Journal | Studio AIR

STUDIO AIR 2015 | SEMESTER 1 | CHOON SIEN WONG

Introduction

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Part A Conceptualisation

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Part A.1 Design Futuring

NA House - Sou Fujimoto Hivehaus - Barry Jackson

Part A.2 Design Computation Spanish Pavilion Expo 2015 - EMBT Digital Grotesque - Michael Hansmeyer

Part A.3 Parametric Design

Heydar Aliyev Centre - Zaha Hadid

The Pulse Pavilion - University of St. Joseph

Part A.4 Conclusion

CONTENT

Part A.5 Learning Outcomes

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12 14 16

18 20 22

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Part A.6 Appendix | Algorithm Sketches

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Reference

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choon sien wong Architecture Student AutoCAD Sketch Up Photoshop Illustrator InDesign Rhino Grasshopper Revit

Photography Painting Violin Travel Gaming Sleeping Coffee Architecture

“A third-year student studying architecture in University of Melbourne with a high hopes of one day to achieve his understand of architecture.�

Becoming an architect has always been my dream since I was in Year 7. I was interested in spaces and how I would design the spaces in my room to accodomate to my own liking. Back then it was just a small scale project in my tiny room, which was much like the works of an interior design but it was a good learning experience for me in grasping the idea of design process.

Coming into university, the learning of space and form in architecture was a total new language to what I had expected before. I came to realise that my value and understanding of architecture was very minimal and I had to explore and expand my mind, both in term of design process and critical thinking. That is how I came about to the possibility of studying construction major to further improve my understanding of structural and materials in buildings. I believe this will help me to combine both architecture and structural engineering to achieve the future design.

After 2 full years as an undergraduate student, the possibilities of architecture now and in the future has never fail to amaze me. The people I’ve met and the knowledge I gained so far has been very positive and I hope this would drive me towards being a better architect in the future. For now, I am looking forward to learning a new language in Studio Air which is parametric and algorithm design.

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CONCEPTUALISATION PART

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DESIGN FUTURING

PART A.1 Sustainability is the current trend in architecture design, but what would the next theme be in the next decade? In this Part A1 of Conceptualisation, we look into ‘Design Futuring’ and how it can revolutionary, inspiring future designs and its future possibilities. The precedents in this chapter showcase two different case studies, wherve one uses the current trend of sustainability and is built for the present use while the other design has an approach towards future possibility.

THEME: MINIMALISM

“LESS IS MORE”

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Ludwig Mies Van Der Rohe

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NA House Sou Fujimoto

Figure 1.1 “Project Concept” Sou Fujimoto works has a lot of lightness appearences and seeming fragility, as shown particularly in his desing for the 2013 Serpentine Pavilion in London. The NA House in Tokyo is another of his latest work that protray his design values. Fujimoto took his inspiration from trees, calling the project ‘a house like a single tree,’ where the platforms of different sizes and heights providing a branch like structure1. It allows the residents to lightly sit on the edge platform with their legs dangling from above.

“Open Space” Fujimoto intergrate the open spaces of the house and its transparency by using light-weight steel framed structure, solid metal panels and glass. The material concept is very minimal, using less construction materials to achieve this light-weight structure. This creates a floating image of the house, as if it is gravity-defying structure. As Japannese dwelling is becoming densly populated and heavily urbanised, the concept of associating the structure to a living tree with branches allows the occupant to have diverse activities. This allows the exploration of the house and encourages communication between the inhabitants. the multiple platform varying from sizes and height allows spaces to be used singularly or as a collective whole. (Image above) “Japanese Architecture” Japanese architecture has developed into design that fits with the natural environment and often flirts with the concept of minimalism and simplicity. Sou Fujimoto is one of many modern Japanese architect that promotes this principle as it shows awareness to health, materiality, social integration, natural elements, sustainability and living spaces. The principle of lightweight structure and open space is clearly

shown in this project and the thin pilotis with different height of platform generates a sense of playfulness and invites movement around the structure. One of his examples is his Serpentive Pavilion 2013 where he showcase the principle of minimalism and lightweight structure.

“Materiality” Fujimoto intends to bring the values of a living tree where the occupant movements mimic that of someone hanging on and climbing a tall tree. The materiality and openness of the structure will generate low-embodied energy as it uses less construction material, following the criteria of a sustainable and affordable housing for the future. Glass panels and series of open façades invites sunlight in the house, thus reducing energy consumption.

“Illusion Trick” The house also gives a sense of illusion due to the material and structure of the house where it seems to be gravity-defying (floating). Future designing from this case study provides certain values that can be used to further improve the search towards design futuring. Simplicity and careful thought of material and structural system can achieve the goal towards sustainability without the need to compromise the environment and designing complex designs.

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Phyllis Richardson, Super Light, (Thames & Hudson), pp. 124-127

Robert Zancan, Tokyo’s vertical thresholds #3: Sou Fujimoto (2011), <http://www.domusweb.it/en/architecture/2011/12/20/ tokyo-s-vertical-thresholds-3-sou-fujimoto.html> [accessed 16 March 2015] 2

Figure 1.2

Figure 1.3

Figure 1.5

Figure 1.4

Image order from top left corner to right in clockwise orientation: 1. Interior view of the living space.

2. Interior view of the living space from the staircase.

3. Section cut-out F-F and E-E. 4. Elevation drawing of the house.

5. Front view of the house from the road.

6. Physical model of the house.

Figure 1.6

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HiveHaus Barry Jackson

Figure 1.9 “The Beginning” Barry is a long time admirer of Bauhaus design principles, and it is only natural that he adopted Mies van der Rohe’s modern dictum, ‘less is more’ when he set about designing the Hivehaus concept. The concept of Hivehaus challenges the issue of sustainability, where the principle design flirts with modernism and simplicity that compose the elements of affordability, environmental friendly, flexibility and ease of construction.

The geometric design is inspired by a documentary about honey bees, Barry took the idea of a living and working space concept. The Hivehaus is compromised of as many or as few hexagonal geometry shape cell units that has similar function to other micro-homes that has been experimented by many architecture and construction firms.

“Future Goals” The concept makes this project a future design, ticking most of the criteria of a sustainable design; low-bodied energy, low construction cost (requires less labour to build), open space and customisable, portable and uses natural elements to accomodate the living space. The simplicity, practicality and flexibility as well as its creative approach to a fascinating geometry is a huge inspiration, especially the ability to expend the cell unit at the owners desire helps younger generations to cope with the and rising living cost and unpredictable and fluctuating economy.

Hivehaus provides a medium for a fast and cheaper alternative solution to move forward to a design futuring.

“The First Prototype Structure” The project prototype were show cased in UK where many interest were registered to see the future approach of Hivehaus. A physical model or prototype is important to provide the user the necessary information and vvexperience factor that lacks through digital media. In the initial prototype, he joined three identical proportioned hexagonal cells, each measuring at 9.3m2 to form a kitchen, living room, and living spaces.

Another smaller section was added to create a shower and toilet area3.

The modular space was planned with such great flexibility that it can be customised or expanded when needed, giving plenty of design flexibility.

The rooms are divided by uniform partition walls, which can be built with pocket doors to save on space or removed to create a larger, open-plan living environment.

“Concept Design” The ability of a structure to adapt to environmental change is the key element to moving towards design futuring. Hivehaus tackles the issue of confronting challenges with careful thought and design from different working principles. The flexibility of the Hivehaus concept ensures all the modules can be used for multiple purposes. It is designed as a living and working space, just like how a bee’s daily routine life, and with its flexibility design, can be adapted to suit the owners requirement and needs. The idea here is to make the living space as a system that understands the needs of its occupants while preserving the surrounding environment. A space that breaths air (open space), a space that moves without constrains (flexibility), and space that promotes health (sustainable) is a design possibility that can be seen from this project.

The roof is installed with dome skylights, coupled with several floor-to-ceiling windows create a more open environment. Jackson uses this key components to make the house look larger than it is measured.

Like many other micro-homes combined with the concept of ‘lightweight’ structures, Hivehaus is designed to be portable, adaptable to different location as well as ease of construction process.

3. Phylics Richardson, Super Light, (Thames & Hudson), pp. 102-105 4. Richardson, pp. 102-105

02:Modular design Modular Identically proportioned hexagonal modules can be joined together at any time by any or all of their six sides to create a cluster of connected modules or 'Hive'.

Decking Hexagonal decks of the same proportions can be connected via any side to allow external expansion of the 'Hive'

Expandable Hexagonal modules can be broken down into smaller diamond and triangular modules and combinations of these three simple shapes can provide endless design configurations.

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Figure 1.10 03:Unique flexibility

Figure 1.11 08:Dimensions

Roof

4000mm

Each roof is constructed from 3 identical moulded GRP sections on top of a structural timber frame.

Walls/Windows Choose from a standard selection of interchangeable wall and window panels to create your own individual HIVEHAUS® design.

2000mm

Roof drain inlets

1200mm

Roof drain outlets

2500mm

200mm

Floor

choice of panels

Interconnecting equilateral trianglular floor sections tesselate to provide highly flexible design possibilities.

300mm leg adjustment

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Figure 1.12

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10:Order Time-line 1

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Once your design specification and quote have been agreed, we aim to build your HIVEHAUS® within 10-12 weeks.

Please note: this time period may be shorter or longer depending on the number of modules required.

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Figure 1.14

Figure 1.15

Image order from top left corner to right in clockwise orientation: 1. Hivehaus.

2. Plan drawing of Hivehaus.

3. Modular design description of Hivehaus.

4. Unique stability descrption of Hivehaus.

5. Dimension of Hivehaus cell units.

6. Order Time-line description of Hivehaus.

7. Installation of the modular living space.

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DESIGN COMPUTATION 12

PART A.2 This chapter introduces on computation design, where the design process has evolved from hand-drawings to digitalise drawing, roles of architect and engineers and the tools used to formulate solutions. The next two precedents will help make the understanding on the possibility of computer design in the future and how it can improve the skills and develop the role of an architect and engineer in the design process.

THEME: MATERIALITY

“You’ve got to bumble forward into the unknown”

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Frank Gehry

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Spanish Pavilion for Expo Shanghai 2010 Miralle/Tagliabue - EMBT

Figure 2.1 “IThe Wicker Basket” The project proposed by EMBT seeks to reflect upon the Spanish climate as well as to recover the extraordinary craft of wickerwork back to life and reinvent it as a new construction technique.With this goal in mind, the universal language of the material works to build a bridge between East and West, and among Spain and China. With the volumetric, material, and structural inspirations of a wicker basket array, the void of the stands will mold a pavilion in which tubular metallic supports will sustain a wicker grid that will filter the light and function as a climatic membrane that wraps the pavilion.

“The Pavilion Structure” The pavilion is a combination of modern steel frame with a traditional wicker material on the exterior façade of the pavilion, as if the pavilion is enclosed or covered by a series of baskets.

The design has another genius element to the façade; the panels are arranged to form a series of Chinese characters related to the concept of Chinese-Spanish friendship or cultural exchange, and with references to natural elements, such as ri (sun) or yue (moon)5. The possibility of creating characters on the panel façade is achieved by the darkening of the wicker when it is boiled. The design process to achieve this goal would have required computational design programs.

“The Form of the Pavilion” The form of the pavilion – characterized by its curvilinear surface and volume – would require advanced technology to meet the complex geometry and structural system that could be adapted to meet its specific needs. Wicker is a traditional and sustainable material that has been reinvented in this pavilion. Each panel was handmade and produced in a manner traditional to both China and Spain. Each 8,200 panels that compose the envelope of the pavilion have been transported from the province of Shandong (NorthEast of China) to be strung together, one-by-one7. The design combines both human skills and computational skills to achieve a common goal.

Design computation has evolved architecture in such a way that design has become a process of discovery, exploration rather than just solving problems. It also helps fabricate and construct the resulting buildings. Designers communicate with computers by using codes where the machine interprets the message and generate the design.

The pavilion is a designed in a rather unique process. It combines the skill set of a computer and the handicraft skill of the wicker. EMBTâ&#x20AC;&#x2122;s principle was that the panels to be tradisional, not a flat facade, wanted it to have more volume and this is where design computation enters and does its job.

Figure 2.2

The double curved steal frame structure was covered by tens of thousands of handmade woven wicker fibres panels, a process totally unheard of in the western world. The non-customization of the panels was achieved by human default and not as a consequence of mass customized digital production. Thus the haptic of the hand woven Chinese baskets was combined with the accuracy of digital fabrication, producing an overwhelming outcome8.

The role of the computer software was essential during the development phase of this project. The for was first devised as geomteric NURBS (non-uniform rational B-splines) surfaces in Rhino software by the architeure team. After manipulating the form, the surfaces were cut by vertical and horizontal planes which resulted in curves that defined the axis of the structural tubes. To reduce the complexity of the work in shop and in-situ, double curvatures were built through the combination of two groups of single curvature tubes, one horizontal and one vertical.

This complex interpretation demanded a unique level of collaborative work, thus it involves many people including architects and engineers to communicate and be part of the design process. Communication is the â&#x20AC;&#x153;glueâ&#x20AC;? that connects the different parts of the design process to each other and serves as its record and its stimulus to achieve the desired result9. 3D models is also another system of communication between the architect and builders and the manufactureres in the workshop/factory. 3D model presents the design idea and effectively formulate a specific solution with the purpose of bridging the gap between analysis of the problem (direction and shape of each panel), from which design goals and constraints can be developed (pattern of wickers to form Chinese characters on the facade); the synthesis of design solutions (combination of several design methods). The use of computational software has now become such an enabling medium for this new synergy of complex design.

5. Nadezhda Nikolova, OpenBuildings: Spanish Pavilion for Shanghai World Expo 2010 (2012) < http://openbuildings.com/buildings/spanish-pavilion-forshanghai-world-ex

Figure 2.3

po-2010-profile-5490> [accessed 16 March 2015] 6. Jan Kokol, EMBT- Conceptual Memory (2007), <http://www.mirallestagliabue.com/project_cm.asp?id=131#> [accessed 16 March 2015] 7. PORTAL VITRUVIUS. Spanish Pavilion for Shanghai World Expo 2010. (2010) <http://www.vitruvius.com.br/revistas/read/projetos/10.115/3617> [Date access 17 March 2015] 8. Vitruvius, Spanish Pavilion for Shanghai World Expo 2010 9. Anthony Dunne and Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming, (MIT Press, 2013), pp. 1-9, 33-45

Figure 2.4 Image order from top left corner to right in clockwise orientation: 1. Night view of the pavilion from outside.

2. Curvilinear surface of the interior volume.

3. Wicker panels.

4. View from interior facade overlooking outside.

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Digital Grotesque Michael Hansmeyer

Figure 2.9 Hansmeyer’s design process involves creating an algorithm to design the structure of the Doric column. In the exhibition installation in Gwangju Design Biennale 2011 in Korea, all four columns has no similar nor shares a common surface or design.

“Alien Columns” The columns are created by iterating a subdivision algorithm over and over again and is then fabricated out of cardboard. This is where the setbased rules of a design comes in handy, where an algorithm rule is applied repeatedly to generated multiple forms and design. The physical feature of columns stands at nine feet tall, weighs about 200 pounds, and is made out of 2700 1mm – thin slices of cardboard stacked on top of wooden cores.

The cardboard column are subdivided eight times and it contains somwhere between 8 and 16 million polygonal faces10. According to Hansmeyer, every 3D printing facility they spoke to turn his project down due to complexity of his work and the 3D machines can’t process more than 500,000 faces11.

“Benefits of Computational Design” Hansmeyer explained how digital design/computational design benefit his project and what the future lies ahead. He proposed to look into nature as they have been called the greatest architect of forms. He borrows and abstract the nature’s process to create something that is new. Nature’s main process of creation, morphogenesis, is the splitting of one cell into two cells.

These cells can either be identical, or they can be distinct from each other through asymmetric cell division. Imagine a sheet of paper, one surface made into a fold and the surface is divided into two surface. We are free to choose the next step of folding of the paper and by doing so we can differentiate the surfaces13. Hansmeyer brought the structure of paper folding and the nature’s process into the computer and code it as an algorithm.

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The computer will generate fold in hundreds and hundreds of variations within just a click of a button. Through this simple process, a variety of forms can be generated.The generated information from this process is humongous. The surface has too much details that if this process were to be drawn by an architect using a pen and a paper, it would have taken a year to draw all the sections and all of the elevation. So this leads to a new role for the architect, where one has to find a new method to explore all of the possibilities that are out there. One has to move into a position of being an orchestrator of all these process in computational design.

“Foundation of the Future” Hansmeyer’s work is more than just creating amazing and crazy sculptures with advanced technology, but he changes the way we design and build structures. He is essentially laying the foundation for a whole new way to think about materials, architecture and construction. His vision from this project is for architects begin to think about designing not the object, but a process to generate objects.

10. Nina Azzarello | Designboom, digital grotesque: full-scale 3D printed room realized (2013) <http://www.designboom.com/architecture/digital-grotesque-full-scale-3d-printed-room-realized/> [accessed 18 March 2015] 11. Building unimaginable shapes, dir. By Ted Talk (TEDGlobal, June 2012) 12. Kate Torgovnick May, TEDBlog: Architectural forms as complex as snowflakes? Here’s what they look like up close. (2012) < http://blog.ted.com/architectural-forms-as-complex-as-snowflakesheres-what-they-look-like-up-close/> [accessed 17 March 2015] 13. Benjamin Dillenburger, Digital Grotesque (2013) < http://www.michael-hansmeyer.com/projects/digital_grotesque_info.html> [accessed 17 March 2015]

Image order from top left corner to right in clockwise orientation: 1. 4 columns, designed using Hansmeyer’s algorithmic process 2. A close up look on one the cross-section of the column 3. A viewer looking at the interesting columns

Figure 2.11

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Figure 2.12

COMPOSITION/GENERATION 18

PART A.3

This chapter introduces the shift of concept from composition in architectural practices to generation including the topics of algorithmic thinking, parametric modelling and scripting cultures. The case studies showcase a project done by a wellknowned architect and the other was designed by university students. It shows the design approach, materiality as well as the concept when designing parametrics.

THEME: EXPLORATION

“I really believe in the idea of the future”

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Zaha Hadid

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Heydar Aliyev Centre Zaha Hadid Architects

Figure 3.1 The structure symbolises the redevelopment of city, where the values, tradition and history is cherised while undergoing modernism. The building makes a series of pattern that seems like a flawless, effortless flow of tidal waves and when viewed from a distance, the building in entirely seems like a natural moulding of an already existing topography. This kind of graphical representation works wholly in compliance with the idea the building is trying to achieve: building form that appears to emerge from the topography14.

“The Tidal Wave Form” Zaha Hadid uses organic forms with the concept of a fluid volume that folds up from the landscape to form a single continuous surface. The building becomes a part of the site, influencing the way we perceive the environment, blurring conventional differences between nature and architecture, figure and ground, interior and exterior. To achieve this idea, curvilinear design and complexity rather than simplistic rectilinear geometry is explored through utilizing computational technology to generate a continuous and free flowing façade.

The building skin rises, undulates and wraps inward at its base to completely envelop the building’s various volumes. The inward curl is formed into stairways and ramps that connect the lower floors to mezzanine levels and other circulation paths also emanate from curves of the building envelope15.

The interior of the building are meticulously planned to achieve modern styles and design patterns. The walls are painted and carved out sophisticatedly to indicate the Baku’s modern and traditional aesthetics. Semi-reflective glass are used at the roof to allow the play of light pattern, dependedn upon the angle at which the light is incident of its surface at different parts, giving it an awestruck view from the inside16.

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”Tools for the future” Using computational aided program can help simulate the building performance to incorporate performance analysis and knowledge about material, tectonics and parameters of production. The computer was used by the team at an early stage as it gives much greater understanding and control of complex geometry. With this tool, the architects are provided with more responsive designs, new design options and to analyse architectural decisions during the design process. Zaha Hadid combines the abstractive prospect of the design with mathematical and geometrical computational skill to achieve a volume of fluid space17.

“Computation Possibilities” Architectural practices has evolved towards the use of computational design where the architects are developing digital tools that create opportunities in design process, fabrication and construction.

Computation provides the right tools for architects to extend their ability to deal with highly complex situations by expressing the information as an algorithm; a set of particular instructions that is written in codes (computer language). This then allows the exploration of new ideas and thus provides inspiration and go beyond the intellect of the designer.

Possibility of this before the shift towards parametrics and algorithm would have been limited to form finding in a less complexity method as compared to today18. Bio-mimicry has provided a pattern or pathway for architecture to explore the design methods in parametric to continue evolving their architecture practices.

14. Kristin Dispenza, Turning a Vision into Reality (Jun 03, 2011) < http://buildipedia.com/aec-pros/from-the-job-site/zaha-hadids-heydar-aliyev-cultural-centre-turning-a-vision-into-reality> [accessed 18 March 2015] 15. Philip Stevens|Designboom, Zaha Hadid’s Heydar Aliyev Centre Wins design of the year (2014) < http://www.designboom.com/architecture/zaha-hadid-heydar-aliyev-center-design-of-theyear-2014-07-01-2014/> [accessed

18 March 2015]

16. David McManus, Heydar Aliyev Centre – Baku Building (2014) < http://www.e-architect.co.uk/azerbaijan/heydar-aliyev-centre-baku> [accessed 18 March 2015] 17. Zaha Hadid Architects Archive, Architecture: Heydar Aliyev Centre (2014), < http://www.zaha-hadid.com/architecture/heydar-aliyev-centre/> [accessed 18 March 2015] 18. Brady Peters, ‘Computation Works: The Building of Algorithmic Thought,’ (Architectural Design, 2013), pp. 8-15

Figure 3.2

Figure 3.3 Image order from top left corner to right in clockwise orientation: 1. Rendered image of the building.

2. Lighting effect seen from outside of the building.

3. A view of the curvilinear raising from the topography and enveloping the building.

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The Pulse Pavilion University of St. Joseph

Figure 3.5 The Pulse Pavilion is conceived as a temporary structure that combines traditional materials with advanced technology (computer-aided program).

Using a combination of advanced parametric software and traditional techniques and materials, the construction methods, the pavilion intended to re-engage and extend the local Macau building culture and at the same time responds to Macau’s contemporary visual identity and its traditional craftsmanship. This project’s design team was led by guest professors Kristof Crolla and Dannes Kok from LEAD, and the team consist mainly by third- and fourth-year undergraduate architecture students working alongside local expert craftsmen to build the bamboo structure.

“Material Possibilities” The parametric aim of this project is to challenge the bamboo’s quality and its infinite possibilities. The use of computer design provides the student the tools to test the potential of the bamboo with digital and physical fabricated models. The pavilion is composed of a parametrically generated organic lattice structure created from split bamboo rods, interwoven fabric panels and an interactive LED lighting system. The bamboo lattice is also lined with motion sensors that cause the LED lights to change colours and intensity as people move around the pavilion. A particular set of rules can be set in the computers to adjust or change certain colour to another when movement is captured within the pavilion compound19.

“Project Awareness” Through this project, the design team made aware of something important: traditional values and innovation are closely related, and technological know-how needs to be intergrated with hands-on experience. This means that the tricks of this trade, passed down through the years by these skilled craftsmen can still come up with solutions that respect people and their environment. It also prevents the loss of cultural identity and traditional skills that were part of Macau’s history20.

19. Bustler, Pulse Pavilion in Macau. (2013) < http://www.bustler.net/index.php/article/pulse_pavilion_in_macau/> [accessed 18 March 2015] 20. Christiane Burklein, Temporary Structure: Pulse Pavilion, Macau. (2013) < http://www.livegreenblog.com/materials/temporary-structure-pulse-pavilion-macau-8722/> [accessed 18 March 2015]

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Image order from top left corner to right in clockwise orientation: 1. Top view of the Pulse Pavilion.

2. View from the inside of the pavilion.

3. LED lighting effect on the pavilion as movment is detected.

Figure 3.6

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PART A |.4 CONCLUSION

Give me a pencil and a sheet of paper and I will draw you an image. Give me a computer and I’ll design a digital building, capable of providing information that a drawing could not in a specific time. The ability of computational design has shaped the process and roles of architects. This shift is also evident in academic teachings, where students including myself are relying on computers and other three-dimensional software to aid our understanding and exploration of architecture.

Throughout the studies of Part A: Conceptualisation, has really made me question myself what role does architects have in the future, say the next 20-30 years from now? But it has also provided me with just enough clues of what design we are approaching, how our future could be shaped and the technology that is available to us.

Using the information I gained from the lectures and readings as well as analyzing several case studies, I have decided to stick to theme: simplicity. I am a big fan of Mies Van der Rohe’s concept of ‘less is more’ and I am glad that many architects still hold true to this value in their architecture. In the works of Sou Fujimoto’s NA House, the design approach was really just about a house resembling a tree but it is more than that. Fujimoto’s simplicity design is also complex in a way that how the structure would be able to withstand a huge magnitude earthquake with such a thin support structure and huge glass panels that is vulnerable to huge tremors. The team project would have come with several solutions to combat this issue to achieve the initial concept without altering the aim of the design. So my approach towards my future intended design is to explore as much of a material’s behavior and property and how design can create its own system of sustainability. The idea of design having its own living system is very futuristic, where the building can adjust accordingly to different circumstances without interfering too much of its inhabitant’s routine lifestyle. This vision is similar to how our body system works, where each organ has its specific role to ensure our body is healthy and strong against any pathogens. With such design system, the idea can help future architects and engineers to create different type of systems, probably such as a building that recycles its own waste or a building that generate its own drinking water or electricity without emitting harmful radiation or toxics. This would benefit the society and environment as such system itself promotes and generate awareness of our potential future: health and green city. The current global situation would need an improvement like this design approach if we are to achieve a healthy society and healthy city.

PART A |.5 LEARNING OUTCOMES

As I took my first step into MSD Studio Room 236 for my Architecture Design Studio: Air, I was telling myself that this subject is going to be hard and stressful as it is touching base with computational design and parametric, which I have very little information. Skip to end of week 3, and I was right. Though not as stressful yet, but the amount of time I need to understand an alien language – algorithm and computer coding - is enough to turn my hair white. But my understanding of architectural computing has very much changed from before. I knew very little on the limitation of Rhino 3D and Grasshopper plug-in, but after 3 weeks of learning and experimenting with the software I have develop an awareness of the infinite possibilities of the program.

The readings on design futuring has opened my mind towards critical thinking and design criticism approach on architecture which I had never given much thought before. The amount of time I am amazed at what I had designed using the software is beyond imaginable and I can see myself developing computational skill in weeks to come. I am starting to realize that the tools that I could actually have used to improve on my past works from previous semesters. The precedent studies has also helped me to gain some sense of clarity on the software’s ability and how I would have used the design approach of generating series of surfaces, geometries and volumes and apply it to my past works. My previous work showcase very minimal understanding of algorithms and design computation and it is very evident with my physical model. I think how it could be better was to keep experimenting on the software capability as well as understanding my very own design values.

PART A |.6 APPENDIX

Taking the form of the sketched algorithm, it can function like a typical timber stud walls installed in a residential house. Generally, residential housing uses a flat vertical surface stud wall with pre-installed wall panels. What if this sketches can be used to device a stud wall capable of withstanding all the exterior forces and become permanently part of the build house? It may lead to a whole new design concept on residential housing in the future where parametric design is becoming popular among architects.

ALGORITHMIC SKETCHES

In this age where we are spoilt of material choices and design software, it is important to understand how a material behaves when it is challenged to its limits. One of the ways to explore it is through parametric design, where the material is designed to be curved and bend at an extraordinary angle and is expected to function exactly how a building should. The reason why I chose this sketches, even though many pavilions has almost exact or similar style of structure for their design is because there is still much to explore from this panelling grid-shell. Many architecture firm has explored using materials from steel to bamboo to wood, but not many has explored beyond these materials.

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PART A |REFERENCES CONTENT REFERENCES 1) Anthony Dunne and Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming, (MIT Press, 2013), pp. 1-9, 33-45 2) Benjamin Dillenburger, Digital Grotesque (2013) < http://www.michael-hansmeyer.com/projects/digital_grotesque_info.html> [accessed 17 March 2015] 3) Brady Peters, ‘Computation Works: The Building of Algorithmic Thought,’ (Architectural Design, 2013), pp. 8-15 4) Building unimaginable shapes, dir. By Ted Talk (TEDGlobal, June 2012) 5) Bustler, Pulse Pavilion in Macau. (2013) < http://www.bustler.net/index.php/article/pulse_pavilion_in_ macau/> [accessed 18 March 2015] 6) Christiane Burklein, Temporary Structure: Pulse Pavilion, Macau. (2013) 7) < http://www.livegreenblog.com/materials/temporary-structure-pulse-pavilion-macau-8722/> [accessed 18 March 2015] 8) David McManus, Heydar Aliyev Centre – Baku Building (2014) < http://www.e-architect.co.uk/azerbaijan/heydar-aliyev-centre-baku> [accessed 18 March 2015] 9) Jan Kokol, EMBT- Conceptual Memory (2007), http://www.mirallestagliabue.com/project_cm.asp?id=131# [accessed 16 March 2015] 10) Kate Torgovnick May, TEDBlog: Architectural forms as complex as snowflakes? Here’s what they look like up close. (2012) < http://blog.ted.com/architectural-forms-as-complex-as-snowflakes-heres-what-they-look-likeup-close/> [accessed 17 March 2015] 11) Kristin Dispenza, Turning a Vision into Reality (Jun 03, 2011) < http://buildipedia.com/aec-pros/fromthe-job-site/zaha-hadids-heydar-aliyev-cultural-centre-turning-a-vision-into-reality> [accessed 18 March 2015] 12) Nadezhda Nikolova, OpenBuildings: Spanish Pavilion for Shanghai World Expo 2010 (2012) < http:// openbuildings.com/buildings/spanish-pavilion-for-shanghai-world-expo-2010-profile-5490> [accessed 16 March 2015] 13) Nina Azzarello | Designboom, digital grotesque: full-scale 3D printed room realized (2013) 14) <http://www.designboom.com/architecture/digital-grotesque-full-scale-3d-printed-room-realized/> [accessed 18 March 2015] 15) Philip Stevens|Designboom, Zaha Hadid’s Heydar Aliyev Centre Wins design of the year (2014) < http:// www.designboom.com/architecture/zaha-hadid-heydar-aliyev-center-design-of-the-year-2014-07-01-2014/> [accessed 18 March 2015] 16) Phylics Richardson, Super Light, (Thames & Hudson), pp. 102-105 17) Phyllis Richardson, Super Light, (Thames & Hudson), pp. 124-127 18) PORTAL VITRUVIUS. Spanish Pavilion for Shanghai World Expo 2010. (2010) http://www.vitruvius.com. br/revistas/read/projetos/10.115/3617 [Date access 17 March 2015] 19) Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture, (London; New York; Routledge, 2014), pp. 1-10 20) Robert Zancan, Tokyo’s vertical thresholds #3: Sou Fujimoto (2011), < http://www.domusweb.it/en/architecture/2011/12/20/tokyo-s-vertical-thresholds-3-sou-fujimoto.html> [accessed 16 March 2015] 21) Tony Fry, Design Futuring: Sustainability, Ethics and New Practice, (Berg: Oxford, 2008), pp. 1-16 22) Yehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design, (Cambridge, MA: MIT Press, 2004), pp. 5-25 23) Zaha Hadid Architects Archive, Architecture: Heydar Aliyev Centre (2014), < http://www.zaha-hadid. com/architecture/heydar-aliyev-centre/> [accessed 18 March 2015]

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CRITERIA DESIGN 28

Figure 1-6 from righ to left

PART

FOLDING AS A DESIGN TOOL Think origami. The art of folding paper, often associates with Japanese culture with a simple purpose, transforming a flat sheet of paper into a finished sculpture. The origami artist produce a three-dimensional structure from only a single sheet of paper through basic concepts of folding and sculpting. The concept of folding ranges from pleating, bending, creasing, corrugate, twisting, crumpling and many more. Their construction method discourages the use of adhesives and cuttings, thus merely depends on the skill of its designer1. This technique allows form finding with many different ways and this strategy can develop a range of possibilities of structuring a free-flow surfaces into folded and unfolded pattern sheets.

The process of folding in architecture itself permits the exploration of material development and the relationship between design elements and the exploration of a surfaceâ&#x20AC;&#x2122;s feature and how these can be fabricated using digital design tools and techniques. With the introduction of automated fabrication technologies and other computational-aided programs, materials such as paper, wood, cardboard, fabric, plastic and metal can be scored and cut according to the unfolded patter sheet through the use of laser-cutter or CNC machines. The development of design tools for meshing, grid, geometry and data-exchange has allowed architects and designers to shift their focus not only on the designing of complex geometries but also the structural performance through 3D-modelling software2.

1 2.

Paul Jackson, Folding Techniques for Designers: From Sheet to Form, (Laurence King Publishing, 2011), p. 6.

Nick Dunn, Digital Fabrication in Architecture (UK: Laurence King Publishing, 2012), p.16.

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RESEARCH FIELD 30

PART B.1 This chapter introduces a number of research streams in computational design, ranging from tessellation, patterning, structural, geometry, biomimicry and strip/folding.

Fabrication process concerns, opportunities and conceptual design implication is explored through the learning of this computational design technique. The researched precedent is intended to further the understanding of fabrication restraints and the design criteria through parametric software.

Figure 7

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Project Distortion CITA

Figure 8 FOLDING IN ARCHITECTURE This parametric installation is digitally fabricated and reconfigured, focuses on the acoustic and visual performance, space and its interaction with the visitors of the Copenhagen Distortion Festival at Pumpehu, Copenhagen. The mobile pavilion is made up of over 151 individually tuned sound and light cones cut from acoustic absorbing materials. The pavilion structure is based on the behavior of textiles and the shape is generated within a defined matrix through folding and crumbling. The kaleidoscopic golden surface reflects movement, sound, colour and it splashes fragments of lights onto the ground and its surroundings3.

The project team focuses on digital design tools, performance-driven design and digital fabrication. They used a physics engine to simulate the behavior of the structures underlying hinged equilateral triangles to understand how the materials to be structured and generating the desired effect. A digital environment was created where the influence of gravity and the textiles crumbling can be directly observed in the design process. This allows the project team to investigate and explore the effect of the surface texture of the pavilion onto its surrounding4. This was driven by the parameters of space, acoustic performance, social interaction experiments and Grasshopper definition on Rhino 3D digital software.

Project Distortion explores the concept the relationship between materiality and the social interaction within the pavilion. Folding and crumpling of material expresses the visual and acoustic performance of the pavilion, with each fold of the fabric influences the desired outcome of each cones. The use of engineering software to simulate the desired effect, the help of computational software to generate the defined matrix of the mobile pavilion and the use of fabrication method to construct the cones shows the potential of this research field has with these technology presented to the architecture industry.

3.

Installation, Parametric Design, Project Distortion | CITA (2012) < http://www.arch2o.com/project-distortion-cita/> [accessed 10 April 2015] 4.

Lidija Grozdanic, Project Distortion - Really Altering Parametric Installation (2012) <http://www.evolo.us/architecture/project-distortion-reality-altering-parametric-installation/> [accessed 10 April 2015].

Figure 9

Figure 10

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EXOtique PROJECTiONE

Figure 11

The installation is made up of a variation of hexagonal cells on the surface of the lit “drop ceiling”. Each panel consists of individually constructed perforated aperture for illumination effect. This project with the help of computational tools and good student help was completed within the scope of 6 days5. This installation displays the potential to meet the constraints of the project which is the project timeline, budget, and the restricted area. This project was accomplished with Grasshopper besides the input surface from Rhino, including the unrolling for fabrication, labeling, patterning and connections.

The unrolling of surface in Grasshopper allows the students to study the behavior of each panel and the tabs connections of the component system. There is no hardware used for connections of the pavilion, using tabs to lock each panel connectors to form a rigid shell6. This project shows the possibility of pavilions and installations to be a whole, integrating the structural and cladding as one. With the help of Grasshopper, the behavior of the pavilion acting as its own structural system can be studied using the ‘Kangaroo’ and ‘KingKong’ component. Each iteration generated to study the stability of the installation before it fails allows the students to access their options as well to meet their selection criteria of design.

5.

6.

ThinkParametric, EXOtique by PROJECTiONE (2011) <http://designplaygrounds.com/deviants/exotique-by-projectione> [accessed 26 April 2015].

Depy Charalampidou, EXOtique | PROJECTiONE (2011) <http://www.arch2o.com/exotique-projectione/> [accessed 26 April 2015].

Figure 12-14 from right in clockwise direction

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1.0 CASE STUDY 36

PART B.2 This chapter introduces the grasshopper definitions assigned to the selected Research Field. The possibilities and potential of the definition is explored through a series of changes in the existing parameters, inputs of geometries and component options. Several species derived from the original form of the project is generated with multiple iterations to understand the potential and restraints of the definition.

Figure 15

SEROUSSI PAVILION | BIOTHING The pavilion is made out of self-modifying patterns of vectors based on the inputs of electro-magnetic fields (EMF)7. Using the principles on how magnets works, vector lines were computed in plan through the logics of attraction and repulsion trajectories and then lifted via a series of structural components through different frequencies of sine function. Additional features were added to the generating script to allow for local adaption to site conditions later on. The Biothing team used the â&#x20AC;&#x2DC;sine-waveâ&#x20AC;&#x2122; function to drive the parametric differentiation of angle, orientation and the size of aperture to achieve the desired light/shading of each cell of the structure.

This research is exploring the shift from the technique-based approach that dominated generative practice in architecture and to address the growing culture of collective computational knowledge emerging within a discipline. The potential of this project to produce this expressions at various scale is through the understanding of computational patterns and the evolution in algorithmic infrastructure for designers to work with. This parametric project is done through the works of multiple disciplinary, with specialist from other fields of expertise such as mathematics, programming, robotics, cultural theory, structural engineering and software development.

7.

Hassan Mohammed Yakubu, Seroussi Pavillion | Biothing (2010) <http://www.arch2o.com/seroussi-pavilion-biothing/> [accessed 17 April 2015].

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COMPONENT CHANGE GRAPH MAPPER

MATRIX

TRIANGULAR GRID CULL PATTERN

HEXAGONAL GRID CULL PATTERN SPIN FORCE

POPULATE 2D CULL PATTERN

POPULATE 2D SPIN FORCE GRAPH MAPPER

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SELECTED ITERATIONS

EXPLORATION OF CIRCULAR FLOW

TRIANGULAR GRID | CULL PATTERN This species is derived from the exploration of grid structures. The structure is form using field lines and culling the patterns off from the triangular grids. The number of field lines is varied to form different shapes. In this view, the structure is split in the centre and it creates 3 pathways through the pavilion, creating a new interaction system between the potential users and the structure. It might also result in the structure having multiple functions base on this form, with each zone is organised for certain activities.

EXPLORATION OF PANEL STRUCTURE

POPULATE 2D | CULL PATTERN Exploring the cladding structure is essential to understand how it behaves under certain design conditions.

Cladding is part of the visual and compositional effects of the pavilion and affects the users experience. The different sizing aperture of the panel allowing certain amount of light passing thorugh the pavilion. The pattern is generated through component Populate 2D with its list being culled.

40

EXPLORATION OF FORM

HEXAGONAL GRID | CULL PATTERN | SPIN FORCE This structure is achieved by using the component spin force to generate a rose petal like structure. The list is culled to create different shapes of the form. This structure has the potential to be biomimicry field and it has interesting flow of circulation to nagivate within the space of the pavilion. It promotes the interaction with the pavilion through exploring the tricky passage inside the pavilion.

EXPLORATION OF SPACE

POPULATE 2D | SPIN FORCE | GRAPH MAPPER In this exploration, the height and the space of the pavilion is manipulated using grap mapper, changing the graph type. The iteration above suggest the potential of this pavilion having multiple entrances where it has centralise system.

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2.0 CASE STUDY 42

PART B.3 This chapter challenges the understanding of concepts introduced throughout the course so far, inviting the process of reverse engineering an existing project and to analyse the design intent. The outcome of this chapter encourages the discussion of the similarities and differences from the generated outcome and how to approach and develop the definition further for the next chapter.

Figure 16

ARBOSKIN PAVILION | ITKE The façade of this project is a series of spiky modules enclosing the curving pavilion and is made from a bioplastic which contains over 90 percent renewable materials.

This free from façade is designed by students and professors from the Stuttgart University’s ITKE to demonstrate the structural properties of the new bioplastic material developed for the use in the future construction industry8.

The curving nature of the pavilion allows the cladding panels to be integrated into the structural system, changing its shape as they merge. Potential of this pavilion by ITKE demonstrates not just the potential usage of bioplastic in construction industry, but also the exploration of freeform and functional façade, touching the base concept of function follows form.

The pavilion is fabricated by CNC-milling and is used to remove sections from some of the modules, creating apertures in the façade. This allows the play of light forming in the pavilion, generating an interactive façade that communicates with its orientation.

Its structural system is made of bracing rings and joist to help create load-bearing walls. Using digital fabrication allows the speeding of building process, reducing economical and meeting the time constraints of projects. The exploration of this installation could be brought further in the near future, creating a much interactive façade and the pavilion is made of continuous system.

8. dezeen magazine, ArboSkin pavilion made from bioplastic by ITKE(2013) <http://www.dezeen.com/2013/11/09/arboskin-spiky-pavilion-with-facademade-from-bioplastics-by-itke/> [accessed 17 April 2015].

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44

REVERSE ENGINEERING RECORDED PROCESS

Create 2 Curves with different distance in a U-shape on the X-axis Plane

Loft the two Curve

This project was reversed engineered to study the cladding system and its support structure. The installation formed from a curved surface with triangular and truncated tri-pyramid panel as its exterior skin. This project has the similar form to the design proposal which is to create an open pavilion that has solar performance and encourages community activity.

Divide the Surface Subsurface. The s into U and V coor

e and create a surface is divided rdinates

Make a Surface Box base on the lofted surface. The Panels will be inserted into the boxes.

A Geometry is referenced into Boundinding Box as the basis of the Panel shape.

To achieve the desired outcome for my proposal, a matrix of iterations is generated through the exploration on the limitation of its original definition and manipulation of existing parameters in Part B4.

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TECHNIQUE: DEVELOPMENT 46

PART B.4 Continuity from Case Study 2.0 technique, the development of the definition is further explired, altering its form and function.

Using the Part B3 as the starting point, matrix of iterations from the definition is generated through the exploration of interchanging inputs, outputs and other components. The final result evolves away from the original definition.

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MATRIX | ITERATIONS

48

Paneling on Surfaces

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50

Projecting Panel on Form

Form Finding with Kangaroo

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SELECTED ITERATIONS | CASE STUDY 2.0

SPECULATION In this exploration, the pavilions form is derived from having the selected curve on a hexagonal grid, its anchor point adjusted and inflated with Kangaroo. The entire structure form is a curve up till this point in Grasshopper and from this point onward, the potential of the pavilion can be noticed.

The panelling system can be manipulated depending on the grid surface and the polygon shape. The structure can be brought further forward using different tools to make it a solid. One of the tools is pipe, giving each curve the similar behaviour of a solid hollow circular tube. The potential of the structure made in this exploration tool would require good connection at each ends of the pipe during fabrication technique and the structural behaviour is required for further development in this design form.

The design also has the potential of adding a second skin onto the structure, acting as a protective membrane while maintaining the functional system of the pavilion. The membrane can be part of the shading and sheltering system for the users during harsh weather condition.

Several iterations met the initial brief, some did not while some has the potential to be further developed to include as a new list into the brief. Matrix were analyze base on the speculation on how the pavilion will perform and its affect in design performance, visual and composition and the potential users. One potential design from the iteration is that the pavilion is a whole structure system. The pavilions exterior and roof as a whole can be utilized effectively by installing renewable energy technologies such as PV Cell Panels.

One of the affects would be that the hexagonal cell of the structure can be utilized, using the space of the panel to make a roof garden by slotting in flower pots inside. The potential of the open surface area of the cell can be utilized to maximize solar energy directed to the site. Installation of PV panels on the hexagonal cell in the pavilion can be regarded as an educational installation to study renewable energy system and eventually transferring it to generate electrical energy from solar around the site.

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TECHNIQUE: PROTOTYPES 54

PART B.5 In this development, the selected iteration that was chosen base on its potential to fulfil our criteria design is to be fabricated and assemblied. The connections, joints and how the elements and structure stands without buckling and collapsing.

The material is for the structure is explored to see the difference in visual and compositional effects. The modelâ&#x20AC;&#x2122;s performance under designed conditions is tested and documented.

â&#x20AC;&#x153;Forget how it looks, think about how it behavesâ&#x20AC;?

-

Neri Oxman

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FABRICATION AND ASSEMBLY PROCESS

BOLT AND PLATE

56

The prototype is fabricated using 3D printer to see how the each adjoining panel looks and to study on which assembling method will best suit the structure.

The factors to consider for construction will be the tension and load transfer of the pavilion to the ground, the stability of the structure, friction between each panel and how the panels stays in an arch shape.

Bolting at each intersection of panels

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58

H CLIP

H-clip used to connect adjoining panel

Visual effect of the structural panel.

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60

SCORE LINE FOLD AND LOCKING

Figure 18

TABS ON UNROLLED SURFACE

Figure 19

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62

When light is allowed to become an arch

hitectural element.

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TECHNIQUE: PROPOSAL 64

PART B.6 In this part 6 of Criteria Design, gathering all the research and techniques, a proposal is made to ensure the brief and selection criteria is met. The proposal is intended to help clarify the conceptual and technical achievement of our developed technique.

BRIEF To create an open space for learning and teaching for the community and building relationship through exhibiting the knowledge gained through the workshop run in CERES. CRITERIA The design concept was to create a form that allows the agents and stakeholders of the site to assess the structure on bicycle or by foot, initiating conversation with the structure and other users, and to integrate the natural system into a human-made structure.

The seleceted site is an ideal location to target specific stakeholders as well as pushing the site to its full potential.

Within the site is a shared pedestrian and bicycle lanes that can be utilized to be part of the pavilion. In doing so, it encourages an interactive structure in the site and the natural system.

SITE ANALYSIS | CERES ENVIRONMENTAL PARK | Merri Creek Bicycle Trail The contour of the site is rather flat, with a few incline slopes within the site area.

There are numerous vegetation near the river bank on the east side and a flat green field on the west elevation. The interaction between the site and its surrounding can be seen as the site benefits from the natural shading provided by nature on the east elevation. Bicycle and pedestrian path runs along the site and upwards north to CERES Environmental Park. The two agents share the same track and at times might be harmful to joggers and other users as they might have with their headphones on and may cause a head-on collision. Though the probability is quite low as the users can still utilize the field on the west-side.

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66

FORM The entire system of the pavilion is made out a shell of beehive or hexagonal cells. Some of the panels are covered with PV Cells and acts as the cladding system, offering shades and shelter during harsh weather. The hexagonal structure of the roof also creates an aesthetic and eye-catching view to the users. The desired result is achieved through the various shape of open and closed panels, casting interesting shadows onto the ground that grabs the attention of the pavilion users.

Figure 20

ENERGY

Figure 21

The potential of the open surface area of the cell is that the Photovoltaic cell can be installed in the panel, storing renewable energy for future use in the pavilion. The PV cells are placed in several hexagonal cells base on the orientation of the solar movement to ensure that it maximizes the potential availability of solar energy .The PV cell can also act as a shading system when installed on the roof. The stored renewable energy can be utilized to light up the pavilion during the night or providing the users a spot to recharge their portable electrical devices.

INTERACTIVE SKIN Users can interact with the pavilion by inserting found nature objects such as sticks and rocks into the open surface, eventually creating their very own closed panel. This is inspired by designs of The K-abeilles Hotel for Bees by AtelierD. Through this activity, the users is open to the information and knowledge of sustainability and renewable materials in the construction industry.

Figure 22

STRUCTURE

Figure 23

The structure of the design is similar to that of a geodesic dome, with a slight curvature and at certain angles. To ensure that it is able to withstand loads and tension, part of the structure has to have good joints and the base where the weight is point load, transfered to the ground. The wall panels at the base is to be larger and thicker than the one acting as the roof.

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OBJECTIVES & OUTCOME

PART B.7

68

The learning objective in the studio was to use a one technique from the researched field as our basis of developing our design. From there, the use of parametric tools was to help bring our design concept and incorporate the technique we learned to meet the requirements of the brief and our own selection criteria of the design. In the Part B task of this studio, the work load was quite heavy coupled with the difficulty of understanding and getting the ‘Grasshopper’ to work. Knowing the design that I want and trying to get the software to duplicate it is a tough challenge already if not harder. The process of getting it to work might be tricky at times as I had to accommodate what I create into my design instead of turning my design concept into a 3D model in the software.

In regarding my performance to the objective of the studio, it has been a good start in the early stage but it has been way too chaotic as the information was not organized and the ideas seems too vague and not specific. I did not develop my technique further in Part B3 and B4, making the whole design development was missing a step. However, it did not deter my learning of the technique and the output of this Part B. The use of ‘Grasshopper’ to manipulate the form and design of structure through various inputs makes the designing work easier as we can manipulate the parametric options to meet our selection criteria.

The feedback during the midterm presentation helped me to put my design thought and process back on the right path. Too much of my focus and work was concentrated on the ‘Grasshopper’ tool instead of using it to help me to design what I want. In the earlier part of my research field, I chose folding/strip as I like the idea of having an origami look on the pavilion and the design is a whole structure made of a 2D material. There was a discontinuity of my technique with my iteration in Part B4. As much as I tried to, the design was more of a gridshell and tessellation technique instead of folding. I couldn’t make the ‘Grasshopper’ to function as what I want it to, therefore I took a design that would fit the selection criteria and brief that had nothing of the folding technique. Now I have a bit of clarity on what I should do to take it to the right path after the feedback.

Perhaps before the start of Part C, I will further my research of folding technique on materials and then integrate it to the design concept and also to understand the function of my design relating to the chosen site.

The project brief was weak base on the feedback and before the Part C starts kicking in, I will re-explore the brief, analyse the site better, specifying the issue and what could be done to solve it if necessary.

PART B.8

APPENDIX

ALGORITHMIC SKETCHES

Patterning In this exercise, patterns were created using expressions tool in Grasshopper by understanding the way they behave. In the above examples, the design was achieve by using the Sin(x) + Cos (y) function and by manipulating the parameters, inputs and equations, different patterns were generated. This is useful in patterning technique and achieving different results can be done by using different polygon curves as the base geometry.

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Spiral In this exercise, the form is designed using the â&#x20AC;&#x2DC;IFâ&#x20AC;&#x2122; expressions.

The form is generated by using the X-planes and using the Sin(x) mathematical function to manipulate the way it behaves. The anology of this form is that it is a folding structure, and could be used as a starting point of my technique development.

Spider Web In this exercise, the behaviour of spider web under tension load were created using Kangaroo plug-in. The spider web is created using the function and understanding of springs and the pattern were generated using voronoi and cull pattern to create the patterning of the web. The web is inserted into a square and the corners are anchored so that it will act as the support, holding the web so that it does not break.

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PART B |REFERENCES

72

CONTENT REFERENCES 1.

2.

3.

4.

5.

6.

7.

8.

Paul Jackson, Folding Techniques for Designers: From Sheet to Form, (Laurence King Publishing, 2011), p. 6.

Nick Dunn, Digital Fabrication in Architecture (UK: Laurence King Publishing, 2012), p.16.

Installation, Parametric Design, Project Distortion | CITA (2012) < http://www.arch2o.com/ project-distortion-cita/> [accessed 10 April 2015] Lidija Grozdanic, Project Distortion - Really Altering Parametric Installation (2012) <http://www.evolo.us/ architecture/project-distortion-reality-altering-parametric-installation/> [accessed 10 April 2015].

ThinkParametric, EXOtique by PROJECTiONE (2011) <http://designplaygrounds.com/deviants/ exotique-by-projectione> [accessed 26 April 2015].

Depy Charalampidou, EXOtique | PROJECTiONE (2011) <http://www.arch2o.com/exotique-projectione/> [accessed 26 April 2015].

Hassan Mohammed Yakubu, Seroussi Pavillion | Biothing (2010) <http://www.arch2o.com/seroussi-pa vilion-biothing/> [accessed 17 April 2015]. dezeen magazine, ArboSkin pavilion made from bioplastic by ITKE(2013) <http://www.dezeen com/2013/11/09/arboskin-spiky-pavilion-with-facademade-from-bioplastics-by-itke/> [accessed 17 April 2015].

IMAGE REFERENCES 1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

13.

14.

15.

16.

17.

18.

19.

20.

21.

22.

23.

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CRITERIA DESIGN

PART

C

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