Rhinoceros Exploration_Studio Air_Journal

studio air semester one / 2013

Name: Yenn Yinn Lim 530069 Tutor: Daniel & Kirrily

Content

Introduction

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Part A EOI I Case For Innovation 1. Architecture as Discourse 2. Computational Architecture 3. Parametric Modelling 4. Algorithmic Explorations 5. Conclusion 6. Learning Outcomes 7. References

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Part B EOI II Design Approach 1. Design Focus 2. Case Study 1.0 3. Case Study 2.0 4. Technique Development 5. Technique: Prototypes 6. Technique Proposal 7. Learning Objectives and Outcomes 8. References

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Part C Project Proposal 0.5. Restart 1. Gateway Project: Design Concept 2. Gateway Project: Tectonic Elements 3. Gateway Project: Final Model 4. Learning Objectives and Outcomes

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STUDIO AIR SEM 1 2013

INTRODUCTION

Introduction

Born in Kuala Lumpur, Malaysia, I am currently in third year student of Bachelor of Environments in the University of Melbourne. My previous experiences with Rhinoceros and Grasshopper started in my first year where students are required to create a body lantern. My analogy was using the natural occurence of tornado. It was certainly a new and exciting learning curve but I am still striving to improve my skills and knowledge in parametric design programs. Thus, Studio Air will be another opportunity to expand my design boundaries and ideas.

Architecture as a discourse to me should be the coherence of various elements as a whole using design approaches specific to site and use. Creating a relation between human habitations and surrounding adjacencies will be an ideal discourse of portraying organic architecture. Architecture as art does appeal to visual pleasure but being socially functional and sophisticated are essentials. Besides, sustainability, urbanism and globalization seem to impact how people view architecture as a universal language. I wish to explore architecture with elements mentioned above.

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INTRODUCTION

Body Lantern generated from Rhinoceros and Grasshopper paneling tools

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INTRODUCTION

This was a body lantern based on the analogy of tornado.

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Part A EOI I: Case for Innovation

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1. Architecture as a Discourse

Architecture can contribute to innovation through visual culture, urbanism and development. Architecture is a discourse, a form, a discipline, which serves as a language that portrays a society’s identity and differences; it is undeniable that people’s way of living is directly linked and mapped to the built environment (Dutton, Thomas, Lian 1996). Quoted from ‘Architecture and Visual Culture’ Williams, “It is the client who determines the function of the project, its specification, its location and above all, its cost; the architect works within these parameters.” Indeed, architects work around constraints and build for people, can be in terms of social, political or educational realm, to name a few. During the era of modernism, it was obvious that architecture was a tool to portray people’s patriotic visions.

Architects certainly contribute to innovation as they shape the future and influence human behaviour.

In the ‘case for innovation’, the Western Gateway can symbolize a future goal of the municipal, because ‘to make architecture is to construct knowledge, to build vision (Dutton, Thomas, Lian 1996)’. Since the proposed site is in high proximity with the urban precinct entrance, the travellers along the freeway towards the municipal can experience a sense of innovation towards the future, especially when they are driving on a freeway. A certain symbolism similar to moving on towards the future can be created. The symbolism of innovation can be represented by new materials and structure. Particularly in this era, parametric, curvilinear, NURBS structures exhibits notion of innovation as it brings out a vibe of high technology. These structures are only accomplished by using computation. Therefore, Rhinoceros program and Grasshopper plug-ins will be used to create a parametric design. Architecture using computation does appeal to me as cool and innovative, but I think it is difficult to establish unity within site if they are over-designed. Therefore, I will want to create a structure in line with my architecture discourse. I hope to establish a coherent relationship between site, built environment and human habitation. Sustainability plays an important role in the midst of innovation, thus it is also a discourse that I wish to incorporate.

Rhinoceros and Grasshopper definitely involves process of using computable functions, using effective algorithms to design parametrically. An algorithm is defined as systematic operations initiated by the input to produce output. Besides, algorithms are also considered as abstract depictions of computing devices by mathematicians. A virtual machine is the software that designs according to algorithm specifications. Since computation involves using virtual machines, algorithms and computation are closely interrelated. In this case, Rhinoceros is the virtual machine or the software, while Grasshopper plug-ins that enables the process of input producing outputs, is the algorithm.

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THE GREEN VILLAGE BY IBUKU, BALI, INDONESIA The Green Village is a beautiful bamboo house neighborhood in Bali, designed by Ibuku. These extraordinary homes are built around radial clusters of bamboo columns, with bamboo tiles and a thatched canopy attached (Meinhold 2011). Green Village is designed coherently with nature, which resonates with the sustainability concept in my desired architecture discourse.

Its design complements the site with all the environmental notions, and gives a pleasant vibe for the inhabitants, students and users of the Green Village and Green School. “Our view on being green comes out of being logical, doing no harm and being conscientious,” says Elora Hardy, Creative Director of the Ibuku bamboo company. Besides, the extraordinary craftsmanship in this home exhibits possibilities of this fast-growing, renewable natural material. “By utilizing sustainable materials and artisan craftsmanship mixed with social responsibility, we have created a unique development concept. Owners of the new home in the village also have children who attend school at the Green School nearby.” (Ibuku 2013) The Green School is an international holistic learning centre for people to visit and collect sustainable practices and principles (Cotter 2012). This project no doubt realizes urbanism and town planning, giving proximity for institution and proper arrangement of infrastructures, and linking architecture in terms of experience to students, residents and visitors (William 2005). In short, a new way of living sustainably is promoted, and it will be appreciated.

Without losing engagement with aesthetic brilliance, it shows that architecture discourse can be innovative in terms of the sustainability concept, although incorporating traditional ways of building -- weaving and connecting. Thus, it breaks the misconception of modernism is only by digital architectural design (William 2005). I chose this project to show that parametric curvilinear forms actually had its simplest form originated from weaving curves, which resembles parametric designs’ repetitive algorithm in a way. I wish to first show a precedent to contrast with precedents later on about how complex it can be developed.

Apart from that, the Green Village shows their consideration in philosophical and social discourse, in terms of local material abundance and exhibit anthropic cultural qualities. From structural elements such as walls, window frames, staircases, floors to furniture like table, chair, and cabinets are all constructed from bamboo. The bamboo houses exemplify flexibility upon the sweeping forms, while bearing loads which are transferred into natural stone foundations. One of the homes has a spiralling canopy of bamboo, among the lush jungle by the river. Bamboo provides structural support as well as material for interior elements (Meinhold 2011).

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All images are referenced under (Green Village 2013).

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JESOLO MAGICA BY ZAHA HADID, JESOLO, ITALY. Being one of the well-known seaside resorts in Italy, Jesolo Magica is built to shape with reference to its location near the Venice Lagoon. This project aim is to give Jesolo town an opportunity to develop its use as international conference and holiday destination surrounding the principles of reinvention and regeneration of the city. Situated between Jesolo urban center and Jesolo sea, the building will be valued as an urban city door after its completion in year 2015 (Minimalismi 2009).

Therefore, it signifies not only political and social discourse but also discourse in visual culture (FreeD.nl 2011).

Zaha Hadid has always been an icon of innovative architecture, her work always show ‘discourse exploring the ever-evolving digital design tools for the advancement of architecture’s productive capacity (Schumacher 2011)’, thus suitably used to precedent ‘case for innovation’. At the same time, it is related to nature using a basic natural organic form, the rose petal. It is not overly regulated in terms of parametric geometrical forms. It uses NURBS with a sense of transforming possibility, similar to a fluid free from-blob, which are clearly created through computation. The fluidity of the rose petal design does embody a gelatinous unregulated containment. In the article, it was mentioned that recent blob constructed projects are mainly complex roof forms, but the Jesolo Magica is an exception because the structure itself is a series of conjugated blobs assembling rose petals. The windows or openings on the upper surface of the buildings are slight variations iterated in the fabrication program. Repetition in construction techniques are used whereby elements are differentiated in a heterogeneous and continuous system. This combination of minor variations will manifest a blob (Lynn 1998). Although each element is separate and unique, Jesolo Magica complex fits together and form coherence, logically connected in a frequently changing ensemble. This design uses blob where the discourse of tectonics is enriched since blobs cannot reduced to a typological essence, and is welded to their own context (Lynn 1998).

The functioning of this project as a five star hotel will improve the country’s tourism field, attracting visitors who It is a two floors retail centre including a Disco bar and gymnasium on the west, while the east area is the hospitality area giving five star services including a congress, wellness-center , offices and panoramic restaurant. Volumes depicting rose petals exhibit a central space and a covered square that represents the main distribution center (Minimalismi 2009). Its long and sinuous entrance allows natural light and environment go dip through the petals-buildings, which is also the observation point (Ultra Modern House 2011). The hotel is the last petal at the opposite street. Its shape frames good panoramic view of the adjacent lagoon (Minimalismi 2009).

All images are referenced under (Ultra Modern House 2011).

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2. Computational Architecture

Computers have improved design representation, design exploration, design sophistication and design processes. As background information, technology has laid changes the fastest in social context, followed by business, then political and lastly architecture context (Kieran, Stephen, James 2004).

However, its impact is undeniably large for the past few decades.

Firstly, computer usage in architecture gives birth to computerization and computation. Computerization is treating computer as a tool and isolated from act of creative designs. Architects nowadays will digitise their creations preconceived in their minds during design process (AD (a) 2013). However computation is a computer-based design tool. Computerization enhances the process of representation, for example using CAD for higher accuracy in measurements. Using computing programs such as Rhinoceros, architectural design is aligned with intelligent forms and traceable creativity using algorithms (Terzidis 2006). Computation has enabled more design explorations, such as parametric forms, NURBS, highly geometrical and curvilinear forms, with no doubts broadening the range on range of conceivable and achievable geometries.

Computation has reinvented architecture, allowing architects to develop digital tools in design process, fabrication and construction, creating more unique opportunities and dealing highly complex situations. The ability to inspire and go beyond intellect of the designer formulates unexpected design results. Most importantly, computation allows evidence-and performance-oriented designing, thus architects can track back the algorithms and improve on a specific criteria. Architects then began to write computer programs, explored designs through modifying algorithms of program (AD (a) 2013).

Besides, computer has transformed traditional processes to modern processes, for example tectonics to electronics, craft to CAD/CAM, hand tools to software, faรงade to interface. This new design tools are linking the virtual design space with the physical environment, architects need to venture into construction systems and environments. Manufacturing is driven by new interpretation of design thus cause shift into the boundary of construction (AD (b) 2013). Computers helped architects to move forward in terms of its role, slowly to a master builder. This in turns altered the linear design process to a process of iteration, prompting the exchange of information, interactions and integration between disciplines (Kieran, Stephen, James 2004).

In the traditional project delivery, the timeline of phases occur one after another, inversely the phases overlap each other in the integrated project delivery (AIA California Council). From my point of view, these iterations in design are the key to attain deeper sophistication in architecture with more consideration of discourses and functions, although it might take a longer time. When comparing project phases between traditional and integrated delivery, it is clear that the consideration of aspects occur at different tempo.

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The BMW Welt, by Coop Himmelb(l)au, Munich The most prominent elements of the brand experience and automobile delivery center BMW Welt are the roof and the Double Cone. It brings out the liberation discourse of roof in architecture, which is not merely being functionally protective, with reference to Le Corbusier’s idea of roof. The building also involves sustainable discourse in form and climatic concepts. It has a naturally ventilated hall with facade construction that can be heated or cooled. The roof panels are photovoltaic thus provide energy. An estimated of 30 percent energy savings is achieved (Arcspace 2007).

The Double Cone exhibits strong dynamics with a rounded transition, being a continuous transition from ground to the floating roof. The production strategy used is two-dimensional fabrication involving triangulation, also known as polygonal tessellation, to create contour movement in a sequence of planar sections (Kolaveric 2003). The impact of computation based design once again achieved another unique twisting geometry. One of the contouring techniques that can be used to configure this effect will be the extraction of isoparametric curves to enhance visualization of NURBS surfaces (Kolaveric 2003). BMW Welt’s display of new materiality is the highly faceted metallic surface, being lightweight and easily shaped to the parametrically-generated patterns. This proves the engineering and structural aspect in computational design.

The internal areas such as Forum, Tower and Double Cone, are interconnected by a lightweight, sweeping bridge. The bridge was hung from the ceiling instead to reduce supporting columns. Specific curving bulges in the bridge invite guests to pause and take in framed panoramic view (Arcspace 2007). This public building is also highly functional. It encompasses a loading yard, car washes space, mechanic’s workshops, final paint inspection sites and final cleaning sites as well as a one-day storage facility, plus an automatic high-rise storage unit with a capacity for 250 cars. The delivery and endfinish process of vehicles occur underground, without being seen by public, before being transported in transparent glass elevators to the actual delivery stage (Arcspace 2007). All the all rounded considerations of the process requires information of architects outside the designing field, thus intersects with idea of ‘architect as master builder’. The integration of design, analysis, manufacture and assembly requires coherence and sophistication (Kolaveric 2003).

All images are referenced under (MOREAE 2012).

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Tel Aviv Museum of Art Amir Building,

by Preston Scott Cohen Inc., Israel The Tel Aviv Museum of Art Amir Building is the first prize winner of Herta and Paul Amir International Competition with unique challenges, which are resolving the tension between the narrow, distinctive triangular site and satisfying the museum’s need for a series of rectangular galleries that are large and neutral. It is expanded and referenced to the original building in a discourse of family resemblance, existing coherently with Israeli architectural culture. It is a synthesis of internationalist architectural discourse as well (Preston Scott Cohen Inc. 2011).

The main idea of design solution was by twisting geometric surfaces -- hyperbolic parabolas, on a continuous plane, subtly connecting the disparate angles between the galleries (Preston Scott Cohen Inc. 2011). In terms of spatial investigation, the exploration of rectilinear topology is expressed. It is evident that the emphasis of ‘finding the form’ is brought out by digitally-based generated techniques (Kolaveric 2003) as it does not have the regular conceivable Euclidean shape. Subtractive fabrication is also used as there are some volumes removed from the solid, to give a sense of volume constraint with the right proportions. Refraction of natural light is also a highlight into the deepest recesses of the half buried building (Preston Scott Cohen Inc. 2011).

An extraordinary synthesis of two contradicting paradigms for the contemporary museum is established, namely the museum of neutral white boxes and the museum of architectural spectacle. The eighty-seven foot tall spiralling atrium named ‘Lightfall’ has individual, rectangular galleries surrounding it (Preston Scott Cohen Inc. 2011). The museum is built upon the multiple axes that deviate significantly from floor to floor. Temporal modelling technique of morphing is applied, blending and stacking structure of independent plans and steel structural systems, interconnected by vertical circulation geometries (Kolaveric 2003).

It practices the more conventional approach of surface strategies, whereby the sinuous skin is attached on a conventional structural grid (Kolaveric 2003), panelized in variations, and adjusted parametrically to achieve deviations (Designboom 2010). The gleaming white parabolic facade are composed of 465 flat, interlocking, precast concrete panels of different shapes and sizes (Grant 2011). Panel pieces are no greater than 15 m2 in order to meet the crane limitations of cranes and angles of loading due to the design eccentricity. The panels are supported by a waterproofed steel frame from the inside (Designboom 2010). This shows the consideration and involvement of computational designing in construction process.

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All images are referenced under (Preston Scott Cohen Inc. 2011).

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3. Parametric Modelling Parametric is a geometric model functioned within a finite set of parameters, in the digital architecture context (Davis 2010). In specific terms, parametric is “a set of equations that express a set of quantities as explicit functions of a number of independent variables, known as ‘parameters’”(Weisstein 2003).

Parametric modelling is a representational mode, and benefits the project if it is generated through this medium (Davis 2010).

Today, parametric holds the meaning of entities once generated can easily be moulded (Yessios 2003), giving opportunities of changes in design, leading to scripting cultures. It is easier to create an initial model in the conventional design tool, but tedious to make changes on a model manually because the parts are independent to one another. The advantage of parametric modelling is that it addresses these constraints by linking relationships, thus the edit through the system reduce the manual work. Parametric modelling incorporates new skills, such as conceiving data flow, dividing to conquer, naming, thinking abstractly, mathematically and algorithmically in designers (Woodbury 2010). This results to scripting cultures in design process, where architects are also hybrid of software engineers. However, parametric modelling is not exactly a new thing. The technique of changing parameters to design a building was already used by Gaudi on the Guell Chapel, by its famous hanging wires with weights, thus similar to the points in parametricism.

Parametric did a good deal of influences on architecture style. The discourse of parametric modelling and the term ‘parametricism’ made popular by Schumacher should be made clear to avoid students’ confusion, especially those studying about parametric modelling (Davis 2010). Parametricism avoids rigid forms and simple repetition in design, rejecting functional stereotypes and segregative zoning.

Soft forms that are differentiated but interdependent combine to allow communication of activities in the context, is the passion of parametricism (Schumacher 2010). Parametricism defined all architectural components and complexes that are malleable in parametric programs, not relying on basic geometrical shapes but the new primitive animate shapes like splines, nurbs and subdivs (Schumacher 2010). This term is confusing because it surpasses specific classifications in digital architecture; generative, parametric, emergent, optimisation and more (Davis 2010). Schumander regards parametricism as a new primitive visual aesthetic expression made possible due to computation and modelling software. However, it is meaningless to only exploit technology to create innovative forms without social realms (Mayer 2011).

Currently, the architecture world remains in state of postmodernity and deconstructivism. Parametricism is sort of in the same line as deconstructivism, where the former exemplifies jutted angles, fragmented appearance and rough sculptural qualities, the latter focus on blob-like expressions. As a matter of fact, most parametric designs remain in the context of ‘paper architecture’, being published but seldom built. The reason is because it is more suited for the virtual environments. The cons of parametric modelling include showing less contextual and classical principals; it disregards reality, city cultures and history, being an ‘international style’. Being edgy and cool is the pros of parametricism but buildings should be about people, and not solely about architect’s individual exploration (Mayer 2011).

In architectural design process, the contribution of parametricism is great and still highly anticipated.

As mentioned earlier in Part 2 regarding computational architecture, the traditional design process have ventured into integrated design process, especially by large and capable architecture companies.

In relation to that, the involvement of parametric prototyping has reduced costs and effort along the way. The cost saving is from various aspects such as the actual prototyping and material testing when computation can simulate various performance analysis using different software such as Kangaroo.

Behaviour of real materials and objects has been included to alter design with reference to engineering analysis, thus establishing computational physics (Piker 2013).

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YAS Hotel, by Asymptote Architecture, Abu Dhabi The hotel is made up of two twelve storey hotel towers, accessible through a monocoque steel and glass bridge.The most prominent feature of Yas hotel is the Grid Shell structure that act as a façade cross above and over the Yas Marina Circuit F1 race track. It is an environmentally responsive skin, reflecting sky, sea and landscape in the day. During the night, it is lit by LED lighting system with changing colors (Asymptote Architecture 2009).

Being the first new hotel worldwide to be built over an F1 race circuit, it is an architectural landmark, incorporating local and international inspired forms, including the discourse of motor racing and the celebration of the cultural and technological notion in Abu Dhabi (Asymptote Architecture 2009).

The curvilinear form is associated with speed, geometries and basic Islamic craft patterns. In terms of parametric significance, the sweeping facade form is made of glass and steel, pivoting glass panels in the shape of diamonds. From afar, it looks like an atmospheric blob. Apart from that, the extensive labouring of BIM and parametric modelling improved the building’s structural element. The form and detailing achieved a universal connection of joints, thus reducing the structural members to only 10 supports holding up the Grid Shell (Zeiger 2010).

This is an example of parametric architecture that does not only showcase the architect’s scripting exploration. Parametric modelling is more like a mode of representation, the inclusion of reflecting the site shows a hint of consideration as part of the aesthetics of the building. The Grid Shell fuses a visual connection throughout the complex while establishing a strong sense of placement nonetheless.

The construction of YAS Hotel was very fast as well to correspond with the Formula 1 Etihad Airways Abu Dhabi Grand Prix on 1 November 2009. The construction started in 2007, with the process ongoing 24/7 without fail. Considering the complexities of delicate diamond panelling of the façade, it is implied that parametric modelling allowed a quick construction process after thoughtful construction simulations on the stability and structural issues. Again the role of architect as the master builder and the incorporation of various disciplines in built environment throughout parametric design process is proven.

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All images are referenced under (NMA Modern Architecture).

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SALON URBAIN, BY SID LEE ARCHITECURE AND Ædifica, MONTREAL Sid Lee Architecture and Ædifica have transformed the parking area at Place des Arts into a Salon Urbain (urban lounge), a multi-functional new space. Place des Arts is the heart of symphonic orchestra in Montreal, showcasing performances. Therefore, the Salon Urbain can be a meet up spot before or after the show, a gallery or a conference. The artistic sense it possesses is uniquely for the site, which is at the St. Urbain entrance of Places des Arts, next to the new concert hall (Dave 2012).

The ceilings and walls are clearly forms from parametric modelling and scripting. The openings of tessellations are angled in increasing variations from wall to ceiling. Acting as a contrast to the diamond panelled exterior façade of YAS Hotel, the Salon Urbain proves that parametric forms can be used as an interior facade of walls and ceiling. The accuracy of the angles at the joints of walls and ceiling is a clear notion of the parametric design considering construction and structural factors. It requires engineering and load principles to allow the tessellation to be not fully attached to structural supports and yet being able to stay in its angled position. I think this is the highlight which makes this space appealing and subtly clever, and coinciding the required fields in built environments, such as civil engineering.

Besides, this space does not only show the discourse of architecture as art, it also displays the discourse of an artsy atmosphere for users’ experience, being creative and flexible to suit various performances, galleries or conferences. Relatively it shows that parametric form does produce an international discourse, making the space versatile and suitable for different themed uses related to visual cultures. It creates a magical sense of attending a function, thus showing the application of virtual environment influencing user experiences. The virtual sense gives a vibe of timeless enjoyment.

The bar is actually a sculpture of a sound wave, portraying the act of people gathering to enjoy music, dance and listen. The use of color is a symbolism to hip urban culture and upbeat rhythms, the strong contrast of red and white, is closely related to performing arts and premiere nights held in the centre (Dave 2012).

All images are referenced under (Dave 2012).

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4. Algorithmic Explorations

allenge: Grassshopper Definition - SPLINES

re drawn in Rhinoceros and then assigned in Grasshopper. Later on, the connection splines o achive arcs on the curve. I get 'Points on' on the curves to alter the shape of the curves ed on the curves.

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This experimentation was done with reference to the tutorial video available on LMS. 1. Two curves are drawn in Rhinoceros and then assigned in Grasshopper. Later on, the connection below is made in Grasshopper to acheive arcs on the curve. Divide parameter gives points on the curves. While the Arc parameter is defined

by Z-value, because the arc is directed in Z-direction.

he tutorial 2 video, I created splines using the function below in Grasshopper. Poly are then created. Using the slider, the intensity of splines can be adjusted at ease.

2. I get 'Points on' on the curves to alter the shape of the curves in Rhinoceros. Grasshopper allows the arcs generated to follow the main shape of curves in Rhinoceros.

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3. I created splines using the function below in Grasshopper, involving parameters such as DivLength, Flip, IntCurve. Poly shaped splines are then created after connecting the PLine number slider, the intensity of splines ve splines as well, using the function according to parameter. the tutorialUsing video the again.

The number can be adjusted at ease.

Th e DivLength controls the distance d to obtain different intensity. between the intersection points of arcs.

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4. By replacing the PLine parameter with Curve parameter, the splines generated are now in curvelinear shape. Similarly, the intensity of the DivLengths can be altered by moving the number slider.

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AA Driftwood surfaces

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This experimentation was done with reference to the tutorial video available on LMS. 1. Firstly, I created a cylinder. Then I drew an internal control curve below the midpoint of the cylinder (highlighted in yellow).

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2. The internal control curve was assigned in Grasshopper.

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3. A function was created in Grasshopper using the parameters as shown above. This is to create circular offsets outside of the internal control curve. The number slider attached to N controls the offsetting distance, while the number slider attached to C controls the number of offsets. The aim is to produce offsets that covers the circumference area of the cylinder.

4. The parameter for extrusion is prepared for later use. It needs a Z-value because the extrusion is in the Z direction, giving the final structure a 3-dimensional effect. A number slider is attached to control the number of Z-value extrusions.

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5. The Offset parameter is connected to the Extrude parameter.

Extrusion occured. The aim is to cover the height of the cylinder with extrusions. The number slider of the Z-value is controlled to obtain different number of extrusions. When there are 13 extrusions, the cylinder is only partly covered in height.

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AA Driftwood surfaces

6. The cylinder was assigned to the Brep parameter in Grasshopper. The BBX parameter is added and connected with the Brep and Extrude to achieve the intersections of the extrusions on the cylinder. The result is shown on the images on the left.

7. The BBX intersections were baked and the new object is formed. It is not an expected form, because the cylinder shape used is different from the basic form of the tutorial video. This is my first self experimentation and I quite like the results as it produced unregulated potruding curves on the surface of the cylinder. My favorite part will be the layers seen from above created by the offsets, and the internal thicker offset in the middle creates a contrast to them.

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fractal tetrahedral

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This experimentation was done with reference to the tutorial video available on LMS. 1. A tetrahedral is created according to the measurements of the tutorial video. The CPlane was aligned upwards, to draw the tetrahedral in 3-dimensions.

2 2. A new tetrahedral is created at the corner of the original. This is done by scaling the original tetrahedral in the factor of 1/3, choosing the option of not deleting the original object.

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3. New tetrahedrals are created at every corner using the same method.

4. The small tetrahedrals are then deleted off at each corner vis the Boolean Difference function.

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fractal tetrahedral

5 5. The Grasshopper function with the parameters shown on the left is assembled. There are 2 number sliders connected to the Polygon parameter. The number slider connected to the R variable allows manipulation of radius distance. Whereas the number slider connected to the S variable determines the change in number of sides of tetrahedral.

6 6. The Function parameter needs a specific function shown on the left to be keyed in. This function is determined by the designer based on the Pythagoras Theorem. The Function parameter produces extrusion in Z-value, to give a 3-dimensional effect.

7. Therefore, adjoining the Polygon and Z-value parameter will produce an extrusion similar to the tetrahedral created previously in Step 1.

8 8. The Cap parameter and Explode parameter were connected as well. The Explode parameter will then allow points-on on all corners of the tetrahedral.

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9. The Scale parameter is then connected. A number slider with the factor of 1/3 is incorporated to establish the same scale performed in Step 2. Thus new small tetrahedrals are formed at the four corners, which are also the exploded points in Step 8.

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fractal tetrahedral

10. The Trim parameter is connected within the Grasshopper function. This step trims of the scaled small tetrahedrals, which resulted to a tetrahedral similar to the one created in Step 4.

11. Further experimentation is done by repeating the parameters starting from scaling. This leads to the connection of the Scale parameter once again. It is like aiming to create an iterative process to explore new forms. Therefore, smaller secondary tetrahedrals are formed at the 4 corners of each small tetrahedral.

12. A repetition of Steps 9 and 10 is done. A brand new form is created, with the iterative trimmed corners on the tetrahedrals.

It is an interesting form to explore with.

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fractal tetrahedral

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fractal tetrahedral 13. From here onwards, we are establishing a new basic form using the iterative parameters of Explode>Scale>Trim. The tetrahedral formed in Step 4 is used and assigned as Brep in the Grasshopper function. The Brep replaces the original Polygon parameter.

14. A brand new form is formed with a 6 pointed star in the middle and smaller iterations of it on each side. This is a form that I find very interesting as well and it is expected to form this way because I followed the tutorial video steps accordingly. It exhibits a uniform grid and accurate repetitions of the shape.

15. For my personal experimentation, I begin to manipulate the number slider, switching it to several different scales. The end product took a fairly long duration to generate and Grasshopper was not responding at all for a few minutes. The only scale that I managed to anticipate the end results is 0.5. I think the end product is a failed attempt because all the elements seem to be disconnected and floating in mid-air. It is an entirely different result compared to Step 14. Therefore I am assuming this Grasshopper function will only produce a good result with the scale factor 1/3.

16. I went back to experiment around the extruded polygon from Step 11. I changed the number of sides to 5 and the radius distance to 3, by manipulating the number sliders. There are 2 findings while manipulating the sliders across different values as well. No forms are created if the number of sides are more than 5, or when the radius distance is less than 3. This was my favorite form among all possible generated forms.

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5. Conclusion

‘Computation’s main potential advantage is its flexibility and adaptability to different parameters of multiple disciplines via communicative data (Van Berkel 2013).’

This statement prompted me to think about how parametric modelling can help architects and students. Is parametric modelling increasing overall efficiency because architects take control on working with the constraints better, is there more complications with students involved due to more parameters to be considered? For the architects, the AD magazine has answered my question in this and I pretty much agreed with it. The development of simulation tools through computation enables architects to explore new design options and communicate regarding constructional aspects with integrated design process (Peters 2013). Materiality, stability, wind and load bearings can be calculated then simulated, showing real time results. As the simulation capabilities improve, the discourse of architecture with public, social and culture becomes more sophisticated, creating more responsive architectures (Peters 2013).

For architecture students, is there less freedom in designing while learning the computational software? I would believe this depends on the learning curve of different individuals, but it is definite that it will not be easy to create the desired designs. Although I trust that there are still people who will go for other architectural styles of the past, but students should pick up computation as this is the need to adapt to changes of the era and parametric modelling architecture seems to be the mainstream hype of architecture at the moment. I think ‘case for innovation’ is certainly a very suitable learning module because parametric modelling is the much anticipated architecture in this era and for us to go through exploration of designing using Rhinoceros and Grasshopper. It is at least an introductory preparation for architecture students.

From the perspective of architectural discourse, I wish to use parametric modelling as a valuable tool to enhance my discourse towards organic, functional and sophisticated architecture. The designed gateway should exemplify coherence to site and use, and be sustainable in the environmental and habitable sense. Architecture as art will be the main attraction point of users, thus exude high importance as well. Whilst exploring on precedents on their aspect of parametric modelling, their discourse is also investigated. Sometimes, I came across precedents with strong and weak discourses mentioned, and I realise how discourses are the soul of the architecture, giving meaning to it. It strikes to users as a good architecture with the intricacy of planning, mostly with the efficient circulation, multifunctional spaces, sustainability and the communicative proximities. I know it takes up a high level of intelligence and integration across disciplines to generate a structure with all these factors, but this is the ideal architecture for me at this point, after the research and learning of completing this part of the course.

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6. Learning Outcomes

From the research for this journal, I learnt to critically handle parametric influenced ideas in designing, not merely personal experimentation on parametric forms, but exploring architecture as discourses. Considerations on different aspects should be made when using parametric technique to resolve the Gateway design. I believe it is an unavoidable fact for architects nowadays to be involved in computational architecture, whether it be computation or computerization, by using software as representation or as a designing tool, computers have become an important need for mankind.

Besides, I came to realize the word ‘parameter’ brings two different meanings, and it is important to consider in both traits when I am exploring parametric modelling in case for innovation. Quoted from ‘Architecture and Visual Culture’ Williams, “It is the client who determines the function of the project, its specification, its location and above all, its cost; the architect works within these parameters.” The ‘parameter’ here refers more towards conventional constraints of the project, such as location, topography, zoning, function, structural, materiality and more. On the other hand, parameters can mean malleable variables in the context of digital architecture. “Parametric is a set of equations that express a set of quantities as explicit functions of a number of independent variables, known as ‘parameters’(Weisstein 2003)”. It is certainly an interesting fact that the same word is addressing different circumstances but still closely interrelated. Both ‘parameter’ is essential for me to follow up my discourse in achieving organic architecture with the hinge of parametric modelling. The first ‘parameter’ will be leading me to take note on the practical constraints, while the second ‘parameter’ is for me to explore in variations in Rhinoceros and Grasshopper.

During the algorithmic explorations, I came across successful and failed attempts. The self-guided learning curve allowed me to experiment on different forms, Rhinoceros and Grasshopper functions and parameters. I will continue to explore different definitions in order to find a suitable approach for the Gateway Design Project.

Most importantly I learnt that planning by parameters in design process is crucial. I am aware that in this subject, we are mainly required to relate designs closely with innovation and our discourses, and not pressed with real world spatial and socioeconomic challenges and complexities of real architectural world. In those circumstances, front loading is important to be informed and deal with impacts, constraints and opportunities of various parameters. Major elements and dependent elements need to be defined ahead of time for tentative and efficient planning by designers (Weisberg 2008).

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7. References

AD (a) (2013), Introduction, AD, p. 10.

AD (b) (2013), Computation Fabrication and Construction, AD, p.14.

AD (c) (2013), Computation in Architectural Practice, AD, p.11.

AIA California Council, http://www.aia.org/groups/aia/documents/pdf/aiab083423.pdf Arcspace, 2007, BMW Welt- Coop Himmelb(l)au, Arcspace.com, Available via <http://www.arc space.com/features/coop-himmelblau/bmw-welt/> Asymptote Architecture, 2009, YAS Hotel, Asymptote.net, Available via <http://www.asymptote.net/ buildings/yas-hotel/> Cotter, M. (2012), Students at Bali’s Green School Build a Beautiful Bamboo Bridge by Hand in Just Four Months!, Inhabitat.com, 2013, retrieved from <http://inhabitat.com/students-at-balis-greenschool-build-a-beautiful-bamboo-bridge-by-hand-in-just-four-months/> Dave, 2012, Salon Urbain by Sid Lee Architecture and Ædifica, Contemporist, Available via < http:// www.contemporist.com/2012/06/13/salon-urbain-by-sid-lee-architecture-and-aedifica/> Davis, D. 2010, Patrik Schumacher – Parametricism, Digital Morphogenesis, available via <http:// www.nzarchitecture.com/blog/index.php/2010/09/25/patrik-schumacher-parametricism/> Designboom, 2010, Preston Scott Cohen + Namit Nemlich: Tel Aviv Musuem Expansion, Available via <http://www.designboom.com/architecture/preston-scott-cohen-namit-nemlich-tel-aviv-museum-expansion/> Dutton, Thomas A. and Lian Hurst Mann, eds (1996). Reconstructing Architecture: Critical Discourses and Social Practices (Minneapolis: University of Minnesota Press), p. 1 Free-D.nl (2011), Jesolo Magica (Jesolo, Italy), free-D.nl, 2013, retrieved from <http://free-d.nl/ project/show/id/528> Grant, A., 2011, New Build: The Tel Aviv Musuem of Art, TMagazine, Available via <http://tmaga zine.blogs.nytimes.com/2011/10/28/new-build-the-tel-aviv-museum-of-art/> Green Village (2013), Gallery, Green Village Bali, 2013, retrieved from <http://greenvillagebali.com/ gallery/> Ibuku (2013), Interiors, Ibuku, 2013, retrieved from <http://ibuku.com/interiors/> Kieran, Stephen, and James Timberlake (2004). Refabricating Architecture: How Manufacturing Methodologies are Poised to Transform Building Construction (New York: McGraw-Hill), pp. 13, 15, 23 Kolarevic, B., 2003, Architecture in the Digital Age: Design and Manufacturing, New York; London: Spon Press, pp. 3 - 28.

Lynn, G. (1998) “Why Tectonics is Square and Topology is Groovy”, in Fold, Bodies and Blobs: Collected Essays ed. by Greg Lynn (Bruxelles: La Lettre volée), pp. 169-182

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Meinhold, B. (2011), Beautiful Green Village of Balinese Bamboo Homes Crafted by Ibuku, Inhabitat.com, 2013, retrieved from <http://inhabitat.com/beautiful-green-village-of-balinese-bamboohomes-masterfully-crafted-by-ibuku/> Minimalismi (2009), Jesolo Magica by Zaha Hadid Architects, Minimalismi, 2013, retrieved from <http://www.minimalismi.com/2009/10/jesolo-magica-by-zaha-hadid-architects/> MORFAE, 2012, The BMW Welt in Munich by COOP HIMMELB(L)AU, MORFAE.com, Available via <http://www.morfae.com/xa333-coop-himmelblau/> NMA Modern New Architecture, Review. Yas Hotel in Abu Dhabi, United Arab Emirates, Available via < http://www.newarchitecture.biz/2011/03/review-yas-hotel-in-abu-dhabi-united.html> Peters, B. (2013), The Building of Algorithmic Thought, Introduction, AD, p. 10-14.

Preston Scott Cohen Inc., 2011, Tel Aviv Musuem of Art, Available via <http://www.pscohen.com/ tel_aviv_museum_of_art.html> Piker, D. (2013), Kangaroo Form Finding with Computational Physics, AD, p.136.

Schumacher, P. (2010), Patrik Schumacher on parametricism – ‘Let the style wars begin’, Available via <http://www.architectsjournal.co.uk/the-critics/patrik-schumacher-on-parametricism-let-thestyle-wars-begin/5217211.article> Terzidis, Kostas (2006). Algorithmic Architecture (Boston, MA: Elsevier), p. xi Ultra Modern House (2011), Zaha Hadid-Building of Jesolo Magica, Ultra Modern House, 2013, retrieved from <http://www.facebook.com/media/set/?set=a.180136848682425.46418.18003492869 2617&type=3> Van Berkel, B. (2013), Navigating the Computational Turn, AD, p. 82-87.

Weisberg, D. E. (2008), The Engineering Evolution: The People, Companies and Computer Systems That Changed Forever the Practice of Engineering. Available via <http://www.cadhistory.net/> Weisstein, E. (2003), CRC Concise Encyclopaedia of Mathematics, Second, Florida: Chapman & Hall/CRC, doi:10.1201/9781420035223-18 Williams, R. (2005). ‘Architecture and Visual Culture’, in Exploring Visual Culture: Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press), pp. 102-116 Woodbury, Robert (2010). Elements of Parametric Design (London: Routledge) pp. 7-48 Yessios, C. (2003), “Is There More to Come?”, Architecture in the Digital Age: Design and Manufacturing, ed. Branko Kolaveric, 259-68, New York: Spon Press.

Zeiger, M. (2010), Yas Hotel, Architect Magazine, Available via < <http://www.architectmagazine. com/hospitality-projects/award-yas-hotel-abu-dhabi.aspx>

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Part B EOI II: Design Approach bio-mimicry

[from the greek bios, life and mimesis, imitation]

The emulation or imitation of natural forms, structures and systems [in design and construction] that have proven to be optimized in terms of efficiency as a means to an end.

(Benyus 1997)

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From this stage onwards, I am most pleasured to team up with Alicia and Cheryl, to work as a group until the end of the semester, designing for the Wyndham City Gateway.

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1. Design Focus

For the Wyndham City Gateway project, my group mates and I have decided on biomimicry as our parametric approach. Biomimicry is an approach to learn from nature, to resolve design problems.

It is not pure imitation on its own, but also seeking strategies that can withstand changes with time.

Adaptation is an important lesson to enable architecture to achieve permanence. In relation to our architecture discourse, giving the community a new introduction to biology inspired parametric design for the Wyndham City Gateway Project. Biomimicry themed parametric design has potential for both sustainability and innovation as well.

Biomimicry is integrating nature’s wisdom into our design. Why should we learn from nature?

“In nature, nothing is perfect and everything is perfect. Trees can be contorted, bent in weird ways, and they’re still beautiful.” –Alice Walker Nature is perfect not in the circumstance of high accuracy in measurements or dimensions, it is perfect due to its imperfections. In their distinct proportions, nature found its way to create beauty and balance, this is how they adapt and grow with their surrounding conditions. Nature is rough, asymmetrical and non-linear; but it has certain formation rules. Nature is wise because they tend to find ways to utilise the resources most efficiently to its goals. For example plants want to make the best use of their sunlight, moisture, and nutrients (Cornell.edu). Biomimicry can be brought about to better humanity to sustain our resources, towards the direction of achieving radical increase in resource efficiency, shifting from a fossil-fuel economy to solar economy. Our community should work towards the transformation from a linear, wasteful and polluting to a completely closed loop model, which means resources are reused in cycles, allowing zero wastes (Pawlyn 2011).

Needless to say, biomimicry does not only apply on architecture but also other industries such as engineering, pharmaceutical fields through research and examination. It is certainly not a new idea; humans have long been looking at nature to solve problems, going through different eras, creating the buildings, machines, devices and transport vehicles as of today. Most importantly, our era now is trying to divert from the ingenuity of the Industrial Revolution, seeking nature inspired solutions.

Many vernacular architecture approaches were informed by nature, emphasizing on roughness and handcraft. It is a good opportunity to revisit nature (Pawlyn 2011).

Through incorporating biomimicry in parametric design, biomimicry principles gives opportunities for stress based growth, self-assembly, sensing and responding, scale increases, and the power of shape. These benefits are essential for the design environment and the design itself (Panchuk 2006).

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canopy, by united visual artists, toronto Firstly we looked into our first precedent, Canopy by United Visual Artists, which is a sculptural canopy on the front façade of the building. This structure is spurred from the idea of walking through dappled light in a forest. The span is 90 meters long, and has rhythmic lights that shine inconsistently to give a natural flicker up above. This approach is taking the experiential component of incorporating nature. The modular small elements were mass produced and fabricated in thousands, with their basic form inspired from leaf geometry, organized in a growth pattern that is non-repetitive (Design Playgrounds (a) 2013). The non-repetitive form is a mimic in the natural process, referring natureâ&#x20AC;&#x2122;s way of arrangement. Applying a natural aspect on an architecture as ornament in this context, reduces the sense of building as an object that is cold and dead, giving more life to it, whereby architecture is built for people.

Canopy is also properly considered during different times of the day. Apertures in the modules collected form natural sunlight and filtered to the street below. When the sun sets, the canopy is lit by artificial lights through a grid and shimmers according to the power running across the canopy. This non-uniform lighting has a few representations in nature. It symbolizes the activity of cells within a leaf, leaves in forest canopy or even a city seen from up above in the air (Design Playgrounds (a) 2013). From here, our group get the idea of possibly illuminating our Gateway structure.

(United Visual Artists 2010)

(Design Playgrounds (a) 2013)

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Bloomberg pavilion, by akihisa hirata, museum of contemporary art tokyo Apart from that, we looked into Akihisa Hirata’s Bloomberg Pavilion at the Musuem of Contemporary Art Tokyo. The pavilion’s form originated from the growth of tree, providing shade to the covered area. Using the idea of growth it is asymmetrical and non-linear, not grid abiding, thus forms an organic form using pleats. The interesting part is through the glass ceiling of the interior, users can look up to see the roof comprised of white metal panels in isosceles triangles unfolded and bended at certain angles. Angled bends allowed natural soft light enter the interior. It creates anticipation in users as well to wonder what will happen if the tree keep growing upwards, because growing is an ongoing process. Moreover, the idea of a tree shade gives a relaxed atmosphere for the exhibition space, giving the similar comforting sense of sitting under a shady tree (Design Playgrounds (b) 2013). This again shows how biomimicry works in an experiential sense.

In the midst of deciding how we should incorporate biomimicry in parametric design, we think innovation and sustainability are important discourses that we should explore on. Innovation is important as the sculpture represents the forward moving municipality, being the entrance identifier.

Besides it will also be the cultural icon that encourages community pride. The site is a freeway from the suburban area to a developed city, but being relatively flat in a wide open landscape. We figured an eye-catching structure that shows transition and change of site will be essential. Consequently we will try to look into processes in nature, rather than copying the organic forms, to create a metaphor of transition. These are the few main factors that we had at the beginning of this process. We believe biomimicry can create awe in traffic users of the Wyndham City Gateway, being impressed on how nature’s knowledge can be put into good use by parametric design. In terms of sustainability, we are aware that no electrical supply on site, thus the presence of electrical supply for the lights on the sculpture will be an issue. Sustainability most likely will be incorporated in material selection. More importantly, nature is something that most users can relate to easily, and it will be relevant to integrate with the immediate surrounding landscape. Biomimicry has more potential in creating a successful dialogue between architecture and site.

The two precedents mentioned above did not create much dialogue with site but has intriguing experiential biomimicry approaches and are also good representations in mimicking natural processes of growth. Interestingly both are inspired by growth of plants, it drives us to think that ‘growth’ might be a suitable theme to convey the message of transition of our gateway.

All images are referenced under (Design Playgrounds (b) 2013)

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2. Case Study 1.0

(Tsui 1999) Nature employs a relatively small amount of materials in its assemblies as compared to human constructions. However, through unique confi gurations of these simple materials nature is able to create structures that outperform many man-made structures.

exploring \\ fractals

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Our Grasshopper definition exploration is on Fractal Tetrahedral. Basically the main motive is to scale the basic tetrahedral at the corners and create a new complex form. It is a process of iteration based on the principles of scaling and trimming. The step-by-step of the process was shown in the Algorithmic Explorations earlier in Part A4.

Basic Function to create a Fractal Tetrahedral Extruded Tetrahedral - Scaled Corners = Fractal Tetrahedral

This basic function will repeat on the fractal tetrahedral over and over again to create iterations while forming more complex form in an orderly manner. It coincides with our desired metaphor of transition and change, which is â&#x20AC;&#x2DC;growthâ&#x20AC;&#x2122;. The concept of fractal also resonates with biomimicry. Objects ans atoms in nature are formed from the process of self-assembly to create structural organizations on all scales, from molecules to galaxies (Panchuk 2006).

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Chronological process

1

2

3

4

5

6

7

8

9

10

11

12

This diagram shows the chronological process of achieving the smaller fractals from the basic triangular shape. At the end of the diagram, we extracted the basic three dimensional block and left with the lines generated from the bezier function.

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Outcomes

Using the concept of fractal, incorporation of different patterns are tried out to create different outcomes. The degree of fractalisation and the type of variations are the independent variables in this matrix.

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Objects in nature encompass patterns in relapse at intricate increasing magnifications, whereby Mandelbrot gave name to this repetition ‘fractal’. It consists of fine shapes compared to smooth Euclidean shapes, such as squares and circles. A diversity of objects were shown to be fractals, in Mandelbrot’s wellknown book ‘Fractal Geometry of Nature’, namely mountains, clouds, rivers and trees. Similar to biomimicry, fractals have appeared regularly throughout architectural history (Taylor).

In Medieval times, the Castel del Monte is the best example. It has a basic shape of a regular octagon fortified by eight smaller octagonal towers at each corner. Eiffel tower is also a framed pyramid that demonstrates practical implications of fractal architecture. If it was constructed as a solid, large amount of iron consumption will be required without much added efficiency on load bearing. Gothic cathedrals are also utilizing the fractals to give a carved out skeletal appearance (Taylor).

We got more confident on our decision to use fractals after researching their characteristics and advantages. The diagram below provides an overview.

Subsequently fractal buildings are quiet and safe.

Repetition delivers maximum strength using minimum mass

Disperse energy waves efficiently, like sound waves and vibrations.

Dominate visual aesthetics

CONSTRUCTION ADVANTAGES USING FRACTAL

Taking nature as an example, trees assembled from fractals maximize its exposure to sunlight.

Can involve luminosity in the structure

Large surface area to volume ratio.

Combination of complexity and order

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3. Case Study 2.0 - Morning Line about the project The Morning Line is a hybrid of a ruin and a monument; it is an undefined space which seem cathedral-like, or ‘anti-pavilion’. It is not an enclosed structure, but an elegantly provoking aluminum frame, with an 8 meter height and 20 meter length. It referred interdisciplinary information from various fields, namely art, music, architecture, engineering, mathematics, physics, cosmology and technology, dissecting art inspirations from different sources.

The idea of a ‘universal bit’ is the main theme, it is reconfigured to suit various architectural forms.

Just like an interactive film, the structure represents evolutionary universe with no specific beginning or end, only movements with multiple centers. Fractal cycles are the ingredient to build the model, scaled up and down to form different forms.

The Morning Line is an innovative platform for contemporary music, it is packed with speakers and is interactive to users. The movement of users were registered, recorded and scaled to forms of music.

Every user of the space creates new story, giving infinite potential meanings and uses.

The Morning Line project is in line with our Case Study 1.0 on fractals. We decided to go for the same approach to show evolution and transition in our Western Gateway.

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about the project

Aranda Lasch, ‘The Morning Line’, image from University of Melbourne LMS file.

The diagrams show three basic processes of the Morning Line. Firstly, to reverse engineer the Morning Line Project by Aranda Lasch, we connected the basic fractals in a similar manner, using ‘Mirror’ function. Then we created the pattern on the truncated tetrahedral using ‘Bezier Curves’ or Phyton script. In the end, the lines are separated from the tetrahedral. However, when we unrolled our outcome, it appears different to the exact ones from the Morning Line.

aranda lasch Design is not about solving problems, but creating opportunities.

(Design Playgrounds (c) 2013)

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reverse engineer

1. 2. 3. 4.

1. We start of with a basic truncated tetrahedral.

2-4. The tetrahedrals are mirrored upon each other at the surface edges to create a sense of connection. The Grasshopper definition is used repeatedly on the mirrored tetrahedral.

5. 6. 7.

5. The patterned curves or surfaces are created using Python script on Grasshopper. The patterns on the surface can be adjusted accordingly using the number sliders.

6. This is how the structure looks like when it is extracted out of the 3D structure.

7. From here, it is obvious that the curves intersect internally and this is an issue for us because it complicates the design.

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8.

Jitter Intensity 0.5

Python Intensity 0.5

Python Intensity 0.7 8. The last step is to unroll the surfaces. Here in the diagram below, we tried out different intensities of the patterned

(Design Playgrounds (c) 2013) Obviously our attempt in Step 8 did not produce the exact same results as the official Morning Line as shown above. Nonetheless the attempt was a good learning curve that helped us explored the different technique and possibilities in design. From these techniques, we have a basis to continue our technique development.

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4. Technique Development exploration 1 connecting components

After the Case Studies, we started exploring new forms that we can create using means of connecting the components. At the same time, we found a precedent that can represent our idea concept, which is the Pratt’s Institute graduate architecture and urban design exhibition 2013. The cells are first solids then became wireframes when connected to the ceiling. We were having the same thoughts on deforming the fractal tetrahedral , to make it more interesting and further enrich the idea of transition.

PRATT’S INSTITUTE GRADUATE ARCHITECTURE AND URBAN DESIGN EXHIBITION 2013

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Basic Components 1. Fractal shape 2. Trimmed and Scaled Fractal shape 3. Morning Line patterning

Mirroring Basic Fractal Trimmed and Scaled Fractal

Joining components explore a hybrid.

The explored hybrid form however was rather complicated and we decided it is not something we like to go for in our design. Firstly the lines generated are intersecting internally with the fractal, it requires tedious fabrication and the lines do not look clean if it does not have the fractal solid.

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Fibonacci

Turtle

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on patterns

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Besides, we tried laying the tetrahedral to be arranged in natural iterative patterns. Grasshopper definitions available online was used to generate these patterns. The two main definitions are Fibonacci and Turtle. The main issues are how can we utilise these patterns into our design and most importantly how to connect them as a structure. From here we tried to think of new solutions.

This Fibonacci definition is created by the online community of Grasshopper. From the Fibonacci polyline, the ‘Disconnect’ function is used to lay the truncated tetrahedral, following the Fibonacci pattern, but at a distance away. The main motive is just to get the pattern laid. However, when the tetrahedrals reach high intensity patterned lines in the middle, they intersect each other. This situation is not desireable because it is a sign of difficult fabrication.

This Turtle definition is also created by the online community of Grasshopper. From the Turtle polyline, the ‘Disconnect’ function is used again to lay the truncated tetrahedral, following the pattern, but at a distance away. The same issue occured when tetrahedrals reach high intensity patterned lines, they intersect each other. The situation is more severe in this pattern, as it occurs at every side.

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exploration 3 mirroring and boolean This exploration is done using the method of Case Study 2, which is ‘Mirror’ to produce more variations.

Basic Mirror Boolean

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exploration 4 sierpinski triangles

1.

The last exploration was the Sierpinski Triangle. The reason was because it is a basic shape that can ensure design possibilities, and also be a good structural shape. The thought at that time was using a simple shape to create complexity. The triangle shape was also the original shape before the tetrahedrals were trimmed off. We were thinking off going back to the basics and start off from there.

1. Definition 1 and 2 produce the final polyline of the Sierpinski triangle.

2.

2. The polyline is connected to the â&#x20AC;&#x2DC;Explodeâ&#x20AC;&#x2122; function.

3.

3. The Sierpinski triangle is extruded.

4.

4. We realised the Sierpinski triangle has another structure imprinted within after the extrusion.

5.

5. We played around with the extruded structure during exploration, such as using a slanting plane to trim the structure. This in turns produce an dynamic feature.

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Our main experimentation was focused on the pattern of the Sierpinski Triangle. We tried different degrees of fractalisation, switching from lines to planes and to extrusions, adding vertical grid lines to increase the intensity of the structures, or subtracting and trimming parts of the triangle. We were quite satisfied with the resulting matrix from this exploration. At that time we think this series of fractal variation represents the complexity and order that fractals are supposed to convey. Most importantly it was easy to identify the main shape is the triangle. It is considered as periodic tiling since the final shape is still a large triangle.

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5. Technique Prototypes model for exploration 2 1.

2.

To construct this model, I tried 2 methods to unroll the mirrored structure in Case Study 2.0.

1-3. The first method was to unroll the whole structure at once. However the outcome was very unorganized. The individual tetrahedrals are all interconnected and there are over 200 edges to be connected together.

3.

3. The second method was to unroll individual tetrahedrals and connect them manually. This method was comparatively more practical, and thus this is the unrolled outcome.

4.

5.

The model is built using model board and pasted into place.

6.

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model for exploration 4

To construct this model, we laid our chosed Sierpinski Triangle patterns onto the FabLab template for laser cut on a 2.7mm plywood.

After the laser cut is complete, we cut the pieces or panels out and glue them up.

We realised the 2.7mm plywood is too thin to let our screens stand independently. It was a miscalculation of proportions. Thus for our next model we will combine a few plywood to make a sturdier model. While presenting, the frames were held up straight by wooden sticks.

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model for exploration 4

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6. Technique Proposal 1.

2.

As our Technique Proposal, we chose Exploration 4, the Sierpinski Triangle series of patterns. There are a few alterations in order to present the model effectively during our mid semester presentations.

1. This is an important shape which creates an impact among the other Sierpinski Triangles. It is an unexpected outcome that formed from the iteration of smaller triangles.

2. The Sierpinski Triangles were extruded and capped to create a three dimensional digital model. Parts were trimmed off to enable a see through effect.

3-4. The lined up sequence of the frames goes in the form of increasing in complexity when traffic users head to the city.

3. 4.

The fractal screens can create interesting shadows when there is presence of light.

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ARGUMENT biomimicry \ FRACTALS \\

FRACTALS

FORM NATURE

FRACTAL SCREENS MIMIC NATURAL SYSTEM OF FORMATION

Our groupâ&#x20AC;&#x2122;s attempt to design for the Wyndham City Gateway is to provide different shades of fractal screenings to convey a sense of innovation and biomimicry. When users are driving up towards the city, the changes in the patterns from simple to complex patterns will catch their attention.

Biomimicry is introduced in the form of fractal iteration, via the basic geometry â&#x20AC;&#x201C;triangles. This is an uncommon approach that will invite the users to think differently, reconsider how our nature is being built up by the small components. When users understand how nature is formed, a greater sense of appreciation towards nature can be induced.

Our design has a simple order but the complexity of patterns enriches the context site of the Western Freeway. Along the flat wide landscape, our design structure standing tall, it will certainly attract more than just a first glance. We hope users are likely to be amazed by how a simple triangular shape can form iterations of patterns and also an inherent shape. As the traffic user will move in high speed, the sense of feel in change of design according to different time lapse creates an innovative atmosphere of movement as well.

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This series of triangular fractal screens represents evolution of nature in analogy. Nature has always been adapting to changes under the pressure of survival of the fittest. The courses we see in nature today are the best structures that survived throughout the centuries on earth. They work cleverly in order to achieve best utilization of resources. Therefore similarly, we are holding on to the paradigm of â&#x20AC;&#x2DC;less materials and more designâ&#x20AC;&#x2122;, believing our design intent exemplifies a minimum of material used to a maximum impact (Pawlyn 2011). The addition and subtraction of elements on the Sierpinski triangles are symbolisms that nature is trying out different solutions to live in balance with the surrounding environment. Subsequently we are introducing biomimicry and not biomorphosis, not copying the shape or form of objects in nature, but mimicking the process or ways of nature living on earth.

In terms of sustainability, the economical use of materials contributes to this matter. Our intent was to use timber, not only because it is environmental friendly, it establishes a closer link to nature. Further explorations will be carried out in Part C.

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7. Learning Objectives and Outcomes

After the mid semester presentation, we received very constructive feedbacks which garnered new decision and thoughts to lead us on further improving our project.

Firstly the most pressing commentary was our argument being unconvincing. The fractal design approach of our transitional screens did not resemble the idea of biomimicry, but more towards patterning and geometry. We believed the main reason will be its two dimensional form that does not give a lively presence, unlike biomimicry designs. It did not led people to imagine further on nature and failed to represent our sustainable and innovative architecture discourse. The overall design seems to be high in rigidity and inorganic.

To back up our design approach on fractals, we decided to look for more precedents and we found our main inspiration, which is the Rokko Shidare Observatory Deck. It is again, inspired by leaves of a big tree, similar to our previous precedent, Canopy in Toronto. The repeated hexagons are used to create grids for the dome-shaped frame. It is using experiential architecture as well as mimicking natureâ&#x20AC;&#x2122;s form. At the connections of the grid frame, it looks like individual twigs stacking upon each other, giving a very close dialogue with nature. Interestingly the experiential factor is also a functional factor; the framed dome aims to attract frost in winter, like how the vegetation in nature does. The architect decided not to conceal the space, protecting users from the chilly weather, in order to provide a new experience of the users. Users are able to look up the wired canopy and experience the views of trapped snow between the connections. The deck also captures the change of state of frost to water, allowing first-hand experience for visitors.

ROKKO SHIDARE OBSERVATORY DECK

BY HIROSHI SAMBUICHI

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This project inspired us not only due to its extraordinary beauty but also its sophistication of incorporating aspects of nature, innovation and sustainability. The main decisions made were to explore more on the type of connections between elements, in order to create a three dimensional structure. In relation to this, one of the critics commented on how the connections of Rokko Shidare are great because the sense of them shaping like twigs enhance the discourse of biomimicry. We were brought about to reconsider whether the Sierpinski Triangle can represent our discourse of biomimicry for its rigid shape. However, the Rokko Shidare uses a hexagon geometry as their design basis, but rigidity was not an issue, so we realized it comes down to how we manipulate the shape arrangement.

Trailing back to our design process, we located our dead end that got us stucked. It was when we could not figure out how to fabricate the Bezier curves on the fractals. It was then we start to look for alternative patterning Grasshopper definitions, and resorted to use iterative algorithms that cohere to the fractal concept.

Taking into account of these problems, our group discussion outcome was to focus on an experiential sense to the drivers. This is the main idea highlighted from the Rokko Shidare. In part C, we will work on the lines of this concept.

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7. References Aldersey-Williams, H. 2003. New animal architecture. London: Laurence King Publishing.

Cornell.edu, ‘Patterns in Nature’, Cornell.edu, Available via <http://www.ccmr.cornell.edu/education/modules/documents/PatternsinNature.pdf> Design Playgrounds (a), (2013), ‘Canopy by United Visual Artists’, Design Playgrounds.com, Available via <http://designplaygrounds.com/deviants/canopy-by-by-united-visual-artists/> Design Playgrounds (b), (2013), ‘Bloomberg Pavilion by Akihisa Hirata’, Design Playgrounds.com, Available via <http://designplaygrounds.com/deviants/bloomberg-pavilion-by-akihisa-hirata-architecture/> Design Playgrounds (c), (2013), ‘The Work of Matthew Ritche’, Design Playgrounds.com, Available via <http://designplaygrounds.com/deviants/the-work-of-matthew-ritche/> Panchuk, N., (2006), ‘An Exploration into Biomimicry and its Application in Digital & Parametric [Architectural] Design’, University of Waterloo, Available via < http://uwspace.uwaterloo.ca/bitstream/10012/2876/1/ntpanchu2006.pdf> Pawlyn, M., (2011), ‘How Can We Build More Efficient Structures?’, Biomimicry in Architecture, RIBA Publishing, London, pp.1 Pawlyn, M., (2011), ‘How Can We Build More Efficient Structures?’, Biomimicry in Architecture, RIBA Publishing, London, pp.9 Taylor, R., ‘Fractal Architecture across cultures and continents’, University of Oregon, Available via <http://www.engawa.es/index.php?/e05/--fractal-architecture-across----/> Thompson, D. 1963. On growth and form. 2nd Edition, reprinted ed. Vol. 1. Deventer, Holland: Cambridge University Press.

Thyssen-Bornemisza, ‘Matthew Ritchie with Aranda Lasch and Arup AGU – The Morning Line’, Thyssen-Bornemisza Art Contemporary, Available via <http://www.tba21.org/pavilions/49/page_2?category=pavilions> Tsui, E. 1999. Evolutionary architecture - nature as a basis for design. New York: John Wiley & sons.

United Visual Artists, (2010), ‘Canopy’, UnitedVisualArtists, Available via <http://www.uva.co.uk/ work/canopy>

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Part c project proposal

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0.5 Restart

STAGES > BRAINSTORM tions

+

looking back on previous explora-

> PROPOSAL ONE (BASED ON EXPLORATION 1 PG__)

using prattâ&#x20AC;&#x2122;s institute as a precedent to

experiment on fractal shapes in the solid and

framed forms

> PROPOSAL TWO (BASED ON EXPLORATION 2 PG__)

explore the fibonacci sequence in motion. we found

the zooming views of the fibonacci sequence after several discussions with our tutor, we set our concept on proposal two.

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PROJECT PROPORSAL

1. Gateway Project: Design Concept Wyndham City is a site that gives attention on public art and the natural surroundings.

Although it strives to improve its urban condition, the aesthetics of the environment is not neglected. We wish to improve the users’ engagement by lengthening the span of the tunnel, especially when the drivers are driving and suggested in a fast motion. To address these factors, our Fibonacci tunnel installation will represent transition in an interchanging space when viewed in motion, which is the zooming in and out of the Fibonacci pattern.

Our Fibonacci tunnel is enclosed, and the internal chaotic span of ‘expanding and contracting’ portrays a form finder that develops through time. There is not two panels that are identical. We hope it can generate user’s emotional experience when driving through an entirely different atmosphere from the flat and peaceful landscape of the Wyndham City.

Using the Fibonacci fractal system is how we decide to relate to biomimicry. It is suitable to represent the analogy of development and interchanging iterations. Most importantly it is the contrast to ‘Seed of Change’ that mimicked the form of nature.

Fibonacci

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Identifier of Wyndham Here we view the site in relation to Melbourne CBD in a large scale.

In the macro scale view, the CBD is the focal point of Melbourne while the suburbs extend like a radial network. The network seen on the map are the main road traffic. It can also be seen that the proximity of infrastructures are more dispersed in the site of Wyndham City Gateway.

Wyndham is located south-west of the CBD, in the suburbs of Werribee. Thus, the concept of transition can be represented by the CBD as the centre of the Fibonacci pattern and Wyndham as a representation of the broader pattern. We then utilised this idea as the basis to further develop the final form.

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Form The project brief states the objective of establishing an innovative and prominent indicator to provide a focus to the Western Interchange entry to the City. Essentially, we are exploring the visual frames as a result from zooming in and out of a specific perspective –the end of the tunnel. The zooming in and out effect on the Fibonacci sequence is particularly intriguing, and we saw potential for it to create a visual experience for drivers.

We decided to create an enclosure; an isolated transition space where drivers will experience a chaotic journey of ‘expanding and contracting’ spaces.

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FIBONACCI

ANGLED HEXAGONS

Innovative Though we are developing a form inspired by nature, like the ‘Seeds of Change’ installation, we are using a different biomimicry approach - Biomimicry. Instead of completely mimicking nature’s form, we try to delve into nature’s systems. We feared that we might be copying the Fibonacci pattern, so we researched nature’s objects using the Fibonacci for structural solutions.

Fibonacci is also categorized under fractal patterns. It is composed of small singular components that follows a fractal system to form the final organic product.

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Design process

ANGLES

DESIGN

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zooming in rib frame

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zooming in extruded rib frame

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zooming in enclosed tunnel

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SITE PLACEMENT

between site A and B

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2. Gateway Project: Tectonic Elements dissecting the structure

enclosed panels

supported by

extruded from the frame

extruded rib frame

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> Unroll panels in Rhino

> Make 2D in Rhino > Nesting > Fabricate on 3mm boardbox

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from the panels

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NEST IN RHINO

Separate every strip of panel

MAKE TABS FABRICATED ON 2 MATERIALS

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MATERIAL: ALUMINUM

PART C PROJECT PROPOSAL

-

Lightweight > Fast installation > Low impact on traffic congestion

-

Corrosion resistant > Less maintenance

-

Recyclable > More environmental

http://www.aalco.co.uk/datasheets/Aluminium-Alloy_Introduction-to-Aluminium-and-its-alloys_9.ashx

Render Internal views

fabricate in real life ROBOFOLD The RoboFold technology involve use of multiple 6-axis industrial robots attached to sheet metal with vaccum cups. The robots programmed to stimulate move through determined trajectories that match the folding for specific sheet of pre-scored metal in order to fold a metal component. No hard tooling required, minimizing hardware reconfiguration.

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from the ribs

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REPRESENTS

connection in real life STRUCTURAL ALUMINUM FRAME

connection between steel frame BOLTING Advantage: - Easy method of connecting on site - Field bolting is cheaper than field welding. https://engineering.purdue.edu/~jliu/courses/CE470/PPT_ PDF/AISC_ConnectionsJL.pdf 74

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CONNECTION METHOD

1:50 model Stapling the panels to the ribs exemplifies bolting.

However, the issue with our fabrication is that the ribs are seen on the exterior. The rib frames are supposed to be supporting the panels from the inside.

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PROTOTYPE 1:500

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This prototype is done to help us get a better sense of how the 250m span works with the panels. In the scale of 1:500, it demonstrates the folded panels can create this ‘expanding and contracting’ effect from aerial view.

It still resembles the zooming in and out effect that we wish to incorporate. However the connection method excluded the rib frame. We only connected the panels through tabs.

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FABRICATION

From the fabricated sheet, we connected the panels by glueing it together. After that, the model is stuck on the board at specific locations.

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3. Gateway Project: Final Model 1:50

The final model only showcase the beginning and the end of our structure. We used different color of paper to test of different reflectiveness as different effects.

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ZOOMING IN THE MODEL At the end of the tunnel will be the focal point of the zoom effect.

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FABRICATION

The ribs ares printed on paper and cut out on boardbox.

The panels are printed and cut out on the reflective paper.

Panels and ribs are stapled together, showing our proposed connection bolting.

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FINAL OUTCOME

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4. Learning Objectives and Outcomes

Throughout this semester, we learned different skills including technical, journaling, presentation in relation to studio ethics, working together and developing our ideas to a valid argument for our design. We took a position in this Wyndham City Gateway design to enhance driversâ&#x20AC;&#x2122; experiential experience when driving towards the city on the highway.

Technical skills learnt and acquired in the first part of our semester was a starting point that aid us to come with our design in this proposal. It was how we could produce our design even though there might be better solutions out there. Designing as a student does limit our design outcome. Analysing our own efforts was done critically, after our mid semester presentation. Since then, our design shifted to a different take, while still using the ideas from our exploration. I can say that we altered our original design intuition as well, from the Sierpinski Triangle screens to the Fibonacci tunnel, after taking into account of site, context and social intents. The challenge was the integration of all the factors to come out with a sound design that also conveys biomimicry. The idea of biomimicry was difficult to grasp at first but we found our way through â&#x20AC;&#x201C; to define biomimicry as mimicking nature systems and not the form of nature.

Our take on the Wyndham City Gateway proposal is to create an experiential transition from the suburbs to the Melbourne CBD. Using the dispersed and undispersed macro view of our site, that is how we integrate to our Fibonacci theme. The zooming in and out effect creates an innovative space that is valid on the landscape. Besides the contracting and expanding panels increase the irregularity of space, the only end the driverâ&#x20AC;&#x2122;s see will be the focal point at the end of the tunnel. Our assumption on Wyndham city is that, it acts as a developing suburb that will eventually move towards the state of CBD. Wyndham will need a transition itself, to develop through time. Our argument of imitating the fractal system to design this tunnel is also an iterative process that nature uses to survive.

The analogy and argument we decide to bring in this proposal is linked in a sense of developing through time, with the context and fractal system is representing it well.

I think the aspect that we lack in conveying this design argument is the sophistication of the design from successful parametric designs as written in Part A. Besides the fabrication method was fairly conventional and I just felt we could have applied more structural knowledge from the other subjects learnt. It might also not occur to users at first for it to be a biomimicked parametric design at first glance, but we believe it can be educated to the users that the complexities of nature systems that can endure the survival at its fittest game.

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The studio culture in our studio was quite conducive especially during presentations when our studio mates will explain on their projects as well. I find it very helpful and sometimes mind-blowing on the design ideas that were presented. Nonetheless the presentation skills exhibited were really good to learn from. A downside in our group was also our presentation skills that needed much improvement in terms of graphics and videos. It was a pleasure to receive helpful comments and critiques from classmates, tutors and guest crits. After every presentation we gained new insights to further decide how to move on with an improved outcome.

Designing as a student and a designer is very different and we are required to play these two roles altogether. Designing as a student definitely faced various knowledge limitations, and most of the time, we are unable to convey what we want to achieve efficiently as a designer. It is our major challenge an issue whenever we decide to add a new feature, we take a long time to learn and figure out a suitable technique in Rhinoceros and Grasshopper.

Nonetheless this subject has helped me progressed in the learning of parametric design program. Parametric design is the key progressing architecture in this era and it was helpful to understand more theories, examples and knowledge of parametric designs.

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