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STUDIO AIR SHAWN KOH JYH SHEN 2015 ALESSANDRO
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Table of Contents PART A CONCEPTUALISING A.0 INTRODUCTION
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A.1
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DESIGN FUTURING
A.2 DESIGN COMPUTATION
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A.3 COMPOSITION & GENERATION
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A.4 CONCLUSION
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A.5 LEARNING OUTCOME
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A.6 APPENDIX
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PART B CRITERIA DESIGN B.0 INTRODUCTION
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B.1
RESEARCH FIELD
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B.2
CASE STUDY 1.0
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B.3
CASE STUDY 2.0
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B.4
TECHNIQUE: DEVELOPMENT
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B.5
TECHNIQUE: PROTOTYPES
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B.6
TECHNIQUE: PROPOSAL
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B.7
LEARNING OBJECTIVES AND OUTCOMES
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B.8 APPENDIX
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PART C DETAILED DESIGN C.1
DESIGN CONCEPT
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C.2 TECTONICS ELEMENTS AND PROTOTYPES
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C.3 FINAL DETAILED MODEL
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C.4 LEARNING OUTCOME
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A.0 INTRODUCTION
Shawn Koh Jyh Shen A 3rd year student at the University Of Melbourne pursuing his Bachelors of Environments Degrees majoring in Architecture. An avid photographer and videographer, much of his free time spent in the gym exercising and maintaining a healthy lifestyle. Graduated in 2012 with a Diploma in Architecture from Singapore Polytechnic during which he spent the first 3 years pursuing his life long dream of becoming an architect. Being a more detailed and logic oriented person, he excelled greater in technical detailing, architectural drawings and building regulations as compare to the more artistic and conceptual side of architecture.
A great deal of experience was gained through working in the world’s 7th largest architectural firm. He ended his contract with the company when he was called up to for-fill the compulsory military service in the Singapore Armed Forces. Enlisted in late 2012 at the age of 21, he served 3 months in the Basic Military Institute before graduating and earning a place in the Officer Cadet School. A gruelling 9 month leadership course with the Singapore Combat Engineers lead him to overseas exercises in Thailand and Brunei.
Upon graduating from the Singapore Polytechnic, he was hired at DP Architects in Singapore where he spent 6 months as a Technical Officer in a team lead by a young and upcoming architect, Austen Chan, who brought him under his wings and taught him much about the business of architecture.
Trained in the disposal of explosives, bridging operations and obstacle employments, he was commissioned with the cohort of the 91/13 Officer Cadet Course by the President of Singapore, Dr. Tony Tan. With the rank of Lieutenant, he was posted to the 41st Singapore Armoured Regiment as a Armour Engineer Platoon Commander. After 10 months with the battalion, he completed his final mission in Rockhampton, Australia, and with that, his 2 year military service.
With his previous works in the polytechnic course practicing building plan submissions, he worked closely with the team and the architect to ensure buildings adhered to the regulations of the various authorities. Working on projects such at the Lee Kong Chian School of medicine, various residential condominiums and public shopping centres.
Today he continues his pursuit of his degree in architecture at the age of 24 at the University of Melbourne, Australia. Being apart from education and architecture for more than 3 years, the challenge to start back up and excel further into architectural studies and one day earn the right to be called an architect.
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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
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Lee Kong Chian School Of Medicine (Yunnan Gardens) Type: Conservation & Heritage, Healthcare, Institutional Client: Lee Kong Chian School Of Medicine Location: Singapore Architects: DP Architects Project Area: 18,199 sqm Project Year: 2012-2015 Employed Position: Technical Officer
Contributions I came into the team led by Austen Chan and Angela Low, when the building was still at the very early stages of spacial programming and functioning. As the technical officer on the team, my role was to ensure all aspects of the design met the criteria and regulations of the Urban Redevelopment Authority and the 8
Building Control Authority of Singapore. As Austen knew I was to pursue my degree in architecture, he mentored and taught me much about the business of architecture that schools had never taught. I attended meetings with consultants to experience how different sub contractors worked together to create a building.
About The Lee Kong Chian School of Medicine, Singapore’s newest medical school with two campuses: at Nanyang Technological University’s Yunnan Gardens and at Novena, next to Tan Tock Seng Hospital. The Experimental Medicine Building, close to NTU’s science and engineering colleges, will serve as a focal point for the biomedicalengineering hub in the university’s Yunnan Garden campus. This building will have training facilities such as seminar rooms, learning studios as well as teaching and research laboratories for students and researchers to learn and work collaboratively.[T01]
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OXLEY RISE Type: Residential Client: Oxley Rise Pte Ltd Location: Singapore Architects: DP Architects Project Area: 10,700 sqm Project Year: 2012-2018 Employed Position: Technical Officer
About
Contributions
Located on the fringe of the Central Business District near an abundance of shopping, dining and entertainment options, The Rise @ Oxley comprises residences atop a two-storey retail podium, complete with a wide array of facilities.
The project was already closing in on the stages of submissions to the relevant authorities, as the ‘Oxley Team’ was low on man power, I was transferred there to help with the submission drawings. Working late nights and sometimes even over-nights at the office, I helped the Senior Technical Officers on the team to speed up the drafting processes of these submissions.
The 120-unit residences consist of a mixture of one, two and three-bedroom units and penthouses. Units are planned to achieve maximum efficiency and flexibility of spaces, and provide either city views towards Marina Bay or residential views towards River Valley. The careful selection of interior materials creates a homely feel, and the same sensitivity to details is carried through to the selection of fittings.[T02]
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A.1 DESIGN FUTURING
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BanQ Restaraunt Type: Retail Client: SOWA Restaurant Group, LLC Location: Boston, MA, USA Architects: Office dA Project Area: 446 sqm Project Year: 2006-2008
Concept Built above the abandoned banking hall that was once the Penny Savings Bank in Boston, Massachusetts, the BanQ restaurant was designed in two segments, the front as a bar and the rear as a larger dining hall. Part from such a division, the concept of diving the space further in the vertical axis ‘Z’ was to separate the functions of the ground and the above services with a form that could fully integrate and relate the look of the ceiling and floor, while at the same time for fill the two very different programs that these spaces would be used for.
Strategy The flexible space which was the floor of the restaurant had to be as clutter free as possible, allowing various arrangements of the tables to accommodate events and different masses of the public. Just as how many restaurants were designed, the freedom of movement on the floor is what you get when a waiter pulls up an extra chair for a party of 3 or when you reserve a table for 6 and the restaurant shifts the tables just before you arrive. This freedom required most services to be above in the ceilings instead of the walls or floors. Such services such as the air-conditioning, lightings, acoustic systems, sprinklers and other mechanical equipment were cleverly concealed within the form of the ceiling design. Like the great Frank Lloyd Wright would say, ‘Form follows Function’. This concept applied in the undulating canopy of the ceiling would conceal services and produce an illusion of a floating ceiling at the same time. Wooden slates conceal the view of the services on the longitudinal axis had to conform to the shape and sizes of the equipment of which it was concealing. 13
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Great Court at the British Museum Type: Cultural Client: Trustees of the British Museum Location: London, UK Architects: Foster + Partners Project Area: 19,000 sqm Project Year: 1994-2000
Concept Originally a garden, a round library was constructed in the mid-nineteenth century in the courtyard of the British Museum. The Museum lacked a centralised circulation space where visitors by the millions each year could use as an anchor point or a point of orientation around the venue. The glass roof was the ideal solution to turn the courtyard into an indoor space of connectivity of all the various wings of the museum. Having visited this museum back in 2012, it projected a very dynamic metal frame structure that felt heavy but was lightened by the division of the smaller panels of 14
glass and frame work. Its lines at first glance would look easily decipherable, it isn’t as simple as branched coming out from a single point. Instead, intersecting lines that indirectly support the structure through its vast complexity of interlacing metal frames. Truly an architecture marvel, I spent over an hour looking up at the dome.
Strategy ‘Its unique geometry is designed to span the irregular gap between the drum of the Reading Room and the courtyard facades, and forms both the primary structure and the framing for the glazing, which is designed to reduce dollar gain.’ - Foster+Partners [T03]
To span the distance from the center structure to the edges of the courtyard, the canopy had to adopt a dome structure together with its interlacing metal framework to reach the extent of the building. Creating shadows and light play in the interior, the frame structure not only acts as a shield from the external elements, but also creates a whole new experience of light for the visitors and a very memorable visit.
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A.2 DESIGN COMPUTATION
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30 St Mary Axe ‘The Gherkin’ Type: Office Client: Swiss Re Location: London, UK Architects: Foster + Partners Project Area: 64,469 sqm Project Year: Completed in 2004
About A 41 storey building recognisable in the skylines of London, The Gherkin is London’s first ecological tall building. Filled with 46,400 sqm of office space, a range of shops and cafes fill the lower levels and at the summit; a club room that offer a 360 degree panoramic view of the city.
Form and Function A circular plan that would eventually shape the building starts smaller at the base and slowly widens as it reached the middle and finally tapers at the summit, giving a more slender look as compare to other rectilinear buildings around. This form is not justified by its aesthetics but its functions and operations within the building. The form allows for wind deflections of greater capacity as compare to rectilinear towers of similar size. This creates an external pressure differentials that would be used to power a system of natural ventilation unique to the building. Its glass façade on the diagonally braced structure allows for a column-free space and maximum amount of light into the building. Triangular panels open up to aid in the ventilation of loft spaces. These designs and forms generated with the help of simulation software and parametric designs create a building that not only is designed in such a form but is able to lowers the overall energy usage of the building. Such creations are indeed revolutionary.
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View from the summit
A 360 degree views with natural lighting in the day and a spectacular view by night. 19
Redefining Architectural Practice The evolution of technology has since aided us in creating forms beyond what we could imagine a decade ago. Parametric and Simulation software used in The Gherkin gave it the ultimate edge by running simulations through a numerous parametric variations to ultimately achieve the desired outcome and concept of an ecological building. Moving away from the theoretical practices of architecture, we can now start researching and experimenting with free-forms to find its most optimum performance. [19]
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Sendai Mediatheque Type: Cultural Location: Sendai, Miyagi Prefecture, Japan Architects: Toyo Ito & Associates Project Area: 2,933 sqm Project Year: 1991-2000
About A transparent building supported by specially engineered series of columns allowing full view in and out of the building to the surrounding public, the Sendai Mediatheque designed by architect Toyo Ito is indeed ‘…revolutionary in its engineering and aesthetic.’[T04] The building had 3 main elements that created its structure. The Plate, The Tubes and The Skin. With the integration of Design and Simulation software, the cultural media centre was turned into reality and not just theorised. A revolutionary approach to structure and aesthetics of a building, exploiting the capabilities of such software allows designers and engineers to ensure a building is created in its most optimal form. [20]
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The Plate It is the floor slabs of the building were made from a network of honey-comb like steel frame which was filled with light weight concrete. The steel honeycomb structure allows the plate to span the distance between irregularly spaced vertical supports without beams while keeping a slim profile of the slabs. This would conform to the overall intent of a light weight floating floor slab .
The Skin
The Skin which was mostly glass was designed and treated differently in all five views. Modulating between different plays of light and views, it created a uniformity in its entity. The south-facing view however is doubleglazed, a climate control measure that would save energy and cost of running the building.
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The Tubes The most outstanding feature would of course be The Tubes, these were made of thick-walled steel pipes ranging in sizes from 7 to 30 inches in diameter. Though each level of tubes were manufactured to be build piece by piece, the illusion of a continuous flow of structure from ground up added to the overall lightness of its slabs and skin. The tubes creates a vertical circulation of air, water, electricity and people. Elevators and stairs move the people up the tubes while a series of hidden services create the service circulation within the building. [22]
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Structure The tubes were not merely built to hold up the building, but to withstand a 400 year earthquake. It proved its worth by surviving the March 2011 earthquake with little to no damage. This design made possible by the use of simulation software that could test the structure of such forms of columns. It is truly remarkable how accurate this generation of computerised software could save the lives of people by creating a truly functioning building that can perform its intended tasks. [23]
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A.3 COMPOSITION & GENERATION
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Composition to Generation Just as technology evolves and changes, so does architecture and its ways of design and practices. In the late 20th Century architects began to experiment with various techniques to generate design, with the help of new technologies and new fabrication media such as CNC (Computer Numeric Control) cutters and 3D printing, design generation of many forms that once seemed impossible to create now not only becomes possible but has seemingly becoming this generation’s approach to design.
Compositional Design The use of geometries to form spaces and forms. This was the basis of ancient architecture dating back to the Egyptians who built their pyramids and monuments or the Romans who built the Pantheon in Rome. It is the harmonious relationship between form and function, geometries and masses, positions and divisions, styles and theories. It has been used in centuries of architecture and design, so why then did we shift into ‘Design Generation’?
Design Generation With new technologies and design softwares available at our use as designers, we are able to experiment further with different forms, styles, geometry and material. Integrated with simulation softwares we can learn how to generate these designs into reality and make it functional and efficient. Softwares can now determine the structural loads of different forms of structure, they can simulate natural disasters such as earthquakes that would help designers make a better building to withstand these disasters and save lives, they can help us understand wind patterns and its effect on building forms and proportions. All these readily available at the tips of our fingers. [24]
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The Shift Of course with any change in history, there were controversies and criticisms about it. “CAD might conspire against creative thoughts” by encouraging “fake” creativity.[T05] It was thought off that these programs, aside from the general shift in style and composition, was a crutch used in the design process of architecture. It was unlike the ‘old days’ when design was based on a vast knowledge of proportions, geometrics, language and strategies. There was a danger that these new CAD designs would pass off as mere aesthetics instead of a truly well thought out design. With the ability to create free-forms, many were attracted to the futuristic idealisation these CAD softwares were creating and soon generating it into reality.
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One of the many significant works that started the shift was Frank Gehry’s Guggenheim Museum in Bilbao which had its design methods in the transition of the shift, it was analog in design, digital in production and deconstructive in mood. The combination of these three methods created one of the world’s most significant and inspirational works of architecture of the century.
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Algorithmic Thinking
Parametric Modelling
It is the procedure and/or formula created to solve problems or improve something. With CAD we have been able to use algorithmic thinking to solve issues we face in designing buildings and structure. As the allowance of the complexity of our designs grew, so did the complexity in structural design and computation of loads and strengths of the building. Therefore, these algorithms and simulation softwares allow an accurate way of calculation to allow us to experiment with forms and different designs to improve our designs to its potential proficiencies.
Parametric design began to emerge as a seminal medium of digital design. Beyond being merely a design technology, parametric design is a new form of the logic of digital design thinking. Parametric design thinking focuses upon a logic of associative and dependency relationships between objects and their parts-and-whole relationships. By changing the values of parameters within a schema of relationships (a parametric schema) such as geometric relationships, a multiplicity of variable instances can be created. Parametric systems enable the writing of rules, or algorithmic procedures, for the creation of variations. Thus parametric design in architecture develops as a new form of design logic.[T06] This meant the full control of parameters in our hands, combined with parametric softwares, allows us to ultimately design our designed concepts into reality. It comes in a variety of options and solutions to problems we face in form design. Softwares like these speed up processes and accurately determines the mathematical calculations of the design.
Scripting Cultures
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Design and Scripting was an experimental way of design that used the scripting of algorithms as a medium of research and development, it was the use of rules and algorithmic procedures to produce a number of solutions in which we could find the best ones. It was a shift from compositional and representational theorising which was basically limited by the knowledge of the designer. Without the softwares we have today, only the best in the business had the knowledge to achieve great designs, but since the evolution of technology, designs everywhere can be better created and formed with accurate calculations and experimentations.
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Beijing National Stadium Type: Sports and Recreational Location: Beijing, China Architects: Herzog and de Meruon Project Area: 258,000 sqm Project Year: 2004-2008 Nicknamed by the Chinese as, the Bird’s Nest, one of china’s most symbolic works of architecture which played host to the 2008 Olympic games.. It’s form merged with its structure which is merged with the look of its facade with continues upwards to create its roof. Such complex designs of form and structure could only be achieved with the use of computer aided design softwares that allows for parametric modelling and algorithmic computations to create a functioning and structurally safe building. A building like this would seem impossible merely 10-15 years ago before the movement into digital architecture. With this technology, designs can be built based on mathematical calculations of structures in free-forms and with the help of simulation softwares, this final product can be tested and improved for structural stability against wind, heat and natural disasters. [32]
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Guangzhou Opera House Type: Cultural, Entertainment, Commercial Location: Guangzhou, China Architects: Zaha Hadid Architects Project Area: 70,000 sqm Project Year: Completed in 2010 Designed to represent the high notes of the opera, the Guangzhou Opera House was intended to bring together two sites on each of its sides, a newly proposed museum and the metropolitan activities of the city. This meant opening up the views into and out of the opera house. The façade was designed with repetitive glass triangles that follows the form of the building’s openings to create a seamless flow of glass and structural framework. The forms of the building that undulate up and down meant the glass frames had to be calculated to bend in certain ways to fit the form. At the same time, the number of glass panel had to be calculated to fit sections of the flowing form. Not forgetting the calculations of the loads of these different glasses turning in different angles. With softwares such as ‘Grasshopper’, fast algorithmic solution can be produced by inserting the parameters and limitations of the form. Then with the use of simulation softwares, a structural analysis can be done to make the entire form structurally integral and safe for visitors. With softwares like these, designers have the freedom to manipulate form and get their desired outcome without being limited by such problems. Technology had immensely aided us in this aspect and as such, we now capitalise on it to create such great works of architecture and design. [33]
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A.4 CONCLUSION Conclusion In Part A, we have seen the different works of architecture and design that the digital era has brought unto us. It is uses in different types of architecture all over the world such as office buildings, cultural and heritage centres, restaurants and commercial buildings. We also see such digitally aided designs used in different styles of architecture, from contemporary architecture, to the classic and colonial styled architecture and also to topological styles of architecture. So the only question stands, why did all these great architects use these software and digital aids to generate their designs? It has become a weapon in the arsenal of the architects of this generation. We have the ability to use these intelligent computers to solve problems that would take us hours to solve, some problems even impossible for us to calculate or solve. This weapon we have, has saved us time, time that would have been spent in calculations, failures and many experiments. It has saved us money, building an inefficient building as compare to a building that could lower its energy consumption and save cost. It has ultimately saved lives, the example of the Sendai Mediatheque cultural centre by Toyo Ito which withstood the earthquake in 2011 because of the design of the columns that were calculated but softwares to withstand such a disaster.
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This has been an extremely positive shift in design. Possitive effects from performative and responsive design by parametrics can contribute back to societies. [35]
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These works have similar styles, where facades were combined with structure and where structure was part of its aesthetics. In my further design in the year, I will adopt this approach, where structure will play a huge role in the form and aesthetics of the final product, where the form will always follow its function, where digital architecture will be used to make it as efficient as possible by design generation.
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How then can we use this approach to positively impact the built environment like the many famous architects have done so well? Whatever we do, it should be for the benefit of the people around us, the environment around us, it should be for a greater significance that what it was set out to be. Not just the superficial, but its functionality, its purpose and its impact on society.
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A.5 LEARNING OUTCOMES
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Learning Outcome Digital design and computations are a part of architectural evolution, it is the generation’s tool that would help realise concepts and strategies that were not possible before. It has thus far increase the possibilities and capabilities of designers and researchers. I had a minimal impression of digital architecture when I first started this project, I’ve been using CAD softwares for year and it has always been the way to go. It was only when researching into parametric designs and definitions in ‘Grasshopper’ did I realise the full potential of what this software could do. It widened my imagination and thinking of geometrics and forms, with this new range of tools and options, I can broaden my views on design and not limit my capabilities to my imagination. 39
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A.6 APPENDIX
Algorithmic Sketch Through learning by tutorials and videos, the Grasshopper software is becoming more understandable to me. Through experimentations, I begin to discover more about the capabilities of parametric software. In this sketch I used a series of curves and points to create intersections that would represent either tension cables or structural beams that could be calculated and arranged in different variations depending on the designer’s intent as well as the engineer’s calculations. These calculations and variations would be time consuming if it wasn’t for the software we have today. Through design computation techniques such as the use of varying parameters and algorithmic procedures, combined with other software to calculate load, tension and structural characteristics, a more accurate research of design is created that would improve the work flow and ultimate outcome of the project.
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PART B [ CRITERIA DESIGN ] FROM THE DEVELOPMENT OF A PARTICULAR TECHNIQUE, A SET OF CRITERIA ARE PLACED TO CHANNEL THE DESIGN PROCESS IN A SPECIFIC DIRECTION.. FILTERING IDEAS AND CONCEPTS, A SELECTION OF THE BEST OUTCOMES THAT IS MOST SUITABLE. CRITERIA BASED ON THE DESIGN INTENTIONS OF THE PROJECT, THE CLIENT OF THE ARCHITECT AND THE PURPOSE OF THE BUILT STRUCTURE.
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B.1 RESEARCH FIELD
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Grid Shells Used as an expression of form, structures have both aesthetic potential as well its already well known characteristics of strength. Works of design and architecture that uses its structure to its full potential, creating expressions and form out of a compulsory item in the build is nothing short of being resourceful and creative. In the exploration this field of design more is revealed beneath the superficial facade it projects, forces and strengths within the design and a sense of timelessness that had been trending through the centuries. Before design computation, works of architecture have long begun the exploration into structural architecture designs. It was something none could evade, structures would be exposed somewhere in the building and would become a problem one way or another.
Structure as Architecture Structural design beautifies and expresses structure in ways of changing problems not only into solutions but into a driven act of expressionistic design. Such works began in the 1800s. The Bibliothèque Nationale, Paris, 1862-68, expresses the uses iron frames and arches in the interior to support a large ceiling and free up the floor space below. Not only does it functions as a supportive structure, it projects an aesthetic appeal and a subtle but dramatic language to its form.
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With the evolution of design computational software, designers started exploring into different and more expressive forms that were somewhat deconstructivist and divest from regular geometric shapes. Fluidity and topographical designs created by using the forms and properties of structural elements.
Case Studies An example of such projects with this strategy is the Metropol Parasol by Jurgen MayerHermann and the Japanese Pavillion Expo 2000 Hannover by Shigeru Ban, where the properties and forms of structure is freely expressed with the form and functionality of the space. Of course with this move, it required several new media of material production. The exploration of different materials that could be used structurally as well as being flexible enough to be moulded and shaped into different forms were a consistent study in this field. Material properties also played a huge role in structural design. Therefore understanding material properties and characteristics is vital in this field of design and is of paramount importance, without which, would simply be blind.
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Metropol Parasol Type: Commercial Client: Ayuntamiento de Sevilla und SACYR Location: Seville, Spain Architects: Jurgen Mayer H Project Area: 150m x 70m Project Year: Completed in 2011
About A bold statement to the surrounding structures, this form stands tall above the sea of buildings in the city of Seville, Spain. Prized as the world’s largest use of wooden structures, the Metropol Parasol boasts modern technology, the integration of computerised software and a historical site on which it stands upon as a project that would bring the people back into the centre of the city.
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Design and Strategy Fluidity and curvatures in its topographical form explores the possibilities of movement without movement. Undulating curves both above and beneath the canopy of wood brings together 2 movements of human and nature, a relation long forgotten in the urban jungle we reside in.
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A 250m walkway gives panoramic views of the city, a taste of what it would be like in the clouds. Below, a large plaza where cafes and markets gather the masses on the weekends, renewing the purpose of the old square it was built on. It was, however, limited by its material performance. Steel had to be integrated into the structure where restaurants were positioned. Understanding the limitations of materials and joint technology is as important as understanding its properties and characteristics. It is the combination of the study of forces present in the environment and the structural technique to counter that force. The Metropol Parasol is an exhibition of what parametric software and material technology is capable of creating. Fluidity and curves in structural elements may pose complications to design but can also covey solutions that help expand the limits of what forms of the built environment could look like.
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Base Curvature Curvature with structure begins with its basic form which can later be altered at the micro level to form even more intricate details and designs.
Iteration 1
Directional Curves of different direction have different languages and impact to people around it. A curve outwards could lead to a more exploratory experience while a curve inwards could be a more private and conservative approach. Iteration 2
Start & End Exploring the start and ending of a curved tunnel. This changes the orientation of the form, as compared to one with an opening, it is now fully enclosed and the openings could be more subtle and less obvious.
Iteration 3
Materialisation As forms change, its materials must have the characteristics to span certain length to support itself. Processes can either increase the structural members or thicken it as appropriate.
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Iteration 5
Iteration 6
Iteration 7
Iteration 8
Radical curves Iteration 9
Iteration 10
The limits of such forms are bounded by its material, but with new technology and new material manufacturing processes, this boundary can be stretched to the point of our imagination. Forming a series of different forms, materials can later be specified and calculated to best fit the design. A whole new experience can be created when limits are stretched and new forms are explored in all axis. A change in height, length, depth, angle or curvature is explored to better suit the environment it would be built on.
Iteration 11
Structural members undulate over the forms in a mesh of networking steel tubes,
Iteration 12
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The Esplanade Type: Recreational & Civic Client: Ministry of Information, Communication & The Arts Location: Singapore Architects: DP Architects Project Area: 111,000 sqm Project Year: Completed in 2002
About Nicknamed the ‘Durian’ by locals, one of the iconic landmarks of Singapore is the Esplanade Theatre by the bay. Its form and pointed façade can be seen from the skies, 2 massive domes of triangulated glass panels and its individualised sun shading held together by an impressive network of a curtain of structural steel that blankets the theatre.
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Design and Strategy Its rounded form summoned the need for an obvious curved frame structure as its shell. Acting in 3 directions, the shell was formed by intersecting lines of curved frames headed in the 3 directions, thus forming triangulated intersection spaces where panels of glass sits.
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The climate and heat of the city called for an environmental solution to its problems, sun shading for a large air-condition space would decrease energy usage as well as an opportunity to further express the triangular patterns formed by the structural frames. Plates of triangular sun shading added on to the glass panels gave the facade an extrusion of its already outstanding facade. The structural dome also meant less columns in the space beneath, less obstruction meant an open floor space, something crucial to theatre spaces.
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Performance in architecture starts at its structure and how it relates to the space. Curves provide opportunities to expand more, material drives exploration of aesthetics and performance, these combination elements drives opportunities and thus, creativity of another level and a new look into structure as architecture. 51
Iteration 1
Iteration 2
Structural frames The frequency and number of frames are parametrised for ease of adjustment. This adjustment not only changes the amount of structural connections but changes the sizes of any facade panels used, it changes the superficial appearance of the form making it rougher or smoother. Iteration 3
Parameter Changes Basic changes to the amount of divisions in the surface affects the amount of structural frames created. Structural frames have its own series of parameter that can change the look of the structural tubes. A more jagged look or a more smooth tube-like look.
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The Dome Effect The use of rounded forms offers an extra characteristic of structural support. A curve would require less care of support as compared to other shapes like a cube. Weight is spread out and forces of gravity is transferred evenly around. This might vary slightly for irregularly shaped circular forms. Iteration 5
Forms Changes to the height of the starting curves as well as the intermediate curves changes the forms’ height. Radius changes for different curves also affect the form’s shape.
Iteration 6
Iteration 7
Iteration 8
Iteration 9
Iteration 10
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King’s Cross Station Type: Transport Client: Network Rail Location: London, UK Architects: John McAslan + Partners Project Area: 7,500 sqm Project Year: Completed in 2012
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About A striking new installation to an existing train station in the heart of London, the Western Range revamp gave a whole new experience to commuters in the station. With the enormous steel structural shell casting upon the large floor space, it is Europe’s largest single span station structure.
Design and Strategy The shell shape much like a dome, has selfsupporting characteristics much like an igloo in the Arctic or a shell of a turtle. It is strong and relies on its form for structural integrity.
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Although such an optimum form has such capabilities, it is only a slight aid to the load the structure has to embrace. The network of steel frames in several radiating directions disperse the load evenly around the periphery of the station. Primary branches of steel tubes rise from the ground and begin to reach across the station in its individual directions, intersecting other steel tube members headed in another direction.
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This weave of steel reinforces the shell from of the roof, allowing it to expand and reach further across. Large spans meant less columns, in this case, close to none. Freeing up the floor space for commercial activity and a free floor for commuters to roam. It has thus created a wonderful space catered to the busy environment of one of the busiest train stations in the world. Its form and function to ultimately push the performance of the space it encompasses.
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Iteration 1
Iteration 4
Arc of Frames Iteration 2
Bending and twisting frames into an arc could strengthen its form and create new spaces within. As certain elements curve and bend, its individual structures would either be stretched beyond its capabilities or shrunk to the point of overlapping or disrupting another element. Parameters and rules must be used to guide the amount of bend a structure makes. A set of physics rules applies to the strength and rigidity of such forms.
Iteration 3
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As a bend stretches or spans out, members have to either be lighter to ease the stress on main elements, or become even stronger to support the form on a different set of foundations.
Iteration 5
Iteration 6
Iteration 7
Iteration 8
Massing
Iteration 9
A mass of random curves that was initially formed on its own but later combined to create a new form of twisting and turning shapes that interlace with one another but still holding its own weight.
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B.2 CASE STUDY 1.0
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CASE STUDY 1.0 Based on 3 selected projects from around the world, studies prove how structure as architecture has optimise building forms and has incorporated new technologies, strategies and materials into the buildings and how it has vastly improved the spatial conditions within. Structure as architecture has always been a key part of the building industry, Structure is something we cannot escape, it is what holds firm the form we create and design. It is what holds the loads of people within the building. We can, however, enhance design of these structural elements to work better for the form. The combination of structural techniques and parametric computational patterns allows us to create interesting works or architecture. These works not only function as it should but expresses the inner beauty of the skeleton of a building, 3 different projects all with their own special and unique qualities of structure. Blending materials, offering a range of views, connecting people and revealing more than just another built work.
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Absolute Towers
Bridge of Peace
Beira-rio Stadium
Designed by China based architectural firm, MAD Architects, this tower rotates and twists as it rises up. Its internal structure stays oriented to one direction but has radiating structural beams and walls that extend and retract as the ovals of each slab increase and decrease in size according to the twist.
A link between the old historical center and a new city, this bridge expresses the form or a marine animal. Spanning 150m across the river, the network of steel tubes formed in the organic shape allows it to span with minimal columns to the ground, leaving the river untouched.
Constructed out of steel frames, PTFE membrane and glass panels, it radiates around the stadium sheltering spectators from the weather while letting in light and sunshine. It’s circular form holds its own weight by forces transferred evenly down to the ground and lateral forces pushed outwards are held together by a network of interconnecting steel tubes. 59
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Absolute Towers Type: Residential Client: Fernbrook/ Cityzen Location: Mississauga, Canada Architects: MAD architects Project Area: 4090 sqm Project Year: Completed in 2012
About A towering skyscraper with a twist of its own. The Absolute tower was designed to ease the strong mass of the typical skyscraper, to soften it and have a more fluid and natural form. Its oval platform arrayed to the skies, rotated by small degrees along the way creates a smooth twist that rises from the ground.
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Design and Strategy Its internal structure stay oriented but branches of structural walls and beams extend and retract according the shape of each slab on each level. A central core with a twisting outer façade holds a firm foundation while forming a totally different language on its own. Its irregular structure required computerized software to calculate loads and sizes of each structural element to fit each slab differently. There is always an unseen relation between a building’s form and its structure, much like the body and its skeleton, it is different depending on its function and form.
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Explorations into different combinations and patterns of structure ultimately leads to a freedom of design where designers can create the most unusual and interpretive forms of art and architecture.
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Parameter Changes
East View
North View
Perspective View
Iteration 1
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Iteration 2
Iteration 3
Iteration 4
Iteration 5
Iteration 7
Iteration 8
Iteration 9
Iteration 10
Parameter Changes
East View
North View
Perspective View
Iteration 6
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LEARNING OUTCOMES
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Uniformed A uniformed series of ovals are arrayed up to the skies creating the levels and height of the building. This can later be adjusted for overall height and number of floors. The rotation is bounded to the axis at the core of the structure. The start and end of the rotation can be specified as well as the torque of the twist. All these parameters control the overall intensity of the twist of the building. A slight difference can be seen between the 2 towers, both adjusted to offer the best views of the city for the residence.
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Floor Slabs
Glass Balcony Railings
Windows
The series of rotating ovals are lofted to create a visual slab that would be constructed as such. each oval is rotated by a certain degree and can be adjusted accordingly.
A copy of the existing peripheral curve is extruded up to represent the glass railings on the balcony. it sits on the edge of the slabs and can be panellized into several straight panels of glass for easy manufacturing.
By offsetting the peripheral curve, the windows are a setback from the edge to create the balcony space. The windows are panelled as a curved glass would be costly and impractical.
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Bridge of Peace Type: Civic Client: Old City Rehabilitation and Development Fund Location: Tbilisi, Georgia Architects: Michele De Lucchi Project Area: 150m Project Year: Completed in 2010
About Its form taken from marine life, its structure and canopy from modern technology. The combination of which creates a continuous flow of connection between 2 points, a connection for people to cross rivers and lakes. Bridges have always been a symbolic form of architecture and remains as one of the best ways to relate people and architecture.
Design and Strategy The Bridge of Peace in Georgia built by Michele De Lucchi stretches 150m across the Mtkvari river linking the ancient historic center of Tblisi to the boundaries of where the new city begins.
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The steel structure undulates like a wave across the river, its steel structures follows each flow and each turn of the form. Clad with glass panels, the bridge’s structure hold both the path for pedestrians as well as the shelter that covers it. Its form derived by intersections of several curved forms in 3 different axis creating a very biometric form.
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Panels of glass were designed to be easily manufactured in straight panels while being able to also panellize along the curves of the structure. A super structure heavy by nature is subtitled by the glass panels that reflect the blue of the sky. Its curvature also eases the bulky appeal of steel, all this in an attempt to influence and welcome the public into a comfortable space surrounded by steel.
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Perspective View
Side, Top and Front view Iteration 1
Iteration 2
Iteration 3
Iteration 4
Iteration 5
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Parameter Change
Perspective View
Side, Top and Front view Iteration 6
Iteration 7
Iteration 8
Iteration 9
Iteration 10
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LEARNING OUTCOMES
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Base Curve The base curve had to have adjustable parameters so it could be changed in the future to form the desired shape. 2 circles with adjustable radius and a tangent curve to connect the 2 circles are created to form the base curve.
Secondary Curve The secondary curve would base its mid-point on the base curve and bend in a different axis. This curve had to have its own parameters as well to adjust the height and width of the form.
The intersection From the first base curve, it was offset and adjusted to create intersections with both the base curve and the secondary curve. This intersecting curve would later be used to loft and create the desired form.
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3 Directions
Structural
Panelling
The intersection of the 3 curves from a new geometry that curves in 3 different directions. All 3 directions of the curves can be adjusted based on the origins of the curves.
A division of the surface reveals points which the structural frames would intersect and meet. A network of steel tubes creates the structural mesh that holds the glass.
There are algorithmic processes that can help designers find glass panels that are not straight and remedy these areas before sending to the manufacturers.
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Beira-rio Stadium Type: Recreational and Sports Client: Sport Club Internacional and SPE brio holding Location: Porto Alegre, Brazil Architects: Hype Studio architecture Project Area: 165,000 sqm Project Year: Completed in 2014
About A blanket of steel, glass and polytetrafluoroethylene membrane (PTFE) covered and shades spectators in the stadium. A structure provided shade, allowed light to fall though and a grand atmosphere for the world’s most popular sports. It houses retail shops, museums and restaurants all under the climatic protection of its roof.
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Design and Strategy 65 steel trusses array around the elliptical geometric shape of the stadium, integrated the strong characteristics of steel with the heat protection characteristics of PTFE membranes and the transparency of the glass panels for some natural light into the shaded areas of the stadium. Interconnecting steel tubes holds the trusses united in the oval form creating a structure based on its form. The lightweight of the membrane laid on each truss with glass panels at each interval.
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The uniformed pattern and integration of material defines the form and function of the stadium.
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With the unity of all the trusses in such a form, the need for a large foundation for stability is decreased and dispersed around the building. Smaller foundations can be used and lightens the massive steel framing. It stands independent form the building it shades, supporting its own weight and forces while providing more for what’s beneath.
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Perspective View
Iteration 1
Iteration 2
Iteration 3
Iteration 4
Iteration 5 74
Parameters
North and East Views
Perspective View
Parameters
North and East Views
Iteration 6
Iteration 7
Iteration 8
Iteration 9
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LEARNING OUTCOMES
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1. Base Base curves are created to define the shapes, height, curvature and form of the stadium. It acts as a guiding path for the array of structural members that will surround the periphery.
5. Embracing Trusses are added to each member to further brace the structure. This creates more connections of the 3 main curves to bond it as a single structure.
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2. Interpolation A series of arrayed curves are created by the interpolation of the base curves in a vertical axis creating the curves for the structural members.
6. Connections A series of connections is then made to connect all 65 structural frames into a ciricle. This holds all the frames upright and together and spreads any lateral loads evenly.
3. Offset An offset creates another set of curves for structural members. This is the first form of strengthening for the frames. It starts and ends at the same point but has a wider radius to create support for the cantilevered members.
7. Membrane The membrane added follows the form of the 3 structural curves of the elements. It acts as shading and protection from wet weather,
4. Reinforcements The main structure is then multiplies and laid onto both sides of the original. This connection of 3 curves along different directions creates the reinforcements for the main frames.
8. Clarity Glass is installed onto the connecting structures that are between the main frames to further protect people from wet weather while exposing light and views in and out of the stadium.
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Base Curve Base curves are the foundation on which the structure will take shape from. In this structure, 2 curves are joint at each end to form a stronger structure.
Main Structure The base structure is then multiplied and laid open in both directions to stabilise it on both axis.
Trusses Trusses further increase the strength of each structural curve. A method used over centuries is applied till this day as one of the most effective ways to brace a structure.
Membrane Additions of membranes create a facade and a shell that wraps around the structure making it resistant to the weather. It encloses the space and completes a form.
Glass Glass is added to the structure to allow light to enter the space while protecting people from wet weather. It is uniformed across the series of structural elements, making it cheaper to manufacture. 79
Criteria
B.2.2
Iteration 4
Based on case studies and the exploration of the properties created by different forms and materials, a selection can be made by several criteria. These criteria will untimely form the bases of the design and guide future changes and modifications to stay on track with the concepts and strategies used.
B.1.2
Iteration 2
B.2.3
Iteration 2
Span Factor
Fluidity
It must be able to span far with minimal unnecessary supportive structures. Forms have been studied to take shapes that are self supportive and more stable using its own form to disperse loads and forces.
A site based in natural surroundings can only be enhanced better by more fluid forms that flow like the river on the creek. A fluid form will be more welcoming and soothing to the people. A fluid form also has its complications that can be solved by computation and some experimentation.
Footprint
Fabrication
To keep negative impacts to the environment as low as possible, the form should be as light as possible to be able to leave the smallest amount of ecological and physical footprints. A small foundation to be used to create a light feel as well as to reduce damage to the site. Environmentally friendly materials to be used to construct the design.
Cost and speed is always a make or break factor in construction and design. Products used to build the design should be as easily manufactured as possible. A look into modular design and straight panels of glass on curved surfaces shows that this is possible even with the most complex forms.
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B.1.1
Iteration 2
B.1.3
Iteration 4
B.2.1
Iteration 6
Adjustments
Dome-likeness
With parametric deigns, the most valuable aspect is the ability to change any parameters whenever you like to mould out the desired forms and designs. Height and Width are the main components that must be easily adjustable. All other variables should relate to the 2 parameters.
A study of several buildings and structures proved the form of a dome is one of the most optimum in terms of self supportive structures. Domes spread its loads evenly around its edges while supporting itself by pushing outwards whiles containing itself inwards by its built form.
Naturally Cool
Materialisation
Natural Ventilation would keep cost low and keep the space cool in the summer as well as open up views for people. An open structure has its beauty in revealing its true nature and inner skeleton.
The best possible materials are man-made, but some of the most raw and beautiful materials are in nature. Materials such as timber and stones have structural properties that developed long before humans existed. Using its properties and its form as lessons of structural framing can be used to shape and form the design.
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LEARNING OUTCOMES
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B.3 CASE STUDY 2.0
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Canary Wharf Crossrail Station Type: Transportation Client: Canary wharf Contractors Ltd Location: London, UK Architects: Foster and Partners Project Area: 34,837 sqm Project Year: Completed in 2014
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About Situated on the waters of Canary Wharf in London, UK, this 1 of 9 stations of the Crossrail line designed by Norman Foster and Partners showcases a unique approach to structural parametric in architecture in a massive sale that spans 310m along the river and reaches 30m into the air with an arcing light weight roof. [86]
Design and Strategy The design of the structural frame comes from cross referencing points of the edges of the roof. These points when intersected create a strong frame that is more stable in all directions. Meshes such as this are widely used to increase rigidity of structure. The thickness of the frame adds to the overall strength of the frame and steel joints create a strong bond in the individual components. A combination of ETFE cushion fitted into the openings of the frames create the facade and roof of the train station.
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Structure and Framework A triangular grid formed the skeleton of the curved top of the station. Its main elements were the Glulam Beams that had excellent strength properties[T07] which were used as the main structure that held up the form.
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A frame work that allows open air spaces as well as closed spaces, gave flexibility to the programs above. Timber as a material has been used for its aesthetic quality and load bearing properties. [94
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Facade and Membrane The panels made by the intersections of the timber frames are panelled with ETFE cushions that weight lighter than glass and have thermal properties of its own. It is highly resistant to corrosion, heat radiation and has a non-stick surface which requires no maintenance. Its membrane can be stretched up to three times its length without losing elasticity. Commonly used in many other architectural works, this material is a great alternative from glass and keeps the structure as light weight as possible.
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Concept A public transportation hub that would infuse retail and commercial activities, transportation, leisure spaces and links between 2 sides of a river. A large roof garden that stretches the length of the building above the transport hub, unified under a complex timber roof shell. The space draws people from the city to a more relaxed environment to commune to and from, to dine in and have drinks, and a place to enjoy the views of the city. In the night, lightings from the structure illuminates the skin of the cushions, attracting visitors and creating a new public space. A light weight roof constructed using timber and steel joints with the addition of ETFE cushions in substitution of glass to further decrease the weight. Natural air and light is able to enter the space through the transparency of the skin and openings at various areas for natural irrigation of the plants.
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Ideas and Strategy Timber structures used as it gave a warmer and natural feel for a roof garden. Steel nodes used at the joints of each timber element to allow the straight timber beams to curve along the form seamlessly. ETFE cushions used for their thermal properties as well as low maintenance and lightness in weight. The constant modularity lowers the cost for custom panels of ETFE cushions to me manufactured. The design of the lattice is a fusion of architecture, engineering and sophisticated three-dimensional modelling.[T08]
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Attempt 1 Attempt 1 started out simply by creating a series of points that had parameter that could change its width and length. Line drawn from it would be the primary structure that would be divided into points. Diagonal connections are made and intersections created. However it was difficult to find a way to wrap the shape in a semi cylindrical way. This attempt was abandoned in search of a more simple and flexible definition.
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Attempt 2 It started out as points on a plane that created the 2 horizontal lines. An arc is then made and rotated on the axis of the ends of each horizontal line. The curve is divided and lines extended to the other ends and lofted. As simple as the stages of definitions are, there are limited parameters that can change the arc of the curve. This attempt was abandoned to find a more parametric way of creating the base curves.
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Attempt 3 This attempt utilises the graph mappers and several other parameter to create a flexible and parametrised form. It was created by a series of uniformed arcs that were connected to variable changing sliders and graphs. These arc were tilted at the ends to form the building shape. Then lofted together to create a base surface.
3. Loft created
This surface was divided into horizontal and vertical segments. Later it was divided in to diagonal segments in both directions to create the triangular frames. Using the base surface created earlier, Offsets were made to create a depth in the triangular frames to simulate the wooden beams used in the project, Finally with the divide base surface, the individual triangular cushions could be created and fitted exactly onto the frames.
4. Horizontal and Vertical divisions made
1. Arcs created with parameter inputs
5. Diagonal divisions made
2. Ends of arc series rotated outwards
6. Lines are combined into a mesh
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7. Offset creates thickness and is lofted
9. Individual triangle panels created
8. Horizontal and Vertical divisions made
10. Final product created
Improvements Kangaroo plug-ins can be used to simulate the inflation of ETFE cushions as the triangular panels. This would further simulate accurately the appearance of the built project.
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Similarities
Differences
1. The form that was recreated takes the same shape and proportions
1. Panels could be removed to create openings, however the frames are not.
2. Structural frames replicate majority of the same frame work seen in the project.
2. End of the roof dose not look like the building’s end structure shown in the photos.
3. Panellised triangular cushions are depicted and relative to the initial design.
3. WeaverBird’s mesh thickness created thickness in all directions which caused an unsightly finish. 95
Final Product The final product was a relatively accurate interpretation of the built project. However certain elements such as the joints and materialisation of the triangular panels can be further explored. Reverse engineering has its differences as it is simply an interpretation and not a direct copy. However the differences can be developed into another design does not have to take the same form as the original.
Parametric Modelling with Algorithms The use of parametric modelling and algorithmic processes gives new flexibilities to the adjustments and changes in parameters of the form. With 3D modelling programs it can help optimise performance of structure as well as simulate the intended outcome.
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3D Printed Model The architecture firm, Fosters & Partners, printed a 3D model that was an easy way to reference the number of frames as well as the scale of the project. [110]
Photographs of ETFE Surface To better understand the form the ETFE takes, the photographs of the installation of the cushions is a great reference. [111]
Photographs of Roof Ends The photographs of the edges of the roof shows how the structure finishes. [112]
Top View Top views provide a scale of the built structure as well as the design intent of leaving some parts open to the sky light. [113]
Construction Photos The best way to visualise and replicate a form is by understanding how it was constructed.
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B.4 TECHNIQUE: DEVELOPMENT Criteria Naturally Cool
Fluidity
Fabrication
Materialisation
Natural Ventilation would keep cost low and keep the space cool in the summer as well as open up views for people. An open structure has its beauty in revealing its true nature and inner skeleton.
A site based in natural surroundings can only be enhanced better by more fluid forms that flow like the river on the creek. A fluid form will be more welcoming and soothing to the people.
Cost and speed is always a make or break factor in construction and design. Products used to build the design should be as easily manufactured as possible.
The best possible materials are manmade, but some of the most raw and beautiful materials are in nature. Materials such as timber and stones have structural properties that developed long before humans existed.
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Design Potential
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Recreational Pavilion It’s shelter providing a comfortable indoor zone in an outdoor environment. Curved form generates wind through the space and opening project different views in four directions.
Playground/ Rock Wall A series of slopes and arches great for rock climbing and bouldering. A smaller safer section for kids and a larger, higher area for more experience climbers. A new activity is introduced in the area.
Public Square A large enough space to hold masses of people for concerts or fairs. A big dome-like shelter that can house a big event while still keeping the venue outdoors.
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B.5 TECHNIQUE: PROTOTYPES Wire Model Use of ‘Florist wires’ that were bent in to the shapes of individul structural elements and weaved into a structural mesh that is strong and stable.
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LEARNING OUTCOMES
LEARNING OUTCOMES 103 103
Part Model This was used to study and explore the bracing properties of this structure. It also allowed a close up view of the joints and how different components join at different angles.
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LEARNING OUTCOMES
LEARNING OUTCOMES 105 105
Strip Model Here the use of strips of paper to simulate more flexible materials is used. The results were not as expressive as using a solid structure.
Stress Model This model shows the differnt areas of stress on the structure as the form changes. The metal pins simulate forces both going upwards and downwards. 106
LEARNING OUTCOMES
3D MODEL 3D printing was a big failure due to the complexity of the trusses and the design of the form. It was a good experiment but not very useful.
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3D PRINTING 3D Printing was a challenge for this form due to the many angles of trusses which required individual supports to be printed together. It was a good attempt but difficult to fix and correct.
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HAND MADE The hand made models seemed to be the best result showing the clearest form and construction technique. It was more time consuming but the product conveyed the design alot better.
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B.6 TECHNIQUE: PROPOSAL Site Analysis “Merri Merri” translated as “Very Rocky” creek was once home to the people of the Wurundjeri-willam clan. The largest recorded meeting of Aboriginal people in Victoria occurred at Merri Creek in January 1844. The Wurundjeri-willam hosted an immense gathering of tribes which came from all over central Victoria. An estimated 800 people journeyed to the Port Phillip district to witness important judicial proceedings carried out according to traditions of Aboriginal law. It is also home to many of Australia’s endangered species of animals.[T09] Today in the suburban town of Collingwood, Victoria, Merri Creek is a well known recreational spot for suburban and city dwellers to visit during the weekends. Some main localities includes Abbots Convent school, the Capital City Trail, the Children’s Farm and the Good Shepard Chapel which plays host to several convent affiliated cafes such as Lentil as Anything and the Convent Cafe.
Capital City Trail A popular bike and jogging trail used by surburban and city dwellers especially during the weekends.
Abbots Convent text
Colling wood Bridge One of the few crossing sites avaliable to cross the yarra river.
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Johnston Flyover The 2nd form of connection to the other side of the river. Mainly vehicular traffic.
Bike Underpass An intersection of bike paths that required bridges and underpass to negotiate. A clever and innovative traffic connection.
The Farm Cafe A popular cafe in the area, locals were having their Sunday brunch. A full house during the site visit.
Collingwood Children’s farm A small petting farm with horses and sheeps. Visited by families during the weekends.
Yarra River The river streams through the creek dividing the area by a physical barrier. Fishes and other wildlife reside within.
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Analysis Separations and Divisions
The site is home to many residents as well as a place of recreation for visitors. The creek’s steep terrain creates a physical separation of the residential and public space. This physical barrier is further divided by the Yarra River creating a symmetrical division of space.
Gatherings and Connections
Merri Creek was once a historical place of the gathering of two hundred Kulin people who came to join the Wurundjeri-willam in the ceremony of Tanderrum. They had travelled from their own territories along the Delatite River to make a special visit to the land of the Wurundjeri-willam.
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Concept Concept
Rivers have long been known for its resources and its natural attraction that gathers people. The Yarra River has been doing that for years, however the lack in connections and the physical barriers made by terrain and water features has created a very difficult journey down and across the creek. If a connection could be made to resolve the physical barriers, more people could easily commute over the creek or explore a different side of the creek easily.
Strategy
A seamless connection that would link both sides of the river. A bridge or platform that would act as a link as well as a gathering space for people. In respect to the elements, minimal impact to the environment is to be made. A conservative approach to materials and land use as well as minimising the impact to the ecosystem of the creek.
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Proposed Trail The newly proposed trail would compliment the existing tail by following in its direction whilst connecting the 2 sides of the river. This new access brings more connections and new boundaries of experiences.
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The Solution A means of crossing to the other side of the river.
The Experience A diagonal crossing, a different approach than the conventional way.
The Platform A physical space for installations and exhibitions to be part of this trail.
The Rest Spot A place to rest and have gatherings. Centralised in the middle of the river.
Cycling and Jogging Circulation Keeping the routes unobstructed and clear for a smooth circulation of people.
Views and Experiences Framing the views with planar edges that direct views in different directions.
Cycling and Jogging Circulation Keeping the routes unobstructed and clear for a smooth circulation of people.
Views and Experiences Framing the views with planar edges that direct views in different directions. 115
Possibilities As a temporary structure, other installations can replace it without altering its original functions and concepts of the newly proposed trail.
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Innovation A new life brought to the area and the potential for future possibilities now open to designers and artists.
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Fabrication Materialisation Materials (Structure)
Materials (Skin)
Plastic (High-Density Polyethylene) - Excellent Scratch Resistance - Easy to Clean - Great Impact and Stiffness - Will Not De-laminate, Chip, Rot or Swell - Easy to Machine with Standard Tooling
Plastic (Acrylic) - Able to be formed in different shape - Different densities of transparency - Light weight and cheap - Easy to replace
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Plastic (ETFE Cushions) - Able to be formed in different shape - Thermal Properties - Low maintenance - Easy to replace
Steel (Circular Hollow Sections) - Durable - Strong - Able to be shaped and formed - Wieldable - Requires machines to assemble on site
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Materials (Facade Joints)
Spider Clamps (Stainless steel cast) - Minimal obstruction to skin’s transparency - Easy to install - Great strength - Flexibility in fixing
Steel Wield - Durable - Strong - Raw - Fast construction - Requires machines to wield
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ETFE Cushion Clamps - Easy to assemble - Air tight - Water resistant - Modular in production
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Plastic (Ball joints) - Able to be formed in different sizes - Flexible - Light weight and cheap - Easy to replace
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B.7 LEARNING OUTCOME Computation in the Design Process
[Constriction, Limits & Rules] In every design, a set of constrains and rules must be applied to keep a project headed into the right direction instead of exploring different methods and going off track from the proposal or main concept. Computational software allows the input of these rules such as dimensional limits, anchor points, tension levels, force levels and level of displacements to form find with a based set of limits.
[Form Finding] With a desired function in mind, form finding is sped up by computation through a series of manipulation processes. Variables allow fast and quick production of several iterations of forms that can be used to fit into the proposed functions. Form finding with a structural optimisation tool can further be used in the fabrication process to determine the stress loads at points of the form, and making certain elements stronger to support the overall structure.
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Computation in the Fabrication Process [Hand-Made Conceptual Models] By separating elements of the structure into individual elements for fabrication of the model, it is much easier and sequential in understanding the actual construction process and possible issues when building the form.
[3D Printing] Complex forms can be printed in 3D with the technologies of today, however, an form with too much complexities can result. However, 3D printing can also be a fast way of modelling out forms to be used in discussions or presentations. The physical form of the model would be a much better representation of a proposal than a graphic one.
[Construction and Fabrication] The study of forms and its stresses will allow an accurate fabrication of its structure. Engineers can use the digital models to simulate more test such as wind forces and displacement forces. Computational software has given designers and engineers the edge in an accurate prevention of structural failure in the future as well as a tool for quick form finding and fabrication.
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B.8 APPENDIX Algorithmic Sketches Form Finding with Geometry Using basic shapes to form the design and provide constant but changable variations to change and create new forms.
Creating Structural Components
Points and vectors allow easy joinging of components to create trusses and bracings in steel or timber built sturctures.
Reverse Engineering
Understanding basic forms and manipulations using the software, deisngs can be reverse engineered and studied. 124
Form Finding
Use of Grasshopper plug-ins such as Karamba to simulate loads and stresses on different forms.
Structural Bracing
A set algorithmic process that calculates number of elements needed to for the bracing of each form.
Membrane Application Using points on the form to create a simple surface that can later be made into different materials.
125
126
PART C [ DETAILED DESIGN ] THE DETAILED DESIGN PHASE CONCLUDES THE ‘WHAT’ PHASE OF THE PROJECT. DURING THIS PHASE, ALL KEY DESIGN DECISIONS ARE FINALISED. THIS PART FOCUSES ON THE DEVELOPMENT OF A REALISTIC AND YET INNOVATIVE DESIGN PROPOAL. THE OUTCOME OF THIS STAGE IS A FULLY DOCUMENTED AND CONVINCING ARGUED DESIGN THAT IS CRITICALLY POSITIONED IN CONTEMPORARY ARCJOTECTURAL DISCOURSE.
127
STRUCTURAL IMPROVEMENTS
EVOLUTION 1
EVOLUTION 2
EVOLUTION 3 128
129
EVOLUTION 3 DESIGN
1. BASE MESH
2. COMPRESSION
3. INFLATION 130
4. ANCHORAGE
2. SURFACE PANELING
4. PERFORATION 131
EVOLUTION 3 CONCEPT
132
133
EVOLUTION STAGES
EVOLU
EVOLU
EVOLU
EVOLU
134
UTION 1
UTION 2
UTION 3
UTION 4
135
EVOLUTION 4 DESIGN
136
137
C.1. DESIGN CONCEPT SITE ANALYSIS LEISURE PARK FOR CYCLING AND JOGGING.
BRIDGES EVERY 1KM TO CROSS TO OTHER SIDE.
FAMILY PLACE, SPORTS ACTIVITIES AND LEISURE.
ALTHOUGH THE SITE HAS SEVERAL ACTIVITIES AND IS AN ICONIC ROUTE FOR FAMILIES AND SPORTS ENTHUSIAST TO VISIT, THERE ARE SEVERAL OTHER ISSUES THAT COULD BE ADDRESSED TO IMPROVE THIS AREA AND CREATE A MORE VIBRANT ENVIRONMENT. WHAT COULD BE CHANGES, WHAT COULD BE MIXED AND HOW CAN DESIGN CREATE A BETTER ENVIRONMENT AND IMPROVE LIFE QUALITY.
138
139
140
CONCEPT
NEW ECOSYSTEM - INTRODUCING NEW PLANTS ON A NEW SURFACE - CONTROLLED ENVIRONMENT FOR NEW PLANTS
NEW FUNCTION AND ACTIVITIES
- INTRODUCE SOMETHING NEW NOT DONE THERE - VIBRANCY IN DIFFERENT TYPES OF PEOPLE
IMPROVE PERMEABILITY - EASE OF MOVEMENT - NAVIGATION ON SITE
PERMEABILITY & LEGIBILITY NEW STRUCTURE TO BRIDGE THE GAPS BETWEEN THE TWO SIDES OF THE RIVER. CONNECTING BOTH SIDES AND TWO DIFFERENT ROUTES.
[123]
[124]
A NEW BRIDGE WILL ALSO EASE NAVIGATION AND GIVE MORE FREEDOM IN MOVEMENT AROUND THE SITE.
MIXED-USE & NEW ACTIVITIES ROWERS ALONG THE RIVER WILL HAVE A NEW SPOT TO DOCK. A NEW SHELTER UNDER THE BRIDGE TO REST AND DOCK. NEW ACTIVITY BOTH ABOVE AND BENEATH THE STRUCTURE TO UTILISE SPACE. NEW ACTIVITIES CAN EXPLORE MORE POSSIBILITIES OF THE SITE.
[125]
[126]
[127]
GRAFITTI CANVAS ON UNDERSIDE OF STRUCTURE BRINGING MORE VIBRANCE IN BOTH VISUAL ARTS AND ACTIVITIES. 141
GRAFFITI ARTIST PICHI & AVO PAINTS GREEK GODS ON SHIPPING CONTAINERS FOR BELGIAN STREET ART FESTIVAL [128]
142
PROBLEM I A SIGNIFICANT LACK IN VARIETY IN PLANTS AND TREES. SITE SEEMED DULL AND LIFELESS DUE TO THE LACK IN VIBRANCY AND VARIETY IN COLOUR. NEW SPECIES COULD BE INTRODUCED TO BRING NEW LIFE TO THE SITE.
SOLUTION I INTRODUCING NEW SPECIES OF PLANTS AND FLOWERS. A NEW PLATFORM AND ENVIRONMENT WILL SUSTAIN ITS GROWTH AND CREATE A DIFFERENT CONDITION TO THE EXISTING.
[129]
PROBLEM II
PROBLEM III
GRAFFITI SEEN AROUND CONCRETE STRUCTURES AROUND THE SITE. A STREET FORM OF ART OFTEN SEEN AS VANDALISM. WHAT IF WE COULD ENCOURAGE AN ORGANISED AND CONTROL THIS ART.
SO FAR THERE ARE A LIMITED AMOUNT OF ACTIVITIES IN THE AREA. A NEW AND MORE EXCITING PROGRAM IF INTRODUCED COULD BRING IN A WHOLE NEW GROUP OF PEOPLE TO THE AREA.
SOLUTION II
SOLUTION III
STREET ART CAN HAVE ITS BEAUTY IF DONE IN A CONTROLLED SPACE. BY PROVIDING A PUBLIC CANVAS, STREET ART CAN LOOK MORE DELIBERATE RATHER THAN RANDOM VANDALISM.
A MORE VERTICAL ACTIVITY COULD PROVIDE A MORE DIVERSE ACTIVITY IN THE AREA. MOST ACTIVITIES ARE CARDIO BASED, A ROCKWALL COULD ADD SOME EXTRA PHYSICAL ACTIVITY TO THE AREA.
[129A]
[130] 143
FINAL DESIGN GREEN ROOF
PLANTERS INSTALLED CONTAIN AND GROW THE CREEPERS AND PLANTS, EVENTURALLY COVERING THE CONRETE COVER.
MINIMAL DISRUPTION
THE KEY WAS TO ADD VALUE TO THE SITE AND NOT DISRUPT ANY EXISTING PROGRAMS OR ROUTES.
144
OVERHEAD CROSSING 2-WAY CROSSING UNDULATING OVER THE STRUCTURE. FREE BIKE PATHS AND PEDESTRIAN WAYS.
SITE INTEGRATION
BLENDING SEAMLESSLY INTO THE CONTOURS TO CREATE A CONTINOUS PATH.
SUPPORT CONFIGURATION LEAVING THE RIVER PROGRAMS UNDISRUPTED BY SHIFTING THE SUPPORTS TO EITHER SIDE OF THE BAY.
145
PLANTER GROWTH SIMULATION
146
DAY 050
DAY 200
DAY 300
147
FINAL DESIGN CONCRETE CANVAS
ENCOURAGING STREET ART IN A CONTROLLED ENVIRONMENT. A LARGE CONCRETE CANVASE TO INTEGRATE DIFFERENT GROUPS OF PEOPLE.
148
ROCKWALL
NEW ACTIVITY INTRODUCED TO THE AREA BRINGS NEW GROUPS OF PEOPLE AND A NEW ATTRACTION TO THE PLACE.
149
FEASIBILITY STRUCTURE WILL BE TOO COSTLY TO BUILD FOR A SIMPLE BRIDGE? THE PROBLEM WITH THE SITE LIES IN THE DISORGANISED AND UNMAINTAINED GRAFFITI AND NATURAL GROWTH IN THE AREA. IF A DEVELOPER OF THE AREA WANTS TO IMPROVE THE VALUE, SUCH A PROJECT WOULD NOT ONLY SOLVE THE GRAFFITI ISSUE BUT BRING AN ADDED VALUE TO THE AREA. A NEW LEISURE SPOT, A NEW ACTIVITY AND A NEW ATTRACTION. VANDALISM PROBLEM
ORGANISED & PURPOSFULL CANVAS
ART & COLLABORATION
[128]
DESIGN AS AN INVESTMENT IN PROPERTY, A SLIGHTLY MORE EXPENSIVE IMPROVMENT WITH A LONGER LASTING EFFECT ON THE SITE.
150
BUILDABILITY DESIGN IS TOO LARGE AND SPAN NOT BUILDABLE IN THAT SCALE? LONGEST SPAN FROM ONE SUPPORT TO ANOTHER IS AT A MAXIMUM OF 20M, A VERY COMMON SPAN FOR BRIDGES. THE USE OF PRE-CAST PARTS ALSO ALLOWS IT TO BE BUILT FAIRLY EASILY. ONE SUCH PROJECTS USING MASSIVE AMOUNTS OF CONCRETE IS THE ‘PALAZETTO DELLA SPORT’ BY PIER LUIGI NERVI. THE USE OF 1620 PIECES OF PRECAST PANELS SPANNING 100M AT 70MM THICKNESS.
[131]
[132]
[133]
[134]
151
FEASIBILITY WILL THE PLANTS GROW ON THE CONCRETE SURFACES ? NOT DIRECTLY, A SERIES OF PLANTER BOXES INTEGRATED INTO THE STRUCTURE WILL ALLOW PLANTS AND CREEPERS TO GROW. STUDIES OF EXISITING CONCRETE BUILDINGS HAVE SHOWN A BEAUTIFUL INTEGRATION OF MAN-MADE STRUCTURES WITH NATURE.
[135]
[136]
[137]
[138]
[139] 152
[140] 153
C.2. TECTONIC ELEMENTS & PROTOYPES PRECAST CONCRETE
[141 ]
- BY PRE-FABRICATING CONCRETE IN FACTORIES, QUALITY IS MAINTAINED AND SPEED OF CONSTRUCTION IS INCREASED ON SITE. - WHEN STRUCTURES ARE TOO COMPLEX TO BE CAST IN-SITU, PRE-CAST PARTS CAN BE MADE IN FACTORIES ACCORDING TO SPECIFICATIONS AND DELIVERED TO SITE.
[141]
CAST IN-SITU CONCRETE
[142]
154
- CAST IN-SITU CONCRETE MAY BE A RESORT WHEN PRE-CASTING PANELS ARE TOO BIG TO BE DELIVERED. - IT MAY ALSO BE A MEANS OF CONSTRUCTING COMPLEX SCULPTURAL DESIGNS THAT REQUIRE MANUAL SKILLS. - CAST IN-SITU ALSO REQUIRES LESS PRE-PLANNING AND ERRORS ON SITE CAN BE EASILY [143] REPAIRED AND FIXED.
[144] 155
[145] 156
STAGES OF PRECAST
FORMWORK AND PRECAST MOULDS ARE DONE IN FACTORY AND TRANSPORTED TO SITE. SIZE OF PRECAST PANELS VARY DEPENDING ON TURCK SIZE AND TRANSPORTATION ROAD SIZE. PANELS ARE ASSEMBLED ON SITE.
STAGE 1
STAGE 2
STAGE 3
STAGE 1 PRECAST PANELS ARE CONNECTED BY DOWEL JOINTS USING REINFORMENT BARS THAT INTERLOCK. STAGE 2 GROUT HOLES ARE FILLED TO SECURE DOWELS IN PLACE. HOLES FOUND ON SURFACE OF PANELS.
STAGE 3 REINFORMENT DOWEL JOINTS ARE FOUND AT EACH EDGE THAT REQUIRES A JOINT.
VARIATIONS JOINTS ARE COMPATIBLE WITH OTHER VARIATION. JOINTS ARE ON EDGES BUT MUST BE MATCHED CORRECTLY DURING PRE-CASTING.
157
1
2
3
130M 38M
26M
SECTION AA
1
2 26M
158
3
130M 38M
4 30M
UPPER LEVEL 16M
36M
5
GROUND LEVEL
4 36M
5 30M
A
159
1
2 26M
AA
ROOF PLAN
160
3
130M 38M
4 30M
17M
A
10M
61M
12M
B C D
22M
36M
5
E 161
C.3. FINAL DETAILED MODEL
162
163
164
M O D E L BUILDING PROCESS
165
FINAL MODEL
166
167
168
STRUCTURAL CONNECTION TO SITE
SOUTH BAY CONNECTION 169
MODEL SCALED AT 1:1000
170
INTERIOR VIEW
171
FINAL MODEL
THE FINAL MODEL WAS MEANT AS A MASSING MODEL IN CONTEXT TO THE SITE. ITS OVERALL SCALE AND PROPORTION TO THE AREA AND THE PEOPLE THAT WOULD VISIT IT. AS THE ENTIRE BUILT STURCTURE IS BASED ON CONCRETE, FEW REPEATATIVE JOINTS ARE IN THE DESIGN MAKING THE ENTIRE FORM OUT OF SEVERAL PIECES OF PRECASTED CONCRETE. THE LESSER JOINTS, THE LESS PROBLEMS IN STRUCTURE.
172
173
C.4. LEARNING OBJECTIVES & OUTCOME COMPUTATION IN DESIGN
THROUGH THIS PROJECT, COMPUTATIONAL DESIGN HAS ADDED THE PROCESSES OF CHANGING ITERATION AND INPUTS OF PARAMETERS TO CONTROL THE DESIRED OUTCOME. DESIGN COMPUTATIONAL TOOLS SUCH AS GRASSHOPPER USED IN THIS PROJECT OFFERS A WIDE RANGE OF APPLICATIONS TO DESIGNERS. WITH REAL TIME CHANGES AND OUTPUTS OF FORMS, THE SPEED OF DESIGN IS SIGNIFICANTLY IMPROVED. ONE OF THE MAIN BENEFITS OF PARAMETRIC DESIGNS IS THE FLEXIBILITY IN ADJUSTING FORMS AND DESIGN. SIMPLE DESIGNS CAN HAVE COMPLEX PARAMETERS TO ALTER ITS FORM. THESE PARAMETERS SERVES AS THE DESIGNERS TOOLS IN A CONTROLLED ENVIRONMENT. THERE IS A MISCONCEPTION THAT COMPUTATIONAL DESIGNS MUST BE COMPLEXED AND COMPLICATED, ON THE CONTRARY, A COMPLEX DESIGN WITHOUT PURPOSE IS USELESS COMPARED TO A SIMPLE DESIGN THAT HAS A MORE FOR-FILLING PURPOSE AND CONCEPT AND IS STRICTLY CONTROLLED BY PARAMETERS THROUGH COMPUTATIONAL DESIGN.
174
COMPLEXITIES VS SIMPLICITIES
THROUGH THE COURSE OF THIS PROJECT, SEVERAL DIFFERENT PLUG-INS WERE UTILISED TO FIND FORM AND OPTIMAL STRUCTURAL SYSTEMS. HOWEVER, ONCE THE CONCEPT WAS CONFIRMED AND CLEARLY DEFINED, A MORE SIMPLISTIC FORM WAS REQUIRED. THIS BASED ON COST, EFFICIENCY AND PRACTICALITY. AS MORE FOCUS WAS DRAWN TO DESIGN CONCEPTS AND STRATEGIES, LESS EFFORT WAS PUT INTO MAKING SOMETHING COMPLEX AND ‘COOL’. IT WAS MORE ABOUT BUILDABILITY AND CONSTRUCTIBILITY. WHY DESIGN SOMETHING NO ONE WOULD EVER USE, BUILD OR PAY FOR. DESIGN IS ALWAYS CRITICAL AND FUNCTIONAL, NEVER FOR THE SAKE OF AESTHETICS OR DECORATION.
PROJECT OVERVIEW
AT THE BEGINING, CASE STUDIES HELPED US UNDERSTAND THE USES OF COMPUTATIONAL DESIGN. THE USE OF SOFTWARES AND PARAMETRIC DESIGNS TO AID A FAST AND COMPLEX DESIGN PROCESS. PART ‘B’ ENFORCED THE USE OF PROGRAMS SUCH AS ‘GRASSHOPPER’ TO REVERSE ENGINEER PROJECTS AND LEARN TO CREATE OUR OWN DESIGNS. HOWEVER A QUESTIONABLE FORMAT OF THE FINAL OUTCOME OF PART ‘B’ WAS A MAJOR SPEED BUMP AS NOW WE WERE TO IMPLEMENT A CONCEPT INTO THE DESIGN. IN ARCHITECTURAL PRACTICE, CONCEPTS ARE DEVEOPED LONG BEFORE DESIGNS ARE CREATED. THIS HURDLE PROVED PROLEMATIC FOR MANY AS DESIGNS WERE NEVER MEANT TO BE FITTED INTO CONCEPT, BUT RATHER THE OTHER WAY AROUND. THE FINAL STAGE IN PART ‘C’ RENDERED SOME PROBLEMS IN THIS PROJECT, THE REQUIREMENT FOR A REPEATATIVE JOINT INFERED A PRE-EMTIVE EXPECTATION OF A MODUALAR DESIGN THAT COULD INCOPORATE IT. HOWEVER, WITHOUT THIS INFORMATION GIVEN AT THE START OF THE PROJECT, THIS DESIGN HAD NO MODULAR PARTS, THUS PROVING DIFFICULT TO EXECUTE PART ‘C’. 175
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