact the resolution were set the same.)

itteration 15

ilteration 15 ilteration 15 is the most sucessful one in terms of aesthetic the flower like pattern will provide some sense of lateral shading, enabling control over angular sun light.

CONCEPTUALISATION

De youngs museum case study 1

responding to the sun The 4 iteration represented on p.g 52 represented to be the most successful species in means of controlling sunlight. This 4 species were chosen to be the most successful from the following characteristics: -Density of pattern -The protrusion of patterns - Offset between the two layers of patterns

The difference in depth of the overlapping pattern provides lateral shading preventing angular light penetration when the location of the sun corresponds to the angle of the protruding patterns. The dense nature of the overlapped patterns would provide some control over the light, while maintaining the relationship between internal and external space. In summary throught these ilteration I have to conclude that layering technique represents some level of potential in terms of controling the sunlight. where it bring the benefit of shading while enabling the relationship with the internal and external.

CONCEPTUALISATION 53

B.3

D i o r GIN Z A U N S tudio

CONCEPTUALISATION

CONCEPTUALISATION 55

B . 3 -1

reverse engineering DI O R GIN Z A AL BAHAR T O W ERS

For Case study 2.0 in order to fully analysis the technique of layering and kinetic patterning I have looked into 2 different projects Dior Ginza and Al bahar tower. Part B.3.

CONCEPTUALISATION

speculative process

1.) diamond check pattern equally spaced. Ways of creating it.

2.) GRID STRUCTURE TWO NARROW LINING. Ways of creating it.

- SERIES OF CURVES

- SERIES OF RETANGLE

-IMAGE SAMPLER

- attractor point

3.) diamond check pattern equally spaced. Ways of creating it.

dior gin z a case study 2

4.) GRID STRUCTURE TWO NARROW LINING. Ways of creating it.

- SERIES OF CURVES

- SERIES OF RETANGLE

-IMAGE SAMPLER

-SHIFT LIST OF 1.)

-SHIFT LIST OF 2.)

CONCEPTUALISATION 57

reverse engineering

create a surface

CONCEPTUALISATION

divide the surface

dior gin z a case study 2

series of circles accordance to the image sampler will fomulate the pattern on surface.

construct the base patterning using image sampler ( this can be done through attractor points)

Series of circles accordance to the image sampler will formulate the pattern on surface.

CONCEPTUALISATION 59

final outcome

pattern 1

pattern 2

pattern 3

pattern 4

CONCEPTUALISATION

dior gin z a case study 2

final result

note : in reality there is only two surfaces; just for diagramic purpose.

CONCEPTUALISATION 61

B.3

al bahar tow er A edas architects

The abaha r towe r by Aedas A rch itect s i s a renow ned wo r k fo r it respons ive facades that would react acco rding to the ang le of the sun. Aedas A rchitects p r i ma r y conce r n o f t h e t o w e r w e r e t h e a b i l i t y t o t a k e f u l l c o n t r o l o v e r s u n l i g h t, a s t h e s i t e w a s l o c a t e d a t A b u D h a b i (d e s e r t ). t h e d e s i g n r e p r e s e n t s s i m i l a r c h a r a c t e r i s t i c o f t h o s e o f i s l a m i c v e r n a c u l a r a r c h i t e c t u r e a n d t h e r e p r e s e n t s r e f e r e n c e s t o t h e j a p a n e s e o r i g a m i .1 The f i nal i zed fo r m of the design is a facade st r uctu re that accommodated f ib re - g lass panel s w ith openab l e ape r tu re. Pa ra m et r i c a l og o r itm s we re ut i l i zed to ex p l o re how a t r i a ng l ua r s haped fo l dab l e m od u l e ca n b e p ro g ra m m ed to res p o n d to th e e nv i ro n m e nt. T h e fo l d i n g tech n i q ue h e re h a s b e e x t e n s i v e l y s p e c u l a t e d a n d i t i s t e s s e l l l a t e d o n t h e f a c a d e i n a v e r y m a t e r i a l - e f f i c i e n t m a n n e r.

CONCEPTUALISATION

1. "Al Bahar Towers Responsive Facade / Aedas", ArchDaily, 2012 <http://www.archdaily. com/270592/al-bahar-towers-responsive-facade-aedas> [accessed 17 April 2016].

CONCEPTUALISATION 63

reverse

engineer ing

a l b a h a r t ow e r a d j u s t a b l e f a c a d e

• •

Create triangle Set geometry

•

Create a point at the center.

move point along the z-axis. number slider 0-5

CONCEPTUALISATION

•

• •

Deconstruct brep line from the vert

step 8

step 7

step 6

• •

step 3

step 2

step 1

Extrude to Point.

•

re-define surface generated in ste

p tices to center point.

e using the points ep 3,4,5

kenet ic pat terning case study 2

step 4

• •

Divde curves item list and select the point located on the center of the curves

step 9

•

number slider enable the points from step 4 to move to center.

step 5

•

Construct line connecting the point to the center point.

step 10

•

number slider controling height of the point.

the

CONCEPTUALISATION 65

final outcome

0% sunlight intake

50% sunlight intake

100% sunlight intake

0% sunlight intake

50% sunlight intake

100% sunlight intake

CONCEPTUALISATION

kenet ic pat terning case study 2

18 modules put together

CONCEPTUALISATION 67

CONCEPTUALISATION

B . 4 -1

technique development AL BAHAR T O W ERS

CONCEPTUALISATION 69

permutat ion c atalogue 3 specie

parameter

S T R U T specie

M O D E L 2

specie

extrusion

specie

angle

n : 1 - 6

n : 0 - 3 6 0

open 1 . 0

n : 3

a - 3 6

a - 2 7 5

a - 3 6

a - 2 7 5

a - 3 6

a - 2 7 5

semi 0 . 5

n : 3

n : 1

closed 0 . 0

n : 3

CONCEPTUALISATION

n : 1

techn i que d e v elo pment: B.4.1.

parameter specie

4 1

S T R U T specie

M O D E L specie

extrusion

specie

angle

a - 3 6

a - 2 7 5

a - 3 6

a - 2 7 5

a - 3 6

a - 2 7 5

CONCEPTUALISATION 71

permutat ion c atalogue THE PATTERNS ON STRUCTURE ARE CREATED IN A SIMILAR WAY AS REPRESENTED BY REVERSE ENGINEERING OF THE DIOR GINZO (P.G. 58-59)

pattern

the pattern was created through the different resolution in 3 different surface of the module.

specie

open

resolution

surface

u = 9,v = 9

surface

u =2 0 ,v =2 0

surface

u =2 0 ,v =2 0

surface

u = 9,v = 9

surface

u = 9,v = 9

surface

u =2 0 ,v =2 0

surface

u = 9,v = 9

surface

u =2 0 ,v =2 0

surface

u =2 0 ,v =2 0

surface

u = 9,v = 9

surface

u = 9,v = 9

surface

u =2 0 ,v =2 0

surface

u = 9,v = 9

surface

u =2 0 ,v =2 0

surface

u = 9,v = 9

surface

semi

resolution

surface

closed

resolution

CONCEPTUALISATION

surface

u =2 0 ,v =2 0

surface

u = 9,v = 9

surface

u =2 0 ,v =2 0

surface

techn i que d e v elo pment: B.4.1.

pattern specie

specie

(cull pattern to regroup surface ma k e different )

resolution

(offset on srf )

resolution

surface

u =2 0 ,v =2 0

surface

u = 9,v = 9

surface

u = 9,v = 9

surface

u = 9,v = 9

surface

u =2 0 ,v =2 0

surface

u = 9,v = 9

surface

u =1 5 ,v =1 5

surface

u = 9,v = 9

surface

u = 9,v = 9

surface

u =2 0 ,v =2 0

surface

u = 9,v = 9

surface

u = 9,v = 9

surface

u = 9,v = 9

surface

u =2 0 ,v =2 0

surface

u =2 0 ,v =2 0

surface

u =1 5 ,v =1 5

surface

u = 9,

surface

u = 9,v = 9

resolution

v = 9

resolution

surface

u =2 0 ,v =2 0

surface

u = 9,v = 9

surface

u = 9,v = 9

surface

u = 9,v = 9

surface

u =2 0 ,v =2 0

surface

u =2 0 ,v =2 0

surface

u =1 5 ,v =1 5

surface

u = 9,

surface

u = 9,v = 9

v = 9

CONCEPTUALISATION 73

permutat ion c atalogue the modules are applied to surface using box morph

resolution

const .

1 0 x 1 0

open

semi

closed

CONCEPTUALISATION

the

surface

techn i que d e v elo pment: B.4.1.

structure visualising the module in different scale . w hen seen from a different scale the module itself can represent a structure of a pavilion .

standard

piped extrude

CONCEPTUALISATION 75

fusion point cloud

CONCEPTUALISATION

techn i que d e v elo pment: B.4.1.

? CONCEPTUALISATION 77

successful species Since the criteria was visual stimulus, there were no set values to grade it upon; the judgement was greatly dependent on my own subjective views.

RIGHT VIEW

DIAGRAM

LEFT VIEW

itteration 1 was chosen to be a sucess. As represented on the diagram above the surfaces creates an overlap in some areas, making the pattern dense. This effect creates a new set of patterning system for the specie. The beuty of these itteration were that from different angle of observation the specie will look very different, which can be observed just by comparing right and left view. The overlapping pattern in specie 1 creates a sense of movement where the two thick lines weavy along the edge when viewing around the structure.

CONCEPTUALISATION

DIAGRAM

itteration 2 was creating from a dom spatial potential. Similar to the ittera new sets of patterning system. From m from itteration 1 resembles a image resemble the face of â&#x20AC;&#x153;tyrannosauru my subjective view, I believe differe something else.

techn i que d e v elo pment: B.4.1.

RIGHT VIEW

LEFT VIEW

me like surface, which creates a great ation 1 the patterns overlap creating a my own observation itteration 2 different ery. Where the left view of the specie us rex.â&#x20AC;? as this observation is based on ent people might not see rex and see

DIAGRAM

LEFT VIEW

itteration 3 was created through a mistake. However dispite my failure in creating a controlled design, the end result produced a interesting outcome, as represented the form of the pattern does not take the shape of a hexegon like the rest. This organic form represent fluidity. The pattern that is formulated on the surfaces of the circle is all different making the specie visually interesting.

CONCEPTUALISATION 79

CONCEPTUALISATION

B.5

technique: prototypes Exploring joints & kinetic movement

CONCEPTUALISATION 81

B . 5 -1

prototype 1

k inetic movement

objective: exploring the k inetic movement.

I was interested in the kinetic movement of the iteration- and wanted to explore different possible outcome of controling it. Unlike the world of degitalisation where kinetic movements can be achieve through simple shift in slider, ignoring property and element which fundementaly require in real life inorder for it to move. The first thing that were to be considered were the material choices including what types of joints where going to be used. as represented in the image below the material that were involved includes: MDF panels (frabricated through laser cutters.) -hinge connection -screw 6mm in depth -and spring cable

spring cable with attachable hooks

hinge connection

CONCEPTUALISATION

MDF panels- the panels are laser cut

B . 5 -1

CONCEPTUALISATION 83

connection detail

The intial idea was to frabricate the hinge joint (refer to appendix.) using the 3D printer. However due to constant stress that will be applied to the joints in the process of testing; I believed The 3D print will be too fragile for this exercise. Therefore the prefabricate steel hinges were used for this prototype.

CONCEPTUALISATION

The spring cable (which its intial connects the vertices of the triang where the hooks are hooked onto easy connection where the hook s the cable interlock creating simple

prototype 1 k inetic movement

purpose is used for the curtains)

gle to the center by a steel ring o. The spring cable allows for a screw screws and the coil inside e yet rigid connection.

hook screw are connected on to the triangular mdf panel located at the vertices. This works are a rail system which allows the cable to slide while preventing it from separating. Then similar to the central connection the spring cables are hooked on to the steel ring. These steel ring connectio allows for possible expansion.

CONCEPTUALISATION 85

k inetic system

This cable system not only works as a joint system (which connects the 2 modules together.); it also creat es a system which allows for the control over the folding movement of the panels. The cables have spring loaded inside it allowing the cable to work with tension. If the cables are pulled from the two rings that are connecting the two modules the cables will undergo tension pull all the panell together resulting in the folding movement.

CONCEPTUALISATION

prototype 1 k inetic movement

CONCEPTUALISATION 87

B . 5 -1

prototype 2

material testing

objective: exploring materiality to achieve k inetic

The 2nd prototype was heavily linked with the concept of “young’s modulus of elasticity.” Young’s modulus of elasticity , “is a mechanical property of linear elastic solid materials. It defines the relationship between stress (force per unit area) and strain (proportional deformation) in a material.”1 in simple terms it examines the material tendency to return to its original form after deformation. This natural movement of the materials were the primary investigation for prototype 2. Therefore polyproperine was decided to be used- due to its low young modulus property as represented in the image below the material that were involved includes: -Polypropyline, frabricated using laser cut. -binding screws

binding screw

joint system created using polyprop.

CONCEPTUALISATION

triangluar base cut using laser cut

1. David Roylance, Mechanics Of Materials (New York: Wiley, 1996).

CONCEPTUALISATION 89

connection detail

The joint system that I have create; is a very simple 6 sided straps which works similar to a clip plate where the straps consist of holes which are connected to the panels using the binding clip.

CONCEPTUALISATION

prototype 2 young â&#x20AC;&#x2122; s modulus

To enable more flexiblity in movement the six straps are further cut in half allowing for the additional movement.

CONCEPTUALISATION 91

CONCEPTUALISATION

B . 6 -1

technique:proposal w e d o n t ow n l a n d - l a n d ow n s u s

CONCEPTUALISATION 93

background research history

The merri Creek land originally owned by Wurundjeri-willam. The land have significant importance to the Aboriginal people where activity such as tribal meeting (The largest recorded meeting-1844) and Batmans treaty were made (only

treaty made between aboriginal and white settlers.- 1835)1

pollution

Since European settlement, the lower reaches of the creek have been seriously degraded due to human activity. These activity include extraction of bluestone during the early development.1 These quarries were later used as landfill for waste. street drains are directed into the creek bring rubbish and other polution.1

CONCEPTUALISATION

1."About Merri Creek", Mcmc.org.au, 2016 <http://www.mcmc.org.au/index.php?option=com content&id=36:about-merri-creek&Itemid=188> [accessed 29 April 2016].

com_

CONCEPTUALISATION 95

site observation Site Users -mainly residents. -bikers. key Ammenities -bike route -tracking route key activities -jogging -walking a dog -biking -dwelling key Problem -lack of ammenties including: toilet, shade, bench, rubbish bin. making the site not functional.

legend

selected area

CONCEPTUALISATION

techni q ue : proposal site analysis

NOTES The site seems abandon very minimal interaction with the site. Additionally there is no ammenities located at this area cause problems such as litter. There isnt any sort of structure with create area for congregation. The is flood warning sign representing that there is a drastic change in the water levels. opportunitys. large ammount of land area which are not used. river running through the site. but very shallow preventing it from being seen. no engagement with the site The valley like topography creates a isolating environment

CONCEPTUALISATION 97

DESIGN PROPOSAL

To create a pavilion where it teaches people about the culture and traditions of aboriginals. why ? Aboriginal in contemporary society are represented in a negative light where they are usuallly labelled with alcohol or drug related issue. I believe since the comtemporary society is marginalising the aboriginals, it indirectly forces the aboriginals in creating crimes, (lose their cultural and traditional values.} Therefore by creating a community area where they teach both aboriginal and other race about the culture and tradition of the aboriginals; it would help to bring them back into the society.

CONCEPTUALISATION

â&#x20AC;&#x153;We cultivate our land in a way different from the

white man. We endeav-

endeavor

our

to live with the land; they seemed to live off it.â&#x20AC;? - TOM DYSTRA, ABORIGINAL ELDER

techni q ue : proposal agenda

Precedent reading between the line The aborigine’s cultural, traditional and religional values are all related with the land itself. They view land in a different manner to those of the white men. “In white society, a person’s home is a structure made of brick or timber, but to our people our home was the land that we hunted and gathered on and held ceremony and gatherings.”(ref.) The precedent reading between the line by... is a very intricate piece of design where the church will merged in to the horizon depending on the angle in which the users view the structure. This effect is achieved through the spacing of verticle steel structure which with the aid of the sunlight enhances this mysterious effect. This idea of the structure merging with the landscape will be a effect that I will explore in response to my agenda in an attempt to view the land through the eyes of the aboriginal.

CONCEPTUALISATION 99

H O W I T S G O I N G T O B E A C H I E V E T H R O U G H K i N E T I C PA low visibility

100

CONCEPTUALISATION

semi

TTERN

semi visibility

high visibility

CONCEPTUALISATION 101

102

CONCEPTUALISATION

CONCEPTUALISATION 103

conceptual design visib l ity high

dur ing high visibilit y the str ucture creates a sense of enclosure enhancing the users ability to co n g re g rate a n d d we l l o n s ite; ove ra l l enhancing the engagement with the site.

medium

l ow

descri p tion

du r ing medium visibi l it y the str uctu re p rovide user s some sense of enclosu re, the inter nal and ex ter nal relationship is maintained.

du r ing low visibi l it y the str uctu re p rovide creates this myestical effect where the pavillion seems to be disapeared from the location From the outsider s per spective people are gathering nowhere- symbolising the traditional gather of aboriginal people

104

CONCEPTUALISATION

CONCEPTUALISATION 105

conceptual design 2 temporary installation tactic

The tempora r y installation is going to be achieve th rough the demposition of material proper t y where the whole structure will decompose away after a cer tain yea r s. This decomposing phase represents the rel igionous value of the abor iginals where thei r ideaology of ever y thing sta r t and end from the land.

the diagram indicates the sustainable loop where the decompose mater ial gives nutr ient for new life.

106

CONCEPTUALISATION

material exploration decomposing property material

years

1- 3

plywood

0.2

cardboard

30-40

nylon frabric

CONCEPTUALISATION 107

108

CONCEPTUALISATION

B.7

LEARNING O BJECTIVE & O UTC O ME

The objective of studio air I believe is to make us understand the impact that computation have brought to the contemporary architectectural practices; how its slowly changes the way contemporary architects think and design. After completing part B I begin to understand the power of parametric design and the overall benefit it provide to the designer.

Exploring parametric design in relation to patterning have provided me with the ability to identify varies of design, which can be created from the uses of parametric software. After part B I have a relatively good understanding on parametric design which have reshaped me as an architect and opened up possibilities for new types of design.

Creating the ilteration was challenge at time but have certainly thaught me a lot about the algorithmic thinking and approach when using grasshopper. Comparing the process of B.2 to B.4 ilterations; I believe have change quite a bit, how B.2. where ilterations were generated mainly through the shift in parameters and addition of component in a series of trial and error- which produced unexpected outcomes. However during ilteration for Part B.4 after grasping a understanding of the key components of data structure and good idea of how each components affect the design, it has allowed me to take bit more control over the design,. As represented from the matrix of B.4 I have divided the ilteration in to smaller sub-components where best ilteration were combine to create the final outcome.

WHAT IM GOING TO DO IN PART C. My design proposal consist a lot of kinetic factor, which through the uses of kangaroo (physics engine.) going to generate different ilteration testing out the relationship between the form, and the kinetic aspect itself to result in the optimum and desirable solution.

During the protoyping phase was the most challenging, as to replicate what we have in grasshopper to the real world. The downside to the computation comes from the fact; that all the elements such as joints and material are neglected where two faces are simple joint by the edges. Therefore separate testing on how it was going to actually move; join and what type of material was going to be used were taked place.

CONCEPTUALISATION 109

110

CONCEPTUALISATION

B.8

appendix

CONCEPTUALISATION 111

joint

1 .

joint

112

CONCEPTUALISATION

LENGTH OF STRUT

ROTATION OF STUT

SEGMETN 1

SEGMETN 3

SEGMETN 2

CONCEPTUALISATION 113

114

CONCEPTUALISATION

CONCEPTUALISATION 115

116

CONCEPTUALISATION

Bibiliography

“About Merri Creek”, Mcmc.org.au, 2016 <http://www.mcmc. org.au/index.php?option=com_ content&id=36:about- mer r i creek&Itemid=188> [accessed 29 April 2016] “Al Bahar Towers Responsive Facade / Aedas”, ArchDaily, 2012 <http://www.archdaily.com/270592/al-bahar-towers-responsivefacade-aedas> [accessed 17 April 2016]“AD Classics: Yokohama International Passenger Terminal / Foreign Office Architects (FOA)”, ArchDaily, 2014 <http://www.archdaily.com/554132/adclassics-yokohama-international-passenger-terminal-foreignoffice-architects-foa/> [accessed 7 March 2016] “Galleria Centercity Interior By Unstudio”, Unstudio.com, 2016 < ht t p://w w w.u n s tu d i o.co m/p r o j e ct s/g a l l e r i a - c h e o n a n -2> [accessed 2 April 2016]Dunne, Anthony, and Fiona Raby, Speculative Everything Mahmoud, Ayman Hassaan Ahmed and Yomna Elghazi, “Parametric-Based Designs For Kinetic Facades To Optimize Daylight Performance: Comparing Rotation And Translation Kinetic Motion For Hexagonal Facade Patterns”, Solar Energy, 126 (2016), 111-127 <http://dx.doi.org/10.1016/j. solener.2015.12.039>Kalay, Yehuda E, Architecture’s New Media (Cambridge, Mass.: MIT Press, 2004) Malott, David, “Al Bahar Towers, Abu Dhabi”, Ctbuh.org, 2016 <ht tp://w w w.ctbuh.o rg/ Ta l l Bui ld i ngs/Featu red Ta l l Bui ld i ngs/ AlBaharTowersAbuDhabi/tabid/3845/language/en-US/Default. aspx> [accessed 16 April 2016]Peters, Brady, and Xavier De Kestelier, Computation Works (Architectural Design), pp. 8-15 Roylance, David, Mechanics Of Materials (New York: Wiley, 1996)

CONCEPTUALISATION 117

C ritic a l design

118

CONCEPTUALISATION

CONTENTS C.1 DESIGN CONCEPT FEEDBACK

121

FINALISNG CONCEPT

122

TECHNIQUE

127

CONSTRUCTION PROCESS

139

C.2 TECTONIC ELEMENTS & PROTOTYPE PROTOTYPES

145

CONSTRUCTION PROCESS

155

C.3 FINAL DETAIL MODEL SITE MODEL

168

DETAIL MODEL

174

CONSTRUCTION MANUAL

180

RENDERS

188

C.4 LEARNING OUTCOME

194A.6 APPENDIX

A.6 APPENDIX

CONCEPTUALISATION 119

120

CONCEPTUALISATION

c .1

D e s i g n

c o n c e p t

Feedback from interim finalised concept The feedback that I got during the interim were fairly positive ; however the problems that were raised from my interim presentation revolves around the practicality of the project and most importantly the sensitivity of the concept linking it with aboriginal brief and identity. During the interim I wanted to create an monumental piece which screams out the dark underbelly of Australian history linking it with general mistreatment of Aboriginals including the â&#x20AC;&#x153;stolen generation.â&#x20AC;? As I believed the land of Merri creek remarks the idea of â&#x20AC;&#x153; The land that was once stolen from the indigenous people and abandoned by whites. (Abandonment represented through the extraction of blue-stone and general pollution within the site) However as stated the sensitivity of the concept made it difficult for me to proceedas a non-aboriginal to create an architectural piece which fully in-captures the situation of the time were overwhelmingly difficult. The critics were general impressed with the technique which I have proposed ( disappearing of the structure & decomposing architecture.)

CONCEPTUALISATION 121

Finalising the concept After Interim I have decide to move forward with the idea of aboriginal identity. The challenge was to finding an alternative solution which address the same issue but in a less sensitive manner. One of the ways were to focus the project based on the contemporary representation of aboriginal culture and identity, rather than taking reference to the history. In the contemporary society there is a loss of aboriginal culture and identity. This is caused due to: 1. Marginalising of Aboriginal people, culture and tradition.1 2. The lack of familiarity with the aboriginal culture, especially the newer generations.1 These idea became the foundation of the design concept. The Project also address the problem that were identified on the selected site which is located on the outskirts of the Merri creek the problem that were discovered on the site were: 1. Lack of interaction between people and the site. 2. Lack of community interaction 3. Dead space-( no amenities e.g. rubbish bin, toilet and shading device.) By integrating the two problem I came up with the project “Blossom” which attempt to provide solution for both issues which shows similarity in the overarching idea of separation.

blossom The project Blossom is derived from the idea of unity; where the project is a pavilion structure which aims to create a space where it brings the community together enhancing the overall engagement between people and of the site itself. Additionally the key driver of the project comes from the historical aspect of the site; where the integrity of the form of the pavilion reflect the aboriginal culture and identity which is heavily link with the ideology of “nature and land”; working as a standing monument of aboriginal identity.

Aboriginal identity. Due to the sensitivity of incorporating aboriginal imagery. The project blossom tackles a broader topic of nature; where in which the aboriginal culture and identity is heavily influenced from. The pavilion is created out of composite panels which reacts to the radiation of solar heat making the structure move through thermal expansion- therefore during high radiation the modules will close creating a shade. This interaction with nature transforms the pavilion in to kinetic living creature that responses to its surrounding environment. From this idea the project attempts to integrate aboriginal value not as a form of imagery but through functionality of the structure (spatial quality.)

2016 <http://www.aic.gov.au/media_library/conferences/2009-indigenousyouth/ presentations/raylene_cindy.pdf> [accessed 4 May 2016]1 122

CONCEPTUALISATION

CONCEPTUALISATION 123

programme day time •

The pavilion dur ing day works as a shading area for people to congregate enhancing the interaction bet ween people at the site and with the site itself

•

Increase in site users.

•

Wo r k s a s a pa s s - way c reat i ng a sem i encl osed s pace a l l ow i ng interaction bet ween internal and external space

•

Pavi l ion move in response to sun position.

night time •

The project creates a public space which brings a sense of enclosure, secur it y and shading to the Site.

•

Increases peoples engagement with the site.

•

The structure is a light weight panels which enable movement according to the factors e.g. wind.

•

Te m po ra r y LE D l i g ht s a re i n s ta l l fo r n i g ht a ct i v it i es w h i ch i n cl ud es th e ed ucat i o n a l l y program where they teach people about abor iginal culture and tradition.

124

CONCEPTUALISATION

finalising concept multi - function

CONCEPTUALISATION 125

126

CONCEPTUALISATION

c .1 - 2

T e c h n i q u e Thermal expansion form finding The technique that is explored continue on from my interest in kinetic architecture explored in part B. In contemporary society Kinetic architecture including Dubai Tower is operated through the use of mechanical energy. The use of mechanical energy for my project I believe contradicts the idea of aboriginal identity. The finalised Kinetic technique comes from the materiality; where thermal expansion allows for the stretching of the material when heat is applied. I have decide to further develop this technique as the movement is dictated by nature, and human do not have any control over the movement of these panels. From this idea the project attempts to integrate aboriginal value not as a form of imagery but through functionality of the structure (spatial quality.)

CONCEPTUALISATION 127

T hermal expansion The idea of ther mal expansion to create the k inetic movement were der ived from the research by Dor is Kim; where she incoporates the uses of biometal to create shadi ng devices that responds to the contex t. (mentioned i n pa r t B. pg. 42.)

how the mo v ement is created

1. )

Material one

Material two

Distributed connection

Material Two

Composite

â&#x20AC;˘ Two different type of material connected using distributed connection e.g. welding forming a composite panels.

128

CONCEPTUALISATION

techni q ue : D I A G R A M K I N E T I C motion

2.)

3.)

• Heat is applied • materials expand at different rate

• expansion of material on top is greater than bottom • resulting in a bending motion.

CONCEPTUALISATION 129

E v olution

R e v erse engineering - D ubai tower

MECHANICAL FULL CONTROL

0% sunlight intake

130

CONCEPTUALISATION

50% sunlight intake

100% sunlight intake

N AT U R AL LESS CONTROL

Reactivity- 0% X<28C

Reactivity- 50%

Reactivity- 100%

28C<x<30C

X<30C

F inal project - B lossom

Dur ing the Pa r t B.4 der iving a iteration from a Dubai tower were ver y dif f icult as there were ver y little alteration that can be made on the for mal composition of the module. However Th rough the technique of ther mal expansion the for m o f t h e m o d u l e n a t u ra l l y evo l ve d f r o m t h e r eve r s e e n g i n e e r i n g D u b a i to w e r. The t wo projects represent similar form where hexagonal module compr ise of 6 smaller tr iangular module that creates the movement of opening and closing. However th rough the uses of bending motion created by the ther mal expansion, the movement of the panels generate a more organic folds rather then shape geometr ic foldings. Additionally the difference can be seen from the overall movement of the module.

CONCEPTUALISATION 131

S I T E LO CAT I O N

132

CONCEPTUALISATION

49m

CONCEPTUALISATION 133

form finding 1

E merging from the land

5.)

rotational movement were allowed for the curves.

4.) vertical movement were allowed for the curved.

3.) lofted the curves.

the length of the topographic lines are trim to an appropriate length

2.)

1.) topography is extracted from the chosen site location.

134

CONCEPTUALISATION

EMERGE FROM THE LANDSCAPE. The form of the pavilion represents the idea of emerging from the land, where the topography of the selected site was taken to create the form. The lines of the topography were lofted to create a surface; and through the parametric design the manipulation of the form were easily achieved through sliders which altered the vertical and the rotational movement of the lines resulting in a mound like form. As the modules of the panels move according to the amount of radiation it receives. Through the uses of Galapagos the script was later combined with the solar radiation analysis (Lady Bug) to find a form which result in the maximum solar heat gain possible.

CONCEPTUALISATION 135

galapagos Galapagos is a component of grasshopper which is used to find the optimum of something. The Galapagos was connected to the maximum radiation obtained from VIC weather map, and context were included (e.g. trees) to create an accurate form which reflected the selected site along the Merri Creek. â&#x20AC;˘

The Galapagos ran for 2 hours producing 164 iteration 6 in which are represented below.

I LT T E R AT I O N S

136

CONCEPTUALISATION

final outcome

T his form was selected because : •

One of the for m that have the maximum solar radiation.

•

Distributed radiation.

•

Big internal space.

•

No intersecting planes.

•

Form that reflect the shape of the landscape.

CONCEPTUALISATION 137

138

CONCEPTUALISATION

c .1 - 3

C O NSTRUCTI O N PR O CESS Architecture+industr i al product.

The concept of the project blossom as stated previously is about unity; where the project aims to form a communal area which enhance the bond between people and the site itself. The construction process were thought to be designed so that the people from the community take part in the construction of the pavilion creating an interaction between the community; and achieve familiarity with the project. In order to achieve this outcome; the construction process had to be easy and simple to follow so that people of non-construction background could participated in the designing process. This has lead myself from packaging the design similar to the industrial product rather than a building construction where it involves assembling of part that are prefabricated; with simple tools such as screw driver.

CONCEPTUALISATION 139

construction process The Constr uction process involves 3 phases which are prefabr ication, transpor tation , and assembly

140

CONCEPTUALISATION

Direction on how to construct •

Construction drawing

•

Supervisor at place

•

Construction manual

CONCEPTUALISATION 141

CO R E CO N S T R U C T I O N E L E M E N T. The core constr uction element of the project is divided into 2 segments. as represented in the diagram below

142

CONCEPTUALISATION

S E G 1. PA N E L S Composite panels- comprised of h igh the r ma l coef f icent.

SEG 2. STRUCTURE A grid shell structure which work as a join s ystem w h i le bei ng the ma i n st r uctu re element.

OUTCOME Combination of panel and str ucture.

CONCEPTUALISATION 143

144

CONCEPTUALISATION

c . 2 .1

P r o t o t y p e Mater i al test ing Kinetic motion adjustment Structural testing

CONCEPTUALISATION 145

core construction element 2

T h e i n i t i a l j o i n t d e t a i l - c o n s i s t o f 6 e l e m e n t s r e p r e s e n t e d b e l o w.

146

elements that were problematic during the prototyping phase.

CONCEPTUALISATION

Element where it joins the panels to the structure.

Composite panels

Core of the joint system which connects all the elements together

Element which enable the connection between the members to the frames

Secondary element which enable the connection between part 6 and part 4.

Structural member.

This element enables the flexibility of the structure

CONCEPTUALISATION 147

COM PO S I T E M AT E R I A L Mater ial testing consist of testing out different combinations of mater ial in order to determine the optimum bending.

T E S T E D COM PO S I T E M AT E R I A L

P R OTOT Y P E 1.

148

CONCEPTUALISATION

PROTOT YPE 2.

PROTOT YPE 3.

prototyping material testing

LI NE AR TE MPE R ATURE CO-EFFIECENT1

PROTOT YPE 1 BLACK POLYPROPYLENE 100-200 ALUMINUM 22.2

(10 - 6 m /( m K ))* ) Acetals 106.5 Acetal - glass fiber-reinforced 39.4 Acrylic 75 Alumina (aluminium oxide, Al2O3) 8.1 Aluminum 22.2 Aluminum nitride 5.3 Amber 50 - 60 Antimony 10.4 Arsenic 4.7 Bakelite, bleached 22 Barium 20.6 Barium ferrite 10

PROTOT YPE 2

Benzocyclobutene 42 Beryllium 11.5 VINYL 16-22

Bismuth 13 Brass 18.7 Brick masonry 5.5 Bronze 18.0

CLEAR

Cadmium 30

POLYPROPYLENE 100-200

Cast Iron Gray 10.8

Calcium 22.3 Caoutchouc 66 - 69 Celluloid 100 Cellulose acetate (CA) 130 Concrete structure 9.8 Constantan 18.8 Copper 16.6 Diamond (Carbon) 1.18 Duralumin 23 Dysprosium 9.9

PROTOT YPE 3

Ebonite 76.6 Mercury 61 33.9 BRASS 18.7

Mica 3 1.7 Nylon, general purpose 72 Platinum 9.0 Plutonium 54

ALUMINUM 22.2

Polyacrylonitrile 70 38.5 Polyallomer 91.5 50.8 Polyamide (PA) 110 61.1 Polybutylene (PB) 130 72 Polycarbonate (PC) 70.2 39 Polyester 123.5 69 Polyester - glass fiber-reinforced 25 Polyethylene (PE) 200 Polyethylene (PE) - High Molecular Weight 108 Polypropylene (PP), unfilled 100 - 200 Vinyl 16 - 22

"Coefficients Of Linear Thermal Expansion", Engineeringtoolbox.com, 2016 <http://www.engineeringtoolbox. com/linear-expansion-coefficients-d_95.html> [accessed 13 March 2016].1 CONCEPTUALISATION 149

BEFORE

150

AFTER

CONCEPTUALISATION

outcome Protot ype 1 Difference in c o e f f i c i e n t va l u e: 12 7

Protot ype 2 Difference in c o e f f i c i e n t va l u e: 12 8

Protot ype 3 difference in co ef f i eci ent va l ue: 3. 5

The result of the testing indicates that the aluminium plus the polypropylene creates the most dynamic movement. However in theory the movement can be calculated by finding the difference between the linear co-efficient of the two material as stated in pp 129 the bending motion is created as one material expands at a greater rate than the other. Therefore in theory prototype 1 should be 2nd best outcome.

The result of the testing indicates that the combination of vinyl and polypropylene creates the second most dynamic movement at an average temperature of ~30C (temperature of dryer.) In theory this combination of material bring out the most desirable outcome with the value of 128, however the difference between the value of prototype 2 and 1 is very similar concluding that the testing was correct.

The prototype 3 represents the least promising outcome as the movement can be obtained with the temperature greater then 50 degree which is not possible which solar radiation. (Using heat-gun) Overall outcome- greater the surface area the less time it takes for the material to react.

CONCEPTUALISATION 151

K I N E T I C MOT I O N T E S T I N G After decided upon the composite material that I was going to use for the panels ( prototype 1. aluminium + black polypropylene.) Further test were processed, testing in a form of the triangular module.

The module were heated under the temperature of 25-40 degrees in the time frame of 2 mins. The problem that occurred were seen where from the movement of the modules. The concentration of the heat create the panels from bending inward rather than it fanning out. (Compare the movement with the one represent in p.g. 131.) In-order to solve this problem the joints were created on the top quarter of the module allowing for a bend of the material at a shorter axis creating the fanning motion. As represented from the diagram on the right.

152

CONCEPTUALISATION

prototyping k inetic movement

CONCEPTUALISATION 153

154

CONCEPTUALISATION

c.2.2

C O NSTRUCTI O N

PR O CESS

construction of module a ssembly of modules .

CONCEPTUALISATION 155

module assembly

STEP 1

STEP 2

Slot the primary member joint into the notch created on the main framing structure.

Connect two secondary joint on to the primary member joint through the use of nuts and bolts.

156

CONCEPTUALISATION

STEP 3

Slot the L-shape element into th created on the hexagonal fram

he notch me.

construction process process 1

STEP 4

STEP 5

Insert the capping (This element was introduced afterward, as the slot of the joints were not tight enough); the frictional force were not enough to keep the element in position therefore a stopper was created to prevent the L shape element from coming lose.

After base joint system are assembled connect the panels on to the L-shaped clamping the hole created 1/5 down the panel to the hole of the L-shape through the use of nuts and bolts.

CONCEPTUALISATION 157

158

CONCEPTUALISATION

CONCEPTUALISATION 159

connecting modules

STEP 1

STEP 2

The slots on the members correlate with the notches of the secondary joint creating a connection (like a puzzle.) frictional force holding the two part together.

The members create structural support- self su

160

CONCEPTUALISATION

upporting structure.

construction process process 2

STEP 3

Finally two members of the module are shared between the 3 modules as represent in the image above.

CONCEPTUALISATION 161

modification D E F L E C T I O N

BEFORE WEAKER AXIS •

The initial position of the members resulted in high deflection points when load is acted upon.

•

Since the structure mostly deal with the vertical loadhave positioned the member is on its weaker axis

•

High risk of snapping

MAXIMUM DEFLECTION POINT

AFTER STRONGER AXIS

162

CONCEPTUALISATION

•

Therefore the members are oriented on to its stronger axis resulting in a more rigid structure.

•

By create a member on it stronger Axis the component represent in (p.g. 147) element 5 is no longer required- reducing the area of failures

•

The members are doubled to provide more rigidity result in high load capacity.

CONCEPTUALISATION 163

finalised elements . Modification after the prototyping.

x 164

modified. CONCEPTUALISATION

the cap is created to prevent part 2 from coming out of it notch

element where it joins the panels to the structure.

composite panels

core of the joint system which connects all the elements together

notch of the element made deeper (the notch werenâ&#x20AC;&#x2122;t deep enough, therefore structural glue is applied.)

double layered, rotated on to its stronger axis

CONCEPTUALISATION 165

166

CONCEPTUALISATION

c.3

f i n a l

d e t a i l

m o d e l

site model deta il model constrution process

CONCEPTUALISATION 167

SITE MODEL scale of 1: 2 0 0 site context

168

CONCEPTUALISATION

CONCEPTUALISATION 169

SITE MODEL 2

170

CONCEPTUALISATION

CONCEPTUALISATION 171

SITE MODEL 3

172

CONCEPTUALISATION

CONCEPTUALISATION 173

detail model scale of 1:1 3 module connected metabolism kinetic

174

CONCEPTUALISATION

CONCEPTUALISATION 175

176

CONCEPTUALISATION

CONCEPTUALISATION 177

178

CONCEPTUALISATION

CONCEPTUALISATION 179

180

CONCEPTUALISATION

CONCEPTUALISATION 181

c.3

final

C O NSTRUCTI O N

PR O CESS

mater i al test ing kinetic motion adjustment

As stated from C.1-2 envisaged construction process (refer to pg 140.); the documentation of the final construction process was created in a form of a construction manual which in real life will be supplied to the people who contributes in the construction of the project . Different from other architectural project rather then producing Architectural/ construction drawing; by creating a manual it creates a system which people with no construction background can follow and create. enhancng the communal bond and interation.

182

CONCEPTUALISATION

CONCEPTUALISATION 183

BLOSSOM

CONTENTS

184

Step 1- Getting Ready

Step 2- Assembling panels

Step 3- Assembling grid structure

4-5

Step 4- Attaching Modules

CONCEPTUALISATION

BLOSSOM

STEP 1- GETTING READY ITEM LIST FOR ONE MODULE

Stopper

L-shape

Panel

Main Frame

Member joint

Member

PROECT BLOSSOM The project Blossom aims to create: • • •

•

A communal area in the outskirts of Merri creek. Enhance the bond between people of the community and the interaction with the site. The project was integrated with values of aboriginal culture and identity working as a standing manifesto of aboriginal identity. Programs include aboriginal educational session. (During night time. T.B.C)

CAUTIONS •

Read entire booklet carefully before beginning installation and save these instructions

•

If there is anything that is uncertain talk to the construction supervisor at all time.

WARNINGS • •

If there is anything that is uncertain talk to the construction supervisor at all time. If there is any faulty or broken part inform the construction supervisor at all time

3 CONCEPTUALISATION 185

BLOSSOM

STEP 2- ASSEMBLING PANELS 1.) Drill a hole 1/5 down the panel as represented on the diagram on the right. Diameter of 4mm all the way through. Repeat this process for the other side.

2.) Join the panels is to a triangular form. The panels are connected using of 4mm bolts and nut clamping on to the two of panels.

STEP 3- ASSEMBLING GRID STRUCTURE 1.) L- shaped element is slotted into the main frame of the module as indicated in the image on the right.

1.) After all L shapes are slotted in place the stop is put in place to prevent the L shapes from moving & potentially coming loose.

186

CONCEPTUALISATION

BLOSSOM 3.) The Member joints are attached to the main frame, apply structural glue when connecting. (Area of load fail therefore make sure the piece is firmly glued.)

4.) Connect the members to the member joints as represented on the image on the right. The joints are connected using bolts and nuts. (Do not tighten the screws at this stage.)

5.) After all legs have been attached. In a similar fashion connect the 2 panels of the module with the joint system using the nuts and bolts. (Do not tighten the screws at this stage.)

CONCEPTUALISATION 187

BLOSSOM

BLO

STEP 4- ATTACHING MODULES

1.) Two members of the modules are shared between the 3 modules as represented in figure 8. Repeat step 4 to ensure firm connection.

Figure 8.

2.) As the bolts and nuts are not fully tightened the form can be easily manipulated; as both members and panels allow for a rotational movement. Wait for the construction supervisorâ&#x20AC;&#x2122;s instruction of where to bend and etc. After the form has been confirmed tighten the bolt to prevent the movement from occurring resulting in a rigid structure.

188

CONCEPTUALISATION

CONCEPTUALISATION 189

190

CONCEPTUALISATION

CONCEPTUALISATION 191

192

CONCEPTUALISATION

CONCEPTUALISATION 193

194

CONCEPTUALISATION

CONCEPTUALISATION 195

OVERVIEW

196

CONCEPTUALISATION

CONCEPTUALISATION 197

198

CONCEPTUALISATION

c.4

LEARNING O BJECTIVE & O UTC O ME mater i al test ing kinetic motion adjustment

Through the development of project blossom it has further enhance my understanding of parametric design and once again made me realise the importance of computation in the contemporary architectural discourse. The finalisation of the project blossom I believe have been refine to its practical level as possible. Through the journey of creating this project the link between the understanding of materiality, site and parametric design were very distinctly arranged as represented from the diagram from p.g. 194-195 The parametric design for project blossom was a crucial aspect of the designing process- as from the form finding process (refer to p.g. 134-137) parametric tools such as the solar analysis (ladybug) and galapolas have enable myself to create an accurate form which reflect its surrounding context. If the project was to be a real built commission the composite panels will not be suitable which can be then replaced by thermal biometals. However since the brief indicate that its going to be a temporary structure I believe the composite panels are still sufficient. The structural element were created out of 3mm MDF rods due to lack of access to diverse material. I believe the structure can be created out of steel to result in a more rigidity. To conclude the project blossom would have not been possible to be achieved without the development of modern technological including the development of computation. This course Have change my way of viewing architecture and have equipped me a very powerful tool which I will further develop throughout my time at university and apply it in my future architectural practices. CONCEPTUALISATION 199

200

CONCEPTUALISATION

Bibiliography 1.

“41 Cooper Square | The Cooper Union”, Cooper.edu, 2016 <https://www.cooper.edu/about/history/41-coopersquare> [accessed 4 March 2016]

“About Merri Creek”, Mcmc.org.au, 2016 <http://www.mcmc.org.au/index.php?option=com_content&id=36:aboutmerri-creek&Itemid=188> [accessed 29 April 2016]

Aboriginal

culture

and

identity

<http://www.aic.gov.au/media_ library/conferences/2009-indigenousyouth/

presentations/raylene_cindy.pdf> [accessed 4 May 2016] 4.

“Al Bahar Towers Responsive Facade / Aedas”, ArchDaily, 2012 <http://www.archdaily.com/270592/al-bahar-towersresponsive-facade-aedas> [accessed 17 April 2016]“AD Classics: Yokohama International Passenger Terminal / Foreign Office Architects (FOA)”, ArchDaily, 2014 <http://www.archdaily.com/554132/ad-classics-yokohama-internationalpassenger-terminal-foreign-office-architects-foa/> [accessed 7 March 2016]

“AD Classics: La Sagrada Familia / Antoni Gaudi”, ArchDaily, 2013 <http://www.archdaily.com/438992/ad-classics-lasagrada-familia-antoni-gaudi/> [accessed 17 March 2016]

“AD Classics: Yokohama International Passenger Terminal / Foreign Office Architects (FOA)”, ArchDaily, 2014 <http:// www.archdaily.com/554132/ad-classics-yokohama-international-passenger-terminal-foreign-office-architects-foa/> [accessed 7 March 2016]

“Central Park Sydney”, Centralparksydney.com, 2016 <http://www.centralparksydney.com/live/one-central-park> [accessed 7 March 2016]

Coefficients Of Linear Thermal Expansion”, Engineeringtoolbox.com, 2016 <http://www.engineeringtoolbox.com/ linear-expansion-coefficients-d_95.html> [accessed 13 March 2016]

Dunne, Anthony, and Fiona Raby, Speculative Everything

10.

Fry, Tony, Design Futuring (Oxford: Berg, 2009)

11.

“Galleria

Centercity

Interior

Unstudio”,

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CONCEPTUALISATION 201