AIR STUDIO 2017 - Julianna Tong 832401

2017, SEMESTER 1, FINNAN WARNOCK JULIANNA JIN JIE TONG

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TABLE OF CONTENTS

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A.0 INTRODUCTION

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A.1 DESIGN FUTURING

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CASE STUDY 1

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CASE STUDY 2

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A.2 DESIGN COMPUTATION

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CASE STUDY 3

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CASE STUDY 4

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A.3 COMPOSITION / GENERATION

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CASE STUDY 5

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CASE STUDY 6

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A.4 CONCLUSION

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A.5 LEARNING OUTCOMES

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A.6 APPENDIX - ALGORITHMIC SKETCHES

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CONCEPTUALISATION 5

A.0

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SELF INTRODUCTION

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i, my name is Julianna, i am a second year bachelor of environments student majoring in architecture. i have always been a person who loved to create, as a child i was constantly engaged with the idea of imagination and creating something of my own, therefore i have decided that i wanted to pursue architecture at the university of melbourne. i have always had huge passion on digital programming after having done visual communications in year 12, therefore i was really happy to learn that i was going to be using great programs throughout this course. learning the programs was not so easy, and took a lot of effort but i have learnt so much about 3d modelling and how much they can help to define an idea. with studio air i know that i will be taking on a new challenge as i will be taking on the journey to learn grasshopper but i am excited to see what the future holds. i am honestly just excited to learn new things, i believe that what we create in architecture can really change the future, i cant wait to explore new programs

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A.1 DESIGN FUTURING W

ith such advanced technologies and an ever-growing economy, we are viewing the world as a place of many possibilities, but these possibilities are creating dangerous consequences to the future. As Tony Fry says “the omelette at the cost of the egg, the table at the cost of the tree�(1). We are constantly treating natural goods as an infinite resource, exchanging it for what we desire, but in-fact it is limited, and we must begin to design a sustainable future. We humans take on a big role in shaping the future, we must design the future together and create new experiences and ideas for future generations.

(1) Tony Fry, Sustainability, Ethics And New Practice (Oxford: Berg Publishers Ltd, 2008), pp. 1-16.

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1 CASE STUDY 1

NINGBO MUSEUM // WANG SHU // 2008

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n 2017, we are constantly surrounded by great architecture built with new, innovative materials that we have completely disregarded many famous building techniques in history.

Those techniques in our history were overridden with our new methods and innovations, and although we believe this is moving forward, sometimes taking a step back can result in a more sustainable future.

With the Ningbo museum, the Wapan tiling method was used. This method is a very traditional Chinese way of constructing, and is labelled as a form of slow architecture (4) it is a lot more sustainable than the modern buildings in china right now not only saving cost but also energy to produce as this tiling method only require manual labour. After Wang Shu was able to win the noble 2012 Pritzker architecture prize(5), Wang Shu was able to bring to light historical ways of building through the Ningbo museum, the idea that you do not need to continue to innovate new and more stable materials, instead you can try find a way to reuse the old, instead of wasting such precious old materials, why not use it to create something new. Though this architectural building Wang Shu was able to prove not only to the civilians but also the government that there is a more sustainable way of building and that new may not always mean the best.

Ningbo museum is designed by Wang Shu and built though-out 2003-2008.

It became the “no memory area” After the demolishment of 15 villages in the Ningbo region. Wang Shu wanted to create an area of reflective nostalgia (2) to rememorate these villages, therefore he utilised ruins of those villages to create the Ningbo museum. This was Wang shu’s way of preserving history and culture, by using the recycled materials of those villages, not only was this honouring the historical aspect of the culture but educate new architects about preserving culture and history, it was also a great way of showcasing the Chinese culture and the innovative ld techniques of building could ideas of architecture using recycled be more sustainable, and provide us materials. The buildings bring the new with a better future, what if the future and old directly in contact with each was to move back into history? other, consisting of the new modern concrete with bamboo textures with the old recycled material of brick, wood and ceramic tiles (3). Wang Shu expressed his concerns with china growing too large too fast (4), instead of focusing on short term goals, Wang Shu believes in long term sustainable buildings and loved to explore the creative opportunities

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2. Hing-wah CHAU, “Architectural Culture And Reuse”, Unmaking Waste 2015, 2015 <http:// u n m a k i n g w a s t e 2 015 . o r g / w p - c o n t e n t / uploads/2015/09/UMW_Session_12.pdf> [accessed 7 August 2017].

3. Dezeen, Wang Shu’s Ningbo History Museum Built From The Remains Of Demolished Villages, 2017 <https://www.youtube.com/watch?v=lgSvdJxAy_0> [accessed 7 August 2017].

4. Ong, “Asian Architecture: Ningbo Historic Museum”, Slideshare.Net, 2016 <https://www.slideshare. net/euxuanmackenzie/asian-architecture-ningbohistoric-museum> [accessed 7 August 2017].

5. ”2012 Pritzker Prize: Wang Shu”, Archdaily, 2012 <http://www.archdaily. com/211941/2012-pritzkerprize-wang-shu> [accessed 7 August 2017].

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fig.2 Ningbo Museum, 2017 <https://au.pinterest.com/pin/176484879130786430/> [accessed 7 August 2017].

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fig. 4 Dezeen, Ark Nova Interior, 2013 <https://www.dezeen.com/2013/09/26/ark-nova-by-arata-isozaki-and-anish-kapoor-completes/> [accessed 7 August 2017].

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1 CASE STUDY 2

ARK NOVA // ANISH KAPOOR & ARATA ISOZAKI // 2011

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rchitecture is about constructing ideas into the real world, therefore we have always built architecture to be permanent, but what if it was not?

What if we could make it temporary over and over again?

Design by Arata Isozaki and Anish Kapoor Ark nova was the first ever inflatable mobile concert hall built in 2011(6). In 2011, a very powerful earthquake and tsunami hit the east of japan and claimed 18,000 lives and evacuated 160,000 from their homes due to radiation poisoning (7).

After the country broke into despair the project of art nova was created to bring musical relief to the victims of this tragedy. The building aimed to provide the victims a get-away option, a place where concrete structures do not exist, a place where the invisible sadness of the city is perceived and recognized with.

The form of ark nova resembles organic human organs by its smooth outer appearance, the interior is surrounded by a red glow created by the filtered sunlight penetrating the purple exterior walls, this red glow was believed by Anish Kapoor to have a revitalizing effect to individuals with post tragedy trauma(7). Kapoors smart use of colours through natural sunlight was a very innovative method when creating this design, it is something that considered the context and function of the concert hall making this a critically thought out deisgn.

The ark nova was inspired by Anish Kapoors earlier design of the “giant 4 armed balloon” which was a monument that explored the relationship of the unexplored physical realm (8) This project was able to introduce and bring to light the concept of temporary architecture, not only was this structure able to inflate or deflate within two hours, it was able to be transported to anywhere that it is needed. This arena served as a musical centre to bring love and joy back into those victims of the Japanese earthquake, by hosted many famous acts in japan. The music arena comes fully equipped with sound equipment and a stage, making it a very efficient when it comes to preparing stages. This concert hall is made from PVC coated polyester and can reach 120ft long also hold 500 attendees (6), this amazing number shows the possibilities of temporary architecture.

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Amy Frearson, “Ark Nova Inflatable Concert Hall By Arata Isozaki And Anish Kapoor”, Dezeen, 2013 <https://www. dezeen.com/2013/09/26/ark-novaby-arata-isozaki-and-anish-kapoorcompletes/> [accessed 7 August 2017].

Leon Tan, “Culture In Motion”, Forecast, 2014 <http://unitec.researchbank. ac.nz/bitstream/handle/10652/2988/ Leon%20Tan.pdf?sequence=5> [accessed 7 August 2017].

The Diplomat Jonathan DeHart, “Ark Nova: World’S First Inflatable Concert Hall Debuts In Japan”, The Diplomat, 2013 <http://thediplomat. com/2013/09/ark-nova-worlds-firstinflatable-concert-hall-debuts-injapan/> [accessed 7 August 2017].

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2.DESIGN COMPUTATION

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ith the help of technology/computation, we can test many different types of designs or geometries a single element or form can create, this is done fast and simple through easy algorithms that can be created and altered to fit needs. We love to rely on technology because we trust in its functions, just as Kalay says â&#x20AC;&#x153;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 storeâ&#x20AC;? (9) maybe because of this reliance, technology/computation has become inseparable with architecture.

(9) Yehuda E Kalay, Architecture's New Media (Cambridge, Mass.: MIT Press, 2004).

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2 CASE STUDY 3

DRIFT PAVILION // SNARKITECTURE // 2012

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rift pavilion was constructed as an entry pavilion to the 2012 design Miami exhibition by snarkitecture in partnership with inflate(10).

Designer and artist Daniel arsham from snarkitecture said “we’re always trying to make objects perform in unexpected ways and do things that they shouldn’t really be doing” he also added that the idea behind the pavilion was “a limited palette, a limited range of materials”(11) By creating a digital version of the structure, the creator can decide how many elements and where the elements are placed to achieve the best result. The drift pavilion consists of a singular inflated cylinder vinyl tube that is placed at different heights next to each other, this would have been decided through the use of digital modelling which helps when deciding on where the tubes are to be connected next to each other to create the most variation and depth. These tubes are designed and placed in way that would allow minimal natural light to shine through as they bounce off each tube along the way (12), this can also be supported through technology as spatial qualities can be detected digitally. Technology is able to preview how the sunlight will transmit through the structure, allowing more precise designs that if it were not for technology would take trial and error, time and energy.

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They are secured in place using a metal frame which is proving that the high ceiling space is not supported with many solid loadbearing structures, giving the design a lightweight impression (13). The material used is the same material as the tent allowing the structure to merge with the main complex. Together this design creates a decorative opening for a place of conversation and interaction. This pavilion being the opening to an important exhibition has been recognised through its design, not only is photography used to display such aesthetics, digital modelling images were released to help the audience understand the experience of the pavilion.

All these factors all contribute to an easier more precise design for the drift pavilion. As such proven results have been produced through this pavilion, technology takes a step ahead into the architecture society, by using technology we are able to preview a project and its outcomes with less energy and time consumed.

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“Totally Tubular: Snarkitecture’s Inflatable “Drift” Pavilion Will Welcome Visitors To Design Miami”, Architizer, 2012 <https://architizer. com/blog/totally-tubular-snarkitecturesinflatable-drift-pavilion-will-welcome-visitorsto-design-miami/> [accessed 7 August 2017].

11. Xanthia Hallissey, “Drift Pavilion By Snarkitecture At Design Miami”, Dezeen, 2012 <https://www. dezeen.com/2012/12/09/drift-by-snarkitectureat-design-miami/> [accessed 7 August 2017].

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”Snarkitecture’s Drift Pavilion Welcomes Visitors To Design Miami”, Designboom | Architecture & Design Magazine, 2012 <https://www. designboom.com/architecture/snarkitecturesentrance-pavilion-welcomes-visitors-atdesignmiami/> [accessed 7 August 2017].

13. “Drift Pavilion - Pvcconstruct”, Pvcconstruct.

Org, 2012 <http://www.pvcconstruct.org/en/p/ drift-pavilion> [accessed 7 August 2017].

fig.6 Drift Pavillion Built, 2012 <https://au.pinterest.com/pin/287315651199113372/?lp=true> [accessed 7 August 2017].

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18 Italian Pavilion, 2015CONCEPTUALISATION <http://www.domusweb.it/content/domusweb/en/news/2014/05/08/expo_italy_pavilion.html/> [accessed 7 August 2017].

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2 CASE STUDY 4

ITALIAN PAVILION // NEMESI & PARTNERS // 2015

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uildings after much consideration, are artificial and when coming in contact with the environment can never help to sustain, but can only worsen situations, but what if we were to change that relationship, what if we could create something that could be part of nature, something that can give and take to nature?

The Italian pavilion in Milan, Italy was built in 2015 by Nemesi & Partners architect firm. It consists of 6 levels with an area of 14,498 square metres and is used for exhibitions and meetings (14). In our current times, architects design for the aesthetics or function of the building, making buildings nowadays a separate word from the environment, buildings exist artificially, they are not sustaining the environment, instead they are providing an aesthetic relief. The idea of the Italian pavilion was to showcase that although building is artificial, we can find a way to symbolise nature or build something that is able to constantly exchange with the environment. The Italian pavilion resembles a forest, by using many different panels that represent branches, it surrounds the building showcasing never seen before textures because of the many panels used that overlap each other to represent the forest texture (15).

By bringing in this idea of nature the building acts a cohesive tie, or what Nemesi would like people to believe is their home or where the community can come together (16). Nemesi believed that buildings should always be an exchange with the environment , he believed that there should be a constant exchange of air and energy between the two, therefore a new material was invented to achieve that.

The building innovative use of photovoltaic glass in the roof and the newly invented material for the branched façade help the building to be more sustainable, the facade consists of over 700 active biodynamic concrete panels that help to transform the pollution in the air into inert salts when light was to hit the façade, therefore reducing the smog levels in Milan (17). Technology was what made this possible (3) without our advanced technologies, the material of the building would not be tested and proved before the actual structure was built, therefore saving cost and energy. Computation would have been able to suggest how the building can achieve its desired façade and how it combines with the photovoltaic glass roof on top. It is able to provide information on the position and number of panels needed and allow the easy visualisation of different panel placements from not only the exterior but also the interior.

With the innovation of the new material through the Italian pavilion, this introduction can show architects a different way of materials in design, a material that is able to adapt, change and sustain the environment instead of being an artificial structure.

14. "Italy Pavilion Milan Expo 2015", Architizer, 2015 <https://architizer.com/projects/italy-pavilionmilan-expo-2015/> [accessed 9 August 2017].

15. Amy Frearson, “Italy Unveils Permanent Milan Expo Pavilion”, Dezeen, 2014 <https://www.dezeen. com/2014/05/13/italy-milan-expo-pavilion-nemesiair-cleaning-facade/> [accessed 9 August 2017].

16. Michele Molè Of Nemesi & Partners Explains The Italy Pavilion At Expo 2015, 2015 <https://vimeo. com/127054816> [accessed 9 August 2017].

17. “Italy Pavilion – Milan Expo 2015 / Nemesi”, Archdaily, 2015 <http://www.archdaily. com/630901/italy-pavilion-milan-expo2015-nemesi> [accessed 9 August 2017].

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3 COMPOSITION/GENERATION

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ow has computation changed us? How will it change us? We do not know, but that is not a bad thing. We should believe that computation is allowing more possibilities for the future, thus making the future ambiguous but interesting. By deriving from the modern ways of designing we are setting the new norm of design, we are showing a more efficient, precise, detailed way of designing and this will thus change many things about architecture. People have already evolved into this change without even realising it, because that is how much digital computation has combined with design, if we are here now, where could we reach in 10 years?

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3 COMPOSISTION / GENERATION

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omputation has begun to completely change the mode of composition in the architectural world. By being able to create simple algorithmic sequences we can explore new options and search for future design possibilities. As Brady peter says “ the making of these custom tools takes place within the design process, and becomes integral to the design itself “ (18) this means to me that although computation was once used as a way to custom our designs, it has now become the design itself and that design is always going to be related to this new technology.

Computation has thus integrated greatly into the design process, modern designs are not created without the help of computation, this is because computation provides security, precision, options and information that help to make the design fit to the brief. It is a form of experimentation that allows feedback to come from the design to analyse our design choices, because after all designs all need to fit to the public world, an idea drawn out on paper will never provide enough information about how the structure will act with all the natural surroundings and incidents.

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Brady Peters and Xavier De Kestelier, Computation Works, 2013, pp. 8-13.

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Achim Menges and others, Fabricate, 2017, pp. 286-293.

ARMADILLO VAULT // ALEJANDRO ARAVENA // 2016

he armadillo vault is a great example of computation versus modern design. Created by Alejandro Aravena it is an unreinforced and freeform vault that is made possible by the complex geometries created though computation.

Spanning 15 meters, the vault uses compression to keep up the shell shape of 399 limestone panels weighing at 24 tonnes. By creating a digital force flow Alejandro could manipulate the number of panels and their cuts.

She explains that “since there is no mortar between the voussoirs, which could have compensated for tolerances, the interfaces between stones had to be flush and therefore precisely cut and set”(19) this information was gathered through the help of the digital work flow, by analysing the stability of each panel, Alejandro was able to find the correct cuts needed for each panel to be able to successful slot each panel into each other to create compression and the hold the form up.

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Achim Menges and others, Fabricate, 2017, pp. 286-293.

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Achim Menges and others, Fabricate, 2017, pp. 286-293.

Armadillo Vault Block Model, 2016 <https://vimeo.com/blockresearchgroup> [accessed 9 August 2017].

During the construction of this vault, a scaffolding structure was produced to help ease the construction team into how to build together the vault, this structure would have been easily produced with precision through the use of computation.

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Armadillo Vault Diagrams, 2016 <http://www.domusweb.it/en/news/2016/10/06/armadillo_vault.html> [accessed 9 August 2017].

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A.

3 CASE STUDY 6

MUMBAI AIRPORT TERMINAL // LARSEN & TOUBRO // 2014

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omputation is part of the architecture identity now (20), it is the new normal, we are constantly relying on the new technology programs like Autocad, Grass hopper etc to create visual imagery of our ideas. Back in the days, drawings were an expressive tool that allowed users to communicate ideas, but with the introduction of computing and technology we are now able to create simple and complex geometries through algorithms and simple digital modelling.

Computation can also be identified as a new hack towards architecture, with it things are more simpler detailed and informative (21), also it allows us to communicate our ideas better.

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or example, the Mumbai airport terminal is a perfect example of the use of complex algorithmic in architecture. It could be the largest cable wall ever used to build a canopy, with the help of technology, this canopy utilised a geometrically non-linear static analysis (22) to test the deflection and axial force of each cable, therefore being able to locate and measure how much cable needed to be in each detail. Many other details including the structural framing, concrete slab all relied on computation as the pre-informative medium to allow for understanding before the structure was built. This example perfectly represents just how much technology/computation has become the new norm.

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20.

"The Past, Present And Futures Of Drawing", in Drawing Futures (UCL Press, 2016), p. 3 <http://www. jstor.org.ezp.lib.unimelb.edu.au/stable/pdf/j.

21.

Witt, Andrew. “Design Hacking: The Machinery of Visual Combinatorics.” Log, no. 23, 2011, pp. 17–25.

JSTOR, www.jstor.org/stable/41765683

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Charles Besjak and others, “Chhatrapati Shivaji International Airport— Integrated Terminal Building”, Structural Engineering International, 23.1 (2013), 8-13 <https://doi.org/10.2749/101686613x13363929988296>.

Mumbai Airport Terminal 2, 2014 <http://www.skyscrapercity.com/showthread.php?t=780406&page=15> [accessed 9 August 2017].

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Chhatrapati Shivaji International Airport, 2014 <http://architectsandartisans.com/2014/02/a-hive-of-activities-at-the-new-school/> [accessed 9 August 2017].

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A.

4 CONCLUSION

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ase studies throughout this section, I have focused on temporary architecture, renewable architecture, architecture that transmits air with the environment, tubes that digitally planned to have the best performance, architecture with no structural support and lastly the amazing geometries that can be created using computation. Through the research I can identify what has interested me and what I thought was innovative about the design, I was able to conclude in each of my case studies what I thought could potentially make out future better. I believe that computation is a great leap within architecture, not only has it allowed us to create more aesthetically pleasing geometries, it has also allowed us to create new and better ideas to further sustain the environment. The readings for this section were very theory based and it has allowed me to have a broader understanding of computation, designing the future and the importance of our actions.

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5 LEARNING OUTCOME

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hroughout section A I was amazed at the involvement of technology/computation throughout architecture, I believe architecture is something that is constantly evolving and made better of but also on the other hand I believe the future of architecture should also be sustainable. With such advanced technologies available, architecture for the future should not be an artificial piece of work but instead it should be something that belongs to the nature by either using the nature as a resource or being able to constantly have a give and take relationship. Through this not only will the audiences be able to live in a more sustainable environment, it allows the environments to experience a more natural change of landscape.

At the beginning of this course, I had always known that the future is unknown, but after researching through the case studies I want to believe that we can shape the future through our architecture. By combining my new knowledge of temporary architecture, renewable architecture, the importance of computation and how computation can bring us to our future, I was able to see the importance of technology and where it can potentially lead us. Two fields that I am very interested in so far are temporary architecture, so something that can extrude when it is needed and retract when it is not, I believe this is a very innovative idea that could potentially change the way we think about architecture. To make this idea a reality, the material would have to be retractable, or if there was a system that could allow panels to fold together into a smaller surface that would also be my idea of temporary architecture. The second field that I am very interested in, is architecture that can withhold by itself. So after researching through the armadillo vault, I thought it was really cool that a vault could without its self with no structural support, unlike the historical caves where heavy mortar was used to created arches, this system uses computation to figure out the exact slots of how each panel fits to each other to be able to carry load, I believe I would love to explore that further by creating my own panels that can connect with each other and rely off each other. These two fields of design are very interesting and would be what I would like to further research on towards.

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6 ALGORITHMIC SKETCHBOOK

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CRITERIA DESIGN

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CRITERIA DESIGN

TABLE OF CONTENTS

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B.1 RESEARCH FIELDS

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B.2 CASE STUDY 1.0

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ITERATION MATRIX

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SUCCESSFUL OUTCOMES

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B.3 CASE STUDY 2.0

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REVERSE ENGINEERING PROCESS

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SIMILARITY // DIFFERENCES

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B.4 TECHNIQUE DEVELOPMENT ITERATION MATRIX

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SUCCESSFUL OUTCOMES

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B.5 PROTOTYPING

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B.6 PROPOSAL

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B.7 LEARNING OBJECTIVES AND OUTCOMES

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B.8 APPENDIX - ALGORITHMIC SKETCHES

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CRITERIA DESIGN

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B.

1 RESEARCH FIELD

PATTERNING

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eferred to as a timeless way of building (1), patterning exists through nature, the waves, the mountains, forests, animals and many others to create a sense of character and identity.

Patterns are something that us individuals are very comfortable with, it makes sense.

Buildings are no different, we in cooperate the same idea of repetition allowing architecture to bind in with the nature and allow comfort in our minds, it creates uniformity within the structure and within a landscape. It is a set of relationships, using different geometries and materials it showcases how different elements can interact with each other and how we can react to them. Patterning can also come in different shapes and sizes, and vary according to the lifestyle, customs, behaviours, cultures, climates etc (2). this is what gives many structures identity but also allow it to be applied to context, be able to be different and showcase its surroundings.

Patterning is a basic form of an elaborative design, with simple repetition of elements, diverse styles and structures can be created.

Computation is able to use patterning as a basic form of design to develop into something more complex, it is something that is simple but is a prominent template for many architectural projects in the world, I decided to choose patterning because I want to understand the fundamentals of design, I want to be able to test out these theories of interacting with the environment and blending in.

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1. Alexander Christopher, The Timeless Way Of Building (New York: Oxford University Press, 1979).

2. â&#x20AC;&#x153;A Theory Of Architecture Part 1: Pattern Language Vs. Form Languageâ&#x20AC;?, Archdaily, 2014 <http://www.archdaily.com/488929/a-theoryof-architecture-part-1-pattern-language-vsform-language> [accessed 26 August 2017].

CRITERIA DESIGN

Gallery Of Casa Kimball, 2010 <http://www.archdaily.com/45140/casa-kimball-rangr-studio> [accessed 26 August 2017].

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The Portrait, 2015 <https://media2.architecturemedia.net/site_media/media/cache/05/ef/05ef39dbc29eda368b77a7d9f26ba095.jpg> [accessed 26 August 2017].

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2 CASE STUDY 1.0

BARAK BUILDING // ARM ARCHITECTURE // 2015

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his building located on the south side of Carlton is a 32 storey residential building that remembers William Barak, an Wurnundjeri activist using a portrait as the façade of the building. As Howard raggatt said “We think a building of this scale and civic significance owes the public a visual and cultural contribution as well as providing thoughtfully for its residents” showcasing its big cultural influence it was about to make on the city of Melbourne (3).

ARM architects used a technique called the xylographic technique (4), this technique allowed the designers to transform a photo into a bitmap line drawing which then with extra computerisation can turn into a panelled 3D model. Using these different white concrete panels, it creates an illusion of the portrait to the human eye therefore creating the façade of William Barak.

The xylographic technique is a technique in printmaking whereby an image is able to be carved into the surface of selected materials, using contrasting colours like black and white, the human eye is able to combine one set of colours together to gather an image in their heads (5).

By combining computational techniques with historical and modern artistical techniques, we are able to create the portrait building and modify it according to liking.

3. “Barak Building / ARM Architecture”, Armarchitecture.

Com.Au, 2017 <http://armarchitecture.com.au/projects/ barak-building/> [accessed 26 August 2017].

4. “A Building With A... Face In Melbourne Honors William Barak - Deviant World”, Deviant World, 2017 <https://www. deviantworld.com/art/design/face-building-melbournewilliam-barak/> [accessed 26 August 2017].

5. Stephen Farwell, “Xylography | History Of Graphic Design”, Historygraphicdesign.Com, 2017 <http://www. historygraphicdesign.com/a-graphic-renaissance/printingcomes-to-europe/2-xylography> [accessed 26 August 2017].

CRITERIA DESIGN

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B.

2 ITERATIONS

SPECIES 1 ORIGINAL ALGORITHM Surface dividing slider controls the amount of panels at use, by changing the sliders on the z plane vector, we are able to control the length and curve of the panel waves to create the patterning from the image sampler

SPECIES 2 IMAGE SAMPLER

Image used :

SPECIES 3 VECTOR EXTRUDE

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SPECIES 4 FLATTENING

FLATTENING MOVE FUNCTION + DELETING FLIP FUNCTION

SPECIES 5 LUNCHBOX: ENNEPER SURFACE

SPECIES 6 TWEENCURVE Different curve designs includes: custom curves, circles, hexagons

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FLATTENING MOVE FUNCTION

FLATTENING BOTH MOVE FUNCTIONS

FLATTENING AND REVERSING BOTH MOVE FUNCTIONS

FLATTENING AND REVERSING ONE MOVE FUNCTION

FLATTENING BOTH MOVE FUNCTION + DELETING FLIP FUNCTION

CRITERIA DESIGN

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B.

2 SUCCESSFUL OUTCOMES

AESTHETICS

IMAGE SAMPLER

CONSTRUCTABILITY SOFTNESS POTENTIAL

AESTHETICS LUNCHBOX: ENNEPER SURFACE

CONSTRUCTABILITY SOFTNESS POTENTIAL

AESTHETICS LUNCHBOX: ENNEPER SURFACE

CONSTRUCTABILITY SOFTNESS POTENTIAL

AESTHETICS TWEEN SURFACE

CONSTRUCTABILITY SOFTNESS POTENTIAL

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Using the image of leafs, i was able to create a pattern that allows the most variety in the panels, with such variety it is able to be diverse in what it can be developed into, but also keep the aesthetics of the contrasting panels.

By using a enneper surface i was able to create different panels intersecting at one point in the centre, this was a vrey aesthetically pleasing design and i believe has high potential to be developed into something better.

By minimising the curve strength on the different panels, i was able to create a simple line design wehereby the panels are thin and simple but has nice aesthetics.

This model was modeled off a hexagon and although it keeps its simplicity, it creates its own beauty through the softness and continuality of such design, it showcases a very organic shape that is easy to construct and build upon.

SELECTION CRITERIA

F

rom researching the idea behind patterning and how it tries to achieve repetition through space but also allow for identity and charactistics, i have created my selection criteria through how well my designs can conform to those beliefs.

I have split it into 4 sections, with aesthetics i believe that a design has to be attractive to be sustainable, being attractive allows for more audience engagement and also a longer lifespan as it becomes treasured by the society that surrounds the building.

The design can be measured in constructability, noting the ability to actually make the model in real life, this is a very important criteria for future stages.

Softness is a criteria that i believe does not have to be met, but the softness/ hardness of the model is an important factor to the design therefore i have included it, and no matter where the model stands on the softness scale, it has its own qualities of design.

Potential to me is very important, i believe the design should be chosen as successful if you can see a future within it, if there is potential in the design that would mean that it has become the basis of something and can be developed and

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Lisa56 Iwamoto, MOMA REEF PS1, 2007 <https://iwamotoscott.

CRITERIA DESIGN com/projects/moma-ps1-reef> [accessed 14 September 2017].

B.

3 CASE STUDY 2.0

MOMA PS1: REEF // IWAMOTOSCOTT ARCHITECTURE // 2007

T

he proposal of this pavilion design was to symbolise the underwater landscape more specifically the sea floor, reef rocks and corals, thus the name “Reef”. To create this under water experience, the design proposed an atmosphere that focuses on the light, shadow, shade and movement.

To create the movement aspect of the design, it utilised a lenticular cable that spans from the already existing concrete walls as the structural support. The free-flowing anemone clouds are therefore able to be installed onto the cables therefore creating a sense of free movement. The 1200 uniquely shaped fabric mesh modules are created using digital programming parametric software called the CATIA to model and refine the design for fabrication and allow a patterning system to be formed (6), this repetitive system gives the design a water like feeling showing a constant flow throughout the design. The separate modules are designed to move with the wind, and with the different depths throughout the design, it will react differently according to the weather and provide different amounts of shading throughout the day.

The lightweight quality of this design allows it to be easily transported and installed, it also can be installed in small or large scales using the repetition of modules created through digital parametric systems.

6.

Lisa Iwamoto, “Iwamotoscott Architecture | MOMA/ PS1 Reef”, Iwamotoscott.Com, 2007 <https://iwamotoscott. com/projects/moma-ps1-reef> [accessed 14 September 2017].

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B.

3 REVERSE ENGINEERING PROCESS

NUMBER SLIDER LOFT

SURFACE SRF CP

AREA QUADS

POINT

DISTANCE NUMBER SLIDER

BOUN

DOM

NUMBER SLIDER

STEP ONE.

STEP TWO.

Start with a lofted surface

Split that surface into a grid

58

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STEP THREE.

Find the midpoint of all the grids

Cre the

MULTIPLICATION

EVAL SRF

NDS

SEAM

MOVE

RULE SRF

CURVE CP

CIRCLE END

REMAP

MAIN

STEP FOUR.

eate circles at all of e centers

STEP FIVE.

move those circles towards a vector point

STEP SIX.

loft the circles that are moved with the original grid CRITERIA DESIGN

59

Isar PS1 REEF Anemone Cloud Model 2, 2007 <https://www.flickr.com/photos/ isar/431629773/in/album-72157600023967187/> [accessed 14 September 2017].

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B.

3 SIMILARITY//DIFFERENCES

SIMILARITIES Both the actual design and my digitial model uses a square grid structure with an extrusion. The end of both designs have the circle that are different sizes according to a attractor point, which is closely following the actual design whereby some of the circles have a change in size. The repetition useage of the extrusion panels, help replicate the atmosphere of shade, shadow and light with movement to be discovered on later with material testing.

DIFFERENCES The difference between my algorithm and the Reef is that the length of the extrusions are not the same. In the Reef the extrusions are also following multiple attractor points whilst my design extrudes at the same length in all the panels, this is something that i want to further explore in the iterations to see if i can create a attractor point for the extrusions. Another different would be the surface of the grid. As the original design contains a flat surface structure that holds up the extrusions, for my selected surface i have decided to choose a more curved surface to design out the depth of each extrusion.

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B.

4 TECHNIQUE DEVELOPMENT

MOVE : 0

MOVE : 15

DOMAIN NUMBER CHANGE + MOVE

DOMAIN NU CHANGE + M

SPECIES 1 ORIGINAL DEFINITION (A PLAY WITH SLIDERS)

SPECIES 2 ATTRACTOR POINT The attractor point here is used to define the radius of the circles and also the height of each panel, therefore there are 2 attractor points that are experimented with in this species

62

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UMBER MOVE

MOVE : 30

MOVE : 55

DOMAIN NUMBER CHANGE

REVERSING THE SIDE OF THE MOVE

ATTRACTOR POINT CHANGE

ATTRACTOR POINT CHANGE

CREATING A RANDOM EXTRUSION

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MOVE : 0

SPECIES 3 LUNCHBOX: ENNEPER SURFACE REVERSE OF THE EXTRUDING FACE

SPECIES 4 ROTATE AXIS By defining different the start, step and count of the rotational axis i am able to create these iterations whereby some are fully rotated and some are still part of the original grid.

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MOVE : 10

MINIMISING THE SURFACE

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65

CURVE: 1

GRID PANEL NO. CHANGE

CURVE: 2 ENLARGED

CURVE: 4 MINIMISED

SPECIES 5 CURVE CHANGE Changing the curve that the grid extrudes to can change the complete design and expression of the design This is combined with the random extrusions from the grid.

1 2 3 4 5

SURFACE: CYLINDAR

SPECIES 6 SURFACE CHANGE + AXIS ROTATION

66

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SURFACE: CONE

L E

CURVE: 2

CURVE: 3

CURVE: 4

CURVE: 5

CURVE: 5

NO RANDOM EXTRUSION

ENLARGED

SURFACE: CONE

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B.

4 SUCCESSFUL OUTCOMES

LUNCHBOX: ENNEPER SURFACE

AESTHETICS CONSTRUCTABILITY SOFTNESS POTENTIAL

AESTHETICS LUNCHBOX: ENNEPER SURFACE

CONSTRUCTABILITY SOFTNESS POTENTIAL

AESTHETICS AXIS ROTATION

CONSTRUCTABILITY SOFTNESS POTENTIAL

AESTHETICS CONE + SQUARE EXTRUSION

CONSTRUCTABILITY SOFTNESS POTENTIAL

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By minimising the amount of grid panels to work with, the design/extrusion is focused on three sides of the design, this leaves a smooth surface on the parts where the grid is not affected therefore giving it a look that combines the sparseness of the extrusions but also the softness of the enneper surface, this can be a very workable design that can explore a relationship between the soft and the sharp.

With a smaller enneper surface the extrustions are more combined together, this creates an illusion that all the circular extrsions are actually coming from one vertex but that is not the case, this design is very aesthetically pleasing but is hard to construct if it wanted to reach the complexity of this exact iteration, but the idea behind extrusions from a vertex is a good idea that can be developed on

This design helps to exclose a space as using the command helped the design to surround and enclose. I can see alot of potential in this iteration because it uses the repetitive same element but in different heights, angles, and lengths to create a design that is no longer a panel but something that can be enclosed where all the elements of this design interact with eachother in some way. i think this would be a good idea to develop on too.

This design extrudes into a square shape which i thought was a very interesting design, it almost looked like a set of speakers producing sound as the different panels were on different lengths. I think this could be a very interesting idea to develop on whereby different panels overlap with eachother to create a very complex but simple and developable structure that can constantly grow to a big scale.

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B.

5 TECHNIQUE: PROTOTYPE

70

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CRITERIA DESIGN

71

GEOMETRY + 72

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+ PATTERNING CRITERIA DESIGN

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B.

5.1 FIRST DIGITAL COLLABORATION

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PATTERNING + GEOMETRY

M

y partners focus for this folio was geometry, we highly believe that geometry and patterning always work hand in hand, when you create a repetitive geometry, you are created patterning and vice versa. We believe we would be able to take the repetitive nature of the two and create an interesting design of an acoustic pod in the office area.

By collaborating me and my partners models, we achieved a sphere with circular extrusions. This first attempt was a great way to start the process of our parametric collaboration, by adding elements of my definition to my partners we were able to create a model that consists of both of our elements geometry and patterning. The model was a very interesting play on dimensions and depth, we believed the bars which were inspired by my partners precedent project was a way of building a structural design that self supports itself through repetition.

We marked it against the criteria of buildability and aesthetics and believed that this design could both be buildable and looks aesthetically pleasing but we believed we were able to develop this further into something more innovative, so therefore we moved onto another design for prototyping

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B.

5.2 PARAMETRIC DIGITAL PROTOTYPE 1

76

CRITERIA DESIGN

B

y transferring the design onto a enneper surface we were able to create a spider web grid bone structure that was able to hold up all the extrusions to create the circular hollow section. We believed this design would be a great idea to proceed with as the hollow areas allow for great development in the future that could possibly be acoustical members. The design matches the criteria that the first collaboration was not able to meet, this design was more interesting in the physical qualities and also it provides a lot of qualities we are able to play around with including materials, joints and dimensions.

This is the bone structure that we are planning to create, by creating multiple versions of the bone structure we can test out materials and how well the design would connect with each other.

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B.

5.3 PHYSICAL PROTOTYPE 1 : PROCESS

STAGE 1.1 Materials for joints - Hot glue stick - thread

STAGE 3 Measuring bamboo sticks to the parametric model created using grasshopper

STAGE 6 Preparing the sticks for arrangement

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STAGE 1.2 Material for bone structure - bamboo sticks

STAGE 2: Lazer cut circles and preperation of bamboo sticks

STAGE 4 Trimming the sticks to the right length

STAGE 5 Sorting out the bamboo sticks for the right extrusion element

STAGE 7 Construction of the skeletal frame using hot glue sticks

FINAL PRODUCT 1 Single extrusion element We will be making many versions of this in different sizes to test out the connections and scale of the parametric model

CRITERIA DESIGN

79

B.

5.3 PHYSICAL PROTOTYPE 1 : MATERIAL TESTING

SUPERIOR MUSLIN FABRIC, WHITE

NORMAL

STRETCH

UNDER LIGHT

80

CRITERIA DESIGN

POLY INTERLOCK CHARCO

OL

HESSIAN JUTE

HOMESPUN FABRIC

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81

B.

5.3 PHYSICAL PROTOTYPE 1 : FINDINGS Poly interlock is a very stretchy material, we decided to test this out as a black piece of material because we wanted to see how the light and shadows would work under a dark piece of material. The materials stretchy quality was so high that this prototype was tensile at every side, it created a very nice and smooth surface that allowed light to shine through.

A Limitation with this material was that because of its stretchy qualities, we were left over with a lot of material on one side of the model, we believe this can be fixed if we had a template that we sewed together that can wrap around the structure perfectly. This material had to be stretched a lot for it to be translucent, otherwise this material is very opaque and hard to shine light through and have that light weight looking effect when being compared to the superior muslin fabric.

After wrapping the bone structure in superior muslin fabric we were able to test out the different qualities of this material when in conjunction to the bone. This material was not as stretchy as poly interlock but it was a very translucent material that allowed light to shine through perfectly, when placing your hands under the finished product, we are able to see the silhouette of the finger come through its shadows and highlights. This was a very interesting step in our prototype and we loved the idea of the silhouette affecting how the extrusion element looks like,

82

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The homespun fabric was very similar to the first material, the texture was more condensed but it still allowed a sense of translucency. The limitation about this material was that it was not stretchable, therefore It cannot create as much of a tensile strength as the other materials, but thisquality was not needed in the prototype, this prototype still displayed a softness to it with a capacity of being able to play with light as well.

The hessian jute was used with the objective of trying something that was rough to contrast from the soft materials that were already tested. The light was still able to shine though because of the spaces between each sew, it gave the prototype a complete different feelings, with such rough textures we are able to relate this more to the nature, but this may not be the right material for alarge scale project.

CRITERIA DESIGN

83

B.

5.3 PHYSICAL PROTOTYPE 1 : OUTCOME

TRANSPARENCY POTENTIAL SOFTNESS STRETCH

TRANSPARENCY POTENTIAL SOFTNESS STRETCH

TRANSPARENCY POTENTIAL SOFTNESS STRETCH

TRANSPARENCY POTENTIAL SOFTNESS STRETCH

84

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CRITERIA DESIGN

85

B.

5.4 PHYSICAL PROTOTYPE 2 : PROCESS

A

fter the first prototype, we decided to try an idea whereby the bone structure was outside of the skin, this reverse skin and bone structure allowed a more free forming design whereby the skin is still able to move with the environment. This prototype had a quality of light weightiness that prototype 1 did not have, it uses the simple element of gravity to form the design. The process of creating this prototype involved collecting the measurements off the parametric grasshopper model and transferring it into a lazer cut file. For now the joints between the circle and the straight lines are connected simply using glue, we believe it is an area for development in the future whereby we might be able to create a more efficient joint system that takes away the need for glue, this could be a challenge for the future.

We were also able to play with light and shadows, by placing something closer to the light or the fabric, the shadow becomes different, this was a very interesting finding as all shadows were different with each material and the shadows almost made the material look more alive.

STAGE 1 Lazer cut MDF strips and circles measured from the parametric model made through grasshopper 86

CRITERIA DESIGN

STAGE 2 Hot glue down the bone structure p

pieces to the fabric

STAGE 3 Lifting the structure up to form a Floating structure

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87

B.

5.4 PHYSICAL PROTOTYPE 2 : FINDINGS

T

he second prototype was a more freeform structure than the first prototype, it uses a rigid bone structure and a free flowing skin to maintain its form, we really liked the qualities of this prototype and we believe it can be effectively built in a larger scale by using more repetition elements of the bone structure. When a light is shined below this design, we are able to see the shadows of whats within, this gives the model a translucency affect that we are very interested in. The shadows help give the prototype more of a hollow quality that we are also very interested in. By trying out the 4 different materials we were able to find that the superior muslin fabric was the most lightweight material that contained a strong quality of movement, the most rigid material tested was the hessian jute, this material would not be able to adapt to the environment change instead it will take on a shape and stay that shape, me and my partner both decided that we liked the freeform look opposed the rigid reverse system created by hessian jute. A big limitation with this technique would be the joints that help to connect the angles together, this will have to be further developed though the future sections.

88

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89

B.

6 PROPOSAL

O

ur proposal highlights the aspect of PRIVACY. When we first think of an acoustic pod, we think of the qualities of discussion and privacy, therefore we want to create a design that plays with this idea of privacy, we want the quality of privacy to appear naturally almost unconsciously existing through the design.

When someone is occupying a space for private discussion, if the surrounding walls are see through no matter how well the area works acoustically, the users inside will constantly feel like they are being watched and analysed, but when the walls are fully opaque people who are passing by the structure may interrupt the users to check the availability of the space. Both of these designs has it own flaws, therefore we have come up with an idea of semi translucency.

Using a tent as an example, when users inside light up their light people from the outside will see the silhouettes of the users therefore realising that the space is occupied. On the other hand, the users inside the tent because of the light lit inside, will not be able to see what is outside, therefore having a sense of comfort and privacy within the pod.

This is the idea that we want to play with and recreate through our design. By selecting to use semi natural materials we want to be able to find a material that allows us to create this affect. Through digital parametric programming, physic engines can test the physics of the frame, the qualities of the material chosen for force loadings and density etc, this helps to minimise the material wastage, and create a more efficient design that matches the needs of the users and the environment. In the later stages we are also able to calculate the ideal area for acoustics as well, test out acoustic ability of the pod and the materials that will later be discovered.

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B.

7 LEARNING OUTCOME

T

hroughout section B, I have learnt the real functions of grasshopper. Being able to play with a definition was a challenge for me at the beginning as I did not understand what each component can do for each other. After breaking down the definition and restarting the whole thing I was able to understand the basics of how the parametric design was formed, from this I was able to generate small changes to the algorithm that allows the design to develop and change to fit the criteria of a matrix.

Creating my own algorithm was the second and most difficult challenge of this section, after going through many different trials I was able to develop a more in depth understanding of grasshopper and how it works, I was able to understand the benefits of this program therefore helping me gain more knowledge of this program.

Through the usage of this software I was able to see how a digital design can be applied to real life models. By using the measurements of the surface created through grasshopper me and my partner were able to save material and allow for a more efficient way of building. This was a very interesting part of criteria design.

The proposal that me and my partner have come up with is definitely something we want to challenge ourselves on, we believe this is something that we want to try to explore and come up with a solution for.

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93

B.

8 ALGORITHMIC SKETCHBOOK

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CRITERIA DESIGN

95

C

CRITERIA DESIGN

96

PROJECT PROPOSAL

PROJECT PROPOSAL

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98

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TABLE OF CONTENTS

C

C.1 DESIGN CONCEPT FEEDBACK

BUILDING EACH MODULE

FORM

100 102 104

C.2 TECTONIC ELEMENTS & PROTOTYPES PROTOTYPE

108

MATERIAL

110

DOUBLE LAYERING

114

FORM FINDING

116

CONNECTIONS

120

PROCESS

124

C.3 FINAL DETAIL MODEL

126

FORM

136

146

INTENDED USER EXPERIENCE

C.4 LEARNING OBJECTIVES AND OUTCOMES

152

C.5 BIBLIOGRAPHY

154

PROJECT PROPOSAL

99

100

PROJECT PROPOSAL

C.

1 DESIGN CONCEPT: FEEDBACK

T

he feedback we recieved from our mid term presentation was a very good indication to how our concept was going to develop in part C. The concept of having a sihluotte was very interesting and liked by many, the way we introduced this concept shows exactly what we are trying to achieve with this project and why its innovative.

The concern at this point is the actual construction of this idea. How do we build each single module, how we are going to connect each of these modules and how to actually build this tensile cloth structure have become the main concerns for the future of this project. Another main concern is that, if we think about fabric as a building material, it has no acoustic abilities, therefore how are we going to reach the level of acoustic effect but still retain this sihuotte idea to come through a semi transparent matierial.

After the presentation we realised that we have to now focus on three main problems that need to be solved, these are: - What is the form?

- How do we build this structure and how does the materials combine with eachother?

- How do we make it fit to the brief and become an acoustic pod?

These problems will be discovered along this section of the journal.

PROJECT PROPOSAL

101

102

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C.

1 DESIGN CONCEPT: BUILDING EACH MODULE

T

he first problem we decided to tackle was the buildability of these modules. We were able to solve this by designing a notch system whereby an extension of the bars can interlock with the other components of the module. This system not only allowed each module to come together, it was also envisioned to be able to clamp the stretchy material in between the two bases and extrusions creating a tensile structure. When laser cut, these elements are able to fit to each other at its exact positions to create a section of the entire form. When we were designing this system, the notches were the main concern that needed to be tested, because we understood that if we were going to fit a material into the notches of the design it would mean that the size would increase therefore the fit would be different. This concern allowed us to see the true potential of Grasshopper as we were able to create a definition that allowed us to separately control on the notches on the form and also the holes as a separate definition therefore allowing us to have a wide range of possibilities to test and prototype with to find the best solution.

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C.

1 DESIGN CONCEPT: FORM

F

orm was something that we understood has great relationships to the brief, to achieve a acoustic optimum design, we researched into what would be the most beneficial form that allows the most acoustic benefits to the users.

A shape that came to mind was the shell forms, shell forms have attracted a lot of attention when it comes to its noise reduction levels and its target frequency ranges, this can be proved through many articles and research proving that shell structures are acoustically beneficial in an open or closed space, a research conducted by Masatoshi Shimoda where he focused on evaluating the vibrations of sound through its acoustic fields saw the shell structure to be something that can reach the optimum levels for acoustic needs. (1) Another thesis written by Sean S. Hardesty talks about optimization of shell structure acoustics also researches into the complexity of sound reduction in a shell structure, using mathematical equations, Hardesty was able to prove many ways a shell structure can be reducing sound at its different areas in the structure. (2) An example in architecture that we can talk about is the acoustic shells by Flanagan Lawrence.

This shell like structure is located beside a beach in Littlehampton not only acting as a shelter for the community on the other side it is a small stage that hosted many small performances for the public. The acoustics of the shell design projects and reflects the sound of the performers into the audience in front of the structure, whilst the other side that faces the beach allows a more intimate experience of listening to the sound of the sea. (3) Shell structures have been used and proved to be something that can be acoustically beneficial to the users and the audience, we decided that this would be a great form to develop towards.

A main problem that formed from the decision of this form was that, because of the natural qualities of such geometry, we would have to change the base shape of our modules into something that tessellates and is able to create this structure. This was something that we are going to continue to test and analyse in the next stages of design.

“Structural– 1. Masatoshi Shimoda, Kensuke Shimoide and Jin-Xing Shi, Acoustic Optimum Design Of Shell Structures In Open/Closed Space Based On A Free-Form Optimization Method”, Journal Of Sound And Vibration, 366 (2016), 81-97 <https://doi.org/10.1016/j.jsv.2015.12.016>.

2. Harbir Antil, Sean Hardesty and Matthias Heinkenschloss, “Shape Optimization Of Shell Structure Acoustics”, SIAM Journal On Control And Optimization, 55.3 (2017), 1347-1376 <https://doi.org/10.1137/16m1070633>.

3. Flanagan Lawrence, “Acoustic Shells / Flanagan Lawrence”, Archdaily, 2017 <https://www.archdaily.com/535388/acoustic-shells-flanagan-lawrence> [accessed 31 October 2017].

104

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PROJECT PROPOSAL

105

C.

2 TECTONIC ELEMENT AND PROTOTYPES

106

PROJECT PROPOSAL

PROJECT PROPOSAL

107

108

PROJECT PROPOSAL

C.

2 PROTOTYPE

T

he lazer cut pieces were easily assembled into the right places to create the modules, we tested out two different thickness prototypes that lead to two different results. In the initial prototype (pictured on the left of the photo) the extrusions were a lot more thinner, when we arranged the model it was a lot more unstable, not only did the notches feel very loose but the extrusions looked very weak and would break when any pressure is put on top of it. The circle was also very weak because of how thin it was. This was what led to the second prototype, in this prototype we edited the size of the holes to match the notches more and also made the extrusion and circles more thicker. This resulted in a more stable design where it looked strong enough to hold up a tensile structure.

Parametric software grasshopper was able to help us through this process and made the editing of the width easy to adjust.

PROJECT PROPOSAL

109

C.

2 PROTOTYPE: MATERIAL

T

he next step of the process was to do the material stretch over the structure. When we fit the material into the notches and through the holes the structure became a lot more stable as the gap between the notches and holes were filled up. The reason why there was a gap was because we realised that during the lazer cutting process, the lazer usually burns off just a little bit more of what you want, therefore the notches and holes wont fit exactly like how we want it to be. This realisation was at first a concern of ours but it then turned out to have actually solved a problem of ours.

One of the main problems was that no matter how much we stretched the materials, we could never stretch these materials enough so that there was no extra material. The materials that we have discovered so far are either not as a stretchy as we want it or was too thick that the force would completely break our module. We decided that this was a very severe problem and we had to look into other materials to create this tensile stretch that wont break our module.

110

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PROJECT PROPOSAL

111

C.

2 PROTOTYPE: MATERIAL

N

ylon was the material that solved this problem. The stretchiness of the material and the translucency of the product was exactly what we were looking for, we were able to easily stretch this material over the module to create that tensile design.

A single layer of nylon covered on top of the module allowed the module to help to absorb the sound inside therefore creating a more private area for discussion.

112

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PROJECT PROPOSAL

113

C.

2 PROTOTYPE: DOUBLE LAYERING

T

o make the modules absorb more sound, we decided to add a second layer to the design that would wrap around the structure therefore helping to absorb more sound inside the acoustic pod. The double layers will absorb the sounds inside the pod and dampen it therefore making the conversation that is happening inside the pod to be more private to its users.

The weakness we found in this material is that because of its lightweight qualities and the tensile forces that it has to endure after introducing the double layering concept, it is very easy to break. Not only was the material ripping on its own, sometimes when we put too much force onto the structure the material will end up breaking the MDF bars that we have used 114

PROJECT PROPOSAL

PROJECT PROPOSAL

115

C.

2 PROTOTYPE: FORM FINDING

DIVIDE

Z AXIS NUMBER SLIDER DIVIDE

Z AXIS

116

PROJECT PROPOSAL

REVERSE

BIARC

LOFT

LOFT

T

o find the form for our final design, we used the function of biarcs. Biarcs are a simple way to create 3d shell structures using two curves. The two curves are able to be extruded up to a certain length to form a shell. The shell can be used separately as two surface curves or just a singular shell surface. This was a very easy way to create what we needed because of the easy changes that can be made to the structure just by simply moving the curves. We trialled many different types of forms to create our final

PROJECT PROPOSAL

117

118

PROJECT PROPOSAL

T

o satisfy the brief, we wanted to design an outer layer that would enclose the interior structure, this is because of the nature of fabric, it can not fully absorb sound, therefore needing something to support the structure. We decided it was a great idea to be able to be able to alter a piece of translucent or semi translucent material to the shape of our desired form. This will provide a shell on the outside acting as an acoustic barrier for the users. Combined with the fabric double layered modules to dampen then sound, this structure would thus be able to act as an acoustic efficient space.

Vacforming was a digital fabrication technique we used to create our form model. By first creating a 3d printed version of our shell, we were able to test different thickness plastic and how they can be formed into a structure.

PROJECT PROPOSAL

119

C.

3 FINAL DETAIL MODEL : CONNECTIONS

W

hen we changed our design to a tessellation model, we realised that we would now need a connection system that is able to work on each different angled connection. We thought the easiest way to do this would be to 3D print the joints. Each corner had their own unique connection printed through a 3d printer. These joint â&#x20AC;&#x153;clipsâ&#x20AC;? are envisioned to be able to clip right into the notches created for the base and the circle. With the help of these digitally fabricated joints, this whole structure is able to be hold up without any support of glue.

120

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PROJECT PROPOSAL

121

C.

3 FINAL DETAIL MODEL : TESTING

A

fter printing out the joints and receiving our laser cut sheets for our final we decided to test them out and see if the joints actually fit to how we would like it to fit. After clipping on the joints, the structural MDF members were much more rigid, even without the materials stretched over the notches to complete the hole the 3d printed joints could stabilise the design and also give it dimension.

122

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PROJECT PROPOSAL

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3 FINAL DETAIL MODEL : PROCESS

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he construction process consisted of building the frame first and then wrapping each module with the tensile nylon mesh. After this, the connections were clipped on and a second layer was stuck on to help clamp the materials together.

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3 FINAL DETAIL MODEL: FORM

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3 FINAL DETAIL MODEL: INTENDED USER EXPERIENCE

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he acoustic pod would be placed in the corner of the office facing the circulation pathways in the office, we decided this was the right location because we wanted the acoustic pod to be something that looks open and welcoming to the people outside, therefore we located the entrance towards the centre of circulation.

We want the users to be able to walk into the acoustic pod and feel a sense of privacy, the design allows people from the outside to be able to see a shadow inside of the shell therefore knowing that it is occupied, this shadow casted out can also allow the people on the inside have a sense of security knowing that no one will come into the space when it is occupied.

When the users are having a conversation inside the pod, it is expected that the sound waves would be dampen by the double layered membrane and when it hits the semi transparent outer layer the sound is dampen even more. This allows the office space to be used efficiently, whereby the users outside will not be able to pay great attention to the conversation been held inside the acoustic pod as they will not be able to hear it. A shell shaped pod was the form that we chose like explained earlier in this portfolio, inside the shell the sounds created by the users in the acoustic pod would be clear therefore satisfying the needs of an acoustic pod and allows the pods main function to be to hold conversations.

The shiny surface viewed from the exterior of the design gives the office a soft look and blends in with the rest of the surroundings, users will be able to work efficiently around the acoustic pod even though it is a area of conversation.

Inside the shell, the circles will be smaller on the far end opening side of the design, we decided this by recognising the fact of where sound needs to be dampen the most and where it does not, therefore the larger opening would need larger modules to dampen the sound whilst the smaller opening would not need the same sized modules to dampen the sound. The smaller circles also mean we have a more denser tessellation therefore it will still perform great in dampening the sound. Thus both openings are acoustically designed for the users inside the pod and outside. We want our design to be able to provide privacy unconsciously, we want the users to want to go into this area when a private conversation is needed.

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he smooth surface on the outside will create a perfect contrast the rough extruding details of the interior, the design will fit into the office space as a acoustically functionable structure that allows conversation to be private and clear to the intended users, but muted to the others.

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4 WHAT NEXT?

As for the future of this project, we would like to discover more into the materials that can create the structural frame of this design. We want to try out different materials, their strengths and reaction to tensile forces. We would like to try to also like to experiment with a better way to create the outside forming shell as in our final presentation we realised that a concern for this design is that if this were to be put into real life scale, the outer shell of this design would be hard to accomplish. These things would be the next stages of design.

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4 LEARNING OBJECTIVES AND OUTCOMES

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tudio air has really challenged myself in many ways this semester, I was able to not only learn about many skills like parametric, 3D modelling, digital fabrication but also, I was able to build upon my own design thinking and design skills and techniques.

The brief of the acoustic pod, was our first challenge, we tried to design a space by first understanding what is an acoustic pod, we then further developed what we originally created in PART A & B. We realised that to complete this project we had to fully utilize the parametric softwares of grasshopper to create something that would reflect the needs of the pod and also allow each element to be there for a reason. By thinking of a question we were able to find a way to solve it through our parametric definition, as I said in the beginning of my journal that I would love to learn more and be able to use grasshopper to a decent level, I believe when the definition was being made I realised how far I have come to be able to solve questions through such software.

It is because of this, I have a better understanding of what parametric softwares can do for you.

Parametrics are a easier and more sustainable way of new architecture and design, by using simple components we are able to modify the entire design to fit to the needs of the space, creating minimal wastage and the most efficient design parametrics are truly an technology breakthrough.

Grasshopper has fully allowed me to see the potential of design, as the program continues to develop I know that it will become the future of architecture, because even after half a year of using such a software I have already learnt the benefits of the program, the fact that it is easy, responsive, allows easy modification and also provides information about what is going on to the design. This semester has enlightening me about grasshopper and I will sure to be using it for the future because of its great assistances.

To tackle the acoustic pod brief, we were able to create a tessellation model through Grasshopper, whereby the triangles and the circles were able to tesselate to the form or an attractor point, therefore satisfy many areas of the brief when it came to how form or sizes of each element can affect the design.

Through digital fabrication we were able to use such software again to know how long each notch or bar had to be, we were able to correctly fit them into the other structures creating the design with precision. I was able to learn about materials, how wood is a very fragile material when put under pressure at different angles and how fabric can be stretchy but tensile forces are hard to avoid. More importantly I was able to learn about lazer cutting and 3d printing and the precision it creates, with such high technology machines it is able to turn something digital into a reality. I also understood how each digital fabrication method can work with eachother, when I was experimenting with Vacforming my design, a combination of a 3d printed shell and a plastic sheet was used to create the plastic mould that would form the shape of the design. My skills and techniques were able to develop in this field as well, whereby now I understand how to use such machines or know how they work to create what I need. This was a big learning outcome of mine.

Overall, I have also been able to learn how to analyse a project from the past. From my developed knowledge of parametric tools and digital fabrication I am now able to look at the world of architecture in a different light, I have noticed how much of a breakthrough these programs are and how these programs have already started to shape the future. Air studio has truly been a challenging but very rewarding subject filled with knowledge that awaits for you.

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5 BIBLIOGRAPHY

PART A 1.

archdaily,”2012 pritzker prize: wang shu”, 2012 <http://www.archdaily. com/211941/2012-pritzker-prize-wang-shu> [accessed 7

2.

amy frearson, “ark nova inflatable concert hall by arata isozaki and anish kapoor”, dezeen, 2013 <https://www.dezeen.com/2013/09/26/

august 2017]. ark-nova-by-arata-isozaki-and-anish-kapoor-completes/> [accessed 7 august 2017].

3.

amy frearson, “italy unveils permanent milan expo pavilion”, dezeen, 2014 <https://www.dezeen.com/2014/05/13/italy-milan-expopavilion-nemesi-air-cleaning-facade/> [accessed 9 august 2017].

4.

brady peters and xavier de kestelier, computation works, 2013, pp. 8-13.

5.

charles besjak and others, "chhatrapati shivaji international airport—integrated terminal building", structural engineering international, 23.1 (2013), 8-13 <https://doi.org/10.2749/101686613x13363929988296>.

6.

dezeen, wang shu’s ningbo history museum built from the remains of demolished villages, 2017 <https://www.youtube.com/ watch?v=lgsvdjxay_0> [accessed 7 august 2017].

7.

“drift pavilion - pvcconstruct”, pvcconstruct.org, 2012 <http://www.pvcconstruct.org/en/p/drift-pavilion> [accessed 7 august 2017].

8.

hing-wah chau, “architectural culture and reuse”, unmaking waste 2015, 2015 <http://unmakingwaste2015.org/wp-content/ uploads/2015/09/umw_session_12.pdf> [accessed 7 august 2017].

9.

"italy pavilion milan expo 2015", architizer, 2015 <https://architizer.com/projects/italy-pavilion-milan-expo-2015/> [accessed 9 august 2017].

10. “italy pavilion – milan expo 2015 / nemesi”, archdaily, 2015 <http://www.archdaily.com/630901/italy-pavilion-milan-expo-2015nemesi> [accessed 9 august 2017].

11. leon tan, “culture in motion”, forecast, 2014 <http://unitec.researchbank.ac.nz/bitstream/handle/10652/2988/leon%20tan. pdf?sequence=5> [accessed 7 august 2017].

12. menges, achim, bob sheil, ruairi glynn, and marilena skavara, fabricate, 2017, pp. 286-293 13 michele molè of nemesi & partners explains the italy pavilion at expo 2015, 2015 <https://vimeo.com/127054816> [accessed 9 august 2017]. .

14. ong, “asian architecture: ningbo historic museum”, slideshare.net, 2016 <https://www.slideshare.net/euxuanmackenzie/asianarchitecture-ningbo-historic-museum> [accessed 7 august 2017].

15. ”snarkitecture’s drift pavilion welcomes visitors to design miami”, designboom | architecture & design magazine, 2012 <https://www. designboom.com/architecture/snarkitectures-entrance-pavilion-welcomes-visitors-at-designmiami/> [accessed 7 august 2017].

16. the diplomat jonathan dehart, “ark nova: world’s first inflatable concert hall debuts in japan”, the diplomat, 2013 <http://thediplomat. com/2013/09/ark-nova-worlds-first-inflatable-concert-hall-debuts-in-japan/> [accessed 7 august 2017].

17. "the past, present and futures of drawing", in drawing futures (ucl press, 2016), p. 3 <http://www.jstor.org.ezp.lib.unimelb.edu.au/ stable/pdf/j.

18. tony fry, sustainability, ethics and new practice (oxford: berg publishers ltd, 2008), pp. 1-16.

19. “totally tubular: snarkitecture’s inflatable “drift” pavilion will welcome visitors to design miami”, architizer, 2012 <https://architizer. com/blog/totally-tubular-snarkitectures-inflatable-drift-pavilion-will-welcome-visitors-to-design-miami/> [accessed 7 august 2017].

20. witt, andrew. “design hacking: the machinery of visual combinatorics.” log, no. 23, 2011, pp. 17–25. jstor, www.jstor.org/stable/41765683 21. xanthia hallissey, “drift pavilion by snarkitecture at design miami”, dezeen, 2012 <https://www.dezeen.com/2012/12/09/drift-bysnarkitecture-at-design-miami/> [accessed 7 august 2017].

22. yehuda e kalay, architecture's new media (cambridge, mass.: mit press, 2004).

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PART B 1.

“A Building With A... Face In Melbourne Honors William Barak - Deviant World”, Deviant World, 2017 <https://www.deviantworld.com/art/ design/face-building-melbourne-william-barak/> [accessed 26 August 2017].

2.

“A Theory Of Architecture Part 1: Pattern Language Vs. Form Language”, Archdaily, 2014 <http://www.archdaily.com/488929/a-theory-ofarchitecture-part-1-pattern-language-vs-form-language> [accessed 26 August 2017].

3.

“Barak Building / ARM Architecture”, Armarchitecture.Com.Au, 2017 <http://armarchitecture.com.au/projects/barak-building/> [accessed 26 August 2017].

Christopher, Alexander, The Timeless Way Of Building (New York: Oxford University Press, 1979)

4.

Iwamoto, Lisa, “Iwamotoscott Architecture | MOMA/ PS1 Reef”, Iwamotoscott.Com, 2007 <https://iwamotoscott.com/projects/moma-ps1reef> [accessed 14 September 2017]

5.

Stephen Farwell, “Xylography | History Of Graphic Design”, Historygraphicdesign.Com, 2017 <http://www.historygraphicdesign.com/agraphic-renaissance/printing-comes-to-europe/2-xylography> [accessed 26 August 2017].

PART C 1.

2.

3.

Lawrence, Flanagan, "Acoustic Shells / Flanagan Lawrence", Archdaily, 2017 <https://www.archdaily.com/535388/acoustic-shells-flanaganlawrence> [accessed 31 October 2017] Antil, Harbir, Sean Hardesty, and Matthias Heinkenschloss, "Shape Optimization Of Shell Structure Acoustics", SIAM Journal On Control And Optimization, 55 (2017), 1347-1376 https://doi.org/10.1137/16m1070633 Shimoda, Masatoshi, Kensuke Shimoide, and Jin-Xing Shi, "Structural–Acoustic Optimum Design Of Shell Structures In Open/Closed Space Based On A Free-Form Optimization Method", Journal Of Sound And Vibration, 366 (2016), 81-97 https://doi.org/10.1016/j.jsv.2015.12.016

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JULIANNA JIN JIE TONG 832401 2017 SEMESTER 2 FINAL MODEL

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