Studio Air by YoungWook Chang SEM12016

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YOUNG WOOK CHANG SEMESTER 1 2016 FINN WARNOCK

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AIR COVER IMAGE: Black and White Architecture (Pexels,2016)

<https://static.pexels.com/photos/10643/photo-1442406964439-e46ab8eff7c4.jpg> [accessed 17 March 2016]

CONTENTS

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INTRODUCTION

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INTRODUCTION

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A.0. CONCEPTUALISATION

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A.0. CONCEPTUALISATION

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A.1. DESIGN FUTURING

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A.1. DESIGN FUTURING

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A.2. DESIGN COMPUTATION

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A.2. DESIGN COMPUTATION

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A.3. COMPOSITION/GENERATION

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A.3. COMPOSITION/GENERATION

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A.4. CONCLUSION

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A.4. CONCLUSION

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A.5. LEARNING OUTCOMES

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A.5. LEARNING OUTCOMES

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A.6. ALGORITHMIC SKETCHES

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A.6. ALGORITHMIC SKETCHES

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REFERENCES

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REFERENCES

INTRODUCTION My name is Young Wook Chang and I am currently in Bachelor of Environments, majoring in Architecture at The University of Melbourne. I was born in Seoul, Korea but spent most of my life in Auckland, New Zealand.

My experience in digital design so far only included using programs such as Adobe Photoshop, InDesign, Illustrator, Autocad and Rhino. These programs were used to represent my drawings in a better way or to enhance my design.

Iâ&#x20AC;&#x2122;ve first wanted to do architecture when I was in middle School. We had a special day once a week call T-Day or known as Talent Day. Fortunately or unfortunately, my tutor used to be a practising architect. She showed me images of Frank Gheryâ&#x20AC;&#x2122;s Bilbao Guggenheim Museum and I was inspired and wanted to become an architect since then.

I have never used Grasshopper or any other algorithmic programs to actually generate forms or shapes. This semester would be a great opportunity to learn how to use Grasshopper and this will be a whole new experience.

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CONCEPTUALISATION PART A

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DESIGN FUTURING A.1.

CHEONGYECHEON RESORATION PROJECT O-14 TOWER

SOURCE: Cheongyecheon Scenary (Pentagreen, 2010) <http://pentagreen.tistory.com/40> [accessed 9 March 2016].

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CHEONGYECHEON RESTORATION PROJECT SEOUL, KOREA 2005

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eoul, capital city of Republic of Korea is a megacity with population of 30million that developed around the Han-Gang River and is a lot like Melbourne and its Yarra River.

Seoul had a exponential growth in the last 50 years despite its dark past of Japanese colonisation and the Korean War. As a result, environmental issues were not the best interest of the people in Seoul.

Cheongyecheon is a stream which flows from HanGang River but majority of the stream was poured with concrete in the 1940s to construct a highway for vehicles. However in the 1990s with growing numbers of the middle class and growing interest of the natural environment, the stream was finally restored in 2005.

The project changed peopleâ&#x20AC;&#x2122;s perception of a city life. The restored stream provided spaces for leisure and relaxation and public spaces for cultural activities were also created to enrich peopleâ&#x20AC;&#x2122;s lives.

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Also, average temperatures of the neighbouring areas decreased significantly and number of cars entering Seoul has also decreased. Living creatures also came back to the stream and diversified the biodiversity1.

1. Kyeong Ok Kim, Cheongyecheon Biodiversity Increases (Hani, 2009) < http://www.hani.co.kr/arti/society/area/340515.html> [accessed 9 March] 2. ibid 3. Historical photo of Cheongyecheon (Korea Culture Centre, 2012) <http:// www.koreanculture.jp/korean/info_news_view.php?number=2286>

In the past, the stream was used for cloth washing, swimming or taking a bath. Unfortunately the stream is no longer being used the way it use to be but through restoration, it is believed that the stream has been returned to the people of Seoul2 .

[accessed 9 March 2016] 4. Cheongyecheon (Foodplus, 2008) <https://i.ytimg.com/vi/ Ryv7o5-QFn4/maxresdefault.jpg> [accessed 9 March 2016]

Following the project, many areas especially roads has been transformed in to public spaces for gathering and sharing. This is an extremely positive trend in a city where individuality and originality of an individual is not really being appreciated due to conservative atmosphere of the Korean Society. Large amount of areas in Seoul are becoming nature reserves where development of buildings and removal of living creatures are prohibited.

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O-14 TOWER, DUBAI, UAE 2010

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tructure is the most essential part of a building which holds up the building and without it, architecture is not possible. Commonly, structures are hidden in the core of the building as structures are considered as elements that hinders the building’s physical appearance.

Reiser + Umemoto together changed this idea of clean exterior facade and it is interesting that this ‘exoskeleton’ idea was applied on a skyscraper in Dubai. It can be seen that the architects challenged the forms of common skyscraper by refusing what was given as given1. The facade of the skyscraper is the most essential part of the tower. Not only it is visually appealing, the building cannot exist without its exterior facade as it acts as the most important structural feature of the building.

At the same time, the gap between the building’s facade and the glass surface forces hot air to rise and allows passive cooling 2 . Leaving airgaps between the facade and the glass would also prevent conduction of heat and thus this would help towards sustainability.

In a desert condition, heat gain would be a huge problem in buildings that are covered by glass façades.

It is important for architects to consider its context and think about the building’s energy consumption that are used for heating and cooling. We should move towards designing less environment harming design rather than designing buildings with human centrered mind and should not treat the planet as a infinite resource3.

This building form may not satisfy every clients and users. Considering that Dubai is a affluent society of the Middle Eastern world, aesthetic quality that emphasise wealth and abundance would be prioritised when designing such buildings like skyscrapers.

However in the future, it would be practical to move towards a trend that encourages using less materials and removing unnecessary building elements. Integrate integral elements of the building to form the façades like the O-14 Tower.

1. Anthony Dune and Fiona Raby, Speculative Everything Design, Fiction and Social Dreaming (Massachusetts: MIT Press, 2013), p.33.

2. Evelyn Lee, Eye-Popping ‘Green’ O-14 Skyscraper Nears Completion in Dubai (Inhabitat, 2011) < http:// inhabitat.com/o-14s-lace-like-exoskeleton-opens-in-dubai/> [accessed 9 March 2016].

3. Tony Fry, Design Futuring Sustainability, Ethics and New Practice (New York: Berg, 2009), p.1.

4. O-14 Tower by Reiser + Umemoto (Karmatrend, 2011) <https://karmatrendz.files.wordpress.com/2011/04/o-14_tower_04.jpg> [accessed 13 March 2016].

5. ibid STUDIO AIR

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DESIGN COMPUTATION A.2.

SUPREME COURT OF NZ ICD-ITKE Research Pavilion

SOURCE: Supreme Cour t- Lambton Quay (Ministry of Justice, n.d.) < http://www.justice.govt.nz/cour ts/the-supremecour t/images/Supreme%20Cour t_Lambton%20Quay%20St.jpg/view >[accessed 13 March 2016] STUDIO AIR

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SUPREME COURT, WELLINGTON, NZ 2010

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omputation has changed the design industry radically, allowing impossible to become possibility and to reality. Designers are now capable of designing with complex geometries because it is possible to analyse and predict what is possible and what isn’t1.

It is important for young designers nowadays to distinguish the two terms; computation and computerisation. Computerisation involves entering of processing existing information in to the computer so it is about digital conversion of information2 . On the otherhand, computation is “about exploring intermediate, vague and unclear processes” 3.

Computation cannot be separated from the design process. Although many designers begin designing without relying on digital technology, at certain stage, their design must be commutated in order for them to be documented and presented. This allows designers to review their design in three dimensional perspective and this allows for further development and analysis4.

Supreme Court of New Zealand in Wellington design

by Warren and Mahoney has translated tradition and heritage through use of modern technology. The exterior facade is influenced by Pohutakawa and Rata and both which are Maori Ideas. Without the aid of computer technology, the repetitive patterns of the envelope would have been designed manually. In which this would have been the case in the Past where Maori craftsmen would hand carve façades of a building. Interpreting the past by the use of modern technology could be seen as modern version of craftsmanship of a mason.

Computerisation has not only enhanced the way architects design the exterior and interior of a building, it has influenced the way buildings are engineered. The courtroom located in the heart of the courthouse was designed with the aid of the computer. A series of elliptical profiles were analysed to find out where sound were caused to focus. This analysis allowed for appropriate material selection and to design a space for speech and hearing.

1. Yehuda Kalay, Architectures New Media (Massachusetts: MIT Press, 2004), p. 6.

2. Tugrul Yazar, Computerisation and Computation (Designcoding, 2012) < http://www.designcoding. net/computerization-and-computation/> [accessed 11 March 2016].

3. ibid.

4. Rivka Oxman and Rober t Oxman, Theories of the Digital in Architecture (London: Routledge Taylor & Francis Group). p. 2.

5. Local Architecture Awards (NZIA, 2010) <http://www.nzia.co.nz/awards/new-zealand-architecture-awards/localarchitecture-awards.aspx?activeLocation=-1&activeYear=2010&activeType=Winners&page=14> [accessed 9 March 2016].

6. New Zealand Supreme Court (ICE Design, 2013) <http://www.icedesign.net.au/projects/cour trooms/new-zealand-supreme-cour t/> [accessed 10 March 2016].

7. Local Architecture Awards (NZIA, 2010) <http://www.nzia.co.nz/awards/new-zealand-architecture-awards/local-architectureawards.aspx?activeLocation=-1&activeYear=2010&activeType=Winners&page=14> [accessed 10 March 2016].

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ICD-ITKE Research Pavilion 2013-14

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ature is becoming integral part of design and architecture. Two design teams ICD and ITKE at the University of Stuttgart has design a research pavilion made of woven fibres. From beginning to the end computerisation dominates the design process and the project attempts to expand new architectural possibilities through computational design and robotic fabrication1.

The biomimetic process involves scanning of beetle’s shell and analysing their shapes. Together architects and biologists worked collaboratively in this process and developed light weight canopy design for the pavilion.

Design computation not only solves design problems, it may also be a solution for reducing construction costs. The pavilion shells are segmented and can be prefabricated in a factory or a lab. The prefabricated shells are simply transported to the site and then can be joined in to a large structure.

04

The robotic fabrication also uses materials efficiently; the computer works out the most efficient way of fabricating the shells in order to reduce the amount of steel frames and fibres used in the fabrication.

“The research pavilions are developed within the context of a paradigm shift in architectural design and fabrication” 2 . Some might argue that CAD software conspire against creative thought by encouraging ‘fake’ creativity. However in the case of ICD and ITKE, they’ve taken a different approach to designing.

Their concepts and ideas were developed through the use of computer software and thus it is difficult to say their creativity is fake. It is important for designers to understand the way that the world is shifting towards sustainability through computation process which enables us to analyse, predict, and rationalise.

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1. Trent Fredrickson, Interview with ICD/ITKE Team on Fiber-Woven Research Pavilion 2013-14 (Milan: Designboom) < http://www.designboom.com/architecture/icd-itke-research-pavilion-2013-14-interview-08-18-2014/> [accessed 13 March 2016].

2. ibid.

3. ibid 4. ibid 5. ibid

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COMPOSITION | GENERATION A.3.

SUBDIVIDED COLUMN GHATKOPAR INDIA SCHOOL FACADE

SOURCE: Michael Hansmeyer, Subdivided Columns - A New Order (Michael Hansmeyer/Computation Architecture, 2010) [accessed 18 March 2016] STUDIO AIR

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SUBDIVIDED COLUMN, 2011 “Algorithms can generate endless permutations of a scheme.

A slight tweaking of either the input or the process leads to an instant adaptation of output. When combined with an evaluative function, they can be used to recursively optimize output on both a functional and aesthetic level”1

A

Columns are fabricated in full scale and are 2.7 metres high and uses 1mm sheet4 . Each column contains millions of layers of cardboard and are held together by a steel column 4. However, generative architecture has its own limitations.

rchitect are nowadays given empowerment in the architecture field as they did in the past. With the ability to create a system, by setting finite set of rules known as algorithm2 ,

However it is questioned that whether computation or using algorithm is hindering architect’s imagination and creativity. Hansmeyer is not just designing a decorative column. He is designing a process that produce a column and so that this process or set of algorithms could be altered to created innumerous variety of unique columns. The algorithm could then be entered to another column and then a variant will be generated3.

1.Karen Cilento, Subdivision / Michael Hansmeyer (Archdaily, 2011) < http://www.archdaily.com/138323/subdivision-michael-hansmeyer> [accessed 18 March 2016].

2 Rober t Wilson, MIT Encyclopaedia of the Cognitive Sciences (Cambridge: MIT PRESS, 1999), p.11.

3. Michael Hansmeyer, Subdivided Columns - A New Order (Michael Hansmeyer/Computation Architecture, 2010) [accessed 18 March 2016] 4. ibid

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GHATKOPAR INDIA SCHOOL FACADE 2010

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roportion, geometry, symmetry and historicism are emphasised in classical architecture and thus considered as compositional architecture. Why were these aspects so important in classical architecture? Many forms of architecture in the past were used to impose order and power to the general public1. Nowadays architecture is becoming important part of our lives and also the environment. New ways of thinking and designing has emerged from computation to interpret architecture in a ‘generative’ perspective.

Generative architecture, looks closely at the genesis of a form or a shape2 . So in other words it is about establishing a system to create an unexpected result through the use of simple and complex algorithm; i.e.

Rhino & Grasshopper. Computation in the past were tools for representation of a design but nowadays, it has become a tool to stimulate our creativity3.

Projects that features phase change materials, automated louvre shades and etc has been planned and has already been realised in the industry. building reacted to the weather condition?

But what if the facade or the envelope of the whole Biothing’s conceptual project for Ghatkopar India’s building facade reacts to the weather condition and challenges the idea that buildings being static.

The fibre concrete facade changes in a irregular pattern and the algorithm controls the aperture; the size of the openings of the building skin and it’s purpose is for cooling and shading effects4.

It is interesting how scripting can give dynamic character to a building as if the building is living.

Set building form is generated through algorithmic coding in the architectural office but if this building is realised, it means that the building is generating new buildings form after it is constructed.

Although it is a exiting concept there are drawbacks of generative architecture of this sort. It could be questioned that whether the algorithm to control the building facade is the ultimate solution to meet the user’s need? And when could this building be realised?

1. Kim Williams, Symmetry in Architecture (Institute of the Serbian Academy of Sciences and Ar ts, 1998) < http://www.mi.sanu.ac.rs/vismath/kim/index.html> [accessed 17 March 2016].

2. Phil Bernstein, Make Your own Rules with Generative Architecture (Line/Shape/Space, 2015) < https://lineshapespace.com/make-your-own-rules-with-generative-architecture/> [accessed 17 March 2016].

3. Brady Peters, Computation Works_The Building of Algorithm Thought (Hoboken: Wiley, 2013). p.13.

4. Alisa Andrasek, GHATKOPAR INDIA _ SCHOOL FACADE (Biothing, 2010) < http://www.biothing.org/?cat=20> [accessed 17 March 2016].

5. ibid 6. ibid 24

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CONCLUSION

A.4.

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art A: Conceptualisation was a interesting way to start of Studio Air. The three parts we explored in the last three weeks covered Design Futuring, Design Computation and Composition/Generation. Parametrics has opened a new design possibilities for the future. It enhances our ability to design with the aid of computers and algorithms to generate new design. But we must not rely completely on the computational process.

We must consider the future and think about how our design might affect our society in terms of sustainability and its affect on the broader community.

Our design brief for the project is to design a ceiling installation in an Architectural office in Brunswick.

Compatitional, generative and parametric design would allow me to produce so many different design outcomes. I cannot yet say that just because I am using Grasshopper to design, it must be innovative and radical.

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And thus it is important for me to understand the material properties well in order to produce a successful design that is asthetically pleasing, durable and functional at the same time. The program would help me to visualise forms I have never seen or visualised before but because the program has created something unintended and revolutionary, this should not dictate my design process and decisions.

It is my self who would directly benefit from learning how to design in this particular way. It expands my future possibilities and strengthen my design skills.

Also my design could inspire people or it could give others the oppertunity to be critical or be inspired.

LEARNING OUTCOMES

B

A.5.

efore starting Studio Air, my understanding of computational architecture was that it is all just about creating repetitive patterns and visually stunning architecture. Now my understanding of computational architecture is about designing the process of designing. At the moment, using grasshopper to come up with iterations of different from is very much like an experimentation. And it is a really an interesting experiment because this is really different to design methods I have been using in other studios.

If I was able to understand the concept of computation and was capable of using Grasshopper, I think my design processes in the past would have changed radically.

For example, after forming concepts and developing my ideas, I may have used Rhino and Grasshopper to generate forms and shapes of my boathouse for Studio Water. And so I might have chosen a different master architect who that designs more abstract architecture that incoporates computational architecture.

Another interesting this is that I have to consider aesthetic quality of my design and as well as how to design an algorithm efficiently. There are numerous ways of achieving similar outcome but Iâ&#x20AC;&#x2122;ve realised that it is important to realise the limitation of technological equipment that is available to me right now. And thus the most efficient and simple algorithm must be achieved in order to develop more complex algorithms.

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he form of a plane could be changed by folding, rotating, and pulling. All these commands were done by simply altering values of the modules and by adding or rearranging the algorithm. It was interesting to see how the location of one single attracter point or multiple points could affect the outcome. Planar shape like this would have been achievable by simply bending a A4 piece of paper. But grasshopper allows me to interpret this design algorithmically and thus a â&#x20AC;&#x2DC;formulaâ&#x20AC;&#x2122; for this design is generated.

ALGORHITHMIC SKETCHBOOK A.6.

This sketch could become a early conceptual deisgn of the ceiling installation. Grid of hexagons vary in sizes depending on their distance from the attracter points; and in this case the attractor points are created by a curve. In the future, this sketch could be lofted to create a surface which could form the ceiling installation.

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REFERENCES Andrasek, Alisa, GHATKOPAR INDIA _ SCHOOL FACADE (Biothing, 2010) < http://www.biothing.org/?cat=20> [accessed 17 March 2016].

Bernstein, Phil, Make Your own Rules with Generative Architecture (Line/Shape/Space, 2015) < https://lineshapespace.com/make-your-own-rules-with-generative-architecture/> [accessed 17 March 2016].

Black and White Architecture (Pexels,2016) <https://static.pexels.com/photos/10643/photo-1442406964439-e46ab8eff7c4.jpg> [accessed 17 March 2016].

Cheongyecheon (Foodplus, 2008) <https://i.ytimg.com/vi/Ryv7o5-QFn4/maxresdefault.jpg> [accessed 9 March 2016].

Cheongyecheon Scenary (Pentagreen, 2010) <http://pentagreen.tistory.com/40> [accessed 9 March 2016].

Cilento, Karen, Subdivision / Michael Hansmeyer (Archdaily, 2011) < http://www.archdaily.com/138323/subdivision-michael-hansmeyer> [accessed 18 March 2016].

Dune, Anthony and Fiona Raby, Speculative Everything Design, Fiction and Social Dreaming (Massachusetts: MIT Press, 2013), p.33.

Fredrickson, Trent, Interview with ICD/ITKE Team on Fiber-Woven Research Pavilion 2013-14 (Milan: Designboom) < http://www.designboom. com/architecture/icd-itke-research-pavilion-2013-14-interview-08-18-2014/> [accessed 13 March 2016].

Hansmeyer, Michael, Subdivided Columns - A New Order (Michael Hansmeyer/Computation Architecture, 2010) [accessed 18 March 2016].

Historical photo of Cheongyecheon (Korea Culture Centre, 2012) <http://www.koreanculture.jp/korean/info_news_view.php?number=2286> [accessed 9 March 2016].

Kalay, Yehuda Architectures New Media (Massachusetts: MIT Press, 2004), p. 6.

Kim, Kyeong Ok, Cheongyecheon Biodiversity Increases (Hani, 2009) < http://www.hani.co.kr/arti/society/area/340515.html> [accessed 9 March].

Lee, Evelyn, Eye-Popping â&#x20AC;&#x2DC;Greenâ&#x20AC;&#x2122; O-14 Skyscraper Nears Completion in Dubai (Inhabitat, 2011) < http://inhabitat.com/o-14s-lace-like-exoskeleton-opens-in-dubai/> [accessed 9 March 2016].

Local Architecture Awards (NZIA, 2010) <http://www.nzia.co.nz/awards/new-zealand-architecture-awards/local-architecture-awards. aspx?activeLocation=-1&activeYear=2010&activeType=Winners&page=14> [accessed 9 March 2016].

O-14 Tower by Reiser + Umemoto (Karmatrend, 2011) <https://karmatrendz.files.wordpress.com/2011/04/o-14_tower_04.jpg> [accessed 13 March 2016].

Peters, Brady, Computation Works_The Building of Algorithm Thought (Hoboken: Wiley, 2013). p.13.

New Zealand Supreme Court (ICE Design, 2013) <http://www.icedesign.net.au/projects/courtrooms/new-zealand-supreme-court/> [accessed 10 March 2016].

Oxman, Rivka and Robert Oxman, Theories of the Digital in Architecture (London: Routledge Taylor & Francis Group). p. 2.

Tony Fry, Design Futuring Sustainability, Ethics and New Practice (New York: Berg, 2009), p.1.

Williams, Kim Symmetry in Architecture (Institute of the Serbian Academy of Sciences and Arts, 1998) < http://www.mi.sanu.ac.rs/vismath/kim/index.html> [accessed 17 March 2016].

Wilson, Robert, MIT Encyclopaedia of the Cognitive Sciences (Cambridge: MIT PRESS, 1999), p.11.

Yazar, Tugrul, Computerisation and Computation (Designcoding, 2012) <http://www.designcoding.net/computerization-and-computation/> [accessed 11 March 2016].

Computerisation and Computation (Designcoding, 2012) <http://www.designcoding.net/computerization-and-computation/> [accessed 11 March 2016].

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CRITERIA DESIGN PART B

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RESEARCH FIELD B.1.

PATTERNING Patterning in architecture was considered as a method of decorating buildings and act as ornaments. Patterns are now widely being used by architects not only to ornamentise the building, but use patterning to create the facade of the building or even look at how patterns could be performative. For example skin of a building could be perforated with patterns which control the amount of sunlight that enters the interior space. I have chosen this research field so that I could look at the way patterns transmit light and the atmosphere it creates and in this case the effect of perforations on the ceiling panel inside a meeting room.

SOURCE:De Young San-Francisco (Jeff Warrington, n.d.) <https://jeffwarrington.files.wordpress.com/2015/01/ jeff-warrington_deyoung_san-francisco_03_dsc_3873_bw.jpg> [accessed 26 April 2016] STUDIO AIR

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DE YOUNG MUSEUM, HERZOG DE MURON

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atterning has been used intelligently to decorate the external skin of the museumâ&#x20AC;&#x2122;s facade. The architects not only used perforated circles as patterning, they thought about the material perfornace and created embossed effects that gives more dynamic and interesting effect.

Combination of the embosses and perforations results in a wave-like effect and juxtaposes to the linear and volumetric form of the museum.

It would be intersting to use similar patterning on a timber veneer, to push timberâ&#x20AC;&#x2122;s performace to its limit and whether it could be embossed.

SOURCE: M.H. de Young Museum (arch2o, n.d.) <http://www.arch2o.com/wp-content/uploads/2015/04/ Arch2O-HerzoganddeMeuron-MHdeYoungMuseum-07.jpg> [accessed 5 April 2016]

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DIOR SHINSAIBASHI, KUMIKO INUI

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his is a typical example of how patterning could be used on a buildingâ&#x20AC;&#x2122;s exterior facade.

Diorâ&#x20AC;&#x2122;s iconic pattern has been perforated on the metal facade of the building, to let light pass through and create illuminating effects. The first metal sheet layer consists of larger perforations. And on the next layer, metal sheet with same but smaller patterns are perforated. Combination of these two layers adds sense of volume despite the fact that the metal sheets are flat and planar. Surrounding areas are illuminated by subtle and comforting light effects.

It would be interesting to apply similar patterns and perforations on a curvd surface to see the light effects.

Dior Shinsaibashi (Office of Kumiko Inui, April 2005) <http://www.inuiuni.com/projects/271/> [Retrieved 5 April 2016]

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GALLERIA CENTRE CITY, UN STUDIO

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acade of this department store is almost like a wave. This pattern is achieved by layering two layers of aluminium panels; Straight panels on the top and angled panels at the back. Fixtures and lights systems are hidden behind the panels.

Fluidic and sculpturic form of the facade adds elegance to the overall apperance of the building and also gives a dynamic characteristic. I could think about layering multiple timber veneer layers without using curved surfaces to create optical illusion effect that is similar to this facade. However I need to consider properties of timber veneer, whether it will bend like aluminium.

Galleria Cheonan (UN Studio, n.d.) <http://unstudiocdn2.hosting.kirra.nl//uploads/original/4e139ec04c71-4f9d-a03e-c5e5c463e9b2/2615067744> [Retrieved 5 April 2016]

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PORTRAIT BUILDING, ARM

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his building was controversial from its proposal stage. Image of a famous aboriginal elder is sampled to create the facade of the building which directly faces The Shrine of Rememberance on the other end of Swanston St/St Kilda Road. Multiple fluidic strips are used to make up the shilouette of the elderâ&#x20AC;&#x2122;s facial features. When looked from below or from a place too close to the building, the pattern cannot be recognised. The building must be seen from a distance and from the right angle.

Melbourneâ&#x20AC;&#x2122;s new William Barak building is a cruel juxtaposition (The Conversation, 19 March 2015) <http://theconversation. com/melbournes-new-william-barak-building-is-a-cruel-juxtaposition-38983> [Retrieved 5 April 2016]

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CASE STUDY 1.0 B.2.

DE YOUNG MUSEUM SELECTION CRITERIA: - BALANCED LIGHT FILTERATION - SUBTLE IMAGERY - FEASIBILITY IN FABRICATION -CLUSTERED PATTERN

SOURCE:De Young San-Francisco (Jeff Warrington, n.d.) <https://jeffwarrington.files.wordpress.com/2015/01/ jeff-warrington_deyoung_san-francisco_03_dsc_3873_bw.jpg> [accessed 26 April 2016] STUDIO AIR

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Image Sampler y=0.1

y=0.2

Image Sampler

Hexagonal Grid y=0.1

Image sampler + Hexagonal Grid y=0.1

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y=0.2

y=0.2

y=0.8

y=1.5

y=4.0

y=0.8

y=1.5

y=4.0

y=0.8

y=1.5

y=4.0

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b=1

b=1

b=1

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b=2

b=2

b=2

b=4

b=4

b=4

b=6

b=9

b=6

b=6

b=9

b=9

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REVERSE ENGINEERING B.3.

DIOR GINZA

Dior@Ginza (Flickr, 2 April 2010) <https://www.flickr.com/photos/39749369@N04/6605286405> [Retrieved 5 April 2016] STUDIO AIR

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Base sqaure surface to sample the image on to

[Lady Dior Pattern] Circular curves are attracted to white lines

Adjust varaiables and the equation to control the number of circles and its sizes. This panel has bigger circles which will become the front panel

Create panel with circles that are about 20% smaller.

This panel will be the back panel

Overlap the panels

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CASE STUDY 2.0 B.4.

SELECTION CRITERIA: - BALANCED LIGHT FILTERATION - SUBTLE IMAGERY - FEASIBILITY IN FABRICATION - OVERLAPPING PATTERNS

Dior@Ginza (Flickr, 19 January 2007) <https://www.flickr.com/photos/soul72/367117872> [Retrieved 5 April 2016] STUDIO AIR

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y=0.2

y=0.8

y=1.5

y=4.0

+0.08

+0.20

+0.12

+0.50

a=0.2

a=0.5

a=2.0

a=4.0

a=0.75

a=1.0

a=1.2

a=3.0

a=1.2

a=3.0

a=0.75

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a=1.0

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DESIGN POTENTIAL Series of circular perforations would create beautiful light effects on the desk that is in the centre of the meeting room. At this stage we have tried to select patterns with perforations that doest not overlap in order to create a imagery that is clear and is not obscured.

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b=4

b=2

b=2

b=4

b=2

b=4

max b=4

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max b=5

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b=6

b=9

b=6

b=9

b=6

max b=7

b=9

max b=8

DESIGN POTENTIAL After generating a number of different species and iterations, it was actually interesting to see iterations with curves intersecting rather than just playing with circles. These speicies could be later developed in to patterns with perforations by using image sampler or curve attractor scripts. And I believe that more sophisticated and complex patterns would achieve more successful and beautiful light affects.

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PROTOTYPES B.5.

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LIGHTER FILTERATION TEST A number of different shaped panels with different patterns were tested with halogen lights. Through this test we realised that light cannot be bent when using non-reflective material. Also the sizes of the pattern perforation has to be appropriate in order to filter enough amount of light. Small perforations created beautiful light effects but when multiple panels were overlapped on top of each other, the effect was unrecognisable and uneffective.

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TABS & CONNECTIONS TEST Different tabs and connection types were tested to find out the most suitable and interesting connection type would be for the timber veneer panels. The panels were fabricated in the right way following the grains of the timber. However when the tab sizes were too smalll they tend to brake off very easily because of the direction of the grain. Also holes for the tabs to go in were too small. If the material was plastic or paper, then some of the tabs would have worked successfully. Also our intention was to find the connection type that would be articulated so that connections itself becomes part of the aesthetic quality of the ceiling installation.

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PROPOSAL B.6.1

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DESIGN PROPOSAL

J

eanne and I combined our ideas together and produced one outcome to present in the Interim Presentation. We have attemted to show how volume could be created by using planar hexagonal panels.

Large void was created in the centre, in between the two layer of panels so that illuminating effect could be achieved.

The form we have chosen here is bigger where the entrace is and becomes narrower and smaller towards the screen.

So it was an attempt to draw attention to the screen and exaggerate its important in the meeting room.

At this stage we were not able to embed and perforate patterns on to the panels and so this was shown by using a number of prototypes that has been fabricated by using laser cutter.

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FURTHER DEVELOPMENT B.6.2

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FURTHER DEVELOPEMENT

“Going back to earlier stages and pushing limits...”

O

ur initial proposal to Hachem Architecture Firm was a very conservative and safe approach. Now that we are capable of generating forms and patterns using Grasshopper, Our next step is to go back to our matrices and re select iterations by altering and narrowing down our team’s selection criteria so it is more specific and successful.

Our next step is to concentrate on the form that highlights fluidity, flow, volume and fragmentation. And in terms of patterning/ perforation, we will focus on series of patterns that are dynamic, evocative and patterns that filters light effectively.

Also we have to consider the site conditions more throughly and now think about the ceiling installation’s direct impact on services maintanance and safety features such as sprinklers and other services that are installed in the ceiling.

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LEARNING OBJECTS & OUTCOMES

B.7.

At the beginning of the Studio Air course, interesting and surprising forms and patterns were explored through the use of Grashopper. But I think I am now at a stage where I can use grasshopper to create something that I have imagined in my head, so computing my ideas or sketches by using Grasshopper.

I was able to learn new skills from playing with random components and changing variable or by adapting ideas from other Grasshopper users.

Using Grasshopper often limited possibilities as I did not really understand what can be fabricated or what cannot be fabricated. But after a series of trial and error, I learnt that Grasshopper is a powerful tool which allows me to explore different ideas and generate ideas. Also even patterns that cannot be fabricated could become basis of a whole new series of species and iterations that could actually be fabricated through development and refinment.

Image sampler is a powerful component when trying to achieve imageries that are quite obvious but at the same time it is difficult to achieve patterns that are more complex and sophisticated. This is because image sampler is really just a tool that could be used by just changing the image. But combination of image sampler and for example attractor component would be interesting.

At later stages, it could also be interesting to test light effects using different light sources, for example halogens, LED lights, fluroscent light and etc. This is becasue every light has different colours, brightness and light directions.

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ALGORHITHMIC SKETCHBOOK A.8.

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REFERENCES Dior @Ginza (Flickr, 2 April 2010) <https://www.flickr.com/photos/39749369@N04/6605286405> [accessed 5 April 2016].

Dior @Ginza (Flickr, 19 January 2007) <https://www.flickr.com/photos/soul72/367117872> [Accessed 5 April 2016].

Dior Shinsaibashi (Office of Kumiko Inui, April 2005) <http://www.inuiuni.com/projects/271/> [Accessed 5 April 2016].

Galleria Cheonan (UN Studio, n.d.) <http://unstudiocdn2.hosting.kirra.nl//uploads/original/4e139ec0-4c71-4f 9d-a03e-c5e5c463e9b2/2615067744> [Accessed 5 April 2016].

Melbourneâ&#x20AC;&#x2122;s new William Barak building is a cruel juxtaposition (The Conversation, 19 March 2015) <http://theconversation.com/melbournes-new-william-barak-building-is-a-cruel-juxtaposition-38983> [Accessed 5 April 2016].

M.H. de Young Museum (arch2o, n.d.) <http://www.arch2o.com/wp-content/uploads/2015/04/Arch2O-HerzoganddeMeuron-MHdeYoungMuseum-07.jpg> [accessed 5 April 2016].

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