Tiffany Natasha Santoso’s
STUDIO AIR Semester 2 2013 University Of Melbourne
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CONTENTS Introduction
Introduction Close Encounters
4
Part A: Case for Innovation
10
Part B: Design Approach
46
Part C: Project Proposal
102
A1.0 Architecture as a Discourse A1.1 Precedent Woks: Ziprocker - Zipshape A1.2 Precedent Works: Lincoln Park Zoo A2.0 Computational Architecture A2.1 Precedent Works: FAZ Pavilion A2.2 Precedent Works: Aggregrated Lamination A3.0 Parametric Modeling A3.1 Precedent works: MOBIUS pareSITE Pavilion A4.0 PART A Algorithmic Explorations A5.0 Conclusion
B1.0 Wood in The Discourse of Architecture B2.0 Design Focus B3.0 Design Approach Matrix B4.0 Case Study 1.0: Voussoir Cloud B5.0 Case Study 2.0: ICD/ITKE Research Pavillion 2010 B6.0 Early Prototype B7.0 Proposed Technique Development B8.0 Precedent Works: KERF Based Complex Wood System B9.0 Proposed Prototype Fabrication B10.0 Further Elaborations B11.0 Conclusion & Presentation Feedback
C1.0 Precedent Works: Parametric Dunes C1.1 Precedent Works: Reverse Engineering C2.0 New Design Approach C3.0 Gateway Project: Design Concept Revised Argument C3.1 Gateway Project: Design Concept Technique Development C4.0 Gateway Project: Design Concept Design Issues C5.0 Gateway Project: Design Tectonic Elements C6.0 Gateway Project: Final Model C7.0 Conclusion & Presentation Feedback
Thank you to my group mate Diana Yong, my tutors Adam and Finn, as well as the head tutor, David Lister.
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INTRODUCTION Hello there! My name is Tiffany Natasha Santoso and you can simply call me Tasha. I am currently a third year student of the Bachelor of Environments; endlessly battling, learning and persevering in the fascinating world of architecture. I come from Indonesia, one of the largest countries in Asia compromising many ethnic groups. Yes, it is that country that is exceptionally rich in culture and biodiversity. Indonesian architecture is something that I personally adore. It reflects the cultural, historical and geographical richness that Indonesia has. Modern Indonesian architecture has slowly start to drive towards sustainability in terms of construction technique, building system and material use. What I really fancy about modern Indonesian architects is how they incorporate aspects from the traditional culture and the tropical ambience of Indonesia with modern techniques and style. However, computational architecture and parametricism are not common topics discussed within the field of Indonesian architecture. This is one of the many reason to why I am very grateful to be an overseas student at the University of Melbourne. My love for art has driven me into a relationship with it. Since young, I have naturally been addicted to drawing, painting, crafting, photography and anything that involves practical art. Painting, have a very special place in my heart even until now. From mix media to water color and from knifes to brushes and even hands, I have always enjoy it. My interest for architecture begin when I was in high school. If I were asked to why I to study architecture, my answer is simply because I cannot picture myself in other fields. Other than that, I enjoy traveling, cooking and have casual affairs with food. I have explore around a couple of design software including Photoshop, InDesign, Illustrator, AutoCAD, 3DMAX and Rhinoceros but I must admit that using design software is not my strongest ability. Nevertheless, the advantages that these digital tools are able to offer in aiding architects in this modern phase never fail to interest me. 4 l 551502 NATASHA SANTOSO l ADS AIR 2013
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CLOSE ENCOUNTERS
I first encountered parametric design and digital fabrication during Virtual Environments which I took on my first year. It was a fun and creative yet challenging introduction to parametric architecture of the post-modern era. The project was to create a wearable micro-architectural structure with the panelling tools plug-ins offered in Rhinoceros. It involves hand crafted moulds to translating NURBS surfaces into panelled surfaces and digital fabrication at the end. My lantern was inspired by the natural process of thigmonastic response in mimosa pudica plants. This is achieved by creating various sizes of openings of the panels, incorporating the effect of escalation into the shape of the lantern. Thus, the effect of thigmonastic movement itself can be see through the process of light and shadows. The experience during the Virtual Environments was not a smooth one. I encountered difficulties during the digitation and fabrication transition phase which caused me to re modify my panels through a lot of process. Thus, leaving me with less time for the fabrication phase. Facing the technical glitches over and over again had taught me to push myself a little further. Virtual Environments has taught me to never stop to be critical with my designs. With the help of the extra tutorial sessions, my tutor and perseverance along the way, I was able to find a unique way of fabricating myself which in the end saves me a lot time with the fabrication. My experience during the Virtual Environments was not a smooth one, yet it was insightful and had led me to a deeper understanding of what architecture is. My lantern was selected as one of the candidates of the Virtual Environments Selected Student Projects Exhibition on August. 6 l 551502 NATASHA SANTOSO l ADS AIR 2013
PART A: CASE FOR INNOVATION
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“Architecture is not about buildings, but about the knowledge that is accumulated within the discipline of architecture. Architecture is actually a collection of knowledge.” - Peter Trummer, 2013, What is Architecture Interview ADS AIR 2013 l 551502 NATASHA SANTOSO l 9
A1.0 Architecture as a Discourse
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“Works of architecture frame our lives; we inhabit them; they define our movement through cities; they moralise and discipline or attempt to.” Richard Wiliams Architects, architecture, those terms are not something that people are foreign with. What is architecture? What does architects do? When people are asked to give a response to these questions, words such as designing and buildings are what we recurrently hear. In thesaurus architecture is identified as building design, building style, building, construction, structure, design. I, too, used to be in a limited perception that architecture is about buildings, structures and those beautiful facades which came from a single talented, genius mind of a designer. This shallow definition slowly diminish through the experience of being an architecture student. Architecture is not a term that deserves to be looked at on thesaurus. I realized that the inquiry of “what is architecture” cannot be straightforwardly answered. Thus, this triggers continuous discussions leading towards the consideration of architecture as a discourse. Defining architecture as a form of art can be misleading. Architecture is far more influential than that. It is a compromised art if it is an art at all, it is the art of living. The forte of architecture is more than a form of art or a view to aesthetic appeal, but exceeds to the idea that it is a system of communications or discursive formation, it is an interdisciplinary deliberation [1]. Richard Williams explained that the philosophical, social or professional aspects of architecture is as important as a it is a material one and it is when architecture is considered as a discourse that it becomes a successful representation of a visual culture [2]. 10 l 551502 NATASHA SANTOSO l ADS AIR 2013
Architecture as a discourse drives the discipline towards a dynamic dimension. It is a process where numerous realms are put into consideration, a collection of knowledge and concepts that move towards harmony. Hence it is ever-changing in a way that the subject is continuously critically challenged and redefined. Thus extending the boundary of architecture, leading it to new directions and innovative outcomes. Architecture is a culture of living, a social representation should be something which is open to all aspects. How is this a challenge? Interpretation varies between architects and the audiences as it is an agent of ambiguities in which architects, users, site, weather contributes to its value [3]. It is a celebration of art, symbolic realm, spatial experience, political and social values, and so forth [4]. Therefore, true architecture is flexible and open to conflicting interpretations and it relies on its ability to endure ambiguity [5]. As exquisitely said by Greg Lynn during the ‘What is Architecture’ interview, “Architecture is a cultural practice. It is bringing into physical world the values of a culture... [Providing] more and more opportunities for architecture other than buildings [6].” With the advancing digital technology now, humans are able to conduct various design experiments. How is this advantageous to architects? Having the best tool for the specific task and being able to conduct experiment on framing a particular design task are indeed advantageous. This creates new design parameters which leads to more innovative outcomes. With the Wyndham Gateway project, innovative design is definitely expected to be achieved by contributing in the discourse of architecture [7]. My aim for this project is to create a distinctive, unique design that will combine the signature of wood properties and that of the area, demonstrating architecture as a living culture.
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PRECEDENT A1.1
ZIPROCKER - ZIPSHAPE
Christoph Schindler & Margarita Salmeron Espinosa Schindlersalmeron Zurich, Germany
Fig 1.1
Fig 1.2
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Fig 1.3
“...I wonder whether it could be history of technology itself which might help us to describe and contextualize contemporary development in architecture…” - Christoph Schindler
Is there a need for digital crafting? Ziprocker is a wooden contemporary seating furniture which is a product of the Zipshape research. The Zipshape research achieved the method of fabricating single curved panels from any plain material without the use of molds. Where the use of molds can be time consuming and costly, this method opens up opportunities to create something new. Is there sustainable agenda? Are all good designs sustainable? Are sustainable designs good? Ziprocker contributes to the discourse as it creates new innovative applications that could push the boundaries of furnitecture, or architecture as whole.
The bending without mold discovery involves two individually slotted panels that interlock when bent into defined curvature, creating a zip-like, teeth-like interlocking system [8]. What interests me is the geometry of the teeth which depends on the geometry of the curve that the designers want to achieve. Also, how the method managed to minimize material usage through the panels’ thinness. This of course is the application CAD for complex design solutions. Indeed, this complex method is achieved by going through multiple experiments with different profiles of teeth, material exploration and different CNC tooling. In this case, the designers used the
Furthermore, materials are used uniquely in this method. Although generally the most appropriate materials for this project is “recoflex”, a wood, cork and later composite, they decided to use wood due to its unique properties and advantages. As explained by Schindler, the teeth defines the geometry, whereas the thin sheet connects them and is responsible of the tensile forces like a trussed beam. Although it is not necessary for the teeth to be wood material, the sheets relate to the material qualities of wood in terms of its bending properties. Wood’s fibre structure and its ‘anisotropic’ behavior leads to these opportunities of bending function. Ziprocker uses cheap pine wood for the core with the teeth and highly qualified plywoods for the sheets. Furthermore, woods color and texture also factors to the uniqueness of each of the product [10].
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This precedent to me shows architecture as a culture of living. I feel like the architects have managed to put multiple realms into consideration and somehow understands how the precedent have gone through a dynamic process. “The project transforms a picturesque urban pond from the 19th century into an ecological habitat buzzing with life.” - Studio Gang Architects The pavilion is a part of a larger redevelopment of the pond of the Lincoln Park Zoo. In the project, the pond depth was increased to improve oxygenation of the aquatic life and creates balance in the pond ecosystem. The wetland was created along the water’s edge with plants and drainage to improve the life of the vegetation and wildlife at the park. In addition, the boardwalk made from plastic circles the park and lead users to different parts of the park exposing it to different views, animals, plants and habitat [11]. The pavilion as part of the boardwalk is a multi-functional shelter that is carefully located to keep away from the western sun, have the view of the Hancock and a view through the pavilion to the south frames the chicago skyline [12]. This tortoise shell inspired pavilion, is made of prefabricated laminated veneer lumber that are bent, certainly mathematically calculated with the advanced digital tool. The use of laminated wood sheets are meant to reduce waste pieces and the cutting up of large trees. The fibre glass pods have a function of a shield, inserted into the bent wood members to create a global curvature [13]. Its very interesting to see how the two materials contrast. The pavilion is integrated into the life of the users through its function as an open air shelter. Some of the activities in which the pavilion is used include outdoor classes and yoga sessions (14). Has the pavilion successfuly capture this nonlinearity and indeterminacy? As described by Branko Kolaveric, (2003, cited in Dunn, 2012) “The generative role of new digital technologies is accomplished through the designer’s simultaneous interpretation and manipulation of a computational construct in a complex discourse that is continuously reconstructing itself - a “self-reflexive’ discourse in which graphics actively shape the designer’s thinking process [15].” 14 l 551502 NATASHA SANTOSO l ADS AIR 2013
PRECEDENT A1.2
SPIRIT SPACE PAVILION
Studio Gang Architects Chicago, USA
Fig 2.1
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Fig 2.3 The relationship between the pavilion and its context/surrounding.
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Fig 2.4
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Fig 2.5
Fig 2.6 The technique of bolting are used as joint system of the bent woods. The fiber glass pods also act as joints.
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A2.0 Computational Architecture Computers act as ‘tools’, superb ‘analytical engine’ that will assist designers in the process of designing, digitation, fabrication and construction. It is meant to give accuracy and efficiency to the users. How? Given the inputs, through a set of instructions or program, computers are able to produce outputs which are arithmetically accurate due to its ability to connect facts from the countless information that it can store [16]. This is efficient for the process of design manipulation in terms of quick and repetitive functions such as ‘copy, paste, undo, redo’. But of course its ability is more than that. What is more to computational architecture? The computational architecture era is not about the urge to ‘boblify’ or produce organic shape. Albeit the fact that it facilitates the creation of complex abstract forms, the dynamic of computational architecture cannot be seen merely from the form [17]. It is dynamic as it uses the digital technology as a tool for direct experimentation to simulate building performance [18]. which create challenges and pressures on the discipline of architecture to be critical, to negotiate and reorganize around the opportunities and risks of these challenges. Thus, initiating digital communication between architects, engineers, fabricators and builders [19]. As a reference to Kalay. computational architecture can be seen as a puzzle solving process where the whole is unpredictable. The final product revolves through a process, through a set of rules [20]. This obliged architects to be selective in the aspects they want to critic, as it is impossible to do everything at one time. 20 l 551502 NATASHA SANTOSO l ADS AIR 2013
“When architects have a sufficient understanding of algorithmic concepts, when we no longer need to discuss the digital as something different, then computation can become a true method of design for architecture.” - Peter Brady, Architectural Design volume 83 issue 2
The communication between the users and the computers in the computer aided design (CAD) is important. What is the human role in CAD? The role of human as the creative mind is to find the right tool for the specific task and begin the design experimentation. How would one frame a particular design task? Indeed this involves understand algorithm, a finite set of rules or operations that are specific and simple to follow [21]. Taking an algorithmic approach has to be integrated at the early design process, breaking down a series of problems into a series of parts. What are the various steps to take? What is your design approach? Does the fact that digital technology will play a central role in this current restructuring give an advantage to architects? Definitely. Computer as a digital design agent demonstrates a systematic, process based and algorithmic approach which is crucial in producing innovative designs.
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“ “Within the post modern architecture, the whole become under question... Defragment the whole, but the whole would still be somehow in the beginning of the point. Keeping on that negotiation, you realized that post modernism becomes defragment of little pieces... In the last couple of years especially with computers and great links, you see a renegotiation of the whole. The whole is a continuous negotiation of its parts individually... The whole that comes out is an unpredictable whole... The question is not anymore what in the end the whole assume to be? The more important question is in the accumulation of the parts, [whether[ there is an unpredictable whole. But the parts, they can be recognized.” - Peter Trummer, 2013, What is Architecture interview
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PRECEDENT A2.1
FAZ PAVILION PROJECT (UNBUILT) Achim Menges, Steffen Reichert, and Scheffler+Partner Frankfurt, Germany
Fig 3.2
Fig 3.3
Fig 3.1
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Fig 3.1- Fig 3.3 - Responsive surface structures project phase 1
How does the natural force contributes to the discourse of architecture? Material capacity and the possibilities it has to offer should not be taken lightly. This research experimented around the development of biomimetic responsive material system that require no external energy of mechanical or electronic control. It specifically highlighted wood’s natural behavior towards humidity or moisture. This computational architecture opens up opportunities for a true ecologically embedded architecture which is in constant feedback and interaction with its surrounding environment [22].
Fig 3.5 & Fig 3.6 - Responsive surface structures project phase II
With the digital technology, ‘programed’ responsiveness can be achieved through material system but without the use additional energy. The research begins with the responsive surface structures projects phase I and II. With the paneling tools plug in for Rhinoceros, a three dimensional components, or ‘panel’, can be replicated to operate within the range of the surface grid created [23]. The different proportion, orientation and connection type of the small panels are the variable components which affects the result of the experiment. Different behaviors of the veneer composite elements can be explored by altering the production parameters such as fibre directionality, layout of natural and synthethic composite, length-width-thickness ratio, geometry of the panels element and the humidity control during the production phase [24]. Through altering the parameters, different humidity response can be studied. The FAZ summer pavilion interacts within its environment by its reaction to weather changes. The entire ‘envelope’ opens up on a sunny or dry days with realtively low humidity. On the other hand, it closes down when weather changes and rainfall come to perform as a protective, weatherproof shelter. This is a direct relationship between the changes humidity and ‘programed’ autonomous response, providing a unique environmental and spatial experience [25]. Will the ability of this research project to appear everchanging, locally varied due to climate and to sense-actuateregulate make it a project that could retain its ambiguousness in the society?
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Fig. 3.7 Responsive surface structure adapted into a pavilion structure
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Fig 4.1
Due to its fibrous structure, one of wood’s characteristic is its anisotropy which uses the grain direction as a strengh property. This project experimented on both anisotropic and isotropic (universal direction) qualities of wood and questions whether there could be a state of operation that could achieve both the anisotropic natural qualities and isotropic lamination techniques. The aim was to achieve a manufactured composite but the behaviour of a natural wood by the asistance of computational technology to measure tense and compression accurately [26]. Twice the strength, but still adaptable to be formed into various geometries that are easy to assemble. Does this lead to innovation in terms of reducing wood wastes? The end product of the experiment involves laminating 2-ply maple veneer and bonding them together through a clamp molding. It takes the advantage of grain direction, running parallel to gravitational force. But arranging the notch, along the curved paths, are what is preventing the buckling [27]. Is the isotropic lamination technique indirectly achieved this way? 26 l 551502 NATASHA SANTOSO l ADS AIR 2013
PRECEDENT A2.2
Aggregated Lamination
Yarinda Bunnag, Aaron Goldstein, Marcin Mejsak, Paul Merr 2010 Harvard GSD perfomative wood studio (lead by A. Menges)
Fig 4.2
Fig 4.3
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Fig 4.5
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Fig 4.6
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“
The architectural field’s current use of the parametric has been superficial and skin-deep, maybe importantly so, lacking of a larger framework of referents, narratives, history, and forces.
“ - Michael Meredith
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A3.0 Parametric Modelling “Never enough. Transform, repeat ad nausea” ‘Parametricism’ has been gathering its momentum since the last 10 years. Patrick Schumacher classified as the avant-garde of architecture [28]. This means a shift transition in the architectural style from basic to unsual and unique. It pushes the boundary of post modernism architecture relying on organic and abstract geometries, seperating from rigid geometrical figures [29]. However given this characteristic, parametricism is not all about the parametric, the ‘blobs’, ‘hair’, ‘cloth’, or the complexity for its own sake, but ‘a complex of a complex relationships’ [30]. The interlacement of these complex relationships, involves experimenting with design processes that includes multiple parameters and this defines parametric architecture. Parametric modeling is a product of the further development of computer technology, without computers it is impossible to achieve. This ‘style’ practices scripting cultures which is adopted by many digital softwares such as Grasshopper. This coding system is meant to help you direct that workflow. Do we get involve in scripting? Is it going to be an imporving culture? This extends the subject of architecture as a discourse. As design software continuously advances, the fundamental concepts are consistent.
Thus, it is crucial for designers to understand the core of how design softwares work from the early days autoCAD to Rhynoceros to be able to adapt easily [31]. Scripting cultures may have disadvantages such as relying on a program too much and the creation of copy-pasted design which are also something that has to be addressed in the discourse of architecture [32]. Is the future parametric? Does it guarantee architecture integrity? From control to design, critical parametricism “add, erase, relate and repair [6].” Parametricism is a proces of many processes. The critical questioning of parametricism within the discourse of architecture, strengthen it. It also initates the desire for designers to share knowledge with one another and the ‘live hive’ in the critical mass will unlock new potentials [33]. In addition the future can be parametric, it will most likely be. However, to rely on techonology completely will not do any justice as it is ‘much more human’ than that. Furthermore, quoting from Meredith, “architecture can only be critical or difficult or meaninful or complex if it directly engages culture [34].”
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PRECEDENT A3.1
MOBIUS: PareSITE Pavilion
Marie Davidova, Martin Gsandtner, Martin Sichman Architecture Institue in Prague Prague, Czech
Fig 5.1
The MOBIUS environmental pavilion is a ‘mobius’ shaped, triangulated structure which experimented with the material performance of the massive wood of pine wood planks and half centimeters thin pine sheets. The design was accomplished with Grasshopper for Rhinoceros and fabricated with advanced robotic cutting machines. To achieve a goal of building a pavilion from a massive wood that deals with its material properties and the humidity-wood interaction and also to serve a festival in a public space, the Architecture Institute in Prague along with the Faculty of Forestry and Wood Sciences at the Szech University of Life Sciences Prague and the reSITE festivel work together [35]. The festival aims to initiate public participation while celebrating sustainable architecture, film and culture [36]. This pavilion is used as a interactive installation as well, where at night it becomes a visual art projection (special light shows projected on the pavilion). The concept that is adopted by this pavilion is that of oriental screen-walls which absorb moisture during the night and allow air circulation for the evaporation to react with the relative humidity of the air hence providing shadows during the hot-daytime [37]. The humidity-pine wood interaction is the key experimentation of this project.
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Fig 5.1
Fig 5.2
“When something supposedly looks ‘parametric’ today, it’s aesthetic (re)production-the repetition of quality and taste. The mastering of high-tech engineering software is ultimately used to produce ornate architectural decorations.” - Michael Meredith
With the repetitive process and continuous improvisation that defines parametric design, this project reminds me of my previous Virtual Environments wearable lantern because this project had to face a constraint which needs to be solved innovatively during the process of fabricating. Few pieces had to be produced in hand as the machine does not accept such shallow angles [38]. I realized that its critical for designers to be prepared to adapt during these constraints. One issue raised during the project is its ability to sustain as a pavilion that serves to a festival in public space, or are the systems too fragile? Does this determines the success of a design? Although it contributed to the idea of architecture as a discourse? ADS AIR 2013 l 551502 NATASHA SANTOSO l 33
Fig 5.3
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Weekly Grasshopper Exercises// Algorithmic Explorat ions
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A4.0 Algorithmic Explorations Simple Lofting and Baking
Triangulation Algorithm - Playing with Voronoi and populate 3D
Curve Menu Exercise - grid making
Contouring, Orienting and Unfolding
Panelling a surface with 3D geometries
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Beach-Bench exercise
Grid-shell exercise
Experimenting the bird nesting (by Angel Quintana) definition by creating a ‘bird nest’ vase, altering the definition in my own understanding
Jewelry exercise - controlling variables in spheres sizes and spacings
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A5.0 Conclusion and Learning Outcomes “Architecture must be immaterial and porous, as well as solid and stable where necessary, and so should the practice of architects” Jonathan Hill
This phase of the project has changed my perception on architecture. I realized that architecture fails when it does not contribute to the discourse. But the failure of architecture is not determined by whether the structure is weak or strong, but rather how it generates discussions in the discourse of architecture. Analyzing the readings and precedents have taught me to view architecture as discourse, which is deeper than merely defining it as a form of art. I realized that architecture is an accumulation of knowledge. As we get critical with these different kind of ‘knowledge’, ‘parameters’, ‘realms’, we are flourishing the discourse of architecture and this is what keep architecture going. Discussing the computational architecture and parametric design, I believe that the algorithmic approach and scriptures writing will be beneficial as long as we are in control of it. Throughout this subject, it is crucial to understand and endure in the basis of various digital tools and algorithmic thinking. The Wyndham project is definitely a great opportunity to contribute to the discourse of architecture while practicing the digital tools and learning from different precedents to create an innovative design.
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Reference List for PART A 1. Patrik Schumacher, ‘Introduction : Architecture as Autopoietic System’, in The Autopoiesis of Architecture (Chichester: J. Wiley, 2011), pp. 1 - 28 2. Richard Williams, ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), pp. 102 - 116 3. Hill, Jonathan (2006). ‘Drawing Forth Immaterial Architecture’, Architectural Research Quarterly, 10, 1, pp. 51-55 4. Richard Williams, ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), pp. 102 - 116. 5. Hill, Jonathan (2006). ‘Drawing Forth Immaterial Architecture’, Architectural Research Quarterly, 10, 1, pp. 51-55 6. Lynn, Greg (2013). ‘What is Architecture’ interviews, by Luca De Giorgi, url: <http:// www.whatisarchitecture.cc/2013/06/greg-lynn.html> 7. Wyndham City Gateway Design Project, retrieved from <https://app.lms.unimelb.edu.au/bbcswebdav/pid-3962725-dt-content-rid-10327484_2/courses/ ABPL30048_2012SM1/Project/Project%20Document%20-%20COMMENTED.pdf> Comments by Stanislav Roudavski v.02 8. Meredith, Michael. ‘Designtoproduction- Zipshape’, From Control to Design (Barcelona: Actar-D), pp. 191-193 9. Beorkrem, Christopher (2013). ‘Ziprocker’ from Material Strategies In Digital Fabrication (New York: Routledge, 2013), pp. 40-45 10. Peters, Terri (2010). Interview with Christoph Schindler following workshop/ seminar 2, retrieved from <http://www.digitalcrafting.dk/?cat=24> on August 24th 2013 11. Studio Gang Architects (2010). Nature Boardwalk at Lincoln Park Zoo - Reimagining Landscape as City Infrastructure, retrieved from <http://studiogang.net/work/2005/lincolnparkzoo> on August 25th 2013 12. Becker, Lynn (2012). Reimagining Urban Eden: Studio/Gang and The Nature Boardwalk at Lincoln Park Zoo, retrieved from <http://lynnbecker.com/repeat/pond/jeanne_ gang_and_the_lincoln_park_nature_boardwalk.htm> on August 25th 2013 14. Dezeen Magazine (2010) Movie by Spirit of Space: South Pond by Studio Gang, retrieved from <http://www.dezeen.com/2010/08/22/movie-by-spirit-of-space-southpond-by-studio-gang/> on August 25th 2013 15. Dunn, Nick (2012). Strategies - Non Linearity and Indeterminacy, from Digital Fabrication In Architecture (London: Laurence King Publishing LTD, 2012), pp. 120 16. Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), pp. 5 - 25 17. Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 3 - 28 18. Brady, Peter (2013) Computation Works: The building of algorithmic thought. Architectural Design, 83, 2, pp. 8 - 15 40 l 551502 NATASHA SANTOSO l ADS AIR 2013
19. Marble, Scott (2012). ‘Digital Workflows in Architeture: Design-Assembly-Industry’ (Switzerland, Basel: Birkhauser, 2012), pp. 7-10 20. Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), pp. 5 - 25 21. Definition of “algorithm” in Wilson, Robert A. and Frank C. Keil eds(1999) in The Mit Encyclopedia of Cognitive Science (London: The MIT Press), pp.11-12 22. Achim Menges, ‘Material Computation: Material Behaviour’ in Architectural Design (Chichester: John WIley & Sons), 82. 2. pp 52-59 23. Beorkrem, Christopher (2013). ‘Responsive Surface Structures’ from Material Strategies In Digital Fabrication (New York: Routledge, 2013), pp. 58-63 24. Achim Memges, ‘Material Computation: Material Behaviour’ in Architectural Design (Chichester: John WIley & Sons), 82. 2. pp 52-59 25. Achim Memges, ‘Material Computation: Material Behaviour’ in Architectural Design (Chichester: John WIley & Sons), 82. 2. pp 52-59 26. Menges, A (2010). ‘Aggregrated Lamination’ Harvard University Graduate School of Design. Retrieved on 25 August 2013 from, url: <http://www.achimmenges. net/?p=5011> 27. Menges, A (2010). ‘Aggregrated Lamination’ Harvard University Graduate School of Design. Retrieved on 25 August 2013 from, url: <http://www.achimmenges. net/?p=5011> 28. Schumacher, Patrick (2010). Patrick Schumacher on Parametricism - ‘Let The Style Wars Begin’, Architects Journal, retrieved on August 24 2013, url: < http://www.architectsjournal.co.uk/the-critics/patrik-schumacher-on-parametricism-let-the-style-warsbegin/5217211.article> 29. Schumacher, Patrick (2010). Patrick Schumacher on Parametricism - ‘Let The Style Wars Begin’, Architects Journal, retrieved on August 24 2013, url: < http://www.architectsjournal.co.uk/the-critics/patrik-schumacher-on-parametricism-let-the-style-warsbegin/5217211.article> 30. Meredith, Michael. ‘Never enough (transform, repeat ad nausea)’, From Control to Design (Barcelona: Actar-D), pp. 6-9 31. Burry, Mark (2011). Scripting Cultures: Architectural Design and Programming (Chichester: Wiley), pp. 8 - 71 32. Woodbury, Robert (2010). Elements of Parametric Design (London: Routledge) pp. 7-22 33. Woodbury, Robert (2010). Elements of Parametric Design (London: Routledge) pp. 7-22 34. Meredith, Michael. ‘Never enough (transform, repeat ad nausea)’, From Control to Design (Barcelona: Actar-D), pp. 6-9 35-38 Others Trummer, Peter (2013). ‘What is Architecture’ interviews, by Luca De Giorgi, url: <http://www.whatisarchitecture.cc/2013/05/peter-trummer.html> ADS AIR 2013 l 551502 NATASHA SANTOSO l 41
Image References for PART A Contents Page: Adrian Van Leen, Wood Grain, retrieved on September 13th 2013, from <url: http://openphoto.net/volumes/TALUDA/20080503/openphotonet_wood%20 grain2.JPG> Fig 1.1 Zipshape - Zipculture, retrieved on August 25th 2013, from <url: http://www. schindlersalmeron.com/index.php/collection/k2-categories/teachingresearch/item/45ziprocker> Fig 1.2 Zipshape - Zipculture, retrieved on August 25th 2013, from <url: http://www. schindlersalmeron.com/index.php/collection/k2-categories/teachingresearch/item/45ziprocker> Fig 1.3 Zipshape - Zipculture, retrieved on August 25th 2013, from <url: http://www. schindlersalmeron.com/index.php/collection/k2-categories/teachingresearch/item/45ziprocker> Fig 2.1 Studio Gang Architects, Nature Broadwalk At Lincoln Park Zoo, retrieved on August 25th 2013, from <url: http://studiogang.net/work/2005/lincolnparkzoo> Fig 2.2 Studio Gang Architects, Nature Broadwalk At Lincoln Park Zoo, retrieved on August 25th 2013, from <url: http://studiogang.net/work/2005/lincolnparkzoo> Fig 2.3 Studio Gang Architects, Nature Broadwalk At Lincoln Park Zoo, retrieved on August 25th 2013, from <url: http://studiogang.net/work/2005/lincolnparkzoo> Fig 2.4 Studio Gang Architects, Nature Broadwalk At Lincoln Park Zoo, retrieved on August 25th 2013, from <url: http://studiogang.net/work/2005/lincolnparkzoo> Fig 2.5 Studio Gang Architects, Nature Broadwalk At Lincoln Park Zoo, retrieved on August 25th 2013, from <url: http://studiogang.net/work/2005/lincolnparkzoo> Fig 2.6 Organic Architecture, Lincoln Park Zoo Pavillion, retrieved on September 13th 2013, from <url: http://organic-architecture.blogspot.com.au/2011_05_01_archive.html> Fig 3.1 A. Menges, FAZ pavilion, retrieved on August 25th 2013, from <url: http://www. achimmenges.net/?p=4967> Fig 3.2 A. Menges, Responsive surface structures phase I, retrieved on August 25th 2013, from <url: http://www.achimmenges.net/?p=4411> Fig 3.3 A. Menges, Responsive surface structures phase I, retrieved on August 25th 2013, from <url: http://www.achimmenges.net/?p=4411> Fig 3.4 A. Menges, Responsive surface structures phase I, retrieved on August 25th 2013, from <url: http://www.achimmenges.net/?p=4411> Fig 3.5 A. Menges, Responsive surface structures phase II, retrieved on August 25th 2013, from <url: http://www.achimmenges.net/?p=4638 > Fig 3.6 A. Menges, Responsive surface structures phase II, retrieved on August 25th 2013, from <url: http://www.achimmenges.net/?p=4638>
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Fig 4.1 A. Menges, Aggregated Lamination, retrieved on August 25th 2013, from <url: http://www.achimmenges.net/?p=5011> Fig 4.2 A. Menges, Aggregated Lamination, retrieved on August 25th 2013, from <url: http://www.achimmenges.net/?p=5011> Fig 4.3 A. Menges, Aggregated Lamination, retrieved on August 25th 2013, from <url: http://www.achimmenges.net/?p=5011> Fig 4.4 A. Menges, Aggregated Lamination, retrieved on August 25th 2013, from <url: http://www.achimmenges.net/?p=5011> Fig 4.5 A. Menges, Aggregated Lamination, retrieved on August 25th 2013, from <url: http://www.achimmenges.net/?p=5011> Fig 4.6 A. Menges, Aggregated Lamination, retrieved on August 25th 2013, from <url: http://www.achimmenges.net/?p=5011> Fig 5.1 Archinect, MOBIUS: the pareSITE pavilion, retrieved on August 25th 2013, from <url: http://archinect.com/blog/article/76416569/m-bius-is-complete> Fig 5.2 Archinect, MOBIUS: the pareSITE pavilion, retrieved on August 25th 2013, from <url: http://archinect.com/blog/article/76416569/m-bius-is-complete> Fig 5.3 Archinect, MOBIUS: the pareSITE pavilion, retrieved on August 25th 2013, from <url: http://archinect.com/blog/article/76416569/m-bius-is-complete> Fig 5.4 Archinect, MOBIUS: the pareSITE pavilion, retrieved on August 25th 2013, from <url: http://archinect.com/blog/article/76416569/m-bius-is-complete>
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PROJECT ARGUMENT
PART B: DESIGN APPROACH
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Define WOOD? A warm and elegant element; wood is a material which has many distinctive features that makes it versatile, unique and varies in range. Apart from it’s elegance, wood is cost effective, renewable and environmentally friendly. Although, wood may seem as a traditional, rigid, hard and less dynamic, it’s versatility requires an innovative mind to grasp the flexibility of it’s properties as a material. Our aim is to explore the various properties of wood to achieve a design that demonstrates the flexibility and timelessness of wood and how it contributes to innovative outcomes. We want discuss wood in the discourse of architecture. ADS AIR 2013 l 551502 NATASHA SANTOSO l 47
B1.0 Wood in the discourse of architecture?
We want to experiment around the properties of wood and show a deep understanding of wood as a material to come up with innovative outcomes, thus contributing to the discourse of architecture. Understanding wood grains and how it relates to tension and compression is crucial to understanding wood as a material. We found out that short grains are more prone to breaking and tearing when bent whereas long grains are more flexible. We also discovered that wood cut along grains (anisotropic) provide greater strength than cutting against it. Wood strength is the ability to withstand various kinds of stress, including impact and weight. Laminated wood such as plywood is composed of layers of wood with long grains that varies in direction, thus increasing its strength ability and make it less prone to cracking. Different wood types have different wood
thickness. We played with veneers and ply-
wood to understand how thickness relates to bending property. This is achieved by cutting wood strips to understand the relationship between wood thickness, width and length in aim to achieve maximum bending.
Soaking wood in water actually helps to
soften the wood fibres and make it easy to bend. This technique makes wood more flexible to bend, which leads to time efficiency when fabricating the model. It’s like our ‘version’ of a CNC bending machine. We are very interested in bending wood to show how flexible it can be as a material and how it can lead to innovative design. This also involves understanding the system of tension and compression.
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At this initial stage of material research and exploration, we were also interested in looking at the absorption behavior of wood by dyeing it. We realized that the grains and thickness of wood had an effect on its absorption capability.
The technique of Shou Sugi Ban, a traditional japanes technique of burning the wood to preserve it against weathering and bring the grain out also interests us.
We experimented on bending wood through the process of molding. We created moulds with modeling clay and shape it to the curvature that we want. We decided that veneers are the most appropriate for this exploration due as it is thinner and therefore easier to shape.
Jointing one system to another is also our key
interest within this project. We are interested at the relationship between the systems as how it can support one another through the interlocking system to produce a design that is lightweight and able to sustain itself in shape.
The method of kerfing is an innovating solution to enhance the bending capability of wood, making it easier to bend. We tried this method in bending thick wood strips.
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Creativity
[
Knowledge Technique Control Logic
Observe Analyze
Tool Functions Insight Trials Personify
Organization Context Interest Unique
Control Experiment Repeat 50 l 551502 NATASHA SANTOSO l ADS AIR 2013
inDESIGN! ADS AIR 2013 l 551502 NATASHA SANTOSO l 51
B2.0 Design Focus VICTORIA
ICON
ENVIRONMENT
PRESERVING WOOD
WYNDHAM
EFFICIENT USE OF MATERIAL
COM
RA GR
INNOVATIV BENDING (TENSION & COMPRESSION) KERFING JOINTING SHOU SUGI BAN
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MATERIAL PERFORMANCE & FLEXIBILITY
DE CH IST
MMUNITY
APID ROWTH
In order to create an image for themselves, Wyndham has been taking on projects that will reshape their physical environment and growing city [39]. Wyndham city is known for its support in public art and sculpture. This has been strongly used as a means of bridging community and within Wyndham itself. Hence, the primary goal of this project is to symbolize Wyndham as an emerging city in Victoria.
USERS
In order to build Wyndham city an icon in itself, the idea of incorporating users to interact with the design will enhance their experience and potentially increase their acknowledgment of Wyndham as an emerging city. We want the design to be open as possible to any perceptions, enhancing conversations within the field of architecture.
PERSONAL EXPERIENCE
VE TECHNIQUES
ESIGN HARACTERTICS
By integrating innovative techniques through the material performance of wood, the design will showcase Wyndham as an emerging city. Incorporating innovative methods in response to the material behaviors of wood and efficient consideration of materials, this project aims refine the conventional methods of design. By enabling material behavior to become an active driver in this project, we aim to generate structures and space that is unique and innovative.
WHAT YOU SEE IS WHAT YOU PERCEIVE IT TO BE
This proposal will weigh all design solutions in order to arrive at the best design outcome that lives up to the aim of the project. Indeed this involves learning from the experimentation and issues occurring within the project. Consequently, having a level of skill to create algorithmic concepts will be beneficial to achieve innovative outcomes and solutions. Computers will provide a platform to explore material performance such as bending qualities, which aid our understanding in material behavious which is crucial in shaping our design. â&#x20AC;&#x153;...[G]enerating a new discourseâ&#x20AC;? is one of the main criteria of the design brief [40]. To satisfy this, we aim to contribute in the discourse of architecture by tying innovative techniques, personal experiences and material performance.
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B3.0 Design Approach Matrix 1
A
B
C
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2
3
4
5 Controlling the action of concentration and dispersion by a specific rule. We want to show a form of ‘growth’. In this case we tried to control it by using a dynamic image and the maximum bending of a curvature.
Attracting point to control the flow of dispersion and concentration, again to show ‘growth’.
Multiple attracting points to create a blob like, organic outcomes.
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B3.0 Design Approach Matrix
1
D
E
F
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2
3
4
5
How curves and dynamic forms achieved through waffle structure. This is an achievable method to create extreme curves and organic forms with grids/ribs to get that rigid and strong structure that is easy to fabricate and assemble.
This panels dispatch explores in controlling different variables in surface panelling to get a dynamic outcome.
The exploration of bending and twisting in a 2D way and how a dynamic shape can be formed.
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Fig 6.2
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B4.0 CASE STUDY 1.0
VOUSSOIR CLOUD
Iwamoto Scott Los Angeles, California
Can material constraints be the key to innovative architecture? We chose Voussoir Cloud as our case study 1.0 because we are interested at how the systems support one another, maintaining the form of a complex curvature without actually using a sophisticated skeleton system to hold them together. The voussoir cloud adopted the idea of voussoirs, the wedge shaped masonry blocks in a form of an arch [41]. The discourse is to redefine this idea with a system of 3 dimensional folded paper thin wood laminate along the curved seams [42]. Each of the triangular wood component is indeed crucial in the performance of the system of a whole. We find this idea of a self supporting and sustaining system, produces a light weight and innovative structure. Paper thin wood material such a veneers are indeed prone to breaking and tearing. However, the complex curvature in voussoir actually produces a form which relies on the internal surface tension to hold its shape and allows for a â&#x20AC;&#x153;structural porosity.â&#x20AC;? Voussoir Cloud conjoins the idea of material and structural strategies. Is it by taking advantages of through constraints that we are able to be innovative? To deeply discover further about material performance? Furthermore, this precedent demonstrates the relationship of digital model to physical result. ADS AIR 2013 l 551502 NATASHA SANTOSO l 61
B4.0 CASE STUDY 1.0 REVERSE ENGINEERING MATRIX
A
B
C
D
E
F
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Playing with the columns, adjusting it to different heights to create different curvatures.
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G
H
I
J
K
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Adjusting the length between one column to another to generate different curvatures forms from the complex ones to the ones that are attainable.
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Changing the voronoi component to get a different curving shape. Changing the radius component of the openings.
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Triangulation, is one of the most common base to panelling a surface both in 2D and 3D due to its stable structure. Here we tried to explore on forms that are attainable for paneling system.
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B5.0 CASE STUDY 2.0
ICD/ITKE RESEARCH PAVILION 2010
Achim Menges Stuttgart, Germany
Fig 7.2
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“How can one imagine architectural computational design processes that enable material behavior to become an active driver in the generation of structures and space? [43]” This basically sums up the meaning of this pavilion and also the aim of our project. We chose this case study to explore on the simple behavior of elastic bending how it drives the project to a “versatile, complex and structurally effective” design [44]. This project succeeded in experimenting around the natural material behavior and from there embedding the findings into computational design processes for further innovative outcomes. We understood that the bending of each wood strips are affected by the thickness, width and length of wood strips. Experiments testing factors which leads to a certain behavior of “bending active systems” can be tested through integrative computational design processes/ algorithmic processes [45]. The experiment uses plywood, which is a material we are interested in.
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B5.0 CASE STUDY 2.0 REVERSE ENGINEERING MATRIX
This exploration is about testing the bending capability of wood strips. Whether the whole system will tolerate the bending of each strips.
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A
B
C
D
E
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A
B
Incorporating wood strips into different shapes.
C
D
E
Reverse engineering on changing the â&#x20AC;&#x153;true,falseâ&#x20AC;? components to elevate some rings up. Lastly, applying the technique of weaving into the pavilion.
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B6.0 Early Prototypes Based on Reverse Engineering
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B7.0 PROPOSED TECHNIQUE DEVELOPMENT Our proposed technique involves bending wood and creating relationship between the individual components. We want each components to be able to support one another to create a light weight system as a hole. We are also interesting at the concentrated and dispersed effect to show the rapid growth of Wydnham city.
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Fig 8.1
B8.0 PPRECEDENT WORKS
KERF BASED COMPLEX WOOD SYSTEM Iwamoto Scott Los Angeles, California
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Material performance are taken into consideration during the early stage of design in this precedent. After fabricating our first prototype, we encountered problem of not being able to bend the wood strips. We then decided to adopt the method of kerfing as it associates with the method of fabrication. Kerfing is the method of forming a free form wooden strats which associates with disrupting wooden fibres and accumulative local weakening [45]. This project demonstrates how computer control can help the process of fabrication in testing the degree of kerf (depth, orientation and length) to achieve variations of desired bending and wrapping effects [46]. By subtracting some surfaces, bending becomes achievable and efficient. Kerfing became one of our later experiments on woodâ&#x20AC;&#x2122;s performance which enhances bending, after experimenting on soaking wood on water.
Fig 8.2
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B9.0 Proposed Prototype Fabrication
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The idea of kerfing applied into our ‘unbendable’ plywood strips.
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B9.0 PROPOSED PROTOTYPE
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B10.0 Further Elaborations
As we were not satisfied with the proposed prototype result, we decided on elaborating another prototype which incorporated better jointing system and kerfing. We also experimented with a better ratio of the width x length x thickness to be able to bend the wood more easily.
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B11.0 Conclusion and Learning Outcomes Based on studying the different case studies, experiments and precedents, I realized that it is crucial to have a high understanding of computer tools because it can be used to my advantage in the design process. Computers will help us in solving continuous issues within our design to achieve the most innovative outcome in the end. As my group mate and I are both lacking in technical skills of computational tools, we were apprehensive in our decisions because of the method of translating it into Grasshopper and Rhinoceros. As a result we were unable to reach the maximum potential of our abilities. Thus affecting our design decisions and outcomes. Computational tool should enhance our further exploration on material performance. Despite the fact that the material experimentations we did were important and successful, I have come to realized that dwelling in this stage has held us back in exploring our design digitally. We were a bit behind, hence it also lead to our apprehensive behavior during the exploration in Grasshopper. I believe that this act as a â&#x20AC;&#x2DC;wake upâ&#x20AC;&#x2122; call to us to motivate us in exploring further in Grasshopper and Rhinoceros to continue what we learned in our experimentations, thus leading to a deeper understanding of wood as a material system.
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B11.0 Presentation Feedback
Based on the feedback given from the presentation, we were questioned about our design decisions and why we have chosen to develop a design that did not reflect our key findings and potentials from our research. We were criticized for overlooking the interesting findings from our experimentations which could lead us to developing a more interesting, unique and complex design system than what we initially proposed. Our proposed prototype lacked in a deeper understanding in material performance. Our experimentation on bending, stacking and twisting, as it can be seen above, can be a huge potential to a more innovative design outcome, however we fail to explore it deeply. I realized that we were too focus on manipulating wood in different ways rather than short listing one of the technique and developing it further. Progressing from this, I believe that by having a deep understanding to what we achieve through our matrix, precedents and case studies will push us forward. Along this, we will develop our project based on the critique given, and produce a system that involves bending, stacking and twisting of wood. This requires perseverance and a confident approach to tackle algorithmic issues that we may face later on.
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Reference List for PART B 39. Wyndham City Gateway Design Project, retrieved from <url: http://app.lms. unimelb.edu.au/bbcswebdav/pid-3962725-dt-content-rid-10327484_2/courses/ ABPL30048_2012SM1/Project/Project%20Document%20-%20COMMENTED.pdf> Comments by Stanislav Roudavski v.02 40. Wyndham City Gateway Design Project, retrieved from <url: http://app.lms. unimelb.edu.au/bbcswebdav/pid-3962725-dt-content-rid-10327484_2/courses/ ABPL30048_2012SM1/Project/Project%20Document%20-%20COMMENTED.pdf> Comments by Stanislav Roudavski v.02 41. Triangulationblog, (2011). Voussior Cloud. Retrieved from <url: http://www.triangulationblog.com/2011/06/voussoir-cloud.html>, on 20 September 2013. 42. Triangulationblog, (2011). Voussior Cloud. Retrieved from <url: http://www.triangulationblog.com/2011/06/voussoir-cloud.html>, on 20 September 2013. 43. Achim Menges, ‘Material Computation: Material Behaviour’ in Architectural Design (Chichester: John WIley & Sons), 82. 2. pp 44-51 44. Achim Menges, ‘Material Computation: Material Behaviour’ in Architectural Design (Chichester: John WIley & Sons), 82. 2. pp 44-51 45. Achim Menges, ‘Material Computation: Material Behaviour’ in Architectural Design (Chichester: John WIley & Sons), 82. 2. pp 44-51
Image References for PART B Fig 6.1 Triangulation Blog, Voussoir Cloud, retrieved on September 10th 2013, from <url: http://www.triangulationblog.com/2011/06/voussoir-cloud.html Fig 6.2 Judson Terry, Voussoir Cloud, retrieved on September 10th 2013, from <url: http://www.demagazine.co.uk/architecture/voussoir-cloud> Fig 7.1 A. Menges, ICD Research Pavilion 2010, retrieved on September 10th 2013, from <url: http://www.achimmenges.net/?p=4443> Fig 7.2 A. Menges, ICD Research Pavilion 2010, retrieved on September 10th 2013, from <url: http://www.achimmenges.net/?p=4443> Fig 8.1 A. Menges, Kerfing Based Complex Wood System, retrieved on September 10th 2013, from <url: http://www.achimmenges.net/?p=5006> Fig 8.2 A. Menges, Kerfing Based Complex Wood System, retrieved on September 10th 2013, from <url: http://www.achimmenges.net/?p=5006>
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PART C: PROJECT PROPOSAL
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Fig 9.1 102 l 551502 NATASHA SANTOSO l ADS AIR 2013
Moving Forward C1.0 PRECEDENT WORKS Parametric Dunes SMD Architects
The aim of their project is to research on a material system that allows a large set of variations to generate an urban intervention with a real variety of spaces. What we like about this precedent is how they researched deeply on the manipulation of the bending of wood. What is also interesting is how they create a rigid skeleton/rib system to hold the components into shape of a hilly structure which creates the necessary spaces underneath. But the fact that the skeleton becomes so crucial to the structure, does it defeat the main purpose of showcasing the bending flexibility of wood?
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C1.0 PRECEDENT WORKS Parametric Dunes SMD Architects
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C1.0 PRECEDENT WORKS Parametric Dunes SMD Architects
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Fig 9.3
Fig 9.4
Fig 9.5
Each components are made in the same exact sizes to make the shape formation in the future easier and less problematic. Albeit this fact, they created variations in their components, closed components that serves as floor and walk-able and components that would give shadows to the interior (Fig 9.2) [46]. Which was a thoughtful approach! Fig 9.3 shows the test that they did for the components that would give out shadows to the interior. The test is to analyze the bending capability of the strips and how this â&#x20AC;&#x2DC;helmetâ&#x20AC;&#x2122; like structure would react to movements. In the end, the physical model was very close to the one generated from the computer. However, the difference was that the model shows double curvature that was really difficult to simulate in the computer [47]. ADS AIR 2013 l 551502 NATASHA SANTOSO l 107
C1.1 Reverse Engineering
Our experimentation on bending, stacking and twisting was seen as a huge potential to a more innovative design outcome. We wanted to create a component that shows complexity and beautiful shadows. The findings of this experiment were: 1. Difference strips length leads to different degree of bending. 2. Putting strips on top of one another, creates this complex relationship of tension and compression which allows the bottom strip to support/hold the top strip in its shape. 3. By rotating one group of strips in 180 degree clockwise and the other group of strips in 180 degree anti clockwise, it creates a locking system which keep strips in their place and create a sort of diamond shape. 108 l 551502 NATASHA SANTOSO l ADS AIR 2013
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DISTR
DESIGN AIMS
C2.0 NEW DESIGN APPROACH From the presentation feedback we realized that we need to stop on getting distracted with doing the experiments. Moving on from the experiments, we realized that it would be beneficial in our favour to narrow and focus on the aspects of experiments that we feel mostly exhibits the characteristics of wood. The next step is of course to think of the innovative solutions and decisions of our design approach to develop it even further. Thus, we believe that based on this approach, we are able to arrive with the best solution for the Wyndham City Gateway Project. 110 l 551502 NATASHA SANTOSO l ADS AIR 2013
DISTRACTION
RACTION
DISTRACTION
DISTRACTION
INNOVATIVE DESIGN APPROACH
DISTRACTION
DISTRACTION
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ENVIRONMENT
C3.0 Gateway Project: Design Concept Revised Argument
DOUBLE SKIN EFFECT SHOU SUGI BAN PRESERVING WOOD
TENSION
EFFICIENT USE OF MATERIAL
COMPRESSION
BENDING & TWISTING WEAVING /GROWING
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MATERIA & FLEXIB
JOINTING SYSTEM
WYNDHAM
COMMUNITY
USERS
VICTORIA
ICON
AL PERFORMANCE BILITY
RAPID GROWTH
PERSONAL EXPERIENCE
INNOVATIVE TECHNIQUES
DESIGN CHARACTERISTICS
WHAT YOU SEE IS WHAT YOU PERCEIVE IT TO BE
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C3.1 Gateway Project: Design Concept Technique Development
A
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B
We started by experimenting with bending and twisting of strips with Kangaroo, being able to control the degree to which it twists, where it start to twists, which way it twists, basically exploring how strips can twist. We then tried to form it into a loop of â&#x20AC;&#x153;8â&#x20AC;?, testing the idea of this continuity and weaving that is similar to our handmade prototype. We realized that the experiments were not really useful as we already know the degree to which the strips will rotate and begin from there.
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C3.1 Gateway Project: Design Concept Technique Development C
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D
This continues to form finding and surface morphing. With Grasshopper, it becomes easier to make changes to achieve the most desirable outcome.
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C4.0 Gateway Project: Design Concept Design Issues What is the problem that you are solving or your design? How does your design represent Wyndham? The purpose of this design project is to bring attention to Wyndham as an emerging city by making the design an icon in Victoria. Our design concept is to respond to the rapid growth that Wyndham City is experiencing. In a city that is rapidly growing, we believe that it needs to make innovative approaches in order to keep on emerging. The weaving system is an innovative take on the system of bending and twisting which also shows â&#x20AC;&#x2DC;growthâ&#x20AC;&#x2122;. From the experiments, case studies and precedents, we come up with innovative decisions that takes advantages from the material performance of wood.
BENDING & TWISTING
INNOVATION
GROWTH
WEAVING & JOINTING
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How does it relate to the site? How will cars see it as it approach the site? How will people from the service station see it as they approach the site? WELCOMING SPIRIT OF WYNDHAM
INHABITABLE
EMERGENCE
This design has been strategically placed on site B because of its relationship to the service station. Locating it here gives hints of the design, which aims to attract the attention of the passerby and drivers to stop and physically approach the project. Drivers can park their cars and explore the design, thus promoting interaction between users and Wyndham city. The chimney will be the first element of the design that the drivers will see from a distance. Approaching the site, drivers will be confronted by the back of the design that looks as if it is a tower erected front the ground towards the sky. Glimpse of the form will be revealed as the drivers get closer and they will soon take in the whole form that looks like a wind tunnel. The â&#x20AC;&#x2DC;interactiveâ&#x20AC;&#x2122; quality of the design was one of the aspects that drove the decision making behind the development of the panels. The opening of the structure faces the service station to invite people from the service station to explore and interact with the structure. The placements of the panels are strategically placed in a slanted angle along the frame to create an illusion of a layering effect. If a car drives at a high speed, the gaps between each strip will give a shuttering effect of the surroundings.
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C4.0 Gateway Project: Design Concept Design Issues Why the shape? The two main reason to why we approach a chimney-like structure for the design are to create a different perspective of the twisting panels and also directs users to look up towards the sky to see the layering effect the panels create and the construction of the design. From this, the design developed to take a shape that resembles a wind tunnel. While inside, users experience the sensation of wind force generated through the chimney and the tunnel-like structure. The opening of the entrance is huge and overwhelming to welcome the users in to interact with the design and as they proceed, they get the feeling of being constrained.
Why do we want to make the design for to be approachable instead of it like as a display or as a tunnel forming across the highway? If its for interaction purposes, what quality shows that? In order to make the design an icon of Victoria, it must be recognizable and unforgettable. Things that are etched in an individualâ&#x20AC;&#x2122;s memory are commonly things that the individual has formed a relationship with. Thus, we want the design to be approachable and interactive. Instead of constraining the relationship to just viewing it, encouraging a level of interaction by allowing users to explore, see, touch/feel, and understand the design, would enhance the personal relationship formed. The purpose for making the design approachable is to showcase the capabilities of wood. We want people to stop and explore and create their own experiences, similar to what Wyndham, as an emerging city would want to have increase their level of visitation. The characteristics of wood can be examined in a closer proximity. Having them walk up and look at it closely, they would be able to examine at the bending and twisting of wood at a greater detail, understanding the flexibility of wood. Furthermore, they will be able to examine the technique of Shou Sugi Ban closely and see how burning wood brings out the grain out, comparing to the side of the wood strip that is natural.
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C3.0 Gateway Project: Design Concept Design Issues What is the technique of Shou Sugi Ban? Shou Sugi Ban involved burning the top layer of wood to preserve it. By testing this technique on number of different veneers and plywood, we also discovered that it’s also a way of bringing out the wood grain making it prominent. We felt that this technique is a unique way of sustaining the panels and adds to the aesthetics of the design as it is adorned with an ‘organic’ feel to the material. By burning only the outer skin, and retaining the underside of the skin to its natural state, it creates a variation of colour when we twist each strip. It plays with the illusion of the viewer, by creating an interesting effect of a double skin; shadow (burnt) on one side and light (retained) on another side. Furthermore we strongly believe that this technique adds depth to our design and increase the interest level of the drivers and passersby towards the design.
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C3.0 Gateway Project: Design Concept Design Issues What is special about the panels? How is it significant to the spirit of the Wyndham City? The panels of the installation focuses on the twisting and bending of wood strips. Our aim is to come up with an innovative solution that embraces this flexibility in material performance. Hence our group came up with the weaving method to increase the level of complexity of the system but making the process of fabrication easier. This technique of weaving also reflects the spirit of Wyndham as a growing system. The components also varies in size to display concentration and dispersion, this is also to show the changes that occurs in an emerging city.
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C4.0 Gateway Project: Tectonic Elements
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C5.0 Gateway Project: Tectonic Elements The joint system in our design is crucial, hence we created a 1:5 model that will help us visualize the real-world fabrication. By doing this 1:5 model, we have come into a conclusion that it would be easier to mark the placement of the bolts with the help of Grasshopper but doing the actual bolting on the site. This is better than making holes in advanced because the holes does not actually match up which could be caused by many factors such as the changes in the twisting degree, the materiality, movement and frictions. ADS AIR 2013 l 551502 NATASHA SANTOSO l 137
C5.0 Gateway Project: Tectonic Elements !:5
Overview of the weaving components show casing the joints and the Shou Sugi Ban effect.
C5.0 Gateway Project: Tectonic Elements !:5
The idea of â&#x20AC;&#x2DC;sandwichingâ&#x20AC;&#x2122; the strips with bolts and strong solid plates to keep in stay in shape.
C6.0 Gateway Project: Final Model Scale 1:30
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C6.0 Gateway Project: Final Model Scale 1:30 Shadows
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C6.0 Gateway Project: Final Model Scale 1:5 Shadows
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C7.0 Final Conclusion and Learning Outcomes
What a journey it has been! As it finally comes to an end, I admit that I have learned a lot from the Air studio. It is more than just understanding algorithmic scripting with Grasshopper and being ‘fancy’ with it but actually taking a part in the discourse of architecture in a deep level through the material research that we did. My group mate and I believed that what is important is to be able to contribute to the discourse of architecture with our experiment that will hopefully generate more innovative discussions within the discourse of architecture in the future. Designing with Grasshopper does take time to get used to, but it really does saved a lot of time in terms of basic inputs changes and all the way to fabrication. With this software, the process of altering design over and over again becomes easier. In the real world Grasshopper is definitely really useful to be able to have a continuous experimentation to get the most desired outcome. Although our skill with Grasshopper have increased tremendously and although we are a lot more in control of it now compared to where we started, I still believe that we still did not understand this parametric design tool enough to have achieve a more satisfying outcome. Albeit this fact, it is definitely a point of learning and improvement in the future. Grasshopper as a parametric design tool definitely offers a great flexibility and it is important for designers to have that flexible mind set too while working in conjunction with Grasshopper. 154 l 551502 NATASHA SANTOSO l ADS AIR 2013
The most tough part of this stage would be the process of fabrication. We had put so much thoughts into making the process of fabrication easier by being ‘ahead’ with it through Grasshopper to save a lot of time during the model making. This includes the methods such as weaving and placement of holes for the screws. However, during the actual fabrication of the model itself we still encountered multiple problems. Indeed, this follows numerous trials and errors in laser cutting and numerous alterations of the grasshopper definition. Having gone through all of that the final 1:20 model was still different from what we had in mind originally. We realized that there are a lot of factors to take account into consideration to obtain what we scripted. The thickness of wood veneers, the size of the whole sheet which associates with the grain and time especially, we realized that those are the factors that needed to be taken into consideration seriously. The 1:30 model also did not show the high level of detail as the 1:5 model due to our ‘carelessness’ when choosing the material and the limited time that we have. We believed that our model works on a bigger scale better than on smaller scale. Nevertheless, the outcome of our model actually looks more interesting, engaging and site interactive. Furthermore, this outcome have lead us to a crucial and evaluative state in our design project.
C7.0 Presentation Feedback
The material system is performing quite well but we could have gone better with the form than what is initially rendered. I think the biggest feedback for our group is that we should have let the flexibility of wood to be a stronger driving force in generating the final form. The rigid frame which forms our design was actually unnecessary. With the experiments and research study of wood as our strongest point, we do understand and took into account how much flexible wood can offer. However, I think we were too distracted by picturing a form that could show the flexibility of wood and showcase multiple views of our components. We realized that this is a step back in showing our understanding of materials and our successful material research. What we could have done is have that flexible mind set, just as I mentioned previously, to let the flexibility of material to form the shape. Or even better it could have been both ways! The form generates material flexibility and material flexibility generates the form. Another feedback was how the design performs in the real life application. I think that one of the downsides of working with Grasshopper was that sometimes it could make us forget about the real world application. Although the joints seems to be functioning well and the components seem to bend perfectly in the virtual world, sometimes other parameters in the real world such as materiality, friction, movements can be a huge factors affecting the final outcome. Again, I think its is critical to be able to work in conjunction with the virtual world and the real world. The 1:5 model was gave a more closer take on the real world. However, we could have used plywood (as it is the material that we want our real world model to use) instead of veneers. Furthermore due to the limited access of technological machineries, sometimes we are forced to work around this limitation. We had to cut our strips diagonally, which destroys the grain of our veneer sheet due this limitation. The advanced machineries today could really help us in cutting big and long strips where we will be able to embrace the advantage of wood grains.
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Reference List for PART C 46. SMD ARQUITECTES, ‘Parametric Dunes’, retrieved from <url: http://www.smdarq. net/parametric-dunes/> 47. SMD ARQUITECTES, ‘Parametric Dunes’, retrieved from <url: http://www.smdarq. net/parametric-dunes/>
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Image References for PART C Fig 9.1 SMD ARQUITECTES, ‘Parametric Dunes’, retrieved from <url: http://www. smdarq.net/parametric-dunes/> Fig 9.2 SMD ARQUITECTES, ‘Parametric Dunes’, retrieved from <url: http://www. smdarq.net/parametric-dunes/> Fig 9.3 SMD ARQUITECTES, ‘Parametric Dunes’, retrieved from <url: http://www. smdarq.net/parametric-dunes/> Fig 9.4 SMD ARQUITECTES, ‘Parametric Dunes’, retrieved from <url: http://www. smdarq.net/parametric-dunes/> Fig 9.5 SMD ARQUITECTES, ‘Parametric Dunes’, retrieved from <url: http://www. smdarq.net/parametric-dunes/>
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