Sat Naing Aung_Sat_860309_FinalJournal

STUDIO AIR FINAL JOURNAL

2018, SEMESTER 2, ISABELLE JOOSTE SAT NAING AUNG (860309)

Table of Contents 4 A. CONCEPTUALISATION 4 A1. Design Futuring 6 A2. Design Computation 8 A3. Composition/Generation 10 A4. Conclusion 10 A5. Learning Outcomes 12 A6. Algorithmic Sketches 17 B. CRITERIA DESIGN 18 B1. BIOMIMICRY 20 B2. Case Study 1.0: The Morning Line 24 B3. Case Study 2.0: ICD-ITKE Research Pavilion 2013-14 30 B4. Technique: Development 34 B5. Technique: Prototypes 38 B6. Technique: Proposal 43 B7. Learning Objectives and Outcomes 44 C. DETAILED DESIGN 46 C1. Design Concept 62 C2. Tectonic Elements and Prototypes 80 C3. Final Detail Model 92 C4. Learning Objectives and Outcomes

INTRODUCTION

My name is Sat Naing Aung. I am a 3 rd year Architecture and Construction student at the Melbourne University, originally from Burma, aka Myanmar.

Architecture, for me, is a form of problem solving which requires multi-displinary knowledge to achieve an optimum solution not only for a client, but for our planet as a whole.

In addition to Architecture, I’m also passionate about Photography, especially Macro because I always love to see things from a different perspective.

Regarding Digital Tools, I have been using computers to translate my ideas into drawings, diagrams and renders since the beginning of the course. I have gained an intermediate level of knowledge in AutoCAD, Rhino3D, Photoshop, illustrator and inDesign in the past two years.

Nevertheless, I have only learned in theory how Algorithmic Design is capable of simulating a situation to generate all the possible solutions at an extreme level of accuracy in a significantly shorter time frame than human beings. I have never used computers as a generative tool to produce works that would not be possible otherwise.

Therefore, I grasp this opportunity at Studio Air to dive into this field of Architecture and improve my skill set with computer-generated design which, I believe, is the future of Architecture.

A. CONCEPTUALISATION A1. Design Futuring We are living in an era in human history when rapid deterioration of the earth due to our human-centred activities over thousands of years is being witnessed and recognized. It is upon us to take immediate and effective actions against these harmful conditions to guarantee the future of our own as well as other living species on this planet. According to Fry, this is only possible through Architecture and Design[1].

Emerged out of the necessity to provide shelter as one of the basic human needs, Architecture has become much more than merely designing buildings. Throughout its development, Architecture has and has been both positively and negatively influenced by various aspects including but not limited to politics, culture, life style, economy and sustainability. Undoubtably, it plays a crucial role in acting against the defuturing of our planet.

Fry states that ‘design futuring’ comprises two tasks: to slow down the accelerating rate of defuturing and to redirect our activities in a way that is non-anthropocentric[2].

FIG.1: STRUCTURAL ANALYSIS OF GERMAN PAVILION, EXPO ‘67

FIG.2: GERMAN PAVILION, EXPO ‘67

German Pavilion, Expo ’67 by Frei Otto Otto’s lightweight and low-cost structures were results of the World War 2, during which he built many structures with very limited source of materials. Based on his radically simple concepts of tension between suspension point and anchors (Fig.1), he pioneered the tent-like structural system at an industrial scale after the war[3]. Referred to as “a tight, white sheet draped over tent poles” (Fig.2), the German Pavilion at Expo ’67 which featured a suspended hyperbolic structure made out of steel cable mesh and translucent polyester membrane was Otto’s first work to be internationally recognized[4]. It was constructed within a period of six weeks and dismantled after the expo, emphasizing the structure’s efficiency in construction.

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CONCEPTUALISATION

Despite being a temporary structure, it started a new chapter in structural intelligence and was the major inspiration to many of the tensile structures constructed during the past 50 years .

Although invented about half a century ago, the idea is still relevant today. Together with technology, it could be further developed to design projects like ‘The Millennium Dome’. Moreover, today’s advancement in material properties and recyclability might be able to improve the concept’s resource efficiency to slow down the rate of defuturing.

FIG.3: UMWELT ARENA

Umwelt Arena by Rene Schmid Architekten Fry argues that one of the causes of defuturing is our treatment to the planet’s resources as if they are infinitely renewable[5].

In fact, sun is the only infinite source of energy accessible for free from almost every part of the earth. It provides light and heat which can either be directly used or be transformed into other forms of energy such as electricity and stored to be available when required.

The Umwelt Arena runs on solar power which is harvested by the photovoltaic system integrated onto the entire roof surface area (Fig.3). This system generates 540,000 kilowatt-hours of electricity per year which is more than what the building requires to run for a year, making it a “plus energy house”[6]. Unlike the German Pavilion, it is not the first building to use this technology.

However, it is an excellent demonstration of the use of technology due to the placement of roof panels at different angles to collect maximum solar energy throughout the day.

This building serves as a prime example of modern environmental technologies that are exhibited in it. In other words, it contributes to design futuring to redirect human activities by promoting to use renewable sources of energy.

1. Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford, New York: Berg, 2009), p. 1.

2. Tony Fry, Design Futuring, p. 6.

3. David Langdon, ‘AD Classics: German Pavilion, Expo ‘67 / Frei Otto and Rolf Gutbrod’, ArchDaily, 27 Apr 2015, [Accessed 7 Aug 2018] <https://www.archdaily.com/623689/ad-classics-german-pavilion-expo-67-frei-otto-and-rolf-gutbrod/> 4. David Langdon, ‘German Pavilion, Expo ‘67’, ArchDaily, <https://www.archdaily.com/623689/ad-classics-german-pavilion-expo-67-frei-otto-and-rolf-gutbrod/> 5. Tony Fry, Design Futuring, p. 1.

6. Vaillant, ‘Green Umwelt Arena Spreitenbach’, Vaillant, 2018, [Accessed 7 Aug 2018] < https://www.vaillant.info/architects-planners/reference-projects/green-arena-zurich/>

CONCEPTUALISATION 5

A2. Design Computation Since the invention of computer-aided design, computers have been widely used in Architecture in many ways. During the early days, they were used to computerize analogue tasks such as drafting for improved speed and accuracy with less labour. As the technology has advanced, computers become capable of more than computerization. Thank to their ability to process tons of information in a relatively short period of time with perfect accuracy, they are now used to compute input data to generate results, for example, structural analysis, form generation, etc. This advance in technology has caused dramatic changes in the building industry, especially in terms of scale and quality of projects.

At the same time, there has been an ongoing debate on the use of computers in Architecture and whether they are going to completely take over the role of human designers in the future. Although this theory seems possible since computers can perform most of the design-related tasks faster without careless mistakes as instructed, they lack the ability create a new instruction on their own. In other words, they do not have the qualities such as creativity and intuition to become a designer[7].

Therefore, it is impossible to completely remove humans out of the design process. Instead, a more advanced complementary relationship between humans and computers could be the answer to the future of Architecture.

FIG.4: NATURTHEATER GRÖTZINGEN

Naturtheater Grötzingen by Michael Balz and Heinz Isler Architectural form finding processes vary from sketching a desired form based on the designer’s knowledge or experience to using digital algorithms to produce solutions based on a set of defined rules.

An interesting innovation that emerged between the two methods is the use of physical models for design computation which based on laws of physics in a given situation to achieve an optimum form. Before the digital computation was available, this method was practised to produce practical and structurally efficient forms to span over a relatively large area which would not be possible otherwise.

Naturtheater Grötzingen was one of the projects designed by physically experimenting pneumatic membranes and inverting hanging membranes.

FIG.5: FORM FINDING OF NATURTHEATER GRÖTZINGEN

The final design was a product of hanging membranes which is believed to be the most accurate method because the same gravitational force acts on the physical model and the actual structure, thus the tensile forces acting in the hanging membrane would reverse into compression when the form is inverted[8] . This results in a shell structure of thin reinforced concrete with an impressive clear span of approximately 650m2 .

FIG.6: FABRICATION OF ICD | ITKE RESEARCH PAVILION 2011

FIG.7: DESIGN PROCESS OF ICD | ITKE RESEARCH PAVILION 2011

FIG.8: ICD | ITKE RESEARCH PAVILION 2011

Research Pavilion 2011 by ICD-ITKE University of Stuttgart With the aid of advanced technology, the aim of this temporary pavilion was to structurally mimic the performance capacity of nature through a modular system. It was algorithmically designed based on biological principles of sand dollar sea urchin’s skeletal plates and the way they are linked at the edges, and digitally fabricated out of 6.5mm thick plywood sheets (Fig.6).

During the design process, an optimized data exchange scheme of closely related form finding and structural analysis was used to repeatedly analyse and modify the complex geometry form[9] (Fig.7). The product was an organic structure which is extremely lightweight compared to its size (Fig. 8).

Computation was crucial not only during the design process of the project but also in the implementation of it. The digital processing power of computers has opened up an infinite range of practical yet unimaginable performance-based opportunities by using simple geometries within the defined parameters from which the most suitable solution can be chosen. Moreover, it has enabled the inter-disciplinary approaches such as biomimicry which could lead to unique architectural innovations.

7. Yehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), p. 2.

8. Tessa Maurer, Elizabeth O’Grady and Ellen Tung, ‘HANGING MEMBRANE: THE NATURTHEATER GRÖTZINGEN’, Evolution of German Shells, 2013, [Accessed 7 Aug 2018] < http://shells.princeton.edu/Grotz.html> 9. Achim Menges, ‘ICD/ITKE Research Pavilion 2011’, University of Stuttgart: Institute for Computational Design and Construction, 2011, [Accessed 7 Aug 2018] < http://icd.uni-stuttgart.de/?p=6553>

A3. Composition/Generation During the past few decades, the Architecture industry has witnessed an enormous shift towards technology in design processes, especially in drafting and structural analysis. Today, the shift has expanded to the conceptual stage which can be regarded as the most fundamental component of design. Architectural composition which arbitrarily relies on aspects such as proportion, program, functionalism, symbolism, experience, etc. has been gradually replaced by computer-generated design which uses algorithmically defined rules to produce a set of possible outcomes. The latter has become more popular for its approach of taking every single definition into consideration to find optimum solutions which address either all or most of the applied restrictions. Due to the computers’ ability to handle and process large and complicated sets of data quickly and accurately, the task has become much more time and labour efficient with little error if compared to the former method.

It is often argued that generative design limits the discretion and creativity of human designers since this process only looks for “strategies to facilitate” for which computers are mainly in charge[10]. It is true to a certain extent that merely instructing a set of parameters to generate a form does not require highly specialized architectural knowledge or creativity apart from algorithmic thinking. However, these skills are extremely vital in originating and defining these parameters which could produce unimaginable outcomes of desired quality. “Evolutionary Architecture” is one such field where creativity as a result of natural evolution is analysed and emulated to form basic parameters of generative architecture[11]. While the process of computational generation alone can be restricting at the conception of a project, it can be used to amplify the human creative power if properly integrated.

Digital Plaster by madMdesign

FIG.9: ALGORITHMIC EXPLORATION OF DIGITAL PLASTER

Digital Plaster was developed based on the concept of material self-organization, or material agency: materials are capable of actively organizing complex patterns and evolving accordingly with their internal morphogenetic potentials as well as external environmental forces. To form the rules for generation, material behaviour of cast plaster in fabric formwork is physically experimented and analysed. The findings such as patterning and connection are then algorithmically defined and simulated to achieve the best possible outcome in terms of “structural performance, material distribution and fabrication”. The ultimate goal of this project is to develop a digitally controlled phase changing material which iteratively evaluates and re-casts with time[12].

The advantage of generation in this process is being able to find the form with desired quality within a relatively shorter period of time. On the other hand, differentiation of the study of material properties and form finding may cause unexpected outcomes when implementing the project at a larger scale.

FIG.10: DIGITAL PLASTER 8

CONCEPTUALISATION

Composite Swarm by STUDIO ROLAND SNOOKS Composite Swarm is a 2.5m tall architectural prototype which is structurally efficient with minimal use of materials. It was designed with a swarm algorithm defined by the self-organizing behaviour of ants and fabricated out of composite materials thinner than 1mm using robots. The surface, structure and ornament of the installation are fused into a single form which is not deductable[13].

Design generation was able to find an optimum shape which is self-supporting up to a height of 2.5m while using material thickness of less than a millimetre which is otherwise unimaginable. This could be further developed into a façade or an ornamentation at a larger scale.

FIG.11: COMPOSITE SWARM

10. Fakhri A Bukhari, A Hierarchical Evolutionary Algorithmic Design (HEAD): System for Generating and Evolving Building Design Models (Queensland University of Technology, 2011), pp. 95-96.

11. Fakhri A Bukhari, A Hierarchical Evolutionary Algorithmic Design (HEAD), p. 100.

12. Manuel Jimenez Garcia, ‘DIGITAL PLASTER’, madM, November 2010, [Accessed 8 Aug 2018] <https://manueljimenezgarcia.com/digital-plaster> 13. Roland Snooks, ‘composite swarm’, STUDIO ROLAND SNOOKS, 2013, [Accessed 8 Aug 2018] <http://www.rolandsnooks.com/#/compositeswarm/>

CONCEPTUALISATION 9

A4. Conclusion Conceptualization is the most fundamental in an architectural project because it forms the foundation of the entire project.

Design futuring approaches must be properly incorporated at this stage in order to achieve a solution with the desired quality with the applied restrictions.

In my opinion, computational design towards a generative form is the most accurate, efficient and logical approach to produce the best possible outcome.

Although it seems limiting in terms of creativity, generative architecture, in fact, is a great tool to amplify ones creativity if properly utilized which could lead to superb innovations.

Design computation might not be the only answer towards the future of our planet. However, at this pace of defuturing, it might be the best possible solution to slow down the rate of defuturing while reshaping human activities.

A5. Learning Outcomes At this stage of learning, my knowledge on algorithmic design has improved a lot, particularly in theory.

I have learned about the importance of design futuring and the role of Architecture in it.

Moreover, I have realized how computation can be beneficial to Architecture in addition to computerization of design tasks.

Last but not least, I have learned the advantages of generative architecture over conventional compositon.

If I ever had a chance to learn about these in the past, it would have been of huge aid in my previous projects in terms of efficiency and accuracy.

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Reference List 1.

Achim Menges, ‘ICD/ITKE Research Pavilion 2011’, University of Stuttgart: Institute for Computational Design and Construction, 2011, [Accessed 7 Aug 2018] < http://icd.uni-stuttgart.de/?p=6553> 2.

David Langdon, ‘AD Classics: German Pavilion, Expo ‘67 / Frei Otto and Rolf Gutbrod’, ArchDaily, 27 Apr 2015, [Accessed 7 Aug 2018] <https://www.archdaily. com/623689/ad-classics-german-pavilion-expo-67-frei-otto-and-rolf-gutbrod/> 3.

Fakhri A Bukhari, A Hierarchical Evolutionary Algorithmic Design (HEAD): System for Generating and Evolving Building Design Models (Queensland University of Technology, 2011), pp. 95-96.

4.

Manuel Jimenez Garcia, ‘DIGITAL PLASTER’, madM, November 2010, [Accessed 8 Aug 2018] <https://manueljimenezgarcia.com/digital-plaster> 5.

Roland Snooks, ‘composite swarm’, STUDIO ROLAND SNOOKS, 2013, [Accessed 8 Aug 2018] <http://www.rolandsnooks.com/#/compositeswarm/> 6.

Tessa Maurer, Elizabeth O’Grady and Ellen Tung, ‘HANGING MEMBRANE: THE NATURTHEATER GRÖTZINGEN’, Evolution of German Shells, 2013, [Accessed 7 Aug 2018] < http://shells.princeton.edu/Grotz.html> 7.

Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford, New York: Berg, 2009), p. 1.

8.

Vaillant, ‘Green Umwelt Arena Spreitenbach’, Vaillant, 2018, [Accessed 7 Aug 2018] < https://www.vaillant.info/architects-planners/reference-projects/green-arena-zurich/> 9.

Yehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), p. 2.

Figure List Fig.1: STRUCTURAL ANALYSIS OF GERMAN PAVILION, EXPO ‘67, http://www. wintess.com/portfolio/german-pavilion-expo-67-montreal/ Fig.2: GERMAN PAVILION, EXPO ‘67, https://www.archdaily.com/623689/adclassics-german-pavilion-expo-67-frei-otto-and-rolf-gutbrod Fig.3: UMWELT ARENA, https://www.archdaily.com/285637/umwelt-arena-rene-schmid-architekten Fig.4: NATURTHE ATER GROTZINGEN, http://shells.princeton.edu/Grotz.html Fig.5: FORM FINDING OF NATURTHEATER GROTZINGEN, http://shells.princeton.edu/Grotz.html Fig.6: FABRICATION OF ICD | ITKE RESEARCH PAVILION 2011, http://icd.uni-stuttgart.de/?p=6553 Fig.7: DESIGN PROCESS OF ICD | ITKE RESEARCH PAVILION 2011, http://icd.uni-stuttgart.de/?p=6553 Fig.8: ICD | ITKE RESEARCH PAVILION 2011, http://icd.uni-stuttgart.de/?p=6553 Fig.9: ALGORITHMIC EXPLORATION OF DIGITAL PLASTER, https://manueljimenezgarcia.com/digital-plaster Fig.10: DIGITAL PLASTER, https://manueljimenezgarcia.com/digital-plaster Fig.11: COMPOSITE SWARM, http://www.rolandsnooks.com/#/compositeswarm/ CONCEPTUALISATION 11

A6. Algorithmic Sketches - VORONOI CUBE

Voronoi Cube as illustrated in the tutorial is baked and certain cells are removed to create a hollow irregular box.

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CONCEPTUALISATION

Spherical voronoi creates converging towards the centro moved in Z-direction to s

sharp-angular cells oid. Certain cells are how this effect.

Removel of cells in spherical voronoi based on a simple rule: no two cells are to be adjacent.

CONCEPTUALISATION 13

Algorithmic Sketches - CIRCULAR OCTREE

Octree on the surface of open cylinder

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CONCEPTUALISATION

Certain cells are moved in XYZ-dire an exploding effect.

ection to create .

The previous effect is amplified by moving large number of random cells to random distance.

CONCEPTUALISATION 15

“If you with to de T

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B. CRITERIA DESIGN

u want to make a living flower you do not build it physically h tweezers, cell by cell; you grow it from seed. If you want esign a new flower, you will design the seed and let it grow.

The seeds of the environment are pattern languages.â&#x20AC;?

- Christopher Alexander

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B1. BIOMIMICRY Undoubtedly, nature has the best possible solutions to most of our problems today because biological evolution over billions of years has picked out only the fittest to survive through natural selection by culling heaps of unsuccessful variations.

Biomimicry, which translates to “imitation of life” 1, is a design approach utilized in many areas from Velcro to radar technology to bullet trains. It involves a very close relationship with biology, chemistry engineering and mathematics to study a specific part of the nature and apply its characteristics for a desired outcome.

The term is somewhat misleading to be used in architecture, for it does not purely imitate form, function or materiality of the nature. Rather, a basic structural principle or a process from a particular element of nature is extracted and optimized to a stage where it is applicable at architectural scale. This processes of research, abstraction and implementation is better known as “biomimetic” 2 . Interdisciplinary collaboration is the key to this approach: biologists and chemists are mostly responsible for the research, engineers and mathematicians for exploring the underpinning principles of the research outcomes, and architects for finding ways to implement these principles into the built environment 3.

Biomimetic approach could be employed in various aspects of architecture such as structural design (Beijing National Aquatics Centre by PTW Architects), fabrication method (ICD-ITKE Research Pavilion 2013-14 by ICDITKE University of Stuttgart) and material development (Composite Swarm by Studio Roland Snooks).

Due to the self-organized and self-generating nature of biological materials, biomimetic architecture could be the answer to more efficient materials and structural systems. This possibility is enhanced by the computational generative algorithms to open up a new chapter of speculative design theories. On the other hand, it is restricted by the limited capability of fabrication methods available today. Developments of robotic fabrication methods in conjunction with artificial intelligence are underway, however, innovation in this area is not advanced enough yet to be able to fabricate a habitable space at a reasonable rate and cost.

1 Göran Pohl and Werner Nachtigall, Biomimetics for Architecture & Design (Stuttgart, Germany: Springer, 2015), p. 1.

2Göran Pohl and Werner Nachtigall, Biomimetics for Architecture & Design, p. 1.

3 Pasquale De Paola, Form Follows Structure: Biomimetic Emergent Models of Architectural Production (Louisiana Tech University, 2012), p. 305.

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FIG.1: ICD/ITKE RESEARCH PAVILION 2011 (IMAGE: ARCHIDAILY)

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B2. Case Study 1.0: The Morning Line

FIG.2: THE MORNING LINE (IMAGE: ARANDA\LASCH)

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The Morning Line is a series of installation at different places around the world

by Aranda\Lasch in collaboration with Matthew Ritchie and Daniel Bosia.

The project was created as a collaborative place to explore the mutual relationship between art, architecture, cosmology and music. The outcome is a complicated result of a simple principle: a continuous network of intertwining line with no beginning or end in space.

The aim of this principle is for the structure to be self-supporting. For this reason, a threedimensional geometry based on a tetrahedron which can be truncated infinitely to result in smaller geometries of the same shape was developed. Each face of these fractals contains a line drawing that connects to the drawings on adjacent faces to form a continuous line.

The installation is constructed using modular units that are lightweight and recyclable. The overall structure can adopt unique forms to respond to any specific site due to the interchangeable modules of different-shape line drawings.

The aim of the underlying structural principle is reached in a sense that there is no distinction between structure, form and function. The self-supporting structure itself defines the form, space and function of the installation in a context specific way.

FIG.3: DIAGRAM OF THE MORNING LINE (IMAGE: ARANDA\LASCH)

FIG.4: THE MORNING LINE (IMAGE: ARANDA\LASCH)

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Trancated tetrahedrons are connected to one another at different angles.

Reverse Engineering The reverse engineering has not been very successful in a sense that although the line drawings follow the same rule as the original project, the appearances are relatively different. The patterns in the reverse engineering are mostly rectilinear more or less of the same thickness compared to the original projects which are more curvilinear and of random thickness.

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Scaling and trancating is repeated

on the resulting form.

Random line patterns are generated on the faces of tetrahedrons based on a simple rule: the end of one line must be the start of another.

CRITERIA DESIGN

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B3. Case Study 2.0: ICD-ITKE Research Pavilion 2013-14

ICD-ITKE Research Pavilion 2013-14 is one of the research pavilions constructed by students and researchers from the Institute for Computational Design (ICD) and the Institute of Building Structures and Structural Design (ITKE) of the University of Stuttgart.

The aim of the project was to algorithmically mimic the morphology of animals in search for a fabrication method to produce modular structures which is materialefficient and requires minimal formwork yet still have geometric freedom.

A protective shell of beetles the structure of which â&#x20AC;&#x153;relies on the geometric morphology of a double layered system and the mechanical properties of the natural fibre compositeâ&#x20AC;? forms the fundamental principle of this project.

The pavilion is composed from 36 pieces of light weight double layered structures of different sizes. These elements were produced using glass and carbon fibre reinforced polymers with a custom robotic winding process.

The overall form of the pavilion is designed to respond to the site.

The project had successfully achieved its goal by developing a fabrication method for modular structural elements which could be as light as 24.1kg for a piece of 2.6m diameter and able to create site-specific form with complex spatial composition.

FIG.5: BIOMIMETIC PROCESS OF ICD-ITKE RESEARCH PAVILION 2013-2014 (IMAGE: ARCHIDAILY)

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FIG.6: FABRICATION PROCESS OF ICD-ITKE RESEARCH PAVILION 2013-2014 (IMAGE: ARCHIDAILY)

FIG.7: ICD-ITKE RESEARCH PAVILION 2013-2014 (IMAGE: ARCHIDAILY)

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Two hexagonal curves are divided into points which are shifted and connected.

Hexagonal Grid

Concretric circles are formed inside the hexagons followed by a similar process of dividing and connecting points to form another layer of weaving at each layer.

Map to Surface

Extract Vertices Get Normal Vector at Each Corner Move Vertices along the Vectors Connect Moved Points to get another layer of Hexagonal Grid

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CRITERIA DESIGN

Divide both Grids to get same number of Points Shift Points on one of the Grids Connect Original and Shifted Points

The same process is repeated on a grid of hexagons.

The grid of hexagons is mapped onto a non-planer surface.

Positioning of the second layer of hexagons had to be changed from moving along Unit Z vectors to the normal vector of each vertex so that the top layer closely follows the shape of the surface.

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Reverse Engineering This reverse engineering appears to be more successful than the previous one because both the details and the overall form were able to be closely replicated from the original project although they are not perfect similarities.

The main difference between the reverse engineering result and the original project is the variety of types and sizes of geometry involved. The original project features a wider range of these variations whereas the reverse engineering was only able to include similarly sized hexagons.

I would like to try a similar weaving pattern on organic-shape frames to see what kind of unexpected outcomes would appear. Moreover, enlarging the scale to create a habitable space between the two layers would be an interesting iteration to try.

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B4. Technique: Development Matrix of Iterations Basic Tetrahedron

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Brep trancated with 1/3 sized tetrahedrons

Trancated Brep with triangular opening

Trancated Brep with hexagonal opening

Largely Porous Pattern

Relatively Dense Pattern

B

Tranc a

V

Brep trancated with 2/3 sized tetrahedrons

cated Breps connected at hexagonal faces

Very Dense Pattern

Flat Brep trancated with 1/3 sized pentahedrons

Tall Brep trancated with 1/3 sized pentahedrons

Trancated Breps connected at triangular faces

Trancated Breps vertically connected at triangular faces

Denser Pattern with Aperture

Less Dense Pattern with Aperture

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Matrix of Iterations Porous Pattern with Aperture

Differently Sized Frames with Narrow Shift Points

Differently Sized Frames with Small Aperture

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CRITERIA DESIGN

Dense Pattern with Aperture

Differently Sized Frames with Wide Shift Points

Differently Sized Frames without Aperture

Porous

Sam N

Dif w

s Pattern without Aperture

me Size Frames with arrow Shift Points

ferently Sized Frames with Large Aperture

Dense Pattern without Aperture

Same Size Frames with Wide Shift Points

Closely Spaced Differently Sized Frames with Large Aperture

Very Dense Pattern

Differently Sized Frames with Medium Shift Points

Closely Spaced Same Sized Frames with Large Aperture

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B5. Technique: Prototypes Melting and Shaping 3D Printed Models The attempt was unsuccessful because the plastic was too difficult to handle and control when melted.

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Form Finding with Plaster Cloths The attempt was successful because wet plaster cloths are easier to work with. However, the use of material is being reconsidered.

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Weaving with Plaster Cloth Strips The attempt was successful but the process took quite some time to complete which makes us reconsider because we will have to produce heaps of this kind of units.

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Weaving with Twine The attempt was successful because twine is easier to handle than wet plaster cloth strips, therefore, cutting down the production time.

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B6. Technique: Proposal

1. To protect hatchlings an

1. To prevent owlets from

Basic Form 2

Hexagonal Patterning dense, therefore suita and north facing pane

This form is chosen to be the most suitable due to its height to width proportion. It also features triangles facing downwards through which an owl can see the ground.

North

Composition 3 The junction of two cells is enough for an owl to go through in this iteration. It also provides a downward facing entrance which is not visible to flying predators and hard to be reached by non-flying ones.

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CRITERIA DESIGN

Hexagonal Patterning therefore suitable for

Selection Criteria for Panels

nd owlets against predators

3. To provide holes big enough for adult owls to go through

falling out of the nest

4. To limit the amount of light entering the nest

5. To provide holes to see food on the ground through

g 3 is very able for tray els.

Triangle Patterning 5 is very dense, therefore suitable for north facing and upward panels.

Triangle Patterning 4 is less dense, therefore suitable for south facing panels.

Triangle Aperture 1 features a small hole through which an owl can see but no owlet could fall, therefore suitable for downward panels.

Hexagonal Aperture 2 features a hole big enough for an adult owl to enter but also provides a barrier to keep owlets from falling.

g 4 is less dense, south facing panels.

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Materiality Frame: 3mm Laser Cut MDF (strong, stiff, biodegradable)

Pattern: 2mm Twine (strong, flexible, biodegradable)

Connection:

2mm Twine (UHU Adhesive for extra stability)

Assembly: With the aid of Augmented Reality for ease and precision of fabrication

Visual appearance (natural) is also important to attract and camouflage with the owls.

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B7. Learning Objectives and

Objective 1: I believe I have achieved forming a brief by formulating necess

Objective 2: Although I was able to ge using grasshopper, I still need to imp

Objective 3: After this submission, I h my 3D modelling skills to a certain de confident to complete a project by m

Objective 4: I have learnt to take surro into consideration while designing by

Objective 5: Although I was able to de thinking, I could not respond to my ow

Objective 6, 7 and 8: I think I still nee areas but hope to gain more of these

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CRITERIA DESIGN

d Outcomes

this objective of sary questions.

enerate a variety of iterations rove in this area.

have developed egree where I am myself.

ounding atmosphere y doing this project.

evelop a case through critical wn case in the most effective way.

ed to improve myself more in these e by the end of the semester.

CRITERIA DESIGN

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C. DETAILE

â&#x20AC;&#x153;The good building is not on but one which makes the than it was before the

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PROJECT PROPOSAL

ED DESIGN

ne that hurts the landscape, landscape more beautiful e building was built.â&#x20AC;?

- Frank Lloyd Wright

PROJECT PROPOSAL

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C1. Design Concept Feedbacks and Responds Take advantage of the design being suspended in the air.

Designing with gravity is an opportunity which is not always available when the structure is on the ground. A gravitational form finding technique (precedents by Gaudi and Achim Menges) is employed with the aid of Kangaroo Physic Simulation.

FIG. 1: HANGING CHAIN MODELS BY ANTONI GAUDI [IMAGE: DATAPHYS]

Antoni Gaudi â&#x20AC;&#x201C; Hanging Chain Models Gaudiâ&#x20AC;&#x2122;s Sagrada Familia in Barcelona is perhaps the most famous example of a structure to be designed using the forces of gravity as computational inputs. The form of Boohaus is developed based on a similar principle to this using Kangaroo Physic Simulation. Although Gaudi reversed the pure tension model to create a pure compression structure that stands on the ground, we do not need this step since we are after a tensile structure in the air.

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PROJECT PROPOSAL

Achim Menges – Hyper Toroidal Deep Surface Prototype Menges’ experimentation with membranes, particles and springs is closer to our design in terms of form construction than Sagrada Familia as it is designed to be suspended mid-air instead of directly standing on the ground.

FIG. 2: HYPER TOROIDAL DEEP SURFACE PROTOTYPE BY ACHIM MENGES

PROJECT PROPOSAL

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PROJECT PROPOSAL

Feedbacks and Responds Form is rigid, linear and geometric.

The original form works against the idea of making a natural appearance which would not be too alien for the clients to occupy. To rectify this, a type of thicker rope is used in place of laser-cut MDF, but the concept of weaving remains. The result is a more organic and flexible design which is completely hanging in the air.

PROJECT PROPOSAL

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Feedbacks an

Improve the parametric

Position of trees to be suspended from influence face the sunâ&#x20AC;&#x2122;s brightest direction (where there Boohaus will not get sun blinded (although

The design can be updated param

This will result in Boohauses with slightly different co

Entrance

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PROJECT PROPOSAL

and Responds

c aspect of the design.

es the overall shape, but the entrance will always e are fewer trees) so that owls flying towards a h the chance is rare as they are nocturnal).

metrically based on different inputs.

onfigurations depending on the vegetation of the site.

Entrance

PROJECT PROPOSAL

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Feedbacks and Responds Owl feather is not hydrophobic.

Since it is not possible to completely keep the water out due to the nature of the design using rope and twine, a way to divert rainwater is worked out from material properties.

Water tend to travel along the twine or rope until it meets a disturbance which, in our design, would be another twine or rope. Majority of the water in along the twine or rope drops at this point, only with a small exception which is absorbed.

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PROJECT PROPOSAL

This principle is used to design a hydrophobic triangle with converging lines whose tip is lower than the base. Two layers of triangles pointing at different directions will be installed under the canopy layer to divert the rainwater towards the edge of Boohaus which is away from the owls.

PROJECT PROPOSAL

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Total Counterweight > Total Weight of Female and Owlets Total Counterweight < Total Weight of Female, Owlets and Male

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PROJECT PROPOSAL

Feedbacks and Responds Could the design be responsive to client’s nature?

Owls are in the middle of the food chain: they are nocturnal predators yet they can be vulnerable during the day while young.

When the male owl is out, looking for food, only the owlets and the female is left in the nest. Boohaus should be enclosed in such situation for their safety.

On the other hand, if the Boohaus features some apertures, male can see preys on the ground while being inside which would be beneficial.

Therefore, Boohaus is designed to be able to transform it’s envelope for these situations.

A rope system with counterweights is devised for this purpose.

Depending on the total weight of owls occupying inside, the curtains will either cover or open up the apertures.

The total of Counterweights is bigger than the total of an average female and 2 to 3 owlets but smaller than the latter plus the weight of an average male owl.

[SEE OPERABLE CURTAIN VIDEOS IN “MOVIES” FOLDER AND THE PROTOTYPE]

PROJECT PROPOSAL

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Potential Development and Implementation Boohaus Worldwide Merri Creek has plenty of trees which can grow more than 6m tall and are ideal for a Boohaus to be suspended from such as Lightwood, Black Wood, Black Wattle, Drooping Sheoak, Red River Gum, Yellow Gum, Yellow Box, Swamp Gum and Manna Gum. The design can potentially be modified and used in any other area with tall vegetation and for many other birds that are of similar nature.

Resilience In case of a catastrophe (e.g. a bushfire) after which there are very few trees left, the design could be modified so that it could be suspended from only 3 points using the same principle.

Prosperity If the population of owls has significantly increased in an area and more habitat is required, the design could be modified so that several Boohauses can be attached to networks of cables running across the trees. This could be perceived as a mini-metropolis of owls.

Inspiration Boohaus could be an inspiration for transformable shelters for human habitation in parts of the world where high-tech mechanisation is not available.

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PROJECT PROPOSAL

PROJECT PROPOSAL

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Workflow of Design Definition

Points

Connect with lines to make Suspension Ropes (Taut)

Kangaroo Hanging Algorithm

Suspension Ropes (Suspended)

Canopy Rope Vertices

Connect with lines to make Canopy Ropes (Taut)

Kangaroo Hanging Algorithm

Evaluate length (90%)

Kangaroo Hanging Algorithm

Load to apply

Anchor points Kangaroo Solver Component Geometry to apply load to

Points on geometry

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PROJECT PROPOSAL

Remove null and duplicate data items

Hanged Geometry

Canopy Ropes (Suspended)

Divide mesh edges & merge as 1 list

Join lines and create brep

Canopy Rope Midpoints

Relative item: 119 points

Average point

Connect with lines to make Hammock Ropes (Taut)

Kangaroo Hanging Algorithm

Canopy Weave

Relative item: 50 points

Hammock Ropes (Suspended)

Divide ropes with points

Shift list to create Hammock Weave

Cull weave pattern on one side to create entrance weave pattern

Mesh endpoints

Connect with lines and create mesh (Taut Curtains)

Triangulate mesh

Tip of mesh (first point in list) Mesh edges

Kangaroo Hanging Algorithm

Suspended Curtain

Points on mesh

PROJECT PROPOSAL

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Workflow of Fabrication Suspend Suspension Rope to replicate in situ set up

Attach Curtain Rings at specified points

Weave Curtain between the triangle created by the midpoints of each Canopy Rope and the endpoints of the lengths of Canopy Rope that have passed through the Curtain Rings

Run Canopy Ropes through pairs of Curtain rings to form the pentagonal periphery of the Canopy, leaving enough length beyond each Canopy Ring to endure proper Curtain system function

Tie weights to tip of Curtains

At midpoints of Canopy Ropes, attach Hammock Ropes beneath the center of the pentagon created by the canopy ropes

Weave and attach Hydrophobic Triangles to Canopy Ropes

Weave twine through Canopy Ropes skipping the specified number of points in the grasshopper definition (50 & 119) to create Canopy Weave.

Weave twine through Hammock Rope according to Grasshopper definition to create Hammock Weave. Weave by pushing on rope to separate, creating space and push twine through with needle. Use one length to pass through 5 points and then tie off at both ends.

Upon completion of entrance Hammock Weave, thread a length of rope along the top lengths of twine to facilitate owl entry by providing a thick enough member for gripping.

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PROJECT PROPOSAL

Cables

Canopy Twine

Canopy Rope Counterweight Curtain

Hydrophobic Triangle

Hammock Twine

Hammock Rope

PROJECT PROPOSAL

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C2. Tectonic Elements and Prototypes Digital Iterations: Tree Location

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PROJECT PROPOSAL

Boohaus is to be suspended from 5 suitable trees in terms of height, strength and position.

Different tree positions can result in different configurations most of which can create a habitable space for a family of owls.

PROJECT PROPOSAL

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Digital Iterations: Total Inclination

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PROJECT PROPOSAL

Inclination of Boohaus varies depending on the difference in height of suspension points attached to the trees. The ideal degree of inclination is a balance between diversion of rainwater at canopy level and creating a habitable space inside.

PROJECT PROPOSAL

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Digital Iterations: Canopy Weave Pattern

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PROJECT PROPOSAL

The purpose of canopy is to provide reasonable protection against rain and sun.

The most suitable pattern would be the one which has maximum protection, however, ease of fabrication also needs to be considered.

PROJECT PROPOSAL

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Digital Iterations: Hammock Weave Pattern

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PROJECT PROPOSAL

Hammock weave pattern is crucial as it creates the habitable space for owls.

The most fundamental design criteria would be structural integrity for which the most evenly distributed pattern is chosen.

PROJECT PROPOSAL

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Digital Iterations: Hammock Weave Density

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PROJECT PROPOSAL

The density also plays an important role for the habitable space as it determines the porosity of the hammock.

The size of pores must be small enough for eggs and owlets not to fall off, but big enough for the owlsâ&#x20AC;&#x2122; waste to fall through.

PROJECT PROPOSAL

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Digital Iterations: Hammock Form

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PROJECT PROPOSAL

The form defines the size of habitable space between the canopy layers and the hammock.

It must not be too deep as it can be difficult for the owls to get out, yet not too shallow to risk the owlets accidentally falling off.

PROJECT PROPOSAL

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FIG. 3: WEAVING THROUGH ROPE

Fabrication:

Detail prototypes ar the design is actua

FIG. 4: CONNECTING TWO ROPES

It was discovered thro the rope can be wea needle instead of kn which made the f

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PROJECT PROPOSAL

FIG. 5: WEAVING THROUGH ROPE

: Prototypes

re a way of testing if ally constructable.

FIG. 6: COUNTERWEIGHT FOR CURTAINS

ough prototyping that aved through using a notting at each point abrication faster.

PROJECT PROPOSAL

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Fabrication: Boohaus

Another possible option is to use robotic weaving as in ICD-ITKE Research Pavilion 201314. However, we do not have enough technical knowledge and budget for it at this point.

FIG. 10: SETTING UP SUSPENSION POINTS

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PROJECT PROPOSAL

FIG. 7: CUTTING ROPE TO LENGTH

We did a manual weaving of the design which was cheaper, yet require a lot of time and effort.

FIG. 11: ATTACHING HAMMOCK ROPE TO CANOPY ROPE

FIG. 8: MARKING POINTS TO LENGTH

A good balance between cost and fabrication time/effort of the entire model is difficult to achieve.

FIG. 9: CONNECTING ROPES FIG. 12: WEAVING HAMMOCK

FIG. 13: WEAVING HAMMOCK

PROJECT PROPOSAL

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FIG. 16: ATTACHING CURTAIN

The design features 4 operable curtains for the 4 apertures except the main entrance. A physical prototype for one is fabricated to show the working mechanism. A metal ring is used in place of a zip tie for smoother operation.

FIG. 14: SETTING UP SUSPENSION POINTS

Fabrication: Operable Curtain

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PROJECT PROPOSAL

PROJECT PROPOSAL

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FIG. 20: OPERATION: FULL LOAD

FIG. 17: TRIMMING

FIG. 19: OPERATION: MEDIUM LOAD

FIG. 18: OPERATION: NO LOAD

FIG. 15: SETTING UP ROPE SYSTEM

C3. Final Detail Model Digital Renders

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PROJECT PROPOSAL

PROJECT PROPOSAL

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The apertures are closed as the male leaves so that the rest of the family is camouflaged for their safety.

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PROJECT PROPOSAL

The apertures are open when the male is inside so that he can see preys on the ground.

PROJECT PROPOSAL

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The apertures are closed as the male leaves so that the rest of the family is camouflaged for their safety.

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PROJECT PROPOSAL

The apertures are open when the male is inside so that he can see preys on the ground.

PROJECT PROPOSAL

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Physical Model: Boohaus

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PROJECT PROPOSAL

FIG. 21: BOOHAUS

PROJECT PROPOSAL

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FIG. 23: BOOHAUS - INTERIOR

FIG. 22: BOOHAUS - INTERIOR

FIG. 24: OPERABLE CURTAIN

Physical Model: Operable Curtain

FIG. 25: OPERABLE CURTAIN - OPEN 88

PROJECT PROPOSAL

FIG. 26: OPERA

ABLE CURTAIN - CLOSED

FIG. 29: OPERABLE CURTAIN - TEXTURE

PROJECT PROPOSAL

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FIG. 28: OPERABLE CURTAIN - COUNTERWEIGHT

FIG. 27: OPERABLE CURTAIN - METAL RING

Physical Mo

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PROJECT PROPOSAL

FIG. 30: OPERABLE CURTAIN - NO LOAD

FIG. 31: OPERABLE CURTAIN - SMALL LOAD

FIG. 34: OPERABLE CURTAIN - NO LOAD

FIG. 35: OPERABLE CURTAIN - SMALL LOAD

odel: Operable Curtain

FIG. 32: OPERABLE CURTAIN - MEDIUM LOAD

FIG. 33: OPERABLE CURTAIN - FULL LOAD

FIG. 36: OPERABLE CURTAIN - MEDIUM LOAD

FIG. 37: OPERABLE CURTAIN - FULL LOAD PROJECT PROPOSAL

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C4. Learning Objectives and Outcomes

Reflection Potential Developments I believe that the brief requires a very rational and practical approach. Therefore, parametric modelling was employed not to generate one entire outcome which would be unimaginable otherwise, but to define an overall form which is site responsive, simulate the physics of hanging the structure midair and to produce a number of iterations for each component of the design from which the most suitable ones are manually chosen. Many of the fundamental design principles were manually developed instead. Although the design is not entirely parametric, we had the benefits of saving time, money and labour by not having to make physical prototypes for each iteration. In other words, thanks to Grasshopper, we were able to produce more iterations than we would ever be able to otherwise.

Compared to the previous version from interim presentation, the final design proposal is more structurally efficient as it works in harmony with the gravitational force instead of resisting against it. It is also more welcoming to the client due to its organic form.

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PROJECT PROPOSAL

The major feedback from fi to make the design transfo total weight of the owls ins evolved towards this direct

Material behaviour is one is further developed because not drape as expected unle applied. A finer material wh elastic could be considered might potentially lose its na

Robotic weaving could be a improvement to the design as well as time and labour e reduce the constructibility of creating highly complex which could be more mater maintaining sufficient struc

inal presentation was ormable depending on side. This design has tion since then.

ssue which could be e twine and rope do ess proper weight is hich is more flexible and d although the design atural appearance.

another potential n as it is more precise efficient. This will also concerns in terms weaving patterns rial efficient while ctural integrity.

Learning Objectives Objective 1: I was able to improve this aspect by considering not only what the client needs to survive (many of which are already available in the nature), but how they can thrive (e.g. the transformable envelope).

Objective 2: I was able to generate a number of possibilities for each component of the design from which the most suitable ones for specific cases can be selected.

Objective 3: I become more confident with my 3D modelling skills. I have also learnt how 3D rendering can express formal and spatial qualities of a design.

Objective 4: I was able to take a rare opportunity to closely relate architecture and air by suspending a structure from trees. The mid-air suspension enables the transformable feature of the design.

Objective 5: I was able to significantly improve this aspect of my design by responding to the interim feedbacks such as the inorganic appearance and inefficient structure.

Objective 6, 7 and 8: I believe my skills in these areas have been improved significantly compared to the beginning of the semester.

PROJECT PROPOSAL

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