a J o u r n a l f or
Architecture Design Studio: air
Stella Karyadi Kurniadi, 2013 | Tutors: Daniel and Kirilly
table of
C O N T E N T S IntroductioN
1
Part A: Case for Innovation A.1. Architecture as a Discourse A.2. Computational Architecture A.3. Parametric Modelling A.4. Algorithmic Explorations A.5. Conclusion A.6. Learning Outcomes
6 12 16 22 25 26
NOTES
27
PART B : DESIGN APPROACH B.1. Design Focus B.2. Case Study 1.0 B.3. Case Study 2.0 B.4. Technique: Development B.5. Technique: Prototypes B.6. Technique Proposal B.7. Learning Objectives and Outcomes NOTES
69
PART C: PROJECT PROPOSAL C.1. Gateway Project: Design Concept C.2. Gateway Project: Tectonic Elements C.3. Gateway Project: Final Model C.4. Learning Objectives and Outcomes
74 86 90 101
NOTES
103
32 40 46 52 58 65 67
0
ABOUT ME Hi, I’m Stella. I grew up in Jakarta, Indonesia. This is the final year of my architectural study in Melbourne University. I’ve always been an art and crafts geek since I was a kid, but I was a full time science student during my highs chool. It was a tough decision for me to choose between these two distinct interests before I studied design in UNSW Foundation Studies. However, life could have never been better than following where my passion is.
“ De s i g n i s w h e re s c i e nc e and art b reake v e n . ”
1 | Introduction
Fig. 1: Virtual Environments Bodyspace Project; Fig. 2: Paneling on the lantern; Fig. 3: Schematic design of a Church building proposal rendered using Sketchup and Photoshop.
Fig. 1
Fig. 2
DIGITAL DESIGN EX PER I ENCE My first experiences in digital design tools are using Photoshop, Illustrator, After Effects and Flash during my highschool. Most of the programs are rarely used now, except for Photoshop, which I’ve always been using for editing purposes ever since. I was introduced to Rhinoceros when I did my Virtual Environments subject in my first year of architecture. Since then I mostly do my design drawings manually on a paper due to the course requirements. Earlier, I’ve had a short course on AutoCAD and 3DMAX, which certified me as a high distinction beginner. During my internship on an architecture company last summer holiday, I was practicing my skill in using CAD to make architectural drawings, and SketchUp for the 3D proposals. Although I’m currently quite familiarized with most of Adobe Creative Suites, AutoCAD, 3DMAX, SketchUp and Rhinoceros, my knowledge in using them in digital architecture practice is still limited.
Fig. 3
2
3
cINNO aseV A TION for 4
ARC H IT E CT U RE AS A
DISCOURSE
5
“ Much of what we know of institutions, the distribution
of power, social relations, cultural values, and everyday life is mediated by the built environment. thus, to make architecture is to construct knowledge, to build vision. To make architecture is to map the world in some way, to intervene, to signify: it is a political act1.
”
THE BIG PICTURE Without us realizing, architecture has always been actively involved in shaping our identities—the way we style ourselves, the way we see things, and even the way we spent our time for living2. As time goes by, styles and innovation in architecture changes, and so does people’s trends, cultures and lifestyles. As architecture is a powerful influence toward the world we lived in, it is important to explore and understand how the existing innovations in architecture could have been successful in creating such a discourse. I believe a true and successful design will not just deliver an eye-catching impression at the first glance, but it is able to be further reflected and discussed beyond a mere design invention.
A.1. ARCHITECTURE AS A DISCOURSE | 6
“Although attention may perhaps have shifted lrom the building facade, which, with modernism, has mattercd less and less, to what the architectural historian Kenneth Frampton has called the ‘tcctonic’. which is to say, an aesthctic concern with the structure of buildings. For Frampton, a building’s skin ought not to conceal thc structure, but be integral to it, yet his concerns are no less aesthetic, for he is interestcd primarily in thc look of a building and how it is achieved3.”
Fig. 4
Fig. 5
Fig. 6 Fig. 4: Representation of tree silhouettes; Fig. 5: Windows and walls as one element; Fig. 6: Column-free interior.
7 | A.1. ARCHITECTURE AS A DISCOURSE
TOD’S OMOTESANDO (2002-04) Tokyo, Japan | Architect: Toyo Ito
This beautifully designed luxury shop and office is a perfect illustration of what Frampton has called being ‘tectonic’. Yes, this building may belong to modernism, looking that the idea presented on its facade is simple, clean, with no detailed decorations. However, it is not reckless in its aesthetic either, because the clarity of the structural columns itself is the main ornament of this building. Not different with the other boutiques along the street, this building is still used as a fashion store for Tod’s. Yet, the unique integration of glass and concrete as its aesthetic and structural expression makes this building stands out among the other boutiques in Omotesando. Its design theory started with a question “How can we escape the conventional notion of a wall structure4?” The word conventional here refers to distinguishing windows from walls, transparency from opaqueness. Thus, instead of following the old notion of surface, this building defines an innovative unity of columns, walls and openings, which makes the facade to function as the structural support as well. The architectural innovation was achieved by using direct representation of 9 tree silhouettes as its skin. Following the logic of a tree structure, the columns are wider at the base, and slender as it goes up. The facade’s ability to support the whole building load allows the interior to be free of columns5. The societies’ perception in seeing structural elements are to be clothed with its aesthetic skin, windows and walls are meant to be structurally distinguished, and modernism is to be more concerned on the structural simplicity are all altered in this building. The boutique creates a discourse on aesthetical beauty of a facade that outstanding modern designs should not necessarily be achieved using embelishments, but with an exposed structural efficiency. Moreover, the existence of this innovative place for shopping might encourage high-class consumers to avoid going to boutiques with ugly facade, as they will tend to think that a prettier facade indicates a higher quality of the brand.
Fig. 7 Tod’s Omotesando Building
8
As a result, students can choose a specific space and atmosphere that best suits their own circumstances.
RMIT SWANSTON ACADEMIC BUILDING (2009-12)
Melbourne, Australia | Architect: Lyons The first thing that makes me wonderstruck about RMIT Building 80 is the multicolor triangular sun shadings that cover the whole facade of the building. Each sunshades are positioned in specific angles that will prevent direct sunlight to get in. Behind this innovative creativity is the design’s relationship with its environment. The colorful mapping across the exterior walls was created using a pixelated image of the adjacent buildings. “It’s a chameleon and a mirror6,” as the building’s identity is derived from the surroundings. Similar to the colour expression, the distortions of the walls were an impact of the ‘force’ that comes from the surrounding city7. Since this project used AutoCAD, Rhinoceros and 3D Max as their primary design softwares, the mapping, paneling and curving of the surface might be achieved using a series of design process in Rhinoceros. Despite its extraordinary exterior, the interior of the academic building is also filled with many unique varieties of space. Prior to approaching the design, Lyons found that students in Melbourne tend to prefer studying in comfortable, non-campus places such as the state library, restaurant or cafes along Swanston Street8. To respond to this pattern of living, each learning space is designed as informal lounge that reflects the diversity of the city conditions it faces9.
“In this way we have created a design that not only places the building at the very heart of Melbourne architecturally, but also reflects and embraces the broader architectural legacy of the city.” - Lyons It seems that not only students are benefited by this architectural innovation, but public may also enjoy its iconic beauty as a part of the city. This building maybe considered as a modern parametric design because the city itself is used as the design parameter. Through this building, students may now see how a campus could also be a non-stressful environment to spent time in. It is as well an architecture invention that manages to provide enjoyable spaces while at the same time, it is not losing its primary function as a teaching and learning space. More importantly, the building shows me how architecture could not be limited by its context or brief. It also illustrates that there are more design exploration that is beyond our imagination as a human, and it can be achieved through the use of digital computation. As for this example, the environment itself is the underlying factor that could produce this unimaginable digital design.
Fig. 8: Multicolor aluminum sunshading panels on the facade; Fig. 9: The main foyer; Fig. 10: Flexible learning space/lounge.
9
Fig. 8
Fig. 9
Fig. 11 RMIT SAB Building
Fig. 10
A.1. ARCHITECTURE AS A DISCOURSE | 10
COMPUTATIONAL AR C H I T E C T U R E
11
“the dominant mode of utilizing computers in archi-
tecture today is that of computerization; entities or processes that are already conceptualized in the designer’s mind are entered, manipulated, or stored on a computer system. In contrast, computation or computing, as a computer-based design tool, is generally limited10.
”
THE ROLE OF COMPUTERS Computers, unlike humans, never make silly mathematical mistakes. These analytical engines, whenever instructed correctly by a program, will be able to search for a logical conclusion that is hidden among the tons of data they can store. Without getting tired, they are capable to analyze information quickly and constantly, and present the outcome in the most understandable form for human. Yet, computers are merely dependent machines that are lacking creativity and awareness to create new instructions. Thus, this lack of intelligence makes computers to be incapable of directly interpreting messages from humans, unless they are in form of unambiguous codes11. This clearly tells that designers’ communication with the computer is limited to their skill in using the programs. The more expert they are in giving the coded instructions, the more effective the computer is for developing the design intent. Therefore, computer programs are always upgraded to be more user-friendly, whereas humans are trained and educated with more advance knowledge in
using the programs. In my opinion, as the technologies and knowledge are consistently being improved, computers will soon be the golden tools that architects must utilize. Nowadays, the development of CAD (computer aided design) and CAM (computer aided manufacturing) technologies has been influencing architectural design and construction practice. As it allows designing and constructing extremely complex forms to be possible, the use of computer in architecture created new opportunities that were previously unthinkable using traditional design technologies12. There are two methods in using computer as a design tool—computerization and computation. While computerization refers to using the computer as a tool to represent the designer’s idea, computation refers to generating the idea out of the designing process taken in the computer softwares.
A.2. COMPUTATIONAL ARCHITECTURE | 12
Fig. 12
Traditional design process, which involves problem analysis, solution analysis, evaluation and communication, is no longer relevant in computational architecture. This process, in computational approach, is known as a generative design method. Instead of creating ideas or shapes as in the traditional solution analysis phase, designers convey a fundamental generative logic that will produce a range of options to be chosen as an appropriate proposal for further development. This allows the design to be continually and dynamically transformed in the evaluation process, which could not be achieved in the conventional process. 2D and 3D drawings as a communication process using the aid of computer will also be more accurate, precise and less time-consuming compared to the traditional method. In general, digital generative techniques shift the emphasis of the design process from the “making of form” into the “finding of form.” The involvement of digital computation in architecture creates integration between design and production that profoundly affect the construction industries. Architects’ role in controlling the construction process becomes significant because of their determination in achieving complex forms such as blobs (drops of water)13. In the BMW Pavilion, Germany, Bernard Franken translated the interaction of blobs into the structure. In doing this, the architect created the structural framework using bi-directional contouring of the 13 | A.2. COMPUTATIONAL ARCHITECTURE
Fig. 13
digital model14. Its complex curvilinear skin was manufactured using subtractive fabrication method, which electrically, chemically, or mechanically subtracts a specific volume of the laminated glass panels from a solid material. This glazing panels were then constructed with CNC milling, a system in computer that controls the basic movement of a machine using a set of coded instructions. In brief, using the technologies, the design information itself is the construction information. However, the advance of the digital tools generates incoming opportunities to create a single four-dimensional model that comprises all qualitative and quantitative information compulsory for the whole process from designing to producing the building15. By this, architects might become the master builders of information amongst the other professionals engaged in building production. What is appealing for me in the topology of computational architecture is not just the innovative “blobby” or “boxy” forms, but also the significant relationship between the complex forms and the design’s performative circumstances. These conditions could be morphology, cultures, materials, economy, or the surrounding environment. One interesting method of representing this relationship is by “folding”. This strategy develops a “fluid logic of connectivity”, which contradicts with deconstructivism’s “logic of conflict and contradiction16”. An example is Zaha Hadid’s Eli and Edythe Broad Art Museum in USA, which extends and folds the visual connections of its site topography into a form of the structure. A series of folding defines the museum’s space, its aesthetics and function17.
Fig. 12: BMW Pavilion in Frankfurt, Germany; Fig. 13: Bi-directional contouring of the framework; Fig. 14: Folded wall surface of the museum; Fig. 15: Eli and Edythe Broad Art Museum in East Lansing, USA.
Fig. 14
While computational architecture seems to be reject any typology, continuity, morphology, historical style and perspectives, they found to be related with the preceding concept of Walter Gropius’s Bauhaus in Germany. They appear to suggest an entirely new architectural point of view, which favors consistent experimentations based on digital technologies, and transformation of forms as a respond to its context and function, statically and dynamically18. Fig. 15
14
PA R A M E T R I C
M O D E L L I N G
15
“
Parametric is a set of equations that express a set of quantities as explicit functions of a number of independent variables, known as ‘parameters’19.
”
DESIGNING WITH PARAMETERS Parametric design is known for its fluid and malleable characteristic of the complex forms. It implies animate geometries such as splines, nurbs and subdivs to produce dynamic shapes that are controlled by ‘attractors’ using scripting process20. These attractors are often defined by the surrounding environment of the structure, making parametric architecture to be highly integrated with its context. However, despite from its capability to create new dynamic forms and its adaptability toward the environment, parametric modeling has some disadvantages as well. Unlike in the conventional approach where architects can estimate the construction cost as they go through the design process, parametric approach cannot be bounded by cost, because the cost will be incalculable until a prototype is ready. Moreover, as parametric is ‘change’, the design’s advantageous flexibility to be consistently transformed both aesthetically and structurally might instead create even more difficulties in estimating the final construction cost. Another disadvantage is that designers need to “care-
fully plan the design, defining ahead of time which major elements would be dependent upon other elements21.” Therefore, no one except the original designer himself will be able to easily modify the design because others would not know the logic and intention behind the scripting process and how it was originally created. Yet, for me the limitless idea that can be achieved through parametric modeling is far more valuable than the disadvantages it offers. What can make a parametric design successful is when the complexity of forms can be constructed with a simple, efficient structural system that prevents unnecessary cost. If such a success is introduced, I believe it will create a new environmental discourse in architecture.
A.3. PARAMETRIC MODELLING | 16
Fig. 16: MyZeil Shopping Mall facade; Fig. 17: View from the interior of the glass wall.
Fig. 16
MyZeil Shopping Mall (2002-09)
Frankfurt, Germany | Architect: Studio Fuksas MyZeil Shopping Mall is one of the best examples of how parametric architecture opens up more possibility in constructing fluid architecture. An expression of fluidity was used by the architects of this building to connect the Zeil with its both historic and modern surrounding structures. I think as a matter of adaptability toward the environment, fluidity in parametric modelling was a way better design option compared to using conventional rigid geometries, which could not easily adapt to their container. Studio Fuksas made use of the geography and topography of the site as an inspiration for the structure’s ‘eruption’—having slides, slopes, hills and valleys on its glass wall22. As an advantage in using parametric design, this unusual behaviour of the glass wall is not only beautifully abstract in its aesthetic, but it also has an effective function of allowing sunlight to get into the bottom of the interior, 17 | A.3. PARAMETRIC MODELLING
Fig. 17
creating a transparent relationship between inside and outside, and as an expression that could fit in multiple environments. One side of the facade is manipulated with entertainment, leisure and relaxation as it faces the modern city, while the other side appears to be formally designed as it faces the historic building23. The fact that it is fluid enables the design to have a smooth transtition between these two distinct appearances. Digital triangulation of the surface is the best solution in fabricating the fluid structure, in which the triangular frames also create a sense of excitement that somehow decorates the whole building. Even though it is quite complex to use digital parametric technique in designing this building, there is currently no better method to achieve this ‘blobby’ form that reacts toward its surrounding.
Fig. 18 MyZeil Shopping Mall in Frankfurt, Germany
18
Fig. 19 ICD/ITKE Research Pavilion 2011 in Stuttgard, Germany.
19 | A.3. PARAMETRIC MODELLING
Fig. 20
ICD/ITKE Research Pavilion (2011) Stuttgard, Germany | Architect: ICD, ITKE, University of Stuttgart
This project was intended to represent the morphology of a sea urchin’s plate skeleton. The architectural implementation was based on computational design method and computer-controlled manufacturing24. I’m quite amazed with how the weird-formed skeleton’s performance could be found related with these basic distorted geometries through a series of process in computation. I guess this could be referred to a form of optimization in parametric performance, which enables the design to be built with extremely thin plywood sheets. For me, this project is similar to the Tod’s Omotesando in a way it speaks that living creatures, such as trees and organisms, have actually been providing us structural principles to be adopted in order to achieve complex architectural forms. Particularly in this project, the biological principles were solved parametrically. It could be seen how parametric architecture took a lot of effort, consideration and cost in order to create its most efficient construction. I think this is the reason why not many large built projects are parametrically designed. However, through a consistent practice in smaller structures and the finding out of various structural solutions for different invention of forms, it might possible to just adapt these existing principles for future large-scaled architecture.
Fig. 21
Fig. 20: Interior of the pavilion; Fig. 21: Verious geometries of the timber panels.
A.3. PARAMETRIC MODELLING | 20
A LG O R I T H M I C
E X P L ORA T I O N S
21
Fig. 22: Modification a lofted surface by changing the control points.
LOFTING AND BAKING
Fig. 23: Grasshopper definition.
This is the very first exercise I did in Grasshopper. However, this simple experiment opened my mind of how things are getting more flexible in Grasshopper than using Rhinoceros by itself. I might say that it is somehow more time consuming to produce this simple lofted surface in Grasshopper compared to Rhino, but maybe it is because I was still not used to giving out the commands in the program. Yet, when it comes to changing the form in Rhino, there is no other solution than to redo most of the steps, whereas you can just continually transform the surface with a single click on the control points after it is lofted in Grasshopper.
A.4. ALGORITHMIC EXPLORATIONS | 22
Fig. 24: A grid layout of the surfaces.
CONTOURING AND ORIENTING
Fig. 25 & 26 (top): Wireframed and rendered view of the contoured model. Fig 27 (bottom): Grasshopper definition.
23 | A.4. ALGORITHMIC EXPLORATIONS
This exercise shows me how computation in architecture could solve challenges in fabrication of complex forms in a simple, practical way. I had used a similar method for fabricating in Rhinoceros last time for my Virtual project, but without Grasshopper, I needed to locate every unfolded surface one by one and number them one by one as well. In this exercise, the process only requires applying a grid system and a labeling tool to finalize the layout of the surfaces. Again, this is another demonstration of how digital technologies might improve the speed and efficiency within a design process.
Fig. 28: Downloaded bird nesting definition.
Fig. 29: Modified Grasshopper definition.
WORKING ON A DEFINITION I have no idea with how the original designer exactly applied the step-by-step tools in creating this bird nesting definition. Whenever I tried to insert a major modification in the middle of the definition, some of the tools became disfunctional. Thus, the only possible transformation I can make is by changing the parameters of the model, or by connecting another command to the end of the definition. This somehow proves that unless we are the original designer, it will be frustatingly difficult to modify a parametric design as we don’t know the original design intention. However, I found an effective solution to modify this existing definition. It is by logically copying and pasting the tools into my own design. I think this kind of method could overcome the limitation of beginners in using digital design tools. As what I’ve stated before, parametric modelling might soon be designers’ golden tool. This is because there will be more experiments done parametrically, which means that there will more solutions provided for designers to just copy and paste into their own design intention.
Fig. 30 - 32: Transformation of the spherical bird nest into a unique lofted bird nest.
A.4. ALGORITHMIC EXPLORATIONS | 24
CONC LUSION As a designer, I believe it is extremely important for me to realize that architecture is not merely a piece of art created in form of buildings to provide space and shelter for humans. Instead, architecture is an influential tool that consistently shapes our social, economic and cultural identities. With the aid of digital technologies, there will be even more radical discourse created through new innovations in architecture. Even though parametric design in not yet applicable for all types of architecture due to its time, effort and money consuming manners, sooner or later, the approach will be utilized in most design practices of this digital generation. The Wyndham City Gateway Project might be a perfect opportunity for me to enhance my skill in using parametric design approach, as it has no specific restrictions in budget and duty of care. Compared to conventional design approach, parametric design reveals far more creativity in architectural form, control and efficiency. I suppose this unconventionality will not just create an eye-catching installation that enhances the city, but it will also generate an ongoing discourse among the society.
25 | A.5. CONCLUSION
L E AR N I N G
O U TCO M E S Prior to the beginning of this course, my knowledge about the theory and practice of architectural computing and its discourse is extremely limited. To be honest, I could not even grasp the idea of how and why would architecture create a discourse in people’s everyday life. However, through the readings and the analysis of the existing precedents, I realized that the progression in architecture does progress the way I see the world, and this perception should be able to enrich my future design ideas. I’ve also learned that there are two different usages of computer in a design approach—computerization and computation. I used to wonder why Melbourne has quite a lot of these ‘modern’ buildings covered with digital panels, whereas I could rarely find them back in my hometown, Jakarta.
I could only think of one reason for this: lack of computing support for the architects? Yet, now I know that the kind of buildings I’ve been referring to in Melbourne, such as the RMIT SAB Building, are parametric designs that use computational method, while they are mostly just computerized structures in Jakarta. As I’ve came to know the disadvantages of using computational approach in a parametric design especially, I started to understand that maybe it is because of the time, skill and cost limitations in Indonesia that parametric architecture has not started to be developed in the country’s architectural environment. Nevertheless, with computerization, I would have been able to present my past studio projects in a more accurate outcome. I admit that most of my past projects have been really conventional in terms of its structure and aesthetic, which I think was the result of me using traditional design process for the whole design production. If I was to use computational method to create a parametric design, I believe I would have explored new unimaginable ideas that could respond to the design context in a brilliant way. I am still quite struggling in using Grasshopper, because it is difficult to remember all of the tools that I’ve explored from the tutorial videos. However, I think the tools are not meant to be memorized one by one, because as long as I have known the basic knowledge in giving out instructions, I should be able to experiment with the various tools to create interesting, unexpected designs. I hope this knowledge will be able to equip me in creating a better design for the upcoming project. A.6. LEARNING OUTCOMES | 26
NOTES 1. Thomas A. Dutton & Lian Hurst Mann, eds (1996). Reconstructing Architecture: Critical Discourses and Social Practices (Minneapolis: University of Minnesota Press), p. 1. 2. Richard Williams (2005), ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press), pp. 102 - 116. 3. Richard Williams, pp. 102 - 116. 4. Matt Davis, “TOD’S Omotesando Building | Toyo Ito & Associates, Architects”, Arch20 (blog), 12 Dec 2012, http://www.arch2o.com/tods-omotesando-building-toyo-ito-associates-architects/#prettyPhoto 5. Carlos Zeballos, “TOYO ITO: TOD’S OMOTESANDO”, My Architectural Moleskine (blog), 8 Nov 2011 http://architecturalmoleskine.blogspot.com.au/2011/11/toyo-ito-tods-omotesando.html 6. Amy Frearson, “RMIT Swanston Academic Building by Lyons”, Dezeen, 6 Nov 2012, http://www.dezeen. com/2012/11/06/rmit-university-swanston-academic-building-by-lyons/ 7. “Swanston Academic Building: Melbourne Education Building”, Adrian Welch & Isabelle Lomholt , Earchitect, 26 Nov 2012, http://www.e-architect.co.uk/melbourne/swanston_academic_building.htm 8. “RMIT University Swanston Academic Building - Lyons”, Youtube, accessed 20 Mar 2013, http://www. youtube.com/watch?v=5mdlQ6qv780&feature=plcp 9. “RMIT SAB (Building 80)”, Sapphire, accessed 20 Mar 2013, http://www.sapphirealuminium.com.au/index.php?task=projects&num=82 10. Melbourne University (2013), ‘Introduction to Computing in Architecture’, Lecture 2 Slide. 11. Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), pp. 5 - 25. 12. Branko Kolarevic, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 3 - 28. 13. Branko Kolarevic, pp. 3 - 28. 14. “Bubble”, Franken\Architekten, accessed 21 Mar 2013, http://www.franken-architekten.de/index.php?p agetype=projectdetail&lang=en&cat=0&param=overview&param2=21&param3=0& 15. Branko Kolarevic, pp. 3 - 28. 16. Branko Kolarevic, pp. 3 - 28. 17. “Eli & Edythe Broad Art Museum”, Zaha Hadid Architects, accessed 21 Mar 2013, http://www.zaha-hadid.com/architecture/eli-edythe-broad-art-museum/ 18. Branko Kolarevic, pp. 3 - 28. 19. Melbourne University (2013), ‘Introduction to Parametric Modelling’, Lecture 3 Slide by Daniel Davis. 20. Patrik Schumacher, “Patrik Schumacher on parametricism - ‘Let the style wars begin’”, AJ (journal), 6 May 2010, http://www.architectsjournal.co.uk/the-critics/patrik-schumacher-on-parametricism-let-the-stylewars-begin/5217211.article 21. Melbourne University, ‘Introduction to Parametric Modelling’. 22. A-Z Architektouren, “MyZeil: Fuksas in Frankfurt”, guiding-architects (blog), 14 Apr 2009, http://www. guiding-architects.net/blog/?p=385 23. Irina Vinnitskaya, “MyZeil Shopping Mall / Studio Fuksas”, ArchDaily, 11 Jun 2012, http://www.archdaily. com/243128/myzeil-shopping-mall-studio-fuksas/ 24. “ICD | ITKE Research Pavilion 2011 / ICD / ITKE University of Stuttgart”, ArchDaily, 18 Jan 2012, http:// www.archdaily.com/200685/icditke-research-pavilion-icd-itke-university-of-stuttgart/
27
IMAGES: Fig. 4 - 6 http://architecturalmoleskine.blogspot.com.au/2011/11/toyo-ito-tods-omotesando.html Fig. 7 http://www.arch2o.com/tods-omotesando-building-toyo-ito-associates-architects/#prettyPhoto Fig. 8 - 11 http://www.dezeen.com/2012/11/06/rmit-university-swanston-academic-building-by-lyons/ Fig. 12 http://www.franken-architekten.de/index.php?pagetype=projectdetail&lang=en&cat=0&param=ov erview&param2=21&param3=0& Fig. 13 http://www.bollinger-grohmann.de/homepage/project/docs/data/projectinfo/thumbnail/99002gitter-3d.jpg Fig, 14 - 15 http://www.zaha-hadid.com/architecture/eli-edythe-broad-art-museum/ Fig. 16 - 18 http://www.archdaily.com/243128/myzeil-shopping-mall-studio-fuksas/ Fig. 19 - 20 http://www.archdaily.com/200685/icditke-research-pavilion-icd-itke-university-of-stuttgart/ Fig. 21 http://www.dezeen.com/2011/10/31/icditke-research-pavilion-at-the-university-of-stuttgart/
28
29
d e s i g n A P P RO A CH 30
D E S I G N
FOCUS
31
“But what if works of architecture, rather than looking
like plants and animals, behaved like plants and animals? Imagine if designs for the human environment ‘adapted and flexed and evolved as living things do’1.
”
BIOMIMICRY AS AN APPROACH Many of today’s architectural works have been using nature as a literal inspiration of their aesthetics. This is too mainstream. Instead of producing more fishlike, wormlike, or carcass-like structures, architects needs to produce a solution for design’s sustainability. Animals, plants and microbes have been providing us answers for these problems. They have found what works, what is most appropriate, and what sustains until now. Fossils are failures, and the secret to survival is those that stands around us on earth. These eye-opening knowledge have now become the real news for a new discpline called biomimicry. The term is derived from a Greek word ‘bios’, meaning life, and ‘mimesis’, meaning to imitate. This discipline studies the incredible designs of nature and mimicks them as a solution to human challenges. In other words, it is an “innovation inspired by nature2.”
evolution process, and imitating how nature deals with things like waste and regeneration inside its lifecycles. All of these are a holisitic picture of nature’s system that is applicable to human system. Designers can either proceed from design to nature, or going from nature to design in working on the discipline. The design to nature approach works by identifying the problem of the design and referring to an applicable problem and solution from nature. On the other hand, nature to design approach proceeds by a range of research on nature and considering human design applications for the studied nature3.
There are several ways of how biomimicry can be applied in the design field. Commonly, it is by mimicking the structural function of nature. Other forms of biomimicry are emulating on nature’s B.1. DESIGN FOCUS | 32
Fig. 1 Fig. 1: Sea urchin skeleton; Fig. 2: ICD/ITKE Research Pavilion at the University of Stuttgart; Fig. 3: Finger-like joints of the plywood; Fig. 4: The spherical Greenhouses of the Eden Ptoject; Fig.5: Geodesic structure of the dome.
33 | B.1. DESIGN FOCUS
Fig. 2
Fig. 3
ICD/ITKE Research Pavilion
Stuttgart, Germany | Architect: ICD, ITKE, University of Stuttgart The ICD/ITKE Research Pavilion is one of the obvious built examples of biomimicry that mimicks the form and function of a natural organism. This project particularly applied the “nature to design” approach in biomimicry. The advantages and limitations of a sea urchin’s skeleton structure was studied first before they proceed to the design. Through understanding that the skeletal shell of the sand dollar is a modular system of polygonal plates, the pavilion is constructed using polygonal timber panels that imitate the same performance quality of the sea urchin’s. Moreover, as the designers identified that the panels of this skeleton are linked together using finger-like calcite protrusions at the edges, they found that the combination of this particular polygonal arrangement of the plates with the connection system serves the most fitting model for prefabricated panels of the pavilion. Thus, the exterior timber panels were connected using finger joints. This enables the design to maintain a high bearing capacity, just like the sea urchin’s morphology. While integrating the morphology of the plate structure, the architects are able to consistently meet three panel edges together at just one point. This acts as the principle of transmitting normal and shear forces with no bending moments between the joints which resulted in a bending bearing, but yet deformable structure3. The mimicking of biological organisms enable the design to be able to support itself with minimal use of materials and optimal method of construction.
The application to Wyndham City Gateway Project: Self-supporting facade Fig. 4
Fig. 5
the eden project
Cornwall, United Kingdom | Architect: Nicholas Grimshaw The Eden Project is applying biomimicry by operating nature’s closed loop system through the building’s function. The structure was purposely built to transform the quarried mining site into a habitable landscape. Its natural inspiration was simply looking at the process of composting. The greenhouse keeps dead leaves that come off from the trees to put nutrients back into the soil, feed the earthworms, in which their waste provide nutrients for the trees in return. This is an example of how “design to nature” approach is used in a project. They indentified the problem to be solved, then applied composting process as their biological solution. The project also illustrates a remarkable use of strong, lightweight material in such a huge structure. Again, nature solved this building’s need to create a spherical structure by using geodesics (hexagons and pentagons). Instead of using glass or plastic, the biomes are constructed of Ethylene Tetrafluoroethylene (ETFE), which weighs one percent of the weight of double glazing. By creating an innovation in both natural and built environment, the project becomes the second most visited paid attraction in England 5.
Optimal construction method Material efficiency Lightweight structure Design to nature approach Innovation as an attraction
what is the solution? B.1. DESIGN FOCUS | 34
THE THEORY BEHIND A DRAGONFLY WING “the morphology of the dragonfly wing is an optimal natural construction via a complex patterning process, developed through evolution as a response to force flows and material organization. The wing achieves efficient structural performance through a nonlinear variation of pattern, corrugations and varied material properties throughout the structure6.”
Fig. 6: Voronoi pattern on a dragonfly wing.
Voronoi patterns on the dragonfly wings follow general tensile forces applied to them. The smaller the shapes indicates higher flexibility of the area. There are two types of connections between the cells—mobile and immobile. Mobile joints connect the veins elastically with its cross veins, while immobile joins connect them firmly. This determines the amount of stiffness and degree of bending of the wing7. Fig. 7 shows the thickness distribution of the veins (a) and membranes (b) of dragonfly’s forewing. The thicker vein distribution indicates rigid connection, whereas the thinner distribution indicates flexible joints. Majority of the membrane properties are thin, which indicates the extreme lightness of the structure. Fig. 3 shows the digital reconstruction of the forewing of a dragonfly. It illustrates how the cross-sectional image near the wing root (b) are highly corrugated compared to the areas further from the root (c-e). This is actually a response to the force exerted on the wings8.
35 | B.1. DESIGN FOCUS
Fig. 7: Thickness distribution of the wings
Fig. 8: Wing’s corrugation
Form and function to be imitated: High corrugation >>> rigid structure Elastic joints >>> tensile strength Rigid joints >>> compression strength Thin material >>> lightweight structure Logical voronoi arrangement >>> appropriate flexibity and degree of bending
B.1. DESIGN FOCUS | 36
DESIGN ARGUMENT In relation to the Wyndham City Gateway Project, it is unnecessary to create a design that could function as a closed loop system such as composting in the Eden Project. This is because the site itself is not meant to be accessed by pedestrians, and it is intended to be an installation along the highway. No one can directly utilize the installation, as the users are only highway passers riding vehicles in a high speed. There is almost no time for the users to examine, experience and understand the design deeply. The first thing that people can easily grasp from a design is its visual aesthetic. Therefore, it is extremely important to create an innovative, eye-catching installation. When the aesthetic has caught the users’ attention, then it will become possible for them to further reflect on the discourse and innovation that is communicated through the installation. Through biomimicry, this innovation is best achieved by imitating nature’s structural performance and system, as illustrated in ICD/ITKE Pavilion. The same method in the pavilion will be used to mimick dragonfly wing’s structure for our project performance. This will form the basis of the design’s sustainability while creating an invention of form and architectural discourse at the same time.
37 | B.1. DESIGN FOCUS
Our group also finds biomimicry interesting for this project because it is the only approach that can logically mix nature with the artificial. While our approach in the design is through digital computation, biomimicry somehow moves in a contradicting way—it demands designers to look back to nature as an inspiration. This reminds me of how traditional design process proceed by finding an inspiration first rather than experimenting with it. However, this creates an interesting statement for the project: design is becoming more engineered, while it is also behaving more life-like9. I found this challenging for myself. If the theoretical concept can work out well for the project, I believe this installation will create a further discource in architecture that will not just revolve around facade loading in general, but it will discuss on how architecture and natural life are actually becoming difficult to be distinguished. We characterized Wyndham City as being a developing region of a multicultural society. This is somehow related to the aesthetic of biomimicry in the sense that it expresses growth of living organisms and diversity of the cells. Considering selfsupporting facade as our main discourse, the design will necessarily be material efficient and lightweight as well. To achieve this whole criteria and expectations that we proposed for the project, the design will explore voronoi or hexagonal shapes for efficient load transmission and surface openings as an attempt to reduce the weight and use of material.
Fig. 9: Diagram of the conceptual relationship
B.1. DESIGN FOCUS | 38
CASE STUDY 1.0
39
40
A Fig. 10
1 VOLTADOM Skylar Tibbits + SJET
2
3
SPECIES
4
41 | B.2. CASE STUDY 1.0
5
B
MUTATIONS C
D
E
B.2. CASE STUDY 1.0 | 42
EXPERIMENT ANALYSIS The explicit design space that we used as our definition for the exploration was a ceiling passageway installation from the VoltaDom. The strategies we used to extend the definition were by applying sphere primitives instead of just using cones. The boundary of the base form was mutated as well. We tried putting the primitives on a planar surface, 2D curve surface, 3D object and a linear spiral.
Fig. 11: Matrix 1A
Fig. 12: Matrix 2A
These four outcomes (1A, 2A, 4D, 5E) are considered more successful than others because of the balance scaling between the form and its hole. When the opening becomes too big, the individual form appears to be an extruded 2D circle, making it more lifeless and unrelated to 3D cones or spheres. Experiment 1A is created using populate 2D on a surface plane, applying voronoi, mapping cones on the surface, and removing the intersecting parts. Experiment 2A is created using the same method with 1A, except that we altered the cone primitives into a sphere, and we did not remove the intersecting areas.
Fig. 13: Matrix 4D
Fig. 14: Matrix 5E
43 | B.2. CASE STUDY 1.0
Experiment 4D applies populate 3D on a torus, followed with the same steps with 2A. Experiment 5E is not using the populate tool anymore. We divided a spiral line into a number of points using the curve divide tool. Then, the same method with the previous experiment is used.
When creating sequences of geometric variation, we were trying to achieve a more refined outcome that could be seen as a potential installation section. We aimed for a more complex form that seems eye-catching, and we wanted the openings of the forms to look logical in terms of its scale in reality. We attempted to use various shapes and surfaces because we were seeking for something that could look different and innovative from any existing precedents. Considering experiment 5E as our final version, we thought that it could applied as a sculpture in architecture. However, it is not satisfying because we could not find out how to direct the opening of the spheres facing to the exterior instead of upward. The model’s bubble-like form also brought a serious fabrication problem. Materials used for fabrication are normally in form of 2D sheets. Thus, creating a perfect spherical form will need tons of triangulations in the surface. However, we thought that the openings of the sheres could create an interesting shadow effect that will colour the highway.
B.2. CASE STUDY 1.0 | 44
CASE STUDY 2.0
45
REVERSE ENGINEERING This section focuses on our group’s attempt in creating our own Grasshopper algorithm for the ICD/ITKE Research Pavilion. As has been discussed before, the concept behind this project was focusing on the integration of sea urchin’s performative capacity by the geometric variation of its plate structures and robotically constructed finger joints. Beside these functional and structural principles, other basic properties of the sea urchin have also been successfully applied in the computational design process of the pavilion:
Fig. 15: The representation of sea urchin skeletons on the interior and exterior panels of ICD/ ITKE Research Pavilion.
Heterogeneity >>> The size of the cells are unique, they adapt to the curvature and discontinuities. The areas with less curvature has bigger cells, while at the edges the cells are smaller. Anisotropy >>> The pavilion’s cells stretch and orient themselves according to the concentration of its stress and load. Hierarchy >>> The pavilion has two layers of hierachy, the interior and exterior panels. The interior panels has openings which allow artifical light to penetrate the space. Within each layer, every three edges of the cell meet at one point, which allows the surface to bend in any direction10. B.3. CASE STUDY 2.0 | 46
47 | B.3. CASE STUDY 2.0
1.
2.
4.
5.
3.
6.
OUTCOMES
B.3. CASE STUDY 2.0 | 48
Fig. 16: Voronoi cells of the reverse engineering model
49 | B.3. CASE STUDY 2.0
ANALYSIS OF OUTCOMES We can assume that our outcome has the similar rigidity with the ICD/ITKE Research Pavilion, because the cells of our model have the same method of three edges meeting at one point. Our model’s cells are applied on a curved surface as well, and they also adapt to local curvature and discontinuity. The shapes of each cells are individually unique due to the voronoi arrangment. However, the edges of our geometry are ranging from 4 to 6 edges, whereas they are 5 to 7 edges in the original pavilion. In the same manner, the cells are scaled and moved upward to be lofted as a sort of extrusion. For ours, the openings are on the exterior, instead of the interior. We did not have two layer of hierachy just like the pavilion does. They may need two layers as a means of light installation and protection from weather, where it may not be necessary for our project. To develop this technique further, we would arrange the point of the voronoi in a logical manner, ie. using attractor points to create particular area with denser amount of cells. We would also create various size of openings for each cells, depending on the outside exposure we wanted to achieve. Lastly, we are interested to experiment with colour gradients on the surface panels, and how they could define a certain logic behind.
Fig. 17: Reverse engineering prototype.
B.3. CASE STUDY 2.0 | 50
TECHNIQUE:
DEVELOPMENT
51
“Design is a process we engage in when the
current situation is different from some desired situation, and when the actions needed to transform the former into the latter are not immediately obvious.
�
Fig. 18: Voronoi cells developed using single point attractor.
52
A
1
2
3
4
5
6
53 | B.4. TECHNIQUE: DEVELOPMENT
B
C
D
TECHNIQUES E
F
G
H
B.4. TECHNIQUE: DEVELOPMENT | 54
ANALYSIS OF OUTCOMES
Fig. 19: Matrix F6
Techniques A - D (refer to matrix) shows how surfaces openings are not only able to be created through the holes at the center of the cells, but also through the gap between them. However, separated cells do not support our desired discourse on self-supporting facade. They will need to depend on ribs or certain supporting elements in order for the whole structure to stand. In techniques E - H (refer to matrix), self supporting might be achieved because the panels are all connected.
Fig. 20: Experiment F6 mapped unto a curved surface
Image E3 and F6 shows a smooth transition from bigger to smaller openings, which is in line with our desired growth transition. The voronoi patterns on image F6 fulfilled our desire in creating living cells look-alike. While the hexagonal grids on image E3 do not represent diversity of cells, we found it looking aesthetically appealing, and is capable to fulfill our main goal in facade loading.
Fig. 21: Matrix E3
As we mapped the outcomes on a curved surface, we can see how the extrusion of panels creates a corrugated dragonfly-winglike structure which will allow the structure to be rigid and self supporting. At first, we wanted to have various corrugation height accroding to the different degrees of flexibility. However, the outcome of consistent corrugation is better because we can fully emphasize on the transition of the opening instead of having everything (opening, panel size, corrugation) in random manner.
Fig. 22: Experiment E3 mapped unto a curved surface
Although the shading-extrusion development in technique H (refer to matrix) creates interesting outcomes, different shading technique should be explored because we have settled on having a consistent extrusion height. However, it is unnecessary for us to finalize it at this stage, as it is more crucial to get an idea of the basic form and features of the design first. 55 | B.4. TECHNIQUE: DEVELOPMENT
B.4. TECHNIQUE: DEVELOPMENT | 56
TECHNIQUE:
PROTOTYPES
57
“How do the elements fit together? What holds
them in place? How will they assume indented positions and orientations? What will be the assembly sequence? How do visual and compositional effects depend on material choices?
�
Fig. 23: A prototype of our digital model
58
59 | B.5. TECHNIQUE: PROTOTYPES
Fig. 24: Eye-level perspective of the model.
Fig. 25
Fig. 26
Fig. 27
Fig. 28
Fig. 29
Fig. 30
Fig. 23 - 30: Model-making process of the prototype.
A STEP TOWARD REALIZATION This prototype is fabricated using cardboard. Its fabrication process did not require any complex technique or method of construction. By simply using tabs and double tape to stick the edges of one panel to another, we found that the structure could rigidly hold itself in place. However, when we tried to relate this method to the reality, we realized that connecting tabs using adhesives are not applicable in real construction. Moreover, scoring and folding the material is not achievable in almost all construction materials. We might need to separate each face of the panels individually and connect them one by one using an appropriate connecting tool. To solve this problem, we decided to explore more fabrication methods by testing them on partial prototypes. B.5. TECHNIQUE: PROTOTYPES | 60
EXPERIMENTAL PROTOTYPES The first prototype is a failure in our attempt to create a whole physical model of perspex plastic. It is also a proof of how thicker materials could not be scored and folded. Intead, the surfaces need to be individually separated. We assumed we could glue each face at the edges, as it could be glued using silicon for glass or welding for metals in reality. However, the result is ridiculously time consuming, and we were unable to produce the original curvature. This is because we did not glue the panels on the correct angle. This trial informed us that framing system might be needed to support fragile materials such as glass, and the welding of metals needs to be done in an accurate angle in order to achieve the desired curvatures. In the second experiment, we used cleat plates on both sides of the panel edges. Here, the material is a 2mm cardboard. We found it to be quite successful and suitable for thicker materials such as metal or plywood, except in reality we would need to screw the plates instead of just sticking it. However, the overall result does not look aesthetically appealing for us. 61 | B.5. TECHNIQUE: PROTOTYPES
Fig. 31: First experiment with gluing method; Fig. 32: Second experiment using cleat plates.
Fig. 31
Fig. 32
The third experiment uses H-clip that meets two surface panels on a specific angle. This method will be applicable if we use thicker materials such as the timber shown in this example. Yet, considering that we aimed for a lightweight structure, connection method for thinner material might be preferable. Fig. 33
Fig. 34 Fig. 33: Third experiment using H-clip; Fig. 34: Fourth experiment using bolted and screwed tabs.
I was inspired to try on this last technique after I saw the joints of a card board box in my bedroom. The box is assembled using tabs which are bolted and screwed through the holes. This strategy would only be effective for thinner materials, because the materials need to be folded in order to to form the tabs. As an experiment, we used a 0.6mm polypropylene sheet for fabrication. Becuase of its ability to be folded, we thought it would be more efficient if we can only use the connectors for the horizontal edges, whereas the vertical edges are treated as the folds of one continuous strip. By this, the horizontal edges beccame more rigid compared to the vertical ones. This method turned out to be most successful, but the range of suitable materials is limited. In real fabrication, one of the materials that have the same quality with this prototype is polycarbonate sheet.
B.5. TECHNIQUE: PROTOTYPES | 62
SUITABLE OUTCOME #1
Plate cleat
63 | B.5. TECHNIQUE: PROTOTYPES
SUITABLE OUTCOME #2
Bolt
Tab
B.5. TECHNIQUE: PROTOTYPES | 64
TECHNIQUE
PROPOSAL Through the series of design development, our project has managed to finely relate the concept of mimicking dragonfly wing’s structural performance with our technical achievements. Just like how the wing’s morphology is a response to force loads, our structural system are a response to the tensile and compression stress exerted from the mass of the structure itself. In doing this, thicker and thinner veins of the wing are imitated through the use of different connectors in the edges of the individual panels. The thicker ‘veins’ are the ones with the tabs, bolts and screws, whereas the thinner ones are considered as the folding in the horizontal strips. By this, we produced the similar performance with the dragonfly wings, where the thicker joints provide a rigid structure, while the thinner joints give more flexibility for curvatures. This major achievement in biomimicry leads to some advantages that further promote our proposal’s strength: Self-supporting facade
This is perfect for the site condition because we disregard any column or means of structural support that might block the highway. Façade loading also enables us to create a semi-enclosed space for the gateway, instead of creating a series of sculptures or walls on the sideways.
65 | B.6. TECHNIQUE PROPOSAL
Optimal construction method
Fabrication becomes simple as we can unroll the whole tunnel structure into few strips with tabs. This could be done using digital fabrication machines. The prefabricated strips could then be bolted and screwed on site as the installation was assembled.
Material efficiency
The whole structure could be fabricated with just one main material. We don’t need other materials to create steel frames or columns for structural support.
Lightweight structure
With the suitable connection method, we are able to construct the installation with a lightweight polycarbonate material. Despite its lightness, polycarbonate has a translucent quality, which will express a sense of lightness in its visual aesthetic.
Biomimetic design innovation as an attraction
Although it is difficult to find a perfectly applicable biological solution for the design situation, the dragonfly wing’s morphology is a good prospect to manipulate the design as a natural figure. This innovation will definitely create an attraction for the society, both designers and non-designers, because nature is a global topic that could be anyone’s interest.
Remarkable experience
The transitions of the surface opening suppress the tunnel from the rural area and gradually expose the outside environment as it approach the Wyndham city. Having an enclosed tunnel would give a deeper impression to the users compared to an open space installation. They would be able to feel the atmosphere and mood transition as they pas through the tunnel.
Wyndham City’s identity
The overall strength and advantages of this project will define the city itself, because a gateway is something that people would see as the first impression of the place it directs them into. More than just representing growth and multiculturalism through the appearance of voronoi cells, the installation will interpret Wyndham City as an innovative/ leading, attractive and naturally friendly city filled with remarkable experience and excitement.
B.6. TECHNIQUE PROPOSAL | 66
L E AR N I N G
OUTCOMES
The feedback from the interim crit clearly shows how our team was lacking in forming the relatonship between biomimicry and our design outcome. Initially, we never thought we are lacking is this area, because we have tried to apply biomimicry as the design’s expression of multicultural and developing city. However, as we ponder on this, we realized that maybe we missinterpret the definition of biomimicry; thus, we did a further research about this discipline. We found that biomimicry is actually about mimicking nature’s form and function, a closed system inside its lifecycles, or the evolution process. Neither of these were fulfilled through our design, because what had we tried to mimick is just a literal representation of nature through our aesthetical form with nothing more. Therefore, I decided to solve this by identifying our design problem and finding a natural solution for this (design to nature approach). Considering self-supporting facade as our challenge, I attempted to use the morphology of dragonfly wings to provide the solution model. This has been addressed throughout the whole design approach section of this journal, particularly on the design focus.
67 | B.7. LEARNING OBJECTIVES AND OUTCOMES
More than merely a task, approaching a design for this project had helped me to develop my skills and understanding in using computational design techniques. I did encountered some difficulties and dead ends in creating my own Grasshopper algorithm. However, there are actually thousands of answers provided for beginners like me through individual web research and the technical session provided from the course. As I tried to seek for these answers, I could even develop my design process beyond what I have expected to be. From bubblelike forms that failed to be properly oriented (case study 1.0 matrix), now I’m able to generate variety of design outcomes with logical parameter manipulation through versioning and comparative analysis (technique: case study 2.0 and development). I also learned how construction method will affect the materialisation and vice versa. I found that fabrication method has become one of the important challenges as an architect. Issues of fabrication will not only determine the design’s outlook, but also the communication of a project’s conceptual and technical language (technique: prototype). At first, I thought that computational design is about doing experiments without any certain idea or goals in creating it. However, through the analysis of the matrices, I realized that no matter what, designers should have goals and requirements to achieve, and this is highly related to whether our concept and argument is strong enough to be the design parameter. B.7. LEARNING OBJECTIVES AND OUTCOMES | 68
NOTES 1. Keith Green (2005), “The ‘Bio-logic’ of Architecture,” Proceedings for the 2005 ACSA National Conference, Chicago, pp. 522-530. 2. “What is Biomimicry?”, The Biomimicry Institute, accessed May 5 2013, http://www.biomimicryinstitute. org/about-us/what-is-biomimicry.html 3. “Biomimicry”, Design Boom, accessed May 5 2013, http://www.designboom.com/contemporary/biomimicry.html 4. Amy Fearson, “ICD/ITKE Research Pavilion at the University of Stuttgart”, Dezeen, 31 Oct 2011, http:// www.dezeen.com/2011/10/31/icditke-research-pavilion-at-the-university-of-stuttgart/ 5. “The Eden Project”, Eco Brooklyn Inc., accessed May 6 2013, http://ecobrooklyn.com/biomimicry-edenproject/ 6. Ehsaan, “Architecture of the Dragonfly Wing”, Biomimetic Architecture (blog), 23 Oct 2010, http://www. biomimetic-architecture.com/2010/maria-mingallon-and-the-architecture-of-the-dragonfly-wing/ 7. Ehsaan, “Architecture of the Dragonfly Wing”. 8. S. R. Jongerius & D. Lentink, “Structural Analysis of a Dragonfly wing”, Springerlink, 26 Oct 2010, http:// www.delfly.nl/Jongerius%20and%20Lentink%202010%20Dragonfly.pdf 9. Keith Green, pp. 522-530. 10. Amy Fearson, “ICD/ITKE Research Pavilion at the University of Stuttgart”. IMAGES: Fig. 1 http://www.earlywomenmasters.net/essays/authors/higginson/seashells/urchin_green_640.jpg Fig. 2 - 3 http://www.dezeen.com/2011/10/31/icditke-research-pavilion-at-the-university-of-stuttgart/ Fig. 4 http://www.e-architect.co.uk/images/jpgs/england/eden_project_g240209_sealand.jpg Fig. 5 http://photoeverywhere.co.uk/britain/cornwall/eden_project_dome.jpg Fig. 6 http://www.delfly.nl/Jongerius%20and%20Lentink%202010%20Dragonfly.pdf Fig. 7 - 8 http://www.delfly.nl/Jongerius%20and%20Lentink%202010%20Dragonfly.pdf Fig. 10 http://3.bp.blogspot.com/-wEbuqM0lhT0/TWT2Q-PejOI/AAAAAAAAAJ0/zQRNPLwe9kg/s1600/ VoltaDom+-+Skylar+Tibbits+1.jpg Fig. 15 http://www.dezeen.com/2011/10/31/icditke-research-pavilion-at-the-university-of-stuttgart/
69
70
71
project
P RO P OS A L 72
G A TE W A Y P RO J ECT :
DESIGN
CONCEPT
73
ADDRESSING THE FEEDBACK Through the feedback and suggestions given during the crit, our group realized that it is crucial to have a strong argument in biomimicry that could support the whole design intention. After integrating the dragonfly wing’s morphology into our biomimetic inspiration, it seems that we have found enough strong points as the basis of our conceptual argument. However, our next challenge is to be able to communicate all elements of the argument logically, precisely and clearly throughout the design process. To do so, this section of the journal will mostly be presented in form of conceptual diagrams and images.
C.1. GATEWAY PROJECT: DESIGN CONCEPT | 74
Fig. 1: Conceptual diagram of the gateway design concept.
75 | C.1. GATEWAY PROJECT: DESIGN CONCEPT
CONCEPT REFINEMENT Our concept is formed gradually through a stepby-step analysis. We found Wyndham City as a fast growing city with multicultural population. Its famous Weribee Zoo, along with its prominent river, parks and wetlands, has turned the city to become a natural icon. These natural features are also home to many recreational activities which attract many tourists and visitors. Through a new Gateway installation, it is clear that the city wants to promote its sense of pride within the society. In doing this, we believe that biomimicry is the right approach that could best define the city’s natural identity, its pride. Biomimicry is highly related to nature, not only by creating design that looks like natural creatures, but rather behaves like them. This means that there will be an innovation in biomimetic architecture which will present an icon and attraction at the same time. In terms of communicating the essence of a design, we thought that not all design approaches could easily be understood by common people, in particular the non-designers. Most projects did not find this as a problem to be solved; however, in this case, the installation stands as the city’s identifier. Thus, it will be useless if people could not grasp the design message itself. Biomimicry is a profound term to be understood, but when it is simplified into nature, all people can easily relate this term as their interest. This makes biomimicry as the only approach that could capture any users’s interest to understand the logic behind. We also want the design to blend with the environment. This is possible by placing the design as if it is a living creature instead of an object.
“The Western Gateway installation should provide an entry statement and arrival experience, and become a new identifier for the municipality. The installation should create a focal point of iconic scale and presence and encourage a sense of pride within the local community. The Western Gateway should propose new, inspiring and brave ideas, to generate a new discourse.”
Biomimicry opens up many possibility in creating a discourse in architecture. Some discourses that we want to create are self-supporting structure, lightweight properties, a design that uses nature as a solution for human problem, and efficient use of material. One inspiration that could answer all of this discourse problem and lead the gateway design toward the goals that we have set is the dragonfly wing’s morphology. C.1. GATEWAY PROJECT: DESIGN CONCEPT | 76
DRAGONFLY WING FOR ARCHITECTURE Our design is aiming to mimick the structural performance of the dragonfly wing. Several key functions of the wing that we will adapt to our design is the major veins with their rectangular membrane, the voronoi pattern, the change in thickness of the structure and the various scale of the cells. All together, these features are the elements that enable the structure to control vertical deflection and instabilities, allowing the structure to be able to support its own load. Areas near the major veins and roots are found to be rigid, while the rest of the structure is more flexible. Less number of sides in the polygonal cells indicates more rigidity compared to cells with more number of sides. Thicker structure provides more rigidity compared to the thinner section. The size of the cells are getting smaller as they get further from the root. This is because compared to having smaller cells, bigger cells allow less possibility to bend.
Fig.2: DRAGONFLY (2007) in Los Angeles, USA.
77 | C.1. GATEWAY PROJECT: DESIGN CONCEPT
An example a built project that uses a similar approach in mimicking the dragonfly wing’s morphology is the DRAGONFLY by Emergent and Burro Happold. The installation is an irregular grid-shell that cantilevers 10 meters from its supports. The incredibly long cantilever is achieved by controlling the density of mesh, number of polygonal sides, thickness of cell wall, and overall surface curvature according to the performance driven by the dragonfly wing’s optimization1. Exploring the key ideas of this project extended our knowledge in translating the function of the dragonfly wing’s structure into the gateway design.
Rigid
Flexible Fig.3: Diagram showing the various types of polygon used in a dragonfly wing’s pattern.
Fig.4: Diagram of a dragonfly wing’s veins and membrane structure.
C.1. GATEWAY PROJECT: DESIGN CONCEPT | 78
1
FORM FINDING Before further developing the details of the design, we decided to finalize the form and scale of the installation, and to settle on a location. Here, the site features were used as a parameter to develop the design outcome.
1. Road boundary
2
Because users in the site are only motorists passing through the highways, it is important to make sure that the installation gives impact to the appropriate roads.
2. Site boundary
The site is limited to certain areas between the highways. This means that the installation should not be built outside the indicated boundary.
3. Traffic direction
3
79 | C.1. GATEWAY PROJECT: DESIGN CONCEPT
The position of the installation should give the right experience for the passers according to the direction they are facing. It should higlight the direction towards Wydham City, as it is the main purpose of the gateway.
4. Location of installation
It is located on both site A and B to give maximum experience for the drivers coming from the three major roads (red arrows indicating the area where users could experience the design).
4
5. Form of installation
Instead of a tunnel, we decided to create a semi-tunnel with curvatures that smoothly blend with the site, as if the form comes out from the natural landscape. In relation to the dragonfly structure, the form will also include a cantilever pointing toward the direction of Wyndham that also expresses the design’s ability to support its own weight.
5
Elevated
Lowered
C.1. GATEWAY PROJECT: DESIGN CONCEPT | 80
1
2
3
4
81 | C.1. GATEWAY PROJECT: DESIGN CONCEPT
PATTERN FINDING 1. Rib section
To support the cantilever, a rib that behaves like the major veins of the dragonfly wings is created. This section will need to be the strongest element of the structure, consisting of rigid, four-sided polygons. One third of its length will be submerged into the ground as a footing.
2. Remaining sections
Sections further from the rib are not supporting any load. Acting like the dragonfly wing’s membrane, the remaining section of the design will be irregular voronoi pattern that is suitable for a more flexible curvatures. This pattern is also preferrable because of its efficient ability to transfer loads through any edge of the polygons that lead unto the main rib.
3. Thickness variation
Mimicking the function of different thickness of the dragonfly wing, the extrusion of the design pattern will be ranging from 0.1 meter to 1 meter thick. This will allow the design to have more rigidity near the footing/root, and flexibility as well as lighter loading towards the cantilever.
4. Variation of openings
Instead of having logical variation of cell sizes such as in the dragonfly’s wing, the cells of our design will change gradually in the size of its opening. Part nearer to the footing will have smaller openings, whereas part nearer to the cantilever will have bigger openings. This will create the same performance with the wing’s structure, because smaller openings insidate larger surface of panels (big, rigid cells), while panels with bigger opening have more narrow surface (small, flexible cells).
C.1. GATEWAY PROJECT: DESIGN CONCEPT | 82
FABRICATION INSTRUCTIONS 3mm Stainless Steel Sheeting used for the ribs because of its strong quality that will enable the whole structure to be supported. 1. Unroll panels of the digital model into separate surfaces. 2. Print and cut the unrolled surfaces on a stainless steel sheeting using laser cutter. 3. Weld each face using cleats into a set of rectangular panels off-site. 4. Prepare the reinforced concrete footing on site. 5. Transport the welded panels using trucks. 6. On site, weld the bottom panel unto the footing reinforcement, and continue fabrication by welding the rest of the panel together until it forms the complete rib. 1.9mm Polypropylene Sheeting used for the rest of the design because of its lightweight quality and its semitransparent properties that would not block the natural light. Bolts
Tabs
83 | C.1. GATEWAY PROJECT: DESIGN CONCEPT
1. Unroll each panel into a strip. 2. Print and laser cut the strips on a polypropylene sheet (we may need to request for a custom sheeting size to fit the required dimension of panels) 3. Fold each strip into individual voronoi panels off-site. 4. Transport the panels using trucks. 3. Bolt them unto the steel ribs, and then unto the rest of the polypropylene panels on site.
Polypropylene
Stainless Steel
C.1. GATEWAY PROJECT: DESIGN CONCEPT | 84
G A TE W A Y P RO J ECT :
T E C TO N I C
ELEMENTS
85
Fig.5: Detail of the Gateway design prototype.
C.2. GATEWAY PROJECT: TECTONIC ELEMENTS | 86
Fig. 6
Fig. 7
Fig. 8
Fig. 9
Fig. 10
Fig. 11
Fig. 6-7: Photographs of different outcomes during the fabrication process; Fig. 8-9: Photographs showing the deformation of the rib and its reliance to the polypropylene; Fig 10-11: Top and bottom view of the bolted joints.
87 | C.2. GATEWAY PROJECT: TECTONIC ELEMENTS
AN ATTEMPT FOR FABRICATION The polypropylene sheets looks perfectly fine when we had just bolted few pieces together. However, as we connected them into a larger section of the model, the material started to twist. This might be because we could not properly fold the tabs according to the required angle due to the disconnected edges within one panel. One solution for this is to connect the edges within one panel by welding it off site. On the other hand, the rigidity level of the rib might also determine the tendancy of the polypropylene to twist. The rib does not seem to support the structure, but rather being supported by the polypropylene. It could not even maintain its own shape, due to the wrong choice of materials being used. Instead of using a 300gsm cardboard, a stronger material should be used. This will not affect our final choice of material for the design because the rib will be made of welded stainless steel that is rigidly connected unto the footing. Connecting the joints using bolts provides sufficient rigidity for the structure. Bolting is also more time efficient compared to gluing the tabs.
C.2. GATEWAY PROJECT: TECTONIC ELEMENTS | 88
G A TE W A Y P RO J ECT :
FINAL
MODEL
89
Fig.12: Bird-eye view of a 3D printed final model.
C.3. GATEWAY PROJECT: FINAL MODEL | 90
Fig.13: View from the North.
Fig.15: View from the South.
91 | C.3. GATEWAY PROJECT: FINAL MODEL
Fig.14: View from the East.
Fig.16: View from the West.
C.3. GATEWAY PROJECT: FINAL MODEL | 92
Fig.17
Fig.18
Fig.19
Fig.20
Fig. 17-20: Day and night perspectives from the driver’s point of view.
93 | C.3. GATEWAY PROJECT: FINAL MODEL
C.3. GATEWAY PROJECT: FINAL MODEL | 94
Fig. 21: Close up view of the 3D printed model.
95 | C.3. GATEWAY PROJECT: FINAL MODEL
West Elevation
section
C.3. GATEWAY PROJECT: FINAL MODEL | 96
97 | C.3. GATEWAY PROJECT: FINAL MODEL
C.3. GATEWAY PROJECT: FINAL MODEL | 98
WESTERN GATEWAY
DESIGN
P RO P O S A L Inspired by the cellular morphology of the dragonfly wings, this Gateway design proposal is a uniquely corrugated semi-tunnel that cantilevers 60 meters from its support. Using the insect’s wing and the project’s natural site as the basis of the development of its overall form and pattern, this proposal reflects Wyndham City’s deep passion for nature. Anyone—designers or non designers—will be able catch the natural essence of this proposal through the pattern of voronoi and its form that smoothly appears from the ground. The transparency of its material further blends this creature with the environment, reflecting the colors of nature that surrounds it. On the other hand, the achievement of both lightweight outlook and properties will not just offer a quick attraction for the users, but also a thoughtful inspiration, awe and curiosity on what could possibly enable this installation to amazingly stand by itself. A perfect combination of simply a sense of life, attraction, innovation and further reflection of this Gateway design project is something that no other installation could offer for Wyndham City.
99 | C.3. GATEWAY PROJECT: FINAL MODEL
C.3. GATEWAY PROJECT: FINAL MODEL | 100
L E AR N I N G
O U TCO M E S The most important point that our group learned from the final presentation feedback is to be confident and convincing in presenting the design proposal. This was a useful insight for the future as well, for it is crucial for designers to confidently present their best in order to make the clients interested with the proposal. We were also questioned with whether the structure was considered to be selfsupporting or not. This was because our protoype model (C.2. Tectonic Elements) were wired unto the ground to keep it in shape and prevent it from twisting. Those wires were not actually supposed to be there; however, due to the time constraint, we were unable to change the material selection and fix the model properly. As an attempt of improvement, we decided to create another model using 3D printing machine (C.3. Final Model). Even though the final model could not show any jointing elements as shown in the prototype, it could better present our desired final form. The feedback also suggested us to put more thoughts on how the cantilever could be assembled on site, since it will fly up to 10 meters high. Honestly, this was outside our consideration during the final design development. Because of the limitation of time, we could only focus our deep thought on the design process, while it is just a brief idea on its fabrication process. Yet, it would be nice if our group could have a clear solution for its efficient construction steps. 101 | C.4. LEARNING OBJECTIVES AND OUTCOMES
Prior to taking this subject, my skill in using parametric design tools such as Grasshopper is literally zero. I was quite amazed by myself that I had gone this far, creating a complete digital design using softwares that I was used to be unfamilarized with. Somewhere in the middle of this journey, I often got stucked in developing the Grasshopper definitions. Most of the time it did make me feel frustrated and feel like giving up. However, it is good to realize how interesting and unique the outcome of a digital parametric design is. I ended up falling in love with the form that our group had designed ourselves, and this motivated me to put more effort in producing excellent final outcomes. From that point onwards, I started to find digital and parametric tools appealing, and I could appreciate digital architecture like never before. I believe my limited skill will not become a constrain for me to continue working on parametric designs in the future, because as long as I have got the passion for it, I will be able to practice my skill with enjoyment. This subject has also taught me to manage my time wisely by setting priorities in developing a design. Our group had experienced being stuck on refining our design argument, and if we kept on searching for the perfect answer for this, we could not have progressed this far. Sometimes we need to just keep on taking steps ahead and fix whatever behind as we walk. Just like a traditional design is, digital design is also not a black and white theory. There are many options that we can take, but we need to keep in mind that everything could end up being the right choice if we really put our best into it.
C.4. LEARNING OBJECTIVES AND OUTCOMES | 102
NOTES 1. “Dragonfly: Emergent/Burro Happold�, Core.Form-ula, accessed 4 June 2013, http:// www.core.form-ula.com/2007/12/13/dragonflyemergent-buro-happold/ IMAGES: Fig. 2 http://www.core.form-ula.com/2007/12/13/dragonflyemergent-buro-happold/
103
104