Studio:Air Journal

STUDIO AIR MUHAMMAD FAIZ

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contents introduction 4 PART A: CONCEPTUALISATION a.1 design futuring a.2 design computation a.3 composition/generation a.4 conclusion a.5 learning outcomes a.6 appendix - algorithmic sketches

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PART B: CRITERIA DESIGN b.1 research field b.2 case study 1.0 b.3 case study 2.0 b.4 technique: development b.5 virtual prototype b.6 technique: proposal b.7 learning outcomes and objectives b.8 appendix - algorithmic sketches

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PART C: DETAILED DESIGN c.1 design concept c.2 tectonic elements & prototypes c.3 final detail model c.4 learning objectives and outcomes

66 71 75 84

Bibliography 92

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INTRODUCTION

I am currently studying in my third year of a Bachelor of Environments degree, majoring in Architecture.

My interest in designing and problem solving sparked back in Secondary School, where I took Design & Technology. This subject allowed us students to find a current issue around us and design a plausible object that would provide a solution to the mentioned problem.

Following that, I realized that rather than doing math and science, I would rather dive into the actual world and start changing things as it is, providing an alternative or even a better solution for how things work around us.

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During my Diploma in Architecture programme in Singapore, I have learnt about the basics of architecture, focusing more about the technical detailing and touching on the history of the field.

I believe that with Studio Air, I will be able to express myself a step further, removing the boundaries which defies what is a design and what is not. Grasshopper 3D allows us to computate a single line or curve into a series of unimaginable surfaces and I really think that would expand my horizons and or even the definition of design.

PART A: CONCEPTUALISATION 5

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A.1 DESIGN FUTURING 7

DESIGN FUTURING

http://images.adsttc.com/media/images/5549/8741/e58e/ce42/3b00/001a/large_jpg/PORTADA_The_Interlace_by_OMA_Ole_Scheeren_photo_--%C2%BC_Iwan_Baan_01.jpg?1430882109

The

Interlace, a residential project designed

by Ole Scheeren, took a step away from the standard typology of the other residential projects in Singapore. While other blocks of flat are fashioned in a way to occupy as many residents within a small area due to the limited space of land available in the country, Scheeren purposefully took full advantage of the size of the site. While some might not fully support the idea of ‘wasting’ the land away, there are others who are astounded by Scheeren’s decision to adhere to his distinct idea. The name of the project itself fortifies the interrelation between the human community and the surrounding natural environment.

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Another revolutionary feature of the design is that it provides a range of views, wind and light angles, depending on which block the particular unit is located on. Unlike the other typical residential flats in Singapore, Scheeren managed to provide the occupants with a broad choice of atmosphere suited to their likings.

The birth of this idea allowed others to reason out the stigma of residential buildings in Singapore having to be tall and dense, allowing better designs which would rather prevent Singapore from turning into a vertical concrete jungle.

http://images.oma.eu/20150804141654-1899-veep/1000.jpg

“I think you look for a power of impact. It’s something you know you’ll remember in two years’ time. It’s a game-changer. So much of architecture is predictable, particularly housing. Another block, another block, another block. But this isn’t ‘ho-hum here we go again’” -Ole Scheeren[1]

Top: Overview of the stacking of block on the site allocated, maximizing the size of the plot.

Bottom: Maximizing the green area around the terraces

http://www.archdaily.com/627887/the-interlace-oma-2/554987cee58ece423b000023-the-interlace-oma-2-green-area-diagram

THE INTERLACE

OLE SCHREEN 9

DESIGN FUTURING

http://images.adsttc.com/media/images/552e/58c0/e58e/cebf/5400/02cb/large_jpg/3.TMRW.Snohetta.InstagramStair.jpg?1429100726

Design futuring is about creations and ideas to help with the future’s aims.

Museums todays are only utilized to showcase collections or exhibitions and for the audience to be impressed by the showcase. This affects how the public views a museum, and a proposal by Snohetta changes that.

Their proposal was to ensure that the museum has a desired active role, communicating and interacting with the audience. This was based on the goal to connect two museums in one building, while having its own individual identity.[2] The singular roof is always accessible by public, which always becomes an inherent part of the City Park. It offers great view of the whole area within the building itself

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The environment can be used for both educational learning experiences and also for an expressive behaviour. In the centre of the building, Snohetta allows the learning and expression of art to be shown as the two museums meet.

This idea shows the analysis of people’s thinking, behaviour and interpretation of things. They overcame the issues that came with designing a museum while understanding people’s needs.

This idea will help to benefit the future.

http://aasarchitecture.com/wp-content/uploads/The-New-National-Gallery-and-Ludwig-Museum-Budapest-by-Snohetta-00.jpg

http://www.metalocus.es/sites/default/files/file-images/metalocus_snohetta_06_1180.png

http://www.metalocus.es/sites/default/files/file-images/metalocus_New-National-Gallery-Ludwig-Museum_06_1400.jpg

Top: Large roof doubles as a grand public terrace Bottom-left: Large open public space in the heart of the building. combining both forms of the two museums Bottom-right: New National Gallery and Ludwig Museum sits on the City Park in Budapest, Hungary Left page: Roof offer great views over the whole of Budapest

NEW NATIONAL GALLERY AND LUDWIG MUSEUM SNOHETTA

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http://www.pvcconstruct.org/upload/Matsys_-_Shellstar_Pavilion_-_Hong_Kong_-_Photo_Credit_Dennis_Lo_-_01.jpg

“Computers, by their nature, are superb analytical engines.

If correctly programmed, they can follow a line of reasoning to its logical conclusion. They will never tire, never make silly arithmetical mistakes, and will gladly search through and correlate facts buried in the endless heaps of information they can store..... But while they can follow instructions precisely and faultlessly, computers are totally incapable of making up new instructions: they lack any creative abilities or intuition�

-Yehuda E. Kalay [8] Thus, that is what designers are for. To create new ideas and thinking that computers cannot do. Their presence only aids the process analysis.

These case studies shown represent the use of Design Computation and how it helps to enhance the structure and materials used to create a unique building/object on its own.

A.2 DESIGN COMPUTATION 13

DESIGN COMPUTATION

https://vanda-production-assets.s3.amazonaws.com/2016/04/19/16/20/07/e4caef98-c812-497b-b0dd-69b2b7c2768c/ElytraPavilionHero.jpg

Using

computerized systems and fabrication technologies available, new formations can be created in different and creative structures.

The robotics fabrication technique helped to create 40 different hexagonal elements that are used in the Elytra Filament Pavilion.

Digital design and the robotic contruction systems could also be used to aid the designers with the choice of materials. The materials explored in this research were the fibre-reinforced plastics and its fibrous composite natures that could easily be transformed into shapes.

The computational system determines the pieces’s placements by the use of the data and research shown by the use of fibre optic sensors.

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Each segment’s size were not limited to the materials, but instead due to the proportions of the narrow V&A historic doors. Much larger segments could be possibly produced.

Therefore, new and unique structures can be formed using the advancement of technology, for example, robotic fabrication which is the use of computerization. The horizons for architectural and engineering are expanded, with new exploration ideas.[3]

http://www.designboom.com/wp-content/uploads/2016/05/elytra-filament-pavilion-robotic-fabrication-victoria-and-albert-museum-london-designboom-01.jpg

http://images.adsttc.com/media/images/573f/88ae/e58e/cef4/4800/0074/slideshow/02_V_A_Elytra_Filament_Pavilion_6_(c)_NAARO.jpg?1463781545

https://vanda-production-assets.s3.amazonaws.com/2016/05/04/16/42/22/dfdf57e5-0d44-473a-9eea3820b02a075d/AboutPageHero.jpg

Top: The Elytra Filament Pavilion on display outside V&A Building in London Bottom-left: Design and fuctionality coming together as the Pavilion components are scaled according to the doors of the museum Bottom-right: Average size of a component, robotically-fabricated from glass fibre ad black carbon fibre Left page: Unique hexagonal components stacked horizontally

ELYTRA FILAMENT PAVILION

ACHIM MENGES 15

DESIGN COMPUTATION

http://images.adsttc.com/media/images/572b/5f5a/e58e/ce45/4400/0031/slideshow/ICD-ITKE_RP15-16_Image_004.jpg?1462460225

Design

computation allows us to come up with different types of formation and structures.

Complicated and curvature forms are now possible and accurate with the help of these computers.

The 2015-2016 Research Pavilion was constructed by robotic textile fabrication techniques for the segmented timber shells. The timber shells were then sewn by the fabrication technology to join them together. This process was tried for the first time, and it’s success was a remarkable expansion of the possibilities of computational design, simulation and the fabricated processing in the scale of architecture design.

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The plywoods used to form the timer shells were first tested to see how well the direction of bending the material can withstand and with the results, computation was then used to accurately calculate the geometric morphology of a double layered system and the differentiation within the material.

Different grain directions and thickness will correspond to the different elasticity and bend that is required to curve or form the parts of the structure. There were 151 different geometrical elements that could be produced from the robotic fabrication sewing technology after testing and trying the different wood elements.[4] The overall design has used the help of computation and system to create such an elaborate form using timber shells and the result of it’s lack in flexibility. With design computational approach, the possibilities within the different materials and structures in architecture are explored

https://farm8.staticflickr.com/7261/26841818951_98a73693a5_b.jpg

http://images.adsttc.com/media/images/572b/5f5a/e58e/ce45/4400/0031/slideshow/ICD-ITKE_RP15-16_Image_004.jpg?1462460225

Top: Pavilion made out of timbre shells being sewn together, with it’s grain directions and thickness taken into consideration Bottom-left: Testing of the plywood’s elasticity before undergoing the sewing process Bottom-right: Robotic sewing Left page: The Research Pavilion displayed in Keplerstraße, Germany

2015-2016 RESEARCH PAVILION UNIVERSITY OF STUTTGART

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http://at-hk.s3.amazonaws.com/i/story-20121112092820-SenselessDrawingRobot.jpg

Senseless Drawing Robot - Kanno & Yamaguchi

“Computation is redefining the practice of architecture”

Generation is a form of abstract thinking and a

different style of producing an idea or work form.

These techniques and ideas are not known across the whole world yet, and I think it is a waste. It is challenging and difficult to produce something with composition and generation but the level of satisfactory after producing one is amazing; but isn’t that all other designer’s and architect’s struggle?

Composition and generation comes together or transitions into a geometric ‘coding’ or a sense of geometric style at the start. This uses the rhythms and different ‘rules’ to start something new, in terms of a new system, a new coding, a new way of translating an object.

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Thinking this way makes everything infinite; so many possibilities and so many new outcomes and solutions to thing. These thinking will help to translate in forming new geometric ideas like how a structure wants to be built or the way the structure or building moves. There are a lot of dynamism in this direction.

Designers can transform a circle into many different shapes or positions. This helpts to test and develop new ideas in the way of trying to be more systematic yet more complex at the same time.

These case studies will show the different areas of geometric styles that were being challenged and generated.

“computation augments the intellect of the designer and increases capability to solve complex problems” -Brady Peters [5]

A.3 COMPOSITION/GENERATION 19

COMPOSITION/GENERATION

http://www.e-architect.co.uk/images/jpgs/beijing/watercube_ptw051208_2.jpg

The

concept used for The Watercube was combining the symbolism of the square in Chinese culture and the natural structure of soap bubbles translated into architectural form.

Lightweight construction was used for the structure which was progressed and analysed from the structure of soap or water bubbles in the state of foam. The facade has a structural geometry behind it, which are molecular structures or three-dimensional cell-like structures.

This unique structure was derived upon computation in their calculation and how they analysed the formation of soap bubbles and ts characteristics.

The parametric modelling of this structure was generated using Bentley’s software. They undergone structural analysis of the base geometry, and needed to test and alternate geometrical shapes and configurations to meet each other’s shell structure.

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The roof is from a steel framework using the technical software as well. This was used as the software allows to regenerate different geometric configurations, and export data to analyse, which helped in the optimisation of this building’s studies and research.

This project has proven that architecture can use generative design to simulate its design. It is an opportunity to explore and refine certain skills and ideas for a design with new structures or current structures. Architects and engineers is benefited by this generative approach as they progress their works together.

As seen from the watercube, it is the generation of design and environmental art that comes together. This is a new innovative design which allows for wilder imagination and creativity.

http://www.l-a-v-a.net/assets/Uploads/watercube7755.jpg

Top: Exterior view of the Watercube Bottom-right: Concept derived upon the natural structure of soap bubbles

“Realising a geometric solution for the stadium roof structure was a critical design element of the project.

Generation components gave us the ability to create and rationalize the roof geometry to eliminate errors that occur when manual modeling methods are used”

Left page: Using Bentley’s generative component software for Structural Computation

-John Legge-Wilkinson, one of the software’s leader [6]

https://www.whitewaterwest.com/drive/uploads/2016/08/Happy-Magic-Water-Cube-Beijing-China-3.jpg

WATERCUBE

PTW STUDIO & ARUP

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COMPOSITION/GENERATION

http://2.bp.blogspot.com/-yken3VoS-rU/UfTTpM35Y1I/AAAAAAAAnKs/_BK34TI2vQE/s1600/AAMI+PARK+BY+COX+ARCHITECTURE01.jpg

This

stadium was designed to provide a connectection between the streetscape and the stadium. It also provides connection with the action happening in the stadium. Their generative design comes with the Bioframe from the lightweight steel roof construction that was their key idea of a ‘seating bowl’. This generative approach can be seen from its optimisation from software. The generation process was used to produce arches and cantilevers at an accurate judgement and form for these elements with simulation.

Using steel framework and bowl-like structures for construction allows the roof to be single later as the facade cladding is literally on top of the frame. It reduces the waste of material for or secondary framework. This can be done with the help of the parametric geometrical software and modelling tool.

The cladding for the structure is a combination of aluminum, glass and louvres.

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Again, Bentley’s software was used to conceptualise the parametric model. The architects and designers said the advantages of parametric modelling was the speed at which revied geometry could be generated and impored into the structural analysis model, in order to study structural geometric efficiencies.[x] Optimisation software was used with Strand7 software to study the structural efficiency of the bowl-like geometry. 24 different models of variation of arches and heights was analysed by Cox Architects to determine the most efficient geometry of the roof.

Softwares were also used to tackle the analysis of in-house buckling within the design structure.

This analysis allows three-dimensional structures to be understood within the buckling behaviours which can be foreseen as an issue in the future.[7] This framework was generated from the parametric geometry (Bentley structural software)

http://www.about-australia.com/wp-content/uploads/attraction/aami-park-9418431.jpg

http://www.coxarchitecture.com.au/wp-content/uploads/2016/01/AAMI-Park-2_2.jpg

Top-most: Bird’s eye view of the stadium Top and right: Geometric Structure of steelwork roof Left page: The AAMI Park, located in Melbourne, Australia

This structure uses a lot of analysis from softwares as it is beneficial to obtain accurate information needed to achieve the client’s goal.

Due to this, the architects are able to come up with a unique structure using generative ideas and forms, creating something so distinctive and aesthetically attractive to the one’s eyes.

http://steel.org.au/media/File/1_AAMI_Park_case_study.pdf

AAMI PARK

COX ARCHITECTS & ARUP 23

A.4 CONCLUSION 24

CONCLUSION

With all the case studies above, we start to see how some design lean towards digital architecture instead of the norm. It is about using softwares to explore the different possibilities of a design.

Softwares lke Grasshopper and Bentley makes it possible to design a building with curved facade or even for its structural system.

The advantage of using computation softwares is that you can easily change one single algorithm and get a totally different result without having to manually calculate the other factors. It is very interesting to learn and find out more about using software or these advanced technology to help improve and expand our knowledge of the once imitated idea to something even greater.

Computation in today’s design world is innovative. Other than limitations, there won’t be any right or wrong answers. It can even help to speed up the process, improve the industry rate of work or even produce new materials that can benefit the world today.

My design intent is to produce a design that is not limited to plain geometry or linear patterns. I believe that with the modern advancements in this field, it is much more possible to stand out from the usual idea of how a building or design is supposed to be like. I would also like to explore the possibilities of using other materials as part of my design, benefiting the users in whichever way that is needed, in terms of ventilation or even aesthetics wise.

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A.5 LEARNING OUTCOMES 26

LEARNING OUTCOMES

I have always thought that producing something that is not plain or

modular would be really tough in terms of designing, planning or fabricating but after being exposed to Grasshopper, I now begin to realise that such idea is much more possible in today’s world. With softwares like Grasshopper, designers would not need to manually change each and every component after realising that something does not tally in the earlier stage of the design.

After being exposed to architectural computing, I realised that my past projects were all rather boring and predictable, having the fear to explore something different. Only now I start to notice how some buildings around me uses computation to produce such complicated elements or structures and how much easier it is now with the advancement in this field. Computation will widen the scope of design and allow more abstract thinking and learning.

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A.6 APPENDIX - ALGORITHMIC SKETCHES

ALGORITHMIC SKETCHES The vases were produced from the same few lofted curved, and are manipulated each time to produce a different abstract form.

The opening represents the blooming of a flower, with its different stages shown on the different stages.

The first two vases were from the earlier stages of my design, being small and stout. The curves were then stretched inwards and moved slightly higher to obtain a specific height. This process aids with the aesthetic growth of the vases. Next, I experimented with the rotation of the curves, as seen from the fourth vase. It gives the vase a rather curling effect, stretching out the loft and giving it a much-sophisticated form. Lastly, the topmost curve of the vase was scaled outwards, implementing the “blooming� opening.

WEEK 1

Creating vases using softing and manipulation of curves

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ALGORITHMIC SKETCHES

WEEK 2

Converting geometries into surfaces and back into points

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The task was to use the Cull component to create a shelving unit. As Voronoi is not allowed, I feel that the choice of patterning method is rather limited to my knowledge.

I could only manage to produce an Arc with the points produced and Cull some of the control points, letting the Arc skip some of the control points produced earlier.

WEEK 3

Using Patterning Lists to craete a shelving unit with different variations

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PART B: CRITERIA DESIGN B.1 RESEACH FIELD

RESEARCH FIELD Geometry in architecture

SWISS RE BUILDING, LONDON

http://art-andersen.dk/wp-content/uploads/4.B.-THE-GHERKIN.jpg

Geometry

is an architectural approach that transforms a single point into structural elements.

It can use different mathematical concepts with computation algorithms, optimizations techniques and researched data information to form an architectural design or structure.

Geometrical Architecture has been advanced and improved over the years of different sources of technology and researches. In a threedimensional form, it uses different surfaces and elements to create a specific shape or formation.

These elements has been used in contemporary architecture today. Architecture today is uses freeforms and exploits the flexibility of one’s form.

It can come in many shapes, sizes, curvatures, structures; all needing the right support and base to come with it.

When manufacturing different forms, digital fabrications are being used to make things accurate and faster. This way of fabrication suits the design process of geometrical architecture very well due to the limitation of one’s machine or one’s geometry. Limitations in geometries are today’s problems and will continue being a problem as there are technological constraints.

However, exploring different types of geometry can hopefully reduce the limitation as a whole and hopefully provide a wider range for digital architecture.

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B.2 CASE STUDY 1.0 34

CRITERIA DESIGN

http://matsysdesign.com/wp-content/uploads/2012/04/sg2012_ren_skin_01.jpg

This gridshell was done in a 4 day workshop at Smart Geometry 2012.

It used straight wood lath as the material to construct this form. For this structure to be built, the matrial had to be analysed on how much can it be bent along the geodesic lines on a surface.

Parametric tools were being used and the idea of this design was analysed to minimise the wastage of materials and to maximise the architectural presence of the space it’s in. [1] The design was based on a parametric geometric model and a structural model. This allowed a smooth workflow from the geometry, structure and the material performance to take place in the design.

http://matsysdesign.com/wp-content/uploads/2012/04/sg2012_Elevation_Front-01-01.png

SG2012 GRIDWELL

MATSYS 35

A: PROJECTIONS

Manipulating of control points on curves

Outer Curve: Increased height of control points nearer to edge

Mid Curve: Alternated heights of control points

Inner Curve: Control points modified to produce ‘wavy’ curve

More control points were added; 70 points

CP: 20 GS: 0, 0

CP: 10 GS: -5, 5

CP: 10 GS: 0, 2

B: GEOMETRIC SHIFTS

Added more geodesic curves/arcs

Control Points: 20 Geodesic Shift: -10, 10

C: FREE FORM SURFACES

Playing with different levels of height to produce smooth surfaces

Outer Curve: Height of ends elevated to produce ‘U’ shape

Mid Curve: Height of ends elevated to produce ‘U’ shape

Inner Curve: Curve flipped horizontally to produce ‘U’ shape

Outer Curve: Curve was stretched horizontally to produce longer arcs

Outer Curve: Curve was scaled inwards to produce a ‘closed’ surface

Mid Curve: Curve was stretched out to enhance the mid point of the arc

D: DEFORMATIONS

Scaling of curves to produce wave formations

Outer Curve: Shifted down to produce improportionate arcs

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More control points were added; 70 points

Outer Curve: Control points were flattened onto the plane

Mid Curve: Control points in the middle were elevated

Inner Curve: Control points were flattened onto the plane

Mid Curve: Curve was elevated higher to produce longer arc between inner and outer curve

CP: 64 GS: -10, 10

CP: 64 GS: -15, 15

CP: 64 GS: 0, 0

CP: 64 GS: 0, 2

Lofted: Arcs produced a rather smooth surface from the curves

Inner Curve: Middle points of curve was stretched upwards

Lofted Surfaces from Part D, surfaces has much more mass and bigger than the other parts

Outer Curve: Curve was scaled outwards to produce a wider base

Mid Curve: Curve was elevated higher

Outer Curve: Curve was manipulated to produce a circular base

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A: PROJECTIONS

B: GEOMETRIC SHIFTS

C: FREE FORM SURFACES

D: DEFORMATIONS

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This projection shows the inner and outer curve being placed flat onto the plane, producing a shell-like structure with the arcs.

The other outcomes from this ‘species’ did not produce a stable form of the arcs.

This is a future design potential for a shelter or canopy layer that could be explored further with the geometric shapes.

When the curves were divided into more segments, the overall structure will have more arcs curving through the points. This is useful to produce a much more stable structure as there are more frames.

Also, if the surface were to be lofted, it would produce a smooth surface all around the structure, just like a layer or canvas or skin that could be placed over for future design potential.

This free form surface was to show the curve fluidity. The elevated up allows the arcs to have a smooth curvature, while the arcs on the sides contains a high degree of bending.

This structure can be used as a gateway or linkway from a place to another, allowing a smooth transition of experience for users.

Deformation is a good way to go as to see the different shapes that could be formulated. When the curves are scaled to different proportions, the capabilities of the arcs are pushed while it tries to go through all three control points with one motion. This will cause the overall geometry to be out of form.

Creating deformations allows us to show the sense of area within that structure.

DESIGN POTENTIAL

PROJECTIONS/FREE FORM SURFACES/GEODESIC SHIFTS/DEFORMATIONS:

All combined together to produce this unique structure

PROBLEMS AND EXPERIENCES FACED:

This experience was unique beause of the challenges in different forms and shapes. Geometry has wide varieties and coming up with an idea of changing its form for the future is a hard process because of the lack of knowledge with the details of this project in full.

DESIGN POTENTIAL FOR GEOMETRIC STRUCTURE:

This creates a symmetrical shape, similar to the Gridshell 2012.

The structure can be used as a canopy over a certain area of the site. The exposed structure allows the users to still obtain the connection within and also to the surroundings.

Material used could be similar to Gridshell 2012, as its structural behaviour would allow such bending. This would also allow the structure to blend into its site.

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B.3 CASE STUDY 2.0 40

CRITERIA DESIGN

https://archpaper.com/wp-content/uploads/2016/10/Taichung-Metropolitan-Opera-House-by-Toyo-Ito-Photo-by-Lucas-K-Doolan-9254-edit-1.jpg

Taichung Metropolitan Opera House proposal

was to create spaces that formulate based on Toyo Ito’s concept of the ‘emerging grid’ that forms a complex and rich system of order.

His ideas was a basic form which was a square box. Its interior is made up of three dimensionally curved surfaces. This helps to blur the line beween the floors, walls and ceilings. The interior is made up of horizontal and vertical tube spaces. This shows connection in a building for its structure.

The structure is formed with several curved walls, joined with inlaid floors and core walls.

The tubes and the floor slabs are different layers.

The skin facade of the building serves as a living ecosystem.

The Opera House uses recycled rainwater and sewage, consists of eco-materials to limit the environmental load and conserve resources and also increased the greenery around the site to maximize energy savings.[2] The spaces in the building are art plazas that are spreaded out on the ground floor with different circulation directions leading to the grand theatre which is the main part of the design and building. There are dining facilities at the top floor and also has a roof garden in its design.

TAICHUNG METROPOLITAN OPERA HOUSE

TAIYO ITO 41

REVERSE ENGINEERING

This is the basic structure of the voids in the theatre, where it is repeated and arrayed alongside each other to form an overall geometry as seen from the Opera House. I will attempt to re-create these basic shapes and stack them.

http://www.designboom.com/cms/images/anita03/toyoito22.jpg

Two curves were created on two ends to set the height of the basic structure.

The curves were then scaled uniformly to allow a smooth arc to pass through from top to bottom.

An interpolate arc was then set through the control points of each curve, creating the frame of the structure.

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Control points were inserted on each curve, dividing all curves into 10 segments.

The frame was then lofted to show the basic geometry of the structure.

Each of the basic geometrical structure was arrayed to create a box-like grid of the element. This is roughly how the spaces of the Opera House was created. With the help of Chromodoris, the form was then meshed up to create a randomized structure, similar to the one in the Opera House

WHAT IS THE NEXT STAGE/ STEP?

The next stage is to explore how to create different scales of the basic structure, allowing all the different geometries to blend into one whole building. This might include rotating each of the structure and placing it in the gaps between the original structure.

Structural Model of the Opera House

http://www.oistat.org/UploadFiles/2012-03/vanina/Taichung%20Opera.jpg

HOW DID I FAIR?

I think I have the main idea of how the Opera House fits all the spaces within the building. The gaps between each geometry could be used as the circulation around the building. However, I struggled at having each of the geometry to blend into one another, creating one solid form, instead of being separate structures being stacked and arrayed in different directions. I feel that once I have understood how to blend the surfaces, I would be able to create a structure that is much more similar to the Taichung Metropolitan Opera House.

http://aasarchitecture.com/wp-content/uploads/Taichung-Metropolitan-Opera-House-by-Toyo-Ito-14.jpg

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B.4 TECHNIQUE: DEVELOPMENT 44

Keeping

the basic definition of the above structure, I will attempt to produce 50 different iterations by changing several factors in the inputs. The inputs in Chromodoris will also be adjusted to produce something that would be very distinct from the others. The 5 basic changes that will be done are:

Smoothness: Chromodoris can produce a whole different looking mesh with just the ‘smoothness’ modified. I will show how the smoothness of the mesh would produce different looking structures.

Free Form Surfaces: When the size of the projecting curves are modified, the produced arcs would end up looking like a block or a stem Projections: The projecting curves will be instead of the iterations from the other sections. modified on Rhino to allow Grasshopper to produce different arc projections with different Deformations: In this section I will stretch out the iterations. The control points on the curves will projecting curves to produce deformed looking also be adjusted between a few iterations. arcs that will be meshed out with Chromodoris.

The results from this section will include rounded Single Mesh: Before producing an array of the or curved out edges. same basic shape, I will experiment with a single shape to visualise how it would appear without meshing with each other.

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A: PROJECTIONS

Manipulating of control points on curves

CONTROL POINTS: 50

CP: 50

CP: 50

CP: 10

CP: 10

DL: 2 VS: 1 ER: 2 SV: 0.9 SM: 50

DL: 1 VS: 1 ER: 2 SV: 1 SM: 50

DL: 1 VS: 1 ER: 2 SV: 1 SM: 0

DL: 1 VS: 1 ER: 2 SV: 1.3 SM: 0

DL: 1 VS: 1 ER: 4 SV: 1.4 SM: 100

B: SINGLE MESH

Manipulating factors of a single unit with Chromodoris

DL: 2 VS: 1 ER: 5 SV: 1 SM: 50

DL: 2 VS: 1 ER: 5 SV: 0.9 SM: 50

C: SMOOTHNESS

Manipulating the smoothness of mesh produced with Chromodoris

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DL: 1 VS: 1 ER: 2 SV: 1.3 SM: 100

DL: 1 VS: 1 ER: 2 SV: 1.3 SM: 60

DL: 1 VS: 1 ER: 2 SV: 1.3 SM: 30

CP: 20

CP: 50

CP: 20

CP: 50

CP: 50

DL: 2 VS: 1 ER: 2 SV: 1 SM: 100

DL: 3 VS: 1 ER: 10 SV: 0.8 SM: 0

DL: 3 VS: 1 ER: 3 SV: 0.8 SM: 0

DL: 3 VS: 1 ER: 2 SV: 0.9 SM: 0

DL: 4 VS: 1 ER: 2 SV: 0.76 SM: 0

DL: 2 VS: 1 ER: 2 SV: 1.2 SM: 100

DL: 2 VS: 1 ER: 2 SV: 1.2 SM: 50

DL: 2 VS: 1 ER: 2 SV: 1.2 SM: 0

DL: 1 VS: 1 ER: 2 SV: 1.6 SM: 15

DL: 1 VS: 1 ER: 2 SV: 1.6 SM: 70

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D: FREE FORM SURFACES

Shifting of projecting curves to produce different interpolate curves with varying Chromodoris factors

DL: 1 VS: 1 ER: 2 SV: 1 SM: 50

DL: 1 VS: 1 ER: 2 SV: 0.5 SM: 50

DL: 1 VS: 1 ER: 2 SV: 0.6 SM: 50

DL: 1 VS: 1 ER: 2 SV: 0.5 SM: 50

DL: 1 VS: 1 ER: 2 SV: 0.5 SM: 50

DL: 1 VS: 1 ER: 2 SV: 1.2 SM: 100

DL: 1 VS: 1 ER: 2 SV: 1.2 SM: 50

E: DEFORMATIONS

Deformations of projecting curves with varying Chromodoris factors

DL: 1 VS: 1 ER: 2 SV: 0.5 SM: 50

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DL: 1 VS: 1 ER: 2 SV: 1.2 SM: 50

DL: 1 VS: 1 ER: 2 SV: 1.2 SM: 100

DL: 1 VS: 1 ER: 2 SV: 0.5 SM: 50

DL: 1 VS: 1 ER: 2 SV: 0.6 SM: 50

DL: 1 VS: 1 ER: 2 SV: 0.7 SM: 100

DL: 1 VS: 1 ER: 2 SV: 0.3 SM: 100

DL: 1 VS: 1 ER: 2 SV: 0.3 SM: 0

DL: 1 VS: 1 ER: 2 SV: 1.2 SM: 0

DL: 1 VS: 2 ER: 1 SV: 0.5 SM: 50

DL: 1 VS: 2 ER: 1 SV: 1.2 SM: 50

DL: 1 VS: 2 ER: 1 SV: 1.2 SM: 100

DL: 1 VS: 2 ER: 1 SV: 1.2 SM: 100

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A: PROJECTIONS When the order of the projection curves are shifted, the produced arcs shows a roof-like structure that is very applicable to the site, providing shelter for users as a rest-stop or even an installment.

Adding more control points would produce more arcs and it shows the stability of the structure compared to lesser arcs.

B: SINGLE MESH With Chromodoris, mesh can be formed around produced arcs and what we have here is a single form with an unsmoothened surface around it. The structure is clumpy and rough, making it easier to blend to site. It creates a curved surface on the top, which users might use to rest on.

C: SMOOTHNESS When the smoothness factor of Chromodoris is adjusted, many different results can be obtained. This chosen iteration has the smoothness set to the middle, which makes it consist of both smooth and clumpy surfaces.

D: FREE FORM SURFACES With the projecting curves being stretched vertically, it produces a smooth and tall stem-like structure. This was chosen amongst the other iterations as I am looking for a vertical element to be implemented into the design as it would fit into the site better.

E: DEFORMATIONS Stretching out the produced arcs would result in deformations when Chromodoris is used. This chosen iteration consists of both vertical stem looking elements and also a pod on top. It seems like it is the combination of both A & D.

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B.5 VIRTUAL PROTOTYPE 52

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B.6 TECHNIQUE: PROPOSAL 54

METAMORPHOSIS

Instead

of a design which allows the cohabitation of human and non-human, I proposed an installation which allow humans to go through the transition of metamorphosis, which is very significant in the life cycle of a damselfly. Users will be able to experience the transition which consists of the adult damselfly body form, which are represented by the bright coloured corridor, which is covered with a contrasting mesh which represents the form of the exuviae, being left behind after the process of metamorphosis. The overall form of the structure follows the form of the damselfly going through metamorphosis.

Another factor taken into consideration is also the buildability of the design. I proposed a design which does not drift far into an imaginary or fantasy idea. With basic materials such as compressed cardboard and plywood, the question of is not much of an issue as those materials are rather easy to obtain and the production into this structure will not be a hassle. It is possible to fabricate those materials by laser cutting and also bending of the plywood, taking into consideration its tensile property.

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Night Parade It has already been 3 hours of going around the same spot, finally admitting that I have lost my bearing in this woodland. The sun shone its last ray of light before setting, leaving me in total darkness. I stood still, sweaty and slightly terrified while waiting for my eyesight to adapt to the darkness. After taking a few steps forward, I begin to hear the gushing of water nearby. That sound wasn’t there earlier on and my natural instinct was to head towards the source. As the sound becomes louder, I start to see a streambank, with tall stems piercing the sky.

I felt a sense of relief, knowing that the stream would lead me straight out. As I walk along the stream, I started to notice bright coloured insects flying in vast speed, going round and round right above the stream. I stopped and tried to get a better view of what that was. And there it was, a swarm of male damselflies having a showcase of their bright-coloured stem-like bodies, while the female damselflies sat on a rock, getting mesmerized by the other gender.

Just when things were about to get exciting, the display was interrupted by a Growling Grass Frog, which jumped right onto the rock. The damselflies dispersed, flying to the nearest stem, latching onto the tip of it. There it sat, surveying its surroundings. And there I knew, the night parade was over.

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The walking pavement provides the transition from the open field to the water body where the damselfly inhabits. It is the perfect location for the design to sit as it will futher enchance the transition and contrast.

Location Plan

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B.7 LEARNING OBJECTIVES AND OUTCOMES

Part

B was to show my technique and the ability to expore architecture digitally in the form of parametric modelling.

The learning objectives was to have the ability to create and generate a variety of different design ideas and species for the design brief.

This is also considered with algorithmic design and parametric modelling.

Choosing geometry as a precedent study allowed me to explore the ability of using geometry as my base of understanding digital architecture. Although it is a very vague and abstract topic, being in the simple basis of shapes, objects, curves or lines intersecting, it is definitely in every aspect of architecture and its construction.

The research on digital architecture has increased my knowledge in terms of how engineers, contractors and architects thought of their design and how they draw their inspiration from. I did not know that computational design has been a part of the design all these while. Only after using these designs as my case study I have slowly realised that it plays a big role in this field. Although the process is tedious and enduring, it is about the patience of figuring out what fits the design best.

The outcome of Part B was being able to manipulate the structure I wanted in context with the surroundings and my design idea with its design brief. I could then develop the foundational understandings of computational geometry, data structures and the grasshopper components that came with the Rhino software.

I hope to learn more from this and get a better understanding and knowledge of these ideas and program.

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B.8 APPENDIX - ALGORITHMIC SKETCHES

Using recursive definitions allows us to recreate a similar form

onto a current form, by scaling, moving, rotating or even trimming.

The forms above were results of recursive definitions. They first start with a basic shape and was then scaled and moved using the same starting form and then trimmed away.

WEEK 4

Recursive Definitions

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Chromodoris played a vital role in the form finding in Part B.2 and

B.4. This extension allows me to create meshes around a particular existing geometry and there are variables that can be adjusted to meet the different criterias. Adjusting the ‘Smoothness’ of the mesh can produce a totally different form with it being smoothed out or chunky looking.

The definitions above were first created using Anemone to obtain the different recursive definitions and were then added to Chromodoris to wrap meshes around the basic geometries.

WEEK 5

Anemone & Chromodoris

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Softwares can be used to allow a particular design

to reach out to its targeted audience. Unity allows its audience to visualise the final form of a design in its site, without having to fabricate an actual prototype or model. Many different factors can then be adjusted, such as lighting, textures and also the scale of the object. Unity can also be tightly related to Virtual Reality, which allow users to explore a particular design without having to build it and I believe that this is the future of idea pitching.

What I did in unity was to place a basic geometrical form from Rhino and import it into Unity as an .obj file and started to change the lighting and also added a grass texture to the ground plane to allow a visualisation on how it would appear in the real world.

WEEK 6 Unity

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PART C: DETAILED DESIGN C.1 DESIGN CONCEPT

DESIGN CONCEPT FEEDBACK

The

interim review allowed me to receive multiple constructive comments about the design from Part B. Some of the comments being that the design was too ‘straight-forward’ without any additional thoughts given to the whole structure of the installation. It was also deemed as too literal. Instead of allowing humans to just walk through the installation, there should be obstructions in the design itself to allow humans to feel the struggle of metamorphosis, similar to the damselfly. From these comments, we will move forward to produce a design that responds to these comments and suits the site better.

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len gth : 28 -36 cm lon g

CERES Community Environmental Park

bringing chosen species into the human’s habitat which would assist with the eradication of animals feeding on the vegetation

3 metres

habitats for prey

proposed food pyramid

Our design concept is to provide a vantage point

for the chosen animal, which is the Southern Bobook Owl. Intead of providing a habitat for the animal in the site itself, we are bringing the species out to a nearby location, the CERES Community Environmental Park. The species is known to hunt on smaller creatures such as house mice and moths. By bringing the owl to the park, it will prey on those species while removing those pests from damaging the plants grown in the park.

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ground level

The structure of our design is based on the 3 levels of hierarchy between the species, with the owl being on top, the flying insects in the middle and the crawling mice on the ground. Providing a vantage point allows the owl to get a clear vision of the site and will be able to swoop into its prey with the height of the structure being high enough.

height of vantage point from 5 - 12 metres

vantage points

CONSTRUCTION

MATERIALS

FIXINGS

OR

+

The laser-cut panels will have holes that will fit snugly around the structure, to stop the panels from sliding down we will use a washer at each fixing point.

LASER-CUT PANELS STRING

To create a contrast with the natural surroundings the structure will be white. To achieve this we will lasercut the panels from white perspex or MDF which will be painted to achieve the desired finish.

The final step will involve running string through the whole structure. For this we will use fishing line as it is strong and white/clear in colour.

STRUCTURE For the vertical elements creating the main structure, we will use either PVC tubing of timber dowels spray painted white to match the laser-cut panels.

OR

+

CONSTRUCTION SEQUENCE JOINT DETAIL The panels will have widened areas around the fixing points, these will slide down the structure to rest on the washers that grip the structure and prevent the panels from moving.

1

1. Line the panels and washers up with the structure.

2

2. Slide the washers over the structure to the desired position then slide the panel down until it rests on the washers.

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CONSTRUCTION SEQUENCE

JOINT DETAIL There will be little holes in the panels that will allow fishing line to run through the structure.

3

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3. Continue step 2 until all the panels are on the structure.

4

4. Run the fishing line through the structure using the holes in each panel.

C.2 TECTONIC ELEMENTS & PROTOTYPES

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For our prototype, we experimented with layered

plates to represent the scale of the hierarchy from bottom up. The plates consists of holes to allow the connection between each other, and also to enhance the towering effect for the structure.

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Figure 1

Figure 2

The rods that were used were 3mm and 6mm

acrylic rods (Figure 1) for the inner and outer layer of the lining. The plates were represented by MDF Boards that were laser-cut with precision and later spray painted white to show the contrast between the two materials. The rods were glued onto the plates using epoxy glue, which allows quick drying and speeds up the construction process compared to using regular adhesive glue.

The plates were rotated at every level to show more complexity compared to being stationary on every layer.

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PROTOTYPE

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C.3 FINAL DETAIL MODEL 75

FEEDBACK

During the construction of the prototype, we

came upon great difficulty trying to force the rods through the holes on the plates with an angle.

Although it may contribute to the structural strength of the whole design, we figured that producing a structure with parallel rods might be a much more efficient method and it would allow more rods to be inserted through the plates, producing a constant pattern or facade, instead of a randomized one. For the final part, we begin to work on the final design with parallel rods using a precedent study that we found and tried producing a parametric design using Grasshopper.

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PRECEDENT STUDY

Hungarian Mathematical Model - TamĂĄs LĂŠvai

https://www.graphisoft.com/info/news/press_releases/gomboc3.jpg

The Hungarian Mathematical Model by Tamas Levai has the similar aesthetics that we are trying to achieve for our final model. The designer used vertical elements to allow the free movement of light and air. Similar to our project, we would like to provide a structure that does not restrict the existing movement on site. Using clear acrylic allows us to achieve the intended and enhances the transparency of the design.

https://www.graphisoft.com/info/news/press_releases/gomboc1.jpg

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EXTERIOR RENDER

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CONSTRUCTION

Similar to the prototype, we used 3mm

and 6mm acrylic rods for the inner and outer lining. However, instead of the MDF Board, we replaced it with clear perspex to show the transparency of the structure as mentioned above.

There are a few problems faced during the construction process which includes the structure not being sturdy enough in the beginning due to the lack of rods at the base but as the layers get higher, the structure began to hold itself up without any form of bracing.

Another problem faced was the lack of holes on the plates for the rods to go through. That caused the overall structure to be unable to show the effect of the attractor curve, also mentioned during our final presentation.

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FINAL DETAIL MODEL

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C.4 LEARNING OBJECTIVES AND OUTCOMES

FINAL PRESENTATION FEEDBACK The

feedback received during the final presentation was that the design did not show the paramatric features used from Grasshopper, which is the attractor curve. It was also viewed as ‘not unique’ and that it would not stand out on site. One way to improve on this was to include other parametric features into our design, which will be worked on the further developments

FURTHER DEVELOPMENT From

the above comments, we worked on the existing design, allowing grasshopper to produce a rather unique pavilion using the array component. Instead of providing a structure for the chosen animal, this pavilion creates a mutual relationship by catering to both humans and animas on the site. The materiality of the pavilion includes the usage of bamboo, which conforms to the values of the park by being made from natural and sustainable materials.

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RENDER OF PAVILION

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LEARNING OUTCOMES Through this design process in Part C, I developed the ability to

generate a range of design possibilities with the use of Grasshopper and Rhino. Using these softwares make it a lot easier in trying to churn out complicated and irregular forms that cannot be achieved with other softwares. This also made me more aware of laser cutting. I was very intrigued by the digital fabrication done and hope to explore these techniques in the future. In Studio Air, using the Grasshopper software made me realise that it does more than configure and generate forms, but it can also analyse the different environmental factors like the Sun’s or Wind’s analysis. I feel that it is an important aspect because it is a natural occurrence in life today and understanding the different issues of the natural environment will make the design proposal better. Overall, I learnt about the foundation and the understandings of computational geometry and computation design as a whole. This is a very useful and important learning curve for me to know in today’s developing technology.

Part C helped me get a better grasp of today’s engineering and architectural designs. I did not know about computational design until this studio. It showed me that computational digital architecture has been around for a few years now and that it should be explored and used more often to develop structures that were previously ‘impossible’ to do due to technology constraints, and now make those interesting and unique forms come to life.

The outcome through this is a level of higher learning and the capability to generate new and creative forms using digital architecture.

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BIBLIOGRAPHY PART A 1. Craze, Kirsten. Singapore Residential Development Gets Top Architecture Gong. November 11, 2015. http://www.news.com.au/lifestyle/home/interiors/singapore-residential-development-gets-toparchitecture-gong/news-story/37a69f4380ffca898547a8fdcd21afa3 (accessed March 2, 2017).

2. Snohetta. The New National Gallery and Ludwig Museum Proposal. http://snohetta.com/projects/228the-new-national-gallery-and-ludwig-museum-proposal (accessed March 11, 2017).

3. Mairs, Jessica. Robotically fabricated carbon-fibre pavilion opens at the V&A. May 2016, 2016. https:// www.dezeen.com/2016/05/18/robotically-fabricated-carbon-fibre-pavilion-opens-va-museum-londonuniversity-of-stuttgart-achim-menges/ (accessed March 11, 2017).

4. ICD-ITKE University of Stuttgart. ICD-ITKE Research Pavilion 2015-16 / ICD-ITKE University of Stuttgart. May 5, 2016. http://www.archdaily.com/786874/icd-itke-research-pavilion-2015-16-icd-itkeuniversity-of-stuttgart (accessed March 12, 2017).

5. Brady, Peters. Computation Works: The Building of Algorithmic Thought. 2013.

6. Arcspace. Watercube. December 19, 2013. http://www.arcspace.com/features/ptw/watercube/ (accessed March 15, 2016).

7. Australian Steel Institution. 1_AAMI_Park_case_study. 2010. http://steel.org.au/media/File/1_ AAMI_Park_case_study.pdf (accessed March 16, 2017).

8. Kalay, Yehuda E. Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design. 2004.

PART B 1. MATSYS, ‘SG2012 GRIDSHELL’ (2012) <http://matsysdesign.com/2012/04/12/sg2012-gridshell/> [Acessed 25 March 2017] 2. Phillip Stevens, ‘Toyo Ito Taichung Metropolitan Opera House’ (2014) <http://www.designboom. com/architecture/toyo-ito-taichung-metropolitan-opera-house-taiwan-21-08-2014/> [Accessed 01 April 2017]

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