Lee Win Zie Final Journal

A R C H I T E C T U R E D E S I G N S T U D I O

AIR

STUDIO JOURNAL Win Zie Lee 708285

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Contents Introduction 5

Part A A1. Design Futuring 9 A2. Design Computation 15 A3. Composition/Generation 21 A4. Conclusion 27 A5. Learning Outcomes 29 A6. Appendix 31 Bibliography 35 Part B B1. Research Field 39 B2. Case Study 01 45 B3. Case Study 02 52

B4. Technique Development 56 B5. Technique Prototypes 64 B6. Technique Proposal 69 B7. Learning Outcomes 77 B8. Appendix 79 Bibliography 81 Part C C1. Design Concept 85

C2. Tectonic Elements/Prototypes 106 C3. Final Detail Model 113 C4 Learning Outcomes 135 Bibliography 137

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Herring Island 'Secret' Pavillion, Project from ABPL20027 Architecture Design Studio: Earth, Semester 1, 2016.

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00. INTRODUCTION

Introduction

Biography I am Win Zie, currently a third year student in Bachelor of Environments (Major in Architecture).

Being the student reporter and yearbook editor in high school was the first time I started to contact with digital design. I was getting more interest in designing with softwares (Adobe InDesign and Photoshop) after practices and challenges. The final outcomes had also been published publicly and the sense of accomplishment encouraged me to pursue my future career in design industry.

It wasn’t take me longer to decide that architecture was for me as I was fascinated by the creativity of the architects whenever I look at buildings with unique geometry. I always think that architecture is the art of science, where buildings can be presented in a more unique and fascinating way with the help of technologies.

Undertaking studios subject throughout this courses, I found that digital design tool is able to express my design more effectively. I have been using Rhino3D for my projects. And now, I am more than excited to learn Grasshopper and produce something impressive.

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01 Part A. CONCEPTUALISATION

A CONCEPTUALISATION

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Design Futuring “... what designs need to be mobilized for or against. Even more significantly, it means changing our thinking, then how and what we design. Equally it also requires understanding that the ‘dialectic of sustainment’ is another basic feature of being human.”

- Tony Fry, Design Futuring

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01 Part A. CONCEPTUALISATION

A1.

Design Futuring

Overpopulation processing with technologies in massive quantities and anthropocentric drives designs in the world in twenty-first century, has been seen as a leading to defuturing condition of sustainability1.

‘Design’ - as most people see as a problem solving method to make lifes better. However, as anthropocentric drives, design practices over decades in the movement of modernisation was a cost-changing games, whereby our lifestyles in changing for the deficit of limited resources in our world.

Hence, Fry questioned all the designers, “How can a future actually be secured by design?” 2 In response to the problem and change it through design, two tasks that were listed by Fry: slowing the rate of defuturing and redirection towards sustainable mode of habitats3. As technologies are easy to gain access in this century, what people’s decision to the form of natural environment and the transformations are considered more to obtain sustainability. As imposed in both Fry and Dunne’s articles, the designs hence should reflect the values and qualities of built environments, and computation design as a tool to help approaching the natural environment more effectively 5.

Therefore, the following precedents in this section explore how these architectures presents the potential in design in changing our attitudes to shape a better future, and encourage a better understanding of our environments to explore alternatives potential of architecture.

1 2 3 4 5

Fry, T., Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2009), pp.1-16 Fry., pp.4.

Fry., pp.5-6.

Fry., pp.

Dunne, A., Raby, F. Speculative Everything: Design Friction and Social Dreaming (MIT Press, 2013), pp.1-9, 33-45.

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Figure A1: Supertree Grove, Gardens By The Bay. [3]

01 Part A. CONCEPTUALISATION

A1.1 Supertree Grove | Grant Associates Location: Bayshore Rd, Singapore Project Year: 2012

The highly urbanised city, Singapore, which has limited land but values its natural environment, presents the idea of “city in a garden”. In the ‘Gardens

by The Bay’ has showcased how the landscape planning and architecture are functioned as recreation as well as education purpose.

The 18 Supertrees, which are parts of the landscape design, are iconic features and highly attractive in the garden1. These massive structures consist of reinforced concrete core and steel frame ‘tree trunk’ with canopy ‘tree branches’. Also, integration of vertical plantation of more than 200 species of bromeliads, orchids, ferns and tropical flowering climbers which gives the visitors senses of harmony between natural and built environments.

In order to facilitate the idea of sustainable design, the Supertrees’ canopies had embed with photovoltaic cells to harvest solar energy and light itself up at night, and also served as air exhaust receptacles for the Cooled Conservatories in the garden2.

With the harmonious between nature and built structures, the Supertree Grove is enhancing the concept of sustainability. Its high visual contemporary design which attracts visitors engaging themselves in between nature and buildings, is secretly passing the concept and value of sustainability to public.

1 Gardens By The Bay, Supertree Grove - Facts & Figures (accessed 2nd August 2016) <http://www.gardensbythebay.com.sg/en/ the-gardens/supertree-grove/facts-and-figures.html> 2 Gardens By The Bay. 3 Figure A1: Supertree Grove, Gardens By The Bay. Retrieved from, <http://www.gardensbythebay.com.sg/content/dam/gbb/ the-gardens/supertree-grove/DP01-11-carousel04.jpg>

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Figure A2: Interior of The Circle, Barco One Campus. [3]

01 Part A. CONCEPTUALISATION

A1.2 The Circle | Jasper-Eyers Architects Location: Kennedypark, 8500 Kortrijk, Belgium Project Year: 2016

Other than engaging with nature environment, â&#x20AC;&#x2DC;The Circleâ&#x20AC;&#x2122; in Barco One Campus, Belgium is more engaged with social and culture with its dynamic appearance. The Circle is a centralised building on the site of Barco One Campus as to allow the staffs and students to interact, between each other as well as associate with the building1. The building has a centralised plan which connected with other buildings and infrastructures.

John Eyers, the CEO of Jasper-Eyers Architects, explained that the round interior design and connections allow people bump into each other more often2. Large uses of glass as exterior has also increased the transparency and natural light to intrude into the building.

This precedent shows how environments can be shaped to influence the connectivity of people to create a more diversity space in terms of social and economic sustainability.

Figure A3: Plan of The Circle, Barco One Campus. [4] 1 Barco One Campus / Jaspers-Eyers Architects (accessed 2nd August 2016) <http://www.archdaily.com/788973/barco-onecampus-jesper-eyers-architects> 2 Barco One Campus.

3 Figure A2: Interior of The Circle, Barco One Campus. Retrieved from, <http://www.archdaily.com/788973/barco-one-campusjesper-eyers-architects> 4 Figure A3: Plan of The Circle, Barco One Campus. Retrieved from, <http://www.archdaily.com/788973/barco-one-campusjesper-eyers-architects>

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01 Part A. CONCEPTUALISATION

A2.

Design Computation Design computation is being used widely now as it is fairly simple to visualise complicated ideas of a designer. Designing method has been shifted from traditional drawing to parametric design which require new form of logic thinking. Designing with parameters and algorithms is like transforming an art piece to be analysed with mathematics functions, which helps to generate complicated geometry and form.

However, this computation has also been argued as stardardised designs and lack of creativity in the design industry nowadays. Hence, as Oxman asserted, ‘design becomes the thinking of architectural generation through the logic of the algorithm’1. Design needs both creativity of designers as well as computation for precision and overcome limitation of human to achieve higher and faster production.

In current trend, the contemporary architecture design tends to lean towards performative and material design. Therefore, the outcomes of computation contains variability to manipulate with these research-based design2.

For instance, research of tectonics in materiality through algorithmic calculation and construct designs based on the characteristic of material has demonstrated the possibilities for the material. Then, digital fabrication becomes handy and fast to work on. In this case, we have to consider if the design is meeting sustainability.

1 Oxman, R., Oxman, R., eds. Theories of the Digital in Architecture (London; New York: Routledge, 2014), pp.1–10 2 Kalay, Yehuda E.. Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), pp.5-25

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- 16 3: Parametric IranPavilion [3] Figure A4: ICD-ITKETower, Research 2015-16. [4]

01 Part A. CONCEPTUALISATION

A2.1 Research Pavilion | ICD/ITKE Location: University of Stuttgart, Germany Project Year: 2015-2016

ICD and ITKE have researched on design materiality of segmented timber shells and proposed a new research pavilion1. The pavilion is constructed by robotic textile fabrication techniques as the timbers were sewed with industrial string. The project was analysing constructional morphology and developed a fabrication technique which can bent the production elastically to form the performative segmented timber shells. This resulted the structure to obtain qualities that couldnâ&#x20AC;&#x2122;t achieve through traditional practice.

Besides, the team analysed the morphology of sea urchin and sand dollars to manipulate the parameter and material research in order to mimic the structure of those organisms.

Figure A5: Structural System of ICD-ITKE Research Pavilion 2015-16 [5]

1 ICD-ITKE Research Pavilion 2015-16 / ICD-ITKE University of Stuttgart (accessed 9th August 2016) <http://www.archdaily. com/786874/icd-itke-research-pavilion-2015-16-icd-itke-university-of-stuttgartl> 2 Figure A4: ICD-ITKE Research Pavilion 2015-16. Retrieved from, <http://www.archdaily.com/788973/barco-one-campusjesper-eyers-architects> 3 Figure A5: Structural System of ICD-ITKE Research Pavilion 2015-16. Retrieved from, <http://www.archdaily.com/788973/ barco-one-campus-jesper-eyers-architects>

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Figure A6: Digitized Stone [4]

01 Part A. CONCEPTUALISATION

A2.2 Digitized Stone | ZArchitects Location: Proposed in Berlin

The first impression of masonry which is heavy and massive, this project has proposed to change masonry with digital fabrication techniques. This project tries to encourage the flow of light and air with structural skeleton that fabricated on the masonry which was not found on traditional masonry building1. The structural of this Smart Masonry is light and also minimising the building mass.

Having said that, the Smart Masonry was also proposed as a seamless mesh to overlap each other to achieve contemporary design. The precision of complex geometry is constructed by robotic construction techniques, which saves on the material and costs, as well as minimal surface to achieve optimised load-bearing pattern2.

The structure of the Smart Masonry is manipulated through researches for a better efficiency, with ‘positive casting’ in order to save materials and produce higher qualities of the materiality3.

Figure A7: Algorithmic Sketches of Digitized Stone (Smart Masonry) [5] 1 Digitized Stone: ZAarchitects Develop “Smart Masonry” (accessed 9th August 2016) <http://www.archdaily.com/609108/ digitized-bricks-zaarchitects-develop-smart-masonry> 2 Digitized Stone: ZAarchitects Develop “Smart Masonry” 3 Digitized Stone: ZAarchitects Develop “Smart Masonry” 4 Figure A6: Digitized Stone. Retrieved from, <http://www.archdaily.com/609108/digitized-bricks-zaarchitects-develop-smartmasonry> 5 Figure A7: Algorithmic Sketches of Digitized Stone (Smart Masonry). Retrieved from, <http://www.archdaily.com/609108/ digitized-bricks-zaarchitects-develop-smart-masonry>

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01 Part A. CONCEPTUALISATION

A3.

Composition /Generation

As mentioned in previous sections, architectural design practices has been shifted significantly in every way, also including the shift from composition to generative design.

Composition - which architecture is analysed with its fundamental characteristics, such as space, both functional and abstraction, patterns and idea of symmetry and human proportion as shown in the lecture.

Generation - which design is explored through computation and development of parameterâ&#x20AC;&#x2122;s variation to create optimised form through simulation1.

Other than a tool for the designers, computation and algorithm could be integrated into the design process2. Through analysing a known model and algorithm, it allows the architects to explore their intellectual as well as improving creativity. Buildingâ&#x20AC;&#x2122;s performance is able to be simulate and predict the model of real life in computational tools and feedback to create a more responsive design.

In this section, the precedents will explore how architects simulate designs through computation, and experiment it in terms of connecting to environment and also its construction ability.

1 Peters, B., Computation Works: The Building of Algorithmic Though, Architectural Design, 83, 2, pp. 08-15.

2 Peters.

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Figure A8: Parametric Tower, Iran [2]

01 Part A. CONCEPTUALISATION

A3.1 Parametric Tower | Poria Abaci Location: Iran Project Year: 2012

As literally expressed on its name, the Parametric Tower by Poria Abaci was designed on parametric aspects and algorithmic knowledge. The residential (apartment) building used lines and curves as it base and exerted the force onto its site plan1. Besides, the surrounding landscape is also constructed in parameter with flowing lines and contents. In terms of materiality, the shell of the building consists aluminium and glass to show the contemporary performative qualities of the building, which is calculated and fabricated well.

Figure A9: Algorithmic Sketches of Parametric Tower, Iran [3]

1 Parametric Tower Design (accessed 9th August 2016) <http://worldarchitecture.org/architecture-projects/nmge/parametric_ tower_design-project-pages.html> 2 Figure A8: Parametric Tower, Iran. Retrieved from, <http://www.archdaily.com/788973/barco-one-campus-jesper-eyersarchitects> 3 Figure A9: Algorithmic Sketches of Parametric Tower, Iran. Retrieved from, <http://www.archdaily.com/788973/barco-onecampus-jesper-eyers-architects>

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Figure A10: Serpentine Pavilion 2016, London. [4]

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01 Part A. CONCEPTUALISATION

A3.2 Serpentine Pavilion | BIG Location: London, United Kingdom Project Year: 2016

The Serpentine Pavilion in London this year is featuring BIG’s project which showed the parametric design. It was stating as a single brick wall which is then pulled apart into “unzipped” state for the internal spaces1. “... A structure that is free-form yet rigorous, modular yet sculptural, both transparent and opaque, both solid box and blob.”2 The fibreglass ‘bricks’ shine under the Sun, provide “every surface with a warm glow and linear texture.”

Furthermore, there is also an APP which present the parametric of the pavilion as well as interactive mode which allows user to manipulate and experiment what the temporary architecture could be3.

1 BIG’s 2016 Serpentine Gallery Design Revealed (Plus Four Summer Houses) (accessed 11th August 2016) <http://www.archdaily. com/782633/bigs-2016-serpentine-gallery-design-revealed-plus-four-summer-houses> 2 BIG’s 2016 Serpentine Gallery Design Revealed 3 Play With a Parametric Version of BIG’s Serpentine Pavilion in this Model (accessed 11th August 2016) <http://www.archdaily. com/789013/play-with-a-parametric-version-of-bigs-serpentine-pavilion-in-this-model> 4 Figure A10: Serpentine Pavilion 2016,. Retrieved from, <http://www.archdaily.com/789038/gallery-the-serpentine-pavilionand-summer-houses-photographed-by-laurian-ghinitoiu>

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01 Part A. CONCEPTUALISATION

A4.

Conclusion

Conceptualisation of architectural design is critical in order to understand how the development of design would go through in the future. Through these readings and precedents, it allows us to critique and analyse where technologies had influenced in contemporary design. As mentioned, architectural design nowadays is not only about efficiency and precision of computational design, but we also have to consider the connection between nature and built environment (in social and economy aspects) in order to to perform sustainability in design1.

Our interests in design computation has been increasing lately as it plays an important role in developing contemporary design. However, it was debated as designing with parameter and algorithm was contradicting design aesthetics and creativity2. Nonetheless, the capabilities of computation are over humanâ&#x20AC;&#x2122;s ability which is benefiting human in the design practices.

Besides, there is a symbiosis relationship between human and computation that still require creativity and rationality decision making of designer. Other than efficiency, architects also tend to experiment with design computation in order to simulate more responsive in design and approach possible revolution in both design and sustainability3.

The evolution of architectural design from traditional drawing practice to digital and CAD has improved the quality of architecture in this century.

The shift towards a performative design and material design is starting to allow variations and bring more potentials in contemporary design. Above all, computational design does benefit the process of design as well as fabrications and outcomes.

1 Fry, T., Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2009), pp.1-16.

2 Kalay, Yehuda E.. Architectureâ&#x20AC;&#x2122;s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), pp.5-25.

3 Peters, B., Computation Works: The Building of Algorithmic Though, Architectural Design, 83, 2, pp. 08-15

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01 Part A. CONCEPTUALISATION

A5.

Learning Outcomes

The readings in this part has provided several points of pro and cons of digital architecture and design, which has broaden my point of views about digital fabrication other than producing hi-tech design. It also has led me to understand the shift in architecture design practices relatively change the terms of design, as well as sustainability.

Furthermore, while exploring to more precedents, it shows me how designs was developed with digital computation, and/or later produced with digital fabrication. It was amazed how fast the production process could be.

Beside that, through the online tutorial on Grasshopper, I understand how parametric design can create alternative solutions and more variabilities to play with in computational design. Also, looking for optimised solution through understanding the parameter and variables would result a better outcome.

Overall, conceptualisation in digital interface is a more efficient solution, as well as a better tool for designing in this era. Although some people might be arguing that design with computation is lacking thoughts, I believe that parametric design is what we need in this century where everything needs to be done in fast and precise.

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Lofting

Voronoi 3D

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01 Part A. CONCEPTUALISATION

A6.

Appendix

Algorithmic Sketches

OcTree

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01 Part A. CONCEPTUALISATION

Box Morph

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01 Part A. CONCEPTUALISATION

Bibliography Barco One Campus / Jaspers-Eyers Architects (accessed 2nd August 2016) <http://www. archdaily.com/788973/barco-one-campus-jesper-eyers-architects> BIG’s 2016 Serpentine Gallery Design Revealed (Plus Four Summer Houses) (accessed 11th August 2016) <http://www.archdaily.com/782633/bigs-2016-serpentine-gallery-design-revealed-plusfour-summer-houses> Digitized Stone: ZAarchitects Develop “Smart Masonry” (accessed 9th August 2016) <http:// www.archdaily.com/609108/digitized-bricks-zaarchitects-develop-smart-masonry> Dunne, A., Raby, F. Speculative Everything: Design Friction and Social Dreaming (MIT Press, 2013), pp.1-9, 33-45.

Fry, T., Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2009), pp.1-16 Gardens By The Bay, Supertree Grove - Facts & Figures (accessed 2nd August 2016) <http:// www.gardensbythebay.com.sg/en/the-gardens/supertree-grove/facts-and-figures.html> ICD-ITKE Research Pavilion 2015-16 / ICD-ITKE University of Stuttgart (accessed 9th August 2016) <http://www.archdaily.com/786874/icd-itke-research-pavilion-2015-16-icd-itke-university-ofstuttgartl> Kalay, Yehuda E.. Architecture’s New Media: Principles, Theories, and Methods of ComputerAided Design (Cambridge, MA: MIT Press, 2004), pp.5-25.

Oxman, R., Oxman, R., eds. Theories of the Digital in Architecture (London; New York: Routledge, 2014), pp.1–10 Parametric Tower Design (accessed 11th August 2016) <http://worldarchitecture.org/ architecture-projects/nmge/parametric_tower_design-project-pages.html> Peters, B., Computation Works: The Building of Algorithmic Though, Architectural Design, 83, 2, pp. 08-15.

Play With a Parametric Version of BIG’s Serpentine Pavilion in this Model (accessed 11th August 2016) <http://www.archdaily.com/789013/play-with-a-parametric-version-of-bigs-serpentinepavilion-in-this-model>

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02 Part B. CRITERIA DESIGN

B CRITERIA DESIGN

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Biomimicry â&#x20AC;&#x153;Nature as model.

Nature as measure.

Nature as mentor.â&#x20AC;?

- Janine M. Benyus, Biomimicry

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02 Part B. CRITERIA DESIGN

B1.

Research Field Biomimicry

As we mentioned in A1. Design Futuring - to approach a more sustainable built environment - as well as shown in the precedent A1.1 Supertree Grove, biomimicry might have the potential to perform as a tool to this approach.

Benyus explained that biomimicry as a design method is not only about direct imitation of the form of an organism, but also taking consideration of its functions and ecological performances1. For instance, taking out biological researches on specific organism or site specific ecosystem to develop parameter for design in order to achieve the ecological performance goal. Moreover, the behaviour of the organism should also be considered as part of the research to reach efficiency and balance for design in nature environments.

The proposal to approach biomimicry is to know how nature works and study in 3 aspects - products, systems and processes - which means the elements of design, the connections of design that related to functions and efficiency of design2.

Hence, in this part of research, the following precedents which taken from biomimicry will explore about the application of bio-imitation as well as the design computation behind in order to encourage future opportunities towards design biomimicry.

1 Benyus, J. M., Biomimicry: Innovation Inspired by Nature (USA: HarperCollins, 1997).

2 Ginatta, C., Architecture without Architecture: Biomimicry Design (VDM Verlag Dr. Muller Aktiengesellschaft & Co., 2010).

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Figure B1:Voltadom from exterior. [3]

Figure B2: Voltadom from interior. [4]

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02 Part B. CRITERIA DESIGN

B1.1 Voltadom | Skylar Tibbits Location: MIT, USA Project Year: 2011

The Voltadom is inspired as a “self-assembly” structure and taken properties of the cell group’s self-replicating system and adaptation to a given space1. The concept is to let the structure approach the environment freely. Therefore, the structure is designed as vaults (reminise the Gothic cathedrals) between the concrete and glass hallway with hole (the ‘oculi’) in each cell to introduce light and views from outside.

The structure is installed between concrete and glass hallway, attempted to create “surface panel” by deepening the doubly-curved vaulted surface but maintain easy connection and fabrication2.The form is created by transforming complex curved vaults to developable strips.

The Voltadom is constructed out of cells in different scales. In order to achive precision during the assembly, the structures were assisted by computation.

MIT Architecture also seeking to experiment structures, materials and approaches to create self-assembling structures in the future.

1 2 3 4

SJET - Voltadom (accessed 30th August 2016) <http://sjet.us/MIT_VOLTADOM.html> SJET - Voltadom.

Figure B1: Voltadom from exterior. Retrieved from, <http://sjet.us/MIT_VOLTADOM.html> Figure B2: Voltadom from interior. Retrieved from, <http://sjet.us/MIT_VOLTADOM.html>

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Figure B3: Maple Leaf Canopy. [3]

Figure B4: Detail of Maple Leaf Canopy. [4]

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02 Part B. CRITERIA DESIGN

B2.1 Maple Leaf Canopy | United Visual Artists Location: Toronto, Canada Project Year: 2010

Located at Maple Leaf Square, the Canopy was inspired by the experience of walking in the forest with minimal sunlight shining through the canopy of leaves1. UVA mentioned that they want to create irregular identical to reflects natural irregularity, the Canopy is created out of abstraction from the geometry of maple leaves and used of precise fabrication. In order for people to feel connected to the nature environment as well as temporary escape from the urban, UVA set out this ‘man-made rationality and natural irregularity’ with resembles to the nature.

It reflects the nature as it filters natural lights during day and generates artifical lights during night could be seen as imitation of the process of activities through cells within a leaf, leaves in a forest canopy or a city seen from the air2. Some of the cells (pentagons) are occupied with LED and forming shapes of maple leaf which grew outwards from seed locations.

The light also shines in different timings to showcase the ‘light show’ of the motion of wind and light in the forest canopy.

This structure requires mass production and fabrication as well as computation to produce geometry and patterns in the design. The structures were constructed of powder coated steel and anodised aluminium and the irregular modules were LED.

1 Canopy by United Visual Artists (accessed 30th August 2016) <http://designplaygrounds.com/deviants/canopy-by-by-unitedvisual-artists/> 2 Canopy by United Visual Artists.

3 Figure B3: Maple Leaf Canopy. Retrieved from, <https://uva.co.uk/work/canopy> 4 Figure B4: Detail of Maple Leaf Canopy Retrieved from, <https://uva.co.uk/work/canopy>

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Figure B5: The Morning Line. [2]

Figure B6: Detail of The Morning Line. [3]

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02 Part B. CRITERIA DESIGN

B2.

Case Study 01

The Morning Line | Aranda Lasch

The Morning Line is an experimental project inspired by the recursive process to create fractal among the geometry. The structure explores the convergence between art, architecture, mathematics, cosmology, music and science1. The Morning Line challenges the pavilion convention and can be regenerated into multiple forms - the first seniasographic building. The structure can generate itself and reflects the use of biomimicry in its ability to change and adapt to the environment. Similarly to B1.1 Voltadom, the process of the structure that is taking the concept of adaptiveness of nature as a tool.

The Morning Line is based on the geometry of truncated tetrahedron and using the iterations in recursive in 4 different scales, and also computation to generate the pattern on the surface and lazer cut from aluminium.

1 The Morning Line by Matthew Ritchie with Aranda\Lasch and ARUP (accessed 4th September 2016) <http://www.designboom. com/art/the-morning-line-by-matthew-ritchie-with-aranda-lasch-and-arup/> 2 Figure B5: The Morning Line. Retrieved from, <https://farm6.staticflickr.com/5277/5882756698_bab5be9661_b.jpg> 3 Figure B6: Detail of The Morning Line. Retrieved from, <http://www.designboom.com/cms/images/leeji1/CARTUJA_09.jpg>

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Species 01 - Segments and Scale

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Segments: 3 Scale:

0.33, 0.33, 0.33

Segments: 3 Scale:

0.6, 0.3, 0.5

Segments: 4 Scale:

0.5, 0.6, 0.3

Segments: 4 Scale:

0.5, 0.2, 0.3

Segments: 5 Scale:

0.6, 0.3, 0.4

Segments: 5 Scale:

0.3, 0.4, 0.4

02 Part B. CRITERIA DESIGN

Species 02 - Polar Array- Perspective and Top View

Segments: 3; Count: 5; Angle: 45°

Segments: 3; Count: 8; Angle: 122°

Segments: 4; Count: 5; Angle: 73°

Segments: 4; Count: 27; Angle: 30°

Segments: 5; Count: 3; Angle: 65°

Segments: 5; Count: 22; Angle: 39°

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Species 03 - Bezier Span

Segments: 3; Jitter: 3, 3; Scale: 0.3, 0.3, 0.3

Segments: 3; Jitter: 7, 7; Scale: 0.3, -, -

Segments: 4; Jitter: 3, 5; Scale: 0.4, -, -

Segments: 4; Jitter: 4, 4; Scale: 0.2, -, -

Segments: 5; Jitter: 7, 7; Scale: 0.2, -, -

Segments: 5; Jitter: 5, 2; Scale: 0.3, -, -

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02 Part B. CRITERIA DESIGN

Species 04 - Trim and Mirror on 4 sides

Segments: 3 Scale: 0

Segments: 3 Scale: 0.3

Segments: 4 Scale: 0

Segments: 4 Scale: 0.4

Segments: 5 Scale: 0

Segments: 5 Scale: 0.2

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Species 05 - Mirror along curve

Mirror of truncated tetrahedron to find its best fit along the curve in order to form the model which can adapt to the site or landscape.

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02 Part B. CRITERIA DESIGN

Design Possibilities

Segments & Scale | Pattern

Segments: 5; Scale: 0.3, 0.4, 0.4 Playing with the segments and scaling, this iterations is aesthetically pleasing and can be easily unrolled to place on pattern on its wide surface.

Bezier Span | Stucture

Segments: 3; Jitter: 7, 7; Scale: 0.3, -, With less curves constructed in this iteration, it seems to be easier to achieve a rigid lightweight structure and also fabricated with minimal materials.

Polar Array | Pattern

Segments: 3; Count: 8; Angle: 122° In contrast with the iteration on the left, this iterations has complexity to create patterns.

Mirror | Form

Segments: 3; Scale: 0.3 This iteration is chosen this has the potential to be interactive without failing.

Also, the other iterations in this species tend to fail as they ovelapped elements on each other which is impossible in pratical world.

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B3.

Case Study 02

Reversed Engineering- Maple Leaf Canopy | UVA

Analysis of geometry

Cairo Pentagonal Tiling â&#x20AC;˘ Tessellation â&#x20AC;˘ 4-fold Pentile

Repeating pattern and analysing with grid.

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02 Part B. CRITERIA DESIGN

Repeating of patterns are analysed as Type 1 and Type 2 in diagonal manner. Also shown that 4 pentagons to create a hexagon.

Type 01

Type 02

Each point is listed as {0,1,2,3} in the list of point and as show on the diagram.

In order to get the geometry, the side of each grid is evaluated by (0.366) and (1-0.366).

The intersection of 2 lines across the grid, can be seen as the seed locatiion and centre of the maple leaf LED modules.

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Attempt 01 Step 01

Create a square grid (odd number in both X and Y axis) and dispatch them into 2 different list.

Step 02

Evaluate each line with parameter 0.366 and (1-0.366).

Step 03

Create polylines on specific points and join polylines into curves.

Step 04

Offset curve to create thickness on the edge of every cell.

Step 05

Extrude the curves to form the height.

Step 06

Set the point (the intersection of 2 lines in each grid) and move up slightly higher than the height; also other point which create each module to move up to the height.

Step 07

Form line between the intersection and other points.

Step 08

Create mesh for the line.

Problems:

- Attempt failed on Step 06 as the list of points doesnâ&#x20AC;&#x2122;t match with each other and points connected wrongly.

- Limitation to iterate.

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02 Part B. CRITERIA DESIGN

Attempt 02 Step 01

Create a surface and divide surface into various points on grid.

Step 02

Script calculation to form Cairo Pentagonal tiling and evaluate points.

Step 03

Create surfaces with depth on specific points.

Step 04

Extrude surfaces to create thickness on edge of every cell.

Step 05

Find the points of each module / pentagon in order to mesh it like Attempt 01 (Step 06 to Step 08).

Problems:

- Attempt failed on Step 05 as some points are missing in forming the modules / pentagons.

- Attempt failed due to v insufficient knowledge and research on understanding and evaluating list structures.

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B4.

Technique: Development Species 01

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02 Part B. CRITERIA DESIGN

Species 02

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Species 03

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Species 04

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Species 05

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02 Part B. CRITERIA DESIGN

Species 06

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Species 07

Generated from reversed engineering attempt 01 - view geometry as polylines in cube - then boxmorph onto the surface of a sphere.

Script might be having little issues that geometry wasnâ&#x20AC;&#x2122;t formed entirely as expected but still create interesting geometry.

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02 Part B. CRITERIA DESIGN

Design Possibilities

These iterations are chosen as the structures were easier to construct in real life. In contrast, other iterations in other species are harder to construct as its irregularity and confusing structures.

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B5.

Technique: Prototypes Prototype Model 01 This prototype is taking idea from the project Maple Leaf Canopy.

Refering to the special geometry of the project and laser-cut the panel to form the Cairo Pentagons.

Using hinge and connections with nuts and bolts to achieve kinetic movement between the joints.

Connection Detail

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02 Part B. CRITERIA DESIGN

Basic geometry after installed. Then, change of geometry but still remain as Cairo Pentagons after applying force on the side.

Limitation:

- Model is too heavy. Hinges are not efficient in this prototype as the weight is too heavy and unstable in some circumstances.

- Boxboard is not able to withstand the weight of hinges and started to deform after times.

Reflection: -

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Prototype Model 02

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02 Part B. CRITERIA DESIGN

The second prototype is used of truncated tetrahedron as a module and connected with string. The truncated tetrahedron can be modified in order to reach its fittest to the landscape/site conditions.

Limitation:

- Paper folded truncated tetrahedron is inefficient as it is easy to be destroyed and couldn't carry many loads, even the load of itself.

Interim Feedback Have to consider about: 1. Materiality in pratical life 2. Scale in pratical life 3. Connection - physically and aesthetically

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Figure B7: Site Plan of Abbotsford Convent. [4]

02 Part B. CRITERIA DESIGN

B6.

Technique: Proposal Site Historical Context - Conservation Sacred Heart is the courtyard of the Abbotsford Convent. It was built in 1863 as one of the 11 buildings for the Convent of the Good Shepherd.

These buildings were constructed in Gothic Revival Style in a picturesque and magnificent landscape which is the current site1.

The site is listed as heritage in 2005 as it is significant in 5 contexts - historical, architectural, scientific (botanical), aesthetic and archaeological - which is important to conserve in proposing a new design2. Hence, the fabric and settings, such as plan form, design elements, materials and finishes should be reconsider to move around during proposing design.

However, the proposed design is looking a balance in conserving the significant fabric of the place while adaptively reuse the building to archieve sustainable design3. Besides, by biomimicking preserves botanical features on the site, in its forms and functions, in order to archieve the design brief and conserve the heritage features at the same time.

1 2 3 4

Raworth, B., Heritage Impact Statement - Abbotsford Convernt.

Raworth, Heritage Impact Statement.

Raworth, Heritage Impact Statement.

Figure B7: Site Plan of Abbotsford Convent.

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Figure B8: Shadow Electric. [2]

02 Part B. CRITERIA DESIGN

Shadow Electric Shadow Electric is an outdoor cinema hold during the summer annually. It is set in the courtyard of Abbotsford Convent.

The Shadow Electric showcases a series of movies and films of different themes1. The open-air cinema takes about 250 seat-capacity along the courtyard. It also serves food and live entertainment and creates vibrant atmosphere throughout the event.

Design Brief With the heritage building surrounding a modern event, the design brief is aimed to produce symbiotic relationship and also urban and natural form setting between both the building and event.

1 Shadow Electric Outdoor Cinema. (accessed 14th September 2016) <http://abbotsfordconvent.com.au/whats-on/eventsexhibitions/shadow-electric-outdoor-cinema> 2 Figure B8: Shadow Electric. Retrieved from, <http://www.shadowelectric.com.au/wp-content/uploads/2015/02/IMG_3105. jpg>.

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02 Part B. CRITERIA DESIGN

Design Proposal 01 My primitive idea of the design is related to the condition of being an outdoor event and overcome/intergrate with different weather conditions.

This design is to play with shadow of structure in sunny day, water flow in rain and kinetic movement in windy day. The concept of this structure is similiar to Maple Leaf Canopy which is to create an immersive space for visitor to endulge in natural environment of biomimicking the forest canopy.

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02 Part B. CRITERIA DESIGN

Design Proposal 02 As the event might attract huge amount of visitors into the little courtyard, another idea of the design should be facilitating movement of people within limited space. This design is intended to break the usual movement of people and move in dynamic and create a more vibrant space to the Shadow Electric which will be held annually, as well as daily use. In daily life, visitors can see these structures as a piece of art and also breaking usual moving manner in the courtyard.

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02 Part B. CRITERIA DESIGN

B7.

Learning Outcomes

In this part, as I look onto the field of Biomimicry, I have learnt that Biomimicry is not only about forms, but also think about its functions and processes. To think that bio-organism as a system and processes is not something easy but required massive amount of research to approach this.

Also, while researching the precedents and case studies, it demonstrated different approaches of digital computation towards Biomimicry - some are 'bottom-up', some are 'top-down'. This also includes researches on the geometry, the patterning, and how to script in Grasshopper in order to get easy generation of iterations, which I found it hard as my script is hard to be modified in later time.

Furthermore, in prototyping, the materiality should be consider as a part of the prototype in order to get the most of the prototype and be efficient on its structure. Hence, this require more research on material and structure, also test on the material to get the best result in prototyping the model.

Overall, understanding the criteria design in depth is sufficient as it has a lot to do with coming up a good design on a specific site. Also, understanding Grasshopper and application can facilitate the generation of iterations.

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02 Part B. CRITERIA DESIGN

B8.

Appendix

Algorithmic Sketches

Point Attractors

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02 Part B. CRITERIA DESIGN

Bibliography Benyus, J. M., Biomimicry: Innovation Inspired by Nature (USA: HarperCollins, 1997).

Canopy by United Visual Artists (accessed 30th August 2016) <http:// designplaygrounds.com/deviants/canopy-by-by-united-visual-artists/> Ginatta, C., Architecture without Architecture: Biomimicry Design (VDM Verlag Dr. Muller Aktiengesellschaft & Co., 2010).

Shadow Electric Outdoor Cinema. (accessed 14th September 2016) <http:// abbotsfordconvent.com.au/whats-on/events-exhibitions/shadow-electricoutdoor-cinema> SJET - Voltadom (accessed 30th August 2016) <http://sjet.us/MIT_ VOLTADOM.html> The Morning Line by Matthew Ritchie with Aranda\Lasch and ARUP (accessed 4th September 2016) <http://www.designboom.com/art/the-morning-lineby-matthew-ritchie-with-aranda-lasch-and-arup/>

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03 Part C. DETAILED DESIGN

C DETAILED DESIGN

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03 Part C. DETAILED DESIGN

C1.

Design Concept C1.1 Finalising Concept

After interim, I have decide to look onto the site and think about the function more comprehensively. Other than just a single roof or canopy which lack of symbolism and integration with the site, the design is set to connect the site physically and aesthetically. Taking consideration on having a modern mixed mode event space within historical context, the proposed design brief in part B has been modified to suit the site: The design specified on contrasting the experiences - between past and future; between open space and secure. This includes contemporary structures to suit the 'Shadow Electric' event within the courtyard such as outdoor theatre and stages for music festival which can be occupied by 250 peoples. In this case, the proposal includes a permanent open-air theatre structure (which connects two buildings on the site), a music stage, a mini bar and designated area for socialisation.

Therefore, these ideas and considerations for functions have become the composition and generation of iterations for form-finding. This project will address to the site analysis which identified as below:

1. Secured courtyard in a box / dead space - to break the grid and create motions and circulations.

2. Relatively flat place - leveled to create more space and interesting landscape.

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C1.2 Analysis and Consideration

Acoustic The site is a secured courtyard as shown in the drawings, hence, sound reflection is the main issue to consider for Shadow Electric's outdoor theatre.

In order to develop a good acoustic consideration, similar value of noise should be heard in the whole theatre. After considering sound lost and absorbed, the initial proposed of the outdoor theatre had been decided as the right diagram.

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03 Part C. DETAILED DESIGN

Seat & Views

Seat and views are also elements of designing a good theatre. After lining out the sections where users in front get to lay back and users at the back watching the screen straight, I proposed a convex-landform slope (as show in the top-right). Also, in terms of complexity to increase movements of people within a secured space, the food and beverage sections were placed below the 'landform'.

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Motion and Circulation In order to create contrast between the past and future, my design is aimed to break the grid movements in the secured-box-courtyard. The designs let users to think about how to move within the space and trigger curiosity to discover new place on the site.

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03 Part C. DETAILED DESIGN

Initial Functional Space Planning

Final Functional Space Planning

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C1.3 Technique Precedent - Zmianatematu | xm3 Location: Łódź, Poland Project Year: 2012

In this precedent, I look at the connections between each panel - includes waffle-connection that interlaced to create coffee table, beams that hold up the panels to create cave-like structure, designated interlocking connections to connect small panels into one massive panels. These connections were practically useful to think about in order to hold up the massive structure I would like to design.

Figure C1: Waffle Panel Coffee Table. [1]

Figure C2: The beam holding up sectioning panels. [2]

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1 Figure C1: Waffle Panel Coffee Table. Retrieved from <http://www.dezeen.com/2011/08/30/zmianatematu-by-xm3/> 2 Figure C2: The beam holding up sectioning panels. Retrieved from, <http://www.dezeen.com/2011/08/30/zmianatematuby-xm3/>

03 Part C. DETAILED DESIGN

Design in Same Series

In order to specify the characteristics of the same design, the music stage and mini bar are also titled to design in the same manner with the outdoor theatre seats.

The music stage and mini bar outline were drawn according to the mentioned spatial planning, then move upwards and change the height of parameters to creates supports underneath. Extra surfaces were trimmed out to create flat surface. On the other hands, the connections of these elements were same and would be explained later in C2.

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03 Part C. DETAILED DESIGN

Sectioning & Form Finding In order to create seats and staircase-like structure for the open-air theatre as well as blending into the landscape, the surface was sectioned. This creates an upper level and increases the surface areas for motions.

In terms of form-finding, the structure was outlined in convex slope as mentioned previously. Hence, users are able to experience contrast and hierarchy while walking around the structure.

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C1.4 Final Design

Roof Plan

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03 Part C. DETAILED DESIGN

0

2

4

6

8

10m

N

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Original Roof Plan - Without Portable Seats

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03 Part C. DETAILED DESIGN

0

2

4

6

8

10m

N

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Ground Plan

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03 Part C. DETAILED DESIGN

0

2

4

6

8

10m

0

2

4

6

8

10m

N

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Sections

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Section AA

Section BB

Section EE

Section FF

03 Part C. DETAILED DESIGN

Section CC

Section GG

Section DD

A

B

C

D

E

F

G

A

B

C

D

E

F

G

0

10m

N

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Internal Elevation

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03 Part C. DETAILED DESIGN

0

10m

N

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West Elevation

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03 Part C. DETAILED DESIGN

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C2.

Tectonic Elements /Prototypes

In this section and taking in feedbacks from the interim, the prototypes will be specifically looking at the scale in real life and connection physically and aesthetically.

Before looking on the prototype, I once thought 'could the structure hold by itself/gravity?' Personally think that this can be modelled with the use of Kangaroo plug-in to simulate the scene.

As the biggest structure of the design is about 40m long, and this is hard to fabricate in one-piece. Therefore, the panel is broken down into specific smaller pieces for fabrication. Also, the 'panel' is not really a 'panel', but fixed into a box.

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03 Part C. DETAILED DESIGN

Fabrication of 1:100 Model

Laser Cut Layout (Site Plan) Black lines indicate to cut into panels, while red lines indicate which the upper panels should align to.

The initial intention is to create a self-support structure, however after finishing the site model, I only realised that the structure need support underneath.

So columns were designed and created another space under the structure.

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Structure Connection #1

'Zig-zag puzzle' and column

Top plates without holes

Zig zag to match panels together

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Column that goes through panels

Designated holes in panels for columns

03 Part C. DETAILED DESIGN

Fabrication Due to massive structure, it was hard to process large panels (about 40m).

Hence, the better way is to connect each panels and lock them together horizontally to meet the quality of a massive panel. Also, in order to provide structure system to carry loads, columns are used to hold the panels and also act as a lock vertically.

Materiality The panels were proposed as timber while the columns are hollow steel.

As steel gives impression of light but rigid, it is able to hold the stucture in place and also create a 'forest of steel' underneath the staircase-like theatre.

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Structure Connection #2

Box connection

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03 Part C. DETAILED DESIGN

Fabrication Each 'panel' is 0.3m to suit the proportion of human and standard staircase dimension. Since it would be hard to find pieces of timber in 0.3m (also it would be heavy to construct and maintain), the 'panel' is designed into a box connected with little hinges in 3-way.

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03 Part C. DETAILED DESIGN

C3.

Final Detail Model

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03 Part C. DETAILED DESIGN

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03 Part C. DETAILED DESIGN

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03 Part C. DETAILED DESIGN

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03 Part C. DETAILED DESIGN

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03 Part C. DETAILED DESIGN

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03 Part C. DETAILED DESIGN

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03 Part C. DETAILED DESIGN

C4

Learning Outcomes

In this part of the studio, I have started to interrogate design brief and the site deeper. I developed a new design from Part B after taking in the feedback in the interim, as well as develop more on functionalities and connections between the site and the design. In my design, I also started to consider the atmosphere during day and night which users experience different functions.

In contrast to Part B, I have developed less iterations due to comprehensively considering the functionality of the design. Also, I have been thinking of designing too many elements in one design which lack of focus within the design. Research more in details/prototypes would be more efficient working on the design.

Throughout the subject, in terms of technique development, I have been paying effort in learning Grasshopper however was still not perfecting in controlling parametric design. Some of the design still have to be edited manually to the functional and aesthetic considerations. Design computation is not only required mathematical calculations, but also considering its aesthetics and functionality. Besides, by experiencing other medias such as Adobe Photoshop and Illustrators, I have not only learnt about using the softwares, but also how to present my work in a easy-understanding and presentable drawings.

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03 Part C. DETAILED DESIGN

Bibliography Zmianatematu | xm3 (accessed 9th October 2016) <http://www.dezeen.com/2011/08/30/ zmianatematu-by-xm3/>

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