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STUDIO AIR JOURNAL PART A LISA HOAC 699091 | S2 2016 T2 | TUTOR: MANUAL MUEHLBAUER


CONTENTS PART A : CONCEPTUALISATION A1. Design Futuring A2. Design Computation A3. Composition/Generation A4. Conclusion A5. Learning Outcomes A6. Appendix – Algorithmic Sketches PART B : CRITERIA DESIGN B1. Research field B2. Case Study 1.0 B3. Case Study 2.0 B4. Technique development B5. Technique prototypes B6. Technique proposal B7. Learning Outcomes B8. Appendix – Algorithmic Sketches PART C : DETAILED DESIGN C1. Design Concept C2. Tectonic Elements/prototypes C3. Final Detail Model C4. Learning Objectives and Outcomes  


Marta krivosheek, "Fibro City", pinterest, 2016 <https://www.pinterest.com/pin/433471532865316745/> [accessed 11 March 2016].


A CONCEPTUALISATION


Im Lisa and I am currently at The University of Melbourne studying environments majoring in Architecture. Throughout my whole life Iâ&#x20AC;&#x2122;ve always enjoyed appreciating the architecture that has surrounded my presence. Im subconsciously analysing the buildings and their features and imagining how they function on a constant basis. University has taught me a lot in terms of designing and outcomes of the end product. More importantly the biggest factor within studying architecture was the realisation of the significant importance technology plays on design. The role of technology and computers have on design increase the ability to express and compute an end product which could not be done via hand hence allowing incredible outcomes and designs; in this subject (architecture studio AIR) it focuses on algorithmic techniques to create such products and we will learn to develop such skills in doing so. Having no experience in computer usage in terms of design programs this subject will put me outside of my comfort zone and allow me to better express myself in design projects with the aid of these programs.

daniel widrig, "Untitled", flickr, 2016 <https://www.flickr.com/photos/danielwidrig/2786845904/> [accessed 11 March 2016].


A1 DESIGN FUTURING Design futuring is an important aspect to think about in terms of todays design ethics, whether it be in architecture or just design in general. Design futuring applies to us directly as it will affect the future of generations to come in terms of resources and renewable energy. Design and its relationship to destruction will significantly impact on the duration of the planetâ&#x20AC;&#x2122;s existance. 1 . Hence design needs to be under taken in a way that will minimise any negative outcomes on the planet. To design for the future that will preserve mother nature, we need to design with sustainbility 1 with design intelligence and conceptualization.

1. Tony Fry, Design Futuring (Oxford: Berg, 2009). Page 8


CASE STUDY 1.0 PROJECT: The American Cement building ARCHITECT: DMJM architects DATE:1964 LOCATION: Los Angeles, U.S.A. The American Cement Building was built in 1964, the building is known for its patterned masses of concrete encompassing the whole faรงade. This building was built to allow for a space of headquarters for the actual cement company, with that the company wanted to reflect the desirable use of cement through design to promote it 1

The physical building itself promotes the triumph of the use of cement and the sculptural art it can produce in accompanied with structual engineering, having this material expanded future possibilities of being able to produce commercial buildings with extravagant designs and with the use of these sorts of materials it allowed for more creative flows.

1. "American Cement Building Lofts | Los Angeles Conservancy", Laconservancy.org, 2016 <https://www.laconservancy.org/locations/ american-cement-building-lofts> [accessed 18 March 2016].

"Loftylovin โ€ข The American Cement Building Los Angeles. It Has...", Loftylovin, 2016 <http://loftylovin.tumblr.com/post/1251093249/the-americancement-building-los-angeles-it-has> [accessed 11 March 2016]


CASE STUDY 2.0 PROJECT: Les Choux de Creteil ARCHITECT: Gerard Grandval DATE:1975 LOCATION: France This residential development located in Frace was design based on an experiment 1. At the time (1970’s) this petal shaped idea as balconys gave a unique look to the housing towers which in turn drew attention towards it for its individuality. The petal shaped balcony’s allowed for privacy 1 and today is still occupied as a residency. This unique curvature of individual cells are continuously being appreciated by designers still today and have inspired ‘new city’ concepts 2 because of the large scale architecture in an utopian style, in which many today seek after; as it has a more organic form and feel hence a connection back to nature and serenity 3. With that the soft repeated organic form posed as a less industrial associated building and through this the notion of home is more provoked. Although this building may have gone through the process of a sort of design intelligence, this building focused more on the design than the sustainability factor and impact of the environment after being built. With that this design is an example of creating something but destroying something in return. During this period of the new found technologies of new materials, the usage of new materials outweighed the notion of future impacts and sustainability.

1. "Les Choux De Créteil", Architectuul.com, 2016 <http://architectuul.com/ architecture/les-choux-de-creteil> [accessed 18 March 2016]. 2. 2016 <http://purple.fr/article/choux-de-creteil/> [accessed 18 March 2016]. 3. Frank Lloyd Wright, Andrew Devane and Frederick Albert Gutheim, In The Cause Of Architecture, Frank Lloyd Wright (New York: Architectural Record, 1975).

IMAGE TO THE RIGHT: "Les Choux De Creteil Building", tumblr, 2016 <http://icancauseaconstellation.tumblr.com/post/20024458657/lechou-et-les-%C3%A9pis> [accessed 11 March 2016]


A2 DESIGN COMPUTATION

Design computation is a step forward in assisting design futuring. Design computation involves the use of technologies and programs to further enhance the process and consequently the end product of a particular design. The benefits within using such resources to aid an outcome is the ability to express freely, designs that physically could not be done so by hand. Furthermore saving time by being able to quickly generate several ideas using one program rather than creating a new idea from scratch via hand. With that, today the access to utilities within programs to assist in design such as data inputs help facilitate outcomes by adding an extra element in the design thinking process without extra effort.


URBAN ADAPTER BY ROCKER-LANGE ARCHITECTS | DEZEEN. Panametric urban street Furniture HONG KONG. "Urban Adapter By Rocker-Lange Architects | Dezeen", Dezeen, 2010 <http://www.dezeen.com/ 2010/01/08/urban-adapter-by-rocker-langearchitects/> [accessed 12 March 2016].


CASE STUDY 1.0 PROJECT: 41 Cooper Square ARCHITECT: Thom Mayne of Morphosis DATE: 2009 LOCATION: New York City U.S.A. 41 Cooper square is an academic environment that encompasses educational activities such as lectures meetings, etc 1. The design itself is not only based on functionality but has also touched upon sustainability and the buildings green star rating 1. Green star rating refers to the level of self sufficiency and the minimal reliance on outsourcing to create a functioning building, the lower that is the higher the green star rating. Computing has affected this attribute of green star rating through using certain programs or past buildings to analyse material usage and to distinguish that with the relationship to sustainability. In this instance Cooper Squareâ&#x20AC;&#x2122;s natural lighting is present throughout 75% of the building 1. This reduces energy costs as thereâ&#x20AC;&#x2122;s a need for LESS lighting, with that comes other factors such that heat gain would require more energy use, but through material selection and computational data inputs designers can overcome this problem through intuition through these programs 2. This hence contributes to evidence and performance orientated designing and many other designers have adopted this approach to help improve both efficiency and environmental impacts of their design. 1. "41 Cooper Square | Morphopedia | Morphosis Architects", Morphopedia.com, 2016 <http://morphopedia.com/projects/41-cooper-square> [accessed 18 March 2016]. 2. Yehuda E Kalay, Architecture's New Media (Cambridge, Mass.: MIT Press, 2004). Pp45-46 "Gallery Of The Cooper Union For The Advancement Of Science And Art / Morphosis Architects - 27", ArchDaily, 2016 <http://www.archdaily.com/40471/the-cooperunion-for-the-advancement-of-science-and-art-morphosis-architects/ 5011e7b628ba0d5f4c000344-the-cooper-union-for-the-advancement-of-science-andart-morphosis-architects-diagram> [accessed 11 March 2016]


41 Cooper Square, New York, 2009 â&#x20AC;&#x201C; Morphosis. Morphosis Architects, "41 Cooper Square, New York, 2009 - Morphosis", Archilovers, 2007 <http://www.archilovers.com/projects/ 5460/41-cooper-square.html> [accessed 11 March 2016].


CASE STUDY 2.0 PROJECT: Yokohama International port terminal ARCHITECT: FOA (Foreign office architects) DATE: 2002 completion LOCATION: Japan The Yokohama port terminal is utilized for transporting goods and also passengers between docked ships. One of the main features of this port is the design has no stairs 1. This creates a smooth and barrier free space for the stake holders of the port. Which also adds aesthetic to the design through a smooth surface blending in with nature (the sea in the background) hence creating a connection from the sea to the land flawlessly. With this outcome in mind, computation and the geometric contouring of the port would have been tweaked and changed via computation; small changes such as degreeâ&#x20AC;&#x2122;s in slopes and floor spaces in between the slopes can easily be manipulated via technological programs (for example grasshopper) it impacts on the range of outcomes 2 and therefore allows for more options/ different options. This then achieves unique options as well as an improvement of design by taking better aspects from each option and combining them or using that certain part.

1. "OSANBASHI YOKOHAMA INTERNATIONAL PASSENGER TERMINAL", Osanbashi.com, 2016 <http://www.osanbashi.com/en/outline/features.html> [accessed 20 March 2016]. 2. Yehuda E Kalay, Architecture's New Media (Cambridge, Mass.: MIT Press, 2004). pp21

IMAGE (from left to right) 2016 <http://kanyalak-kupadakvinij.tumblr.com/post/78069106946/ yokohama-international-port-terminal-foreign> [accessed 10 March 2016]. Farm4.staticflickr.com, 2016 <http://farm4.staticflickr.com/ 3092/3177288738_ea81569de6_z.jpg> [accessed 13 March 2016].


, 2012 <http://photowilliams.tumblr.com/post/30027234146/contouring> [accessed 12 March 2016].


A3 COMPOSITION/ GENERATION In recent times of the growth of technology architectual literature and practice has shifted from composition to generation; generation has given architects opportunities to create more in their design process through developing tools in technology. Instead of gathering a composition and tweaking it, generation allows for a fresh creation. Today the process in designing has changed dramatically from that of decades ago as techniques such as algorithmic thinking, parametric modelling and scripting cultures have effected the way in which design is approached and tackled.


CASE STUDY 1.0 PROJECT: La Sagrada Familia ARCHITECT: Antoni Gaudi DATE: 2010 completion/opening LOCATION: Barcelona, Spain. Depicted on the left is the interior space of the La Sagrada Familia building located in Barcelona; The sheer size of this place and design attracts many tourists to its interesting form both of the exterior and interior. Here is an example of generation over composition, composition revolves around using programs that have an input in them that have several variations of it; where as this is generation as this isnt organic and has been derived from computation as it is solving complex problems, in this case the problems are the ornaments and how to create them/design them. 1 Although these forms situated on the roof look like simple floral ornaments they have many details within; this stems from inspiration from complex results within generation via technology and this allows for results like seen to the left.

1. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 12 TOP IMAGE: "Un Bosc De Palmeres / A Palmtree Forest", Flickr - Photo Sharing!, 2016 <https://www.flickr.com/ photos/7455207@N05/5489610842/in/ photostream/> [accessed 16 March 2016]. BOTTOM IMAGE: (ceiling above the alter) ("El Camí Cap Al Cel? / A Pathway To Heaven?", Flickr - Photo Sharing!, 2016 <https://www.flickr.com/photos/ 7455207@N05/5488379104/> [accessed 17 March 2016].


CASE STUDY 1.0 PROJECT: Eden project ARCHITECT: Grimshaw DATE: 2001 LOCATION: Cornwell UK

The biomes by Grimshaw architects as depicted here reflect once again generation of ideas through computation. This design here revolves around algorithmic thinking and experimenting to simulate building performance. This large project here not only was designed through computation but also the factor of creation would have been considered through computation techniques too. Algorithmic thinking and designing has aided this project through its complex geometry and through using a method and recipe to create this, it has also come with complex problems too; such that the construction and how to overcome this; Computation and generation would have aided this design in creating ways in which to physically make this project come to life through connections and construction techniques that could potentially work or potentially make the job a cheaper one. 1 1. Definition of â&#x20AC;&#x2DC;Algorithmâ&#x20AC;&#x2122; in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, "The Eden Project: The Biomes < Projects | Grimshaw Architects", Grimshaw-architects.com, 2016 <http://grimshaw-architects.com/ project/the-eden-project-the-biomes/> [accessed 17 March 2016].


A4 CONCLUSION PART A involved the notion of grasping design futuring and how designing will ultimately choose our fate, design futuring and the way we approach it today is what most futurists will look for in a designer, a designer in order to grasp the concept of futurism must intale intelligence in designing, not only for what the outcome will look like but details within the design; such as the sustainability factors and the impact it has on the environment. This can be aided through computation and programs widely available to use and access in todays modern times.


A5 LEARNING OUTCOMES The theory and practice of architectural computing today in the design field is seen as very very popular and demanding. I never realised the importance of all of these computing softwares to help aid and create better designs for the future, In the future or even just in this subject itself, computing can definitely further enhance my work in terms of not only design but functionality and individuality, making my work not only different but unique. From the beginning of the semester, architectural computing was something that I was aware of but after studying the readings within the first three weeks it showcased the significant importance of how practice today links to the ever growing and changing computing software there to aid our designs, and not only make our lives easier but also is an extra helping tool.


A6 ALGORITHMIC SKETCHES


B B   CRITERIA DESIGN


B1 RESEARCH FIELD To the right we have depicted Herzog & de Meuronâ&#x20AC;&#x2122;s luxury condo. This is located on Bond Street in NoHo, the street is filled with warehouse styled living arrangements and lofts. 1 Some conceptual design implications that could have been faced during the design process could have been how to execute such a unique form, using different materials, and in the conceptual stage figuring out what material that would best suit the end form could be established through experimenting with different media. Opportunities that may have arisen through this design proposal could have been other smooth forms and smaller details of smooth forms; this then leads to fabrication complications. Some complications that may have come to attention to this design before the production of it could have been the physical strength and connections of the whole product itself, the design is one continuous flow of smooth and querky forms with many gaps show casing the forms shape and emphasizing it; this could have been a problem and made the structure weak and more easily prone to breaking but through the material usage and research this was overcome.

1. https://www.herzogdemeuron.com/index/projects/complete-works/ 251-275/253-40-bond-apartment-building.html ACCESSED 05/05/2016


http://blogs.artinfo.com/objectlessons/2012/08/24/should-herzog-de-meurons-luxury-condo-have-stayed-a-parking-lot/ accessed 03/05/2016


B2 CASE STUDY 1.0 The De Young museum: Patterning

 

   

The de Young is located in San Francisco in USA, it is a museum and displays fine art projects. The Museum itself was named after its founder, a San Francisco News paper man M.H. De Young. The museums architecture itself was designed to complement the nature surrounding the design itself. It has achieved this through using colours of materials that reflect the nature around it; such materiels such as stone, copper, wood and glass; in which all have a brown tone and natural earthy elements to it. 1 One of the most prominent aspects of the architecture and design of this museum is the perforate and textured copper façade, in which this is what will be manipulated later on. This exterior reflects the de Young’s tree filled park/tree plan. The copper itself was used to blend into the background of the park with its natural earthy colour, and its oxidation would continue to have that earthy colour even though it changes.

1. https://deyoung.famsf.org/about/architecture-and-grounds


http://bebon.tumblr.com/post/1295015531/the-perforated-copper-cladding-of-the-de-young ACCESSED 24/04/2016


MATRIX ONE

MATRIX TWO This is the original expression, nothing has been changed.

X*y+0.1 increased y value by 0.4

Increased U value by 15 in the divide surface parametercre

Increased U value by another 15 units in the divide surface parameter

Decreased x*y +0.1 the y value by 0.3 units

Original from matrix one

Changed expression to x*y+0.4

U value in divide surface decreased to 29 units

U value in divide surface decreased to 13 units

U value in divide surface decreased to 5 units


MATRIX THREE

MATRIX FOUR

Changed the image sampler to one with a few triangles in it

Changed radius of circle and increased it by 0.1

Changed circle parameter to a polygon parameter with five sides

Increased radius parameter on polygon by 0.2

Increased U value in divide surface to 25 units

Increased radius parameter on polygon by 0.2

Decreased radius & U value on divide surface

Decreased V value on divide surface by 15 units

Changed expresion by +0.9 to x

Changed circle parameter of polygon increased by 0.4


MATRIX FIVE Increased y value by 0.4 from the x^2 expression

Increased y value by another 0.4 from the x^2 expression

Decreased U surface slider by 10 units

Increased V surface slider by 70 units

Decreased U surface slider by 15 units


RESULT ANALYSIS SELECTION CRITERIA: I actually really liked the original shape or like style of the patterning, the pattern had a great balance between being elevated and vice versa; What I tried to do was keep the original pattern still recognisable but changing it so it was completely different in terms of the elements within it; sizes, shapes etc.

WHAT MADE THESE SUCCESSFUL? To the left I have four that I have selected that I deemed to be the most successful out of all the options created; I find these the most successful because theyre not too busy and doesnâ&#x20AC;&#x2122;t have as much going on as the others, I feel like the others have too many elements within it creating an overwhelming feeling and loss of the shape and style. I also feel like I could possibly utilize these shadowed examples and work my design around this by adding and subtracting elements, where as the other options I would be mainly subtracting elements to create a more useful design. Furthermore I find these the most successful as they leave room for further exploration in between the gaps or spaces left empty.

SPECULATION: The original script was quite safe and only encompassed a small varying surface, a small hill/hills, with these new scripts that were created, they open up the steepness of the image and also creates different dimensions and aspects to it.


B3 CASE STUDY 2.0 dECOi â&#x20AC;&#x201C; one main street One Main by dECOi architects was designed for the penthouse offices of a group dealing with investments in sustainable buildings and technologies that emitted clean energy1. The interior of the space is contoured in panels of wood throughout the whole space. It is also recognised as a continuous space, with the floor and ceiling connecting through these curvy smooth contours; all the walls excluding the exterior windows are designed to be that of one flowing item. With that said, the main material used in this design is plywood, this plywood was derived from sustainable forested areaâ&#x20AC;&#x2122;s and hence the material is considered green, (which ties in with the green building element and company) 1

1. http://www.decoi-architects.org/2011/10/onemain/ accessed 02/05/2016


http://kenanaonline.com/users/afterdesign/posts/509705 ACCESSED 24/04/2016


REVERSE ENGINEERING

Created a rectangular surface on Rhino, and used control points of the surface to manipulate the surface to reflect the contours of the deCOi one main street project.

Here I have used the contour technique to create line segments on the manipulated surface to represent where the wooden material would sit. Also with that, the contours are in that direction to reflect that of deCOiâ&#x20AC;&#x2122;s.

From the contour lines I have projected them onto the x,y plane, this ultimately will define our 2D planes of wooden materials.


After the projections from the surface to the x,y plane have been extruded, I proceeded to loft these two elements together which ultimately created 2D single surface planes representing the wood panels individually.

From here the individual projected planes are currently only FLAT 2D surfaces, so to create the actual thickness of the projecting wood I Have offset each individual plane and proceeded to lofe the flat 2D surfaces with the new offset; creating a 3D panel with a thickness similar to that of deCOiâ&#x20AC;&#x2122;s work.


B4 TECHNIQUE DEVELOPMENT Based on the specific brief of this class, it is focused on designing for an exhibition space to be placed along the Merri creek that incorporates the natural topography. The exhibition space to be designed must consider the societal current state and its potential to help provide and educate others for a desirable future and to help sustain the future too. My selection criteria includes patterning as the main idea revolving around the exhibition space; Ultimately I want to incorporate a smooth contoured surface like that seen in my reversed engineering in case study 2.0 as the overall form of the space with patterning mimicking that specific smooth form. In saying that this will conform to the brief with having a smooth surface that blends in with the surroundings. I would like my design to reflect or make use of the natural sunlight that the merri creek receives and in turn enhance the exhibition space by allowing sunlight to improve the space.


ITERATION 1.0 This iteration revolves around the amplifications of movement on the contours of the definition. Specifically focusing on the different shapes and movements both vertical and horizontal on the formation of the waves. IT01.7 changed B value to 3.2

IT01.1

IT01.4 increased V value by 10

IT01.8 increased B to 4,85 from 1.25

IT01.2 decreased U value by 5

IT01.5 increased U value by 3

IT01.9 decreased B to 0 from 4.85

IT01.3 decreased U value by 3

IT01.6 increased B value by 2

IT01.10 decreased B to -4.8


ITERATION 2.0 Iteration two revolves around the use of image sampling and changing the inputs to create different formations of surface contours. IT01.7 increased V and decreased U

IT01.1

IT01.2 changed image sampler

IT01.3 Increased U value by 5

IT01.4 Increased B value by 2

IT01.5 Reversed the image sampler

IT01.6 increased frames by 50

IT01.8 decreased B value by 5

IT01.9 stretched box surface

IT01.10 changed box surface


ITERATION 3.0 This family of iterations was based upon patterning the surface of the contoured formation as seen in the previous iteration (2.0). IT01.7 populated over contours and created a mesh over it

IT01.1

IT01.2 divided the surface and added spheres

IT01.3 increased U and V count on divided surface

IT01.4 increased B value by 4 units and increased radius of circles

IT01.5 decreased sphere radius and culled pattern

IT01.6 divided surface points and added circles that were piped

IT01.8 created smaller patterns by decreasing V value

IT01.9 squared mesh

IT01.10 created a wire


ITERATION 4.0 IT01.7 used triangular pipes

IT01.1

IT01.4 delauney edged component

IT01.2 triangulated the surface contours

IT01.5 facet and then deleted pieces from it

IT01.9 circle CRN and lofted all the frames

IT01.3 joined brep and wire framed the entire component

IT01.6 vonoroi after piping the contoured geometry

IT01.10 same idea as it04.9 but created piped geometry

IT01.8 used one plane and then extruded along the surface


ITERATION 5.0 This family iteration revolves around using the contours themselves to explore a possible shape for the pavilion.

IT01.1 divided the surface into a grid

IT01.4 layered each contour by squaring it off

IT01.2 layered the surface grid

IT01.5 curvature of the squared contoured surfaces

IT01.3 rounded the geometry of the whole surface grid

IT01.8 further extrusion, playing with number slider, increased points

IT01.9 extruded square surface off of the square surface itself

IT01.10 IT01.6 extrusion of the surface through each square point


RESULT ANALYSIS I like this particular iteration through its triangulated patterning, it could work well with the exterior of my design as it draws attention to the eye, the only issue is the problem of figuring out a way to incorporate or join these items together to make a whole (individual fabrication assembly).

The general layout of this contouring is why I chose this as a good iteration, I like the way the contours extend up and make a pathway, or a leadway for people to potentially walk through and the contours guide the people through this; OR the above ground contours seen in the dark red can be posed to be the roof structure of an exhibition space so it would be coridoors of my design,

Whats different about this specific iteration is the triangulated contour sections, instead of having curved smooth roof or pathways, it would be triangulated, with a patterning placed on top which would then probably make fabrication and joining easier as in lectures and readings, curving structures create havock for joining etc.


B5 TECHNIQUE PROTOTYPES


Prototype elevation 1

Prototype elevation 2

PROTYPING: my main goal in this section is to mimic this sort of pattern through using different materials and essentially bringing a little pavilion to life as a concept for my design in part C where I will combine my general patterning idea with another group member. I like the general idea of the patterning I have culled in the image on the left, but maybe something less random or more sharp instead of curved; I will explore this through model making and seeing what outcomes work well and what ones donâ&#x20AC;&#x2122;t.


Panels can be twisted and bent to form the contour shape that I explored in case study 2.0

Pattern similar to the iteration two pages before this

Singular panels that can be bound to each other PROTOTYPING PROPOSAL Easily fabricated Can add as many panels to each panel as necessary (each comes up with a very different shape) Flexible material and can change the shape when one lever is pulled â&#x20AC;&#x201C; this could be good in terms of creating different patterns


B6 TECHNIQUE PROPOSAL


Image source: accessed 15/09/2016 https://app.lms.unimelb.edu.au/ bbcswebdav/pid-5394076-dt-content-rid-20360930_2/courses/ ABPL30048_2016_SM2/AIR2016_S2_MerriCreek_Site.pdf


I have chosen this specific placement of the exhibition space (Bowden Reserve) as it is just off of Harding street bridge and individuals are able to see the exhibition pop up from there with curiosity; with that Bowden Reserve is also along the Merri Creek walking/cycling trail so it is in direct site of the path itself and the path will lead individuals to pass the space. Furthermore I have also chosen this specific site as it is not too far off from the main street where public transport is available, as not everyone has cars it is an easy point of access that is in walking distance from public transport; lastly another key factor in the selection of Bowden Reserve it is situated near Antonine College which is a school, the space could be used to help facilitate the education of these kids. I would like my design outcome to host critical exhibitions that help promote societal and sustainable change through education/use of the space. In terms of this, I would like to target the general audience that use the merri creek trail and or other human beings that are attracted to the space to learn about sustainability through the exhibition displays. With that I propose that my design should draw attention to individuals who use the track or are surrounded by the track by having a unique patterned sheltered exhibition space that incorporates the natural topography within the design to help blend in and not disturb the natural scape too dramatically. Lastly the main reaction to specific site conditions within my design ideally would be the use of the natural sunlight to help enhance or improve the space of the exhibition; not only that but I aim to use materials that are sustainable or renewable in my design to advocate the idea of being critical towards a more sustained future of architecture.

Image source: https://www.google.com.au/maps/place/Harding+Street+Bridge/ @-37.7460469,144.9777254,559m/data=!3m1!1e3!4m5!3m4! 1s0x6ad644bef9e86e39:0xfb7c83a07dd437a6!8m2!3d-37.74649!4d144.980194 15/09/2016


SITE ELEVATION OF PROTOTYPE


B7 LEARNING OBJECTIVES AND OUTCOMES


From the beginning of part B to the end of part B has been the most significant growth in terms of my knowledge and use of grasshopper and rhino combined. The learning objectives of the studio was to be able to create and manipulate algorithmic scripts to make a design that suits the brief. Research has affected my knowledge on this computational design journey through enhancing my skills on simple basic techniques to more complicated sets of manipulation on algorithmic definitions; this has been done through programs and add ons from grasshopper that aid the program further! By using such resources such as the grasshopper 3D online forum it has opened up my eyes on different ways to accomplish certain design idea’s through using different methods (inputs, outputs etc) to create certain design features that I want. By further research on the architecture point of view; these two programs have opened up worlds in terms of design in my mind, as the two programs have allowed me to create unique and very different ‘architectural’ design propositions that couldn’t have been done otherwise with design tools such as autocad etc as they are just basic programs that don’t allow such sort of exploration in design. I still am learning the programs but comparing my position from the start of the semester and until now (week 9) I have progressed and learnt many techniques and ways to manipulate grasshopper scripts to create different design propositions; manipulation and creating of specific designs and algorithms are evident through case study 1.0 and 2.0 in part B and I hope to further enhance my knowledge of these two programs in PART C to produce a design outcome that reflects the great use of these computational design tools.


B8 ALGORITHMIC SKETCHES


C B   DETAILED DESIGN


The overall design concept will be based on the purity of air linked with natural wind paths that inspired our design, air and wind naturally are the same thing so our design advocates both ideas. Purity is the main vocal point of our design to help create a cleaner and fresher breathing environment as there is a lack of vegetations to do in our specific site. Pollution is surrounded everywhere as it is a highly habitated urban area where it is easily emitted. By designing an exhibition space that also filters air or cleans the air by using sustainable methods our design will help to educate others of air pollution while minimally depolluting the air.

(design option making)


C1 DESIGN CONCEPT


CHOSEN SITE: - Site justification is that this specific site is an open site with little to no high vegetation to purify air. - The site is very open so the design itself can have maximum air velocity from surroundings. - next to the trail so people can stumble across the design. - Next to the petrol station where fumes are emitted, the design can help cleanse this. - next to main road where main pollution occurs. - next to the main road so passer byers can easily see the design and wonder what it is.

SELECTED SITE IN RED

h#ps://www.google.com.au/maps/place/seven%2F11+Bell+St,+Coburg+VIC+3058/@-­‐37.7426066,144.9763521,515m/data=!3m1!1e3!4m5!3m4! 1s0x6ad644b8a66eb601:0xfad30d2cc883cd09!8m2!3d-­‐37.742666!4d144.97691  


Design concept: wind and purity

The wind patterns for all the four seasons at merri creek on our specific site, and finding the average.

DIAGRAM BY SHAN JIN Wind patterns based on having an object of specific shape and size and the wind movement/pattern that occurs based on our merri creek bell street site.


Overall design based on wind movements, (natural flows of the wind) and are based on ACTUAL average wind patterns and flows (all data on displayed on previous page)

These are the three average curves that were produced from using the wind movements found in the merri creek river in our specific site area. Singularly the curves are just wind waves but together all combined it looks more complex and looks like a combination of wind formations in which our design is based of.

Wind movement design above, below we have our detailed patterning ON the wind curve inspired design, showing some 3D form. The overall curve from the wind movements also fits the criteria of the brief in which it has to try blend into the surroundings of merri creek, by having soft curves it is less harsh against the natural terrain and is seen as a more natural form in comparison and contrast to square or sharp forms.


DESIGN EXPLORATION Use of hexagon as chosen shape to pattern the surface of the curved wind inspired exterior as Hexagons are assosciated with nature everywhere, example honey comb, the water molecule etc. To the left, an idea of having a larger hexagon on the top of the surface to allow for more natural light to enter the exhibition space and hence it is more sustainable as it does not need to be lighted unnaturally. Could be to emphasize light on the main focal point of the exhibition space, (highlights literally the main area/space). Exploration of hexagons, inverted and vice versa, some random patterns and some with consistent patterning.

To the left we have consistent patterning, this is safe and still creates the desired affect we want, to the right we have absolute random inverted and exverted hexagons, this is a bit too crazy for our liking.


Concept designing, we wanted the idea of random hexagons all patterned over the surface of the curves, some hexagons larger than others to create a more interesting affect instead of just a steady pattern.


Material selection: activated carbon Activated carbon is used to filter both liquids and gases, it cleanses the air and liquids of inpurities, such as odurs or small unseeable objects in the air/ water. It removes unorganic compounds that are not supposed or naturally in the air/water and purifies gases too by trapping them in its micro sockets, as seen on the diagram on the right. The material itself can be sourced from sustainable manners in which why we have chosen this as one of the main materials, activated carbon can be sourced from things such as old coconut shells which can be recycled easily and wouldnâ&#x20AC;&#x2122;t leave a footprint on the planet, which ties in nicely with design futuring and keeping our planet green and not destroying it. Furthermore our design itself will help to cleanse the air and create a cleaner environment, it will act like a man made tree.


TOP VIEW

SIDE VIEW

PERSPECTIVE VIEW WITH CARBON

PERSPECTIVE VIEW WITHOUT CARBON

HEXAGON ELEMENTS


Design exploration, inverted hexagons where the hexagons are random patterned but not random in terms of their specified curve.

In terms of structure, this would be able to physically sit on the floor and not need anything to support it as each hexagon is being supported vertically by one another. This design could potentially work, as each curve could lead to a different exhibition space and it creates a sense of pathway and direction.

Increased the number of rows within each individual curve so thereâ&#x20AC;&#x2122;s more hexagons and it looks more complicated. But at the same time it just looks much too busy, and the wind would find it hard passing through the small holes.


Similar concept, little bit tweaked, now thinking about the structure and how each hexagon would fit together, this design creates the idea that each hexagon doesnâ&#x20AC;&#x2122;t actually connect to one another and this wouldnâ&#x20AC;&#x2122;t physically be possible, other than having clear connections between each giving the false illusion of floating hexagons.


https://www.google.com.au/search?q=paul+klee+museum+images&oq=paul+klee +museum+images&aqs=chrome.. 69i57j69i59j69i60l2.10935j0j7&sourceid=chrome&ie=UTF-8


PRECEDENT STUDY: PAUL KLEE MUSEM The Paul Klee Museum Also known as Zentrum Paul Klee, located in Bern Switzerland. The museum itself is dedicated to the artist Paul Klee and was designed by the famous architect from Italy The Renzo Piano. The overall design itself as a precedent has inspired our own design in terms of structure and performance, the design has a similar curve shaped that depicts our wind formation in a similar way, we have adopted the beam structure into our own design to help our structure hold itself and be more secure. Below pictured on the right we have our own structure inspired by this museum where the hexagon patterning will fit within each beam.


REFER TO ACTIVATED CARBON SLIDES


Each hexagon is filled with activated carbon hence not much natural sunlight can emit through this, but the gaps next to each hexagon are empty so the full UV light can enter into the exhibition space through numerous of these little holes/ gaps within each shape. Natural sunlight can enter through more specific holes/gaps as there are larger hexagons to allow for more light to enter in specific regions of the design that helps emphasize the important of the exhibition space.

SKETCH BY SHAN JIN Like wise in terms of the sunlight the natural general horizontal windflow of merri creek will pass through our design like so, we have designed hexagons in specific regions so that the larger hexagons are on the verticals of the curves so wind can pass through EASIER through a bigger surface area.


Still using the wind concept for the form of our design, after exploring the precedent study we will duplicate each curve multiple times to create an overall structure. This will help Physically keep up and hold our design.

Each curve will still be different in each section but will be of the same curves multiple times in that specific section.

Overall structure, single curved beams that will be all put together and made as a whole with the connecting hexagon pattern within the beams.


Design concept with the supporting beams to help the product stand on its own; not only does it help support the hexagons and gives it structure but adds an extra element of design with multiple beams creating lines in the design.

Top view

Birds eye view

West birds eye view

North elevation


C2 TECTONIC ELEMENTS AND PROTOTYPING


One coat of matte white spray paint, can visibly still see the box board material.

Two coats of white spray paint.

One coat of black spray paint, the edges not very visible on the hexagons.

Before we decided on the beam structure, we were going to connect the hexagons through this, but we found that it was much too flexible, although we needed it to be flexible in some parts, it needed to be a fixed flexible, so this didnâ&#x20AC;&#x2122;t work out hence out beam conclusion. SKETCH BY SHAN JIN


MODEL MAKING STAGES


C3 FINAL DETAIL MODEL


Detailed model 1:10 In terms of the final model, we have left it as the original box board material as in photography through prototyping the natural material shows off the edges of the hexagons much more prominently and displays this in more detail, it has a better affect than the one coloured spray paint.


Rendered final design


SITE WEST ELEVATION


Final design with floor plan, the floorplan is really just contoured surface of natural grass, the the pathway curve has been derived also from the natural wind curves found in our data throughout the year from the merri creek.

PLAN

pathway


Detailed model 1:10

DETAILED MODEL AT 1:10, WITH LIGHTING


3D PRINTED MODEL

SKETCH BY SHAN JIN


C4 LEARNING OUTCOMES At the beginning of the semester, I had little to no knowledge of how to use grasshopper, I rarely use rhino as well as there was no need to use these programs in previous architectural studio’s. Throughout the semester through countless hours of watching the tutorials and exploring through the Grasshopper forum where specific tutorials by others are posted/random questions are posted I have learnt how to achieve certain outcomes in my final design, and not only in my final design have I learnt how to use these programs but I have learnt the most through the PART B stage in which iterations and explorations are emphasized; this allowed me to push myself by creating designs that I probably wouldn’t have ever considered because 50 different iterations left the design field to so many open idea’s. With this in mind not only has this subject educated me in both rhino and grasshopper but it made me think and explore outside the spectrum of just designing a product. I am referring to fabrication and in the real world of the creation of the design. This subject has not only focused on computerization but also made us think about the end product and if the product would be achievable in real life and if not, to be made achievable in terms of structure and joints, because at the end of the day a design wouldn’t come to life without it being realistically stable and able to be built. In saying how important this is, it couldn’t have been explored without computational technology; The availability of such forms of technology to allow to create these designs also allow for us to create the design integrated with ways of physically forming and structuring the design eg the use of kangaroo to test elasticacy and flexibility of an overall form. Before undertaking this subject I genuinely only really thought that architects used the main software packages such as Revit, autocad, photoshop and indesign but after this semester I am very aware that if architects were only to use these programs their designs wouldn’t be anywhere near as complicated and unique as rhino/grasshopper allows. Technology and computation has changed society’s streetscape and walking through the urban city and now seeing all the patterned buildings and unique designs I can now picture or guess which computational programs they have used to achieve this or even guess the algorithm or the process in which they have chosen to design their product. What I have also learnt from this subject where I havent learnt from any other subject yet is sometimes not having a set design in your mind will help your creativity as youre not trapped; I definitely experienced this during the PART B stage of this design project as I just explored idea’s and eventually came up with something I really liked but without having it set in my mind beforehand; this allowed me to not only create MULTIPLE random designs that I fancied but it allowed me to broaden my design mind and create things that I also disliked and therefore created a more intense design process in terms of different idea’s and learning how to choose/overcome certain designs that are preferenced.


After this design project/design studio I have also discovered a new way of thinking; group work. This is the first studio to introduce group work in any form of final design, and through this is has helped me develop a new way of approaching designs and catering for others idea’s and incorporating it into my own design and vice versa. This has been a good experience as I feel like this is the way architectural firms work outside of university and it gave an insight into a little bit of how the real design world would work in terms of final design and having everyone’s great idea’s combined into one overall concept. Adding onto the group work experience of creating an overall better design as all idea’s are combined and there’s another party to add to the value of the product I would like to add, learning and achieving more in general also was reflected as if one was stuck with a certain aspect of the design, example; not being able to create an algorithm to work with the design concept in mind, the partner or group that is apart of the project can help each other out to solve the problem instead of solving it by yourself, and having that support allowed for more generative idea’s in which this subject allowed. In terms of the final presentation and the critical feedback received from not only my tutor (Manual) and an external crit It has been very helpful in terms of knowing how to do presentation’s better in the future; In terms of our overall design concept we didn’t have much work in terms of supporting the overall idea as it is all based in this journal as the END of semester book with the overall design, I feel like in future final presentations the design concept should be more focused upon and displayed on the final presentation as that is the whole focus of the design and I could do this through sketches and diagrams displaying it as suggested by the crits. The final presentation did take into consideration AIR and the whole focus of the air studio itself in that the final design should react to the environment, in which our idea of purifying the air and cleansing it is the action that activates our design aswell as doubling up as an exhibition space to help promote this idea; in conclusion this helps also promote the overall idea of sustainability and design futuring, which was the prime focus of the subject within PART A. By having a design that promotes sustainability and allows for the future of design to go on because of the use of renewable sources it allows to educate others of sustainable design/living and hence create a never ending good cycle of being sustainable from awareness. This subject has not only shown me the importance of design computation in but it also emphasized the big impact sustainability has on the future of design and how sustainability will help the continuation of design in this ever so degrading society in terms of global warming and running out of resources. This overall subject has prepared me well and set me up well for my future studio’s as I now have educated myself on computational design that will help me create unique designs that can be fabricated easily etc.


HOAC LISA 699091 FINAL COMPRESSED