Studio Air Journal by Tay Aik Wen

S T U D I O

A I R

D E S I G N J O U R N A L

TAY AIK WEN 5 6 7 3 4 1 S E M E S T E R 2 2 0 1 6

CONTENTS INTRODUCTION CONCEPTUALISATION A. 1 : Design Futuring

A. 2 : Design Computation

A. 3 : Composition/Generation

A. 4 : Conclusion

A. 5 : Learning Outcomes

A. 6 : Appendix - Algorithmic Sketches

CRITERIA

DESIGN

B. 1 : Research Field

B. 2 : Case Study 1.0

B. 3 : Case Study 2.0

B. 4 : Technique : Development

B. 5 : Technique : Prototypes

B. 6 : Technique : Proposal

B. 7 : Learning Objectives and Outcomes

B. 8 : Appendix - Algorithmic Sketches

DETAILED

DESIGN

C. 1 : Design Concept

C. 2 : Tectonic Elements & Prototypes

C. 3 : Final Detail Model

C. 4 : Learning Objectives and Outcomes

100

REFERENCES

102

INTRODUCTION

Iâ&#x20AC;&#x2122;m Tay Aik Wen and currently majoring in architecture in the Bachelor of Environments at the University of Melbourne. I am from Singapore and have chosen to pursue my studies abroad. As my grandfather was an architect, I was exposed to architecture at a very young age, having been around the office, and even on site. Though I may not have known that I wanted to become an architect, those experiences have definitely had an impact on myself and how I look at the built environment today. Since a young age, I have been fascinated not by extravagant and flamboyant architecture, but the minimalist and slick designs. However, through past studios, as interesting as expressing the exterior of structures and buildings were, what really intrigued me was the relationship between the exterior and the interior, in which creating an experience through space was as important as oneâ&#x20AC;&#x2122;s impression of the exterior design. As such I look to exploring this relationship further in this studio, and to see the exterior and interior as one entity. I also see studios as a way to experiment with ideas with minimum restriction and in the process, come to learn about particular styles I like. It also provides the opportunity to hone in on various skills required in designing, such as using AutoCAD, Rhino, Adobe, model making, presentation, and now parametric design through Grasshopper. Therefore, despite having learnt some basic Rhino is first year, I regret not putting the skills I learnt into practice. Thus, I see this studio as an opportunity to thoroughly familiarize myself with Rhino and Grasshopper, in which I would be able to utilize these programs in future projects. Though I am aware that there is a lot of work to do, with sufficient effort given, I see the benefits and valuable skill-set I can achieve through this studio.

Designing Environments, Semester 1 2015.

Architecture Design Studio: Water, Semester 2 2015.

Architecture Design Studio: Earth, Semester 1 2016.

CONCEPTUALISATION

A.1 D E S I G N FUTURING

TOUR

SAHARA DESERT OXO ARCHITECTS

DES +

SABLES

NICOLAS

LAISNE

ASSOCIES

The La Tour des Sables by Oxo Architects and nicolas laisne associes is a project that is currently under study. Their aim of this project is to build a self sufficient building in the middle of the Sahara desert that could support human living.

living within the Sahara desert could be a possible solution for overpopulation. Furthermore, with the building being self sufficient, it would not put further pressure on the rapid depletion of natural resources.

With a pool as the threshold of the building, and dense vegetation covering the inner tower as well as placed throughout the building, such an environment contrasts the bareness of the desert outside. Energy is generated via the ochre screens and sensors that make up the facade of the building1. I feel that if such an environment could be sustained within the enclosed space, without the harsh effects of the desert outside, this project could revolutionize living, providing opportunity to inhabit area that does not currently support it. I believe this project embodies Fry and Dunne’s concepts of design futuring, which centers around sustainability and longevity.

Though this project is currently under study, through this, we see that the unsustainability of the current living standards has caught the attention of fellow architects and designers, and thus invoked the need for change. This realization of current problems and designing buildings to solve these issues relates to Dunnes idea of design futuring where he suggests that instead of predicting the future, one should use design to create possibilities that would shape the future3.

Fry talks about design futuring as a way to prolong the longevity of natural resources and human existence, where he mentions that the world is becoming more unsustainable and as a result, the need for “design intelligence to possibly increase futuring potential”2. In relation to this project, having a self sufficient building that sustains

In addition, Fry emphasizes that design approaches would have to change completely in order to achieve a future that is sustainable4. I feel that with such projects, along with many others, that are under study, which are mainly focused around providing self sufficient infrastructure and buildings that people can inhabit in places that currently do not support human living, clearly pushes the boundaries of design and could be the solution to increasing futuring potential.

1. Philip Stevens, OXO architects + nicolas laisne propose vertical city for sahara desert, (2015), http://www.designboom.com/architecture/oxo-architects-nicolas-laisne-city-sand-tower-sahara-morocco-04-12-2015/. 2. Tony Fry, Design Futuring: Sustainability, Eithics and New Practice (Oxford: Berg Publishers, 2009), p.12. 3. Anthony Dunne, Speculative Thinking: Design Fiction and Social Dreaming (MIT Press, 2013). 4. Tony Fry, Design Futuring. Fig. 1-5. La Tour des Sables. http://www.oxoarch.com/front/project/la-tour-des-sables.

9 1.

BEE‘AH

HEADQUARTERS

UNITED ARAB EMIRATES ZAHA HADID ARCHITECTS

The Bee’ah Headquarters is a futuristic design that conforms to the landscape, “looking like two dunes”1. Fry mentions that in order to prolong our existence, we have to change our unsustainable ways2. This building is designed to fully utilize renewable energy, and has low carbon ad water consumption. In addition, recycled materials are to be used in construction. Also, the facade is made to reflect sunlight, and is operable, providing the option of natural ventilation3. These sustainable environmental building systems that conform with the futuristic design is the direction in which design futuring should head towards. Though this project is yet to be built, it started as a project that intended to change the attitudes of architects, in hope of steering them into considering sustainable decisions in their design. This shows that architects today are aware of design futuring as a means to solve the problems we have with unsustainability. Though many would see this project as one of the future, I believe that it is less conceptual and more plausible than the Tower in the sahara desert. As such, with the rise of sustainable buildings being built, this project, and the Tower in the desert, the steps towards design futuring have essentially been mapped out. And with design technology available, we can certainly achieve those sustainable goals.

1. Leah Demirjian, Zaha Hadid Architects to Build Sustainable Bee’ah Headquarters, (2014), http://www.architectmagazine.com/design/zaha-hadid-architects-to-build-sustainable-beeah-headquarters_o. 2. Tony Fry, Design Futuring: Sustainability, Eithics and New Practice (Oxford: Berg Publishers, 2009), p.2. 3. Leah Demirjian, Zaha Hadid Architects to Build Sustainable Bee’ah Headquarters. Fig. 1-2. Bee’ah Headquarters. http://www.architectmagazine.com/design/zaha-hadid-architects-to-build-sustainable-beeah-headquarters_o.

A. 1 : D E S I G N

FUTURING

A.2 D E S I G N COMPUTATION

ROKKO

SHIDARE

KOBE, JAPAN SAMBUICHI ARCHITECTS

OBSERVATORY

The Rokko Shidare Observatory in Japan is a dome made of wood and stainless steel. The design of the dome was aimed mimic the branches on trees in the region and how they “attract frost in winter”1. Also, the water in the terraced reservoirs in the building are completely dependent on the season. From this, we see how design computation can produce a design that is reliant on the natural environment, almost being a part of it. Furthermore, through design computation, precision in the size of the hexagon rings can be calculated in order to take the shape of a dome. As such, we see how digital analysis of materiality can lead to a more poetic and fluid structure2. With the utilization of design computation, architects can now use traditional materials such as wood and steel in an unconventional way. This therefore broadens the possibilities for design, in which we can build structures that are sculptural, functional, and closely interrelated with the surrounding environment, in a precise way.

1. Jakob Harry Hybel, Rokko Shidare Observatory, (2013), http://www.arcspace.com/features/sambuichi-architects/rokko-shidare-observatory/. 2. Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture (London and New York: Routledge, 2014), p.5. Fig. 1. ‘Rokko Shidare Observatory’, JA81 Sambuichi, 2011.

CONCERT

HALL

BLAIBACH, GERMANY PETER HAIMERL

This concert hall in Blaibach, Germany built be Peter Haimerl was made to “look like a monolith dropped from the sky”1, thus explaining its natural tilted angle. Despite the general form being geometrically simple, the textured facade and interior walls seem to be designed with great precision and calculation. I believe that this would have been achieved through digital technology. Oxman talks about digital technology as a medium to more easily express tectonic systems, as well as to improve performative aspects. These can be seen in the design of the concert hall2. Firstly, “the vertical joints between facade elements indicate tectonic intent”3. Intricate geometries and detailed between the textured concrete can be achieved through parametric design. Also, the form and construction of the interior wall consisting of stone panels strategically placed were designed as a result of precise calculation in order to achieve maximum acoustics4. Through these details, we see how parametric design is used to enhance a simple form as well as to optimize its function. Though performance oriented designing has been around for a long time, using digital technology to analyse various conditions has allowed for a more precise outcome. As such, through computing, we can essentially achieve the ‘perfect’ building.

1. ‘Concert Hall in Blaibach’, Detail Structure, 2015, p.39. 2. Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture (London and New York: Routledge, 2014), p.6. 3. ‘Concert Hall in Blaibach’, Detail Structure, 2015, p.39. 4. ‘Concert Hall in Blaibach’, Detail Structure, 2015, p.39. Fig. 1-2. Blaibach Concert Hall. http://www.archdaily.com/567635/concert-hall-blaibach-peter-haimerl-architektur. Fig. 3-4. ‘Concert Hall in Blaibach’, Detail Structure, 2015.

A. 2 : D E S I G N

COMPUTATION

A.3 COMPOSITION G E N E R AT I O N

f i n d (&) M E R G E SVEN

find(&)MERGE is a project by SVEN, where the outcome relies heavily on computation. The idea behind this project was to implement a strategy that would be feasible in any condition. The main parameters that would drive the form of the structure were based of surrounding environment and urban data1. As a result, through manipulation of the various parameters, different outcomes would be generated. This form of generative design achieved through computation and algorithms enables us to create forms that would otherwise be unimaginable. Furthermore, as seen through this project, computation is able to solve problems2, generating forms that would relate to the surrounding environment. Though such problem solving is probably achievable without computation, computation produces multiple iterations in a short time that would be precise in form, function, and its relationship with the environment. Therefore, generation through computation should be embraced and utilized to enhance architecutre.

1. Marija Bojovic, Developing a coherent strategy for innovative design through digital fabrication, (2013), http://www.evolo.us/architecture/developing-a-coherent-strategy-for-innovative-design-through-digital-fabrication/. 2. Rivka Oxman and Robert Oxman, Theories of the digital in architecture (London and New York: Routledge, 2014), p.1. Fig. 1-4. find (&) MERGE. http://www.evolo.us/architecture/developing-a-coherent-strategy-for-innovative-design-through-digital-fabrication/.

URBAN

LOBBY

LONDON MRGD ARCHITECTS

The Urban Lobby by MRGD Architects is a an experimental project that explores form based on its relationship with the site through computation. The design process “expands on systemizing the dynamic hair tool which involves social and cultural organizations, thus allowing them to explore different spatial and programmatic organization”1. The end result is a building with public and private open spaces, an office, public living space and subway business lounge. This is a representation of how generative approaches in the design process can not only lead to an elegant form that is unique, but also devise a programme that is cohesive and well planned out.

This project is a reflection of Sean Ahlquist and Achim Menges’ definition of computation, which is “the processing of information and interactions between elements which constitiute a specific environment, and its capacity to generate complex order, form and structure”2. We see how algorithmic design can drive the form of the building whilst taking into consideration the city’s dynamics. Moreover, the generated forms would not be achievable without the use of computation, thus emphasizing its importance in architecture today.

1. Rose Etherington, Urban Loby by MRGD Architects, (2007), http://www.dezeen.com/2007/11/01/urban-lobby-by-mrgd-architects/. 2. Brady Peters, Computation Works: The Building of Algorithmic Thought, Architectural Design, p.10. Fig. 1-4. Urban Lobby. http://www.melikealtinisik.com/URBAN-LOBBY.

A. 3 : C O M P O S I T I O N / G E N E R A T I O N

A.4 CONCLUSION

CONCLUSION Looking at A.1, A.2 and A.3 as a whole, it is important to understand how computation and generative design can be used as a medium for design futuring. The concept of sustainability and slowing the rate of defuturing learnt in A.1 is essentially the problem that is bound to be solved with the help of algorithmic design and computation, as we have learnt in A.2 and A.3 that through computation, we are able to design buildings that are more closely linked with the natural environment. With the precedents chosen, I have come to realise that achievable geometries and possible outcomes are infinite. As such, I intend to further broaden my knowledge on computation tools, Grasshopper in this case, and to really explore and experiment with the countless possibilities. With human limitations, design can sometimes be constricted. Design computation is able to bypass these limitations, allowing us to fully express ideas and create form that is initially not though of. It is also able to take into consideration external factors, which allows for a design that would complement the surrounding environment.

A.5 LEARNING OUTCOMES

LEARNING

OUTCOMES

Architectural computing has opened my eyes to a complete new way of design. Just through the first 3 weeks, I realise how such unconventional and abstract form can be achieved through computation. As I have been interested with interior space that emphaiszes the exterior, creating an experience through architecture, I feel that through this studio, and especially with computation, I can really explore this aspect thoroughly, without neglecting the form. In conjunction to the various readings and precedents explored in Part A, the weekly tutorials are a smooth integration into design computation, which draw techinuqes from built projects. Through the introductory videos and techniques learnt (will learn), I am able to see how the precedent projects can be achieved.

A.6 APPENDIX

ALGORITHMICSKETCHES

I began with playing around with the firefly plugin, using the webcam and capturing snapshots of myself in different positions and in different lighting. After which meshes were generated from those images. I cut through various sections from the 3 meshes, obtaining 3 different curves, and lofting them together. However, the outcome had more curves than preferred for a workstation. I then decided to rebuild the lines, making them more angular and straight. Through manipulation of the control points and degrees in the curve, I eventually obtained something I was satisfied with.

Unfortunately, more time was spent getting familiar with the various tools, thus not being able to fully explore iterations and combinations of curves.

Fig. 1. Study Room. http://cdn.home-designing.com/wp-content/uploads/2014/05/17-Contemporary-desk.jpeg.

CRITERIA

DESIGN

B.1 RESEARCH F I E L D

BIOMIMICRY Biomimicry is the representation of natural and biological structures in architecture. Michael Pawlyn, who wrote the book Biomimicry in Architecture, suggests that being able to understand the principles behind natural structures allows us to not only mimic them, but to explore adaptations that could lead to new ideas and solve problems of energy efficiency. With resources such as parametric design, biomimicry in architecture is now possible (Scott, 2012). As can be seen through the ICD/ITKE pavilions, parametric design enables generation of different variations using the same materials and techniques. In addition, from the sea urchin concept pavilions, we see how the same natural structure is expressed differently. This emphasizes Pawlyn’s vision of biomimicry to be more than just an imitation of natural structures, but for it to be a platform for generating new ideas and structures. The Canopy by United Visual Artists is an adaptation of dappled light through a forest canopy. By understanding the principles behind natural processes, we are able to apply similar principles to architecture, as seen from the random configuration of lights that are “determined by regions of energy sweeping across the structure” This shows how parametric design can be used to make man made structures behave like natural systems. As such, biomimicry not only reflects the form of a structure, but mimicking its function could possibly lead to more sustainable designs.

1. Scott, K, Biomimicry in Architecture and the start of the Ecological Age, (2012), http://www.wired.co.uk/article/biomimicry-in-architecture. Fig. 1. ZA 11 Pavilion. http://www.formakers.eu/media/1.125.1328272933.1jpg.jpg Fig. 2. ICD/ITKE Pavilion. http://i.vimeocdn.com/video/479622219_1280x720.jpg. Fig. 3. ICD/ITKE Pavilion. http://www.trr141.de/wp-content/uploads/2014/12/RH2115-0026.jpg. Fig. 4. ICD/ITKE Pavilion. https://static.dezeen.com/uploads/2011/10/dezeen_ICD-ITKE-Research-Pavilion-at-the-University-of-Stuttgart-7.jpg. Fig. 5. ICD/ITKE Pavilion. http://images.adsttc.com/media/images/572b/5f17/e58e/ce89/7500/000f/slideshow/ICD-ITKE_RP15-16_Image_002. jpg?1462460153. Fig. 6. Canopy. http://static1.squarespace.com/static/5384c778e4b08193c94c9add/53860094e4b068684e3b16a3/53860140e4b05e2a342ba362/1426891266484/P103.jpg?format=1500w.

B.2 C A S E STUDY1.0

THE

ARANDA

MORNING LASCH

LINE

The Morning Line is essentially a sculptural pavilion that can be erected anywhere around the world. It is made up of recursive polygons in which the form of the pavilion is not determined. As such, this recursion of an individual unit, and unpredictable form it takes mimics that of a biological organism. In addition, this structure is able to generate itself and also fall apart, thus resembling natural processes. It can be taken one step further whereby the polygons generate lines that connect to each other creating â&#x20AC;&#x153;figures and narratives with no single beginning of endâ&#x20AC;?. Furthermore, by manipulating parameters, different shaped polygons can be generated. From this, we see how biomimicry influences architecture, and in this example, it emphasizes the ideas behind biomimicry being a platform for further generation, in which different patterns, lines and structures are derived from a single unit of varying scales. 1. Lasch, A, The Morning Line, http://arandalasch.com/works/the-morning-line/.

29 Fig. 1. The Morning Line. https://c1.staticflickr.com/4/3441/3183000696_0a0a33d8bc_b.jpgporary-desk.jpeg.

ITERATIONS MANIPULATION

POLYGON

AND

SCALED

BREPS

Increasing the scale value of the breps results in a break in the individual units

Applying cluster algorithm to individual unit within entire brep

Applying cluster algorithm to entire Brep as well as individual units to manipulate number of scaled breps

MANIPULATION

SIDES

POLYGON

Changing the number of sides of the polygon resulted in failure to cap the surfaces

MANIPULATION

Applying cluster algorithm to individual unit to manipulate number of scaled breps

MANIPULATION

BREP

0.333

SCALE

Final Scaled-Brep to output Brep Final Scaled-Brep to output Brep

BREP

0.484

All Scaled-Breps to output Brep

SCALE

Final Scaled-Brep to output Brep Final Scaled-Brep to output Brep

MANIPULATION

CURVES

BASED

MANIPULATION

UNROLLED

OFF

FRACTAL

TETRAHEDRON

CURVES

SELECTION

CRITERIA

1. C O M P L E X I T Y The iteration shows intricate recursive units 2. D I V E R S I T Y The iteration contains more than one individual unit, and has variation in scaled units 3. S U B T L E T Y The iteration is not too overpowering and flamboyant 4. A E S T H E T H I C V A L U E The iteration is a culmination of the first 3 criteria, which aesthetically pleasing and offers a degree of uniqueness

CRITERIA

RELATION

THE

BRIEF

A design that can express complexity and diversity would contrast the Gothic architecture of the Sacred Heart Courtyard. Moreover, a subtle design would not overpower the long history and heritage attached to the site.

DESIGN

POTENTIAL

AND

FUTURE

APPLICATION

The recursive algorithm proves to generate generally complex and divers structures. In addition, by being able to manipulate the number of tetrahedrons, one can control the degree of subtlety is expresses. As such, I feel that it can be a useful element that can contrast the mass construction of the Sacred Heart courtyard.

B. 2 : C A S E

STUDY

1.0

This iteration expresses the recursive aspect of the algortihm to its fullest. It is one unit that has been made up of smaller recursive units at varying scales. This thus adds diversity to the iteration. In addition, smaller units act as connections of the larger units which adds a degree of complexity. As such, I feel this iteration portrays more than just a recursion of tetrahedrons, and can therefore be aesthetically pleasing to some.

This iteration scales each individual unit further, resulting in a further recursion of individual units. As such, it fulfills the criteria of complexity and diversity. However, I feel that it is on the verge of becoming too cluttered, thus not completely achieving subtlety. With a complex and diverse form that is not overly flamboyant, I feel that it produces a aesthetically pleasing outcome.

This iteration looks at an adaptation of the original tetrahedron. As such, it is unique and produces a completely different outcome. In addition, the recursive algorithm is still able to work efficiently on this unit, thus achieving complexity. Therefore, it manages to fulfill the criteria of complexity and aesthetics, though less divers than the previous iterations chosen.

This iteration consist of curves derived from the recursive units and have been unrolled. As the curves were made to connect to each other at the ends, any configuration of the unrolled curves would result in an almost continuous line. Since this is a further development from the original recursive unit, I feel that it offers a different aesthetic side to the algorithm. Furthermore, the seemingly haphazard arrangement of curves adds a degree of complexity and diversity to the iteration. In addition, the thin lines manage to add subtlety.

B.3 C A S E STUDY2.0

TENSILE

STRUCTURES

A shift away from the Morning Line Case Study, to the other end of the spectrum of tensile structures provides a wider range of options and techniques that can be utilized later in the design process. Tensile structures, I feel provides a contrast against the existing built environment that tends to be linear and rigid due to materials such as timber, steel and glass that are used today. Tensile fabrics add a sense of softness and lightens up the atmosphere in which it is built. In addition, due to its light nature, it is able to span large distances with minimal structural support. In addition, a free form can be achieved, in which form is reliant on the anchor points of the fabric. Also, with the technology available today, tensile structures can be waterproof, fire proof and are able to withstand natural forces exerted on it. As such, it is often used as canopies as well as decorative structures that lighten the atmosphere of existing built environments. Computation has thus allowed for a easier approach towards form finding with tensile fabrics. The Kangaroo plugin in Rhino is able to simulate tensile fabric behavior under real life natural forces and environmental factors. As such, a realistic form can be achieved based on input parameters, and then easily tweaked and manipulated accordingly. This thus emphasizes the benefits of computation being able to achieve designs and forms more efficiently than before. 1. Tensile Structures, http://tensionstructures.com/. Fig. 1. MTV Awards Stage 2009. http://www.evolo.us/wp-content/uploads/2010/03/MTV-06.jpg. Fig. 2. SOFTLAB Tensile Structure. http://www.designdiffusion.com/wp-content/uploads/2014/07/SoftLab-NYC-Melissa-We-Are-Flowers-art-Installation-2.jpg.

35 2.

SAN

SOFTLAB

GENNARO

SOUTH

GATE

The Xtra Moenia at San Gennaro South Gate is a fabric that is in tension, where the form is dictated by the anchor points of surrounding buildings. As such, this structure is site specific. The individual units of the fabric variate in size giving an illusion that all units are of the same size despite parts being in tension. Through the use of plug-ins like Kangaroo in Rhino, such concepts can be achievable, in which forces can be manipulated to create a similar structure. Moreover, form finding and manipulation of forces enable generation of various unique structures, and not limit to just a replica of the existing projects.

B. 3 : C A S E

STUDY

2.0

Fig. 3. San Gennaro North Gate. http://cdn.archinect.net/images/1200x/zl/zli5kyezygd0s4i4.jpg.

REVERSE GRASSHOPPER

MESH

POINTS

FOR

ENGINEERING DEFINITION

SPRINGS

SIMULATION

ANCHOR

Manipulation of anchor points for specified geometry

B. 3 : C A S E

STUDY

2.0

OUTCOME

LINE

DRAWING

B.4 TECHNIQUE

DEVELOPMENT

MANUAL

ANCHOR

POINT

MANIPULATION

CONCLUDING

NOTES

A simplified algorithm developed in B.3 Reverse Engineering resulted in failure to fully manipulate and further test the algorithm. As a result, I resorted to pulling meshes with and without the presence of an external forces to obtain iterations, which I felt was limited.

DESIGN

POTENTIAL

Through this exercise, though not very successful, it provides ideas of possible canopy/roofing systems that could be implemented on site. In addition, it forces me to utilize other components, and possibly more developed algorithms in order to achieve more interesting outcomes.

MESH

RELAXATION

* Over manipulating rest length result in failure to relax mesh.

CONCLUDING

NOTES

The form finding process using mesh relaxation is more reliant on the Kangaroo Simulation as opposed to manually manipulating anchor points in order to achieve iterations. As such, more interesting forms and outcomes can be achieved, and is less limited by the human thought process.

B. 4 : T E C H N I Q U E

DEVELOPMENT

DESIGN

POTENTIAL

By utilizing mesh relaxation and relying on Kangaroo to dictate the form, I can focus on carefully picking out anchor points to drive the form. However, I feel that relaxing cubic forms, as tested above, is less suitable as a canopy structure, and could make the Sacred Heart Courtyard feel cluttered.

MESH

MEMBRANE

CONCLUDING

RELAXATION

NOTES

The form finding process through relaxation on mesh membranes is highly dependent on surface area of the mesh and the respective anchor points. As I began to reduce the surface area but still keep a dense array of anchor points, the mesh tends to stray away from the idea of a canopy.

DESIGN

POTENTIAL

Relaxation of membrane meshes would be the most suitable in obtaining a canopy structure. I also feel that the thinness and subtlety of the membrane would complement the narrow nature of the Sacred Heart Courtyard.

B.5 TECHNIQUE

PROTOT YPE

SELECTION

CRITERIA

1. C O M P L E X I T Y The prototype has gone through some sort of manipulation 2. F L E X I B I L I T Y The prototype is able to be stretched greatly in order to attain unique forms 3. S U B T L E T Y The form of the prototype is not over complicated and cluttered 4. F U N C T I O N A L I T Y The prototype can be seen to serve a purpose (ie. canopy, bridge, screen) on site

CHANGES

CRITERIA

FROM

B.2

CASE

STUDY

1.0

DIVERSITY TO FLEXIBILITY With less elements making up a single prototype, I feel that flexibility is more relevant when looking at fabric and how it can achieve varied forms. AESTHETIC VALUE TO FUNCTIONALITY Whilst I feel that aesthetic value is important in architecture, it leans towards a criteria that is subjective. On the other hand, functionality play an important role in response to a design brief.

CRITERIA

RELATION

THE

BRIEF

Whilst still aiming to add contrast to the existing buildings, but not overpowering them, functionality is added to add dynamism and serve a purpose for Shadow Electric that is held throughout the summer.

DESIGN

POTENTIAL

AND

FUTURE

APPLICATION

Through protyping with fabric of different tensile strengths, I feel that a more flexible fabric is able be manipulated into complex forms without collapsing. As such, it could generate roof canopies with greater detail.

B. 5 : T E C H N I Q U E

PROTOTYPE

This prototype has gone through manipulation to a point where it is in complete tension. In addition, with only one intersection in the center, it is still subtle in form. Lastly, it can be seen as a partial canopy that can be installed on site.

This prototype achieves complexity, flexibility, and subtlety in a similar fashion from the first prototype. However, rather that it being a fully functional canopy, I feel that this prototype can be seen as a smaller unit that, through repetition, could serve multiple purposes. Also, a certain dergree of rigidity that spans across the fabric could possibly act as a bridge.

This prototype involves one fabric supporting the other. With a larger area of coverage, it is the most feasible for a possible roofing system. In addition, fabric that is in full tension that is anchored to the ground, if designed at the right angle, could serve as a screen for shows and movies. There is a subtlety to the prototype as it is not overworked with too many twists and knots. 47

B.6 TECHNIQUE

PROPOSAL

SITE

ANALYSIS

The Abbotsford Convent, 4km away from Melbourneâ&#x20AC;&#x2122;s CBD, is located along the bank of the Yarra River. Whilst the convent has not been used for more than 40 years, the Sacred Heart Courtyard is home to the event Shadow Electric that is held throughout the summer. The Sacred Heart Courtyard lies in the middle of the Abbotsford Convent compound. Over the years, the Sacred Heart had gone through additions and remodelling in order to match newer buildings that were built later on. However, it is evident that despite all the changes, it still maintained its general characteristic of mass construction. As a result, there is a large emphasis on conservation of the Sacred Heart buildings.

Fig. 1. Abbotsford Convent Site Plan. Raworth, B. (2016). Sacred Heart: Heritage Impact Statement.

PROPOSAL Whilst preserving the heritage of the site, I propose to install a roof system that is suitable and relevant to the annual Shadow Electric events that take place during the summer. In this project, I aim to contrast the heavy construction of the bluestone and brick with a light fabric. I intend for the fabric canopy to reflect the programme of the site and activities carried out at the courtyard. In addition, I would like to be able to rely on the existing building to act as anchor points for the tensile structure, so as to minimize adding structural elements for anchor points. Lastly, the canopy should serve a function or be integrated with elements on the site so as to not be disconnected from the existing buildings and Shadow Electric events held there.

Fig. 2. Shadow Electric. http://www.piecesofvictoria.com/wp-content/uploads/2012/12/Shadow-Electric.jpg.

With selection criteria stated in B.2 and B.5, through using a fabric, I feel that is can be manipulated to a point where it can achieve complexity and diversity, functionality, and still maintain subtlety due to its material properties. This ensures that the design is relevant and outstanding, yet does not overpower the existing buildings of the Abbotsford Convent. Fig. 3. Sacred Heart Courtyard. http://abbotsfordconvent.com.au/cache/image.68b98cf3ba88155fae6aaab13d23ba72.

DESIGN T E N S I L E

PROPOSAL

F A B R I C

C A N O P Y

This design attempts to reflect the 3 main sections and activities held at the Sacred Heart Courtyard, namely the cinema, food and beverage area and flexible space for users to mingle. The thought process was to create partitions throughout the courtyard with respect to the 3 main spaces, using individual meshes and relaxing them using Kangaroo. In addition, canopy cover is kept denser towards the north end of the courtyard where the cinema will be, and keeping the opposite end more open. In doing so, I intend to create contrasts in terms of spacial openness where users should feel a change in atmoshphere as they move through the site.

DESIGN

PROPOSAL

PLAN

DESIGN

PROPOSAL

SECTION

DESIGN

PROPOSAL

PERSPECTIVES

SHORTCOMINGS Whilst the design loosely reflects the programme of the site, it does not read as one entity, in which the canopy seems segmented. In addition, I feel that though the form is generated with the programme in mind, a base concept is required to drive the form finding process in order to achieve a less haphazard looking outcome. These changes would be made in the subsequent form finding stages, in which a concept, and 55out anchor points need to be carefully though before creating meshes to relax in Kangaroo.

B.7 LEARNING OUTCOMES

LEARNING DESIGN

OUTCOMES

FUTURING

BIOMIMICRY

As design futuring pays close attention to designing in relation to the natural environment, to aspects as far as mimicking natural ecosystems, such as sustainability and self sufficiency, I feel that biomimicry, being a representation of natural and biological structures and functions in architecture, can be seen as an avenue to achieving design futuring.

GENERATION

TECHNIQUE

DEVELOPMENT/PROTOTYPING

Through the process of technique development and technique prototyping, I managed to generate a variation of different outcomes. In addition, I felt that whilst prototyping fed off the outcomes from technique development, through prototyping was I able to take the generation phase further, and really explore possibilities that suited the brief.

DESIGN

COMPUTATION

REVERSE

ENGINEERING

Case Study 2.0, Reverse Engineering, really allowed me to experience the capabilities of design computation. Through parametric design, I felt that I was able to achieve a relatively complex structure with a simple algorithm, which revolved around manipulation of forces acting on a mesh. Thus I feel that with the aid of design computation, we are able to accomplish a various existing design outcomes with possibly less effort, as well as outcomes that have not been tested before.

B.8 APPENDIX

ALGORITHMICSKETCHES

SCENARIO ‘Life’ - 1, 2

SCENARIO

‘Dormant’ - 3, 4, 5, 6

‘Life’ - 1, 2 ‘Dormant’ - 4, 5, 6 Cell dies if no more than 2 live cells around it

Starting Points - 1

Starting Points - 3

‘Gives life all around’ - 3

Starting Points - 2

*Rule favours growth, and is almost exponential despite a rule that kills off cells

DETAILED

DESIGN

C.1 D E S I G N CONCEPT

INTERIM

PRESENTATION

FEEDBACK

FUNCTIONALITY The current design of the canopy serves as a canopy and nothing more. It does not have much of a relationship with the site and the programme of the site. By using the fabric to serve multiple functions could add complexity and meaning in terms of its purpose and in satisfying the brief.

TANGIBILITY Similarly, the canopy that spans across the whole site could at certain points be pulled down to the ground and integrated with elements on site, in order to make this large fabric structure tangible and more interactive for the users.

ANCHOR

POINTS

The current design does not have much structure, and the anchor points chosen to hold down the fabric is random. As such, choosing specific anchor points on the existing buildings could drive the form of the structure.

Fig. 1. Bach CHamber Music Hall. http://images.wookmark.com/183775_20110128_js-bach-zaha-hadid-piotr-anderszewski-01-photo-credit-joel-chesterfildes.jpg. Fig. 2. Frei Otto Tensile Prototype. https://s-media-cache-ak0.pinimg.com/originals/e8/61/21/e86121cd904e7877c2c30b27391ea111.jpg. Fig. 3. Frei Otto Olympic Stadium. https://s-media-cache-ak0.pinimg.com/originals/c0/8d/c0/c08dc075826225292a147403e1079f07.jpg. Fig. 4. Tensile Fabric and Bamboo. https://s-media-cache-ak0.pinimg.com/originals/16/d5/a5/16d5a5115f61fe3af03439c803cce073.jpg. Fig. 5. Frei Otto Olympic Stadium Model. https://desolatedyetmonumental.files.wordpress.com/2013/03/img_9799.jpg.

PRECEDENTS Looking at the various precedent tensile fabric structures and prototypes, it is evident that the form is strongly driven by the anchor points. Little additional structure for bracing is required. In addition, it seems possible for a single piece of fabric to span across large distances, whilst being manipulated and pulled in different directions. The Bach Chamber Music Hall by Zaha Hadid Architects shows an interesting way a single membrane structure twines and circulates around the space. I feel that the lightness of the material, as well as it being white, lightens up the atmosphere in a space where the furniture is all black. In conjunction to that, the Frei Otto project shows how the prototype is able to be realized at a much larger scale.

2. 3.

FINALIZED PROGRAMME

AND

CONCEPT CIRCULATION

To design a tensile fabric canopy that reflects the programme at the Sacred Heart Courtyard.

P R O G R A M M E : With the northern half of the courtyard solely dedicated to the cinema/performance area, I intend to have that half covered in order to maintain consistent lighting. On the other hand, the southern half dedicated to mingling and consumption of food and beverage, having a open space, with a semi covered roof would prevent users from feeling claustrophobic.

B A S E C O N C E P T : In order to have the covered and uncovered spaces read as a single entity, I went for a spiral shape concept that would merge two contrasting spaces together. The idea of having both covered and uncovered spaces creates varied atmospheres as users move through the site.

C O N C E P T R E P R E S E N T A T I O N : Triangle polysurfaces were created, where the main anchor points used were main corners of the existing building, as well as in line with the buttresses. The size of triangles created relied heavily on the span of the individual spaces catered for the various activities. After strategically creating the triangle polysurfaces that I felt reflected the programme of the site, and resembled the spiral base concept intended for, a mesh was created out of the polysurfaces and relaxed using the Kangaroo plugin.

BAR FOOD FLEXIBLE CINEMA

SPACE

BEVERAGE

MESH

RELAXATION

MESH

ANCHOR

BASE

DESIGN

POINTS

SPIRAL

DESIGN F O R M ,

DEVELOPMENT

F U N C T I O N ,

A E S T H E T I C S

Although a design concept has successfully produced a desirable form for the canopy, it remains disconnected from the activities and programme of the site. As such, I have made additions to the fabric in order to provide function and link the canopy to the activities held on site. In addition, it gives the canopy that spans across the entire site tangibility, in which users can come into contact with.

MOVIE

SCREEN

The canopy extended at the north end is pulled down along the wall and anchored at the corners, serving as a movie screen. The screen consists of 2 layers of fabric to provide larger coverage across the wall to accommodate larger projections, allowing people at the back to view the screen clearly.

EXTENSION

THE

BAR

COUNTER

At the south end of the courtyard, the canopy is extended and pulled to and integrated with the permanent bar counter. This extensions serves as a decorative feature, and really makes the large fabric canopy tangible.

C.2 TECTONIC ELEMENTS

CONSIDERATION F A B R I C

E L A S T I C I T Y

Using Rhino to smah the triangles together and using it as a stensil to cut the respective shape from the fabric. I test 3 different fabrics of different thickness and elasticity to see which would be most suitable stretching across large spans without tearing.

PROTOTYPE

Elasticity: Most elastic Thickness: Thinnest

(x) (y)

Thinking the most elastic fabric would achieve a desirable outcome, I began prototyping with that, but found that its thinness caused it to rip when in tension.

PROTOTYPE

Elasticity: Less elastic Thickness: Thin

(x-1) (y+1)

Using a thicker, less elastic fabric, I had to increase the scale of the base geometry in order to compensate for the lack of elasticity. Despite, that, the fabric was unable to stretch to the set anchor points PROTOTYPE

Elasticity: Most elastic Thickness: Thick

(x) (y+2)

I managed to find a fabric with the elasticity of the Prototype X and the thickness of Prototype Y, which allowed for an outcome close to that modelled in Rhino. 69

CONSIDERATION

FABRIC TO SURFACE CONNECTIONS PROTOTYPE

PROTOTYPE

R E F L E C T I O N Protoype X has a more secure connection at the base whilst Protoype Y is just connet by a hook. As such, it is certain that Prototype X would be a safer and thus ideal choice between the two connections.

C.3 F I N A L M O D E L FINAL SCALE

MASS

1:200

MODEL

FINAL SCALE

PROTOTYPE

1:5

DETAIL

FINAL

DESIGN

DRAWINGS

FINAL

DESIGN

RENDERS

C.4 LEARNING OUTCOMES

LEARNING PART

OUTCOMES

With Part C consisting mainly of model making and prototyping, I felt that this section link computation to the physical aspect of architecture. In addition, as the form of my designed fabric structure was dependent on the anchor points of the building, the triangles created as a result were specific in order to achieve the desired relaxed mesh outcome. As such, when making the model, the size and shape of the fabric had to be cut precisely in order to be stretched sufficiently across the site model.

STUDIO

AIR

DESIGN

PROCESS

I feel that through this studio, I have been able to successfully grasp various computation techniques in order to execute and design something realistic and tangible. However, I feel that with such heavy content fit into 12 weeks of the semester, I was only able to scratch the surface of the various techniques. This challenge was heightened when I struggled to pick a Case Study to reverse engineer where I had attempted a couple of different projects using different techniques before settling down on one. As such, though I was able to get my hand wet with several different techniques, I feel that more time spent on exploring algorithms and computation in general would aid more interesting and sophisticated designs. With that said, I still strongly feel that computation and parametric design is the link between architecture and design futuring. Thus, it is crucial for us to get comfortable with aspects of parametric design in order to efficiently achieve sustainable design outcomes.

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REFERENCES PART

A.1 DESIGN FUTURING LA TOUR DES SABLES 1. Stevens, P, OXO architects + nicolas laisne propose vertical city for sahara desert, (2015), http://www.designboom.com/architecture/ oxo-architects-nicolas-laisne-city-sand-tower-sahara-morocco-04-12-2015/. 2. Fry, T, Design Futuring: Sustainability, Eithics and New Practice (Oxford: Berg Publishers, 2009), p.12. 3. Dunne, A, Speculative Thinking: Design Fiction and Social Dreaming (MIT Press, 2013). BEE‘AH HEADQUARTERS 1. Demirjian, L, Zaha Hadid Architects to Build Sustainable Bee’ah Headquarters, (2014), http://www.architectmagazine.com/design/ zaha-hadid-architects-to-build-sustainable-beeah-headquarters_o. 2. Fry, T, Design Futuring: Sustainability, Eithics and New Practice (Oxford: Berg Publishers, 2009), p.2. A.2 DESIGN COMPUTATION ROKKO SHIDARE OBSERVATORY 1. Hybel, J, H, Rokko Shidare Observatory, (2013), http://www.arcspace.com/features/sambuichi-architects/rokko-shidare-observatory/. 2. Oxman, R and Oxman, R, Theories of the Digital in Architecture (London and New York: Routledge, 2014), p.5. CONCERT HALL 1. ‘Concert Hall in Blaibach’, Detail Structure, 2015, p.39. 2. Oxman, R and Oxman, R, Theories of the Digital in Architecture (London and New York: Routledge, 2014), p.6. A.3 COMPOSITION / GENERATION find (&) MERGE 1. Bojovic, M, Developing a coherent strategy for innovative design through digital fabrication, (2013), http://www.evolo.us/architecture/developing-a-coherent-strategy-for-innovative-design-through-digital-fabrication/. 2. Oxman, R and Oxman, R, Theories of the digital in architecture (London and New York: Routledge, 2014), p.1. URBAN LOBBY 1. Etherington, R, Urban Loby by MRGD Architects, (2007), http://www.dezeen.com/2007/11/01/urban-lobby-by-mrgd-architects/. 2. Peters, B, Computation Works: The Building of Algorithmic Thought, Architectural Design, p.10.

PART

B.1 RESEARCH FIELD 1. Scott, K, Biomimicry in Architecture and the start of the Ecological Age, (2012), http://www.wired.co.uk/article/biomimicry-inarchitecture. B.2 CASE STUDY 1.0 1. Lasch, A, The Morning Line, http://arandalasch.com/works/the-morning-line/. B.3 CASE STUDY 2.0 1. Tensile Structures, http://tensionstructures.com/.

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IMAGE PART

PART

SOURCES

A.1 DESIGN FUTURING LA TOUR DES SABLES Fig. 1-5. La Tour des Sables. http://www.oxoarch.com/front/project/la-tour-des-sables. BEE‘AH HEADQUARTERS Fig. 1-2. Bee’ah Headquarters. http://www.architectmagazine.com/design/zaha-hadid-architects-to-build-sustainable-beeah-headquarters_o. A.2 DESIGN COMPUTATION ROKKO SHIDARE OBSERVATORY Fig. 1. ‘Rokko Shidare Observatory’, JA81 Sambuichi, 2011. CONCERT HALL Fig. 1-2. Blaibach Concert Hall. http://www.archdaily.com/567635/concert-hall-blaibach-peter-haimerl-architektur. Fig. 3-4. ‘Concert Hall in Blaibach’, Detail Structure, 2015. A.3 COMPOSITION / GENERATION find (&) MERGE Fig. 1-4. find (&) MERGE. http://www.evolo.us/architecture/developing-a-coherent-strategy-for-innovative-design-through-digitalfabrication/. URBAN LOBBY Fig. 1-4. Urban Lobby. http://www.melikealtinisik.com/URBAN-LOBBY. A.6 APPENDIX Fig. 1. Study Room. http://cdn.home-designing.com/wp-content/uploads/2014/05/17-Contemporary-desk.jpeg.

B.1 RESEARCH FIELD Fig. 1. ZA 11 Pavilion. http://www.formakers.eu/media/1.125.1328272933.1jpg.jpg Fig. 2. ICD/ITKE Pavilion. http://i.vimeocdn.com/video/479622219_1280x720.jpg. Fig. 3. ICD/ITKE Pavilion. http://www.trr141.de/wp-content/uploads/2014/12/RH2115-0026.jpg. Fig. 4. ICD/ITKE Pavilion. https://static.dezeen.com/uploads/2011/10/dezeen_ICD-ITKE-Research-Pavilion-at-the-University-of-Stuttgart-7.jpg. Fig. 5. ICD/ITKE Pavilion. http://images.adsttc.com/media/images/572b/5f17/e58e/ce89/7500/000f/slideshow/ICD-ITKE_RP15-16_Image_002.jpg?1462460153. Fig. 6. Canopy. http://static1.squarespace.com/static/5384c778e4b08193c94c9add/53860094e4b068684e3b16a3/53860140e4b05e2a342ba362/1426891266484/P103.jpg?format=1500w. B.2 CASE STUDY 1.0 Fig. 1. The Morning Line. https://c1.staticflickr.com/4/3441/3183000696_0a0a33d8bc_b.jpgporary-desk.jpeg. B.3 CASE STUDY 2.0 Fig. 1. MTV Awards Stage 2009. http://www.evolo.us/wp-content/uploads/2010/03/MTV-06.jpg. Fig. 2. SOFTLAB Tensile Structure. http://www.designdiffusion.com/wp-content/uploads/2014/07/SoftLab-NYC-Melissa-We-Are-Flowers-art-Installation-2.jpg. Fig. 3. San Gennaro North Gate. http://cdn.archinect.net/images/1200x/zl/zli5kyezygd0s4i4.jpg. B.6 TECHNIQUE PROPOSAL Fig. 1. Abbotsford Convent Site Plan. Raworth, B. (2016). Sacred Heart: Heritage Impact Statement. Fig. 2. Shadow Electric. http://www.piecesofvictoria.com/wp-content/uploads/2012/12/Shadow-Electric.jpg. Fig. 3. Sacred Heart Courtyard. http://abbotsfordconvent.com.au/cache/image.68b98cf3ba88155fae6aaab13d23ba72.

C.1 DESIGN CONCEPT PRECEDENTS Fig. 1. Bach CHamber Music Hall. http://images.wookmark.com/183775_20110128_js-bach-zaha-hadid-piotr-anderszewski-01-photocredit-joel-chester-fildes.jpg. Fig. 2. Frei Otto Tensile Prototype. https://s-media-cache-ak0.pinimg.com/originals/e8/61/21/e86121cd904e7877c2c30b27391ea111. jpg. Fig. 3. Frei Otto Olympic Stadium. https://s-media-cache-ak0.pinimg.com/originals/c0/8d/c0/c08dc075826225292a147403e1079f07.jpg. Fig. 4. Tensile Fabric and Bamboo. https://s-media-cache-ak0.pinimg.com/originals/16/d5/a5/16d5a5115f61fe3af03439c803cce073.jpg. Fig. 5. Frei Otto Olympic Stadium Model. https://desolatedyetmonumental.files.wordpress.com/2013/03/img_9799.jpg. 103