Chua_Yiqian_699137_AIR_Journal by Yiqian Chua

STUDIO AIR 2016, SEMESTER 1, TUTOR: MATT M. YIQIAN CHUA 699137

PART A

PART B

PART C

STUDIO AIR 2016, SEMESTER 1, TUTOR: MATT M. YIQIAN CHUA 699137

PART A - CONCEPTUALISATION

TABLE OF CONTENTS

PART A

A1. DESIGN FUTURING Onagawa Temporary Housing Farming Kindergarten

6 8 10

A2. DESIGN COMPUTATION Yokohama International Port Terminal 41 Cooper Square

12 14 16

A3. DESIGN COMPOSITION & GENERATION Temple Expiatori de la Sagrada FamÃlia Eden Project: The Biomes

18 20 22

A4. Conclusion

A5. Learning Outcomes

A6. Appendix

References

INTRODUCTION

My name is Yiqian Chua. I am a third-year university student studying a Bachelor of Environments with an Architecture Major at the University of Melbourne. My architectural interest lies much in social concern and working for the underprivileged, as well as sustainable and biocentric design, something which would be moderately touched upon in Studio AIR. My experience working with digital design is close to none, as I have thus far employed the more traditional methods in both designing and drafting. Neither do I have much exposure to the academic theory in this field. However I believe these are both things that would change from undertaking this subject. Though I am naturally sceptical of the direction which computation in design is leading the world with regards to my values, I believe this studio would help me gain a better understanding of the possibilities and potential of technology in the role of design.

DESIGN FUTURING

A1. DESIGN FUTURING

Figure 1

Onagawa Temporary Container Housing SHIGERU BAN ARCHITECTS It is no doubt familiar knowledge to any and all involved in the architectural field regarding the continuous legacy of Shigeru Ban in designing with the long undermined cardboard. Ban was one of the first to popularize the incorporation of cardboard, or “paper tubes”, in the design and fabrication of building structures, primarily as structural load-bearing systems. Compared to most other construction materials, cardboard is eco-friendly, recyclable and renewable, in addition to qualities such as being lightweight and possessing significant load bearing capacity. Ban‟s work with paper tubes spanned from small single-unit housing to large cardboard cathedrals. However what Ban contributes to the world of design is beyond an innovation of materiality but also informs the methodology of design that values serving the public. One of the such works from Ban includes the temporary shelter units in Onagawa built for earthquake victims following an earthquake in the area. Faced with issues of a challenging and uneven terrain, coupled with a small budget and relatively small timeframe for design and construction, Ban and his team delivered the solution as a series of three story unit apartments built from reused shipping containers, timber and cardboard.

The fascinating result was that despite the lacking use of conventional construction materials and methods, the product delivered a living space that did not compromise on comfort or privacy. Through the use of design, Ban and his team offered more than just a structure that provided shelter but rather defined and accommodated a set of living conditions that went beyond basic needs to achieving acceptable standards of living, all the while using mainly renewable and reused materials. Though many design strategies for comfort has been developed over the past few decades, Ban’s appropriation of such strategies using cheap and non-environmentally straining materials could possibly be a signpost for what design futuring may mean.

Figure 1 retrieved from http://www.shigerubanarchitects.com/works/2011_onagawa-container-temporary-housing/index.html

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Figure 1,2,3,4 retrieved from http://www.designboom.com/architecture/shigeru-ban-onagawa-temporary-container-housing-community-center/

A1. DESIGN FUTURING

Figure 1 Image reference

Farming Kindergarten VO THRONG NGHIA ARCHITECTS The Farming Kindergarten designed by Vo Trong Nghia architects featured a predominantly concrete and organic garden spreading over 3800 square metres in the city of BiĂŞn HĂ˛a, a highly industrial city in Vietnam. The project sought to provide a centre of education for children regarding the agricultural history of Vietnam and importance of agriculture. The building features a series of undulating continuous concrete form to define the structure and space, with the integration of green biosystems to complete the design. The continuous green roof not only achieved the aim of education children regarding planting food, but also provided insulation and became its own unique roof cladding. Hanging plants served as natural shading systems and alongside natural ventilation strategies the building is able to achieve comfort levels without use of air conditioning despite the tropical climate. Interior spaces are largely defined by the concrete structure with simple cladding strategies devoid of excessive aesthetic design. These design choices seem to reflect a commendable minimalistic strategy while prioritizing the balance of comfort and sustainability.

Beyond its adoption of sustainable design strategies as mentioned which have been researched for the past few decades, the truly inspiring aspect of this project is its experimentation with green building elements at a large scale. In an age of green louver technologies to Stefano Boeri Architectsâ&#x20AC;&#x; Boscoe Verticale, the Farming Kindergarten contributed to the ongoing research of incorporating green elements in design and construction. Though not without its limitations, this trend certainly reflects a step away from defuturing elements of architectural design, as the industry as a whole is seeking to find the best way for plants to coexist with buildings as a sustainability strategy.

Figure 1 retrieved from http://www.archdaily.com/566580/farming-kindergarten-vo-trong-nghia-architects

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Figure 4 Figure 1,2,3,4 retrieved from http://www.archdaily.com/566580/farming-kindergarten-vo-trong-nghia-architects

DESIGN COMPUTATION

A2. DESIGN COMPUTATION

Figure 1

Yokohama International Port Terminal FOREIGN OFFICE ARCHITECTS The Yokohama International Port Terminal in Japan designed by Foreign Office Architects is one early example of built project that pursued the potential of computation in design to produce a design that defined new architectural forms, no doubt being at the frontier of innovation in its time. The aim of the design was to create a space that goes beyond fulfilling its function as a port terminal but also respond to the urban context as it provides circulation from the nearby parks and creating more access to views project out of the pier instead of obstructing it. Continuity is important in the design and the architects opted to go without stairs but instead with sloping ramps using similar language to the continuous observation deck above which through slight changes in elevation and direction guides users in a flowing geometry that defines the top level of the building. While the ideas are conceived in the minds of the architects, computational technology enables them to resolve the form and geometric language that becomes the product of these ideas.

Besides the architectural form of the building, the design for this project faces real challenges in lateral stresses from the waves and seismic forces due to the topography. These challenges, though able to be resolved through traditional design strategies, found different ways of resolution through the ability of generating complex forms of geometry with the aid of computation. The terminal boasts of long horizontal spaces without vertical structure members due the efficient transfer of load diagonally through an unconventional structural system of steel plates and concrete girders most likely conceived through computation.

Figure 1 retrieved from http://www.archdaily.com/554132/ad-classics-yokohama-international-passenger-terminal-foreign-office-architects-foa

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Figure 1,2,3,retrieved from http://www.archdaily.com/554132/ad-classics-yokohama-international-passenger-terminal-foreign-officearchitects-foa

A2. DESIGN COMPUTATION

Figure 1

Cooper Union for the Advancement of Science and Arts MORPHOSIS This building also known as the 41 Cooper Square institutional facility designed by Thom Mayne and his architectural firm Morphosis is one such example of computation engaging with the process of design. The building was designed to meet the objective of creating a space for cross-disciplinary intellectual exchange and collaboration as well as reflecting aspirations of its values such as innovation, true to the heart of an educational facility. The attempt to realise the former through the aid of computerised design process led to the iconic vertical piazza designed to facilitate circulation in the building while creating spaces for planned or spontaneous meetings. Design computation was most likely crucial if not completely necessary for the conception of the geometry that defined the aesthetically inviting and also functionally efficient combination of staircases and atriums to become the vertical piazza. Here computation enlarged the possibilities of attaining more complex methods of defining space to more effectively realise the innovative ideas of the design purpose.

Along with the design of innovative internal space, the project seeks also to reconcile its external faĂ§ade to the urban form of New York while also maximise passive design strategies such as natural lighting and ventilation. 41 Cooper Squareâ&#x20AC;&#x;s external faĂ§ade strategically achieves both transparency and functional cladding through the use of semi-transparent stainless steel panels which allow sufficient light to diffuse through into the interior at desired angles and intensity varying to their positions. This coupled with the strategic placement of discontinuities in the steel panels to project open balconies achieves the aforementioned objectives, no doubt a possibility opened up by computational processes to bridge the gap from innovation to reality.

Figure 1 retrieved from http://www.archdaily.com/40471/the-cooper-union-for-the-advancement-of-science-and-art-morphosis-architects

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Figure 4 Figure 1,2,3,4 retrieved from http://www.archdaily.com/40471/the-cooper-union-for-the-advancement-of-science-and-art-morphosis-architects

DESIGN COMPOSITION/ GENERATION

A3. DESIGN COMPOSITION/ GENERATION

Figure 1

Temple Expiatori de la Sagrada Família ANTONI GAUDI The Sagrada Familia temple designed by Antoni Gaudi which commenced construction more than a century back in 1882, presents a fitting case for considering the idea of design composition and generation. For a man with a strong sense of faith in the Creator, Gaudi believed in nature as the ultimate source of all inspirations and the integrity of design to always reflect back to nature to the credit of God as the Creator and Designer. In fact while on the surface this idea does not seem to be radically distinguished to the existing architectural thoughts and principles such as Laughier‟s idea of the primitive hut or other rationalist theories, Gaudi was one of the earliest architects to be able to conceive more complex designs based on principles that are not too different from what we now refer to as biomimicry, in a primitive sense. Gaudi‟s inspiration from nature was beyond simply aesthetic as much as it is beyond pure functionality, as it is through his research of the natural forms that he was able to achieve designs that are inconceivably ahead of the technological context of his time.

What is more significant to us in this context of design composition and generation then is the process in which the marvel of the Sagrada Familia is designed. Though history has it that most of the original sources of Gaudi‟s design was destroyed after his death, it is still possible to trace the trail of design generation that Gaudi practiced that produced the design of the Sagrada Familia. The many published and ongoing research in this case could no doubt inform the idea of design generation despite Gaudi‟s relatively more primitive methods, which the present reality of computational design can achieve to a greater extent.

Figure 1 retrieved from http://www.archdaily.com/438992/ad-classics-la-sagrada-familia-antoni-gaudi

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Figure 4 Figure 1,2,4 retrieved from http://www.archdaily.com/438992/ad-classics-la-sagrada-familia-antoni-gaudi Figure 3 retrieved from http://www.thethirdray.com/sculpture/our-relationships-to-nature-gaudis-architecture/

A3. DESIGN COMPOSITION/ GENERATION

Figure 1

Eden Project: The Biomes GRIMSHAW ARCHITECTS The Eden Project by Grimshaw Architects is a series of greenhouse domes that together form the largest greenhouse in the world. With the purpose of recognising the heritage of plant exploration and also promoting prospects of the future, the aim of the project to create these large greenhouses was resolved by using a structure consisting of steel framing and ETFE. ETFE is a semi-transparent plastic membrane that is durable and very lightweight compared to glass, being the traditional material for glasshouses. Historically ETFE was developed in the late twentieth century but not used in the building industry until this project came about. The significance of this project in relation to the idea of design generation over composition is such that within the process of seeking resolution for the purpose of the objective the material is not imported from traditional practice but rather developed and appropriated the innovative material use within the process of design generation for the purpose of the design itself.

The structure for the domes of the Eden Project prioritizes lightweight properties and maximising the infill of ETFE surface over minimal framing. The use of generative methods in a more literal sense emerges as material properties start to define the geometric shapes and patterning to create the form of the structure atypical to traditional glasshouses. While the use of such generative design process through parametric techniques might trade the innovativeness of aesthetic design for functional utility as computation tends to generate the most efficient solution, the product of the design however does not fail to deliver as the building becomes a significant attraction for tourists.

Figure 1 retrieved from http://inhabitat.com/eden-project-giant-bubble-biomes-are-worlds-largest-greenhouse/

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Figure 4 Figure 1,2,3,4 retrieved from http://grimshaw-architects.com/project/the-eden-project-the-biomes/

A4. CONCLUSION

Part A of this journal works its way through three elements relating to the design discourse being design futuring, computation and generation. Having considered precedent projects and the role of parametric design techniques among them, my thoughts converge to mainly one argument, that through computation in design innovation can find better expression than ever before. Whether functionally innovative, as would benefit the idea of design futuring, or aesthetically innovative which I am perhaps less considerate of, it is no doubt true that the advancement in technology is redefining or widening the prospects of design not just in the product of it but also the process.

Despite these concepts that I have researched throughout part A of this journal, I believe I have yet arrive at a particular design approach. Though as it is my believe in the process of generative design based on the contextual reality of each project, I could only imagine an aim for my approach to be responsive to such terms and prioritizing functional utility, as much as I would be able to achieve through my ability to participate in the process of design.

A5. LEARNING OUTCOMES

Throughout the first part of the semester my understanding of architectural computation have definitely widened beyond my initial exposure before I commenced the subject. Despite yet to have attempted using computational methods in design to a large extent, having researched and considered precedents of built design expanded my understanding of the possibilities of architecture to achieve more innovative designs. Perhaps more so than ever before we architects have tools available to bring pipe dreams into reality and shake off constraints of traditional methods as computation is continually developed. No doubt this is worth pursuing as the next generation of architects.

Looking back at one of my past designs, I could only envision how better I could have resolved my conceptions into the final design with the computational methods I have learnt and will learn as I progress through this subject. In my most recent design project that I completed for a previous subject, I was aiming at achieving an undulating geometric pavilion structure parametrically defined by certain coordinates, angled view ports and changing contours. Having been exposed to the potential of parametric modelling I can start to imagine how better my concept can be resolved, before even considering other computation processes such as environmental analysis and modelling tools.

A6. APPENDIX While most of my skills in working with Rhino 5and Grasshopper still remains limited as I do not have much past experience with computational design, I have attempted to conjure varying shapes and forms through what I have learnt in these first few weeks. In my first exercise at lofting, I wanted to experiment with changing the curves that defined the loft in a controlled manner with basic scaling and rotation (as opposed to randomly deforming the lofted shape). As I experiment through using these operations I worked my way through trying to understand how can the same operations be done through using grasshopper instead of manually performing them on Rhino.

REFERENCES IMAGE REFERENCES sorted by list Front Cover Unknown Author, Pop-up Pavilion, N.D. project/1346981147000/> [accessed 20 March 2016]

<http://afflante.com/20168-pop-up-pavilion-bowooss-research-

A1 Hiroyuki Hirai, Container Temporary Housing, N.D. <http://www.shigerubanarchitects.com/works/2011_onagawacontainer-temporary-housing/index.html > [accessed 5 March2016] Hiroyuki Hirai, Onagawa Temporary Housing, N.D. <http://www.designboom.com/architecture/shigeru-ban-onagawatemporary-container-housing-community-center> [accessed 5 March 2016] Gremsy, Farming Kindergarten, N.D. <http://www.archdaily.com/566580/farming-kindergarten-vo-trong-nghiaarchitects> [accessed 5 March 2016] Hiroyuki Oki, Farming Kindergarten, N.D. <http://www.archdaily.com/566580/farming-kindergarten-vo-trong-nghiaarchitects> [accessed 5 March 2016] A2 Satoru Mishima, Yokohama International Passenger Terminal, N.D. <http://www.archdaily.com/554132/ad-classicsyokohama-international-passenger-terminal-foreign-office-architects-foa> [accessed 11 March 2016] Baan, Iwan, The Cooper Union for the Advancement of Science and Arts, N.D. <http://www.archdaily.com/40471/thecooper-union-for-the-advancement-of-science-and-art-morphosis-architects> [accessed 11 March 2016] A3 Kennan, John, la Sagrada Familia, N.D. <http://www.archdaily.com/438992/ad-classics-la-sagrada-familia-antonigaudi> [accessed 19 March 2016] „Amazinao‟, la Sagrada Familia, N.D. <http://www.archdaily.com/438992/ad-classics-la-sagrada-familia-antoni-gaudi> [accessed 19 March 2016] Unknown Author, la Sagrada Familia, N.D. <http://www.archdaily.com/438992/ad-classics-la-sagrada-familia-antonigaudi> [accessed 19 March 2016] Unknown Author, Gaudi’s Architecture, N.D. <http://www.thethirdray.com/sculpture/our-relationships-to-nature-gaudisarchitecture> [accessed 19 March 2016] Unknown Author, Eden Project, N.D. <http://inhabitat.com/eden-project-giant-bubble-biomes-are-worlds-largestgreenhouse/> [accessed 19 March 2016] Unknown Author, Eden Project: the Biomes, N.D. <http://grimshaw-architects.com/project/the-eden-project-thebiomes> [accessed 19 March 2016] Back Cover Unknown Author, Pop-up Pavilion, N.D. project/1346981147000/> [accessed 20 March 2016]

<http://afflante.com/20168-pop-up-pavilion-bowooss-research-

STUDIO AIR 2016, SEMESTER 1, TUTOR: MATT M. YIQIAN CHUA 699137

PART B â&#x20AC;&#x201C; CRITERIA DESIGN

Table of Contents

PART B

B1. RESEARCH FIELD: PATTERNING

B1. RESEARCH FIELD: SECTIONING

B2. CASE STUDY 1.0: PORTRAIT BUILDING Introduction Matrix of Iterations Selected Outcomes and Discussion

36 38 41

B3. CASE STUDY 2.0: WEBB BRIDGE DOCKLANDS Introduction Reverse Engineering Log Process Diagram and Discussion

42 44 48

B4. Technique Development Matrix of Iterations Selected Outcomes and Discussion

50 59

B5. Prototype

B6. DESIGN PROPOSAL Introduction and Concept Site and Surrounding Context Early Design

62 64 66

B7. LEARNING OUTCOMES

B8. APPENDIX AND REFERENCE LIST

“For the first time in history, architects are designing not the specific shape of the building but a set of principles encoded as a sequence of parametric equations by which specific instances of the design can be generated and varied in time as needed…” 1

Ravensbourne College, Foreign Office Architects Image: https://blog.quintinlake.com/2012/08/01/ravensbourne-college-tiling-by-foreign-office-architects/ 1 Branko Kolarevic, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pg. 12..

B1. Research Introduction: Patterning

Spanish Pavilion, Foreign Office Architects

Madrid Civil Courts, Zaha Hadid Architects

Image: http://www.stylepark.com/en/ceramica-cumella/facadecovering-spanish-expo-pavilion-aichi-japan

Image: http://www.zaha-hadid.com/architecture/madrid-civil-courts-ofjustice/

Parametric Patterning Patterning is one of the most common parametric technique to achieve the modern impression of ornamentation,1 as it is argued that the interest in patterning is an effect of a necessity in modern culture to embody complexity through consistency.2 Multiple architectural firms have been at the forefront of developing patterning techniques or using specific patterning methods as a common language, including UNStudio, OMA Architects, Greg Lynn and, possibly most significantly, Foreign Office Architects. FOA has over the years employed parametric patterning to generate different forms of patterning in multiple projects, creating unfamiliar outcomes with each projects.

FOA‟s enclosure patterning can be studied in precedent projects such as the Spanish Pavilion, John Lewis Building and Ravensbourne College in Greenwich. In their projects, while patterning is applied mostly on the building envelope, the role of patterning is far from insignificant. Patterning elements can achieve not only visual effects but also influence thermal and light performances of the building. Within a single building, the patterning on different facades or directions would differ depending on solar and weather exposure, views or structure shape, differentiating patterning application for them individually can be relatively easy to control through parametric design.3

1. Patrik Schumacer, „Patterns of Architecture‟, Architectural Design,79,6,2009 (Wiley, 2009) pg. 30-41. 2. Alejandro Zaera-Polo, „Patterns of Architecture‟, Architectural Design,79,6,2009 (Wiley, 2009) pg. 20. 3. Alejandro Zaera-Polo, „Patterns of Architecture‟, Architectural Design,79,6,2009 (Wiley, 2009) pg. 25-27.

â&#x20AC;&#x153;Parametric design calls for the rejection of fixed solutions and for an exploration of infinitely variable possibilities.â&#x20AC;? 1

Spanish Pavilion, Foreign Office Architects Image: https://www.yatzer.com/BANQ-restaurant-by-Office-dA 1 Branko Kolarevic, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pg. 12.

B1. Research Introduction: Sectioning

Rest Hole in University of Seoul, UTAA

Driftwood Pavilion, AA Architecture

Image: http://www.archdaily.com/440719/rest-hole-in-the-universityof-seoul-utaa

Image: http://www.dezeen.com/2009/07/03/driftwood-pavilion-by-aaunit-2-opens/

Parametric Sectioning Sectioning, in contrast to patterning techniques, deals more commonly with the form of the design rather than the skin. It generally involves generating shapes or defining space through a series of flat sections aligned together. Sectioning allows for complex shapes and geometry to be simplified to almost two dimensional documentation and fabrication, as each of the sections in a common sectioning design can be cut from a sheet material. In this age of computational design, it is considered increasingly important for integration of fabricators within the design process , as it tends to inform the design itself in most cases.1

1. Brady Peters, â&#x20AC;&#x17E;Realising the Architectural Intent: Computation at Herzog & De Meuronâ&#x20AC;&#x;, Architectural Design, 83, 2, (Wiley, 2013) pg. 61. 2

„Portrait Building‟ – Swanston Street Apartments ARM ARCHITECTURE The „Portrait Building‟ or William Barak Apartments, was to be a fairly typical apartment block building, aside from the obvious patterning of the panels which depict the face of the late aboriginal leader, William Barak. ARM architecture achieves this through changing the profile of the horizontal panels to reflect a monochrome image of Barak. The technique holds no great complexity, allowing constructability and works within typical performance of standard materials. While quite a simple patterning technique in terms of computational design, the social value and implications of this building is beyond significant as it became a tribute to a significant figure of history, immortalised in a painfully direct way and would be imprinted onto the urban picture of Melbourne for decades to come. It is argued that this technique address the human nature of pareidolia, where the human mind tends to perceive a familiar pattern as an image or face, literally in this case, thus allowing this particular technique to play a significant role in design and aesthetics of buildings.1

Image: http://assemblepapers.com.au/2015/05/28/remember-me-architecture-placemaking-and-aboriginal-identity-2/ 1. Sussman and Hollander, Cognitive Architecture (Routledge, 2014) pg. 13-14.

B2. CASE STUDY 1.0: Portrait Building In this case study, the definition provided for the patterning technique is explored and tinkered to produce interesting outcomes. As I have yet to come up with a direction for my Part C project, this case study will take a more general stance and explore:

What are the most aesthetic or interesting ways of patterning an image on buildable forms? This selection criteria is a predominantly aesthetic one, as I try to produce outcomes where the image is not simply being presented in a straightforward manner but how it can be suggested or even partially concealed to achieve different potential design intents.

Image: http://www.australavianimages.com/gallery3/index.php/grebes/Hoary-headed-Grebe/SB_035697_Balldale_NSW_2875_800

SET 01 The first set of iterations explore the provided definition by changing sliders that affect translations on the curves. The results are interesting to note as slight changes could create fairly different results.

The second set continues to push the provided definition further for more interesting outcomes. The same image being sampled can be patterned and presented differently through these changes.

SET 02 38

SET 03 The third set of iterations involve introducing new components that make circles around the translated points. This creates a completely different type of patterning that might be more or less desirable depending on design intents.

The fourth set of iterations give the curves a thickness each instead of lofting them together. This allows for the image to still be patterned while generally maintaining open faรงade.

SET 04 39

SET 05 The fourth set of iterations apply the same technique onto a pavilion-like structure. The pattern in this case is overhead instead of front-on, producing a more concealed or secretive approach rather than simply presenting the image.

The sixth and last set of iterations explore how the patterning technique could be used on a staircase. It is interesting to note how different ways this patterning is applied can inhibit the functionality of a staircase.

SET 06 40

B2. CASE STUDY 1.0: Portrait Building

This first selection is very similar to the original project, however, the image is presented here with a more striking contrast as the translations are set to greater amplitudes.

This second selection is my favourite one, where the image is not just presented but blurred and tend to blend into a less rigid form of patterning as a different type in itself.

This third selection is from the species of circular perforation, perhaps achieving the least imposing type of aesthetic patterning, which is fairly commonly adopted.

This last selection is interesting in its own right as it produces an outcome that has an illusory 3dimensional effect., while it is still projected from the same surface as the others.

DESIGN POTENTIAL The panelling patterning technique of the Portrait Building is, among other things, advantageous in its ease of fabrication, as it mostly involves cutting strips to the specific shapes. The selection criteria for this case study is kept fairly open as I would like to explore different ways of achieving patterning, and the selected iterations are all different to each other even though depicting the same image sample. The obvious advantage is therefore the potential for achieving patterning in tandem with other design considerations, such as perforating for ventilation or working with material properties. The flexibility that this technique provides allows for ease of resolution and can be employed in a wide range of contexts.

Webb Bridge, Docklands DENTON CORKER MARSHALL / ROBERT OWEN The Webb Bridge in Docklands is a project designed by architects at Denton Corker Marshall and artist Robert Owen. It is a public area dedicated for pedestrians and cyclists, less so for bridging the waterfront of Docklands but more for leisure and recreational purposes. The design of the bridge, done by artist/sculptor Robert Owen is based on the Koori eel trap, which holds significant cultural value to the Australian community. The form is then realised through parametric tools and engineering, simplifying the elements into simpler units and uncomplicated joints. While not exactly reflecting the technique of sectioning in the common sense, the Webb Bridge design does indeed separate the single structure into a series of sections which can be individually designed for joints or connections, allowing for the continuous but varied semi-horizontal elements that span the interval, giving the structure the eel-trap design.

Image: http://www.docklandsisbeautiful.com.au/?portfolio=webb-bridge-3

B3. CASE STUDY 2.0: Webb Bridge

Image: http://www.andreaperrin.com/wp-content/uploads/2013/01/Image-11.jpg

STEP 01 The first step in the process of attempting the reverse engineer of the project is to draw two curves that define the path of the bridge. These two curves are then referenced into Grasshopper, divided into a series of points and then connected by top and bottom arcs to produce a similar frame as the Webb Bridge. The directions of these arcs does not follow the path of the bridge as I wished, though attempts at fixing this have not been successful.

STEP 02 The second step I took is to offset the arches inward to produce a vertical thickness to the circular rings. This process took a few trial and errors to find the right planes for the offset to achieve what I wanted. At the same time the average between the points on the curve is found and the tangent vector of these points are referenced. I attempted to use this result to fix the problem mentioned in step 01 but to no avail.

B3. CASE STUDY 2.0: Webb Bridge

STEP 03 The number of points on the curve is increased and the list is then culled to separate the framed spaces from the gaps in between. The result is lofted to create the rings that become the frame for the bridge. A cull pattern is introduced to the vertical offset in step 02 to remove any offsets in the gaps. The base is also produced from lofting a series of lines that connect the curves together.

STEP 04 All faces of the rings are lofted with their respective curves to fully define the rings for the frame. The number of divisions on the curve is increased to make the rings and frame look less bulky as the original project would have been. Some minor problems emerge such as the ends of the bridge having unwanted extrusions, and the base not properly lofted at sharp corners.

STEP 05 The process came to a standstill as I revisit the problem of trying to rationalise the angle of the rings relative to the path of the bridge as mentioned in step 01. This step involves mainly problem solving and attempting different methods to try and achieve greater resemblance to the original project. Different cull patterns are attempted to create thinner rings and wider gaps in between.

STEP 06 The previous problem is solved by instead only dividing the outside curve and using the closest point on curve component to define the points on the inner curve. This produces a result where the rings follow the tangent angle of the path at each point rather than a default axis. The cull patterns are further developed for more desirable results. One minor problem that arise from this new method is the wider or narrower areas where the bridge curve the most.

B3. CASE STUDY 2.0: Webb Bridge

STEP 07 I arrived at a satisfactory cull pattern that reflect the original project the most, while also adding more divisions on the initial curve. The parts at both ends of the bridge is fixed to exclude unnecessary extrusions. Some minor tweaking is done to improve the frame.

STEP 08 Finally, the horizontal patterning in between the circular sections is created. The process involves using a random component with a series of seeds to evaluate different points in each of the section, whereby these points are then connected and offset to create these horizontal varying strips that run along the bridge. The Grasshopper definition is then â&#x20AC;&#x17E;cleaned-upâ&#x20AC;&#x; through removing useless components and tidying up the remaining definitions.

Webb Bridge Reverse Engineering The reverse engineering of the Webb Bridge in Docklands is completed to a satisfactory results in my opinion. The project involves mainly a frame of circular rings that follow the path of the bridge, intersecting semi-horizontal components in the gaps of the frame and a base. In this sense the final outcome in this part achieves the main elements of the project to a certain degree. However, some minor and fairly significant differences exist. The pattern at which the horizontal strips vary across the length of the bridge is more random than the one generated in my attempt. The pattern for which they follow could not be picked up from the little information I have on the project. The frame itself also varies in some areas where the height or width might be translated higher or lower according to the original designerâ&#x20AC;&#x;s intent. Though subtle, these changes ultimately affect the visual and experiential value of the project and could not be reproduced without discerning the original intent of the designer. The gap in between the rings that make up the frame is also not constant contrary to my version, and this will be further investigated in the next part of this journal.

Drawing two curves that define the path of the bridge.

The outer curve is divided into points and mapped onto the inner curve.

These points are then connected through arcs both upward and downward.

The arcs are offset to achieve depth and lofted together.

B3. CASE STUDY 2.0: Webb Bridge

DESIGN POTENTIAL The Webb Bridge project can be considered a sectioning example in computational design. While not so much a method of aesthetic generation, sectioning allows for ease of fabrication and construction. In this case, the bridge can be simplified into a series of sections for each of the circular rings and constructed individually. The details for joints between the rings and the horizontal strips can easily be detailed for each of the rings, fabricated and installed. Sectioning also removes the need for constructing large irregular loft surfaces if the product is a solid mesh. In terms of potential, using the same logic as mapping varying points on the rings to generate skewed lines that run across the bridge, some other patterning or design can be applied to these rings. These will be explored in the next part B4, including trying to map the image sampling onto this project to try and generate an outcome that makes use of both parametric processes. Another potential that I discovered in researching into this field is the potential of cull patterns. Sectioning in the most basic sense is about â&#x20AC;&#x17E;slicingâ&#x20AC;&#x; the geometry into sections and culling every second one with a True-False cull pattern. Introducing different cull patterns into the script can allow for control of openings or gaps that allow for exploring themes such as open and closed space, light and shadows et cetera. Additionally, doing so along with performing functions such as translation, scaling and rotation to the sections can also expand the possibilities of achieving varying outcomes.

The base for the bridge is then created through lofting.

The arcs are joined to make rings and the tween component is used to find the centre of each ring.

Horizontal strips that meet at different points on the centre rings are produced.

All the components are compiled for the final version of the reverse engineer.

Technique Development Continuing on to further develop the technique that I have used in case study 2.0, the selection criteria is also amended based on my ideas for the project in Part C. One thing to note is that the sectioning technique that I have explored in this case study deals more with form along with aesthetics. This involves working more closely with defining and creating space, something which the previous case study did not explore in detail. Closely linked to what I have intended for the coming project, my selection criteria for this part is:

How do the different forms generated by iterations reflect either natural or artificial forms? As the original project has a fairly artificial form, the aim for the iterative generation in this part with seek to try and reverse the process of making the model more chaotic, uncontrolled and wild, as nature would tend to suggest.

B4. TECHNIQUE DEVELOPMENT SET 01

The first set of iterations involve simply changing the cull pattern of the rings. A range of different pattern is input into the cull component to achieve some varied sectioning, although the results are more controlled and less chaotic than I wanted to achieve.

SET 02

The second set of iterations explore how the form would change if the arcs were fed through a mid-point curve instead of a standard arc. This curve is then tinkered to change the general form of the bridge.

B4. TECHNIQUE DEVELOPMENT SET 03

The third set of iterations introduce a group of components I developed as I was trying to engineer the patterning on the bridge. The result is an interpolated curve that wraps around the bridge. Trying to increase the number of points however resulted in chaotic results as the points are not interpolated in the right order.

SET 04

The fourth set of iterations tinker with some of the sliders in the patterning script I developed. The first three on the left shows how either none or all of the segments are shifted depending on the number on the slider. The second set changes the domain in which the shift applies, achieving patterning that only applies to part of the bridge.

B4. TECHNIQUE DEVELOPMENT SET 05

The fifth set of iterations also involve changing some sliders in the definition that changes the patterning. The three iterations on the right has an interpolation degree of 3 to achieve a more curvy patterning.

SET 06

The sixth set of iterations is the preliminary attempt at combining the patterning technique from the previous case study onto the current one. The result is quite interesting in terms of aesthetic effects, however I did not have any luck with trying to have the translation follow the tangent vector for each individual ring instead of a standard world axis.

B4. TECHNIQUE DEVELOPMENT SET 07

The seventh set of iterations explore the results of applying a cull pattern onto the result of set 06. Cull patterning yields more interesting results here than set 01, including some where the pattern for the bottom segments is different or inverse of the cull patterning on the top segments.

SET 08

The eighth and last set of iterations introduce a rotation component to the definition from set 07, where each of the rings are rotated around their respective centre point. Despite not being able to have the rings rotate perfectly in the right axis, the results are still interesting and definitely contributing results that reflect the selection criteria.

B4. TECHNIQUE DEVELOPMENT

The first selection I chose is an outcome of messing around with the patterning component of the definition. This outcome is particularly interesting as the tight knit curve pattern overhead creates a thick canopy that only allows thin rays of light to penetrate, in a more natural-like way mimicking green canopies.

The second selection departs a little from the criteria of presenting a â&#x20AC;&#x17E;naturalâ&#x20AC;&#x; form or aesthetic. However this selection is made as it hints at an interesting ways of controlling patterned and clean areas using domains. While this is a fairly simple version, more complex ways of determining the pattern can be explored further.

This third selection is one which is less applicable but more so selected as an interesting result to note. The outcome came about almost unintentionally from fiddling with some components that map patterns onto the form. The intertwining elements that are spread in between the rings create an interesting wild and chaotic effect that could be applicable for potential design intents.

The fourth selection deals more with the form and sectioning technique, here with a cull pattern that spreads the rings in a more uneven manner. This, along with adding the panelling pattern from the first case study to the form, resulted in a more natural looking product which challenges uniformity and standard shapes and forms.

The last selection I chose to extract is a further developed version of the fourth. Here the top and bottom segments are culled inversely and rotated to start to break free from the original form. While the rotation did not go as controlled as expected, the outcome turned out to be more to the favour of the selection criteria of finding an aesthetic or form that is random and uncontrollable.

B5. Prototype

The prototype I created for part B5 is a small scale model of the Webb Bridge explored in B3 and B4. The investigation involves testing how the structural frame of the bridge would perform under different directional loads, and how it resists rotation and bending. Through the prototype model, the role of the horizontal members to prevent bending is investigated. I intentionally used non-rigid joints for the arches in order to test the how much the horizontal members help support rotational force. As expected the structure is much more rigid and can withstand forces from all directions except a vertical force upwards.

A second variation to the prototype model was created as I was fiddling around with the materials for my prototype. The outcome is a sort of weaving of arches bearing some similarity to the rotated iteration I have in B4. What I found is that the capacity to withstand forces increase in this way, as the members tend to brace each other in different directions.

Preliminary Consideration The form, function and resolution of the design stems primarily from an underlying objective, which is to invoke communal sense of concern for the preservation of nature and natural environments around the area of Merri Creek. As according to the brief, the project needs to be a temporary, pavilion-like structure, with considerations to material source, use and post-use. This temporary nature immediately suggests small to medium scale, with inherent simplicity to conception but retains enough complexity to exaggerate the aim of the design through computational techniques.

Client â&#x20AC;&#x201C; Friends of Merri Creek Following the spirit of the subject and real world context, we had decided to commission ourselves to a local nature preservation group known as Friends of Merri Creek. Understanding the purpose of the group from their website, we simulated a potential case where we would be employed to design for the objective as described above.

Design Objective The design of the pavilion is aimed at invoking appreciation for nature. Beyond simply achieving the function of the pavilion itself, the structure hopes to be a carrier of the social subtext, where the role of nature, specifically that of trees, is represented for their provision of materials which we use everyday such as tables and benches. Through our design, we hope to remind the users of the importance of preserving the existence of trees and natural land.

B6. Design Proposal Design Concept The concept of the design involves a pavilion structure that represents a linear flow of transformation which symbolises the „flow‟ of wood harvesting to timber product. Our design concept draws from this idea of timber processing that bridges between a natural tree and a manufactured furniture, which our design seeks to embody. This concept also brings into consideration the post-use of the materials, where the disassembly of the pavilion results in components that become the „product‟ of this process we mention. As such the single structure is almost a linear spectrum where one end represents the start of the mentioned „flow‟ and the other represents the end. The form of this project have yet to be finalised, but will include a combination of traditional conception and generative techniques. One end of the spectrum (ABOVE) will be a shelter area whereas the middle part (BETWEEN) will be an overhead canopy over the walk path and the other end (BELOW) being exposed „benches‟.

Function The function of the pavilion, as partially suggested above, will be fairly straightforward as ranging from a shelter area to a canopy to a seating. The purpose of the pavilion is not to confuse or even surprise users but to design a pavilion that is almost „natural‟ to the surrounding but also noticeably standing out. Ultimately there will be no complexity to the function of the structure, but through the design we seek to capture the serene environment of the site and provoke reflection of the message it carries.

Site and Potential Users The site which we have chosen is a medium sized walking path through a meadow that steeps towards the creek. The contour of the area is fairly flat at large, only becoming steeper towards the edges. The proposed design will be situated at the large open field, in part crossing through the walk path as an overhead canopy. The site itself is fairly serene with only a medium amount of public use at most times, therefore not intended to draw large crowds but rather to accommodate the occasional stroller or cyclistâ&#x20AC;&#x;s recreation. The site is also chosen to serve the community rather than the general public, as users are most likely be local residents.

Site Context The site is located on the southern bank of Merri Creek, just north of a residential dwelling area. It is an offshoot of the bike path that runs along the creek and is generally surrounded by fairly open and lowrise areas. While there is a train line a fair bit north of the site across the river, very little noise would actually get here. Access to this site is limited to the entrance and exits of the walking path, making the site quite sheltered away from any significant urban elements, which is ideal for our purposes.

Image retrieved from Google Maps 28/04/2016.

B6. Design Proposal

Early Design The early designs for this project involve generating a few preliminary forms as investigations into what the resolution of the design concepts could be. Using some of the techniques I have developed over the past case studies, these designs are meant to be early ideas which will be continually refined as I explore new techniques and document construction processes and joint detailing. We are also looking at generative form finding as we approach Part C to start parametrically devise the form of our structure.

Material selection For the purposes of this project, timber will be the predominant material for all elements of this pavilion. This is to reflect the objective of the project, with some steel joints or other features particularly towards the „artificial‟ end of the flow.

Techniques The techniques that I have applied in my early design proposal involve panel patterning techniques and sectioning. These are culminations of my previous investigations and will be continually refined to achieve the design intents of this project.

Plan view

Sequential Construction As according to the requirements of the brief and our design intents, the construction process of this project will be simulated as a design element in itself. This is to reflect the spirit of a temporary structure and also to provide additional visualisation of the „cycle‟ which underlies the form of this project. This will be carefully considered and documented, in particular relation to joint detailing.

B6. Design Proposal

Front Elevation

Perspective

B6. Design Proposal

B7. Learning Outcomes

Through the course of Part B journal, I believe I have further developed my ability to engage in parametric design processes. Unlike before, as I look at case studies I can start to imagine and formulate the processes that lead to the generation of the results, a skill that I believe part B3 have really helped me to learn and understand. Through the tasks of generating iterations I have learnt to generate different design possibilities through the manipulation of Grasshopper definitions. While the techniques that I have explored is still a fairly limited scope, as I engage in more techniques and explore different projects in the future, I believe that the methodology of reverse engineering through developing pseudo-codes and also generating iterations in this part can help me grow my technical expertise in working with computational design.

In terms of objective 7 of the subject which is developing the ability to make a case for proposal, I believe I still require some more learning. Partly due to the little time I had to refine the proposal and partly my lack of experience in design conception and resolution of ideas. However, this will be carried through into Part C, which is the final project as I start to engage with the project in greater depth, especially through communication and working in tandem with my partner, I seek to develop this skill further. Overall I believe I have gain more than just an understanding in Grasshopper through these weekly exercises, but instead a greater underlying spirit of design within the computational context.

B8. Appendix

Section Joints One of the things I explored throughout this second part of the subject course is joining of sections. The images in this page show one of my models where I explore how two elements can potentially be connected by simple joints. This might potentially be helpful as a resolution to details in the Part C project.

B8. Appendix

Circular Rings Another interesting example from my algorithmic journal is a circular rings with varied rotation among each ring. This was an idea that I was thinking of including within my Part C project but is currently shelved unless I find it useful for our design intent.

Reference List 1. Brady Peters, „Realising the Architectural Intent: Computation at Herzog & De Meuron‟, Architectural Design, 83, 2, (John Wiley and Sons Ltd., 2013) pg. 61. 2. Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pg. 12. 3. Patrik Schumacer, „Patterns of Architecture‟, Architectural Design,79,6,2009 (John Wiley and Sons Ltd., 2009) pg. 30-41. 4. Sussman, Ann and Hollander, Justin B, Cognitive Architecture (Routledge, 2014) pg. 13-14. 5. Zaera-Polo, Alejandro, „Patterns of Architecture‟, Architectural Design,79,6,2009 (John Wiley and Sons Ltd., 2009) pg. 25-27.

STUDIO AIR 2016, SEMESTER 1, TUTOR: MATT M. YIQIAN CHUA 699137

PART C - DESIGN YIQIAN CHUA CHRIS MANTON

TABLE OF CONTENTS

PART C

C1. DESIGN Interim Submission Feedback Design Concept Design Process Pseudo-code and Vector Diagram Final Digital Model

77 78 80 82 86

C2. Tectonic Elements and Prototype Digital Prototype Prototype

90 91

C3. Final Scale Model Fabrication and Assembly Model Photos

94 96

C4. Learning Objectives and Outcomes Final Presentation Feedback Next Steps Reflections and Learning Outcomes

102 103 104

Interim Submission Feedback The feedback we received from the interim presentation provided a great deal of information on how to proceed with our design. Having a strong project brief, our concept struggled to fully reflect the ideas which we were trying to convey. These ideas of â&#x20AC;&#x17E;the visualisation of progressionâ&#x20AC;&#x; which we are seeking to instil in our design needed to be represented in a way which was much clearer and fluent. As indicated by the crits, our verbal presentation clearly conveyed the message of our design, but the concept through its existing form struggled to meet its potential. Suggestions for change included; form, parametric technique, scale and materiality. With this feedback we reassessed our concept and looked into a step-by-step diagram of what lead us to the original design, and what changes we can make to strengthen it. (-Chris Manton)

Design Concept

As indicated in Part B of this journal, the concept of this design stems from the idea of timber extraction and processing in which a timber bench is shown to be ultimately sourced from a tree. As this concept is being refined in the early stages of design we visualised the idea in a series of quick paintings of what was in our head. Though knowing that the aim of the subject is to engage within the generative process of computational design, we believe that there is still a place in developing a conceptual frame as a guide to our computational design process.

C1. Design

“Our design seeks to embody and evoke a spirit of appreciation towards the role of nature in contributing to our daily living.” The concept of our design further developed from being a manifesto of sustainability towards a more subtle approach as to try and evoke a spirit of appreciation towards how nature ultimately provides the materials which we use to enhance our daily lives, in this case specifically timber. Thus the intent of the design is not to present a jarring image that stands out but rather a subtle, harmonious addition to a quiet environment which we considered during the Part B design proposal.

The two words that we chose to describe the purpose of this design is EMBODY and EVOKE. On one hand the design of the pavilion seeks to embody that idea, which we hope through the „what‟ of the design it carries that idea. On the other hand it seeks to evoke the same idea, whereby presenting itself visually and engages users to experience the idea externally when interacting with the space defined by our pavilion.

Design Process

One major factor to start off the design process is the site. The site chosen for this design does not specifically embrace any particularly unique features that is crucial to our design, and the considerations for the chosen site has been discussed in part B. A summary of the site considerations and site features that we responded to are the following: -partially but not completely secluded -is not surrounded by any tall or massive structures -peaceful and not affected by any significant noise -almost 360 all-around circulation -mostly flat ground -surrounded by natural elements -harmonise with the flow of Merri Creek

The ability for users to circulate around the pavilion is a fairly important factor considered in our design. The existing paths that determine the primary circulation around the site became one of our primary inputs that define the form of our design. This decision is made on the objective for our design to not contrast and stand out on the site but rather fit into the site, while also achieving ABOVE in elevation of the inner structure and BELOW through the invisible link between the inner and outer elements. The green curve in the image above shows roughly how the initial curve for the design process is extracted, though slightly tampered with during iterative processes.

C1. Design

Compositional Design

Generative Design

As briefly discussed earlier, our believe is that there is a role for design composition even within a computational methodology. From the earlier paintings to the even earlier sketches from part B, our methodology starts with the end in mind, or at least partially. The design is imagined and â&#x20AC;&#x17E;composedâ&#x20AC;&#x; through paper sketches of ideas in terms of form, shape, structure for example, before these ideas are carried on to guide the writing of the parametric definition to achieve the desired outcome.

The role of generative process in design is then to generate the desired outcome through parametric processes. However the power of this generative methodology is ultimately at the possibility of generating multiple iterations to select the best option. While it is possible to simple take the site features and completely generate a design from these inputs alone, we seek to experiment on a workflow where compositional and generative processes are used side by side to achieve the design outcome.

Pseudo-code and Vector Diagram

1. Define the curve generated based on the site. 2. Make a circle around it and find sectional rings that equally divide the space between. 3. Divide these curves with a custom written equation to achieve desired alternate spacing. Interpolate points to get cut-through curves. 4. Move the points up in the z-axis with custom definition to achieve desired shape. Loft. 5. Project the curves upwards onto the generated shape and connect the end points. 6. Rule surface between curves to create sections. 7. Move each section in their respective normal vectors by desired amount in width and rule to achieve solid sections.

C1. Design

1. Using the original curve defined, duplicate into multiple planes in the z-direction according to desired height. 2. Scale the curves by finding respective average points and input values through a graph mapper. Optimise mathematically. 3. Divide each curve and interpolate resulting points in the other direction for vertical curves. 4. Find the vector of each curve pointing towards the centre and move curves inwards. 5. Rule surface between each set of curves to achieve vertical sections. 6. Find the normal vector of each sections and move according to desired width and rule to achieve solid sections.

Pseudo-code and Vector Diagram

1. Loft the previous vertical curves together to achieve a standing surface. 2. Divide the surface into a large number of uv points. 3. Feed the points through an image sampler with the desired image and assign each point a value of 1 and 0. 4. Trim off each point with a 0 value. Interpolate the remaining points vertically and loft together to achieve the desired surface.

C1. Design

1. Evaluate each sectional surface for three points. 2. Interpolate points to get a curve that runs through each sections. 3. Pipe the lines for diameter and use origin points as indication of connections.

Final Digital Model Function and Use of Space In our design conceptualisation we wanted to keep the function and use of space as open to the users as possible. No elements within this design specifically invites users to occupy the space in any particular way, though some such as the seats are fairly obvious. The platform in the middle is also fairly empty and can be used in different ways, within or above the structure.

C1. Design Materials and Finishes The material choice for this design is primarily timber, which in itself carries the statement that we want to make through our design. Timber, though a processed materials, retains features such as the texture and colour that reflects their origin unlike other materials such as metal alloys and plastic.

Material Reuse One of the considerations we need to make based on the brief is the post-life or reuse of materials. Timber itself is a type of material that has a larger range of reuse potential. Although the sections are not necessarily suitable for direct reuse, we have taken care within our design to make sure that the materials are not significantly cut or bent so to not restrict their reusability. Another possibility is that with the perks of using sectioning methods, the structure can easily be disassembled and transported to another site, despite losing some minor original site significance. The sections can even be rearranged to create different designs or serve different purposes.

Final Digital Model

Plan

Section

Elevations

C1. Design

Digital Prototype

C2. Tectonic Elements and Prototypes A. B. C. D. E.

Plywood Wire Rope Turnbuckle Washer Clamp

The choice of materials and their functions are as follow: 1. Hole can be routed by computer during fabrication of sections. All these holes will align based on our digital model. 2. Washer is used to protect plywood from wear against pressure from clamp. 3. Clamp is positioned at appropriate spacing for each plywood section. 4. Turnbuckle is placed in the junction between two wire to allow for tensioning of the system. The greater the tension, the stronger and more stable the structure will be.

Prototype

C2. Tectonic Elements and Prototypes

Prototype The prototype that we have constructed for this design involves the junction joints between the sections. This system is chosen as a way of keeping each section in place without using other forms of opaque bracing, as we wanted the openness in the aligned sections. The system uses tensioning to support the sections in their positions and three individual wire ropes will be fed through the sections, possibly having more depending on their capacity to withstand expected loads. As indicated earlier the position of holes that need to be cut can be designated by the digital model and fabricated along with the sections.

Fabrication and Assembly

C3. Final Scale Model

Digital Fabrication of Scale Model The chosen digital fabrication method for our final scale model is laser-cutting. As our design heavily involves sectioning and planar sections, the easiest way to fabricate the model is by cutting out individual sections for assembly. The images show the fabrication file (which will be included in the DVD submission) with the section aligned on a laser-cut template. The assembly of the model is fairly straightforward as it simply involves marking the location where the sections go and assemble them accordingly. Joints between sections, as seen in the prototype, are not included in the final scale model.

Construction Considerations The fabrication of the model reflects how the design can be fabricated and constructed in reality. The material selection of the design involves timber, which are available in processed sheet sizes, easy to be cut into the desired sections. None of the elements in our design require materials to bend in more than a single direction, therefore nothing should be challenging to fabricate. In terms of construction, the sections can be transported to site in groups and joined on site. Some temporary props may be required for the structure. However, some other construction elements such as the spiral staircase have not been given detailed considerations in the scope of this design.

The scale model for our design is produced at a scale of 1:50. The material choice is cardboard as its texture and colour partially reflect the actual design, while retaining good workability. The fabrication process of this model mainly involves laser cutting each piece as according to the digital model, reflecting a possibility of easy fabrication in reality even at a larger scale. As the model fabrication suggests, this design does not require an additional frame structure to support the shape as the members themselves function structurally well and will define the desired shape as long as they are assembled correctly in the right spot.

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Feedback and Next Steps

Final Submission Feedback Generally our design is adequate in delivering evidence of computational methods and workflow in our design process. However with our strong conceptualisation of ideas, our lack of expertise in computational design failed to keep up with and achieve what we aim to arrive at. The feedback we received for our final presentation involves two main critiques: 1. There is a leap between our concept and our design, where our design fails to capture the ideas effectively due to lack of contrasting elements. 2. Lack of depth in our research for what and how our ideas can be manifest through our design. Our abstractions would be much more meaningful if they can be informed by in depth research and further development. From those two main areas of critique we received, I‟ve summarised a couple of „next steps‟ which are approaches that we could take in order to refine and develop our design further.

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C4. Learning Objectives and Outcomes

Next Steps – Methodology Research In our feedback from the crits for our final presentation, one of the ideas was to look towards ARM Architectural firm for precedents on how to capture an idea or manifesto through architectural design. This next step for us if we were to take more time to develop our design was to try and learn how ARM develops their designs – through thorough research and assimilation of ideas and symbolism, critical and pin-point confidence in engaging with concepts and expressions. What we could learn from ARM is not just a innovative idea but a methodology or workflow in bringing expression to our concepts.

Next Steps – Design Development and Potential If we had more time or even the opportunity to continue and develop our design, the potential design development involves two main approaches: 1. Bringing more clarity to our expression of ideas 2. Engaging in more advanced methods of parametric design Our strongest piece in the design is the development of a clear concept, yet arguably our weakest point is in the clarity of expressing them. A possible step to progress from where we are could be developing a clearer selection criteria and goal which determines what iterations or outcomes are scrapped and which ones stay. An example of this is, as the final feedback highlights, a lack of contrast and confident expression of the difference between the „natural‟ source and „artificial‟ product, which we try to incorporate in the design.

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Learning Outcomes Reflection – Design Futuring Among the three broader topics that this studio invites us to engage with, design futuring is probably the hardest for me to grasp. While the concept itself is fairly simple, the consequences of this disciplinary discourse are vast. Even still, having researched on the discourse in part A and keeping the ideas in mind for most of this subject, I start to learn how the decision making process in architecture from material selection to relationship to the site start to result in a futuring or defuturing outcome. Additionally in my opinion, the relevance of this topic in this subject is that since parametric design expands our innovative and creative abilities so vastly, we as designers need to consider (more than ever before) not just what we can design but also what we should design.

Reflection – Design Computation Understanding full well that I have only been scratching the surface of the power and possibilities of computational methods in design, my reflection of the subject is much like the previous parts, in that I find myself learning something new every time I engage with it. Though not being an apt learner of computational methods, the designs that I produced and some that never made it into this journal would probably never have been possible for me to generate through traditional design practice. Computational methods provide a lot of „what if‟-s when it comes to expanding innovation in design. Having never been exposed to computational design in my case, I still find myself pretty restricted in what I can imagine for parametric tools to do. Nevertheless having learnt these skills and the theoretical framework around computational design, I believe it will direct me towards more innovative engagement.

Reflection – Compositional and Generative Design The design process that we engaged in the making of this digital model gave me a greater understanding and experience in what is or could be a design methodology that involves both compositional and generative design. On one hand we did not leave the crucial design decisions to the operations of parametric tools as the direction of our design seeks to manifest the rough ideas that we incorporate. However, unlike conventional design methodology this process also relies on the parametric tools to generate possible outcomes, not just what we wanted but a series of iterations for us as designers to make selections based on our criteria. While the final vector diagram and pseudo code suggests a very systematic progress in the development of the design, in reality a much larger amount of iterations and possible approaches were discarded during the development stage, and the final design incorporates the outcomes that were selected from a multitude of iterations. Having experience this type of workflow, despite the frustration of deleting a large chunk of work as they are being filtered out, it is also within this sometimes trial and error process that better ideas come to the surface. Though having theoretically engaged with the idea of compositional and generative design in Part A and the lectures, it is through this final project that I truly start to understand the conflicts and compromise between them and learn to navigate them.

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C4. Learning Objectives and Outcomes

General Learning Outcomes On top of the learning outcomes that Iâ&#x20AC;&#x;ve highlighted previously, overall this subject has been really helpful in exposing me to the whole field of computational design methods. Looking back to the start of the semester and having close to no experience working with Rhino, Grasshopper or any digital software for design, this subject has challenged me out of my comfort zone to test and explore new skills in the realm of digital design. My biggest takeaway from this subject however is the understanding of the theoretical discourse around parametric design. While anyone could have learnt Grasshopper from watching videos and trying it out, this subject has provided a platform for me to engage with this design environment different to traditional studios. The final project is the one that really starts to hit the first 5 learning objectives for the subject as me and my partner try to integrate the skills that we have developed into the final design proposal. Objectives 6 -8 I see as constantly being developed over the course of the semester. Ultimately I believe I have gained much in light of all the learning objectives, as they continue to be developed in my further use of the parametric skills I obtained this semester.

My only dissatisfaction for this subject is the inability to further refine and optimise our design due to the lack of time and capacity to further pursue them at the end of the semester. Understanding that this subject has quite a lot going on, the optimisation of the final design will have to remain unfinished. Nevertheless I have learnt a whole lot throughout the course of this subject both in practical computational skills and understanding of the ongoing architectural discourse.

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