Wye Lun Ho 705632 Part A, B and C Studio Air Journal (Final Submission) by Wye Lun

STUDIO AIR 2016, SEMESTER 2, MATTHEW MACDONNELL, WYE LUN HO (705632)

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TABLE OF CONTENT Introduction Part A: Conceptualisation A.1 Design Futuring A.1.1 The Butterfly House A.1.2 The Canuhome A.2 Design Computation A.2.1 The Guangzhou Opera House A.2.2 The ShellStar Pavillion A.3 Composition/Generation A.3.1 Serpentine Pavillion 2012 A.3.2 Mobile Art Pavillion A.4 Conclusion A.5 Learning Outcomes A.6 Appendix - Algorithm Sketches A.7 Part A Bibliography

Part B: Criteria Design B.1 Research Field B.1.1 Biomimicry B.1.2 Precedent Study B.1.3 Precedent Study B.2 Case Study 1.0 B.2.1 Precedent Study B.2.2 Species Exploration B.2.3 Matrix Analysis And Successful Species B.3 Case Study 2.0 B.3.1 Precedent Study 1 B.3.2 Reverse Engineering 1 B.3.3 Final Outcome And Summary B.3.4 Precedent Study 2 B.3.5 Reverse Engineering 2 B.3.6 Final Outcome And Summary

B.4 Technique Development B.4.1 Iteration and Definition Development B.4.2 Selection Criteria And Sucessful Iterations B.5 Technique: Prototypes B.5.1 Prototype 1 And Analysis B.5.2 Prototype 2 And Analysis B.5.3 Prototype 3 And Analysis B.6 Technique: Proposal B.7 Learning Outcomes And Objective B.8 Appendix B.8.1 Algorithmic Sketches B.8.2 Part B Bibiliography

Part C: Detailed Design C.1 Design Concept C.1.1 Concept Design C.1.2 Final Algorithmic Workflow Of Technique C.2 Tectonic Elements & Prototypes C.2.1 Structural Analysis C.3 Final Detail Model C.4 Final Design Drawings C.5 Final Perspective Renders C.6 Learning Outcomes And Objectives C.7 Appendix C.7.1 Part C Bibliography

INTRODUCTION Hi. My name is Wye Lun Ho and I am from Malaysia currently pursuing an architecture major in the Bachelor of Environments at the University of Melbourne. Ever since leaving my home country to pursue an architectural degree in Melbourne, I was exposed to a broad range of architectural styles which I had never came across in my previous life which spark my interests to know more about the language and field of architectural design. I believe that architecture is appreciated through its spatial qualities, emotions and experiences that it is able to leave for its inhabitants which what makes it an invaluable aspects to most students Studio Air is the first studio in which I was exposed to digital architecture with the emphasis of algorithm design. I had previously developed basic skills in softwares such as Rhino and Sketchup to generate forms, ideas and models in my previous studies in subjects such as Visualising Environments however Grasshopper is definitely a brand new challenge for me. Furthermore, I am looking to broaden my depth of skills and knowledge that I have learnt so far through the my developments in this subject in the near future.

‘‘ AS AN ARCHITECT, YOU DESIGN FOR THE PRESENT WITH AN AWARENESS OF THE PAST FOR A FUTURE THAT IS ESSENTIALLY UNKNOWN’’ NORMAN FOSTER

CONCEPTUALISATION

PART A CONCEPTUALISATION

CONCEPTUALISATION 5

CONCEPTUALISATION

A.1 DESIGN FUTURING CHANGING THE PRACTICE AND MINDSET OF FUTURE DESIGNERS Living in an anthropocentric age that is greatly dependent on meeting the needs of the growing planet’s population and rapid advances in technological means had placed the current world environment in a situation where defuturing condition of unsustainablilty is accelerating faster than we could comprehend or even stop the process from causing further damage. This is particularly a huge concern for all designers around the world as ‘the state of the world’ and the state of design has to correspond with each other because whenever we tend to alter the state of the environment, we also tend to take something from it. 1 As we live in a world where resources are finite and the depletion of these materials are irreversible, the relation between creation and destruction has to controlled to prevent such cataclysm from occuring in the near future. Design futuring thus serves as the key purpose to slow the rate of defuturing and redirecting us towards a far more susitainable modes of planetary habitation.2 To be able to achieve these two primary approach in future designs, it is important that we designers have to understand the fundamentals and having a clear sense of what design needs to be mobilized for or against which includes expanding our knowledge and breaking out of the boundaries of the design community to a much wider range of disciplines.

Figure 2

1 2

Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice , Oxford: Berg Fry, 2008 CONCEPTUALISATION 7

Figure 3 and 4

“‘ÇHETWOOD’S STARTLING CREATION IS A RIOT OF UNLIKELY SHAPES, MATERIALS AND TEXTURES THAT ENCAPSULATE THE BUILDING”S FUNCTION WHILE TRANSFORMING ONE’S PERCEPTION OF IT’’ 8

CONCEPTUALISATION

WILL JONES, NEW RESIDENTIAL ARCHITECTU

URE

A.1.1

THE BUTTERFLY HOUSE Laurie Chetwood, Surrey UK, 2003

The Butterfly House is a residential private house that is located on the southfacing slope on a three-acre site in Surrey, UK which was remodelled after an originally Canadian cedar timber-framed house exhibited at the Ideal Home Exhibition in the 1930s. The first main attraction that caught the attention of the architect Laurie and his family after purchasing the house was the large amount of butterflies that were attracted to the site’s garden which was filled with natural plantations of buddleia, lavender and poppies that provide an ideal environment for the colourful insect to latch onto the area.1 This essentially makes the core design and concept of this architectural project being related to the insect where it was constructed after life cycle of the butterfly. The project aims to serve the needs of modern existence with the integration of the lightness an=d elegance of the insect. The design process itself took two years to evolve before it was actually committed to paper and sent to the local planning authority in the late 1990s.2 The architectural journey through the butterfly’s life cycle begins from the steel bridge with curved steel balustrades that resembles the segmented body of a caterpillar that progresses to the chrysalis stage that is influenced by the staircase, enclosed areas of the house and conservatory, and finally to the final insect represented by the external canopies over a paved garden space. The interior spaces was built to rekindle the transformation as if the butterfly is preparing to emerge from its cocoon, displayed by the organic nature of the atrium and stairs visually referring to unfurling wings. 3 The most important aspect of the design was the operation of solar and wind power as well as rainwater recvcling for grey use such as gardening and washing which integrates the sustainable architecture through the dependency use of renewable sources for most operation within and outside of the building.

Figure 5

1 Chetwood, Laurie, Sustainable Design : The Butterfly House, n.d, <http://www.ljhooker.com. au/myljhooker/sustainable-design-the-butterfly-house> (accessed 30 July 2016) 2 Jones, Will, The Butterfly House, n.d, < http://architizer.com/projects/the-butterfly-house/> (accessed 30 July 2016) 3 Glancey Jonathan, It’ll never take off, 2003 , < https://www.theguardian.com/artanddesign/2003/ nov/24/architecture> (accessed 30 July 2016)

CONCEPTUALISATION 9

A.1.2

THE CANUHOME Institute Without Boundaries, Canada, 2007

The Canuhome project is a 20 by 50 foot exhibit of an 850 square foot residence containing a kitchen, living room, dining room, bathroom and bedroom that was developed by Canada Mortgage and Housing Corporation (CHMC) and the Institute without Boundaries (IWB). This project was constructed with an aim to educate exisiting generations and change the current way of living to achieve a balance between sus--tainability and lifestyle, while maintaining the quality and affordability of the housing. 1 The modular frame structure of the house was constructed out of prefabricated wood products that are renewable products which are also easy to assemble on site.The project exhibits numerous intelligent design choices such as the use of non toxic materials to promote a healthier living and wired with an intelligent network of sensors that were tuned to educate users about the relationship between their lifestyle and carbon impact. 2 The houseâ&#x20AC;&#x2122;s cladding system uses a range of colours to passively collect and exchange renewable energies such as solar, wind and vibration that responds to the seasons on the outside and interact with the inhabitants in the inside by providing lighting, air movement and communication nervous system for thermal and acoustic comforts. This would drastically reduce the ecological impact to the environment as it does not rely on the combustion of fossil fuels for the generation of energy inside the house. 3 The design idea and concept for this project would definitely respond to the futuring approach that was explained by Fry where it emphasizes on the importance of creating a sustainable living habitation that is able to reduce the rate at which earthâ&#x20AC;&#x2122;s non renewable materials and resources are depleting.

1 n.a , Canuhome, 2008 , < http://institutewithoutboundaries.ca/?portfolio=canuhome> (accessed 30 July 2016) 2 Ranson, Jeff, Green Building Brain: Canuhome, 2010 ,< http://greenbuildingbrain.org/buildings/can home> (accessed 30 July 2016) 3 Busyboom, Prefab Canuhome, 2008, < http://www.busyboo.com/2008/07/22/prefab-canuhome/> (accessed 30 July 2016)

CONCEPTUALISATION

A.2 DESIGN COMPUTATION OVERCOMING THE LIMITATIONS OF HUMANâ&#x20AC;&#x2122;S CAPACITY THROUGH COMPUTATIONAL The use of computers and technology in the contemporary age of architectural practice had long since played an important role in changing the ways and methods on how architects and designers represent, communicate and convey every aspect of their ideas to the public. How Does Computing Affect The Design Process? With the rapid expansion and development of technologies in the present society that we live in, new means and theories in digital architecture began to emerge as a medium for designing, representation and information modelling. One of the most significant transition that is currently happening is the switch from CAD to AAD that provides a new form of thinking for current architectural generation through the logic of algorithms and parameters. With the integration of parametric design and softwares such as Grasshopper, thousands of forms and creations will be able to be produced in a short amount of time with the least amount of effort that are more efficient in tackling and solving problems that arise from the design process that require higher levels of complexity and a greater rate of production. 1 Can Computing Be Used To Re-Define Practice? As architectural design is a process that require a balance in dealing with externally imposed constraints such as site conditions, climate, functionality, cost etc, this practice still requires the interaction between the brain for analytical and creativity to produce solutions to problems which could not be solved with just computers alone. The process of design therefore requires both rational and creative abilities in which computers lack to achieve a desired outcome but because we as humans have limitations in areas of our own due to our limited capacity to store and recall informations and memories, the integration of computers with designers will create a powerful symbiotic design system that will improve the quality of the production in various aspects. 2 Therefore, this part of the journal aims to formulate an argument which supports the man-machine symbiotic relationship in developing and enhancing design ideas and creativity instead of inhibiting this aspect that most designers claim to be. a barrier that inhibits this aspect 1 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge) 2 Kalay, Yehuda E. (2004). Architectureâ&#x20AC;&#x2122;s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press) CONCEPTUALISATION 13

“THE TESSELATION ON THE FLAT SURFACES IS TRIVIAL, BUT COVERING THE FILLETS IS MORE COMPLICATED, REQUIRING CURVED PIECES OF GRANITE STITCHED TOGETHER IN TESSELATED PATTERNS, LIKE A FOOTBALL.” PATRIK SCHUMACHER, WOODY K

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A.2.1

GUANGZHOU OPERA HOUSE ZAHA HADID ARCHITECTS, CHINA, 2010

The Guangzhou Opera House is at the heart of Guangzhouâ&#x20AC;&#x2122;s cultural development in which the design was influenced by river valleys that was evolved from the concepts of natural principles of erosion, goelogy and topography of the area. This building is highly significant in the context of computational design because it is one of the first parametric buildings to be realized in the built environment. 1 The overall form of the building is creative as it projects the dynamic fluid movement that the water gives to the river stones after the transformation from the erosional process. 2 To incorporate and construct such poetic ideas of structures that were derived from the natural and organic features of the waterworn rocks to be incorporated into a real life building, advanced computation technologies had to be used where the outer crystalline form was modelled using Rhino and the inner, more complex and fluid surfaces inside the auditorium in Maya. These organic forms in which Hadid, Schumacher and Yao as project architects of the project describe would be difficult to achieve without the aid of these softwares as this new wave of techtonic was generated through computational methods such as logarithms, splines, blobs, NURBs, and particles organized by the scripts of the dynamic systems of parametric design. 3 How Does Computation Impact On The Range of Conceivable and Achievable Geometries? As the design processes and thinking of parametricism merely focuses on the multiple relationships between objects and their parts as a whole, this method allows the building to be defined by their faceted structural skin that was covered in triangular tiles made of glass and white and black granite. 4 The skin combines traditional methods such as the sand-casting with the geometry of parametricism of the main structural steel nodes, and it is vaulted off of a separate, interior volume of concrete that houses the opera theater. The triangulated flat facets with steel members forming the shell meet in rounded fillet edges that pivot each facet towards the next. 5 1 Mayer, Adam, The Guangzhou Opera House: An Architectural Review, 2011, < http://www.chinaur bandevelopment.com/the-guangzhou-opera-house-an-architectural-review/> (accessed 7 August 2016) 2 Arch20, Guangzhou Opera House, n.d, < http://www.arch2o.com/guangzhou-opera-house-zaha-hadidarchitects/> (accessed 7 August 2016) 3 Giovanni, Joseph, Guangzhou Opera House, 2011, < http://www.architectmagazine.com/design/build ings/guangzhou-opera-house_o> (accessed 7 August 2016) 4 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge) 5 Giovanni, 2011

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A.2.2

SHELL STAR PAVILLION MATSYS, HONG KONG, 2012

The Shellstar Pavillion is a lightweight temporary pavillion that serve as a social hub and center for their art and design festival held in Hong Kong. Sitting directly on an empty lot within the Wan Chai district of Hong Kong, the form of the structure was experimented with the desire to create a spatial vortex that is able to draw visitors and pedestrians into the centre hub which subsequently re direct them back out into the larger festival site. The project took a period of 6 weeks in which multiple variations and iterations were developed, fabricated and assembled on site. 1 What Does Computation Contribute To Evidence and PerformanceOriented Designing? Form Generation/Discovery The form of the structure was said to be derived from the classical approach that was matured by Antonio Gaudi and Frei Otto with the integration of advanced digital modelling methods such as parametricism through the use of parametric modelling softwares such as Grasshopper and the physics engine Kangaroo. These measures enable the form to self organize into the catenary like thrust surfaces that align with the structural components of the pavillion which resembles the outline of the shape of the star in five outer points and also reducing the need for a large amount of structural supports. 2 Surface Development The exterior surface that contribute to the overall form of the pavillion is composed of nearly 1500 individual cells that were placed at a certain amount of angle. These cells have to possess some flexibility characteristics as they have to bend slightly to take on the curavature of the sheet in reality. This objective can be easily achieved quickly by inputing different values of parameters in the program for various design outcomes. 3 Fabrication Planning As described in the development of the surface, the structure was fabricated together with the flat unfolding of each cell using a more custom phython scripts in which flanges and labels were automatically added later on. The orientation of each cell were analyzed and then rotated to align the flutes of the Coroplast material with the principal bending direction of the surface. 4 Therefore, to conclude, with the use of more advanced mode of modelling techniques that are present in digital computation and softwares allow for more complex and complicated designs to be achieved and documented in a shorter period of time. 1 Yazgi, Begum, Shellstar Pavillion, 2013, <http://www.architectureoflife.net/en/shellstar-pavilion-by-mat sys/> (accessed 7 August 2016) 2 Kudless, Andrew, Shellstar Pavillion, 2012, < http://matsysdesign.com/category/projects/shell-star-pavil ion/> (accessed 7 August 2016) 3 Kudless, 2012 4 Kudless, 2012

CONCEPTUALISATION

A.3 COMPOSITION/GENERATION SHIFT FROM AN ERA WHERE ARCHITECTS USE SOFTWARE TO ONE WHERE THEY CREATE SOFTWARE As previously discussed in previous chapter of computational design, the development and rapid advancement of technology in the digital practice of architecture had created a new shift in the design methods and thinking in most designers and practitioners. With new techniques, theories and softwares being presented in the current era, not only they are able to overcome the human limitations of approaching the complex phases of design process but also contribute to the effortless form finding composi=tion that are being displayed in many real life built precedents all around the world. This is heavily influenced by the advanced means of generative scripting in parametric modellers and simulation softwares in integrating algorithm concepts and thoughts into the minds of future designers. This can be futher argued by Brady when the structure of most architectural firms are cotinuously adapting in response to the work of computational designers that various teams of designers are organised such that they are constantly accomodating the parameters of architectural design. 1 The impact of algorithmic thinking that it had on current designers is evident when architects are massively engaging with computation experiments to simulate building performance, to incorporate performance analysis and knowledge about material, tectonics and parameters of machinery production in their work. 2 The practice of communicating and capturing design ideas could also be done through the logic of algorithms but instead of the traditional way of drafting with pen or pencil to map building details or conceptual sketches on boards and papers, they are effectively carried out through inputing a set of rules, information and datas into the program to create multiple variations of forms and concepts. 3 The connection between algorithm and the generation of the conceptual form is also described as a recipe, method or technique for doing or creating something. They are often a list of simple operations that are unambiguous, precise and often correspond to the transformations of different phases such as the initial as the input and final as the output. 4 With the comprehensive knowledge and understanding of how these operations work creates a vast amount of opportunities for computational designers to control the performance of their design at their own will. 1. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 2. Brady, 2013 3. Brady, 2013 4. Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the CONCEPTUALISATION 19 Cognitive Sciences (London: MIT Press), pp. 11, 12

“LANDSCAPED WITHIN THE CONTEXT OF KENSINGTON GARDENS , I IMAGINE THE VIVID GREE OF THE SURROUNDING VEGETATION INTERTWINED WITH A STRUCTURE GEOMETRIC.” SOU FUJIMOTO

A.3.1

SERPENTINE PAVILLION 2013 SOU FUJIMOTO, LONDON, UK, 2013

The Serpentine Gallery Pavillion 2013 is a temporary structure that sits in the middle of London’s Hyde Park that functions as a recreational shelter to increase the interaction of the public with the site. Although the entire form and structure of the Pavillion is highly conceived by geometric shapes where the horizontal and vertical surfaces are composed and constituted by the 3-Dimen sional qualities of the grid and cubic forms, it is difficult to relate the origin of the idea to the final structure where it was inspired by the organic elements and compositions such as the forest and the clouds. 1 By incorporating these features into his project, Fujimoto was able to propose an architectural landscape where the transparency of the structure was able to enhance the interaction of the user with the surrounding context that was able to allow people to experience a situation similar to as being in the cloud above the sky. By eliminating basic construction elements such as walls and roofs from his pavillion, Fujimoto was able respond to his own agenda of removing the boundaries between nature and architecture. The geometric organization and layering of the grids and cubic units also provide a sensation of the digital environment or the computer mainframe where some would argue after the experience of being surrounded by continuously changing pattern and projection of these units that do not seem to break from one side of the pavillion. 2 The extensive use of polycarbonate material also creates a harmonious combination of architecture , technology and nature as the installation is able to mimic the open like structure of the cloud and with the integration of LED lightings inside the lattice network creates the natural experience of a thunderstorm like cloud structure. 3 Furthermore, the complexity of the structure would not be achieved without the extensive use of computational means as the scheme was aided by Rhino and scripts that was used to transfer geometry of Scia Engineer. Thus, this is another project that is a good example of recognizing the importance of technological advancement and computer aided design in the current practice of the designers. 4

1 Pollock, Naomi, The making of Sou Fujimoto’s 2013 Serpentine Gallery Pavilion, 2013, < http://www. wallpaper.com/architecture/video-the-making-of-sou-fujimotos-2013-serpentine-gallery-pavilion> (ac cessed 10 August 2016) 2 Merrick, Jay, Cloud of steel: Sou Fujimoto’s temporary pavilion for London’s Serpentine Gallery un veiled, 2013, < http://www.independent.co.uk/arts-entertainment/art/news/cloud-of-steel-sou-fujimotostemporary-pavilion-for-londons-serpentine-gallery-unveiled-8643999.html> (accessed 10 August 2016 ) 3 Wainwright, Oliver, Serpentine Gallery becomes Serpen-Tron with radical new pavilion, 2013, < https:// www.theguardian.com/artanddesign/2013/jun/04/serpentine-gallery-pavilion-sou-fujimoto> (accessed 10 August 2016) 4 n.a , Serpentine Gallery Pavilion 2013, 2013, < https://en.wikiarquitectura.com/index.php/Serpentine_ Gallery_Pavilion_2013> (accessed 10 August 2016)

A.3.2

MOBILE ART PAVILLION SOMA ARCHITECTS, SALZBURG, AUSTRIA, 2013

This temporary art pavillion designed by SOMA architects integrates the context of art and contemporary music events as their core concept for the project. The surface of the pavillion was generated by a script that projects layers of crossing sticks at random angles along the structure with the help of genetic algorithms. As it is difficult to gauge the events that are occuring in the pavillion’s interior along with the appearance of its formal elements, the structure was able to provoke a sense of curiousity in the eyes of passerbys along the streets and create an invitation for them to explore the compartment of the entire structure. From my first impression, it was difficult to comprehend the overall shape and form of the pavillion where the extrusions from the surface is disorganized and create a feeling of anxiety of being surrounded by its presence. 1 The entire structure was simply based on a simple repitative element , a set of rules for aggregation where individual pieces of aluminium profiles of uniform length are clustered to form an irregular , mass like conglomerate with distinctive light conditions throughout the day will affect its appearance. 2 As art itself does not reveal at first sight, the pavillion serve as a building that requires constant engagement and participation to fully understand its composition and structure that it holds as it would not be achievable only from the visual expression of the public. 3

1 Bojovic, Marija, Repetitive Assemblage In Salzburg / Temporary Art Pavilion By Soma Architecture, 2013, < http://www.evolo.us/architecture/repetitive-assemblage-in-salzburg-temporary-art-pavilion-bysoma-architecture/> (accessed 10 August 2016) 2 Lomholt, Isabelle, Mobile Art Pavilion ‘White Noise’, Salzburg, 2013, < http://www.e-architect.co.uk/aus tria/mobile-art-pavilion-white-noise> (accessed 10 August 2016) 3 n.a, Mobile Art Pavillion “White Noise”, 2013, < http://www.archello.com/en/project/mobile-art-pavil lon-white-noise> (accessed 10 August 2016)

A.4 CONCLUSION

With the new and upcoming theories, methods tehcniques emerging from digital architecture and the rapid expansion of technology has definitely shape and change the practice of modern designers and architects in approaching a particular design process. The evolution of architectural design from the traditional means to the current era of computer aided design had really improved the limitations and capabilites of practitioners in various aspects such as drafting, documenting and the communication of ideas and now to a more advanced stage of integrating scripts, algorithms and codes to provide a more efficient way in solving more complicated problems in a design process and goes beyond the roots of architectural representation of forms that were limited by the drafting techniques. Moreover it is important to emphasise that despite the high degree of flexibility and much faster rate in producing various outcomes that were made possible in the realm of digital architecture, this situation should be highly taken into consideration such that the existence of technological means serve the purpose of bridging the gap between humans and the complexity nature of the design process and that it should not be creating another problem for the global population in the future where sustainability becomes a huge implication that could emerge from this media.

CONCEPTUALISATION

A.5 LEARNING OUTCOMES

The development and research that were carried through the Part A of this journal had definitely increased my depth and level of understanding in the definition of digital architecture. It was initially challenging to figure out the terms and architectural language that were used in most articles and readings but together with the exploration of various design precedents, I was exposed to the various design outcomes and techniques that were made possible by the concepts of digital architecture. This studio had definitely changed my perception of the design methodology and with the exposure to algorithm scripting and parametricism in softwares such as Grasshopper was a challenge I hope to overcome over the course period as a beginner in this concept as the shift and transition from the a more basic to more advanced level of computer aided design (CAD) method requires more effort and practice in order to fully master the techniques in this field. In addition, I am excited to further explore an even more comprehensive techniques that will be exposed along the course structure in Part B.

CONCEPTUALISATION 25

A6 APPENDIX- ALGORITHM SKETCHES VORONOI STRUCTURES

My first exercise in Grasshopper was the experimentation on triangulation structures such as the Voronoi3D. I was really amazed by how easily the form can be manipulated by adjusting the parameters in the script to determine the number of cells in one unit. By using Grasshopper, the alteration and changes that have been made will be stored in the model thus making the modelling process at a higher rate of production

CONCEPTUALISATION

WEEK 1- TRIANGULATION ALGORITHMS OCT TREE

The oct tree data structure is also one of the interesting algorithm form that I find to be intriguing as by assigning and altering the number of points on a curved surface allows me to generate different compositions of clustered cubic geometries that in turn can be altered in their size and dimension

CONCEPTUALISATION 27

WEEK 2- LOFTING AND CURVE MENU

CONCEPTUALISATION

The technique of lofting in Grasshopper is similar in many ways with that in Rhino but because the program stores implicit information, the changes and alterations that were made to the objects in Rhino will be automatically updated in Grasshopper that enables an infinite variations of form to be created from the same object. The orginal form above was lofted from 3 distinct curves and the uniqueness of the program allowed me to generate multiple variations from the changes that I have made to each indvidual curve and different loft types that were enabled in the options.

Based on the techniques that I have discovered from the software I was able to create a simple desk/workstation from combining the two methods that incorporate different sitting positions.

CONCEPTUALISATION 29

WEEK 3- PATTERNING LISTS

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CONCEPTUALISATION 31

A.7 Part A Bibliography A.1 Design Futuring · Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice , Oxford: Berg · Chetwood, Laurie, Sustainable Design : The Butterfly House, n.d, <http://www.ljhooker.com. au/myljhooker/sustainable-design-the-butterfly-house> (accessed 30 July 2016) · Jones, Will, The Butterfly House, n.d, < http://architizer.com/projects/the-butterfly-house/> (accessed 30 July 2016) · Glancey Jonathan, It’ll never take off, 2003 , < https://www.theguardian.com/artanddesign/2003/ nov/24/architecture> (accessed 30 July 2016) · n.a , Canuhome, 2008 , < http://institutewithoutboundaries.ca/?portfolio=canuhome>, accessed 30 July 2016 · Ranson, Jeff, Green Building Brain: Canuhome, 2010 ,< http://greenbuildingbrain.org/buildings/can home> (accessed 30 July 2016) · Busyboom, Prefab Canuhome, 2008, < http://www.busyboo.com/2008/07/22/prefab-canuhome/> (accessed 30 July 2016)

A.2 Design Computation · Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge) · Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press) · Mayer, Adam, The Guangzhou Opera House: An Architectural Review, 2011, < http://www.chinaur bandevelopment.com/the-guangzhou-opera-house-an-architectural-review/> (accessed 7 August 2016) · Arch20, Guangzhou Opera House, n.d, < http://www.arch2o.com/guangzhou-opera-house-zaha-hadidarchitects/> (accessed 7 August 2016) · Giovanni, Joseph, Guangzhou Opera House, 2011, < http://www.architectmagazine.com/design/build ings/guangzhou-opera-house_o> (accessed 7 August 2016) · Kudless, Andrew, Shellstar Pavillion, 2012, < http://matsysdesign.com/category/projects/shell-star-pavil ion/> (accessed 7 August 2016) · Yazgi, Begum, Shellstar Pavillion, 2013, <http://www.architectureoflife.net/en/shellstar-pavilion-by-mat sys/> (accessed 7 August 2016)

A.3 Composition/Generation · Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 · Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12 · Pollock, Naomi, The making of Sou Fujimoto’s 2013 Serpentine Gallery Pavilion, 2013, < http://www. wallpaper.com/architecture/video-the-making-of-sou-fujimotos-2013-serpentine-gallery-pavilion> (ac cessed 10 August 2016) · Merrick, Jay, Cloud of steel: Sou Fujimoto’s temporary pavilion for London’s Serpentine Gallery un veiled, 2013, < http://www.independent.co.uk/arts-entertainment/art/news/cloud-of-steel-sou-fujimotostemporary-pavilion-for-londons-serpentine-gallery-unveiled-8643999.html> (accessed 10 August 2016) 32

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· Wainwright, Oliver, Serpentine Gallery becomes Serpen-Tron with radical new pavilion, 2013, <https://www.theguardian.com/artanddesign/2013/jun/04/serpentine-gallery-pavilion-sou-fujimo to> (accessed 10 August 2016) · n.a , Serpentine Gallery Pavilion 2013, 2013, < https://en.wikiarquitectura.com/index.php/Serpen tine_Gallery_Pavilion_2013> (accessed 10 August 2016) · Bojovic, Marija, Repetitive Assemblage In Salzburg / Temporary Art Pavilion By Soma Architecture, 2013, < http://www.evolo.us/architecture/repetitive-assemblage-in-salzburg-temporary-art-pavil ion-by-soma-architecture/> (accessed 10 August 2016) ·Lomholt, Isabelle, Mobile Art Pavilion ‘White Noise’, Salzburg, 2013, < http://www.e-architect.co.uk/ austria/mobile-art-pavilion-white-noise> (accessed 10 August 2016) · n.a, Mobile Art Pavillion “White Noise”, 2013, < http://www.archello.com/en/project/mobile-art-pavil lon-white-noise> (accessed 10 August 2016)

ILLUSTRATIONS Rogers, S.A, Walkability & Hyperdensity: 14 Concepts for Future Cities, n.d, <http://weburbanist. com/2014/01/06/walkability-hyperdensity-14-concepts-for-future-cities/> (accessed 29 July 2016) Galli, Francesco, Re-Futuring the “Vicious Circle”. The Power of Anomaly and Debris to Envision a Chaotic Design System, 2016, < http://cumulusmilan2015.org/proceedings/articles/abs-020-Envisioning/> accessed 7 August 2016 Giudice, Gradient Descent Algorithm, 2012, < http://madeincalifornia.blogspot.com. au/2012/11/gradient-descent-algorithm.html> accessed 7 August 2016 Vasilaki, Elma, Apomechanes | nonlinear computational design strategies, 2010, <http://architetturaedisegno.blogspot.com.au/2010/12/apomechanes-nonlinear-computational.html> (accessed 7 August 2016)

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B1. RESEARCH FIELD B2. CASE STUDY 1.0 B3. CASE STUDY 2.0 B4 TECHNIQUE DEVELOPMENT B5 TECHNIQUE PROTOTYPES B6 TECHNIQUE PROPOSAL B7 LEARNING OUTCOMES B8 APPENDIX

CONCEPTUALISATION

PART B CRITERIA DESIGN

CONCEPTUALISATION 35

B.1 RESEARCH FIELD

BIOMIMICRY WHAT IS BIOMIMICRY? BIOMIMICRY IS DEFINED AS THE STUDY OF EMULATING AND MIMICKING NATURE WHERE IT HAD LONG HISTORY OF BEING UTILIZED BY DESIGNERS TO HELP IN SOLVING HUMAN PROBLEMS. IN THE PAST, A LONG TIME AGO, MANY DESIGNERS AND ARCHITECTS DREW MOST OF THEIR INSPIRATION FROM NATURE AS A SOLUTION FOR VARIOUS DESIGN PROBLEMS. BIOMIMICRY ARGUES THAT NATURE IS ONE OF THE MOST INFLUENTIAL AND HAS A STRONG SOURCE OF INNOVATION FOR DESIGNERS DUE TO THE LONG YEARS OF EVOLUTION APPROXIMATELY 3.85 BILLION YEARS AND THEREFORE HOLDS THE KEY TO SOLVING PROBLEMS OF THE ENVIRONMENT AND ITS INHABITANTS. THIS FIELD DEALS WITH NEW TECHNOLOGIES THAT ARE DEVELOPED FROM BIO-INSPIRED ENGINEERING AT DIIFFERENT LEVELS OF SCALE BOTH MICRO AND MACRO. BY DRAWING INSIPIRATION FROM NATURE AND MIMICKING NATURAL FORMS TO CREATE VARIOUS TYPES OF STRUCTURAL CONFIGURATIONS, THE SEARCH FOR AN ANSWER TO COMPLEX QUESTIONS ABOUT DESIGN HAVE BEEN NARROWED OR EVEN SIMPLIFIED IN THE ARCHITECTURAL DISCIPLINE. THE ‘‘BIOMIMICRY’’ TERM FIRST APPEARED IN SCIENTIFIC LITERATURE IN 1962, AND BECAME HIGHLY USED AMONGST MATERIAL SCIENTISTS IN 1980 AND OFTEN IS ASSOCIATED WITH DEVELOPING SUSTAINABLE DESIGN SOLUTIONS AND BEEN APPLIED TO THE MILITARY TECHNOLOGY FIELD. 1

THE HISTORY OF BIOMIMICRY IN ARCHITECTURE THE BIOMIMICRY APPROACH IN ARCHITECTURAL DESIGN HAD BEEN LONG MANISFESTED IN BUILT FORMS SUCH AS OLD TEMPLES OF ANCIENT EGYPTIAN CIVILIZATION WHERE THE STRUCURAL COLUMNS WERE INSPIRED BY THE LOTUS PLANT OR ACANTHUS WHICH HAPPENS TO BE THE SACRED PLANT FOR THE EGYPTIANS. TREES, PLANTS AND MOST NATIVE VEGETATION HAVE GENERALLY BEEN USED AS A SOURCE OF INSPIRATION FOR THE ORNAMENTED STRUCUTRAL COLUMNS OF THE CLASSICAL ORDER DURING TIMES OF ANCIENT GREEK AND ROME CIVILIZATION. DURING THOSE TIMES WHERE CRAFTMANSHIP PLAYED A MAJOR ROLE IN THE CONSTRUCTION OF DESIGN ELEMENTS , A HUGE AMOUNT OF PRECISION AND ACCURACY IS REQUIRED TO CARVE AND REPLICATE THE FEATURES OF THE NATURAL FORMS INTO THE COLUMNS AND OTHER PARTS OF THE BUILDING. THERE WERE ALSO PRESENCE OF THE SIMILAR APPROACH DURING THE MEDIEVAL PERIOD IN THE 12TH CENTURY, WHERE CATHEDRALS WERE THE MOST IMPORTANT BUILT FORM AT THAT TIME. THERE WAS AN IMPORTANT 0ELEMENT WHICH IS THE ORNAMENTED FAN VAULT WHICH HIGHLY INCORPORATES THE SHAPE OF THE TREE. THESE NATURAL FORMS WERE ALSO HIGHLY SIGNIFICANT WITH THE TRANSITION TO THE ART NOVEAU STYLE FROM LATE 19TH CENTRUY TO THE BEGINNING OF THE 20TH CENTURY, WHEN THE COMBINATION BETWEEN ARCHITECTURAL FORMS AND THE STRUCUTRES INSPIRED BY NATURE WERE SEEN IN THE WORK OF THE MONK OF ARCHITECTURE KNOWN AS ANTONIO GAUDI. 2 1 Aziz, Moheb Sabry, “Biomimicry as an approach for bio-inspired structure with the aid of computation” , 2016 Alexandria Engineering Journal 55, no. 1 (2016): 707-714. 2 Aziz, 2016 36

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CONCEPTUALISATION 37

B.1.2 My Thread Pavillion 2012 Jenny Sabin, Manhattan, New York City, 2012

The My Thread Pavillion 2012 was developed by Jenny Sabin for the International Nike FlyKnit Collective and was commisioned by Nike Inc is an innovative textile pavillion that combines the principles of science, art and technology which provides new design solutions and thoughts about the structure and the relationship of the body to technology, while the complexities of the natural form and internal geometries are simplified with new understandings and forms that were delivered with the combination of bio and digital architecture for mathematical and generative systems. 1 Sabinâ&#x20AC;&#x2122;s inspiration for the project came from her interest in projecting the human body as a bio-dynamic model that utilizes the concept of biomimicry as she believed that through the integration of this concept would provide new design methods, solution and ways of thinking about issues of performance and adaptation at an architectural scale. 2 The pavilion itself has a much harder and stronger constructive element on the outside and softer organic inner material The entire structure was composed out of adaptive knitted, solar active, reflective photo lumniescent threads with a steel cable net holding hundreds of aluminum rings, the complexitiy of the body often in motion was addressed by the simplicity of knitted geometries. One of the important aspect to be noted was the installationâ&#x20AC;&#x2122;s adapatable sensitivity and flexibility resembles that of the human form. It was difficult to imagine how the pavillion was constructed out of mimicking the geometries of the cells like structure to actually form a lightweight structure that was composed out of knitting and braiding techniques. 1. Bojovic, Marija, Knitting A Building: My Thread Pavillion for Nike , 2013 < http://www.evolo.us/architecture/knitting-a-building-my-threadpavilion-for-nike/> (accessed 28 August 2016) 2 Bojovic, 2013 38

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CONCEPTUALISATION 39

B.1.3 The Eden Project Grimshaw Architect, Cornwall, UK, 2000

The Eden Project that was conceived by Grimshaw Architects located in Cornwall, was funded by the Uk Millenium Project for the public where it has since became a popular tourist attraction, research and educational tool that could last for many generations. Initally, the mission of the Eden Project was to promote the awareness of sustainability such as the understanding and responsible management of the vital relationship between nature, people and resources thorugh the design of the three main biomes or golf ball like structure. There are essientially three biomes in the Eden Project: the humidtropics biome, the warm temperate biome, and the moderate temperate biome which is the land surrounding the two enclosed bubble like structures. The indoor biomes are basically a series of large geodesic domes consisting of a honeycomb of hexagons infilled with a triple layer of plastic membrane ethylenetetrafluoroehyleneco-polymer (ETFE). The structure and form of each hexagon do address the approach of biomimetics in architecture as they depict the organic shape of a building that incorporates natural forms. 1

1 Prance, Ghillean T. “A paradise for economic botanists: the Eden Project.” 2002. Economic botany 56, no. 3 (2002): 226-230. 2 Black, Andrew P. “The Eden Project: Overview and Experiences.” 1986. Department of Computer Science, University of Washington, EUUG, Autumn 86 (1986): 22-25. 40

CONCEPTUALISATION

Each biome play a huge role in reproducing the different qualities of every ecosystem in various region in the world such as the rainforest biome is mainly divided into five principal regions and is filled with the useful plants of the tropics. Five areas where four are mainly geographic: Africa, America, Asia and Oceanic Islands and the fifth area, Cornucopia, is a demonstration of several important tropical crops. All five areas were crammed with interesting and useful plants with many interpretative labels. In addition, the warm temperate biome is used to depict the diversity and uses of Mediterranean ecosystems where it includes the range of California, South Africa and the Mediterranean. In this space, one could easily find groves of olive trees, citrus, vines, cork trees and many other crops of region varying from beans to tomatoes. The design of these biomes is so structurally stable that it does not need any internal supports even in the 240m span of the largest biome. In terms, of energy efficieny, the hemisphere shape helps to conserve the heat energy that is required especially in the humidtropics biome. This was also enhanced by the fact that a sphere possesses the largest amount of volume compared to its surface area compared to any other forms. 2

CONCEPTUALISATION 41

CONCEPTUALISATION

B.2. CASE STUDY 1.0

CONCEPTUALISATION 43

CONCEPTUALISATION

B.2.1 The Morning Line

Aranda Lasch , Matthew Richie, Seville , 2008

The Morning Line is a contemporary art pavillion which projects the first ever semiasographic building that is capable of expressing its content through its structure as a piece of architectural language that is constantly regenerating itself and falling apart. The flower like structural pattern was created out of a series of truncated tetrahydron or also known as â&#x20AC;&#x2DC;the bitâ&#x20AC;&#x2122; in which the shape of the bit was reconfigured into different architectural forms that were scaled up and down within the fractal cycles to any imaginable size, even potentially to the size of the universe. 1 This project takes the concept of biomimicry to a new level in the architectural language as the identity of the building do not only focus on geometrical elemetns but also emphasize on the expressive forms as it draws inspiration from the natural space such as the universe of the Milky Way which cosmological theories could be well applied as an new visual language through the form of the pavillion. 2 The sonic identity in which was created by Matthew Ritchie, with the unique collaboration with the Music Research Center at York University -was able to solve acoustic related problems that are related to design which integrates the presence and movements of visitors by emitting customized sounds from an everevolving sonic library. 3 1 n.a, The Morning Line, 2008, < http://www.e-flux.com/announcements/the-morning-line/> (accessed 31 August 2016) 2 n.a, the morning line by matthew ritchie with aranda\lasch and arup, 2009, < http://www.designb oom.com/art/the-morning-line-by-matthew-ritchie-with-aranda-lasch-and-arup/> (accessed 31 August 2016) 3 Miller, Wesley, The Morning Line, 2008, < http://blog.art21.org/2008/09/04/matthew-ritchie-the-morning-line/#. CONCEPTUALISATION 45 V8Z86ph95hE > (accessed 31 August 2016)

B.2.2 CASE STUDY 1.0 SPECIES 1 SCALE OF TETRAHEDRONS AT VERTICES

N= 0.1

N= 0.2

S=4 N= 0.1

S=4 N= 0.2

SPECIES 2 NUMBER OF SIDES + SCALE OF CLUSTERED TETRAHEDRONS AT VERTICES

SPECIES 3 NUMBER OF SIDES + SCALE OF CLUSTERED TETRAHEDRONS AT VERTICES

S=5 N= 0.1 46

CONCEPTUALISATION

S=5 N= 0.2

0 SPECIES EXPLORATION

N= 0.3

N= 0.4

N= 0.5

S=4 N= 0.3

S=4 N= 0.4

S=4 N= 0.5

S=5 N= 0.3

S=5 N= 0.4

S=5 N= 0.5 CONCEPTUALISATION 47

SPECIES 4 WEAVER BIRD MESH SMOOTHING + SCALE OF CLUSTERED TETRAHEDRONS AT VERTICES

S=4 N= 0.1

U=0.5 V=0.5 W=0.5

S=4 N= 0.2

U=0.5 V=0.5 W=0.5

S=4 N= 0.1

U=1.5 V=1.5 W=1.5

S=4 N= 0.2

U=1.5 V=1.5 W=1.5

S=4 N= 0.1

U=1.5 V=1.5 W=1.5

SPECIES 5 WEAVER BIRD MESH SMOOTHING + SCALE OF CLUSTERED TETRAHEDRONS AT VERTICES

SPECIES 6 WEAVER BIRD MESH SMOOTHING + BEVEL EDGES + SCALE OF CLUSTERED TETRAHEDRONS AT VERTICES

CONCEPTUALISATION

S=4 N= 0.2

U=1.5 V=1.5 W=1.5

S=4 N= 0.3

U=0.5 V=0.5 W=0.5

U=1.5 V=1.5 W=1.5

S=4 N= 0.4

U=0.5 V=0.5 W=0.5

S=4 N= 0.5

U=0.5 V=0.5 W=0.5

S=4 N= 0.4

U=1.5 V=1.5 W=1.5

S=4 N= 0.5

U=1.5 V=1.5 W=1.5

S=4 N= 0.4

U=1.5 V=1.5 W=1.5

S=4 U=1.5 N= 0.5 V=1.5 W=1.5 CONCEPTUALISATION 49

SPECIES 7 LOFTING THE BEZIER SPAN CURVE + SCALE OF CLUSTERED TETRAHEDRON AT VERTICES

S=4 N= 0.1

S=4 N= 0.2

SPECIES 8 EVALUATE THE BEZIER SPAN CURVE AND INTERPOLATE POINTS

S=4 N= 0.1 P=2

S=4 N= 0.2 P=2

SPECIES 9 POLAR ARRAY + TETRAHEDRAL BREP

S=4 N= 0.4 50

CONCEPTUALISATION

C=3 A= 3

S=4 C=4 N= 0.3 A = 3

S=4 N= 0.3

S=4 N= 0.4

S=4 N= 0.3 P=2

S=4 N= 0.4 P=2

S=4 C=5 N= 0.3 A = 3

S=4 C=6 N= 0.3 A = 3

S=4 N= 0.5

S=4 N= 0.5 P=2

S=4 C=7 N= 0.3 A = 3 CONCEPTUALISATION 51

B.2.3 CASE STUDY 1.0 : MATRIX ANALYSIS AN

BEZIER SPAN CURVE WITH SCALED TETRAHEDRON AT VERTICES The fractal truncated tetrahedrals that were the main bits that form the overall structure and integrity of The Morning Line Pavillion were seen to be the highlight of the matrix species that were explored in the research field of Biomimicry. By altering the number of segments on the original form and the scale of the repeated tetrahedrals that were placed at the centre of the vertices of the orginal pyramidal structure had produced different pattern outcomes which has the potential to be developed into a larger temporary structure which resemble natural and organic forms of a flower or a star shaped pavillion. By only taking the curves of the bezier span structure that were drawn on the faces of the resulting tetrahydron had gave me a better analysis and understanding of the fractal geometries that were produced from this criteria as a result of the repeated formal elements that were being reused. The resulting outcome that were produced from the various changes in parameters could also produce a differing overall structure of The Morning Line Pavillion if the truncated tetrahedrons were stacked at a similar composition as the project.

CONCEPTUALISATION

ND SUCCESSFUL SPECIES

WEAVER BIRD MESH SMOOTHING AND BEVEL EDGES The integration of weaver bird mesh smoothing into the original structure of the fractal pyramidals had resulted in a different structural composition as compared to the bezier span curve pattern that were generated from the original pattern. Although the change in the geometry do not affect the location of the fractal tetrahedrals at the vertices, the resulting structure had induce a much greater degree of complexity, dynamic movement and aesthetic qualities into the structure with sharp edges and points protruding away from the center of the shape and if were to be stacked to form a larger structural entity would result in a more dynamic composition with the potential to create many different lighting and shadow outcomes in the interior circulation space. This species if which were utilized in a creative and innovative way are also good ornamental structures that could be used as a symbol or representation on a building facade or the interior ceiling structure where different spatial experience or configurations could be induced into the path of the users.

CONCEPTUALISATION 53

CONCEPTUALISATION

B.3. CASE STUDY 2.0

“BASICALLY, IF REVERSE ENGINEERING IS BANNED, THEN A LOT OF THE OPEN SOURCE COMMUNITY IS DOOMED TO FAIL.” JON JOHANSEN

CONCEPTUALISATION 55

CONCEPTUALISATION

B.3.1 Maple Leaf Square Canopy United Visual Artists, Toronto, Canada, 2008 After experimenting on the fractal geometries of the individual entity of the Morning Pavillion in the previous case study that emphasize the process of recursion to develop the truncated tetrahedrons through multiple iterations for form finding, case study B3 intends to develop a rational process of algorithmic thinking through a concept of reverse engineering for a selected case study project. For this criteria, I have chosen to analyse and attempt to develop my own recipe of recreating a geometrical pattern that resembles as much as the one that was used by UVA for their Maple Leaf Sqaure Canopy which was assembled and built in Toronto. The project was intended to induce the experience of walking through the dappled light of a forest for the users which incorporates almost thousands of identical modules in which their form was derived from the organic geometry of lleaves. The canopy is generally a regimented grid whose modules resembles or bears the shape of crystalline materials, cells of leaves, or even the shape of maple leaf itself which recognizes the intention of the architect to create an artificial sculptural pedestrian sidewalk with the integration of natural elements to allow the public to immerse themselves in a natural space amid being surrounded by the high density concrete jungle 1 1 Saieh, Nico, Maple Leaf Square Canopy, 2010, < http://www.archdaily.com/81576/maple-leaf-square-canopy-united-visual-artists> accessed 28 August 2016

CONCEPTUALISATION 57

B.3.2 CASE STUDY 2.0 : REVERSE ENGINEERING ATTEMPT ONE

The reverse engineering experiment of the Maple Leaf Square Canopy was to develop and demonstrate a r developed for the case study. Voronoi cells structure was used to to replicate and recreate the identical mod although voronoi were not the perfect component to replicate the exact shape of each modules as they als

Create surface boundary that is similar to the overall rectangular s structure and form of the Maple Leaf Square Canopy which was referenced into the Grasshopper Canvas

Voronoi 2D component was used to attempt to imitate and recreate the leaf geometries of the canopy. Each cells were offset at a certain distance to give the overall structure some thickness 58

CONCEPTUALISATION

Divide the base surfa equivalent set of poin

A list of cull pattern was inc or cells to represent the mo artificial lighting of the cano also repeated to give these thickness

MAPLE LEAF SQUARE CANOPY

rational thinking process of how the geometrical pattern of the leaf structure was generated and dules units that were used as they are almost similar in terms of their cellular form, structure and identity so differ in terms of their cellular size and angle.

ace into an nts in the UV direction

corporated to select the faces odules that will be part of the opy. Previous step was set of geometries some

These points were then randomly populated over the base surface to be used as the center points for creating the geometries and cells of the leaves

The holes of the selected faces that were generated and selected from the cull pattern list were extruded, capped and combined with the overall cellular structure created in step 5 to complete the canopy with a series of alternating patterns which includes filled and empty celullar geometries. CONCEPTUALISATION 59

B.3.3 CASE STUDY 2.0 : REVERSE ENGINEERING ATTEMPT ONE

CreateCANOPY surface boundary that is similar to the overall rectangular s SURFACE structure and form of the BOUNDARY

DIVIDE AND POPULATE SURFACE CREATE VORONOI CELL STRUCTURE ON SURFACE CULLING THE VORONOI CELLS EXTRUDE AND CAP CULL PATTERN EXTRUDE ORIGINAL PATTERN AND COMBINE

CONCEPTUALISATION

FINAL OUTCOME MAPLE LEAF SQUARE CANOPY

The final outcome of the reverse engineering that was attempted to reproduce the maple leaf square canopy was considered to be partly successful as the I was only able to reproduce the geometrical cellular pattern through techniques such as cull pattern list to create faces for the artificial lighting and the integration of the voronoi cell structure in Grasshopper. However despite the close resemblance, the outcome was still far from complete from the built case study as I was not able to create modules which were identical in the size and form. The voronoi cellular structure do share some of the similarities with the leaf geometrical structure used for the project but it was difficult to achieve the exact copy of the real structure that was used. In addition, I was only able to create a 2- dimensional flat planar surface from the faces that were chosen from the cull pattern list to indicate the filled solid modules for the artificial lighting which differs from the actual extruded solid with some angled surface that resemble a 3 dimensional crystalline structure

I had also experiment on a different technique to reproduce the 3 dimensional modules of the artificial lighting by creating the geometry on the rhino and combined with the techinques of box morphing and cull pattern over the orginal canopy surface, however this method is limited as the cellular structure CONCEPTUALISATION 61 from the voronoi component werent able to be integrated causing only the solids to be displayed

CONCEPTUALISATION

B.3.4 EXOtique/PROJECTiONE PROJECTiONE, Muncie, IN, United States, 2011 The Exotique ‘drop ceiling’ case study project that was developed by PROJECTiONE is the second attempt in trying to develop a rational design thinking process through the algorithmic scripting of reverse engineering. As we have yet to decide on a specific design criteria in which we are developing for the next stage, I was interested in recreating the structure of this project due to its simplicity and lightweight form of installation as a ceiling typology. The project was intended to create a simple, hexagonally based component system that would act as a lit ‘drop ceiling’for the space. This project also fulfils the research field of Biomimicry in which I was exploring in which organic pattern and structure such as the hexagonal cellular network was chosen as the main design concept which was incorporated with the curvilinear tensile structure of the overall form. Each individual cells also differ in their size and the amount of perforated holes which control the intensity of light entering the space below that was provided by the lamp cord sources installed above the ceiling structure.1

1. EXOtique / PROJECTiONE, 2011, ArchDaily, <http://www.archdaily.com/125764/exotique-projectione/> Accessed 4 Sep 2016.

CONCEPTUALISATION 63

B.3.5 CASE STUDY 2.0 : REVERSE ENGINEERING ATTEMPT TWO

The reverse engineering experiment of the Exotique drop ceiling project was my second attempt in develo computational algorthimic scripting in Grasshopper. The hexagonal grid that was utilized was much easier canopy but possess even greater difficulty in patching each hexagonal cells to create individual surfaces an

3 open curves were drawn in Rhino and lofted to create the curvilinear structure of the drop ceiling

The hexagrid is exploded into individual segments in which discontinuities of the curves were located at their vertices and these information wass sent to the patch component to create surfaces for individual cells CONCEPTUALISATION

The lofted surface is referenced in set as the base surface for the he

Individual cell surfaces that selected using the cull patt were populated closest to

EXOTIQUE/PROJECTIONE

oping a rational thinking process and methods that was used to reproduce the case study through r to manipulate and produce as compared to the leaf structural geometry that was used in the nd the different perforation radius that was required on these surfaces.

nto the Grasshopper canvas to be exagonal grid cell structure

t were patched were randomly tern index using points that the surface

A hexagonal grid was created from using Lunchbox plugin in which the number of cells were controlled by the UV perimeters that were bounded by a rectangular plane. The grid was then mapped onto the base surface such that it follows the curvature of the surface.

Due to the high complexity of the data tree structure, I was restricted to perforate a certain amount of faces that were chosen from the cull pattern list. The hexagonal surfaces that was generated from the hexagonal grid structure were divided and populated with a number of points to generate circular patterns on the surface to be perforated CONCEPTUALISATION 65 using solid difference

B.3.6 CASE STUDY 2.0 : REVERSE ENGINEERING ATTEMPT TWO

3 OPEN CURVES LOFTED TO CREATE BASE SURFACE OF CEILING LOFTED SURFACE REFERENCED INTO GRASSHOPPER

2D PLANAR HEX GRID CREATED WITH NUMBER OF CELLS CONTROLLED IN UV DIRECTION HEXAGONAL GRID MAPPED ONTO THE BASE SURFACE HEXAGONAL GRID EXPLODED AS INDIVIDUAL CELLS USING EDGES TO PATCH CELL SURFACES PATCHED CELL SURFACES WERE CULLED TO SELECT FACES FOR PERFORATION

CONCEPTUALISATION

FINAL OUTCOME EXOTIQUE/ PROJECTIONE

The reverse engineering of the Exotique ceiling was much more successful in terms of similarity of the final outcome with the built project due to the simplicity of the structure and form that was fabricated. The most challenging aspect of reproducing this case study was creating surfaces using the boundaries of each individual hexagonal cells that follows the curvature and flow of the base surface in which each individual surfaces will be given some amount of perforations for the control of overall lighting into the space. I was somewhat satisfied with the final outcome of my development but there are still lots of room for improvement that could push my technique further but constrained by my lack of knowledge in Grasshopper.

CONCEPTUALISATION 67

B.4 TECHNIQUE: DEVELOPMENT CONCEPTUALISATION

CONCEPTUALISATION 69

B.4.1 ITERATION AND DEFINITION D A

U= 25

V= 8

U= 25

V= 16

U= 25

V= 24

D= 4

D= 8

D= 12

D= 1

D= 3

D= 5

D= 1

CONCEPTUALISATION

DEVELOPMENT SPECIES A PANELS DISPATCH

U= 25

V= 32

V= 40

Tesselation of a series of panels were added to the original surface at random points of the structure in which the number of panels were controlled in the UV direction and parameters

SPECIES B WEAVERBIRD OFFSET MESH

D= 16

D= 20

The individual hexagonal cell surfaces were converted to meshes in which the results were offset using the weaverbird offset tool creating a blooming structure from the center

SPECIES C WEAVERBIRD MESH THICKEN

D= 7

D= 9

The meshes of the hexagonal cells were extruded and thicken with certain distance from the original position creating a much denser structure as the parameters increases

CONCEPTUALISATION 71

F=5

F = 10

F = 15

U = 10 V= 8

CONCEPTUALISATION

U = 30 V= 8

U = 50 V= 8

SPECIES D

FD== 720

FD= = 25 7

BASE EXTRUSION The hexagonal grid system was extruded to give the overall structure greater depth and density that result in a honeycomb spatial configuration

SPECIES E

U = 70 V= 8

U = 90 V= 8

QUADRANGULAR PANELLING Repeated quadrangular tesselation were added to the base surface of the structure in which the size were controlled in the UV direction for maximum panelling effect

SPECIES F BOX MORPH Different series of tesselation patterns were morphed over the structure of the base surface using a single reference geometry CONCEPTUALISATION 73

S = 10

S = 20

S = 30

S = Steps

S = 0.001

S = 0.003

S = 0.005

S = Steps

I S = 0.001

R = 0.1 R =74 Radius

CONCEPTUALISATION

R = 0.2

R = 0.3

SPECIES G

S = 40

S = 50

ROTATION & CULL The tesselated geometry that was morphed over the base surface was rotated and cull to create an effect that |was controlled by the step parameter

SPECIES H

S = 0.007

S = 0.009

ROTATION & SCALE Different series of tesselation patterns were morphed over the structure of the base surface using a single reference geometry

SPECIES I

R = 0.4

R = 0.5

DELAUNAY EDGE & PIPE Delaunay edge were used to create triangular articulation using the vertices of the hexagonal grid and thickened by piping creating a triangular structure CONCEPTUALISATION 75

S=3

S = Sides

S=7

S=5

U= 10

CONCEPTUALISATION

V= 10

U= 15

V= 10

U= 20

V= 10

SPECIES J KANGAROO FORM FINDING Hexagonal grid was converted into a mesh plane and the form was manipulated with kangaroo physics with different position and location of anchor points

SPECIES K

S = 11

S=9

HEXAGONAL WEAVING Weave pattern that was generated from through the interlocking connection of the hexagonal grid structure

SPECIES L RIBS STRUCTURE The base surface is divided into a series of rib structural configuration that are controlled by the UV parameters U= 25

V= 10

U= 30

V= 10

CONCEPTUALISATION 77

B.4.2 SELECTION CRITERIA AND SUC

B.2.2 CASE STUDY 1.0 : MATRIX ANALYSIS A

ITERATION A The structure that was developed using the physics of kangaroo is considered to be one of the selected successfull species that was chosen as the outcome has many potentials to be developed into either a canopy or roof structure that is able to span across a large amount of occupants and create a number of interesting event spaces within the the structure that is particularly useful in responding to the criteria and requirements of the brief

ITERATION B This outcome that was depicted in this iteration that was developed from extruding the base hexagonal grid had resulted in a development that has many potential in incorporating the formal integrity of the honeycomb structure and characteristics that could be integrated with the requirements of the brief such as the architecture of pod spaces, roof or canopy tesselation and the structural integrity of a pavillion

The iterations that were chosen from the technique development was based on t we were asked to propose a permanent structure that could host a great number consideration of its form, structure, functional and aesthetic qualities that respond generative forms still have to be refined and redeveloped that consider other expe process of my technique development. 78

CONCEPTUALISATION

CCESSFUL ITERATIONS

AND SUCCESSFUL SPECIES

ITERATION C As Iteration C was merely developed from delaunaying the boundary of each hexagonal cell edges and increasing the depth and volume of the edges with the pipe component, this produces a structure that is useful to be integrated as part of the structural system of the roof, canopy or column design that is capable of withstanding and carrying a large amount of load capacity and providing lateral support to the entire structure

ITERATION D Iteration D although was formed from the creation of rib structures on the base geometrical surface have a different overall structural expression and integrity as iteration C,the outcome of this iteration has the similar design potential of that as iteration C in the development and integration as a structural support and system of any structural design that would be potentially integrated at the site and meet the requirements of the brief

the degree of suitability and consideration of the brief requirements. As r of users and programs in the site, these iterations were generated based on the d to the brief and research field that I have chosen which is biomimicry. These erential and historical context of the site that were not included during the CONCEPTUALISATION 79

B.5 TECHNIQUE :PROTOTYPES CONCEPTUALISATION

B.5.1 Prototype 1

The panels of the hexagonal cellular surface was fabricated using 1.8mm of boxboard to test the curvature and tensile structure of the Exotique drop ceiling. The material was chosen due to its more elastic and flexible characteristic that would enable the curves of the drop ceiling to be replicated Each of the panel was created with additional square tabs and slits on either side of the surface that forms the connection for the overall structure. The result of assembling this prototype was partly a success as the connection was able to determine the direction of each panels that were being connected to the corresponding adjacent surface thus creating the curvature of the ceiling. The overall structure also allow some amount of bending force to be exerted on each cell surface that was mostly facilitated by the properties of the material however over exertion of the force will cause signifcant damage to the connection tab which is one of the major weakness that was discovered from this development.

CONCEPTUALISATION 81

CONCEPTUALISATION

B.5.2 Prototype 2

The second prototype was further develop and refined from the first by fabricating the panels using 3mm medium density fibreboard as the material which is far more sturdy, rigid and strong as compared to the boxboard. The panels were connected to one another through an interlocking joints that was created on each sides of the hexagonal panels which create a more random and disturbed configuration as compared to the linearity of the previous prototype. The overall structure of this model was inspired by the dynamicism and fluidity of many case study proposal such as the Mobile Art Pavilion and the Serpentine Pavillion which highly incorporates the movement of their structural elements. As the brief requires a permanent structure to be designed at the site, the concept of this model can be used for canopy, roof or even a pavillion concept that could be used to shield and cover the space of the site. The hexagonal panels that are randomly assembled at their angled corners that forms the prototype could also be seen as a replicas of leaf petals that free falls from the natural ecosystem. Due to the rigidity of the material itself, the system does not allow much flexibility to accomodate a slight amount of bending and twisting force as this would lead to cracks that arise especially at the slit joints of the panels. However, this model is seen to obtain the greatest success in terms of texture and aesthetic effects in its overall structure and form despite its rigidity

CONCEPTUALISATION 83

CONCEPTUALISATION

B.5.3 Prototype 3

The third prototype was developed from one of my technique development of extruding the hexagonal grid structure that was used to construct the Exotique â&#x20AC;&#x2DC;drop ceilingâ&#x20AC;&#x2122; project. The structural profile of the model was initially tested using a thin and flexible paper material that is highly efficient in performing with bending and stretching forces due to the robustness of the profile itself that provides resistance to the grid from breaking apart. The structure was also further tested with a much more thicker and harder cardboard paper material that provides a stronger characteristic to the overall structural integrity but is poorer in terms of itâ&#x20AC;&#x2122;s flexibility and elasticity of the material itself. Although the overall structure does not posses as much visual or aesthetic qualities as compared to the last two prototypes, the technique has the potential to be incorporated and developed into roof or canopy structures that meet the requirements of the brief in designing a permanent structure for an iconic music festival event of the site as the structure itself is able to provide much natural lighting into the courtyard space also able to serve as a good buffer against loud noises turning the area into a more private and enclosed event rather than the ritually semi open music festival.

CONCEPTUALISATION 85

B.6 TECHNIQUE: PROPOSAL

CONCEPTUALISATION

CONCEPTUALISATION 87

Abbortsford Convent

STATEMENT OF SIGNIFICANCE How is it significant? The former Convent of the Good Shepherd is of historical, architectural, scientific (botanical), aesthetic and archaeological significance to the state of Victoria Why is it significant?

HISTORICAL SIGNIFICANCE • The Abbortsford Convent is located on part of the traditional lands of the Wurundjeri people where the nearby junction of the Merri Creek and Yarra River at Dights Falls continues to be an important meeting place for the Central Victorian Tribes, who are also known as the Kulin Nation. 1 • Rich in natural resources in which for centuries have provided the Wurundjeri people with a sheltered and resource-rich camping area 2 • Land was subdivided and sold off, creating the first land releases that expanded Melbourne beyond the urban centre with riverside properties sold as ‘gentlemen farmlets. 3 • In 1842, John Orr established Abbotsford House and next door to him Edward Curr built St Heliers House. 4 • Four nuns which are part of the Order of the Good Shepherd arrived in Melbourne in 1863 to establish a convent where they could care for women in need but the site was sold to the state Premier in 1975 where the farmland was divided from the main site and became 1 Liquorice, Abbortsford Convent, n.d, < http://abbotsfordconvent. com.au/about/history/timeline> (Accessed 8 September 2016) 2 Liquorice, n.d 88 3 Liquorice, n,d CONCEPTUALISATION 4 Liquorice, n.d

It is historically significant as the only existing former monastic or convent farm surviving in a substantial manner within a city in Australia, place of emergent for the Good Shepherd Order, facilitates the movement which prioritize the wellbeing of disadvantaged women and children in the 19th and 20th centuries

Melbourne Univ Early Learning C

Extent of registe land

Main Convent s controlled by th Abbotsford Con Foundation

Figure 2 : Plan view of the Sacred Heart (site) with surrounding buildings and their construction timeline

versity Centre

Collingwood Children’s Farm

ered

site he nvent

Land controlled by the Abbotsford Convent Foundation

Figure 1: Site Plan of the Sacred Heart in the context of Abbortsford with the surrounding spatial zoning

SITE CHARACTERISTICS AND IMPORTANCE (SACRED HEART) • Building formerly known as the Magdalen Asylum for penitents and renamed into Sacred Heart • Designed by architect Thomas Kelly who orchestraed the construction of St Euphrasia as well as the Convent Church and was constructed on c 1877-1878 • Classified as a Gothic Revival architectural style that consist of elements such as buttressed walls and consistent materials such as face brickwork walls and slate- clad roofs. • Includes a second floor along its eastern wing which extended into the Industrial School building’s roof space. • Low ceiling in the space which is sometimes described as the ‘granary’ is supported on exposed trusses with bottom chords below door height. • Walls to the principal outward- facing external elevations of the Magdalen Asylum were rendered with ruled ashlar joints on a random coursed bluestone plinth. • Includes a formal garden enclosed by a low picket fence CONCEPTUALISATION 89 in the area to the front (west) of the Magdalen Asylum.

Site Analysis And

CONCEPTUALISATION

d Brief Context

CONCEPTUALISATION 91

DESIGN PROPOSAL - HEX CANOPY

As I was lacking a core structure for my design that was able to respond to my prev the main discussion of the feedback that was addressed from my interim presentati cellular network as the core principle of my design. This was due to the further com with hexagon panelling and honeycomb structures that could be integrated with structure that was inspired by the Eden project which also utilizes the formal integr atmospheric conditions of the space according to the types of vegetation species. T wide range of events in the courtyard space of the Sacred Heart 92

CONCEPTUALISATION

vious technique exploration, development and brief requirements which forms ion, I had decided to design a canopy structure that utilizes the grid of hexagonal mmitment that I would like to explore from my previous prototype experimentation the technique of tesselation. I was particularly interested in generating a tensile rity of hexagons to generate biomes that are useful in controlling the interior This concept could well be incorporated into my canopy concept for hosting a CONCEPTUALISATION 93

DESIGN INSPIRATION FOR HEXAGONAL M

CONCEPTUALISATION

MORPHOLOGIES

CONCEPTUALISATION 95

CONCEPT INVESTIGATION AND INTERACTION WITH SITE AND OCCUPANTS

Potential Concept Development For A Canopy Structure Using Inflatable Structures

CONCEPTUALISATION

CONCEPTUALISATION 97

B.7 LEARNING OUTCOMES AND OB 98

CONCEPTUALISATION

The development and progress that I have made in the criteria design of Part B had further enhanced my knowledge and skills in algorithmic design with the aid of the next phase and generation of computational aided softwares and parametric modellers such as Grasshopper, Kangaroo, Weaverbird, Firefly and many others. As a beginner stepping into the realm of Parametric Architecture, I found myself constantly being faced with an uphill of challenges, problems and a lack of inspiration of ideas in the interface of Grasshopper which had only further strengthen my resolve in attempting to tackle and figure the logics and steps that are required in the physics of these softwares especially in the Technique Development stage of B4 where a large set of rules and techniques are required to develop and refine the progress of my reverse engineering into the next level of the criteria stage. Primarily, it was really difficult to establish a specific criteria for a proposal for my design due to the random, flexible and rapid process that was fueled by the generative form finding techniques which would result in an endless possibilities of spatial and pattern configuration, this had been further made a smoother journey after the constant polishing and practice of the software which had provided me a lot more control on the design outcome and achievement at the end of the day. In addition to this, I am also particularly interested in carrying my knowledge and skills that I have learnt so far into the final stage of Part C which mainly focuses on more development of the conceptual phase of design into the physical and real life scale with the visualization of how it would be transformed into a workable and built context that emphasizes on the connection,

BJECTIVES

CONCEPTUALISATION 99

B.8 APPENDIX B.8.1 ALGORITHMIC SKETCHES

Kangaroo Physics Simulation

100

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CONCEPTUALISATION 101

Attractor Points

102

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CONCEPTUALISATION 103

Magnetic Field

104

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CONCEPTUALISATION 105

B.8.2 Part B Bibliography B.1 Research Field Aziz, Moheb Sabry, “Biomimicry as an approach for bio-inspired structure with the aid of computation” 2016 Alexandria Engineering Journal 55, no. 1 (2016): 707-714. Bojovic, Marija, Knitting A Building: My Thread Pavillion for Nike , 2013 < http://www.evolo.us/architecture/ knitting-a-building-my-thread-pavilion-for-nike/> (accessed 28 August 2016) Prance, Ghillean T. “A paradise for economic botanists: the Eden Project.” 2002. Economic botany 56, no. 3 (2002): 226-230. Black, Andrew P. “The Eden Project: Overview and Experiences.” 1986. Department of Computer Science, University of Washington, EUUG, Autumn 86 (1986): 22-25.

B.2 Case Study 1.0 n.a, The Morning Line, 2008, < http://www.e-flux.com/announcements/the-morning-line/> (accessed 31 August 2016) n.a, the morning line by matthew ritchie with aranda\lasch and arup, 2009, < http://www.designb oom.com/art/the-morning-line-by-matthew-ritchie-with-aranda-lasch-and-arup/> (accessed 31 August 2016) Miller, Wesley, The Morning Line, 2008, < http://blog.art21.org/2008/09/04/matthew-ritchie-the-morning-line/#. V8Z86ph95hE > (accessed 31 August 2016)

B.3 Case Study 2.0 Saieh, Nico, Maple Leaf Square Canopy, 2010, < http://www.archdaily.com/81576/maple-leaf-square-canopy-unitedvisual-artists> (accessed 28 August 2016) EXOtique / PROJECTiONE, 2011, ArchDaily, <http://www.archdaily.com/125764/exotique-projectione/> Accessed 4 Sep 2016.

B.6 Technique Proposal Liquorice, Abbortsford Convent, n.d, < http://abbotsfordconvent.com.au/about/history/timeline> (Accessed 8 September 2016)

106

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ILLUSTRATIONS n.a, The Eden Project, 2016, < http://grimshaw-architects.com/project/the-eden-project-the-biomes/> (accessed 28 August 2016) n.a, Metropol Parasol Urban Centre, 2012, < http://kingarchi.blogspot.com.au/2012/11/metropol-parasol-urban-centre.html >(accessed 28 August 2016) n.a, Tree Hopper, 2012, < http://cargocollective.com/otco/TREE-HOPPER> (accessed 28 August 2016) n.a, Toronto Entertainment District, 2013, <https://torontoed.com/go-do-eat-stay/dining/> (accessed 28 August 2016) n.a, Canopy Toronto, 2012, <http://www.d3technologies.com/projects/21-Canopy-Toronto,-2010#. V8lupfl96Uk> (accessed 2 September 2016) n.a, Canopy, 2012, <http://openbuildings.com/buildings/canopy-profile-40978> (accessed 2 September 2016) Frearson, Amy, Scrap Skyscrapper, 2012, <http://www.dezeen.com/2012/07/31/scrap-skyscraper-byprojeto-coletivo/> (accessed 28 August 2016) EXOtique / PROJECTiONE, 2011, ArchDaily, <http://www.archdaily.com/125764/exotique-projectione/> (Accessed 4 September 2016). Abbotsford House, 1863, Good Shepherd archives, <http://abbotsfordconvent.com.au/about/history/ timeline> (Accessed 8 September 2016) Liquorice, Abbortsford Convent, n.d, <http://abbotsfordconvent.com.au/about/history/timeline> (Accessed 8 September 2016) Open Architecture, Architect News, n.d, <http://architectnews.tumblr.com/post/133303728469/openarchitecture-develops-reconfigurable> (Accessed 15 September 2016) Open Architecture, Architect News, n.d, <http://architectnews.tumblr.com/post/133303728469/openarchitecture-develops-reconfigurable> (Accessed 15 September 2016) n.a, Honeycomb Canopy, 2014, < https://www.australiandesignreview.com/news/38460-honeycombcanopy-structure-is-added-to-federation-square> (Accessed 15 September 2016) n.a, Honeycomb Canopy, 2014, <https://www.australiandesignreview.com/news/38460-honeycombcanopy-structure-is-added-to-federation-square> (Accessed 15 September 2016) BR3 Projects, Designers Party, 2016, <http://www.designersparty.com/category/Architecture?page=24 > (Accessed 15 September 2016) BR3 Projects, Designers Party, 2016, <http://www.designersparty.com/category/Architecture?page=24 > (Accessed 15 September 2016) Farmer, Tray, Air Forest, 2009, <http://inhabitat.com/air-forest-inflatable-outdoor-pavilion/> (Accessed 15 September 2016) CONCEPTUALISATION 107

C.1 DESIGN CONCEPT C.2. TECTONIC ELEMENTS & PROTOTYPES C.3. FINAL DETAIL MODEL C,4 FINAL DESIGN DRAWINGS C.5 FINAL PERSPECTIVE RENDERS C.6 LEARNING OBJECTIVES AND OUTCOMES

108

CONCEPTUALISATION

PART C DETAILED DESIGN

CONCEPTUALISATION 109

110

CONCEPTUALISATION

C.1 DESIGN CONCEPT

CONCEPTUALISATION 111

C.1.1 CONCEPT DESIGN INTERIM PRESENTATION FEEDBACK The feedback that mainly forms the discussion of my interim presentation was due to the lack of a formal concept that was able to support the various techniques that was developed and expremented in one of the sectors of the criteria design in Part B. There were many possibilities and opportunities that could emerge from the techniques that were used in which I would like to carry it forward into a much more rationalised system which could be integrated together with the brief and site requirements and topology to meet the needs of the client and occupants. As described, Part C is the phase which concludes the WHAT phase of the project whereby during this period, all key design decisions are finalized. This part mainly focuses on the development of a realistic and yet innovative design proposal and the outcome is a fully documented and convincingly argued design that is critically positioned in contemporary architectural discourse.

Previous Selection Criteria that was developed from Part B 112

CONCEPTUALISATION

CONCEPTUALISATION 113

114

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CONCEPTUALISATION 115

116

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CONCEPTUALISATION 117

CONCEPTUAL IDEA Prior to the visit that was conducted to the Scared Heart Courtyard, I was captured by the natural picturesque beauty of the surrounding environment that was provided through the journey of walking trail towards the entrance of the courtyard. As the significance of the site was filled with a rich history being developed from magnificent landscaped grounds, together with the uniform Gothic Revival styling of the buildings that are currently present around the main Convent zoning, I was interested providing a much closer connection and interaction between the natural entities of the space and the users of the event through my design that centers on a structure of a canopy or roof host the event which bears my original intent of providing an acoustic shelter for a much more comfortable use of the space in terms of acoustic and comfort aspects of the users in the courtyard area during which the event was being carried out.

118

CONCEPTUALISATION

BUBBLE DIAGRAM DEPICTING THE SPATIAL ZONING ANALYSIS AND PROGRAM OBJECTIVES OF SHADOW ELECTRIC

CONCEPTUALISATION 119

BIOPHILIC DESIGN

As the concept of Biomimicry and honeycomb structures mainly form the design strategy and solution that I had explored and proposed in the criteria design of Part B, I had decided to carry forward the investigation of this research field and center the concept as the main basis in the final stage of design to be integrated together with the site and brief context in this chapter. Biophilic Design could be considered as the epitome of Biomimicry as it is the deliberate attempt to translate an understanding of the inherent human affinity to affiliate with natural systems and processes also known as biophilia. Biophilic Design aims to enhance the relationship between the human and the surrounding environment whereby it tends to achieve a much lower or positive environmental impact and also mitigates adverse impacts on the natural environment which could once again address the concern that was highlighted by Tony Fry and his abstract regarding the issue of sustainability. 1 The design element of biophilic design could be further divided into six key criterias which includes : i) Environmental features iv) Light and space ii) Natural shapes and forms v) Place based relationships iii)Natural Patterns and processes vi) Evolved human- nature relationships 1 Kellert, Stephen R., Judith Heerwagen, and Martin Mador. Biophilic design: the theory, science and practice of bringing buildings to life. John Wiley & Sons, 2011.

120

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CONCEPTUALISATION 121

NATURAL SHAPES AND FORMS One of the main key design features that was derived by the concept of biophilila would be the forms and shapes that was inspired by nature. The concept mainly emphasizes on the importance drawing back inspiration from natural organic forms and shapes that prioritizes curved architectural elements such as domes, vaults and arches rather than just straight lines and geometries. From a far, it is often difficult to differentiate the integrities of a biomimetic and conventional building but the signs of a biomimetic design would emerge once the distance is bridged. There were many precedents in the past where the principles of the dome structure were adopted to host events such as music festivals which often include a significant amount of people due its large interior space that was provided by this form of structural integrity more significantly known as the geodesic dome. These domes that were designed as a medium to celebrate large scale events were said to empower changes and evoke the emotions of the users through sound and music. These domes posess unique acoustic properties that unlike a convetional square box or an open hillside are able to enhance and unlock the musical qualities and reflection for the audience no matter where they are seated or located inside the sphere that largely forms the dome experience. 1 The Geodesic dome principles mainly incorporate modern architecture engineering concepts that is both captivating inside and out. They are well designed to reduce the environmental impact to the surrounding areas, and able to control the environmental conditions that are entering the interior space depending on the usage levels and needs that either require a well ventilated space and good natural lighting conditions. 2 1 Domeguys International, Performance Venue, VIP Lounge, Conference & Seminar Domes, n.d , < http://www. domeguys.com/geodesics/125/music-festival-domes/> (Accessed 1 October 2016) 122 CONCEPTUALISATION 2 Domeguys International, n.d

CONCEPTUALISATION 123

TENSILE STRUCTURES AS A MEDIUM FO As described and continues from the previous page, biophilic design emphasizes the implementation of organic forms and structures that were derived from the natural shapes and geometries in which these shape allow for influence of buildingâ&#x20AC;&#x2122;s forms such that it allow winds to smoothly flow along its surface in imitation of a dolphin or whale shape. Biomimicry in architecture has seen the development in which planar surfaces were transformed into a structure that was able to provide protection such as surface rolling which mimicks the Cherry leaf roller caterpillar and within which it carries out its metamorphosis. 1 The realization of the need to propose a permanent structure to host one of the most memorable event to be held at the site had drive my interest in developing a structure in which the form was derived from the structural configurations of the shells, domes and arches. These structures had been long considered in the context of the transformation of planar surfaces in which they were often built from a flat grid in which the shape were then further manipulated into various outcomes and pneumatic forms. Domes and shells were undoubtly the first inspired by studying natural examples in which the result is an extremely strong shell structure that could span large distances and worked into a variety of forms. 2

1 124 Pawlyn, Michael. Biomimicry in architecture. Vol. 15. Riba Publishing, 2011. CONCEPTUALISATION 2 Pawlyn, Michael

OR FORM FINDING AND OPTIMIZATION

CONCEPTUALISATION 125

ANALYSIS OF SHELLS AND DOMES AS E

126

CONCEPTUALISATION

EFFICIENT FORMAL STRUCTURES

CONCEPTUALISATION 127

128

CONCEPTUALISATION

CONCEPTUALISATION 129

ORGANIC STRUCTURES AS FORMAL PRI Precedent 1 Case Study Shell Shaped Shelter by Flanagan Lawrence Location: Littlehampton Seafront Project Year : 2014

130

CONCEPTUALISATION

INCIPLES FOR ACOUSTIC DESIGNS The Acoustic Shells that were designed by Flanagan Lawrence is a good starting point as a formal principle analysis that could be developed as an inspirational idea for my design to host a similar functionality. The project was situated at the seafront of the small English seaside resort of Littlehampton in which the simplicity of the form provides a good ambience with its white concrete materiality qualities that are able to blend with its surrounding context and locational properties. 1 The aim of the structure was aided by the interest to reinvigorate the site with the gentility of the early 20th Century period with the structure evoking a sense of openess together with the adjacent space of green environment and also meeting and accomodating the needs of the social aspects of the area that werent available at other regions of the space. 2 The most important aspect of the design was the aim of how the organic formal qualities was able to perform as a secondary element and help to improve the acoustic aspect of the spaces in which it inhibits. The concave and the curvature of the surface were said to amplify the sound produced by musicians playing in front of the surface which at the same time helps to mitigate the spread of the sound to the surrounding areas thus preserving it in the same spatial organization. Furthermore I was greatly influenced by the dual functional qualities where it also acts as a shelter where public users could relax, enjoy , sit and listen to sound of the lapping waves which reflects from its inner surface which drives the feeling of quiet, peace and tranquility through the design features of the structure 3 1 Alyn, Griffiths, Shell-shaped shelter by Flanagan Lawrence built on Littlehampton seafront, 2014 < http://www. dezeen.com/2014/07/22/flanagan-lawrence-acoustic-shells-shelter-stage-littlehampton/>. (Accessed 5 October 2016) 2 Alyn, Griffiths CONCEPTUALISATION 131 3 Alyn, Griffiths

Precedent 2 Case Study Kresge Auditorium by Eero Saarinen And Associates Location: Cambridge, Massachusettes Proejct Year: 1953

132

CONCEPTUALISATION

The Kresge Auditorium that was developed by Eero Saarinen is another example of how organic forms and structures were able to influence the acoustic properties in Architecture. Although the overall form was not initially driven by the interest of enhancing the performance of acoustics in the space, there were many design features that could be learnt and implemented in the formal development of my project. 1 One of the most significant criteria of the Auditorium is itâ&#x20AC;&#x2122;s dome shaped concrete roof which is supported on three points at the vertices of a triangle. This is a remarkable aspect to which the weight of the roof was only supported on three points on the ground surface. This in fact had faced numerous problems during its construction phase in which the deflection of the ground edge beams was much greater than anticipated and requires additional support of structural vertical -mullions behind the windows. 2 The stage in the main auditorium hall was placed to float on a fibreglass pad that was able to help to reduce potentially disruptive vibrations from transferring to the theater below. Acoustically absorptive materials such as oak wall grating, polychrome fabric seats and an array of curvilinear suspended panels were installed as a measure to caliberate and enhance the sonic environment quality. 3

1 Michelle, Miller, AD Classics: Kresge Auditorium / Eero Saarinen and Associates , 2014, < http://www.archdaily. com/492176/ad-classics-kresge-auditorium-eero-saarinen-and-associates> (Accessed 5 October 2016) 2 Michelle, Miller CONCEPTUALISATION 133 3 Michelle, Miller

CONCEPTUAL FORM DEVELOPMENT AND EXPL (PARTICLE SPRING SYSTEM)

Base surface was created in Rhino Canvas and referenced into Grasshopper as a mesh surface

The edges of the resulting mesh su was extracted using the Weaverbir the number of mesh faces were co direction of the plane

Each individual point at the vertices were now applied the same amount of magnitude of unary Corners of the mesh surface w force in the Z direction such that gravitational load is selected as anchor points to be applied onto every single point of the mesh grid. the Kangaroo physics simulatio This process is known as the discretization of the mesh plane surface 134

CONCEPTUALISATION

LORATION WITH MEMBRANE SIMULATION

Weaverbird Mesh Edges and Vertices Component were urface that was referenced then integrated together to locate the points of each rd Mesh Edges in which mesh vertices on the surface that respond to the ontrolled in the U and V corresponding variables that influence the mesh grid in the U and V direction

were extracted and e referenced into on

The simulation from the Kangaroo component was turned on in which the variables that were set in placed from the previous steps were projected in Grasshopper. The resulting form that was generated could be further manipulated by altering different sets of variables such as the location of anchor points, the rest length, magnitude of the unary force and the number of mesh faces for a variety of formal outcomes of the structure CONCEPTUALISATION 135

DIGRAMMATIC WORKFLOW OF THE MECHANIS

RECTANGULAR FLAT MEMBRANE STRUCTURE

136

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COMPRESSIO

ON FORCES

INFLATABLE/GRAVITATIONAL FORCES

CONCEPTUALISATION 137

RESULTING FORM VARIATION OUTCOMES

TWELVE POINT PARABOLIC STRUCTURE

EIGHT POINT PARAB

SIX POINT PARABOLIC STRUCTURE 138

CONCEPTUALISATION

FOUR POINT HYPERBOLIC STRUCTURE

BOLIC STRUCTURE

EIGHT POINT HYPERBOLIC STRUCTURE CONCEPTUALISATION 139

SOLAR ANALYSIS OF THE SITE (SUN

With the aid of Ladybug plugin, I was able to generate a much more detailed sun path diagram that would assist in the solar analysis of the site which was based on the information provided from the weather data source page that utilizes the climate of the Southern Hemisphere and its resulting impact on different spatial zoning solar exposure with its corresponding dry bulb temperature and global horizontal radiation

140

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N PATH)

CONCEPTUALISATION 141

WIND ROSE ANALYSIS SUMMER Wind-Rose Melbourne_Vic_Aus 1 DEC 1:00 - 28 FEB 24: 00 Hourly Data: WInd Speed (m/s) Calm for 16.02% of the time = 346 hours Each closed polyline shows frequency of 1.3% = 29hours

WINTER Wind-Rose Melbourne_Vic_Aus 1 JUN 1:00 - 31 AUG 24: 00 Hourly Data: WInd Speed (m/s) Calm for 16.21% of the time = 358 hours Each closed polyline shows frequency of 2.3% = 49hours

142

CONCEPTUALISATION

AUTUMN Wind-Rose Melbourne_Vic_Aus 1 MAR 1:00 - 31 MAY 24: 00 Hourly Data: WInd Speed (m/s) Calm for 23.78% of the time = 525 hours Each closed polyline shows frequency of 0.8% = 16hours

SPRING

Wind-Rose Melbourne_Vic_Aus 1 SEP 1:00 - 30 NOV 24: 00 Hourly Data: WInd Speed (m/s) Calm for 18.86% of the time = 412 hours Each closed polyline shows frequency of 1.2% = 25 hours

CONCEPTUALISATION 143

SUNLIGHT HOURS ANALYSIS

This is a diagram which shows the overall sunlight hours that was based on the day in which the site visit was carried out that is the 21st of September 2016. 144

CONCEPTUALISATION

SHADOW RANGE ANALYSIS

This is a diagram which shows the overall shading hours that was based on the day in which the site visit was carried out that is the 21st of September 2016. CONCEPTUALISATION 145

SOLAR RADIATION ANALYSIS

SUMMER

146

Morning (7am CONCEPTUALISATION - 11am)

Afternoon (12pm - 5pm)

Evening (5pm - 8pm)

AUTUMN

Morning (7am - 11am)

Afternoon (12pm - 5pm)

Morning (7am - 11am)

Afternoon (12pm - 5pm)

Evening (5pm - 8pm)

WINTER

Evening (5pm - 8pm)

SPRING

Morning (7am - 11am)

Afternoon (12pm - 5pm)

Evening (5pm - 8pm)

CONCEPTUALISATION 147

SOLAR RADIATION GENERATED PA Creating the skin of the canopy structure The solar radiation heat map that was generated on the base surface of the canopy skin further allows me to control and manipulate the size and pattern of the hexagonal grid cells that was initially mapped onto the corresponding surface. By altering the parameters that influence the analysis period of the radiant heat patterns on the site such as the average day hours, months and years, the scale of each individual hexagonal cells of the grid was manipulated according to the manner in which larger cells were created at parts of the surface where the radiant heat was maximum and smaller cells at parts of the surface where the radiant heat was minimum.

148

CONCEPTUALISATION

ATTERN Pattern that was generated according to the radiant heat analysis during the period in which the visit to the site was carried out (21st September 2016)

Morning 8am

Morning 10 am

Morning 11 am

Afternoon 12 pm

Afternoon 1 pm

Afternoon 3 pm

Evening 5 pm

Evening 6 pm

Evening 7 pm

CONCEPTUALISATION 149

FINAL GENERATED PATTERN OUTC

150

CONCEPTUALISATION

COME AND STRUCTURE The skin of the canopy was generated from the result of the solar radiation that was projected on the 21st September 2016 which is the date of the visit to the site was taken. To obtain a much more seasonal pattern that was able to accomodate different seasons of the Melbourneâ&#x20AC;&#x2122;s climate, the weather data that was input in Ladybug component was taken into consideration of an annual scale rather than a single period of a month in the calendar year

CONCEPTUALISATION 151

C.1.2 FINAL ALGORITHMIC WORKF

TECHNIQUE 1: ROOF STRUCTURE FORM FINDING U

CREATE BASE SURFACE IN RHINO AND REFERENCED INTO GRASSHOPPER

152

CONCEPTUALISATION

CONVERT REFERENCED SURFACE INTO A MESH PLANE

SET VARIABLES FOR THE NUMBER OF DIVISION OF MESH FACES IN THE U AND V DIRECTION OF THE REFERENCED SURFACE

EXTRACT MESH EDGES USING WEAVERBIRD MESH EDGES COMPONENT

EXTRACT THE CORNERS OF THE MESH

EXTRACT MESH VERTICES USING WEAVERBIRD MESH VERTICES COMPONENT

FLOW OF TECHNIQUE

USING KANGAROO SIMULATION

MESH LINES SET AS MAIN GEOMETRY TO BE MANIPULATED

SET AS ANCHOR POINTS

PROJECT UNARY FORCE IN THE Z DIRECTION ONTO THE POINTS OF VERTICES ACCORDING TO A SPECIFIC FACTOR

VALUES ARE GIVEN TO THE KANGAROO PHYSICS COMPONENT WHERE ANCHOR POINTS, FORCE OBJECTS AND MAIN GEOMETRIES ARE SET AND MANIPULATED

A TIMER OF SPECIFIC VALUE IS GIVEN TO THE COMPONENT TO CONTROL THE SPEED OF THE SIMULATION WITH THE TOGGLE TURNED ON

RESULTING SURFACE THAT IS MANIPULATED WERE EXTRACTED AS FROM THE LINES AS A MESH SURFACE WHICH IS THEN DIAGONALIZE FOR A MUCH UNIFORM VISUAL OUTPUT

CONCEPTUALISATION 153

TECHNIQUE 2: SOLAR RADIATION GENERATED PATT

INPUT MELBOURNE WEATHER DATA INTO LADYBUG

154

CONCEPTUALISATION

REFERENCE CANOPY SURFACE BOUNDARY INTO GRASSHOPPER CREATION OF THE SKY MATRIX AND RELATIVE INPUT OF GRID SIZE AND DISTANCE OF POINTS FROM THE BASE SURFACE SET ANALYSIS PERIOD FOR SPECIFIC TIME , DAY, MONTH AND YEAR DATA TO BE ANALYSED

RUN SIMULATION ANALYSIS ON CANOPY SURFACE AND EXTRACT RADIATION RESULTS ON CANOPY SURFACE AS POINTS

TERN (SUN RESPONSIVE SKIN)

RESULTING POINTS ARE TAKEN AS CENTERS OF TEST CIRCLES THAT ARE GENERATED ALONG THE BASE CANOPY SURFACE VALUES FROM THE RESULTING SOLAR RADIATION ANALYSIS WERE MANIPULATED SUCH THAT THE MIN AND MAX OF THE VALUES WERE SUBTRACTED AND DIVIDED WITH THE ORIGINAL VALUE TO GENERATE A MORE UNIFORM RADIUS FOR THE TEST CIRCLES

ONCE THE PATTERN OF THE TEST CIRCLES THAT WERE GENERATED FROM THE RESULTING ANALYSIS RADIUS WERE FORMED, THEY WERE SUBSTITUTED WITH HEXAGONAL CELLS WHICH USES THE SAME VALUES AS THE CENTER OF EACH HEXAGONAL CELLS

THE HEXAGONAL CELLS WERE SCALED USING INITIAL VALUES THAT WERE DIVIDED WHICH WERE MULTIPLIED WTH A SPECIFIC VALUE USING THE CLOSEST POINT TO THE INITIAL TEST POINTS AS INDEX VALUES GENERATING DIFFERENT SIZES OF RESULTING HEXAGONAL CELLS ON THE SURFACE

CONCEPTUALISATION 155

TECHNIQUE 3: GENERATING THE LAYERS OF FRUSTU

REFERENCE BASE SURFACE GENERATED FROM KANGAROO

HEXAGONAL PATTERN GENERATED FROM THE SUN REPONSIVE SKIN IS MAPPED ONTO BASE SURFACE

LENGTH O CURVE IS EXPLODE THE GRID INTO INDIVIDUAL CURVES AND SEGMENTS

PROVIDE VARIABLES FOR U AND V DIVISION OF THE HEXAGONAL GRID

THE RESUL ARE TEST A CONDITION EVALUATE

SUCH THAT

LESS THAN

REMOVED PATTERN C

156

CONCEPTUALISATION

UMS (VOLUME) OF THE HEXAGONAL GRID

OF EACH LISTED

LTING LENGTH AGAINST THE N X=6 USING COMPONENT

AT CELLS WITH

N SIX SIDES ARE

USING CULL COMPONENT

LATERAL FACES OF THE HEXAGONAL FRUSTUMS ARE GENERTED BY SCALING THE HEXAGONAL FRAME AND TRANSLATING THE SCALED CURVES ACCORDING TO THE SURFACE NORMALS. LATERAL FACES ARE CREATED BY LOFTING THE ORIGINAL FRAME AND THE SCALED CURVES TO GENERATE THE SURFACE

FIND SURFACE CLOSEST POINT FROM CENTER POINTS OF THE GRID

EVALUATE SURFACE AND MULTIPLY BY A SPECIFIC VALUE (DIRECTION)

LOFT CURVES TOGETHER TO GENERATE THE FRUSTUMS

MOVE LATERAL CURVES ACCORDING TO THE DIRECTION AND CENTER POINT OF THE GRID CONCEPTUALISATION 157

TECHNIQUE 4: CREATING THE STRUCTURAL COMPO

CREATE BASE SURFACE IN RHINO AND REFERENCED INTO GRASSHOPPER

158

CONCEPTUALISATION

REFERENCED SURFACE IS GIVEN A DOMAIN WHICH IS DIVIDED INTO A MIN AND MAX VALUE

SET VARIABLES FOR THE U AND V COUNT OF THE DIVIDE DOMAIN COMPONENT

BASE SURFACE IS DECONSTRUCT INTO ITS INDIVIDUAL ENTITIES (FACES, EDGES AND VERTICES) USING THE VALUES OF THE DOMAIN

INDIVIDUAL LIN ARE PROJECTED THE CENTER PO THE GRID ACCO TO A SPECIFIC LE AND DIRECTION NORMAL TO EA INDIVDUAL SUR

ONENT OF THE SPACE FRAME SYSTEM

NES D FROM OINTS OF ORDING ENGTH N ACH RFACE

MATRIX OF THE DATA IS FLIPPED TO REVERSE THE DIRECTION

END POINTS OF THE INDIVIDUAL LINE SEGMENTS ARE EXTRACTED

INTERPOLATE THE POINTS TO GENERATE THE X CONTOUR CURVES OF THE FRAME STRUCTURE

INTERPOLATE THE POINTS TO GENERATE THE Y CONTOUR CURVES OF THE FRAME STRUCTURE

ALL LINE SEGMENTS AND CURVES ARE PIPED WITH A SPECIFIC RADIUS TO ADD DEPTH ADN VOLUME TO THE OVERALL STRUCTUE

LINES ARE CONNECTED USING VERTICES OF THE INDIVIDUAL GRID AND END POINTS OF THE LINE SEGMENTS TO CREATE THE NODES OF THE STRUCTURE

CONCEPTUALISATION 159

C.2 TECTONIC ELEMENTS & PROTO 160

CONCEPTUALISATION

OTYPES

CONCEPTUALISATION 161

C.2.1 STRUCTURAL ANALYSIS SPACE FRAME STRUCTURE SPACE FRAME STRUCTURE

162

CONCEPTUALISATION

For the stuctural system that forms the skeleton of the roof canopy, a space frame structure with the integration of horizontal truss system was utilized to form the spine of the overall form. The space frame is generally a structure system that was assembled of linear elements so arranged that forces are transfered in a three-dimensonal manner. In some cases, the constituent element may be two- dimensional. In most cases, space frame often takes the form of a flat or curved surface. One of the most significant advantages of using this structure that it is lightweight and it is mainly due to the face that material is distributed spatially in such a way that the load transfer mechanism is primarily axial- either tension or compression. Furthermore, most space frames are now constructed with steel or aluminium which decreases considerably of their self weight and has a good strength to weight ratio. This is exceptionally important in the case of long span roofs that led to a number of notable applications. Units of the space frames are also usually mass produced in the factory so that they can take full advantage of an indrustialized system of construction. Space frames can be erected from simple prefabricated units, which are often similar of standard size and shape. Such units do not require much effort to be transported and can be rapidly assembled on site by semi skilled labour. This will contribute to a much lower overall construction costing. 1 CONCEPTUALISATION 163 1 Boake, Terri Meyer. Understanding Steel Design: An Architectural Design Manual, 2012 Walter de Gruyter

Roof Framing for a Circular Dome

Basic Elements of a Double Layer Grid 164

CONCEPTUALISATION

Besides, the structure of a space frame is usually sufficiently stiff and rigid despite of its lightness. This is highly due to its three dimensional character with the integration of the full participation of its constituent elements. Space frames were often appreciated by its inherent rigidity and great stiffness of its individual members and their exceptional ability to resist unsymmetrical or heavy concentrated load. 1 In addition to this, they also possess high flexibility in the layout and positioning of structural columns and a versalitlity of shape and form that can utilize a standard module to generate various flat space grids, lattice shells or even free- form shapes. 2 Designers often appreciate the visual beauty and the simplicity of lines that were provoked in the structural configuration of the space frames where the members were often left exposed as a part of the architectural expression. Some architects also desire for the openness characterisitics for both visual impact as well as the ability to accomodate variable space requirements which turn to the structure as the most favourable solution. 3 In the preliminary stage of design, it is also most important to choose and appropriate type of double layer grid as it will have a major impact on the overall cost and speed of construction, It should be determined comprehensively by considering the shape of the building plan, size of the span, supporting conditions, magnitude of loading, roof construction and architectural requirements 4

1 Boake, Terri Meyer 2 Ramaswamy, G. S., and Mick Eekhout, Analysis, design and construction of steel space frames, 2002 Thomas Telford. 3 Hurol, Yonca, 2015, The Tectonics of Structural Systems: An Architectural Approach. Routledge. 4 Englekirk, Robert E, 1994 â&#x20AC;&#x153;Steel structures: Controlling behavior through design.â&#x20AC;? CONCEPTUALISATION 165

Methods of Support And Erection

Multi Columns Supports

The ideal support for double layer grids would be square , circular or other polygona approach will minimize the maximum bending moment of a plate type of design ho the structural support of the double layer grid can take the following positions 1 : a) Along perimeters- as this is the most commonly used support location. The suppo connects the columns or exterior walls. b) Multi column supports- most commonly used for single span buildings. Corner su edge chords.

c) Support along perimetrs on three sides and free on the other side- this is frequent

1 Ramaswamy, G. S., and Mick Eekhout, Analysis, design and construction of steel space frames, 2002 Thomas Telford.

166

Assembly of structure in the air CONCEPTUALISATION

Erection by strips or blocks

Supporting Columns al shapes with overhanging or cotinuouse supports along the perimeters. This owever the configuration of the building has a significant amount of variation and

ort of the double layer grids may directly rest on the columns of ring beams that

upports should be avoided if possible because they cause large forces in the edge

tly used for buildings of a rectangular shape, which is neccesary to have one side

Erection by scaffolding method

Erection by lifting up method

CONCEPTUALISATION 167

168

CONCEPTUALISATION

C.02 TECTONIC ELEMENTS & PROTOTYPES

Individual Components of the Space Frame Structure Due to the complextity and size of the overall space frame structure that was proposed in my design, only a portion of the loadbearing structure was tested by using straws and paper fasteners to test the workability and buildability of the configuration. The straw model is good material to resemble the lightweight and openness properties of the structure due to its flexiblity and lightness of the structure once assembled. The connections that were provided by the metal brads at the joints of the structure were also rigid enough to replicate the double grid layer and the shape of the pyramidal trusses that were integrated in the real life system of the structure.

CONCEPTUALISATION 169

170

CONCEPTUALISATION

C.02 TECTONIC ELEMENTS & PROTOTYPES

FINAL PRESENTATION FEEDBACK AND REASSEMBLE Prior to the feedback that was received during the final presentation for my design, much of the problem lies on the structural section of my canopy structure where the connection between the space frame system and the hexagonal panels of the roof skin were not addressed as the space frame structure was constructed in the form of a square grid that was shown in the analysis section of the overall structure. In order to address this problem that was the main issue for my design, I have decided to reconstruct the prototype of the straw model that was used for the structural analysis of the space frame with the integration of 2.5mm x 100mm cable ties and hexagonal panels that were laser cut on 0.6mm of black polypropene due to the flexibility properties in which the material possesses. This step would indefinitely give a much accurate result which further helps to provide a much detailed analysis on the connection detail and the structural configuration of the space frame system CONCEPTUALISATION 171

STEPS IN THE METHOD OF PROTOT

Creating the structural frame of the hexagonal panels with straws and brads

172

Connecting the pa of the system usin

Expanding the frame system and hexagonal grid to more than a single cell unit and repeat of step 3 for structural nod CONCEPTUALISATION

TYPE REASSEMBLY

anels to the frame ng cable ties

des

Creation of the nodes of the space frame system using vertices of the hexagonal frame structure

Connecting the structural nodes of the hexagonal grid together to complete the space frame system CONCEPTUALISATION 173

STRUCTURAL COLUMNS

Following the form of the canopy structure that was inspired by mainly organic growth and dynamic structures, the concept of Biomimetic architecture had emphasizes the need for the support of architecture to derive its form from natural forms, functions, process. As my idea mainly revolves on the role of adopting the principles of Biophilic Design as a method to bringing the natural envrionment much closer into the space of the courtyard area and enhances the interaction between nature and the users, it is also important that the columns of my design do not lack in the formal representation that was derived from the natural surroundings. As the columns are mainly the structural backbone that carries the weight of the entire structure to the ground, it is easy to relate to natural structures such as tree branches, stems or even the skeletal systems of the human body that could provide a manifestation idea or identity representation of how the columns would be developed in the form of parametric architecture. 174

CONCEPTUALISATION

CONCEPTUALISATION 175

IMPACT OF THE PLACEMENT OF STRUCTURAL THE EXISTING BUILDINGS OF THE SACRED HE

The position and location of the structural columns in the courtyard area is seen as an important aspect in regards to the conservation and preservation of the historical context of the area especially when a contemporary infill of architecture is proposed in a site that consist of a large portion of traditional architectural style classical buildings. As these structural elements requires a significant amount of consideration in the planning of the space and layout of the conservation area, a certain degree of setback is given these columns from the internal walls of the courtyard area to separate the entities from one another such that the structural elements do not cause a significant impact and change to the presence of the area and image of the existing building as part of a rich historical context in the past. 176

CONCEPTUALISATION

L COLUMNS ON THE PRESERVATION OF EART

One of a precedent project that involves the integration between1 a contemporary piece of architecture and the existing building of the West Block that is located on Parliament Hill in Canada

The architecture team designing an addition to the West Block on Parliament Hill describes it as “both contemporary and yet respectful of the building which surrounds it.”1 1 Cook, Maria, ‘The project of a lifetime’: The architects of the West Block’s ambitious rethink draw on similar European projects, 2015, < http://ottawacitizen.com/news/politics/the-project-of-a-lifetime-the-architectsCONCEPTUALISATION 177 of-the-west-blocks-ambitious-rethink-draw-on-similar-european-projects>. (Accessed 10 October 2016)

WAFFLE GRID STRUCTURAL FRAME SYSTEM

178

CONCEPTUALISATION

Due to the complexity of the structural features of the space frame and truss system that were generated from algorithmic modelling of Grasshopper for my design in which to be fabricated for the entire final structure of the model would be difficult, a waffle grid structure was implemented to generate the curvature of the formal structure of the roof canopy. Structural ribs were created along the U and V direction which were subdivided according to the appropriate length and numbers with the appropriate thickness according to the type of material that was used. Based on this technique that was used to generate the curvature of my design, it was much easier to manipulate the splitting up and manufacturing process of the form and canopy covering into the structural ribs. The main strategy that was used was to split up the surface into a subdivision of isocurves which produces a variety number of sectors to be further experimented by one with Rhino analysis and control tools.

CONCEPTUALISATION 179

C.02 TECTONIC ELEMENTS & PROTOTYPES DIGITAL FABRICATION PROCESS BASE GEOMETRY

The formal integrity of the roof canopy that was generated from Kangaroo physics was referenced into Grasshopper as the base surface EXTRUSION

The curves that were generated were extruded in the Z direction to generated the strut surfaces of the ribs structure system which were given a specific extrusion distance 180

CONCEPTUALISATION

PROJECTION OF

The base surface was su a series of planar surfac in the U and V direction of surfaces in which dire determined by the para

ADDING DEPTH A

Each individual strut su certain thickness which sense of volume accord of the material that will

F PLANAR SURFACES

CREATION OF SUBDIVISION OF CURVES

ubdivided into ces that were projected n in which the number ection could be ameter variables

The projection of the planar surfaces forms a boundary in which the subdivision of the curves were generated according to the contour of the base surface. The number of curves can be further manipulated according to the same amount of planes

AND SOLID CREATION

urfaces were given a h gives each element a ding to the dimension l be used for fabrication.

NOTCHES AND INTERSECTION

The junction in which each individual strut element in the U and V direction of the structure intersect were added slits/notches which is similiar to the function of Boolean Difference in Rhino. CONCEPTUALISATION 181

C.02 TECTONIC ELEMENTS & PROTOTYPES INITIAL PROTOTYPE FABRICATION TESTING AND ASSEMBLY

The struts that were generated from Rhino model were sent for fabricatio using 3.0 mm of MDF material to test its rigidity and strength in reproduc the free form surface of the canopy. The properties of the material that we used are important to determine the stability of the structure and perform the skeletal system of the final detail model

Organising the fabricated X and Y structural ribs according to the sequence that was generated from the Rhino Model

182

CONCEPTUALISATION

on cing ere m as

The process of assembling the components began by firstly coordinating the X structural members through positioning according to the accurate distance and layout of the model that was generated from Rhino together with the first member of the Y structural member. It was discovered that due to the large size of the notches that was created at each intersection of the structural members had reduced the capacity of the members to create a rigid connection which in turn affects the fixation of the members to one another thus reducing the stability of the individual members of the X struts to form the structural integrity. CONCEPTUALISATION 183

Overall form of the structure that was generated after final assembly had been carried out. Much refinement of the structure is required to ammend failure at the intersections and joints of the structural memebrs such that additional bonding agent is not required for the final model.

The failure of the Y structural ribs to hold in place resulting in a weak support for the entire structure which cause a heavy deflection of the X structural ribs and failure of the entire system 184

CONCEPTUALISATION

ATTEMPTS AND FAILURES The initial attempt of producing these structural elements of the roof structure with MDF proved to be rather successful in terms of replicating the curvature and complex covering of the form which is driven by the rigidity and high strength of the material itself. However because of the high density of MDF as compared to other materials, the notches and slits that were created at the intersection of the structural members had to be assured that it is rigid and strong enough to lock, fit and hold each individual members in place such that the overall structure do not require an additional bonding agent to hold the members together as was experience from the inital test of this fabrication process. For the final detail model, it would be learnt from this experience that by reducing the size of the notches and provide a much greater grip of the membersâ&#x20AC;&#x2122; intersection and therefore much greater support and strength for the overall structure to be formed. CONCEPTUALISATION 185

186

C.3 FINAL DETAIL MODEL

CONCEPTUALISATION

CONCEPTUALISATION 187

188

CONCEPTUALISATION

SITE MOD

DEL CONSTRUCTION IN PROGRESS 1 CONCEPTUALISATION 189

190

CONCEPTUALISATION

SITE MOD

DEL CONSTRUCTION IN PROGRESS 2 CONCEPTUALISATION 191

WAFFLE FRAME STRUCTURAL RIBS SYSTEM

After the initial testing of the frame system in the previous section of C.2, the waffle grid system was refined and scaled according to the appropriate dimensions that were used to develop the site model. The number of struts in both the X and Y direction were kept the same as the previous experimentation to ensure that the overall integrity of the skeletal system was preserved. As discussed in the earlier experimentatio ,the size of the notches at the intersection of each structural members were now reduced at the scale that was used to ensure a much more rigid connection, strength and support of the overall system. As the previous structure was more uniform in the extrusion of the contour curves, the curves of the Y members were angled that is able to contribute to the rigidity of the connection intersection of the joints. 192

CONCEPTUALISATION

HEXAGONAL PANELS OF THE CANOPY SKIN The main feature that forms the design of my structure is the skin of the envelope that encloses the structure and space of the area. The hexagonal grid was broken down into individual elements and unrolled onto the template for fabrication preparation purpose. As the integrity of the skin follows the form of the roof canopy that was generated from Kangaroo Physics, it is important to utilize a material that possess a medium to high degree of flexibility such as the hexagonal panels that were tested in the prototype of criteria design in Part B using 3.0 mm of Boxboard to recreate the reverse engineering of the Exotique ceiling project. Due to the large amount of panels that will be fabricated in the scale that was decided, panel tabs connection were created for each individual cells such that it could be connected to one another using either a bonding agent or small fixings/fixtures

CONCEPTUALISATION 193

194

C.3 FINAL DETAIL MODEL

CONCEPTUALISATION

CONCEPTUALISATION 195

196

CONCEPTUALISATION

CONCEPTUALISATION 197

198

CONCEPTUALISATION

NORTH ELEVATION

CONCEPTUALISATION 199

200

CONCEPTUALISATION

WEST ELEVATION

CONCEPTUALISATION 201

202

CONCEPTUALISATION

EAST ELEVATION CONCEPTUALISATION 203

204

CONCEPTUALISATION

SOUTH ELEVATION CONCEPTUALISATION 205

206

CONCEPTUALISATION

INTERNAL PERSPECTIVE 1 CONCEPTUALISATION 207

208

CONCEPTUALISATION

INTERNAL PERSPECTIVE 2 CONCEPTUALISATION 209

210

C.4 FINAL DESIGN DRAWINGS CONCEPTUALISATION

CONCEPTUALISATION 211

212

CONCEPTUALISATION

CONCEPTUALISATION 213

214

CONCEPTUALISATION

CONCEPTUALISATION 215

216

CONCEPTUALISATION

CONCEPTUALISATION 217

218

CONCEPTUALISATION

CONCEPTUALISATION 219

220

CONCEPTUALISATION

CONCEPTUALISATION 221

222

CONCEPTUALISATION

CONCEPTUALISATION 223

224

C.5 FINAL PERSPECTIVE RENDER CONCEPTUALISATION

CONCEPTUALISATION 225

226

CONCEPTUALISATION

CONCEPTUALISATION 227

228

CONCEPTUALISATION

CONCEPTUALISATION 229

230

CONCEPTUALISATION

CONCEPTUALISATION 231

232

CONCEPTUALISATION

CONCEPTUALISATION 233

234

CONCEPTUALISATION

CONCEPTUALISATION 235

236

CONCEPTUALISATION

CONCEPTUALISATION 237

238

C.6 LEARNING OBJECTIVES AND CONCEPTUALISATION

As a fresh student who had no previous experience of how the realm of computational design was applied in the field of architecture before making way into this studio, the entire journey throughout this semester had been somewhat a bittersweet process as I was faced with a huge challenge of keeping up with the algorithms and computational methods of parametric modellers such as Grasshopper, Kangaroo, Ladybug and countless others. Algorithmic aided design had somewhat brought a significant transformation into the traditional practice of how architects perform which also helped to bridge the gap that was left by the complexities of designing and the designer. Although I felt that my design could be further improved with a much polished set of skills, knowledge and grasp of the softwares, I was mostly satisfied with the proposal that I was able to generate within the time frame that was given based on the knowledge that I had gained in this semester as a measure to further develop the skills that I had attain from this studio in the near future hoping towards the development my own project. One of the most challenging aspect of this course was definitely the transition from the digital model that was generated from the combination of Grasshopper and Rhino into the final detail and prototype models that require a significant amount of effort and time to not only figure out and develop a connection detail that works for your design but also to think ahead of the potential failures of these methods especially when it involves digital modes of assembly and fabrication to avoid any unforeseen circumstances that would occur as a result of a late submission of the job file and the high number of traffic and queues at the fabrication workshop. Despite the times of difficulties, these experiences would certainly help to prepare me for the future progress of parametric design and is a valuable piece of skill that I would cherish in the future as a designer.

D OUTCOMES

CONCEPTUALISATION 239

C.7 Appendix C.7.1 Part C Bibliography C.1 CONCEPT DESIGN Kellert, Stephen R., Judith Heerwagen, and Martin Mador. Biophilic design: the theory, science and practice of bringing buildings to life. John Wiley & Sons, 2011. Domeguys International, Performance Venue, VIP Lounge, Conference & Seminar Domes, n.d , <http://www.domeguys.com/geodesics/125/music-festival-domes/> (Accessed 1 October 2016) Pawlyn, Michael. Biomimicry in architecture. Vol. 15. Riba Publishing, 2011. Alyn, Griffiths, Shell-shaped shelter by Flanagan Lawrence built on Littlehampton seafront, 2014 < http://www.dezeen.com/2014/07/22/flanagan-lawrence-acoustic-shells-shelter-stage-littlehampton/>. (Accessed 5 October 2016) Michelle, Miller, AD Classics: Kresge Auditorium / Eero Saarinen and Associates , 2014, < http://www. archdaily.com/492176/ad-classics-kresge-auditorium-eero-saarinen-and-associates> (Accessed 5 October 2016)

C.2 TECTONIC ELEMENTS & PROTOTYPES Hurol, Yonca, 2015, The Tectonics of Structural Systems: An Architectural Approach. Routledge. Ramaswamy, G. S., and Mick Eekhout, Analysis, design and construction of steel space frames, 2002 Thomas Telford. Boake, Terri Meyer. Understanding Steel Design: An Architectural Design Manual, 2012, Walter de Gruyter. Cook, Maria, ‘The project of a lifetime’: The architects of the West Block’s ambitious rethink draw on similar

240

CONCEPTUALISATION

ILLUSTRATIONS n.a, Flex Shell 3, 2016, <http://www.parametricdesign.net/?attachment_id=1087#main/> (accessed 27 September 2016) n.a, Nature in the Heart of the City: An Introducation to Biophilic Design, 2016, <http://www.aiadc.com/ event/biophilic-design-introduction> (accessed 27 September 2016) Yesmukhanova, Alay, Rammed Earth Hammam, 2011, < http://www.biophile.co.uk/rammed-earth-hammam-biophilic-relaxation> (accessed 27 September 2016) Interface, Naturally Working With Nature, 2013 , <http://interfacedesignspace.com/naturally-workingwith-nature/> (accessed 27 September 2016) Lisa, Ana, HEXigloo: Honeycomb Cardboard Pavilion Pops Up in Bucharest!, 2011, <http://inhabitat. com/hexigloo-honeycomb-cardboard-pavilion-pops-up-in-bucharest/> (accessed 27 September 2016) Harris, Andres, Biomimetics Optimised Surface, 2012, <http://www.andres.harris.cl/about/32-2/> (accessed 2 October 2016) Parametric Wood, Grid Shell Canopy , 2011, <https://parametricwood2011.wordpress.com/2011/03/08/ gridshell-canopy/> (Accessed 2 October 2016). Rawn, Evan, 2014, “Shell Lace Structure”: Tonkin Liu’s Nature-Inspired Structural Technique <http:// www.archdaily.com/551062/shell-lace-structure-tonkin-liu-s-nature-inspired-structural-technique> (Accessed 2 October 2016) Andreas,Viklund, Belevingsonderzoek, n.d, <http://www.agnesvandenberg.nl/onderzoek1.html> (Accessed 5 October 2016) n.a, Space Frames- Structural Types, 2012, <www.thecivilbuilders.com/2013/01/space-frames-structuraltypes_28.html> (Accessed 5 October 2016) TT. Lan. Space Frame Structures, n.d, <http://3dspaceco.com/public/user_data/shokouh/%D9%85%D9 %82%D8%A7%D9%84%D8%A7%D8%AA%20%D9%84%D8%A7%D8%AA%DB%8C%D9%86/13.pdf> (Accessed 5 October 2016) Hindustan Alcox , Various Aspects Of Space Frames And Their Erection Using Sliding Method , 2015, <http://alcoxindia.weebly.com/blog/various-aspects-of-space-frames-and-their-erection-using-slidingmethod> (Accessed 5 October 2016) n.a, Brief history and development of systems, 2016, < http://tatproddel.tat.cloud.opentext.com/sites/ constructionuk/default/en/reference/teaching-resources/architectural-teaching-resource/design/spacegrid-structures/brief-history-and-development-of-systems> (Accessed 5 October 2016) Material_Codes The Architectural Association, Art Fun Pavillion, 2014, <http://www.s-t-x.net/?page_ id=29> (Accessed 5 October 2016) Alyn, Griffiths, Shell-shaped shelter by Flanagan Lawrence built on Littlehampton seafront, 2014 < http://www.dezeen.com/2014/07/22/flanagan-lawrence-acoustic-shells-shelter-stage-littlehampton/>. (Accessed 5 October 2016)) Cook, Maria, ‘The project of a lifetime’: The architects of the West Block’s ambitious rethink draw on similar European projects, 2015, < http://ottawacitizen.com/news/politics/the-project-of-a-lifetime-thearchitects-of-the-west-blocks-ambitious-rethink-draw-on-similar-european-projects>. (Accessed 10 CONCEPTUALISATION 241 October 2016)