Chan elaine final journal by Elaine Chan

A I R A B PL 3 0 0 4 8 A R CH I T EC T U R E D E SI G N S T U D I O : A I R 2017 S T U D I O 10 M A N U EL M U EH L BAU ER SE M E S T ER 1 EL A I N E CH A N 6783 01

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A r c h it e c t u r e St ud io: A i r E l a i ne C h a n 2017 Tut or: M a nue l Mue h lb aue r

CON T E N TS

4 I nt r o duc t ion 8 C onc ept u a l i s a t ion PA RT A 38

C r it e r i a D e s ig n PA RT B

D e t a i le d D e s ig n PA RT C

INTRODUCTION About Me

am a third-year Bachlor of Environments student majoring in Architecture. In my designs, I like to experiment with a range of materials and ﬁnd creative solutions to address the brief. I believe that architecture is like art, it should have a message to convey to its users. My work is also inﬂuenced by my interest in art and sculpture. I am inspired by the works of Ai WeiWei, Toyo Ilto and Kazuyo Sejima. My current understanding of digital architecture mainly revolves around the famous works of the late Zaha Hadid, architecture in fashion, and 3-D food printing. I am amazed by the grand designs of Hadid. The smooth curves, fluid and elegant shapes of her towers were made possible by the development of digital design tools.

FIG.1: EXPLODED AXONOMETRIC DIAGR AM

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I am also fascinated by “architecture” in fashion - clothes that were digitally fabricated using smaller modules. Interestingly, I am amazed by recent trend of 3-D printing of food in restaurants. I have had some experience with digitial design tools, as I often use Rhinocerus and Autocad to develop my designs. I find them very helpful as they allow me to visualise an environment that I am incapable of drawing by hand. I also use Photoshop to edit and render photographs. In the subject “Digital Design and Fabrication”, my group and I designed a sleeping pod using Rhino and laser-cutting. I aware that digital design tools are becoming more vital in the industry as designers push the boundaries of their designs. It seems that the digital tools we use in architecture can also benefit other fields such as fashion, art and culinary.

FIG.2: SECTION DR AWINGS OF BOAT HOUSE

FIG.3: SLEEPING POD, DIGITAL DESIGN AND FABRICATION

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Co n cep t ua lis a t ion

PA RT A C ONC E P T UA L I S AT ION

8 16 22

D e s ig n F ut u r i ng A .1. D e s ig n C omput a t ion A .2 .

D e s ig n C omp o s it ion/G e ne ra t ion A .3 . 30 32

C onc lu s ion A . 4 .

L e a r n i ng O ut c ome s A .5 . 34

A pp e nd i x A .6 R e fe r emc e s

A.1. Design Futuring Wind and Rain Bridge

ndeed, modern architecture consistently contributes new ideas to existing architectural knowledge, technical workflows, our ways of living and ideals. This idea is illustrated by the “Wind and Rain Bridge” (2016) in Peitian Village, China, which was constructed for the purpose of re-connecting communities after a flood destroyed most of the infrasture in early 2014.1 While its main purpose was to provide shelter for the people, villagers also use it to socialise and relax. A bridge is conventionally used as a vehicle for crossing, however, the designers and users have appropriated its function, redefining the functions of a bridge. Hence, architecture is able to facilitate social and historical connections, as well as provide a practical benefit for its inhabitants. The bridge pays tribute to traditional construction methods. Its design is based on interlocking structures without the use of mechanical fasteners, and was assembled by traditional carpenters.2 which prioritises speed and precision.

Its use of traditional design and construction principles reinforces the importance of ancient architecture, and their contributions to the modern architecture that we have today. It showcases the craftsmanship of the few-remaining traditional carpenters, which is often forgotten in this digital age of architecture. This project was able to successfully reconcile the old and the new, by integrating traditional construction methods with digital design methodologies. Many complex assemblies were tested using digital software in order to achieve the complexity of the design. Hence, this project promotes the idea that Architecture is a compilation of past and present knowledge that contributes technical and creative ideas to designers, and practical and social beneﬁts to the users. However, both designers and users may appropriate this knowledge according to the times and their ways of living.

1. No author, ‘Wind and Rain Bridge / Donn Holohan - The University of Hong Kong’, Archdaily < http://www.archdaily.com/790993/wind-andrain-bridge-donn-holohan-theuniversity-of-hong-kong > (accessed 3 March 2017) 2 No author, ‘Wind and Rain Bridge...’.Archdaily.

FIG.1 USE OF DIGITAL TOOLS IN DESIGN PROCESS

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FIG.2 ‘BRIDGING’ THE OLD AND THE NEW

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FIG.3 THE BRIDGE AND THE LANDSCAPE

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FIG.4 VILLAGERS SOCIALISING ON BRIDGE

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Micro-housng

ontemporary architecture also reflects the power and influence that we, as consumers, have on design. This notion is reflected by the Micro-housing by the company Getaway. Micro-houses are offered to city folks seeking to get away from the over-stimulation of the city and escape to the rural-side,1 hence they reflect the patterns of living and ways of thinking of the current generation. The simple construction methods and architectural design are synonymous with people’s lifestyles attitudes, being quick and easy to assemble with minimalist and modern designs. This demonstrates architecture’s ability to adapt to the needs of the people. While one of its original purpose was to provide affordable housing, these houses are often overpriced for their size. Therefore, it seems unlikely that they will be used for their original purpose. They mainly offer freedom and user-satisfaction to people seeking a break from city-life, and encourages self-reflection, reinforcing Architecture’s role in fulfilling our “social dreams and ideals and…facilitating alternative visions rather than defining them”. 2 1. Jan Doreteo, ‘A Tiny Luxury: What are “Tiny Houses” Really Saying About Architecture?’, Archdaily, <http://www.archdaily.com/791333/a-tinyluxury-what-are-tiny-houses-really-saying-about-architecture> (accessed 3 March 2017) 2. Speculative Everything: Design Fiction, and Social Dreaming. by Anthony Dunne & Fiona Raby (MIT Press, 2013) pp. 1-9, 33-45 3. Speculative Everything, Dunne & Raby.

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These houses have minimal impact on the environment due to their size and humble use of materials, popularising the return to a more humble way of living and less materialistic lifestyle. They encourages us to live simpler and consume less. As explored by Dunne, Anthony & Raby, Fiona (2013) in the reading, “design can help raise awareness of the consequences of our actions as citizen-consumers”.3 Therefore, we can observe how Architecture can also inspire change in people and the world. Although these micro-houses may not be considered as ground-breaking innovations, the entire house is fabricated off-site in factories, thus exploring and broadening the opportunities for prefabrication in future architecture. We can see how every design adds knowledge and value to Architecture as a design practice.

FIG.1 HOUSE UNOBSTRUSIVE TO ENVIRONMENT

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FIG.2 FLOOR PLAN

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FIG.3 HOUSE INTERIOR

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A.2. Design Computation The Living, Breathing Wall

he use of emerging technologies allow us to design spaces that interact with inhabitants in humanistic ways. It allows easier control of the environment and makes our relationship to surroundings more intimate, hence aiding us in tackling environmental issues that we currently face today. It has led to a rich experimental and performance oriented design culture for architects and designers, re-deﬁning the way they design and practice, as well as instigating change within the broader design and construction industries. This is demonstrated by the “Breathing Wall” (2013-14) installation designed by Behnaz Farahi. It is an interactive wall that changes its shape in response to the hand movements and speech recognition of its users. The installation uses a “Leap Motion” which recognises our gestures and controls motors to operate several types of movements onto the surface.1

The installation reinvents the typical steel frame and glass facade skin-andbone system which we commonly see, by using innovative materials such as spandex for the skin and introducing a “muscle” (shape memory alloy springs) and “brain” (microcontroller) component to the system. Through computerbased research, date gathering, and experimentation, the performance of the installation is maximised to give the most humanistic response. Hence, we can see how traditional design processes of computing may allow material, form and interactive systems of control to be more intimately connected in architecture. 1. No author, ‘The living, breathing wall’, Behnaz Farahi < http://behnazfarahi.com/theliving-breathing-wall/> (accessed 10 March 2017)

FIG.1 USE OF DIGITAL TOOLS TO CREATE CONTOUR LINES ON WALL

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FIG.2 WALL RESPONDS TO HAND GESTURES

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FIG.3 WALL RESPONDS TO OUR VOICE

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Cellular Morphology Facade

his arguement is reinforced by the “Cellular Morphology Facade”, a building skin system proposed by rat[LAB] in an exhibition in New Delhi. It uses computational and parametric design to adapt to multiple climatic contexts and building conditions. It uses a hexagon grid system through an algorithm that alters its density and attraction during the concept design stage. Computer technologies also allowed the team to digitally retroﬁt the proposed building skin onto the facade of an existing building in New Delhi. It maximises light and heat within the building, minimising its production of greenhouse gas, and thus, impact on the environment.1 This demonstrates the idea that parametric design may be evaluated against environmental performance, structural performance, aesthetics and visibility, and then adapt to any climatic conditions with parametric design’s “generative variability” - the capability to create and modulate differentiation in various scales such as the gradation of elements.2 Indeed, we can see from these examples how “formation precedes form” - a shift from “formal and linguistic models of form. 1. Sushant Verma, ‘Parametrically Designed Facades for Climatic Adaptability’, MGS Architecture < http://www.mgsarchitecture.in/articles/facadesglazing/952-parametricallydesigned-facades-for-climatic-adaptability.html > (accessed 10 March 2017) 2. Theories of the Digital in Architecture, eds. by Robert Oxman and others (London; New York: Routledge, 2014), pp. 1–10 3. Theories of the Digital, Oxman and others, 2014 4. Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design. by Kalay, Yehuda E (Cambridge, MA: MIT Press, 2004), pp. 5-25 5. Architecture’s New Media, Yehuda, 2004

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Traditionally, architects were known as the “master builders”, involved in both the design and construction process before the introduction of scaled drawings which became architects’ main source of expression. 4 As demonstrated by Farahi’s wall installation and the cellular morphology facade, modelling programs like Rhino, Grasshopper gives architects the ability to “model the structures of material systems as tectonic systems” and “renew(s) the architect’s traditional role as the master builder empowered with the understanding and ability to digitally create in the material realm”,5 thereby strengthening the relationship between the architect and the structural engineer in the practice of research by design.

FIG.1 USE OF DIGITAL TOOLS TO EVALUATE AGAINST DIFFERENT CRITERIAS

FIG.2 CELLULAR MORPHOLOGY FACADE INSTALLATION

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A.3. Composition / Generation Breathing Skins Project

he shift from formal models of form representation to generative form based on the logic of algorithm has become the recent topic of architectural literature. Algorithmic thinking, parametric modelling and scripting languages have led to modifications in the structure of architectural practices and offer major advantages to the architectural design process, such as structural optimisation, CNC fabrication and innovative biomimetic designs. However, it also introduces the possibility of designers being replaced by computers in the future. Indeed, the growing use of computation has instigated change in the structure of architectural firms. The availability and resourcefulness of computation programs (such as Grasshopper) has led to increased usage of computers in architectural practices. Architects are both utilising and designing the softwares and custom tools during the design process. Hence, the programs have become integral to the design itself. According to Brady Peters, computational design experts may be integrated into a practice in four ways: the internal specialist group, the external specialist consultancy, the computationally aware and integrated practice, and the lone software developer/ designer.1 This has led to dynamic and integrated workplaces where computation is integrated into firms by varying extents. 1. Computation Works: The Building of Algorithmic Thought. By Brady Peters (United States, John Wiley Sons Inc, 2013), pp. 08-15 2. Computation Works. Brady Peters, 2013.

Interestingly, Peters challenges the necessity of having an internal computational design specialist groups in ﬁrms, as codes, tools and ideas are readily shared via computers.1 Indeed, another strength of computational design is its availability and accessibility, allowing architects to conveniently learn from others and update their own knowledge via the computer. Furthermore, computation allows architects to explore new ideas and solve more complex problems. Scripting languages in computation programs go beyond the architect’s intellect, allowing him/her to generated unexpected results. Computational tools allow architects to evaluate their design against structural, material or environmental performance criteria and parameters, and accurately predict, model and simulate the relationships between architecture and the public. Hence, architects can create more responsive designs and innovative design options, as well as analyse the architectural decisions made during the design process. Computation not only allows architects to simulate and convey how the building will be constructed, but also the experience and meaning of the building. In the future, the architect’s digital model (made possible by computation) could be used throughout the entire lifecycle of the building. The performance of the building is constantly updated in the digital model, allowing modiﬁcations and improvements to be made (to the building) where it is needed.2

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This is idea is illustrated by the concept of “natural design”. While a building informed by compositional techniques may merely imitate the appearance of the organic, generative processes may produce a form in response to environmental conditions and context. This is reﬂected in Tobias Becker’s Breathing Skins Project. The facade technology is based on biomimicry, inspired by organic skins that adjust their permeability to regulate internal and external light, matter and temperature. The changing appearance of the facade also forms interesting interactions with the environment.3 The system has been optimised in terms of the chosen material and energy usage using digital tools. Therefore, we can see how generative designs are able to mimic the way organisms evolve in nature and respond directly to the environment in an innovative way.

FIG.1 ORGANIC SKINS DEFLATED.

3. Jan Doroteo, ‘Let Your Building “Breathe” With This Pneumatic Façade Technology’, Archdaily < http://www.archdaily.com/789230/let-yourbuilding-to-breathe-with-thispneumatic-facade-technology > (accessed 16 March 2017)

FIG.2 ORGANIC SKINS INFLATED.

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FIG.3 ORGANIC SKIN INFLATED.

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FIG.4 ORGANIC SKINS DEFLATED.

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Wikihouse 4.0

owever, the accessibility of computer programs allows anyone to digitally design and construct a building, challenging the necessity and role of the architect. The traditional compositional design approach required the architect’s artistic intuition in the shape, form, composition of a building. The generative approach is often dependent on technology, allowing anyone to digitally design and fabricate. This is exempliﬁed by the world’s ﬁrst two-storey open-source house “Wikihouse 4.0”. Wikihouse is a Open Community project that allows anyone to upload a design of a house, which is then used by Wikihouse to create drawings that are ready to be CNC milled out of locally sourced plywood. The pieces can be easily assembled by anyone with no construction knowledge and power tools.1 Furthermore, this generative approach design and our increasing dependence on computers may replace some of the need for designers, draftsmen and engineers. As explored in the lecture, computers program the logic behind the intuitive process, but it is designers who write the design programs. Hence, the ideas and intuition still originates from the architect.

The computer merely interprets the logic in a systematic way and eliminates repetitive and mechanical tasks, such as the production of drawings, change lists, client reports and trial and error of design solutions. Therefore, it seems that computers will only replace the menial jobs in the near future, allowing architects to focus on the project’s vision (such as the way the building interacts with its environment) or developing more innovative design programs. Indeed, the shift from compositional to generative design allowed architects to explore a broader range of innovative ideas, especially in terms of structural optimisation, natural design and computer-controlled manufacturing. While the job duties of architects will change and shift with the development of technology, it seems unlikely that computers will be able to completely replace architects in the near future, as architects are equipped with valuable technical knowledge and programs the logic behind digital design and fabrication.

1. Tim Winstanley, ‘Wikihouse: Build Your Own House In 24 Hours’, Archdaily < http:// www.archdaily.com/159064/wikihouse-build-your-own house-in-24-hours> (accessed 16 March 2017

FIG.1. CNC AND ASSEMBLY (LEFT TO RIGHT)

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FIG.2 WIKIHOUSE 4.0 EXTERIOR

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FIG.3 DIFFRENT VARIATIONS

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FIG.4. CONSTRUCTION JOINTS

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A.4. Conclusion

rchitecture is a practice that reflects our way of living, inspires change in our lives, contribute knowledge to the design and construction field and instigates change through innovative techniques and ideas. Architecture provides shelter for us, and fulfils our dreams and ideals. Users may appropriate architecture and use them in a different way than it was intended for, expanding the possibilities and variety that architecture offers to the ongoing disciplinary discourse and culture at large. Furthermore, the use of computers in the architectural design process allow the creation of humanistic and climateresponsive designs that interact closely with its environment and users, creating innovative, interactive and sustainable design solutions that can combat climate change. Computers are also redefining the architects’ role in design, strengthening their relationship with engineers in the construction of the design.

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In addition, the shift from compositional to generative design offers many advantages including structural and energy optimisation. It eliminates menial and repetitive tasks, allowing architects to focus on the core of the design. However, architects may need to continually enrich their knowledge and expand their skills in order to keep up with the advancement of technology and consolidate their vital role in design. Ultimately, my intended design approach for my following design work will be to use computational programs (mainly Rhino and Grasshopper) to help simplify my workﬂow and explore and test a variety of solutions using logarithms against certain parameters such as structural, environmental and aesthetics. I wish to establish a symbiotic relationship between design and the environment, beneﬁtting both the users and the environment.

FIG.1. KAR AMBA SCRIPT

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A.5. Learning Outcome

hrough independent research, readings and lectures, I have broadened my knowledge of architectural computing, and gained a broader understanding of the advantages and disadvantages of generative design, the role and function of computers in architecture and the role of architecture in our society. At the beginning of my learning, I was not aware of the multitude of beneďŹ ts that computers offered to architectural design. I was only familiar with the works of â&#x20AC;&#x153;Starchitectsâ&#x20AC;? like Zaha Hadid and was not aware that computers had such a big impact on the design process, structure of the practices, design outcomes, and design construction. With this new knowledge, I understand the possibility of exploring multiple design solutions by setting constraints in Grasshopper that could have optimised the performance of my past designs. I will use this knowledge in approaching the design task this semester.

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FIG.2. KAR AMBA SCRIPT

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A.6. Appendix Algorithmic Sketches

01 Setup Loops

04 Twisted Beso Tower

05 Multi Agent Mesh Structure

Increasing the number of points on ‘Populate 3D’ and number of repeats on ‘Loop Start’ for a denser and more opaque structure. Increasing the the number of repeat and reducing the number of points on ‘Populate 3D’ to ‘1’ for one continuous line composed of shorter lines that are perpendicular to each other. Reducing the the number of repeats to ‘1’ on the number slider, and increasing the number of points on ‘Populate 3D’ for disconnected lines floating in a 3D grid.

The twist beso tower can be un-twisted by changing the rotation of the plane around the z-axis. Changing the height and form of the tower. Further experimentation with the form of the tower by changing the ‘Step size’ and ‘Count’ value.

Experimenting with changing the size of the hexagrid. Increasing the number of ‘Loopstarts’. We can vary the thickness of the frame structure by changing the distance in ‘Weaverbird’s Mesh Thicken’ component.

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The algorthmic sketchbook design tasks encouraged This m re to explore the functions and capabilities of Grasshoppe demon I was amazed to find the endless possibilities of that forms co that can be created by algorithims. I manipulated include the parameters of the assigned scripts and observedallowe how t structure evolved into a completely new and different

Lofting and State Capture

Octree

01 Initial Structure

04 Cocoon

Mesh Geometry

Interesting plane-and-infill structures are modelled by changing the ‘Step Size’ and ‘Count Value’ of the ‘Series’. More interesting forms were modelled by changing the parameters of ‘Concatenate’.

Toggling with the parameters of ‘Curve Charge’. Changing the ‘Cell Size’ and ‘Iso’ of the cocoon.

Applying the ‘Octree’ function to a sphere. Mesh Brep + Mesh Weld Vertices + Face Boundariers to create a mesh from a number of joined spheres.

me einforced the argument made earlier, as it nstrates er. the endless possibilities of design results omputational programs can generate. I chose to e the designs that looked the best, hence Grasshopper ed theme to optimise the aesthetics of the structure. form. CONCEPTUALISATION 35

BI BL IOGR A PH Y

22 C omp o s it ion/G e ne r a t ion

8 D e s ig n F ut u r i ng

C omput a t ion Work s: T he Bu i ld i ng of A lgor it h m ic T hou g ht . B y Bra d y Pe t e r s ( Un it e d St a t e s , Joh n W i le y S on s I nc , 2013), pp. 08 -1

D e s ig n F ut u r i ng: Su s t a i n a bi l it y, Et h ic s a nd Ne w P ra c t ic e. B y Tony Fr y (O x for d: B e r g, 20 08), pp. 1–16 Sp e c u l a t i ve Eve r y t h i ng: D e s ig n F ic t ion , a nd S o c i a l D r e a m i ng. B y A nt hony D u n ne & F ion a R a b y (M I T P r e s s , 2013) pp. 1- 9 , 33-45 No aut hor, ‘ W i nd a nd R a i n Br id ge / D on n Holoh a n - T he Un i ve r s it y of Hong Kong ’, i n A r c hd a i l y < ht t p://w w w. a r c hd a i l y.c om/79 09 93/w i nda nd-r a i n-br id ge - don n-holoh a n-t he u n i ve r s it yof-hong-kong > (a c c e s s e d 3 M a r c h 2017) 16 D e s ig n C omput a t ion A me l i a Tay lor -Ho c hb e r g, ‘Aut hor of ‘ I nt e r a c t i ve A r c h it e c t u r e’ on t he bu i lt e nv i r on me nt i n t he a ge of ubiqu it ou s c omput i ng ’, i n A r c h it e c t < ht t p://a r c h i ne c t . c om/ne w s/a r t ic le/ 1 49 950 67 1/aut hor - of-i nt e ra c t i ve a r c h it e c t u r e - on-t he -bu i lt- e nv i r on me nt-i n-t he -a ge of ubiqu it ou s - c omput i ng> (a c c e s s e d 10 M a r c h 2017) A r c h it e c t u r e’s Ne w Me d i a : P r i nc iple s , T he or ie s , a nd Me t ho d s of C omput e r -A ide d D e s ig n . B y K a l ay, Ye hud a E (C a mbr id ge, M A : M I T P r e s s , 20 04), pp. 5-25 Su s h a nt Ve r m a , ‘ Pa r a me t r ic a l l y D e s ig ne d Fa c a de s for C l i m a t ic A d apt a bi l it y ’, MGS A r c h it e c t u r e < ht t p:// w w w.mg s a r c h it e c t u r e. i n/a r t ic le s/f a c a de s - g l a z i ng /952 p a ra me t r ic a l lyde sig ne d-f a c a de s -for - c l i m at ic-a d apt a bi l it y. ht m l > (a c c e s s e d 10 M a r c h 2017) T he or ie s of t he D ig it a l i n A r c h it e c t u r e, e d s . b y R ob e r t O x m a n a nd ot he r s (L ondon; Ne w York : R out le d ge, 201 4), pp. 1–10 No aut hor, ‘ T he l i v i ng, br e a t h i ng w a l l’, B e h n a z Fa r a h i < ht t p:// b e h n a z f a r a h i .c om/t he l i v i ng-br e a t h i ng-w a l l/> (a c c e s s e d 10 M a r c h 2017)

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Ja n D or ot e o, ‘L e t You r Bu i ld i ng “Br e a t he” W it h T h i s P ne u m a t ic Fa ç a de Te c h nolog y ’, A r c hd a i l y < ht t p://w w w. a r c hd a i l y.c om/7 89230/ le t-you r -bu i ld i ng-t o -br e a t he -w it ht h i s pne u m a t ic-f a c a de -t e c h nolog y > (a c c e s s e d 16 M a r c h 2017) R or y St ot t , ‘ W i k i Hou s e Unve i l s World’s F i r s t Two - St or e y O p e n- S ou r c e Hou s e a t L ondon D e s ig n Fe s t i v a l’, A r c hd a i l y < ht t p://w w w. a r c hd a i l y.c om/550 093/w i k i hou s e -u nve i l s world s -ﬁ r s t-t wo - s t or e y- op e n- s ou r c e -hou s e -a t-londonde s ig n-fe s t i v a l> (a c c e s s e d 16 M a r c h 2017) Ti m W i n s t a n le y, ‘ W i k i hou s e: Bu i ld You r O w n Hou s e I n 2 4 Hou r s’, A r c hd a i l y < ht t p:// w w w. a r c hd a i l y. c om/159 0 64 /w i k i hou s e -bu i ld-you r - ow n-hou s e -i n-2 4hou r s> (a c c e s s e d 16 M a r c h 2017)

L IST OF I M AGES

8 D e s ig n F ut u r i ng [1-4] W i nd a nd R a i n Br id ge 2016, A r c hd a i l y, v ie we d 3 M a r c h 2017, < ht t p://w w w. a r c hd a i l y. c om/79 09 93/w i nd-a nd-r a i n-br id ge - don nholoh a n-t he -u n i ve r s it y- of-hong-kong> [1-3] A Ti ny Lu x u r y 2016, A r c hd a i l y, v ie we d 3 M a r c h 2017, <ht t p://w w w. a r c hd a i l y.c om/791333/a-t i ny-lu x u r ywh a t-a r e -t i ny-hou s e s -r e a l l y- s ay i ng-a b out-a r c h it e c t u r e> 16 D e s ig n C omput a t ion [1-3] T he l i v i ng, br e a t h i ng w a l l 2013 , B e h n a z Fa ra h i , v ie we d 10 M a r c h 2017, < ht t p:// b e h n a z f a r a h i .c om/t he l i v i ng-br e a t h i ng-w a l l/> [1-2] C e l lu l a r Mor pholog y Fa c a de 2015 , MG S A r c h it e c t u r e, v ie we d 10 M a r c h 2017, <ht t p://w w w.mg s a r c h it e c t u r e. i n/ a r t ic le s/f a c a de s - g l a z i ng /952 -p a r a me t r ic a l l yde s ig ne df a c a de s -for - c l i m a t ic-a d apt a bi l it y. ht m l > 22 C omp o s it ion/G e ne r a t ion [1-4] L e t You r Bu i ld i ng “Br e a t he” W it h T h i s P ne u m a t ic Fa ç a de Te c h nolog y, A r c hd a i l y < ht t p://w w w. a r c hd a i l y. c om/7 89230/ le t-you r -bu i ld i ng-t o -br e a t he -w it ht h i s pne u m a t ic-f a c a de -t e c h nolog y > [1-4] W i k i Hou s e Unve i l s World’s F i r s t Two - St or e y O p e nS ou r c e Hou s e a t L ondon D e s ig n Fe s t i v a l , A r c hd a i l y < ht t p://w w w. a r c hd a i l y.c om/550 093/w i k i hou s e -u nve i l s world s -ﬁ r s t-t wo - s t or e y- op e n- s ou r c e -hou s e -a t-londonde s ig n-fe s t i v a l>

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A r c h it e c t u r e St ud io: A i r E l a i ne C h a n 2017 Tut or: M a nue l Mue h lb aue r

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PA RT B C R I T E R I A DE SIGN

R e s e a r c h F ie ld B.1.

C a s e St ud y 1.0 B.2 .

C a s e St ud y 2 .0 B.3 .

Te c h n ique: D e ve lopme nt B. 4 .

Te c h n ique: P r ot ot y p e s B.5 . Te c h n ique: P r op o s a l B.6

L e a r n i ng Obje c t i ve s a nd O ut c ome s B.7 A pp e nd i x - A lgor it h m ic Ske t c he s B.8 R e fe r e nc e s

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B.1. Research Field Patterning

he development of computer technology has allowed patterns to be integrated in architecture to create dynamic, innovative and biomimetic designs. However, pattern design in architecture also has limitations in terms of constructibility and materials. Pattern design is able to re-invent the use of humble materials like brick and optimise the building’s environmental performance. Intricate patterns may be created using digital fabrication and modelling tools. We see this in the Gantenbein Vineyard Facade (by Gramazio & Kohler), which used a robotic arm to place bricks in a precise angle to create a dynamic facade.1 The undulation and cavities in the wall is optimised to provide appropriate light and air permeability. Hence, pattern design can interact with the natural environment 1. No Author, ‘Winery Gantenbein / Gramazio & Kohler + Bearth & Deplazes Architekten’, in Archdaily <http://www.archdaily.com/260612/ winery-gantenbein-gramazio-kohler-bearth-deplazes-architekten> (accessed 24 March 2017)

In the reading, Robert Woodbury contended that parametric design changed architects’ design process and their design thought process. His ideas are particularly relevant to pattern design.2 Firstly, parametric programs allow architects to “conceive data ﬂows”, which is especially useful in patterning design, as architects have control over the data that ﬂows through a parametric model, from independent to dependent nodes, generating a pattern. As patterning is based on repeating elements, without parametric modelling, the creation of a pattern would be repetitive and time-consuming. In the Gantenbein Vineyard Facade, the final projected image of grapes on the facade is dependent on the angle of each brick. The angle is defined by parameters set by the architects. Therefore, pattern design and parametric design processes combine to form creative design solutions.

2. ‘How Designers Use Parameters’ in Theories of the Digital in Architecture, ed. By Robert Woodbury, Rivka Oxman and Robert Oxman (London; New York: Routledge, 2015), pp. 153–170.

FIG.1 BRICK PATTERN IN THE GANTENBEIN VINEYARD FACADE.

CONCEPTUALISATION CRITERIA DESIGN

FIG.2 BRICK PATTERN FORMS THE IMAGE OF GR APES.

CONCEPTUALISATION 41 CRITERIA DESIGN 41

arametric modelling also allowed threedimensional patterns to be structurally optimised. This is demonstrated by the 253 40 Bond, Apartment Building by Herzog de Meuron. The gate is a collage of graffiti tags which were translated into the third-dimension using computer technology. The thickness of the graffiti strokes was defined by the requirements of the casting process. The computer program optimised the distribution and density of the tags according to the gate’s structural requirements.1 However, material qualities and fabrication processes may impose limitations on pattern design. The graffit-inspired gate by Herzog de Meuron varied the thickness of grafitti

CONCEPTUALISATION CRITERIA DESIGN

Therefore, pattern designs inﬂuence the selection of material and vice versa. In the reading, Woodbury also suggested that a limitation of parametric programs on pattern design may be its inability to allow architects to quickly “sketch” out their ideas.2 This may be a limitation on the exploration of a range of different patterns. Essentially, pattern designs integrates with computer technology for environmental optimisation, structural optimisation and produce pattern variations in a timeefﬁcient manner. However, it is important to keep in mind the limitations of pattern design which may include material and construction restrictions. 1. No author, ‘253 40 Bond, Apartment Building’, in Herzog & De Meuron <https:// www.herzogdemeuron.com/index/projects/completeworks/251-275/253-40-bondapartment-building.html> (accessed 24 March 2017) 2. ‘How Designers Use Parameters’. By Robert Woodbury, 2015.

FIG.1 FRONT VIEW OF THE BOND APARTMENT BUILDING.

FIG.2 EXTENDS FROM THE EXISTING GR AFFITTI ON THE WALL. CONCEPTUALISATION 43 CRITERIA DESIGN 43

B.2. Case Study 1.0 Species 1 - Size & Density

Increased the density of the circles.

Reduced the density & increased size.

Changed pattern spacing.

Changed geometry of pattern to hexagon.

Four-sided diamond pattern.

Three-sided triangular pattern.

Changed density of dimpled surface pattern.

Reduced density of dimpled surface pattern.

CONCEPTUALISATION CRITERIA DESIGN

Species 2 - Input Image

Input image #1, testing gradient effect.

Input image #2, testing gradient effect.

Input image #3, testing sharp black & white contrast.

Input image #4, testing the effects of midtones.

Varying pattern size with input image #4.

Overlaying dimpled surface on input image #4.

Dramatically increasing pattern size to create overlaps.

Dimpled surface pattern with input image #4. CONCEPTUALISATION 45 CRITERIA DESIGN 45

Species 3 - Pattern Overlay

Overlay dimpled surface on grid of circle â&#x20AC;&#x153;cut-outsâ&#x20AC;?.

Increased circle density.

Increased circle size.

Allowing holes pattern to dominate (with density).

Allowing both dimpled surface and holes pattern to dominate.

Increasing size of both patterns.

Allowing dimpled surface to dominate (in size).

Widen base of dimpled surface.

CONCEPTUALISATION CRITERIA DESIGN

Species 4 - Portrait

Small circle patterns for a faint impression.

Increasing pattern size.

Increased pattern size & density.

Creating the same effect using dimpled surfaces instead of circle “cut-outs”.

Changed input image, and used “Red Channel”.

Using “Colour Hue” channel.

Used “Colour Saturation” channel.

Using “Green” channel.

CONCEPTUALISATION 47 CRITERIA DESIGN 47

Selection Criteria, Successful Iterations & Design Potential

explored the script of the De Young museum and discovered 4 different species with multiple iterations for each one. For species 1, I explored the effect of size and density on the final pattern. The iteration I selected as the most “successful” had a contrast of small and large geometry (hexagon). What contributed to its success was that the larger geometry were grouped together, allowing it to “pop” out of the page in the sea of smaller hexagons. For species 2, the most successful input image used had a gradient and a smooth transition between black and white. This allowed the circles to gradually decrease in size, creating a more interesting, almost 3-dimensional effect. For species 3, I overlayed the dimpled surface pattern on top of the circle cut-outs pattern. The most successful iteration had a dense dimpled pattern as well as circle cut-out pattern.

CONCEPTUALISATION CRITERIA DESIGN

Although there were two dominating patterns, they complimented each other and created an interesting effect. For species 4, the “Colour Saturation” channel worked well with a coloured portrait photograph. I liked the larger circles that “pop” out of the page, highlighting particular features of the portrait. The effect is quite quirky. The pattern was used as a facade for the original project (De Young Museum), a circle pattern was cut out of a dimple surface, creating an intricate overlay of two patterns. After this experimentation with the script, I think this technique would still be used to create a pattern on a surface. It can be used in interior architecture to provide different degrees of screening, acoustic, air and light qualities while having an interesting and meaningful pattern. strokes based on the casting process.

FIG.1 SPECIES 4.

CONCEPTUALISATION 49 CRITERIA DESIGN 49

B.3. Case Study 2.0 Hitoshi Abe’s Aoba Tei Resaturant

he Aoba Tei Restaurant has a spectacular designed by Hitoshi Abe. It is an example of the integration of patterning in architecture to create an innovative, biomimetic design solution. The interior of the restaurant is lit with a realistic pattern of zelkova trees, inspired by the zelkova trees lining the boulevard outside the restaurant. The pattern was created from photographs taken outside of the zelkova trees.1 The photos were made into a digital model and then pixellated and applied to the interior surfaces of the restaurant via “texture mapping” in computation programs like Grasshopper and Rhino. Holes of varying sizes were then drilled in sheets of steel. Through parametric modelling, Abe was able to control and vary the size of the holes in the tree pattern using parameters, allowing for a realistic pattern.

As the pattern is intricately made from small perforations, it realistically resembles the shadow of zelkova trees, especially when viewed from afar. The use of back-lighting further enhances the illusion of being outdoors. Hence I believe Abe has been successful in replicating the experience of nature (being under the canopy) inside the restaurant. However, material qualities and fabrication processes imposed some limitations on pattern design. The holes had to have a certain size and spacing to ensure the structure stability of the steel sheets. The drilling of holes also required a structurally rigid material like steel. I wonder if Abe could have enhanced the realism of trees if it was not for these structural limitations. Perhaps holes with smaller spacing would produce a higher resolution image and hence, more realistic trees.

1. Graham Barron, ‘Under the Zelkovas: Hitoshi Abe’s Aoba Tei Restaurant’, in Graham Barron <http://grahambarron.blogspot.com.au/2009/10/ under-zelkovas-hitoshi-abesaoba-tei.html> (accessed 24 March 2017)

FIG.1 DESIGN INTENT. USES DIGITAL MODELLING.

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FIG.2 AOBA TEI INTERIOR.

CONCEPTUALISATION 51 CRITERIA DESIGN 51

Reverse engineering / Hitosh

BREP + UNROLL BREP

DEBREP + LIST ITEM + SDIVIDE + SURFACE CLOSEST POINT + CULL PATTERN + EVALUATE SURFACE + CIRCLE

Base geometry was created and referenced to Grasshopper as a “Brep”.

Circles applied to uv points.

The polysurface was unrolled.

The uv points were referenced back to the original geometry.

EQUAITY + CU IMAGE SAMPLE COLOUR BR

Used image sample the t

The black and w the image samp and black &

A grid of uv points was applied onto the unrolled surface.

CONCEPTUALISATION CRITERIA DESIGN

hi Abe’s Aoba Tei Resaturant

ULL PATTERN + ER (CLAMP AND RIGHTNESS)

e sampler to tree pattern.

CLEAN TREE + EXPRESSION + CREATE SET + REPLACE MEMBERS + CIRCLE

CHANGING PANEL VALUES OF ITEMS TO REPLACE WTIH.

Varied the size and spacing of circles to ensure no overlaps.

Further adjusted parameters to find circles of best fit.

hite image used for pler. Used “Clamp” & white tones.

Reference a curved polysurface (created on Rhino) as “Brep” using the final definition. The image in the “image sampler” was flipped to mimic the Aoba Tei Restaurant. CONCEPTUALISATION 53 CRITERIA DESIGN 53

Reflection

he outcome I produced was quite different from the original. In Abeâ&#x20AC;&#x2122;s design, the pixellation of the trees was a lot smaller with higher resolution. I will have to increase the number of grid points to mimic the same effect. I noticed that the steel sheet that Abe used to drill the holes is a curved polysurface. This way the pattern of the trees is on the ceiling as well. Similarities between my outcome and the orginal includes the image sampling of a tree pattern on a polysurface and using circles as the pattern geometry. I also varied the size of the circles as Abe had to control image clarity and back-light intensity. If I was unconstrained by the original form, I would like to take this definition further by applying image sampling on different polysurfaces, changing the pattern, and exploring the use of texture (e.g. applying a dimpled pattern on a polysurface).

CONCEPTUALISATION CRITERIA DESIGN

FIG.1 FRONT VIEW

FIG.2 PERSPECTIVE

FIG.3 SIDE VIEW CONCEPTUALISATION 55 CRITERIA DESIGN 55

B.4. Technique Development Species 1

Baking the pattern from a cube to create a framed enclosure.

Baking the pattern from a curved polysurface .

Trimming circle pattern from curved polysurface.

Increasing the density of uv points to

Baking the pattern from a cylinder to

create overlapping circles.

create a curved enclosure.

Tiling the pattern and changing the range

Tiling the pattern on a curved polysurface.

and domain of image sample.

Changing range and domain of image sample.

Constructing a mesh entirely made from the pattern. Smallest circles in the background to allow pattern to â&#x20AC;&#x2DC;popâ&#x20AC;&#x2122;.

Applying new pattern technique back on

Changing the opacity of mesh surface by

Aoba Tei curved polysurface.

changing circle size and density.

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Species 2

Dense, overlapping pattern to create an enclosure.

The pattern against a clear/white background.

Inverting the previous iteration. The pattern forming cut-outs from a mesh.

Creating planar surfaces from the circles in the

Gentle gradation of circle size.

background with ‘Boundary Surfaces’.

‘Boundary surface’ of large overlapping circles to create patches of larger surfaces.

Creating planar surfaces from large circles

Applying new pattern technique back on

to create a completely opaque surface.

Aoba Tei curved polysurface.

Increasing density and decreasing size of

‘Boundary surfaces’ to create planar surfaces from

circle to create a curved mesh surface.

the pattern. Contrast of opaque and clear.

FIG.2 AOBA TEI INTERIOR.

CONCEPTUALISATION 57 CRITERIA DESIGN 57

Species 3

Duplicating the pattern, translating it along the

Lofting the background of the pattern.

Increasing the loft distance to create a solid.

Lofting on a curved polysurface.

Decreasing the circle size of one of the patterns to create

y-axis and lofting between the two patterns.

Lofting the pattern on a cylinder.

pointed cones when lofted with the other pattern.

Increasing circle size to create dimpled surface.

Lofting small background circles and larger circles to create contrast of light and dark.

Trimming the lofted surface to create convex surface.

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Trimming the lofted surface to create concave surface.

Species 4

Creating a hexagrid of points.

Lofting the hexagrid pattern.

Lofting between a circle pattern and a hexagrid pattern to create a dimpled surface.

Overlapping hexagonal grid.

Changing the number of grid cells in the x

Offsetting the hexagonal grid.

and y direction in the hexagonal grid.

Extruding the offsetted hexagonal grid.

Decreasing circle size of both patterns.

Overlay of two patterns using two image samplers.

Creating planar surfaces from one of the patterns. CONCEPTUALISATION 59 CRITERIA DESIGN 59

Species 5

Mapping uv points to a scroll-like polysurface.

Changing uv parameters to decrease density of points.

‘Boundary surface’ to create floating circle plates.

Mapping uv points on a polysurface with cut-outs.

Changing parameters of uv points to create a denser pattern.

‘Surface boundary’ to create opaque patches on the surface.

Overlay of two patterns using two image samplers. 60

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Tiling the pattern on the polysurface and creating planar surfaces.

Extruding the pattern on the Aoba Tei curved polysurface.

CONCEPTUALISATION 61 CRITERIA DESIGN 61

Selection Criteria

SPECIES 1 For species 1, the selection criteria is to use patterning to create a mesh/enclosure/structure. I wanted to see if I could take away the surface that the pattern was applied on, and the pattern would still stand by itself. The most successful iteration could be used as a partition wall or semi-permeable wall. The pattern could be made from interconnecting rings made out of wire to make it the structure malleable.

SPECIES 2 The selection criteria for species 2 is to vary the degree of opacity in the pattern. The most successful iteration has an interesting contrast between the opaque circle patterns and clear background. Opaque dotted patterns could be applied to glass facade/windows to vary the degree of privacy of the space.

SPECIES 3 The selection criteria for species 3 is to create three-dimensionality from a two-dimensional pattern. The most successful iteration has a sense of fluidity and movement. This technique could be applied to an undulating wall facade, and may also be structurally optimised for acoustic performances.

CONCEPTUALISATION CRITERIA DESIGN

SPECIES 4 The selection criteria for species 4 is to create a compound pattern made from different elements. The most successful iteration combined two patterns (one for the background and one for the tree). This iteration showed both patterns the clearest - other iterations were too cluttered or one pattern was too dominating. This technique is useful in creating a more intricate pattern. Planar surfaces can be applied to one of the pattern for more contrast.

SPECIES 5 The selection criteria for species 5 is to apply the pattern on different polysurfaces to test the limit of the Grasshopper definition. The most successful iteration was created when the pattern was applied to a scroll-like surface. The different layers of the surface overlapped the patterns, creating an interesting effect. This iteration was the most successful as the circles are not too crowded and the pattern can be clearly seen. I like the clear delineation between the pattern and background. This could be mini booths or enclosures that provide people with a semi-private space.

CONCEPTUALISATION 63 CRITERIA DESIGN 63

B.5. Prototypes

everal prototypes were created using the grasshopper definition that I have been developing with image sampling. I chose to laser-cut the patterns out of a an Ivory Card 290GSM and Optix Card Black 200GSM. Two colours of the medium was chosen as I wanted to test their effect against a white background (BIGBANG studio interior) and their interation with light. A flexible material was chosen to test a variety of different forms (curved and linear). However, I found that paper was still not flexible enough, and it was diffcult to create smooth curves. A plastic material may be more suitable. The prototypes were self-supporting, but I had to use stickytape to restrain the curved surfaces. Different patterns with different circle density and size were also created to test their effects under different lighting conditions.

FIG.1 ASSEMBLY

Laser-cutting the circles was extremely efficient. It would be near-impossible to cut the same amount of circles with the same precision by hand. However, the laser-cutter burned/ stained the ivory card. Many of the circles were still semi-attached and required me to remove them manually. The maximum size of material that can be laser-cutted is 900 x 600 cm. I used the full 900 cm length to form structures from folding and bending.

FIG.2 FABRICATION LAYOUT IN RHINO

CONCEPTUALISATION CRITERIA DESIGN

This prototype tested a basic curved form with black paper and dense pattern. I like the contrast of black against the white background and interplay of light with the pattern cut-outs to create dynamic shadows.

The screen is is permeable (lets light, air and views through). It is less permeable in some areas due to smaller cut-outs. This creates an interesting/mysterious effect. The twisting screen provides layers to the pattern and varies the degree of privacy within the pavilion.

CONCEPTUALISATION 65 CRITERIA DESIGN 65

This prototype tested a less dense pattern. The circle size seems too big in this instance, there is not a gradual decrease in circle size. I prefer the pattern of the previous prototype, which also had more interesting shadows.

CONCEPTUALISATION

The laser-cutter was used to cut out strips of the pattern with decreasing widths. I experimented with a more â&#x20AC;&#x2DC;openâ&#x20AC;&#x2122; pavilion form and using the screens to create paths and semi-enclosed spaces. I like how the wall seems to disintegrate into thin air as its height decreases, gradually changing the space from enclosed to open.

CONCEPTUALISATION 67 CRITERIA DESIGN 67

I also experimented with white paper and angular forms. Although the pavilion does not contrast as much with the background, it offers a very â&#x20AC;&#x2DC;cleanâ&#x20AC;&#x2122; aesthetic. This relates to the idea of air being invisible, yet present at all times. Paper is a lot more suited to folding these angular forms. No tape was used and the structure was self-supporting.

CONCEPTUALISATION

The shadows that are created changes drastically when the form of the pavilion changes. The angle and direction of the light source also created some very interesting and dramatic effects.

CONCEPTUALISATION 69 CRITERIA DESIGN 69

Strips of the pattern were overlapped to create a light and open pavilion. Due to the lightness and stiffness of the material, the structure could be easily stacked/overlapped. I quite like the form of this structure as it creates dynamic spaces (open, closed, overhanging, low on the ground...etc). The overlapping, perforated structure looks weightless - like air.

CONCEPTUALISATION

High, spotlighting is crucial to making the pattern stand out! This fits well with the brief as the site is the interior of the BIGBANG photography studio which has flexible lighting conditions.

CONCEPTUALISATION 71 CRITERIA DESIGN 71

B.6. Design Proposal Site Analysis

he site is the interior photography/ ďŹ lm studio space of the BIGBANG studio. The space has an area of approximately 80 square metres and a 6m high ceiling, a concrete backed white cyclorama wall (17m wide, 5.5m high) and black concrete ďŹ&#x201A;oor. The BIGBANG studio has a heavy focus on light and sustainability and is surrounded by the nature, overlooking Merri Creek.

The opportunities for the site include: the big, white canvas of the cyclorama providing a blank canvas for any pavilion, high ceiling (approximately 6 metres high), a variety of artificial lighting options, and load-bearing beam which can be used for the hanging of structures. Some constraints may be: the curved edge of the cyclorama wall, limited natural lighting, circulation pathway with black concrete floor (including the ramp) should not be blocked by the pavilion.

Site boundary

Circulation

Load-bearing beam

Noise concentration

FIG.1 SITE ANALYSIS

CONCEPTUALISATION

FIG.2 PERFORMANCES AND LIGHTING EFFECTS

FIG.3 BIGBANG STUDIO INTERIOR CONCEPTUALISATION 73 CRITERIA DESIGN 73

Design Concept

ir is light, dynamic and ďŹ&#x201A;uid. The proposed design is a pavilion that is permeable to light, air and views/ sight. The shape of the pavilion is fluid and connected. The visitors have free circulation within the open pavilion they are air themsleves. The pavilion uses the technique of image sampling to create perforations on surfaces to let light/air/views through. The theme of permeability runs through the design, there is not a single area in the pavilion that is completely private, the screen is permeable and you can be seen by others at every point. Similarly, air is everywhere and surrounds us, there is no escape from it even though it is unobtrusive and invisible. The pavilion also frames spaces for performances. Parametric modelling allows me to control the density, shape, size and the exact placement of the pattern to achieve the effect of permeability through the pavilion from every angle. I can also create my own pattern to use in the image sample, the pattern possibilities are endless.

CONCEPTUALISATION

The technique can also be applied on a range of different surfaces (straight, curved, polysurface). Parametric modelling also allows me to test many different pattern variations and select the best outcome from the selections. Parametric modelling is readily coupled with prefabrication as I explored in my prototypes. This technique is suitable for this site as it requires special lighting conditions that the photography studio can offer. The white walls and floor will fully showcase the shadow patterns. A drawback this technique includes the fabrication process. The laser-cutter at the Fablab has a size restriction (900 x 600 cm). The design will require a larger-scale laser-cutter to cut out the pattern with speed and precision. A possible shortcoming of my design proposal may be that it is too 2-dimensional, while air travels in the third dimension and has volume. I may need to explore more forms such as split levels, allowing people to move more freely across all dimensions.

FIG.1 CIRCULATION DIAGR AM

FIG.2 FORM EXPLOR ATION

FIG.3 DESIGN PROPOSAL CONCEPTUALISATION 75 CRITERIA DESIGN 75

FIG.1 PLAN 1:50

FIG.2 NORTH ELEVATION 1:50

FIG.3 WEST ELEVATION 1:50

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FIG.4 PERSPECTIVES

CONCEPTUALISATION 77 CRITERIA DESIGN 77

B.7. Learning Objectives Learning Outcomes

y research and work in Part B, Criteria Design has vastly enriched my knowledge of architecture and roles of computation in the design process. I evaluated, tested and selected a parametric modelling technique. I learnt how to generate a variety of design possibilities with my developed technique (image sampling) and algorithic sketches. This was achieved through manipulating parameters and experimenting with the inputs and outputs of components in Grasshopper (Objective 2). After developing a matrix of iterations from the chosen technique (see B.2. Case Study 1.0 and B.4. Technique Development), I selected the best iteration by interrogating the brief. I learnt to analyse the qualities that made one iteration better than another, which are usually formal, site (contextual) or experiential qualities. This process taught me how to narrow down the multiple options that digital technology provides us with (Objective 1).

CONCEPTUALISATION

I digitally fabricated physical prototypes using the laser-cutter and investigated material qualities, geometry, lighting effects. I encountered and successfully resolved issues relating to fabrication and assembly. This process allowed me to improve my skills in threedimensional media (Objective 3). Through prototyping and class discussion, I now have a better understanding of the relationship between architecture and air, and proposed a relationship in my design proposal (Objective 4). I have gradually improved my ability to make a case for design proposals, as I analysed my proposed design for limitations and discovered that size may be an issue when fabricating the design (see B.5. Prototypes). Being able to foresee shortcomings in the design will allow me to improve the design (Objective 5). Through self-directed learning and casestudy research, I was able to develop my computational techniques, and I now have a broadened understanding of computational design (Objective 6, 7, 8).

FIG.1. PROTOTYPE

CONCEPTUALISATION 79 CRITERIA DESIGN 79

B.8. Appendix Algorithmic Sketches

Different shapes and forms were explored using Kangaroo, Weaverbird and Panelling Optimisation parametric tools. I experimented with changing parameter values, input geometry/surfaces, increasing density of X-Y grid to vary the pattern and form of the resulting model. (Further details of development process may be found in â&#x20AC;&#x2DC;Sketchbookâ&#x20AC;&#x2122;).

CONCEPTUALISATION CONCEPTUALISATION

Interesting patterns were generated using these tools in Grasshopper which has been useful in my research and exploration of ‘Patterning’.

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Fluid and dynamic forms were produced using Millipede in Grasshopper (more details of exploration may be found in ‘Sketchbook’). It allowed me to see how materials would react under certain condiions (e.g. wind, load...). This tool also produced some outrageous and inventive forms that are difficult to draw by hand. I think Grasshopper is really useful in this regard.

CONCEPTUALISATION CONCEPTUALISATION

Although this exploration of panelling and structure is not directly related to my study in patterning (image sampling), I may be able to incorporate it into my design as a way of producing a more complex form. Experimenting with these scripts introduced in the tutorials has really broadened my knowledge of what I can achieve with Grasshopper.

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BI BL IOGR A PH Y

40 R e s e a r c h F ie ld No Author, ‘ Wi ne r y G ant e n b ein / G ra m a z io & Koh l er + B ea r th & Dep l aze s A rc h i t e k t en’, in A rc h d a ily < h t t p: / / w w w. arc hd ai ly.c o m /26 06 12 / w in er y- g a n t en b ein - g ra m a z io -kohle r - be ar t h - d e p l azes - a rc h it ek t en > (a c ces s ed 2 4 Ma rc h 2 017) ‘How D e s ig ne r s Us e Pa r a me t e r s’ i n T he or ie s of t he D ig it a l i n A r c h it e c t u r e, e d . B y R ob e r t Wo o dbu r y, R i vk a O x m a n a nd R ob e r t O x m a n (L ondon; Ne w York : R out le d ge, 2015), pp. 153–170. No aut hor, ‘253 40 B ond , A p a r t me nt Bu i ld i ng ’, i n He r z og & D e Me u r on <ht t p s:// w w w. he r z ogdeme u r on . c om/i nde x /pr oje c t s/c omple t e -work s/251-275/253-40 b ond ap a r t me nt-bu i ld i ng. ht m l> (a c c e s s e d 2 4 M a r c h 2017) 50 C a s e St ud y 2 .0 Gra h a m B a r r on , ‘ Unde r t he Z e l kov a s: H it o s h i A b e’s A ob a Te i R e s t au r a nt ’, i n Gr a h a m B a r r on <ht t p:// g r a h a mb a r r on .blog s p ot .c om . au/20 09/10/u nde r -z e l kov a s h it o s h i-a b e s a ob a-t e i . ht m l> (a c c e s s e d 2 4 M a r c h 2017)

CONCEPTUALISATION CONCEPTUALISATION

L IST OF I M AGES

8 R e s e a r c h F ie ld [1-2] Wi ne r y G ant e n b ein / G ra m a z io & Koh l er + Bear t h & D e p l aze s A rc h it ek t en, v ie we d 2 4 M a r c h 2017, <w w w.arc h d ai ly.c o m / 2 6 0 6 1 2 / w in er y- g a n t en b ein g ram azi o - ko h l e r - be a r t h - d epl a z es - a rc h it ek t en > [1] A r c h it e c t u r a l Phot og r aphe r s: F r a n Pa r e nt e, A r c hd a i l y, v ie we d 2 4 M a r c h 2017, <ht t p://w w w. a r c hd a i l y.c om/159 60 6/a d-phot og r aphe r s -f r a n-p a r e nt e he r z og _ 40 _ b ond _ s t _ f r a n _ p a r e nt e _ i mg _ 2038> [2] 40 B ond A p a r t me nt Bu i ld i ng, Pol ic ht a l l i x , v ie we d 2 4 M a r c h 2017, <ht t p://w w w.p ol ic ht a l l i x .c om/pt x /w p c ont e nt /uplo a d s/201 2/03/ I MG _ 087 1- 950x53 4 .jpg> 50 C a s e St ud y 2 .0 [1-2] Unde r t he Z e l kov a s: H it o s h i A b e’s A ob a Te i R e s t au r a nt , v ie we d 2 4 M a r c h 2017, ht t p:// g r a h a mb a r r on .blog s p ot .c om . au/20 09/10/ u nde r -z e l kov a s -h it o s h i a b e s -a ob a-t e i . ht m l 7 2 B.6. D e s ig n P r op o s a l [1-3] BIGB A NG St ud io, v ie we d 18 A pr i l 2017, ht t p:// bigb a ng s t ud io.c om . au *Fig u r e 1 e d it e d b y aut hor, 18 A pr i l 2017 *I m a ge s not me nt ione d a b ove we r e pr o duc e d/t a ke n b y t he aut hor.

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A r c h it e c t u r e St ud io: A i r E l a i ne C h a n 2017 Tut or: M a nue l Mue h lb aue r

CONCEPTUALISATION

PA RT C DE TA I L E D DE SIGN

D e s ig n C onc ept C .1.

Gr oup P r oje c t C .2 .

10 6 110

F i n a l D e s ig n C .3 .

L e a r n i ng Obje c t i ve s & O ut c ome s C . 4 . 11 2 R e fe r e nc e s

CONCEPTUALISATION 87

C.1. Design Concept Interim Presentation Feedback

he interim presentation provided me with much valuable feedback. Some of the comments and suggestions I received concerned the complexity of the form and pattern of the design. The elevation of the design may be too ‘flat’ and the form may be too simple. I was also encouraged to further explore the pattern and its relationship to air. Some postives of the design included the shadow effects, its interation with light and the concept of air ‘permeability’. These are elements that I would like to retain. I decided to change the form of my design to overlapping curved surfaces that curve around each other in clusters. The curved form gives the design more ‘depth’ and threedimensionality than angular surfaces.

It also supports the ‘fluid’ nature of air. As people walk through the pavilion, they will not feel constrained by the curved walls, but lightly guided by them. I was also encouraged to explore the pattern of the circles further and assign more meaning to the pattern to make it less generic. I researched patterns derived from nature and also looked to everyday life for inspiration. I discovered the interesting patterns that clouds form. Clouds vary in density and light can pass through them easily. They behaves in a similar way to air. The clusters of cloudshaped circle cut-outs make users feel as though they are walking in ‘thin air’ or in the sky. The pavilion should provide a sense of weightlessness to the users, as though they are air themselves.

FIG.1 DESIGN CONCEPT SKETCH

CONCEPTUALISATION

FIG.2 CLOUD IMAGES PATTERN INSPIR ATION

PERSPECTIVE 1

PLAN 1:50

PERSPECTIVE 2

CONCEPTUALISATION 89

Technique Development

he technique could be further developed in terms of its relationship to the site (BIGBANG studio interior). As the technique makes use of the lighting equipments in BIGBANG studio, the available light sources can be located, and the form/pattern of the design further developed based on the lighting/shadow effects that can be achieved. I can further experiment with changing the location of light sources to further develop this technique.

The cloud pattern can also be further developed. I can experiment with density/ size of circles/overlay of patterns to achieve different effects of permeability. The level of permeability can also be varied throughout the pavilion depending on the activities that will be performed within the pavilion. A performance may require a highly permeable screen for acoustic and visual purposes, while workshops may require a more private and less permeable space.

BREP SURFACE UNROLLED GRID OF UV POINTS CREATED ON UNROLLED SURFACE IMAGE SAMPLER APPLIED TO UV POINTS

UNROLLED SURFACE WITH PATTERNS ARE SENT TO THE LASER-CUTTER

UV POINTS MAPPED BACK ONTO BASE BREP SURFACE

LASER-CUTTER TRIMS CIRCLE PATTERN FROM THE PROVIDED MATERIAL

CHANGE POINTS TO CIRCLES AND ADJUST PARAMETER VALUE TO VARY DENSITY, CIRCLE SIZE...ETC

UNROLLED SURFACE ARE CARRIED ONSITE AND CURVED INTO THE CORRECT SHAPE WITH SUPPORTS

FIG.1 TECHNIQUE DIAGR AM

RHINO MODEL IS UNROLLED

CONCEPTUALISATION

FIG.2 CONSTRUCTION DIAGR AM

FIG.3 MORE PERSEPCTIVES OF REVISED DESIGN CONCEPT CONCEPTUALISATION 91

C.2. Group Project Concept Development - The Heart & Lungs

he concept of our group’s design revolves around the breath, the lungs, the heart and the human body. We were fascinated by the mechanism of the heart and lungs, and how they work together harmoniously to give us the most valuable thing - the “breathe” of life. Its smooth functioning is evident in the gentle, rhythmic act of breathing in and out, which often goes unnoticed. Hence, we wish to celebrate these biological mechanisms in our design, making it the “heart” of the exhibition. The heart and the lungs are functionally connected - working together to provide oxygen to our body. The lungs oxygenate blood (inhale & exhale) and the heart pumps oxygenated blood around our body (heart muscle contracts & relaxes). Hence, the rhythm of the heartbeat and the rhythm of the breathe are sychronised.

FIG.1. THE INTERCONNECTION OF HEART & LUNGS

CONCEPTUALISATION

The heart produces the largest electromagnetic field in the body which can be detected from several metres away. Our thoughts and emotions influence the heart’s magnetic field, which energetically affects others in our environment. We wish to explore this concept in our design by creating our interpretation of the magnetic field, making the audience hyperaware of their environment, thoughts and emotions of the people around them. Biomimicry guided us to look to nature for the answers. Therefore, in our design we implore the audience to slow down and appreciate the present moment, the mechanism of the human body which keeps them alive, and ultimately the routine and rhythym that underpin everyday life. After the exhibition, we hope the audience gains an enlightened understanding and appreciation of the human structure.

FIG.2. ELECTROMAGNETIC FIELD OF THE HEART

BIOMIMICRY

Heart & Lungs

Movement of the breath & heartbeat Two phases: inhale, exhale

Two phases: diastole, sistole

GEOMETRY

Ribs, cage-like structure

STRUCTURE PATTERNING Lung Cells

Light passing through perforations: Lights on (inhale) --> outline of perforations, muted pattern

How the breath moves: Air should flow through the structure freely without a barrier.

The heart Voronoi Perforations

Light radiating from within the heart, pulsating to resemble heartbeat.

Lights off (exhale) --> light enhances the pattern FIG.3. INTEGR ATED CONCEPT DEVELOPMENT

CONCEPTUALISATION 93 CRITERIA DESIGN 93

Geometry Development

he development of the geometry started wth Anitaâ&#x20AC;&#x2122;s Grasshopper definition in Part B. We saw the potential to further develop the definition to create a geometry that resembled the lungs. The geometry will then be integrated with patterning.

The idea of assymetry was later adopted, as things found in nature are often imperfect and has an organic shape. This led to the tilting of the surface and addition of columns to allow vistors to pass through and under the canopy.

Using the lungs as a starting point and inspirational images, a polysurface resembling the shape of the lungs was developed and refined.

However, we found that it would be structurally and financially more feasible to remove the columns and sit the design on its base so it is self-supporting.

It was also important for there to be delineation between the left and right lung, hence the two sides of the lung met in the middle at the lowest point.

A frame was created from the resulting surface and structural bracing added.

FIG.1. A DOME-SHAPED FR AME AS INSPIR ATION

CONCEPTUALISATION

FIG.2. TIMBER FR AMEWORK AS INSPIR ATION

FIG.3 STARTING GEOMETRY & DEFINITION.

FIG.5 SURFACES CHANGES TO PLANAR SURFACES FOR STRUCTUR AL OPTIMISATION.

FIG.7 COLUMNS REMOVED AND SURFACE ROTATED TO BECOME FREE-STANDING.

FIG.4 FIRST GEOMETRY PROTOTYPE BASED ON INSPIR ATIONAL IMAGE & SHAPE OF LUNGS.

FIG.6 SURFACE TILTED AND COLUMNS ADDED.

FIG.8 FINAL “LUNG” GEOMETRY WITH BR ACING FOR ADDED STRUCTUR AL STABILITY.

CONCEPTUALISATION 95

Geometry Development

owever, as a team we decided that the developed geometry of the lungs did not achieve the effect that we wanted. It was not captivating enough to be the “heart” of the exhibition, and the parametrics behind the geometry could be more sophisticated and elegant. The final design did not look very parametric and could be designed without using Grasshopper - it seemed like we were not taking advantageous of our Grasshopper knowledge and tools.

WEAVERBIRD EDGE

COCOON

Hence, there was a change in design direction as we became increasingly interested in the heart, which is inexplicably connected to the lungs (see “Biomimicry”). We started with an anatomically accurate model of a heart, reducing it to a simple surface which we then produced a mesh out of using Weaverbird. Using Cocoon, we produced a frame from the mesh and smooothed the frame.

WEAVERBIRD LAPLACIAN SMOOTHING FIG.1 TECHNIQUE DIAGR AM

FIG.2 ROUGH EDGES (LEFT) ARE SMOOTHED (RIGHT) USING WEAVERBIRD.

CONCEPTUALISATION

FIG.3 STARTING HEART GEOMETRY

FIG.5 SIMPLIED BASE SURFACE

FIG.7 MESH GENER ATION FROM WEABERBIRD EDGE

FIG.4 EXTR ACTED VEINS TO SIMPLIFY SURFACE

FIG.6 SIMPLIED BASE SURFACE

FIG.8 SMOOTHING MESH USING WEAVERBIRD LAPLACIAN SMOOTHING

CONCEPTUALISATION 97

Structure Development

he structure of the design referenced the anatomy of the heart. The human heart is divided into chambers (right atrium, right ventricle, left atrium, left ventricle) and consists of a large network of vessels with thin walls. Connectivity in the heart is crucial and oxygentated blood has to be brought around the entire body and the heart. The form of the design references the pericardium of the heart, a membrane surrounding the heart which gives it its characteristic shape. Connectivity is reflected in the structure of the design with multiple nodes and points of connection. The interconnectedness maintains the structural integrity of the design and the importance of connectivity in the human heart.

CONCEPTUALISATION

The concept of the electromagnetic field of the heart is incorporated into the structure via this interconnected network which extends out in all directions similar to how the electromagmetic field can be measured several metres away. Although the original intent was to use separate nodes to join the smaller members together, the integrated design team decided to fully integrate structure with geometry and pattern, and not to have separate nodes. The design will be 3D-printed as one entity, removing the need for further nodes. Karamba was used in Grasshopper to smooth the mesh and simplify the mesh for protyping.

FIG.1. REPRESENTING VEINS IN THE HEART

FIG.3. INTEGR ATED VEIN AND PERICARDIUM DESIGN

FIG.2. THE PERICARDIUM

FIG.4. FINAL STRUCTUR AL DESIGN INTEGR ATED WITH PATTERN AND GEOMETRY

CONCEPTUALISATION 99

Patterning Development

e drew inspiration for the pattern of the design from the alveoli cells of the lungs. These cells are responsible for gas-exchange and are surrounded by capillaries, giving them a characteristic pattern. Their large surface area and small diffusion distance is vital for the diffusion of oxygen into our blood. We decided to use Voronoi for our technique due to its flexibility - we were able to manipulate cell sizes, offset distances, starting geometry and the number and type of cells.

We explored Voronoi in Grasshopper to produce similar cell-like patterns. We were able to apply the pattern onto spheres that we booleaned together, creating a thin, perforated surface. This led us to experiment further with Voronoi, using it in conjunction with Exoskeleton and integrating pattern with structure and geometry. The forms we generated were quite static and unoriginal, but they demonstrated the versatility of Voronoi and our ability to apply the generated pattern on any surface/form that the Structure or Geometry team develops.

FIG.1. ALVEOLI CELLS WITHIN THE LUNGS WITH SURROUNDING CAPILLARIES.

100

CONCEPTUALISATION

FIG.2 VORONOI SPHERES

FIG.4 CHANGING STARTING GEOMETRY (CUBE)

FIG.6 CHANGING STARTING GEOMETRY (SPHERE)

FIG.3 VORONOI/EXOSKELETON FR AME

FIG.5 VORONOI/EXOSKELETON FR AME

FIG.7 CHANGING STARTING GEOMETRY (FREEFORM)

CONCEPTUALISATION 101

Patterning Development

long with our team’s decision to change our design focus to the heart, we began to explore the various patterns that can be found in the anatomy of the heart. We discovered we could apply our previous technique of using Exoskeleton to generate an interconnected pattern that resembles that of the heart’s. The interconnected network of veins in the heart forms a unique pattern, which is too complicated for us to completely replicate. The heart’s electromagnetic field can also be represented via patterning through a radial network.

Hence, we reduced the mesh using Weaverbird to derive a pattern that represented the heart symbolically. We fully integrated our patterning design with the Geometry and Structure team at this stage, simplifying and refining the structure to optimise the pattern, structure and geometry simultaneously. We were able to integrate our separate design ideas successfully as there was constant communication between the team members and we evaluated design iterations against the same brief.

FIG.1. INSPIR ATIONS FOR HEART PATTERNS.

102

CONCEPTUALISATION

MESH

REDUCE MESH

WEAVERBIRD MESH EDGES

EXOSKELETON FIG.2 TECHNIQUE DIAGR AM

FIG.3. REDUCTION OF THE GEOMETRY TO GET THE DESIRED PATTERN.

CONCEPTUALISATION 103

Prototyping & Fabrication

o produce the prototype, the digital design model had to be further simplified due to financial constraints. Firstly, the mesh was simplified and the interior structure of the model was removed. The simplified model was split into two to be 3D printed and glued back together. The model was not simplified further as we still wanted to test the pattern, structure and geometry as accurately as possible. The medium used by the 3D-printer was PLA plastic, which may not be strong enough to support the final structure. We may have to consider other mediums such as resin or ABS for the final printing. If the size limit of the 3D-printer is 1 metre x 1 metre x 1 metre, we would not need to split the design, and can just print it as one entity.

The finish of the plastic was quite rough and not as smooth as we had desired. This may have been due to the skewed scale of the prototype - the tubes should be much thinner and the gaps between them larger. We may need to smooth and refine the design further for the final printing. The prototype was tested with lighting effects. The PLA plastic has an off-white colour which would be inconspicuous against the white backdrop of the site (interior photography room of the BIGBANG Studio). However, when the room is dark and light emits from the object, the resulting effect is quite striking. A shadow pattern is projected onto the walls and the pattern of the design enhanced. The use of lighting was very effective and reinforces the design as the “heart” of the exhibition (see “Design Concept”). We can experiment with pulsating light or different coloured lighting for the final design.

FIG.1 SIMPLIFYING MODEL FOR ASSEMBLY

104

CONCEPTUALISATION

FIG.2 STUDIO LIGHTS TURNED ON, LIGHT INSIDE DESIGN TURNED OFF.

FIG.3 STUDIO LIGHTS TURNED OFF, LIGHT INSIDE DESIGN TURNED ON. CONCEPTUALISATION 105

C.3. Final Design Final Design

n our final design renders, we considered audience involvement and lighting effects. Similar to how we tested in our prototype, we would like the light to radiate from within the heart structure, projecting vivid shadow patterns onto the white backdrop of the BIGBANG Studio. As the size limit of the structure is roughly 1 metre x 1 metre x 1 metre (utilising the 3-D printer at RMIT), we scaled the digital model to give an accurate representation of how the heart will look onsite. Due to the size limitation of the 3-D printer, we had to reduce the size of our design. However, through the use of lighting and play of shadows, we can project the design to make use of the whole site.

106

CONCEPTUALISATION

The heart design should draw people in using an intangible force, much like the electromagnetic field of the heart. Hence, we developed a sequence of possible lighting arrangements: the light within the heart is switched on only when a visitor approaches it and interacts with it. This should capture the attention of all visitors as the shadows spread throughout the entire site to where they are standing. A variety of lighting options and techniques can be further developed. For example, after the light inside the heart is switched on, it can continue to pulsate, mimicing the heartbeat of a living heart. I think this would be visually captivating and reinforces the heart as the centre of the exhibition.

FIG.1 RENDER OF FINAL DESIGN SHOWING SHADOW EFFECTS AND AUDIENCE INVOLVEMENT

FIG.2 RENDER OF FINAL DESIGN SHOWING STRUCTURE AND SHADOW EFFECTS

CONCEPTUALISATION 107

FIG.3-1 THE HEART IS DIMMED WHEN VISITORS ARE FAR AWAY

FIG.3-2 VISTOR APPROACHES THE HEART AND INTER ACTS WITH IT

108

CONCEPTUALISATION

FIG.3-3 LIGHT R ADIATES FROM WITHIN THE HEART, CAPTURING THE ATTENTION OF VISITORS

FIG.4 THE HEART IN ITS RESTING STATE

CONCEPTUALISATION 109

C.4. Learning Objectives and Outcomes Taking It Further

fter the project presentation, we were given feedback that we could further develop the interaction of the design with the site. A possible suggestion was to design a screen to project the shadow of the heart pattern on. This way, we are able to emphasis and intensify the shadows. The screens can also function to guide vistors around the space. A possibility would be to reuse our abandoned â&#x20AC;&#x153;lung designâ&#x20AC;? of our earlier exploration. As the lung and heart are intrinsically connected, the lung can function as a screen for the heart shadows, similar to the way the lung and heart work together in our body to allow us to breath and continue functioning. The learning curve for studio Air has been steep and rewarding. I have developed the ability to design and fabricate using parametric modelling. This studio has also enhanced my knowledge of architecture and the roles of computation in design. By exploring different tools such as Voronoi 3D and Weaverbird, I have developed my computational skills. I also gained an understanding of their limitations (e.g. the type of surfaces/forms that Voronoi can be applied on). (Objective 6, 7 & 8)

110

CONCEPTUALISATION

The optioneering enabled by Grasshopper allowed us to eliminate design iterations by interrogating the brief. For example, we generated many iterations of different patterns for the heart and lungs, but ultimately reduced our selections based on set criterias (permeability, density, shadow effects, complexity). (Objective 1) We were able to generate a variety of design possibilities for this brief (the heart and the lungs). We explored and further developed our skills in Grasshopper with particular emphasis on Karamba and Weaverbird. These tools allowed us to generate forms and patterns that closely resembled forms found in nature. They also added complexity to our final design by allowing us to optimise the pattern and structure. (Objective 2 & 3) I have also developed an understanding of the relationship between architecture and air. Not only does our design highlight the vitality of air which carries oxygen to the heart and lungs, the projection of shadows across the room emphasises the interaction between architecture, air and space. (Objective 4) Presenting to guest critics and receiving feedback has strengthened my crticial thinking skills and my ability to formulate an argument to defend my design ideas at times. (Objective 5) Overall, this studio has been a very fun and enjoyable experience.

FIG.1 THE ORIGINAL LUNG DESIGN

FIG.2 THE LUNG DESIGN REWORKED INTO A SCREEN FOR SHADOW PROJECTIONS CONCEPTUALISATION 111

L IST OF I M AGES 88 I nt e r i m P r e s e nt a t ion Fe e db a c k [1] P roduce d by au t h o r. 9 0 Te c h n ique D e ve lopme nt [1-3] P rodu ce d by au t h o r. 92 C onc ept D e ve lopme nt [1] D i a g ra m of I n ne r Lu ng s a nd He a r t , Hu m a n A n a t omy C h a r t , v ie we d 5 M ay 2017, < ht t p:// hu m a n a n a t omyc h a r t . u s/d i a g r a m- of-i n ne r -lu ng s -a nd-he a r t /> [2] He a r t i s t he s t r onge s t ge ne r a t or, Te c h nolog y of t he He a r t , v ie we d 5 M ay 2017, < ht t p://w w w.t e c hof he a r t . c o/201 2/05/ he a r t- s t r onge s t- ge ne r a t or - e le c t r i a l . ht m l> [ 3] P roduce d by au t h o r. 9 4 G e ome t r y D e ve lopme nt [1] D ome - s h ap e d F r a me, P i nt e r e s t , v ie we d 5 M ay 2017, <ht t p s://au .pi nt e r e s t .c om/> [2] Ti mb e r F r a me work , P i nt e r s t , v ie we d 5 M ay 2017, < ht t p s://au .pi nt e r e s t .c om/> 10 0 Pa t t e r n i ng D e ve lopme nt [1] A l ve ol i F u nc t ion , I AC P ubl i s h i ng L a b s , v ie we d 10 M ay 2017, < ht t p s://a o s . i a c publ i s h i ng l a b s .c om/que s t ion/ a q /70 0px-39 4px /f u nc t ion-a l ve ol i _ e29b3e1 2 a3 4 439f. jpg?dom a i n=c x . a o s . a s k .c om> 111 Ta k i ng It F u r t he r [2] P roduce d by au t h o r. *I m a ge s not me nt ione d a b ove we r e pr o duc e d c ol l a b ora t i ve l y b y t he g r oup du r i ng g r oup de s ig n .

112 112

CONCEPTUALISATION CONCEPTUALISATION

CONCEPTUALISATION 113