chiu winnie 698653 journal part b

CAITLYN PARRY / SEMESTER 1, 2016 / WINNIE CHIU

S T U D I O

A I R

TABLE OF CONTENTS

INTRODUCTION

PART A . CONCEPTUALISATION

A .1. DESIGN FUTURING

Faz Pavilion King Abdullah Petroleum Studies and Research

A . 2 . DESIGN COMPUTATION

MSc2 studio at Hyperbody ICD/ITKE Research Pavilion

A . 3 . COMPOSITION/GENERATION

Digital Origami Hercules Monument Visitor Centre competition entry

A . 4 . CONCLUSION

A . 5. LEARNING OUTCOME

A . 6 . ALGORITHMIC SKETCHES

B .1. RESEARCH FIELDS

Aqua Tower French Pavillion Private Medical Center

B . 2 . CASE STUDY 1. 0

Spanish Pavillion

B . 3 CASE STUDY 2 . 0

Aqua Tower

B . 4 . TECHNIQUE DEVLOPMENT

B . 5. TECHNIQUE : PROTOTYPES

B . 6 . TECHNIQUE : PROPOSAL

B . 7 LEARNING OUTCOME

B . 8 ALGORITHMIC SKETCHES

CONCEPTUALISATION 54 CONCEPTUALISATION

I’ve been studying in The University of Melbourne for the last two years on a slow, painful yet awarding journey towards become an architect. This is currently my third year and as the finishing line becomes closer and closer I am being faced with more and more challenges. Having participated in two studio class beforehand i have been exposed to beautiful and stunning works from my peers, impressive ideas and amazing models. As I begin to become more and more aware of how as technology around up has develops , i have noticed opportunities to learn forms of expression that are able to closely and accurately represent reality and how designed. When comparing work with my peers I have notices my old fashioned ways of hand drawings and sketches are becoming something of the past and even though I am slow on the computer design bandwagon and only beginning to learn rhino, grasshopper, revit, auto cad and adobe programs i know it will be a rewarding process and I will be able to more clearly express my designs to others.

Throughout my studies I have been exposed to Rhino 3D and Revit and found that like anything else you learn takes time, experimentation, days of frustration and sleepless nights but slowly and surely I hope to master at least these two programs. I see Rhino as an asset by placing the design on a site, with people, trees, animals begins allows the image to have a story and a life. A place of interaction and exchange allowing clients to create emotions connected to a design. Another factor of Rhino 3D I am very intrigued about is 3D printing and how they can be coupled together to allow a idea to become a tangible object. I first started learning Autocad as it was the most popular program for designing floor plans but as I recently started playing with Revit I found it a much more easier program to use and since then it has claimed my loyalty.

I am very interested to see what Studio Air has to offer, indeed, it will be challenging but the skills i gain with be both the trouble!

About me Winnie Chiu , 20

Majouring in Architecture - The University of Melbourne

6 CONCEPTUALISATION

PART A

CONCEPTUALISATION

A.1DESIGN FUTURING

“Now we are numbered in billions, have extractive and material processing technologies of absolutely enourmous capacity coupled with an ecomoy of an

insatiable appetite, we are now comfronting our nemesis - a defurting condition of unsustainability.” Design

futuring in Fry’s Book outlines the needs for design futuring in our current world, to slow the rate of defuturing and

redirect ourselves to a more sustainable, healthier future. [1]

1. TONY FRY, DESIGN FUTURING: SUSTAINABILITY, ETHICS AND NEW PRACTISE’. 2009 ([N.P.]: BERG, 2009).

8 CONCEPTUALISATION CONCEPTUALISATION 9

FAZ PAVILION

Achim Menges, Steffen Reichert and Scheffler+Partner

2. ACHIM MENGES, STEFFEN REICHERT “MATERIAL CAPABILITIES: EMBEDDED RESPONSIVENESS”. ARCHITECTURE DESIGN JOURNAL, VOLUME 82, ISSUE 2 (2012), 52-59.

3. MICHAEL HENSEL, DEFNE SUNGUROGLU, ACHIM MENGES “MATERIAL PERFORMANCE”. ARCHITECTURE DESIGN JOURNAL, VOLUME 78, ISSUE 2 (2008),35-41.

4. ACHIM MENGES, STEFFEN REICHERT “PERFORMATIVE WOOD”. ARCHITECTURE DESIGN JOURNAL, VOLUME 85, ISSUE 5 (2015),66-73.

5. ACHIM MENGES, SCHEFFLER + PARTNER, FAZ PAVILION FRANKFURT (2010) <HTTP://WWW.ACHIMMENGES.NET/?P=4967> [ACCESSED 17 MARCH 2016].

Inspired by natures ability to respond to the climate Steffen Reichert, Achim Menges and Florian Krampe research towards climate-responsive material that function in the absence of any required external energy or electrical or mechanical control [2] . The study attempts to understand materials and this new concept of ‘smart’ materials that has the ability to respond to its dynamic environment. The term ‘smart’ refers to materials that can be altered in order to accommodate various levels of stress, relative humidity and temperature [4].

The FAZ pavilion based on conifer cones react to ambient humidity. The use of both fabrication parameters and material qualities allow for a direct response to humidity where it swells when exposed to a specific moisture level and contracts when moisture level falls [5] . This allows the materials to be adjusted via five parameters: fibre directionality, geometry

of elements, lengths- width-thickness ratio and humid control. Moreover, this allows for not only sustainability but also the creation of a flexible material that is able to adapt under different environment. These parameters are adjusted via computation, tested and manipulated to best suit the environmental conditions. The availability for facades structures to have materials that are able to directly interact with the environment rather than a series of components that are requires to assess the space and send commands to counteract the environment is much more efficient and sustainable. This allows for a more direct intercommunication of the structure and environment.

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"CLIMATE CHANGE IS NO LONGER SOME

FAR-OFF PROBLEM; IT IS HAPPENING

HERE, IT IS HAPPENING NOW." [7]

King Abdullah Petroleum Studies and Research Centre

Zahdid Architects

“In the last 650,000 years there have been seven cycles of glacial advance and retreat, with the abrupt end of the last ice age about 7,000 years ago marking the beginning of the modern climate era — and of human civilization. “ - Holly Shaftel

For the past centuries human impact has had a negative impact on the planet, contributing to sea level and global temperature rise, extreme events. Our innovations in technology has allowed us to harvest natural resouces for our on benefits and as a result has lead to pollution, habitat lost and extinction of species. Designers and architects need to be aware that they are fundamental in building a better, cleaner future where beauty and art are not at the cost of the planet. There are two precedents would like to examine regarding design future, innovative, sustainable ways of building and design that also aims to inspire users. Firstly, King Abdullah Petroleum Studies and Research Centre then VanDusen Botanical Garden Visitor Centre.

The King Abdullah Petroleum Studies and Research Centre by Zahdid Architects is a sustainable and innotive building located in Riyadh, Saudi Arabia. Zahdid Architects undertakes a holistic approach combining engineering and architecture together allowing their designs to work directly in response to the environment [6]. From the beginning there was an understanding that sustainability was not purely dependant on the integrated technology of the design but the structure and facade was also an essential component. The facade of the building understands a hard, structurally strong shell working in conjuction with a flexible, hexagonal, cellular structure of

crystalline form which is able to not only protect the soft interior but also works in response to the environmental conditions and functional requirements. It’s shell filters light into space and works alongside buffer zones that allow the hot exterior to be cooled and filtered into the interior spaces[6].

The design is based upon a series of atrium and courtyard structures. It’s form sculpted to shelter the interior space from southern and western sun whilst allowing the the northern wind to enter whilst many courtyards are oriented to capture cool dessert wind during the night and release it in the day. This holistic consideration of form allows the space to remain useable for longer periods of the day and produces more comfortable working conditions. By offering a healthy, friendly, flexible environment it facilitates users to interact, exchange research. By also providing quiet, outdoor spaces and prayer rooms allows users to step out of their busy day and take a moment to contemplate, reflect and relax [6].

The complex is an intricate network of routes and halls through the building, library, theatres, courtyrads and by making these rooms flexible allows for more diverse use that is able to cater for a range of audiences.n of difference spaces (Irina Vinnitskaya, 2012).

We mustn’t neglect to realise the importance of architecture and it’s ability inspire and encourage people to create and explore.

6. DAEWHA KANG, ‘TO A CURATOR OF BEAUTIFUL AND HEALTHY LIVES’, ARCHITECTURE DESIGN JOURNAL, VOLUME 85, ISSUE 4 (2015), 123-125.

7. JAN F, PRESIDENT OBAMA: “CLIMATE CHANGE IS NO LONGER SOME FAR-OFF PROBLEM. IT IS HAPPENING HERE. IT IS HAPPENING NOW.” (2015) <HTTP://MOTLEYMOOSE.

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A.2

DESIGN COMPUTATIONWe are moving towards a digital era where development of technology

and fabrication techniques has allowed architects to design and construct more intricate designs with more freedom and ease. Not only

has computation and softwares allow for the improvement of the the process of design but robotics are becoming an essential tool allowing

complex design to not become constrained by construction [8].

8. PETER BUSBY, MAX RICHTER AND MICHAEL DRIEDGER, ‘TOWARDS A NEW RELATIONSHIP WITH NATURE’, ARCHITECTURE DESIGN JOURNAL, VOLUME 81, ISSUE 8 (2011), 96-98.


“INDUSTRIAL ROBOTS ARE DISTINGUISHED

BY THEIR VERSATILITY. LIKE COMPUTERS,THEY ARE SUITABLE FOR A WIDE VARIETYOF TASKS BECAUSE THEY ARE ‘GENERIC’AND THEREFORE NOT TAILORED TO ANY

PARTICULAR APPLICATION.” [12]

MSC2 STUDIO

Computer aided design has advanced over the recently years into mode of design that is able to be produced faster and more affordable. Digital modelling has overtaken more traditional ways of design allowing for three dimensional analysis that can be easily edited to create numerous iterations and ways to explore the design and its capabilities [10]. The level of detail on digital programs are magnified allowing for immense control and accuracy on even the smallest detail.

The MSc2 Studio created a prototype whereby computation was used to generate a form that was designed and constructed across three weeks. The fabrication of the design was constructed the use of a hot wire cutting allowing the formation of 53 unique components with ease and precision. This use of robotics in accordance to computation allows a project that was constructed not only with impressive speed but allowed for sheer precision in each and every components. Moreover, architecture requires a high level of precision of materials and construction

that only allow for a difference of millimetres or centimetres thus allowing automated robots to become a largely, reliable tool which is able to not only enhance that quality of components but construct it with little to no errors [11].

By having tools that allow one person to control the whole design process from design, to fabrication, to assembly enables the designers to fully interact with the design. Computation and robotics allow for ease and accuracy in the production and fabrication of design. Furthermore, this shift from manual to digital has allows architects to experiment more freely with forms creating more detailed, complex designs in a matter of minutes.

9. JELLE FERINGA, MSC2 STUDIO AT HYPERBODY TU DELFT, NETHERLANDS (2016) <HTTP://WWW.BLOCK.ARCH.ETHZ.CH/BRG/TEACHING/MSC2-STUDIO-AT-HYPERBODY-TU-DELFT> [ACCESSED ].

10. MICHAEL BUDIG, JASON LIM AND RAFFAEL PETROVIC. “INTERGRATING ROBOTIC FABRICATION IN THE DESIGN PROCESS”. ARCHITECTURE DESIGN JOURNAL, VOLUME 84, ISSUE 3 (2014), 23-43. 11. FABIO GRAMAZIO, MATHIAS KOHLER, JAN WOLLIMANN. “AUTHORING ROBOTIC PROCESSES”. ARCHITECTURE DESIGN JOURNAL, VOLUME 84, ISSUE 3 (2014), 14-21.11. FABIO GRAMAZIO,

12. MATTHIAS HOKLER, JAN WILLMANN. ‘MADE BY ROBOTS: CHALLENGING ARCHITECTURE AT A LARGER SCALE’.ARCHITECTURE DESIGN JOURNAL, VOLUME 76, ISSUE 2 (2014), 15-20.

Studio at Hyperbody TU Delft, Netherlands. Jelle Feringa (2012).

9


The ICD/ITKE Research Pavilion, 2011 is a project collaborated between the Institute for Computational Design and Institute of Building Structures and Structural Design. Bionics becomes the theme where inspiration was nature and its natural structure. In particular they were interesting the the morphological principles of the plate skeleton of echinoids because of it’s adaptive qualities where computer generative design enable the construction of this pavilion[13].

The teams of endeavouring to discover a material that would enable lightweight and flexible structure. Thus, through experimentation the materials of plywood sheets with a thickness of just 6.5 millimetre was selected [14]. This , along with it’s geometry allowed the thin, elastic and flexible members to be obtain the intended quality using a simple repetition of a singular, basic material. Computation took on a critical component of this design where the design was analysed via form finding, digital stimulations, computer numeric machine control. This integration of computation into the design also allowed for robotic fabrication allowing the ease

ICD/ITKE RESEARCH PAVILION

The Institute for Computer-Based Design and the Institute for Structural Engineering and Structural Design, University of Stuttgart. 2011.

13. ACHIM MENGES AND TOBIAS SCHWINN. “MANUFACTURING RECIPROCITIES”. ARCHITECTURE DESIGN JOURNAL, VOLUME 82, ISSUE 2 (2012), 119-125”

14. ACHIM MENGES. “MATERIAL COMPUTATION: HIGHER INTEGRATION MORPHOGENETIC DESIGN”. ARCHITECTURE DESIGN JOURNAL, VOLUME 82, ISSUE 2 (2012), 14-21.

15. ACHIM MENGES, ICD/ITKE RESEARCH PAVILION 2011 (2011) <HTTP://ICD.UNI-STUTTGART.DE/?P=6553> [ACCESSED 17 MARCH 2016].

of accuracy and cohesion . The members of the pavilion was laser cut into 850 different geometries and over 100,000 finger joints allowing the ease of fabrication [15].

The prevailing of computation enables the analysis of the relationship between performance, materials and form prior construction. By being able to explore the interaction of structural forces, environmental affects and materials allows for not only more precision of the final product and stability but also allows designers to push the thresholds of materials and discover it’s performance capabilities to create a structure that effectively utilise materials.

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A.3

COMPUTATION/ GENERATIONThe shift from composition to generation allows for architecture to be based towards performance - Structural , constructional,

economic, environmental parameters rather than aesthetics. It aim is to produce a type of design that is enhances the efficiency of produces designs with similar patterns [16].

16. PETER BOOTH, STEPHEN LOO, BEYOND EQUILBRIUM: SUSTAINABLE DIGITAL DESIGN (2010) <HTTP://EPRINTS.UTASEDUAU/16384/1/52_BEYOND_EQUILIBRIUM_FINAL_PUBLISHED.PDF> [ACCESSED 17 MARCH 2016].


DIGITAL ORIGAMI

TThis transition into digital technology has allowed for a system that integrates human intelligence and creativity. The designers involvement into the design with parametric control, associated geometry, generative iterations, algorithmic expression and component based modelling [17]. This process enables a bottom up approach. Design is created and contained by sets of parameters that govern the interaction of components and inform the final design and as a result can produce interesting forms.

Chris Bosse along with students from The University of Technology of Sydney constructed an installation with a series of digital modelling: parametric modelling, digital fabrication and material science [17] . Influenced by coral reef and the interaction of each small, intelligent, component has was symbolic of architecture towards it’s landscape. It was construction with 1500 recycled cardboard forming geometric molecules all interconnected and static to its environment [17]. Parametric design is often, like coral the product of small components, repeated to form a coherent final outcome. Through these small units they were able to create a set of rules that would

17. PETER BOOTH, STEPHEN LOO, BEYOND EQUILBRIUM: SUSTAINABLE DIGITAL DESIGN (2010) <HTTP://EPRINTS.UTAS.EDUAU/16384/1/52_BEYOND_EQUILIBRIUM_FINAL_PUBLISHED.PDF> [ACCESSED 17 MARCH 2016].

18. HANK JARZ, ‘DIGITAL ORIGAMI ‘(2010) <HTTP://WWW.ARCHDAILY.COM/93913/DIGITAL-ORIGAMI-LAVA> [ACCESSED 17 MARCH 2016].

Chris Bosse

govern the metamorphose from a part of distinct, organic forms. This approach to design is oriented towards allowing digital technology and mathematics to form designs. This is a type of pattern-making, bottom-up, formation design that characterises parametric design.

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HERCULES MONUMENT VISITOR CENTER

19. MICHAEL HENSEL AND ACHIM MENGES ‘MATERIAL AND DIGITAL DESIGN SYNTHESIS’. ARCHITECTURE DESIGN JOURNAL, VOLUME 76, ISSUE 2 (200D), 88-95.

Competition entry by Scheffler + Partner Architects and Achim Menges

The Hercules Monument Visitor Centre was located in Bergpark Wilhelmshöhe, Germany. It would sit 515 meters high between a water cascade, the Kassel Wilhelmshöhe Palaceand a monument of Hercules by Fracesco Guerniero.

The design intent to to intensify the the interaction of the interior landscape with the nature surroundings in Habichtswald to the Baroque park and monument by undulating the landscape. The method formed by Scheffler + Partner Architects and Achim Menges was to provide the site with an interior environment that is consisted of micro-milieus. To achieve this, a series of generative techniques were used which constructed a parametrically defined and restrained triangulate system with four scales of articulation [19]. This restraints took into account manufacturing and construction limitations that effected the triangular body,folded glass and steel plates. This parametric commands was able to ensure the viability of the design in terms of the restraints and allow for a design that emerged from its very constraints. Furthermore this design is further moulded in relation to loads, orientation, spaces, circulatory and volumetric requirements. Computation here displays its versatility in controlling parameters that

is able to be edited to include which enables this feedback, adjustment and optimisation. This allows for a greater degree of coherency allowing for a design rich, complex, unpredictable, undetermined that pushes the boundaries of design exploration to a new level [19].

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A.5

LEARNING OUTCOMES

A.4

CONCLUSION

My experience so far in this subject has been highly beneficial considering my initial, limited knowledge on both Rhinoceros 3D and Grasshopper. This subject I have gained the understanding of basic algorithmic commands and how to generate basic forms, structures and pattern-making. Initially designing by hand I have learnt the enormous benefits towards computation: the ability to design intricate, detailed designs, the ability to make iterations easily, the ability to edit designs and most importantly the relationship computation has to robotic fabrication. The ease of fabricating design with the ease of a few buttons and commands and the sheer comfort of the accuracy of precision of what would be formed. I find this form of designing is prevailing to become more and more common in the design practise and will become essential in my future designs.

In terms of theory I have learnt to look beyond aesthetics for future design projects and consider the idea of a bottom-up design where materiality and structure form the design. To design things with an open mind and let forms and patterns determine the final outcome. I find computation would be helpful for my past design due to the ease of iteration would be a great tool for idea generation allowing me to explore more over a shorter period of time.

Part A is the introduction towards computation and the new digital era of design. Alongside computation is the formation of responsive materials and machinery that aid in the generalisation and fabrication of members and also the construction of structures. The techniques available in the softwares enable ease of manipulation, repetition and experimentation allowing for more diverse intricate designs that otherwise without computation would be difficult to achieve.

In regards to my intended design approach I want to experiment on grasshopper and play with the numerous shapes and forms to create a structure that is able to emulate nature and allows a space for animals to inhabit throughout the year. I find by using this tool I will be able to be more creative and produce more iterations in order to find the ideal form. This will hopefully benefit the nature and the animals which are unable to survive through the hot seasons of Australia.


A.6

APPENDIX - ALGORITHMIC

SKETCHES


DELAUNEY EDGES This iteration of delauney edges was was a play of form and the extraction and extention of the components.Almost like rocks in nature that are shifted. This form, referenced to nature acts as a cross-section of a cave creating a habitat for animals in period of rough weather.

This form were produced with only a few commands and I was also able to make many iterations of the form, playing on the size and density of the rocks. It was a quick way to work these rock like structure. I also think a design like this could modelled easily through 3D printing.

MESH Using the mesh tool I was able to produce a wall with intricate folds fromed by a series of cylinder. This was an abstract representation of wall that was suitable to protect and shade users and land animals whilst also providing the same protection for birds and animals that habitat in the upper regions of the trees.

I find that this list of commands allowsfor the creation of intricate and interesting patterns on surfaces This type of algorithm may be divided and laid out for laser cutting.

MESH These mesh’s play on textures and surfaces of round objects. I found both of these interesting in the in the ability to carve out holes and allow for a protective internal space.

The texture are also emmulating leafs would be able to camouflage into the natural landscape.


ACHIM MENGES. “MATERIAL COMPUTATION: HIGHER INTEGRATION MORPHOGENETIC DESIGN”. ARCHITECTURE DESIGN JOURNAL, VOLUME 82, ISSUE 2 (2012), 14-21.

ACHIM MENGES, ICD/ITKE RESEARCH PAVILION 2011 (2011) <HTTP://ICD.UNI-STUTTGART.DE/?P=6553> [ACCESSED 17 MARCH 2016].

ACHIM MENGES, SCHEFFLER + PARTNER, FAZ PAVILION FRANKFURT (2010) <HTTP://WWW.ACHIMMENGES.NET/?P=4967> [ACCESSED 17 MARCH 2016].

ACHIM MENGES, STEFFEN REICHERT “MATERIAL CAPABILITIES: EMBEDDED RESPONSIVENESS”.

ARCHITECTURE DESIGN JOURNAL, VOLUME 82, ISSUE 2 (2012), 52-59.

ACHIM MENGES, STEFFEN REICHERT “PERFORMATIVE WOOD”. ARCHITECTURE DESIGN JOURNAL, VOLUME 85, ISSUE 5 (2015),66-73.

ACHIM MENGES, TOBIAS SCHWINN. “MANUFACTURING RECIPROCITIES”. ARCHITECTURE DESIGN

JOURNAL, VOLUME 82, ISSUE 2 (2012), 119-125”

DAEWHA KANG, ‘TO A CURATOR OF BEAUTIFUL AND HEALTHY LIVES’, ARCHITECTURE DESIGN JOURNAL, VOLUME 85, ISSUE 4 (2015), 123-125.

FABIO GRAMAZIO, MATHIAS KOHLER, JAN WOLLIMANN. “AUTHORING ROBOTIC PROCESSES”. ARCHITECTURE DESIGN JOURNAL, VOLUME 84, ISSUE 3 (2014), 14-21.

FABIO GRAMAZIO, MATTHIAS HOKLER, JAN WILLMANN. ‘MADE BY ROBOTS: CHALLENGING ARCHITECTURE AT A LARGER SCALE’.ARCHITECTURE DESIGN JOURNAL, VOLUME 76, ISSUE 2 (2014),

15-20.

HANK JARZ, ‘DIGITAL ORIGAMI ‘(2010) <HTTP://WWW.ARCHDAILY.COM/93913/DIGITAL-ORIGAMI-LAVA> [ACCESSED 17 MARCH 2016].

JAN F, PRESIDENT OBAMA: “CLIMATE CHANGE IS NO LONGER SOME FAR-OFF PROBLEM. IT IS HAPPENING HERE. IT IS HAPPENING NOW.” (2015) <HTTP://MOTLEYMOOSE.

NET/2015/09/01/1656/PRESIDENT-OBAMA-CLIMATE-CHANGE-IS-NO-LONGER-SOME-FAR-OFF-PROBLEM-IT-IS-HAPPENING-HERE-IT-IS-HAPPENING-NOW/> [ACCESSED 17 MARCH 2016].

MICHAEL BUDIG, JASON LIM AND RAFFAEL PETROVIC. “INTERGRATING ROBOTIC FABRICATION IN THE DESIGN PROCESS”. ARCHITECTURE DESIGN JOURNAL, VOLUME 84, ISSUE 3 (2014), 23-43.

MICHAEL HENSEL, DEFNE SUNGUROGLU, ACHIM MENGES “MATERIAL PERFORMANCE” ARCHITECTURE DESIGN JOURNAL, VOLUME 78, ISSUE 2 (2008),35-41.

MICHAEL HENSEL AND ACHIM MENGES ‘MATERIAL AND DIGITAL DESIGN SYNTHESIS’. ARCHITECTURE DESIGN JOURNAL, VOLUME 76, ISSUE 2 (200D), 88-95.

PETER BUSBY, MAX RICHTER AND MICHAEL DRIEDGER, ‘TOWARDS A NEW RELATIONSHIP WITH NATURE’, ARCHITECTURE DESIGN JOURNAL, VOLUME 81, ISSUE 8 (2011), 96-98.

PETER BOOTH, STEPHEN LOO, BEYOND EQUILBRIUM: SUSTAINABLE DIGITAL DESIGN (2010) <HTTP://EPRINTS.UTAS.EDUAU/16384/1/52_BEYOND_EQUILIBRIUM_FINAL_PUBLISHED.PDF> [ACCESSED 17 MARCH 2016].

TONY FRY, DESIGN FUTURING: SUSTAINABILITY, ETHICS AND NEW PRACTISE’. 2009 ([N.P.]: BERG, 2009).

REFERENCES

PART B :

CRITERIA DESIGN


B.1 RESEARCH FIELDS


9

PRECEDENT STUDIES

The undulating design of the Aqua Tower was inspired by striated limestone outcropping in the Great lakes. I was particularly drawn to this case study because of the flow and the movement the patterning created. This was patterning was interesting because from afar my eye was very drawn to the ‘void’ - spaces that are occupied by the glass but up close I was very drawn to the flow and dynamic nature of the curves. I was very interested towards the opportunities this pattern could achieve with its from the patterns and the voids.

1. AQUA TOWER BY STUDIO GANG ARCHIECTS

This pavilion was designed for the Milan Expo in 2015. It was constructed with a curved wooden lattice structure. The central theme for this design was to feed the planet, energy for life [2] . This design incorporated nature into many aspects of their design. The use of light weight glue-laminated larch and spruce was selected to create a strong structure that would create a landscape ceiling in which vegetation could be hung and displayed. It was fascinating to see how vegetation can be incorporated into ceiling of structures and enable efficient of space as well as being the ornamentation.

2. FRENCH PAVILION

This design is a rectangular, blocky structure that is characterised by horizontal bands that conceal the medical centre. The openings allow for light to enter the atriums and loggias which form semi public areas that act as relation zones. These areas are decorated with mediterranean greenery with views directed towards the sea and islands. I think play on light in relation to architecture very interesting as it allows for points of focus and thus can create hierarchy within a space - illuminated and conceals particular areas. The patterning of the design and the openings allows light to shine through and highlight particular aspects such as the vegetation.

3. PRIVATE MEDICAL CENTRE 3LHD ARCHITECTS

1. MARY WARREN, ‘AQUA TOWER / STUDIO GANG ARCHITECTS’, (2012) , IN <HTTP://WWW.FLICKRIVER.COM/PHOTOS/LALOBAMFW/7646578786/> [ACCESSED ].

2. IAIN MASTERTON, VIEW OF SPANISH PAVILION AT WORLD EXPO 2005 AT AICHI IN JAPAN (2005) <HTTP://IAINMASTERTON.PHOTOSHELTER.COM/IMAGE/I00004D7HQ0Z9FTO> [ACCESSED 9 APRIL 2016].

3. SEBASTIAN JORDANA, ‘3LHD TO DESIGN PRIVATE MEDICAL CENTER IN CROATIA’, (2009), IN <HTTP://WWW.ARCHDAILY.COM/16828/3LHD-TO-DESIGN-PRIVATE-MEDICAL-CENTER-IN-CROATIA> [ACCESSED ].


B.2 CASE STUDY 1.0


4. SATORU MISHIMA , ‘SPANISH PAVILION EXPO 2005’, (2005), IN <HTTP://WWW.CERAMICARCHITECTURES.COM/OBRAS/SPANISH-PAVILION-EXPO-2005/> [ACCESSED ].

SPANISH PAVILLION ALGORITHM


The Foreign Office Architects’ Spanish Pavilion (2005) , Aichi, Japan was one out of sixty-five pavilions that countries or groups were constructed for the world expo. The Spanish Pavilion drew on cultural references to the hybridisation of Jewish-Christian cultures and Islamic influences. Thus, they brought to the design decorative elements from their culture, lattices and traceries allowing for a design that allowed for openness and light [4].

The design consists of a basic hexagonal grid that contains the repetition of six irregular hexagonal shapes that are coded to specific colour, that are never repeated and allows for a pattern that constantly varies in it’s form and colour. These six colour are selected in reference to the Spanish flag with colours of the national flag, red and yellow [4].

AQUA TOWER - REVERSE ENGINEERING

[1] ITERATION - HEXAGON GRID This was the initial input and formed the basic layout of the design, by altering the grids to radial, square, rectangular essentially changed the individual components to triangles, squares and rectangles.

[2] ITERATION - INTERNAL POINTS The series internal points nodes can be adjusted to manipulate the shapes formed by the hexagonal grid. By altering the input numbers ‘x’ and ‘y’ changes the angles of the point. The initial given range of numbers were between -1 to 1. Firstly, I changing the ‘x’ slider and then the ‘y’. I noted that the higher the number the more extreme the angle would become. I later changed the range to -10 to 10 to test the extremes. I notices that just altering one slider to an extreme would drastically distort it , creating really sharp points.

[3&4] ITERATION - ITEM LIST INPUT The panels that are connected into the items list index inputs are responsible for the presence and absence of particular cells or points. By changing the cell inputs allows me to cull and essentially alter the pattern.

The initial list for cells was six. I began playing with different singular numbers, then two numbers, then testing three . The next input into another set of item lists consists of twenty-four points, i playing with the patterning of the points and explore all the viable options.

[5&6] ITERATION - SPACING EXPRESSION This next series of iterations consists of two expression that are linked to the ‘x’ and ‘y-axis’ that controls the spacing both horizontally and vertically. It uses Pythagoras theorem to determine the spacing of the arrays.

[7] ITERATION - `RANGE The range component determines the size of the patterning. By altering this component adjusts the location of the extrusions.

[8] ITERATION - IMAGE SAMPLER The image sampler determines the areas to be culled. The initial image had concentrated clusters on certain components of the grid, by selecting different images I was able to play with the patterning and also the density of the components to be culled.4. SPANISH PAVILLION (2012) <HTTP://DIGIITALARCHFAB.COM/PORTAL/WP-

CONTENT/UPLOADS/2012/01/SPANISH-PAVILION> [ACCESSED 9 APRIL 2016].\

[A] HEXAGONAL GRID [B] DECOMPOSE AND VECTORIZE

[C] MULTIPLY IN X AND Y AXIS

[D] MULTIPLY PATTERN

[E] OFFSET TILES CREATING HOLES

[F] EXTRUDE DIFFERENCE

[H] EXTRUDE AND COLOUR

DESIGN PROCESS

[G] CULL USING IMAGE MAP


1.1 HEXAGONAL GRID 1.2 RADIAL GRID 1.3 RECTANGULAR GRID

2.3 +1 [0.7] [0.9] [0.5] [0.7] 2.4 x5 [1] [2] [0] [1] 2.5 x10 [2] [4] [0] [2]

2.9 =0 [0] [0] [0] [0] 2.10 +5 [0.7] [0.5] [0.5] [0.5] 2.11 x10 [0.7] [0.5] [0.5] [0.5]

3.1 [0] 3.2 [6] 3.3 [1,3,4]

ITERATION MATRIXG

R I D

SE

X P

R E

S S

I O N

S

1.4 SQUARE GRID 2.1 [0.2] [0.4] [0.0] [0.2] 2.2 [0] [0] [0] [0]

2.6 =5 [5] [5] [5] [5] 2.7 [1] [-1] [1] [-1] 2.8 [1.9] [0.5] [-0.3] [-0.7]

2.12 =5 [5] [5] [5] [5] 2.13 [1] [-1] [1] [-1] 2.14 [1] [-1] [1] [-1]

3.4 [0,3,2] 3.5 [5,5,5,5] 3.6 [0,3,3,8]

I N T

E R

N A

L

P O

I N

T S


4.1 [0]

5.1 [1]

4.2 [0,0,3,4] 4.3 [0,0,4,5]

5.2 [2] 5.3 [3]

7.1 CLOUDS 7.2 REEF 7.3 FRABIC

8.1 [-1] 8.3 [100]8.2 [5]

S P

A CI

N G

I M A

G E

S

A M

P L

E R

R A

N G

E

4.4 [5,5,5,5] 4.5 [0,3,3,5] 4.6 [0,5,5,5]

6.1 [1] 6.2 [1.5] 6.3 [2] [5]

8.4 [-1]

7.4 WAVES 7.5 STRIPES 7.6 PAINT STROKES

8.5 [0] 8.6 [10]


B.3 CASE STUDY 2.0


AQUA TOWER REVERSE ENGINEERING

200 North Columbus Drive, Chicago, IL 60601, USA / Studio Gang Architects / 2009

BACKGROUND INFORMATIONThe design was inspired by striated limestone outcropping in the Great lakes. The result was a building characterised by a rippling facade of many curves and bends. It’s a 82 storey tower with 82 unique floor perimeters [6]. The undulating curves are an extension of the floor perimeters and thus requires prefabrication to create the precise forms. The pattern intends to maximise specific views whilst are absence at areas where they are not required. These extrusion points act as balconies but also as eaves to provide better views and solar shading.

PROCESSThis section is my attempt to reverse engineer the Aqua Tower by Studio Gang Architects. The design intent was to create a series of horizontal undulating curves to resemble the rippled facade. In order to reconstruct this I considered three methods to test: Image sampling, projecting contours and Perlin noise.

The first exploration utilises image sampling to create a series of curves on a flat surface. The use of domain restrictions allowed me control the height of the curve. This method allows me to more easily test and and experiment with different images but a I noticed that it was hard to control the precise undulation of the curves even when creating my own image and inputting it into image sampler.

Furthermore, it was a very straight forward algorithm and I find it had a lot of potential to be manipulated.

The second exploration, I wanted to exert a greater level of control. Thus, I attempted to create the undulating forms by using contours projected onto a curve to create that form. I found this way allowed me for more control and precision but was more tedious than the previous attempt but i found this that i could much more easier to control the curves. In relation to the algorithm I found due to it’s simplicity it did not have much potential to be further manipulated.

The last exploration I wanted to explore the design as a whole rather than just considering the facade shown in previous attempts. Thinking of this building as being constructed by a series of floor parameters I designed this iteration so that it would be constructed from a series of flat planes. The attachment of purlin noise would create the curving exterior. Although this method was successful I found that it was difficult in creating a very undulating forms and also the algorithm was more restrained and could not be easily manipulated for the next part.

I found that the most successful attempt was the image sampling as it allowed for the most interesting form and had the most flexible algorithm.

DIVIDE TO

CREATE FLOOR

PLANES

RECTANGULAR

PRISM

CREATE UNDU-

LATING CURVE

ON THE EDGES

OFFSET TO GIVE

THICKNESS

DESIGN DIAGRAM

6. ARCHDAILY, ‘AQUA TOWER / STUDIO GANG ARCHITECTS’,(2009),IN <HTTP://WWW.ARCHDAILY.COM/42694/AQUA-TOWER-STUDIO-GANG-ARCHITECTS> [ACCESSED ].


1. PERLIN NOISE 2. PROJECTING CONTOURS


3. IMAGE SAMPLING

RECTANGULAR

PRISM

POINTSIMAGE

SAMPLER

MOVE

REMAP

NUMBERS

UNIT Z

INTERPOLATE

CURVE

LOFT

END POINT

DECONSTRUCT

POINT

DECONSTRUCT

POINT

CONSTRUCT

POINT

CONSTRUCT

POINT

LINE

EXTRUDE

FINAL - IMAGE SAMPLER


B.4TECHNICAL DEVELOPMENT


CONCEPT IDEASControlling the density of line work to cater for different structural purposes.

1. Experimenting with line work to create structure that’s more dense and obtaining a thicker width and closer in proximity to allow for a structure that is suitable for seating or roof structure.

2. Played with attraction points I wanted to create vertical openings that could possible house wall plants and could be a transition from the top iteration to the bottom one.

3. This was the most dispersed suitable for housing native indigenous plants. It intended for would be suitable to be placed horizontally and connect the structure to the floor.

1. ROOF STRUCTURE/ SEATING

2. WALL PLANATATION BOX

3. FLOOR PLANATATION BOX

SEATING/ ROOF IDEAS SEATING/ ROOF IDEAS

CONCEPT IDEASThis is a idea of how I percieved I could construct the seating arrangement that would be created via the tight undulations at close proximities. I found these forms very interesting in that I could create different depths that could form functional spaces.


B.5 TECHNIQUE : PROTOTYPES


B.6 TECHNIQUE : PROPOSAL


CERES Community Environment Park is a non-profit centre that strives towards environmental sustainability and social quality with an emphasis on cultural richness and community participation.

When visiting CERES I notices the variety of herbs, vegetables and fruits but what stood out most was the native Australian herbs and plantations. I was inspiring looking at the diversity of native herbs, flowers and berries that I have never heard or seen before.

The community since 2000 have been deeply involved in the plantation of over 16,000 plants across Merri Creek and I thought that this was a great reason to give thanks to the community that is so actively devoted to improving the health of the park. Thus, I wanted to create a structure that not only attempts to recognise and declare it’s appreciation for the community but a structure that would reference native plants and consolidate the idea of redistributing and sustaining native flora within a urban setting. This will form a multi purpose space that would be allow for the shelter, seating and also a area devoted to the growth of a range of native flora. When visiting the site I noted that a lot of areas were only available at certain periods of the day and also of the week. In providing a space that is available to public at all times and encompasses native vegetation and information can hopefully further promote and educate people of native vegetation and herbs.

DESIGN AGENDA

7. LINDA MCCORMICK, ‘COFFEE AND CHOOKS AT CERES COMMUNITY ENVIRONMENT PARK, MELBOURNE’, , , (2012), , IN <HTTP://WWWECOTRAVELLERGUIDE.COM/2012/06/COFFEE-CHOOKS-CERES-ENVIRONMENT-PARK-MELBOURNE/> [ACCESSED ].

8. BUSH MAGIK, CALLISTEMON GREEN ENVY (2016), IN , <HTTP://WWW.BUSHMAGIK.COM/BM-CALLISTEMON-GREEN-ENVY.PHP> [ACCESSED 6 APRIL 2016

9 BLACK DIAMOND IMAGES, SEPALS OF CERATOPETALUM GUMMIFERUM - NEW SOUTH WALES CHRISTMAS BUSH (2009), IN , <HTTPS://WWW.FLICKR.COM/PHOTOS/BLACKDIAMONDIMAGES/4108148990> [ACCESSED 6 APRIL 2016].

10. BAMBOO PIPELINE, ANIGOZANTHOS ‘BUSH TANGO’ (2006), IN , <HTTP://WWW.BAMBOOPIPELINE.COM/PIR/PLANTINFOVIEW.ASPX?SAPITEMCODE=ANI-BUS-05009> [ACCESSED 6 APRIL 2016]. HTTPS://C1.STATICFLICKR.COM/3/2751/4108148990_D03FCB95A6_B.JPG

11. AUSTRALIAN PLANTS ONLINE, YELLOW FLOWERING PLANTS AUSTRALIAN(: , 2010), IN , <WWW.AUSTRALIANPLANTSONLINE.COM.AU> [ACCESSED 6 APRIL 2016].

ANIGOZANTHOS ‘BUSH TANGO’CERATOPETALUM ‘ALBERYS RED’ HIBBERTITA ‘LITTLE ROCKER’CALLISTEMON GREEN ENVY

carpark

organic

visitor

center

dam

honey lane

market

garden

community

gardens

village

green

bike shed

cafe

In selecting my site I wanted to find a spot that was subjected to the best views and also a quiet location where people would be able relax, converse and exchange ideas.

When visiting the site a few locations stood out as having the best views. Firstly, the gravel area that was a major passing point to the community farms and organic market. I thought this location would be great because the space was so empty and lacked interest. The second location was towards the right of the organic market. This location was mostly unoccupied with only a presence of a few bench chairs. It was the highest location on site and thus overlooked the whole of Ceres and even glimpses of Merri Creek. I thought this would be a great site to locate my design on.

50M

SITE ANALYSIS


GROUP DESIGN CONCEPT AND IDEAS

Moving forward with the design I am working with Jeanette and Vien for the next component. Initially we discussed our own designs and discovered key themes we each wanted to bring into the design which was light, functionality and sustainability.

Breaking down these key themes we wanted to see the opportunities we could explore. Firstly, the idea of light was very interesting. I could highlight a space, guide users, create illusions, whereas, the absence of light can change the focus and hide particular elements on site. I was very much inspired by precedent products that that allowed for the clear distinction of positive and negative space. In terms of functionality the members of my group were interested in make it a interactive space that could somewhat suggest sustainability.

In reference to site I think we noted the issues of pollution in the Merri Creek and also wanted to encourage the idea of what CERES stands for - to move towards a more sustainable future. In particular we were interested in the idea to design a structure that would allow people to see the power they have over the environment. Some early design generation ideas were to create open structure that reveals the environment behind but with a touch of a component would ultimately close off the structure blocking users from seeing nature and presenting them with harsh, bland, industrial material.

This idea attempts to suggest a destructive future if we do not act now and become aware of our actions whilst also implying a metaphor how everyday decision and actions matter and those choices essentially inform the future. In terms of location we wanted to locate it within a destination area, we to find a spot where people would gather and question this structure and its purpose, thus we have narrowed it down to a few spots near the village green or the open space on either side of the organic market.

Just briefly considering materiality we wanted to look into responsive materials or mechanical material that is able to drastically transform a design and thought that would be very intriguing and fascinating to users. We also wanted to look into possibly membranes and panels with perforation or some kind of twisting.

12. ARCHDAILY, ‘WINDSHAPE / NARCHITECTS’, (2008), IN <HTTP://WWW.ARCHDAILY.COM/4608/WINDSHAPE-NARCHITECTS> [ACCESSED ].

13. SHEARYADI’S WORLD, ‘SHEER WALL, THE AMBIVALENT SPATIAL QUALITY’, (2012), , IN <HTTP://WWW.SHEARYADI.COM/MYWORLD/SHEER-WALL-THE-AMBIVALENT-SPATIAL-QUALITY/> [ACCESSED ].

14. PROJECTIONE LLC, ‘EXOTIQUE’, (2009), IN <HTTP://WWW.PROJECTIONE.COM/EXOTIQUE/> [ACCESSED ].

IRINA VINNITSKAYA, ‘IT INCUBATORS / SYMBIOSIS DESIGNS LTD’, (2011), IN <HTTP://WWW.ARCHDAILY.COM/139376/IT-INCUBATORS-SYMBIOSIS-DESIGNS-LTD> [ACCESSED ].


B.7LEARNING OBJECTIVES AND

OUTCOMES

Through this section I have learnt that computation has the power to exert a high level of control in designing. It allows the creation of high level detailing as well as ease of manipulation.

Assessing the Spanish Pavilion has enabled me to conceptually picture the ‘algorithmic language’ and how the design would of been constructed. By breaking down and manipulating the components, it has allowed me to fully understand the composition of the whole algorithm. I found it very fascinating as to how drastic the output is with just a change of one singular component, expression or slider and essentially transforms the design into something unrecognisable for the initial idea. This method of manipulating algorithms allows for higher degree of experimentation and exploration. Furthermore, by not restraining myself to just changing the slider or expression of algorithm but adding and subtracting components can also alter the design as whole.

Through reverse engineering of the Aqua tower, I felt as if I was able to use the tools and components I learnt to break down the design and consider how it was created via grasshopper. It was surprising to note how flexible this pattern was and how it could be constructed from numerous different algorithms. It was interesting to note how with a string of simple components can create a very intricate and detailed pattern. This suggest the idea that computation simplifies designs and allows for designers to become more experimental with more ease.

Experimenting with prototypes has allowed me to further assess the joints of my design in a more tangible way. By experimenting with different types of joints has allowed

me to select one that could become apart of the design and creates a boundary for the plantation box. I find that grasshopper offers many scripts for joints and thus allows designs to be fabricated and experimented with more ease.

Lastly incorporating Kangaroo Physics to draw a relationship to the tactility and form finding process to computational design. Using this tool to inform the possible construction of design and playing with materials and joints to experiment and push the limits of the design.

This section has allowed me to consider grasshopper to be more than a program that allows for interesting and sophisticated forms but rather moving towards design that can be constructible and functional.


B.8ALGORITHMIC SKETCHES


FIELDS

PATH MAPPER


FRACTUAL

RELATIVE ITEM


ARCHDAILY, ‘WINDSHAPE / NARCHITECTS’, (2008), IN <HTTP://WWW.ARCHDAILY.COM/4608/WINDSHAPE-NARCHITECTS> [ACCESSED ].

AUSTRALIAN PLANTS ONLINE, YELLOW FLOWERING PLANTS AUSTRALIAN(: , 2010), IN , <WWW.AUSTRALIANPLANTSONLINE.COM.AU> [ACCESSED 6 APRIL 2016].

BAMBOO PIPELINE, ANIGOZANTHOS ‘BUSH TANGO’ (2006), IN , <HTTP://WWW.BAMBOOPIPELINE.COM/PIR/PLANTINFOVIEW.ASPX?SAPITEMCODE=ANI-BUS-05009> [ACCESSED 6 APRIL

2016]. HTTPS://C1.STATICFLICKR.COM/3/2751/4108148990_D03FCB95A6_B.JPG

BLACK DIAMOND IMAGES, SEPALS OF CERATOPETALUM GUMMIFERUM - NEW SOUTH WALES CHRISTMAS BUSH (2009), IN , <HTTPS://WWW.FLICKR.COM/PHOTOS/

BLACKDIAMONDIMAGES/4108148990> [ACCESSED 6 APRIL 2016].

BUSH MAGIK, CALLISTEMON GREEN ENVY (2016), IN , <HTTP://WWW.BUSHMAGIK.COM/BM-CALLISTEMON-GREEN-ENVY.PHP> [ACCESSED 6 APRIL 2016 ]

IAIN MASTERTON, VIEW OF SPANISH PAVILION AT WORLD EXPO 2005 AT AICHI IN JAPAN (2005) <HTTP://IAINMASTERTON.PHOTOSHELTER.COM/IMAGE/I00004D7HQ0Z9FTO> [ACCESSED 9 APRIL 2016].

IRINA VINNITSKAYA, ‘IT INCUBATORS / SYMBIOSIS DESIGNS LTD’, (2011), IN <HTTP://WWW.ARCHDAILY.COM/139376/IT-INCUBATORS-SYMBIOSIS-DESIGNS-LTD> [ACCESSED ].

LINDA MCCORMICK, ‘COFFEE AND CHOOKS AT CERES COMMUNITY ENVIRONMENT PARK, MELBOURNE’, , , (2012), , IN <HTTP://WWWECOTRAVELLERGUIDE.COM/2012/06/

COFFEE-CHOOKS-CERES-ENVIRONMENT-PARK-MELBOURNE/> [ACCESSED ].

MARY WARREN, ‘AQUA TOWER / STUDIO GANG ARCHITECTS’, (2012) , IN <HTTP://WWW.FLICKRIVER.COM/PHOTOS/LALOBAMFW/7646578786/> [ACCESSED ].

PROJECTIONE LLC, ‘EXOTIQUE’, (2009), IN <HTTP://WWW.PROJECTIONE.COM/EXOTIQUE/> [ACCESSED ].

SATORU MISHIMA , ‘SPANISH PAVILION EXPO 2005’, (2005), IN <HTTP://WWW.CERAMICARCHITECTURES.COM/OBRAS/SPANISH-PAVILION-EXPO-2005/> [ACCESSED ].

SEBASTIAN JORDANA, ‘3LHD TO DESIGN PRIVATE MEDICAL CENTER IN CROATIA’, (2009), IN <HTTP://WWW.ARCHDAILY.COM/16828/3LHD-TO-DESIGN-PRIVATE-MEDICAL-CENTER-IN-CROATIA> [ACCESSED ].

SHEARYADI’S WORLD, ‘SHEER WALL, THE AMBIVALENT SPATIAL QUALITY’, (2012), , IN <HTTP://WWW.SHEARYADI.COM/MYWORLD/SHEER-WALL-THE-AMBIVALENT-SPATIAL-QUALITY/> [ACCESSED ].

SPANISH PAVILLION (2012) <HTTP://DIGIITALARCHFAB.COM/PORTAL/WP-CONTENT/UPLOADS/2012/01/SPANISH-PAVILION> [ACCESSED 9 APRIL 2016].

REFERENCES

chiu winnie 698653 journal part b

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