Studio Air Journal (A+B)

「20 16」 SEM 2

STUDIO AIR

_____________________________________________ SERENA YU TUTOR: MATTHEW MCDONNELL

Table of Contents Introduction Part A. Conceptualisation A.1. Design Futuring A.2. Design Computation A.3. Composition/Generation A.4. Conclusion A.5. Learning Outcomes A.6. Algorithmic Sketches Part B. Criteria Design B.1. Research Field B.2. Case Study 1.0 B.3. Case Study 2.0 B.4. Technique: Development B.5. Technique: Prototype B.6. Technique: Proposal B.7. Learning Objectives and Outcomes B. 8. Algorithmic Sketches Part C. Detailed Design C.1. Design Concept C.2. Tectonic Elements and Prototypes C.3. Final Detail Model C.4. Learning Objective and Outcomes Bibliography

PART A: CONCEPTUALISATION

A.1 DESIGN FUTURING THE PAST AND TODAY During the 1980s design was very commercialised and the potential for architecture to express culture, creativity and being environmentally friendly was deemed as irrelevant as it was seen as out of sync with the trend of the time.1 Decades have past and people now do value design that can function as something that is not for economic incentives too. Environmental sustainability is one such aspect that people have come to value over the years. The government actively advertises about environmental shortages, schools teach about it, and there are more and more designs of today that are designed to be environmentally friendly.

Design is a method to problem solve challenges we face such as overpopulation, global warming, and a shortage of resources. 1

A MAJOR PROBLEM WE FACE TODAY: ENVIRONMENTAL IMPACT Currently, the renewable resources of earth is used at a rate that is 25% faster than it can be renewed.2 Moreover, compared to 1961 the ecological footprint created by humans have also tripled. 2 CRITICAL DESIGN Environmentally friendly designs are emerging today and a way to further this is through being critical when designing. Through being critical and challenging common preconceptions it becomes part of the process for designers to create better alternatives as solutions for the problems they identify. 1 It is from challenging such common preconceptions that culture in design start to evolve and move forward.

1

Fry Tony, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg. 2008). p. 1-16.

2

Drune Anthony and Raby Fiona, Speculative Everything: Design Fiction and Social Dreaming (MIT Press, 2013), p. 1-9, 33-45.

FIG.1: HOUSE T 3

3

Office of Kumiko Unui, House T < http://www.inuiuni.com/projects/962/> [accessed 15 July 2016]

CASE STUDY 1: LONDON FARM TOWER by BRANDON MARTELLA Sustainability is a major issue in current society. The London Farm Tower designed by Brandon Martella is a tower that uses rainwater and solar energy to maintain itself.1 Towers are commonly associated with industrialisation but the incorporation of nature in this building fuses the two and challenges the common stereotype about buildings.

Although this use of farming, rainwater and solar energy is not unique of the design it is not common to everyday buildings either. As nature is a finite resource it is important that through design that people can create methods for a more sustainable world. 2 This building that can generate its own resources is an important template for the buildings of the future to follow.

FIG 2. TOWER LAYOUT 1

FIG 1. SECTION DRAWINGS 1 FIG 3. TOWER SITE 1

1

eVolo, Sustainable Architecture: Farm Tower in London (2011) < http://www.evolo.us/architecture/sustainable-architecture-farm-tower-in-london/> [accessed 15 July 2016]

2

Drune Anthony and Raby Fiona, Speculative Everything: Design Fiction and Social Dreaming (MIT Press, 2013), p. 1-9, 33-45.

FIG 4. TOWER 3D MODEL 1

1

eVolo, Sustainable Architecture: Farm Tower in London (2011) < http://www.evolo.us/architecture/sustainable-architecture-farm-tower-in-london/> [accessed 15 July 2016]

FIG 1. PROPAGATE SKYSCRAPER 1

CASE STUDY 2: PROPAGATE SKYSCRAPER by YUHAO LI AND RUI WEN The Propagate Skyscraper designed YuHao Li and Rui Wen is a skyscraper that has the aim to capture and use greenhouse gases. 1 The skyscraper utilises a vertical scaffold with materials embedded into the scaffold that allows for it to grow; and therefore increase the size of the building itself. 1 This growing skyscraper is extremely innovative and it also is very environmentally friendly.

Its use of greenhouse gases to create this feature that allows itself to grow is a very good way to transform negative environmental impact into a positive resource.

1

James Taylor-Foster, eVolo Skyscraper Competition 2014: A Skyscraper That Grows (2014) < http://www.archdaily.com/492700/askyscraper-built-with-carbon-dioxide-places-in-evolo-skyscraper-competition> [accessed 15 July 2016]

FIG 3. PROPAGATE SKYSCRAPER ELEVATION 1

1

James Taylor-Foster, eVolo Skyscraper Competition 2014: A Skyscraper That Grows (2014) < http://www.archdaily.com/492700/askyscraper-built-with-carbon-dioxide-places-in-evolo-skyscraper-competition> [accessed 15 July 2016]

A.2 DESIGN COMPUTATION Today, the use of Non-Uniform Rational B-Splines (NURBS) with programs such as Rhino and Grasshopper is shaping the use of computation technology in design. 1 This use of technology in design encourages a collaboration between the architect and the structural engineer. 1 The collaboration between the two induces synergy by combining the knowledge of both fields into design.1 CONFLICT INVOLVED IN COMPUTATION A conflict that the designer can encounter are constraints created through the limits of computation that can only perform things in a very logical and rigid way, as it lacks intuition and flexibility. 2 Another conflict is the use of computation that can lead to a loss of craftsmanship.

The rigidity of computers makes communication become quite clear if it comes from the computer to us humans.2 However, coming from the other side, from us humans to the computer, it can be very difficult as computers lack the ability to understand things without rigid means. 2

TRADE-OFFS When there are two different options to choose from a trade-off can be involved as there can be value in the two options. Computers can take in large amounts of data, produce graphical information and also let you manipulate this data easily. This is not the case with hand drawings and due to this there are limits to hand drawings that only computation can surpass. Furthermore, the complexity of designs can be more easily drawn out and deciphered through computation than it is from hand drawings, this too shows that computation can be more beneficial than hand drawings if the designs are complex.

On the other side, the great usage of computers can mean a loss of craftsmanship and a loss of exploration and flexible creativity expressed through freehand that is limited by computation algorithms. As both methods to create designs are so different there are constraints to both that drastically differs the two. These constraints shape the end product of the designs.

In the end it is up to the designer to evaluate what they think is the most appropriate for the design in terms of the designerâ&#x20AC;&#x2122;s personal beliefs and values, the relation with the function of design, and the aesthetics that it can produce etc.

This trade-off from a loss of craftsmanship and exploration from hand drawings can mean a benefit to the designer for creating a new form of architecture different from the old.

1

Kalay Yehuda E., Architectureâ&#x20AC;&#x2122;s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIS Press, 2004), p. 5-25.

2

Oxman Rivka and Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014), p. 1-10.

FIG.1: LOUIS VUITTON OSAKA3

3

Office of Kumiko Inui, Louis Vuitton Osaka <http://www.inuiuni.com/projects/260/ [accessed 15 July 2016]

FIG 1. ICD/ITKE PAVILLION AT SITE1 1

Institution for Computational Design, ICD/ITKE Reseach Pavillion (n.d.) < http://icd.uni-stuttgart.de/?p=16220> [accessed 15 July 2016]

CASE STUDY 1: ICD/ITKE RESEARCH PAVILLION

by THE INSTITUTE FOR COMPUTATIONAL DESIGN AND THE INSTITUTE OF BUILDING STRUCTURES AND STRUCTURAL DESIGN The Institute for Computational Design (ICD) and the Institute of Building Structures and Structural Design (ITKE) at the University of Stuttgart collaborated for a research project to produce the ICD/ITKE Research Pavilion.

The design was based on the shapes of the two species under the classes of Echinoidea (sea urchin) and Clypeasteroida (sand dollar). 1 To understand the complex structure of these species SEM scans (scanning electron microscopy) were used. 1 Their designs involved the use of robots to digitally sew together the timber shells of the pavilion. Moreover, through this technology based architectural project a team of not only architects but engineers have also come to calculate how the structure is to be built with the aid of computer programs. 1 They also used a digital fabrication technique to create bendable, double layers and robotically sewn plywood. 1 There are in total 151 plywood segments prefabricated by the robot, ranging from of a diameter of 0.5-1.5m. 1 The shape and material composition of each segment has been defined through a program for the optimum structural of geometrical necessities. 1 With this design created through computation, it although it covers an area of 85m2, the weight of the entire structure is only 7.85kg/m2.

Evidently, such use of technology has directed the pavilion to produce forms and structural properties that were otherwise too difficult to create.

FIG 2. DIGITAL STEPS INVOLVED1

1

Institution for Computational Design, ICD/ITKE Reseach Pavillion (n.d.) < http://icd.uni-stuttgart.de/?p=16220> [accessed 15 July 2016]

CASE STUDY 2: GUGGENHEIM MUSEUM BILBAO by FRANK GEHRY The Guggenheim Museum Bilbao situated in Spain is an art museum designed by Frank Gehry. Computation in this case took a major contribution to the end product of the architecture as it was produced digitally. 1 Before the mid-20th century most of the architecture of art museums in Europe and the Unites stated were following the neo-classical style. 1 The Neo-classical style accentuates the wall and draws most of its inspiration from classical art. The Guggenheim Museum clearly contrasts this trend with the use of computation that creates a very contemporary appearance.

The twisted curves feature of the building was designed using the software CATIA. 2 The use of this software allowed the calculation of the number of bars needed for each location and also each barâ&#x20AC;&#x2122;s position and orientation. 2 Furthermore, the software also determined the location for the walls, ceiling, insulating layers and titanium outer coat. 2 The use of computing software has provided convenience for the designers to create accurately calculated designs.

FIG 1. ELEVATION SKETCHES1

FIG 2. SECTION SKETCHES1

1

Khan Academy, Gehryâ&#x20AC;&#x2122;s Guggenheim (n.d.) < https://www.khanacademy.org/humanities/ap-art-history/global-contemporary/a/gehry-bilbao> [accessed 15 July 2016]

2,

Brian Pagnotta, AS Classics: The Guggenheim Museum in Bilbao (2013) < http://www.archdaily.com/422470/ ad-classics-the-guggenheim-museum-bilbao-frank-gehry> [accessed 15 July 2016]

FIG 1. MUSEUM INTERIOR1

FIG 1. MUSEUM ELEVATION1

FIG 1. MUSEUM INTERIOR1

FIG 1. MUSEUM SITE1

1

Khan Academy, Gehryâ&#x20AC;&#x2122;s Guggenheim (n.d.) < https://www.khanacademy.org/humanities/ap-art-history/global-contemporary/a/gehry-bilbao> [accessed 15 July 2016]

FIG 1. KOMATSO CLINIC1

A.3 COMPOSITION/ GENERATION

1

Office of Kumiko Inui, Komatsu Clinic (n.d.) < http://www.inuiuni.com/projects/1131/ > [accessed 15 July 2016]

Computers allow for the processing of data and also convenient manipulations of such data to generate form and structure for design. 2 Through the development of computational tools designers can easily explore new designs and also use algorithms to generate defined solutions when designing. For Modernism the design effort was directed to the minor details to create beauty in architecture, however with computation it delves more into the development of systems to fit components within for a design. 2 This difference from digital architecture is the main variable that contributes to its own architectural style. New design tools are developed that links the virtual design to the physical world. 2 This is an advantage digital architecture has over the traditional, because it takes in data as systems it provides convenience to explore the independent systems that surrounds a design and how those systems interrelate with each other. Furthermore, computers also allow for efficiency and enhanced communication. 2 The generation for digital architecture involves algorithms. Algorithms are a finite set of rules that are rigid and precise and such rules are applied in a mechanical way. 3 Due to this design can both become very defined and accurate but also inflexible. 3

2

Peters Brady, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83 2, p. 8-15.

3

Wilson Robert A. and Frank C. Keil, ‘Definition of ‘Algorithn’’, in The MIT Encyclopedia of the Cognitive Sciences, ed. by Wilson Robert A. and Frank C. Keil (London: MIT Press, 1999), p. 11-12.

FIG 1. CHAMBER MUSIC HALL 2

CASE STUDY 1: JS BACH CHAMBER MUSIC HALL by ZAHA ARCHITECTS The Chamber Music Hall by Zaha architects is an example of the use of generation in design. The used digital software in order to design the smooth and curved surfaces of the music hall. Moreover, to achieve the best auditory experience they tested CAD models against acoustic modelling software. 1 The use of these programs defines the most suitable scale and curvature to provide a good acoustic environment. 1 It is through how accurate and distinct the language for computation is that makes the calculation for a great acoustics possible.

1

Karen Silento, Chamber Music Hall - Zaha Hadid Architects (2009) <http://www.archdaily.com/28250/chamber-music-hall-zaha-hadid-architects> [accessed 15 July 2016]

2

Zaha Hadid Architects, JS Bach Chamber Music Hall (n.d.) <http://www.zaha-hadid.com/architecture/js-bach-chamber-music-hall/ > [accessed 15 July 2016]

FIG 2. CHAMBER MUSIC HALL PHOTOS1

FIG 3. CHAMBER MUSIC HALL SKETCHES1

FIG 4. CHAMBER MUSIC HALL SKETCHS1

1

Zaha Hadid Architects, JS Bach Chamber Music Hall (n.d.) <http://www.zaha-hadid.com/architecture/js-bach-chamber-music-hall/ > [accessed 15 July 2016]

1

Fry Tony, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg. 2008). p. 1-16.

2

Drune Anthony and Raby Fiona, Speculative Everything: Design Fiction and Social Dreaming (MIT Press, 2013), p. 1-9, 33-45.

CASE STUDY 2: HYGROSCOPE

by ACHIM MENGES AND STEFFEN REICHERT HygroScope is a project by Achim Menges and Steffen Reichert.

The design utilises programming to explore material behaviour and they react in different climatic conditions. 1 The modules of the model opens up and closes depending on the humidity of the environment by itself. 1 Furthermore, 4000 module designs are all uniquely shaped and were digitally fabricated to form its complex structure. 2 Each module has been programmed to respond its environment’s humidity based on factors including the fire directionality, the material’s natural and synthetic composite, length-width-thickness ratio, its geometry, and lastly the humidity control during the manufacture of these modules. 2 A parametric system to define these constraints and create these precise modules is therefore extremely important. This project highlights the ability for parametric design to create designs that heavily require very calculated features to achieve certain functions.

1

Achimmenges.net, HygroScope: Meteorosensitive Morphology (n.d.) <http://www.achimmenges.net/?p=5083 > [accessed 15 July 2016]

2

Peters Brady, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83 2, p. 8-15.

CONCLUSION ___________________________________________________ Challenging pre-existing ideas is important in order to produce design that seems new. 1 However relying on past successful results can serve as a base to build up a design that can work as well. 1 Through the understanding of computation and the use of parametric systems in generation I learned to understand how systems in digital software can be used to produce designs that are based on very accurate measures.

For my design I intend to use software to create interesting patterns and forms that can ignite the imagination of children. A design that help children connect with the environment by having a visually and vivid unification between the design itself to its surrounding environment.

Through this I wish that people can learn to appreciate nature and have a break from the urban city. I want to create a space that is interactive with the design and the nature so children can have fun.

1

Drune Anthony and Raby Fiona, ‘How Designers Use Parameters’, in Theories of the Digital in Architecture,

2

Woodbury Robert F., ‘Speculative Everything: Design Fiction and Social Dreaming (MIT Press, 2013), p. 1-9, 33-45.

ed. by Ricka Oxman and Rovert Oxman (London; New York: Routledge, 2014), pp. 153-170.

LEARNING OUTCOMES

___________________________________________________ I am experimental but also practical. Sometimes, for me at least, it seems that the common approach to things is also the safest and most practical approach. What I have learned from â&#x20AC;&#x2DC;Part A: Design Futuringâ&#x20AC;&#x2122; has made me realise that designing things that are new and not common is important too to create progress and evolution. Digital architecture has introduced me to a very new way to view architecture. The program Grasshopper has changed my view in how I can create designs. And through this understanding of computing programs I have learnt to use parametric measures to narrow down and define components in order to achieve a desired effect. I believe such usage of parametric design can help improve past designs and achieve effects in a more direct way through very unambiguous methods generated by algorithms.

ALGORITHMIC SKETCHES

PART B: CRITERIA DESIGN

B.1.

RESEARCH FIELD CHOSEN RESEARCH FIELD: PATTERNING PATTERNING AS AN ORNAMENT Patterning can be a form of ornamentation in architecture.

Ornamentation is connoted with decorations and is usually seen to be used for this purpose only. However, that is not true and methods of ornamentation such as patterning can actually be utilised to achieve other purposes too.

One of the uses of ornamentation is expression and a generation of affects toward the users. 1 Robert Venturi and Denise Scott Brown have argued that decoration can give meaning to a building, more than only for visual aesthetic purposes. 1 An example of expression in architecture through ornamentation is the apartment building designed

by ARM Architecture. The building they designed has William Barack’s face on its tower exterior. William Barack was an indigenous leader and to use his face is a way to direct people’s attention to the social issues of indigenous people. Ornaments can be a form of expression and communication for social, political and culture issues. 2

There are arguments that oppose ornamentation however, such as it being seen as superficial and unnecessary because it is commonly seen to be used for aesthetic value only. 2 In regard with Modernism, they value sincerity in architecture and therefore transparency in the structure is a main defining element of Modernism. 1 Due to this, to Modernism less ornamentation is better as it wants to not disguise its functions and show itself in the rawest form possible. 1 Furthermore, to Adolf Loo, ornament to him is seen as a crime as in traditional society ornamentation was used to differentiate and standout but for modern society what he thinks we need is more unity, therefore ornamentation is not desirable. 1 Nonetheless, the value of ornamentation is dependent entirely on its users and the designer, it is subjective to say that everyone should go by Modernism and it is also subjective to say that what modern society needs is in fact unity. Furthermore, it is also hard to measure how much ornamentation can actually generate differentiation within a society. The level of usage for ornamentation should be dependent on an individual design’s own needs, and not be generalised because the value and need for ornamentation can vary so greatly depending on different contexts.

1

Moussavi Farshid and Michael Kudo, The Function of Ornament (Barcelona: Actar, 2006), pp. 5-14.

2

Kolarevic Branko and Kevin R. Klinger, Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge, 2008), pp. 6-24

DIGITAL FABRICATION Digital fabrication is an effective way to create new forms as it allows a person to explore a material through a digital medium otherwise difficult to create by hand. It allows people to manipulate the performance and appearance of materials to challenge common perceptions of how such material should behave. 2 Through this, materials not commonly used (such as polymers, foam and fibreglass) that have an advantage over traditional materials can become noticed. 2 Such new ways to fabrication can increase the growth for new architectural expression. 2 Paradoxically, new techniques can also revive old craft that no one does anymore as new techniques can for used to recreate and enhance old techniques. 1 Digital fabrication allows users to explore and create new forms for an innovative change.

“Materials and surfaces have a language of their own.” 3

1

Moussavi Farshid and Michael Kudo, The Function of Ornament (Barcelona: Actar, 2006), pp. 5-14.

2

Kolarevic Branko and Kevin R. Klinger, Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge, 2008), pp. 6-24

3

Juhani Pallasmaa, ‘Hapticity and time - Notes onFragile Architecture’, The Architectural Review, 207 (2000), pp. 78-84.

CASE STUDY 1: HAGIA SOPHIA

by GREEK GEOMETRERS ISIDORE OF MILETUS AND ANTHEMIUS OF TRAILES The Hagia Sophia church in Turkey is an example of ornamentation being used in the past to communicate an atmosphere and engage the sensations of the users. The function and theme of the church is to create a sense etherealness and monumentality to symbolise the greatness of God, and ornamentation has been used to achieve this. This building uses carefully carved geometries to create grandness.

They also use a light coloured ceiling contrasting the darkly coloured lower walls to create a sense of lightness and etherealness when an ndividual looks up. The ornamentation is therefore inseparable and necessary with the main purpose of this building.

FIG 1. HAGIA SOPHIA INTERIOR1

1

Arthur Bogacki Shutterstrock, Hagia Sophia (2013) <http://www.livescience.com/27574-hagia-sophia.html> [accessed 30 August 2016]

FIG 1. FACADE1

FIG 2. FACADE1

CASE STUDY 2: DIOR SHINSAIBASHI

by THE OFFICE OF KUMIKO INUI FIG 3. FACADE 2

The Dior Shinsaibashi building perforated faรงade demonstrates the use of digital fabrication in modern society.

The design of the perforated faรงade is created through computer software and it is through digital fabrication that such pattern is produced. The use of ornamentation made possible with digital fabrication on the graceful faรงade allows the building to introduce from the outside the sense of elegance of the interior. In this way the facade serves as a communication tool for the building.

1

Office of Kumiko Inui, Dior Shinsaibashi (2016) <http://www.inuiuni.com/projects/271/> [accessed 30 August 2016]

2

Flickr Hive Mind, Dior, Tokyo (n.d.) <http://flickrhivemind.net/Tags/dior,tokyo/Interestingl> [accessed 30 August 2016]

FIG 4. OSAKA DIOR STREET VIEW

1

Office of Kumiko Inui, Dior Shinsaibashi (2016) <http://www.inuiuni.com/projects/271/> [accessed 30 August 2016]

B.2.

CASE STUDY 1.0 SPECIES 1

Altering the number of angles on the geometry

SPECIES 2

Altering the number of edges on the geometry

SPECIES 3

Using vectors to create circular features on geometry

SPECIES 4

Manipulating the number of faces intersecting and its angle with a â&#x20AC;&#x2DC;Graph Mapperâ&#x20AC;&#x2122;

SPECIES 5

Manipulating the distance between individual features of a single structure and their angle with â&#x20AC;&#x2DC;Vectorsâ&#x20AC;&#x2122;

SPECIES 6

Using ‘Voronoi’ to create patterned frames

SPECIES 7

Lofted species of Species 6 to create solid forms

SPECIES 8

Using â&#x20AC;&#x2DC;Image Sampling; to create patterend circles

SPECIES 9

Using ‘Image Sampling’ and patterning curves to create ladder-like models

SPECIES 10

Using Kangaroo plug-in to bend geometry and applying ‘voronoi’

SELECTION CRITERIA

CRITERIA:

VISUALLY INTERESTING - TO IGNITE CHILDREN STRUCTURALLY EASY TO HANDLE - SO CHILDR LEVEL OF INTERACTIVITY - TO ALLOW CHILDR STRUCTURAL PRACTICALITY - POSSIBLE FOR F

VISUALLY INTERESTING: 60% STRUCTURALLY EASY TO HANDLE: 65% LEVEL OF INTERACTIVITY: 90% STRUCTURAL PRACTICALITY: 90%

INTENTION: I playing around with circles on a pyramid to see what new forms can be created.

OUTCOME: Visually I think it looks quite simple in composition but itâ&#x20AC;&#x2122;s quite interesting visually nonetheless. Its form might invite children to sit on it and step on it. It can also be used for shading and also as a shelf. Depending on the material used because all the circluar planes are leaning towards one side there should be measures to make it balance on the floor such as with heavier material for the pyramid component or with footings.

VISUALLY INTERESTING: 65% STRUCTURALLY EASY TO HANDLE: 60% LEVEL OF INTERACTIVITY: 90% STRUCTURAL PRACTICALITY: 40% INTENTION: I was trying to create a pattern with strsight planes out of circular forms to create a contrast between sleek and straight shapes with curvy shapes for a sense of it being visually interesting through contrast.

OUTCOME: The structure might be hard to balance on the ground but if it does securely it can be used as seats, a table, a roof or steps. I think this structure has great potential to be a variety of things.

S CREATIVITY N CAN USE IT EASILY N TO PLAY WITH IT ABRICATION AND TO BE LOCATED AT SITE

VISUALLY INTERESTING: 70% STRUCTURALLY EASY TO HANDLE: 80% LEVEL OF INTERACTIVITY: 60% STRUCTURAL PRACTICALITY: 95% INTENTION: I was experimenting with complex patterns in this model. There is a sense of symmetry in this model to balance out the random looking and irregular lines on the model. This symmetry was intended to make it structurally possible to make as patterned surfaces with a regular overall structure.

OUTCOME: Because of the many lines and the pattern it looks quite interesting. This structure allows children to lean on it and its pattern may invite children to touch it. Itis only a patterned surfaces on a pyramid structure so structurally it can be very easy to make.

VISUALLY INTERESTING: 65% STRUCTURALLY EASY TO HANDLE: 40% LEVEL OF INTERACTIVITY: 70% STRUCTURAL PRACTICALITY: 50% INTENTION: I was trying to move flat planes and intersect them together to make visually interesting forms with contrast a between flat and linear surfaces with its angled and non-regular assembly. This was intended to make the design appear visually interesting for children.

OUTCOME: This structure is structurally quite complex and therefore it is not so easy to handle. However it can become a hiding space for children and provide them shading. It can be quite complex for the structure to balance on the ground if the material used is light.

B.3.

CASE STUDY 2.0 REVERSE ENGINEERING AQUA TOWER

by STUDIO GANG

FIG 2. LIMESTONE OUTCROPPINGS

The idea behind the Aqua Tower was inspired by the form of the limestone outcroppings commonly seen at the Great Lakes. In terms of form, the Aqua Tower has definitely been successful with its own imitation of the rocks. The main feature of the rocks are its horizontal striates that are extruded unevenly and this feature is shown on the Aqua tower. Moreover, the use of the very smooth and white frame on the Aqua Tower displays these striated features similar to the rocks as its prominent main feature.

1

Archdaily, Aqua Tower/ Studio Gang (2009) <http://www.archdaily.com/42694/aqua-tower-studio-gang-architects> [accessed 30 August 2016]

FIG 2. AQUA TOWER1

1

Archdaily, Aqua Tower/ Studio Gang (2009) <http://www.archdaily.com/42694/aqua-tower-studio-gang-architects> [accessed 30 August 2016]

Using ‘Import Image’ in order to manipulate the form of surface through image data Successful and smoother than previous attempt utilising displacement

DISPLACEMENT

Applying ‘populate 2D’ on surface with points of positive charge then attempting to alter the flat surface to become curved with negative vectors Successful but it is not very convenient, it uses too many elements in order to achieve a final form

CONTOURING AND EXTRUSION

IMAGE DATA

VECTORS

REVERSE ENGINEERING ATTEMPTS

‘Contour’ surface and ‘Extrude’ contours to create stiates- Success

Displacing one surface over another to create a curved surface with a â&#x20AC;&#x2DC;Bezier Math Mapperâ&#x20AC;&#x2122; - Successful but can be further developed to have smoother curves

l

REVERSE ENGINEERING FINAL ALGORITHM

1. Creating a rectangular prism as the flat and regularly shaped window panel on the Aqua tower.

2. Create a new mesh and apply a set of points onto horizontal ‘Interpolated’ curves on tower and alter its form with black and white image data from the ‘Import Image’ component. This new mesh would intersect the rectangular prism.

3. Create frame fro ‘interpolated’ curve

.

4. ‘Extrude’ the ‘interpolated’ curves.

5. Final product incorporating the rectangular prism from step 1 with the frame structure in step 4.

GRASSHOPPER DEFINITION

REFLECTION OF REVERSE ENGINEERING DIFFERENCES: RENCES: - The original does not have curved corners for the rectangular ngular prism structure of the windows, only the extruded truded frames have curved corners - The pattern of the window framing is not shown - There e are balconies on the extruded frame - The form of the curved frame is not identical identicaal SIMILARITIES: ARITIES: - It hass a regular rectangular recc ta t ang ngul ullar u ar glass gla lass sss panel pan a ell that is is linear liline ne near ear ar - The corners for the curved e ex eextruded xtr trud tr ud ded d fframe raame aare re e curve ved ve ed - The frame is uneve uneven en an aand nd d ccurved urved d - Each layer of the fr frame around ram me is sseen een al allll ar rou und n thee building, ng, no part iss hidden, hid dde d n, although alt lttho h ug gh some so ome m parts parr ts t are arre e shorter sh ho ort r ter er

From the process of trying to reverse engineer the Aqua Towe Tower I learnt about how to manipulate structures with patterns created with numerical input and image data. I have mainly focused on the form of planes from reverse engineering for the Aqua towerâ&#x20AC;&#x2122;s curved planar frame structure. I would like patterning to extend the use of p atterning further through not only planar surfaces the form m off p pl lanar surface ces ce e butt also also al o the the form for o m off non-planar frame structures sttru uct ctur uress and ur and d patterning pat atte t t rning g the the surface th su urrff ac ace texture. te xt te x ure.

From the e reverse rev ever er se er e engineering eng ng gin inee in inee eering project pro roject roje je e ct c t I made mad ade e a tower tower that patterned external wass tthinking has a patt t er tt erned erne ne e d ext e x ternal all fframe rame e sstructure. truc tr u ttu uc ure re. I wa w hinking of tower appear becomes how the e to towe wer can ap we ppea pe ear if it b ecom ec com ome es a vvery es err y ssmall e mall unit and that at inspired ins nspi p re red e d me e tto o cr ccreate reate e ssmall m ll units ma tss that thaat ar aaree based on patterning. explored how patterning patterni niing ng. I would woul wo ulld like u uld lliike ke to to expl lo orred h o p ow att te atte tern r ing can be the units base their surfaces, individual used to for for th fo he unit itt s to its to b a e th as he eiir su urrff aces ess, in e indi diividual form of the units, uni nits nits ni t s, or or structure s trructu ucc tu ture re e the the units uni nitss can ni nits can be b e built built bu u together as.

B.4.

TECHNIQUE DEVELOPMENT SPECIES 1 ‘Culling’ boxes

SPECIES 2

Creating patterned surfaces with polygons

SPECIES 3

Creating surfaces with extruded fames with a ‘Voronoi’ feature

SPECIES 4

Applying ‘ Voronoi’ on surfaces

SPECIES 5

Using polygons to make tower structures and â&#x20AC;&#x2DC;cullingâ&#x20AC;&#x2122; them to manipulate its form

SPECIES 6

Creating tower structures out of polygons

SPECIES 7

Using ‘Import Image’ to manipulate tower framing system

SPECIES 8

Using ‘Image Sampling’ to create forms of surfaces

SPECIES 9

Creating drapes with Kangaroo plug-in

SPECIES 10

Creating towerâ&#x20AC;&#x2122;s frame with different geometries (flat planes, pipes, thin lines)

SELECTION CRITERIA

CRITERIA:

VISUALLY INTERESTING - TO IGNITE CHILD STRUCTURALLY EASY TO HANDLE - SO CH LEVEL OF INTERACTIVITY - TO ALLOW CHI STRUCTURAL PRACTICALITY - POSSIBLE F NON-CURVY STRUCTURES OR REGULAR FO

VISUALLY INTERESTING: 65% STRUCTURALLY EASY TO HANDLE: 75% LEVEL OF INTERACTIVITY: 90% STRUCTURAL PRACTICALITY: 90% NON-CURVEY STRUCTURES OR REGULAR FORMS: 90% INTENTION: I was trying to make a grid structure with irregular sizes of boxes. That way each side can be constructable.

Having varying sizes makes the model more fun to play with.

OUTCOME: The structure is intended to be used as constructable units, this model is quite easy to manipulate at any scale. If its small it can be used as small toy blocks but if each unit is big or if they are very small units built to be big it can become chairs, tables, as a roof and hang objects on it, as shelves or even as units for a pavillion. This structure has a lot of potential to expand and be used for different functions.

VISUALLY INTERESTING: 65% STRUCTURALLY EASY TO HANDLE: 60% LEVEL OF INTERACTIVITY: 90% STRUCTURAL PRACTICALITY: 40% NON-CURVEY STRUCTURES OR REGULAR FORMS: 60% INTENTION: I was experimenting with models that are not based on primary shapes to make it look visually interesting.

OUTCOME: Although this structure is not of a regular form each individual layer is flat and it has symmetry. It has the a lot of potential to become constructable units at a planar and horizontal level. At a vertical level it can be stacked to become constructable units possibly with the aid of joints. But because of its form it may be hard to construct easily as units.

REN’S CREATIVITY DREN CAN USE IT EASILY DREN TO PLAY WITH IT R FABRICATION AND BE LOCATED AT SITE RMS - EASINESS TO CONSTRUCT AS UNITS

VISUALLY INTERESTING: 50% STRUCTURALLY EASY TO HANDLE: 60% LEVEL OF INTERACTIVITY: 60% STRUCTURAL PRACTICALITY: 50% NON-CURVEY STRUCTURES OR REGULAR FORMS: 60% INTENTION: Intersecting geometries together to form a new form.

OUTCOME: Each layer of this model is made of squares overlapping each other. The use of a perfect square to make a circular shape was experimented for contrast. The contrast was intended to make it look visually interesting but the end product still looks quite simple. It can be used as a constructable units but because each layer is not a regular shape it. It’s formed by squares in a circular assembly so it may be hard to use to construct.

VISUALLY INTERESTING: 60% STRUCTURALLY EASY TO HANDLE: 80% LEVEL OF INTERACTIVITY: 70% STRUCTURAL PRACTICALITY: 50% NON-CURVEY STRUCTURES OR REGULAR FORMS:

INTENTION: Using primary shapes as units to create a complex form.

OUTCOME: Having a dominant amount of similar shaped units allows the design to be more easy to construct and piece together for children. And using a simple unit can make it easier for children to create more complex structures out of the units.

B.7. LEARNING OBJECTIVES AND OUTCOMES LEARNING OBJECTIVE 1 - INTERROGATING A BRIEF BY CONSIDERING THE PROCESS OF BRIEF INFORMATION IN THE AGE OF OPTIONEERING ENABLED BY DIGITAL TECHNOLOGIES Creating a site analysis helped me better understand how the primary users and activities of a site is important to the design process. The site can be a variable of how the design is used and interpreted by the users as much as how the design can do the same to the site. Understanding the site helped me used parameters to set guidelines on what the design should achieve for the site.

LEARNING OBJECTIVE 5 -DEVELOPING “THE ABILITY TO MAKE A CASE FOR PROPOSALS” BY DEVELOPING CRITICAL THINKING AND ENCOURAGING CONSTRUCTION OF RIGOROUS AND PERSUASIVE ARGUMENTS INFORMED BY THE CONTEMPORARY ARCHITECTURAL DISCOURSE I learned about the importance of the site and tried to create a design that can help children enjoy the site better. The primary intended users for the design are children and from this decision I created a criteria for my design such as aesthetic complexity but also structural simplicity. This is so that the children can both have their imagination be stimulated by the appearance of the design while still being able to play with it easily from its easy to piece together components.

LEARNING OBJECTIVE 2 - DEVELOPING “AN ABILITY TO GENERATE A VARIETY OF DESIGN POSSIBILITIES FOR A GIVEN SITUATION” INTRODUCING VISUAL PROGRAMMING, ALGORITHMIC DESIGN AND PARAMETRIC MODELLING WITH THEIR INTRINSIC CAPACITIES FOR EXTENSIVE DISIGN-SPACE EXPLORATION Trying out different components, and adding and subtracting from the original definitions enabled me to explore and learn new ways of creating form.

LEARNING OBJECTIVE 6 - DEVELOP CAPABILITIES FOR CONCEPTUAL, TECHNICAL AND DESIGN ANALYSES OF CONTEMPORARY ARCHITECTURAL PROJECTS From the site analysis I created a guideline for what the design should achieve. After that, through computation and its algorithms I developed methods in order to create parameters to meet the guideline I created.

________________________________________________________ The research I have done about ornamentation and digitial fabrication made me learn of how architecture can be used as a communication tool to its users. The use of fabrication can help manipulate the form of architecture in order to more conveniently create and communicate to the users.

After the research I have done I did many algorithms on the computer to produce models. During this design process I learnt of many ways I can utilise parameters to set algorithms to guide what type of design I want to make. The iteratations and exploring helped me a lot in familiarising the Grasshopper software and it also allowed me to make new many new forms.

LEARNING OBJECTIVE 3 - DEVELOPING “SKILLS IN VARIOUS THREE-DIMENSIONAL MEDIA” AND SPECIFICALLY IN COMPUTATIONAL GEOMETRY, PARAMETRIC MODELLING, ANALYTIC DIAGRAMMING AND DIGITAL FABRICATION

LEARNING OBJECTIVE 4 - DEVELOPING “AN UNDERSTANDING OF RELATIONSHOPS BETWEEN ARCHITECTURE AND AIR” THROUGH INTERROGATION OF DESIGN PROPOSAL A PHYSICAL MODELS IN ATMOSPHERE

I created structures in computer software that I would not have been able to write or think of beforehand. The computer software has greatly enabled me to learn new ways of creating structures through parametric modelling. After creating models on the computer I also created my own digital models through digital fabrication. This process of creating new models helped me learn ways of how structures can be assembled and joined together. It also made me learn of how assemblies and material qualities can create affects towards the users.

I learnt about how architecture can communicate to its users through symbolism and connotations of its architectural features such as its materials, assembly and form. This helped me understand how a piece of architecture can greatly define an atmosphere.

LEARNING OBJECTIVE 7 - DEVELOP FOUNDATIONAL UNDERSTANDINGS OF COMPUTATIONAL GEOMETRY, DATA STRUCTURES AND TYPES OF PROGRAMMING

LEARNING OBJECTIVE 8 - BEING DEVELOPING A PERSONALISED REPERTOIRE OF COMPUTATIONAL TECHNIQUES SUBSTANTIATED BY THE UNDERSTANDING OF THEIR ADVANTAGES, DISADVANTAGES AND AREAS OF APPLICATION

I have familarised myself with the individual components of Grasshopper. I have also develop skills to manipulate these components easily from my exploration of iterations and reverse engineering. This aided me in using more complex methods of manipulating data by combining components together in order to achieve a final product.

During the reverse engineering and iterations process I developed many methods to create a desired form. It helped me explore a lot of computation techniques. Through this exploration and also setting a criteria for what I want to achieve the most, it helped me set guidelines of what can be developed further and also use new ways to develop it further.

_________________________________________________________

B.8. ALGORITHMIC SKETCHES

DESIGN 1: FRAME STRUCTURE WIT - TWO DIRECTIONAL (HORIZONTAL A

STEP 1: GET IMAGE TO BASE FRAME ON

STEP 2: CREATE FRAME

H CURVED JOINTS ND VERTICAL)

STEP 3: ADD TRIANGL

DESIGN 1: ALGORITHM

DESIGN 2: FRAME STRUCTURE WIT - MULTI-DIRECTIONAL

STEP 1: I BASED THE FRAME ON A BREP FROM THE ‘MORNING LINE’ CASE STUDY

STEP 2: CREATE A VORNO

H CURVED JOINTS

FRAME WITH TRAINGLES ON THE FRAME

STEP 3: REMOVE THE BREP

DESIGN 2: ALGORITHM

DESIGN 3: FRAME STRUCTURE WIT - TWO DIRECITIONAL (HORIZONTAL A

STEP 1: CREATE CUBIC CURVE FRAME

H STRAIGHT JOINTS ND VERTICAL)

STEP 2: ADD TRIANGLES

DESIGN 3: ALGORITHM

DESIGN 4: ALGORITHM

DESIGN 5: FINAL ALGORITHM

ALGORITHMIC SKETCHES

BIBLIOGRAPHY