Studio Air Journal

Semester 2, 2017

STUDIO AIR

By Nathaniel Foo 804903 Tutor: Julius Egan

Part A. Conceptualisation A.0.

A.1.

A.2.

A.3.

A.4.

A.5.

A.6.

Introduction Design Futuring Design Computation Composition/ Generation Conclusion Learning Outcomes Appendix- Algorithmic Sketches

1-2 3-8 9- 14 15-20 21-22 23-24 25-26

Part B. Criteria Design B.1.

B.2.

Contents

B.3.

B.4.

B.5.

B.6.

B.7 B.8

Research Field Algorithimic Sketchbook Week 4 Case Study 1.0 Algorithimic Sketcbook Week 5 Case Study 2.0 Algorithimic Sketchbook Week 6 Technique Development Algorithimic Sketchbook Week 7 Technique: Prototypes Algorithimic Sketchbook Week 8 Technique: Proposal Learning Objectives and Outcomes Bibiliography

29-30 31-36 37- 44 45-48 49-54 55-62 63-70 71-78 79-84 85-94 95-96 97-98 99-100

Part C. Detailed Design C.1.

C.2.

C.3.

C.4.

C.5.

Design Concept Algorithimic Sketchbook Week 9 Tectonic Elements & Prototypes Algorithimic Sketcbook Week 10 Algorithimic Sketcbook Week 11 Algorithimic Sketcbook Week 12 Final Detailed Model Algorithimic Sketchbook Week 13 Learning Objectives and Outcomes Bibiliography

101-102 103-112 113-122 123-130 131-142 143-150 151-152 153

Part A

Conceptualisation

A

Introduction

Nathaniel foo quan sheng University of Melbourne Bachelor of environments Second year architecture

I’m currently studying in my second year under the Bachelor of Environments degree., majoring in Architecture.

I have been interested in design since young and have been exploring through this pathway ever since. It was only later in the years where I felt that architecture suited me and reflected the most on my interest towards the design industry.

As an international student from Malaysia, coming to Melbourne was both an excitement and challenge for me. The difference between two cultures along with adapting to the university life were the main obstacles in which I have to overcome personally. Nevertheless, throughout my time as an architecture student, I developed a stronger enthusiasm in architecture and I am continually developing different skills and knowledge in the trade, enabling me to be more exposed to the built industry.

Upon entering the Bachelor of Environments, I was introduced to different programming softwares. Modelling and drafting softwares such as Rhino and autocad enable an easier platform for 1

designers and architects to create complex structures, speeding up drafting processes along with simulating a more realistic and outlook at the structure for us to improve on. Hence, I see a growth in digital design within the built industry as time approaches.

Based on my experiences in past studios such as Studio Earth and other architectural subjects such as Environmental Building Systems, I have acquired the basics in digital design and modeling softwares. However I have yet to experiment on the world of digital design through technological parametric tools and algorithms. Thus, I am eager to experiment on forms and structures through this opportunity to use Grasshopper as a parametric tool for my designs in this studio. I strive to grasp the knowledge and skills in digital design in order for me to enrich my understanding in architecture.

Past, present and in the future.

Studio Earth, Semester 1, 2017

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A.1 Design Futuring

The term “Technology� often refers to the collection of techniques, skills, methods, and processes to produce services or goods in a more efficient and effective way. As time passes, technology advances rapidly to cope with the increasing demands and population. However, present technology has been branded as cause for environmental unsustainability, leading to a defuturing condition and outcome in unsustainability1.

Despite that, we are entering a shift into the digital era where the development of computational designs and algorithms are arising. These methods are currently being considered as alternatives for a better design yet maintaining its environmental surroundings.

Computational designs often involve parametrises and algorithms resulting to large amounts of probability towards designing. These elements are the fundamental methods which redefines technology as one which works directly with natural forces and processes rather than opposing

them, causing self- destruction. This would enable designers to speculate design where they are able to create futures filled with alternatives instead of predicting and forecasting the future, thus designing to anticipate it when it will complicate things on the long run2. As we approach the future, architecture also evolves relative to modernisation, deviating from its sole purpose as a shelter into broader spectrums which played an important role in society and in the economy.

Hence computational design seeks to bridge the gap between the built industry and sustainability.

The following projects are references and studies on the ability of architecture being able to transform our mind sets toward a balance between technological development and sustainability.

Thus, enabling us to understand and implement alternate strategies in architecture for the future.

1. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1.

2.Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press pp. 2.

3

Image Angel Snake: http://www.domusweb.it/en/architecture/2017/07/24/angle_lake_. html

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A.1 Design Futuring A.1 Case Study 1

Project: Estonian National Museum Architect: DGT Architects Location: Muuseumi tee, 60534 Tartu, Estonia Project Year: 2016

DGT Architect’s Estonian National Museum is a built project which represents a patriotic symbolism for the country yet also unique in the form of its design which questions the way of thinking in architecture. Unlike other museums around the world, this project is located at the end of a runway that emphasises on one’s nationalism towards their own country. The idea of national museum is heavily linked to the idea of the country’s independence3 and was heavily opposed by its sovereign country: Russia.

The building is constructed with delicate objects such as textile, wood, paper and materials which are sourced sustainably which absorb surrounding dampness to preserve the humidity and 5

temperature for the archives4. The building strays from complex technologies and uses simple design strategies to operate.

I find this project especially unique and revolutionary as the symbol of it features the emblem of nationalism that challenges the oppressive norm which has been dominating the nation since the invasion of the Soviet Union. In this case, it is the ideology and symbolism instead of the building’s form which instigated change to the nation and its society, officially being a sign declaring independence once the project was completed. This symbol brought a change and evolution towards the nation’s development and is one of the pillars of the nation’s growth through its

socio- economic aspects.

Such a project will be the reference for future architectural designs in the country, thus altering the course of its society’s approach towards technological development and sustainability.

3. Moore, Rowan, “Estonian National Museum Review – Touching And Revealing”, The Guardian, 2017 <https://www.theguardian.com/artanddesign/2017/jan/01/ estonia-national-museum-review-touching-and-revealing-dgt-dorell> [accessed 30 July 2017] 4. Acerboni, Francesca, “Sustainable Designs By DGT - Architecture - Domus”, Domusweb.It, 2016 <http://www.domusweb.it/en/architecture/2016/09/15/ sustainable_designs_by_dgt_architectures.html> [accessed 30 July 2017] Images Estonia national museum: https://www.designboom.com/architecture/ dgt-architects-estonia-national-museum-tartu-former-soviet-militarybase-05-25-2016/ Perspective: architects

http://www.archdaily.com/788767/estonian-national-museum-dgt-

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A.1 Design Futuring A.1 Case Study 2

Project: MVRDV’s Flower Building Architect: MVRDV Architects Location: Shanghai Project Year: 2015

MVRDV created this project to create more intimate form of urban life with pedestrian streets and plaza in an area mainly dominated by large boulevards and high- speed expressway, on the edge of Shanghai’s Honqiao Airport. The building merges the top of four towers to create a shaded plaza while allowing flexibility of movement for one or more different tenants. The building’s rounded forms and cantilevered, self-shading form allows it to minimise the amount of façade necessary along with reducing the amount of energy consumption.

Materials of construction includes performance insulation, shaded spaces while emphasizing on natural ventilation as a method of cooling5. The building also contains a green roof which serves as habitat for local species.

This project relates to the concept of design intelligence which contains the ability to understand the quality of form, anticipating unsustainability, 7

and designing in order to produce a future which opens up opportunities and alternatives to how design should be practiced6.

This form of intelligence is part of the basis of Design Futuring which focuses on engaging design within its users. This design concept emphasizes on understanding the interaction between its users and the surrounding environment and seeks to fulfil the user’s requirements and expectation towards it.

The design strategy aims to create awareness on sustainability within its users, hence encouraging its users to reflect on their actions and views towards their lifestyle and how it affects the surrounding nature.

A strategy like this would enlighten one on how architecture can alter and convince people to

5. MVRDV: Flower Building - Architecture - Domusâ&#x20AC;?, Domusweb.It, 2015 <http:// www.domusweb.it/en/architecture/2015/10/22/mvrdv_flower_building.html> [accessed 30 July 2017] 6. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 12-13.

Images Flower Building: http://www.archdaily.com/775389/shanghai-hongqiao-airportflower-building-mvrdv/561f2748e58ece6d440000fd-shanghai-hongqiao-airportflower-building-mvrdv-image Flower Building diagram: http://www.archdaily.com/775389/shanghai-hongqiaoairport-flower-building-mvrdv/561f26f1e58ece6d440000fa-shanghai-hongqiaoairport-flower-building-mvrdv-image Flower Building Diagram 2:http://www.archdaily.com/775389/shanghai-hongqiaoairport-flower-building-mvrdv/56203c05e58ece6d4400021c-shanghai-hongqiaoairport-flower-building-mvrdv-diagram

consider the importance of their surroundings and ponder over the severity of a defutured fate due to current human activities. It also provides an opportunity for one to experiment on the possible combinations between nature and the built environment to ensure a sustainable future.

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Images Dongdaemun Design Plaza: https://www.museeum.com/zaha-hadid-architectscreation-in-the-korean-capital/

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A.2 Computational Design

It is inevitable to ignore the importance in the use of computation in our designs in this technologydriven era. Many designers often find themselves utilizing various Computational Aided Design (CAD) Systems to project their ideas and designs for their project. Hence, elements and methods from computational designs such as Parametric Designs, Scripting and Algorithmic Sketches have become an essential medium and tool to aid designers in presenting their ideas towards a design problem1 .

The rise of computational design also enables the production of complex structures which are created through parametrics and scripting. This is also made possible through the extensive use of digital fabrication during production. Designers are able to visualise complex designs threedimensionally, resolving the conflict of virtual materiality of digital design2.

However, there are some who opposes the idea in the shift towards computational design as it may deviate from the conventional design process.

In contrast, computational design enables us to analyse and visualise the complex structures that we have in mind through the our input of datas and information. This will only produce the following algorithms and parameters which constructs the structureâ&#x20AC;&#x2122;s complexity instead of the conventional perception of producing design as an innovation.

Hence, computational design uses computers to aid us in indentifying the following problems faced through the information and instructions provided by designers instead of developing creativity from the following datas inserted3. Concluding it only as a tool for designers while the actual ideas and concepts developed are heavily relied on human intelligence.

1. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 3.

2. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 6.

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

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A.2 Computational Design A.2 Case Study 1

Microlibrary Bima Fig 1

Project: Microlibrary Bima Architect: SHAU Architects Location: Bandung, Indonesia Project Year: 2017

The Microlibrary Bima is a simple multipurpose structure which shades the existing stage with a floating library box. Located in the heart of the neighbourhood, Taman Bima in Bandung, The existing open- aired stage represents the foundation of the close knitted community living there, serving as a platfor to host performance, gatherings and other activities. Its strutural elements only consist of simple steel structures made from I-beams and concrete slabs for floor and roof, while the stage was reconstructed with concrete, adding a staircase which leads to the 11

library upstairs4.

In order to maintain a cooling environment without the use of air-conditioning inside the library as the site is located in a tropical climate, passive design was heavily used to the structure. Through innovation and creativity, the idea of using reused buckets as the facade of the structure was installed.

These buckets could be easily manipulated to accomodate requirements for cross ventilation, shading and natural lighting.

In addition, with the help of computational design, Shau Architects were able to have a clearer visualisation of the coding containing the message by Mayor Ridwan Kamil, “Buku adalah jendela dunia.” means “Books are the windows to the world”. This would not be possible if it was just constructed through the conventional design method.

Microlibrary Bima Fig 2

Microlibrary Bima Fig 4

4. “Microlibrary Bima - News - Domus”, Domusweb.It, 2017 <http://www.domusweb.it/en/ news/2017/07/27/microlibrary_bima.html> [accessed 5 August 2017].

Microlibrary Bima Fig 3

Images Microlibrary Bima Fig microlibrary_bima.html

1-4:

http://www.domusweb.it/en/news/2017/07/27/

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A.2 Computational Design A.2 Case Study 2

Project: Spatial Curves Poject Team: Team CurVoxles Location: London Project Year: 2016

The study of Spatial Curves were done through the idea of seamless 3-D printing of complex curvilinear structures which were experimented by a group of students who formed a project team named Team Curvoxles. This experimentation was done by using the idea of of the “Cantilevering Chair” which was first designed by Mart Stam at the Bauhaus5 as a starting point to test the printing process, determining whether the product would turn out as designed and whether its strutural integrity would be maintain5.

By doing this, the team developed a custom made extruder which could extrude wires into the air. This extruder would dry as it cools down when it is exposed to the air allowing minimal wastage and speeding its process during printing.

Using combinatorics algorithms to create a single curvilinear element into a continous line.

Innitially voxelising an object into 3- dimentional pixels, these pixels are then translated into basic spatial curves which can be orientated and manipulated into different directions, creating a pattern throughout the geometry. These patterns are then generated into single continous curves for the industrial robot to extrude the curves during printing.

This project amplifies the benefits of computational design which allows designers to simplify complex structures. Allowing them to understand the individual components within the structure itself and the relationship between the space and its curvilinear geometries. Computational design also enables these complex structures to be fabricated, providing designers a better form of visualization and feel on their product. Hence, this enables designers to be well informed of their product in order to make better decisions to the design.

Computational design eases the design process for designers instead of segregating designers fromt he conventional design process. It serves as a tool for them to be better informed when designing complex structures while being able to reduce the amount of resources and time needed during fabrication6. This would increase our productivity and efficiency as designers, thus opening up more possibilities and opportunities in the built environment.

5.

“Spatial Curves”, Domusweb.It, 2016 <http://www.domusweb.it/en/ news/2016/02/20/team_curvoxels_spatial_curves.html> [accessed 4 August 2017] 6. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 Images Spatial Curves Fig 1-5: http://www.domusweb.it/en/news/2016/02/20/team_ curvoxels_spatial_curves.html

Spatial Curves Fig. 1

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Spatial Curves Fig. 2

Spatial Curves Fig. 3

Spatial Curves Fig. 4

Spatial Curves Fig. 5

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A.3 Composition/ Generation

The shift from a composition to generation approach in design is contributed by the breakthrough of digital technology. In terms of composition, this approach has enabled designers and architects to explore design beyond the classical structure in architecture. Deviating from symmetrical compositions in architecture, designers are venturing into the concepts of generative design in order to fit into its social and natural context smoothly.

Through generation in computational design, designers deconstruct an object’s components under a specific set of rules. Using these components as a finite determinable element in the set, these components are then utilized as an input for parametrises in an algorithmic design to generate new forms and probabilities1. Hence, enabling designers to visualise and implement virtual designs into the real world.

1. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 10 2. Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11 3. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 8-15 4. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 15

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Generative design introduces algorithmic thinking which provides instructions or recipes for telling a computer what to do2. Enabling complex and virtual designs to be simulated and built through problem solving during the design stage along with the advancement of digital fabrication in this era3.

While architecture is currently experiencing a transition from the drawing to computation as the method of creating and representing designs4, the lack of sufficient understanding towards it prevents computational design to be fully integrated within the conventional design process.

Images Guggenheim Museum: Thomson, Harshan, Guggenheim Museum â&#x20AC;&#x201C; Frank Ghery, 2017<http://harshanthomson.com/modern-classics/guggenheim-museumbilbao/> [accessed 10 August 2017]

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A.3 Composition/ Generation A.3 Case Study 1

Project: Fajtuv Observation Tower Poject Team: Václav Hlaváček, Jáchym Pešek – Studio Acht Location: Velké Meziříčí Project Year: 2015

Fajtuv Observation Tower Fig 1

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Fajtuv Observation Tower Plan

Fajtuv Observation tower was design for skiers to grasp the picturesque views of the CzechMorovian Highlands, Žďárské hills in the northwest and the Drahany Highlands in the east5.

The observatory tower consists of two seperate opening units: a single storey base which houses visitors, bicycles and sports equipment rental, toilets and tecnical facilities. The tower rests on the top of the base where skiers are able to climb up to admire the Drahany Highlands. It also forms the landmark due to its visabilty during winter along the D1 highway that connects Prague to the second largest city, Bono.

Being parametrically designed, this tower consist of two sets of three counter spiral columns which forms the skeleton of the structure, reaching a height up to 36 meters.

Fajtuv Observation Diagram

This structure serves as an example of the ability in fabricating complex yet sturdy construction through computational generation.

What may seem as a normal steel column could be deconstructed into smaller components within similiar sets and generated into an element and form of complexity which serves as an exoskeleton of a structure, giving it the nescessary strength to support the observatory tower.

This simple form which was parametrically design could be an example to slowly integrate computational designs into the design process.

5. “Parametric Tower - News - Domus”, Domusweb.It, 2017 <http://www.domusweb.it/en/ news/2017/03/16/studio_acht_observation_tower.html> [accessed 10 August 2017] Images Fajtuv Observatory Tower Fig 1, Plan, Diagram: “Parametric Tower - News - Domus”, Domusweb.It, 2017 <http://www.domusweb.it/en/news/2017/03/16/studio_acht_ observation_tower.html> [accessed 10 August 2017]

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A.3 Composition/ Generation A.3 Case Study 2 Project: Fabric Concrete Poject Team: Ron Culver & Joseph Sarafian Location: UCLA, Los Angeles Project Year: 2017

Joseph Sarafian and Ron Culver from UCLA Suprastudio have are developing the primary stages of a new process of working concrete. It combines the flexibility of fabric with the precision of six-axis robot arms to stretch concrete casting.

This independent project seeks to make concrete casting easier as it prevents the cast from breaking when the mold is removed. This development also enables varitation in forms during casting, omitting repititive forms created in traditional casting.

Using sewn Lycra sleeves as the foamwork, they are attached to the arm robots to be strecthed into their respective forms before the concrete mixture (with fibre admixture) is added into the sleeves.

Once cured, these sleeves will be removed, the robots re- position themselves before a new cast is formed6.

This design was conducted using parametric modelling in order to achieve these curvilinear and organic concrete forms. Algorithmic designs were used to combine various components in order to generate new forms and possibilities. This enabled designers to experiment with different variables and were able to visualise the model through real time before reaching a satisfactory result.

Digital fabrication was also available to create the physical outcome for the final design in this project.

Hence, enabling designers to obtain a physical model through the inputs of datas and information through computation design.

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Having the ability to generate futuristic forms and designs through computational generation, architects are able to have a deeper insight towards design thus continously exploring with newer and contemporary forms of design,

Fabric Concrete Fig. 1

Fabric Concrete Fig 2

fabric Concrete Fig 3

6. “Fabric Concrete - News - Domus”, Domusweb.It, 2017 <http://www. domusweb.it/en/news/2016/06/24/joseph_sarafian_ron_culver_fabric_ forms.html> [accessed 10 August 2017] Images Faric Concrete Fig 1-3: “Fabric Concrete - News - Domus”, Domusweb.It, 2017 <http://www.domusweb.it/en/news/2016/06/24/joseph_sarafian_ ron_culver_fabric_forms.html> [accessed 10 August 2017]

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Images Kaohsiung National Stadium: Kaohsiung National Stadium, 2014 <https://www.flickr. com/photos/bryansjs/15128860843/> [accessed 10 August 2017]

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A.4 Conclusion

Architecture is often defined as the process and the product of planning, building, and designing buildings and infratructures to improve the quality of life for humanity. It reaches to all aspects in life in which consists of the economical, socal, political and natural sectors. Hence, architects are entrusted with the responsibility to find balance between the growth in technology and sustainability within the built environment.

the topic of whether design computation could be used as a sole and true method of design for architecture.

In the final chapter,Part A3, Composition/ Generation focused on the shift in composition for architecture due to the introduction of genrative design.

My Intended Design Approach

Part A1, Design Futuring, touches on the the topic where we were required to be aware of the consequences for our actions due to the advancement of technology and human activities.

This led to the focus on sustainability and as designers, how to design a sustainable future for future generations to come.

Part A2, Design Computation, focused on the evoluton of design computation where we were given insights on the transitions from computerisation to computation where designers and architects could use parametric softwares to create varius forms which were once deemed as futuristic in the past. We also had discussions on

From all these, my intended design approach would be implementing algorithimic designs in an urban environment through the exploration of various dynamic and organic forms. These forms are able to manipulate users in various ways through idealogies, character and emotions. This approach would also be able to be manipulated according to its respective surroundings, steering towards the idea of sustainability instead of change in regards to its natural environment. This enables the advancement of technologies withouth affecting the natural surroundings, Benefitting both the environment and the future generations to come.

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A.5 Learning Outcomes

In the span of three weeks, I was exposed to the world of computational design in architecture. This has greatly expanded my knowledge in in parametric design and how it could be used as a tool for designers to solve algorithimic sets to create complex curvilinear forms and to solve its respective problems. Through multiple trial and errors in Grashopper, I managed to grasp the fundamental theories and techniques of scripting to compose basic organic forms and structures which I would never have been able to create in my first year.

I did not have much interest to read research/ academic journals in the past as I found them to be time consuming and impractical. However, this did not prolong until I started reading the research articles and journals given along with the vast information and knowledge gained when I stumbled across various architectural magazines while looking for the suitable precedents in this task. The concepts and ideologies from these article made me realise the growth in computational designs in the present and how they greatly affect the outcomes and products or modern architecture. Besides, having both knowledge and parametric tools enabled me explore deeper into parametric designs, trying out forms which I have always dreamt of creating but not knowing its process in the past.

Organic structures have always attracted my interest in design. Having its form to be dynamic generates different impressions and perceptions of the structure itself, causing numerous discussions about it behind the rational of its design. Hence, I tried to exercise this concept into my design during my previous studio, Studio Earth and in Designing Environments. However without the knowledge of parametric tools then, I was unable to design these forms with much precision. Thus, having the basics in parametric design and the knowledge in navigating Grasshopper then would help me improve my designâ&#x20AC;&#x2122;s precision and accuracy in its form to my preference.

All in all, it is never too late to pick up a new skill while constantly improving and identifying the mistakes from our past works in order to progress in our future projects.

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Images Flex Shell: â&#x20AC;&#x153;Parametric Design + Generative Architecture | A Place For Sharing Ideasâ&#x20AC;?, Parametricdesign.Net, 2016 <http://www.parametricdesign. net/> [accessed 10 August 2017]

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A.5 Appendixâ&#x20AC;&#x201C; Algorithmic sketches

Selected algorithmic works to showcase the exploration of parametric design through Rhino 3D and Grasshopper

Voronoi Hexagrid This is simple cuboid with Voronoi grids. This remains one of the initial trials in grasshopper when I first started with the software. Unsure of what it could do, I followed the Triangulation Algorithms where this form would be created. Once baked on Rhino, I could remove the components generated from the voronoi cells, creating the overall form.

Loft Simple lofting form generated in grasshopper. I wanted to know whether this form would be different if I generated it from grasshopper.

Populate 3D Pipe Populate geometry Voronoi Final product of my pavilion for the second week. This dynamic form follows the melody of the music given (Beethovenâ&#x20AC;&#x2122;s Pastorale: First movement) while the trusses represents the components which forms the entire structure of the piece.

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Contour Orient Scale NU Remap Divide I was experimenting on the new commands for this curvilinear form. Unsure of what it may turn out, I continued adjusting the distance between planes and remapped the point to align the planar panels.

Contour Orient Scale NU Remap Divide Project (Without using X Unit plane) I was surprised at what just once component could affect the enitre form through grasshopper. Without enabling the “X- Unit” component to specify which axis should the projecttion go, what seemed to become a curvilinear and neat structure became one which can described as a form of chaos yet synmetrical.

Contour Orient Scale NU Remap Divide Project Pipe Final outcome of my pavilion for week three’s presentation. I created different sizes for the orientated panels to give it variation instead of making it modular.

Close up of the panels to give an understanding on how its orientation works.

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A.6 Appendix– Bibiliography

1. Acerboni, Francesca, “Sustainable Designs By DGT - Architecture - Domus”, Domusweb.It, 2016 <http://www.domusweb.it/en/architecture/2016/09/15/ sustainable_designs_by_dgt_architectures.html> [accessed 30 July 2017] 2. Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11,12 3. Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press pp. 33-45 4. “Fabric Concrete - News - Domus”, Domusweb.It, 2017 <http://www.domusweb. it/en/news/2016/06/24/joseph_sarafian_ron_culver_fabric_forms.html> [accessed 10 August 2017] 5. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1-16.

6. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 7. “Microlibrary Bima - News - Domus”, Domusweb.It, 2017 <http://www.domusweb. it/en/news/2017/07/27/microlibrary_bima.html> [accessed 5 August 2017].

8. Moore, Rowan, “Estonian National Museum Review – Touching And Revealing”, The Guardian, 2017 <https://www.theguardian.com/artanddesign/2017/jan/01/ estonia-national-museum-review-touching-and-revealing-dgt-dorell> [accessed 30 July 2017] 9. MVRDV: Flower Building - Architecture - Domus”, Domusweb.It, 2015 <http:// www.domusweb.it/en/architecture/2015/10/22/mvrdv_flower_building.html> [accessed 30 July 2017] 10. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1-10.

11. “Parametric Tower - News - Domus”, Domusweb.It, 2017 <http://www.domusweb. it/en/news/2017/03/16/studio_acht_observation_tower.html> [accessed 10 August 2017] 12. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 8-1 13. “Spatial Curves”, Domusweb.It, 2016 <http://www.domusweb.it/en/ news/2016/02/20/team_curvoxels_spatial_curves.html> [accessed 4 August 2017]

Images 1. Angel Snake: http://www.domusweb.it/en/architecture/2017/07/24/angle_ lake_.html 2. Estonia National Museum: Shimmura, Takuji, DGT Architects Adapts Former Soviet Military Base To Estonia’s National Museum, 2016 <https://www.designboom. com/architecture/dgt-architects-estonia-national-museum-tartu-former-sovietmilitary-base-05-25-2016/> [accessed 2 August 2017] 3.Flower Building Diagram 2: Shanghai Hongqiao Airport Flower Building / MVRDV, 2016 <http://www.archdaily.com/775389/shanghai-hongqiao-airportflower-building-mvrdv> [accessed 2 August 2017] 4. Dongdaemun Design Plaza: Kobeissi, Lina, Zaha Hadid Architects’ Creation In The Korean Capital, 2017 <https://www.museeum.com/zaha-hadid-architectscreation-in-the-korean-capital/> [accessed 6 August 2017] 5. Microlibrary Bima Fig 1-4: Microlibrary Bima, 2017 <http://www.domusweb.it/ en/news/2017/07/27/microlibrary_bima.html> [accessed 8 August 2017] 6. Spatial Curves Fig 1-5: Bozkurt, Sin, Spatial Curves, 2016 <http://www.domusweb. it/en/news/2016/02/20/team_curvoxels_spatial_curves.html> [accessed 8 August 2017] 7. Guggenheim Museum: Thomson, Harshan, Guggenheim Museum – Frank Ghery, 2017<http://harshanthomson.com/modern-classics/guggenheimmuseum-bilbao/> [accessed 10 August 2017] 8. Fajtuv Observatory Tower Fig 1, Plan, Diagram: “Parametric Tower - News Domus”, Domusweb.It, 2017 <http://www.domusweb.it/en/news/2017/03/16/ studio_acht_observation_tower.html> [accessed 10 August 2017] 9. Faric Concrete Fig 1-3: “Fabric Concrete - News - Domus”, Domusweb.It, 2017 <http://www.domusweb.it/en/news/2016/06/24/joseph_sarafian_ron_culver_ fabric_forms.html> [accessed 10 August 2017] 10. Kaohsiung National Stadium: Kaohsiung National Stadium, 2014 <https://www. flickr.com/photos/bryansjs/15128860843/> [accessed 10 August 2017] 11. Flex Shell: “Parametric Design + Generative Architecture | A Place For Sharing Ideas”, Parametricdesign.Net, 2016 <http://www.parametricdesign.net/> [accessed 10 August 2017]

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Part B

Design Criteria

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B

B

B.1 Research Field

Ruled Surfaces, Paraboloids, Minimal Surfaces, Tension, Geodesics, General Form Finding

Geometry is often defined as the branch in mathematics which relates to the questions of shape, size, relative position of figures and the properties of space. In architecture, they remain as one of the most essential components in design, forming various forms and structures to as alternatives to design related problems.

Through the studies in Part A based on the use of computation as a solution for complex geometries and forms, we cannot assume that computation would solve the complexity in complicated geometries entirely. Hence, it requires designers to have a core understanding on its form and structural elements before utilizing computational design methods to solve it effectively.

main topic for this research field. Within this research field, I chose to focus on the studies of tension, paraboloids, geodesics, minimal and ruled surfaces along with general form finding to enhance my understanding of geometries in parametric design.

Within the selected focus in this research field, SG2012 Gridshell will be used as a precedent to study the quality in its spatial structural context in geometry.

Despite the fact that geometry has been a foundation element in architecture, this component is frequently manipulated through its flexibility, ruled surfaces to produce multiple paraboloid forms. Enabling flexibility in form finding through the paraboloid surfaces made.

Thus, the advantages of a geometry being easily manipulated into various forms through the flexibility in its structure makes it interesting as a

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Algorithimic Sketchbook Week 4

31

Task Using one of Bill Hensonâ&#x20AC;&#x2122;s artwork, we are tasked to analyse the selected artwork and think very deeply about what the artwork is trying to say. Taking out ideas and innovations from these artworks, we are tasked with designing a pavilion from the ideas of that we have taken from the selected artworks.

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Only using rhino to draw the external outline of the pavilion before allowing Grasshopper to produce the final outcome for the final design.

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I chosen this artwork as it strongly represents the idea of an individual being alone throughout most of their life. The image strongly depicts an empty open sea which there is no humans in frame. One of the main ideas that I took from this image is the fact that every individual is mostly alone during their journey in life, be it when they are born and when they die.

Image Unknown: Henson, Bill, â&#x20AC;&#x153;Bill Henson | NGVâ&#x20AC;?, Ngv.Vic.Gov.Au, 2017 <https://www.ngv. vic.gov.au/exhibition/bill-henson/> [accessed 15 September 2017]

Bill Henson , 2016

Perspective

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Elevation

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The general form of the pavilion is drawn in a manner that it represents the journey of every individual.

Since the movement of the Pavilion is ideally starts from the entrance at the bottom of the pavilion to the exit of the top of the pavilion, the narrow openings at both ends represents the moment where we are alone when we are born and when we pass away. Leaving the center part of the pavilion to be wider in dimension to represent the temporary belongings we have such as family, friends, personal assets and others.

Movement

Exit

Entrance

Plan

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B.2 Geometry B.2 Case Study 1

SG2012 GRIDSHELL Matsys

2012

The construction of the SG2012 Gridshell by Mark Cabrinha, Andrew Kudless, and David Shook during the SmartGeometry workshop in 2012 was developed to analyze on the maximization of its architectural prescence within the space with minimal material wastage1. Using parametric tools, the gridshell was designed for straight wood members to be bent along the geodesic lines on a relaxed surface. The focus of this structure lies within the curves and composition of its lines to form a space for circulation purposes.

Side Elevation

In this project, having the concept of flexibility within componentsby bending straight wood members to form the gridshell leads to multiple openings to the possibilities in manipulateing geometry to suit individual needs. This method could also be an innovation within the decoration context as it caters to multiple possibilities to design the skin orf the architectureâ&#x20AC;&#x2122;s facade.

Assembly Plan

Curvature Analysis of smallest bending radii in structure

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Image

Images by Mark Cabrinha, taken from Gridshell: “SG2012 Gridshell « MATSYS”, Matsysdesign.Com, 2012 <http://

Image

matsysdesign.com/2012/04/13/sg2012-gridshell/> [accessed 23 August 2017]

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B.2 Geometry Iterations Pipe + Circular Planar

Original form

1

Extrude Curve

1

2

Depth Move Factor Z-Plane Shift

6 Move factor: 3 Z- Plane Shift: 0, 0

Polygon Divide Shift

Divide: 10 Shift: 1,-1

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Divide: 10 Shift: 5,-5

2

3

3

4

5

4

Move factor: -6 Z- Plane Shift: 0, -5

Move factor: 10 Z- Plane Shift: 0, 0

Move factor: 10 Z- Plane Shift: 0, -5

Polygon Number of segments Extrusion Factor

Divide: 50 Shift: 5,-5

Divide: 100 Shift: 5,-5

Number of segments: 6 Extrusion Factor: 0,1 With Pipe

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Raw Wireframe (Without Piping)

Number of segments: Extrusion Factor: 0,1 Without Pipe

Number of frames Divide Shift

Divide: 10 Shift: 1,-1

Loft + Grid

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Lineweight (+Planes) Voronoi- Delaunay Edges

Divide: 90 Shift: -10. 10

Divide: 100 Shift: 1. 0

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B.2 Geometry Selection Criteria/ Successful Outcomes

These show some of the successful outcomes as they are able to fulfil parts of the selection criteria which I have set as below for speculation.

1. Visual aesthetics 2. Light and shadow effect 3. Form functionality 4. Constructability

Visual Aesthetics

Form Functionality

By adjusting the depth of the structure , a different form is produced which is can be further developed during the later stages in the design process. This form gives a slighly solid feel as compared to the original form which looks filmsy

The planar structure generated from Grasshopper enables speculation for designing space for activities to be held.

Light and shadow effect

Fabrication can be implemented by deconstructing the frame and planar surfaces in Grasshopper, laser cutting individual components of the frame and assembling it again.

The outer frames generated as the facade of the structure has potential to project interesting shadow patterns. This could be incorporated with the visual aesthetics of the structure.

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Constructability

Visual Aesthetics

Visual Aesthetics

By extruding the form in grasshopper, the visual aesthetics within this form is unique and different from the others and could be further developed.

Similiar to the 1st successfull outcome, this form produces an aesthetically pleasing look with the components made out of straight wood.

Ligth and shadow effect With the components being made out of straight wood, this would make and interesting pattern which would be formed by a combination of curve and straight lines when light is shinned upon.

Constructability Fabrication is possible by using the same technique as 44

Interior perspective

Task Using the opening of West Side Story, we were tasked to script a pavilion through our interpretation of the idea taken from the video. In addition, we were also required to use any Grasshopper skills that we have not used before.

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Algorithimic Sketchbook Week 5

Conflict

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West Side Story, 1961 â&#x20AC;&#x153;West Side Story - Deckchair Cinemaâ&#x20AC;?, Deckchair Cinema, 2017 <https://www.deckchaircinema.

West Side Story, 1961

com/films/west-side-story/> [accessed 13 September 2017]

Key Ideas taken The conflict between two mobs in an urban setting. This conflict segregates both parties due to their racial and cultural differences.

However, it is only through a particular force which combines both mobs together and this introduces harmony between the two mobs despite their racial and cultural differences.

Plan

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Design process We took this idea and scripted it onto Grasshopper, making two differences between its forms. We found the intersection points between both forms and generated meshes using the points of intersections. We then extruded these meshes along with piping along the points of intersections to produce volume to the structure.

Extra notes We took the intersection as combining both the two different forms would clutter the entire structure. We also left the intersection as it is to enable speculation to the design.

Arial perspective

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B.3 Geometry B.3 Case Study 2

Taichung Metropolitant Opera House Toyo Ito

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2016

Toyo Ito’s Taichung Metropolitant Opera House is notable for its cavourness, curved and hour glassed form which are contains folded interior forms within the exterior square facade brings out the idea of complexity in a geometry contained in another simple geometry. These complexity is designed in such as way that it is viewed through it’s cut through section. Through it’s interior form, spaces could be formed out from the interior geometry’s complexity, hence giving me the idea and inspiration of the possibility of creating space within a certain complexity

in the geometry. This unique geometric form also gives a concept of fluidity which resonates with its function as an opera house which provides a space where the flow of music is able to flow expressively throughout the auditorium.

Using this precendent as an example for reverse engineering , I am able to speculate its design by the iterations I create through the adjustments of its paramters to iterate different geometrical forms.

Images Metropolitant Opera House: Arch Daily, Toyo Itoâ&#x20AC;&#x2122;s Taichung Metropolitan Opera House Photographed By Lucas K Doolan, 2016 <http://www.archdaily.com/796428/ toyo-itos-taichung-metropolitan-opera-house-photographed-by-lucas-k-doolan> [accessed 15 September 2017]

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B.3 Geometry B.3 Case Study 2 â&#x20AC;&#x201C; Reverse Engineering

Toyo Ito 2016

In order to reverse engineer this structure, I needed to generate a planar surface and generate the pentagon polygon on the edge and center of the rectangular surface. The polygon is then scaled and split with the rectangular planar and moved upwards to enable lofting to occur in order to obtain a curvy surface on the edges and center of the structure. The following processes are repeated for the 1st and 2nd floor in order to get the edge curves of the structure.

Taichung Metropolitant Opera House

During this process there were many trial and errors as some definitions did not work out the way I wanted it to be. Hence, improvisations such as referencing the scaled curves generated from grasshopper externally to loft were implemented to achieve a similiar form for the Taichung Metropolitant Opera House.

Ground level- Grasshopper Definition Steps Rectangle List Item

Boundary Split Surface

Area Brep | Curve

Point Pentagon Polygon

Trim Curve

1st floor level Inner Curves- Grasshopper Definition Steps Move ground level points to the top ( 6 unit factors up)

Reference Curves (Both centre and side curves)

Scale curves for enlargement ( Scale Factor 1.8)

Loft the curves

1st floor level Outer Curves- Grasshopper Definition Steps This step is the same process with the first curves 51

Move planar (6 unit factors up)

Move Trim Curves (6 unit factors up)

Rectangle Boundary Area Point Pentagon Polygon

Brep | Curve List Item Trim Curve

Move planar (6 unit factors up)

Loft the curves Brep | Curve List Item Trim Curve

Reference Curves (Both centre and side curves)

Area Point Pentagon Polygon Move planar (6 unit factors up)

Reference Curves (Both centre and side curves)

Brep | Curve List Item Trim Curve

Final Outcome!

Reference Curves (Both centre and side curves) - Line work did not make it to the procedure steps as they were to faint to see

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Algorithimic Sketchbook Week 6

Task Using the artwork given in the this weekâ&#x20AC;&#x2122;s task, we were asked to design a pavilion with the significant qualities and idea gathered from the artwork given. The ideas gathered would be the driver for our chosen grasshopper technique.

Detailed perspective 55

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Key Ideas taken We took the idea creating different patterns and forms similiar to as shown in the artwork while connecting them with one another through pipes.

Design Process We created several cubes on Grasshopper while taking the intersection of these cubes to be generated into planar surfaces. before exploding them around the main structure to give a exploded and detached effect to the form. These planar surfaces are then projected onto the ground floor to showcase the two differences , with pipes running through the exploded planes as connections between the ground plane and the exploded planar surfaces Client The proposed clients who could use this structure would be NASA as it could serve as a good platform for an observatory. The planar surfaces are also proposed to be held by maglevs and will vibrate when the train passes through. constantly changing the form.

Clients could also climb on the planar surfaces to observe the constallation themselves at different heights to get the optimum view possible.

Artwork given in the task

Unknown Image given By Julius

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Long shot perspective

58

Section 59

Plans 60

For this task we were instructed to draw the colonade of the VCCC building by MCBride Charles Ryan on an A3 Sheet. I drew the interior of the building to showcase the curvy like form which spaces can be designed within these curvilinear form.

During this process, I used watercolour pencils to add in colour to enhance the vibrance of the drawing, In which some smudged during the process...

â&#x20AC;&#x153;Thoughts?â&#x20AC;?

- Julius Egan, 2017

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B.4 Geometry B.4 Technique: Development/ Iterations 1st Level Scaled Curves

Original form

Scaled Factor: 0.1

Scaled Factor: 2.0

Scaled Factor: 2.2

Cull Pattern

Scaled Factor: 5.0

Cull Pattern: FFTT

Delaunay Edges at Centre Loft (Flatten)

Count Number of Points: 5

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Count Number of Points: 10

Scaled Factor: 0.3

Scaled Factor: 2.5

Cull Pattern: FTFT

Count Number of Points: 11

Scaled Factor: 0.5

Scaled Factor: 3.0

Cull Pattern: TFTF

Count Number of Points: 13

Scaled Factor: 1.0

Scaled Factor: 3.5

Cull Pattern: TTFF

Count Number of Points: 15

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B.4 Geometry B.4 Technique: Development/ Iterations

Count Number of Points: 25

Count Number of Points: 30

Delaunay Edges at Centre Loft

Count Number of Points: 5

Count Number of Points: 10

Count Number of Points: 25 Count Number of Points: 30

Panel (Center Piece)

No Span U Direction 1, V Direction 1

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No Span U Direction 2, V Direction 2

Count Number of Points: 45

Count Number of Points: 11

Count Number of Points: 45

No Span U Direction 3, V Direction 5

Count Number of Points: 60

Count Number of Points: 13

Count Number of Points: 100

Count Number of Points: 15

Count Number of Points: 100

No Span U Direction 4, V Direction 10

No Span U Direction 5, V Direction 15

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B.4 Geometry B.4 Technique: Development/ Iterations

No Span U Direction 6, V Direction 20

No Span U Direction 7, V Direction 25

Planar Surface

Point count number 10

Point count number 60

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Point count number 20

Point count number 70

No Span U Direction 8, V Direction 30

Point count number 30

Point count number 80

No Span U Direction 9, V Direction 35

Point count number 40

Point count number 90

No Span U Direction 10, V Direction 50

Point count number 50

Point count number 100

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B.4 Geometry

B.4 Technique: Development/ Selected Outcome Speciesâ&#x20AC;&#x201C; Planar Surface

Point count number: 30

Visual Aesthetics The planar structure generated from grasshopper enables speculation and contains potential to be further developed. It also contributes to the idea of chaos within its form.

Cannot be fabricated However, I found this iteration hard to be fabricated due to its densed lines cutting into one another, making laser cutting a singular piece for assembly hard and ruining the visual aesthetics of the form if 3D printed due to the supporting structures to hold on to the thin planar pieces.

Speciesâ&#x20AC;&#x201C; Delunay Edges (Flattened)

Point count number: 100

Form Functionality This species shows spatial potential which can be extracted from the lines. I wanted to see what would be provided through the use of points on the oiginal form while using parametric design to generate iterations from it.

Constructability Through brainstorming, this iteration can be fabricated through the use of strings being pinned onto both top and bottom plates to enable tension to represent the lines within the interation.

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Speciesâ&#x20AC;&#x201C; Panelling (Center Piece)

No Span U Direction 10, V Direction 50

Visual Aesthetics Only using the center piece of the original form, I managed to create a mesh of its form through panelling. There are visual aesthetic qualities with just bare mesh and this could be speculated further through the experimentation of paterns generated within the meshes in order to achieve a more solid like texture while also achieving the effect of light and shadow patterning on the interior of the structure.

Light and shadow effect The idea of light and shadow patterning could be brought into this form by adding and addjusting patterns being extruded out on the internal linings of the mesh. This would also create a more solid feel on the outer skin of the structure, slowly enabling constructability and fabrication.

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Algorithimic Sketchbook Week 7

71

Task Using the text depicted from the book “Invisible Cities” by Italo Calvino given in the this week’s task, we were asked to design a building with the significant qualities and idea gathered from the text given. During the design process, we were also encouraged to let the client emerge from the design instead of forcing it.

Rendered Perspective 72

Text given in the task

73

Key Ideas taken Framentation and different experiences experiences by different individuals Design Process Through the populate 3D definition on Grasshopper, We extruded these points to lines, These lines form the fragments of the entire structure which is significant in the text given for our task.

Additionally creating circles on the top of these extruded lines.

While scripting on Grasshopper, we were unsure of what may turn out. It was only until when this form came out only did we think of a use and its clients.

Post design After the form was generated, we decided that the entire structure could be a fragment of the area itself and its use as a form of bridge where people could climb onto the rapels to swing on across the creek. This activity could embed various experiences by the clients while climbing and swinging across the creek.

Making it an unsual yet functional project as people are able to get across the river through a fun yet different method as compared to a conventional bridge.

Client The proposed clients for this pavilion is children and young adults where they could climb the rapels and ropes to cross over the river.

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Rendered Perspective 75

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Rendered Perspective 78

B.5 Geometry

79

B.5 Technique: Prototypes

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B.5 Prototype Steps

The selected iteration that will be further developed and prototyped would be from the Delunay Edges (Flattened) with the point number count of 100.

This species is short listed from the selected outcomes chapter as fabrication would be much easier for this particular species amongst the other selected iterations. Besides, the spaces between individual lines within this form contains potential for design speculation and further development during the later parts of the design process.

Once I had the basic idea, I tested different strings to fit the criteria for tension in my prototype. This criteria were evaluated through their visibility and strength in tension before tying them on to their respective pins. Hence, out of thread, strings and fishing lines, strings fitted the criteria in both being strong in tension and visiable to the naked eye when they are strung onto the pins. Eventualy, these strings are woven and attached to their respective pins, stretching the strings to form the overall shape and concept.

Due to the limited time I had with this chapter as Case study twoâ&#x20AC;&#x2122;s reverse enginnering and iterations took the most time to develope, I resulted to making the prototype with my own hands. The main goal was to re-create the intertwine curves which forms a tension similiar to the iteration generated on grasshopper to showcase its spatial qualities.

With this idea, I needed to attach strings / tensions wires with pins between two supporting planes while pulling them apart in order to stretch the strings to show tension within its form.

Spatial qualities could be further developed within the edges

Generate tention like feel to the prototype to make the edges/ lines visable to the naked eye

Delunay Edges Flatten, No of points: 100 Iteration being chosen as the iteration for prototyping

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1.

2

4

3

6

5

Prototype steps

82

83

Prototype Final Outcome

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Algorithimic Sketchbook Week 8

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Interim Presentation: The Art Of Deception

Task Using the bird chosen from the selection given in the this weekâ&#x20AC;&#x2122;s task, we were asked to design a pavilion with the significant qualities and idea gathered from the artwork given. The ideas gathered would be the driver for our chosen grasshopper technique.

Rendered Perspective 86

Unknown Image given By Julius

King Fisher

Description of King Fisherâ&#x20AC;&#x2122;s Characteristics 87

Key Ideas taken Deception taken from the King Fisher’s build and characteristics.

The white dot next to it’s eyes are suppose to deceive the predator , making them think that it is the Kingfisher’s eyes.

Design Process We wanted to use this idea of deception and brainstormed the possibilities and alternatives that could be incorporated into our pavilion’s design. Hence we made a list of what could be done to make the building deceiving visually. The list is as follows: 1. Facade 2. Interior 3. Materials 4. Making Illusion whenever we could We then scripted a model on grasshopper while we became more inclined to the Panneling Function in Grasshopper.

Post design After scripting the form on Grasshopper, we found that we could incorporate list into the form to implement the idea of deception.

Hence, these are some of the aspects which were added into the structure once the final form was decided.

1. Smaller perofrated holes on the facade while bigger perforated holes on the interior of the structure 2. Material used- The render which makes it look like marble to deceive the viewers visually.

3. Straight Panels but may form a curvy or organic compound when assembled.

Use of the pavilion We decided to use this pavilion as a bridge to connect between both bridges running along our site. This would increase the ease of connectivity and efficiency for clients to get across one bridge to another. The design is further speculated and will carry on to the next part of the journal.

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89

Rendered Perspective 90

91

Plan 92

93

Section 94

B.6 Technique: Proposal

The proposal on Merri Creek will be implemented using the computational design skills that I have acquired and developed in my journal during the semester and also with the algorithimic tasks given every week.

Site Analysis –What does the site need?

The site given for our design proposal is located partially along the Merri Creek Trail, having it placed between the South Morang and Hurtsbridge Metro Train lines as its boundaries. It also uses the Queen Parade Bridge and Coulson Reserve as it’s boundaries.

During my visit to the site, I noticed that strong winds are frequent on the site and there were no temporary shelter for an individual to take refuge when there is a strong wind. In addition the creek running along the trail also served as an element of attarction to the site for people as I noticed them admiring the river while walking along the Merri Creek trail. Sadly, the river is slightly poluted as I found traces of rubbish being sieved at boundary of our given site. This factor would put off its attraction to the public. Hence, I would like to focus my design proposal on these key aspects in Part C.

Design Intergration In this proposal, I will revise through the concepts of my previous works for every week’s task and will intergerate this with the computational methods and skills that I have acquired in my journal. These computational methods are a combination of theorie, design iterations and prototyping for a selected design concept: Geometry.

Feedback from interim which could be carried forward for proposal In our interim presentation, we used the concept of deception which was taken from the characteristic of the bird we have selected: The Kingfisher into our design and were required to further develop this week’s task for the final design. Hence, I have decided to incorporate some of the feedback given during the Interim presentation into the proposal stated. The following feedback is given as follows: 1. Thoughts about how to make our design more deceiving to the public visually?

2. How could the design fulfil the criteria of deception while having it to adapt to its natural surroundings?

“The feedback given was very helpful as it helped broaden my thoughts and provided a guide to various possibilities on how the final design may turn up, making it a very good starting point to the final outcome.”

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B.7 Learning Objectives and Outcomes

Part B as a whole

Journal Case studies - Reverse Engineering-

Iterations

Throughout the entire thinking process for Part B, I have developed a deeper understanding on the benefits and processes of computational design. It is at this point where I come to realise that computational design contains the potential to serve as a tool to provide many outcomes and possibilities when designing. It simplifies the design process for designerâ&#x20AC;&#x2122;s when designing complex forms through a slight change in parametes and definitions. Hence, it is this realisation that computational methods in design offers a platform for designers to explore on different and unique structures, leading to endless outcomes when an individual is trying to solve a design probelm.

However, it is also at this stage that I encountered several limitations which hindered me from progressing on a chosen design outcome. With that, I have to address these limitations in order for further developement to occur.

The realisation that computational methods in design offers a platform for designers to explore on different and unique structures can be enhance in this part of the jounal. Having done 2 case studies and a lot of iterations along with stating its selection criteria, I acknowledge the potential of providing multiple iterations by just adjusting a single definition on Grasshopper. This provides many possibilities and outcomes which could be considered as the solution to the brief given. I also learned how to grade and state the selections criteria based on the iterations generated. This helped me analyse the importance of certain aspects in a design which may resonate with the design problem itself. Although the outcome of the Reversed Engineering task under B3 was slightly different from the original case study, Toyo Itoâ&#x20AC;&#x2122;s Metropolitant Opera House in Taichung, Taiwan, I managed to get a brief insight to how its form is designed with the list of components available in Grasshopper. Through this exercise, I was also able to gain as much familiarity with Grasshopper due to the immense amount of time spent on experimenting on the reverse- Engineering task along with generating Iterations for this structure.

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Weekly Algorithmic Tasks This is probably the best experienced and lesson that I have encountered due to the large amounts of freedom to express my designs, philosophy and opinions on architecture and design. These opinions and views are then discussed in class which are ideal as I am able to exchange views and thoughts with my peers, widening my knowledge in design.

Although it was challenging to find myself intergrating both the weekly algorithimic task and journal into my proposal due to their difference in briefs, I eventually found some simliarities between both of these tasks. This compilation of computational skills and design thinking adds in to the value of designing and provides an important foundation for me to further my design in the following weeks.

In conclusion, Part B has been quite a leap from Part A as we transitioned from simply understanding concepts and theories in Part A to actually implementing these concepts into actual designs and prototyping, Despite that, it is also very rewarding to see myself progress throughout the process of computational design!

With that, the key takewaway for me throughout these tasks is for me to carry on with the current works that I have while most importantly, also identifying the mistakes from my previous works for further imporvements.

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“Don’t lose sight of the idea within all of the hard work” - Julius Egan, 2017

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B.8 Bibiliography

Arch Daily, Toyo Ito’s Taichung Metropolitan Opera House Photographed By Lucas K Doolan, 2016 <http://www.archdaily.com/796428/toyo-itos-taichungmetropolitan-opera-house-photographed-by-lucas-k-doolan> [accessed 15 September 2017] Henson, Bill, “Bill Henson | NGV”, Ngv.Vic.Gov.Au, 2017 <https://www.ngv.vic.gov. au/exhibition/bill-henson/> [accessed 15 September 2017] “SG2012 Gridshell « MATSYS”, Matsysdesign.Com, 2012 <http://matsysdesign. com/2012/04/13/sg2012-gridshell/> [accessed 23 August 2017] “West Side Story - Deckchair Cinema”, Deckchair Cinema, 2017 <https://www. deckchaircinema.com/films/west-side-story/> [accessed 13 September 2017]

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Part C

Detailed Design

101

C

C

C.1 Design Concept

Reflection on mid- semester feedback and design concept development

From the mid- semester presentation, our group’s idea was developed from the art of deception.

This concept was taken from the characteristics of the Little Kingfisher which uses it’s deceiving characteristics such as the white spot on its side near the eyes to deceive its predators to think that it is the eyes and also having a white underbelly to trick its prey that there is nothing in the sky, enabling the Little Kingfisher to catch its prey in the water.

Keeping in mind of the idea of inception, we brainstormed the possibilities and alternatives to be incorporated into the design of the pavilion. A list of parts of the pavilion including types of materials to emphasise the concept visual deception for the pavilion was drawn up and which are as follows: 1. Facade 2. Interior 3. Materials 4. Making Illusion whenever we could We then scripted a model on grasshopper while we became more inclined to the Panneling Function in Grasshopper.

Feedback on our mid semester presentation - Scale design along with site instead of scalling it after dropping it onto site.

- How else could one deceive in other aspects & how it could fit with it’s surroundings.

- Deception is a specific term, how can you specify a design’s deception to fulfil it’s criteria.

In summary Despite the innovative ideas proposed during the mid semester presentation, there were still some technical errors which were not practical in our pavilion’s design such as the perforated holes on the facade of the structure which were also designed as the floor structure. This design was not practical in practice as given by Emma, our guest critic for the mid- semester presentation.

Our ideas of deception were also too broad as we were addressing different aspects and ideas in our design. This may cause us to be distracted from our ultimate objective, causing us to loose sight of the work we were focusing on. Hence, we needed to be slightly specific with the types of deception that could take place in our design while also finding different aspects in deception which will suit our design’s criteria and also to fit with the external surroundings.

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Algorithimic Sketchbook Week 9 Design Development

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Task Given the feedback from the midsemesterâ&#x20AC;&#x2122;s feedback, continue developing your design proposal driven by the significatn quality of your bird.

Complexity, irregularity and unexpecte are fundamental.

the

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Unknown Image given By Julius

King Fisher

Description of King Fisherâ&#x20AC;&#x2122;s Characteristics 105

Design Process Scripting Process

From last week feedback, we continued to take the on the idea from the kingfisher based on its deceiving characteristics: having white spots at the side of its eyes and also white bottom flap. We decided to remake the model from scratch as we wanted to start again using the feedback given from our mid semester feedback. This could help us refine our definition in deception.

Definition of deception Taking on some of the concepts from our previous mid semester presentation such as lofted curves and panelling surfaces, we scripted the form on Grasshopper to determined the overall outcome of the structure.

Process During Scripting During the middle process, we decided to project a series of lines to the bottom plate. These lines were then decided to be used as an external facade for the structure. The lines which were projected could be also used as a support for the top structure and as an element to hide the presence of the middle structure, creating an illusion that there is no middle structure which connects and supports the top structure.

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Iterations

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Rendered Perspective 110

Plan

Section cut 111

Perspective view

Post Design

Location and speculated usage

The idea of deception is applied to the structure of the pavilion. With the entire structure presumably made out of glass, we wanted to deceive the audience through the transparency of the structure, hence making the entire pavilion look invisible from afar. The transparency of the projected lines from the top part of the structure to the bottom of the structure will look as tho as there are fine lines being in tension between these two parts while in reality they are the supports for the top and bottom parts of the pavilion. The sleekness of the pavilion will be a way to deceive the people passing through as they might feel the structure maybe too filmsy to support the top while it is well supported by the projected lines. This realisation will only happen when the people get closer to the pavilion itself.

The location of the pavilion will be located next to the railway and on the bike lanes. This would help gain attraction from passengers on the train and also bicyclists and passerbys who are walking along the Merri Creek Trail. It is also located where people could be able to access the trail through the open field between the railway and Hoddle Street.

As the top part of the structure has a bowl like form, we decided to convert the top part of the structure into a swimming pool where people could swim and overlook Merri Creek. The pavilion would be a temporary shelter for people to use and as a place to host small gatherings. The projected lines could be used as a method to get to the swimming pool above, ecouraging fun and exercise as they climb the projected lines into the swimming pool.

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Algorithimic Sketchbook Week 10 Design Development/ Idea definition

Task Given the feedback from the midsemesterâ&#x20AC;&#x2122;s feedback, continue developing your design proposal driven by the significatn quality of your bird.

Complexity, irregularity and unexpecte are fundamental.

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the

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Colouring in on our linework We were supposed to focus on the linework for this weekâ&#x20AC;&#x2122;s task. Hence, for this assignment we came up with different iterations through colouring in on the vector linework from the improved scripted form on Grasshopper, obtaining different ideas and form to be speculated and to be further developed from this.

We decided to add generated along the b out that these planes in making it an interesting

Using the pathway of the bicycle lane, we tried to obtain points from the cycicle lane to script. This was done as we felt that the bicycle path was most significant to the site due to its function as a bicycle trail along Merri Creek. Hence, enabling the design to be more related to the site.

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planes from the points bicycle pathway and found ntersected with one another, form to our design.

From there we decided to rotate the plane to a 90 degree angle to see how it will look. The final form provided a form that we were looking for and the planes was extruded to make it solid looking.

This form was chosen and the vector linework was printed out for colouring.

Several angles were chosen to best represent our ideas when we colour into the vector linework.

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Colouring-in outcome and render

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Colouring in pin up

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Lesterâ&#x20AC;&#x2122;s chosen work Ideas - Reflective surfaces - Planar surfaces which could be designed as space for circulation

Jasonâ&#x20AC;&#x2122;s chosen work Ideas - Confusion between what is positioned behind or in front of you.

- Unsure of the depth of the structure as everything is visually on the same plane and face.

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My chosen work Ideas - Transparency of the cover to enable it being invisible from a distance, hence one is unable to see the pavilion clearly but will be able to notice the detail when they are on site.

- Folded cover which could be a starting point for the facade of what the design outcome maybe.

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â&#x20AC;&#x153;The best part of architecture is one which could be continued and developed foreverâ&#x20AC;?

- J.E

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C.2 Tectonic Elements & Prototypes Week 11 Conceptual Prototype Model

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Prototyping/Fabrication Process The Start We were required to prototype our ideas in order to understand the constructability and spatial qualities of our structure. This would determined how the prototype will be assembled and the suitable materials needed for this process.

Taking the ideas presented by the three of us in week 10 which revolves around the concept of transparency, reflectivity, and being unsure of the depth and position of indidividual components for the structure, we decided to create a prototype which could achieve these concepts to relate to the idea of deception.

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As we were going with the concept of transparency and deception. We had to choose a material which could achieve this objective. Hence, clear perspex was chosen as the material for the individual square pieces to be laser cut.

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We decided to laser cut the individual square pieces as it was more precise and quicker to fabricate, giving us more time to assemble our prototype. Other optionsfor fabrication considered was also 3D printing, however we would not be able to able to customise our prototype in terms of its form and connections between its components as the final outcome for the prototype was yet to be determined.

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We decided to use sqaure pieces as the building block and starting process for our prototype. The idea of individual square pieces were taken from our form scripted in week 10 where square planar surfaces were the components forming the entire structure.

Top view of the laser cut contour which represents the site for our prototype to sit on.

The proposed desogn will sit in the centre of the railway line, Hoddle Street, Queenâ&#x20AC;&#x2122;s Parade and Merri Creek as we used the bike trail and the concrete pathway to start our design in week 10. The overall aim is to also attract people onto that site to create vibrance as the site is generally empty throughout the year with only a few passerbys or bicyclist using the bike trail.

Site set up MDF board laser cut and being assembled before prototype model is being built.

Prototyping Exploration During the start of prototyping, we explored how the individual square pieces could be assembled and connected with one another to achieve deception.

Some exploration on the connection methods made which could be used for the final prototype.

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Realisations After trying out various methods and ways on how we could assemble and connect the square pieces together, We realised that by laying the square pieces vertically along the creek, we could actually generate a fluid form using the square panels cut.

This was used as the starting point in constructing our prototype. While laying the pieces together, we realised that we could also create a dynamic facade by connecting the individual panels in different orientations. Due to the transparency of perspex, the entire structure seemed to be an organic form while in fact they are created out of straigh squared panels. These panels can also be orientated and connected flexibly with other panels, creating depth for the structure while being perceieved as a flat panel from a certain angle. Deceiving the entire form of the prototype.

The mirrored perspex installed also reflects the surrounding contour, hence enabling it to be seen as though that particular perspex is also transparent, enhancing the idea of deception.

Connection between square pieces Square pieces are connected individually and flexibly from one another to provide variety to the overall facade and form.

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FInal Prototype Outcome

FInal Prototype Outcome

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FInal Prototype Outcome

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Algorithimic Sketchbook Week 12 Final Presentation | Deception

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Colouring in on our linework For the final presentation, we wanted to present our thought process along with the ideas taken from colouring in our linework created instead of presenting the final outcome of the entire semesterâ&#x20AC;&#x2122;s work. Since, we did not have a final or satisfied outcome for our design, it would be a good opportunity to showcase the various possibilities our design could be further developed based on the idea and concept of deception that we have worked for throughout the entire semester.

Following the outline of our modelâ&#x20AC;&#x2122;s prototype form, we referenced these curves onto Grasshopper as the starting point for our reverse engineering process.

Overall shaded form of one linework from using Panelleling tools on Grasshopper

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In Grasshopper, the curves are lofted to replicate the similiar form as the prototype in Week 11.

We used panelling tools to obtain individual rectangular shapes similiar to those assembled in our prototype. While baking the linework, we decided to bake a similiar copy and moved it upwards as we realised that the lines seen from a distance were vague and were not distinct from one another.We decided that this could be used to symbolise the idea of deception.

Final linework of both forms after one of them is moved upwards and combined with the other.

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Colouring- In outcome and Render My drawings

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Lesterâ&#x20AC;&#x2122;s drawings

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Jasonâ&#x20AC;&#x2122;s drawings

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Chosen Work The concept taken from my drawing follows on the idea of tranparency which could be used as form of deception. This will give the sense of invisibility from a distance enabling one to not notice the structure from afar but will eventually realise the prescence of the pavilion on site.

Ultimately giving a sense of deception to the existance of the structure.

Lesterâ&#x20AC;&#x2122;s drawing revolves around the perception of the potential of what the structure might be in all aspects. By having colours overlapping some vector lines, it makes those lines invisible in a way, also suggesting the transparency of the object. With this, there is also a confusion of what is behind and what is in front. Some lines are selected and highlighted to enhance the possibility of having different structural frames as it could be wires in tension or simply steel structures supporting the frame. His designâ&#x20AC;&#x2122;s usage could be speculated to be a barrier for floods when the water levels rise along the creek or to be even an aquarium.

Jasonâ&#x20AC;&#x2122;s drawing involves an analogy related to the idea of deception. His analogy is regarding the an ice cube being in the centre of a scorching surrounding. Using his analogy, it is not possible for the ice cube to be there in the hot surrounding as it would have already melted. However, it is still there and has not melted yet, making it a form of deception of the structure being there while in fact there might not be anything there.

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Group Photo for week 12 final presentation

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C.3 Final Detail Model Pinwheel Wonderland

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Fabrication Process We had to fabricate a partial section of the model which demonstrated how the connection between the pieces were done.

During this process, we decided to reuse the perspex square panels as the facade for the model. However, we also wanted to reduce the messiness that caused by the hot glue gun for connecting the perspex pieces together in week 11 while maintaining the organic form that we have envisioned throughout out design process.

Hence we came up with a bracketing system as the connection and also a claw system where it holds the glass pieces together.

All components were modelled and laser cut to ensure precision and accuracy in dimensions. The material chosen was also clear perspex as it demonstrates the idea of transparency for our overall concept explored throught the semester.

Initial method of fabrication was to drill holes into the perspex while connecting them with strings to create the entire form. However, during drilling, cracking on the perspex happened, causing us to change our methods in fabrication. This lead to the idea of using bracketing as the connections while creating a claw system to hold the perspex square pieces.

Laser cut components carefully taken out and organised for a systematic assembly.

A part of the assembled component fell onto the floor during assembly. It took us about 15 minutes to search for the component.

This reminded us that te concept of deception is heavily implied here through the use of clear perspex to demonstrate the idea of transparency, ultimately deceiving us...

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Joint and Connection Detail

Claw Frame to hold the perspex square pieces in place

Perspex Square Pieces

Customised stand

Isometric break up of final detailed model Bracketting Joints 146

Plan

Side Elevation

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Front Elevation

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B.7 Learning Objectives and Outcomes

The Biggest Realisation

Deception

Having this studio particularly as a whole taught me that the final outcome is not always completed and the conclusion in a project. As the saying goes, one does not run out of ideas, they just run out of time. Hence, reflecting on this quote, I like to think that my design based on the idea of deception could be taken to greater heights and that this concept could be further developed for as long as it takes.

This topic that I decided to explore on along with my teammates: Lester and Jason had been one of the most unique journeys that I have embarked on in this Studio. As we were dwelling with illusions, perceptions and feelings which were highly subjective to an individual, I often found myself in constant challenge as there is relentless debates with them on the methods and ideas to enhance the design proposals that we come up every week. Sometimes, I find myself in conflict with them or even with myself as these debates often question my though process and myself in general. Nevertheless, we would come up with a solution which satisfies everyone.

I also realised that it wasnâ&#x20AC;&#x2122;t the aesthetics that really mattered in a good design, a design could look aesthetically unpleasing but if the idea behind it could well resonate with the related problem or brief, it is an incredible design. Therefore, coming from two designing studios which I undertook in the previous semesters which highly enhances on the aesthetics of a design, I have learn to embrace the concept of a good design without regarding its aesthetics. Therefore, most of the works presented in this journal are not the best in aesthetics, but contains one of the most intriguing ideas and concepts on the topic that we have studied on: Deception.

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The final presentation had been an eye experience for me personally as I have never presented something so conceptual to the fact that there was no final outcome and our design was practically nothing but ideas and concepts generated throughout the semester. I did enjoy the process overall and I am glad that I made this choice alongside Lester and Jason as I might never get an opportunity like this to present something so abstract.

More Concepts but Few Technical Skill I also realised that I did not really get much exposure in Grasshopper as our definitions were often simple but contained rich contents of concepts and ideas. This was not something that I had expected when I signed up for this studio.

However, I have come to an understanding that the technical aspect in Grasshopper could be easily learned while it is the ideas discussed along with the friendships created in the weekly studios which were the key to improve myself in Architecture. Thus, this is something which I will not exchange for if I had the chance to rewind.

To Lester, Jason and Julius It has been a pleasure working with all of you. I would be standing where I am right now if it wasnâ&#x20AC;&#x2122;t your help throughout this semester. To Julius, thank you for guiding me throughout this Studio and also sharing with me your ideas and opinions on our designs and also in life. These opinions are something which I will carry forward throughout my career in Architecture and also in life as an individual. To my teammates, Lester and Jason, I really enjoyed working with you guys despite the ups and downs that we have shared. This would not have been successful if it was not for the two of you. I apologise for any misunderstandings or inconvinicence that I may have caused throughout this semester and hope that you will understand and forgive me. The friendship created out of this alliance is something that I will treasure for life.

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C.5 Bibiliography Acerboni, Francesca, “Sustainable Designs By DGT - Architecture - Domus”, Domusweb.It, 2016 <http://www.domusweb. it/en/architecture/2016/09/15/sustainable_designs_by_dgt_architectures.html> [accessed 30 July 2017]

Arch Daily, Toyo Ito’s Taichung Metropolitan Opera House Photographed By Lucas K Doolan, 2016 <http:// www.archdaily.com/796428/toyo-itos-taichung-metropolitan-opera-house-photographed-by-lucas-kdoolan> [accessed 15 September 2017] Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11,12 Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press pp. 33-45 “Fabric Concrete - News - Domus”, Domusweb.It, 2017 <http://www.domusweb.it/en/news/2016/06/24/joseph_ sarafian_ron_culver_fabric_forms.html> [accessed 10 August 2017] Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1-16.

Henson, Bill, “Bill Henson | NGV”, Ngv.Vic.Gov.Au, 2017 <https://www.ngv.vic.gov.au/exhibition/bill-henson/> [accessed 15 September 2017] Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 “Microlibrary Bima - News - Domus”, Domusweb.It, 2017 <http://www.domusweb.it/en/news/2017/07/27/microlibrary_ bima.html> [accessed 5 August 2017].

Moore, Rowan, “Estonian National Museum Review – Touching And Revealing”, The Guardian, 2017 <https://www. theguardian.com/artanddesign/2017/jan/01/estonia-national-museum-review-touching-and-revealing-dgt-dorell> [accessed 30 July 2017] MVRDV: Flower Building - Architecture - Domus”, Domusweb.It, 2015 <http://www.domusweb.it/en/ architecture/2015/10/22/mvrdv_flower_building.html> [accessed 30 July 2017] 10. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1-10.

“Parametric Tower - News - Domus”, Domusweb.It, 2017 <http://www.domusweb.it/en/news/2017/03/16/studio_acht_ observation_tower.html> [accessed 10 August 2017] Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 8-1

“SG2012 Gridshell « MATSYS”, Matsysdesign.Com, 2012 <http://matsysdesign.com/2012/04/13/sg2012gridshell/> [accessed 23 August 2017] “Spatial Curves”, Domusweb.It, 2016 <http://www.domusweb.it/en/news/2016/02/20/team_curvoxels_spatial_curves. html> [accessed 4 August 2017]

“West Side Story - Deckchair Cinema”, Deckchair Cinema, 2017 <https://www.deckchaircinema.com/films/ west-side-story/> [accessed 13 September 2017]

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