Suphatta Low | UniMelb Studio Air

studio

air

S U P H A T T A | s e m 2' 1 4 tutor : finnian warnock

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a0:

about [1]

my name is suphatta. you can call me supa. i like to watch documentaries and read almost anything. i think architecture is something very powerful that influence how people live, elevating life quality and is able to bring people from all walks of life together. good architecture is not solely exclusive, but inviting. my past computer-aided-design experience revolve around using softwares such as Autocad, Google SketchUp, and 3DMax to achieve a desired form which have been determined by a preconception or hand sketches. studio air will be my first exploration in generative design by using rhino + grasshopper. i look forward to learn the software well and come up with design development that are pushed by rational demands to meet design brief, to really explore and use the bottom-up approach. it appeals to me as I wish to embark on a journey where every design, stretch, twist and turn is accounted for. There is always a reason that corresponds to the way certain architecture takes shape to not only complement but enhance its function.

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content

A : CASE FOR INNOVATION A0 : About A0.a : Past Work A1 : Architecture as a Discourse A2 : Computational Architecture A3 : Composition & Generation A4 : Conclusion A5 : Learning Outcome A6 : Algorithmic Sketchbook A : Bibliography B : CRITERIA DESIGN B1 : Research Field B1.a : Technique B2 : Case Study 1.0 B3 : Reverse Engineering B4 : Technique Development B5 : Prototype 001

: Prototype 002 B6: : Technique Proposal B7 : Learning Outcome B8 : Algorithmic Sketches B : Bibliography 4

C : detailed DESIGN C1 : Design Concept C2 : Techtonic Elements and Prototypes C3 : Final Detail Model C : Bibliography

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a0.1

past work Run a magnet across top of the box and rods will be attracted upwards at each individual steel eyelet. Down comes the rod with gravity as magnet slide pass. Repeating the process would eventually, up and down, form a pattern of waves.

But it is important to note that though the final product correspond visually to how ‘waves’ are commonly represented and recognised in wavy lines, the concept did not own a form until assembly was completed to the very last step.

Collision of physical senses was thoroughly investigated through an interactive dance workshop determining one pair of senses that best correspond to each other. Sight and sound were eventually extracted.

Take away the sight and we hear sound of an action. And with sound, it replicates sight within our memory. Invisible Connection became the core concept.

In retrospect, WAVES 1.0 can be concluded to have taken the bottom-up approach, if I may put it that way; only by through analogue means rather than digitally.

Credits must be given to four other brilliant minds who together developed this project in 2011.

Matthew Kek | Qianye Lim | Venny Maria | Weipeng Goh The art installation is currently exhibited in Singapore Polytechnic.

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PART

a

CONCEPTUALISATION

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a1.1: architecture as a

discourse

Therme Vals | Peter Zumthor

Switzerland

Harmoniously in Context It is a personal view that I think every piece of architecture should respect its site context if not further soliciting curious eyes subtly. Embedded into the slope, Therme Vals blends harmoniously into the landscape revealing only geometrical patterns on its green roof. It is also commendable that the local masonry slabs of Vals Gneiss (excavated a kilometre away from the site) is used to clad the building. This I feel, does not only enhances even more image of the locality and reducing carbon footprint while procuring materials.

Pieces vs Perfection 15 functional units assembled the bathhouse and each joint was expressed with 8cm gap covered with glass panel. Inside the building, this gap creates a dual impression.

The roof seems very heavy yet each

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1996

section of it, edged by line of light seems to float in mid-air. It is down to this littlest detail that I feel the architect deliberately express its construction terms, allowing visitors to appreciate how the building came to be pieces by pieces, rather than joined in absolute lithic perfection.

From Mind to Being Peter Zumthor said in documentary Thermae of Stone: “My way of inventing architecture always begins with a strong image, not just an idea.

The idea is always accompanied by a powerful image and the visualisation of a bodily or physical event. It’s not an abstract idea. These first images are naïve in an almost childlike way.

I like them.” The masterpiece was undeniably expressing architecture in a traditional way, through the topdown approach.

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a1.2: architecture as a

discourse

exeter library | louis i kahn

new hampshire

Guided by Identity Most buildings in the Philips Exeter Academy are composed with red bricks and Louis I Kahn said, “Brick was the most friendly material in this environment. I didn’t want the library to be shockingly different in any way.”

The library committee’s request for “unpretentious, though in a handsome contemporary style” was thus met aesthetically and symbolically, expressing traditional values through the usage of Exeter brick, a material made in Exeter itself.

Guided by Light Kahn also further proposed the idea that “a man with a book goes to the light. A library begins that way.” I felt that sensitivity to users’ needs is met with great care. Behind every window is a pair of carrels, positioned to encourage and insure the pleasure of reading and study.

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Guided by Space However, the atrium space is what brought Exeter Library its fame.

Climbing 70 ft in height and basks in natural light from the clerestory on the ninth floor, the human scale is reduce to revere the great ‘temple of books’ where humankind could pay the utmost respect to books which in the academy, represented learning.

Guided by Clarity Also from the 50 ft square space of the atrium, visitors are able to at once sense the intelligible space relations where metal bookshelves sit away from the light and readers seven levels above through large holes punctured perfectly into the walls, almost touching at the corners where the walls square off. This I feel puts the geometry of space into great clarity.

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“Computational thinking is the thought processes involved in formulating problems and their solutions so that the solutions are represented in a form that can be effectively carried out by an information-processing agent.”

- Jan Cuny, Larry Snyder, and Jeannette M. Wing, “Demystifying Computational Thinking for Non-Computer Scientists,” work in progress, 2010

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a2: computational

architecture

Architecture today is largely optimized by the aid of computers.

The last ten to twenty years of architectural practice took an essential twist with the availability of commercial software.

While we can store experiences of a lifetime in our head, our ability to recall them instantly is very limited. Computers on the other hand, though incapable of creative abilities and intuition, are superb analytical engines. When we merge the two abilities, they are able to complement each shortcoming and create a powerful symbiotic design system.{5} The prodigy between this symbiotic relationship defines a continuum from the start of design to production of material fabrication through form generation, transcending the merely instrumental contributions between architects and computer

to support continuous logic of design thinking and making. {6} In advancing architects, this digital revolution provides the platform to quickly understand a problem rationally. Architects are trained to evaluate the match between computational tools and techniques for solutions eliminating the idea that architecture can only be overcome by possessing a set of innate abilities.

Though promising liberation from laborious work and near instant communication, computational architecture should be exercised prudently and be freed from the temptation of forms in which the computer can give an almost unlimited variations. Architects shall remain faithful mediators in selecting the best generative design placing function over form in meeting the design brief.

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a2.1: computational

architecture

John Mcaslan + Partners architectural insertion within the King’s Cross Station has produced Europe’s longest single-span station structure measuring 54 metres from centre to circumference, equivalent to area coverage of three Olympic sized swimming pools.

Stitching up this combination of architecture and engineering marvel is credited towards ARUP engineer use of parametric computer-aided design to produce an astonishing 1200 solid and 1012 glass triangular panels of varying sizes in making the double curve of the western concourse canopy.

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KING’S CROSS STATION | LONDON JOHN MCASLAN + PARTNERS

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2013

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It is undeniable that computer has broken down this large scale and complex project into smaller and manageable bits. The production of panels and steel members are aided mathematically by the computer in load distribution as well as joint installations.

It is easy to comprehend that without the usage of computers, architects and engineers alone would not be able to estimate at such accuracy and it would have taken a lot of man-hours to achieve the desired design manually.

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a2.2: computational

architecture

TEE HAUS

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frankfurt

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2007

kengo kuma

The Teahouse of the Museum of Applied Arts Frankfurt represented not only an architectural collaboration but a cultural exchange between Japan and Germany.

pneumatic igloo shell. This is used to generate point connections on the surface akin to a golf ball favoured over a series of tori in the manner of a Michelin man.

A design is first conceived in the architect’s mind and computational tool is further used to digitised the design. Mathematical calculations of the load and stretching were maximised to achieve a construction scheme while still maintaining the original intent of the architect.

The end result features a light, intimate and small building that is downright ephemeral in expression.

This is made possible by the precise computational calculations though was challenged by complexity in the early stages. {7}

Computational design operating with a force-density parameter, capable of finding equilibrium of forces even in deformed system is applied to the design of the

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a3: composition/

generation

Complexity no longer remains an impediment in architectural design rather an opportunity waiting to be explored. This is evidently the giant leap forward with parametric design which provides a platform to control the operations of a procedure to generate geometry.

Parametric modelling has the ability to transform its iteration unanimously responding to extreme changes in design development even at a complex level. While this is highly challenging to the human capacity, it is made possible by the ability of a computer to carry out algorithmic calculations with precision and within a shorter time.

Conventional modelling on the other hand embraces a more holistic manner designing a building from macro to micro detail, digitising preconceived ideas in the mind of an architect to complete the design of a building, inflexible to drastic changes and transforming such modelling would require a longer time and effort.

The interesting thing about parametric design is its bottom-up approach where a primitive interacts with its parameters to replicate and vary to produce a whole new form. While the process is controlled by a rigid and rational step-by-step approach, the interchanging ability of components and parameters allows flexibility in a myriad of results which are not necessarily predictable and most indefinitely has the power to surprise.

However, parametric architecture design or style’ which I think Parametric design ought to fall techniques rather than drawing

is sometimes equated to that of ‘organic is misunderstood and should be avoided. back to rational traces of computational parallels of replicating the natural world.

It is also important to note that architecture in the industry does not employ the usage of parametric design alone to complete a building.

Designing from a macro to micro scale is still useful and often correspond to each other while attending to functioning and spatial organisation.

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“For the first time perhaps, architectural design might be aligned with neither formalism nor rationalism but with intelligent form and traceable creativity.�

- Terzidis, Kostas (2006). Algorithmic Architecture (Boston, MA: Elsevier), p. xi

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a3.1: composition/

generation

voussoir cloud | iwamotoscott

los angeles

Structural Concept The Voussoir Cloud was created out of paper thin material combined with a structural paradigm of pure compression to form vaults which sits against the perimeter walls of a gallery in Sci-Arc. In total, there are 14 segmented pieces resolved to make 5 series of columns that support the entire art installation. Computational hanging chain models were used to find the most efficient form which profiles of catenaries are refined.

Geometric and Computational Strategy Curvature of each petal is dependent upon adjacent voids and defined by end points as well as set of tangents with its neighbouring modules. A Rhino computational script was developed specially to manage the petal curvature as a function of tangent offset where the more the offset, the greater its curvature.

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2008

Towards the base, petals with less offset gains more density and connect purely in triangulated cells. The outer dimple effects in contrast were created with a greater offset. 3D modelling were developed to unfold the petals for laser cutting and construction purposes. A total of 2300 petals were then zip-tied together.

This art installation attempts to de-familiarize both structure and wood material in creating conflicting readings of stereotypical architecture typologies. The light and porous surface creates an atmosphere to gain sensorial effect.

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a3.2: composition/

generation

Bottom-Up Bringing forward a bottom-up approach design strategy, the aim for this pavilion is investigated in three parts: 1) finding a winding technique for modular, double-layered fibre composite structures 2) reducing the required formwork to bare minimum, and 3) maintaining a substantial amount of geometric freedom in the process. With computational design and simulation tools, the robotic fabrication characteristic and the abstracted biomimetic principles were concurrently integrated within the design process.

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ICD/ITKE Research Pavilion | stuttgart ICD/ITKE - university of stuttgart

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2014

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Material Potential Because of their high performance qualities per high strength to ratio, glass and carbon fibre reinforced polymers were chosen as building materials. Their potential to generate differentiated material properties via fibre placement variation was also considered as a virtue. Coupled with an unrestricted mould-ability, fibre reinforced polymers are also suitable to integrate the complex geometries and material organisations within the abstracted construction values in contrast to conventional fabrications for fibre composite elements which indefinitely requires a mould to define its form.

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a4: conclusion

In the Begining Part A begins as A1 investigates a traditional typology and approach in architecture. Physical parameters were evident and can be recognised as site context, site response and being tailored to its functions; one a bathhouse and the other a library.

The materials chosen were both lithic and explored with primitive geometry.

The architecture was also derived on how the architect visualises that the space be used and how the building should eventually look like.

It started visually and like problemsolving, the architect work top-down from paper to physical buildings.

Intermediate Following, A2 precedents are caught within the time where computational design are further developed and encouraged. Complex structure and curvaceous forms was met with mathematical calculation. However, it is important to note that both

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precedents were still handled in a top-down manner as computational design was again used to meet the architect’s visualisation, only this time more advanced with a computer’s accuracy and speed.

Now At last A3 precedents are presented as generative processes. Its designthinking process differs greatly to the projects of A1 and A2. Parametric architecture has not only release architects and designers from the constraints of primitive geometry but also help to create and define new geometries which correspond to a set of logic, systems and values.

It opens up the options to other building / creating material and not only of the conventional to architecture that we have known for thousands of years. Alas, the twist to parametric architecture now is limited to that only of an architects’ imagination.

“Fear not of the unknown, for a blind man walks forward despite,�

- Bunthiam Lo

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a5:

learning outcomes

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Changes I think it is a norm that every change is met with both open minds and resistance. From my point of view and architectural discourses with my peers, the very first impression that people have on parametric architecture is that such designs are solely built on its form. Often time people focus very much on an architecture form because they are not exposed to the logic behind the parametric systems that governs a set of optimisation rules.

Meeting Challenge So how should the architectural industry equate parametric architecture to people as the norm? I am not the wisest but I would personally think that with Functions as justification, parametric architecture can be rationalised through the demand of logical system that optimises function in architecture, regardless what form it takes.

Mediators The fact that architects still remains as mediators need to be reinforced when the tools are merely displaced from pen and paper to computers. Only because the industry are overwhelmed many new geometries made possible by parametric systems will not render architecture wilfully meaningless in the eyes of some where they criticised buildings of Zaha Hadid Architects and Gehry Partners, LLP to be merely form expressions.

Mission Therefore, on the path to completing Studio Air, I seek to practice (and practise again and again) bottom-up design lining function and rationale in parametric architecture.

“Ornament. Functions. Now what?”

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a6: algorithmic

sketches

I’m relatively new in using rhino and grasshopper to achieve my design intent. In my prior projects, I have relied heavily on autocad drafting and google sketchup to represent my design.

The basics of grasshopper were taught in the first week, starting with referencing curves in both the programmes as well as lofting it to create vase.

In my first attempt, the vase started of with curves drawn in the likes of a topo plan in rhino, offseting inwards. The scale of the vase will decrease as it reaches the top.

Through lofting, a ‘criss-cross’ feature can be seen expressing folded surface of the vase going upwards.

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In my second attempt, the vase started of with curves drawn to overlap each other. Clearly this version of vase has more layering qualities to it.

During lofting process, by controlling the Z vector, I could control the top and bottom of the vase to be similar in proportion while exaggerating the volume of the middle tier. This presented the vase in a repeated top and bottom.

The subsequent challenge was to create holes in the vase, however as I am not familiar with rhino and grasshopper, I will attempt it after going through some online tutorials.

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For the making of this basket, I followed a step by step tutorial in youtube[1] as I am very much still at a beginner level.

I have tried new components such as ‘divide curves’ which was also touched in the Air tutorial.

The online tutorial covered other components such as ‘flip matrix’, ‘data’ ‘points list’ , ‘param view’ which some could be deleted after achieving the intentions.

The most interesting thing about this process I find is the ‘extrapolate’ component where it forms the framework of my basket horizontally and vertically.

‘Toggle’ was also another component that help to shape my basket after the initial framework. It joined the start and end point of my horizontal members, making the basket whole.

‘Pipe’ component gave my basket the ‘weaving’ feature and there were also options in capping the edge of the pipe such as having it rounded.

I could also loft the surface of the basket according to the tutorial however I felt that the weaving of the basket could be better expressed without it, making my basket look better.

In the development of this basket, an appreciation of the layering intent and varying curvature flow of the basket can be observed on the axes.

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bibliography

Books / Academic Journals Yehuda Kalay, Architecture’s New Media (Cambridge, Mass.: MIT Press, 2004.) pp. 2-3.

Rivka Oxman & Robert Oxman, Theories of the Digital Architecture (Abingdon, Oxon ; New York : Routledge, 2014.) p. 1.

Volker Fischer & Ulrich Schneider, Kengo Kuma Breathing Architecture (Berlin: Birkhauser Verlag AG 2008.) pp. 20-70.

Websites http://www.dezeen.com/2014/06/26/icd-itke-pavilion-beetle-shells-university-of-stuttgart/ http://www.dezeen.com/2008/08/08/voussoir-cloud-by-iwamotoscott/ https://www.facebook.com/ICDITKE.ResearchPavilion?fref=photo http://www.dezeen.com/2013/11/24/zaha-hadid-dismisses-vagina-stadium-jibes-as-ridiculous/ http://gizmodo.com/frank-gehry-is-still-the-worlds-worst-living-architect-1523113249 http://www.academia.edu/1821083/CREATIVE_DESIGN_EXPLORATION_BY_PARAMETRIC_GENERATIVE_ SYSTEMS_IN_ARCHITECTURE http://kkaa.co.jp/works/pavilion/tee-haus/ http://www.dezeen.com/2007/08/01/vincent-guallart-for-expo-2012-wroclaw/ http://www.achimmenges.net/?p=5713 http://www.washingtonpost.com/wp-dyn/content/article/2011/02/11/AR2011021103539_pf.html http://www.flickr.com/photos/klaasfotocollectie/ http://www.pinterest.com/pin/16888567326196287/

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PART

b

criteria design

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b.1:

research field

Definitions Inside every cell of the structure, lighting and shading effects as well as programming of views is achieved by incorporating the sine-wave functions to drive parametric differentiation of angles, orientation, sizes of aperture and the relationship of metal together with glass components within each cell. EM fields have also resulted in the internal cocoon-like spatial quality with double-charged trajectories. Resonating pattern imprinted on the ground created emitters for the radial wave interference pattern that formed the global geography of the field.

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mesonic fabric | PARIS | 2007/09 Alisa Andrasek & Ezio Blasetti

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Experience The last step was to use cellular automata to re-preocess the wave data by means of imprinting micro-articulation of the ground. Approaching the field within a range of different distance revels drift in the character of the pattern. This effect is then enhanced in the behaviour of the CA pattern which drifts between distinct characters of inflexible geometrical states and more organic states.

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b.1a:

technique

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curves

divide

point charge

divide

field line

extrude

move

interpolate curve

pipe

populate

density

density

density

rotation

offset

density

coral

split frames

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b.2:

case study 1.0 tessalation | art 615 | 2010 students of aalborg university

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Form The form of the pavilion originates from a simple surface in rhino, derived and chosen out of multiple iterations.

The main focus for the form was to create a semi enclosed space and emphasize a smaller end building up towards the larger end. Grasshopper was fully utilised until its structural capabilities and aesthetic was deemed acceptable for a standalone structure by the designing team.

Overcoming limitations Though limited by the CNC-milling machines’ by constructable sizes, the designing team made use of puzzle-joint made in Grasshopper and had it positioned in between the fragaments. To ensure static stability, metal-plates were bolted and screwed around the joint itself. The skin of the pavilion which gives impression of ‘scale’ is the product of a paneling definition done in Grasshopper to achieve an intent of working with transparency.

Structure Dissected into 32 vertical and 4 horizontal struts, the surface made use of waffle-system which allowed easy connection joints by sliding perpedicular pieces together into intermediate gaps, interlocked and kept fixed.

Design Intent This art installation attempts to de-familiarize both structure and wood material in creating conflicting readings of stereotypical architecture typologies.

The light and porous surface creates an atmosphere to gain sensorial effect.

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b.3:

reverse

engineering case study 2.0

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curves

loft

contour

offset

loft

extrude

divide

lines

move

loft

extrude

solid difference

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b.4:

technique

development

divide_5 | move_5

series_0 | evaluate curve_10

perp frames_8 | evaluate curve_2.945

perp frames_15 | radius_0.047

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divide_5 | move_5

series_0 | evaluate curve_10

perp frames_8 | evaluate curve_2.945

perp frames_15 | radius_0.047

divide_10 | move_10

series_3 | evaluate curve_47

perp frames_10 | evaluate curve_4.843

step_4 | evaluate curve_0.250

divide_10 | move_10

divide_15 | move_15

divide_15 | move_15

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series_3 | evaluate curve_47

series_6 | evaluate curve_100

perp frames_10 | evaluate curve_4.843

perp frames_15 | evaluate curve_11.886

step_4 | evaluate curve_0.250

step_6 | evaluate curve_0.670

series_0 | evaluate curve_100

perp frames_15 | evaluate curve_11.886

step_6 | evaluate curve_0.670

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divide_5 | steps_22

divide_5 | steps_22

divide_11 | steps_22

steps_20 | extrude_9.264

steps_20 | extrude_9.264

steps_11 - | extrude_6.553

division_10 | series_0.426

division_10 | series_0.426

division_6 | series_0.426

divide 7 | 3

divide 7 | 3

divide 7 | 4

radius_6 | seed_5

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radius_6 | seed_5

radius_5 | seed_4

divide_11 | steps_22

steps_11 - | extrude_6.553

divide_16 | steps_22

steps_7 - | extrude_4.587

divide_16 | steps_22

steps_7 - | extrude_4.587

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division_6 | series_0.426

division_2 | series_0.426

divide 7 | 4

divide 7 | 5

radius_5 | seed_4

radius_4 | seed_2

division_2 | series_0.426

divide 7 | 5

radius_4 | seed_2

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b.4a:

SELECTION CRITERIA

Attractive Point the above iterations are selected as they exhibit similar curving forms but still possess a linear respect in its whole expression. a subtle flow and transformation exist as individual elements differ from its previous and the next but do not stray from the intended consistency.

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b.5:

prototype 001

Surprise The result of Prototype 001 came in as a good surprise as it varies largely from the 3D model inspire by reverseengineered ART615.

Though my original intention was to place each vertical elements on ground zero as inspired by my WAVES1.0 project, the curvature of each strip made assembling unstable to begin with and its perpendicular joints were adjusted several times before the self-supporting prototype could distribute its load evenly.

Aesthetic Appeal Upon completion, I am happy that the model has displayed some aesthetic qualities such as even amid what seemingly a chaotic arrangement of ‘skeletal members’, it has itself followed the logical arrangement according to the lofted surface in grasshopper and can appear linear as photographed in picture 54.

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A Self-Supporting Structure The self supporting structure that I wanted to bring out so badly began lifting its curvature off air, showing some kind of dynamism suspended in time before reaching for the ground to provide an equal anchor, held up with nothing else but its own members.

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b.5:

prototype 002

Attempting to Connect The Dots As much as I like my Prototype 001, I realise that there is no way that these curving strips c other material like in its miniature box board model. The strips will have to be broken down and c decided to design ‘connection bits’. The twists in these connection bits are meant to carry on th prototype and also to suggest that as the dots are connected, the model will still display an curva with the intention to harvest water from the surrounding site to power renewable energy and in do hiding them away like most buildings do with their services, I imagined that these water pipes design integration, to acknowledge its merit in being a mechanism to drive sustainability.

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could be fabricated in a single piece in connected at varying angle which was I he flow of dynamism from the previous aceous effect. I was also experimenting oing so, I would need pipes. Rather than will be displayed to the public through [ 62]

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b.6:

technique proposal

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Renewable Energy The advantages of a reasonably large field like the one in the LAGI competition provides a perfect platform for harvesting solar energy, catching sunlight in abundance. On top of that, I would like to harvest potential renewable energy by using water to drive turbines powered engines.

Integrating with Design The Grasshopper generated form of my prototype suggest that housing pipes inside them, or making them pipes would be quite possible with the right kind of jointing and connections which I will explore further in Part C and as explained in Prototype 002. The sketches above also show that the art installation is visualised as something that can provide shelter, integrate with surrounding landscape and ergonomically considered to be used by potential visistors as a meet-up pavillion.

A connection between the land and water would also be interesting and I am considering if it could actually become strips that extends into the water as docking platform for yatch and people to visit the pavilion directly from the water seeing that the nearby factories are actually yatch garages. However, I understand very well that the photo montage above does not justify the proposal visually as yet but I will definitely produce a better one for Part C. Another Supporting Technique I have also researched other forms of technique by using strings/cables that works structurally with tension/compression which are evident in Santiago Calatrava’s projects. The picture on the left shows an attemp to ‘pull stand’ my prototype in its possible larger scale with tension that’s kept to the ground. I like the contrast that is shown between massive, structural elements that are supported gracefully by thinner cables and strings. The best representation of this would be a harp.

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b.7:

LEARNING outcome

Stronger Knowledge I have benefitted a lot of from Part B exercises compared to just 8 weeks earlier. Because there is so much that I do not know about Rhino+Grasshopper, I had to spend a lot of time practising and just to understand the components alone. I didn’t really like it sometimes when I feel the urgency to connect one alphabets to another just to see something happen in grasshopper but I guess that’s how everyone learn.

Budding Interest I still do not have the strongest knowledge in Rhino+Grasshopper compared to Autocad/Sketchup which I usually use but I am beginning to like it and see the wonders it caould make. I sort of agree with this design approach as in the doing, it force/ make people understand how each component can be built after designing really complex form, which I have learned so through 3D printing.

Improvements Part B has really made me detect the problems which my design is having and t will propel me to solve them towards Part C and to explore and make interesting things guided by the feedback from my Interim Review.

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“If not me, who. If not now, when?”

- Emma Watson

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B8: algorithmic

sketches

Apart from Grasshopper tasks in tutorial, I have practised using Rhino+Grasshopper to make other shapes as well and I include it here in the Algorithmic Sketchbook

Rotating tri-tower - controlling rotation with ‘small to big’ effect

Berlin Holocaust Memorial - attractor points to affect height

Voussoir Cloud - application of kangaroo plugin to generate form

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B bibliography

Websites

Designplaygrounds.com, ‘Designplaygrounds.Com » Archive deviants/art615-project-gh3d/> [accessed 19 September 2014]

» Art615 Project [GH3D]’, 2014 <http://designplaygrounds.com/

Jordana, Sebastian, ‘Art615, A Pavilion By Aalborg University Students’, ArchDaily, 2010 <http://www.archdaily.com/59960/art615-apavilion-by-aalborg-university-students/> [accessed 18 September 2014] Landartgenerator.org, ‘Land Art Generator Initiative’, 2014 <http://landartgenerator.org/competition.html> [accessed 10 September 2014] Mejnertsen, Bjarke, ‘Stop Motion Assembly’, Vimeo, 2010 <http://vimeo.com/9709511> [accessed 20 September 2014] Poulsen, Esben, Esben Poulsen, and Esben Poulsen, ‘Social Technologies 2010’, Social Technologies 2010, 2014 <http:// socialtechnologies2010.wordpress.com/> [accessed 18 September 2014] YouTube, ‘ART615’, 2014 <http://www.youtube.com/watch?v=eT8llbs9p-Y> [accessed 20 September 2014]

Images [43] [44] [45] [46] [47] http://www.biothing.org/?p=51 [48] http://www.archdaily.com/59960/art615-a-pavilion-by-aalborg-university-students/ [49] [50] [51] [52] screenshots from http://vimeo.com/9709511 [53] [54] [55] [56] [57] [58] [59] prototype 001, photographs by suphatta low [60] [61] [62] prototype 002, photographs by suphatta low [63] site montage: site image by google earth

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d e t a i l e d de s i g n

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c1:

design concept

Main Idea Sparked by the idea of the site being an island, this parametrically driven art installation introduces a water based experience in its relationship to the surrounding. It is imagined to be a water sculpture and the metaphor behind this gesture aims to raise environmental awareness within the community.

The Act Water is pumped up from the surrounding sea and falls into a reflective pool within the site, delivering a soft and contemplative experience in contrast to the industrial area that it sits on. The water is then rightfully returned to the sea and the cycle repeats, enabling a functional water sculpture as along as it is exhibited.

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the water intention

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A Metaphor As city dwellers, it is easy to acquire services and we forget the value of resources.

The gesture of a huge amount of water falling from great height carries a metaphor of water wastage and leads to the reflection of our very own water usage impacting the greater environment. This is highlighted by the vastness of the site itself.

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Industrial Influence I think it is important to always relate an architectural piece to the site it inhibits, especially one like Rafshaloen which has over a hundred years of influence in the shipyard industry. Though bankrupted in 1996, Burmeister & Wain’s bankruptcy was once the Danish’ industrial icon which I think it is only apt to become a central influence to my proposal. The influence will be shown through the sculpture’s outlook and its shapes; straightforward and functional as a factory would take on for maximum efficiency.

Material The mood of this art installation is intended to feel ‘decay’ and ‘salvaged’ which works hand in hand in introducing an environmentally friendly scheme. This is possible as the art installation is proposed to be erected out of salvaged steel parts from ships and factories. Not only the 4Rs are utilised, the more important aspect of it is to bring out the materiality that is specific to the site down to the touch of the sculpture by visitors.

Water In contrast to the existing site which is barren of proper landscape, the introduction of water as a main interactive element both visually and physically would soften one’s experience with the proposal and the surrounding. The water spouted out of great height from the top of sculpture would splash down onto the reflective pool and visitors, enticing a fun engagement with the water sculpture.

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Site Placement Due to the nature of the art installation, it is only logical that the water sculpture is placed at the edge of land. This minimizes the energy that is needed to retrieve and return water into the sea based on its nearest distance.

The edge placement further highlights the extension of water-land relationship and characterises the sculptureâ&#x20AC;&#x2122;s existence within the site.

Landscape The vastness of the site led to landscaping in a larger scale and like water, the topography of landscape is shifted so that it blends in softly with a park background overlooking the sea in cascading tiers. Most importantly, the curvature of the landscaping tiers directs towards the water sculpture in fixing the focal point. When viewed in a larger context, the proposal stands out as a green, natural park in contrast to the city to its northwest and the neighbouring industrial site.

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c2:

tectonic elements & prototype

PROTOTYPE 003

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Buildable Parts The main focus of prototype 3 is to disintegrate the design into smaller, buidlable sections rather than reading each element as a huge vertical element. In the 1:100 prototype model, it is already evident that the design strives to be broken down and tied together through a same denominator, a system akin to what we know as â&#x20AC;&#x2DC;lego.

System There is also a desire to represent aesthetic with a uniform system to express a simple sense of order and consistency. The assembly gesture ties back to the industrial effect that was mentioned in the concept; to create a design which reflects the site origin and pays homage to its history.

At this stage, the design is already imagined to be made of recycled steel, scrap metal or ship parts that are discarded by shipyards and factories.

This would add strengthen to the design as a whole with a purposeful and strong image.

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Feedback The feedback for this model reflects the loss of density as compared to prototype 001 and the connective parts are merely functional. The horizontal chips were also too dominant-looking.

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c3:

final detail model

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MACHINING H2O The final expression of the sculpture rests on a structural expression of industrial character. With the advent of Grasshopper plugin, Machining H20 expresses also curvature which falling water (literally) exhibits a twist of dynamics. This hybrid mixes the functional, rigidity of modular forms which is displayed in its consistent broken bits but a slender curvature in its total expression.

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pv panels pv tray bolts i-section steel-cladded frame pipe holder flexible water pipe [ 82] Detail 1 in elevation view

pv panels solar battery pack for pump water pump solar energy storage to power grid [ 65] [ 83]

The water sculpture is equipped with a pump which works on harvested solar energy with its excess having a potential to contribute to the local grid network

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C.4:

LEARNING outcome

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Design Generation

A Continuous Flow

Towards the end of Studio Air, I am even more certain that Grasshopper plugin is highly beneficial towards the next generation of design. I would personally not agree anymore that parametric architecture is all about forms and the visual excitement it brings, that would be a little bit tooo superficial. There are many knowledge behind a Grasshopper definition. Though once grasped, the precision and convenience it brings will be invaluable. However, I would also note that to get a definition function well needs planning ahead. A designer would need to predict the next move or at least assume a certain formwork that could be worked into a definition to generate a form. So I would also note that it is not entirely true that Grasshopper gives us the choice of a form selection, for without us preparing the recipe, nothing can be controlled and of course no spectacular or at least meaningful form will be generated, ever.

In contrary to softwares like Rhino and Autocad, I realised that it is easy to capture the difference from one â&#x20AC;&#x2DC;shiftâ&#x20AC;&#x2122; to the next with Grasshopper. If I compare it to photography, Rhino and Autocad would have sixty frames per minute while Grasshopper would have a hundred and twenty. It is this smaller margin from one shift to the next that gives me more flexibility in maintaining the flow in my design. As seen in the previous pages, the main expression of my water sculpture reflects a changing curvature over time and Grasshopper has helped me to map that out precisely.

Reflection I must admit that I have had difficulties in mapping out, understanding and controlling the many definitions in Grasshopper to manipulate aesthetics. The functions that I have worked on are fairly simple from

curves>>divide>>contour>>shatter>>listing items>>culling patterns>>lines>>trimsolid and etc. The experience in Studio Air marks my baby steps in parametric architecture.

Though it still feel daunting to understand and reverse engineer designs, I will embark on my own journey to learn the definitions in a slower pace.

In terms of design, Studio Air has taught me that criteria selection would make a scheme stronger by understanding why eliminating the unnecessary would give the salavaged element a stronger stand for existence. This kind of critical thinking is helpful to me since sometimes I could be indecisive in progressing a design in a world where interests and narrative are limitlesss.

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C bibliography

Images [64] http://www.hdwallpapers.org/waving-water-splash-wallpapers.html [65] sugar decay by harlan erskine, https://harlan-erskine.squarespace.com/sugar-decay/domino-2 [66] small boy drinking water by thanasis zovoilis, https://www.flickr.com/photos/55975562@N07/10151912223/in/photostream/ [67] child jumping in water by sandra honig, http://www.gettyimages.com.au/search/ photographer?family=creative&photographer=Sandy+Honig [68] http://mgmcgrath.com/mg-mcgrath-featured-metal-construction-news-installation-feature-ordering-bent-metal-panels/ [69] proposed site plan for the LAGI competition by suphatta low [70] [71] [72] [73] [74] [75] prototype 003, photographs by suphatta low [76] [77] [78] [79] [80] final model, photographs by suphatta low [81] axonometric of model installation, by suphatta low [82] detail 1 in elevation view, by suphatta low [83] schematic section, by suphatta low [84] on-site photo montage, by suphatta low

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“I have not failed. I’ve just found 10,000 ways that won’t work.”

- Thomas Edison

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