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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.