ABPL30048ARCHITECTURE DESIGNSTUDIO 3: AIRJOURNALBOON KWAN TUNG

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Kartal Pendik Masterplan, Istanbul, Turkey, 2006, by Zaha Hadid.

CONTENTSPA

RT PRELIMINARY EXPLORATION1.1 Introduction 1.2 Personal Project 1.3 Architectural Discourse 1.4 Computing in Architecture 1.5 Parametric Modelling

1

EXPRESSION OF INTEREST 2.1 Architectural Ornament 2.2 Design Focus 2.3 Precedents2.4 Design Intent2.5 Case Study Project2.6 Reverse Engineering2.7 Matrices2.8 Rendering2.9 Scale Model2.10 Site Context2.11 Presentation Feedback and Further Development

REFERENCES

PART 224

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Ceiling view of Sagrada Familia, Barcelona, Spain, by Antonio Gaudi.

PART 1PRELIMINARY EXPLORATION

1.1 INTRODUCTION

My name is Boon Kwan Tung. In the past at a tender age I sketch buildings and structure, either on paper by pencil or on any surface by chalk. I sometimes designed in detail of each building element whenever anything comes out in my mind. Early sketches are shown here. Architecture is my passion and my creations emerged out of my conscious mind, either gradually or suddenly, in a relaxed frame of mind, not driven by force. This is when my journey begins.

My first encounter with digital architecture is when I was undertaking Virtual Environments. This is the time when I had the opportunity with 3D-modelling using Google Sketch-Up. At that time I was a great challenge and difficulty, having to manipulate shapes and putting design into computing with limited knowledge of modeling tools and its functions.

During the course, I had been using digital modeling to design complex geometry structures that was worn as a unique headgear, known as Head Space Project.

Instead of focusing on effects of nature such as motion, dynamics, pattern and texture like anyone else did, my design concept was purely based on chaotic effect of the human psychological mind through dreams, which can only be imagined rather than seeing it. Dreams are part of the complexity of the human brain and one of the scientific marvels. This is what makes my design unique.

This model is first moulded as modeling clay which is translated into a digital model. This digital model is then fabricated in the Fabricating Lab provided using paper and then worn on the head.

In this subject, students are taught to think architecture as a different approach. Architecture of buildings and structures are not merely designed by conventional drafting on paper, but also designed by manipulating geometries to a greater height that could not be achieved by standard drawing. This has exposed students to various possibilities of designing using a myriad of media, techniques and strategies. This is what I consider as an architectural discourse.

MY PERSONAL PROJECT

1.2 PERSONALPROJECT

1.3 ARCHITECTURALDISCOURSE

I was inspired by projects such as the Southern California Beach House designed by Richard Meier. Again a different approach towards design is applied. This building is an epitome of an International Style design, part of the Modernist movement, which has a façade being stripped off its ornamentation, this is a stark contrast to historical buildings such as Renaissance style buildings and Gothic churches, in which the architecture is treated as a sculpted art. This is because modernity is seen as celebrating the achievement of science and technology, represented in art and design. Besides that, the spatial experience of the building has led to a change in perception of many modern architects today. Its usage of curtain walls has minimizes the threshold and visual link between interior and exterior, creating a diffusion for natural light and vision between the two spatial entities, which alters the function of walls as merely an enclosure. Unlike other modern buildings, Richard Meier has a formal system of building design which uses white façade with subtractive openings and full-height windows, when modern architectural design is seen as consisting of basic geometries with punched-hole windows.

BUILT PROJECT

Building: Southern California Beach HouseArchitect: Richard MeierLocation: Pacific Coast HighwayYear: 2001

Building: Sagrada FamiliaArchitect: Antonio GaudiLocation: Barcelona, SpainYear: 1882 (expected to be completed in 2022)

The Sagrada Familia is a finest example of a project which uses computation in the building design. This design uses a unique architectural discourse which uses the top-down approach instead of the bottom-up approach. The bottom-up approach is the standard design approach in architecture starting from basic building tools while the top-down approach is using computation to create a system to solve a problem. Before the advent of computerisation of building models in the late 18th century, the design of the church is solely based on physical models and manual drafting, while manual carving is used for sculpting the exterior and interior facade during the actual construction. Many years after the Spanish Civil War which destroyed most of the physical models and drafting docu-ments, computer-aided modelling was implemented for the design of the church, which makes fabrication of building materials and sculptures at unprecedented speed. This in turn attributed to the rapid construction, which initially took several hundreds of years to complete. Computer-aided design allows designers to fabricate repititive elements without any arithmetical mistakes, inconsistencies and errors caused by humans. In addition to by Antonio Gaudi’s sand bag overhang¬ing model as an inspiration to the church’s ceiling design, currently the design of the church’s spires, westwerk, nave, statues and altars are appertaining to the math¬ematical parametric model by computers.

The Sagrada Familia is a finest example of a project which uses computation in the building design. This design uses a unique architectural discourse which uses the top-down approach instead of the bottom-up approach. The bottom-up approach is the standard design approach in architecture starting from basic building tools while the top-down approach is using computation to create a system to solve a problem. Before the advent of computerisation of building models in the late 18th century, the design of the church is solely based on physical models and manual drafting, while manual carving is used for sculpting the exterior and interior facade during the actual construction. Many years after the Spanish Civil War which destroyed most of the physical models and drafting docu-ments, computer-aided modelling was implemented for the design of the church, which makes fabrication of building materials and sculptures at unprecedented speed. This in turn attributed to the rapid construction, which initially took several hundreds of years to complete. Computer-aided design allows designers to fabricate repititive elements without any arithmetical mistakes, inconsistencies and errors caused by humans. In addition to by Antonio Gaudi’s sand bag overhang¬ing model as an inspiration to the church’s ceiling design, currently the design of the church’s spires, westwerk, nave, statues and altars are appertaining to the math¬ematical parametric model by computers.

1.4COMPUTING INARCHITECTURE

Many designers require the ability of designing things creatively. Designers also possess the ability to have critical thinking and analyzing problems systematically. However, people tend to feel bored due to repetitive processes. Besides that, they are vulnerable to making mistakes when encountering with complicated prob-lems. Generally speaking, computers tend to perform tasks quickly. Computers are able to execute processes accurately and eliminating all these problems by superseding hand-drawn drafts such as architectural draw-ings, modeling and arithmetic in parametricism in design. Computers are able to correlate parametric func-tions and sculptural modeling accurately without any mistakes. In addition, computers are able to translate human mind mapping in cyberspace, which they can represent graphically and numerically. However, the lack of creativity and intuition and rely solely based on rationality are the downside of computers. It will make a good design satisfying all constraints and achieve our design goals if we are able to integrate the abilities of computers with outstanding rational qualities; and humans with creative and intuitive qualities.

In the architectural scope, computers are used to speed up the drafting and construction process. The mass production of fabricated construction materials makes building faster.With the advent of computer-aided drafting (CAD) and computer-aided manufacturing (CAM), architects are able to devise complex geometries that are difficult to construct. Architects begin to construct complex build-ings consist of non-Euclidean geometries. Such examples include shapes like Torus, Mobius strip, Klein bottle and ameobic blobs. Due to this high complexity, computers are able to map concept models of buildings better compared to the conventional 2-dimensional drafting that has a better visual realm, which people can sense the spatial experience, texture and overall geometry.

New technologies such as this, opens up new possibilities of designing methods and ways of construction. To illustrate, digital computing enables new design methods such as “Architectural Curvilinearity” which is coined by Greg Lynn. He offers new approaches to architectural design as a continuous textile surface that acts as a fluid, which is characterized by folding. One example of continuous folding is the Guggenheim Museum by prominent architect Frank Gehry, which is impossible to be constructed without digital manufacturing of tita-nium due to the complexity of folding.

Building: Guggenheim Museum Architect: Frank GehryLocation: Bilbao, SpainYear: 1997

Another example is the NatWest Media Centre, Lord’s Cricket Ground, which is blob geom-etry with double curves. This particular building utilizes digital technology used in the shipping industry from concept design to material fabrication, this can be done by dividing the ele-ments of the structure through segments which then assembled into an integrated structure as shown in the image below.

Digital architecture allows architects to have continuous experimentation in terms of dynamism of geometries, in contrast to traditional architecture which is follows a certain architectural style and proportions, which restricts creativity.

Unique innovations arising from digital computing in architecture has led to a new architec-tural discourse. This is a great milestone in architectural design as these buildings could not be visualized using paper drafting and could not easily fabricated into these shapes using ap-propriate materials. Selecting materials are useful as well to facilitate fabrication.

Building: NatWest Media CentreArchitect: Future SystemsLocation: Lord’s Cricket Ground, London, UKYear: 1999

This design of a residential dwelling is based on a non-Euclidean geometry. Non-Euclidean geometries are geometries that adhere to all first four postulates but are not based on the fifth postulate of “parallelism”, in which stresses that two lines are parallel and non-intersecting. The application of non-Euclidean geometries in architecture has challenged traditional architectural design which uses Euclidean geometries such as the pyramid, cube, prism, sphere and cylinder. Klein bottle is a funnel-like geometry whereby the internal wall of the geometry is connected to the exterior wall continuously without any stopping edge and the path along the surface can go infinity. In this residential house, there is no specific separation or boundary between interior and exterior façade, creating a visual illusion for viewers. Again, this cannot be represented in two-dimen-sional paper drafting as it is very hard to visualize the overall layout and spatial functions with non-Euclidean geometry. The dimensions of this building allow interplay of living spaces in an interesting way, engaging with spatial human experience, unlike monotonous plain walls. The computational design does not just look good on the outside but on the inside. This design enables construction using a wide range of materials, however, digital fabrication speeds up the process of building construction, compared to sketching and cutting the dimensions of the building elements individually which is time consuming. This building experiments the light diffusion and light intake in every room with the different ceiling heights pertaining to the unique geometry. However, the house does not blend with the surrounding natural landscape. This particular building also does not reflect the unique characteristics of the Klein bottle of infinity pathway, despite the basic dimensions.

Building: Klein Bottle HouseArchitect: McBride Charles RyanLocation: Ryan, Mornington Peninsula, Victo-ria, AustraliaYear: 2008

This design of a residential dwelling is based on a non-Euclidean geometry. Non-Euclidean geometries are geometries that adhere to all first four postulates but are not based on the fifth postulate of “parallelism”, in which stresses that two lines are parallel and non-intersecting. The application of non-Euclidean geometries in architecture has challenged traditional architectural design which uses Euclidean geometries such as the pyramid, cube, prism, sphere and cylinder. Klein bottle is a funnel-like geometry whereby the internal wall of the geometry is connected to the exterior wall continuously without any stopping edge and the path along the surface can go infinity. In this residential house, there is no specific separation or boundary between interior and exterior façade, creating a visual illusion for viewers. Again, this cannot be represented in two-dimen-sional paper drafting as it is very hard to visualize the overall layout and spatial functions with non-Euclidean geometry. The dimensions of this building allow interplay of living spaces in an interesting way, engaging with spatial human experience, unlike monotonous plain walls. The computational design does not just look good on the outside but on the inside. This design enables construction using a wide range of materials, however, digital fabrication speeds up the process of building construction, compared to sketching and cutting the dimensions of the building elements individually which is time consuming. This building experiments the light diffusion and light intake in every room with the different ceiling heights pertaining to the unique geometry. However, the house does not blend with the surrounding natural landscape. This particular building also does not reflect the unique characteristics of the Klein bottle of infinity pathway, despite the basic dimensions.

1.5PARAMETRICMODELLING

Parametric modeling in architecture clearly separates computerization and compu-tation. Parametric modeling involves mainly on computing. Computerization is used in drafting computer programs such as AutoCAD are automated hand-drawn tools and are used by architects to speed-up design process. Computation programs such as Rhino and Grasshopper involves a system designed by people to perform functions and tasks such as algorithm, scripting and programming. Computation is less tedious than computerization because every element in a system to deter-mined by a programming language. It allows a user to erase an element that is not dependent on each other. Besides that, it can automatically alter all elements when the user resets a certain programming rule or language, in contrast to com-puterization when the user has to change every element manually when one of the elements is altered to adapt to the new design.

Mark Burry, wrote in an article “Scripting Cultures: Architectural Design and Pro-gramming”, believes that scripting is imperative in architectural design because this can reduce human error and repetitive work. Learning the codes and functions is not that important but deconstructing the problem to represent it in code is quintes-sential to satisfy the design intent. Furthermore, architecture and programming is interdependent, where “symbiosis operates between designers and coders”.

Project: Kartal Pendik MasterplanArchitect: Zaha HadidLocation: Istanbul, TurkeyYear: 2006

However, there is a disadvantage of parametric modeling. In response to computing in architecture, a designer has to understand the relationship and parameters in order to establish a programming language, in which to represent these relationships in an intellectual scope. This makes parametric modeling really challenging. Up until today in contemporary architectural design, parametric design is only used for form, skin-deep and superficial structures, in which parametric design lack functions and spatial programmes, an imperative aspect in architectural design. Many projects designed in parametric modeling today are not related with the urban context. Many critics often assume that designing in a logical function and decoding the programming rules chal-lenges the free form and freere ways of thinking among designers.

As a whole, parametricism in architectural design makes the project look good at a cut-ting edge because of the shift in scientific and computer technology, and architecture has its way to progress itself. Parametric is relevant in today’s society because in a rapid growing environment, we need materials that can design fabricate, and construct faster, also sustainable in the long run. The results produced through parametric design is far more astonishing and unprecedented compared to early modernist design some 50 years ago as technology at that time could not fabricate conventional materials into geometries that are organic and non-Euclidean.

Parametric modeling can be exemplified by this one which is the L’Oreal Office Build-ing, in Stockholm. This design is parametric because the elements are based on a specific programming rule, which could not be created in a short time by normal com-putational drafting. The design of the façade, which uses concrete panels, applies the biomimicry approach to design by emulating the natural organic form of adhesive liq-uid or perhaps cobwebs, while the inner glass façade applies the cell pattern concept, which is also based on biomimicry. The natural organic shapes represent the natural beauty which reflects this cosmetic company’s products. These two facades could be done by a parametric program via overlaying. The design has an advantage of be-ing structurally intact while keeping the concrete panel design slender and stretching through multi-storey level, thus maximizing the diffusion of light between the interior and exterior. The façade enables the light from inside the building to illuminate the building in the evening and therefore, lighting at the outside is not required. It is visu-ally interesting because the view of the multi-level living space of the building from outside can be framed by the lines and holes. Materials in organic form are could not be able to fabricate through instructions from the computers, without parametric model-ing. However, this building does not engage with the urban context and has no relation-ship with the adjacent building, forming an aesthetic discontinuity. The design is difficult to fabricate and construct as the concrete panels are large and heavy, and therefore transporting the material is an issue.

Building: L’Oreal OfficeArchitect: IAMZ Design Studio Location: Stockholm, SwedenYear: 2012.

This building completed in 2010 has a cutting edge design because it provides a sense of illusion that the building façade made of thin material and fluid in texture. It was designed like a liquid taking the effect of the force of the wind blowing into it. It also represents the building as a natural form. Aside from that, the building also gives an illusion that the building is shifting and wobbling, which adds up points on visual aesthetics. This residential skyscraper adapts to the urban context of glass skyscrapers in the midst of the concrete jungle of Manhattan. Its 3D interface of the wall engages with the interior spatial functions. This building can be perceived as a brand new landmark in New York City. This also at-tracts house buyers to purchase the property in the residential units because of the visual aesthetics of parametric design. The building design is indeed impossible to achieve without parametric design because with parametric software, the undulating ‘waves’ on the façade of the building can be shifted or altered at any direction without changing every building element such as the dimensions of the walls, beams, windows, concrete slab and floor area. The waves would not be aesthetically appealing when the building is designed using nor-mal 3D modeling software. This design contributes to the overall architectural discourse of a building design as a natural, organic form or any possible shapes that anyone could ever imagine and not just flat concrete walls. On the other hand, the design makes it difficult and expensive to fabricate as it is hard to source for materials that are easy to bend into two directions. Flexible materials such as titanium are very expensive.

Building: 8 Spruce Street (New York by Gehry)Architect: Frank GehryLocation: New YorkYear: 2010

Airspace Studio Tokyo, Kitamagome-Otaku District, Tokyo, Japan, 2007, by Faulders Studio

PART 2EXPRESSION OF INTEREST

2.1ARCHITECTURALORNAMENT

Building: Steiner House (left)Architect: Adolf LoosLocation: Vienna, AustriaYear: 1910

Building: Portland Building (right)Architect: Michael GravesLocation: Portland, OregonStyle: Post-modernismYear: 1982

Building: Pathenon, Acropolis (left)Architect: Iktinos and Kalli-kratesLocation: Athens, GreeceYear: 432 BC

Ornament is indispensible in architecture as forms a medium or interface that connects the people with the buildings. Ornamentation continues to change and evolve in order to keep up with the contemporary cultures and technology. Ornamentation is designed to give the building an expression that is independent from the interior yet contributes to the urban setting. However, it is difficult to express through symbols and represen-tations due to multiculturalism and plural society.

Ornamentation in architecture is represented in various roles in different architectural styles and Avant-garde. To illustrate, classical Greek architecture stresses on symmetry and heirarchy as part of ornament. Adolf Loos totally rejected ornament by equating it with crime, which contributes to the lack of ornamenta-tion in his design – i.e. Steiner House, Vienna. Transparency is emphasized in modernist architecture, while separation between function and representation is evident in post-modernist architecture.

Ornamentation has certain characteristics to achieve its design intent. Ornamentation is essential to create effects and sensation that enables people to visualize the contemporary culture. Besides that, ornamentation has its role in triggering and affecting the urban context. Ornament in architecture tends to bridge the gap between production, artistic designing, and the technical construction aspects of the building.

Likewise, parametric design is able to produce a different effect of ornamentation. This can be done through a number of design approaches of parametric design, such as patterning, structural, geometry, biomimicry, paneling and kinetics. New technologies such as this have enabled us to design with a new set of geometries, form assembly and exploring different sensations.

Today, many architectural projects are driven by surge of commission and marketing demands. Ar-chitecture today is also dependent with the global market and social trends. Represented by orna-ment, architecture should be independent and look forward for innovation in order to be way ahead of the global trend.

Building: Farnsworth House (above)Architect: Ludwig Mies van der RoheStyle: ModernismLocation: Plano, Illinois

Building: Portland Building (right)Architect: Michael GravesLocation: Portland, OregonStyle: Post-modernismYear: 1982

Ornament is indispensible in architecture as forms a medium or interface that connects the people with the buildings. Ornamentation continues to change and evolve in order to keep up with the contemporary cultures and technology. Ornamentation is designed to give the building an expression that is independent from the interior yet contributes to the urban setting. However, it is difficult to express through symbols and represen-tations due to multiculturalism and plural society.

Ornamentation in architecture is represented in various roles in different architectural styles and Avant-garde. To illustrate, classical Greek architecture stresses on symmetry and heirarchy as part of ornament. Adolf Loos totally rejected ornament by equating it with crime, which contributes to the lack of ornamenta-tion in his design – i.e. Steiner House, Vienna. Transparency is emphasized in modernist architecture, while separation between function and representation is evident in post-modernist architecture.

Ornamentation has certain characteristics to achieve its design intent. Ornamentation is essential to create effects and sensation that enables people to visualize the contemporary culture. Besides that, ornamentation has its role in triggering and affecting the urban context. Ornament in architecture tends to bridge the gap between production, artistic designing, and the technical construction aspects of the building.

2.2 DESIGNFOCUS

After learning parametric modeling by understanding Grasshopper definitions through practice, it is becoming more interesting and more relevant with architectural design with cutting edge designs like the projects analysed in the previous section of this jour-nal. Nonetheless, Grasshopper is still unknown to me and the feeling of reluctance and skeptical to learn the parametric modeling skills due to the level of difficulty. Frankly, I was freaked out when I first try out Grasshopper and beginning to feel confused. Well, I accept future challenges ahead of me that would certainly benefit in my future architec-tural career.

By this week three studio mates and I have formed a group to work together on design-ing of Wyndham City Gateway Project, a sculptural art installation that is based on parametric design along the Princes Freeway between Melbourne and Geelong. After much thorough brainstorming, we had decided on biomimicry as a design focus in para-metric design. Biomimicry is an extraction of natural systems implemented in a man-made solution. To be specific, biomimicry has been equated as a form of replication of nature. Nature’s function has evolved through millions of years thus the strategy by which they use has been optimized over a very long time. Our group has intended to use these strategies within our own as they are.

Besides that, biomimicry is chosen as a design focus compared to other design approaches due to the fact that it is structurally integrative, visually appealing, organic, dynamic, flexible, environmen-tally responsive, sense of fluidity. A structural design approach is structurally intact and spatially functional but not flexible and fluid. Patterning is structurally integrative and visually interesting such as the Gantenbein Vineyard Façade but has mundane replications and not fluid. Kinetics is environmentally responsive and visually interesting but not spatially functional and not organic. Panelization such as Voissoir Cloud by Iwamoto Scott Architecture may be structurally intact but has mundane replication as the size of each panel is uniform and the size of the aperture cannot be controlled.

However, in recent projects based on biomimicry which we will be discussing later, it is usually not spatially functional and does not spark spatial experience in people. Biomimicry projects are usu-ally used as a façade in buildings and difficult to fabricate and construct in a 3D non-Euclidean geometrical structure.

To relate our design approach to the Wyndham City Gateway Project, biomim-icry is chosen as a solution to the urban forest concept mooted by Urban Forestry Australia and Landcare Australia Limited. Through this concept, urban forest encourages shading and cooling, carbon sequestration, mental health and well-being, biodiversity and habitat provision, and pollution reduction.

Our design intent is inspired by characteristics of trees, which is stability, out-reach, resourcing and distribution. As we try to replicate the natural properties of trees as much as possible in our gateway design, it would be better than trees and could replace them because through biomimicry we are able to control the intensity of light penetration, shadings and direction of storm water flow through optimization. The idea of this sculpture structure is to create awareness to the ur-banforest plan, and at the same time address Wyndham as an environmentally conscious and innovative growing city.

Milliontrees associationof South Australian

Government

tree abilities

Stability

Outreach

Resourcing

Distribution

2.3 DESIGNPRECEDENT

Our first precedent based on biomimicry is the termite mounds which is ven-tilation in solid structure based on pure natural convection was adapted as thermal chimneys in buildings to promote natural ventilation. The natural ven-tilation provides passive design without the need for cooling devices, which is a competitive advantage in terms of sustainability. This enables air circulation between inside and outside without the need to open the windows. The East-gate building is modeled on self-cooling termite mounds, which maintain their internal temperature of 31degrees C day and night, while the external tem-peratures ranging from 4 degrees C to 42 degrees C. Passive cooling such as this helps reduce energy by 10% of most conventional office buildings. However, the façade of the building lacked ornamentation and patterning. The perforations are too uniform and monotonous to be defined as ornamen-tation. As a whole, this building has proven that biomimicry is a successful in implementing into architectural design, with greatly contributes to the archi-tectural discourse at large.

Building: Eastgate CentreArchitect: Mick PearceLocation: Harare, ZimbabweYear: 1996

Building: Eden ProjectArchitect: Nicholas GrimshawLocation: St. Blazey, Cornwall, UK.Year: 2001

Eden Project is based on the idea of soap bubbles was adapted as a double layered transparency (made of ETFE membranes) for the greenhouse effect. The advantage was that this idea was lighter than glazing, cheaper than glass and faster to set up. The design precedent is only to show the role of biomimicry in architectural design.

2.4 DESIGNINTENT

Our gateway design is based on a voronoi because of its freeform ability and better relation to nature in form of growth and the cells of a leaf. Through voronoi in grasshopper, we can create points in a non-gridlike manner. To further enhance our design to make it look more interesting, we decided to move the points in the distance and direction to the curve attractor so the cells had to deform. If com-pared to other various design approaches, voronoi is the the best option to link back the cells in a web-like form without awkward spaces in between. Because it finds the midpoint between each point and connects lines together, the cells are necessary because we intend to also play with the size of the radius so we could not simply connect the points together.

The examples of the voronoi above explores different fabrication methods of voronoi. On the left is the voronoi tasselation with the distortion of the 2D surface though melting the perspex after the cells were cut by laser. On the right is the voronoi with individual cells connecting together to form a surface.

Voronoi Chair, by Torabi Architects.

Voronoi Dome

WHAT WERE INTERESTED IN : BIOMIMICRYWHAT WE INTEND TO INFUSE : URBAN FORESTSWHAT WE EXPERIMENTED WITH : VORONOI ON SURFACEWHAT WE SPUR OUR INSPIRATION FROM : A TREE

2.5 CASE STUDYPROJECT

Our chosen project for the case study is the Airspace Studio, Tokyo, Japan, which features the voronoi veneer in multiple layers. One of the unique prop-erties is the layering façade for client’s privacy to open streets as if within a rainforest where animals used the density as concealment and safety. This form of layering also provides both visual aesthetics and passive architectural design of shading, also the tubal capillary fittings which direct rain water in between the perforations. The voronoi design gives a sense of organism, chaos, flexibility and engaging with nature, which is a competitive advantage, compared to other design approaches. Voronoi enables designers to control the size of perforations and density to enable light penetration. On the other hand, the voronoi design of this building is merely superficial and does not engage with the spatial experience of people. On top of that, the design only engages with the external and internal space and does not relate to the wider urban context. Aside from that, the size of the perforations of the vor-onoi in this particular building is too random and not optimized to reflect the density to control the light penetration and shadows. Moreover, this particular building which applies voronoi has no specific patterning which is less visually interesting. These weaknesses of voronoi are further enhanced and applied into our gateway design.

Building: Airspace Studio TokyoArchitect: Faulders StudioLocation: Kitamagome-Otaku District, Tokyo, JapanYear: 2007

2.6 REVERSEENGINEERING

2.7 MATRICES

phase 1 phase 2

phase 3

evolution

phase 4 phase 5

Our group had devised the matrices based on the given inputs and associations of the Grasshopper definitions. The vertical columns are various inputs such as circle grids (Phase 1), followed by Attrac-tor Points and Attractor Curves by radius (Phase 2), Attractor Points and Attractor Curves by extrusions (Phase 3), Arbitrary Points (Phase 4), and distortions (Phase 5). Attractor point by radius is the size of the circle or geometry according to the distance to the particular point on a surface. Attractor curve by radius is the size of the circle or geometry according to the distance to the particular curve on a surface. Attractor point by extrusion is the height of extrusion of the circle or geometry according to the distance to the particular point on a surface. Attractor curve by extrusion is the height of extrusion of the circle or geometry according to the distance to the particular curve on a surface. These inputs are further devel-oped down the columns, in which every row is rep-resented by given associations, namely rectangular grid of circles, hexagonal grid of circles, rectangular grid of polygons hexagonal grid of polygons and random voronoi. Our design of the gateway concept model is the evaluation and integration of 5 selected Grasshopper definitions, known as candidate solu-tions. It is then further developed into our final design based on several parameters, or criteria. The pa-rameters are the height, density, thickness, attractor and form.

evolution

evaluation + integration

capabilitybiomimicry - model - solutions

Height

Density

Thickness

Form

Attractor

Tree Model

Model Solutions

2.8 RENDERING

Parameters:Height: Cater to bird habitatDensity: Reflecting population Thickness: Structure + Rainwater channel Attractor: To address subjectsForm: Optimal shape to structural pattern

2.9SCALEMODEL

The scale model shall be analysed based on the Classification of Effects in the reading “Functions of Ornament” by Farshad Moussavi.

DepthIts undulating form of its surface creates an organic form. Its non-uniform and non-gridlike manner further enhances its structural integrity which somewhat similar to the natural form of mesh such as plant cells, micro-organisms or cobwebs. The screening of the voronoi allows light diffusion and creates a play of light and shadow of voronoi casted on the road where cars passes through.

MaterialThe voronoi cells create a pure, white form. As for the texture, its roughness clearly shows its layering of the plaster casted on the surface of the voronoi. However, up to this point we have not decided on the material of the actual gateway. Its bright colour offers the experience of looking light even though its actually heavier.

ExperienceThere is a sensation of being stretched horizontally at the mesh between the voronoi cells. The perforation provides a sense of flexibility and openness, which is in line with the openness to natural habitat for wildlife. There is also stretching vertically which caters to the bird habitat.

2.10SITECONTEXT

2.11RESPONSE TO FEEDBACK& FURTHER DEVELOPMENT

RESPONSE TO FEEDBACK& FURTHER DEVELOPMENT

Our group Expression of Interest presentation has subsequently followed by feedback from our tutors that would assist us in our further development for our Wyndham City Gateway design project. After the feedback we felt that we need to fabricate our model without 3D printing to show the construction tech-nique as we have not finalized our construction materials. There is also a need to have a strong balance between our design ideas and design technique, which includes Grasshopper, fabrication, materials and construction. Because of that, we have to focus on the site materials and the construction details. Besides that, our group got to have a critical site analysis that covers wetlands, wildlife and history because in our previous design intent, we decided to create wetlands and attract wildlife into our sculptural design installation. Aside from that, we also have to prioritise the target and stakeholders, i.e. the gateway design has to engage well with the road users, add to the fact that it is not really the best idea to attract wildlife into the freeway with road users. Furthermore, there is also a need to consider the scale in relation to the human scale as the gateway design looks huge.

We had also received feedback of other groups which include structural integra-tion and has to be intact even when vibration. The scale model needs to play with light, as light plays an important role in the driver’s experience. This is in line with the effects highlighted in Farshid Moussavi’s writing “Form and Ornament”. On top of that, there is a requirement of materials to produce the effect and the time to pass through the entire structure as the road user drives through it.

Parametricism learning through Grasshopper was easy at first, trying to produce a definition and linking them to produce a different effect. However problem arises when we are trying to correlate our definition with our set criteria and parameters, for example height, density, thickness, attractor and form. Because voronoi is a rather complicated definition, it is difficult to adapt to various inputs such as attractor point and attractor curve. It became tougher when we could not fabricate our voronoi scale model through 3D printer because of various issues, such as not being set up correctly. But finally our personal problems are able to be solved with the assistance of our fellow group mates and tutors. Personally I feel a sense of pride as I have learnt Grasshopper as a powerful and essential tool in producing such unprecedented parametric design which I would not have thought of before mastering the program. This design would be rather difficult to produce in a conventional computational architectural drafting such as Rhino or AutoCAD alone.

REFERENCES

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