Tantowibowo_Erika_755390_Part B

1 Erika Tantowibowo 755390 Semester 1, 2017 Tutor: Christopher Ferris

Architecture Design Studio

AIR

PART B JOURNAL

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CONTENTS

B. Criteria Design B.1.

B.2.

B.3.

B.4.

B.5.

B.6.

B.7. and

Tessellation 6 Case Study 1.0 10 Case Study 2.0 16 Technique Development 20 Technique Prototype 26 Technique Proposal 30 Learning Objectives 38 Outcomes

List of Figures References

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Figure 1. Woven Composites by Kokkugia

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[B] CRITERIA DESIGN

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B.1.

TESSELLATION Architecture has been commonly defined as the expression of the true

nature of societies and individuals1. Therefore, its progression commonly occur through the formation of new concepts whereby it manifests itself in new aesthetic compositions, making the idea of ornamentation in architecture to become a prevailing topic of exploration throughout the history.

In the twentieth century, transparency is used by modernist architects to achieve a more direct representation of architectural elements. However, the over usage of this transparent element has made the use of literal transparency obsolete, suggesting the need for material expression in building design2.

Subsequently, along with the invention and development of parametric designing tools, new language and trend in architecture emerges as these tools opened up a brand new range of conceivable and achievable forms in modern architecture. This understanding shifts the role of ornaments in this digital computation era, as it is now seen as necessary to produce affects and portray the non-representational thought and the creative realization of the virtual3.

One of the common explorative methods in parametric design is Tessellation, which is construed as a process of defining the whole structure using repetitive elements and breaking up the complex surfaces by repeating components. In order to create a tessellation, the interlocking polygons making the patterns must have no gaps or overlapping spaces4.

Dominic Faccini et al., “Critical Dictionary,” October 60 (1992): 25-26.

Farshid Moussavi and Michael Kubo, The Function of Ornament (Barcelona: Actar, 2006), 5.

3 Moussavi and Kubo, The Function of Ornament, 10.

4 Jaspreet Khaira, “What are Tilings and Tessellations and how are they used in Architecture,” Young Scientists Journal 7 (2009): 35.

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Figure 2. Articulated Cloud by Ned Kahn

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Figure 3. Tessellation in Poly P.Lux Installation by Softlab (Right) Figure 4. Tessellation in Project Exotique

by Projectione

Furthermore, this technique is used to exploit

differentiation as an architectural material in which distinct entities could be generated as the result of contact with a specific domain within system by corresponding parts and whole5. The use of this technique is typically seen in building facades by modifying the basic shape of the building blocks to create an intriguing textural quality to the structure.

This type of surface exploration had been extensively used in the past centuries as the dominating motifs in Islamic architecture. Moreover, with the advancement of contemporary exploration of robotic fabrication and algorithmic design techniques in the realm of architecture, tessellation can now evolve into a non-recursive

part-to-whole relationship based on simple domains, which makes it an effective tool to create locally specific patterns6.

As architects began to understand the undiscovered potentials of tessellations, this surface manipulation technique is now used to enhance the performance of the building as well as the user’s experience by incorporating various parameters to the algorithmic scripting to allow the design to be more responsive to its surrounding environments and user activities.

Subsequently, the exploration of tessellation method in architecture opens up the possibilities of creating a more environmentally responsive architecture which allows people to experience nature differently.

“Tessellation in Architecture,” Harvard Graduate School of Design, last modified 2007, http://www.gsd.harvard.edu/ course/tessellation-in-architecture-spring-2007/.

6 Francois Roche et al., Log 25 (New York: Anyone Corporation, 2012), 43.

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B.2.

CASE STUDY 1.0 Voussoir Cloud

by IwamotoScott Architects

Constructed out of 2300 petals of thin wood, the Voussoir Cloud have

the form resembling that of a fiendish piece of origami7. The main goal of this architectural installation was to redefine the established notions of space using cutting-edge technologies using lightweight petals of thin wood laminate modeled after voussoirs, which are wedge-shaped bricks used to form compression arches. In order to form the structure, the designers used computational hanging chain model and custom computer scripts to determine the profile lines and shapes of the vault.

The structure uses four types of vaguely triangular petals with each of them incorporates a series of flanges that fold back to achieve a curved shape. These petals were then arranged in such ways that they seemed to grow larger toward the top of the vaults while allowing lights to penetrate in between the gaps8. Ultimately, the columnar and volumetric organization of this structure exploits the contemporary capacity to inflect the regularized definition which are typically found in both classical and modernist buildings9.

The architect developed the idea of this building from small paper models to create a modular building systems which are carefully configured to create a porous form that relies on internal surface tension to retain its curvy shapes. Concurrently, with the help of a Robot analysis software as well as stress analysis process, the engineers were able to create the most efficient form possible which would experience a minimum bending forces10. Subsequently, the creation of this project become a tangible evidence on how the use of computational design in architecture enables designers to reform both structure and materials to create new readings of traditional architecture typology and construction method11.

Pamela Buxton, “Voissoir Cloud,” Building Design 1844 (2008): 20.

K.G., “Voussoir Cloud,” Architect 98, 8 (2009): 58.

9 Lisa Iwamoto and Craig Scott, “Voussoir Cloud,” in Matter, ed. Gail Peter Borden (Hoboken: Taylor and Francis, 2012), 63-65.

10 Buxton, “Voussoir Cloud,” 20.

11 Iwamoto and Scott, “Voussoir Cloud,” 73.

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Figure 5. Voussoir Cloud Installation (Left) Figure 6. Configuration of the petals in Voussoir Cloud

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Design Iterations 1

SPECIES 1

SPECIES 2

SPECIES 3

SPECIES 4

SPECIES 5

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Successful Iterations

Selection Criteria Because I am olanning to design a structure where human can experience living like a bird, one of the main selection criteria I wish to find in my form is the subtle resemblance to bird’s nest. Therefore, the form has to have a relatively rough surface encapsulating the circular overall shape.

Moreover, because I also wanted to facilitate the visualization of the different events experienced in daily basis by the White Fronted Chat birds within the structure, it has to be designed to accommodate activitis on the ground and in the air. Therefore, height and vastness of the area and openings also become part of the selection criteria.

I chose the iterations on the left as the most successful iterations from the reverse engineering process of the Voussoir Cloud because these form came closest to how I had visualized my structure to turn out.

Speculation upon design potential I think from the iterations I chose, I could see the placement flexibilities of this structure.

Hence, the structures can be located on the ground to reflect how the birds prefer the location of their habitat in real life, or on higher ground to facilitate more of the soaring experience of the users.

Nonetheless, there are still limitless possibilities that I can explore within Grasshopper in order to find the right response to my design intent. For instance, the structure could be designed to respond the surrounding weather and light exposure so that the user can better experience the life of a White Fronted Chat.

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Form 1 Personally, I really like this form because it has a very similar outline with a real bird’s nest. Moreover, the dynamic surface of the form gives an interesting sense to the whole structure.

Form 2 This form is taller and narrower than the first form. However, this shape is much smoother and have larger openings throughout its body which might be beneficial to facilitate the different activities within the structure.

Form 3 The third form looks similar to a triangulated mesh which does not have that many openings. With its relatively enclosed shape, this configuration might be beneficial to help condition the temperature and light exposure within the structure.

Form 4 The final iteration I chose is the one that has the highest similarity to a bird’s nest. It looks somewhat like a coral from a far with it’s rough surface, but I think if I could explore the forms more based on this structure, I would be able to come up with an interesting shape which features tunnels and dynamic openings.

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B.3.

CASE STUDY 2.0 Fermid

by Behnaz Babazadeh

Fermid is a kinetic sculpture designed to explore the natural movement

of living organisms as well as its relation to human perception which is realized using parametric design principles and technology. This structure moves in a pattern that is obtained by analyzing the breathing movement of living organisms and converting this information into parameters used to create the engaging motion within the sculpture12.

Folded triangular sheets were used as the main component of this structure where each of them is arranged in recursive pattern to encapsulate the spherical form. These components were then connected to a web of framework system that has been programmed to control the structure’s movement according to certain algorithm. Furthermore, the flexibility of the triangular elements helps the designer in realizing such smooth and fluid continuous movement throughout the structure.

I chose this project to analyze in this section because this project was made using such advanced technique and concept in design exploration which can potentially help me improve my design approach and proposal for the installation in Merri Creek. For the next stage of my form exploration, I want to focus on creating a structure which has textured, tessellated skin that can also give the sense of fluidity for the users at the same time in order to maximize their experience within the structure.

“Fermid,� Behnaz Babazadeh, Cargo Collective, last modified 2011, http://cargocollective.com/behnaz/filter/Kinetic-Sculpture/Fermid 12

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Figure 7. View of Fermid (Left) Figure 8. Details of the sculpture

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Reverse Engineering Process

Cone Circle

Area Center

Solid Difference

Rotate

Cylinder

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Create circle from Grasshopper so the radius can be manipulated as one of the parameters

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Create cone by setting the height, then find the center of the circle using its area

Create a cylinder on the new XY plane, then boolean difference the cone

Divide the the height to certain poiint, set an XY plane

This is done so that the height and radius of the openings on the top of the cone can be modified easily

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Sphere

Surface Box

Divide Domain

Morph

Bounding Box

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Create a sphere from Grasshopper, then set the radius to about twice or three times the dimension of the initial circle

Divide the domain of the sphere and apply surface box unto the surface so that the bounding box encapsulating the cones can be applied to the sphere

Morph the rotated cut cone unto the box on the sphere, then modify the height of the box to create the dynamic surface.

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B.4.

TECHNIQUE DEVELOPMENT 1

SPECIES 1

SPECIES 2

SPECIES 3

SPECIES 4

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1

SPECIES 5

SPECIES 6

SPECIES 7

SPECIES 8

SPECIES 9

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4

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Successful Iterations

FORM 1

Speculation upon design potential Through this second case study technique development process, my aim to create a rough, uneven surface that resembles bird nests had been achieved. I think the design outcomes for this part have clearer shapes than those of the first case study.

These four iterations are considered as successful because they represents both refined and rough qualities I visualized for my designs, in order to facilitate user experience and interaction with the structure. Furthermore, by manipulating the openings of the forms, the temperature and light inside the structure can be controlled extensively to replicate the habitat of the White Fronted Chat.

Hence, these forms can still be explored and pushed to its limit using Grasshopper.

From this point on, I want to focus and direct my design process to create more articulated forms which use tessellation and manipulated skin as the main tool for responding to the briefs.

FORM 2

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FORM 3

FORM 4

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B.5.

TECHNIQUE PROTOTYPE Form 1 Because the brief of this project is to explore

and facilitate the relationship between human and non-human beings, the purpose of this structure I’m proposing is to create a space for humans to experience the life and fragility of White Fronted Chat through virtual reality. I want to criticize the fact that along with the advancement of technology and civilization, human beings have grown even more apathetical toward other organisms (animals) struggles as they care little to help.

To achieve this, I used the scenario idea from the mythic figure of Icarus as an archetype of bird’s desperate and futile struggle to survive in the modernized world. I wanted to show that there’s always a limit to which human and animals can live together harmoniously especially within this anthropogenic era that we are in today.

I tried to achieve this using my first prototype.

However, the form does not exactly reflect the topographic contour of the site that I chose.

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Form 2 The second prototype turned out to be much

better than the first one, because I successfully shaped the edge of the form to be adequately indented for the nesting purpose I intended. This is mainly because during my site visit I found that the main problem the White Fronted Chat birds face is the fact that their nests are located on the ground, making it prone to dangers such as being stepped on by human, eaten by feral cats, or get flushed away by the water stream. Therefore, I want to make the structure to be a space for communal nest for the birds as well as a space where humans can interact closely to the birds.

Its curvy shape would compliment the shape of the river bank that is quite steep. Moreover, the structure is tessellated with what looks like a broken branch for the birds to occupy during daytime.

The shape of the structure itself is a metaphor of melted wings, showing how human and urbanization and the environmental impacts it brings with modernization had taken away one aspect of birds’ freedom to live in their own habitat.

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Storyboard - Video Still Images 1

Feeling trapped by what seems like a never ending parade of noise and business, I marched into the wilderness, hoping to find something

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I feel free, unafraid, victorious as I spread my wings I saw the world using a different set of eyes

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Because at the end of the day, There is no such thing as a safe haven

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The freedom to feel air, to smell ground and to be one with nature Something that has been concealed by the pervasiveness of metal and concrete

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With the sun slowly leaving its post I plummet down to the ground, trying to find shelter A place where I can surrender my existence to the unconscious

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Sun will leave you, rain will rinse you

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3

As I step my foot into the mud, I realize that I have lost it

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None

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and wind will push you away

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The sky is no longer too far for me to reach The ground is no longer my limit

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There is no longer such place in this world

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The safest place you can be is under your own wings

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B.6.

TECHNIQUE PROPOSAL

This open structure as a collective nest for

White Fronted Chat that can help them protect their eggs and livelihood. Hence, by infiltrating the bird’s habitat in the middle of Merri Creek area this structure is designed to accommodate users to observe the birds in a closer proximity without harming them.

The main shape of the shelter looks like an inverted bird nest which is covered with an array of tessellated elements to represent the feathers on birds’ wings. In addition, it is designed to portray a fortified shelter that have come to make from their attempts to adapt to the globalization, showing how the birds are no longer safe inside their own habitat, and that the only protection they can rely on is their own wings.

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Furthermore, it also shows the vulnerability of the species living in the city (present situation), as well as the bird’s own utopia or prison – held hostage by the hostility of human beings and the environments.

Users are brought beneath the structure to actually reflect on their actions and how they have

greatly affected the livelihood of other species.

Subsequently, I want to use generative design process to create the form, using climate, temperature and the surrounding topographic components from the surrounding site as the parameters in order to create the ‘perfect’ nest for the birds.

Figure 9. Diagram of the Design Intent

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Site Analysis PROJECT AREA The area chosen for this project is located near the Beau Monde Reserve and the Egan Reserve in the Merri Creek area. I chose this spot because it has been known as one of the most bird populated areas in Merri Creek, especially the White Fronted Chat species.

It has been used as one point for the committees responsible for the area for counting the number of bird populations every several years.

There is a running track extending through this area, making it the perfect spot to place the structure.

APPROACH POINTS There are several approach points that can be used to get into the structure as it is located very closely to the walking trail.

I decided to locate the structure near the cliff like area in the site because White Fronted Chat look for their food on the muddy area near the river banks. Moreover, as they spend most of their time commuting around the trees and banks, this spot is convenient for the birds and accessible for humans.

SURROUNDING AREA USE Surrounding this area are several commercial buildings as well as residential houses. I think this quality would benefit the purpose of the structure, which is to increase the awareness of people regarding the existence of White Fronted Chat.

The structure would also be an additional shelter space for the birds from the surrounding buildings whose noise and gas emission may affect their quality of life.

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Form Definition & Materiality

Timber Bark

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Design Scenario Proposal 1. Design Purpose

• An architectural intervention that will express, support, amplify or question continuous relationships between technical,

cultural and natural systems

• Create new possibilities for life that improve on what was possible before the intervention

• A project that can contribute to and adapt in a dynamic world 2. Design background

• Using parametric designing and virtual reality visualization to create a communal nest for the White Fronted Chat which

can be accessed and observed by humans in order to promote awareness to the environments evoke emotions of the

users. This nest will protect the birds from having their eggs stepped on or eaten by their predators.

3. Mood

• Freedom when up above (flying)

• Curiosity and fear when on the ground (leaving eggs on the nest, being eaten by predators while looking for food)

• Serenity as they sit around the structure 4. Design intent

• Creating a new structure similar to an aviary used to reconnect and introduce human to the habitat of a White Fronted

Chat in order to promote an awareness which should lead into a symbiotic relationship between human and non-human

species in Merri Creek.

• A site where human can get the idea of how a White Fronted Chat lives

• Relay an implemented conceptual messages to the user through the evocative shape and form of the structure.

5. Site selection

• Area between Beau Monde Reserve and Egan Reserve

• White Fronted Chat lives in damp areas such as river banks or ponds and they eat small insects like beetles and plant

bugs. Hence, the site for this project should be located around the less exposed areas in the river bank in Merri Creek

which also has convenient access to vegetation.

• Nonetheless, the site should not be too excluded so that humans can still conveniently access them.

6. Virtual Reality Use

• A design which emerge by controlling external parameters such as weather and light to create the most similar artificial

habitat for White Fronted Chat.

• Facilitating human in understanding the way the bird lives by experiencing the site from the animal’s perspectives by

creating a structure which responds to the touch, creating the effect of being in the natural habitat of birds.

• Creating a structure whose shape is abstracted from the natural nests made by the bird.

7. Further Research Requirement

The research conducted is done to analyze the bird’s lifestyle and adaptability to different conditions in order to be able

to closely represent their habitat through the structure design. In addition, it is important to find out how birds perceive

human from various angles (especially from above).

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White Fronted Chat (Epthianura albifrons)

ll

PREDATORS

m

3c

1 2-

ta

1

Meliphagidae Family

Raven

Red Fox

Feral Cat

PREY

Midges

Beetles

Plant Bugs

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B.7.

LEARNING OBJECTIVES AND OUTCOMES For the past few weeks, I have gained so much knowledge about algo-

rithmic design and parametric modeling through this studio. Furthermore, I also noticed the significant improvements on my skills in using Rhino and grasshopper.

Throughout Part B, my specialization in analyzing how to create tessellated surface has allowed me to develop an understanding of how parametric modeling can be applied to create an architectural form which promotes the interrelatedness of environment and technology. Subsequently, by learning from the case studies and research, I now have a better understanding of computational design and how to apply this knowledge in generating ideas and forms with their capacities for extensive design-space exploration.

My design proposal was intended to reintegrate the existence of human and non-human organisms by carefully analyzing the relations between the two and creating a form which allow humans to experience nature in different point of view. Hence, I have been focusing on the use of sensorial engagement through the creation of certain atmosphere using geometric articulations and tessellations generated by parametric design tools.

These aims would not have been achievable without the use of computational techniques I learned in the studio.

Therefore, this studio has made me realize how digital architectural design has become a significant driver of change in the profession and how it has impacted the range of conceivable and achievable geometries in architecture.

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Figure 10. Dragon Skin Pavilion

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LIST OF FIGURES Figure 1. “Woven Composites by Kokkugia”, taken from http://payload233.cargocollective.com/1/2/68467/6967599/r

oland%20snooks%20-%20agent%20bodies%20weave_640.jpg, accessed on March 21, 2017.

Figure 2. “Articulated Cloud by Ned Kahn”, taken from https://s-media-cache-ak0.pinimg.com/originals/38/8a/a3/388aa3329

ee7012991ee94d4c7549808.jpg, accessed on March 21, 2017.

Figure 3. “Tessellation in Project Exotique by Projectione”, taken from http://www.novastructura.net/wp/ wp-content/u

ploads/2011/05/5550869197_f6fe0a8282_b.jpg, accessed on March 28, 2017.

Figure 4. “Tessellation in Poly P.Lux Installation by Softlab”, taken from http://designplaygrounds.com/ wp-content/u

ploads/2011/05/softlab-installatin03.jpg, accessed on March 28, 2017.

Figure 5. “Voussoir Cloud Installation”, taken from http://payload.cargocollective. com/1/4/140786/1871783/Iwam

otoScott%20VC_Figure06s_16_1040.jpg, accessed on March 28, 2017.

Figure 6. “Configuration of the petals in Voussoir Cloud”, taken from https://s-media-cache-ak0.pinimg. com/originals/

d2/14/6e/d2146e21e86ff277866a2eaff62420fb.jpg, accessed on March 28, 2017.

Figure 7. “View of Fermid”, taken from http://payload.cargocollective.com/1/2/86582/1444888/fermid2_905.jpg, accessed

on April 6, 2017.

Figure 8. “Details of the sculpture”, taken from http://payload.cargocollective.com/1/2/86582/1444888/fermid3_905.jpg,

accessed on April 6, 2017.

Figure 10. “Dragon Skin Pavilion”, taken from https://www10.aeccafe.com/blogs/arch-showcase/files/2012/03/DragonSkin-06

.jpg, accessed on April 25, 2017.

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REFERENCES Buxton, Pamela. “Voussoir Cloud”. Building Design 1844 (2008): 20-21.

Faccini, Dominic, Georges Bataille, Michel Leiris, Carl Einstein and Marcel Griaule. “Critical Dictionary,” October 60 (1992): 25- 31.

Iwamoto, Lisa and Craig Scott. “Voussoir Cloud.” In Matter, edited by Gail Peter Borden, 63-75. Hoboken: Taylor and Francis, 2012.

K.G. “Voussoir Cloud”. Architect 98, 8 (2009): 58-61.

Khaira, Jaspreet. “What are Tilings and Tessellations and how are they used in Architecture”. Young Scientists Journal 7 (2009): 35-46.

Moussavi, Farshid and Michael Kubo. The Function of Ornament. Barcelona: Actar, 2006.

Roche, Francois, Antonio Negri, Slavoj Zizek, Beatriz Preciado, Sanford Kwinter, Philippe Parreno and Cynthia Davidson. Log 25.

New York: Anyone Corporation, 2012.

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