limanto metaniawati 618475 final

STUDIO AIR2015, SEMESTER 1=, BRADLEY ELIAS - STUDIO 8

METANIAWATI LIMANTO 618475

04 INTRODUCTION

07 PART A CONCEPTUALISATION 09 A.1. DESIGN FUTURING 15 A.2. DESIGN COMPUTATION 20 A.3. COMPOSITION/GENERATION 26 A.4. CONCLUSION 26 A.5. LEARNING OUTCOMES

29 PART B CRITERIA DESIGN 30 B.1. RESEARCH FIELDS 36 B.2. CASE STUDY 1.0 38 B.3. CASE STUDY 2.0 42 B.4. TECHNIQUE: DEVELOPMENT 44 B.5. TECHNIQUE: PROTOTYPES 45 B.6. TECHNIQUE: PROPOSAL 46 B.7. LEARNING OBJECTIVES AND OUTCOMES

49 PART C DETAILED DESIGN 50 C.1. DESIGN CONCEPT 54 C.2. TECTONIC ELEMENTS AND PROTOTYPES 60 C.3. FINAL DETAIL MODEL 64 C.4. LEARNINGS OBJECTIVES AND OUTCOMES

TABLE OF CONTENT

INTRODUCTION 5

METANIAWATI LIMANTO

INTRODUCTION

Building things and crafting have become my hobbies since I was a little girl. I played lego a lot during my childhood days.

I love the idea of putting and stacking the blocks together to get different possible outcomes. Similar to crafting, I really enjoyed crafting as I can experiment with different materials. It also gives more freedom compared to lego.

During my first year in the University of Melbourne, I took Virtual Environmets. This subject is the first architectural design subject in

my life. It was frustrating yet it was the most interesting subject I have ever done in my bachelor’s degree. This subject taught me how to

see and approach things differently. It also introduced me to CAD to assist me in designing, modificating and creating a design. Moreover, model making was the best thing ever happened in this subject. Even though it was time consuming and exhausting, having a lantern out of

paper made by my own hand was so exciting and worth the stress.

In this subject, I am looking forward to explore the idea of computation and parametric design using Rhino and

Grasshopper. This will bring me further in my understanding of past, current and possible future architectural design

A.1. DESIGN FUTURING

A.2. DESIGN COMPUTATION

A.3. COMPOSITION/GENERATION

A.4. CONCLUSION

A.5. LEARNING OUTCOMES

A.6. APPENDIX - ALGORITHMIC SKETCHES

CONCEPTUALISATION

PART A

DESIGN FUTURINGA.1.

Technology develops as does design. In this era of technology, Fry suggests that the use of renewable resources increased about 25% faster than they can be renewed and the ecological human footprint has tripled since 1961.

Design Futuring plays a role to make significant changes to maintain our world and safe the future. The way we think about design should be redirected to achieve the sustain-able future[1].

“Problems cannot be solved unless they are confronted and if they are to be solved it will not be by chance but, as said, by design,” - Fry[1]

10 CONCEPTUALISATION

A.1.DESIGN FUTURING

CONCEPTUALISATION 11

urban forest//MAD Ltd

Urban forest represents the most challenging aspirations of contemporary Chinese architecture that also proposes a shift in understanding of sustainability. It is an urban landmark that reveals a devotion to nature, a living organ that breathes new life into the steel and concrete city[2]. The shape of the overall building mimics mountain range, shifting dynamic and yet holistic rhythm, and becomes a continuation of nature. Instead of concentrating on vertical force, it focuses more on the multidimensional relationship within complex anthropomorphic spaces. Those include multilayer sky gardens, floating patios and minimal and yet well lit nesting places. Those things allow the architecture to adapt to the nature movements between air, wind and light.

MAD looks out for the flexibility contained in simple and traditional processes and try to transport them into the future. The form was achieved by using computational approach. A cylinder was the genesis form of its conventional structure, and then it was developed through computation to get the fluidity form. It also utilised some tools to calculate the maximum cantilevered areas allowed and some holes to allow some plants growing in the upper floor balconies. Moreover, the software also detected the additional structure needed to allow the building to stand[3]. To conclude, this design is no longer a static icon but an organic form that blend in with everyday life and the urban environments[4].

Proposal for Chongqing, China

“At a time when sustainable ecology and energy savings are driven by the demand of comfort, we are afraid that the yearning of a return to nature is ignored.” - MAD[4]

FIG.1.1 URBAN FOREST DESIGN APPROACH


A.1.DESIGN FUTURING

FIG.1.2A FLOOR PLANS


foyn-johanson house//Harrison and WhiteNorthcote, Melbourne, Australia, 2009

This innovative house design use computation to achieve the most effective scheme in preserving light into a garden space. The architect are challenged to maintain and integrate the relationship between the living space and natural amenities. As the population growth, houses become bigger and blocks become smaller which result in having smaller garden[5]. This house make use the advantages of parametric modelling to resolve some complex design issues. The client intents to have large living space with the desire to maintain good solar access to the garden[6]. Thus the constraints and parameters were defined. As the parameters has been established, the design process involved the application of a parametric subtractive solar technique called Subtracto-Sun. It generates a form defined by the sunpath analysis to provide maximum light penetration. This addresses and synthesises a number of site specific and performance based on the issues that will not be achieved in conventional design approach[7].

FIG.1.2B AXONOMETRIC DIAGRAM


A.2.DESIGN COMPUTATION

Today, the new capabilities of digital technology brings design to a new level of computational design. Computational design allows the designer to realise the concept of a fluid/complex form that is translated through various tools and algorithms. Even though computer has the capabilities to analyse and create things based on the analytical system without error, the existance of human in the process is still very important as they are the source of innovation and creativity.

“This new continuity transcends the merely intrumental contributions of the man-machine relationship to praxis and has begun to evolve as a medium that supports a continuous logic of design thinking and making.” - Oxman[8]



Federal District, Mexico, 2011museo soumaya//FR-EE (Fernando Romero Enterprise)

The Museo Soumaya was designed for a sculptural building that is unique and contemporary, also a house of international paintings, sculptures and decorative objects collections from the 14th century. The application of the use of computation in this building can be seen clearly from the form and skin. The amorphous shape perceived differently from every angle, reflecting the diversity of the collection inside[9].

The application of computational approach is mainly used during the pattering of the skin. The initial design intended to have a seamless pattern, however it cannot be achieved as the pattern distorted due to the double curvature of the shape. The software allows the designer to develop the parameters further in order to achieve the ideal skin. It allows the designer to stretch each of the hexagonal pattern in certain factor[10]. Thus, it resulted in a skin of 16,000 hexagonal tiles. The system also calculates the number of curved steel columns of varying size and shape needed for the shell of the building. This illustrates that the skin of the building will never be achieved without the use of computational design[11].

FIG.2.1 HEXAGONAL TILE FAMILIES (TOP) AND FLOOR PLANS (BOTTOM)


museo soumaya//FR-EE (Fernando Romero Enterprise)


signal box//Herzog & de MeuronBasel, Switzerland, 1995

The implementation of computational design in this project is clearly presented through the geometry of the building where it contains electronic equipment and apparatus to regulate signals for trains arriving and departing the station[12]. The ground floor plan of the building is a trapezoidal form defined by the railroad tracks. Using computational approach, the trapezoid form evolves into rectangular shape as it goes up to the roof[7]. This is when the rules of algorithm works in the process. It also comes up with a design solution for the constraints and parameters set by the architect in achieving the most effective form and sun shade system. It is resulted in the twisted and distorted strips of copper cladding in certain areas to admit daylight as well as giving aesthetic proportion to the building. It is suggested that the Digital Technology Group at Herzog de Meuron use computational design to produce their design proposal instead of using it as a tool to inform their design[7]. They addresses architecture written in computational design by using various algorithm, script and parametric model. One example is this building that they use a specific script to form the louvres on the façade that responded to a set of performances.



COMPOSITION/GENERATIONA.3.

Digital design becomes widely used in architectural practice. Composition design relates to the idea of balance by changing dan developing the algorithm/parametrics until meets the criteria of the form. On the other hand, generation requires further understanding of generative computational methods. It is more complex but yet it generates astonishing outcomes. The principles behind the generative methods can be articulated as the concept of evolution that is coded digitally or based on biological form and growth.

“Algorithmic thinking means taking on interpretive role to understand the results of the generating code, knowing how to modify the code to explore new options, and speculating on further design potentials.” - Peters[13]


A.3.COMPOSITION/GENERATION


FIG.3.1B DETAIL OF THE FRONT ELEVATION, TILIN G PANELS AND STRUC TURAL FRAME

FIG.3.1A CONCEPTUAL PENCIL SKETCH BY D ONAL D BATES: ‘A

federation square//LAB Architecture StudioMelbourne, Australia

Federation square is comprised of a series of interlocking and cascading spaces that is highly influenced by the idea of ‘federation”; bringing various parts together to form a coherent whole. This was one of the most complex and ambitious construction projects in Australia[14].

The investigation of the research for the design resulted into geometrical patterns that allowed for repetition in terms of constructional elements), as well as differentiation in the composed surfaces of the building[14]. They are genetically alike and based on concepts of field and focus[14]. The Fractal Façade use the idea of computation to reiterate and accumulate actions in the system to achieve its form. The fractal is not a simple homology of shape, it has self-similarity of the panels become a vital quality in achieving coherence and difference to the façades[15]. The iconic geometric representation is based on a modular system of using five single triangles (all of the same size and proportion) to make up a larger triangular ’panel’. Then five panels are combined into the next scale of the same proportion to create ‘mega panel’. The combination can only be achieved by CAD to generate persistent difference and absence of difference across the whole, otherwise it will be impossible.


seroussi pavillion//biothing

A.3.COMPOSITION/GENERATION

Concours Meudon, France Competition

FIG.3.2 GENERATIVE METHOD STUDIE S

This was a competition proposal for a showroom Pavilion in the former property of the french artist Andre Bloc. Biothing based its proposal on the behaviours of electro magnetic fields through the behaviours of electro-magnetic fields through the logics of attraction/repulsion, then lifted via series of structural microarching sections through different frequencies of sine function. Another feature was added to the script for a local adaptation to the quite steep hill. In regards to the flower-shaped design of the roof, the waves trajectories were computed in order to define orientation and size of the apertures as well as the relationship of metal and glass components within each cell[17]. Six different geometrical systems were used for design and are all steaming out of primary trajectories[18]. Interior fabric is organized through the infrastructural “cocoons”. The

dynamic system of veils, of (+/-) constellation of chargers, unfurls through the space in various ways: smaller or larger pockets and fins can have different programmatic affinities. Floor’s micro-dunning, evolved through a complex attractor script, is imagined as a low furnishing system that also articulates three wet zones in the house. The whole pavilion is predominantly organized on one level in which way one navigates through the continuous interlaced fields. Wrapped in and in-between cocoon’s swirling fibres would be the moments of inhabitation/cohabitation/display. Simultaneously to interfacing thick fabric’s inhabitants (art pieces) one experiences creeping perception of variations within the fabric itself. In it’s “genetic” memory it is carrying a potency for mesonic events. They reverberate through space as intricate and interlaced imprints[17].


A.4.CONCLUSION

This architecture studio brings a lot of new knowledge in design. The thing that makes this studio really different from other studios is the way we utilise tools in design. Even though it takes time and drains a lot of energy, it is interesting to acknowledge that the man-machine relationship allows us to have unlimited possiblities. The use of Grasshopper broaden our way of thinking and designing as we can achieve almost any possible form. There is no more restriction in creativity and innovation.

Furthermore, the readings and precedents show me that every one in this world are unique that they have their own way to see and approach things. It is interesting to know that every architect generates design differently one to another. They have their own signature in their design, such as biothing that they have organic forms and most of them were inspired by the scientific processes.

Technologies brings both new challanges and opportunities in architecture and also other aspects. This minimises our limitation in design, creativity and innovation. Computation design allows us to have a whole new range of form which we can develop further using complex parametrics. Computation opens and widens our perspective in seeing and understanding architecture. Architectural forms becomes infinite by using varieties of algorithms and parametrics. However, it also gives restriction in terms of the workability, durability and buildability of the product of computation design.

As I go along in this subject, computational design will allow me to have unlimited creativity and innovation to design a building. It is important to have deep understanding in parametric design and modelling approach as the computer will generates array of possible outcomes in a few seconds. The more understanding we have in the use of the parameters and algorithms, the easier and the more possible outcomes we will have. It become an advantage for us as human as the we can use the help of computer to do the hard work in getting the outcomes when we have the understanding of parametric modelling.

A.4.LEARNING OUTCOMES

CONCEPTUALSATION 27

LEARNING OUTCOMES REFERENCES1: Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 pdf

2: MAD. (2015). Urban Forest. Viewed 18 March 2015. <http://www.i-mad.com/work/urban-forest/?cid=4>.

3: Etherington, Rose. (2009). Urban Forest by MAD. Viewed 18 March 2015. <http://www.dezeen.com/2009/12/10/urban-forest-by-mad/>

4: Klein, C, & Lieb, S. (2011). Futuristic : Visions Of Future Living, n.p.: Cologne : Daab Media, c2011., UNIVERSITY OF MELBOURNE’s Catalogue, EBSCOhost, viewed 18 March 2015.

5: ArchDaily. (2010). Foyn-Johanson House/Harringson and White. Viewed 19 March 2015. < http://www.archdaily.com/77852/foyn-johanson-house-harrison-and-white/>.

6: Australian Design Review. (2010). Architecture: Foyn-Johanson House. Viewed 19 March 2015. < http://www.australiandesignreview.com/designwall/1212-architecture-foyn-johanson-house>.

7: Designito. (2013). Architectural Discourse, Digital Computation and Parametricism. Viewed 18 March 2015. < https://designito.wordpress.com/2013/04/04/architectural-discourse-digital-computation-and-parametricism/>.

8: Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 pdf.

9: FR-EE. (2015). Soumaya Museum, Mexico City, Mexico. Viewed 18 March 2015. < http://fr-ee.org/projects/soumaya-museum-mexico-city-mexico/#project-text>.

10: Gehry Technologies. (2013). Museo Soumaya: Facade Design to Fabrication. Viewed 18 March 2015. < http://issuu.com/gehrytech/docs/sou_06_issuu_version/99?e=8514892/4082015>

11: ArchDaily. (2013). Museo Soumaya / FR-EE / Fernando Romero Enterprise. Viewed 19 Mar 2015. <http://www.archdaily.com/?p=452226>

12: Furuto, Alison. (2012). Flashback: Signal Box / Herzog & de Meuron. ArchDaily. Viewed 19 Mar 2015. <http://www.archdaily.com/?p=256766>

13: Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 pdf

14: Fed Square Pty Ltd. (2015). History + Design. Viewed 17 March 2015. <http://www.fedsquare.com/about/history-design>.

15: ArcSpace. (2013). Federation Square. Viewed 17 March 2015. < http://www.arcspace.com/features/lab-architecture-studio/federation-square/>.

16: Brayer, M. (2009). Biothing, Alisa Andrasek, Orléans : HYX, [2009].

17: Biothing. (2007). Seroussi Pavillion Paris. Viewed 17 March 2015. < http://www.biothing.org/?p=24>.

PART B

B.1. RESEARCH FIELDS

B.2. CASE STUDY 1.0

B.3. CASE STUDY 2.0

B.4. TECHNIQUE: DEVELOPMENT

B.5. TECHNIQUE: PROTOTYPES

B.6. TECHNIQUE: PROPOSAL

B.7. LEARNING OBJECTIVES AND OUTCOMES

B.8. APPENDIX - ALGORITHMIC SKETCHES

CRITERIA DESIGN

30 CRITERIA DESIGN

system led into design computation that simulates the design process. It results in a complex version of the soap bubble experiment. It is then structurally engineered and subjected subsequently to a computer controlled material (computer numerical controlled/CNC) cutting and mechanical re-seaming. The form of the sculpture consists of a “double stretch” or a “two-way woven fabric,” which is specially treated high-tech nylon (lycra). This is mechanically attached to aluminium track profiles, which are then suspended from above and attached to the sides of the atrium with stainless steel cables2.

The installation has an organic branch-like form with a seamless flow of narrow and hollow tubes which each of them culminates in a funnel like form2. The twenty meters length structure hovers above ground weighs a mere forty kilograms and encloses three thousands cubic meteres of space. This project takes sustainability into account as it is portable, reuseable and it makes an optimum use of material. The installation also consider the site context that the atrium has clear glass floor and the building has a heritage status. The material chosen for Green Void is a lightweight material that can be suspended and leaving the floor unobstructed for passage, pause and observation. Also, the installation and removal of the project have minimal impact to the heritage fabric of the building2.

According to Oxford Dictionaries1, geometry is “the branch of mathematics concerned with the properties and relations of points, lines, surfaces, solids and higher dimensional analogues.” In terms of design computation, it can be explored even further as ruled surfaces, paraboloids, minimal surfaces, geodesics, relaxation and general form finding booleans.

The Green Void is designed by Chris Bosse, Tobias Wallisser and Alexander Rieck of LAVA Architecture. It was exhibited in the atrium of Sydney’s Customs House from 10 December 2008 to 10 June 2009. It consists of a luminescent green lightweight membrane structure that is suspended from a few different points in the atrium.

Green void is one project that is resulted from the exploration of geometries. It is inspired by the relationship between man, nature and technology2. “The shape of the pavilion is not explicitly designed; it is rather the result of the most efficient subdivision of three-dimensional space, which can be found in nature in things like organic cells, crystals and the natural formation of soap bubbles” says Bosse2.

LAVA applies a theory to work in a three dimensional space as a three dimensional phenomenon using the concept of minimal surface theory. They utlise the soap bubble analogy for the five boundary conditions (rings) which correspond to five points in the atrium of Customs House. This natural evolving

green void // LAVA

RESEARCH FIELDB.1,

CRITERIA DESIGN 31


RESEARCH FIELDB.1.

LAVA brings us to a new premise of architecture2.

The purpose of architecture is to connect, bridge and weave things (ideas, events, people and spaces) that were previously disconnected2.

Like in the project, they treat the void of the atrium as the three-dimensional canvas and its five branches form and organic ‘weave’ through it. It perceives experience as it engages the human body - the mind, the body and the eye. It is believed that its extraordinary form evokes curiousity which compels one to look up, walk up, walk around, look across and down, to contemplate and appreciate its multiple visual effect2.

This research field is relevant for my project as the brief is to design a hammock/cocoon/net/canopy/web which has to be suspended. The idea of considering installation in part of the project inspires me to think even further than just the geometric form of the product.

CRITERIA DESIGN 33

34 CRITERIA DESIGN

Computation design plays a big role to achieve the relaxed surface of Green Void. The base form of Green Void is made on Rhino, then manipulated using Grasshopper. Kangaroo plug-in for grasshopper is used to optimize the geometric form. It can set different anchor points and control the elasticity of the surface.

CASE STUDY 1.0B.2.

Sydney, Australia 2008green void // LAVA

CRITERIA DESIGN 35

:: =ALTERING ANCHOR POINTS

36 CRITERIA DESIGN

CASE STUDY 01 // ITERATIONB.2.

:: ORGANIC BASE GEOMETRY

:: KANGAROO-ING VORONOI

:: EXOSKELETON

:: SQUARE BASE GEOMETRY

CRITERIA DESIGN 37

:: =KANGAROO DEFORMATION

This experiment use series to make the holes and weaverbird stellate to achieve the post-effect after Kangaroo-ing the mesh.

38 CRITERIA DESIGN

ZHA design the chamber music hall for Johann Sebastian Bach’s chamber music masterpieces solo performances. The design is intended to enhance the multiplicity of Bach’s work through a coherent intergration of formal and structural logic3.

The form of the project is a suspended ribbon of translucent lightweight synthetic fabric (150g/m2) articulated by an internal steel structure, translates the intricate relationships of Bach’s harmonies into an architectural spatial condition. “The single continuous ribbon fabric swirls around itself, creating layered spaces to cocoon the performances and audience with in an intimate fluid space,” Hadid stated. The ribbon wraps around the stage, the audience and itself, creating different layered conditions by

bach chamber music hall // Zaha Hadid

CASE STUDY 2.0B.3.

Manchester, United Kingdom 2008

“alternately compressing to the size of a handrail then stretching to enclose the full height of the room”.3

In terms of its installation and materiality, there are a few things to consider. As the music hall must provide clear acoustic for those viewing the concert, it is a big challange for the desing to achieve the optimum condition for chamber music. The design needs to ensure that the reverberation time is not too long as this blurs individal notes so music can lose its intricacy. Also, it should not be too short as this will cause a lack of response for the performer and the music will sound overly dry. Hence, they explore various materials such as different fabrics, plastics and metals to ensure that the architectural elements would not take away the musical experience.

CRITERIA DESIGN 39

40 CRITERIA DESIGN

B.3.CASE STUDY 2.0 // REVERSE ENGINEERING

CURVE 02

CURVE 01

DIVIDE

DIVIDE

TWEEN CURVE

LOFT

COUNT

DIVIDE

SURFACE CP EVAL SRF

VECTOR 2 PT A X B

AMP

MOVE

MOVENEG

POINT VEC 2 PT SORT POINT

POINT

POINT

CRITERIA DESIGN 41

POINT ITEM

POINT

POINT

MERGE

ARC

INT CRVLOFT

SRFC SPLITAREA

SRFC =CP

EVAL SRFC

SHIFT

AMP MOVE

MOVENEG

POINT VEC 2 PT SORT ITEM

EDGES JOIN

PATCH

42 CRITERIA DESIGN

B.4.TECHNIQUE: DEVELOPMENT

:: BACH CHAMBER MUSIC HALL ITERATION

37 0.27 0.20 28 0.40 0.34 18 0.13 0.63 6 0.60 0.87 15 0.08 0.17

:: MESH AND KANGAROO DEFORMATION

CRITERIA DESIGN 43

:: DESIGN PROPOSAL

44 CRITERIA DESIGN

This prototype is experimenting on how a surface is pulled by the structure. In this early stage, I used wooden stick as the structure and plastic tape as the stretch fabric.

TECHNIQUE: PROTOTYPEB.5.

CRITERIA DESIGN 45

TECHNIQUE: PROPOSALB.6.

Both of the research field and case studies used are cocoon-like structure. They both explores the possibilities of form that may be produces by geometries using parametric design approach. The design proposal wants to enhance the value of the existing site by engaging the architectural structure on the wishing tree to the users around the labyrinth.

The Merri Creek Labyrinth is located in a linear park that runs the length of Merri Creek in Clifton Hill. It is easily accessible as it can be reached on foot by walking north along the Merri Creek path from Wright St, or south from The Esplanade. It lies in a hollow (Hewson’s Hollow) under a cliff, opposite a willow tree on the bank of the creek. The labyrinth was created by the community for the community over ten years ago. It is a significant environmental art installation, and is the only known Labyrinth in a Melbourne park. The cocoon will be hung on the tree near the wishing tree. The site level is higher than the bank of the creek which will prevent the cocoon being flooded. The trees are also load-bearing trees which will be strong enough to hold the structure of the cocoon.

46 CRITERIA DESIGN

Design computation allow us to achieve a huge amount of design possibilities. So many algorithms that can be combined together. However, it is not that easy as those algorithms also have some constraints in particular areas. I found it hard to have a mindset of letting the algorithm do the design process, but once a definition works it can produce various design possibilities. This subject made me realise that computer is a tool for us to reach any possible outcomes instead of just helping us producing things.

The research fields and case studies reminds me that design is not just about the form but also the material and installation. It is important to consider the site context during the design process. It affects the design in many ways such as size, material, shape and function. Material should come early in the design process as it will definitely affect the design flexibility.

B.7.LEARNING OBJECTIVES AND OUTCOMES

CRITERIA DESIGN 47

REFERENCES

1. Baraona Pohl, Ethel. “Green Void / LAVA” 16 Dec 2008. ArchDaily.Accessed 29 April 2015. <http://www.archdaily.com/?p=10233>

2. http://www.sydneycustomshouse.com.au/whatson/documents/AnuradhaChatterjeeessayonGreenVoid.pdf

3.Cilento, Karen. “Chamber Music Hall / Zaha Hadid Architects” 08 Jul 2009. ArchDaily. Accessed 29 April 2015. <http://www.archdaily.com/?p=28250>

DETAILED DESIGN

PART C

C.1. DESIGN CONCEPT

C.2. TECTONIC ELEMENTS AND PROTOTYPES

C.3. FINAL DETAIL MODEL

C.4. LEARNINGS OBJECTIVES AND OUTCOMES

50 DETAILED DESIGN

The design is developed even further during this phase. The design now is not just a cocoon-like structure that surrounds a tree and function as a canopy the the users who stand under it. However, it became a stucture that directly interact with the users through their senses (sight and touch)

The design is a cocoon tree that evolves around a tree which allow the users to explore the tree from a different perspective that is above the ground and under a tree by climbing and crawling in the structure. It projects the surroundings view through the openings of the structure. The design is intended to enhance the relationship between people and nature by projecting the nature through the combination of the use of nature itself and technology.

Nature is very important on the site as they are preserved in the surrounding area. Also, they are used as the material for the labyrinth which is bluestones1. These are the reason why I incorporate a tree near the labyrinth as the area is well-known, often visited by people and structurally load-bearing.

Furthermore, the use of technology is used in the design to achieve the form of the cocoon. It is inspired by the cocoon structure of Zaha Hadid’s Chamber Music Hall. However, instead of having an opened cocoon, the structure is now enclosed but the skin creates the openings for the cocoon.

the cocoon tree

DESIGN CONCEPTC.1.

FIG.1: MERRI CREEK LABYRINTH (PHOTO: METANIAWATI LIMANTO)

DETAILED DESIGN 51

PROPOSED TREEPROJECTED VIEW

PROJECTED VIEWPROJECTED VIEW

52 DETAILED DESIGN

DESIGN CONCEPTC.1.

design development: kangaroo

Kangaroo is used in the design development to achieve its form. This technique is different to the Part B’s design proposal as this one only used one curved that is lofted and blown by Kangaroo to achieve the hollow section. The main iterations are on the pressure level and stiffness of the mesh. Also, there is a point attractor that affect the height of the loft.

DETAILED DESIGN 53

form finding

1005

The curve of the tree projects to different views of the surroundings. The curve also consider the branches of the trees to ensure its load-bearing capacity able to hold the load. Then lofted to a certain height so that after it is blown by grasshopper, it can create a space where people can go in.

54 DETAILED DESIGN

TECTONIC ELEMENTS AND PROTOTYPESC.2

The cocoon tree mesh then divided to a few segments to act as the structure of the form. The structure is made of hexagonal elements that is formed by the kangaroo. Each segment is one meter apart to give te structure form flexibility as each hexagon will be connected by using circle notches, top and bottom plate, and rope. The rope gives the structure flexibility to allow movement and openings.

design development: kangaroo

DETAILED DESIGN 55

The structure is made of hexagonal segments which are connected to the top and bottom structure by using notches. Each of the noches are unique due to the different angles and positioning of the hexagonal elements.

56 DETAILED DESIGN

TECTONIC ELEMENTS AND PROTOTYPESC.2.

The fabrication process used MDF board. Each elements are prenumbered and stacked to increase the speed of production. Without the ropes or strings, the structure is not rigid enough to stand by itself. The rope does not work only as the skin of the form, but also as the connection for the structure to hold them together.

DETAILED DESIGN 57

58 DETAILED DESIGN

TECTONIC ELEMENTS AND PROTOTYPEC.2.

This is a picture of the prototype in 1:5 scale. I hold it as if I act as the tree. Some of the hexagonal segments will be tied to the branches to lift the cocoon up above the ground. The ropes also allows flexibility of the tree to grow as it does not block the branches.

The hexagonal segments was first meant to be steel structure. However, during the presentation I was suggested to change the material as it is too heavy to be holded by the tree.

Moreover, the hexagonal segments could actually be more organic such as a circular form and the ropes does not have to be connected in ordered.

DETAILED DESIGN 59

60 DETAILED DESIGN

FINAL DETAIL MODELC.3.

the cocoon treeThe final model is developed from the previous prototype. After I did some research, I would like to use timber as the structure as it is lightweight, durable after some treatment and enhance the concept of nature in the design. The material allows the cocoon tree to blends in with the nature.

Furthermore, it is held up to the tree branches using steel rings and steel cable. This will allow the structure to stand and hold the loads.

DETAILED DESIGN 61

the cocoon tree

62 DETAILED DESIGN

C.3.FINAL DETAIL MODEL

:: OVERALL PROCESS :: DETAILED PHOTGRAPHS

DETAILED DESIGN 63

:: FINAL MODEL

64 DETAILED DESIGN

C.4.LEARNING OBJECTIVES AND OUTCOMES

This subject has taught me so many things. It made me realise that the combination of design and technology has a lot of things to offer. Design computation may brought the future to present as the unlimited possibilities can be achieved.

IDuring the design process, I learnt a new way of approach in designing like how a computer or a program could work with my own parametric combination. How a simple things could be done differently and becomes very fast with the use of parametric.

The thinking behing the construction process also lead me to a more realistic design. Having this task makes me realised that not everything can be build. Every types of connections and materials has their own characteristics. Each of them works differently.

limanto metaniawati 618475 final

Documents