Studio Air Journal

STUDIO AIR

JOURNAL Malak N El Moussaoui

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Work from Algortihmic Sketchbook

Contents BIOGRAPHY 4 A. CONCEPTUALIZATION 6

A.1 Design Futuring 8

A.2 Design Computation 12 A.3 Composition/Generation 16 A.4 Conclusion 20 A.5 Learning Outcomes 22

A.6 Appendix - Algorithmic Sketches

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B. CRITERIA DESIGN 27

B.1 Research Field 28

B.2 Case Study 1.0 30 B.3 Case Study 2.0 38 B.4 Technique: Development 44 B.5 Technique: Prototypes 50 B.6 Technique: Proposal 54 B.7 Learning Outcomes 62

B.8 Appendix - Algorithmic Sketches

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C. DETAILED DESIGN 66

C.1 Design Concepts 68

C.2.1 Design Development 74

C.2.2 Design Amendment

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C.3 Final Design

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C.4 Learning Outcomes

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Acknowledgement

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References

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Biography

I’m Malak, a third-year architecture

student at the University of Melbourne.

Since primary school, art class had always been my favorite. I loved to create things with my own hands, giving much care for detail. Even now, 20 years later, I enjoy designing and find myself particularly immersed with working on the intricate details of things.

Over the years, I developed an interest in philosophy and human behavior, both of which make their way, unconsciously, into my designs. I’ve realized that the more I learn about different disciplines, the more I can see how they connect to architecture.

There is so much to consider when designing something; from aesthetics, function, sustainability, material, to its effects on surroundings, movement, psychology…

Knowing this, computation would be at great tool for designing smarter. I have had the opportunity to explore Rhino throughout previous subjects but haven’t used the Grasshopper plug-in. I hope I would be able to further develop computational skills within Studio Air and am excited to have the opportunity to learn such new technologies.

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Digital Design and Fabrication, Sleeping Pod, 2016. with Diana Ong & Emily Thomas.

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CONCEPTUALIZATION

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A1. Design Futuring

THORNCROWN CHAPEL E. FAY JONES

Amid

the accelerating changes and technological advancements that the world is witnessing, unsustainability is becoming a clear destination. Experts each have their defined responsibility in addressing this threatening condition. Like a train speeding towards crash, the accelerating condition of unsustainability needs to be slowed down first, then redirected rather than halted1.

And design, defined as the ability to imagine what we create before creating it1, must have a significant role in redirecting this future.

Knowing how design affects thoughts and behaviour, architects and designers have been trying to instigate positive change by changing how design is understood and what it emphasizes on. In the two examples, architects have put forth sustainable solutions in building and connected it to a larger scale of cultural and spiritual emphasis that might change how design is perceived.

Built in 1980, the Thorncrown Chapel attains its sustainability by proper planning and material choice to reduce its impact on the site. Local timber is used, which also blends the building with the forest and makes it almost part of nature. In terms of construction, the trusses were made from timber that was cut to dimensions suitable to be carried through the forest, transporting them between trees with least negative impact2. Local elements, column and truss structure, combined with glass, make the chapel a relatively light structure such that both interior and exterior are experienced inseparably. This connection to nature ties well with the context of spirituality and the atmosphere aimed for.

1. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 2. Inhabitat. Eureka Springs’ Thorncrown Chapel, Retrieved from http://inhabitat.com/thorncrown-chapel-a-paragon-of-ecological-architecture/ Image source: AD Classics: Thorncrown Chapel / E. Fay Jones, Retrieved from http://www.archdaily.com/533664/ad-classics-thorncrown-chapel-e-fay-jones

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A1. Design Futuring

AL BAHAR TOWERS FACADE AEDAS ARCHITECTS

Computational

spiritual and cultural context. However, the designs are not idealistic; they represent an alternative vision rather than a utopia. This means that, by changing the way we perceive a space, we change the values and attitudes that correlate with that space. The chapel, for example, ties concepts of spirituality and religion closer to nature, belonging and clarity. Similarly, through its obvious facade, the tower emphasizes national and cultural roots to a formal and imposing landmark.

design has allowed the creation of intelligent, responsive systems such as the façades of Al-Bahar towers in Abu Dhabi. Here is a 145m tower located in an area of high temperature and sun glare, still managing to reduce sun exposure and the energy needed for air-conditioning at impressive rates1.

The façade system was inspired by the traditional Islamic “mashrabiya”, a wooden window screen designed to allow the flow of cool air while blocking views to the inside.

However, its usage within computation allowed for large-scale application with dynamic responsiveness. The cladding, set 2m from the tower’s exterior, is made up of triangles with fiberglass coating. They are programmed to capture sun movement and move accordingly to prevent its direct exposure1.

This sophisticated system reaches efficiency and sustainability by working on a successful cultural reference with computation to further enhance it.

In conclusion, design can secure the future by utilizing its problem-solving nature and directing it to a preferable future. By emphasizing sustainability in buildings of important position, be it cultural or spiritual, sustainability in design is perceived differently; it becomes less foreign and more reasonable. This way, architecture would be contributing to the change but by constructing “compasses rather than maps”2.

The two examples set visions of a path towards a preferable future, one that reduces the dangerous impact on nature and reflects

1. Archdaily. Al Bahar Towers Responsive Facade / Aedas. Retrieved from http://www.archdaily.com/270592/al-bahar-towers-responsive-facade-aedas 2. Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45 Image source: Archdaily. Al Bahar Towers Responsive Facade / Aedas. Retrieved from http://www.archdaily.com/270592/al-bahar-towers-responsive-facadeaedas

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A2. Design Computation

KHAN SHATYR CENTER FOSTER + PARTNERS

Designing

metres, which makes a suitable flexible area for leisure centres and public parks.

is a purposeful act to find solution. But problem-solving is a complex process that often deals with interconnected and re-spawning problems. This can best be approached by producing all possible solutions and choosing the most suitable one (KALAY); and computers are good candidates for that job. They can be programmed to follow reasoning and logic with the benefit of storing more information and avoiding simple mistakes that humans fall into1.

However, computers can’t design further intuitively. They can only communicate if properly coded to respond in a specific communicative manner1. Therefore, drafting and modelling programs have been developed to rather aid in the communication between designers and clients, while benefitting from computational skills.

The computational designer used parametric design tools to generate different enclosure forms. A computer program was written to study the structural forces of the cable net structure and generate different form options. At the base of this tensile structure, a three-storey base structure was designed in parallel to the enclosure. It was developed accordingly into a series of four concentric arcs that elevated linearly3.

This rationalized form allowed for a simple site establishment, construction strategy and a light-weight tensile structure.

From here, digital design utilises computational benefits to its purposes of, for example, building performance, material knowledge, structure and tectonics2. As computation takes the lead in producing calculated solutions, accurately and quickly, the design practice would focus more on the processes of evaluation and analysis of possible solutions, something only humans are capable of doing.

The Khan Shatyr Entertainment Centre is an important civic and cultural site, known as the tallest tensile structure in Kazakhstan3. It is 150 metres tall and covers 10,000 square

1. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 2. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 3. Khan Shatyr Centre, Brady Peters. Retrieved from http://www.bradypeters.com/khan-shatyr-centre.html Image source: Dezeen, The Khan Shatyr Entertainment Centre by Foster + Partners. Retrieved from https://www.dezeen.com/2010/07/06/the-khan-shatyrentertainment-centre-by-foster-partners/

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A2. Design Computation

RESEARCH PAVILION UNIVERSITY OF STUTTGART

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2015, University of Stuttgart’s Institute for Computational Design (ICD) and Institute of Building Structures and Structural Design (ITKE) developed the annual research pavilion based on the structural assembly of the water spider’s habitat. The biomimetic design was made possible using computation, mimicking the spider’s process of building a net1. To achieve light-weight properties, fibre-composite materials were used similar to that in biological structures. A fabrication robot was used to print the carbon-fibre from the inside around it1. The result was a strong light-weight pavilion that represented natural phenomenon. Similar to the building of the net in nature’s unpredictable weather conditions, the pavilion was built in real-time design and fabrication.

Drawings and models help develop a concept and communicate it with experts before proceeding to build it. This allows for more thoughtful and intricate planning that deal with constraints and inspirations.

However, before the renaissance, buildings were “constructed, not planned”2. Nowadays, some architects are trying to return to that concept. This means constructing directly and without constraints, having had computation resolve possible limitations, such that no form is unachievable.

1. Arachnid Architecture as Human Shelter. Retrieved from http://www.architectmagazine.com/technology/arachnid-architecture-as-human-shelter_o 2. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25

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A3. Generation

INHOTIM MONOLITH MICHAEL HANSMEYER

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input of a cube2. The resulting forms would contain detailing that cannot be represented manually or even, perhaps, imagined.

s discussed previously, design computation has led to conceiving more complex geometries that are performanceoriented. Through computation, information is processed digitally through an algorithmic model, such as Grasshopper and many other scripting languages that are being developed1. This ultimately changes the way design is practiced; Instead of using a software to design, architects are now developing the software1. This is a crucial point to reach in a world that is being dominated by technology, where, just as manual drafting had been taken over by machines, architects would soon be replaced.

When using computation, existing information of an initial form can be used in the transformation process; this includes properties that might not be visible to the eye (edge lengths, surface planarity, curvature). Simple processes such as folding can lead to the creation of very complex forms, almost as complex as nature’s design.

Generative design is a process developed by computation such that it mimics nature’s approach in creation by using a pseudo-randomness within its algorithms.

Michael Hansmeyer’s work focuses on computational design to create generative processes like those of nature2.

Morphogenesis, the splitting of two cells, is nature’s process of creation. This can be translated to folding surfaces to create various forms. Computational algorithms allow this process easily and without physical constraints, resulting in thousands of complex 3-dimensional forms from a simple

1. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 2. Michael Hansmeyer - Computational Architecture.Retrieved from http://www.michael-hansmeyer.com/projects/projects.html?screenSize=1&color=1

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A3. Generation

RESEARCH PAVILION UNIVERSITY OF STUTTGART

The

Institute for Computational Design (ICD) and the Institute of Building Structures and Structural Design (ITKE) developed a pavilion representing textile fabrication on timber plates by machinery.

The design was inspired by the structural form of sand dollar sea urchins and applying it to elastically bent layers of timber shells1.

Laboratory scans were performed on sea urchins to study their intricate internal structures. This lead to the founding of a lightweight structure from arranged doublelayered plates connected with fibrous material2. With the aid of computation, the structural form was generated from inputs such as material properties and tensile forces, and built using an industrial robot1.

The pavilion shows how computation, combined with biological principles, complex material difference and mechanical fabrication can lead to innovative construction methods. Biological processes can be mimicked through computation to achieve innovative spatial qualities and expand tectonic possibilities in architecture.

In this fast-changing environment, designers must develop tools that are flexible and adaptive. Computation has not only allowed that, but also changed the way designers think with its complex algorithms, logical flow and relationship between parts.

However, the problem that remains is with integrating computation with design once and for all. It would not reach its sounded efficiency unless computation is sufficiently understood and practiced.

1. University of Stuttgart, ICD/ITKE Research Pavilion 2015-16. Retrieved from http://icd.uni-stuttgart.de/?p=16220 2. ICD/ITKE Research Pavilion 2015-16. Retrieved from http://www.architectmagazine.com/project-gallery/icd-itke-research-pavilion-2015-16_o

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A4. Conclusion A

s a design practice, architecture has a major role in contributing to affirmative change. By changing values, attitudes and, ultimately, behaviours, design is capable of implementing alternative pathways to more preferable outcomes. Emphasizing on the importance of sustainability in buildings and environments enforces a re-directive solution, one that slows down defuturing and offers a chance for a future. Furthermore, this change would not be as efficient without the benefits of computation in design. Computing has brought conceptual changes to design; it changed the way design is understood and practiced, which is the first step to design differently, more effectively. It has also contributed to sustainability by realizing abilities in existing materials and structures, and finding forms and relationships that enhance these capacities. Going back to the role of intuition in design, computation is recently utilized to mimic the processes of nature. There is no limit to what we can learn from nature’s creations, down to the microscopic details. Using computation to find the capacities of systems and applying generative approaches can give rise to innovative structures that share the properties of natural forms. Technologies are utilized to in the process of redirection to alternative pathways; this direction clearly leads to a more promising outcome, one that strengthens the relationship between nature and technology and promises their co-existence.

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When architects have a sufficient understanding of algorithmic concepts, when we no longer need to discuss the digital as something different, then computation can become a true method of design for architecture

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Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15

Work from Algortihmic Sketchbook

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A5. Learning Outcomes

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s technologies quickly advance, it is important to stay up-to-date with their latest usages in a profession. Design, in particular, is changing significantly, both conceptually and practically. It is becoming more aware of technologies and utilizing them to its benefit, such that someday they might become inseparable from design. Therefore, learning the theory behind computing is as important as practicing it, which are both simultaneous aims of the assignment. The general outline that organizes this course has helped develop a strong understanding of how and why computation has come to where it is now, which is basic to learning the practice.

Through algorithmic explorations on the other hand, familiarity with the algorithmic scripture is being developed. The foundations of this learning process become concrete and preliminary to application in developing parametric techniques in response to the brief.

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Work from Algortihmic Sketchbook 23

A6. Algorithmic Sketches

Lofting of surface contours then orienting a geodesic surface and scaling it with nonuniform factors such as a referenced point.

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Using generation algorithms to create a form of intersecting surfaces.

Intersections lines are found in multiple intersecting curves using explode tree component.

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CRITERIA DESIGN

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B1 Research Field

BIOMIMICRY

Throughout the years, architects and designer have advocated and criticized the term ornament. In practice, however, ornamentation can always be found, even when designers intend to hinder it; This is because the term itself is subjective1.

Nevertheless, it is an important element in design, as Moussavi states that “It is through ornament that material transmits effects.”2

Zimbabwe, with its internal temperature control system inspired by termite mound structures, thus reducing 90% of energy used for ventilation5.

In this research field, ornament will be the subject of performance derived from biological strategies – Biomimicry.

The biological mechanisms that help an organism adapt and survive are studied and emulated to create new materials and material behavior. The resulting products could create optimized structures that are sustainable and dynamically responsive to environmental changes3.

For example, mimicking shark skin denticles, a surface pattern is developed such that it minimizes bacterial growth without increasing resistance 4. Another is the Eastgate building in Harare

Computation has changed the term ornamentation to relate it not only to aesthetics and form, but also structure and performance.

By computational morphogenesis, Achim Menges and Steffen Reichert developed HydroScope, a responsive surface structure that is non-mechanical. It moves by the material’s natural response to atmospheric conditions: when the surrounding humidity changes, the wood’s moisture content causes the structure to open and close6.

With the advancement of computational design, biomimicry could be utilized more efficiently and integrated into the performance of structures rather than mere forms and patterns. Sustainability problems can be solved by learning from the master of sustainability – nature.

1. Rose, P. I. (2005). The Dispossessed: An Anatomy of Exile. Amherst: University of Massachusetts Press; Northampton, Mass.

2. Moussavi, Farshid and Michael Kubo, eds (2006). The Function of Ornament (Barcelona: Actar), pp. 5-14 · 3. Kolarevic, Branko and Kevin R. Klinger, eds (2008). Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge), pp. 6–24 4. AskNature – Innovation Inspired by Nature. Retrieved from https://asknature.org/ 5. The Biomimicry Institute – Inspiring Sustainable Innovation. Retrieved from http://biomimicry.org/ 6. HygroScope – Centre Pompidou Paris – Biomimetic Architecture. Retrieved from http://www.biomimetic-architecture.com/2012/hygroscope-centrepompidou-paris/ Image reference: HydroScope: Meteorosensitive Morphology. Retrieved from http://www.achimmenges.net/?p=5083

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B2 Case Study 1.0

Foreign Office Architects Spanish Pavilion

The Spanish Pavilion at the 2005 World Expo in Aichi, Japan, sets an example of cultural hybridisation1. This had been a central theme throughout Spanish history. Therefore, both Christian and Islamic cultures are represented architecturally through arches, vaults and lattices. The combination of those resulted in the creation of a lattice envelope around interconnected vaulted spaces, the lattice being the main fabric representing Spanish architecture1.

This lattice was designed using a unique, non-repeptitive pattern of hexagon tiles made of ceramic2. Each piece’s uniqueness, including colour coding, combines to result in a geometric pattern which maximizes the pavilion’s presence.

In terms of biomimicry, the enclosure resembles a honeycomb sructure with its hexagonal grid. However, it is manipulated to suit the function, culturally and architecturally. This affirms the fact that biomimicry is more concerned with learning from nature and pushing the boundaries further, rather than simple mimicry. It also resembles snake skin, the hexagons being not quiet exact and having different yet blending colours.

1. FARSHID MOUSSAVI ARCHITECTURE. Retrieved from http://www.farshidmoussavi.com/node/27 2. Spanish Pavilion at EXPO 2005, Aichi. Retrieved from http://worldarchitecture.org/architecture-projects/hhpg/spanish-pavillion-at-expo-2005-aichiproject-pages.html Image source: FOA. Spanish Pavilion. Retrieved from https://divisare.com/projects/272168-foa-spanish-pavilion

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B2 Case Study 1.0

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Species - Exploration

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B2 Case Study 1.0

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Species - Exploration

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B2 Case Study 1.0

The explored iterations resulted in 4 successful outcomes. The first is mainly focusing on natural extrusion.

The combination of differing extruded and subtracted elements creates an interplay that resembles nature in its pseudo-randomness.

Aesthetic Surface cover Interaction with natural environment

The second iteration deals more with movement. Freed from the grid below, the elements are seen as individual components making a whole themselves. The movement in between these elements is interesting when combined with their changing heights.

Aesthetic Surface cover Interaction with natural environment

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Selection Criteria

This iteration reflects the natural spread of tree foliage. Using an image sampler, the grid fills the contrast created between foliage and the sky.

Aesthetic Surface cover Interaction with natural environment

Combining the two previous iterations resulted in this one. The differing heights placed on the grid with the randomness of tree foliage created interesting spaces that developed the previous grid into something more three-dimensional and realistic.

Aesthetic Surface cover Interaction with natural environment

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B3 Case Study 2.0

CONSTRUCTIVE PAVILION - FAUP REVERSE ENGINEERING Made out of corrugated cardboard, the Constructive Geometry Pavilion investigates dome structures through the use of computational design processes1. Computational design is used to materialize adaptive design solutions by mass-customization.

This honeycomb structure is made up of 185 hexagon cells and 185 panels2.

The structure employed is one that eases fabrication, and when combined with collaborative work, the 1:1 project was finished in two days, without the need for digital fabrication tools2.

This project is interesting to explore due to it’s natural form and rigid structure compared to material strength.

This makes it a rather humble work which resulted in impressive outcome.

Therefore, it would fit well with values of community, collaboration, recyclability and learning from nature.

1. SuckerPUNCH. Constructive Geometry Pavilion. Retrieved from http://www.suckerpunchdaily.com/2012/08/09/constructive-geometry-pavilion/ 2. Constructive Geometry Pavilion Investigates Dome Structures Through Mass-Customization. Retrieved from http://www.evolo.us/architecture/ constructive-geometry-pavilion-investigates-dome-structures-through-mass-customization/ Image source: SuckerPUNCHdaily. Constructive Geometry Pavilion. Retrieved from http://www.suckerpunchdaily.com/2012/08/09/constructive-geometrypavilion/

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CONSTRUCTIVE PAVILION - FAUP REVERSE ENGINEERING

B3 Case Study 2.0

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Creating a hexagonal grid on a surface Using an attractor curve (with Pull Point component) as a scale factor for the hexagonal grid Merging and lofting the outcome with the original grid Creating a density by extrusion, finishing the inner shell Offsetting the surface and grid to create the outer shell with material thickness Merging and lofting the outcome with the original grid again Lofting the different sides of the outer shell with the inner shell

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B3 Case Study 2.0

CONSTRUCTIVE PAVILION - FAUP REVERSE ENGINEERING

The outcome of the reverse engineering looked similar to the original in terms of the structure. However, the original had an opening at the top which blended geometrically with the structure. Attempting to create that opening in the end resulted in a broken shape seen below, which concluded that this must have been done originally with the surface’s shape.

Nevertheless, the wanted effect was achieved, creating hexagonal openings that differ in sizes gradually inside a solid hexagonal grid.

Different attempts

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Interior view

Side view

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B4 Techique: Development Species - Exploration

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B4 Technique: Development Species - Exploration

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B4 Technique: Development Selection Criteria

The explored iterations resulted in 4 successful outcomes. The first was perhaps one of the more creative ones in terms of shape and composition. It can be utilised for animal nesting or habitat.

However it does not suit surface cover, being one of my main design criteria.

Aesthetic Surface cover Interaction with natural environment

This iteration suits the functionality of surface cover. It can be easily viewd as a pavilion, with openings allowing air and sunlight, perhaps also allowing nesting of birds.

Aesthetic Surface cover Interaction with natural environment

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Similar to its precedent, this iteration resulted in a pavilion suitable as a function of surface cover and animal habitation. It is not as aesthetically pleasing however.

Aesthetic Surface cover Interaction with natural environment

The final iteration was the most satisfactory, as creative shapes were not needed. A more humble surface would function better, focussing on the openings and grid structure.

Aesthetic Surface cover Interaction with natural environment

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B5 Technique: Prototypes Just as Biomimicry is about learning from nature’s ways of adaptation, trees would be the best to learn from about sunshading.

are anxious because your path leads away from home. Home is neither here nor there. Home is within you, or nowhere at all.”

However, there is more to learn than what meets the eye. As German poet Hermann Hesse puts it, “For me, trees have always been the most penetrating preachers.“ He explains learning values of home, belonging and happiness.

This resonates well with the CERES values of cultural diversity, home, community and belonging.

“When we are stricken and cannot bear our lives any longer, then a tree has something to say to us: Be still! Be still!

Look at me! Life is not easy, life is not difficult. Those are childish thoughts. You

In addition, trees have a unique effect of contrast and light interplay. This effect creates comfort, closure and security.

When air moves through branches, a rustling, moving effect is created. It would be convenient to capture that beautiful effect as it signifies Air.

(Physical prototype, continued..)

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B5 Techique: Prototypes

Studying Effect The desired effect created by foliage could be achieved using something similar to moirĂŠ patterning. Two perforated patterns are placed on top of each other and slightly moved. Their movement would create an effect of light and contrast similar to that between trees and the bright sky.

This effect represents it’s cause: Air, a main concept in the course of this subject.

The two patterns below are created using Image Samplers of tree foliage and Pull Points in grasshopper.

The result of the two put together was successful in re-imagining the desired effect.

Perforations pattern #1

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Perforations pattern #2

Resulting pattern

Positioned along sunrays

Positioned against sunrays

Unfocused effect

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B6 Technique: Proposal

CERES location plan

Central Habitat topography

Situated near the Merri Creek, CERES is a comunity, environmental park built upon values of learning from nature, sustainability and collaborative work.

the open air. However, to its left, the children’s area must be covered more to make it more intimate, secure and shaded, especially during play hours.

All the way to the Central Habitat, vegetation is spread in a convenient way, as seen in the aerial photograph.

Above the sand pit area, the existing sunshading device was undesireable as it did not fit with the surrounding. Therefore, that was the area of focus for the design:

The middle cafe/band area is devoid of vegetation, conveniently making it an open space for events to be held in

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Site Analysis

A sunshading device that belongs to the environment.

Aerial photo of Central Habitat. Retrieved from

Sand pit area

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B6 Technique: Proposal

Growing from Earth

Starting from the concept of belonging to the environment, the design would begin from the already available tree trunks situated spicifically around the sand pit.

The existing design seemed convenient to include, as it stands right below the sunshading device. This would also help make the design easier to fabricate, more economic, sustainable, and in line with CERES values of recyclability and nature.

The sunshading device would need to have circular openings then, to fit with these trunks. Therefore, a hexagonal grid is taken around the circular perforations, as the similarity between the 2 shapes would allow more space and control over those perforations.

Existing tree trunks

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Existing tree trunks studied on plan

The resulting surfaces would have tree trunks extruded to form a visual vertical continuation of the pre-existing trunks.

Implementation on a hexagonal grid

Resulting surfaces from below

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B6 Technique: Proposal

Floating Forest

Design concept sketch

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B6 Technique: Proposal

Floating Forest Composition

The tree trunks form an important vertical emphesis to break the horizontality of the surface, lift it up and alleviate the atmosphere. The trunks also break the entering light rays, further making an interplay of light.

This is similar to the mood created in a forest.

Inspiration Forest trees sketch

The trunks’ heights and positions are planned such that they enhance movement and space usage. The trunks pulled to full length would be crucial to holding up the structure, in addition to enhancing the seating area in between them.

The sketch below shows how the trunks are more concentrated to that corner, whereas dispersed as one moves out.

This gradual movement creates a smooth, natural and more inviting space.

Design concept sketch

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B7 Learning Outcomes

Moving from conceptual work to parametric control, this allowed the expansion of ideas into something realistic, imaginable and in relation to biomimicry.

The various iterations helped push creative thinking forward, to be later tried out with prototyping. Through several attempts and errors, a prototype allowed me to figure out were I had been expecting something different and fix it before designing further.

Ideas are then narrowed down in a selective process to be realized through difital representation during the presentation.

The feedback given is very valuable to the progress of the design forward to the final design proposal.

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DETAILED DESIGN

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C1 Design Concept

Part B feedback

Feedback Summary The interim presentation resulted in valuable feedback for further progress of the proposed design.

Feedback #1: Materiality The choice of a lightweight material such as textile/fabric would enhance the desired effect and movement.

Feedback #2: Unity The whole design may achieve greater unity with a structure that encorporates both the surface and the trunks simultaneously.

Feedback #3: Stability The structure may be held up by tensile force from adjacent elements/trees, thus achieving stability for a floating structure.

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Quick sketch of part B design

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C1 Design Concept

Main Design Concepts

Combining Ideas The following map summarizes the main concepts that have shaped my design. It is crucial to see the design process at a large scale, such that the outcome responds to all possible aspects that it may affect in reality.

This also includes spotting the limitations and difficulties that may halt the design at an early stage, and incorporating their solutions within the design logic while it is being developed.

From Nature - growing from the ground - camouflage, blends with surrounding - ephemeral - recycled materials - allows animal occupation

Modular components allow more flexibility with the available material

Constructability - cost effective - easy fabrication - nonskilled labour assembly

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Floating, visual connection to ground, following preexisting tree trunks

For Children - safe & stable structure - child contribution and learning - unclimbable - lightweight

Structure allows temporary installation of children’s artwork

Air as the cause of a subtle, natural movement

Function - sunshade device - lightplay effect - comfort and closure - movement with environment

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C1 Design Concept

Biomimicry Explorations L-System Manual & Computational

In attempts to delve deeper into the research field, I set out to study eucalyptus trees, mainly their foliage cover and the effect their structure has on this aspect. It is a more complex system to be applied on a simpler canopy design, which made me turn to study it on smaller scale. Branches alone set a good example of how foliage is arranged.

Manually, it is hard to create a pseudorandomness as that of nature, since planning occurs while drawing. This creates intended designs, copying nature’s form instead of copying it’s way of formation.

Computationally, an L-System can be created using loops that recreate a relationship for a specified number of times.

This generatve method is closer to nature’s pseudo-randomness, more flexible in terms of amendment, and less time-consuming.

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C1 Design Concept

Tree Inspiration Trees as social organisms Trees nourish each other through their root systems, even their competitors. This is because “a tree can be only as strong as the forest that surrounds it.�

On its own, a tree cannot establish a consistent local climate. It is at the mercy of wind and weather. But together, many trees create an ecosystem that moderates extremes of heat and cold, stores water, and generates humidity.

To create a protected environment, the community must remain intact no matter what. If some trees die, gaps are created in the forest canopy, making it easier for storms to enter and uproot trees. The heat of summer would reach the forest floor and dry it out.

Therefore, every tree is valuable to the community.

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C2 Design Development

Site Considerations

Some important considerations for the design to take into account are the location’s pre-existing elements, their connection to each other and to the surrounding. The sandpit area is outlined with tree trunks, designed in a flowing manner. The trunks are painted with almost aboriginal-like drawings, rough and intersting. The adjacent cafe area contains tables with drawings of trees similar to those of Indian Gund tribes; They represent the mysterious life of trees.

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Trunks and table photos, taken at CERES. Tree paintings by Durga Bai, The Night Life of Trees, 2006.

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C2 Design Development

Integrating Fields

BioInspiration in Other Research Fields Biomimicry sheds light on the main purposes that led the design to take such form. By formulating a clear narrative, it ties different fields coherently into one purposeful plan.

Biomimicry’s role within each field leads to a design that is perceived as a whole, each emerging from the same concept instead of being fitted together at later stages.

Patterning: The surface responsible for sunshading would have to adapt a pattern to achieve the wanted visual effects of light & contrast. This can be acheived by taking a pseudo-random pattern developed by analyzing different tree foliage systems and implementing it as a surface.

Structure: In order to tie and hold up this surface together, a rigid structure is required. Technically, there wouldn’t be a need for the structure to take a certain form.

However, for the purpose of obtaining a coherent whole, to respond to brief requirements and site suitability, the structure would have to resonate with the surrounding and the surface it holds. This might be achieved with a grid structure from available timber, one that develops as a tree system; thus, blending with it’s surrounding as well.

Geometry: To tie the structure and patten together, the design would take into account connections as part of the geometry itself. This means finding a geometry that would allow the two aspects to blend in together, naturally, just as a tree’s trunk develops gradually into foliage. This reminds us of FLW’s idea of how ornament grows out of the form, just as a leaf is unique to the tree. Similarly, the design would be whole, if it’s parts belong and grow from each other.

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C2 Design Development The system of the design is developed and tested for sun analysis at mainly morning hours when the area is mostly used. The obtained results implemented how the orientation and scale of the design for a sufficient shadow to be cast over the sandpit.

The geomtry and shape were confirmed to be suitable as they cast a shadow with similar shape to the are below. Thus obtaining the following design.

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Site Considerations

8 a.m.

9 a.m.

10 a.m.

11 a.m.

12 p.m.

1 p.m.

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C2 Design Development The location being along a pathway and between three mainly used areas (Cafe, Art space & Climbing area) makes it visually and spatially imprtant, as it sits in a circulated space. The shape of the canopy would allow flexible movement by being high off ground and it’s columns situated such that the 3 main opening direct towards the main attractions beyond.

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Site Connectivity

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C2 Design Development

Studying Effects In order to study the effects of the patterning on the shading outcome, different pattern were laid out and studied, digitally and manually. The outcome was interesting shadow effects, some of them resembling the effect of tree shading more than others.

Digital Patterning prototypes 82

Prototypes

Physical Patterning prototypes 83

C2 Design Development

Shading pattern Prototypes, 1:1 An element of the previous patterns is fabricated at 1:1 as a prototype, using laser cutting. Other prototypes included waterbottles as recycled elements for visual effect and collaborative learning for children.

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Prototypes

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C2 Design Development

Prototypes

Structure The structural elements are prototyped at 1:1 to ensure the feasibility and constructibility of the design. Using rivet connections, timber members are allowed to rotate at the overlapping circular joint while being constructed, then they are fixed rigidly. This would be suitable for the more complex canopy grid

Connection to upper canopy 2 bolted connections reduce moment forces Double thickness Lower member Gusseted at T-junction Two identical element Capping element Hides structure Serves as educational and visual effect Engages structure with surrounding trunks

Spacers Ensures stability Binds bottom structural members

Steel brackets Joins lower members to secured stumps.

Four used for solid connection

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C2 Design Development

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Prototypes

Wing nuts Allow for gradual assembly of the project Assist in generating flex in plywood members User friendly Ply member Hubs at ends to fit with others Mass customizable Backpropped to aid in achieving desired angles and arcs Hubs and members may be labelled for ease of construction Washers Oversized for aesthetic detail May incorporated flower pattern from lower canopy for continuity

May incorporated flower pattern from lower canopy for continuity

Junction between lower and upper sections utilising stock

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C2 Design Development

Visualization

“When we are stricken and cannot bear our lives any longer, then a tree has something to say to us: Be still! Be still! Look at me! Life is not easy, life is not difficult. Those are childish thoughts. You are anxious because your path leads away from home. Home is neither here nor there. Home is within you, or home is nowhere at all.” ― Hermann Hesse Bäume. Betrachtungen und Gedichte

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C2 Design Development

Prototypes

The final model is here considered a prototype for the reason of amending the design afterwards.

Changes were made to solve issues with the design following feedback received. So, it would be beneficial to consider this a chance to improvement and not a dead end.

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From Evelyn Yi Thong Ong

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C2 Design Development

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Feedback Implementation

From Evelyn Yi Thong Ong

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C2.2

Design Amendment

L-System In attempts to work on the received feedback, Biomimicry was explored more in terms of computation. This would form a basis to which the canopy’s patterning and structure would follow.

Starting with simple L-Systems, the branching behaviour of trees is followed, creating loops of repeatitive development.

Hoopsnake makes it easier to create loops. It enables the generation of various forms that would otherwise be hard to conceive manually. Its outcomes become unpridictable with the benefit of being able to change initial inputs.

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Research Field Explorations

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C2.2

Design Amendment

Research Field Explorations L-System The explored L-systems developed into something that looked promising for a shading device: A pattern which’s density of lines and spacings allows for sun shading usage.

This difference in spacings can be manipulated to allow more light in specific areas than others, while keeping a geometric connection coherent throughout the whole device.

The shape is then developed to fit into the site’s location within the boundaries of the tree trunks.

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C2.2

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Design Amendment

Sun Analysis

8 a.m.

9 a.m.

11 a.m.

12 p.m.

10 a.m.

Sun Analysis Making a sunshading device requires the study of the sun path to make sure the device is doing it’s function efficiently. This helps in specifying the best orientation, geomtry, scale and position of the device.

The design is developed such that it works with the surrounding trees to shade more ground area.

The scale was reduced to a minimal while covering required areas, to reduce material and cost, while still functioning fully.

It’s cast shadow takes a form similar to that of trees, making it fit within the surrounding functionally, spatially and aesthetically.

3 p.m.

And knowing from the client that the sandpit is only used in the morning, more emphasis was placed on specific hours of the day, giving us more flexibility.

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C2.2

Design Amendment

Design Process

- Developing an L-System at 45° - Density & trimming to satisfy shading/spatial functions according to analysis

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- Dividing the pattern onto for stability and ease of fa - Each having continuous & constructibility.

3 overlapping elements abrication. & suffiecient lines to enable

- Columns follow the pattern and extrude vertically downward, preserving the coherence of the design.

- Steel square hollow sections are the main structural element, hidden within the column.

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C2.2

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Design Amendment

Design Process

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C2.2

Design Amendment

Digital Fabrication & Materiality A benefit in computational design is the ability to ease fabrication. Every element of the system is laid out such that it is ready for fabrication.

The canopy’s complex pattern is created by CNC cutting of the 3 elements separately. This technique will be cost-effective and timeeffective compared to combining small planks together to form the whole pattern.

Used 1.2m x2.4m Marine Plywood sheets are found at low prices, thus allowing for recyclability, low budget construction, and easier assembly with digital fabrication.

Square hollow section steel columns are used for a stronger structural stability and allowing more flexibility with connections. They have a high strength to weight ratio.

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Assembly

Three canopy elements

Canopy assembled, creating pattern

Water bottles Hung to canopy

Column extrusion (nonstructural)

Structural columns

Plates to trunks (structural)

Assembled trunks Pre-existing

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C2.2

Design Amendment

Column to Canopy The steel column is connected to the canopy grid perpendicularly by plate joints and screw-fixed. The outer skin attached to the column is light and non-structural (see connection), thus, not needing rigid joints to the canopy.

Column to Trunk The steel column is connected to the trunk by means of a hidden connection. A timber plate is placed on top of the trunk, with the column going through and connecting from below with plates. This hides the joints and keeps them safe, out of reach of children.

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Construction Process

Column & Outer skin The outer skin of the column is mainly representative and aesthetical, for visual and light effects. For that, it is made up of 8 sheets, connected to the column and to each other by perpendicular plates, such that they form vetical slits in between.

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C3 Final Design

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On-site Visualization

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On-site Visualization 115

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On-site Visualization 117

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Interior Visualization 119

“A longing to wander tears my heart when I hear trees rustling in the wind at evening. If one listens to them silently for a long time, this longing reveals its meaning. It is not so much a matter of escaping from one’s suffering, though it may seem to be so. It is a longing for home, for a memory of the mother, for new metaphors for life. It leads home.

Every path leads homeward, every step is birth, every step is death.” ― Hermann Hesse Bäume. Betrachtungen und Gedichte

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C3 Final Design

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Detailing Effect Visualization

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C3 Final Design

Prototypes

Structural Prototypes Following the Construction Process diagrammed previously, prototypes of important connections are made. These connections are important since they are responsible of holding up the canopy. The prototypes allowed for making sure of the feasibility of the construction and confirming materiality.

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Column to Canopy & Column to Outer skin connections, 1:1

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C3 Final Design

Prototypes

WaterBottles Using a rope, recycled bottles are tied to the canopy to create a layer of visual effect and to compensate for shading in some spots.

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C3 Final Design

Fabrication Process

The design was finally laid out and nested for digital fabrication. For a complex pattern, lasercutting achieved a sharp and intricate outcome.

Similarly, on large scale, the actual canopy would be easier to digitally fabricate with CNC cutting.

The cost and availability of material is promising, since many used plywood sheets were found with sufficient dimensions (taking into acount the division of the canopy), and it would cost less as it reduces the quantity and uniqueness of both materials and connections needed.

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Final Model

1:20

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Model Detail 1:20

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Testing Effects At night, the shading device becomes a sculpture. As the Gond Tribes believed, trees that nurture creatures during the day have their own lives during the night.

The hollow columns are assembled with vertical slits in between each plank. This allows for a light source to be hidden, making the column illuminate from within along narrow vertical lines. From the bottom of the columns as well, the sandpit is lit subtly.

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“Trees have long thoughts, longbreathing and restful, just as they have longer lives than ours. They are wiser than we are, as long as we do not listen to them. But when we have learned how to listen to trees, then the brevity and the quickness and the childlike hastiness of our thoughts achieve an incomparable joy. Whoever has learned how to listen to trees no longer wants to be a tree. He wants to be nothing except what he is.

That is home. That is happiness.” ― Hermann Hesse Bäume. Betrachtungen und Gedichte 140

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C4 Learning Objectives & Outcomes

The combination of parts A, B & C sets a gradual development for a well-thought design to be achieved, alongside developing computational skills. It presented a good platform for learning Grasshopper and applying knowledge. The gradual development from exploring a Research Field to designing a client’s project happened as an accumulation of thoughts, ideas and inspirations throughout the different parts.

Alongside Grasshopper & Rhino, a wide range of tools was used (computation, digital fabrication, diagramming, manual prototypes, photography); a workload which reinforced vital skills such as planning, time management and visual communication.

However, the most important key has been teamwork. Since the work was divided into different Research Fields, it very much resembled actual work where people communicate ideas and cooperate, each with their specialisation.

Aside from designing to satisfy aesthetics and function, the design was treated to client preferences and restricting limitations. A lot was taken into consideration such as: materiality, recyclability, cost, constructability, site considerations, functionality, fitting into context, design unity, structural connections Throughout the different parts of the design, many problems were encountered. With the given feedback, the final design was amended to solve issues with structure and unity. The amended design utlized digital methods better: it relied on a generative computation representing Biomimicry and enabled easy digital fabrication. Sharing ideas with team members, colleagues and tutors was valuable to the progress of the design.

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Acknowledgement

Many thanks to Manuel who dedicated his time to support and inspire students’ work, and to Emily, Boyd, Evelyn, Joshua, Trenton & Ruoxuan, whom it was a great pleasure to work with.

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References AD Classics: Thorncrown Chapel / E. Fay Jones, Retrieved from http://www.archdaily.com/533664/ad-classics-thorncrown-chapel-e-fay-jones Arachnid Architecture as Human Shelter. Retrieved from http://www.architectmagazine.com/technology/arachnid-architecture-as-human-shelter_o Archdaily. Al Bahar Towers Responsive Facade / Aedas. Retrieved from http://www.archdaily.com/270592/al-bahar-towers-responsive-facade-aedas Dezeen, The Khan Shatyr Entertainment Centre by Foster + Partners. Retrieved from https://www.dezeen.com/2010/07/06/the-khan-shatyr-entertainment-centre-by-fosterpartners/ Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 ICD/ITKE Research Pavilion 2015-16. Retrieved from http://www.architectmagazine.com/project-gallery/icd-itke-research-pavilion-2015-16_o Inhabitat. Eureka Springs’ Thorncrown Chapel, Retrieved from http://inhabitat.com/thorncrown-chapel-a-paragon-of-ecological-architecture/ Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of ComputerAided Design (Cambridge, MA: MIT Press), pp. 5-25 Khan Shatyr Centre, Brady Peters. Retrieved from http://www.bradypeters.com/khan-shatyr-centre.html Michael Hansmeyer - Computational Architecture.Retrieved from http://www.michael-hansmeyer.com/projects/projects.html?screenSize=1&color=1 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 University of Stuttgart, ICD/ITKE Research Pavilion 2015-16. Retrieved from http://icd.uni-stuttgart.de/?p=16220

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Work from Algortihmic Sketchbook 145