Trinh Pham Studio Air Journal by Trinh H. P. Pham

STUDIO AIR TRINH PHAM 784173

2017, SEMESTER 1, MATTHEW DWYER

FIG.1: WALKING CITY BY ARCHIGRAM 2

CONTENTS INTRODUCTION A. CONCEPTUALIZATION

A.1 DESIGN FUTURING

A.2 DESIGN COMPUTATION

A.3 COMPOSITION/GENERATION

A.4 SUMMARY

A.5 LEARNING OUTCOMES

A.6 APPENDIX - ALGORITHMIC SKETCHES

B. CRITERIA DESIGN

B.1 RESEARCH FIELDS

B.2 CASE STUDY 1

B.3 CASE STUDY 2

B.4 TECHNIQUE DEVELOPMENT

B.5 PROTOTYPING

B.6 DESIGN PROPOSAL

B.7 LEARNING OUTCOME

B.8 MOVING FORWARDS

APPENDIX - ALGORITHMIC SKETCHES

C. DETAILED DESIGN

C.1 DESIGN CONCEPT

C.2 TECTONIC ELEMENTS & PROTOTYPES

C.3 FINAL DETAIL MODEL

FIG.2: EARTH STUDIO FINAL DESIGN

FIG.3: DIGITAL DESIGN FABRICATION SLEEPING POD

FIG.4: WATER STUDIO FINAL PROJECT

FIG.5: AA VISITING SCHOOL SOCIAL ALGORITHM - NARRATED CITY

Hello! My name is Trinh Pham, currently in my final year of Bachelor degree at University of Melbourne. I was born in Bien Hoa, a small yet industrializing city in Southern Vietnam. Architecture was not my first choice when choosing major at university. However, Iâ&#x20AC;&#x2122;ve always been fasinated about the surrounding built environments and questioning how elements are combined into one cohesive structure. I decided to experiment myself with architecture and Iâ&#x20AC;&#x2122;ve never regretted that decision. Being pushed forward by curiosity, the more I explore, the more I realize how sophisticated yet beautiful the world we are living in. Taking this course with little software knowledge, Iâ&#x20AC;&#x2122;ve been building up my skills in two years and feel fairly confident with AutoCad, Photoshop, Indesign and Rhino. However, I find my design sometimes restricted within the software knowledge I currently have. Therefore, I hope taking Air Studio would help me break that barrier and experiment more possibilities with computational design.

FIG.6: WALKING CITY BY ARCHIGRAM

CONCEPTUALIZATION

7 FIG.3: ARCHIGRAM

DESIGN FUTURING We are living in the era of dramatic technology development. However, along with improvement in welfare and living conditions, we’re also facing many future risks such as climate change, pollution, disasters, etc. as results of our anthropocentric behavior, in which we “treat planet simply as an infinite resource at our disposal”.1 Problematically, we’re taking such overconsumption for granted as the threat is not directly and immediately affecting our lives.

Therefore, considering design futuring, the solution for future should not only “sustainable” but also adaptive to the ever-changing environment and it should accounts for long-term development. The following precedents propose sets of new design thinking for the future.

1. Tony Fry, ‘Design futuring sustainability, ethics, and new practice’ (Berg Editorial Office: 2009), p1-16 (p.1)

To alleviate the problem, current projects are aiming at sustainable solutions in term of materials and performance. However, many solutions proposed with the tag ‘ sustainable’ or ‘innovative in fact does not essentially solve any problems, but rather to make people feel as if they are doing the right thing.There is a “significant gap between needed actions and the availability of the means to create political, social, and economic changes that would enable humanity to be sustained”. 2

2. Anthony Dunne & Friona Raby, ‘Speculative everything design, fiction, and social dreaming’ (MIT Press: 2013), p1-9,33-45 (p.35)

FIG.7: BLUE REVOLUTION - FLOATING CITY 9

CASE STUDY A.1

MONTREAL BIOSPHÈRE by Buckminster Fuller

“Challenges we face today are unfixable and that the only way to overcome them is by changing our values, beliefs, attitudes, and behaviour”.1

M ontreal Biosphere located in Parc Jean-

Drapeau, Canada is an environmental museum completed in 1967 and designed by Buckminster Fuller, who is known as father of geodesic domes. He is also known for his design philosophy ‘more for less’ and considered to be one of the leading architect in sustainable design in the 1960-1970s. Sixty-two meters reaching into the sky, the Biosphere is one of the most specular geodesic dome that displays lightweight structure that has great spanning capacity without internal supports, creating large open plan. The dome consists of series of pentagons interspersed into hexagon grid and subdivided into equilateral triangles.1 These triangular steel tubes are then welded together in repetitious patterns, enhancing the complexity of the structure. With such construction methodology, the building used less materials compared to conventional architectural design but provide large and structural stable liveable space. 2 This opens up a new perspective for architectural approach at that time, particularly the idea of building dynamic forms from series of simple components and ‘sustainability’ that we are aiming at today and practising a sustainable design.

Even though the concept of sustainability is a norm in today’s society, back in 1960s, it was not a big issue and not many people were concerned about it. However, Buckminster has been always thinking about ‘connecting architecture to ecology and to the environment’3 The idea that future is not an independent reality from humans’ existence 4 from Fry’s reading can be seen in how Buckminster based his design around the inter-influence between humans and their ever-changing surrounding environment. Instead of following the conventional design, he creates new form of architecture that question the natural resource usage behaviour at that time and suggest a way to change in future. The concept of generating structurally strong yet lightweight structure that uses less materials is one of the principles that have been continuously applied in today’s architecture and construction field. The influence of geodesic domes is undeniable as we can see many applied projects all around the world such as La Geode in Paris by Adrien Fainsilber and Gerard Chamyou or Spaceship Earth at Disney’s Epcot by Simpson Gumpertz & Heger Inc.

1. David Langdon, ‘AD Classics: Montreal Biosphere / Buckminster Fuller’ (2014) (ArchDaily, accessed 9th August 2017) < http://www.archdaily.com/572135/ad-classics-montreal-biosphere-buckminster-fuller> 2. Archeyes, ‘AD Classics: Montreal Biosphere / Buckminster Fuller’ (2016) (ArchDaily, accessed 9th August 2017) <http://archeyes.com/montreal-biosphere-1967-buckminster-fuller/> 3. Dario Goodwin, ‘Spotlight: Buckminster Fullerr’ (2017) (ArchDaily, accessed 9th August 2017) <http:// www.archdaily.com/253750/happy-birthday-buckminster-fuller-1895-1983> 4. Tony Fry, ‘Design futuring sustainability, ethics, and new practice’ (Berg Editorial Office: 2009), p1-16 (p.1) 5. Anthony Dunne & Friona Raby, ‘Speculative everything design, fiction, and social dreaming’ (MIT Press: 2013), p1-9,33-45

FIG.8: MONTREAL BIOSPHERE 11 FIG.1: MONTREAL BIOSPHERES

CASE STUDY A.1

GARDENS BY THE BAY

by Wilkinson Eyre, Atelier One, Aterlier Ten With the rising concerns about climate change

and environmental issues, various proposals have been brought forward in attempt to improve the current conditions. However, many of which merely focus on dealing with the phenomenon without considering the roof of the problem which lies in “humans’ anthropocentric mode”1 that leads to excessive resource exploitation. Development of mass production and technology slowly isolated human from their surrounding context and future is sacrificed in order to sustain the present. 2 Taking a different approach, Garden by the Bay is the project that not only focuses on creating a sustainable structure, but an architectural space that allows people to interact with the environment, subsequently re-establishing their connection with the surrounding context. Garden by the Bay was designed by group of Wilkinson Eyre architects, Atelier One, Atelier Ten engineers and supported by CPG Consultants. With the brief of creating cool Mediterranean and tropical mountain environment in Singapore, one of the hottest and humid climate zone, the team was challenged with unconventional concepts that pushed them beyond the comfort zone. Climate evaluations have been carried by combination of thermal modelling, computation fluid dynamic and modelling software and input data is used as base to generate design solutions. 3

As results, 101ha of Singapore’s Marina Bay houses three water front gardens, including central bay later developed as green promenanade link between East Bay and South Bay. The domes are made from composite steel grid-shell structure supported by radial web of steel ribs and entirely covered by double glazed glass. 4 Along with green house structure, integrated ventilation provides a controlled internal temperature that allow plants to grow naturally. Garden by the Bay is a great example of how we as designer can shape the future. Future in this project is not defined as an envisioned reality, 5 but as a means to understand present and push forward imaginative thoughts, particularly the idea of creating constrasting environment within another environment. Design has the ‘invisible power of God’ to decide what our future might look like. 6 What radical about this project is that it not only suggests new architectural design approach that can be potentially further developed but also raises awareness about the present and connects humans with their environment. Only by understanding the present and appreaciate our surroundings can we really find the ultimate sustainable solutions and move forward.

1. Tony Fry, ‘Design futuring sustainability, ethics, and new practice’ (Berg Editorial Office: 2009), p1-16 (p.13) 2. Tony Fry, ‘Design futuring’, (p.2) 3. Meredith Davey, ‘Garden by the Bay: ecologically reflective design’ (Architectural Design: 2011 Nov, v.81, n.6, p.1008-11) 4. ArchDaily, ‘Gardens by the bay- Grant Associates’(ArchDaily, 2012) <http://www.archdaily. com/254471/gardens-by-the-bay-grant-associates> [accessed 7th August 2017]t 5. Anthony Dunne & Friona Raby, ‘Speculative everything design, fiction, and social dreaming’ (MIT Press: 2013), p1-9,33-45 6. Tony Fry, ‘Design futuring’, (p.6)

FIG.9: GARDEN BY THE BAY 13

DESIGN COMPUTATION Prior to the emergence of technology, design has been evolving around problem analysis and proposing solutions based on mathematical and physical experiement. It was not considered as a form of professions until Leon Battista Alberti in 1450s proposed methods such as scale rules, and modelling as a means to communicate between architects and builders1. Since then, 20th and 21 century have witness a dramatic development in architectural design, reaching beyond simple geometries and forms. However, more developments come with more challanges and constraints. There were not enough tools to fully exploit and display designers’ imagination. Turning to 21th century, with the rapid development of technology, designers are now about to create tools aiding their own design. Computers do not simply act as computerization tools, but gradually plays an active role in generating design ideas through complex information analysis process. An increasing number of projects using Rhino - Grasshopper as part of form-finding process, creating geometries that are beyond humans’ imagination acapacity. Eventually, computers open up infinitive opportunities to fully experiment the surrounding environment.

FIG.10: COMPUTATIONAL GENERATION 14

However, along with their profound ability, computers are also criticized for undermining creative aspect of architecture. Despite their superb functions, computers lacks intinuition and creativity 2. If merely used as a tool to generating form without careful considerations, it would create more problems than solutions. Therefore, as Kalay stated in her journal, to achieve ultimate design, humans should effectively use computers as a tool to help with the information humans are lacking such as system analysis and programming; which consequently creates a “symbiotic design system” 3 . The following precedents depicts the potential of design computation but also looks at how to effectively use computers to generate design ideas.

1. Rivka Oxman,Robert Oxman, ‘Theories of the Digital in Architecture’ (London; New York: Routledge, 2014), pp. 1–10 (p.3) 2. Yehuda E. Kalay, ‘Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design’ (Cambridge, MA: MIT Press), pp. 5-25 (p. 22) 3. Yehuda E. Kalay, ‘Architecture’s New Media’ (p.22)

FIG.11: AL BAHR TOWERS 16

CASE STUDY A.2

AL BAHR TOWERS FACADE by Aedas Architects

Al Bahr Towers are located in Abu Dhabi, serving

as headquarters of the Abu Dhabi Invesment Council (ADIC). One main issue about the local area that many architects are facing is the summer heat that can reach roughly 48 0 C.1 To deal with the problem and provide cooling enviroment without excessive use of air conditioning, Aedas Architects in collaboration with Arup Engineers have generate an interactive facade called mashrabiya facade2 that open and close in response to the external environment, providing efficient shading for the towers (Figure 1). Inspired by the traditional Arabian Architecture, this facade is made of complex geometric patterns which were generated using high technology software. Triangular units arranged into “origami umbrellas” compositions folding at different angles in response to the sun path so that sun exposure of the facade is maximized throughout the day. 3 This system is more efficient than traditional horizontal and vertical shading system as it is more flexible and adaptive to the external environment.

To generate such complex shape and operating system, computers have been actively involved as influential factor in design process. Packages such as Grasshopper, Digital Project (CATIA), Tekla, Inventor, etc. have been used to directly extract data from digital model to control CNC for fabrication. 5 Coordination of panels installation were also managed by using data collect from the software to provide to topographic survey machine on site. This precedent shows a clear shift from traditional digital desin, which often “follow linear process and consequently limit possibilities for interative modelling and exploration”6 to more adaptive & generative design that enables experiment of complex forms and systems. Computers are no longer a separate tool for digitalizing analog work, but as a design computation tools design process that directly affect the final outcome.

Each device is divided into six triangular frames through a central actuator and piston. The actuator and sensor is controlled by Human/ Machine Interface (HMI) developed by Siemen’s platform, in which the software is linked to the sensors giving live feedback to the operator such as wind, light intensity, rain levels, etc. 4 This information is then used to direct the movement of the units.

FIG.12: FACDE GEOMETRIC OPERATION

FIG.13: FACADE COMPUTATION PROCESS

1. Leon Kaye, ‘World’s Largest Sun-Responsive Facade Shades Abu Dhabi’s Impressive Al Bahr Towers’ (Inhabitant, 2012)< http://inhabitat. com/abu-dhabis-stunning-al-behar-towers-are-shaded-by-a-transforming-geometric-facade/> [accessed 7th August 2017] 2. Leon Kaye, ‘World’s Largest Sun-Responsive Facade’, (p.2) 3. Abdulmajid Karanouh, Ethan Kerber, ‘ Innovations in dynamic architecture’ (Germany: University of Applied Sciences, vol.3, no.3, p.185-221, p.219) 4. Karanouh, Kerber ‘Innovation’, (p.218) 5. Karanouh, Kerber ‘Innovation’, (p.218) 6. Henry Marroquin, Mate Thitisawat, Emmanouil Vermisso, ‘Performative Parametric Design of Radiation Responsive Screens’ (Florida: Atlantic University, p.579)

CASE STUDY A.2

WOOD PAVILION

by Wing Yi Hui and Lap Ming Wong E ven though computers are known for their fast and efficient data analysis and form generation, they are still limited at creativity and intuition, in which humans are capable of. 1This wood pavilion student project is an example of how we can effectively use computers as a generating tool to aid our design process instead of merely replying on them.

A domed latticed pavilion made of thin laminated strips of wood joined at bended points was built by Architecture student Wing Yi Hui and Lap Ming Wong of the Oslo School of Architecture. The project is seeking the “equibrilium of precise control and natural response of the instrinsic wood capacity” 2 The process consists of series of intensive physical experiments with the help of computer. Moisture was added to the wooden strips during curving process to increase their structural capacity. During the swelling process, energy is stored within the micro structural system due to pressure difference among cells and by applying lamination constrainst before drying. 3 By testing this lamination process and deformation, various gemeotries and formed can be generated.

The complexity of the system is achieved through precise control on laminaion areas, which create hollow structural suspport as well as connections and through natural response of wooden strips, which form enclosed and porous second layer. What interesting about this project is the harmonious use of the symbiotic design system. Due to the sophisticated arrangement and thinness of the wooden strips, replying solely on digital computation would not achieve accurate stimulation. Therefore, while computational program help calculated approximate dimensions, geometry and curvature, material performance and data collected from computer are physically tested (Figure 15) for further development. “Material performance became extremely crucial and prior as the system can never coincide with data generated from pure digital computation and fabrication”. 5 1. Yehuda E. Kalay, ‘Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design’ (Cambridge, MA: MIT Press), pp. 5-25 (p. 22) 2. Catherin Warmann, ‘Wood Pavilion by Wing Yi Hui and Lap Ming Wong’(Dezeen, 2010) <https://www.dezeen.com/2010/07/07/wood-pavillion-

by-wing-yi-hui-and-lap-ming-wong/>[accessed 7th August 2017] 3. Arch Daily, ‘Wood Pavilion’ (ArchDaily: 2014)< http:// www.archdaily.com/68446/wood-pavilion-wing-yi-hui-lapming-wong/img_8177>[accessed 7th August 2017] 4.Catherin Warmann, ‘Wood Pavilion’. 5. Brady Peter, ‘Computation Works: The Building of Algorithmic’ (Architectural Design, 83, Issue 2, pp.8-15, pp.15)

FIG.14: 18 WOOD PAVILION SHAPE EVALUATION

FIG.15: WOOD PAVILION PHYSICAL TEST

FIG.16: WOOD PAVILION

FIG.17: GEHRYâ&#x20AC;&#x2122;S CONCEPTUAL SKETCH

COMPOSITION/ GENERATION There is a distinct difference between computerization and computation. While computerization is about digitalizing hand drawings and analog into a digital form that allow easy editing, computation is more about using computer as a tool to generate forms by collecting data and expressed as an algorithm.1 This approach allows endless exploration of potential ideas. Gradually, architecture is shifting from composition where forms made up of symmetrical and repetitious elements to more generative design which generates more free forms and complex shapes. The following precents are looking at how computers are used as a generation tool that plays important role in defining the outcome of the design ideas. 1. Brady Peter,â&#x20AC;&#x2DC;Computation Works: The Building of Algorithmic Thoughtâ&#x20AC;&#x2122;, Architectural Design, 83, Issue 2, pp. 08-15 (p.15)

22 FIG.18: RESEARCH PAVILION 2015 INTERIOR SPACE

CASE STUDY A.3

RESEARCH PAVILION 2015-2016

ICD-ITKE University of Stuttgart

Research Pavilion 2015-2016 by ICD-ITKE University of Stuttgart is an example of how architects use computers to analyze data from nature and use it to generate complex forms.

This year’s pavilion focus on investigating natural segmented plate structure, particularly sea urchins, and sewing method on layers of thin plywood by robotic fabrication. As the results of sea urchins study, new construction method for timber plate shells was developed. By using SEM scans (Scanning electron microscopy) on several species, the team understand that geometric morphology of double layered system and material differentiation play an important role in creating the segmented lightweight structure. Also, “ the calcite plates of some sea urchin species are connected through fibrous elements in addition to the finger joints”,1 which is determinant factor in maintaining the integrity of sea urchin’s shell. Based on analysis of sea urchins in term of structure and materiality, the pavilion consists of customlaminated wood strips bent and locked in shape by robotic sewing, producing 151 different geometric elements to form doubly curved shell structure. 2 Throughout the fabrication process, robots had been actively involved in joining individual bent plywood and locking pre-assembled segment in shape. A custom software is used to control the robot and sewing machines to avoid the needles from moving laterally during penetration. All 151 segments fabricated by robot sewing machine generate a sophisticated light weight pavilion that creates an open space encouraging interaction, and engagement. 3

This pavilion displays a generation of intricately complex space from a simple shell structure through multidisciplinary synthesis between biological principles, architecture and computational design. Such “puzzle making”4 approach results in innovative design and opens up further potential for flexible use of wood beyond the conventional methodology and structure.The puzzles of data collected from sea urchins helps generate the complex forms in the end and affect the fabrication method. Computation is combined with architecture as an “integrated art form” that creates not only complex model of structure but also give feedback on the performance of these structures. 5

FIG.19: ROBOTIC SEWING THE JOINTS

FIG.20: FORM GENERATION

1. ArchDaily, ‘ICD-ITKE Research Pavilion 2015-16 / ICD-ITKE University of Stuttgart’ (ArchDaily, accessed 7th August 2017) < http://www.archdaily.com/786874/icd-itke-research-pavilion-2015-16-icd-itke-university-of-stuttgart> 2. ArchDaily, ICD-ITKE Research Pavilion. 3. ArchDaily, ICD-ITKE Research Pavilion. 4. Yehuda E. Kayla ‘Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design’ (Cambridge, MA: MIT Press), pp. 5-25 (p.15) 4. Brady Peter,‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, Issue 2, pp. 08-15 (p.15)

FIG.21: PAIRIE HOUSE BY ORAMBRA

FIG.22: COLOR CHANGING FACADE

FIG.24: PERSPECTIVE VIEW OF PAIRIE HOUSE 24

FIG.23: INTERNAL SPACE OF PAIRIE HOUSE

CASE STUDY A.3

PRAIRIE HOUSE

Prairie House is a project by Orambra ( The Office

by Orambra

for Robotic Architectural Media & The Bureau for Responsive Architecture) using actuated tensegrity systems to produce a responsive cladding systems that is adaptive to external environment, minimizing carbon emission while still ensuring high aesthetic level of parametric architecture. It is calculated by mathematical simulations that colour changing of skin from black to white via thermos chromatic inks could result in 0.45% energy saving in mid-west climate zone.1 The internal membrane of the building shell changes its colour according to the external temperature, particularly it becomes lighter on warmer days to reflect the heat and darker on colder days to absorb and store the heat. 2 This provides balanced internal temperature and comfortable environment. On the other hand, the highly environment responsive feature of the building lies in its shapingchanging structure. The structure expands during summer days to reduce internal heat loss and shrinks during winter to minimize requirements for heating (Vefa). 3 This shape-changing structure helps save the annual energy by 23.72% in the mid-west climate zone (orambra). 4

To be able to produce such environment responsive structure, conventional physical experiment alone could not provide sufficient levels of sophisticated and accurate information. With the help of digital energy modelling and optimization program on Rhino, Orambra was able to calculate and collect complex data that plays important part in generating the building shape and mechanism responding to the external environment (Figure 25). This is a great example of the shifting from conventional composition to generation, in which computers generate the forms and joints based on the climate data input. According to Peter, “Computation allows architect to predict, model, and simulate the encounter between architecture and public using sophisticated and accurate method”, 6 which creates an architectural design that is not only about construction methodology and communication, but also about social interaction and environment response. This approach of computation is greatly crucial nowadays as the external environment is constantly changing in dramatic scale; merely providing shelter is not enough, but the shelter should be adaptive and interactive with the people are using it.

The definition of responsive architecture was first formed by Nicholas Negroponte, in which “responsive architecture is the natural product of the integration of computing power into built spaces and structures, and that better performing, more rational buildings are the results”. 5 FIG.25: CLIMATE CONTROL MODELLING 1. Phil Ayres, ‘Persistent Modelling: extending the role of architectural representation’ (Omrambra, accessed 7th August 2017) <http://www.orambra.com/~prairieHouse.html> 2. Ahmet Vefa Orhon, ‘Adaptive Building Shells’ ( accessed 7th August 2017) (p.558)< https:// www.researchgate.net/profile/Ahmet_Orhon/publication/309741268_ Adaptive_Building_ Shells/links/58219c9d08ae40da2cb77796/Adaptive-Building-Shells.pdf> <http://www.orambra.com/~prairieHouse.html> 3. Ahmet Vefa Orhon,‘Adaptive Building Shells’ (p.559) 4.Phil Ayres, ‘Persistent Modelling: extending the role of architectural representation’ (Omrambra, accessed 7th August 2017) <http://www.orambra.com/~prairieHouse.html> 5. Tristan d’Estree Sterk, ‘Using Actuated Tensegrity Structures to Produce a Responsive Architecture’(United States: The School of Art Institute of Chicago, accessed 6th August 2017) (p.86) < http://www.orambra.com/~usingActuatedTensegrity.html> 6. Brady Peter,‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, Issue 2, pp. 08-15 (p.13)

SUMMARY The development of technology has redefined the role of architecture within society. Architects equipped with different digital tools now are no longer limited in what they can create, but actively communicate with the external environment for live feedback to achieve the optimal architectural design. Ultilizing the superb capacity of computers, we can quickly collect data and use them as an important input to generate potential forms. There is indeed no limit to what the outcome could be and how it could be applied. Solving one architectural puzzle now means the possibility of developing new puzzles and challenges. However, despite such digital support, architects are now facing with more challenges. Increasing concerns over climate change and environmental issues are forcing us to critically reconsider our traditional design thinking. Merely generating sophisticated forms without considering its relationship with the site and social context is no longer acceptable.

FIG.26: ARCHIGRAM + SUPER STUDIO

Also, sustainable design should not be just for the sake of its name, but accounts for for longterm development. Critism over current use of computational design, in which some projects are more focusing on the form and shapes generation rather asking how these forms would benefit the end users, also forces us to think about what can be the most effective way to use computers as an integrated part of design process rather than separate tools. It is understandable that we are still at the very begining of the computational design era and there are much more potentials that we have not explored yet. Therefore, it is important to always question the design process and approach computational design with an critical yet open mind.

MOVING FORWARDS... From three weeks of readings and precedent research, my perspective about parametric and computational design has been constantly challenged. Coming to Air studio with a skeptical mind, I’ve always been seeking for the true meaning of computational design and how can it be effectively used in the built environment that actually bring benefits to the people who are using the space. There is one question that I’ve been wondering whenever approaching a parametric design. “ How does this design related to the site context and how does it account for the experience of the end users”.

While showing me the promising function of computation, the readings also raise different current issues with the using of computers that is important for me to consider when moving onto part B, critical design. One of the issue is how to effectively generating a form or shape that is not only just complex but has to be adaptive and account for the benefical use of society. Therefore, I need to always critically question what I’ve generated and approach computational design as an integrated tool in design.

Research and weekly discussion offered me a holistic view of the history of computational design and how it has been applied around the world. In fact, many projects I chose have been using computers not merely as a computerizing tool but as an important design factors that can influence the project’s outcome. The most interesting thing I’ve discovered while doing the algorithm sketch book is that we can not predict what the outcome of our design until the very end and sometimes it generates forms that are beyond our expectation and could be more potential than the inital idea. From being skeptical, I’m now constantly curious and excited to ‘play’ with computational design, exploring the endless world that I might have not enterred. .

BIBLIOGRAPHY Abdulmajid Karanouh, Ethan Kerber, ‘ Innovations in dynamic architecture’ (Germany: University of Applied Sciences, vol.3, no.3, p.185-221, p.219) Ahmet Vefa Orhon, ‘Adaptive Building Shells’ ( accessed 7th August 2017) (p.558)< https://www.researchgate.net/profile/ Ahmet_Orhon/publication/309741268_Adaptive_Building_Shells/ links/58219c9d08ae40da2cb77796/Adaptive-Building-Shells.pdf> Anthony Dunne & Friona Raby, ‘Speculative everything design, fiction, and social dreaming’ (MIT Press: 2013), p1-9,33-45 ArchDaily, ‘Gardens by the bay- Grant Associates’(ArchDaily, 2012) <http://www.archdaily.com/254471/gardens-by-thebay-grant-associates> [accessed 7th August 2017] ArchDaily, ‘ICD-ITKE Research Pavilion 2015-16 / ICD-ITKE University of Stuttgart’ (ArchDaily, accessed 7th August 2017) < http://www.archdaily.com/786874/ icd-itke-research-pavilion-2015-16-icd-itke-university-of-stuttgart> Arch Daily, ‘Wood Pavilion’ (ArchDaily: 2014)< http://www.archdaily.com/68446/ wood-pavilion-wing-yi-hui-lap-ming-wong/img_8177>[accessed 7th August 2017] Archeyes, ‘AD Classics: Montreal Biosphere / Buckminster Fuller’ (2016) (ArchDaily, accessed 9th August 2017) http://archeyes. com/montreal-biosphere-1967-buckminster-fuller/ Brady Peter, ‘Computation Works: The Building of Algorithmic’ (Architectural Design, 83, Issue 2, pp.8-15, pp.15) Catherin Warmann, ‘Wood Pavilion by Wing Yi Hui and Lap Ming Wong’(Dezeen, 2010) <https://www.dezeen.com/2010/07/07/wood-pavillionby-wing-yi-hui-and-lap-ming-wong/>[accessed 7th August 2017] David Langdon, ‘AD Classics: Montreal Biosphere / Buckminster Fuller’ (2014) (ArchDaily, accessed 9th August 2017) < http://www.archdaily. com/572135/ad-classics-montreal-biosphere-buckminster-fuller> Dario Goodwin, ‘Spotlight: Buckminster Fullerr’ (2017) (ArchDaily, accessed 9th August 2017) http://www.archdaily.com/253750/happy-birthday-buckminster-fuller-1895-1983 Henry Marroquin, Mate Thitisawat, Emmanouil Vermisso, ‘Performative Parametric Design of Radiation Responsive Screens’ (Florida: Atlantic University, p.579) Leon Kaye, ‘World’s Largest Sun-Responsive Facade Shades Abu Dhabi’s Impressive Al Bahr

Meredith Davey, ‘Garden by the Bay: ecologically reflective design’ (Architectural Design: 2011 Nov, v.81, n.6, p.1008-11) Phil Ayres, ‘Persistent Modelling: extending the role of architectural representation’ (Omrambra, accessed 7th August 2017) <http://www.orambra.com/~prairieHouse.html> Rivka Oxman,Robert Oxman, ‘Theories of the Digital in Architecture’ (London; New York: Routledge, 2014), pp. 1–10 (p.3) Tony Fry, ‘Design futuring sustainability, ethics, and new practice’ (Berg Editorial Office: 2009), p1-16 (p.13) Tristan d’Estree Sterk, ‘Using Actuated Tensegrity Structures to Produce a Responsive Architecture’(United States: The School of Art Institute of Chicago, accessed 6th August 2017) (p.86) < http://www.orambra.com/~usingActuatedTensegrity.html> Yehuda E. Kalay, ‘Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design’ (Cambridge, MA: MIT Press), pp. 5-25

IMAGE REFERENCE Fig. 1: Archigram, ‘Walking City’, (1964)<https://au.pinterest.com/pin/110408628336347054/> Fig. 6: Archigram, ‘Walking city’ (1964)<http://www.archigram. net/projects_pics/walkingcity/walking_city_1.jpg> Fig. 7: Blue revolution (2012)<http://www.deltasync.nl/deltasync/index.php?id=43&tx_ ttnews%5Btt_news%5D=193&tx_ttnews%5BbackPid%5D=7&cHash=604bcda1ea> Fig. 8: Buckminster Fuller, ‘Montreal Biosphere’<http://museesmontreal. org/en/museums/biosphere-environment-museum> Fig. 9: CREDSO,’Garden by the Bay’<http://www.credso.org/interest/gardens-by-the-bay> Fig. 10: MASSCAAD, ‘Computational design’<http://www.mas.caad. arch.ethz.ch/blog/category/computational-design/index.html> Fig. 11: Amusing Planet, ‘Ah Bahr Towers’<http://www.amusingplanet. com/2015/11/al-bahar-towers-responsive-sun-shades.html> Fig. 12 Inhabitatem ‘Abu dhabis stunning Al Behar Towers’<http://inhabitat.com/abudhabis-stunning-al-behar-towers-are-shaded-by-a-transforming-geometric-facade/> Fig.13: Inhabitatem ‘Abu dhabis stunning Al Behar Towers facade’<http://inhabitat.com/ abu-dhabis-stunning-al-behar-towers-are-shaded-by-a-transforming-geometric-facade/> Fig.14: Archdaily, ‘Wood pavilion’<www.archdaily.com/68446/ wood-pavilion-wing-yi-hui-lap-ming-wong/img_8177> Fig. 15: Archdaily, ‘Wood pavilion’<www.archdaily.com/68446/ wood-pavilion-wing-yi-hui-lap-ming-wong/img_8177> Fig. 16: Archdaily, ‘Wood pavilion’<www.archdaily.com/68446/ wood-pavilion-wing-yi-hui-lap-ming-wong/img_8177> Fig. 17: Piniterest, ‘Frank Gehry sketch’<https://au.pinterest.com/pin/373446994082061852/>

Fig. 18: Archdaily, ‘ICD-ITKE RESEARCH PAVILION’(2015)<http://www.archdaily. com/786874/icd-itke-research-pavilion-2015-16-icd-itke-university-of-stuttgart> Fig. 19: Archdaily, ‘ICD-ITKE RESEARCH PAVILION ROBOTIC SEWING’(2015)<http://www.archdaily.com/786874/icd-itkeresearch-pavilion-2015-16-icd-itke-university-of-stuttgart> Fig. 20: Archdaily, ‘ICD-ITKE RESEARCH PAVILION GENERATION’(2015)<http://www.archdaily.com/786874/icd-itkeresearch-pavilion-2015-16-icd-itke-university-of-stuttgart> Fig. 21: Orambra, ‘Pairie House by Orambra’<http:// www.orambra.com/~prairieHouse.html> Fig. 22: Orambra, ‘Pairie House by Orambra’<http:// www.orambra.com/~prairieHouse.html> Fig. 23: Orambra, ‘Pairie House by Orambra’<http:// www.orambra.com/~prairieHouse.html> Fig. 24: Orambra, ‘Pairie House by Orambra’<http:// www.orambra.com/~prairieHouse.html> Fig. 25: Orambra, ‘Pairie House by Orambra’<http:// www.orambra.com/~prairieHouse.html>

APPENDIX

ALGORITHM SKETCH BOOK

VASE Creating vase using loft and scale plug in

FABRICATION OF VASE Using waffle gird, sectioning, triangular surface, and pipe logic

IMAGE SAMPLER Using data input from image to generate circles arranged into face

CRITERIA DESIGN

B.1 RESEARCH FIELD

BIOMIMICRY Biomimicry is an innovative design approach that seeks sustainable solutions through emulating and imitating patterns and strategies found in nature.1 Nature has always been a great source of inspirations for wide range of multidisciplinary areas for its sophisticated systems and principles that humans are still trying to understand. What I find most interesting is the fact that under whichever form or structure, elements in nature are still highly self-sustained or harmoniously supportive of each other without horrendously affecting their surrounding local environments. Therefore, biomimetic approach is not merely immitating the nature’s patterns or structure but also understanding the underlaying principles that help enhance the ecosystem.

1. Mohammad Alshami, Mohammad Atwa, Ahmad Fathy, and Ahmad Saleh, ‘Parametric Patterns Inspired by Nature for Responsive Building Facade’ (International Journal of Innovative Research in Science, Engineering and Technology: Vol 4, (9)), 2015.

B.2 CASE STUDY 1.0

SPANISH PAVILION by Foreigh Office Architects The Spanish Pavilion at the 2005 World Expo in Aichi, Japan celebrates the concept of cultural hybridisation of Spanish architecture between European Jewish-Christian cultures and the Islamic effect on the Iberian Pennisula. The design consists of interconnected vaults and chapels that is enclosed by a lattice facade.1 Based on hexagonal grid of Gothic and Islamic tracery, the lattic facade comprises of series of varying ceramic tiles that are arranged in non-repetitive patterns. 2 The concept of lattices are highly associated with Spanish traditional architecture as well as Japanese engawa. In addition, there are also six variations in tiles colours including red, browns, orange, yellows representing “wine, roses, blood of bullfights, sun and sandcolours universally associated with Spain”. 3 Such variations are controlled by digital software to ensure the intricately sophisticated patterns. We’re particularly interested in the lattice facade and how through digital software, the patterns and colours can be controlled and managed. Choosing this project as our case study, we aim at pushing the grasshopper definition further to test its limits and its potential to develop more dynamic forms.

1. Farshid Moussavi Architecture, ‘Spanish Pavilion at the 2005 World Expo, Aichi, Japan’ (FMA,accessed 31th August,2017) < http://www.farshidmoussavi.com/node/27> 2. Digital Architecture Lab, ‘Spanish Pavilion by Foreign Office Architects’ (DigitalArchLab,accessed 31th August,2017) < http://digiitalarchfab.com/portal/wp-content/uploads/2012/01/Spanish-Pavilion>(p.108). 3. Digital Architecture Lab, ‘Spanish Pavilion”,(p.108).

ITERATIONS Species 1 Species 1 Species 1 ImageImage Sampling Image Sampling Sampling alteration alteration alteration

Species 2 Species 2 Species 2 Internal PointInternal Internal Point Point position positionposition changing changing changing

Species 3 Species 3 Species 3 Adding AddingAdding attraction attraction attraction pointspoints and and points and curve curve curve

Species 4 Species 4 Species 4 Adding graphAdding Adding graph graph mapper to mapper to mapper to test different test different test different densitydensity typesdensity types types

ITERATIONS Species 5 Species Species555 Species 5 Species Species 5 Grid alteration

Grid alteration Grid alteration Grid alteration Grid alteration Grid alteration

Species 5

Radial grid Radial grid Radial grid Radial grid Radial grid

Species 6 Species Species666 Species 6 Species Species 6 Offset distance

Offset distance Offset distance Offset distance Offset distance Offset distance

D=0.0 D=0.0 D=0.0

Species 7 Species Species777 Species 7 Species Gradient Species 7

Gradient Gradient Gradient Gradient extrude around Gradient extrude around extrude around extrude around extrude around attractor points extrude around attractor points attractor points attractor points attractor points attractor points

Species 5

Grid alteration Grid alteration

Square grid Square grid Radialgrid grid Square gridSquare Square grid Radial grid Radial grid Square grid

Species 6

Square grid

Species 6

Offset distance Offset distance

D=0.0 D=0.0

D=0.2 D=0.2 D=0.0 D=0.2

Species 7

D=0.2 D=0.0 D=0.2

D=0.0 D=0.4 D=0.4 D=0.2D=0.4

D=0.4 D=0.2 D=0.4

DD D=0.4

Species 7

Gradient Gradient extrude around extrude around attractor points attractor points

Domaain start=0 Domaainstart=0 start=0 Domaain star Domaain start=0 Domaain Domaain start=0 Domaain Domaain start=0 start=0 Domaain start=0 Domaain start=0 Domaain start=0 Domaain start=0start=0 Domaain start=0 Domaain Domaain start= Domaain start=0 D Domaain start=0 Domain end= 0.1 Domaain start=0 Domain end= 0.25 start=0end= 0.25 Domain end= Domain end= 0.1 Domaain start=0 Domain end= 0.1Domain Domain 0.1 Domain Domain end= 0.1 end=Domaain Do Domain end= 0.25 Domain end= 0.1 Domain 0.25 end= 0.1 Domain end= 0.25 end= Domain end= 0.50 Domain end= Domain end= 0.25 D0 Domain end= 0.50 Domain end= 0.50 Domain end= 0.1 Domain end= 0.25 Do

dSquare grid Radial grid

D=0.2 D=0.0 D=0.4

Square grid

D=0.2 D=0.4 D=0.4 D=0.5 D=0.2 D=0.5

D=0.5 D=0.5 D=0.9D=0.4 D=0.4 D=0.9

D=0.9 D=0.5

D=0.9

Domaain rt=0 art=0Domaain Domaain start=0 Domaain start=0 Domaain start=0 Domaain start=0 Domaain start=0start=0 Domaain start=0start=0 Domaain start=0 Domaain start=0 Domaain Domaain start=0 Dom Domaain start=0 start=0 Domaain start=0 Domaain start=0start=0 Domaain start=0 Domaain Domaain start=0 omaain start=0 Domaain start=0 Domain end= 0.75 = 0.1 d= 0.25 Domain end= 0.75 Domain end= 0.50 Domain end= 0.75 Domain end= 0.25 Domain end= 0.25 Domain end= 0.90 Domain end= 0.1 Domain end= 0.50 Domain end= 0.50 Domain end= 0.900.75Dom Domain end= 0.75 Domain end= Domain end= Domain Domain end= Domain end= 0.90 Domain end= 0.750.25 omain end= 0.50 end= 0.50 Domain end= 0.900.50 45

SELECTION CRITERIA As the studioâ&#x20AC;&#x2122;s brief is to design a changing room in Merri Creek, our selection criteria is mainly based on four areas which is aesthetic quality, visual privacy quality, spatial quality, and constructability. These selection criteria will be constantly used to to examine the iterations.

AESTHETIC

VISUAL PRIVACY

SPATIAL QUALITY

CONSTRUCTABILITY

AESTHETIC QUALITY Locating at Dights Falls, an artificial weir on natural rock bar in Merri Creek, the structure looks out to a beautiful landscape. Thefore, we are looking for structures with forms that merge into the landscape, as part of nature rather than imposing bold appearance

VISUAL PRIVACY Due to its function as a chaning room, the structure needs to provide certain scales of privacy for users. However, privacy here is not only provided by fully enclosed space, but can be through flexiblly changing space. Therefore, consideration is open to the potential of the space to provide privacy through different use of materials.

SPATIAL QUALITY Our aim is looking for a shelter structures with interesting forms that could provide multiple spaces that can be used as changing rooms as well as public space. Because of the characteristic of changing room, structure providing flexible space divisions are preferred to one open space.

CONSTRUCTABLITY Iterations will be looked at in terms of their potential to be fabricated and built on site. Considering the dampness of the site, materials should be treated or water-resistent for long-term maintenance.

ecies 2

ernal Point sition anging

SUCESSFUL ITERATIONS

ecies 3

dding raction ints and rve

ecies 4

ding graph apper to t different nsity types

AETHESTIC

VISUAL PRIVACY

SPATIAL QUALITY

CONSTRUCTABILITY

D=0.0

AETHESTIC

Domaain start=0 VISUAL Domain end= 0.1 PRIVACY

D=0.2

Domaain start=0 Domain end= 0.25

D=0.4

AETHESTIC

Domaain start=0 Domain end= 0.50

VISUAL PRIVACY

SPATIAL QUALITY

CONSTRUCTABILITY

D=0.5

Domaa Domain

B.3 CASE STUDY 2.0

NATURE BROADWALK AT LINCOLN PARK ZOO by Studio Gang Architects Nature Broadwalk at Lincoln Park Zoo is an ecofriend pavilion that provides multifunctional outdoor space for education, zoo exhibition and labotatory purpose in Lincoln Park Zoo, Chicago. The aim of this design is to transforming the 14-acre landscape along the pond into “a native Midwestern, self-sustaining ecosystem, featuring an array of prairie plants and 100 new trees”, help improve the current unhealthy and oxygen-starved pond”.1 The main structure of this pavilion is a frame and infill system that is inspired from tortoise shell structure. The frame is made of bended glue-laminated wood units that are bolted together in form of an arch. 2 The frame is infilled with translucent fiberglass panels mimicking the shape of tortoises. 3 Together they create a lightweight structure that is environmentally friendly structure.

1. Studio Gang, ‘Nature Broadwalk at Lincoln Park Zoo’ (Studio Gang,accessed 3rd September,2017) < http://studiogang.com/project/nature-boardwalk-at-lincoln-park-zoo> 2. Archdaily, ‘Lincoln Park Zoo South Pond/ Studio Gang Architects’ (Archdaily,accessed 3rd September,2017) < http://www.archdaily.com/83676/lincoln-park-zoo-south-pond-studio-gang-architects>. 3. Archdaily, ‘Lincoln Park Zoo South Pond/ Studio Gang Architects’ (Archdaily,accessed 3rd September,2017) < http://www.archdaily.com/83676/lincoln-park-zoo-south-pond-studio-gang-architects>.

NATURE BROADWALK AT LINCOLN PARK FROM DESIGN INTENT TO REALIZATION DESIGN INTENTS COMPUTATIONAL DESIGN

- LIGHTWEIGHT STRUCTURE: FIBER-GLASS PANELS INFILL AND GLUE-LAMINATED WOOD FRAME - ECO-FRIENDLY MATERIALS - MULTIFUNCTIONAL PUBLIC SPACE

- TORTOISE SHELL - SITE CONTEXT

- FRAME AND INFILL INSPIRED FROM TORTOISE SHELLS - PATTERNING - SURFACE MORPHING PATTERNS ONTO ARCH

CONSTRAINTS

- REQUIRES LATERAL SUPPORT AGAINST WINDS AND SEISMIC MOVEMENTS - UPLIFTING - CONNECTION BETWEEN FRAME AND FOOTING - TIMBER BENDING PROBLEM

REALIZATION FABRICATION

- CONNECTION JOINTS BETWEEN TIMBER FRAMES - CONCEALED JOINTS BETWEEN INFILL AND FRAME

FINAL DESIGN

- DIVIDED INTO MODULAR PIECES - COATINGS OF TIMBER

CONSTRAINTS

- TRANSPORTATION SIZE - TIMBER SWELLING & SHRINKAGE WHEN IN CONTACT WITH WATER - CONNECTION JOINTS BETWEEN FRAMES AND FRAME-INFILL.

REVERSE ENGINEERING GRASSHOPPER LOGIC STAGE 2

STAGE 1

DESIGN INTENTS

CREATE SERIES OF POINTS USING SINE ANGLE

INTERPOLATE CURVES FROM POINTS

INPUT MODULAR ELEMENTS

SINE ANGLE STARTING COORDINATE

FABRICATION

TRANSPORTATION SIZE EASY CONNECTIONS

STAGE 3

LOFT THE THREE CURVES

STAGE 4

STAGE 5

LINEAR ARRAY THE LOFT

INPUT

OFFSET ROTATED CURVES

OVERALL FORM OF THE CREATE OVERALL FORM OF THE CREATE SURFACE N USING LOFTING ARC PAVILION USING LOFTING ARC BY LOFTING ARC

LINEAR ARRAY THE FRAMES

GENERATE CREATE RECTANGULAR GRIDS CREATE RECTANGULAR GRIDS RECTANGULAR GRIDS ON LOFTED ON SURFACE LOFTED SURFACE ON LOFTED SURFACE

MORPHING PATTERNS MORPHING PATTERN ONTO MORPHING PATTERN ONTO ONTO SURFACE SURFACE SURFACE USING BOX MORPH

INPUT

REVERSE ENGINEERING SPECULATION We managed to recreate the Nature Broadwalk at Lincoln Park Zoo by building the grasshopper definitions from scratch. The reverse engineering was challenging at some points because the the outcome sometimes was not exactly what the structure looks like even though they bear much resemblance. After several testing and changing definitions, we managed to generate the final outcome that depicts many features of the pavilions. There are still unresolved connection joints and measurements, but the overall form has been achieved.

B.4 TECHNIQUE DEVELOPMENT Species 1

Curve Length alteration

Length = 5

Scale = 10

Species 3

Point attractor location alteration

X coordinate = -10

Length = 10

Scale = 20

X coordinate = -5

Length = 20

Scale = 30

X coordinate = 5

Length = 30

Species 2

Infill inflation using point attractors

Length = 40

Scale = 50

Scale = 70

X coordinate = 10

X coordinate = 20

Species 4 Field line

Species 5

Morphing onto different surfaces

Species 6

Twisting surfaces using twisted box

Decay: -9

Helicoid Surface

Angle: 20 0

Decay: -7

Enneper Surface

Angle: 40 0

Decay: -5

Angle: 60 0 Concoid Surface

Decay: -3

Torus Surface

Angle: 80 0

Decay: -1

Mobius Surface

Angle: 100 0 59

Species 7

Exrude surface using point attractor

Species 8

Morphing patterns onto sphere and changing grid number

CHOSEN ITERATIONS AESTHESTIC VISUAL PRIVACY SPATIAL QUALITY CONSTRUCTABILITY

AESTHESTIC VISUAL PRIVACY SPATIAL QUALITY CONSTRUCTABILITY

This iteration has an interesting organic appearance that can be potentially developed as facade element for change room. However, the organic shape of the infill might make it hard to fabricate.

With this iteration, my aim was to try generating a lightweight structure that can be hang from existing trees. The outcome was not as expected, but it does give some good method on how to control lines using grid.

By morphing the patterns onto a torus surface, I managed to achieve an enclosed space that provide great visual privacy and shelter areas for changing room.

This twisted surface is potential in terms of spatial composition because it provides various shelter spaces using the curved frames at different heights to provide privacy.

B.5 PROTOTYPING MATERIAL TESTING With the idea of frame & infill system from case study 2, we aimed to explore the material performance of timber and plastic, particularly MDF and polypropylene. We laser cut pieces of MDF based on the modular shapes from case study 2 and strips of polypropylene to test out bending strength.

Neutral stage: 0 0

Bending angle: 20 0

Bending angle: 30 0

Bending angle: 40 0

Bending angle: 50 0

Bending angle: 60 0

Bending angle: 70 0

Bending angle: 80 0

Bending angle: 90 0

From the bending test, it was noticed that from 40 0 bending angle onwards, the MDF starts to crack at connection joints. Therefore, MDF might not be suitable to form the bending arcs similar to case study 2. From further research we found out that timber venneer might be a better materials. However, due to time constrainst we did not manage to get the supplies to test out. We will keep the timber veneer as one material to test early into part C.

While trying to to connect different layers of polypropylene, we found the visual effect generated from different number of layers overlapping interesting in terms of visual privacy. They can be potentially utilized to provide privacy while still ensure an open public space.

B.5 PROTOTYPING Prototype 1

In attempt to replicate some of the connections from case study, we were testing out different joining methods including thread sewing, dental floss, cable ties and eyelets. The rigidity of the frame and the thickness of of the polypropylene made it hard to manually sew the the timber frame and plastic infill together using thread or dental floss because polypropylene has strong tendency to go back to its original form during bending. Also, dental floss and threads are not suitable connection materials for human scale structure without properly calculation by software. The third option was using cable ties and they worked surprisingly well in keeping the polypropylene ad the timber in places. With the chosen qhite colours, the ties connections also have significantly bold appearance, adding interesting aesthetic feature to the frame. Also by testing the bending of polypropylene, we realized the material works better in bigger scale in terms of bending. Smaller pieces has stronger tendency to go back to their original shape, so harder to be joined together. In addition, eyelets were used to join sheets of polypropylene together and the connections turns out to be quite aeasthetic and clean. We are aiming to furhter explore this connections in more sophisticated forms in the next stage.

B.5 PROTOTYPING Prototype 2

Second prototype focuses on infill inflating method within timber frame. We tried using balloon to fill the holes in the MDF frame and cover the balloon surface with plaster mesh to record the shape. This method creates some interesting infill texture. However, we found that it was difficult to control the volume of the infill as we were manually applying force on the balloon. What interesting was the fact that the frame started to bend along the balloon surface due to water absorbing and it remain slightly bended when the plaster was dry, This can be potential to create twisted or bended frame and infill system.

B.5 PROTOTYPING Prototype 3

The aim of prototype 3 is to try controlling wire fabrication through using Grasshopper definition. With the lines generated from Field Line components, we managed to identify the location of the point charger and the distance from the surface to that point. Also, by creating a transparent grid, we could control the direction of each wire. We tested two different type of wire which was 1mm steel wire and white plastic wire. After testing, we realized that the steel wires did not generate the smooth curves that we initally wanted while the plastic wires have smoother curve.

B.6 DESIGN PROPOSAL Dights Falls is an artificial weir built on natural rock bar located in Merri Creek in 1840 in order to transfrom water into enery power to John Dightâ&#x20AC;&#x2122;s flour mill. Originally owned by Wurundjeri Balluk people, the area where Dights Fall located was important trading place as well as dispute resolution and ceremonies space. The Merri Creek and Yarra River intersecting gave this area abundant number of fish and rich resources. Nowadays, even though having undergone various alteration, Dights Falls still remains an important place that marks aboriginal culture. Dights Fall is located adjacient to residential areas of Abbotsford and Collingwood, thus become an ideal place for people to relax and enjoy the landscape, especially during weekend.

SUN PATH

NORTH EAST HOT SUMMER WIND SOUTH EAST COLD WINTER WIND

NOISE MAINLY COME FROM EASTERN

MAJOR MOVEMENTS INCLUDIND

HIGHWAYS AND RESIDENTIAL AREAS

WALKING AND VEHICLES

MERRI CREEK IS THE MAIN

TEMPERATURE ESTIMATED

GREEN SPACE IN THE AREA

BASED ON TREE SHADES DURING SUMMER

B.6 DESIGN PROPOSAL

THE ROCK With the brief of designing a change room at Dights Falls, Merri Creek, our design concepts focus on providing an environmental friendly open space that not only functions as a change room but also provides a public space encouraging people to gather together and enjoy the landscape. RESPECTING THE NATURE Inspired by the rock bar along Dights Falls, our structure sits near the falls and onnects the higher and lower typography together, establishing a transition in experience from trasquil, slow-paced water to energetic and fast moving water falls below. The structure provides an open platform where families and friends can sit down and relax during weekends and with the water falls, it can be a cooling space on a hot summer days. This idea was developed from observation that there was not many facilities that allow people to sit down and enjoy the landscape. MATERIALIATY With the aim of designing an eco-friendly structure, the design consists mainly of timber frame infilled with polypropylene tubes in different layers to provide privacy and create interesting visual effects from afar.

B.6 DESIGN PROPOSAL

PERSPECTIVE VIEW

PLAN &SECTION @ SCALE 1:50

B.6 DESIGN PROPOSAL PROCESS Dights Falls

Extract lines and curve from site topography

Pulling lines from positive line charge

Flip Matrix to generate surface

Grid generation to input object

Input

Interpolate sin curves

Rotate sin curve

from series of points

in two directions

Point Charges

Extrusions from negative attractor point

Frame Holder for Wires Location of Rocks

Offset of Base surface to the top

Bending of timber

Connection between

& polypropylene

pannels

Field Lines from negative point charges

B.7 LEARNING OUTCOME Through series of iterations done in B3 and B4, I have been given a chance to further explore grasshopper and its potential to generate dynamic forms. The case studies pushed me to extend my research beyond tutorial videos and subsequently I found many interesting logics that helped me achieve my initial ideas. What I find most fascinating from part B is the fact the final outcome of forms or shapes can be completely unpredictable, yet they are still well controlled and managed through different parameters in Grasshopper. The definitions themselves are greatly logical and some of them took me quite a bit of time to understand. However, once I grasp the logics, the definitions became great tools to push boundary of creativity. On the other hand, prototyping challenged my thinking and made me to reconsider my grasshopper definitions in terms of constructability and materiality. Material performance could be different and more complex than what was initially expected. I managed to generate some interesting organic forms in B4, but realized that they were difficult to actually fabricate and under time constraints and material availability, it became a big challenge. The relationship between grasshopper and fabrication is inter-influence. The difference between what was digitally generated and how it could be actually built required us to moving back and forth multiple times. However, doing that helps me start narrowing the focus on my concepts and push my grasshopper definitions further to solve the fabrication issues. Overall, the past 4 week into Part B has been challenging yet exciting explorations for me. I find myself sitting hours in front of the computer struggling to solve a grasshopper definition with my limited knowledge, but I also find myself jumping in excitement when I finally achieve an interesting form. Although there is still a big gap between what I wanted to design and my knowledge of grasshopper in order to achieve the design, Iâ&#x20AC;&#x2122;m equipped with more tools and moving closer to generating dynamic forms that seem to be impossible before knowing grasshopper.

B.8 FEEDBACK AND MOVING FORWARD

From Week 8â&#x20AC;&#x2122;s presentation feedback, there are a few highlighted issues that my group need to consider to move into Part C. Firstly, our prototyping was not thorough and systematic enough to explore the potential of material performance and how it could affect the grasshoppers. Also, our prototyping did not really show the relationship between grasshopper and fabrication as well as how they are influential to each other. We were purely testinon the matierals and trying to replicate the shapes without critially considering how such exploration of material performance could influence my grasshoppers and how we could alter the definitions to improve the forms. Knowing this, we are aiming to revisit our prototypes and test them more thoroughtly with different materials and methods. Particularly, the idea of having multiple layers polypropylene to create visual privacy will be further examined. We also need to revisit our design proposal because at the moment the techniques were merely extruding the shapes from case study 2 without considering the structural support and how they could be fabricated on a 1:1 scale. In terms of design concept, the ideas need to be synthesized and focus on one strong concept rather than dealing with many different ideas that might not be linked together. Also, we are striving to develop a techniques that could use materials not only as materials themselves but also as part of the main concept and have influence on the design. Moving onto part C, there are quite a lot of things that we need to visit and refine in order to develop our detailed design, but the directions now become clearer and more straightforward. Therefore weâ&#x20AC;&#x2122;re looking forward to develop more refined design towards part C.

BIBLIOGRAPHY Archdaily, ‘Lincoln Park Zoo South Pond/ Studio Gang Architects’ (Archdaily,accessed 3rd September,2017) < http://www.archdaily. com/83676/lincoln-park-zoo-south-pond-studio-gang-architects>. Digital Architecture Lab, ‘Spanish Pavilion by Foreign Office Architects’ (DigitalArchLab,accessed 31th August,2017) < http://digiitalarchfab. com/portal/wp-content/uploads/2012/01/Spanish-Pavilion>(p.108). Farshid Moussavi Architecture, ‘Spanish Pavilion at the 2005 World Expo, Aichi, Japan’ (FMA,accessed 31th August,2017) < http://www.farshidmoussavi.com/node/27> Mohammad Alshami, Mohammad Atwa, Ahmad Fathy, and Ahmad Saleh, ‘Parametric Patterns Inspired by Nature for Responsive Building Facade’ (International Journal of Innovative Research in Science, Engineering and Technology: Vol 4, (9)), 2015.

DETAILED DESIGN

C.1.1 MOVING FROM INTERIM PRESENTATION From the interim presentations, there are numbers of issues that we need to resolve in order to move forward with our design: 1. PROTOTYPE - Our prototypes have yet explored in depth the behaviours of the material systems ( polypropylene and MDF), thus overlooking their potentials to be further developed into more complex system. - Our prototypes have yet addressed connection joints issues for a 1:1 structure, the joints (especially dental floss) we proposed were not suitable for a real-life structure. - There is significant gap between grasshopper definition and the fabrication process. Our prototypes did not show how it influence the grasshopper and in reverse. 2. CONCEPTUAL DESIGN - The concepts we proposed were shattered and disconnected and they need to be synthesized as one strong holistic concept. - The concept of “attracting people to nature” was not convincing enough and required further research. - Concept was not proved through prototype and grasshopper definitions. Team’s response to interim feedback: After re-examining our design proposals and the interim feedback, we set up a detailed plan in order to improve our prototype and design concepts 1. We decided to narrow down our materials system and focus on polypropylene as the main construction element, around which the design concept will be revolved. 2. We will re-work on our prototypes, concentrating on material behaviours, particularly trying to push the materials to its limits

C.1.2 PRECEDENT 1 ‘BAN’ PAVILION BY ORPROJECT “A flat sheet of a flexible or thin material tends to be soft and easily deformable. However as soon as the sheet is bent into a curve and held in this position, it becomes very strong in its vertical direction,”1 -Orproject partner Rajat Sodhi-

FIGURE 1: COLD-FORMED PLASTIC SHEETS BOLT

‘Ban’ Pavilion designed for 2012 Beijing Design Week, was formed by network of CNC-milled and cold-bent PETG sheets that were connected to one another by simple bolt-and-nuts systems at predefined locations. 2 The pavilion was inspired by the flower petals and based on the concept of anisotropy, which means a physical property of an object that behaves differently in different directions. 3 Considering the structure of a flower, despite their thin and fragile shape, once being folded and arranged in positions, they create shape of the corolla, 4 which gives rigidity and strength against climate conditions. Such study formed a core principle of ‘Ban’ pavilion , in which the structure is made from thin sheet of cold-formed polymer bent and connected together, eventually developed into fields of curved lines and a self-supporting structure that only replies on four circular columns. The transparent characteristic of the plastic enhances the aesthetic quality by providing an illusion of ‘floating’ and light weight structure. 5 They also draw visitors’ attention to the sky, where the floral shapes of the structure revealed. 6 In order to achieve such complex system, the aid of computer sofware is undeniable. Location of connections were digitally identified and plastic sheets were labelled to ensure accurate fabrication.

FIGURE 4: Plan and section of Ban( Jasper James, Orpoject, 2012)

1.‘Anisotropic Geometry: Pavilion Ban’(Detail, accessed 20th September 2017)<https://www.detail-online.com/article/anisotropic-geometry-pavilion-ban-16484> 2.‘Anisotropic Geometry: Pavilion Ban’(Detail, accessed 20th September 2017)<https://www.detail-online.com/article/anisotropic-geometry-pavilion-ban-16484> 3.<http://www.dictionary.com/browse/anisotropic> [accessed 20 September 2017]

TED TOGETHER AT PREDEFINED JOINTS ( Jasper James, Orpoject, 2012)

FIGURE 3:Perspective view of Ban Jasper James, Orpoject, 2012)

FIGURE 4:Bolt-and-nut detail( Jasper James, Orpoject, 2012)

FIGURE 5: Loking up to the sky(Jasper James, Orpoject, 2012)

4. Alison Furuto, ‘Ban Pavilion/Orproject’, ArchDaily (2012)< https://www.archdaily.com/280395/ban-pavilion-orproject>[accessed 20th September 2017] 5. Orproject, ‘BAN’, Orproject < http://orproject.com/ban/>[accessed 20th September 2017] 6. Danny Hudson, ‘Orproject: ban pavilion at Beijing Design Week’, DesignBoom (2012)< https://www.designboom.com/ architecture/orproject-ban-pavilion-at-beijing-design-week/>[accessed 20th September 2017]

C.1.3 PRECEDENT 2 YORISHIRO Yorishiro is a term that describes an object or place where the kamis (Japanese spirits) settle in.1 In Japan, this is a common religious practice that pay respect to the Japanese spirits who are believed to provide protection to the local people. 2 Yorishiro can be referred as many different shapes, from Dosojin - stone carvings that illustrate the kami who protect travellers on road , to Kadonyudo - a pair of face-carved logs placed at the entrance of the house to prevent evil or bad spirit from invading the houses. 3 Regardless of the forms, yorishiro as a whole is served as a spiritual marker that define the land of gods, which is similar to the idea of the Torii, which marks the boundary between land of gods and lands of humans. Such precedent has given the idea that an object placed in space is not solely for its functional purpose but should also have meanings on spiritual level. Observing in Dights Falls, water plays an important role in shaping the landscape, bearing sacred meaning itself. Therefore, our aim is to create a structure that marks the spiritual importance of the falls, raising awareness of the natural landscape.

1. Michael York, ‘Pagan theology: paganism as a world religion’(New York: New York University Press, 2003), p.173. 2. Motohisa Yamakage, ‘The essence of Shinto: Japan’s spiritual heart’(Tokyo, New York: Kodansha International, 2006), 3.Hirochika Nakamaki, ‘Japanese religions at home and abroad: anthropological

perspectives’(London, New York: Routledge, 2003), p.17.

FIGURE 6: A rope wrapping around the tree to mark place where ka

amis logde in (Spenta, 2015)

C.1.4 SITE CONTEXT An experiential journey through Dights Falls

Pathways opening from the left side of the falls and dispearing into the wood provokes gave sense of mystery and provoked curiosity

Location 2

At Location 1, where the fall is located, there is a high level of noise from the falls. Also the water intensity is high which is not very suitable for swimming. The water bouncing off the rock does give some strking scene to the area. 92

Location 3

At Location 3, narrowed rows of trees open a threshold into a new space. This reminds us of a â&#x20AC;&#x2DC;framed viewâ&#x20AC;&#x2122; concept from Japanese design principles, in which landscape is purposedly framed using crooked and decorated windows or door.

Location 4

Location 1

Passing the tree row, we discovered a quiet and relaxing area by the river, quite constrasting to the busy and loud noise at the falls. Sitting here, we enjoy the peace and pleasant sound from the surroundings. From Location 1 to Location 4, there is a clear transition from loud noise falls to the relaxing and peaceful Zen atmosphere. This gave us an idea of progression, whereby we hope through our structure, vistors can experience the transition into water, encouraging them to slowly and naturally merge with the nature. 93

ANISOTROPY

TRANSPARENCY MATERIALITY

FLUIDITY

PROGRESSIO

OBJECTIVES From the precedents and site visits, we synthesized our design concepts and set the following objectives for our project: ANISOTROPY: From Ban pavilion, we decided to focus on polypropylene as the main construction element to test the material behavior and hoping to create a self-supporting structure. PROGRESSION: Using the structure to build conscious awareness of the water and local environment Establish a progression/ journey into water CONTINUITY The structure should aesthetically have growing and flowing effects, mimicking the water currents. PRIVACY Materials and arrangment should provide high level of privacy, or gradient privacy through enclosure, or multilayer

C.2.1 FORM FINDING - FABRICATION

PANEL 1 Aesthetic Connection Structability Flexibility Privacy Panel 1 is potential to be generated into dynamic shapes due to its organic forms. However, the panel itself cannot stand alone and prone to compressive force, making it difficult to be devoped into a self-supporting structure. The panel are more suitable as a facade elemnent. It is also hard to fabricate the panelas it requires certain force to keep in correct place. 96

PANEL 2 Aesthetic Connection Structability Flexibility Privacy Panel 2 is considerably stable, resistent to compressive force in verticle direction. However, the panels are not so flexible at connection points, in which the panels can not be connected at certain location and in certain directions. It is also forceful at the folding connections that the panel has tendency to bounce to its original shape.

PANEL 3 Aesthetic Connection Structability Flexibility Privacy Panel 3 prototype consists of two folded panels different in size being slotted into each other. This gives good privacy quality to the polypropylene due to the number of overlaying layers. However, since the plastic is quite thin, thus easy to be bent, slotting might not be strong enough to hold the pieces together.

PANEL 4 Aesthetic Connection Structability Flexibility Privacy Panel 4 is an upgraded version of panel 3, in which the panels are cable tied instead of slotting. This help maintain the goood privacy quality but aslo enhance the rigidity of the structure. By continously connecting pieces together, they can generate an organic-formed translucent wall. The disadvangtage was they are quite two dimensional and difficult to connect in vertical directions

PANEL 5 Aesthetic Connection Structability Flexibility Privacy With a simple fold in the middle, Panel 5 give an organic form that can be developed into wide range of complex shapes. It is also flexible in terms of connection, in which panels joined at different locations in different directions can give different dynamic shapes. Depend on the connecting locations, there is also gradient change in privacy.

PANEL 6 Aesthetic Connection Structability Flexibility Privacy To further push Panel 5 to its limits, we decided to cut profiles on the surface. Such profiling decreases the rigidity and strength of the structure, making it fragile under compressive force. Also, the profiling creates thresholds within the sheets, which reduce privacy quality of the structure.

C.2.1 FORM FINDING - FABRICATION SUCCESSFUL ITERATION Base on the objectives formed earlier, Panel 5 is the most suitable and potential to be further developed. It can resist compressive force in two different vertical and horizontal orientation, and such strength can be reinforced by connecting adjacent pieces together. Simply changing the connecting location and directions provides wide range of different dynamic form that can be developed into various architectural forms.

C.2.1 PROPOSAL 1 From the first form finding, we developed our digital model based on the concept of progression, in which the structure has a spiral form growing from one focal point into waves, one facing the river, one facing the entrance. The aim is encourage visitor to actively enagage with and respect the surrounding envrionment. Focal point: Changeroom

Circulation

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Composition

Ventilation

POTENTIALS

CONSTRAINTS

1. The spiral form well addresses the idea of progression, encouraging visitors to slowly take a journey into the water

1. The form is two-dimensional, simply made out of vertical panels stacking on top of each other. It does not allow thorough exploration of the material and the limit of its system.

2. The form also create enclosed space that is potential to be used as changing room. 3. Panel arrangement follow simple logic that can be easily fabricated and ease of labour requirement

2. Connection between the panels create threshold which undermines the privacy quality of the whole structure 3. Such panel arrangement has little potential to be developed into a three-dimensional form what canopy or shelfter. 4. There is yet structability consideration of the structure.

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C.2.1 FORM FINDING - FABRICATION PANELS DEVELOPMENT As fabricating the digital model, we discover new potential that the panels have, in which the ability to generate different forms and shapes by simply changing the connecting joints.

CIRCULAR FORM: By connecting adjacent pieces at the second hole from middle, a curved structure is generated. This is potential to be developed into column structure.

LINEAR FORM: Joining adjacent pieces at the first hole from middle provides a linear structure that is ideal to be developed into walls.

VERTICAL ENCLOSED AND ANGLED CONNECTION: - Connecting flipped panels at their aligning first holes, together with linear form method, allows an vertical enclosed facade. - Vertical Curvature is generated by connecting the first hole of second pieces to the first hole of the first piece and first-first on the remaining side. 102

Such discovery gave us an idea of a transferrable structure made out of one material (polypropylene) that can be transformed from column to ceilings and into walls. In other words, a flexible system that only by simply changing the connection location and directions can be generate different functional architectural form. Such flexibility allowed us to further develop our grasshopper model, no longer restricted to linear, two-dimensional forms.

Vertical curvaature, wall starting to transfer intoc celing Potential to extend further outwards in canopy

Verticle connection allows extension outwards

Circular forming into column shape

Enclosed vertical wall

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C.2.2 CONNECTIONS TESTING EYELETS Aesthetic Construction Stability Flexibility

PLASTIC CABLE TIES Aesthetic Construction Stability Flexibility

BOLT-NUTS Aesthetic Construction Stability Flexibility

STEEL CABLE TIES Aesthetic Construction Stability Flexibility

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Eyelets are strong and stable connection, keep the plastic pieces together quite well, especially considering the tendency to bounce back of polypropylene. They are also aesthetically pleasing and allow certain rotation between the pieces. However, it is difficult to connect the pieces that are not on the same plane since we canâ&#x20AC;&#x2122;t hammer them.

Plastic cable ties as our second option are easy to assemble and able to connect pieces at any locations and angles. With the translucent white colour, they blend quite well into the structure, making it look lightweight. However, they are not as aesthetically pleasing as eyelets and their cut tail can be slightly dangerous if not treated properly.

Bolt-and-nuts are essentially strong and simple to assembly. They can stably keep more than 5 pieces together better than cable ties. However, its bold appearance undermines the aesthetic quality of the structure by making it apppear heavy and rigid.

Hoping to find something more structually stable than plastic cable ties but still have their flexibility, we decided to try steel cable ties. However, it turned out that they are not as flexible and stable. Also, the steel material also decrease the aesthetic quality of the structure.

CHOSEN JOINTS

OBJECTIVES

After refering to the objectives we set at begining of Part C, we decided to choose eyelets as connection for primary joints (middle fold) and cable tiles for secondary joints (connection between panels) because their characteristic fits with our ojective requirement LIGHTWEIGHT TRANSPARENT FLEXIBLE

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C.2.3 PROPOSAL 2 - DIGITAL From the discovery in fabrication, we reviewed and developed our digital model in order to push the material system and refine the final form.

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Advanced from Proposal 1, the structure is still evolved around the concept of progression, but now the column acts as a focal point visually and structurally then grows into an ocean wave, slowly cascadeing to the ground as one point. The structure begins at one point developing into line, plane and dissapppear into another point. The of spiral expanding out provokes curiosity and invites them to slowly moving into the water 107

TRANSPARENCY - FL

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LUIDITY - FLEXIBILITY

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FLOWING INTO THE SKY

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C.2.3 PROPOSAL 2 - CONSTRAINTS

CONSTRAINTS 1. The panel arrangements at some points are too forceful. leading to unwanted distortion of some panels. 2. Eventually vertical panels transfrom into hortizontal panels, but the resulting orientation panels are prone to compressive force, which can collapse easily 3. There are unresolved connection points, especially betwwen the wall and column 4. There is a discontinuity in the form, it needs to flow more smoothly 5. There is an unresolved gap between ceiling and walls, undermining the privacy quality of the structure

Horizontal panels orientation is prone to compression

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Unresolved opening gap Discontinued connections

Unresolved joints between columns and walls

Column bent due to excessive force of panel arrangement

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C.3 FINAL PROPOSAL

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CASCADE

the changeroom project

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CASCADE

the changeroom project CASCADE is a change room made from network of rectangular polypropylene sheets folded at middle points and connected at predefined locations and directions to generate an almost self-supporting structure that is based on mutifunctional mechanism, transferring from columns into ceiling and wall. Inspired by the flows of water at Dights Falls and Ban Pavilion by Orproject, the changeroom is evolved around the concept of anisotrophy, fluidity and transparency, whereby the whole structure is supported by single load-bearing column and slowly growing into a transulent flows of panels that cascade into the river. This is an abstract representation of the water currents and the Dight Falls itself.

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SECTION AA @1:20

Using transparent materials, the project also challenges the idea of privacy, which is conventionally thought to be achieved only through solid, enclosed space. Polypropylene by folding and connecting offer a multi-layered screens that provides high level of privacy, but also playful in the way that people outside can see the silhouetteof users. It plays with idea of insecurity, yet encourages people to slowly merge and become one with nature.

CIRCULATION

POINTS OF VIEW

VENTILATION 121

SITE PLAN @ 1:250

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VEGETATION

MOVEMENTS

SUN PATH

SUMMER AND WINTER WIND MOVEMENT

TEMPERATURE GRADIENT

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GLOWING IN THE DARK

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WITHIN - WITHOUT

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REFLECTION

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FROM DESIGN INTENTS TO REALIZATION

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PANEL ARRANGMENT DETAILS P1-PRIMARY PANEL CONNECTION A

GRID SYSTEM

C01-1 G

C01-COLUMN CIRCULAR CONNECTION C01-1

C01-3

CC1-COLUMN & CEILING ROTATING CONNECTION

CC1-1

CC1-2

CC1-3

W1- CUVREDWALL CONNECTION W1-1

CC1-4

CC1-5

W1-1

FINALIZED SYSTEM

W2-LINEAR WALL CONNECTION W2-1

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FABRICATION DETAILS

C1-6

C01 COLUMN CONNECTION DETAILS

C01-4

CC1-7

CC1-8

W1 LINEAR WALL CONNECTION DETAILS

W2-2

W2-1/2

W1 AND W2 CONNECTION DETAILS 133

COLUMNS CONSTRUCTION DETAILS

POLYPROPYLENE CEILING AND WALLS

POLYPROPYLENE COLUMN

STEEL ANCHOR RODS CONNECT EDGES OF COLUMN TO BASE PLATE

200 CHS WELDED TO STIFFENERS AND BOLTED TO BASE PLATE 10mm STEEL BASE PLATE BOLTED TO PAD FOOTING REINFORCED CONCRETE PAD FOOTING FOOTING IS UNDERGROUND AND NOT VISIBLE

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W1 AND W2 CONNECTION DETAILS

COLUMN-FOOTING DETAILS GRAVITY FORCE

200mm CHS PROVIDES LATERAL SUPPORT TO POLYPROPOLENE COLUMN

WIND OR SEISMIC FOCRCE

200mm CHS PROVIDES LATERAL SUPPORT TO POLYPROPOLENE COLUMN UPLIFTING FORCE

COLUMN IS ANCHORED INTO PAD FOOTING TO ALLOW LOAD TRANSFERENCE PAD FOOTING TAKES COMPRESSIVE FROM COLUMN AND ALSO PREVENT COLUMN FROM UPLIFTING DUE TO WIND

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FROM FINAL PRESENTATION FEEDBACK... From the final presentation, the feedback is mainly about questioning how our structure can establish stronger connection with the site. At the moment, it seems that the strucutre is lacking strong relashionship with the site, that it can be placed at different spot without affecting the site. Also, since our final form is realized and changed through testing the polypropylene and the panel arrangment, the material seem to dominantly defines the final form. Therefore, the raising question is what if we were given a site with restriction and and the form has to be in certain shape, would we able to make control the material to create that shape? Considering relationship with the site, our solution is establishing a pathway mimicking human foot steps from entrance leading into the change room and into the water. Therefore, visitors are drawn by the existence of the natural stone steps into the changeroom and slowly merge into water. Such addition reinforces the idea of progression, creating a natural entrance to the structure, thus generating stronger link between the site and the change room. Considering the second question, we acknowledge such restriction in our system is due to our focus on pushing one material, particularly polypropylene to its limit and see how our form would be evolved around that. We did not want to force the material as it can create many forceful connections and thus undermining the whole structure. Our forms through out three different proposals still maintain consistent concept and certain grid form, only slightly changaing to accompany the fabrication restriction. Howevear, taking this feedback to the next step, we will consider combining a new material into the system to solve connection joints issues and have better control over the form that we have.

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PROPOSED NATURAL STONE STEPS INTO THE RIVER 138

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PROPOSED NATURAL STONE STEPS INTO THE RIVER

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C.4 LEARNING OUTCOME Over the course of twelve weeks in Studio Air, I have been constantly facing with challenges and exposed to wide range of new experience and perspectives. My team and I have come a long way from basic Grasshopper tutorials videos to be able to advance the techniques and apply them to produce our own design. Looking back at our final project and the process that we have been going through in order to make it happen, I am honestly surprised at how much I have learnt and developed in only three months. Not only we were given the chance to learn a new software plugin, but more importantly we were exposed to the field of parametric design and algorithmic thinking. Objective 1: “interrogat[ing] a brief” by considering the process of brief information in the age of optioneering enabled by digital technologies The brief plays a crucial role in this project as it proposes certain parameters and restrictions on which we can based our design, helping us to narrow down our design options and focus on certain quality. From the iterations in Part B, we were struggling to move forward as we did not know which one is the best iteration we should choose to develop. However, after reconsidering the brief, we realized that there is no such “best interation”, but rather “most suitable iteration” to be developed for the brief. From this we could easily set our focuses and objectives from which our design was evolved. Objective 2: “ability to generate a variety of design possibilities for a given situation” This objective is evident in series iterations in Part B and fabrication process in Part C. From a given Grasshopper definition, we managed to generate new dynamic forms and shapes only by changing the parameters, adding or subtracting some components. The design possibilities were only limited by our knowledge of the software and the more we get used to it, the more potential design is created. Objective 3: “skills in various three-dimensional media” The process of moving back and forth between Grasshopper and fabrication has forced us to always critically considered whether our digital models can be fabricated and how grasshopper could control the fabrication process. We were also forced to try new fabrication tools such as hand-sawn machine or rivets. Objective 4: “an understanding of relationships between architecture and air” Most of our final design concept is derived from the site analysis and visit, such as anisotropy, progression, and fluidity. The obsevation of water current and Dights Falls also inspired our idea of flexible structures with flowing panels. Even though the design is still lacking some connection with the site, our goal is using the structure to raise people’s awareness about the surrounding environment and encourage them to actively engage with the nature.

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Objective 5: “ability to make a case for proposals” Precedent study is significant for the development of our final design concept including Ban Pavilion, Yorishiro and Case Study 2 as they opened up new ideas and framework that suggest us a direction to develop our design. From Ban Pavilion case study, we discovered the anisotrophy concept of plastic sheets, which is the founadation for our decision to focus on polypropylene and push its behaviour to limits. Objective 6: capabilities for conceptual, technical and design analyses of contemporary architectural project Analyzing chosen precendents in Part A, B and C has given us a concrete foundation for the development of our final design. Through studying those precedents, we have learnt not only different parametric tools, but more importantly the conceptual thinking process and how it has been transferred and supported by digital software, particularly Grasshopper. Oject 7: foundational understanding of computational gemetry, data stuctures and types of programming My understanding of Grasshopper has been accumulated throughout the semester by the aid of tutorial videos, as well as dicussion with my tutors and classmates. Improvements are evident throughout my journal and sketchbook. I was able to identify Grasshopper components by only looking at the final design outcome and I find myself more confident writing a Grasshopper definitions. This helped us save considerable amount of time in Part C figuring out a script. Such improvements were also possible thanks to constantly dicussing with groupmates and my tutors. Objective 8: a personalised repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application The most valuable knowledge that I have learnt from this subject is the importance of twoways design, in which digital design and fabrication constantly influence each other and the process of going back and forth can help us realize new possibilities. At the begining of Part C, we could not move forward because we spent more time on our digital model and our model ended up impossible to fabricate. Only when we start pushing the fabrication process, we realized a dynamic shapes that can be transformed into various architectural forms. From that we used grasshopper to control the flows by generating final forms and defined joints location. Revisiting the skeptism that I had at the begining of this studio, I’ve come to realize that digital tools are not merely just a tool to computerize an existing idea but it is a powerful medium that can help us explore endless possibilities and turn the “impossible” into “possible” with only a few steps. However, computational design is only powerful when it relates to site context and addresses the global situations. A good paramatric design is not the one with the most sophisticated shapes, but the one that uses simple algorithmic thinking to solve complicated design problems.

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BEYOND THE BOUNDARIES... When working on the design of Cascade change room, the system and techniques we have developed are not only exclusive to this project, but they have the potentials to be further applied and transformed into variety of architectural forms. Following the simple rules of folding rectangular sheets and connecting them at different location and directions opens up wide range of applications such as art installation, wall cladding, furniture design, and many more. The flexibility in term of structural elements and connection joints allows us to push the material even further and generate some dynamic work in the future.

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BIBLIOGRAPHY ‘Anisotropic Geometry: Pavilion Ban’(Detail, accessed 20th September 2017)<https:// www.detail-online.com/a rticle/anisotropic-geometry-pavilion-ban-16484> ‘Anisotropic Geometry: Pavilion Ban’(Detail, accessed 20th September 2017)<https:// www.detail-online.com/a rticle/anisotropic-geometry-pavilion-ban-16484> Dictionary, ‘Definition of anisotropic’<http://www.dictionary.com/ browse/anisotropic> [accessed 20 September 2017] Furuto, Alison ‘Ban Pavilion/Orproject’, ArchDaily (2012)< https://www.archdaily. com/280395/ban-pavilion -orproject>[accessed 20th September 2017] Hudson, Danny ‘Orproject: ban pavilion at Beijing Design Week’, DesignBoom (2012)< https://www.designboom .com/architecture/orproj ect-ban-pavilionat-beijing-design-week/>[accessed 20th September 2017] Orproject, ‘BAN’, Orproject < http://orproject.com/ban/>[accessed 20th September 2017] Nakamaki, Hirochika ‘Japanese religions at home and abroad: anthropological perspectives’(London, New York: Routledge, 2003) York, Michael, ‘Pagan theology: paganism as a world religion’(New York: New York University Press, 2003) Yamakage, Motohisa ‘The essence of Shinto: Japan’s spiritual heart’ (Tokyo, New York: Kodansha International, 2006) Orproject, ‘BAN’, Orproject < http://orproject.com/ban/>[accessed 20th September 2017]

Image Reference Figure 1: James, Jasper ‘Cold-formed sheet bending’ (2012) < http://orproject.com/ban/> Figure 2: James, Jasper ‘Plan and section of Ban Pavilion’ (2012) < http://orproject.com/ban/> Figure 3: James, Jasper ‘Ban pavilion perspective’ (2012) < http://orproject.com/ban/> Figure 4: James, Jasper ‘Bolt-nut connection at Ban Pavilion’ (2012) < http://orproject.com/ban/> Figure 5: James, Jasper ‘Network of panel at Ban Pavilion’ (2012) < http://orproject.com/ban/> Figure 6: Spenta, ‘The path of Shinto’ (2015) < https://shintoheisei.wordp ress.com/tag/jinja-y-mas/ >

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