Studio Air Journal

A R C H I T E C T U R E A I RSEMESTER2, 2014BERNADETTE WEE, 645122 PHILIP BELESKY

CONTENTSINTRODUCTION 4-5

PART A: CONCEPTUALISATION

A.1. DESIGN FUTURING 8-15A.2. DESIGN COMPUTATION 20-25A.3. COMPOSITION/GENERATION 32-35A.4. CONCLUSION A.5. ALGORITHMIC EXPLORATIONS 38-41A.6. REFERENCES

PART B: CRITERIA DESIGN

B.1. RESEARCH FIELD 50-57B.2. CASE STUDY 1.0 58-65B.3. CASE STUDY 2.0 66-73B.4. TECHNIQUE DEVELOPMENT 74-83B.5. PROTOTYPE 85-93B.6. TECHNIQUE PROPOSAL 94-113B.7. LEARNING OUTCOMES B.8. ALGORITHMIC EXPLORATIONS 116-119B.9. REFERENCES

PART C: DETAILED DESIGN

C.1. DESIGN CONCEPT 124-141C.2. TECTONIC ELEMENTS & PROTOTYPE 142-169C.3. FINAL DESIGN MODEL 170-189C.4. LEARNING OUTCOMES C.5. REFERENCES

Bernadette Wee Rui YingUniversity of Melbourne Student

WHO AM I

My name is Bernadette Wee and currently a third year undergraduate at University of Melbourne pursuing a major in Architecture. I’m a born and bred Singaporean, where I recently achieved my Diploma in Sustainable Urban Design and Engineering, with a specialisation of Architecture.

Since young art has always been my passion, however during my tertiary studies I decided to pursue a different field of studies to broaden my horizons. Due to the multidisciplinary nature of my course, I was fortunate to be exposed to the new computational software as well as various fields in the building industry such as Civil Engineering, Architecture, and Interior Design etc... Like any newcomers, I struggled with these new programs and understanding of tectonic systems but these exposures sparked off my interest in technology, particularly in the new computational design software and technologies. It opened a realm of possibilities to further aid my visual communications skills.

With much gratitude to my prior studies, I am now equipped with the skills in AutoCAD, Revit, Photoshop, Sketchup, and recently Rhinoceros and basic Grasshopper. During my internship at Surbana Consultants, I was introduced to fundamentals of parametric design for Revit and BIM but the overall concept of parametric modelling is still an unfamiliar term to me. To quote Steve Jobs, “Stay Hungry. Stay Foolish.” I’m always eager to learn and be continually amazed by the endless possibility digital designing have.

INTRODUCTION

INTRODUCTION 5

FIG.1. STUDIO EARTH ENTRY PERSPECTIVE

PAST WORK

Inspired by the rhythmic movement of the highway, this design was erected to echo its faint forgotten

past where it once served as a wasteland. This was to give a voice to nature, to let it speak

for itself and to remind its users it is a living being. Though inanimate, it still has a heartbeat.

PART A CONCEPTUALISATION

ARCHITECTURE & DESIGN FUTURING

Architecture is a profession of plurality disciplines which engages and incorporates ideas and information across multiple discipline. While in its contemporary age, its role has been increasingly involved in matters of sustainability and a designer’s role in the built environment. Design Futuring similarly speaks of a designer’s importance in its standing against global issues we face today. It demonstrates the limitations and constraints of our existing solution in “green practices” and argues for the education of professionals and laymen alike in the battle against our future.

In the following case studies,the following teams have illustrated such key concepts Fry demonstrates in his book. Their design not only fulfils the competition requirement of an environmentally sustainable design but also considered about creating a relationship between the user and the natural environment by visually provoking contemplative thought through the aesthetics of their design, in understanding the reality of our global situation.

A.1 DESIGN FUTURING

1.1. City Trace Generator“This is SAND and its TRACE.” [1]

LAND ART GENERATOR COMPETITION 2010

THE City Trace Generator is a site specific installation subconsciously exploring the themes of design futuring.

“DURING that time, many constructions and buildings were pretending to be the icons of UAE. This can be forgotten or changed very fast according to the present fashion, but what cannot be changed is the

land, and that is what the country stands on.” [3]

Dubai and Abu Dubai as we all know have metamorphosed into the most populous city of today, and emerging steadily as a cosmopolitan metropolis. However little is known of its past, as early inhabitants have left few traces to be found, these ruins still remain undiscovered and lay asleep under a bed of sand. Likewise the team attempts to relate its forgotten historical value by introducing a design which exhibits the cruelty of a forgotten past and an endless cycle of destruction.

FIG.1. CITY TRACE GENERATOR, AN ARTIST IMPRESSION [2]

CONCEPTUALISATION 11

[1] Michal Gdak and Ewelina Gorcynska, “City Trace Generator”, Land Art Generator Initiative, (2010), <http://landartgenerator.org/LAGI2010/eim100/> [accessed 2 August 2014][2] Michal Gdak and Ewelina Gorcynska, “City Trace Generator”, Land Art Generator Initiative, (2010), <http://landartgenerator.org/LAGI2010/eim100/> [accessed 2 August 2014][3] Michal Gdak and Ewelina Gorcynska, “City Trace Generator”, Land Art Generator Initiative, (2010), <http://landartgenerator.

In the process of creation and destruction, sand symbolised both of these contextual ideals. It signifies the ceaseless cycle of creation and destruction of cities through time, where in the design, it creates an endless stamp of cities and then immediately after the texture is formed it is then crushed to be rebuilt again. Illustrated in Fig.3., sand has the property of retaining its shape,however its fragility only causes it to be reshaped again and again. Similar to Fry’s notion, Futuring is seen as “good design” in which it would “slow the rate of defuturing and redirecting us towards far more sustainable modes of planetary habitation.”[6]

The cycle of destruction represents this idea as well as presents itself as a temporary solution in Dubai’s context as symbolised by the fragility of sand, its current state is not a sustainable mode of habitation.

The team recognises the idiosyncrasy of a rapidly growing metropolis, once conquered by the abundance and structural limitations of sand. In this challenge, they embraced its existence as a resource; an idea that is remarkably uncommon and radical. Referring to Fry’s concept of “This relation between creation and destruction is not a problem when a resource is renewable, but it’s a disaster when it is not.”[4] Although the installation is powered by solar chimney, however the resource it uses to build its temporary sculpture expands future possibilities of using unlikely building materials in the construction process. Fry stresses the fact that sustainability is not about achieving an endpoint, a condition of equilibrium, rather it’s a process “wherein all that supports and extends being exceeds everything that negates it.”[5] In contrast to Fry’s notion of sustain-ability, the team seeks to inform the public of its alternatives and in exhibiting the reality of extinction at our very own hands.

FIG.2. BEFORE & AFTER PHOTOS OF DUBAI, IN THE SAME LOCATION [8]


[4] Tony Fry, Design Futuring Sustainability, Ethics and New Practice (New YorkL Berg, 2009), p.4[5] Tony Fry, Design Futuring Sustainability, Ethics and New Practice (New York: Berg, 2009), p.43.[6] Tony Fry, Design Futuring Sustainability, Ethics and New Practice (New York: Berg, 2009), p.6.[7] Patrik, Schumacher, The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley, 2011), p 3.[8] “Dubai, It’s Incredible”, Condo Hotel Dubai, <http://www.condohotelsdubai.com/articles/dubai-incredible.html> [accessed 5 August 2014] [9] Desert Safari Dubai, <http://www.desertsafaridubai.com/> [accessed 5 August 2014]


“The built architectural works that architecture releases into the wider social world lead a communicative double life: they speak to and intervene in communication systems outside the autopoiesis of architecture, while at the same time circulating within the architectural discourse as examples, evidence, points of critical reference etc.”[7] Likewise the placement and the magnitude of the project, located next to a road would visually stimulate and challenge the mind of visitors. Its forthright outspoken nature and engagement in educating the public of the broad ideas of human habitation and development and resource generation and consumption. Its value and appreciation lies in the ideas and positive impacts it contributes to society and the community.

These ideas which Fry argues throughout are represented in the project’s concept of relation between design and a sustainable future where designers are the frontlines to intervene and make a change for futuring. Arguably new practices such as “green design” have emerged, however efforts towards radical change is weak as Fry exposes these limitations by arguing for the recognition of design’s importance in overcoming a world that is becoming progressively unsustainable. Architecture itself is a profession which utilises and incorporates ideas and information across multiple disciplines. In this sense, it should become capable to offer pragmatic necessity rather than technological solutions. In particularly, the very nature of this project involves not a built structure, but a temporary display which similarly reflects Fry’s concept of “Futuring and de-futuring” in highlighting the limitations of our global solution and our definitions of sustainability. Sustain-ability can no longer be a continued process of achieving equilibrium as this is a temporary solution in off-putting the outcome.

FIG.3. IMAGE OF SAND, AND ITS TRACES [9]

1.2. 99 Red Balloons


[10] Uwe Fahrenkrog-Petersen, Carlo Karges and Kevin McAlea, 99 Red Balloons (CBS Schalplatten, 1982).[11] Rosin, S., Hunter, M., Loeb, D., Nnadi, E., McDowell, K., Chorney, J.,

Mitra, I., Ayat, N. and Fleury D., “99 Red Balloons”, Land Art Generator Initiative, (2012), <http://landartgenerator.org/LAGI-2012/99009900/> [accessed 2 August 2014]

[12] Tony Fry, Design Futuring Sustainability, Ethics and New Practice (New York: Berg, 2009), p.25.

[13] Rosin, S., Hunter, M., Loeb, D., Nnadi, E., McDowell, K., Chorney, J., Mitra, I., Ayat, N. and Fleury D., “99 Red Balloons”, Land Art Generator Initiative, (2012), <http://landartgenerator.org/LAGI-2012/99009900/> [accessed 2 August 2014]


FIG.4. 99 RED BALOONS, AN ARTIST IMPRESSION [13]

THE project 99 Red Balloons is a creative architectural installation which is engaging with the philosophical, cultural and social realm it embodies.

“99 dreams I have had, in everyone a red balloon, it’s all over and I’m standin’ pretty in this dust that was a city. If I could find a souvenir just to prove the world was here and here is a red balloon I think of you, and

let it go.”[10]

It began with an excerpt from the 1984 song “99 Red Balloon”, evoking visions of loss, hope, memory, and the perseverance of dreams for a redemptive and meaningful future.[11] These ideas of “redemption” through their installation communicate similar concepts in Fry’s concept of design being critical as a change agent towards sustainability. In Fry’s argument, he criticises the current role of designers in which they lack a sense of how design makes or breaks worlds.[12] In contrary this project is a representation of the role of designers in our global issues, it serves as an excellent model in stimulating ideas while reconditioning the manner of our appreciation and perspective of architecture.

FIG.5. AN ARTIST IMPRESSION OF A PARKLAND, EMERGING FROM A WASTELAND [18]

It does so by expanding future possibility in encouraging exploration and engagement between their existing environments and teaches them possibilities of redemption, especially in this case where the site was once a brownfield wasteland. Originally a brownfield site, it has been revived as a parkland. The balloons in this context then becomes a beacon of hope, in which something redeeming and beautiful can rise out of the dust that has been placed on the land by human activity and the accumulation of society’s waste. They symbolise the release of pressure that has amassed from years of the site’s use as a waste storage facility.[15] Although the design starts to lose its sense of place with a design that can be placed on any site, however as the balloons fade and intensify in colour responding to human activity, it illustrates our involvement and relationship with the ecological system which only as a universal design that it could educate its users indiscriminately.

Fry explains that design needs to become a re-directive practice, “Redirective practice, as expounded here, is akin to a new kind of (design) leadership, underpinned by a combination of creating new knowledge directed at advancing means of sustainability while also politically contesting the unsustainable status quo”.[14] In other words, re-directive practice and design futuring, from his perspective, should be adapted by many designers, including those who are not designers by profession, so that a critical mass of redirection towards the Sustainment will emerge.

Likewise the project’s appeal lies in its approach as an interactive permanent architectural installation which cultivates the realisation of design futuring in its users indiscriminately.



FIG.6. AN IMAGE DEPICTING THE ACTUAL REALITY [19]

In Fry’s perspective, design has to be understood anthropologically. “It names our ability to prefigure what we create before the act of creation, and as such, it defines one of the fundamental characteristics that make us human.”[17] Similarly it the approach by highlighting the various opportunities in the actual availability of habitable spaces. The idea of reviving brownfields is not new; it has been a common practice of developers because of its cheap cost owing to the perceived presence of environmental containments. [13] As illustrated in Fig. 6, this project has achieved so by distorting our perception and redirected us in a direction of far more sustainable modes of planetary habitation, another similar concept discussed in Fry’s “design futuring”.

“Studies show that memory plays a critical role in perception and decision making; however, it may be less reliable and more suggestible than once believed.”[16]

From individual memory to collective memory, architecture can impact on what and how we remember. An architect’s design might make the most of “suggestible” memories by creating built form that helps to “preserve” a memory – like a memorial, for instance. The project executes emphasis on bringing out human emotions manipulates the function of memory by forming connection between its past, present and future state. The very nature of this project being a permanent installation reinforces the manipulation of memory, in a similar manner as a time capsule.

[14] Tony Fry, Design Futuring Sustainability, Ethics and New Practice (New York: Berg, 2009), p.10.[15] Lawrence, Karen, “Neuroscience”, Memory and Social Manipulation (2008),

<Suite101.com> [ 2 August 2014][16] Tony Fry, Design Futuring Sustainability, Ethics and New Practice (New York: Berg, 2009), p.2.[17] Aaron Seward, “Wasteland Revival”, Architect: The magazine of the American

Institute of Architects, (2012), < http://www.architectmagazine.com/green

-

building/wasteland-revival.aspx> [5 August 2014][18] Rosin, S., Hunter, M., Loeb, D., Nnadi, E., McDowell, K., Chorney, J., Mitra, I., Ayat, N. and Fleury D., “99 Red Balloons”, Land Art Generator Initiative, (2012), <http://landartgenerator.org/LAGI-2012/99009900/> [accessed 2 August 2014][19] Rosin, S., Hunter, M., Loeb, D., Nnadi, E., McDowell, K., Chorney, J., Mitra, I., Ayat, N. and Fleury D., “99 Red Balloons”, Land Art Generator Initiative, (2012), <http://landartgenerator.org/LAGI-2012/99009900/> [accessed 2 August 2014]

DESIGN COMPUTATION

Contemporary computational design techniques, such as computer-aided design research, over the past 50 years have been directed toward developing computational systems that provide varying degrees of assistance to human designers by taking care of smaller or larger parts of the design process. These systems have been developed to propose design solutions and query capabilities that help designers to communicate with one another.

Nowadays it is a common phenomenon that the digital medium does not merely define a vague research area, but a powerful tool of action, fully incorporated into architectural design practices. This new medium gives form to creative thinking and acting, therefore it is necessary to scrutinize its qualities in close relation to the ways it interferes with the design process. Although critiques have criticised the influence of computational design techniques in limiting our creativity, however in the following case studies they prove otherwise as the new medium served as an extended “arm” in a designer’s work process. In the following case studies, they will further discuss the benefits of engaging computational design techniques in areas where the typical traditional design process fail to do so.

A.2 DESIGN COMPUTATION

FIG.7. CONCEPTUAL RENDERING OF COLLATERAL INTRICACY [3]

2.1. COLLATERAL INTRICACY

FLEET HOWER, NEW ZEALAND 2012


[1] Spanswick, V., “ Gothic Architecture”, Smart History, <http://smarthistory.khanacademy.org/english-gothic-architecture.html> [11 August 2014][2] Branko Kolarevic, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), p. 3.[3] Fleet Hower, Sucker Punch, <http://www.suckerpunchdaily.com/2013/05/03/collateral-intricacy/#more-29454>[11 August 2014]

THIS project attempts to rediscover the antiquities of Gothic architecture concepts in its constructional value while questioning the possibility of development from its traditional form.

Gothic architecture came about as a period of structural and logical building schemes. The style represented giant steps away from previously basic building systems that prevailed over the centuries of Architecture such as pointed arch.[1] This was a period of trial and error, which constructional systems are devised from physical experimentation. Contrary to the traditional approach of architects during the Gothic period, the team recognises the benefits of computation in providing digital experimentation of a range of inconceivable yet achievable form generated from computational system, while allowing it to still be structurally independent. These are concepts demonstrated in Kolarevic’s book where “the advances in computer-aided design and computer-aided manufacturing technologies have started to have an impact on building design and construction practices. They opened up new opportunities in allowing production and construction of very complex forms” in which traditional design methods fail to provide.[2]

FIG.7. CONCEPTUAL RENDERING OF COLLATERAL INTRICACY [3]

FIG.8. A RENDERING OF THE ELEVATION VIEW [8]

Likewise the complexity of the geometry generated in the pursuit of exploration would affect the structural integrity of the built element. Thereby this is another benefit in which computation offers. The modelling of material as a tectonic system within the system has provided a platform for material design in architecture as well as for the performative design of material systems. This is especially so for this project where material design has become an integral part of the digital architectural design process continuum. It has renewed the architect’s traditional role as the master builder empowered with the understanding and ability to digitally create in the material realm.[5]

Unlike the traditional design process, this medium questions the possibility from the development of Gothic geometry and its constructional value by the contextualisation of generative design research using as its encoded impetus. Their pursuit of this answer led to a series of research investigations into the formative processes underlying Gothic geometry while a parallel development of computational studies encoded said operations.[4] In this manner, generative studies revealed a potential to meet and push beyond the formative threshold of existing Gothic architecture than a typical traditional design approach.

FLEET HOWER, NEW ZEALAND 2012

[4]Fleet Hower, Sucker Punch, <http://www.suckerpunchdaily.com/2013/05/03/collateral-intricacy/#more-29454>[11 August 2014]

[5] Oxman, Rivka and Robert Oxman, eds (2014), Theories of the Digital Architecture

(New York; London: Routledge, 2003), p. 5.

[6]Fleet Hower, Sucker Punch, <http://www.suckerpunchdaily.com/2013/05/03/collateral-intricacy/#more-29454>[11 August 2014][7] Cilento, Karen,” Subdivision/Micheal Hansmeyer” ArchDaily, (2011), http://www.archdaily.com/138323/subdivision-michael-hansmeyer/>[11 August 2014]

[8] Fleet Hower, Sucker Punch, <http://www.suckerpunchdaily.com/2013/05/03/collateral-intricacy/#more-29454>[11 August 2014]

[9]Fleet Hower, Sucker Punch, <http://www.suckerpunchdaily.com/2013/05/03/collateral-intricacy/#more-29454>[11 August 2014]


FIG.9, 10. FORM GENERATION INTERIOR AND MACRO SHOT[9]

The project is not an objective translation but an interpretation of established archetypes for suitable use using contemporary methodologies. Although generative studies can provide a range of explorations, however the team is subjective in its understanding of Gothic as well as biasing of code. As generative computation outputs a range of variations, they are able to streamline the process by rejecting pre-packaged linear parametric, passing over preconceived neatness for an emergent possibility thus resulting in results that have yet to be conceived by the human designer.

Computational studies have therefore allowed for a higher understanding of geometric formation which can be observed in the project. In the project, these were conducted on a cross-scale basis, from that of planar organization to the development of detail on a local level. In terms of design, the Gothic formation can most often be understood as an inflated solid that produces fractal-like subdivisions when sufficient levels of curvature are reached.[6] Such operations occur most commonly around areas of significant topological variation in a cathedral; entry ways, apertures, or the introduction of a significant structural member.

These system suddenly become achievable as computational studies offer exploration in the design process as algorithms create endless permutations of a scheme. A slight tweaking of either the input or the process leads to an instant adaptation of output. When combined with an evaluative function, they can be used to recursively optimise output on both a functional and aesthetic level. [7]

2.2. MARDI

YASMIN RAHMAN, MALAYSIA


[10]Yasmin Rahman, Manifesto of Design and research in experimental architecture,<http://mdr xa.wordpress.com/architecture/mardi -vertical-farming/#>[11 August 2014][11] Yasmin Rahman, Manifesto of Design and research in experimental architecture,<http://mdr xa.wordpress.com/architecture/mardi -vertical-farming/#>[11 August 2014]

THE project is inspired by the concepts of the book, The Vertical Farm, Feeding the World in the 21st century, by Dr Dickson Despommier. It was conceived to inspire a breed of green skyscrapers addressing issues of sustainability and ecological design.[10] Architecture on the one hand is a stable, permanent shelter fulfils a primary need which will only grow in the future; on the other, the tenets of design are progressively being eroded by an equally growing demand for dynamic, interactive structures at odds with any traditional definition of architecture.[11]

However computational systems can easily deal with complexity, time and transformation, which the traditional design process cannot. It is perhaps for this reason due to the ecological aspect of this project that it has embraced the process-based designs rather than stylistic approaches.

Project Title: MARDI Biotechnology Research Facility (2012)Type: 25 story vertical farm research institute / vertical farmingSite: Lot 4c16, Putrajaya, MalaysiaDesigner : Yasmin Rahman

FIG.11. PROGRESSIVE FORM GENERATION OF SYSTEMS [17]

As Kalay demonstrated, “The traditional design process is difficult and unreliable especially when trying to bridge the gap between the first step (setting the goal and the constraints) and the second step (devising potential solutions).”[13] Thereby computational systems have influenced this procedure by being capable of representing both the physical and intrinsic properties of a building as an object-oriented model as shown in Fig 11. Within the conceptual realm, computational, digital architectures would be able to provide integral design approaches between the varying disciplines. It is no longer a separated discipline with communication barriers between engineering and architecture, making projects management easier. This is such a process invaluable in the ecological aspect of this project which requires a multidisciplinary approach to conceive a suitable scheme.

However, no conceptual revolution can be claimed without a parallel stylistic innovation. Without a subtle mediation between processes and forms, between green technologies and cultural values, the agenda of green design may lose its radical impact on architecture and be relegated to a technical requirement to simply satisfy. This would require massive collaborations between disciplines.[12] Thus this is an opportunity in which computational architecture offers towards ecological design particularly reflected in the approach undertaken in this project.

YASMIN RAHMAN, MALAYSIA


[12]Roberto Bottazzi, “Green Strategies: Ecological Design Research and Computation”, The Architectural Review, (2012), <http://www.architectural-rev i ew.com/rev i ew s/g reen - s t rateg i es - eco l og i ca l - des ig n - resea rch - and -computation/8630590.article> [11August 2014]

[13]Kalay, Yehuda E., Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design, (Cambridge, Ma:MIT Press), p.17.

[14]Quirk, Vanessa, “A Brief History of BIM/Michael S.Bergin”, ArchDaily, (2014),

<http://www.archdaily.com/302490/a-brief-history-of-bim/> [11August 2014]

[15] Rosenfield, Karissa, “The Future of the Building Industry: BIM-BAM-BOOM!”, ArchDaily, (2012) <http://www.archdaily.com/262008/the-future-of-the-building-industry-bim-bam-boom/>[11 August 2014]

[16] Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing, (New York; London: Spon Press, 2003), p.24.

[17]Yasmin Rahman, Manifesto of Design and research in experimental

a rch i tectu re,<ht tp://md r xa.wo rdp res s .com/a rch i tectu re/ma rd i -ve r t ica l -farming/#>[11 August 2014]

[18]Yasmin Rahman, Manifesto of Design and research in experimental a rch i tectu re,<ht tp://md r xa.wo rdp res s .com/a rch i tectu re/ma rd i -ve r t ica l -farming/#>[11 August 2014]

Its impact on sustainable design is significant as it is able to reproduce algorithms of endless scheme to find the most suitable scheme in the particular context.[14] By using 3D modelling to investigate options and test building performance early on in order to optimise the building’s design.[15] The flexibility of computational systems allows its user to prioritise relevant systems that are necessary to the project. In this case by using building performance as a guiding design principle and adopting a new list of performance-based priorities for the design, it places broadly defined performance above form-making; it utilises the design technologies of quantitative and qualitative performance-based simulation to offer a comprehensive new approach to the design of the built environment.[16]

[1]Matthew Rampley, Exploring Visual Culture: Definitions, Concepts, Contexts (England: Edinburgh University Press, 2005), p.108.

[2]Witold Rybczynski, “Lost Amid the Algorithms”, The Magazine of the American

Institute of Architects, (2013), < http://www.architectmagazine.com/design/parametric-design-lost-amid-the-algorithms.aspx/>[accessed 18 August 2014].

[3]Rivka Oxman, “Performance-based Design: Current Practices and Research

Issues”, International Journal of Architectural computing, 6, 1-17

[4]Stanislav Roudavski, “Towards Morphogenesis in Architecture”, International Journal of Architectural computing, 7, 345-374.

THE GENERATIVE PROCESS

Previously in our discussion on Design Futuring, we recognise Architecture as a plurality of disciplines, guises and ideas. With a shift in contemporary culture to a Digital Age, brings forth new discourse as Architecture transcendence from the traditional conceptualisation of architecture as a physical object. Architecture itself should no longer be examined for its aesthetic value rather is engaged in philosophical thought, its social and cultural aspects, in which computation as an emerging field offers to engage, interact and appreciate architecture in a holistic manner.[1]

In the last 20 years, this has translated into Architecture transiting from composition to generation design process as computers become increasingly powerful. Arguably many devotees of parametric design have embraced its capacity in terms of stylistic form making; the real potential however in improving building performance remains unrealised.[2] Performative architecture can challenge the way the built environment is designed, it has the potential of rethinking our existing environment as it can evaluate simulation process with digital “form generation”.[3] Yet still in its experimental stage, performative design is only applied to create building simulations due the limitations of defining such environmental conditions as integrated wholes and to predict human behaviour.

While computational systems start to automate parts of the design process, Architects question the possibility of generating forms from natural processes - Morphogenesis.[4] A concept which inspires biological forms resulting in new architectural construction methods. However without careful planning and understanding of computational system, its complexity can result in the downfall of computational parametric design.

The following precedents demonstrate otherwise, in using customised programs to overcome such complexities, thereby demonstrates the concept of morphogenesis and performative design in their role of architectural discourse. They demonstrate how design computing is embraced in its real potential and acts as a dialogue in appreciating architecture holistically and interacting between its user and the architect.

A.3 COMPOSITION/GENERATION

3.1. PARASITE PROJECT

UNIVERSITY OF CAMBRIDGE

FIG.12. PHOTOGRAPH OF FRAGMENT SHELL IN ITS SPACE[3]


[1]”The Parasite”, Performative Places, <http://perfomativeplaces.expressivespace.org/index.php?/project/the-parasite/>[18 August 2014][2] ”The Parasite”, Performative Places, <http://perfomativeplaces.expressivespace.org/index.php?/project/the-parasite/>[18 August 2014]

The Parasite Project is a project done by the Digital Studio, University of Cambridge, as an installation to be exhibited during A Second sight, the International Biennale of Contemporary Art in Prague.

It consisted of a physical structure and an interactive audio-visual system designed to operate in the Prague’s Museum. It stages an interactive, constantly regenerating, non-repeating, audio-visual field that consisted of moving images project on surfaces and people of an expressive soundscape. [1]

Project Title: Parasite Project

Type: Performative Design &

MorphogenesisLocation: International Biennale of

Contemporary Art in Prague

FIG.12. PHOTOGRAPH OF FRAGMENT SHELL IN ITS SPACE[3]

FIG.13. FORM GENERATION THROUGH MICROSCOPIC OBSERVATION OF CELLULAR CELL WALLS [6]

To achieve such results, the project included an innovative research method in using design computing to support distributed creativity in its generative design process. This is done so as human behaviour is difficult to predict and the complexity of this process is not fully developed into performative system. Thus the team has custom-written a program, using dynamic solution and time-based processes, mixed sounds and images in real time which response to human-body movement as observed by the computer-vision system.[5] It becomes an observatory system to create its reaction, although it overcomes the complexity computers face but it is still unable to be a fully automated system that is reactive. However by distributing creativity at each step of the design process, they were able to select on patterns which reacted best to a certain response.

This was a project with a multi-purpose intent that simultaneously existed as an architectural construction and an act of performance, an engineering project and a piece of art, an experimental research project and an act of propaganda, a disruptive social situation and a way to make friends.[4] Their thoughts and design intent in interacting users with their design, demonstrates a sociological aspect in architecture, showcasing discourse in the design generated through reacting to ever-changing new conditions.

UNIVERSITY OF CAMBRIDGE


While in the design of their structure, they have used the generative process to produce computational models of complex cellular structures as shown in Fig 13. In this case, the generative process has the potential in providing a range of explorations and mimicking the process of natural evolution of cell, which provided the team a series of variations. Additionally while using generative process in the design, they were able to resolve structural issues of the construction method as the program is capable of handling such coordination.

As computers become more powerful in producing a range of variations in a short time span it could potentially restrict creativity, however the creativity of designs were not dictated by the computers as the decisions the team made in selection process were based on intuition (form, proportion, imagined cultural and artistic impact) and analytical (production requirements, construction technique, etc.). By handling the design process into fragmented stages, their creativity is not restricted but merely assisted by the powerful tool of generation.

[4] “The Parasite”, Performative Places, <http://perfomativeplaces.expressivespace.org/index.php?/project/the-parasite/> [accessed 18 August 2014].

[5] Stanislav Roudavski, “Towards Morphogenesis in Architecture”, International Journal of Architectural computing, 7, 345-374.



FIG.14. PROJECTION OF LIGHT AND SHADOWS [7]

BARTLETT SCHOOL OF ARCHITECTURE

3.2. SYNAESTHETIC MUSEUM

FIG.15. DIGITAL RENDERING OF LIGHT INTERACTING SPACE WITH USER[8]

[8]“Synaesthetic Museum”, SuckerPUNCH, (2013), <http://www.suckerpunchdaily.com/2013/12/18/synaesthetic-museum/#more-34507> [accessed 18 August 2014]

.[9]“Synaesthetic Museum”, SuckerPUNCH, (2013), <http://www.suckerpunchdaily.com/2013/12/18/synaesthetic-museum/#more-34507> [accessed 18 August 2014].

THE Synaesthetic Museum project located on the opposite side of the historical French-Canadian city of Quebec in Canad. [9]

It seeks to find a balance between the visual and aural perception in architecture. This is another performative based design, which uses light as the main architectural generative tool to create its resultant form, thereby exemplifying the relationship between the actual form and the aural qualities it creates.

Project Tittle: The Synaesthetic Museum

Type: Performative designAdvisors: Marjan Colletti, Guan Lee &

Hannes Mayer


FIG.15. DIGITAL RENDERING OF LIGHT INTERACTING SPACE WITH USER[8]

FIG.16. CAUSTIC EXPLORATION WITH LIGHT EXPLORATION [12]

Like an Aeolian harp, the building is played by wind, acoustically transforming the full character of the juxtaposed sound. It is a visual and aural understanding of the space, a concept in architecture which not many have explored. Thereby generative design process in this case would serve necessary to identify the relevant climate conditions and simulating similar conditions in creating the form. However the team engaged in physical experimentation (Fig 12) to further understand light patterns and movement to map the interaction onto the computation systems as shown in Fig 17. In trying to relate light, wind and sound together as the parameters, it resulted in a new manner of designing principles using computation rather than the traditional design approach, therefore after setting the parameters, the program would consider how each element reacts in its built environment and with each other.

This project involves merging together the individual field of research within light caustics and phonetics of space, to create a museum which operates as a sensorial extension of the city, by heightening its user awareness of the essential role the human sense play in the built environment. This design was created with a strong anthropogenic approach to which the human interaction in the built environment reacts with the design. This would become an important aspect especially for designing a brief for LAGI in which the human interaction is important in order to provoke contemplative thought. [10]

BARTLETT SCHOOL OF ARCHITECTURE

By exploiting building performance simulation for the modification of geometrical form, it can produce innovative results in which the designer can then adapt in order to accommodate optimised and evaluate findings. However in considerations to the amount of data (light, wind, sound, building constraints, etc.) in which the computational system have to input, it would be unable to provide comprehensive solutions as Malkawi states that “the basic physics-based algorithms integration problems are still far from being solved”.[11] Thereby it raises questions in their process of generation; in terms of their selection and decision of a suitable scheme for this project. It questions the logic of their design intent in their design process and whether the resultant form can be justified as a space of “poetic aesthetic”.

[10]Land Art Generator Initiative Competition Entries, (2012), <http://landartgenerator.org/LAGI-2012/>[18 August 2014]

[11] Witold Rybczynski, “Lost Amid the Algorithms”, The Magazine of the American

Institute of Architects, (2013), < http://www.architectmagazine.com/design/parametric-design-lost-amid-the-algorithms.aspx/>[accessed 18 August 2014].

[12]Francois Mangion, “Caustic Architecture”, (2013), <http://francoismangion.blogspot.co.uk/>[accessed 19 August 2014].

[13]Francois Mangion, “Caustic Architecture”, (2013), <http://francoismangion.blogspot.co.uk/>[accessed 19 August 2014].


FIG.17. GENERATION OF FORM FROM RESULTANT PATTERNS [13]

A.4 CONCLUSION

CONCLUSION

Architecture in this contemporary age has evolved from its humble roots of satisfying basic human needs for shelter into a multidisciplinary study which engages in the social and cultural realm. As architecture transit from its traditional design process to a computer based system, it has opened a realm of possibilities and provided solutions in the building industries in terms of project coordination between varying fields.

From these few weeks of research, it has come to my attention of the significance in which generative process can provide to architecture especially in understanding the fragile environmental relations as Fry has stated and exploring a range of design solutions to promote heuristic thought in its user. By using generative process such as performative based designs, it is remembering and acknowledging the presence of natural processes in its specific context thereby creating a design which can respond specifically to the site and the users.

LEARNING OUTCOMES

These past few weeks in designing parametrically has developed my understanding of its theory and the manner in which it can be utilised in projects. I was initially ambivalent about learning Grasshopper, however now I realise the potential as a tool in producing investigative explorations in areas which I have never once thought I’ll ever understand. If such knowledge were known to me in the past, several of my design project outcomes would be different as I would have been able to morph forms more suitable to climate conditions. However these outcomes would result in terms of visual communications and investigative process, it would not change the design intent or the composition of the design I had in mind.

Having been exposed to the endless possibilities of architectural computer, there are certain aspects in which I believe should not replace the traditional design practice entirely such as composition as having a holistic design approach and the intuition of a designer would encourage a dialogue between the design and the designer thereby encouraging a more logical design process in generation. Architectural computation should be handled as an extended tool, not a substitute for the creative process.

EXPLORATIONS OF GRASSHOPPER

In the past few weeks of experimentations in grasshopper, it has provide myself with the understanding of controlling parameters to suit varying conditions. Particularly the most interesting tutorial I’ve found was the recent online tutorial of mapping light patterns data and setting parameters to determine the accuracy and sensitivity of the program. This was an aspect which the previous precedent explored, and as well as reflected an understanding in the interaction between the natural process and the human contact which was demonstrated in Design Futuring’s precedents.

A.5 ALGORITHMIC EXPLORATIONS

GRASSHOPPER EXPLORATIONS

THIS exploration was taken from Week 3’s Algorithmic Sketch where I varied the shape of the curve and the direction of the panels to meet symmetrically.

IN the following generative explorations, I have varied the input of the accuracy and sensitivity of the radius the program is detecting, in doing so has resulted in different outcomes. This was done mainly via changing the inputs and parameters, such as changing the input for detecting colour differences, thus creating different light patterns outcomes.

Although it was exposed during the lecture as a cliché algorithm, however this was an interesting exploration as it could provide investigation in the sensitivity of interaction between the natural environment and its reaction to human contact.


A.6 REFERENCES

Bottazzi, Roberto, “Green Strategies: Ecological Design Research and Computation”, The Architectural Review (2012),<ht tp://w w w.architectura l - review.com/review/green-st rategies-ecological -des ign- research-and-computation/8630590.article> [11 August 2014]

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

Gdak, Michal, and Gorcynska, Ewelina, “City Trace Generator”, Land Art Generator Initiative, (2010), <http://landartgenerator.org/LAGI2010/eim100/> [accessed 2 August 2014]

Hower, Fleet, Sucker Punch, <http://www.suckerpunchdaily.com/2013/05/03/collateral-intricacy/#more-29454> [11 August 2014]

Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003).

Land Art Generator Initiative Competition Entries, (2012), <http://landartgenerator.org/LAGI-2012/>[18 August 2014]

Lawrence, Karen, “Neuroscience”, Memory and Social Manipulation,(2008), <Suite101.com> [ 2 August 2014]

Rampley, Matthew, Exploring Visual Culture: Definitions, Concepts, Contexts (England: Edinburgh University Press, 2005)

Rivka Oxman, “Performance-based Design: Current Practices and Research Issues”, International Journal of Architectural computing, 6, 1-17

Rivka, Oxman, and Oxman, Robert, eds (2014), Theories of the Digital Architecture, (New York; London: Routledge, 2003)

Rybczynski, Witold, “Lost Amid the Algorithms”, The Magazine of the American Institute of Architects, (2013), < http://www.architectmagazine.com/design/parametric-design-lost-amid-the-algorithms.aspx/>[accessed 18 August 2014].

Spanswick, V., “Gothic Architecture”, Smart History,<http://smarthistory.khanaacademy.org/english-gothic-architecure.html> [ 11 August].

Schumacher, Patrik, The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley, 2011)

Seward, Aaron, “Wasteland Revival”, Architect: The magazine of the American Institute of Architects, (2012), < http://www.architectmagazine.com/green-building/wasteland-revival.aspx> [5 August 2014]

S., Rosin, M., Hunter, D., Loeb, E., Nnadi, K., McDowell, Mitra, Chorney, J., Ayat, I., and Fleury D., “99 Red Balloons”, Land Art Generator Initiative, (2012), <http://landartgenerator.org/LAGI-2012/99009900/> [accessed 2 August 2014]

Stanislav Roudavski, “Towards Morphogenesis in Architecture”, International Journal of Architectural computing, 7, 345-374.

“Synaesthetic Museum”, SuckerPUNCH, (2013), <http://www.suckerpunchdaily.com/2013/12/18/synaesthetic-museum/#more-34507> [accessed 18 August 2014].

“The Parasite”, Performative Places, <http://perfomativeplaces.expressivespace.org/index.php?/project/the-parasite/> [accessed 18 August 2014].

Quirk, Vanessa, “A Brief History of BIM/Michael S.Bergin”, ArchDaily,(2014), <http://www.archdaily.com/3022490/g-brief-history-of-bim/> [11 August 2014]

Rahman, Yasmin, Manifesto of Design and Research in experimental architecture, <http://mdrxa.wordpress.com/architecture/mardi-vertical-farming/#> [11 August 2014]

Rosenfield, Karissa, “The Future of the Building Industry: BIM-BAM-BOOM!”. ArchDaily¸(2012) <http://www.archdaily.com/262008/the-future-of-the-building-industry-bim-bam-boom> [11 August 2014]

Yehuda E., Kalay, Architecture’s New Media: Principles, Theories, ad Methods of Computer-Aided Design, (Cambridge, Ma-MIT Press)

A.6 FIGURE LIST

Fig.1. Michal Gdak and Ewelina Gorcynska, “City Trace Generator”, Land Art Generator Initiative, (2010), <http://landartgenerator.org/LAGI2010/eim100/> [accessed 2 August 2014]

Fig.2. “Dubai, It’s Incredible”, Condo Hotel Dubai, <http://www.condohotelsdubai.com/articles/dubai-incredible.html> [accessed 5 August 2014]

Fig.3. Desert Safari Dubai, <http://www.desertsafaridubai.com/> [accessed 5 August 2014]

Fig.4. Rosin, S., Hunter, M., Loeb, D., Nnadi, E., McDowell, K., Chorney, J., Mitra, I., Ayat, N. and Fleury D., “99 Red Balloons”, Land Art Generator Initiative, (2012), <http://landartgenerator.org/LAGI-2012/99009900/> [accessed 2 August 2014]

Fig.5 Rosin, S., Hunter, M., Loeb, D., Nnadi, E., McDowell, K., Chorney, J., Mitra, I., Ayat, N. and Fleury D., “99 Red Balloons”, Land Art Generator Initiative, (2012), <http://landartgenerator.org/LAGI-2012/99009900/> [accessed 2 August 2014]

Fig.6 Rosin, S., Hunter, M., Loeb, D., Nnadi, E., McDowell, K., Chorney, J., Mitra, I., Ayat, N. and Fleury D., “99 Red Balloons”, Land Art Generator Initiative, (2012), <http://landartgenerator.org/LAGI-2012/99009900/> [accessed 2 August 2014]

Fig.7 Fleet Hower, Sucker Punch, <http://www.suckerpunchdaily.com/2013/05/03/collateral-intricacy/#more-29454>[11 August 2014]




Fig.11 Yasmin Rahman, Manifesto of Design and research in experimental architecture,<http://mdrxa.wordpress.com/architecture/mardi-vertical-farming/#>[11 August 2014]

Fig.12 “The Parasite”, Performative Places, <http://perfomativeplaces.expressivespace.org/index.php?/project/the-parasite/> [accessed 18 August 2014].



Fig.15 Francois Mangion, “Caustic Architecture”, (2013), <http://francoismangion.blogspot.co.uk/>[accessed 19 August 2014].

Fig.16 Francois Mangion, “Caustic Architecture”, (2013), <http://francoismangion.blogspot.co.uk/>[accessed 19 August 2014].

Fig.17

Francois Mangion, “Caustic Architecture”, (2013), <http://francoismangion.blogspot.co.uk/>[accessed 19 August 2014].

PART B CRITERIA DESIGN

MATERIAL SYSTEM & ARCHITECTURE DISCOURSE

Defined by Daniel Libeskind, he described architecture as a complex language defined by our own doing; “Our lives are complex; our emotions are complex; our intellectual desires are complex. I believe that architecture needs to mirror that complexity in every single space that we have, in every intimacy that we possess.”

Architecture being an anthropogenic field, it is engaged in the network of ideas; it is a complex field where these ideas and critical discussions are exchanged to push beyond the superficial boundary of architecture. It becomes a language; as complex as the human soul.

Likewise in Architecture today, the discourse surrounding material is problematically complex. Therefore this section would research and investigate material performances to understand its role, design implications and fabrication concerns. The following case studies were selected to understand how designers engages with critical discussion to understand a material properties’ constraints and limitations to produce innovative solutions, as well as methods of rethinking materials and breaking away from the conventional methods of engaging such materials.

B.1 RESEARCH FIELD

MATERIAL PERFORMANCE

FIG.1. MATERIAL PERFORMANCE

CRITERIA DESIGN 53

[1] Tony Fry, Design Futuring Sustainability, Ethics and New Practice (New York: Berg, 2009), p.4.

[2] John de Maincor,” Material Thinking”, ArchitectureAU, (2013), <ht t p: //a rch i te ct u re a u.co m/a r t i c l e s/n ew - d eve l o p m e nt s - i n -architectural-materials-questioning-myth-making/>[27 Aug 2014].

[3] Michael U. Hensel, “Performance-oriented Architecture”, Makademisk, 3(2010), 36-56, 46.

[4] Cilento, Karen, “Wood Pavilion / Wing Yi Hui + Lap Ming Wong”, ArchDaily, (2010), <http://www.archdaily.com/?p=68446>[accessed 25 Aug 2014].

Material is an essential component of architecture. Material and structure are an integral process, it is often overlooked in the design process, and very often this results to designs which exceeds the constraints of materials thereby producing designs which becomes structurally unachievable.

However a more pressing issue, as previously demonstrated by Fry, is the manufacturing and usage of building materials threatens the earth’s resources as we increase demand for building resources which are non-renewable.[1] This has raised questions in the sustainability of materials, along with existing concerns of material performance dominating both practice and academic research in terms of quantifiable aspects such as thermal, structural, acoustic, etc. Therefore architects aims to explore the range of unconventional materials and the methods in its process to reduce the demand of conventional built form.[2] This is a crucial aspect as the discipline of architecture is a material practice that transforms the human environment through material and environmental interventions; material itself has become an intrinsic element in Architecture. This can be seen in the following projects (M1 Textile Hybrid) where Material responds to stimuli and can thus be utilised strategically in orchestration between material and energetic exchanges.[3] While by understanding the constraints of material properties (Wood Skin project) and allowing it to perform its intrinsic properties, creates opportunities in optimising its performance through innovative and sustainable methodology of architectural production could be emerged as a natural response.[4] The following cases demonstrate this understanding and explore its purpose.

MATERIAL PERFORMANCE

INSTITUTE OF COMPUTATIONAL DESIGN

FIG.2. OVERVIEW OF M1 HYBRID

CRITERIA DESIGN 55

[5]“Textile Hybrid M1: La Tour de l’Archite”, University of Stuttgart, (2012), <http://icd.uni-stuttgart.de/?p=7799>[accessed 27 Aug 2014].

This case study explores the use of an unconventional material, a textile-like membrane supported by minimal structures. Situated at the historically protected site of a stone tower, built in 1500s, designed by Leonardo Da Vinci, therefore the design’s sensitivity to its heritage becomes the main focus in finding a material lightweight and minimal enough to house artefacts and without exerting additional loads. Conventional building materials are unable to achieve this level of sensitivity, therefore the designers look towards other material behaviour to achieve a high level of sensitivity. As illustrated in Fig 3, the design concepts of M1 therefore involved a combined research between the textile material behaviour and lightweight structure to form a canopy whose exertion of force is minimal to the surrounding context, abutting buildings adjacent to the tower and staying clear of areas containing sensitive archaeological material.[5] The result was a membrane which was a lightweight tensile and bending active structure, integrated with a glass-fibre reinforced polymer structural frame to allow the textile to act as a continuous surface. While referring to Fig 4, the exploration of this flexible yet structural material and its methodology not only works for this particular project’s level of sensitivity but on the bigger picture it can be similarly applied to designs with extreme curvilinear geometries.

M1 TEXTILE HYBRID

FIG.3. PROTOTYPE TESTING OF TENSILE MATERIAL FIG.4. CONSTRUCTION OF DESIGN

MAMMA FOTOGRAMMA

FIG.5. OVERVIEW OF WOOD SKIN

CRITERIA DESIGN 57

[6] Michael U. Hensel, “Performance-oriented Architecture”, Makademisk, 3(2010), 36-56, 46. [7] Richard Nicky, “Woodskin: The Flexible Timber Skin”, ArchDaily, (2013), <http://www.archdaily.com/362951/woodskin-the-flexible-timber-skin/#more-362951>[27 August 2014].

In contrast to the previous case study, this project however explores a method of application to conventional building materials in order to create a fully flexible structure. Wood, as we all know, displays dimensional variability through its hydroscopic characteristics. It can take up water from the environment and give it off again in response to changes in relative humidity.[6]

However the limitations of wood in its flexibility to create complex shapes have been a challenge to architects and with current technology wood can only achieve simple curvilinear shapes.

To achieve such a complex form, this project pushes beyond the conventional methods of treating wood to form curvilinear forms and creates a method to allow the material fully function between flexibility and rigidity. By using computational tools, they develop a structure similar to the human skeleton which defines our movements and posture, and similarly reacts in the same manner for this design project.[7] It thus opens possibilities of extending this idea of methodology for other materials such as cladding in creating a facade which is operable.

WOOD SKIN

FIG.6. MANIPULATION OF WOOD SKIN

‘‘The Art challenges the Technology, and the Technology inspires the Art.’’

B.2 CASE STUDY 1.0

ORIGAMI

The following case study is developed around the concept of origami. A traditional folding technique which inspired Architects in innovating panels and facade like patterns which have structural integrity.

Origami is a method of folding or panelling which when applied to a flimsy material like paper, is capable of becoming able to support its own weight and heavy loads. Thus the idea behind this generative study is to explore the various panelling options in lunchbox and apply kangaroo physics to test the varying panels in creating surfaces that would be able to support different loads applied.

Options such as varying the number of grids on its surface, strengths applied, angle of panels and types of curvilinear surfaces would be explored in the following generative study.

MATERIAL PERFORMANCE MATRIX

CASE STUDY 1.0

CRITERIA DESIGN 61

TOPOSURFACEThe original definition is then applied to a topographic surface in order to test the application of panels in curvilinear surfaces. The following conditions tested the angle of skewed panels, regular panels and triangulated panels with varying parameters such as number of grid on the surface, angle and load strengths. In this study, surfaces would only form on the panels if it is able to support applied load, if not only voids were seen in places when structural support could not be done.


In the following matrix, the surface which the definition is mapped upon is changed into a surface similar to a parabola. This is done to further test the constraints of curvilinear surfaces. Similarly the same conditions were applied to test the failure and successes of the structure.

PARABOLA SURFACE

CRITERIA DESIGN 63


In the following selection, it was done by selecting the most successful geometric panels that withstood heavy loads; the visual transparency and admittance to natural ventilation; lastly its ability to form curvilinear geometries while withstanding heavy loadings. These selection criteria were based on its performance as these outcomes realistically would have to be structurally independent to become achievable. Although most outcomes were aesthetically intriguing, however its structural formation was not sound and ideal for any realistic simulation.

Additionally the manner of the matrix which tested all forms of panels, varying angles and strength were done to test and explore all possibilities of varying shapes to suit a gentle curvilinear form to an extreme complex curvilinear forms. By creating a sequence and documenting its process, it has enabled myself to understand the limitations of structure in the sort of angles and shape of the panels that is capable to create a flexible structure to withstand heavy loadings. By isolating the successful models, I would be able to identify the methodology to use any kind of material regardless of its structural strength, thereby would be able to apply this methodology of panelling to form curvilinear structures of any geometry.

In the end, these final outcomes were selected because of the options it provide to the type of materials which could be applied as an infill of the structural frame. By constructing the skeleton of the building, it is establishing a basic foundation of structural independence to subsequent addition of materials. All designs need a certain degree of structure if they are to function. Understanding how the basic structure respond to the environmental loads placed upon them is therefore an important part of design. This matrix aims to understand how materials react to various types of load which was formed successfully in the form of panels by Kangaroo, and how to design a suitable level of structure. This therefore develops an understanding of how form and material choice can be manipulated to achieve the desired design outcome.

SELECTION CRITERIA

CRITERIA DESIGN 65

A.1.Angled Skewed Panels from Lunchbox were used in the following definition, this is then wired to Kangaroo to test the structural capacity of the panels. Although few panels were form however the voids and random placing of the panels creates an interesting shadow effect. This series of parameters is capable of producing a curvilinear surface as close as the original.

A.2.Regular Panels from Lunchbox were used but were angled at 30 degrees in the following definition, similar structural capacity test were done on the panels. Interestingly the definition was able to generate and fill all panels but were angled and reshaped to support stress along its curved geometry accordingly. This has resulted in a unique frame system which are filled but is partially open at points of high tensile loads which could allow possibilities of ventilation.

A.3.Similar to A.2, regular panels from Lunchbox were used however the angle was left as it is. When similar structural capacity test was applied, all panels were created however the skeleton of the geometry became angled at regular intervals creating another interesting outcome similar to strips and folding. Likewise the voids between the frames

A.4.In this definition, the skewed panels from Lunchbox were angled at 10 degrees. Similar structural capacity test was applied, and all panels were created. However similar to the previous definition, the frame system of the panels becomes angled and position according to the points of high tensile loads. This too has created an interesting frame system.

This section aims to reverse engineer a selected project by replicating a definition as close to the original design as possible as well as develop it further to push beyond the boundaries of its original definition.

B.3 CASE STUDY 2.0

J. MAYER H. ARCHITECTS

FIG.7. GRIDDED STRUCTURE OF METROPOL

CRITERIA DESIGN 69

[9] Marcia Argyriades, “Metropol Parasol: The World’s Largest Wooden Structure”, Yatzer, (2011), <http://www.yatzer.com/Metropol-Parasol-The-World-s-Largest-Wooden-Structure-J-MAYER-H-Architects>[27August 2014].

[10] Marcia Argyriades, “Metropol Parasol: The World’s Largest Wooden Structure”, Yatzer, (2011), <http://www.yatzer.com/Metropol-Parasol-The-World-s-Largest-Wooden-Structure-J-MAYER-H-Architects>[27 August 2014].

Set within the backdrop of Medieval Spain, the Metropol Parasol is a device for revitalising the Plaza de la Encarnación, which was used as a parking lot and seen as a dead spot between more popular tourist destinations in the city. The Parasol contains a market, shops, and a podium for concerts and events. In its basement are the ruins of a Roman district, with mosaics and enough bits of wall to get a sense of what the houses were like.[9] While on the roof there resides a restaurant, a viewing gallery, and a winding, undulating walkway – a sort of pedestrian roller-coaster – from which to appreciate the views gained by rising slightly above the general roofline of the city.[10]

As discussed earlier, material performance and structure are an integral process, thus this section would explore the structural integrity of existing methodology such as the waffle grid. Illustrated in Fig 7, the structural integrity of the waffle is strong enough to support its own weight a well as additional loadings. Therefore this case study, it aims to reverse engineer this project and produce a definition which is similar to the original project as well as explore the limitations of the gridded waffle structure in its application to similar curvilinear geometries in the next section (B4). By establishing the definitions for both material performance and structure, it therefore establishes a foundation for the design proposal which the design can be easily manipulated to be structurally achievable and fabricated.

METROPOL PARASOL

STEP 1 Create a parametric geometry using Voussoir Cloud project tutorial, as it might create the curvilinear form of the geometry. Moreover by allowing it to be a parametric geometry, it would be able to change its form to produce interesting iterations.

STEP 2 If by creating a parametric geometry does not work, then the following step would be to create section/contours along a single curve. This step allows the form to be slightly parametric and controllable via grasshopper.

STEP 3 If geometry is unable to be created as parametric in grasshopper, the next step would be to construct a form in Rhino and reference to grasshopper.

REVERSE ENGINEERING PROCESS

REVERSE ENGINEERING CASE STUDY

Speculated process of creating definition similar to the original design.

STEP 4After referencing the geometry, similar to step 2, apply the following definition to slice the geometry into sections.

STEP 5If step 4 does not work, then the following step would be to create a bounding box around the geometry to create a divided surface in order to indicate places which the sectioning can occur.

STEP 6The last step would be to cull certain panels to mimic as closely as possible to the form of Metropol Parasol, thus the step would include culling certain panels to be extended downwards or rotating the angle of the panels.

CRITERIA DESIGN 71

REVERSE ENGINEERING CASE STUDY

PROCESS OF DEFINITION

STEP 1: By using the Voussoir Cloud tutorial to create the basic form of the pavilion, it is unable to create curved joints and the upper curved geometry of the form. Even by adjusting the input to the Voronoi component, it is still unable to produce a smooth curve jointing.

STEP 2: In this step, it attempts to create sectioning along a single curved surface and indicating the position of the grid to be placed, however as seen in the diagram it is unable to create a rounded edge geometry and remains as a regular angled section panels.

STEP 3: In this step, it uses the basic commands in Rhino to create a form similar to the design as the previous steps have demonstrated its inability to create a form similar to the pavilion. Similarly step 2 definition was wired to the geometry, however it was unable to create any surfaces.

STEP 4:In this step it defines the edges of the geometry to create the sections.

STEP 5:In this step it further isolated panels to mimic the panels which were pulled lower in the pavilion

FINAL OUTCOMEThe final outcome was similar to the pavilion project in term of its form, however it still greatly differs from the original design as some panels within the pavilion is covered, the base created is smoothed off whereas this exercise has failed to incorporate the walkways situated at the top of the pavilions. At this stage, I was only able to isolate the panels and move them to mimic a similar aesthetic. I would like to develop the definition further by creating definitions to locate the panels between the grids and develop lattice-like grids in the subsequent development.

CRITERIA DESIGN 73

FIG.8. METROPOL PARASOL OVERALL FORM

This section aims to explore the potential of the established definition from the previous case study and explore the range of limitations and constraints it might provide.

B.4 TECHNIQUE DEVELOPMENT

WAFFLE STRUCTURE

The Waffle/Gridded structure is a basic fundamental structural component used in Architecture as a cost effective construction method. Its structural integrity lies in its ability to span across long distance and depending on its connections’ to moment resistance, it has the ability to bear bending forces. In particular, its flexibility in design is endless as it can be easily fabricated without cost, construction and design implications. A structure as simple as this can be used as a bold stroke of architectural aesthetic and to provide structural support.

The following matrix is then developed around the basic established definition. This matrix would explore further possibilities in manipulating the basic definition to suit geometries which are similar to topography surfaces. Other design options such as panelling and creating different patterns with this basic definition would be explored to uncover the possibilities this humble definition could provide.

TECHNIQUE DEVELOPMENT

FURTHER EXPLORATION

CRITERIA DESIGN 77

A.1. COMPLEX CURVILINEAR GEOMETRIESThe following matrix would test the established definition from B.3. It moves away from basic geometries and test the availability of options for surfaces, this is done by manipulating the definition in creating patterns by inputting the cull tool and rotating the angle of grids.


A.2. TOPOGRAPHICAL SURFACEUnlike the previous matrix, this matrix explores the range of further manipulation to the grids by providing parameters such as series, triangulated panels, surface panels, angle and direction of panels.

CRITERIA DESIGN 79


A.3. CURVED SURFACES

CRITERIA DESIGN 81


In the following selection,it was done by selecting the most viable option in its fabrication process as well as the visual play with perception of a humble waffle/grid structure. The manner of conducting the matrix was done to explore the various options from rotating individual beams to inputting Kangaroo physics to understand the viability of its construction.

As we continually learn about the new opportunities computational process can offer to designers in creating a variety of forms which the slight change of input, we should not neglect the structural integrity embedded within the design process. Before the invention of the modern computer, designers had little opportunity to stray away from logical and sequential process of design. They often determine the outcome of any design solution or project in the context of the real world. As a result, much of the emphasis has always been placed on the decisions and outcomes produced during the initial stages of the design process. However the dangers of neglecting and shifting focus away from material performance and structure would create problems rather than solutions in this new computational era. Thus the matrix itself aims towards exploring its variation while the final selection were based not just on aesthetic appeal but also on whether such forms could be achieved realistically.

These selection would then provide a basis for the next step of prototyping to test in real actual conditions, therefore the last selection criteria was to select varying angles of the grid from extremities seen in A.1. to basic regular angles.

SELECTION CRITERIA

CRITERIA DESIGN 83

A.1.This was done by adjusting the angle of the x and y grids as well as inputting series in the X grid to create a patterned framing. This was selected as the geometry creates an illusion of panels moving in a single direction from one view while another view would be able to observe the panels going across each other. It creates a wave-like movement to the simple geometry.

A.2.1In this series of matrix, the option for creating panels was derived from the previous case study where Kangaroo was wired to the geometry to create panels in areas which are able to support structural loading. This has resulted in a form which harmonies panelling, structure and material performance.

A.2.2In this series of matrix, the basic parameters of changing the rotational angle of either X or Y axis and the degree of skew is explored. However this particular selection incorporates series to create a pattern resulting in a similar wave like movement which creates opportunities to lay across a flat site to create a dune-like topography surface.

A.3.This series of matrix explored the direction of the X and Y grids, which this selection explored the direction of the X grid to create a contour like panel which suggests possibilities of fabrication and jointing to maintain a curvilinear form.

In the fabrication process, Grasshopper and Rhino were used to unroll the surfaces constructed in the earlier iterations. However issues arises originating from its connection joints and the construction of the model itself. In the following prototypes these issues would be explored and investigated by using traditional model making to understanding the structural nature of grids/waffle structure and to develop solutions to be mapped into Grasshopper to overcome structural constraints.

These prototypes were created to explore the structural issues with building with curvilinear forms similar to a topography surface and to understand whether such structure when applied with thin material thickness, could still maintain its shape and span.

B.5 TECHNIQUE PROTOTYPES

TECHNIQUE PROTOTYPE

CRITERIA DESIGN 87

This prototype tested the structural performance of skewed angled grids to test its real performance capabilities. Several issues arose from its fabrication process due to the awkward angles of the intersecting grids and the thinness of the structure. To overcome such problems, the structure was given more definition to allow the intersection of the jointing to become more profound. However as shown in the following photos, the model was only constructed halfway due to the high tensile stresses at the curve resulting in the breaking and failure of the model.

Although the prototype ended in a failure, however the model was structurally rigid and was able to replicate a similar surface to the original definition.

PROTOTYPE 1FAILED OUTCOME

TECHNIQUE PROTOTYPE

CRITERIA DESIGN 89

Following up the previous fabrication, the next model seeks to address the issue of thickness and connection joints. In this model, it took on a different approach by minimising the thickness of the grids and using Rhino to construct the joints via Boolean difference tool. This is done to create a more convenient jointing as the thickness of the material conflicted with the definition of the joints definitions. Thus this approach was taken to identify whether the error of the previous case study was a result of material thickness rather than the high tensile loadings on its curve.

This was a successful outcome in creating a rigid frame as well as provided the basis of the fabrication process for the upcoming design proposal.

PROTOTYPE 2SUCCESSFUL OUTCOME

TECHNIQUE PROTOTYPE

CRITERIA DESIGN 91

This prototype was done to further explore the issue of high tensile forces on extreme curves. Thus to resolve such structural issues, pieces of the grids were fragmented to create gaps. This has allowed the curve to finish more smoothly and provided a more finished product. This was done using traditional model making of leftover model parts and fragmenting frames into 2 parts to allow an easier jointing without breakage. This has created opportunities to be used in the grasshopper definition to exclude parts of the surfaces to create a visually interesting frame work. However when developing the earlier definition to subtract surfaces, it could only subtract randomise areas and not at places where it should be. This created more problems with the established definition, and could no longer be further developed to remove certain surfaces selectively.

PROTOTYPE 3FURTHER EXPLORATION

TECHNIQUE PROTOTYPE

FIG.9. GRIDSHELL STRUCTURE OF MANNHEIN

[1] “Sculpture and architecture combined: Gridshell at the Selinunte Archaeological Park”, Italian Association of Architecture and Criticism, (2012), < http://www.floornature.com/architecture-news/news-sculpture-and-architecture-combined-gridshell-at-the-selinunte-archaeological-park-8233/ > [22 September 2014].

CRITERIA DESIGN 93

In the exploration of previous prototype, it came to attention of its structural similarity to the Gridshell structure. Gridshell is a mechanism with only one degree of freedom. When the structure is erected into its doubly-curved shape, the forces would transform the square grids into similar parallelograms causing the diagonal lines through the nodes to change. The double curvature of the design gives the membrane strength and stiffness. One such successful construction is the Mannheim Pavilion developed by Mannhein, Germany, the form finding process of the Mannheim Pavilion involved a hanging chain model. This method allowed architects to develop architectural spaces that fit any plan giving a “sensible structure”.[1]

By coming into contact with this recent research, this has enabled myself to develop and change from the previous definition further in my design proposal to enable a fully flexible designed structure and overcoming previously stated issues such as connection joints and failures at high tensile zones. Weaverbird was used to create an interlocking grid pattern for additional stability. Although no prototype test have been carried out by this new definition, however existing case study such as Mannhein Pavillion has proven its structural capabilities.

GRIDSHELL STRUCTUREDIGITAL EXPLORATION

THE ARGUMENT

The technique uses a humble and basic parametric structural design which firstly allows comprehension the structural and material capabilities of its realistic fabrication. However the key exploration of technique in the previous cases were mostly done on exploring the viability of bending over extreme curved surfaces. This was done to emulate an organic form with some structural integrity, suitable towards the brief and the site. This was creating a skeleton for its landform shaped by the wind and water to provoke user’s perception of space and time. This ever changing landscape transforms the visual and interactive experience of the users to become aware of their surrounding context.

B.6 TECHNIQUE PROPOSAL

[1]“What is Lagi”, Land Art Generator Initiative, (2012), <http://landartgenerator.org/project.html>[24 September 2014].

TECHNIQUE PROPOSAL

FIG.10. PANORAMA OF SITE IN COPENHAGEN FIG.11. LITTLE MERMAID STATUE ACROSS SITE

COPENHAGEN CONTEXTThe site, Refshaleøen, originally an island in its own right but now annexed to the larger island of Amager, is a former industrial site in the harbor of Copenhagen, Denmark. For more than a hundred years, it was home to the shipyard Burmeister & Wain which closed in 1996. In its present day context, the site has become a wasteland with overgrown weeds, overlooking the scenic waterfront of the city. The vast openness of the existing site with no constraints and dictated program set by LAGI, created endless possibilities to which the direction of the project could undertake. Thus this proposal identified the key site attributes of Denmark’s social culture and values, humanity and convenience, to be the main consideration in this proposal.

Copenhagen’s master plan revolves around these core attributes in providing spaces suitable for human habitation, distribution of business centres and convenient transportation thus diluting the purpose of a city from a commercial district to a venue for leisure. Another attribute of this site is its distinct location from across the Little Mermaid statue which provided an existing ferry terminal. Lastly to address the main value of LAGI which is the educate the public about climate action and evoke contemplative thought through the interaction of the design would become the main issues this proposal seeks to intervene and respond.[1]

LAGI SITE BRIEF

CRITERIA DESIGN 97

FIG.11. LITTLE MERMAID STATUE ACROSS SITE

DESIGN PROPOSAL OVERVIEWIn this design, it seeks to firstly provide a continuation of the story from the location of the Little Mermaid statue to the site. As tourist would embark on its ferry ride to the site, the ferry terminal would be maintained as one of the main programs of the site and a ship museum would be added to celebrate its once glorious past as the largest shipyard industry and Denmark’s rich Viking history.

As mentioned earlier, Denmark’s social values revolves around designing for humanity and convenience. By maintaining the ferry terminal, it is providing an additional mode of transportation for traveling across the bank. While conducting a secondary research, in this existing site context contains mainly of offices, restaurants and occasional hosting of music events. The apparent lack of landscape in this industrial wasteland provided a basis to which the direction of the project would head into, the site shall be shaped and contoured to inject vibrancy for the existing users of the site. A landscaped park is introduced in consideration for its human users as studies have shown the effective results in reduced stress and tension for human psychological health. This is done too in consideration to the LAGI objective in raising awareness on our impacts towards the environment.

Lastly renewable energy solutions such as a geothermal pond, wind generators and wave generators would be used to take advantage of the site’s surrounding ocean and Denmark’s natural availability of winds. Water became a recurring theme in differentiating Copenhagen, thereby this has further inspired a series of exploration in testing the interaction of wind and water acting on the site as well as the creation of human experience of being submerged in an underwater setting. Thus raising the call for awareness to the possibilities of a sinking city similar to Venice.

FIG.12. AERIAL VIEW OF SITE IN ITS CONTEXT

TECHNIQUE PROPOSAL

END PRODUCT OF WATER TEST

CRITERIA DESIGN 99

Suminagashi or “floating ink” is an Ancient Japanese Art which is the process of marbling plain paper with water and ink to transform it into something vibrant and colourful. The process of this method is done by floating oil based ink on water and then transferring the end product onto a water absorbent paper. This artistic method influenced the direction of developing a proposal for this design as this method becomes a visual interpretation of the interaction between wind and water study. In the adaptation of this artistic form, the variable of wind was included to generate the direction of waves formed. In addition to its traditional process, studies were conducted using a mock up model of the site to understand the predominant direction of waves. In the later series, the location of the programs became its main criteria to understand the flow of water reacting to different wind directions. In the following section, it illustrates a series of exploration done using this method to understand the relationship between wind and water in a waterfront city of Copenhagen.

SUMINAGASHI

FIG.1. WATER TEST USING MOCK UP OF SITE FIG.3. APPLICATION OF WIND TO WATER TEST

FIG.2. DRIPPING INK ONTO THE LOCATION OF PROGRAMS FIG.4. APPLICATION OF HIGHER WIND SPEED TO WATER TEST

TECHNIQUE PROTOTYPE

TIME LAPSE OF WATER MOVEMENT

CRITERIA DESIGN 101

The movement of water generated by wind creates boundaries in which there were higher wind velocities than the middle. This was an interesting exploration as it creates different forms which were unpredictable.

TECHNIQUE PROPOSAL

WIND & WATER STUDYThis interaction was studied due to the interesting behaviour of the wind and water has on each other, which would inspire the resultant approach of the proposal. Although the predominant wind comes from the West, however it accounts for 24% of the yearly average. Thus the performance test conducted on the site is done with winds coming from the NW to SW and lastly SE using a primitive fan to simulate different velocities of wind speeds. This selection was done as it would account towards collecting a total of 57 % of yearly wind.

USING FAN TO SIMULATE WIND PATTERN

CRITERIA DESIGN 103

WIND & WATER STUDYThis series of exploration tested from wind speeds varying from gentle breeze to turbulent stormy weather-like conditions. The location of programs remained the same while the position of the fan changes according to the direction needed.

North West wind direction from gentle breeze to violent turbulent wind speeds

South East wind direction from gentle breeze to violent turbulent wind speeds

South West wind direction from gentle breeze to violent turbulent wind speeds

TECHNIQUE PROPOSAL

LANDFORM SELECTION

As previously stated, the dominant wind comes from the West, however this series of generation selected wind images coming from the SE, SW & NW. A prominent pattern emerges when these images were overlaid, forming zones in which constant wind flow was found and zones of zero air flow. In the series of form finding for the resultant landform, the direction of extrusion of the surfaces and the smoothness of gradient were played. Eventually smoother landforms were selected as rougher landforms began to resemble caves and harsh environments not suited for human habitation. Extrusion of landform was then further explored to locate zones for programs and to allow water to enter the site, thereby allowing the generation of wave energy.

FORM FINDING

CRITERIA DESIGN 105

APPLICATION TO GRASSHOPPERThis series of exploration played with the types of extruded surfaces and the gradient of landform. This was done to explore a variety of options which could be used for the design proposal.

TECHNIQUE PROPOSAL

LANDFORM DEVELOPMENT

Developing from previous selection, the extruded hills of the landform then became the positioning and general form for the programs on site. The further development of landform was done through rhino as it allowed a more controllable method of shaping the landscape accordingly to ripple surfaces. Design of form was further developed from earlier wind & water test images where the delicate patterns of ripples inspired the form of the surface to which the gridshell definition could be later mapped upon. This was done to treat the overall building and site as a landform to create a more harmonious design allowing for separate definitions to develop further.

DESIGN DEVELOPMENT

CRITERIA DESIGN 107

DESIGNING FOR CLIMATE

This design would use wind turbines incorporated in its facade, wave generators nearer to the water bodies to take advantage of the existing context and a geo-thermal pond to absorb solar energy from the sun. Due to earlier studies of wind and water interaction, the shape of the pavilion and location of wind turbine panels are determined by the direction of the winds. Due to time constraints, the model was not processed further using Ladybug to further test the wind patterns influence on the positions. This aspect would be explored further in conjunction to the utilisation of wave generators in the structural design of the buildings. At the moment wave generators works when electricity generators are placed on the surface of the ocean, thus the current allocation of these generators are beneath the ship museum where the ocean currents could be carried into the water bodies in the site and travel out back into the ocean. However after further contemplation, it would be wiser to incorporate wind and wave elements together in the structural design. This aspect would be further explored in the later sections.

SITE PLAN 1: AERIAL SITE PLAN OF PROGRAMS

TECHNIQUE PROPOSAL

DESIGNING WITH TIME

EROSION

In this design, the factor of time was heavily considered in the arrangement and selection criteria of landform. This was introduced in the form of site erosion by constructing the water bodies out of rocks. Thus by alluvia movement, it would gradually erode the rock surfaces and carry sediments along its water body path. This results in a meandering movement which is shown in Site Plan 3 where the hypothesized erosion would occur. Time is considered heavily in this design proposal to achieve a changing landform at the mercy of Mother Nature. This is to reinforce to idea of human interaction to our built environment influencing climate changes which thereby resulting in higher water levels and more turbulent storm conditions. These conditions increases the rate of erosion and the continually changing visual impact of the landform would achieve LAGI’s goal in stimulating public awareness to the call of such movement.

SITE PLAN 2: AERIAL SITE PLAN OF PROGRAMS SITE PLAN 3: CONSIDERING EROSION OF SITE

CRITERIA DESIGN 109

GROWTH

In addition to a changing landscape, the idea of natural growth of plants and weeds over the structure is being encouraged with the facilitation of gridshell structures. This design revolves strongly upon the idea of nature reclaiming its space and land from our built environment. This is a common phenomenon observed in abandoned factories where weeds and trees overtook the building. Although the position of the wind turbines would implicate contradictory issues with the facilitation of natural growth, however by conducting further wind and water pattern in ladybug, it would position these generators in the best position while not within the vicinity of natural growth.

Likewise the idea of time and natural growth were considered to allow a continuity of landform to extrude downwards and upwards, thereby creating an impression of a hidden building within a hilly landscape.

SITE PLAN 3: CONSIDERING EROSION OF SITE SITE PLAN 4: CONSIDERING GROWTH OF NATURAL LANDSCAPE OVER STRUCTURE

TECHNIQUE PROPOSAL

Copenhagen planning revolves around the social values of designing for human users. This has provided convenience in their lifestyle, transportation and work. Similarly this design proposal is proposing a design revolving around the idea of landform created by wind and water conditions, this is done to provide vibrancy and a place of tranquillity for its office users in its neighbouring context. While designing for humanity may seem as more approachable, however to solely design with an anthropogenic perspective would neglect the impacts it would have on its environment. Thus the human experience in this landform should stimulate and remind its users of their involvement in our built environment and the consequences of such actions.

These ideas came in the form of designing with extremities in the wind and water study. While wind and water in their docile conditions would provide benefits to human such as power generation and subsistence, however on its polar extreme, having both in their most turbulent conditions would potentially cause fatal damages and natural disasters. Thus the human experience in these grid cages and landform would constantly change according to the mood of these weather conditions. As previously discussed, the landform would erode and change its formation through erosion and natural growth. However the integration of wind and wave generators in the surfaces of the gridshell is done with the intention of creating an ever changing human experience. The shadows cast on its users creates an underwater environment, and according to the velocity of the wind turbines, it would change the shadows cast from gentle serenity to turbulent violent waves.

These changing conditions of mother nature becomes a motivation in the development of the project in the later stages. At its current infancy stage, these ideas are still not well developed in terms of its inclusion of wind and wave generators in its parametric design. Therefore this would be further explored in the next stage of the design process.

DESIGNING FOR HUMANITY

CRITERIA DESIGN 111

INTERIOR RENDER PERSPECTIVE OF SHIP MUSEUM WITH TEMPORARY DISPLAY OF SHIPS

EXTERIOR RENDER PERSPECTIVE OF ENTRY TO SHIP MUSEUM WITH PERMANENT DISPLAY

TECHNIQUE PROPOSAL

The programs and direction of the project proposal targets towards addressing social and cultural values of unique to Copenhagen, this gives the design a form of identity and an intrinsic connection to the locals to comprehend the readability of the design. In doing so, this would provide a design that is indiscriminate to all users and would help in provoking interaction between users and design to understand the relationship between human and environment and to become aware of their impact on the environment.

There were several issues which arose from the limitation of time, such as inadequate further exploration of landform and design in the water and wind test, the integration of wind and wave generators in the parametric design of the surface and the under developed landform exploration which selected smoother gradients while neglecting the beauty in the delicate rippling movements of the wind and water test.

I would hope to further address these issues in the remaining weeks, and hope to fully achieve the objective of LAGI while still addressing the site to its local cultural identity.

CONCLUSION

CRITERIA DESIGN 113

INTERIOR PERSPECTIVE OF FERRY TERMINAL WITH WIND TURBINES USED IN SURFACE

EXTERIOR PERSPECTIVE OF FOOTPATH BETWEEN WIND FACADE

B.7 LEARNING OBJECTIVES & OUTCOMES

OUTCOMES

The feedback from the interim presentation critique targeted towards the insufficient development of the definition which were established rather late into the week. This has reflected so in the presentation as well as the critique’s comments. However this has instigated a series of thinking of developing the design proposal further by improving the gridshell definition to include panels within the structure to demonstrate the wind turbine movement.

Additionally the wind & water studies’ influence on the landform were weak and the feedback on developing further would be to note the delicate details of the ripples form on the images and whether these could be incorporated further into the landform with more depth. In particularly the failure to test the actual prototype in the similar wind & water study was highlighted, and these comments particularly were helpful in enabling myself to rethink about the selection criteria I initially done up for the landform selection as well as introducing further testing using both physical and parametric computation to visually understand the best position for the incorporation of both wind and water generators in the wind and water studies. Thereby in the following explorations, I would start testing the extents of the new definitions I’ve established and push further the explorations of the generative process to create a parametric design.

LEARNING OBJECTIVES

Studio Air was set up with a number of objective primarily targeting towards developing critical thinking and introducing novices with no computational background to the new era of computational architecture. I believe that by the 9th week, I have achieved some of the objectives which Studio Air set out to teach.

Objective 1: “Interrogat[ing] a brief” by considering the process of brief formation in the age of optioneering enabled by digital technologies.

In the course of 9 weeks, I believe that I have achieve a deeper understanding of computational design and the generative process. As this was the primary goal for Studio Air and it was taught through the course at different stages, this has allowed myself to understand the option of generating a variety of designs and then select suitable designs responding to both aesthetic and logical reasoning. The availability of providing options towards our design and formulating selection criteria becomes valuable in the industry when dealing with clients within a limited time frame.

Objective 3: Developing “skills in various 3-D media” and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication.

Although Studio Air is taught and based heavily on computer software, Rhino and Grasshopper, however the intrinsic relationship between the designer and basic model making was not neglected. In exploring the reality of the designs made by Grasshopper, I was able to understand the suitability of schemes and further enhance my selection criteria. By doing so, it has further evolved my critical thinking by analysing architecture not in its aesthetic form but in the unpredictability factors which continually evolves the design such as the factor of time.

Objective 5. Developing “the ability to make a case for proposals” by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourse.

Discourse in architecture is still a confusing and profound topic due to the multi-disciplinary nature which Architecture is. However this has not hindered my research as it allowed myself to further understand the implications of every component in the design process such as understanding the intrinsic properties of material systems and how architecture could be utilised to provoke arguments and thoughts between varying groups of users.

This section illustrates further exploration with Grasshopper. This section would include the various explorations done to kick-start the project proposal by using the definition established from earlier case studies and evolving simple definitions into a more complex application.

B.8 ALGORITHMIC SKETCHBOOK

ALGORITHMIC EXPLORATION

IMAGE SAMPLER APPLICATION

The following matrix was developed and evolved from the basic image sampler definition by extruding contours based on the water images pixels it sampled.

Similarly a matrix was generated to display a list of possibilities the direction of the project could head into. Parameters such as pixels selection, smoothness of contours and depth of extrusion were changed to explore the possibilities of landforms that could be used in the project.

WAFFLE STRUCTURE APPLICATION

Further exploration with waffle structure was applied by evolving its form to a 3 Dimensional geometry to emulate the effects of water surfaces.

Many implication arose due to its inability to map Z planes, thus it became difficult to work with as it could be map surfaces.

Another implication arose was its material thickness as this was predetermined by the original geometry. Thus when external commands were input to adjust the material thickness, the program crashed and hindered the design process.

EXPLORATION

CRITERIA DESIGN 119

B.9 REFERENCES

BIBLIOGRAPHY

Cilento, Karen, “Wood Pavilion/ Wing Yi Hui + Lap Ming Wong”, ArchDaily, (2010), <http://www.archdaily.com/?p=68446> [25 August 2014]


Maincor, John, “Material Thinking”, ArchitectureAU, (2013), <http://architectureau.com/articles/new-developments-in-architectural-materials-questioning-myth-making/> [accessed 27 August 2014]

Hensel, H., Michael, “Performance-oriented Architecture”, Makademisk, 3, 36-56. <http://www.suckerpunchdaily.com/2013/05/03/collateral-intricacy/#more-29454> [11 August 2014]

“Textile Hybrid M1: La Tour de l’Archite”, University of Stuttgart, (2012), 3, 36-56. <http://icd.uni-stuttgart.de/?p=7799>[accessed 27 Aug 2014].

Nicky, Richard, “Woodskin: The Flexible Timber”, ArchDaily, (2013), <http://www.archdaily.com/362951/woodskin-the-flexible-timber-skin/#more-362951>[27 August 2014].

Argyriades, Marcia, “Metropol Parasol: The World’s Largest Wooden Structure”, Yatzer, (2011), <http://www.yatzer.com/Metropol-Parasol-The-World-s-Largest-Wooden-Structure-J-MAYER-H-Architects>[27August 2014].

“Sculpture and architecture combined: Gridshell at the Selinunte Archaeological Park”, Italian Association of Architecture and Criticism, (2012), <http://www.floornature.com/architecture-news/news-sculpture-and-architecture-combined-gridshell-at-the-selinunte-archaeological-park-8233/ > [22 September 2014].

“What is Lagi”, Land Art Generator Initiative, (2012), <http://landartgenerator.org/project.html>[24 September 2014].

FIGURE LIST

1. Maincor, John, “Material Thinking”, ArchitectureAU, (2013), <http://architectureau.com/articles/new-developments-in-architectural-materials-questioning-myth-making/> [accessed 27 August 2014]

2. “Textile Hybrid M1: La Tour de l’Archite”, University of Stuttgart, (2012), 3, 36-56. <http://icd.uni-stuttgart.de/?p=7799>[accessed 27 Aug 2014].



5. Nicky, Richard, “Woodskin: The Flexible Timber”, ArchDaily, (2013), <http://www.archdaily.com/362951/woodskin-the-flexible-timber-skin/#more-362951>[27 August 2014].

6. Nicky, Richard, “Woodskin: The Flexible Timber”, ArchDaily, (2013), <http://www.archdaily.com/362951/woodskin-the-flexible-timber-skin/#more-362951>[27 August 2014].

7. Argyriades, Marcia, “Metropol Parasol: The World’s Largest Wooden Structure”, Yatzer, (2011), <http://www.yatzer.com/Metropol-Parasol-The-World-s-Largest-Wooden-Structure-J-MAYER-H-Architects>[27August 2014].

8. Argyriades, Marcia, “Metropol Parasol: The World’s Largest Wooden Structure”, Yatzer, (2011), <http://www.yatzer.com/Metropol-Parasol-The-World-s-Largest-Wooden-Structure-J-MAYER-H-Architects>[27August 2014].

9. “Sculpture and architecture combined: Gridshell at the Selinunte Archaeological Park”, Italian Association of Architecture and Criticism, (2012), <http://www.floornature.com/architecture-news/news-sculpture-and-architecture-combined-gridshell-at-the-selinunte-archaeological-park-8233/ > [22 September 2014].

10. “Competition”, Land Art Generator Initiative, (2012), <http://landartgenerator.org/competition.html>[24 September 2014].



PART c DETAILED DESIGN

THE PROJECT

While reflecting on the interim feedback, in this project development it would attempt to resolve and create a more parametric definition in both the form and the structure of the resultant design. However the concept of designing with time and erosion would be further emphasized in Part C to further explore and inspire the possibilities of landform generation. This too responds to LAGI’s objectives and would provoke the users conception of time and space.

C.1 DESIGN CONCEPT

THE CONCEPT

DESIGN CONCEPT

LAGI’s main objective is to use art as a medium in order to create movements and stimulate creative dialogue. It has been proven by research that art is a powerful medium and by undertaking a critical approach to the problems of energy use and production, LAGI itself has helped to open the public eye to the severity of the problems facing us. The time is now for artists to go further and take an active role in solving the problem through their own work: “solution-based art practice”. This key objective to integrate art with energy solutions is what I believe would help to refine decision making in the later selection criteria of the landform and the development stages integrating wind energy into its form.

This project started by using Japanese art form as an inspiration, which has resulted in generating a studies series of an ever changing landscape. This would transform the visual and interactive experience of the users to become aware of their surrounding context. Additionally, by using the surrounding context of wind and water into the landform, it has generated interesting studies to which how the landform changes with time. This concept would achieve LAGI’s objective in educating the public on the severity of our existing conditions by using the concept of erosion and eventual doom of being submerged underwater.

It utilises two separate definition, one for shaping and rethinking the landscape of the site while the other is for integrating energy solutions into this art form. The resultant technique developed looks upon the site in both macro and micro perspectives in order to address the unique site attributes of Copenhagen while providing detailed structural fabrication solution to implement this technique. In the series of diagram, it describes of the strategies which the project would undertake in order to solidify the concept.

The program of the site has been simplified to a park, pavilions and ferry terminal. By eliminating the program for a ship museum, it has reduced the complexity of the interior design and eliminated complications which conflicted with the idea of time and erosion of the site.

DETAILED DESIGN 127

HISTORICAL CONTEXTAlthough the brief focuses heavily upon stimulating thoughts through art, however it is very vague and overlooked upon the unique site attributes of Copenhagen to give the form a sense of identity. The view from the little mermaid in particular drew inspiration to create and shape forms based on ships in its oceanic setting as Copenhagen formerly was known for.

TIME & EROSIONThe finalisation of the technique for the landform then seeks to explore further the possibilities of implementing the definition on the entire site to identify zones in which wind forces are predominant. Ladybug and previous wind and water study from Part B were used to create a more complex site analysis and to shape the landform.

FORM FINDINGFollowing which, this would then shape the peaks of the highest wind forces all year round into the imagery of ships’ hulls capsizing into the water.

STRUCTURAL FABRICATIONLastly, these zones as identified in the previous few diagrams would be integrated with the wind generators panels. This is done to also integrate an underwater experience for the users on a micro scale. The panels themselves and the sizes of the opening would be explored in the later generative studies to find the best approach in creating an underwater experience. Moreover the materiality of the panels would be explored to understand the visibility and types of views it creates for the users.

DESIGN CONCEPT

DEVELOPMENT STUDIES ON LANDFORM PATTERNS

DETAILED DESIGN 129

DESIGN CONCEPT

DEVELOPMENT STUDIES ON LANDFORM PATTERNS

DETAILED DESIGN 131

After running through another series of generative studies using Weaverbird, it has produced a series of landforms which integrates the details of the earlier wind & water studies and could be seen more clearly in the form of wind directional patterns affecting landform.

Among these developmental studies, the parameters of landform depth remains the same to generate less massive landform outcomes which could potentially deter users from the site. Parameters for its rotational angle remains constant as well as earlier studies with its rotational angle showed no visible changes. Instead the gradient of the image sampler was changed to determine a continuous process which could then be visually analysed.

The final selection of landform reused previous selection criteria from Part B, in order to harvest the dominant winds coming from the West as well as South East, South West & North West for a more efficient wind harvesting. As previously noticed that a prominent pattern emerges when these images were overlaid, forming zones in which constant wind flow was found and zones of zero air flow. Eventually a form was selected based on these criteria for a more effective wind harvesting system as well as to promote erosion of landscape to reinforce the objectives of LAGI.

FORM FINDING

DESIGN CONCEPT

DESIGNING WITH TIME & EROSION

EROSION PROCESS

The idea of incorporating time and natural growth into the landform were considered to create a series of diagrams to reflect the process of erosion. As the landform changes according to the influence of wind and its surrounding water context, the landform starts to shift and split into two island where the pavilions would be and eventually reach the end point of slowly being submerged into the water-scape.

DETAILED DESIGN 133

EROSION PROCESS

The idea of incorporating time and natural growth into the landform were considered to create a series of diagrams to reflect the process of erosion. As the landform changes according to the influence of wind and its surrounding water context, the landform starts to shift and split into two island where the pavilions would be and eventually reach the end point of slowly being submerged into the water-scape.

DESIGN CONCEPT

FORM FINDING

The resultant position of the pavilions were then determined by the highest peaks of the landform which would be able to collect and harvest wind all year round. The form is then shaped and moulded to resemble an abstracted scenery of ships which could then be viewed from the Little Mermaid as a continuation to its narrative.

These pavilions are then integrated with energy solution which is the wind generator panels to capture and harvest wind. A quick grasshopper calculation was connected to the original definition to understand how much energy could be collected on a surface and it showed that a typically surface could generated up to 1289.3 kW of energy. This is sufficient to operate an average household energy consumption.

DETAILED DESIGN 135

The eventual form is then shown in the aerial perspective shown above to understand how it sits upon the site. These design would then function as pavilions for park users as well as ferry users who communicate from the Little Mermaid to the site.

This park was designed to respond to Copenhagen’s attributes whereby the locals enjoy basking in the sun due to their long winter seasons. This was to provide another place in which the locals could enjoy the short summer seasons while adding vibrancy to the industrial site of Refshaleøen.

DESIGN CONCEPT

DEVELOPMENT STUDIES OF FORM STRUCTURE

PANEL STUDIESThis series of studies were conducted to explore the variety of options which the panels could be positioned along the surface. Attractor points were used to determine the openings and sizes of the panels, this was included in the studies to be used in conjunction with Ladybug to control the sizes of the panel in order to provide a more interesting shadow play for the users. However it was decided to place the points at the lower portion of the surface instead to prevent the panels from hitting against the users. Randomised positioning were studied as an aesthetic outcome, this was not used in the final form of the design as the randomised positioning hindered the efficiency of wind generated energy.

DETAILED DESIGN 137

PANEL STUDIESThis series of studies were conducted to explore the variety of options which the panels could be positioned along the surface. Attractor points were used to determine the openings and sizes of the panels, this was included in the studies to be used in conjunction with Ladybug to control the sizes of the panel in order to provide a more interesting shadow play for the users. However it was decided to place the points at the lower portion of the surface instead to prevent the panels from hitting against the users. Randomised positioning were studied as an aesthetic outcome, this was not used in the final form of the design as the randomised positioning hindered the efficiency of wind generated energy.

DESIGN CONCEPT

FINALISED TECHNIQUE DIAGRAM

DETAILED DESIGN 139

DESIGN CONCEPT

ENVISAGED CONSTRUCTION PROCESS

DETAILED DESIGN 141

TECTONIC FOCUS

The main core construction element to be explored in this section of the journal would be on the connection between the wind generator panels to the different layers of structure and how it would be fabricated in order to produce a fully flexible structure to accommodate the unique landform gradient. These would be tested by exploring the different types of connection joints, materiality of panel surfaces and its structural flexibility.

C.2 TECTONIC ELEMENTS & PROTOTYPES

TECTONIC ELEMENTS & PROTOTYPES

MAIN STRUCTURAL SYSTEMS

DETAILED DESIGN 145

GROUND TO MAIN SUPPORT SYSTEM

This system is developed in consideration of the unique topography of the site which the pavilion bends and conforms along. This would become one of the main structural support system to anchor the pavilion into the site before any other consideration about the main fabrication or construction of pavilion can take place.

The bottom chord of the structure would follow along the gradient of the site and would be anchored into the ground using bolts and nuts system to allow for some form of flexibility to allow the pavilion structure to bend accordingly.


PRIMARY STRUCTURE PROTOTYPE 1

DETAILED DESIGN 147

SPECIALISED JOINTSIn the first prototype of considering about how the primary structure would be fabricated and constructed, the first trial uses grasshopper mapping of ball joints and arms which conforms specifically to the angle needed for structure to bend in two direction.

However there was a large implication with the price and feasibility of creating individual joints that were unique to the position of the structure would result in an expensive form of construction. Thus this idea was improved further to simplify the types of specialised joints further, so that it can be made more easily and cheaply.

PHOTOGRAPH OF PROTOTYPE 1 USING 3D PRINTING

DETAILED DESIGN 149

DETAILED DESIGN 151

SIMPLIFIED JOINTSFollowing upon prototype 1, this prototype has simplified and resolved the problems of creating unique joints while being able to mass produce these joints more efficiently and cheaply. In order to overcome the problem of two different directional forces, the joints made are separated into two to allow the structure to bend freely according to its curved surface. Similarly these joints were mapped onto the intersections of the two structures to create a slightly more specialised joint which has the anle suited accordingly to the specific bending direction.

PHOTOGRAPH DOCUMENTATION PROCESS OF MAKING PROTOTYPE 2

DETAILED DESIGN 153


SECONDARY PLATE STRUCTURE

The structure illustrated below is the overall connection detail for wind generators to be connected to the primary structure via a set of secondary plate structure. This would be further explored in a series of fabrication prototypes to test 2 aspects of this system; 1) The connection between wind panels and the secondary plate structure, and 2) Creating a flexible secondary plate structure which conforms to the curvature of the primary structure.

DETAILED DESIGN 155

PLATE CONNECTION FOR WIND GENERATORSAfter the primary structure has been established, the plates which act as a secondary structure would now be able to bend accordingly to the curvature established by the primary structure. This prototype would then explore how this secondary structure would be connected to the wind generators in order to transfer energy to the battery as well as to be able to support the load of the wind panels. The first series uses simple interlocking joint connection to first establish and understand how the potential connection of the joints would be like before improving it further. While the second prototype series played with the using poles to allow the panels to freely spin without affecting the connection

PHOTOGRAPH DOCUMENTATION OF PROTOTYPE FOR SECONDARY STRUCTURE


CONNECTION STRUCTURE PROTOTYPE 1

The main implication to improve upon next would be to allow for the panels to become free spinning and to allow for the connection to run through the bolts to connect to the primary structure while not affecting the wind panels movement.

However by using interlocking joints it allowed the panels to be able to connect to the secondary structure, this idea was used to detail the structural connection illustrated earlier as it could then be utilised to create the overall structural system for connection joints.

DETAILED DESIGN 157


CONNECTION STRUCTURE PROTOTYPE 2

In this prototype, it aimed to allow the panels to become free spinning without being affected by the interlocking joints. Pipes were inserted through the panes to allow for free movement as well as for the wire to connect to the generator within the wind panel.

DETAILED DESIGN 159


SECONDARY PLATE STRUCTURE PROTOTYPE

In this prototype, it aimed to create a flexible secondary plate structure which could bend accordingly to the curvature of the primary structure. To a certain extent, the prototype was successful in allowing for such flexibility. However the poor material choice of choosing board rather than a more ductile material like card could not allow the joints to bend accordingly to the marks indicated.

This has been revised in the final model to be lase cut on ivory card to test the ability of the material to bend according to a curved structure.

DETAILED DESIGN 161


WIND GENERATOR PANEL

DETAILED DESIGN 163

WIND GENERATOR PANELS

In order to create a free spinning panel, the panels are made to be thinner on one side to allow the wind to catch onto. This resulted in a bent surface on each panels, thus to allow for such fabrication marks were scorched onto the surface to allow the material to bend slightly in order to create such a shape. These can then be inserted with a pole that can be connected to the structures.

PHOTOGRAPH DOCUMENTATION OF PROTOTYPE MAKING FOR WIND PANELS


TESTING WITH MATERIALITY

Different shapes of panels were tested by placing each panel under a light source to determine the kind of shadows it created. This was done to achieve an underwater effect for the users to create an impression of being trapped underwater. Moving along the series of exploration, different sorts of materials were then tested to explore the different kinds of shadows it would create. In the end, a highly reflective but translucent material was considered to be used in the panels of the wind generators after testing with the metallic surface panels and the panels with tracing paper. By including a level of transparency in the panels, it would allow the users to be able to continue the underwater water experience in terms of visual perception from within the space to the exterior. The exterior sceneries would become blurred similarly to an experience under the water surface.

DETAILED DESIGN 165

Different shapes of panels were tested by placing each panel under a light source to determine the kind of shadows it created. This was done to achieve an underwater effect for the users to create an impression of being trapped underwater. Moving along the series of exploration, different sorts of materials were then tested to explore the different kinds of shadows it would create. In the end, a highly reflective but translucent material was considered to be used in the panels of the wind generators after testing with the metallic surface panels and the panels with tracing paper. By including a level of transparency in the panels, it would allow the users to be able to continue the underwater water experience in terms of visual perception from within the space to the exterior. The exterior sceneries would become blurred similarly to an experience under the water surface.

PROTOTYPE TESTING WITH DIFFERENT MATERIAL TO ACHIEVE SHADOW PLAY


TESTING WITH MATERIALITY SHADOW EFFECTS

These series of tests with the effect of daylight throughout the day casts different kinds of shadows, however this effect was further amplified due to the movement of the panels which created shadows that were similar to a water surface. However this was achieved using fillet angular panels which then determined the parameters to be set within grasshopper.

DETAILED DESIGN 167


FINAL DESIGN PROPOSAL

DETAILED DESIGN 169

C.3 FINAL MODEL

FINAL MODEL

SITE MODEL 1:1000

DETAILED DESIGN 173

FINAL MODEL

SITE MODEL 1:1000

In order to create a model small enough with sufficient details as well as could bend without breakage for the site model, ivory card and tracing paper were used to provide an indication of the pavilions in its site context. While designing with the idea of time and erosion in mind, this was translated in the render perspectives to illustrate the manner in which the landform starts to recede back and the starts to eventually sink into its surrounding water. This was designed to respond to LAGI’s brief in order to stimulate its user into becoming aware of their surroundings and the repercussions of their actions it would have on the environment.

DETAILED DESIGN 175

In order to create a model small enough with sufficient details as well as could bend without breakage for the site model, ivory card and tracing paper were used to provide an indication of the pavilions in its site context. While designing with the idea of time and erosion in mind, this was translated in the render perspectives to illustrate the manner in which the landform starts to recede back and the starts to eventually sink into its surrounding water. This was designed to respond to LAGI’s brief in order to stimulate its user into becoming aware of their surroundings and the repercussions of their actions it would have on the environment.

MACRO PHOTOGRAPHS OF SITE MODEL

FINAL MODEL

SITE MODEL IN RENDERED PERSPECTIVE

DETAILED DESIGN 177

FINAL MODEL

SITE MODEL IN RENDERED PERSPECTIVE WITH RECEDING LANDFORM

DETAILED DESIGN 179

FINAL MODEL

OVERALL MATERIAL SYSTEM MODEL 1:100

DETAILED DESIGN 181

FINAL MODEL

SHADOW INTERIOR EXPERIENCE

In these photographs, it was done by changing the position of the lighting equipment to simulate a typical day time simulation. The long shadows of the model changes and moved similar to a water surface when wind was applied to the panels which actually was able to create a reflection similar to a water surface. In this model, it uses wires and pipes to create the primary structure. This was another cheaper alternative in fabricating a more detailed model where there were many elements to integrate together. Moreover in this final model, I was able to test the ability of the material for the secondary structure to bend according to the curvature of the primary structure. This was a fairly successful model in terms of incorporating all the elements of the earlier prototypes together in order to achieve and create an intended effect.

DETAILED DESIGN 183

In these photographs, it was done by changing the position of the lighting equipment to simulate a typical day time simulation. The long shadows of the model changes and moved similar to a water surface when wind was applied to the panels which actually was able to create a reflection similar to a water surface. In this model, it uses wires and pipes to create the primary structure. This was another cheaper alternative in fabricating a more detailed model where there were many elements to integrate together. Moreover in this final model, I was able to test the ability of the material for the secondary structure to bend according to the curvature of the primary structure. This was a fairly successful model in terms of incorporating all the elements of the earlier prototypes together in order to achieve and create an intended effect.

FINAL MODEL

OVERALL DETAILED MODEL 1:100This is another photograph with a lighting source placed further away from the model in an attempt to create longer shadows. However the lighting made the shadows lighter and was barely able to create any shadows at all.

DETAILED DESIGN 185

FINAL MODEL

DETAILED MODEL UNDER DAYTIME SUNLIGHT

DETAILED DESIGN 187

FINAL MODEL

INTERIOR SHADOW EXPERIENCE IN RENDERED PERSPECTIVE

DETAILED DESIGN 189

C.4 LEARNING OBJECTIVE & OUTCOMES LEARNING OBJECTIVES

Objective 2: “Developing an ability to generate a variety of design possibilities for a given situation” by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive design-space exploration”

In this course, the intensive usage and supplement of technical help definitely allowed myself to develop an ability to generate a variety of design possibilities. This has a certain advantage in the working industry especially dealing with clients. However the wide range of design possibilities would definitely hinder the selection criteria if it was not established properly. Moreover to be able to narrow down to a final design would take a considerable amount of effort to justify why it has been chosen rather than another design. These decision makings although would be intrinsic within the designer, however being an individual assignment and basing these judgement based on personal preferences might affect the final outcome. However it does aid in the creative process by supplying a range of options and ease the construction process.

Objective 7. Develop foundational understandings of computational geometry, data structures and types of programming.

I believe that due to the intensive nature of this subject, I was able to develop a basic understanding of computational geometry and the different types of programming. Although I would have loved to explore more kinds of programming, however being able to construct basic parametric façades was an achievement for a novice in Grasshopper.

CONCLUSION

Overall studio Air has helped myself to understand the possibilities which computation has to offer to architecture. Although the process of creating a fully parametric model was tiring and tedious, however it has its advantages of providing a variety of options to understand how the model would behave under certain situations. Although I do posses a significant knowledge about dealing with modelling software such as Revit and Sketchup, however being exposed to Rhino & Grasshopper further allowed myself to understand and integrate schemes which were hard to execute in Revit and Sketchup. Moreover Studio Air has enabled myself to rethink about the manner of my presentation renders to communicate a certain mood and interior experiences. In the past, I would have simply coloured the renders with watercolours and neglect the possibilities of communicating a certain atmosphere. This has driven my present skill set further as an architecture student.

C.5 REFERENCES

BIBLIOGRAPHY


Land Art Generator Initiative Competition Entries, (2012), <http://landartgenerator.org/LAGI-2012/>[1 October 2014]

“What is Lagi”, Land Art Generator Initiative, (2012), <http://landartgenerator.org/project.html>[24 September 2014].

Studio Air Journal

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Transcript of Studio Air Journal