Studio Air Final Journal - Shane Siy Cha 657886

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CONTENTS 4

INTRODUCTION

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A.1. DESIGN FUTURING A.2. DESIGN COMPUTATION A.3. COMPOSITION / GENERATION A.4. CONCLUSION A.5. LEARNING OUTCOMES A.6. APPENDIX PART A REFERENCES B.1. RESEARCH FIELD B.2. CASE STUDY 1.0 B.3. CASE STUDY 2.0 B.4. TECHNIQUE: DEVELOPMENT B.5. TECHNIQUE: PROTOTYPES B.6. TECHNIQUE: PROPOSAL B.7. LEARNING OBJECTIVES AND OUTCOMES B.8. APPENDIX PART B REFERENCES C.1. DESIGN CONCEPT C.2. TECTONIC ELEMENTS AND PROTOTYPES C.3. FINAL DETAIL MODEL C.4. LEARNING OBJECTIVES AND OUTCOMES PART C REFERENCES

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“As an architect, you design for the present with an awareness of the past for a future which is essentially unknown.�

-Norman Foster

INTRODUCTION

My name is Shane Dominique Siy Cha, a third year Architecture student of The University of Melbourne. Before starting my undergraduate degree, I have always been set on moving towards the path of Civil Engineering as I found numerical absolutes of Mathematics more interesting over the subjective aspect of Arts in secondary school. However, I have always had an imaginative and creative side that I wanted to enhance, which triggered a last minute change of heart to do something I wanted to enjoy the rest of my life — to create and design.

Over the course of my undergraduate degree, I have realised the importance of the digital world to architecture. As we are now in a tech-savvy era, design is starting to advance at a faster rate. However, a current problem that our world has been experiencing is the continuous occurrence of unsustainable practices that may lead to an unpleasant future. For that reason, throughout my study, I have developed an increasing interest in sustainable architecture. With the combination of both technological and sustainable architecture, I have learned that it may possibly change the current status quo of our world to be a much better living environment.

Being in Melbourne for three years now, I am starting to notice the pain my country, The Philippines, is in as it continues to be affected by natural disasters more often now than ever. This has determined me to explore how sustainable architecture could change the present situation of my country. With the help of technology, today’s digital age will help garner more opportunities and chances of changing the way we think and design.

Although I have yet to learn much, I continue to dream to make a difference in the future.

A

A

CONCEPTUALISATION

“We believe that in order to deal with today’s challenges, architecture can profitably move into a field that has been largely unexplored.

A pragmatic utopian architecture that steers clear of the petrifying pragmatism of boring boxes and the naïve utopian ideas of digital formalism.”

- BIG- B J A R K E I N G E L S GROUP

Figure 1. Zootopia

A.1. DESIGN FUTURING CASE STUDY 1 ZOOTOPIA

BIG-BJARKE INGELS GROUP, IN PROGRESS

Figure 2. Zootopia

Currently, designers has been known to create an increase of unsustainable processes and practices.

With this prevailing, every organism such as humans, animals and plants, are living at risk as there is uncertainty about the future. As we continue to live in an anthropocentric world, there is a continuous existence of designing for the masses instead of creating a difference to allow us to move forward for

Figure 3. Zootopia

a better future. As Fry[1] manifests in Design Futuring, our challenge is to change our frame of mind and design integrity as well as continue searching for different perspectives to support a sustainable future.

How do we continue to move on if society closes its mind?

BIG’s Zootopia, is a contradiction of these unsuitable actions as they unite nature with living organisms to

Figure 4. Zootopia

create cutting-edge architecture. To further manifest this, the firm aims “to create the best possible and freest possible environment for the animals’ lives and relationships with each other and visitors”[2].

For this reason, they are able to instigate change and alter minds as to how the environment should be treated. Additionally, as the project attempts to “integrate and hide the buildings as much as possible in the landscape”[3], it enhances quality lifestyle for the animals and its surroundings as well as generate opportunities for the future.

Figure 5. Zootopia

Figure 6. 30 St Mary Axe

A.1. DESIGN FUTURING CASE STUDY 2 30 ST MARY AXE

FOSTER + PARTNERS, 1997 - 2004

Design futuring signifies creating a better living environment and starting sustainable practices with architecture for the future. In 2004, Swiss Re’s

headquarters instantly becomes “London’s first

ecological tall building”[4] and turns to be one of the most iconic buildings in contemporary London. Due to

its distinctive conical shape that allows it to stand out in the city’s skyline, it was nicknamed “The Gherkin”.

Figure 7. 30 St Mary Axe facade

As the development of large-scale projects and skyscrapers continue to grow in many different cities such as Kuala Lumpur and Shanghai, London remains

conservative about their surroundings. This created

discussion as to whether or not such expansive establishments were actually needed. However, it was later resulted in thoughts that with admirable

architecture, ‘projecting the “image of being global” is as important as “being global” in the competitive global economy’[5].

Since London wanted to emphasise the importance of its

historic buildings, their skyline was kept relatively low.

However, ever since it was realised that “tall buildings

were largely missing from central London”[6], the look

Other than being attractive, noteworthy aspects of the Gherkin would be its use of computational and sustainable design to create an exquisite geometrical figure. Due to its shape and size, the building generated constraints, such as “air currents sweeping around [creating] whirlwinds at their base”[7], which would potentially be a problem. Nevertheless, with the help of computer modelling and mathematics, it was achieved that the wind passing through open windows and around its shape maximises natural air ventilation to reduce the use of air conditioning as well as the flow of natural sunlight through its glass windows, allowing lesser use of heating and lighting[8].

to bloom London’s future development increased. With

The Gherkin clearly encompasses that design is not

London’s skyline and establish economic power, but its

finding a solution can lead to a better outcome. Keeping

infrastructures play a part to the expansion of urbanism.

mark to society may guide the world to a better future.

this, the Gherkin’s aesthetics did not only improve

only to globalise cities, but by taking in a problem and

design became a discourse to architecture and how tall

in mind how actions are taken and solutions are left as a

Figure 8. The Tea House Interior

A.2. DESIGN COMPUTATION CASE STUDY 2 THE TEA HOUSE ARCHI-UNION, 2011

Through computation design, traditional architectural practices are redesigned and reformed. In today’s industrial age, the growth of complex geometrical forms with materials such as wood and concrete, which were

once used for simple configurations, are now made possible. Computational design permit designers to

think and design over their limits, allowing structures and materiality to be utilised to a greater extent.

Archi-Union’s Tea House conveys emotional influence to its users by the complexity of its geometry. Due to the

intricateness of the design, reading the plans as well as

Figure 9. The Tea House exploration

drawing it on paper would be overly complicated. What would usually be a basic plain space have now changed into a more eloquent structure.

Consequently, as the design would be manually built,

In the process, the Tea House was designed through

there would be constraints found within the material’s

problems that were brought up, Archi-Union created

would come in to produce solutions as well as

which made the “‘setting out’ easily translated into

within the construction process. Additionally, once

proves that computational design can surpass barriers

building of the structure and the design itself would be

box. This has showed how computation can be an new

there would be limits to the construction[9]. For instance,

Grasshopper. To allow moving forward from the

dimensions and malleability. In this case, computation

solutions by recalculating through digital software,

reevaluate the calculation to allow more workability

a manually constructible shape”[10]. In this regard, it

the restrictions of the materials are established, the

and to allow thinking and even creating outside the

more controllable.

technique of designing in architecture.

Figure 10. ICD/ITKE Research Pavilion 2010

A.2. DESIGN COMPUTATION CASE STUDY 2 ICD/ITKE RESEARCH PAVILION UNIVERSITY OF STUGGART, 2010

According to Terzidis, “computation aims at emulating

or extending the human intellect”[11]. Today, design fabrication and manufacturing through computer-

Figure 11. ICD/ITKE Research pavilion 2010 material behaviour

controlled machines are increasing as computational design, which allows architects to create more complex

forms, heighten. Not only does computation allow architects and designers to explore the complexity of

aesthetics and structures, but also materiality. However, there continues to be struggle within the exploration with the “performative capacity and resourcefulness for design” of materials[12].

The ICD/ITKE research collaboration at the University of Stuttgart focused on exploring materiality, mainly

wood, and its structural and behavioural performance

in Architecture by using computational techniques. The structure of the pavilion relies entirely on the elastic

Figure 12. ICD/ITKE Research pavilion 2010 material behaviour

bending potential of thin plywood strips designed

Knowing the potential and abilities of each material

planar elements were “subsequently connected so

This study shows that with the use of computation

along their length”[13]. This has further allowed to create

challenges throughout the design process, hence,

and space”[14]. Additionally, this research tackled on

innovation. For that reason, a paradigm in architecture

“expand the design space towards hitherto unsought

construct more intricate designs, which may later

through computation and digital manufacturing. The

may generate the complexity of form in design.

that elastically bent and tensioned regions alternate

in design, architects are able to approach complex

an “active driver in the generation of form, structure

further extending the border of today’s architectural

computational design and fabrication methods to

may have been created, fortifying the capacity to

architectural possibilities”[15].

enhance accuracy in designing.

Figure 13. Heasley Nine Bridges Golf Club House

A.3. COMPOSITION/ GENERATION CASE STUDY 1 HAESLY NINE BRIDGES GOLF CLUB HOUSE SHIGERU BAN, 2010

CASE STUDY 2 TEMPLE

THOMAS HEATHERWICK, UNBUILT

Parametric modelling gives the designer an opportunity to

establish elements of their intended form more accurately and efficiently. As Peters mentions, “computation allows designers to extend their abilities to deal with highly

complex situations”[16]. It allows one to create very intricate,

“When architects have a sufficient understanding of algorithmic concepts, when we no longer need to discuss the digital as something different, then computation can become a true method of design for architecture.”

-Brady Peters

yet feasible designs in a shorter period of time, which may

be difficult to attain with other ways of communicating

design, such as hand drawing. This further explains that generative design has rapidly transformed the pace of

the design process and construction more quickly and efficiently.

However, although parametric modelling may allow design intent to be pushed beyond limits, there are

possible risks that may happen. Firstly, one change in the computation and definitions could change a big part of

the design, therefore there may be trouble with altering something in between the design process. It is crucial that design intent has been laid out well and has been

Other that risks, generative design may create a mass of

monotonous aesthetic due to the rigidity and limitedness

of the technology’s current state to create such designs.

This may lead to produce similar curvilinear pattern.

For this reason, it may somehow limit creativity scope because generative design consists of a set of definition

that anyone who has the skill can make. Similarly, because generative design is mostly directed with coding in the process, the designer cannot fully control it.

fully understood before actually proceeding to parametric

Looking at case studies such as Nine Bridges Golf Club

design is done by a team, it may be difficult to process the

Heatherwick will be brought upon to further show the

design. For instance, it may be problematic if there is

design. Additionally, of what the shift from composition to

modelling. Another possibly risk would be that if the

House by Shigeru Ban and The Temple by Thomas

knowledge placed onto the definitions of the parametric

possibilities, opportunities and risks of generative

modifying that wants to be done.

generation has done to the design process.

Shigeru Ban’s Heasley Nine Bridges Golf Club House is

sheltered by a canopy of woven timber girders. It consists

of 21 slender timber columns supporting 32 roof elements, which were assembled from intricately detailed glue

laminated and CNC-machined prefabricated components.

The structure utters change as its aesthetics used one of

the oldest building materials, yet was digitised to solve the constraints of wood. Today’s advancements in technology

have allowed timber to be engineered as a material that

can generate freeform shapes[17]. This is a perfect example

Figure 14. Heasley Nine Bridges Golf Club House

of testing material properties to allow it to reach its abilities.

The way wood is carved and bended to create its curves

Computation is still an ongoing exploration “to stimulate

Although material behaviour have been long explored,

analysis and knowledge about material, tectonics and

made it more accurate and efficient than it ever was.

drawing”[19]. It has to be kept in mind that computational

do it back in the past, what makes it any different now?

is helping one to respond and solve the issues that are

starts to appreciate natural and organic forms after the

to create parametric configurations is a way of creating

have been due to the development of today’s digital era.

building performance, to incorporate performance

computational design and parametric modelling have

parameters of production machinery in their design

However, it has left me thinking that if they were able to

design is not creating a new style of architecture, but it

It may be just reestablishing design and materiality as it

laid upon them. Additionally, computational modelling

industrial age.

aesthetic from a logical process of data collection and processing[20].

The Temple by Thomas Heatherwick is another example

of what parametric modelling can allow us to achieve.

an example of responding and solving issues early on the

”This hasn’t simply transformed what we can design – it’s had a huge impact on how we build”.

-Mouzhan Majidi

has created free form curves that may be difficult for

Material behaviour has been long explored in the

However, he used technology only as a tool to help him

today, generative design has allowed a redefinition in

know what it can and cannot do to create the structure’s

as well such as the performance and simulation of

Its immensely complex organic form is created by folded

wooden structures allowing it to approach the design intent of “cohesion and flexibility”[18]. The temple’s

exterior was designed in horizontal layers that were each

the height of a step in a staircase. This was further thought to be extended to its interiors to form staircases and

furniture that are essential to the building’s needs. This is design process through generative design. Heatherwick

the traditional pen and paper sketching might achieve.

past, but died down in the industrial age. However,

test the materiality to create these forms, allowing him to

architecture, not only in art form, but in other aspects

aesthetic.

materials, fabrication and construction.

Figure 15. The Temple model

A.4. CONCLUSION

From all the case studies and the extent of research tackled in the scope of computation, it is an opportunity to be able to explore the world of generative design and computation and the amount of possibilities as well as the windows it can open to the field of design.

Parametric design acknowledges an alternative and innovative approach to architecture. Although it is still being explored, the shift from composition to generation encourages new ways of thinking, allowing design and construction to go beyond borders.

Further explorations on materiality, especially wood, will create a wider range of knowledge and understanding as to how it can change architecture. Not only will sustainability and resourcefulness come into play, but it will also define architecture and that simple materials alone can create complex designs. It is interesting how even the oldest construction materials have evolved and further enhanced with the advancement of technology in architecture.

Computational design will be used as a tool thought the design process to allow architects to continue exploring beyond just the aesthetics, but also to approach a good performing design that will respond to the environment sustainably and structurally, as well as to contribute to the efficiency of the construction process. Although the issues of the architect creating curvilinear forms that may be similar to others are still yet to be approached, it has to be taken into account the generative design is still an on going exploration and there are still a range of possibilities that can allow us to move to a better future. It is more important that how it approaches design and the changes it is creating for the long run.

A.5. LEARNING OUTCOMES Throughout the process of this studio class, my design approach is to create something that would generate an impact to the environment that not only Merri Creek needs, but maybe many other places in Melbourne may need. It has now been concluded that designing will not only be for the sake of creating a beautiful and attractive aesthetic, but to create a change in society and the environment.

I have learned that algorithmic computation is actually very challenging. In three weeks, it has made me appreciate what it can do and how it can change my way of thinking over design.

Personally, it was a large shift from how I usually approach design as instead of having something real and tangible to manipulate such as sketching, I have a new language to learn and a computer screen in front of me to brainstorm on ideas.

I have also realised that Grasshopper enables designs to be more accurate in a shorter amount of time. If i were to sketch what I have explored on Grasshopper, it may take me longer. Additionally, I’ve come to be more conscious that changing one single defintion can create a whole new iteration of the previous design. This way, it had me aware early on that I have to think about the design process thoroughly before moving on. However, despite the challenges, algorithmic definition has helped me gain a new knowledge that I never expected I would be touching on. I have opened my mind to new possibilities and opportunities that may come my way.

Figure 16. ICD/ITKE Research Pavvilion 2015

A.6. APPENDIX This exploration was initially on lofting, but I decided to triangulate the model

and pipe it. This later resulted to the smooth edge disappearing after the triangulation command has been

connected. As I increased the radius, I noticed the pipe command becomes

sharper in the ends reulting to the the pointy edges.

I used the attraction point to create this

model. I learned that you can actually make the attraction point either weaker

or more powerful by playing around the domain start and end’s range. Once

you know how to create this definition, you could actually make multiple attraction points to a single model.

This was a normal loft command again, but instead I explored on biarc before lofting the model. After setting the

curves, I connected them to create Biacrs and lofted from there. I realised

that there are many different ways to loft curves. Additionally, I still have to continue exploring on this area

because it creates a hole when it’s

lofted. It may be due to the curve or the radius of the biarc.

Similar to the first exercise we had in

class, I had lines protruding out of the

lofted surface, which I’ve later on placed spheres in the end. I also realized that

instead of lines, I could actually use pipes to further explore on what I could to this

model. This just hows that one definition could create a whole new iteration of the perviuos model. A problem i came upon

here is that the spheres are not equally distributed. Some spheres are stuck to each other while others stay the same.

IMAGE REFERENCES PART A Figure 1.

‘Zootopia’, <http://www.big.dk/#projects-zoo> [accessed August 9, 2015].

Figure 2.

‘Zootopia’, <http://www.big.dk/#projects-zoo> [accessed August 9, 2015].

Figure 3.

‘Zootopia’, <http://www.big.dk/#projects-zoo> [accessed August 9, 2015].

Figure 4.

‘Zootopia’, <http://www.big.dk/#projects-zoo> [accessed August 9, 2015].

Figure 5.

‘Zootopia’, <http://www.big.dk/#projects-zoo> [accessed August 9, 2015].

Figure 6.

‘30 St Mary Axe’, <http://www.destination360.com/europe/uk/london/30-st-mary-axe> [accessed August 10, 2015].

Figure 7.

‘30 St Mary Axe facade’, <http://www.fosterandpartners.com/projects/30-st-mary-axe/>[accessed August 10, 2015].

Figure 8.

‘The Tea House interior’,<https://karmatrendz.files.wordpress.com/2012/04/tea_house_archi_union_09. jpg> [accessed August 10, 2015].

Figure 9.

‘Tea house exploration’, <http://www.freshpalace.com/wp-content/uploads/2012/03/Tea-House-16.jpg> [accessed August 10, 2015].

Figure 10.

‘ICD/ITKE research pavilion 2010’, < http://www.detail-online.com/inspiration/sites/inspiration_detail_de/ uploads/imagesResized/projects/780_20121120032936b6ae9a08ce68f21f16868ad17df1822bbae82 4e3.jpg> [accessed August 10, 2015].

Figure 11.

‘ICD/ITKE research pavilion 2010 material behaviour’, < http://icd.uni-stuttgart.de/?p=4458> [accessed August 10, 2015].

Figure 12.

‘ICD/ITKE research pavilion 2010 material behaviour’, < http://icd.uni-stuttgart.de/?p=4458> [accessed August 10, 2015].

Figure 13.

‘Haesly Nine Bridges Golf CLub House’, <http://cdn2.world-architects.com/img/frontend/ pages/3346/1000:w/Shigeru-Ban-Nine-Bridges-Golf-Club-02_2.jpg, http://cdn2.world-architects.com/ img/frontend/pages/3346/1000:w/Shigeru-> [accessed August 13, 2015].

Figure 14.

‘Haesly Nine Bridges Golf CLub House’, <https://chrisandrickinkorea.files.wordpress.com/2011/05/ dscn00482.jpg, https://chrisandrickinkorea.fil> [accessed August 13, 2015].

Figure 15.

‘Temple model’, <http://37.128.132.134/~hstudio/content/uploads/2013/02/temple.1.Steve-Speller. jpg, http://37.128.132.134/~hstudio/content/uploads/2013/02/temple.> [accessed August 13, 2015].

Figure 16.

‘ICD/ITKE Research Pavilion 2015’, < http://www.metalocus.es/content/en/system/files/file-images/ metalocus_pabellon_icditke_2015_06_1280.jpg> [accessed August 14, 2015].

TEXT REFERENCES PART A [9] ArchDaily, ‘Tea House / Archi-Union Architects’, 2012 <http://www.archdaily.com/216171/tea-house-archi-unionarchitects> [accessed 10 August 2015] [2] Bjarke Ingels Group, ‘Zootopia’, 2015 <http://static.big.dk/projects/zoo/slides/project_sheet_zoo.pdf?1439108818> [accessed 9 August 2015] [5,6] Charney, Igal, ‘The Politics Of Design: Architecture, Tall Buildings And The Skyline Of Central London’, Area, 39 (2007), 195205 <http://dx.doi.org/10.1111/j.1475-4762.2007.00741.x> [13,14] Fleischmann, Moritz, Jan Knippers, Julian Lienhard, Achim Menges, and Simon Schleicher, ‘Material Behaviour: Embedding Physical Properties In Computational Design Processes’, Architectural Design, 82 (2012), 44-51 <http://dx.doi. org/10.1002/ad.1378> [pp. 46, 45] [4] Foster + Partners, ‘30 St Mary Axe’, 2004 <http://www.fosterandpartners.com/projects/30-st-mary-axe/> [accessed 10 August 2015] [10] Frearson, Amy, ‘Tea House By Archi-Union - Dezeen’, Dezeen, 2012 <http://www.dezeen.com/2012/03/09/tea-house-byarchi-union/> [accessed 10 August 2015] [17] Freeform Timber, ‘Freeform Timber’ <http://www.freeform-timber.com/> [accessed 12 August 2015] [7, 8] Freiberger, Marianne, ‘Perfect Buildings: The Maths Of Modern Architecture | Plus.Maths.Org’, Plus Magazine, 2007 <https://plus.maths.org/content/perfect-buildings-maths-modern-architecture> [accessed 10 August 2015] [1] Fry, Tony, ‘Sustainability, Ethics And New Practice’ (Oxford: Berg Publishers Ltd, 2008) [18] Heatherwick Studio, ‘Temple’ <http://www.heatherwick.com/temple/> [accessed 13 August 2015] [3] Massie, Caroline, ‘BIG’s Wild Revision Of The Givskud Zoo’, Architect, 2014 <http://www.architectmagazine.com/design/bigswild-revision-of-the-givskud-zoo_o> [accessed 9 August 2015] [12,15] Menges, Achim, ‘Material Computation: Higher Integration In Morphogenetic Design’, Architectural Design, 82 (2012), 14-21 <http://dx.doi.org/10.1002/ad.1374> [p. 17] [16,19] Peters, Brady, ‘Computation Works: The Building Of Algorithmic Thought’, Architectural Design, 83 (2013), 8-15 <http:// dx.doi.org/10.1002/ad.1545> [pp. 10, 13] [11] Terzidis, Kostas, ‘Expressive Form’ (London: Spon Press, 2003), p. 79 [20] Wilson, Robert, Keil, Frank, Definition of ‘Algorithm’ in ‘The MIT Encyclopedia of the Cognitive Sciences’ (London: MIT Press, 1999), pp. 11-12

B

CRITERIA DESIGN

B.1. RESEARCH FIELD

Figure 1. Voussoir Cloud

The properties of materials are now being researched not

relationships between each panel as well as how they

the form-finding process, with the help of computational

interesting aesthetic form.

for refinement, but to take advantage of its behaviour in

design and algorithmic thinking. Studying the behaviour

of a material involves working with prototypes alongside with the parametric modelling, which makes it more challenging as it requires one to transfer information from real life to computers. However, it allows analyses of

the structure as well as creating simulations to determine

the strength of the parts of a material. Consequently, inputing simulations to the parametric environment

demonstrates a visual of how it may look like in real life, allotting less failure and physical issues during

construction. With understanding the behaviour of the

material, one can take advantage of its properties to allow them to react to the forces from each part, further

allowing it to structurally perform well. Furthermore, comprehending and establishing the

interlock and work together may move towards an

As Achim Menges says, “Computation provides a

powerful agency for both informing the design process

through specific material behaviour and characteristics, and in turn informing the organisation of matter and

material across multiple scales based on feedback from the environment.”[1] In the article, Menges describes

‘morphogenetic design’ as a material forming its shape

over time.[2] Especially with the properties of wood,

external or environmental forces will unfold these

changes over time. For instance, humidity can change the structural properties of wood, which can change

its overall form through time. To some this may be

considered a flaw, nonetheless, it may still bring together a better-informed biomimetic design in the long run.

MATERIAL PERFORMANCE

Figure 2. ICD/ITKE Research Pavilion

Figure3. South Pond Pavilion

As mentioned, the beauty of the aesthetic form may

An example of which would be the ICD/ITKE research

performance and its characteristics. For instance, it can

exploring on physical models and understanding the

unfold through the process of studying the materialâ&#x20AC;&#x2122;s

be seen in the Voussoir Cloud that the aesthetic form, structure and the issues of the material performance

are all addressed as one, by pushing woodâ&#x20AC;&#x2122;s qualities to its limit. With this in mind, the behaviour of a material may, therefore, create opportunities and open more

windows to geometric and complex forms in the world of architecture by using simple materials and structures.

pavilions that generates a form-finding structure by characteristics and performance of plywood instead of

directly jumping into parametric modelling. As a result,

they are able to push the material to its greatest extent, creating an appealing form in return. The performance of materials, especially wood, have been long used

even before massive structures, such as for vernacular

architecture and shelters for indigenous tribes. However, the manipulation of wood with computational and

Material is the foundation of architectural behaviour.[3] It

parametric design tools allows one to overcome certain

together with the early design process, conceptual phases

designs rather than as a hindrance.

is important to work on the materiality and its qualities and the structure as this could not only save cost, but also

move the design to something different. It is inefficient

to consider material as secondary to concept and process when you can, in fact, integrate all three.[4]

structural and construction issues, utilising it for better

Figure 4. Voussoir Cloud

B.2. CASE STUDY 1.0

Voussoir Cloud was an exploration on creating

a structure that relied under pure compression using

ultra-light material system — thin wood laminates. With algorithmic process, iterative techniques from hanging

chain models by Frei Otto and Antonio Gaudi were also done to create its final form. The structure, analysis of the basic vault and the process towards the petal shaped elements are “problem analysis” and “solution

synthesis”[5], which were dependent on computation and algorithmic thinking.

Figure 5. Voussoir Cloud

Material strategy, on the other hand, played a

massive role in finding the form of the structure. Due to the properties of the material, the designers and researchers were able to produce a curving, inflected form, wherein

the shape is held by the internal surface tension of the wood and the geometry of the flanges.[6] Although this was

designed with the help of computerisation, prototyping

to test the geometric relationships of bending was still needed to see whether or not it would be able to achieve the wanted final outcome.

Figure 6. Voussoir Cloud

The vaults are composed of Delaunay tessellation

strategies. However, Voussoir Cloud’s grasshopper script for this exercise takes a couple of points to form the

starting points for a cell diagram. Later, spring forces

are applied on the lofts to form the shape of a ‘relaxed’ spring.

Figure 7. Voussoir Cloud Analysis

Stiffness: 50 X-vector force: 0 m/s2 Y-vector force: 0 m/s2 Z-vector force: 9.8 m/s2

Stiffness: 50 X-vector force: 0 m/s2 Y-vector force: 0 m/s2 Z-vector force: 39.2 m/s2

Stiffness: 50 X-vector force: 0 m/s2 Y-vector force: 0 m/s2 Z-vector force: 78.4 m/s2

Stiffness: 50 X-vector force: 10 m/s2 Y-vector force: 0 m/s2 Z-vector force: 9.8 m/s2

Stiffness: 50 X-vector force: 15 m/s2 Y-vector force: 0 m/s2 Z-vector force: 39.2 m/s2

Stiffness: 50 X-vector force: 20 m/s2 Y-vector force: 0 m/s2 Z-vector force: 78.4 m/s2

Change of force through Kangaroo

Weaverbird Loop Subdivision

Piping

Weaverbirdâ&#x20AC;&#x2122;s Stellate/Cumulation

Triangulation of quads

Figure 8. Dragon Skin pavilion

B.3. CASE STUDY 2.0 The Dragon Skin pavilion is another project exploring on wood properties, specifically on its ability to bend and use

of interlocking system to create a stiff structure. Through

digital fabrication and manufacturing technologies, this architectural art installation challenges and explores

the spatial, tactile, and material possibilities in todayâ&#x20AC;&#x2122;s discourse in architecture.[7] This further shows that

materiality and computational design together plays

an importance in architecture, especially with creating complex forms with simple elements.

Figure 9. Dragon Skin pavilion

The pavilion, designed and fabricated by students at the

Tampere University of Technology in Finland, uses a new material called Grada Plywood, which revolutionised

the bent plywood industry.[8] This further reflects the goal of demonstrating the maximum potential of the

material with the performance of digital fabrication.

Using parametric modelling, the thin wooden panels

have slots that allow each to interlock with each other without further connections and fixings, holding the bent

and overall form without failing. With this, designers are

able to visualise the final product of the project as well as

Figure 10. Dragon Skin pavilion

calculating material usage accurately, therefore allowing more efficiency.

The interlocking system if the structure was configured through computational programming, analysing where slots should be placed to create the connection between

panels prior to its fabrication. Digital modelling has now

The Dragon Skin Pavilion is a good example that shows

forces and limits, thus moving towards the deformation

in todayâ&#x20AC;&#x2122;s world of architecture. The digital understanding

router was used to make wooden moulds to shape each

modelling has opened more doors in architectural

allowed the understanding of materials and its internal

the challenges and explorations of material possibilities

of the pavilionâ&#x20AC;&#x2122;s structural form. Additionally, a CNC

and the fabrication process through computational

pre-heated, flat panels.[9]

research in the aspect of designing based on materiality.

REVERSE ENGINEERING

1

4

2

3

Quad Panels

Explode

List Item

Evaluate surface at UV coordinates

4 Point Surface

Arc

Extrude quad panels

3 point plane

Split

Extrude arched plane

List Item

Scale

1. Create quadrangular panels on a surface and explode 2. Take the 4 points of the surface to connect all the middle points of each line 3. Create an arc, which will later be extruded 4. Extrude the diamond panels to allow it to be big enough to be trimmed later on.

5. Evaluate the surface at its UV coordinates, set its amplitude length and create a plane through the 3 points of the arc, which will be fed to a vector, later extruding these arc surfaces along that vector

6. Split one brep with another, take the list item and scale until they interlock with each other.

5

B.4. TECHNIQUE DEVELOPMENT

Attractor points

Hexagonal panels: Played with scale, Weaverbird’s laplacian smoothing, Weaverbird’s bevel edges

Meshing technique: Mesh grid on a surface; Extruding to Unit Z

Diagrid tesselation technique

Weaving technique: Similar to Erwin Hauer’s Box Morph; Changing of surface points

Changing the scale of the quad panels on units Y and Z

Quad panels: Played with surface points, pipe, box

Cairo tesselation technique

Quadrangle tesselation technique

SELECTION CRITERIA The iterations selected are the best possible outcomes that could be used for this project in terms of testing material performance.

B.5. PROTOTYPE Bending 1mm Balsa wood

Different types of wood have

have

different

different properties and therefore, performances

on

environmental forces. For instance, timber veneer or glue laminated

veneer are a lot more flexible than plywood. However, both wood types

can still be bent to a certain degree.

Additionally, environmental forces can change wood properties. This could

affect my overall design and form.

Although most may see this as a flaw, it may be taken advantage of. Instead

of going against it, a morphogenetic

design may be created that could move the design into something different in the future.

Twisting 1mm Balsa wood

Balsa

wood

in

this

Bending 3mm Balsa wood

experiment is an indicator, to show different elastic properties of

wood depending on the thickness of the material. Although it breaks to a certain degree, the

constraints can be plugged into Grasshopper, similar to what was done in the ICD/ITKE research

pavilion that was previously mentioned.

Moreover,

when

wood interacts with humidity, its

elasticity changes to a greater

degree. With this information, it can allow the design to push further into complex forms with a simple material.

Twisting 3mm Balsa wood

B.6. PROJECT PROPOSAL

NORTH

Figure 11. CERES map

CERES

HISTORY: INDEGENOUS PEOPLE

ORGANIC AND NATURAL

COMMUNITY

SUSTAINABLE

FOR THE WALKWAY

DESIGN IDEAS

EXPERIENCE

CONNECTIVITY

THROUGH STRUCTURE, PEOPLE, GARDEN AND COOP

NATURAL

VINES, MATERIALITY

MORPHOGENETIC

OVERTIME, EMPHASISES PRESENCE OF INDEGENOUS PEOPLE

AGENTS AND STAKEHOLDERS: CERES COMMUNITY

The brief I choose to focus on would be to create an

installation or pavilion over the pathway that will create a

meeting point for the community as well as emphasising the presence of the indegenous people that used to reside

in this area. This design will mimic a tree pavilion. It is

POSSIBLE TARGET SITES OTHER THAN CERES: MERRI CREEK PATHWAY

morphotgenetic in a way that tree pavilions grow a certain direction due to outside forces as well as the use of wood

being influenced by environmental impacts. The structure

will show the outcome of a tree pavilion after it is being shaped and will be placed on the pathway between the chicken coop and the garden. This may also be placed in the

AGENT AND STAKEHOLDERS FOR MERRI CREEK PATHWAY: CYCLISTS, CERES COMMUNITY, ANIMALS, LOCALS

Merri Creek pathway. The structure will allow the walk way to not only be a path to get from one place to another, but also a meeting point for people.

Figure 12. Tree pavilion

*Indicative only

B.7. LEARNING OUTCOMES

After learning CERESâ&#x20AC;&#x2122; history about the indigenous people that used

to live in that area, I thought that creating a parametric structure that could emphasise them would be interesting since it is an aspect of the community

that is not really known by many. However, I stand true to my conclusion in part A, that designing is not only for the sake aesthetic qualities, but it is to

create a change in society. I have realised in part B that I am able to show this through the parametric technique development and the emotional aspect of the structure.

I have realised after the past few weeks how complex Grasshopper

actually is. However, even if I have had trouble with learning and getting my head around it, it has taught me many things that could be useful for me in my future in the field of architecture. Not only this, but my perception of

parametric design being a movement to only modern architecture has also

changed. I have realised that there are many doors and opportunities that algorithmic thinking can open to the world of architecture.

With studying the performance of a material, specifically wood,

algorithmic processes has allowed to test and push it to its greater extent.

This has now changed the way I think about designing â&#x20AC;&#x201D; that materiality is something that should be thought of during the design process, not after.

From the interim presentation, I realised that I should have tested

on more types of wood as each have different performances and properties.

Due to the fact that I wanted to look at elasticity, I should have prototyped on different wood types to see what certain factors such as humidity, bending and twisting can do to each, instead of just using one type. I also realised that my iterative processes should have focused more on curves rather than rigid surfaces. Additionally, I realised that I need to think about the innovation of

my design more and how it is different to others. The criticism given to me by the critics allows me to move forward and design better for the final part of this project.

Figure 13. ICD/ITKE Research Pavilion 2010

B.8. ALGORITHMIC SKETCHES

This explores on the waffle grid structure. It looks at a certain joint system, which could be useful in the later parts of the project

This is an example of using an undulated

surface and clusters to create a pattern on the surface.

This explores on the graph mapper, which generates different patterns using different

graph types.Changing the type of graph instantly modifies the pattern.

IMAGE REFERENCES [1] Voussoir Cloud. Retrieved from <http://payload.cargocollective.com/1/4/140786/1871783/> [2] ICD/ITKE Research Pavilion. Retrieved from <http://network.normallab.com/wp-content/uploads/2013/01/10_ ResearchPavi> [3] South Pond Pavilion. Retrieved from <https://roamandhome.files.wordpress.com/2010/09/img_0891.jpg> [4] Voussoir Cloud. Retrieved from <https://s-media-cache-ak0.pinimg.com/originals/bc/e5/67/ bce567bca9ece5e7005ca3a0586dffd9.jpg> [5] Voussoir Cloud. Retrieved from <http://foros.arquinauta.com/attachment.php?attachmentid=60292 &d=1307387762> [6] Voussoir Cloud. Retrieved from <http://static.dezeen.com/uploads/2008/08/isar_sciarc_3003s.jpg> [7] Voussoir Cloud Analysis. Retrieved from <http://www.bdonline.co.uk/Journals/Graphic/k/o/t/20analysis.gif> [8] Dragon Skin Pavilion. Retrieved from <http://images.adsttc.com/media/images/5005/e796/28ba/0d07/7900/21d7/ large_jpg/stringio.jpg?1414042762> [9] Dragon Skin Pavilion. Retrieved from <http://cf.archdaily.com/media/images/5005/e776/28ba/0d07/7900/21d3/ large_jpg/stringio.jpg?1414042753> [10] Dragon Skin Pavilion. Retrieved from <http://www.arch2o.com/wp-content/uploads/2012/09/Arch2o-Dragon-SkinPavilion-4.jpg> [11] CERES Map. Retrieved from <http://aspect.net.au/wp-content/themes/aspect-demo/page-images/Pro_AM_CERES_ im5_750w_1049h.jpg> [12] Tree Pavilion. Retrieved from <https://i.kinja-img.com/gawker-media/image/upload/s--Raz4_wHY--/c_fill,fl_ progressive,g_north,h_358,q_80,w_636/zyernunkvnjxmzlx9jhb.jpg> [13] ICD/ITKE Research Pavilion. Retrieved from < http://www.detail-online.com/inspiration/sites/inspiration_detail_de/ uploads/imagesResized/projects/780_20121120032936b6ae9a08ce68f21f16868ad17df1822bbae824e3.jpg>

TEXT REFERENCES [1] Menges, A. & Reichert, S. (2012) ‘Material Computation: Higher Integration in Morphogenetic Design’, Architectural Design, 82.

[2] Menges, A. & Reichert, S. (2012). ’Material Computation: Higher Integration in Morphogenetic Design’, Architectural Design, 82.

[3] Kolarevic, B.; Klinger, K.R. eds. (2008). Manufacturing Material Effects: Rethinking Design and Making Architecture.

In, Architecture in the Digital Age: Design and Manufacturing. pp. 6-24. New York; London: Routledge.

[4] Brady, Peters. (2013). The Building of Algorithmic Thought. Architecture Design 83(2).

[5] Jun’Krauel, jacobo, Jay Noden, and William George. 2010. Contemporary Digital Architecture: design & techniques, Barcelona: Links. p. 103.

[6] Iwamotoscott,. Voussoir Cloud. Retrieved 20 September 2015, from http://www.iwamotoscott.com/VOUSSOIR-CLOUD [7] ArchDaily,. (2012). Dragon Skin Pavilion. Retrieved 20 September 2015, from http://www.archdaily.com/215249/ dragon-skin-pavilion-emmi-keskisarja-pekka-tynkkynen-lead [8] ArchDaily,. (2012). Dragon Skin Pavilion. Retrieved 20 September 2015, from http://www.archdaily.com/215249/ dragon-skin-pavilion-emmi-keskisarja-pekka-tynkkynen-lead [9] ArchDaily,. (2012). Dragon Skin Pavilion. Retrieved 20 September 2015, from http://www.archdaily.com/215249/ dragon-skin-pavilion-emmi-keskisarja-pekka-tynkkynen-lead

C

DETAILED DESIGN

C.1. DESIGN CONCEPT

For part C, it was decided as a pair that

merging ideas and design on biomimicry and material

After the interim presentation, several issues

were presented to me that needed change, re-working

on and re-thinking. The main problem was pushing the characteristics and properties of wood more such as its

flexibility. With this in mind, curving and bending is the most obvious way to show the performance of wood and to what extent it would be at breaking point. Although I

showed several curved forms in my part B iterations and prototyped on balsa wood, there were not enough testing

and experimentation to show if it actually pushes wood

to its limit or not. It is also due to the fact that in real life, balsa wood would not be the material to be used as it is more of a model making material. This brings up ideas of

the need for more prototyping with other types of wood such a veneer and laminate, and how these could bend and perform when in contact with humidity and heat.

Additionally, another issue was the lack of

innovation in my design as the proposal was only an

arched pavilion that would grow vines around it, which

is nothing new to the site and can be done without

digital fabrication, therefore does not exactly show

parametricism and algorithmic thinking. To move forward, there was need to push the behavior of the material to its

limit and its greatest extent by creating a system that is much more complex. Moreover, to further progress the

design to become more innovative, different patterns

such as weaving the wood, would make the design more interesting and show that a simple material and basic pattern could create such an intricate design.

performance would be better and more beneficial for

each other. The design concept is fairly versatile as it is a

seating area for the community of Ceres and Merri Creek.

However, we noticed that there is a lack of rest spots and the environment is quite dull, taking away interaction between people in the area. For this reason, to benefit

more people, the proposal would be placed in reserves,

parks and empty spaces by the creek due to the walkers, runners and bikers around the area that may need a

place of relaxation and time off from what they are doing.

Although there may be low pedestrian flow for now, the

ample space may be good for recreational purposes,

which is also rich with cultural identity. Because of this, the seating area may be one of the reasons or spots

that users may want to go back to, with the natural environment and public space being an advantage.

The objective is to make architecture blend with

nature through wood as a natural material, allowing

the design to inhabit the area gracefully as it provides interaction for humans with reflection on the siteâ&#x20AC;&#x2122;s

history. Additionally, it is intended to install the seating area as it would address the problem of having no rest

spots, further allowing the users to indulge and interact

with nature, and the community. Moreover, Merri Creek has a rich history as well since the indigenous used to

reside around that area before today. In actuality, CERES teaches weaving techniques to the community to bring

back indigenous art. This has inspired us to incorporate

the technique to our design since it would portray the behavior of the material while bringing back culture.

DESIGN IDEAS AND CONSTRUCTION PROCESS

The idea was seating areas that

would trigger the petals to bend when people sit, and would go back to its normal form when no one is using it. Similar to a

mimosa pudica, when it comes into contact

with something such as human touch, it

closes up, and slowly opens up again after a few minutes.

Figure 1. Mimosa Pudica

The idea of a seating area is not

only because there was a lack in rest spots, but also to allow engagement within the

community as this is what CERES preaches.

Interaction is key as most of the seats would not show the bending ability if only

one side is being used. Like the M pavilion, it brings people together to connect with each other as well as nature. However, we tried to make something more than the

M pavilion by proposing the design to

look like it is seamlessly blending in with nature. This will allow the design to be as significant as possible by using a simple material to make it stand out without

actually alienating it from nature. The right material and springs to make it interactive

would make the design look alive or be comparable to a living architecture without

the need to use all active mechanisms to make it look natural.

Figure 2. Mimosa Pudica

For this design, the support ring, which

is connected to the seating area, would be

holding the petals in place. There are springs below the seat, which is also connected to the

base to hold the rest of the parts up. As people

sit, the ring, together with the seat, starts to

lower down, which would trigger the petals to start bending down to a certain point. When

people stand, the seat and ring then starts to rise up, bringing the petals back to a vertical position again.

The material used would be flexiply

due to its innovation of being flexible without

the need of outside forces such as humidity.

Petals that would be weaved

This meets the criteria of what we were

looking for â&#x20AC;&#x201C; to show that woof is flexible and bendable. Additionally, the material is much simpler to bend than other wood products

that are as thick. However, the drawback is its structural ability, as it is not stable enough to stand alone.

Support Ring Timber Seating Springs Base

1 POINTS

2

VORONOI CELLS

3 NURBS

4 SCALE

5 MOVE

6

SURFACE DIVIDE

7

SHIFT ITEM TO WEAVE

LOFT AND DEBREP

8

9 MERGE

10 PIPE

11. BASIC STRUCTURE

C.2. TECTONIC ELEMENTS & PROTOTYPES

It may be argued by some that digital fabrication

The weaving technique displays aesthetic

is not a crritical point of weaving as basic construction

contemporary architecture, weaving is famously used

without grasshopper at first, it was realized that algorithmic

This design shows the traditional practices of weaving,

seamlessly. As seen in the photo above, there were

stability as well, since it can support loads along the

computational design, this would have been a lot more

flexibility of the material was not stable enough to

is that it produces a more accurate and rapid outcome or

and structural functions in this design. However, in

could achieve the same design. However, from prototyping

as an aesthetic as opposed to a structural component.

thinking could actually generate objects to be interwoven

which was to use it not only for its looks, but for its

several holes drilled for experimentation purposes. With

axial, lateral, and vertical axes. With this in mind, the

accurate. Additionally, an advantage of digital fabrication

stand on its own, thus interweaving was a crucial part.

prototype.

MECHANISM

MECHANISM

To make it look like a forest when everthing opens up, as the petals begin to overlap with one another.

C.3. FINAL DETAIL MODEL

C.4. LEARNING OBJECTIVES AND OUTCOMES

Part C in particular further opened my eyes to how important digital fabrication and computational design is,

additionally to how it is the future of design. Computation method in designing plays a significant role in accurately showing visualization and form finding. It was quite difficult trying to translate the digital to physical, especially in a smaller scale.

During the final presentation, some feedbacks were given that did not change much from C1. Several issues,

however, were raised that could possibly change the design if more time was given. For instance, instead of using the big petals at the tip, we could have explored more on different types of weaving and test which would work better for the

structure. Additionally, there were still questions about the bending point and if the whole structure will work in real life.

With further study of kangaroo or other digital softwares, it is achievable to actually test the bending point of the material, as well as controlling the height of its bending.

Studio Air has opened my mind to so much more possibilities and opportunities with regards to design. There may

have been so many creative ideas that several people had back then up until now that they could not share due to lack of

resources in ways of explaining the design. Moreover, this studio has taught me a better understanding of digital tools, especially computational and parametric tools. Other than visual coding, learning grasshopper has moved me to think that finding form can be done in another way.

However, one thing I noticed from part B and part C is that computers could still act as a drawback to the process

of the design. Computational design and digital fabrication have showed its ability to design and work with efficiency, speeding up the design process. However, there were still limitations as we heavily relied on these digital tools rather

than our own creativity. For instance, during the process, there were times when feelings of frustration would come up as

the definition would not work as I wanted it to, or the form I had imagined did not look the same on the digital model.

Although I may not have expert knowledge on grasshopper, I would imagine that even professionals may feel the same at

some point. Moreover, certain qualities such as the emotional and sensory elements to a project are equally as important to form finding, which were a little difficult to portray in digital design.

To conclude every thing, Studio Air has offered a better understanding and eye opening about the architectural

discourse and cutting edge designs that is associated with computational and parametric design, as well as other

technologies that are readily available and will be available in the future. It has showed the countless possibilities and opportunities that may not be possible without the advancement of technology. However, we should always remember to still be in control of the tools in front of us, keeping in mind that there should always be balance between the digital and objective.

REFERENCES Figure 1. Mimosa Pudica. 2015. Image. Accessed November 3. http://imgc.allpostersimages.com/

images/P-473-488-90/64/6476/YOD6100Z/posters/scientifica-sensitive-plant-mimosa-pudica-leaves-closed-afterbeing-touched.jpg.

Figure 2. Mimosa Pudica. 2015. Image. Accessed November 3. http://imgc.allpostersimages.com/ images/P-473-488-90/64/6477/KNF6100Z/posters/scientifica-sensitive-plant-mimosa-pudica-leaves-opened.jpg.