Dionisio-See_Karen_613168_Part B

KAREN DIONISIO-SEE 613168ABPL30048 SEMESTER 1 2015

STUDIO AIRJOURNAL

CONCEPTUALISATION

01 INTRODUCTIONKaren Dionisio-See 613168

At the present, many long running known companies have continued to design structures in the traditional and conventional way, and only a few starting firms have explored the digital world. It is the lack of time, learning and knowledge that hinders some of the architects to introduce themselves with these new technologies, when these could actually develop and enhance their designs and even their business in the long run.

In the first year of my university, I was able to get my first experience on a digital software, Rhino 3D. Honestly, as for many, it is not the easiest software to learn, but as you get the hang of it, you are able to produce out of the ordinary designs. For our class, I had to create a lantern, in which I am able to wear, using Rhino and the CNC machine. After being able to make this piece (even if it is a bit odd), I have become more open to learning digital-related designs and technologies.

The digital world, in my opinion, explores opportunities that would help us in producing designs that were once just part of our imagina-tions. These designs generates patterns taken from the compositions of nature, organisms and even workings of the past. With the new era of digital architecture, we are able to create different and unique experiences that were not applied in the past. The availability of digital tools and softwares makes the whole production processes in designing and constructing buildings faster, more accurate and complex. Moreover, the new technologies allow us to think of what else could be done to produce sustainable, efficient and beneficial to the society and the environment.

My name is Karen Dionisio-See, a third year student in Bachelor of Environments, majoring in Architecture. Before I came to study in Melbourne, I had no knowledge and understanding towards the existence and the ability of the digital world in architecture. In the Philippines, where I have lived for 21 years now, the building industry has not been practicing these technologies of fabricating and digitally modeling complex compositions not until the 21st century. When I was able to work during my summer breaks, the architects would only use AutoCad, SketchUp and Photoshop. Only some of the new graduates (especially those who studied abroad, are aware of other 3D modeling softwares such as Revit, Rhino and Maya.

TABLE OF CONTENTS

Conceptualisation ----------------------- 1

Design Futuring ----------------------- 2

Design Computation --------------- 6

Composition/ Generation -------- 12

Conclusion ----------------------------- 16

Learning Outcomes ----------------- 17

Algorithmic Sketches ---------------- 18

Criteria Design ------------------------------- 20

Research Field ------------------------- 21

Case Study 1.0 ------------------------- 22

Case Study 2.0 ------------------------- 28

Iterations for Case Study 2.0 ------ 34

Prototype -------------------------------- 38

Design Proposal ----------------------- 42

Learning Objectives ----------------- 50

Algorithmic Sketches ---------------- 52

Bibliography -------------------------------- 57

VIRTUAL ENVIRONMENTS LANTERN PROJECT

DESIGN FUTURING

02DESIGN FUTURINGKaren Dionisio-See 613168 03DESIGN FUTURINGKaren Dionisio-See 613168

In the 2010 World Exposition in Shanghai, China, WWAA Architects designed a Pavilion for the Polish Information and Foreign Investment Agency, and the Polish Agency for Enterprise Development.2 In this building WWAA used the tradition of folk-art paper cutting as the basis for the exterior panelling design, symbolizing the purpose of the building and the background of the clients. Through the use of CNC cutters, the art that was once produced only by Polish children on papers, has been fabricated and translated into a larger scale structure. With these external cladding, people from all over the world, not only see the beauty of the Polish culture, but they also get a glimpse or an experience of it. These plywood panels, mounted on steel construction. have been throughly thought of to allow sustainable and creative aesthetic outcomes, enabling natural light to enter the building during the day, and mutli-coloured lights to be flashed from the structure itself to its surroundings. Additionally, whether it is the natural or the coloured light, shadows from the patterned panels appear inside the pavilion. When thinking of the materials and structural processes of the building, WWAA thought of how it would be reconstructured once the exposition is over. This then demonstrates how the new technologies of the digital industry can help in designing efficient, communicative and more innovative architecture.

POLISH PAVILION // WWAA

POLISH PAVILION AT DAY1 POLISH PAVILION AT NIGHT

INTERIOR OF POLISH PAVILION2

1. WWAA, Polish Pavilion, 2010, photograph, http://wwaa.pl/projects/polish-pavilion-ex-po-2010/2. Polish Pavilion Expo 2010, WWAA, last modified 2010, http://wwaa.pl/projects/pol-ish-pavilion-expo-2010/.3. Catherine Warmann, Polish Pavilion, 2010, photograph, http://www.dezeen.com/

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One good example of an architect who have further pushed the boundaries and utilisation of digital architecture and technologies is Zaha Hadid. Her style and buildings is well-known across the architecture industry due to her experimentative, imaginative and distinct way of designing with computer-generated tools and softwares. In Baku, Azerbaijan, 2012, Zaha Hadid produced the Heydar Aliyev Centre, incorporating a free-flowing and fluid yet sophisticated building. The structure would seem to be continuously moving like ocean waves, giving it a sense of an organic and light form. Functioning as the main cultural centre of the country, Hadid created this concept of moving away from the rigidity and massiveness of the Soviet Unions architecture who onced took over their nation.5 With this, the strong presence of the culture of the Soviet Union has suddenly started to fade, putting the Heydar Aliyev Centre at the primary point of attraction where a new culture in Azerbaijan emerges. Hadid was able to generate the complexity and fluidity of the design through the availability of accurate computations and technological advances in architecture. The Heydar Aliyev Centre, exemplifies how the digital industry can help in producing new styles and futuristic structures, which steps away from the formality and regularity of the past.

HEYDAR ALIYEV CENTRE // ZAHA HADID ARCHITECTS

HEYDAR ALIYEV CENTRE4

HEYDAR ALIYEV CENTRE ON SITE6

4. Iwan Baan, Heydar Aliyev Centre, 2012, photograph, http://www.zaha-hadid.com/architecture/heydar-aliyev-centre/5. Architecture: Heydar Aliyev Centre, Zaha Hadid Architects, last modified 2012, http://www.zaha-hadid.com/architec-ture/heydar-aliyev-centre/.6. Iwan Baan, Heydar Aliyev Centre, 2012, photograph, http://www.zaha-hadid.com/architecture/heydar-aliyev-centre/

DESIGN COMPUTATION

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From the early years of the ancient Greeks and Romans to the architects of today, a sequential method or process is still being practiced in designing architecture. However, as people developed their way of thinking and technological advances occurred, these design processes have continued to evolve, considering various tools and elements to gain the best design for a project. This allowed architects to look at buildings, not only in its design features, but also its construction and sustainability characteristics. In the past, only the craftsmen were able to understand and build structures, using only their personal experience and knowledge from their training.7 This, however, resulted to a long construction process and a limited design output. As computer technology developed in the recent years, construction and design processes have become easier, faster, more innovative, pushing boundaries and possibilities in the industry. Architects and designers have started to consider structural components in the way they design, ensuring strength and efficiency in the whole structure, using minimum materials and precise forms, aided by the computer softwares and machines that made this achievable.

Recently, my friend, who studies BioMed as her bachelor degree, showed me these two muscle cell patterns found in our body. For her, the patterns portrayed biological distinctions between the two cells, but for me, they were patterns that could one day be imported to the computer and then later be used as the main concept for a design in architecture, whether it could be for a house or a city. This made me realise how technology in the architecture industry can create imaginative and unique achiev-able designs. Adding parametrics and algorithms in the method of designing, more outputs are made with a similar concept, which means there are more options for choosing the best design for a certain project. It is with computations that designing in architec-ture and even in other objects became more creative, distinct, organic and more futuristic than the flat, simple and rectalinear structures that were modern in the 20th cen-tury like the Schroder House by Gerrit Rietveld.

SCHRODER HOUSE8 7. Yehuda E. Kalay, Architectures New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), 7.8. Alice Friedman, Women and the Making of Modern House: Schroder House, last accessed 18 March 2015, http://www.tinadhillon.com/the-schroder-house-utrecht-the-netherlands/

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BEAST // NERI OXMAN

In design computations, designers can take into consideration the aesthetics and structural side of the object. They can think of a more sustainable and efficient ways of designing structures that could perform both its functional and workability properties. With the popularity and good feedback of designing with architec-ture, other artists and desginers have included this technique in creating their own objects, such as The Beast by Neri Oxman. The Beast is a prototype made for a Chaise Lounge, using acrylic materials as its main material and digital-generated softwares to produce an organic form.10 Although it may seem light, fluid and fragile, its curvature and choice of materials made the object rigid and durable. This means that its form, with the use of computers and parametric softwares, and the thickness of the stones, enable the structure to support itself without the leg components found in a traditional chair. Therefore, with computation in the designing process of architecture or even furnitures like this one, we can see how it contributes in merging designing and constructing aspects of creating structures.

Moreover, with the use of a single continuous surface and fabrication technologies, the structure can be made faster and more accurately to the designer and the clients standards. In terms of aesthetics, the translucent stones allow the chair to have texture, dynamism and colour once light shines on it.

BEAST9

9. Neri Oxman, Beast, last modified 2011, http://web.media.mit.edu/~neri/site/proj-ects/beast/beast.html.10.Beast, Neri Oxman, last modified 2011, http://web.media.mit.edu/~neri/site/proj-ects/beast/beast.html.

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KARTAL MASTERPLAN // ZAHA HADID ARCHITECTS

The era of computer-related architecture paved way for the fast-paced production of designing and constructing from small-scale objects such as furniture, to large-scale areas like districts and urban spaces. These allowed architects to design more possible solutions and responses for their problems and to test their capabilities.12 The Kartal Masterplan, for instance, by Zaha Hadid Architects have used parametric softwares to produce this mixed-use development area, creating blocks and buildings with various heights, forms and angles.13 Although it may be similar to the grid layout of traditional cities in the past, its overall design formation and concept has made the urban space unique from others. Each of its blocks have a single high point, emphasized by the forms of the four buildings,14 creating a sand dune effect on the whole site. Designing with computation allowed the architects to easily divide these blocks and experiment on the different forms and angles of these buildings. It helped them to generate various design options that could resolve the brief in making a mixed-use space that integrates efficiency and interaction between the structures and the users. This would also reduce the resources and expenses in the whole project since architects are able to virtually imagine and test the product of the project, thus predicting the energy and budget that is to be used.

KARTAL MASTERPLAN11

11. Zaha Hadid Architects, Masterplan: Kartal Master-plan, last modified 2006, http://www.zaha-hadid.com/masterplans/kartal-pendik-masterplan/.12. Masterplan: Kartal Masterplan, Zaha Hadid Archi-tects, last modified 2006, http://www.zaha-hadid.com/masterplans/kartal-pendik-masterplan/.13. Brady Peters, Computation Works: The Building of Al-gorithmic Thought, Architectural Design, 83,2 (2013): 13.14. Patrik Schumacher,Parametricism - A New Global Style for Architecture and Urban Design, Architectural Design - Digital Cities, 79 (2009).

COMPOSITION/ GENERATION

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WATERCUBE // PTW ARCHITECTS

The architectural industry in literature and in practice have begun to utilise and take advantage of the capabilities and power that computer technologies and computations bring. In analyzing the brief of a project, architects used to think about the basic form of the structure and the general impact of the building in the environment, whether this would be suitable for the clients or not. However, as the industry advances, architects have used more digital tools and softwares, not just for drafting and better and faster communication tools, but also for incorporating computations into their designing processes to be able to evaluate possible solutions accurately.16 This act of generation allows designers to absorb and interpret various information on the project such as environmental, social, economical and structural issues, which results to the exploration of several iterations and solutions for their brief through algorithmic thinking and paramatric modelling.17 This then produces a structure that not only becomes the basis of the concept and design, but also one that achieves different goals in the brief and integrates the needs of clients to engineers. The Watercube in the 2008 Beijing Olympic Games, for instance, has solved the social, economical and environmental problems of the design, using computer softwares and fabrication.18 PTW Architects has produced a commercial centre that would have a low energy and water consumption, new construction materials and an association with Chinese culture.19 With computer technology, architects were able to conduct tests and experiments, most especially on the material, to ensure durability, good thermal and acoustic performance20, making this one of the most sustainable and efficient buildings in China.

WATERCUBE-NATIONAL SWIMMING CENTRE15

15. PTW, Watercube-National Swimming Centre, last modified 2015, http://www.ptw.com.au/ptw_project/watercube-na-tional-swimming-centre/.16. Peters, Computation Works, 13.17. Peters, Computation Works, 10.18. Watercube-National Swimming Cen-tre, PTW, last modified 2015, http://www.ptw.com.au/ptw_project/watercube-na-tional-swimming-centre/.19. Watercube-National Aquatics Centre, China, Designbuild-network.com, last ac-cessed 19 March 2015, http://www.design-build-network.com/projects/watercube/.20. Watercube-National Aquatics Centre, China, Designbuild-network.com, last ac-cessed 19 March 2015, http://www.design-build-network.com/projects/watercube/.

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URBAN LOBBY // MRGD ARCHITECTS

Although computer technology may seem inifinite and purely advantageous, some theorists and architects argue that using computations and algorithms can have limitations and may instigate imitations of style from other designers. The definition of algorithms itself implies that they are set of rules input in the computer, which results in specific actions in which some architects are not able to think of.22 This shows how computers can have a mind of their own, limiting the way designers can creatively solve problems on their own. It is with our own thoughts, imagination and mind that we are able to fully utilise and comprehend the purpose and functions of these algorithms and computer tech-nologies, in order to integrate the true power and capacity of the digital world.23 Nevertheless, with computations, the production and process of designing, as explained previously, would still be faster, more efficient and more experimental, while being able to analyze several options and aspects of a project. Another examples of the use of generation in the design process of architec-ture is the unbuilt research project of the Urban Lobby in London by the MRGD Architects. The main purpose of the project is to explore with computational tools in creating a space that allows interaction, flexibility, adaptability and exploration in the environment it is in.24 The architects have experimented, using algorithms and digital softwares to test and generate different diagrams and solutions based on their understanding of the city. After choosing the diagram that follows their concept and goals for the project, they then used this as the basis for their design in creating pathways and structures in the building. This then demonstrates how generation was used in this design process to produce various solutions to the problems, and how it impacts the final composition of a structure.

URBAN LOBBY21

21. MRGD, Urban Lobby, last modified 2012, http://www.archello.com/en/com-pany/mrgd.22. R. Wilson and F. Keil, Definition of Al-gorithm, in The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press, 1999), 11.23. Rose Etherington, Urban Lobby by MRGD Architects, Dezeen Magazine (November 2007), http://www.dezeen.com/2007/11/01/urban-lobby-by-mrgd-architects/.

CONCLUSION/ LEARNING OUTCOMES

16CONCLUSIONKaren Dionisio-See 613168 17LEARNING OUTCOMESKaren Dionisio-See 613168

In the past, I only used digital tools in my projects for drafting and presentating them in a clean and professional manner, without fully understanding how it could help me analyse and explore different design opportunities for the brief. In doing Virtual Environments in my first year, I only used Rhino as the design software to generate my design, not because I know it would create various forms, but because I had to. After the lectures, readings and algorithmic exercises that I have done these past few weeks, I now understand their purpose and capabilities, allowing me to explore ideas and forms that I would not have thought of without computations and softwares such as Rhino and Grasshopper.

Through out this chapter, I was also able to distinguish and realise the different terms that are linked to digital theory, such as computerisation and computation. Computerisation is the act of drafting, presenting and editing drawings and models24, where the design completely depends on the architects knowledge. Computation, on the other hand, is the utilisation of computers to gain information about a certain model in terms of its environmental, economical, social and structural impacts, through a series of algorithms.25 By using both practices of computerisation and computation in design processes, architects are able to generate buildings precisely, economically and adequately.

In this chapter, the theory of digital architecture and computation were discussed through a series of precedents that illustrates the power and the use of computer technologies in producing these structures. With these advances come the practice of algorithmic thinking and parametric modelling, which results to in depth analysis of how architects can respond and design projects that integrate sustainability, efficiency, economic and social issues within the brief. Architects and other designers are able to understand and take advantage of this new practice and technology, allowing them to not just work with the aesthetic side of architecture, but also its structural side. This then brings the architecture and construction industries to emerge and share their knowledge with each other, producing contemporary and futuristic structures.

By comprehending the potential of digital softwares and computations, I intend to include this practice in my design processes in the future of my career. By starting to learn and use computer tools, I am able to look through various aspects, strengths, opportunities and weakness that can be linked to a certain brief. This then allows me to produce various design iterations where I can choose and analyse the design that would strongly fit my concept and the problems of the brief. This also leads to faster and more precise production of a structure. When I start working back in my home country, I may be able to share my knowledge of computer technologies, which can help in generating new structures that are less costly, fast produced and sustainable, benefitting the building industry, the environment and the society.

24. Peters, Computation Works, 10. 25. Peters, Computation Works, 10.

ALGORITHMIC SKETCHES

18ALGORITHMIC SKETCHESKaren Dionisio-See 613168 19ALGORITHMIC SKETCHESKaren Dionisio-See 613168

The following images are a few of the algorthmic exercises that I have done using Rhino and Grasshopper. With Grasshopper, I was able to create various iterations in a model by using just one algorithm such as the loft, box morph, and triangulation tools. When doing these exercise, I am able to experience the theory of computation in how it helps you generate different options for a design and how they can be produced faster and more freely than other deisgning tools. These models encpasulates the capabilities of algorithms, allowing architects to transform rectalinear objects to organic ones and vice versa, and to create undulating surfaces similar to those found in nature.

RESEARCH FIELD - BIOMIMICRYCRITERIA DESIGN

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Since the ancient times, architects, engineers and artists have taken most of their inspiration and knowledge from nature in terms of its aesthetics and complex systems embedded in them. The term biomimicry refers to the implementation of designs and system from nature to solve problems in the fields of engineering, science, medicine, arts and others.26 In architecture, biomimicry is applied in digital designs to imitate or reflect the biological framework and/or rules found in an organism.27 Architects are also able to incorporate their experiences in nature to express biomimicry in their designs. Today, the building industry have increasingly become interested in natures processes and patterns such as the Fibonacci sequence in seashells and some plants, and the hexagon geometry of beehives. One of the well-known architecture that portrays biomimicry, made during the 2008 Olympics in Bejing, is the Birds Nest. Its conceptual basis from nature is not only reflected in its name, but also in its physical design (refer to page 13 for image). The use of biomimicry in architecture, moreover, allows designers to explore parametric designs with shapes, patt erns, scales, repetition, abstraction, subtraction and many more methods using computational and digital softwares such as Rhino and Grasshopper. In this way, architects generate experiential and unique structures, that change peoples perception and how they interact with architecture. Other structures that reflect biomimicry in their designs using computations and digital tools are the ZA11 Pavilion using this method to accommodate with their limited resources by applying materials and fabrication techniques that can be scaled easily28; and the Canopy by United Visual Artists demonstrating peoples experience of the dappled light in the forest through the leaf-shaped geometry and transparencies of the panels.29

The next few pages involves case studies of The Morning Line and ICD/ITKE Research Pavilion that explores on different parametric tools and techniques in which becomes a helping method for developing my proposal and design for the final project.

ZA11 PAVILION

CANOPY COUNTRY ROAD, DAPPLED LIGHT30

26. Tom Mueller, Biomimetics Design by Nature, National Geographic (April 2008), http://ngm.na-tionalgeographic.com/2008/04/biomimetics/tom-mueller-text/1.27. What is Biomimicry?, Biomimetic Architecture, last accessed March 25 2015, http://www.biomimet-ic-architecture.com/what-is-biomimicry/.28. CLJO2: ZA11 Pavilion, Design Playgrounds, last accesed March 25 2015, http://designplaygrounds.com/deviants/clj02-za11-pavilion/.29. Canopy by United Visual Artists, Design Play-grounds, last accessed March 25 2015, http://designplaygrounds.com/deviants/canopy-by-by-united-visual-artists/.30. Skylar Brown, Country Road, Dappled Light, 2009, fine art digital painting, in Art Rage Commu-nity [online database], http://forums.artrage.com/showthread.php?36518-Country-Road-Dappled-Light, accessed 25 March, 2015.

THE MORNING LINE // ARANDA LASCH

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The Morning Line, located in Eminonu Square, Istanbul is a modular pavilion that takes the form of an open structure rather than the usual enclosed ones. The use of nurbs and Bezier curves throughout the structure produces the openness of the pavilion, allowing more natural light to pass through in which shadows can be subsequently played and performed. Its random, interconnected lines creates a fractal pattern, imitating the model or image of the universe, which gives an overall design of having no final form, no specific access gateway, no beginning and no end.

The black and aluminium material of the pavilion is similar to the power lines and industrial infrastructures of the Brunswick Terminal Station in Merri Creek. However, the pavilion can still exhibit a design that portrays the systems and features of nature such as the trees and flowing creek in the site, due to its fractal patterns.

THE MORNING LINE IN ISTANBUL

ITERATIONS FOR CASE STUDY 1.0


1 Varying scale of tetrahedrons2 Changing the number of segments (polygon faces)

3 Lines to polysurfaces4 Interpolating lines5 Expansion and array of the fractal patterns

SUCCESSFUL ITERATIONS

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3 4


This iteration of changing the scales and variations of the tetrahedrons is successful because it creates a hexagon pattern within the context of the large triangle. It is interesting to see how the whole fractal pattern is based on the triangle then slowly divides into a hexa-gon, while still maintaining that biomi-metic pattern. The intersection between the hexagons create a potential concept for the connection detail in fabricating a structure. Other iterations of this species did not have similar geometric patterns or they did not intersect with each other.

This iterations shows a different configura-tion of the hexagon pattern. From the basic pentagon form, the hexagons spread through out the faces of the polygon as a fractal pattern. The pattern created have gaps in between them, which could create an interesting light and shadow play when incorporated in the pavilion. As I am also interested in having openings in the pattern of the structure, this iterations would be a good concept to look at.

The third iterations focus on the geometries of the fractal patterns in 3D. Although this looks similar to the other iterations, this par-ticular one has a symmetrical arrangment of the patterns, even if it has a combination of hexagons and triangles. Most of the living organisms have biological features that are symmetrical. This iterations, similar to the first one, has also interlocking lines that may be-come joints for the fabrication of a sturcture.

In the last few iterations, I have begun to play with other curves such as interpolated or nurbs curves. This has resulted to a num-ber of spiraling and rounded curves instad of the rigid lines in the first few iterations. This iteration was successful among others be-cause it was not too overwhelming where you could still be able to see how the frac-tal pattern exists and where it branches out from. This could be a good technique to include in generating the design for my pavilion because of the interesting forms and patterns these interesting cuves can produce. However, it may be a problem to fabricate such structure, unless I use the 3D printer.

SELECTION CRITERIA hexagons and triangles fractal pattern overlapping of lines symmetry and balance not too overwhelming openings or gaps in between patterns

RESEARCH PAVILION 2011 // ICD/ ITKE


The Research Pavilion 2011 has been constructed by the Institute for Computational Design and the Institute of Building Structures and Structural Design for a biological research collaboration in the University of Stuttgart. This biomimetic pavilion follows the framework and skeleton of a sand dollar sea urchin, using hexagonal voronoi patterns that emerges from the center. In this structure, 6.5mm plywood sheets have been used with finger joints on them to fasten the modular components together. These finger joint connections and the modular system have also been taken from the sand dollars biology. In this way, the pavilion did not need any structural support aside from the plywood sheets.

Through the additional use of Kangaroo in Grasshopper, I will be able to simulate and find the form of the structure, projecting the hexagonal pattern. This will be the basis for most of tehcnique developments and prototyping that could benefit the design and parametric tools and techniques to be used in the final project.

RESEARCH PAVILION IN UNIVERSITY OF STUTTGART

SAND DOLLAR FINGER JOINTS

REVERSE ENGINEERING

1 2 3 4 5 6


The diagram on the left is a simplified para-metric modelling process of the tools and techniques that I took and could be used by the architects to reconstruct the Re-search Pavilion.

PROCESS OF REVERSE ENGINEERING:1. Create the hexagonal pattern and

curves of the pavilion using graph mapper and voronoi to

make this2. Convert the pattern into a mesh the mesh is to prepare the structure to

form finding in Kangaroo3. Set all other parameters for Kangaroo-

Physics this will lift up the pattern to the curves

created previously4. Convert curves extracted form Kanga-

roo to a mesh converting it to a mesh is not essential

but could help in producing iterations5. Extrude the curves as tapered surfaces here I have used Rhino and Grasshop-

per to patch and scale the curves (since the curves were not planar)

6. Cap all extruded polysurfaces

REVERSE ENGINEERING

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GRASSHOPPER DEFINITION OF ICD/ITKE RESEARCH PAVILION

ITERATIONS FOR CASE STUDY 2.0

1 Applying different mesh tools2 Holes and their patterns3 Lines and curves4 Mix of holes, curves and flower pattern

5 Cones and cylindrical geometries

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SUCCESSFUL ITERATIONSITERATIONS FOR CASE STUDY 2.0

This iteration is one of the successful ones because of the interesting tapered extrusions that looks like the back of a porcupine. If applied in the final design, this can blend well into the natural wildlife environment of Merri Creek. However, it can get too overwhelming when placed adjacent to the powerlines, especially that the towers it-self can look rigid and bulky in contrast to the organic form of nature.

This variation of the Research Pavilion is success-ful because of the how the circles and triangles, based from a hexagon pattern, was combined to create openings in a pavilion. When applied to the final project, the pattern then becomes a framing element in which areas should be focused on and which ones are meant to be covered. For instance, the holes can be in the direction of the river and the triangles would be on the other side, covering the industrial facility.

This iterations is successful among others because of how the thickness of the lines and perhaps the materials can create a second skin element in the structure. It gives more dimension to the overall form of the pavilion, creating a pattern similar to leaves or the branching of the trees. This can be-come the main structural system that could hold up the pavilion for Merri Creek, underneath or over the main pattern of the structure.

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SELECTION CRITERIA hexagons and triangles holes and openings overlapping of lines concave form

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PROTOTYPE

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The basis of this prototype is taken from one of the successful iterations of the reversed engineered project of the ICD/ITKE Pavilion. In doing this, I was able to explore the materials, joining systems, lighting and overall atmosphere of a pavilion that could be placed along Merri Creek.

Looking at numerous joining systems using Grasshop-per, I encountered challenges and difficulties in adding notches, clips and any other joining systems in the structure because of its form and 2D structure. Because some of the surfaces of the triangles were not planar, creating these connections have become invalid and may need a more complex system to make a successful one. With this, I have decided to fabricate this prototype using simple tabs when surfaces were unrolled in Rhino. I then managed to offset the cut out circles in the prototype to avoid them from intersecting with the edges of the triangle. Furthermore, modelling this prototype using the Ivory Card 270GSM had made the whole structure flexible, which could influence in how I would approach the structural system of my final project.

I have also explored on other fabricating tools such as the waffle system where surfaces are divided into a grid of curves and polysurfaces that connect with each other by notches cut out in them. This made me think of how I would structure or start modeling a form by beginning with curves as a basis for the waffle grid and then further developing my concepts and techniques taken in the two case studies from that point.

SELECTION CRITERIA

In selecting the criteria for my prototype, I looked at how the fabricating processes can be eas-ily and efficiently made, how light can play with the patterns and forms and how the material can play part in forming the model. This criteria is linked to the requirements of the brief, as well as the ideas I have for designing a pavilion. It incorporates the importance of sustainability, thinking of the materials and the amount of energy consumption that could be used in fabri-cating a structure on site. For instance, by using the waffle grid, fabricating the model could be made with only a few long polysurfaces, which would not need bolts or additionaly welding in the structure.

Through the process of fabricating this prototype, I was able to make a flexible model in which could easily change its form by simply pushing, pulling or bending the object.

First, I tried slightly pushing the object downwards, which resulted in a lowering opening.

Second, I tested its limitation in how much force can it take when completely pushed down-wards. The prototype did not completely break or flattened because of the natural curve that it alone performs.

Third, I curled or bent the object in which resulted in a higher opening to the pavilion.

Fourth, I tested its height limits when the bottom sides of the object is pushed inwards.

The exploration of these design performance conditions helped me in considering the concept of flexibility within the site. Perhaps the structural system that holds the pavilion could be this elastic tensile form, which imitates and draws back to the cables and power lines found at Merri Creek, but in a less overwhelming appearance. Since the site is prone to flooding caused by the creek itself, I began to analyze how the overflowing of the water to the pathways and trails can influence and be incorporated in designing a pavilion. This can be done as demonstrated in the prototypes where the water can push the pavilion slimmer and higher, while not destroy-ing any of its structure.

These explorations from case studies to creating prototypes with parametric techniques and tools can then lead to the design proposal of the pavilion in Merri Creek.

40TECHNIQUE: PROTOTYPEKaren Dionisio-See 613168 TECHNIQUE: PROTOTYPEKaren Dionisio-See 61316841

ORIGINAL FORM CURLING/ BENDING

MAXIMUM HEIGHTPUSHING DOWNWARDS

FLATTENING

DESIGN PROPOSAL

42TECHNIQUE: PROPOSALKaren Dionisio-See 613168 TECHNIQUE: PROPOSALKaren Dionisio-See 61316843

To design an installation/ pavilion to run adjacent to the energy station using biomimetic algorithmic approaches in contrast to the linear truss geometry of the transmission

lines and station plant equipment

To design a pavilion that celebrates the natural environment of the site by using biomimetic features, and draws people away from industrial facilities and power lines. The pavilion engages positively with the users and its surroundings where

people can interact with or just pass by it.

SITE


The pavilion becomes a sculptural piece in which people can interact with or just pass by. It becomes the center of attention in the site, instead of the industrial facilities and power lines that are disrupting, overwhelming, and may also be degrading the natu-ral environment of Merri Creek. With the use of biomimetic patterns such as hexagons, the pavilion serves as a symbol of the nature and the systems that flow around the site.

The Brunswick Terminal Station and the power lines linked to it are disliked by the residents and environmental groups around Merri Creek. Its facilities, unhealthy and dangeorus en-vironment due to its chemical and electrical amenities, can cause risks and harm to people, families, children and students who settle and walk by the area everyday.

SITE BOUNDARY

LOCATION OF THE PAVILION

RESIDENTIAL AREAS

MERRI CREEK

INDUSTRIAL AREA

The pavilion is located in the site adjacent to the fences of the Brunswick Terminal Station, where the bridge meets the Merri Creek Trail, which creates a separation from the natural and living environment around Merri Creek. It will stretch towards the creek and go over the Merri Creek Trail where several residents, children and cyclists pass by to enjoy the wildlife scenery and fresh breeze of the site.

POSITIVES

NEGATIVES

Near Merri CreekNear cycling pathSurrounded by natureNext to several reserves and parksNear residences, schools and clubsOpen to and used by many residents, students, cyclists and animals.

Brunswick Terminal Station --- unhealthy, dangerous and unpleasant environment

AFFECTING

TECHNIQUE AND TOOLS

FORM FINDING SURFACES - CONCAVE STRUCTURES

POLYGONAL PATTERNS PROJECTED ACROSS THE SURFACE

SOLID DIFFERENCE TO CREATE HOLES ON SURFACES

INTERCONNECTING LINES FOR SECOND SKIN OR STRUCTURAL SYSTEM

CREATE A HEXAGONAL

PATTERN

CREATE THE CURVES TO BE

FOLLOWED

TURN POLYLINES OF PATTERN INTO

MESH

SET PARAMETERS FOR FORM FINDING

ALGORITHMS IN KANGAROO

USE KANGAROO TO SIMULATE

PATTERN INTO THE CURVES

EXTRACT CURVES

FROM THE GEOMETRY

LOFT ORIGINAL CURVES TO NEW ONES TO CREATE

EXTRUDED SURFACES

SET CURVES IN GRASSHOPPER

PLAY WITH THE LINE EDGES OF THE SURFACES

CAP EXTRUDED SURFACES AND CREATE SOLID DIFFERENCES


Using KANGAROO algorithms in GRASSHOPPER was really interesting in projecting the patterns made into the surface. I was also able to control how inflated the volume inside the structure would be, which is good when thinking of number of people who would pass by the pavilion, or perhaps if some large object would be needed to pass through it, consider-ing that the structure would go over the cycling pathway. The volume of the the pavilion could also take into consideration the problem of flooding in at Merri Creek. For instance, the height of the pavilion can increase when water starts reaching the pathways as a way of interacting with the natural causes found at the site.

The use of graph mappers, image samplers and path mappers are good methods to create variations of patterns, whether they may be based from rectangular or circular shapes. You can see some examples of how I played and explored with these tools in the algorithmic sketches appendix. This would be advantageous for the pavilion where I can play with these tools based on a hexagonal grid or shape.Although it may not always work, the solid difference tool is great in creating holes in solid surfaces. The intersect components of GRASSHOPPER also helps split curves to planar surfaces to solid geometries. This also creates notches and joints for the parametric model. (However, I was not able to successfully use this in my prototype). With this, I can have small openings around the pavilion to overlook the natural surroundings of the site, as well as produce connections for the fabrication of the whole design.

Interconnecting lines tool is interesting because it gives the whole structure a second skin and playing with the curves also define the ribs and pattern of the pavilion. Additionally, curves can produce fractal pat-terns by using scaling, orienting and clustering tools repetitively. It generates the interplay between light and shadows where the users can engage and interact with.

PROPOSAL


The facade of the building was designed by Faulders Studio, using interconnected linework, which layers and acts as the second skin of the whole building. The facade in some way becomes the artificial vegetation providing light and shading throughout the whole building.

This is a good example because it makes the industrial-made item into a natural organism through the overlapping effect of the pattern. By interconnecting lines and points, I can create such effect in the final project. Having a second skin or this element in the pavilion can detract people from seeing the industrial site at Merri Creek. The overlapping of lines can not only represent the vegetation but also be in comparison with the cables of the power lines.

In Case Study 1.0 The Morning Line, I was able to play with different curves, from bezier curves to interpolated curves, generating an interlocking and overlapping model from just curves. One problem that this entails is the fabrication and connectiong of these curves. It may be achievable using a 3D printer, or if I covert round pipe lines to flat planar ones.

AIRSPACE TOKYO//FAULDERS STUDIO

The Living Pavilion is a concaved structure, designed by the architects of Behin + Ha, who surrounded the whole structure with used milk crates, containing live plants that faces the interior of the pavilion.

This project uses simple line curves to support and hang the milk crates. The milk crates become the pattern of the pavilion. With the installation of the plants, these two features generates an interplay between light and shad-ows, similar to the facade at the Airspace Tokyo building.

The way they used the pattern (milk crates) as storage for the plants, and the use of the plants itself is interesting for me, which can later be used for the final design of the project. This contrasts and blocks the sight of the Brunswick Terminal Station. The implementation of the plants also softens the rigid and edgy patterns of a biomimetic structure. It gives a fresh and healthy outcome to the pavilion and the site, especially that it would reside next to the industrial facility.

LIVING PAVILION//BEHIN+HA

50LEARNING OBJECTIVESKaren Dionisio-See 613168

LEARNING OBJECTIVES

51LEARNING OBJECTIVESKaren Dionisio-See 613168

Interrogating a brief by considering the process of brief formation in the age of option-eering enabled by digital technologies Before starting with PART B and the case studies, I had to analyse the brief of the project in order to create selection criteria and think of ways to create numerous iterations for the two case studies. In do-ing so, I began to focus on certain techniques to be used in Grasshopper including the use of the curves component, extrusions, intersect components and the cull patterns.Developing an ability to generate a variety of design possibilities for a given situation For the case studies 1 and 2, i was able to create more than 20 iterations of the a given Grasshop-per definition by exploring other options and algorithms, watching tutorials on Grasshopper and even using other parametric tools such as Kangaroo. With this, the ability to generate more design possibilities was achievable and can be more related to the design brief.Developing skills in various three-dimensional media I have begun to develop more skills and become more comfortable in using Grasshopper with Rhino compared to the first week of the semester. In case study 2.0, I was able to reverse engineer (with the help of various tutorials) the ICD ITKE Research Pavilion, and reiterate it in several options. The itera-tions made in the two case studies also proves how my skills in parametric modelling have improved.Developing an understanding of relationships between architecture and air In doing the prototype, I began to analyse how the model can be put in relationship to the setting and environment of the site. How would it be successful in terms of the site background of Merri Creek.Developing the ability to make a case for proposals In doing the case studies, I was able to focus on certain parametric tools that could influence the design concept of my final project, which became the starting point of my design proposals. It is through this where I could initiate my design of the form and patterns of the pavilion for the next chapter of this journal.Develop capabilities for conceptual, technical and design analysis of contemporary architectural projects From Part A to Part B, I was able to analyse several precedents that focused on parametric mod-elling as well as biomimicry and how they used them in order to create the structures that consitituted the digital theories. Through them, I realised the potentials and capabilities of parametric modelling in not just design, but in tackling other issues such as sustainability. The precedents have also aided in thinking of what could be good for the design of my pavilion (as seen in the design proposal)Develop functional understandings of computational geometry, data structures and types of programming I began to understand how different parametric tools and programming can be useful in creating designs or patterns for a project. For instance, Kangaroo can be used for form finding in relation to rhino and Grasshopper. Some definitions in Grasshopper such as path mapper, graph mapper and image sampler can recreate interesting patterns that would be beneficial for the design of my pavilion.Begin developing a personalised repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application As mentioned earlier, the case studies have helped in focusing and exploring the potentials of certain definitions, which I thought would be greatly beneficial and advantageous for the design of my final project. It was good to focus on certain items because it made me fully understand and become comfortable in using such algorithms.

52ALGORITHMIC SKETCHESKaren Dionisio-See 613168



THIS EXERCISE PLAYS WITH THE EFFECT OF CREATING PATTERNS USING GRASSHOPPER BY FOLLOWING AN IMAGE THROUGH THE IMAGE SAMPLING DEFINITION. USING CIRCLES AS THE PRIMARY GEOMETRY, I WAS ABLE TO FOLLOW THE PATTERN OF AN IMAGE WITH THE WHITE PARTS OF THE IL-LUSTRATION AS THE POINT COORDINATES FOR THE CIRCLES. LOFTING THESE CIRCLES PRODUCE MORE DIMENSION TO THE PATTERN, WHICH COULD LATER BE PROJECTED TO VARIOUS SURFACES.

CONTINUING WITH THE EVALUATING FIELDS EXERCISE, I CRE-ATED 3D FORMS FROM THE CURVES THROUGH THE LOFT AND PIPE COMPONENTS. tHE ADDITIONAL CONNECTION OF THE GRAPH MAPPING CURVE PRODUCED DIFFERENT FLOWS OF THE CURVES. THE IMAGE ON THE LEFT FOLLOWS THE MOVEMENT OF THE INI-TIAL CURVES MADE IN RHINO, WHILE THE IMAGES ON THE RIGHT ENCLOSES THE CURVES FROM TOP TO BOTTOM. I PERSONALLY LIKE THE FORMER BECAUSE IT GENERATES SPACES AND GAPS IN BETWEEN THE STRUCTURE, WHICH COULD BE CORRIDORS FOR PEOPLE TO USE AND FOR LIGHT TO PASS THROUGH THE HALLWAYS THAT CAN DEPICT THE EFFECT AND SHADOW PLAY OF LIGHT ON TREES.




USING THE GEOMETRY OF THE ICD/ITKE PAVILION, I'VE USED THE PATH MAPPER TO GENERATE VARIOUS PAT-TERNS FOR THE ORIGINAL HEXAGONAL SURFACE OF THE STRUCTURE. WITH THE PATH MAPPER, I WAS ABLE TO CONNECT LINES, CURVES AND PLANES TO DIFFERENT POINTS IN A GIVEN SURFACE.

THE GRAPH MAPPER COMPONENT HELPS IN GENERATING DIFFERENT PAT-TERNS USING GRAPH TYPES, VARIOUS SHAPES AND 2D MESH COMPO-NENTS LIKE VORONOI AND DELAUNAY. BY JUST MOVING AND CHANGING THE GRAPH AND THE NUMBER OF POINTS DIVIDED, THE PATTERN CAN BE MODIFIED IN AN INSTANT. IN HERE, I HAVE USED POLYGONS, CIRCLES, AND ELLIPSES AS THE SHAPES FOR PRODUCING THE PATTERNS.

HERE IS AN EXAMPLE OF USING AN UNDULATED SURFACE AND CLUSTERS TO GENERATE A PATTERN OR CURVES ON THE SURFACE. THE FIRST IMAGE HAS FOUR CLUS-TERS IN THE DEFINITION, WHILE THE SECOND ONE HAS EIGHT. THE LATTER IS MORE DYNAMIC, MOVING OUT OF ITS ORIGINAL SURFACE, COMPARED TO THE FIRST ONE.

BIBLIOGRAPHY:

Kalay, Yehuda E. Architectures New Media: Principles, Theories, and Methods of Computer-Aided Design. Cambridge, MA: MIT Press, 2004.

Peters, Brady. Computation Works: The Building Algorithmic Thought. Architectural Design 83, 2 (2013): 08-15.

Schumacher, Patrik. Parametricism - A New Global Style for Archi-tecture and Urban Design. Architectural Design - Digital Cities, 79 (2009).

Wilson, Robert A. and Keil, Frank C. Definition of Algorithm. In The MIT Encyclopedia of the Cognitive Sciences. London: MIT Press, 1999.

57BIBLIOGRAPHYKaren Dionisio-See 613168

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