2015 S1 Matthew Kek

2 015 E D I T I O N

AIR S T U D I O

M AT T H E W K E K [ 6 0 5 5 24 ]

THE UNIVERSITY OF MELBOURNE MELBOURNE SCHOOL OF DESIGN FACULTY OF ARCHITECTURE BUILDING & PLANNING Bachelor of Environments [ARCH] Architecture Design Studio: Air [ABPL30048_2015_SM1] Written By: Matthew Kek [605524] Tutor: Philip Belesky

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4 INTRODUCTION 7 CONCEPTUALISATION[A] 8

[A].1 DESIGN FUTURING

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[A].2 DESIGN COMPUTATION

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[A].3 COMPOSITION/GENERATION

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[A].4 CONCLUSION [A].5 LEARNING OUTCOMES [A].6 APPENDIX I

CONTENTS

DEE & CHARLES WYLY THEATRE - OMA, 2009 SENDAI MEDIATECHQUE - TOYO ITO, 2000 X-PHYLUM - KARL CHU, 1999 ICD/ITKE RESEARCH PAVILION - UNIVERSITY OF STUTTGART 2011 HEYDAR ALIYEV CENTRE - ZAHA HADID, 2012 STARBUCKS COFFEE - KENGO KUMA & ASSOCIATES, 2008

26 CRITERIA DESIGN[B] 28

[B].1 RESEARCH FIELD

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[B].2 CASE STUDY 1.0

BIOMIMICRY

LAS PALMAS WATER THEATRE - GRIMSHAW

THE EDEN PROJECT - GRIMSHAW, 2000

VOLTADOM - SKYLAR TIBIT

42 SITE ANALYSIS[X] 58

[B].3 CASE STUDY 2.0

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[B].6 TECHNIQUE PROPOSAL

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[B].4 TECHNIQUE DEVELOPMENT

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[B].5 TECHNIQUE PROTOTYPING

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[B].7 LEARNING OBJECTIVES & OUTCOMES

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[B].8 APPENDIX II

SPANISH PAVILION - FOREIGN OFFICE ARCHITECTS, 2005

84 DETAILED DESIGN[C] 86 100 116 132

[C].1 DESIGN CONCEPT [C].2 TECTONIC ELEMENTS & PROTOTYPES [C].3 FINAL DETAIL MODEL [C].4 LEARNING OBJECTIVES & OUTCOMES

134 REFERENCES 3

INTRODUCTION

M AT T H E W K E K , S I N G A P O R E B . E n v i r o n m e n t s [A R C H ] , U n i v e r s i t y o f M e l b o u r n e , A U S [ 2 015 - P r e s e n t ] Dip. in Ar chi t ec t ur e, Singapor e Pol y t echnic, SIN [ 2 0 0 9 - 2 012]

AWA R D S 2 0 0 6 N g e e A n n P o l y t e c h n i c ‘ B r i d g e C h a l l e n g e ’, O v e r a l l C h a m p i o n 2 0 0 3 M o s a i c F a s h i o n F u s i o n D e s i g n C o m p e t i t i o n , 1s t R u n n e r U p

Matthew is currently an undergraduate student at the University of Melbourne. He graduated with a Diploma in Architecture from Singapore Polytechnic [Singapore] in 2012 and has worked on various projects inside and outside of Singapore ever since - one of which was in collaboration with Mercy Relief in the Philippines.

DIGITAL ARCHITECTURE? A method of processing ideas for architecture. Just like how pencils were used to convey drawings and ideas, we now use computers. Digital architecture presents more ways in which we can view, explore, create and optimize architecture through the use of sof twares such as Building Information Modeling(BIM) or Parametric Based Modeling.

As compared to drawing with a pencil, computers allow the input of data into drawings and its elements injecting a sense of realism when designing a project.

COMFORT LEVEL WITH SOFTWARE (SCALE OF 1 - 10) ?

Grasshopper = 0, Comfor table with Sketchup, Autocad, Adobe Suite and fair with Rhinoceros Familiarise with sof twares during school assignments, competitions, travel documentation, internships and the occasional experimentation.

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His interest in the field of Architecture developed from playing with Lego™ during his early years. Having spent most of his life in Singapore then led on to a keen interest in modular architecture and building ef ficiencies. His other interest include graphic design, fencing, photography and travelling.

As par t of his career development, Matthew has worked in 3 dif ferent of fices namely ARC Studio Architecture & Urbanism, Passage Projects & SCDA all of which was par t of what he calls the ‘S, M, L Architecture Of fice Experience’. Through this self planned program, he got to learn more about the industr y and its demands as well as sof tware[Autocad, PSD, AI, Rhino] and graphical representation of content related skills.

Matthew hopes to pioneer and contribute to the built environment by improving low cost public housing and shelters in hopes to reinstate the jobless and ‘untapped potential’ of societies today. Eventually, he dreams to own his own practice in future.

Top to Bottom: WAVE [Time,Body,Space Exploration], 2010 Project Green Hope Singapore Polytechnic in collaboration with Mercy Relief Zambales, Philippines 2011* Diploma in Architecture Programme Brochure, 2012

*Sadly and unfor tunately, area had been hit by floods in September 2013 Condolences to the families and friends if any loss suf fered 5

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WIRE FRAMED DANDELION

C O NC E P T UA L I SAT I O N [ A ] .1 DESIGN FUTURING .2 DESIGN COMPUTATION .3 COMPOSITION/GENERATION .4 CONCLUSION .5 LEARNING OUTCOMES .6 APPENDIX

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C O NC E P T UA L I SAT I O N [ A ] .1 DESIGN FUTURING In a highly dynamic world we live in, it is always a challenge to keep supply up with its demand. Population is ever increasing, along with its complications.

S i m u l t a n e o u s l y, r e s o u r c e a n d t i m e a r e a t a n increasing rate of depletion such that ‘we are now at

a point when it can no longer be assumed that we, e n m a s s e h a v e a f u t u r e ’ [1].

Given the circumstance, naturally, we would ‘think responsively’ and ask ourselves can we make it faster, do it better - be more ef ficient. To a consumer this problem may not be obvious but as a designer, we are at the forefront of change. Change that can improve(or worsen) conditions.

Unlike, other form of design & products, architecture is one that ‘occupies’ and becomes par t of the ‘ecosystem’ we live in just like any other person. Being influential on how people circulate, work, enjoy, play.

The following case studies and examples feature ideas, implementation and concepts in architecture that have contributed, influenced or invoke a sense inspiration to better practice...

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D E E & C H A R L E S W Y LY T H E AT R E - O M A , 20 0 9 Architect: REX | OMA Location: Dallas, USA P r o j e c t A r e a : 7, 7 0 0 S Q M RETHINKING THE STEREOT YPES IN T YPOLOGY When we think about theatre as a space, first words t h a t c o m e t o m i n d w o u l d b e ‘ g r a n d ’ o r ‘ e x t e n s i v e’.

H o w e v e r, t h a t w a s n o t t h e c a s e f o r t h e W y l y T h e a t r e

by OMA. When operational cost of the original theatre had been taxed to a point ‘it could no longer af ford the

labour and materials necessary to rearrange its stage c o n f i g u r a t i o n ’ [ 1 ] the design team star ted to question if tr ying to work their way round the typical configuration of theatre architectural typology was the best approach to the problem.

FIG1. Wyly Theatre Concept

Hence, in order to retain the capabilities of providing a space to host a variety of programs, OMA proposed the stacking of the typical spaces required for a theatre [FIG1] , p r o v i d i n g m a x i m u m f l o o r a r e a f o r t h e s t a g e . N e x t , floor lif ts fitted with ‘non-precious materials - the floor c a n b e d r i l l e d , n a i l e d i n t o , a n d p a i n t e d a t w i l l ’ [ 2 ] formed the stage floor making the floor area ‘reconfigurable’ within its boundar y. This reduced the dependency manual labour to ‘a push of a button’ [FIG2&4] .

T R A N S F O R M A B L E S PA C E S In that instance, architecture became a tool at the disposal of its user - Architecture being able to help man. As a space, not only can the flexibility created provide convenience for the theatre but it also creates

FIG2. Floor Lif ts for Transforming Space

Dee & Charles Wyly Theatre - OMA

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FIG3. Full Height Glass Doors that Wrap the Main Stage at Ground Level

“strongest It is not the of

the species that survives, nor the most intelligent, but the one most responsive to change.�

- Leon C. Megginson

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DEE & CHARLES WYLY THEATRE

FIG4. Space transformation in Progress

new oppor tunities for programmatic options for its audience, allowing its usability to cater to a larger community ie. Convention Space, Exhibition Area becoming a highl y functional and usable machine[FIG 5&6].

Full height glass doors were used to wrap the stage area allowing outdoor access to street level during intermission as well as for large props to be moved i n a n d o u t o f t h e b u i l d i n g c o n v e n i e n t l y [FIG3](LEFT) . I n addition, this created possibilities for outdoor shows, virtually expanding its space into its surrounding.

FIG5. Proscenium Stage Layout

The project raises questions of what else and what other components of the building can be made ‘live’ ? Also, we see the use of technology in architecture to bring new light to an existing engineering system. Giving it other possibilities of purpose. Perhaps, climate adaptive or migrative terrains in future to make use of sudden climate change or extreme weather, at a push of a button?

FIG6. Thrust Stage Layout DEE & CHARLES WYLY THEATRE - OMA

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S E N D A I M E D I AT E C H Q U E - T O Y O I T O , 20 0 0 Architect: Toyo Ito & Associates Location: Aoba-ku, Sendai, Miyagi, Japan Project Area: 2,933 SQM OPTIMIZATION & ADAPTIVITY A multi-purpose cultural centre in the form of a glass box held by tube lattice frames that penetrate through the floor plates, through to its ceiling.

Ito’s design philosophy revolves around lightness, transparency and fluidity which at that time was something that people would describe as impossible. Ito’s challenge to his engineer, Mr Sasaki, was to design a structural system that mimicked the movement of ‘ seaweed-like tubes

FIG1. De-constructing Component

swaying freely as they suppor ted floor plates, as though the architecture were without weight or dimension .’ [1] . Sasaki then began to break down the structure into its individual components creating parameters to fit Ito’s brief. ie Light and Transparent Columns = Substitute solid columns with system of hollow steel tubes [FIG1&FIG2] .

The structural system used gave new thinking as to how a structural system can be more than just bulky columns and beams. In the project, the configuration of hollow steel tubes form a tunnel-like wells that penetrate through the floor plates and acts as a medium for skylight to enter the space within [FIG3&4]. Thus, shedding new light on preconceived ideas of a structural systems and its elements.

FIG2. Sendai Mediatechque Structural Components 12

SENDAI MEDIATECHQUE - TOYO ITO

FIG3. Column penetrating through floor plates

“ To be human is to refuse to accept the

given as given” [2]

FIG4. Section Demonstrating Column Design

With natural light filtering into the interior spaces inhabitants can now have a better quality of space for learning.

SURVIVAL OF ARCHITECTURE On the 11th of March 2011, Japan was struck with an ear thquake of 9.0 magnitude. However, the Sendai Mediatechque was ‘ scarcely damaged and there were no casualties ’ [3] as the designers were mindful of ‘ lessons

learned from the Kobe ear thquake of 1995 that took place during the design process ’ [4] . Configuring the round column tubes into a mesh-like arrangement not only provided aesthetics but also provided flexibility and ver tical stability when dealing with seismic activity and typhoons.

In the year 2010, the estimated cost of economical damage of destroyed homes, infrastructure and livelihoods was ‘ $10

billion more than the yearly average from year 2000 to 2009 ’ [5] . Sendai Mediatechque presents the creation of an adaptive structural system that ensures the ‘sur vival’ of the building.

Today ‘ Japan is on the cutting edge in the design and digital worlds ’ [6] .

SENDAI MEDIATECHQUE - TOYO ITO

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C O NC E P T UA L I SAT I O N [ A ] .2 DESIGN COMPUTATION In the past, only a single person could work on a drawing at one time. Today, with the aid of sof tware like Building Information Modelling(BIM) & ‘NURB’ based sof tware, project team members are able to work simultaneously on a file enabling huge amounts of data to be collated at the same time. Thus, improving capabilities and bringing relationships into view.

With the introduction of computational methods in architecture, designers now have better ‘ abilities to deal with highly complex situations .’ [1] . Since then built forms with complex geometries have been emerging. Geometries that would have required several days or months of calculation to design can now be conceived in a shor ter period of time. This opens endless amounts of possibilities to how architecture can look and be like in future. Making the term ‘vision’ nothing more than a stone throw away.

And unlike its creators, computers ‘ never tire, never make silly arithmetical mistakes ,’ [2] therefore we are lef t with results that can only be faster and more accurate.

However, despite having this new method of design the irony is that, realisation of our ideas are limited to the capabilities and understanding of the thing that it was made with - the sof tware. Even Frank Gehr y, who easily sketched his idea for the Guggenheim Museum, had to consult his sof tware engineer to bring the sketch to life. Perhaps, in the near future we can make it if, we think it ...

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BUILDING THE GENETICS FOR ARCHITECTURE Just like how DNA carries instructions that generates ‘form’ in an organism. Lines in computational sof tware carr y algorithmic instructions that generate the geometr y. This allows us to specify and simulate how a building form would behave in its environment before it being built. Since then computation has enabled people like John Frazer and Karl Chu to come with concepts of evolutionar y architecture which takes precedent from concepts in genetics and biology.

X-PHYLUM - KARL CHU, 1999 A project base on the use of ‘ life sciences and use of computation to visualize structure and growth ’ [1] . Chu created a system to generate a set of configurations base on the ‘Lindenmayer System’ in biology. This became the basis of the logic and production for the project. Also know as a an ‘L-System’, which simulates plant growth in a ‘rulebased branching system’, the computational methodology creates ‘ objects by successively replacing par ts of an initially constructed object using ’ [2] rewriting. As a result a complex form can be created by a simple set of carefully defined rules [Project Photo] . This pretty much works like how a similar type of species can exist in dif ferent areas but look and behave according to its environment.

With computation we see the possibility of creating architecture that can mimic aspects and characteristics of human beings, being able to evolve and grow.

Translating instructions into geometrical behaviour.

Maybe architecture be ‘Living’ in future?

FIG1. Diagram illustrating how the ‘L-system’ works

X-PHYLUM - KARL CHU

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ICD/ITKE RESEARCH PAVILION UNIVERSITY OF STUTTGART 2011 LEARNING FROM THE ‘MASTERS’ With abilities to explore new forms for architecture we can now study existing complex forms that were not possible with yesterday’s technology. University of Stuttgar t has star ted an annual program to explore biological systems in and its applications in/to architecture. The 2011 pavilion studies geometr y for high load bearing capacity prefabricated elements. Taking precedent from the shell of sea urchins which has ‘ achieved by the par ticular geometric arrangement of the plates and their joining system .’ [1] The skeleton shell composed of polygonal plates link together by calcite protrusions has high load bearing capacities due to geometrical composition ef ficiency [FIG1&2] .

Edge of plates meet in a tessellation of 3 plates to a joint.

Plates are then linked at edges by customized wedge protrusions that mimic the calcite protrusions that links the plate modules in the shell of the sea urchin. Using computational means project members were able to recreate the geometries from data for study. Af ter which, data is translated into fabrication and then materialised into context.

In nature, a process of natural selection favours the most suitable candidates of a species to populate ensuring its sur vival and continuity. Under these harsh conditions, evolutionar y traits have emerge to cope with conditions posed by the elements. Hence, design computation 16

ICD/ITKE RESEARCH PAVILION - UNIVERSITY OF STUTTGART 2011

FIG1. Simulating Structural Per formace

FIG2. Basic Module Extracted for Morphological Transfer

FIG3 & FIG4. Fabrication and Joiner y Closeup

techniques not only improve work flow and rate of productivity but it opens options Wto new areas of study in which we can draw inspiration from when conceptualizing architecture. In this case understanding and learning from natural systems.

“some when one sees of the

extraordinary adaptations that have evolved in natural organisms, it is hard not to feel a sense of humility about how much we still have to learn. [2]

ICD/ITKE RESEARCH PAVILION - UNIVERSITY OF STUTTGART 2011

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C O NC E P T UA L I SAT I O N [ A ] .3 COMPOSITION/GENERATION B y d e f i n i t i o n ‘ C o m p o s i t i o n’ i s t h e a c t o f c o m b i n i n g p a r t s o r e l e m e n t s t o f o r m a w h o l e , W h i l s t ‘ G e n e r a t i o n’ is the act or process of bringing into being.

Difference? A sense of realism.

Compared to its predecessors, Building Intelligent modelling(BIM) and parametric sof twares incorporates a huge amount of real time data output capabilities when digitising architecture. Enabling us to explore complex geometries and its related fields of studies.

S u b s e q u e n t l y, w e c a n s i m u l a t e g e o m e t r i c a l b e h a v i o u r s and optimise its performance through sof tware analysis.

Since, the introduction of computational means, designers have tried, tested and demonstrated its capabilities in approaching architecture. Resulting in a n e w t r e n d s t h a t e m e r g e s i n t h e p r a c t i c e . We s t a r t to see more geometric architecture. Architecture that blurs the definition of its individual components, almost as though the building was made of a single piece of material.

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ALGORITHMIC THINKING An algorithm by definition is a formula or a set of steps to solving a problem when translated into code, it becomes a set of instructions for a computer to per form task(s).

Being able to understand the language of computation would enable us to better provide ‘instructions’ when designing with sof tware. Enabling us to maximise its capabilities to its full potential.

HEYDAR ALIYEV CENTRE - ZAHA HADID, 2012 Since independence, Azerbaijan has been developing architecture with intent to depar t from its relations with by having form that ‘ breaks from the rigid and of ten monumental Soviet architecture ’ [1] in order to find its own identity as a countr y. With the use of parametric sof tware forms as ‘organic’ as this star t to emerge . At a glance it looks almost impossible to calculate the dimension of each and ever y panel individually.

FIG1. Modulation for Fabrication

PARAMETRIC MODELLING Sizes of the of each individual panel of the facade is generated by algorithm set in parametric sof tware. (ie.

Divide Sur face into Rectangles of Range X Size to Y Size.)

X,Y Values can then be altered to see which size of cladding will be most ef ficient/suitable [FIG1&2] . This to ensure we do not end up with too many types of modules, aiding and ensure ef ficient manufacturing and installation during construction.

FIG2. Construction of Skin HEYDAR ALIYEV CENTRE - ZAHA HADID

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FIG3.Seamless Forms

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HEYDAR ALIYEV CENTRE - ZAHA HADID

STARBUCKS COFFEE - KENGO KUMA & ASSOCIATES, 2008 M a d e up of 2000, 6cm stick-like par ts that range from 1.3m - 4m [FIG1] . The diagonal weaving was to ‘bring in a sense of direction and fluidity’. Interestingly ‘fluidity was represented by orientating linear elements to follow a cur ve throughout the interiors creating a warm interior with the use or ‘hard looking’ material. Parametric modelling enables us to create composition using modules and simulate patterning with elements of dif ferent sizes to explore spacial qualities. This done by using algorithm to create instruction to permutate modules to fill an area or follow a direction.

SCRIPTING CULTURE With progressive emphasis on generative architecture n e w v o c a t i o n s a r e c r e a t e d i n t h e i n d u s t r y. A r c h i t e c t s start venturing into businesses that provide expertise in sof tware services. Expanding on the capabilities of vir tual architecture. Star t ups like Grasshopper® b y D a v i d R u t t e n , We a v e r B i r d b y G i u l i o P i a c e n t i n ‘allow for performance feedback at various stages of an architectural project, creating new design o p p o r t u n i t i e s .’ [2]

FIG1. Components of Weaving

STARBUCKS COFFEE - KENGO KUMA

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C O NC E P T UA L I SAT I O N [ A ] .4 CONCLUSION C o m p u t a t i o n p l a y s a m a j o r r o l e i n a r c h i t e c t u r e t o d a y.

Presenting a great array of methodologies in which architecture can be expressed, such as patterning, b i o m i m i c r y, g e o m e t r i c e x p l o r a t i o n . H o w e v e r, w h a t w e are able to digitally create would be limited to the capabilities of the sof tware.

The design approach for the project would be to observe macro and micro natural systems within t h e s i t e . Ta k i n g a n e x i s t i n g s y s t e m t o g e n e r a t e architecture as a catalytic organism.

Adapting from an existing natural system is an advantageous approach as thriving system has proved itself suitable for fur ther development.

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.5 LEARNING OUTCOMES With limited background on parametric sof tware, e x p l o r a t i o n i n t h e C O N C E P T UA L I S AT I O N [ A ] p h a s e o f t h e project has presented new knowledge and perspective of parametric design capabilities, efficiencies and uses in the field of Architecture.

Limitation is only to that of imagination.

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C O NC E P T UA L I SAT I O N [ A ] .6 APPENDIX I Grasshopper works, assignments and self explorations over the past 3 weeks.

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WEEK[01] Intro to Grasshopping Tower Form Exploration

WEEK[02] Plant Trees!

Create stilts of varing height and skew Roof forms

WEEK[03] Random Coloured Shapes in a Cur ve

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CRITERIA DESIGN[B] .1 RESEARCH FIELD .2 CASE STUDY 1.0 .X SITE .3 CASE STUDY 2.0 .6 TECHNIQUE PROPOSAL .4 TECHNIQUE DEVELOPMENT .5 TECHNIQUE PROTOTYPES .7 LEARNING OBJECTIVES / OUTCOMES .8 APPENDIX II

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CRITERIA DESIGN [B] .1 RESEARCH FIELD ABSTRACT A s n a t u r a l r e s o u r c e s a r e a t i t s l o w, w e h a v e b e e n l e f t with no choice but to seek out new/alternate solution and resources to ensure the survival and continuity of our species.

I n D e c e m b e r 19 6 8 , t h e f i r s t i c o n i c p h o t o s o f E a r t h w a s t a k e n f r o m t h e m o o n . E n t i t l e d t h e ‘ E a r t h r i s e’, it invoked ‘to many that we live on One Ear th — a f r a g i l e , i n t e r d e p e n d e n t e c o s y s t e m .’ [ 1 ] . T h i s l e d t o t h e Declaration of the Unit ed Nations Conference on the H u m a n E n v i r o n m e n t i n S t o c k h o l m i n 1972 w h i c h s o u g h t the ‘need for a common outlook and for common

principles to inspire and guide the people of the world in the preservation and enhancement of the human e n v i r o n m e n t ’ [2].

Thus, transcending us from the age of mere industrialization to an age of sustainable-driven design and technologies.

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BIOMIMICRY Biomimicry is ‘an approach to innovation that seeks

sustainable solutions to human challenges by emulating n a t u r e’s t i m e - t e s t e d p a t t e r n s a n d s t r a t e g i e s .’ [ 1 ] . T h i s methodology benefit from a ‘3.8-billion-year research a n d d e v e l o p m e n t p e r i o d . ’ [2] s o u r c e - N a t u r e a n d i t s natural systems. Shaped and refined by evolutionary adaptations and homoeostatic responses, it provides us with inspiration for design and engineering solutions. Some examples of biomimetic design include t h e B u l l e t Tr a i n [ a d a p t e d f r o m t h e b e a k o f k i n g f i s h e r s ] , Speedo Fastskins[from sharkskin denticles].

The following extract is from a TED talk by Michael Pawlyn, founder of ‘Exploration - Architecture’ then with Grimshaw Architects, depicting applications, concepts and implications of biomimetic approach in architecture.

“ When nature has work to be done, she

creates a genius to do it.” [ 3 ] - Ralph Waldo Emerson

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LAS PALMAS WATER THEATRE - GRIMSHAW WAT E R S C A R C I T Y S O L U T I O N The project employs the water har vesting strategies of the Fogst and Beetle of the Namibian Deser t. During the collection process, Fogstand Beetles adopt the ‘ h e a d s t a n d i n g p o s t u r e f a c i n g i n t o t h e w i n d ’ [1]. I t s black exoskeleton allows it to radiate heat, temporarily lowering the temperature on their exoskeleton to allow water vapour in the warm sea breeze to condense on its cooler sur face. Hydrophilic bumps attract the water which then rolls down the waxy surface of the b e e t l e t o i t s m o u t h [FIG1&2] . U p o n c l o s e r e x a m i n a t i o n , the exoskeleton is made up of ‘microscopic hexagonal

p a t t e r n o f 10 m i c r o n d i a m e t e r h e m i s p h e r e s , w h i c h t o g e t h e r c r e a t e s a s u p e r - h y d r o p h o b i c s u r f a c e’ [ 2 ] [FIG3] .

FIG1&2. Beetle in ‘head standing posture’ & Hydrophilic Bumps on waxy sur face

H e x a g o n a l p a t t e r n e d s t r u c t u r e s , a s u s e d i n t h e ICD/ ITKE RESEARCH PAVILION 2011 [PG 16], h a v e p r o v e n t o h a v e h i g h s t r u c t u r a l e f f i c i e n c y a n d i n t e g r i t y, b e i n g s u i t a b l e for creating lightweight structures.

Hence, this par ticular example of biomimicry presents possibilities for lightweight, water harvesting structure in warm climates or even an alternative s o u r c e o f d r i n k a b l e w a t e r. I n a n u r b a n c o n t e x t , g l a z i n g of tall buildings present similarities to that of the exoskeleton of the beetle. This together with internal cooling systems, can provide the differentiation in temperature to create condensation process for water harvesting or even cooling of the building.

FIG3. Microscopic hexagonal pattern of 10 micron diameter hemispheres

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LAS PALMAS WATER THEATRE - GRIMSHAW

3

4&5

2

1

FIG 4. Illustration of Water collection process [1] Cold Seawater is drawn into tubes that form the condensing sur face [2] Structure Captures wind into Evaporator [3] Evaporator is heated

by Solar Collectors [4] Air is humidified when passing through Evaporator, seperating salt from water [5] Breeze pushes the filtered water vapour onto the condensing tubes where it turns back into water

FIG 5. Illustration of layers in project facade which doubles as an aesthetic backdrop for theatre per formance

LAS PALMAS WATER THEATRE - GRIMSHAW 31

THE EDEN PROJECT - GRIMSHAW, 2000 PROCESSING BIOMIMETIC DESIGN The project is a green house that host tropic and warm temperate regions within.

FORM Site of the project was constantly changing as it was being quarried. Hence, the design team adopted the use of soap bubbles as their proposed built form. Soap bubble form provided flexibility and was not dependant on the final ground level.

STRUCTURE T h e y t h e n s t u d i e d p o l l e n g r a i n s a n d r a d i o l a r i a [FIG2&3] to help derive a suitable and efficient structural system to hold up the built form. Resulting in the use o f a h e x a g o n a l / p e n t a g o n a l l i k e f r a m e [FIG4] .

FA B R I C AT I O N The design team, then wanted to maximise the size of the hexagonals rendering out the use of glass as a material option for the facade due to its limitations in unit sizes. This lead them to explore the use of Ethylene tetrafluoroethylene[ETFE]. ETFE was ideal as it was able to be fabricated in sizes ‘roughly sevent i m e s t h e s i z e o f g l a s s a n d a t 1 % t h e w e i g h t ’ [1]. T h i s meant that larger apertures can be achieved with less s t e e l n e e d e d t o h o l d u p t h e c a n o p y. L a r g e r a p e r t u r e s allowed more sun to enter the space resulting in l e s s e r n e e d f o r m e c h a n i c a l h e a t i n g d u r i n g w i n t e r.

‘And with the less overall weight in superstructure, t h e r e w e r e b i g s a v i n g s i n t h e f o u n d a t i o n s . ’ [2].

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THE EDEN PROJECT - GRIMSHAW

FIG1.Bubble Molecules as the Proposed Built Form

FIG2&3. Pollen Grain and Radiolaria Structures

FIG4. Nature adapted form and structure

FIG5&6. Framing Model & ETFE Close up showing composition of light weight inflatables and reduced steel frame

CONCLUSION Overall, the biomimetic approach provides a ‘prerefined’ resource for design. At the same time, adaptation gives value through advantageous characteristics presented in nature ie.if adaptation is ef ficient in structure & is waterproof, architecture w i l l h a v e s i m i l a r p r o p e r t i e s . H o w e v e r, l i k e i n n a t u r e , it may require more than one organism to form a system for architectural performance [as seen in the design process of the Eden Project].

As the site of the brief is of a natural environmental context, perhaps the proposal maybe architecture as a species that improves the current site conditions?

FIG7. Product of Biomimetic Design Plan

FIG8. Product of Biomimetic Section THE EDEN PROJECT - GRIMSHAW 33

DECONSTRUCTING BIOMEMETIC DESIGN CONCEPT

34

UNEVEN GROUND

ADOPT BUBBLE FORM

SINK

M AT C H T O P O G R A P H Y

A P P LY A DA P T E D E F F I C I E N T S T RU C T U R A L G R I D

HOST

C R I T E R I A S & PA R A M E T E R S

T E S S A L AT E D G R I D

FORM

VA R I E D H E I G H T S

D I S P L AC E M E N T O V E R A PAT H

35

CRITERIA DESIGN [B] .2 CASE STUDY 1.0

36

VOLTADOM - SKYLAR TIBIT Background C r e a t e d i n c e l e b r a t i o n o f t h e 15 0 t h A n n i v e r s a r y o f t h e M a s s a c h u s e t t s I n s t i t u t e o f Te c h n o l o g y [ M I T ] , the installation fills the hallway connecting building 55 and 66 of the MIT campus. The project features apertures that become the boundary that filter light entering the space ad views from the outside.

Composing of single strips of material bent into arches, the installation ‘plans to expand the

architectural notion we have of panel surface, increasing the depth of a doubly curved vaulted surface, while maintaining the relative ease of m a n u f a c t u r e a n d a s s e m b l y .’ [ 1 ] .

The installation also resembles a membrane built by the mitosis of a cell group in an organism suggesting a ‘ selfreplicating system, adaptable to a given space ’ [ 2 ] . Raising the question: ‘ Does the future of architecture is a material that self

replicate and adapt to fill voids and create boundaries? ’ [ 3 ]

FIG1, 2, 3. Project Photos [top to bottom] 37

PERMUTATION

DISTRIBUTION

RESIZED

STRETCHED

A P E R T U R E VA R I AT I O N 38

S T R E C H I N G & A P E R T U R E VA R I AT I O N S

TA P E R E D & R E D I S T R I B U T E D

RESIZE REDISTRIBUTED

39

CRITERIA SELECTION

SELECTED 40

N AT U R A L L I G H T I N G

T R A S H I S O L AT I N G

I N C U B AT I V E L E A R N I N G P O D S O V E R A WAT E R B O DY ?

Vo l t a d o m d e f i n i t i o n d i d n o t p r o v i d e m u c h r o o m f o r exploration probably because of the scale of the p r o j e c t - b e i n g a i n s t a l l a t i o n a c r o s s a c o r r i d o r.

However, its form is aesthetically pleasing, giving precedent to dome-like pods architectural forms that can act as an incubative get-away spaces for nature and man to coexist along Merri Creek. Openings allow wildlife to seek shelter and at the same time keep out trash from collecting in the water body and its vicinities.

As some combination of slider values were not able to generate an actual form, selected forms were chosen based on fabrication possibilities...

W I L D L I F E I N T E R G R AT I N G 41

S I T E A N A LYS I S [ X ] SITE CONTEXT LOCATION SITE OBSERVATIONS SITE ANALYSIS & RESPONSE

SITE CONTEXT

NATURE

44

MEETING POINT

PROGRAM

ACTIVE WATER BODY [POTENTIAL]

45

LOCATION PLAN

CLIFTON HILL

ABBOTSFORD

46

A R E A O F I M P L E N TAT I O N

C O L I N G W O O D C H I L D R E N ’ S FA R M U N I V E R S I T Y O F M E L B O U R N E E A R LY L E A R N I N G C E N T R E MEERI CREEK VICINITIES

47

SITE OBSERVATIONS

KEY AMMENITIES - UNIVERSITY OF MELBOURNE E A R LY L E A R N I N G C E N T E R - C O L I N G W O O D C H I L D R E N ’ S FA R M - T H E FA R M C A F E - C O L I N G W O O D FA R M E R S M A R K E T - C 3 C O N T E M P O R A RY A R T S S PAC E - C O N E 11 C E R A M I C & D E S I G N S T U D I O - RU N N I N G R O U T E - BIKE ROUTE KEY ACTIVITIES - JOGGING - WA L K I N G - C YC L I N G - N AT U R E A P P R E C I AT I O N - F O O D & B E V E R AG E - FA M I LY AC T I V I T Y - E D U C AT I O N A L FA R M T O U R S KEY PROBLEMS - LITTER - VA L L E Y L I K E T O P O G R A P H Y C AU S I N G L I T T E R T O R O L L I N T O WAT E R B O DY - N O I S E F R O M F LYO V E R S

48

UNIVERSITY OF MELBOURNE E A R LY L E A R N I N G C E N T E R

COLINGWOOD C H I L D R E N ’ S FA R M

NOTES Overall, the site presents various amount of opportunities for education, inspiration, recreation and relaxation. ‘A n c h o r t e n a n t s’ a r e l e a r n i n g c e n t r e s for the young. Perhaps an extension for educational space that is intergrated with the conservation and protection of the water body may be appropriate.

Not only can the proposed architectural intervention shape and better the landscape but also educate the future stakeholders of the environment...

49

SITE RESPONSE

“ Only ~1%

of the world’s freshwater is

accessible

for direct human uses.” [1]

[ 1 ] Wa t e r i s p o l l u t e d b y l i t t e r, filthy surface run-of f water etc.

CLEANING WATER NATURALLY CLEANER WATERS FOR MORE PROGRAM? As one of the key problems presented by the site was the issue of keeping the waters of the Merri Creek clean.

Possibilities for people to engage with the water body is reduced to just a visual experience from afar, not being able to go anywhere near the waters .

By cleaning the waters, not only can we star t to look at possibilties as to what programs can develop. But also, in the long run, a possible/alternative source of fresh water that people can rely on.

The following is a brief looks at how water is purified in a natural system and how this system may be integrated into the design proposal for the project as par t of a ‘active-passive’ design system.

[...] [ 4 ] Wa i t . . .

50

[2] Plants naturally grow in un-urbanised areas

[3] Chemical reaction with filth, micro organisms removing impurities and toxics

[ 4 ] O v e r t i m e . . . Wa t e r i s r i d o f j u n k

[5] Perhaps the inter vention is to create away to built a space to host the required ecosystem for the process through parametric design ...?

51

SITE ANALYSIS

S L O P E A N A LY S I S

STEEP MODERATE GENTLE

52

WAT E R F L O W A N A LY S I S

MAIN WATER BODY SURFACE RUNOFF

53

SITE ANALYSIS

O V E R L AY D ATA

54

S U R FA C E R U N O F F WAT E R C AT C H M E N T P O I N T S

CATCHMENT AREAS

P O I N T S W E R E D E T E R M I N E D B Y S T E E P N E S S O F S L O P E & A M O U N T O F WAT E R F L O W Pin pointing the areas where surface run-of f water is likely to concentrate would greatly r e d u c e t h e v o l u m e o f s u r f a c e r u n - o f f w a t e r c o n t a m i n a t i n g t h e w a t e r b o d y.

55

SITE RESPONSE B I O M I M E T I C A P P R O A C H - E M P L OY I N G I N S P I R AT I O N F R O M T H E S I T E The site itself presents an example of how water speeds can be varied creating a d i s t i n c t i o n o f s t i l l p o o l s a n d r a p i d f l o w i n g a r e a s o n t h e w a t e r b o d y.

STILL POOLS S E D I M E N TAT I O N

56

RAPID FLOWS F I LT R AT I O N

57

CRITERIA DESIGN [B] .3 CASE STUDY 2.0 RE:think!

58

SPANISH PAVILION - FOREIGN OFFICE ARCHITECTS, 2005 Background The project features the use of a hexagonal lattice, composed by six variations of tile blocks, that envelope its spaces within.

Tile blocks were colour coded to express the ‘hybridization of Jewish-Christian cultures and the I s l a m i c i n f l u e n c e o n t h e I b e r i a n P e n i n s u l a ’ [1] t h r o u g h the play of ‘characteristic architectural elements of t h e c u l t u r e o f s y n t h e s i s ,’ [ 2 ] .

Va r y i n g b e t w e e n c u l l e d b l o c k s a n d o p a q u e b l o c k s t h e spaces the facade engages its interiors in a play of light and shadow enticing its users as they explore the building.

Through the use of the dynamic patterning of the tiles, the architects were successful in expressing the design intent of the architecture to the public as an e x h i b i t i o n s p a c e f o r t h e 2 0 0 5 Wo r l d E x p o h e l d i n A i c h i , Japan.

59

REVERSE ENGINEERING BASIC COMPOSITION

[1] BASIC HEXAGONAL GRID

[2] DECOMPOSE & ‘VECTORIZE’

FIG1. INDIVIDUAL TILE BLOCKS

DIFFERENCES? Definition was studied based on provided information. Colouring of tiles was a challenge and remain unresolved.

[3] MULTIPLY IN X/Y AXIS

PA R A M E T R I C ?

No doubt the pattern is make of 6 variation of modules that can be easily multiplied through copy and paste. Imagine the extensiveness of p e r f o r m i n g ‘ c o p y & p a s t e’ i f t h i s w a s r e q u i r e d t o b e d o n e i n a s c a l e 10 0 times of this?

POTENTIAL? Pattern Maping may be used to create works over large areas ie Generative Landscapes. Combined with the use of the image sampling tool allows implementation of a variant species of geometry from the grid pattern to exist at areas where need be. In this case, the methodology described was used to create perforations in a building facade.

60

[4] MULTIPLY TO REQUIRED AREA

[5] HOLLOW TILES BY INVERSING OFFSET

[7] EXTRACT DIFFERENCE & MAKE SURFACE

[6] CULL USING IMAGE MAP

[8] EXTRUDE

. . . PAT H S & P L A N T E R B O X E S ?

61

CRITERIA DESIGN [B] .6 TECHNIQUE PROPOSAL .4 TECHNIQUE DEVELOPMENT G E N E R AT I V E L A N D S C A P E S U S I N G [ 1 ] DATA M A P S [ 2 ] PAT T E R N S [3] TRACTOR POINTS

62

GENERATIVE LANDSCAPING? Having explored the possibilities for a solution to clean the waters of Merri Creek in hope to provide program a n d a c t i v i t y. T h e a p p r o a c h w a s t o t r y & r e c r e a t e t h e environment that would bring about the phenomena of the natural water cleaning process. This was to be done through development for a generative landscape through a series of computational techniques.

63

TECHNIQUE PROPOSAL

64

GRID

IMAGE SAMPLE

BASIC GEOMETRY

CULL PATTERN FOR CATCHMENT AREA

ATTRACTOR POINTS

MULTIPLY

CREATE OPENINGS FOR WATER TO RUN

AN ECO SYSTEM OF WATER CLEANING

SCALE & EXTRUSION RATIO

GENERATIVE LANSCAPES

65

PERMUTATION M A N I P U L AT E M O D U L E S

I M AG E S A M P L I N G

I N T R O D U C E AT T R AC T O R W I T H C R I T E R I A [1] Scale [2] Cull Geometry that is too small

66

67

PERMUTATION E X T RU D E

I N T R O D U C E AT T R AC T O R W I T H C R I T E R I A [3] Extrusion dependant on distance from attractor

NOTES Definition explores possibilities as to how water can flow into a demarcated area. Possibly varying in speed - slowed down when more obstacles or when g a p s b e t w e e n m o d u l e s a r e t i g h t e r, v i c e versa.

Iteration was considered successful base on the following criterion: [1] [2] [3] [4]

68

Possibly slows flow of water Presence of pools Presence of possible footpath Visually comfor table composition

69

CRITERIA SELECTION

SELECTED 70

S L O W D O W N WAT E R

R O C K P O O L S PAC E S

P L A N T E R S T O T R E AT WAT E R S 71

CRITERIA DESIGN [B] .5 TECHNIQUE PROTOTYPING

72

FLOW STUDIES Pin and string model to better understand hydrodynamics in a landscape.

73

FLOW STUDIES

STRING & PIN To better understand the circulation of water. A flow study was done as par t of prototyping. Pins marked out an obstacle in the composition and the string was randomly ran across to meet the pin at the output point. Since water flows in the direction of least resistance, linear lines are seen as dominant.

The test gives better the understanding of hydrodynamics and a general idea when it comes to planning a catchment area. That is, they have to be placed af ter a series of obstacles. By doing so, water is slowed down, buying time for plants in catchment areas to process the water. Method was tested on selected iterations selected from criteria selection.

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75

FLOW STUDIES

PINNED OBSTACLES

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STRUNG TO REPRESENT FLOW

77

CONCEPTUAL RENDER

78

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CRITERIA DESIGN[B] .7 LEARNING OBJECTIVES & OUTCOMES Practicing the use of computational design has led to many discoveries of its possibilities and uses. Thus, far various techniques have been explored through project such as simulation, attractor points, patterning based on data.

Coming from an architectural background, it was quite interesting and at the same time refreshing to use computational design to explore the discipline of landscape architecture.

H o w e v e r, m o r e t i m e n e e d s t o b e s p e n t o n p r a c t i c i n g and refining understanding of certain definitions to instruct program on the ideal outcomes.

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81

CRITERIA DESIGN[B] .8 APPENDIX II Grasshopper works, assignments and s e l f e x p l o r a t i o n s t h u s f a r. . .

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WEEK[05] GRID SPLITTING USING ATTRACTOR POINTS

WEEK[06] SITE ANALYSIS USING GRASSHOPPER

WEEK[07-08] DEVELOPING TECHNIQUE IMAGE SAMPLING SCALING USING ATTRACTOR VARYING EXTRUSION USING ATTRACTOR PATTERNING

83

D E TA I L E D D E S I G N [ C ] .1 DESIGN CONCEPT .2 TECHTONIC ELEMENTS & PROTOTYPES .3 FINAL DETAILED MODEL .4 LEARNING OBJECTIVES & OUTCOMES

85

D E TA I L E D D E S I G N [ C ] .1 DESIGN CONCEPT

86

INTERIM FEEDBACK 1. Refine the definition to be more elaborate 2. Resolving form at a personal scale 3. Developing a more ef fective prototype Base on the interim feedback the approach was to fine tune the definition by ...

1. C u l l t h e 3 m a i n m o d u l e t y p e s i n t o i n d i v i d u a l p a t t e r n s t o a l l o w f o r b e t t e r c o n t r o l o f t h e i r b e h a v i o u r.

2 . G i v i n g t h e ‘ P a v e r s’ r o t a t i o n a s t h e y move away from the main paths.

3. Acquire Information with regard to the w a t e r l e v e l s [ M e l b o u r n e Wa t e r ] o f t h e s i t e .

This would give a height parameter to resolve the issue of a scale for the installation.

As for the prototype development, Joinery options will be explored as well as a alternative for future development[if able] can be provided.

87

DESIGN CONCEPT

88

[1] Area for Activity

[2] Contrast in Areas

[5] Reinterpretation of a Sur face

[6] Introduce Pods to Clean Water and Generate Landscape

[3] Expand Activity Areas ??

[4] Water not safe for Use

[7] Slow Water and Section River

[8] Extend Areas for Education + Possible Source of Water

89

TECHNIQUE FINETUNE

[1] Extend to Required Grid

INTERIM FEEDBACK Based on the interim feedback some adjustment has been made to the definition. The 3 patterns have now been culled into individual patterns with their own sliders to give maximum control to its behaviour and outcome.

Also, to give the project a sense of scale boundar y has been set to the river edge of the site hence modules will only exist within the bounds of the waters edge.

Finally, ‘Stone’ pavers have been rotated based on the proximity to the centre of the planters to create a more natural landscape composition. Another benefit of the irregularity would be that water should be fur ther slowed as angles of flow are fur ther disrupted.

90

[4] Derivative Composition

[2] River Edge as Boundar y

[3] Map Planters & Paths

[5] Extrude Base on Proximity to Attractors Create Pool Spaces

[6] Rotate Base on Proximity to Attractors Disrupt Flow & ‘Act Natural’

91

SPACE TYPOLOGY SURFACE VARIATION By giving the modules behaviour based on the proximity to attractors a series of programmes can be achieved from the variation of the sur faces of the outcome.

0.0

0.0 -1.0

BRIDGE PATHS

0.0

0.0 -1.0

VIEWING PLATFORMS

92

SEATING

0.0 -1.0

0.0 -1.0

POOLS

0.0

0.0 -0.5

0.0 -0.5

-1.0

-0.5 -1.0

TERRACE SEATING

‘ROCK POOLS’

0.0

0.0

0.0

-0.5 -1.0

PLANTING SPACES

-0.5 -1.0

-1.0

-1.0

MICRO HABITATS

93

TIME BODY SPACE TIDE GENERATED PROGRAMME As tide levels changes throughout the day, exposure of the modules var y propor tionally. This ‘tide-dependant’ factor gives the space a unique programme that is constantly changing throughout the year. Making it a dynamic and interesting programme provided within the vicinity.

[1] WATER LEVEL [2] EXPOSURE

[3] 3D

94

0.0

0.3

0.6

0.9

1.2

95

PROPOSED CONSTRUCTION PROCESS

PLUG AND PLAY As modules are separate and individual in size, assembly will be done of f-site. Modules can then be shipped in phases for construction.

[1] Construction Grid is Set out based on the basic cluster of 5 modules that make up the initial geometr y. Clustering modules for construction eases the constructibility especially when modules var y in sizes individually.

[2] As site is on the river, temporar y dr ying of the river would be required to ensure a safe working environment during construction.

[1] Set Out Construction Grid [3] Planters are done first to stabilize the foundation for the construction of the remaining modules. This gives ample time for the plants to root themselves in and ensure suitability of species.

[4] Give the plants time to root in and foundation layer to stabilize for fur ther stage of construction.

[5] Installation of the remaining modules are done in 3 phases with the help of the grid set-out in [1]. Modules of the previous phase are lef t to set awhile before commencing with subsequent phases.

[6] Upon completion of the installation, water barrier is removed allowing the surrounding to interact with installation and stabilize conditions.

[...] [ 4 ] Wa i t . . .

96

[2] Temporar y Dr y / Reduce Flow to Area + Excavate

[3] Planters IN - Plants to Reinforce Foundation

[5] Install Remaining Modules Done in 3 Phases

[6] Leave to Set

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98

99

D E TA I L E D D E S I G N [ C ] .2 TECHTONIC ELEMENTS & PROTOTYPING

100

PROTOTYPING DESIGN As modules var y in height and propor tions, the design for the tectonics of the installation would be based on the constants...

[1] Centre Point [2] Number of Sides of the Basic Geometr y [3] Faces of Geometr y in contact with each other

101

FABRICATION PROCESS EXTRACTED PART PLAN

P1

P2

S1

S1

PART TESTING Par t of the first phase of construction was extracted to give a better idea of how the design of the joiner y of the module can be done. Upon unrolling, obser vations were the constant contact of the 6 sides of the geometr y with its perpendicular face and the constant centre point that governs the construction grid.

P3

P4

S2

S3 [1]

S4

s3

102

s1

s4

[2]

s2

s5

s6

500 PIECES, 2 JOINERY Essentially the composition is made of two main typologies: Pavers & Planters Hence, this were extracted to design the joiner y for the modules.

SAMPLE OF UNROLLED PART

s1

S1

P1

s2

s3

S2

S3

P2

s4

s5

S4

S5

P3

s6

P4

103

FABRICATION PROCESS JOINERY [VER. 1] PAVERS [01]

PLANTER [01]

JIGSAW JOINT Given that the base geometr y for all modules are with a constant of 6 sides a jigsaw joint was used as a clipping sor t of join for the base to meet its adjacent face. Key per formance factor of the design is to able to withstand ver tical loads from pedestrian activity and lateral loads from river currents. Hence, the interlocking joint would be suitable. As pavers are hollow, per foration was made to reduce water resistance in order to achieve stability when installed. With per foration, displacement of water volume of the river is also reduce, ensuring the installation does not contribute to flooding.

[1] BASE PLATE Second layer to add rigidity and ensure planes do not ‘cave in’ while installing

[1] BASE PLATE

104

[2] INNER ADJACENT PLANES FITTED

[2] ADJACENT PLANES FITTED

[3] CAP!

[3] ADJACENT PLANES FITTED

[4] CAP!

105

FABRICATION PROCESS JOINERY [VER. 2] PAVERS [02] SLOT JOINT Jigsaw joints held the geometr y well and had resistance for compression however the pieces tend to fall outwards, hence a modification was made, by making the plane and its joint into individual components, creating a slot joint.

PLANTER [02]

[1] 2 PART ADJACENT FACE Modification, split face and joint into individual component

[1] 3 PART ADJACENT FACE Modification, split face and joint into individual component

106

[2] BASE PLATE

[3] SLOT ADJACENT PLANES

[4] CAP!

[2] BASE PLATE

[3] SLOT ADJACENT PLANES

[4] CAP!

107

FABRICATION PROCESS * PICTURES ARE OF DIFFERENT MODULES BUT PROCESSING WAS SIMILAR THROUGHOUT

108

109

FURTHER DEVELOPMENT POSSIBILITIES

CONDENSE POLYMER W/- MAGNETIC JOIN - Replaceable to suit river condition - Per foration to lessen mass = minimal displacement - Non-corrosive / water proofed - Precast, plug & play installation - Mobile / temporar y low impact

SELF-ASSEMBLY? As the definition created was based of f the mid point of the initial geometric grid ie. Manipulation and given stimulus for behavioural outcome. One can consider point joiner y as a mode of construction. No matter the scale of the module, height or rotation it will always be fitted at the same points.

Upon fur ther research, a project by the MIT Self-Assembly Lab came into view. Entitled, the ‘Self Assembling Chair’, components of the chair were fitted with magnets that have been programmed to specifically fit to its significant other. They were then placed into a tank of water fitted with a pump to generated a force to move the components for assembly.

Two points were taken during the study. For self assembly to be successful, there must be a standard joint [programmed magnets] and a force to drive the par ts to a suitable proximity such that they are able to fit themselves. In the case, of the studio project, the force is represented by the current of the river and the point joiner y can be base on the mid points mentioned above.

For conceptual testing purposes a magnetic grid was laid in a model to simulate the possible self assembly process proposed for the project.

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111

PROTOTYPING [CONCEPTUAL] [1] HEXAGONAL NUTS REPRESENT THE MODULES [2] SLOPING SIMULATES THE CURRENT [FORCE] OF RIVER OF WHICH THE MODULES WOULD BE CARRIED DOWN

112

113

PROPOSED CONSTRUCTION PROCESS [MAGNET]

PLUG AND PLAY As modules are separate and individual in size, assembly will be done of f-site. Modules can then be shipped in phases for construction.

[1] Construction Grid is Set out based on the basic cluster of 5 modules that make up the initial geometr y. Clustering modules for construction eases the constructibility especially when modules var y in sizes individually.

[2] As site is on the river, temporar y dr ying of the river would be required to ensure a safe working environment during construction.

[1] Set Out Construction Grid [3] Magnetic grid based on the centre point of the base geometr y is ‘planted’ into the area of application.

[4] Planters are done first to stabilize the foundation for the construction of the remaining modules. This gives ample time for the plants to root themselves in and ensure suitability of species.

[5] Installation of the remaining modules are done in 3 phases with the help of the grid set-out in [1]. Modules of the previous phase are lef t to set awhile before commencing with subsequent phases. *Installation can also be done by floating modules downstream should application area get bigger !

[6] Upon completion of the installation, water barrier is removed allowing the surrounding to interact with installation and stabilize conditions.

[4] Planters IN - Plants to Reinforce Foundation

114

[2] Temporar y Dr y / Reduce Flow to Area + Excavate

[3] Lay Magnetic Grid

[5] Install Remaining Modules Done in 3 Phases

[6] Leave to Set

115

D E TA I L E D D E S I G N [ C ] .3 FINAL DETAILED MODEL

116

117

118

119

MODULE PROTOTYPES PAVER 1.0

120

PLANTER 1.0

PAVER 2.0

PLANTER 2.0

121

MODULE PROTOTYPES PAVER 1.0

122

PLANTER 1.0

PAVER 2.0

PLANTER 2.0

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124

125

126

127

128

129

130

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D E TA I L E D D E S I G N [ C ] .4 LEARNING OBJECTIVES & OUTCOMES Designing a definition was quite a challenge but it soon became more of putting the rationale into the sliders and functions of the sof tware. For example, one would start to consider how one wants the outcome to perform followed by input & testing its feasibility b a s e d o n d a t a g a t h e r. H o w e v e r, a t s o m e p o i n t s , i t ideas were found to be confined to the capabilities of computational tools, knowledge and hardware.

Te c t o n i c s w a s a w h o l e n e w p l a y i n g f i e l d a s t h i s w a s something familiar but with new perspective and m e t h o d o l o g i e s t o b e a p p l i e d . P e r s o n a l l y, t h e r e w a s much to improve in this area of the course. Overall, it was quite an experience playing with sliders and functions as compared to the usual 2D drawing sof tware and sheets of butter-pad.

From measuring shor test routes or populating an area w i t h a n i n s t a l l a t i o n b a s e d o n a f l e x i b l e p a r a m e t e r, computational design has, without a doubt, a place in t h e f u t u r e i n d u s t r y. I t h a s s h o w n p o s s i b i l i t i e s o f a m o r e efficient, flexible & accurate methodology of designing & planning. But with the simplification of things, it is still impor tant to preser ve and remember heritage and the manual way of doing things as the complexities, sophistication & genius of the project still depends on t h e k n o w l e d g e d i v e r s i t y o f i t s c r e a t o r.

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R E F E R E NC E S REFERENCING FOR ALL TEXT & IMAGERY

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TEXT REFERENCES [A] CONCEPTUALISATION [A.1] DESIGN FUTURING [1] Tony Fr y, Design Futuring (Oxford: Berg, 2009), p. 1.

DEE & CHARLES WYLY THEATRE - OMA, 2009 [1]David Basulto, ‘Wyly Theatre / REX | OMA’, ArchDaily, 2009 <http://www.archdaily.com/12521/wyly-theatre/> [accessed 14 March 2015].

[2] Arcspace.com, ‘Charles & Dee Wyly Theater - OMA’, 2005 <http://www.arcspace.com/features/oma/charles--dee-wyly-theater/> [accessed 15 March 2015].

SENDAI MEDIATECHQUE - TOYO ITO, 2000 [1][4][6] Ada Huxtable, ‘Why One Remained Standing’, WSJ, 2011 <http://www.wsj.com/ar ticles/SB10001424052748703859304576305243667119026> [accessed 15 March 2015].

[2] Stephen Duncombe,Dream:Re-imaging Progressive Politics in an Age of Fantasy (New York: The New Press, 2007), p.18 [3] Financial Times, ‘Retrofitting Is The Intelligent Solution To Built-In Problems - FT.Com’, 2015 <http://www.f t.com/cms/s/0/e68d12e4-b356-11e3-b09d-00144feabdc0.html#axzz3Ue5f tRsx> [accessed 17 March 2015].

[5] Adrian Done, Global Trends (New York: Palgrave Macmillan, 2012), p. 236.

[A.2] DESIGN COMPUTATION [1] Brady Peters, ‘Computation Works: The Building Of Algorithmic Thought’, Architectural Design, 2015, p. 10.

[2] Kaylay, Yehuda E. [2004]. Architecture’s new media principles, Theories and Methods of Computer -Aided Design (Cambridge, ma: MIT Press), p. 2 X-PHYLUM - KARL CHU, 1990 [1] Cca.qc.ca, ‘A System Of Combinations | Canadian Centre For Architecture (CCA)’, 2015 <http://www.cca.qc.ca/en/collection/2436-a-system-of-combinations> [accessed 18 March 2015] [2] Branko Kolarevic, Architecture In The Digital Age (New York, NY: Spon Press, 2003), p. 23.

ICD/ITKE RESEARCH PAVILLION - UNIVERSITY OF STUTTGART, 2011 [1] Icd.uni-stuttgar t.de, ‘ICD/ITKE Research Pavilion 2011 « Institute For Computational Design (ICD)’, 2015 <http://icd.uni-stuttgar t.de/?p=6553> [accessed 18 March 2015].

[2] Michael Pawlyn, Biomimicr y In Architecture ([London, UK]: Riba Publishing, 2011), p. 1.

[A.3] COMPOSITION/GENERATION HEYDAR ALIYEV CENTRE - ZAHA HADID, 2012 [1] ArchDaily, ‘Heydar Aliyev Center / Zaha Hadid Architects’, 2013 <http://www.archdaily.com/448774/heydar -aliyev-center -zaha-hadid-architects/> [accessed 19 March 2015].

[2] Brady Peters, ‘Computation Works: The Building Of Algorithmic Thought’, Architectural Design, 2015, p. 14.

STARBUCKS COFFEE - KENGO KUMA & ASSOCIATES, 2008 [1] ArchDaily, ‘Starbucks Cof fee / Kengo Kuma & Associates’, 2012 <http://www.archdaily.com/211943/starbucks-cof fee-kengo-kuma-associates/> [accessed 19 March 2015].

[B] CRITERIA DESIGN [B.1] RESEARCH FIELD [1] Un.org, ‘United Nations Global Issues’, 2015 <http://www.un.org/en/globalissues/environment/> [accessed 1 April 2015].

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[2] Unep.org, ‘Stockholm 1972 - Declaration Of The United Nations Conference On The Human Environment - United Nations Environment Programme (UNEP)’, 2015 <http://www.unep.org/Documents.Multilingual/Default.sp?DocumentID=97&Ar ticleID=1503&l=en> [accessed 1 April 2015].

BIOMIMICRY [1][3] Biomimicr y Institute, ‘What Is Biomimicr y? – Biomimicr y Institute’, 2015 <http://biomimicr y.org/what-is-biomimicr y/> [accessed 1 April 2015].

[2] Michael Pawlyn, Biomimicr y In Architecture ([London, UK]: Riba Publishing, 2011), p. 1.

LAS PALMAS WATER THEATRE - GRIMSHAW[UNBUILT] [1] Thomas Nørgaard and Marie Dacke, ‘Fog-Basking Behaviour And Water Collection Ef ficiency In Namib Deser t Darkling Beetles’, Front Zool, 7 (2010), 23 <http://dx.doi.org/10.1186/1742-9994-7-23>. [accessed 1 April 2015].

[2] Asknature.org, ‘Water Vapor Har vesting: Namib Deser t Beetle - Asknature’, 2015 <http://www.asknature.org/strategy/dc2127c6d0008a6c7748e4e4474e7aa1#.VSYjCJNCatY> [accessed 1 April 2015].

THE EDEN PROJECT - GRIMSHAW 2000 [1][2] Using Nature’s Genius In Architecture, 2010 <http://www.ted.com/talks/michael_pawlyn_using_nature_s_genius_in_architecture?language=en> [accessed 2 April 2015].

[X] SITE ANALYSIS [1] Globalchange.umich.edu, ‘Human Appropriation Of The World’s Fresh Water Supply’, 2015 <http://www.globalchange.umich.edu/globalchange2/current/lectures/freshwater_supply/freshwater.html> [accessed 28 May 2015].

[B.2] CASE STUDY 1.0 VOLTADOM - SKYLAR TIBIT [1][2][3] Luis Pina Lopes, Arch2o.com, 2015 <http://www.arch2o.com/voltadom-by-skylar -tibbits-skylar -tibbits/> [accessed 4 April 2015].

[B.3] CASE STUDY 2.0 SPANISH PAVILION - FOREIGN OFFICE ARCHITECTS, 2005 [1][2] Digiitalarchfab.com, 2015 <http://digiitalarchfab.com/por tal/wp-content/uploads/2012/01/Spanish-Pavilion> [accessed 27 April 2015].

[B.6] TECHNIQUE PROPOSAL [B.4] TECHNIQUE DEVELOPMENT [B.5] TECHNIQUE PROTOTYPING [C] DETAILED DESIGN [C.1] DESIGN CONCEPT [C.2] TECTONIC ELEMENTS & PROTOTYPES [C.3] FINAL DETAIL MODEL

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IMAGE REFERENCES [00] COVER PAGE [Journal Cover] Pinterest, ‘Photography’, 2015 <https://www.pinterest.com/pin/194851121353634978/> [accessed 14 March 2015].

[A] CONCEPTUALISATION [COVER] 123RF Stock Photos, ‘3D Generated Dandelion Seeds On Black Background For Better Viewing. Fibonacci / Golden Ratio Experimentation. Royalty Free Photos, Pictures, Images And Stock Photography’, 2015 <http://m.123r f.com/photo-13117218_3d-generated-dandelion-seeds-on-black-background-for better -viewing-fibonacci--golden-ratio-experime.html> [accessed 18 March 2015].

[A.1]DESIGN FUTURING DEE & CHARLES WYLY THEATRE - OMA, 2009 [Project Image] Iwan Photography, ‘Iwan Baan - Photography’, Iwan.com, 2015 <http://www.iwan.com/photo_Dee_and_Charles_Wyly_Theatre_REX_OMA. php?plaat=1Wyly-Theatre-0552.jpg> [accessed 14 March 2015].

[1] David Basulto, ‘Wyly Theatre / REX | OMA’, ArchDaily, 2009 <http://www.archdaily.com/12521/wyly-theatre/> [accessed 14 March 2015].

[2] Architectureweek.com, ‘Architectureweek - Design - Wyly Theatre By REX And OMA - 2010.1027’, 2015 <http://www.architectureweek.com/2010/1027/design_3-2.html> [accessed 14 March 2015].

[3] Pinterest, ‘Architecture Photography: Wyly Theatre 02 – Photo By Iwan Baan (37752)’, 2015 <https://www.pinterest.com/pin/369576713143943885/> [accessed 14 March 2015].

[4] YouTube, ‘Time Lapse Transformation - Dee And Charles Wyly Theatre’, 2015 <https://www.youtube.com/watch?v=SafGj_M89jk> [accessed 15 March 2015].

[5][6] Kitticoon Poopong, ‘Dee And Charles Wyly Theatre : By REX/OMA ~ Housevariety’, Housevariety.blogspot.ca, 2015 <http://housevariety.blogspot.ca/2011/02/dee-and-charles-wyly-theatre-byrexoma.html#.VQOvE-FCatZ> [accessed 14 March 2015].

SENDAI MEDIATECHQUE - TOYO ITO, 2000 [Project Image] Pinterest, ‘ARQ’, 2015 <https://www.pinterest.com/pin/186688347028415281/> [accessed 15 March 2015].

[2] Pinterest, ‘Sendai Mediatheque’, 2015 <https://www.pinterest.com/pin/471048442251410826/> [accessed 15 March 2015].

[3] Pinterest, ‘Space’, 2015 <https://www.pinterest.com/pin/450500768945920565/> [accessed 15 March 2015].

[4] Pinterest, ‘ARCHITECTURAL SKETCHES/DRAWINGS’, 2015 <https://www.pinterest.com/pin/220324606742988511/> [accessed 15 March 2015].

[A.2]DESIGN COMPUTATION X-PHYLUM - KARL CHU, 1990 [Project Image] Architectural Digest, ‘Yale School Of Architecture To Host Digital Innovation Exhibition’, 2014 <http://www.architecturaldigest.com/blogs/daily/2014/11/yale-school-ofarchitecture-pioners-digital-architecture> [accessed 18 March 2015].

[1] Biodigitalarchitecture.com, 2015 <http://www.biodigitalarchitecture.com/uploads/3/5/4/0/3540960/____4299693_orig.jpg> [accessed 18 March 2015] ICD/ITKE RESEARCH PAVILLION - UNIVERSITY OF STUTTGART, 2011 [Project Image] Icd.uni-stuttgar t.de, 2015 <http://icd.uni-stuttgar t.de/wp-content/galler y/researchpavilion_2011_8/14_view-seated.jpg> [accessed 18 March 2015].

[1]Icd.uni-stuttgar t.de, 2015 <http://icd.uni-stuttgar t.de/wp-content/galler y/researchpavilion_2011_8/03_g-code.jpg> [accessed 18 March 2015].

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[2] Icd.uni-stuttgar t.de, 2015 <http://icd.uni-stuttgar t.de/wp-content/galler y/researchpavilion_2011_8/05_fem.jpg> [accessed 18 March 2015].

[3] Icd.uni-stuttgar t.de, 2015 <http://icd.uni-stuttgar t.de/wp-content/galler y/researchpavilion_2011_8/09_ fp11-207_cassetteassembly.jpg> [accessed 18 March 2015].

[4] Icd.uni-stuttgar t.de, 2015 <http://icd.uni-stuttgar t.de/wp-content/galler y/researchpavilion_2011_8/18_closeuparch.jpg> [accessed 18 March 2015].

[Background image] Icd.uni-stuttgar t.de, 2015 <http://icd.uni-stuttgar t.de/wp-content/galler y/researchpavilion_2011_8/04_toolpathcloud.jpg> [accessed 19 March 2015].

[A.3]COMPOSITION/GENERATION HEYDAR ALIYEV CENTRE - ZAHA HADID, 2012 [Project Image] Pinterest.com, 2015 <https://www.pinterest.com/pin/51228514484956290/> [accessed 19 March 2015].

[1] Rok-of fice.com, 2015 <http://www.rok-of fice.com/media/uploads/images/thumbs/5e27344f8e1f41418d16168ecc34b170_940_664_ ughvdg8guk9l_92.jpg> [accessed 19 March 2015].

[2] designboom | architecture & design magazine, ‘Zaha Hadid Heydar Aliyev’, 2011 <http://www.designboom.com/architecture/zaha-hadid-heydar -aliyev-cultural-centre-progress/> [accessed 19 March 2015].

[3] Pinterest.com, 2015 w<https://www.pinterest.com/pin/485896247271546687/> [accessed 19 March 2015].

STARBUCKS COFFEE - KENGO KUMA & ASSOCIATES, 2008 [Project Image] ArchDaily, ‘Starbucks Cof fee / Kengo Kuma & Associates’, 2012 <http://www.archdaily. com/211943/starbucks-cof fee-kengo-kuma-associates/> [accessed 19 March 2015].

[1] Archello.com, ‘Kengo Kuma And Associates - Project - Starbucks Cof fee At Dazaifu Tenman-Gu’, 2015 <http:// www.archello.com/en/project/starbucks-cof fee-dazaifu-tenman-gu#> [accessed 20 March 2015].

[B] CRITERIA DESIGN [COVER] 123RF Stock Photos, ‘3D Generated Dandelion Seeds On Black Background For Better Viewing. Fibonacci / Golden Ratio Experimentation. Royalty Free Photos, Pictures, Images And Stock Photography’, 2015 <http://m.123r f.com/photo-13117218_3d-generated-dandelion-seeds-on-black-background-for -better -viewing-fibonacci-golden-ratio-experime.html> [accessed 18 March 2015].

[B.1] RESEARCH FIELD BIOMIMICRY [Cover] Michael Molthagen, Veiled Chameleon, 2009 <https://www.flickr.com/photos/michael_molthagen/3662655366/in/set-72157626117424061> [accessed 1 April 2015].

LAS PALMAS WATER THEATRE - GRIMSHAW [UNBUILT] [Project Image] Las Palmas Skate, 2015 <http://www.exploration-architecture.com/uploads/projects/2048x1223/laspalmasskate.jpg> [accessed 1 April 2015].

[1] The “Fog-Basking Beetle” Of The Namib Deser t Collects Moisture On Its Body Using A Distinctive Head-Stand Pose., 2015 <http://farm4.staticflickr.com/3112/5727784378_09cdf2ea7e_o.jpg> [accessed 1 April 2015].

[2] F3, 2015 <http://www.frontiersinzoology.com/content/7/1/23/figure/F3> [accessed 1 April 2015].

[3] Depressed Sur faces On Stenocara Sur face, 2015 <http://www.asknature.org/strategy/dc2127c6d0008a6c7748e4e4474e7aa1#.VSYjCJNCatY> [accessed 1 April 2015].

[4][5] Ingrid Bille, Taking Inspiration From Nature, 1st edn (www.energieinstitut.at), p. 23 <https:// www.energieinstitut.at/HP/Upload/Dateien/Beitrag_Ingrid_Bille.pdf> [accessed 1 April 2015].

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IMAGE REFERENCES [Project Image] The Eden Project: The Biomes, 2015 <http://grimshaw-architects.com/project/the-eden-project-the-biomes/> [accessed 2 April 2015].

[1][4][5][6] The Eden Project Biomes, 2015 <http://www.exploration-architecture.com/projects/the-eden-project-biomes> [accessed 2 April 2015].

[2] Red Shank Pollen Grain, 2015 <https://www.pinterest.com/pin/105412447499122863/> [accessed 2 April 20 15].

[3] Michael Spaw, Radiolarian, 2001 <http://www.morphographic.com/ Galler y/Galler yRadiolarian.htm> [accessed 2 April 2015].

[7] Anonymous , 2015 <http://2.bp.blogspot.com/-Zd5P1rbRRgU/VPo-tayyxjI/AAAAAAAAEF4/IfNLPmnPCFo/s1600/02_proyecto_eden.jpg> [accessed 2 April 2015].

[8] Anonymous, 2015 <http://3.bp.blogspot.com/-P8ckFRCZxr8/VPo-txQ-uUI/AAAAAAAAEF8/vEBMU63oWck/ s1600/03_proyecto_eden.jpg> [accessed 2 April 2015].

[B.2] CASE STUDY 1.0 VOLTADOM - SKYLAR TIBIT [Cover] VOLTADOM7, 2015 <http://www.evolo.us/wp-content/uploads/2011/11/VoltaDom-7.jpg> [accessed 4 April 2015].

VOLTADOM1, 2015 <http://www.evolo.us/wp-content/uploads/2011/11/VoltaDom-1.jpg> [accessed 4 April 2015].

VOLTADOM3, 2015 <http://www.evolo.us/wp-content/uploads/2011/11/VoltaDom-3a.jpg> [accessed 4 April 2015].

[X] SITE ANALYSIS [Cover Overlay] Catchment Water Ways, 2015 <http://www.mcmc.org.au/images/image/general/catchment%20water ways.jpg> [accessed 5 April 2015].

[B.3] CASE STUDY 2.0 SPANISH PAVILION - FOA 2005 [Cover] Foreign Of fice Architectsâ&#x20AC;&#x2122; Spanish Pavilion For Expo 2005, 2015 <https://www.pinterest.com/pin/491033165593076339/> [accessed 27 April 2015].

[1] TILING, 2015 <http://digiitalarchfab.com/por tal/wp-content/uploads/2012/01/Spanish-Pavilion> [accessed 27 April 2015].

[B.6] TECHNIQUE PROPOSAL [B.4] TECHNIQUE DEVELOPMENT ATTRACTOR POINTS [COVER] SKIPPING ROCKS, 2015 <https://www.pinterest.com/pin/105693922481464208/> [accessed 27 April 2015].

[B.5] TECHNIQUE PROTOTYPING [C] DETAILED DESIGN [C.1] DESIGN CONCEPT [C.2] TECTONIC ELEMENTS & PROTOTYPES [1] MIT Self Assembling Chair, 2015 <https://www.pinterest.com/pin/432556739186399523/> [accessed 28 May 2015].

[C.3] FINAL DETAIL MODEL 140

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M A T T H E W K E K mkht16192@gmail.com