SARA TAN STUDIO AIR JOURNAL

STUDIOï€ AIR

2

STUDIO NAME

STUDIO AIR JOURNAL

STUDENT NAME

SARA SHI MIN TAN

STUDENT NUMBER 683718 YEAR

2017

TUTOR NAME:

MEHRNOUSH KHORASGANI

3

CONTENTS

4

TITLE PAGE

03

CONTENT PAGE

05

ABOUT ME / INTRODUCTION

07

PART A | CONCEPTUALISATION

10

PART B | CRITERIA DESIGN

34

PART C | DETAILED DESIGN

114

A0. INTRODUCTION

10

A1. DESIGN FUTURING

12

A2. DESIGN COMPUTATION

18

A3. COMPOSITION / GENERATION

24

A4. CONCLUSION

30

A5. LEARNING OUTCOMES

31

A6. APPENDIX - ALGORITHMIC SKETCHES

32

B0. INTRODUCTION

36-37

B1. RESEARCH FIELD

38-41

B2. CASE STUDY 1.0

42-53

B3. CASE STUDY 2.0

54-59

B4. TECHNIQUE DEVELOPMENT

60-77

B5. TECHNIQUE PROTOTYPES

78-89

B6. TECHNIQUE: PROPOSAL

90-105

B7. LEARNING OBJECTIVES/ OUTCOMES

106-111

B8. APPENDIXALGORITHMIC SKETCHES

112-113

C1. DESIGN CONCEPT

118-139

C2. TECHTONIC ELEMENTS AND PROTOTYPES

140-147

C3. FINAL DETAIL MODEL

148-177

C4. LEARNING OBJECTIVES AND OUTCOMES

178-181

5

6

ABOUT ME My name is Sara and I am currently an Architecture major in the University of Melbourne. My passion for design and architecture began from childhood. Growing up, I observed my mother practice professional work as a fashion designer watching her sketch and attempting to copy her sketches. Rather than following my mother’s footsteps in being a fashion designer, I embarked on a journey in visualising and presenting built spaces. Nonetheless I am still inspired by my mother’s work. I can speak mandarin and English and I have an aptitude and interest in design and writing. Outside of architecture I also enjoy outdoor activities and sketching.

I am currently in third year of university. My experience with design theory includes the understanding of design history, construction and design methods. In conjunction with design theory I also have experience in using Rhinoceros, Grasshopper, Photoshop, In design, AutoCAD, graphic art and hand drawing. I have gained skills in these digital tools through self-taught learning online and taking classes outside of university for Rhinoceros and Grasshopper. I have a certificate of completion for the Rhinoceros 3D modelling course, Rhino for architecture course and Grasshopper for Rhinoceros course in Freeform solutions (Singapore), a Rhinoceros Authorised training centre and 3D solution partner.

I personally believe that digital tools such as rhinoceros and grasshopper can push boundaries in architecture using free form curves and structures. I find inspiration in architects such as Zaha Hadid, Bjarke Ingles and Daniel Lebeskind who pushes the boundaries in defining architecture. I am also interested in the relationship between architecture and nature in the sense of sustainability and technology in enhancing building performance. I stand by the vast potential in the use of computers for architecture combined with creativity and human intuition. Therefore with this studio I hope to practice a way of designing that may be crucial to pushing boundaries of the way in which we as humans think about design.

7

8

CONCEPTUALISATION A0. INTRODUCTION

10

A1. DESIGN FUTURING

12

A2. DESIGN COMPUTATION

18

A3. COMPOSITION / GENERATION

24

A4. CONCLUSION

30

A5. LEARNING OUTCOMES

31

A6. APPENDIX - ALGORITHMIC SKETCHES

32

9

PART A: CONCEPTUALISATION 10

INTRODUCTION “Conceptualization begins to determine WHAT is to be built […] and HOW it will be built.” The Air Studio Journal is a structured argument making a case for my design proposal.

The construct of part A makes a case for my design proposal justifying the value of computational approach to the design challenge. It is the theoretical background and research that sets the foundations for the rest of the journal.

11

ICD/ITKE Research Pavilion 2011 at the University of Stuttgart

https://www.dezeen.com/2011/10/31/icditke-research-pavilion-at-the-university-of-stuttgart/

12

A1. DESIGN FUTURING This part of the Journal introduces Architecture as a design practice that contributes ideas to the ongoing disciplinary discourse and culture at large. Human beings have reached a vital point in existence with a high demand of limited resources, creating the problem of unsustainability. 1 According to Fry, good design is key to battling these defuturing condition of unsustainability. 2 Answering such questions requires knowledge of what design needs to be equipped for against. 3 There are three ways of tackling design futuring mentioned

by Fry includes rethinking the context and practice of design , strategic design thinking and design for sustainability and the future.

design and sustainability. ‘Democratic design’ is the restoration of the natural environment after the damage caused by the industrial revolution.1 Theoretically, Democracy is often associated with a political ideology. ‘Democratic design’ is however a design decision making method that includes all participants. 2 It mimics the idea of a civil society being the prerequisite for modern society. 3 The sense of democratic design is an abstracted argument that reinvents ‘sustainable development’ as ‘development of the sustainment’.4 Thus, the use of technology in designing can push innovation which may change the way we think of sustainability and forms in architecture.

RETHINKING THE CONTEXT AND PRACTICE OF DESIGN It is important to think about the imminent action and availability of means to create. In a global sense the political social and economic variations that is crucial to the consideration of sustainability.4 Such change may depend on the shift in performance of design roles. With the increase in computer software made for design and building performance analysis, there is a shift in the commodification of design roles. It is however arguable that designers practice at a superficial level.5 The term ‘superficial’ is used because there is a considerable number of factors outside of the form and function of the building that should be subject to consideration. Most previous works of architecture focus on the importance of form and function. While such elements are crucial to architectural thinking, it is also important to consider design relationships. There is a need to think about design as relationships rather than discreet objects. Such relationships include the social pollitical and economic context of the design.

DESIGN AND SUSTAINMENT FUTURES It is important to consider the importance of sustainability in design. Modern society is faced with constant challenges such as overpopulation, water shortages, and climate change. 5 Most designers look at such problems and think about solving it as a problem by breaking it down, quantifying it and solving it.6 It is however impossible to overcome such challenges without changing the belief system of society.

STRATEGIC DESIGN THINKING More often than not mainstream ideology of design has been reduced to appearance and style. However, there are more attributes to a design than the appearance and performance of a design. In thinking about design relationships, the architect facilitates the flow and considers the best practical and aesthetically pleasing solution to a design problem. Another crucial strategy to design is the collaboration between

1. Fry, pp.7.

2 Fry, pp.9.

.

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

Berg), pp. 1

2 Fry, pp. 1.

4 Fry, pp. 5.

3 Fry, pp. 4.

3 Fry, pp.9.

4 Fry, pp.10.

5 Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design

Fiction, and Social Dreaming (MIT Press) pp.2.

6 Dunne et al, pp. 2.

5 Fry, pp. 6.

13

https://www.dezeen.com/2011/10/31/icditke-research-pavilion-at-the-university-of-stuttgart/

14

A1. DESIGN FUTURING PRECEDENT: ICD/ITKE Research Pavilion 2011 at the University of Stuttgart Polygonal timber plates give this pavilion at the University of Stuttgart a skeleton like a sea urchin’s.1

Construction. It can however be argued that its composition may be a novel implementation.

The pavilion was constructed for a biological research collaboration between the Institute for Computational Design (ICD) and the Institute of Building Structures and Structural Design (ITKE), who also invited university 2 students to take part.

Computational methods were used in the production of this pavilion. The creation of the pavillion made use of the computer from designing to the fabrication of parts. Analogue design methods were not used.

The use of computer-controlled manufacturing methods were innovative in extending the identified bionic principles. 3Computational process also enabled extensive ability to study these principles and performance of the design. The use of computational design methods provided the optimal solution in using complex morphology built exclusively with extremely thin sheets of plywood. 4 Their research was revolutionary and they instigated change. They pushed boundaries in terms of construction and designing methods. The use of robotic arms in creating prefabricated parts before construction is a technological breakthrough that may instigate change in the way we think of constrution and design.

This project has inspired the use of biomimicry with its research of sea urchins and using it as an inspiration for design .

They created a change in the use of technology in fabrication They expanded future possibilities in their research of structure formed by a single material.

It was a temporary pavillion built for strutural research purposes.

The research pavillion was a built product and it was important to test out the structural capability of the complex design morphology.

This structure will continue being appreciated because of its technological breakthroughs. It is also looking towards reducing the construction processes to robotic calculations, reducing environmental impacts from

1 Frearson, Amy, ‘ICD/ITKE Research Pavilion at the University of Stuttgart’, Dezeen, (2011), <https://www.dezeen.com/2011/10/31/ icditke-research-pavilion-at-the-university-of-stuttgart/> 2 Frearson, ‘ICD/ITKE Research Pavilion at the University of Stuttgart’.

3 Institute for Computational Design and Construction(ICD) , ‘ICD/ITKE Research Pavilion 2011’, (2011) < http://icd.uni-stuttgart. de/?p=6553> 4

ICD, 2011.

15

https://www.dezeen.com/2014/07/12/movie-interview-bjarke-ingels-big-amager-bakke-power-plant-ski-slope/

16

A1. DESIGN FUTURING PRECEDENT: Amager Resource Center by Bjarke Ingles Group (BIG), 2010 The Amager Resource centre is a groundbreaking powerplant with a ski slope on the roof of the powerplant. It is the cleanest waste-to-energy power plant in the world. It is so clean it emits CO2 emissions not as a continuous stream of smoke but in sudden bursting smoke rings.1 The young company was hoping to capture public attention and promote themselves through entering an urban project in Denmark. This project won the competition for the 1.02 million square foot building but the project never came to fruition. 2 Bjarke compares his design approach to the game of twister. ‘When you start the game it’s quite easy, but as you load on more demands you suddenly find yourself in back-bending positions with your face rubbing up against body parts of family members. It gets really difficult and enjoyable’ 3

The Amager Resource centre was not a built project but it was crucial to sparking debates on what is architecture. The Amager Resource centre also pushes the boundaries of the ideology of the building typology of a power plant. The Amager Resource Centre also brought attention to the architecture firm at the time contributing to its success today.

The Amager Resource Centre will continue to be appreciates because it is a symbol of a new age of architecture. The innovation in sustainability is phenomenol, showing that architecture can shape a more sustainable future.

They sparked the idea of recreational facilities within the urban sphere.

This twister analogy can be intepreted as a more modern computational design method rather than an analogue form to function method. It is comparable to adding constraints to several solutions of a design problem and finding the best one answering the constraints.

It was considered to be radical at the time of proposal.

Bjarke aimed at transforming public perception of a public utility building.4 He also mentions that ‘ There is this world changing element in architecture, that once you’re done, now that’s how it is. When you started it was a crazy idea , now it’s just how it is’. 5

1 Vanessa Quirk, ‘BIG’s Waste-to-Energy Plant Breaks Ground, Breaks Schemas’ in ArchDaily, (2013), < http://www.archdaily. com/339893/bigs-waste-to-energy-plant-breaks-ground-breaks-schemas> [accessed 16 March 2017], 2

Vanessa Quirk, Archdaily, 2013,

3 Ben Hobson, ‘BIG’s combined power plant and ski slope is “turning science fiction into fact”, in Dezeen, (2014), <https://www. dezeen.com/2014/07/12/movie-interview-bjarke-ingels-big-amager bakke-power-plant-ski-slope/> [accessed 16 March 2017],

Ben Hobson, Denzeen, 2014.

5

Ben Hobson, Denzeen, 2014.

4

17

http://www.archdaily.com/802846/margot-krasojevic-architects-unveils-lace-like-3d-printed-light-made-ofrecycled-plastic

18

A2. DESIGN COMPUTATION A2 will go on to describe the evolution of design processes and how computing has engaged with them.

This part of the Journal will present the benefits of using computers in the architectural design process.

The computerization of design is when the computer is not in the design process. This design method is often carried out with an end design that has already been thought out by the architect and drawn on the computer. Although there is the use of computer, problem solving methods in this design are still related to analogue design methods.

The computation of design is when the computer is used in the design process. This method of designing is relatively new and it is requires extensive human knowledge of the computational software such as grasshopper. Multiple design solutions in this process are deduced from inputs into the software.

Design computation is more often than not Condemned as false creativity. This statement is untrue as the definition of creativity is ambiguous.

Computers are superior in its analytical qualities. When correctly programmed computers produce perfectly logical solutions without mistake. 1 This affects the design process as it compensates human analytical flaws.

This affects the design process by enhancing the speed and precision of the design process.

However, computers cannot operate without human programming. 2 Without human intuition and creativity, computers cannot produce anything. The symbiosis of human and computers is established on communication, the ability to share information between and computers. 3 To appraise design, there is a need to show the current situation, the desired situation and a better new situation.4

Computing can be used to re- define practice by changing the way we design. This change is the design process where the idea formulation comes from programming rather than programming to present an idea that has already been formed.

Thus the learning of computational methods helps designers direct their effort toward successful solutions rather than waste time searching for unsuccessful ones.

1

The emergence of digital materiality in design has created relationships between conception and production through ‘file to factory’ and CNC (Computer numerically controlled) fabrication methods.2 Such methods push boundaries in architectural tectonics.

With the right knowledge, computation can provide architects with tools that enables them to explore freeform and curved geometries. Computational elements also can analyze building performance and create forms that push boundaries of what a house is supposed to look like. computation contribute to evidence and performance oriented designing by making the calculation of performance extensively easier. Computation also provides a range of solutions to performance issues. Computation presents opportunities and innovations by being able to calculate in ways that humans cannot. The use of computation adds to the potential in impersonating second nature, potentially tackling sustainability issues.

Ultimately design is a ‘purposeful activity aimed at achieving some well-defined goals.5 Hence if the use of computers increase the quality of achievement in design, it is productive to the design process.

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

2 Kalay, pp.2.

3 Kalay, pp.3.

4 Kalay pp. 5.

5 Kalay pp. 5.

1 Kalay , pp6.

2 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp.10.

19

http://www.archdaily.com/802846/margot-krasojevic-architects-unveils-lace-like-3d-printed-light-made-of-recycled-plastic

20

A2. DESIGN COMPUTATION PRECEDENT: Margot Krasojević Architects , Lace Light Although this design is not a building, its engagement with contemporary computational design brings out a solution for stainability. The Lace LED is an example of 3-D printed product design investigating the importance of recycling and reappropriate plastics.1 This project aligned with the firm’s exploration of renewable energy and environmental issues within architecture and product design. 2 Printed with post-consumer plastics like synthetic polymer packaging from takeout food containers and 3-D printer off-cuts, Lace LED is a light diffuser with fractal pattern configurations resembling a piece of woven lace.3 The Lace LED is an example of scale invariance, an exact form of self-similarity where at any magnification there is a smaller piece of the object that is similar to the whole.4 These complex shapes direct LED light through the entire pattern, which diffuses, deflects and refracts light creating a moving shadow whilst focusing it. 5The form is the antithesis of the mass-produced recycled bottles and waste used in its fabrication. The parametric design pattern comes in an infinite sequence of configurations from digital model to printed object.6

Rather than thinking of technology from a futurist standpoint, it is also good to learn from the past in certain ways. The architecture in our society is thus given the freedom of expression with increasing technology.

The use of 3-D printing enables easy production of complex forms. The use of computers also reduces Mistakes that humans are more prone to making.

This design shows that computation enables complex morphology with performative qualities. This is important toward the thinking of forms that are completely new to architecture. With these qualities architecture is also able to mimic nature and become second nature.

The designer of this project believes that with the commodification of technology it is harder to be more objective in daily society. She claims that ‘ We are defining ourselves more and as a result, learning to edit and compartmentalize at a faster pace, which is why we are divorcing ourselves more from “architectural movements.”7 Hence computing affects the design process by pushing us toward the future.

1 Margot Krasojević Architects, ‘Lace LED’, in Domus, (2017), < http://www.domusweb.it/en/news/2017/01/03/lace_led_margot_krasojevic_architects.html > [accessed 16 March 2017], 2 Sabrina Santos, ‘Margot Krasojević Architects Unveils LaceLike 3D Printed Light Made of Recycled Plastic ‘ in ArchDaily(2017),< http://www.archdaily.com/802846/margot-krasojevic-architects-unveilslace-like-3d-printed-light-made-of-recycled-plastic> [accessed 16 March 2017], 3 Sabrina Santos, 2017 4 Domus, 2017 5 Domus, 2017 6 Domus 2017 7 Dario Goodwin, ‘Margot Krasojevic on Experimental Architecture and the Challenges of Being Branded a “Parametric Futurist Crap Architect” ‘ in ArchDaily(2015), < http://www.archdaily.com/641688/ margot-krasojevic-on-experimental-architecture-and-the-challenges-ofbeing-branded-a-parametric-futurist-crap-architect> [accessed 16 March 2017],

21

http://www.archdaily.com/270592/al-bahar-towers-responsive-facade-aedas

22

A2. DESIGN COMPUTATION PRECEDENT: Al Bahar Towers Responsive Facade / Aedas “THE AL BAHR TOWERS FEATURE THE WORLD’S LARGEST COMPUTERISED DYNAMIC FAÇADE. THE DESIGN CONCEPT IS BASED ON THE FUSION BETWEEN BIOINSPIRATION, REGIONAL ARCHITECTURE, AND PERFORMANCE-BASED TECHNOLOGY. THE DESIGN PRINCIPLES OF AL BAHR TOWERS ACHIEVED A PERFORMANCE ORIENTED, CULTURALLY RELEVANT, TECHNOLOGICALLY ADVANCED, AND AESTHETICALLY INTRIGUING BUILDING WITH A UNIQUE CONTEXTUALLY RELEVANT IDENTITY – A STANDOUT LANDMARK FOR THE CITY OF ABU DHABI.”1 Abu Dhabi has the extreme weather conditions of a desert. It generally has intense sunshine, temperatures steadily above 100 degrees Fahrenheit with 0 % chance of rain. 2 Environmental design is crucial to building in such extreme conditions. The sand can compromise the structural integrity of the structure , the intense heat and glare makes it almost impossible to create a building with comfortable indoor environment. 3 The use of computational design techniques in analyzing such extreme conditions proves to be a benefit of engaging with such design methods.

With such a shift in the way we design , construction methods would also be pushing boundaries.

In this example computation is the easiest and most efficient way to design such geometries. It would be nearly impossible to etch out every single repeated component.

From this example it can be deduced that parametric modelling has been successful in designing for performance is harsh conditions. Thus computation presents an opportunity to design in extreme conditions that are hard to design for.

This building uses computation and parametric design to tackle the harsh conditions provided from the locale. The Al-Bahar has a Responsive Facade which takes cultural cues from the Mashrabiya, a traditional Islamic lattice shading device.

Computational analysis is also done to define the best solution for comfortable indoor conditions in this design.

Computing in this example redefines the architectural practice by increasing the efficiency in tackling extreme and difficult environmental conditions.

These class facades will add to the role of stainability in architecture as it reduces energy use for air conditioning within the building. 4

1 AHRSectors, ‘Al Bahar Towers’ in AHR Sectors, < http://www. ahr-global.com/Al-Bahr-Towers> [accessed 16 March 2017], 2 Karen Cliento, ‘Al Bahar Towers Responsive Facade / Aedas ‘ in ArchDaily(2012),< http://www.archdaily.com/270592/al-bahar-towersresponsive-facade-aedas > [accessed 16 March 2017], 3 4

Karen ,Cliento , 2012 Karen ,Cliento , 2012

23

http://www.arch2o.com/voltadom-by-skylar-tibbits-skylar-tibbits/

24

A.3. COMPOSITION/ GENERATION

The shift in design process from composition to generation has sparked a considerable amount of debate.

The literary and practical theories to algorithmic thinking, parametric modelling and scripting cultures will be discussed in this part of the Journal.

- Algorithmic thinking In essence, an algorithmic rule is made out of a finite set of rules or operations that are unambiguous And simple to follow (computer scientists use technical Terms for these two properties: definite and effective, Respectively).1 Hence it proves the imprecision of algorithms in the sense of being context dependent terms.2 Thus practically the lack of knowledge or context in algorithms make it difficult to process algorithmic thinking.

In a literal sense, Algorithms are describes as an unambiguous, precise, list of simple operations applied mechanically and systematically to a set of tokens. 3 In a more technical sense algorithm is a computational function. Algorithms only describe the method of computation without putting forth what the function is. 4 Thus without the connection between computation and function there is no output. Algorithmic thinking is impossible without user expertise. Algorithmic thinking in computation enables the extension of the designers ability in dealing with complex situations. 5 In a nutshell, ‘computation’ is described as the use of a computer to process information through an understood model which can be expressed as an algorithm. 6 Thus it enables the discovery of fresh ideas , augmenting the designers comprehension and ability in solving complex problems. 7

1 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.

2 Wilson, et al , pp.11.

3 Wilson, et al , pp.11.

4 Wilson, et al , pp.11.

5 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 10.

6 Peters, Brady, 2013, pp. 10.

7 Peters, Brady, 2013, pp. 10.

-Parametric modellingComputation in the sense of parametric modelling processes information and interactions between elements adding up to a specific environment , creating a framework for negotiating and influencing the interrelation of data sets of information, with the capacity to generate complex order, form and structure. 1 Parametric modelling enables stimulation of real life circumstances, enabling the architect to test the viability of their design project. It is however arguable that parametric modelling takes away the history of using drawing as a design tool . In my opinion the most important part of parametric modelling is how we ascribe values to the intuition behind the programming.

Scripting cultures. Computational designers construct 3-D models And create design tools, but their expertise goes Beyond these tasks.2 They generate and explore Architectural spaces and concepts through the Writing and modifying of algorithms that relate to element placement, element configuration, And the relationships between elements.3 Critically their part goes ahead of creating digital tools for designer. 4 The scripting is within the design process and is the most important part of the design process. 5 In architectural practices it is common place nowadays to look for computational designers or rather than traditional designers. Thus there is an increasing need for architects and architecture students in understanding scripts.

1 2 3

Peters, Brady, 2013, pp.10 Peters, Brady, 2013, pp.11 Peters, Brady, 2013, pp.11

4 5

Peters, Brady, 2013, pp.11 Peters, Brady, 2013, pp.11

25

http://www.arch2o.com/voltadom-by-skylar-tibbits-skylar-tibbits/

26

A3. COMPOSITION/GENERATION PRECEDENT: Voltadom by Skylar Tibbits | Skylar Tibbits

“VoltaDom, by Skylar Tibbits - for MIT’s 150th Anniversary Celebration & FAST Arts Festival of Arts, Science and Technology) - is an installation that populates the corridor spanning building 56 & 66 on MIT’s campus. This installation lines the concrete and glass hallway with hundreds of vaults, reminiscent of the great vaulted ceilings of historic cathedrals. The vaults provide a thickened surface articulation and a spectrum of oculi that penetrate the hallway and surrounding area with views and light. VoltaDom attempts to expand the notion of the architectural “surface panel,” by intensifying the depth of a doublycurved vaulted surface, while maintaining relative ease in assembly and fabrication. This is made possible by transforming complex curved vaults to developable strips, one that likens the assembly to that of simply rolling a strip of material.” 1 The Voltadom takes precedence from gothic cathedrals creating complex surfaces. The innovation in the Voltadom is the simplicity and ease in manufacturing and assembly. The generative approach in its design process enabled its designers to find precision in producing the design taking away tedious construction processes.

Skylar tibbits look into the creation of larger systems from numerous material elements. Recognizing a lack of sophistication in contemporary construction when compared to 3-D Printing and CNC digital fabrication , Tibbits suggest that assembly and construction process can be reinvented. 2

1 MIT, ‘Voltadom: MIT 2011’ in SJET s, < http://sjet.us/MIT_VOLTADOM.html> [accessed 16 March 2017], 2 Achim, Mendez,, ‘Material Computation: Higher Integration in Morphogenetic Design’, Architectural Design , 82 (2012), pp20,

27

http://www.designboom.com/architecture/vulcan-beijing-design-week-bjdw-largest-3d-printed-architectural-pavilion-parkviewgreen-10-07-2015/

28

A3. COMPOSITION/GENERATION PRECEDENT: Vulcan / Laboratory for creative design (LCD) , Beijing.

The Vulcan is the worlds largest 3D- printed structure produced. The co founder of LCD explains that with international difference in copyright law, it is difficult for architects to work on digital platforms to protect the rights to their work and the structure was produced with such concerns in mind. 1 Vulcan pushes boundaries in composition and generation by exploring the sizability of 3D printing for a structure. The Project won the Guiness World Record for being the worlds largest 3D printed structure. 2 The viability of this structure came from the study of spatial and structural properties in cocoons.

The mimicking of nature has proved to be successful in this design. This level of precision can only be achieved by computational design.

The copyright issues in relation to computational design inspired LCD to invent technology that prevents leakage of computational design. 3 This is done by a design-machine-coding-fabrication loop set up to provide protection. This system is completely inventive and breaks away from the traditional method of design and construction. 4 Instead of sending the file to other fabricators to print, which risks the leaking or duplication of the files, LCD self-assembled 20 large 3D printers.

It took three months to develop the pavilion concept, simulate the design in Rhino 3D modelling, and then compose in machine code for 3D printing. Every one of the components of the cellular aggregation system was allocated its own specific code.5 Thus this manner of generating design provides a way to prevent design copying issues with the age of computation. This changes the architecture discourse by providing means of design file protection.

Computational methods enable easy composition and generation of large amounts of forms and designs.

However with the ease of accessibility, it is difficult to find innovative compositions.

1 Feng , Xu, â&#x20AC;&#x2DC;VULCAN: Closing the Loop in 3D-Printed Architectural Designâ&#x20AC;&#x2122;, Architectural Design , 86 (2016), pp 85., 2 Feng, 2016, pp 91.

3 Feng, 2016, pp 91.

4 Feng, 2016, pp 91.

5 Feng, 2016, pp 91.

29

A4. CONCLUSION Conceptualization is the determination of what and how it should be built.

Part A Journal argues and justifies the value of a computational approach to the design challenge. Part A provides the theoretical backing and research for the rest of the journal.

Part A introduces Design Futuring, Design conceptualization and Design composition/ generation with the use of computation.

My intended design approach in this Journal will entail the use of computation. I aim to use computational methods in creating and exploring new forms .In the following parts of the journal i will be exploring computational methods for patterning and performative patterning.

30

A5. LEARNING OUTCOME Upon researching the theory i have learnt that despite its shortcomings, the theory and practice of architectural computing is the future of architecture and human kind. Computers can make up for properties that humans fall short of such as efficient performance analysis. My understanding of the theory of computational architecture has improved and i am confident of thinking and relating theory to my design that i will aim to push boundaries set by society today this will be done by form exploration with computational methods.

31

A6. APPENDIX- ALGORITHMIC SKETCHES

The research on the use of parametric software in exploring form is used in this instance. These sketches were selected to show effectiveness in using the parametric script in finding different building morphologies. These sketches demonstrate the charecteristics in the arguments in finding form.

32

A6. APPENDIX-

Bibliography/Image citation AHRSectors, ‘Al Bahar Towers’ in AHR Sectors, < http://www.ahr-global.com/Al-Bahr-Towers> [accessed 16 March 2017], Achim, Mendez,, ‘Material Computation: Higher Integration in Morphogenetic Design’, Archi-tectural Design , 82 (2012), pp20, Ben Hobson, ‘BIG’s combined power plant and ski slope is “turning science fiction into fact”, in Dezeen, (2014), <https://www.dezeen.com/2014/07/12/ movie-interview-bjarke-ingels-big-amager bakke-power-plant-ski-slope/> [accessed 16 March 2017], Dario Goodwin, ‘Margot Krasojevic on Experimental Architecture and the Challenges of Being Branded a “Parametric Futurist Crap Architect” ‘ in ArchDaily(2015), < http://www.archdaily.com/641688/margot-krasojevic-on-experimental-architecture-and-the-challenges-of-being-branded-a-parametric-futuristcrap-architect> [accessed 16 March 2017], Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and So-cial Dreaming (MIT Press) pp. 1-9, 33-45 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 Feng , Xu, ‘VULCAN: Closing the Loop in 3D-Printed Architectural Design’, Architectural Design , 86 (2016), pp 85-91.

Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 Frearson, Amy, ‘ICD/ITKE Research Pavilion at the University of Stuttgart’, Dezeen, (2011), https://www.dezeen.com/2011/10/31/icditke-research-pavilion-atthe-university-of-stuttgart/ Institute for Computational Design and Construction(ICD) , ‘ICD/ITKE Research Pavilion 2011’, (2011) < http://icd.uni-stuttgart.de/?p=6553> Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 Karen Cliento, ‘Al Bahar Towers Responsive Facade / Aedas ‘ in ArchDaily(2012),< http://www.archdaily.com/270592/al-bahar-towers-responsive-facadeaedas > [accessed 16 March 2017], MIT, ‘Voltadom: MIT 2011’ in SJET s, < http://sjet.us/MIT_VOLTADOM.html> [accessed 16 March 2017].

Margot Krasojević Architects, ‘Lace LED’, in Domus, (2017), < http://www.domusweb.it/en/news/2017/01/03/lace_led_margot_krasojevic_architects.html > [accessed 16 March 2017], Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 Sabrina Santos, ‘Margot Krasojević Architects Unveils Lace-Like 3D Printed Light Made of Recycled Plastic ‘ in ArchDaily(2017),< http://www.archdaily. com/802846/margot-krasojevic-architects-unveils-lace-like-3d-printed-light-made-of-recycled-plastic> [accessed 16 March 2017], Vanessa Quirk, ‘BIG’s Waste-to-Energy Plant Breaks Ground, Breaks Schemas’ in ArchDaily, (2013), < http://www.archdaily.com/339893/bigs-waste-to-energyplant-breaks-ground-breaks-schemas> [accessed 16 March 2017],

33

PART B: CRITERIA DESIGN 34

B0. INTRODUCTION

36-37

B1. RESEARCH FIELD

38-41

B2. CASE STUDY 1.0

42-53

B3. CASE STUDY 2.0

54-59

B4. TECHNIQUE DEVELOPMENT

60-77

B5. TECHNIQUE PROTOTYPES

78-89

B6. TECHNIQUE: PROPOSAL

90-105

B7. LEARNING OBJECTIVES/ OUTCOMES

106-111

B8. APPENDIXALGORITHMIC SKETCHES

112-113

35

36

INTRODUCTION PART B : CRITERIA DESIGN During Criteria Design â&#x20AC;&#x153;major options are evaluated, tested and selected.â&#x20AC;?This part shows the development of a particular technique or tectonic system using computational methods through case-study analysis, parametric modelling and physical prototypes.

37

38

B1. RESEARCH FIELDS: PATTERN MAKING “Ornament is the figure that emerges from the material substrate, the expression of embedded forces through processes of construction, assembly and growth. It is through ornament that material transmits affects. Ornament is therefore necessary and inseparable from the object.”1 - Farshid Moussavi 1

Farshid Moussavi, ‘The Function of Ornament’, ed. by Michael Kubo (Barcelona: Actar, 2006), pp. 5-14 (p.8).

39

A1. DESIGN FUTURING DISCOURSE AND CULTURE IN ARCHITECTURE

A2. DESIGN COMPUTATION EVOLUTION OF DESIGN - COMPUTATION VS COMPUTERISATION

A3. COMPOSITION/ GENERATION REACTION TO THE SHIFT FROM COMPOSITION TO GENERATION

40

B1. RESEARCH FIELD : PATTERNING With the core of this journal relating to parametric tools, it is important to consider its usefulness in pushing boundaries in design. In part B i am interested studying and exploring patterning precedents that were successful in - patterning as ornamentation, form finding experimentation and performative patterning.

Modern anti- ornament predecessors such as Adolf Loos were against ornament and supportive of the ‘form follows function’ argument. They aimed to contrast the bourgeois practice of decoration 1 but arguably today’s bourgeois designs are commonly lack of decoration. The return of ornamentation in architecture further proves that ornament is significant in the aesthetics and performance of a building. La Sagradia Familia by Antonio gaudi is proof that ornamentation is more than its sense of luxury, ornament is also a way for architects to immortalize their work, creating a sublime experience.

With the use of computational technology in exploring patterning as ornament, there is significant potential to explore patterning and facade systems that has never been seen before.

The use of computational methods with patterning enables an ease of form exploration. Form exploration also enables us to create a myriad of effects. It helps us explore experiential qualities of architecture. Patterning in the sense that ornaments are fundamentally tied to architectural affects2. An example of such effects would be shadows formed by patterned facades. There is beauty in the complexity of patterned facades but also genius in the construction of such complex designs. In Part B2, B3 and B4 of the journal Design precedent scripts are studied and reverse engineered to create a matrix of design morphology. This shows the variance of design opportunities.

Beyond the thinking of the form and aesthetic of patterning. Sophisticated knowledge in construction methods is important to changing the way buildings are built. The viability of the structure and its performace qualities push it beyond the aesthetic. Parametric tools are integral to the design process of performative facade enclosure systems. 3 The use of grasshopper as a parametric tool enables immaculate data exchange among project designers and provides modular parametric components to a complicated design answer. 4 In Part B5 of this journal prototype experimentation and testing shows the use of parametric tools in thinking of construction and performance.

1 Moussavi, (p. 6) 2 Moussavi, (p. 9) 3 Sabri Gokumen, ‘A Morphogenetic Approach for Performative Building Envelope Systems Using Leaf Venetian Patterns. ‘ , eCAADe: Performative and Interactive Architecture ,Vol. 1, (2013) 497-506, (p.502).

4 Gokumen, (p. 502)

41

42 https://www.architecture.com/RIBA/Awards/RIBAInternationalPrize/2005/Spanish-Pavilion. aspx

http://www.galinsky.com/buildings/spainaichi/

B2. CASE STUDY 1.0 SPANISH PAVILLION FOREIGN OFFICE ARCHITECTS The Spanish pavilion was built in the 2005 world Exposition in Aichi, Japan to represent spain. It stands out within the other 65 pavillions with its design. The tesselated hexagons were striking in its design color and materiality.1 The tesselated hexagonal walls are an outer skin to the pavilion,providing a hallf in, half out queuing space. 2 The lattice consist of six different tiles based on a hexagonal grid coded with a color. With computational methods such as the use of grasshopper, the pieces never repeat themselves upon assembly. Computational methods has also allowed a continuously varying pattern of geometry and color.

The tesselation mimics nature in the sense of its hexagonal forms. This part of the journal will experiment with the multitude of forms that can be derived from the Grasshopper script inspired by the patterning of the Spanish pavilion.

Inspired by hexagonal shapes mimicking honey comb structures, grasshopper scripts presents a myriad of opportunities for performative patterning.

1 Simon Glynn, ed., ‘Spanish Pavillion, Aichi Expo Japan, Foreign Office Architects’, Galinsky (2005) <http://www.galinsky.com/buildings/spainaichi/> [25 April 2017] 2 Glynn, ‘Spanish Pavillion’

43

B2: MATRIX E 44

EXPLORATION 45

46

CHANGING PARAMETERS WITHIN THE HEXGONAL GRID SPANISH PAVILLION SCRIPT/ CHANGING HEXAGONAL GRID TO TRIANGULAR GRID

EXPERIMENTS WITH CULL PATTERN AND CHANGING IMAGE IN IMAGE SAMPLER This image was used for the image sampler

47

48

FURTHER EXPERIMENTS WITH CULL PATTERN AND CHANGING IMAGE IN IMAGE SAMPLER- ADDING PIPE / CAP / EXTRUDE

USING BOX MORPH TO PROJECT PATTERN ON SURFACE AND EXPERIMENTING WITH U, V AND X, Y VALUES.

49

USING BOX MORPH TO PROJECT PATTERN ON SURFACE AND EXPERIMENTING WITH U, V AND X, Y VALUES + CHANGING SURFACE 50

USING BOX MORPH TO PROJECT PATTERN ON SURFACE/EXPERIMENTING WITH U, V AND X, Y VALUES/ EXPERIMENTING WITH WB MORPH TOOLS , WB JOIN, WBCATMULLCLARK 51

USING BOX MORPH TO PROJECT PATTERN ON SURFACE/EXPERIMENTING WITH U, V AND X, Y VALUES/ EXPERIMENTING WITH WB MORPH TOOLS , WB JOIN, WBCATMULLCLARK, WEAVE

52

SUCCESSFUL ITERATIONS

This iteration was successful in creating a gird of interesting 2d patterns that is different from the original form. This pattern has the potential to be developed further.

This iteration was successful in presenting surface thickness variation to a patterned surface and it can be interesting when developed into more complex surfaces

This iteration presents the opportunity of exploring the form in which patterning can create. It can push into the exploration of unexpected forms with grashopper.

53

54

B3. CASE STUDY 2.0 ICD/ITKE Research Pavilion 2011 The ICD/ ITKE Research Pavillion in 2011 ia a temporary bionic research pavillion made of wood at the intersection of teaching and research. 1 This project presents the mimicry of biological principles of the sea urchin’s plate skeleton morphology by means of using computational methods. It also uses CNC (computer-controlled manufacturing methods) for its building implementation.2 This pavillion was interesting to me in the use of polygonal cellular girds in forming a freeform surface that were extruded into modular plates. The idea of using CNC to create modules that can be easily constructed changes the way we conventionally think about construction.

I am interested in exploring this ease of constructability and the use of modules in forming a mass structure with the reverse engineering and prototyping in part B3 , B4 and B5.

1 ICD Institute for Computational Design and Construction , ‘ICD/ ITKE Research Pavillion 2011’, ICD Institute for Computational Design and Construction (revised April 2017) <http://icd.uni-stuttgart.de/?p=6553> [23 April 2017] 2 ICD Institute for Computational Design and Construction

55

B3: REVERSE ENGINEERING ICD/ ITKE RESEARCH PA WORKLOW DIAGRAM

STEP 1: Creating a line, extracting the end points and creating a point to create a 3 point arc. a mid line is drawn for the next step. Height of dome is 2662MM

STEP 11: Offsetted wireframe scaled curves and original wireframe curves are lofted to form brep.

STEP 12: Lofted and boundary surfaces are joined with the brep join component

56

STEP 2: Plugging in the midline, and arc into revolution to create a dome. The surface is the flattened and offset 20mm and then brep join.

STEP 10B; The mid point of the surfaces are calculated when the joined wireframe components are plugged into the area component.

The curves, midpoint and range are plugged into a scale component then into a boundary surface component to create scale offsetted boundary surfaces.

STEP 13: The base of the structure is created by creating a curve , Plugging the curve component into boundary surfaces then into extrusion. The base extrusion is brep joined with the lofted and bundary surface. Cap holes Ex with the joined structure and base is brep joined.

STEP3: Joined breps are then plugged into hexagonal cells from lunchbox with u division of 20 and v division of 5. Hexagonal cells are created. dome preview is hidden.

STEP 10A: The brep wireframe from the offset component is plugged into a list length which is plugged into a range. A domain is constructed for the range, the smallest scale of the surface/cuuve (domain start) is 0.0141, The biggest scale of the surface/curve (Domain end) is 0.8.

AVILLION 2011

STEP 4: Fragment patch and brep join are used to create hexagonal surfaces.

STEP 9: The offset surface and original surface is plugged into two brep wireframes components and the curves are joined.

STEP 5: Spheres are drawn onto the hexagonal surfaces.

Step 6: Spheres are used as shapes to cut holes into hexagonal surfaces. Trim solid component is used to do this. The tolerance is changed in rhino to accommodate this.

STEP 8: The surfaces are plugged into the jitter component with a seed of 2. The result is the plugged into offset of 50mm

STEP 7: Decostruct Brep is used to extract surfaces from the cut hexagonal brep.

57

B3: REVERSE ENGINEERING ICD/ ITKE RESEARCH PA

The script for the outcome was written to explore ways to build this form without the use of kangaroo plugins. The form and extruded panels mimics the original pavillion. I would like to take this script further by exploring the extruded panels and perforations within the form

58

AVILLION 2011

RIGHT TOP

FRONT

59

B4: MATRIX E 60

EXPLORATION 61

SERIES 1

B4: TECHNIQUE DEVELOPMENT ICD/ ITKE RESEARC

CHANGING PANELLED SURFACE OFFSET VALUE TO 200 SMALLEST SCALE OF OFFSET PANELS: 0.005 LARGEST SCALE OF OFFSET PANELS: 1

SERIES 2

INCREASING PANELLED SURFACE OFFSET VALUE FROM 50 TO 300MM.

CHANGING HEIGHT OF DOME TO 2000MM

62

CHANGING HEIGHT OF DOME TO 2000MM HEXAGONAL CELL U VALUE TO 5 HEXAGONAL CELL V VALUE TO 10 (BASE REMOVED)

CH PAVILLION 2011

CHANGING REVOLUTION SURFACE OFFSET VALUE TO 549 PANELLED SURFACE OFFSET VALUE TO 200 SMALLEST SCALE OF OFFSET PANELS: 0.005 LARGEST SCALE OF OFFSET PANELS: 1

CHANGING HEIGHT OF DOME TO 2000MM HEXAGONAL CELL U VALUE TO 50 HEXAGONAL CELL V VALUE TO 10 (REMOVING REVOLUTION OFFSET)

CHANGING HEXAGONAL CELL U VALUE TO 10 HEXAGONAL CELL V VALUE TO 5 REVOLUTION SURFACE OFFSET VALUE TO 100 PANELLED SURFACE OFFSET VALUE TO 200 SMALLEST SCALE OF OFFSET PANELS: 0.005 LARGEST SCALE OF OFFSET PANELS: 1

CHANGING HEIGHT OF DOME TO 2000MM HEXAGONAL CELL U VALUE TO 50 HEXAGONAL CELL V VALUE TO 10 PANELLED SURFACE OFFSET VALUE TO 300 (REMOVING REVOLUTION OFFSET)

63

SERIES 3

B4: TECHNIQUE DEVELOPMENT ICD/ ITKE RESEARCH

CHANGING SIZE OF SPHERES CUTTING INTO DOME HEIGHT OF DOME TO 2000MM HEXAGONAL CELL U VALUE TO 50 HEXAGONAL CELL V VALUE TO 10 PANELLED SURFACE OFFSET VALUE TO 300 SMALLEST SCALE OF OFFSET PANELS: 0.1 LARGEST SCALE OF OFFSET PANELS: 0.1 (REMOVING REVOLUTION OFFSET) (BASE REMOVED)

SERIES 4

CHANGING HEIGHT OF DOME TO 2000MM HEXAGONAL CELL U VALUE TO 50 HEXAGONAL CELL V VALUE TO 10 PANELLED SURFACE OFFSET VALUE TO 300 SMALLEST SCALE OF OFFSET PANELS: 0.1 LARGEST SCALE OF OFFSET PANELS: 0.1 (REMOVING REVOLUTION OFFSET) (BASE REMOVED)

64

REMOVING SPHERES CUTTING INTO DOME FOR TRIM SOLID CHANGING HEIGHT OF DOME TO 2000MM HEXAGONAL CELL U VALUE TO 4 HEXAGONAL CELL V VALUE TO 2 PANELLED SURFACE OFFSET VALUE TO 200 SMALLEST SCALE OF OFFSET PANELS: 0.5 LARGEST SCALE OF OFFSET PANELS: 0.8 (REMOVING REVOLUTION OFFSET) (BASE REMOVED)

REMOVING SPHERES CUTTING INTO DOME FOR TRIM SO CHANGING HEIGHT OF DOME TO 2000MM HEXAGONAL CELL U VALUE TO 60 HEXAGONAL CELL V VALUE TO 10 PANELLED SURFACE OFFSET VALUE TO 200 SMALLEST SCALE OF OFFSET PANELS: 0.5 LARGEST SCALE OF OFFSET PANELS: 0.8 (REMOVING REVOLUTION OFFSET) (BASE REMOVED)

H PAVILLION 2011

OLID

REMOVING SPHERES CUTTING INTO DOME FOR TRIM SOLID CHANGING HEIGHT OF DOME TO 2000MM HEXAGONAL CELL U VALUE TO 15 HEXAGONAL CELL V VALUE TO 15 PANELLED SURFACE OFFSET VALUE TO 300 SMALLEST SCALE OF OFFSET PANELS: 0.1 LARGEST SCALE OF OFFSET PANELS: 0.8 (REMOVING REVOLUTION OFFSET) (BASE REMOVED)

REMOVING SPHERES CUTTING INTO DOME FOR TRIM SOLID CHANGING HEIGHT OF DOME TO 2000MM HEXAGONAL CELL U VALUE TO 6 HEXAGONAL CELL V VALUE TO 3 PANELLED SURFACE OFFSET VALUE TO 200 SMALLEST SCALE OF OFFSET PANELS: 0.5 LARGEST SCALE OF OFFSET PANELS: 0.8 (REMOVING REVOLUTION OFFSET) (BASE REMOVED)

REMOVING SPHERES CUTTING INTO DOME FOR TRIM SOLID CHANGING HEIGHT OF DOME TO 2000MM HEXAGONAL CELL U VALUE TO 4 HEXAGONAL CELL V VALUE TO 15 PANELLED SURFACE OFFSET VALUE TO 200 SMALLEST SCALE OF OFFSET PANELS: 0.1 LARGEST SCALE OF OFFSET PANELS: 0.8 (REMOVING REVOLUTION OFFSET) (BASE REMOVED)

REMOVING SPHERES CUTTING INTO DOME FOR TRIM SOLID CHANGING HEIGHT OF DOME TO 2000MM HEXAGONAL CELL U VALUE TO 10 HEXAGONAL CELL V VALUE TO 3 PANELLED SURFACE OFFSET VALUE TO 500 SMALLEST SCALE OF OFFSET PANELS: 0.5 LARGEST SCALE OF OFFSET PANELS: 0.8 65 (REMOVING REVOLUTION OFFSET) (BASE REMOVED)

SERIES 5

B4: TECHNIQUE DEVELOPMENT ICD/ ITKE RESEARCH

OFFSETTING QUAD PANELLED SURFACE AND CREATING VARIATION U GRID VALUE: 20 V GRID VALUE:10 SMALLEST SCALE OF OFFSET PANELS: 0.005 LARGEST SCALE OF OFFSET PANELS: 0.9 (BASE REMOVED) (TRIMSOLID COMPONENT REMOVED)

SERIES 6

CHANGING HEXAGONAL PANELS TO QUAD PANELS (LUNCHBOX) (BASE REMOVED) (TRIMSOLID COMPONENT REMOVED)

66

CHANGING HEXAGONAL PANELS TO QUAD PANELS U GRID VALUE: 20 V GRID VALUE:7 SMALLEST SCALE OF OFFSET PANELS: 0.0141 LARGEST SCALE OF OFFSET PANELS: 0.8 (LUNCHBOX) (BASE REMOVED) (TRIMSOLID COMPONENT REMOVED)

CHANGING HEXAGONAL PANELS TO QUAD PANELS U GRID VALUE: 10 V GRID VALUE:2 SMALLEST SCALE OF OFFSET PANELS: 0.0005 LARGEST SCALE OF OFFSET PANELS: 0.087 (LUNCHBOX) (BASE REMOVED) (TRIMSOLID COMPONENT REMOVED)

H PAVILLION 2011

OFFSETTING QUAD PANELLED SURFACE, CREATING VARIATION AND BOUNDARY SURFACES U GRID VALUE: 20 V GRID VALUE:10 SMALLEST SCALE OF OFFSET PANELS: 0.4396 LARGEST SCALE OF OFFSET PANELS: 0.9 (BASE REMOVED) (TRIMSOLID COMPONENT REMOVED)

CHANGING HEXAGONAL PANELS TO QUAD PANELS U GRID VALUE: 5 V GRID VALUE:3 SMALLEST SCALE OF OFFSET PANELS: 0.0005 LARGEST SCALE OF OFFSET PANELS: 0.087 (LUNCHBOX) (BASE REMOVED) (TRIMSOLID COMPONENT REMOVED)

OFFSETTING QUAD PANELLED SURFACE, CREATING VARIATION AND BOUNDARY SURFACES U GRID VALUE: 20 V GRID VALUE:10 SMALLEST SCALE OF OFFSET PANELS: 0.1248 LARGEST SCALE OF OFFSET PANELS: 0.164 (BASE REMOVED) (TRIMSOLID COMPONENT REMOVED)

CHANGING HEXAGONAL PANELS TO QUAD PANELS U GRID VALUE: 10 V GRID VALUE:4 SMALLEST SCALE OF OFFSET PANELS: 0.0005 LARGEST SCALE OF OFFSET PANELS: 0.087 (LUNCHBOX) (BASE REMOVED) (TRIMSOLID COMPONENT REMOVED)

67

SERIES 7

B4: TECHNIQUE DEVELOPMENT ICD/ ITKE RESEARCH

OFFSETTING TRIANGLE B PANELLED SURFACE CHAN ING U GRID VALUE: 20 V GRID VALUE:10 SMALLEST SCALE OF OFFSET PANELS: 0.005 LARGEST SCALE OF OFFSET PANELS: 0.9 (BASE REMOVED) (TRIMSOLID COMPONENT REMOVED) (REMOVING REVOLUTION OFFSET)

SERIES 8

CHANGING HEXAGONAL PANELS TO TRIANGLE B PANELS (LUNCHBOX) (BASE REMOVED) (TRIMSOLID COMPONENT REMOVED) (REMOVING REVOLUTION OFFSET)

68

OFFSETTING TRIANGLE B PANELLED SURFACE CHANGING U GRID VALUE: 10 V GRID VALUE:5 SMALLEST SCALE OF OFFSET PANELS: 0.2 LARGEST SCALE OF OFFSET PANELS: 0.3 (BASE REMOVED) (TRIMSOLID COMPONENT REMOVED) (REMOVING REVOLUTION OFFSET)

OFFSETTING TRIANGLE B PANELLED SURFACE CHANG ING U GRID VALUE: 40 V GRID VALUE:5 SMALLEST SCALE OF OFFSET PANELS: 0.2 LARGEST SCALE OF OFFSET PANELS: 0.3 (BASE REMOVED) (TRIMSOLID COMPONENT REMOVED) (REMOVING REVOLUTION OFFSET)

H PAVILLION 2011

NG-

G-

OFFSETTING TRIANGLE B PANELLED SURFACE CHANGING U GRID VALUE: 55 V GRID VALUE:25 SMALLEST SCALE OF OFFSET PANELS: 0.005 LARGEST SCALE OF OFFSET PANELS: 0.9 (BASE REMOVED) (TRIMSOLID COMPONENT REMOVED) (REMOVING REVOLUTION OFFSET)

OFFSETTING TRIANGLE B PANELLED SURFACE CHANGING U GRID VALUE: 5 V GRID VALUE:5 SMALLEST SCALE OF OFFSET PANELS: 0.2 LARGEST SCALE OF OFFSET PANELS: 0.3 (BASE REMOVED) (TRIMSOLID COMPONENT REMOVED) (REMOVING REVOLUTION OFFSET)

OFFSETTING TRIANGLE B PANELLED SURFACE CHANGING U GRID VALUE: 30 V GRID VALUE:5 SMALLEST SCALE OF OFFSET PANELS: 0.3655 LARGEST SCALE OF OFFSET PANELS: 0.9 (BASE REMOVED) (TRIMSOLID COMPONENT REMOVED) (REMOVING REVOLUTION OFFSET)

OFFSETTING TRIANGLE B PANELLED SURFACE CHANGING U GRID VALUE: 50 V GRID VALUE:50 SMALLEST SCALE OF OFFSET PANELS: 0.2 LARGEST SCALE OF OFFSET PANELS: 0.3 (BASE REMOVED) (TRIMSOLID COMPONENT REMOVED) (REMOVING REVOLUTION OFFSET)

69

SERIES 9

B4: TECHNIQUE DEVELOPMENT ICD/ ITKE RESEARCH

OFFSETTING TRIANGLE C PANELLED SURFACE AND CHANGING U GRID VALUE: 25 V GRID VALUES: 2 SMALLEST SCALE OF OFFSET PANELS: 0.1157 LARGEST SCALE OF OFFSET PANELS: 0.366 (BASE REMOVED) (TRIMSOLID COMPONENT REMOVED) (REMOVING REVOLUTION OFFSET)

SERIES 10

OFFSETTING TRIANGLE C PANELLED SURFACE AND CHANGING U GRID VALUE: 78 V GRID VALUES: 4 SMALLEST SCALE OF OFFSET PANELS: 0.1157 LARGEST SCALE OF OFFSET PANELS: 0.366 (BASE REMOVED) (TRIMSOLID COMPONENT REMOVED) (REMOVING REVOLUTION OFFSET)

70

CHANGING SHAPE CUTTING HOLES INTO DOME WITH CONTROL POINTS HEXAGONAL CELL U VALUE TO 15 HEXAGONAL CELL V VALUE TO 5 PANELLED SURFACE OFFSET VALUE TO 200 (REMOVING REVOLUTION OFFSET) CURVES FOR BASE SHAPES WITH CONTROL POINTS REMOVING BOUNDARY SURFACES

CHANGING SHAPE CUTTING HOLES INTO DOME WITH CONTRO POINTS HEXAGONAL CELL U VALUE TO 15 HEXAGONAL CELL V VALUE TO 5 PANELLED SURFACE OFFSET VALUE TO 200 (REMOVING REVOLUTION OFFSET) BASE SHAPE REMOVED

H PAVILLION 2011

OL

OFFSETTING TRIANGLE B PANELLED SURFACE CHANGING HEIGHT TO 1000

OFFSETTING TRIANGLE B PANELLED SURFACE CHANGING CHANGING HEIGHT TO 4000

U GRID VALUE: 5 V GRID VALUE:5 SMALLEST SCALE OF OFFSET PANELS: 0.2 LARGEST SCALE OF OFFSET PANELS: 0.3

U GRID VALUE: 35 V GRID VALUE:2 SMALLEST SCALE OF OFFSET PANELS: 0.2 LARGEST SCALE OF OFFSET PANELS: 0.3

PANELLED SURFACE OFFSET VALUE TO 50

(BASE REMOVED) (TRIMSOLID COMPONENT REMOVED) (REMOVING REVOLUTION OFFSET)

PANELLED SURFACE OFFSET VALUE TO 218

(BASE REMOVED) (TRIMSOLID COMPONENT REMOVED) (REMOVING REVOLUTION OFFSET)

CHANGING SHAPE CUTTING HOLES INTO DOME WITH CONTROL POINTS HEXAGONAL CELL U VALUE TO 20 HEXAGONAL CELL V VALUE TO 5 PANELLED SURFACE OFFSET VALUE TO 200

CHANGING SHAPE CUTTING HOLES INTO DOME WITH CONTROL POINTS HEXAGONAL CELL U VALUE TO 10 HEXAGONAL CELL V VALUE TO 5 PANELLED SURFACE OFFSET VALUE TO 200

(REMOVING REVOLUTION OFFSET) BASE SHAPE REMOVED

(REMOVING REVOLUTION OFFSET) BASE SHAPE REMOVED

SMALLEST SCALE OF OFFSET PANELS: 0.1 LARGEST SCALE OF OFFSET PANELS: 0.5

SMALLEST SCALE OF OFFSET PANELS: 0.1 LARGEST SCALE OF OFFSET PANELS: 0.5

71

SERIES 11

B4: TECHNIQUE DEVELOPMENT ICD/ ITKE RESEARCH

PIPING WIREFRAME CURVES (5MM RADIUS) INSTEAD OF OFFSETTING IT INTO EXTRUDED PANELS

PIPING WIREFRAME (10MM RADIUS) CURVES INSTEAD OF OFFSETTING IT INTO EXTRUDED PANELS REMOVING TRIM SOLID COMPONENTS ADDING ANOTHER OFFSET TO REVOLUTION SURFA (VALUE 663) CHANGING REVOLUTION OFFSET VALUE: 312 JOINING REVOLUTION SURFACE AND BOTH OFFSE SURFACE PIPING WIREFRAME CURVES INSTEAD OF OFFSETTI IT INTO EXTRUDED PANELS

SERIES 12

REMOVING BASE

72

PIPING WIREFRAME CURVES (20 MM) AND COMBINING IT WITH ORIGINAL LOFTED PANEL SURFACES. REMOVING TRIM SOLID COMPONENTS REMOVING OFFSET TO REVOLUTION SURFACE OFFSETTING WIREFRAME CURVES 624MM INTO EXTRUDED PANELS REMOVING BASE HEXAGONAL CELL U VALUE TO 6 HEXAGONAL CELL V VALUE TO 6

PIPING WIREFRAME CURVES (10 MM) AND COMBINING I WITH LOFTED PANEL SURFACES FROM SERIES 10 REMOVING TRIM SOLID COMPONENTS REMOVING OFFSET TO REVOLUTION SURFACE INTO EXTRUDED PANELS REMOVING BASE HEXAGONAL CELL U VALUE TO 6 HEXAGONAL CELL V VALUE TO 6

H PAVILLION 2011

ACE

ET

ING

IT

PIPING WIREFRAME CURVES INSTEAD OF OFFSETTING IT INTO EXTRUDED PANELS (5 MM) REMOVING TRIM SOLID COMPONENTS ADDING ANOTHER OFFSET TO REVOLUTION SURFACE (VALUE 663) CHANGING REVOLUTION OFFSET VALUE: 312 JOINING REVOLUTION SURFACE AND BOTH OFFSET SURFACE PIPING WIREFRAME CURVES INSTEAD OF OFFSETTING IT INTO EXTRUDED PANELS

PIPING WIREFRAME CURVES INSTEAD OF OFFSETTING IT INTO EXTRUDED PANELS (20 MM) REMOVING TRIM SOLID COMPONENTS ADDING ANOTHER OFFSET TO REVOLUTION SURFACE (VALUE 900) CHANGING REVOLUTION OFFSET VALUE: 500 JOINING REVOLUTION SURFACE AND BOTH OFFSET SURFACE PIPING WIREFRAME CURVES INSTEAD OF OFFSETTING IT INTO EXTRUDED PANELS

HEXAGONAL CELL U VALUE TO 10 HEXAGONAL CELL V VALUE TO 5

HEXAGONAL CELL U VALUE TO 20 HEXAGONAL CELL V VALUE TO 10

REMOVING BASE

CHANGING HEXAGONAL PANELS TO QUAD PANELS U GRID VALUE: 10 V GRID VALUE:4 SMALLEST SCALE OF OFFSET PANELS: 0.0005 LARGEST SCALE OF OFFSET PANELS: 0.087 (LUNCHBOX) (BASE REMOVED) (TRIMSOLID COMPONENT REMOVED) COMBINED WITH A BRACED GRID 1D STRUCTURE (LUNCHBOX) MADE FROM THE ORIGINAL DOME REVOLUTION. (U=8, V=4).

REMOVING BASE

CHANGING HEXAGONAL PANELS TO QUAD PANELS SMALLER SIZE OF QUADPANELS REVOLUTION U GRID VALUE: 10 V GRID VALUE: 4 SMALLEST SCALE OF OFFSET PANELS: 0.0005 LARGEST SCALE OF OFFSET PANELS: 0.087 (LUNCHBOX) (BASE REMOVED) (TRIMSOLID COMPONENT REMOVED) COMBINED WITH A BRACED GRID 1D STRUCTURE (LUNCHBOX) MADE FROM THE ORIGINAL DOME REVOLUTION. (U=4, V=3).

73

B4: TECHNIQUE DEVELOPMENT ICD/ ITKE RESEARCH MATRIX SELCTION CRITERIA.

CONSTRUCTABILITY/ MATERIALITY

PERFORMATIVE PATTERNING

FUN/SENSE OF ENJOYMENT/ CHILDLIKE WONDER 74

There might be a variation of computer generated design but it is of significance that the design can be modeled/constructed. This experimentation is reflected in the design prototype part of part B in this journal.

Bringing performative patterning into the form is crucial to thinking about part c and following the studio design brief. Patterning also alters the atmosphere and adds dimentionality. There will also be consideration of light humidity air and responding to changing of ambient conditions.

I am interested in bringing this technique into exploring what child enjoyment and pushing the forms of what a play area is expected to look like.

Without constraint of the original form I would hope to develop this form further into a play area for children, proving that architecture is not just for adults.

H PAVILLION 2011 SUCCESSFUL SPECIES 1

SUCCESSFUL SPECIES 2

CONSTRUCTABILITY /MATERIALITY

Might be possible, needs more testing

CONSTRUCTABILITY /MATERIALITY

Use of pipe materials? Tedious construction, needs more testing to see if it can stand.

PERFORMATIVE PATTERNING

Successful, holes in the structure create light/ shade/ experiential qualities, modular cladding

PERFORMATIVE PATTERNING

Successful, creates ambient conditions, interesting modules, experiential qualities.

FUN/ SENSE OF ENJOYMENT/ CHILDLIKE WONDER

Not much possible interaction with design?

FUN/ SENSE OF ENJOYMENT/ CHILDLIKE WONDER

successful, Users can climb the structure.

SUCCESSFUL SPECIES 3

CONSTRUCTABILITY /MATERIALITY

PERFORMATIVE PATTERNING FUN/ SENSE OF ENJOYMENT/ CHILDLIKE WONDER

Successful, needs more experimenting Successful, outside structure creates interesting shadows. modular cladding on inside structure, interesting mass and light structure combination Successful, Children can climb the structure.

SUCCESSFUL SPECIES 4

CONSTRUCTABILITY /MATERIALITY

Not successful, constructionability is questionable

PERFORMATIVE PATTERNING

Successful, creates ambient conditions, interesting modules, experiential qualities, light and shade from design is interesting

FUN/ SENSE OF ENJOYMENT/ CHILDLIKE WONDER

successful, Users can climb the structure.

75

B4: TECHNIQUE DEVELOPMENT ICD/ ITKE RESEARCH SELECTED OUTCOME This species was selected because it fufils the three criteria that i have set out to choose my species.

CONSTRUCTABILITY /MATERIALITY

PERFORMATIVE PATTERNING FUN/ SENSE OF ENJOYMENT/ CHILDLIKE WONDER

76

Successful, needs more experimenting Successful, outside structure creates interesting shadows. modular cladding on inside structure, interesting mass and light structure combination Successful, Children can climb the structure.

H PAVILLION 2011

77

B5: TECHNIQUES: PROTOTYPE ICD/ ITKE RESEARCH MATERIALITY MDF BOARD(3MM) Medium Density Fibreboard (MDF) is a reconstituted wood panel product. It is a dry-processed fibreboard manufactured from wood fibres, as opposed to veneers or particles, and is denser than plywood and particleboard. MDF has an even density throughout and is smooth on both sides.1 MDF enables good workability and provides a good surfave for lasercutting a model.

1 Wood Solutions, ‘Medium Density Board (MDF) ’, Wood Solutions (revised April 2017) < https://www.woodsolutions.com.au/Wood-Product-Categories/MediumDensity-Fibreboard-MDF > [24 April 2017]

PLA PLASTIC 3D PRINT FILAMENT 3D printing materials include powder printing, and plastic printing, plastic printing is chosen because it is less time consuming and more cost effective.

Within plastic 3d printing there are two types of materials , PLA (polylactic acid) and ABS ( Acrylonitrile-Butadine Styrene). PLA plastic is chosen because it is more cost efficient and ecologically friendly than ABS plastic. PLA plastic also has higher print speeds and smoother layers. 1 1 All3DP, ‘PLA vs ABS: Filaments for 3d printing explained and compared’,All3DP (revised April 2017) < https://all3dp.com/pla-abs-3d-printerfilaments-compared/ > [24 April 2017]

78

PAVILLION 2011 PROTOTYPE METHODS LASERCUT Laser cutters direct a high-powered laser to cut materials. The material then either melts, burns or vaporizes the material leaving a cut or etched edge or rastered area with a quality finish1 The choice in using the laser cutter gives the model prototype a clean finish and an accuracy that cannot be achieved with hand crafting 1 FabLab, ‘FabLab’,FabLab University of Melbourne (revised April 2017) < https://msd.unimelb.edu.au/fablab > [24 April 2017]

3D PRINTING 3D Printing is an additive manufacturing process of making three-dimensional physical objects from digital models. These physical objects are created by adding or laying down and binding successive layers of material.1 The University of Melbourne uses replicator 3d Printers for PLA filament printing. The choice of 3d printing is its efficiency and accuracy. The complicated modular pattern design is tedious to manufacture and using the 3D printing device saves time and produces a model that would be more accurate and neat that hand crafting the model.

1 FabLab, ‘FabLab’,FabLab University of Melbourne (revised April 2017) < https://msd.unimelb.edu.au/fablab > [24 April 2017]

79

B5: TECHNIQUES: PROTOTYPE ICD/ ITKE RESEARCH

SELECTING SUCCESSFUL SPECIES

80

LAYING OUT PARTS IN 2D AND CREATING TEETH FOR PARTS TO JOIN. ( TEETH ADDS INTERESTING ‘JIGSAW PUZZLE’ AESTHETIC TO DESIGN.

SCALING MODEL TO 1:25 SCALE SEPERATING THE TWO DIFFERENT

OFFSETTING WIREFRAME, THE DEC THE FORM IS DUE TO ISSUES IN PR WIREFRAME , TOO THIN TO LASER PRINT.

PAVILLION 2011

FOR PROTOTYPING AND STRUCTURES.

CISION IN CHANGING ROTOTYPING A THIN RCUT, TOO THIN TO 3D

CAPPING THE SURFACES AND BOOLEAN/ JOINING SURFACES INTO A SOLID , EXPLODING THE SOLID

EXPORTING EXPLODED SOLID AS .STL FILE, OPENING FILE IN MAKERBOT PRINT, TESTING PRICE OF 3D PRINT FILE, EXPORTING MAKERBOT FILE AND SUBMITTING TO FABRICATION LAB.

81

B5: TECHNIQUES: PROTOTYPE ICD/ ITKE RESEARCH 3D PRINTING ISSUES | FURTHER SCRIPT DEVELOPME

Upon analysis with the makerbot print software. There were unclosed curves and open surfaces in scaled iteration and in printing it the surface would not be whole. I went back to rhino and grassh some minor editing to ensure a closed whole surface for the 3D printer. This is done by extracting the dome, editing individual modules that caused the error and using polar array to create the p

ORIGINAL

82

PAVILLION 2011 ENT FOR CONSTRUCTABILITY

n the original hopper and did g one tenth of panneled dome.

NEW/ EDITED FOR CONSTRUCTION

83

B5: TECHNIQUES: PROTOTYPE ICD/ ITKE RESEARCH LASERCUT ISSUES | FURTHER SCRIPT DEVELOPMENT

Upon printing my lasercut file, I noticed that the joining teeth of my model parts were to wide and not fit. I had to go back to the grasshopper definition that made the joinery and edit the dimensi joinery. However i also discovered an interesting new species of structure in my mistake. As ahow prototype one, the teeth that did not intersect created a patterning opportunity that could be e result i have 2 prototypes of the original wireframe structure that has been morphed.

ORIGINAL

84

PAVILLION 2011 T FOR CONSTRUCTABILITY

d they could ions of the teeth wn in lazercut explored. As a LASERCUT PROTOTYPE 1

LASERCUT PROTOTYPE 2

85

B5: TECHNIQUES: PROTOTYPE

PROTOTYPES |PARTS+ASSEMBLY

86

87

B5: TECHNIQUES: PROTOTYPE

TESTING PROTOTYPES EFFECTS

88

89

B6: TECHNIQU

90

UE PROPOSAL

91

B6: TECHNIQUE: PROPOSAL

CLIENT: CHILDREN

The play tower and playground at Swarovski Kristallwelten ( Crystal Worlds), in Tirol, Austria https://kristallwelten.swarovski.com/Content.Node/wattens/playtower_playground.en.html

92

Children were chosen as the client to address the brief of living architecture by thinking of children bringing vitality into the site. When thinking of the word â&#x20AC;&#x2DC;livingâ&#x20AC;&#x2122;. Childrenâ&#x20AC;&#x2122;s play poetically symbolise the energy within human living. I am interested in bringing this sense of energy into a playground installation that will bring energy into the site. Some parameters that should be considered may include, children metrics, child interaction and parents.

93

B6: TECHNIQUE: PROPOSAL

SITE ANALYSIS| OTHER PA

CHOSEN SITE: COLLINGW FARM OVERVIEW

94

ARAMETERS

WOOD CHILDRENS FARM

Farm activities include collingwood farm cafe, weddings and events, Farmers market every second saturday of the month, cow milking and guinea pig cuddling activities. Prices for entry into the farm : Child $5/$3 ,Adult $10/$5, Family (two adults & up to four children) $20/$10

95

B6: TECHNIQUE: PROPOSAL SITE ANALYSIS| CHILDRENS FARM ACCESS 



  

96



SITE ANALYSIS| TOPOGRAPHY| SUN 



97

B6: TECHNIQUE: PROPOSAL

SITE ANALYSIS| SITE INTR

NORTH 98

LIGHT BLUE: HYDRO WATER AREAS DARK BLUE- WATER COURSE DARK GREEN: NATIVE VEGETATION

LIGHT PURP RED P RED:

RODUCTION

T GREEN: FLORA/ TREE DENSITY PLE URBAN: DWELLING OVERLAY POINTS: ROAD INFRASTRUCTURE ROADS

99

B6: TECHNIQUE: PROPOSAL

PRECEDENT STUDY

https://kristallwelten.swarovski.com/Content.Node/wattens/playtower_playground.en.html

100

Swarovski Kristallwelten Playtower

By Snøhetta Architect Robert Cirjak, completed 2015 I was interested in looking at climbing surfaces for children play areas.

Four different levels make up the play tower, where children can climb to the highest point of the net at 45 feet. I was interesed in its varying levels of textures and climbing surfaces with modular geometric patterning.

This precedent does not look like a conventional playground and it would be interested to lean the ways in which it changes the ideology of the ‘common form’ of a playground.

101

B6: TECHNIQUE: PROPOSAL

PRECEDENT STUDY

http://www.tezuka-arch.com/english/index.html

102

彫刻の森 ネットの森/ WOODS OF NET, TEZUKA ARCHITECTS , COMPLETED 2009 This precedent is an interesting note because of its netted structure that children can interact and play with. Its use of color is also very interesting. I am also interested in using color to bring energy and liveliness into the playground emphasizing the idea if ‘living architecture’. This precedent does not look like a conventional playground and it would be interested to lean the ways in which it changes the ideology of the ‘common form’ of a playground.

103

B6: TECHNIQUE: PROPOSAL

INTERIM PROPOSAL

104

105

B7: LEARNING OBJECTIVES AND OUTCOMES

PROTOTYPE DESIGN REFLECTION/ FURTH

Objective 2. Developing “an ability to generate a variety of design possibilities for a given situation” - Success, developed a variety of matrixes Objective 3. Developing “skills in various threedimensional media” Show that you used digital models and digitally fabricated physical prototypes to investigate scale, material effects, geometry, physical forces and issues of fabrication and assembly.

- Success, managed to learn the 3D printing process and also learnt that got all algorithmic geometries can be fabricated. learnt frm failure of lasercut mdf teeth failed joinery failure.

Need to consider fabrication opportunities instead of 3d printing although it is a viable option to fabricate 1:1.

Part B has helped me understand grasshopper and parametric modelling on a deeper level by its considerations of constructability and studying parameters that contribute to a final design The reverse engineering form was successful but its constructionability is questionable.

The reverse engineering was however successful in creating similar forms without grasshopper kangaroo.

106

HER EXPERIMENTATION

Objective 7. developing â&#x20AC;&#x153;the ability to make a case for proposalsâ&#x20AC;?.

Were you able to anticipate and preempt criticism by openly discussing shortcoming and limitations of proposed approaches/designs and supporting your arguments with evidence and data?

Futher exploration into the prototype post crit shows acceptance of my tutors criticisms, my proposal looks into the parameters of the final design Objective 8. begin developing a personalised repertoire of computational techniques Show that you engaged in self-directed learning of visual programming and in algorithm construction.

I have learnt more grasshopper skills from Part B journal.

107

B7: REFLECTION

PROTOTYPE DESIGN REFLECTION/ FURTH SPECIES 4

FURTHER PROTOTYPE EXPERIMENTATION

108

HER EXPERIMENTATION

UPON THE CRIT FOR MY PART B PROTOTYPE I REALISED THAT THERE SHOULD BE A RELATIONSHIP BETWEEN THE TWO PROTOTYPE FORMS THAT WERE MEANT TO BE COMBINED INTO A SINGLE INSTALLATION. I STARTED TO THINK ABOUT WHAT I CAN DO TO ADD TO THE PROTOTYPE. GOING BACK TO THE ICD/ ITKE RESEARCH PAVILLION 2011 MATRIX I LOOKED INTO STUDYING SELECTED SPECIES 4 FROM BEFORE WHICH INTEGRATES WIRE/ MESH LIKE CLIMBING SURFACES. IN ATTEMPTING TO CREATE A RELATIONSHIP BETWEEN THE TWO PROTOTYPE FORMS I AM INTERESTED IN EXPLORING THE IDEA OF WEAVING BETWEEN THE FORMS TO ADD MORE CLIMBING SURFACES. IT IS ALSO IMPORTANT TO THINK ABOUT THE MATERIAL OF THE CLIMBING FORM THAT MAKES IT SAFE FOR THE CHILDREN TO INTERACT WITH. THUS THIS WEAVING FORM MAY ALSO EVOLVE INTO A SAFETY NET IN CASE CHILDREN FALL FROM THESE CLIMBING SURFACES.

109

B7: REFLECTION

PROTOTYPE DESIGN REFLECTION/ FURTH

110

HER EXPERIMENTATION |EFFECTS

111

B8: APPENDIX- ALGORITHMIC SKETCHES

Referencing All3DP, ‘PLA vs ABS: Filaments for 3d printing explained and compared’,All3DP (revised April 2017) < https://all3dp.com/pla-abs-3d-printer-filaments-compared/ > [24 April 2017] Glynn, Simon, ed., ‘Spanish Pavillion, Aichi Expo Japan, Foreign Office Architects’, Galinsky (2005) <http://www.galinsky.com/buildings/spainaichi/> [25 April 2017] The Function of Ornament ,Farshid Moussavi (Barcelona: Actar, 2006) Wood Solutions, ‘Medium Density Board (MDF) ’, Wood Solutions (revised April 2017) < https://www.woodsolutions.com.au/Wood-Product-Categories/Medium-Density-FibreboardMDF > [24 April 2017]

112

Algorithmic sketches

Objective 7. develop foundational understandings of computational geometry, data structures and types of programming Understanding of graph mapper and trig curves and lists.

113

PART C: DETAILED DESIGN 114

C1. DESIGN CONCEPT

118-139

C2. TECHTONIC ELEMENTS AND PROTOTYPES

140-147

C3. FINAL DETAIL MODEL

148-177

C4. LEARNING OBJECTIVES AND OUTCOMES

178-181

115

116

MOVING FORWARD FROM PART B In addressing feedback from the interim presentation, this part of the journal will continue to develop the ideas of using modular components projected as a pattern onto a form with more detail and analysis.

This part of the journal will also present a more resolved design including constructability issues and prototype testing towards the final design.

117

PARAMETR

SPECULATIVE DESIGNING FUTURING BY CHANGI

118

RIC PLAY

ING THE FORM OF PLAY AREAS

119

C1 | DESIGN CONCEPT : ANALYSING THE BRIEF

LIVING ARCHITECTURE| PE COURSE BRIEF: LIVING ARCHITECTURE

CLIENT PARAMETERS

SITE

PARAMETERS`

STUDIO BRIEF PERFORMATIVE

FAMILIES| CHILDREN ACTIVITIES

FORM/ PARAM

ACCESS SITE TOPOGRAPHY

PATTERN PARAM ENVIRONMENT PARAMETERS`

120

RADIATION ANALYSIS

ERFORMATIVE PATTERNING

F: E PATTERNING

CONSTRUCTION CONSIDERATION

METERS

N METERS

MASS FORM + MODULAR PATTERNING = DESIGN

MATERIALITY JOINERY

121

C1 | DESIGN CONCEPT

ARGUMENT| BRIEF :

TO CREATE EXPERI ECOSYSTEMS WITH PATTERNING THAT COMMON IDEOLO AREA WHILE THINK FUN AS A CHILDâ&#x20AC;&#x2122;.

122

IENTIAL H PERFORMATIVE CHALLENGES THE OGY OF A PLAY KING OF â&#x20AC;&#x2DC;HAVING

123

C1| DESIGN CONCEPT: CLIENT

The play tower and playground at Swarovski Kristallwelten ( Crystal Worlds), in Tirol, Austria https://kristallwelten.swarovski.com/Content.Node/wattens/playtower_playground.en.html

C1| DESIGN CONCEPT: SITE

COLLINGWOOD CHILDRENS FARM

124

CHILDREN/ FAMILIES Children were chosen as the client to address the brief of living architecture by thinking of children bringing vitality into the site. When thinking of the word ‘living’. Children’s play poetically symbolise the energy within human living. I am interested in bringing this sense of energy into a playground installation that will bring energy into the site. Some parameters that should be considered may include, children metrics, child interaction and parents. This design idea will focus on creating fun architecture that encourages child’s play through climbing and crawling

COLLINGWOOD CHILDRENS FARM| MARKET The Design aims to add a playground to the Collingwood childrens farm to educate and add joy to children and family experience in the farm with a play area.

The collingwood childrens farm market opens every 2nd Saturday of each month providing fresh farm produce. This will attract children and family which would add to user interaction of design, When the market is not open, the site is an open grass area where children run around and play.

125

C1| DESIGN CONCEPT: SITE VISIT PHOTOS

126

SITE ENTRANCE

RIVER VIEW

PIGSTY

PLANTS ON SITE

CHICKEN COOP

WINDMILL ON SITE

127

C1| DESIGN CONCEPT: SITE STUDY| COLLINGWOOD C VEGETATION| TREES

NORTH

SITE

Towards the east of the site there is high density of trees, the structure will be facing east, placing emphasis on views towards the east of the site for vegetation views.

SITE ACCESS

Main site access includes:

SITE

Roads for cars: Studley park road, Yarra boulevard, st Heliers street (to enter site) Bicycle: Main yarra trail, Studley park road, Yarra Boulevard

128

CHILDRENS FARM/MARKET RIVER COURSE| TOPOGRAPHY

RI

VE

R

SITE

The river is also towards the east of the site and this design aims to enhance views of the river and vegetation on the steep topography across the river from the site

SITE AMENITIES

FARM CAFE FARM ENTRANCE

FARM

SITE: FARM/ FARMERS MARKET

The farmers market site is part of the farm. When the farmers market is not around, the site is an empty grass area where children can play.

129

C1| DESIGN CONCEPT: SITE STUDY| GROUND RADIAT

130

TION ANALYSIS WITH FORM RADIATION

The ground radiation and form radiation analysis was done for the summer seasons at 12 noon. This is the period of time with the most radiation which will give the best results for radiation design.

131

C1| DESIGN CONCEPT: PARA

RADIATION ANALYSIS ON FORMS GRASSHOPPER TO CALCULATE AN AVERAGE POINT WHERE THERE IS MOST RADIATION ATTRACTOR POINT SET ON THE PART OF FORM WITH THE HIGHEST RADIATION FORM FROM SITE CONTOUR

PANELS FROM THE FORM

132

AMETRIC DESIGN PROCESS

SCALING CURVE WITH ATTRACTOR POINT TO CREATE PATTERN

LOFTING PATTERN AND PANEL CURVES TO CREATE FLAT MODULES WHERE : HIGHEST RADIATION = SMALLEST PERFORATIONS

EXTRACTING CURVES FROM PANELS

133

C1: DESIGN CONCEPT: FORMS ON SITE CONTOURC

FORM 1 Form follows the contour downwards with a winding journey towards the river Height of entrance and end = 2 metres. Most adults can fit into the entrance and ends but cannot climb through Form is built for children Lowest part of form serves as a seating area while children can climb under

FORM 2 Form on flat ground Height of entrance and end = 2 metres. Most adults can fit into the entrance and ends but cannot climb through Form is built for children Lowest part of form serves as a seating area while children can climb under

134

C1: DESIGN CONCEPT: FORM RADIATION ANALYSIS

135

C1: DESIGN DEVELOPMENT: PATTERN FROM RADIATI PATTERN 1 SMALLER HOLE = HIGHER RADIATION TRI A PANELS FROM LUNCHBOX U:30, V:3 DISTANCE BETWEEN ATTRACTOR POINT AND 1 CELL X 0.00003 =SCALE FACTOR OF CELLS INSIDE

FORM 1 PATTERN 3 SMALLER HOLE = HIGHER RADIATION TRI C PANELS FROM LUNCHBOX U:20, V:3 DISTANCE BETWEEN ATTRACTOR POINT AND 1 CELL X 0.00003 =SCALE FACTOR OF CELLS INSIDE

PATTERN 5

SMALLER HOLE = HIGHER RADIATION TRI A PANELS FROM LUNCHBOX U:5, V:3 DISTANCE BETWEEN ATTRACTOR POINT AND 1 CELL X 0.00006 =SCALE FACTOR OF CELLS INSIDE

FORM 2 PATTERN 7 SMALLER HOLE = HIGHER RADIATION TRI C PANELS FROM LUNCHBOX U: 5, V:3

136

DISTANCE BETWEEN ATTRACTOR POINT AND 1 CELL X 0.00006 =SCALE FACTOR OF CELLS INSIDE

ION ANALYSIS EXPLORATION PATTERN 2 SMALLER HOLE = HIGHER RADIATION TRI B PANELS FROM LUNCHBOX U:40, V:10 DISTANCE BETWEEN ATTRACTOR POINT AND 1 CELL X 0.00004 =SCALE FACTOR OF CELLS INSIDE

PATTERN 4 SMALLER HOLE = HIGHER RADIATION DIAMOND PANELS FROM LUNCHBOX U:15, V:3 DISTANCE BETWEEN ATTRACTOR POINT AND 1 CELL X 0.00003 =SCALE FACTOR OF CELLS INSIDE

PATTERN 8

SMALLER HOLE = HIGHER RADIATION TRI B PANELS FROM LUNCHBOX U:5, V:5 DISTANCE BETWEEN ATTRACTOR POINT AND 1 CELL X 0.000085 =SCALE FACTOR OF CELLS INSIDE

PATTERN 9 SMALLER HOLE = HIGHER RADIATION DIAMOND PANELS FROM LUNCHBOX U:5, V:5 DISTANCE BETWEEN ATTRACTOR POINT AND 1 CELL X 0.000131 =SCALE FACTOR OF CELLS INSIDE

137

INITIAL DESIGN CONCEPT (PATTE

138

ERN 3)

139

C2: TECHTONI AND PROTOTY

140

IC ELEMENTS YPING

141

C2: DETAILED MODEL TESTING| PROTOTYPE 1

This prototype was made with mdf and joined by teeth that was made by grasshopper The teeth failed and the model did not succeed, Zip ties were then used to attach modules together. Although it failed , it was painted over to test color use for the final model.

142

C2: DETAILED MODEL TESTING| PROTOTYPE 2

This prototype was made with paper and tabs that were glued together. Although it could not be successful as a 1:1 structure with paper material, this prototype successfully shows the viability of the form. This prototype also presents the effect and shadows of the design.

143

C2: DETAILED MODEL TESTING| PROTOTYPE 3

Following the success of prototype 2 , this prototype uses plywood to test materiality.

The modules are glued together for the form. The joints are not refined with this prototype. The materiality was however successful.

144

C2: DETAILED MODEL TESTING| PROTOTYPE 4

This prototype uses polypropylene with stapler as joints. The staplers in this prototype mimics nut and bolt joints. The joints were successful but the polypropylene material was not as successful as the plywood material.

145

C2: JOINT PROTOTYPE

146

Following prototype 4 there was further exploration into the use of nuts and bolts as joint connections with metal plate bracing to ensure structural viability.

147

FURTHER DEVELOPMEN INITIAL MODULES

EXTRUDED MODULES

148

NT OF DESIGN CONCEPT

Feedback from the final presentation suggested further development to the design in extruding the modules to create a design that can provide three dimensionality in its climbing surfaces.

Thus the modular patterns from the radiation analysis results are extruded (but not capped)to address this feedback. The new morphology of the form will provide a pattern that is better for climbing while creating shadow and providing interesting experiential qualities in the interior space.

149

PARAMETRIC DE

RADIATION ANALYSIS ON FORMS ATTRACTOR POINT SET ON THE PART OF FORM WITH THE HIGHEST RADIATION

SC PO

FORM FROM SITE CONTOUR

PANELS FROM THE FORM

150

EXT

ESIGN PROCESS

CALING CURVE WITH ATTRACTOR OINT TO CREATE PATTERN

OFFSETTING THE CURVE OUTWARDS

TRACTING CURVES FROM PANELS LOFTING PATTERN AND PANEL CURVES TO CREATE MODULES WHERE : HIGHEST RADIATION = SMALLEST PERFORATIONS

151

152

C3: FINAL DETAILED DESIGN TO CREATE EXPERIENTIAL ECOSYSTEMS WITH PERFORMATIVE PATTERNING THAT CHALLENGES THE COMMON IDEOLOGY OF A PLAY AREA WHILE THINKING OF ‘HAVING FUN AS A CHILD’.

EXPERIENTIAL =LIGHT/SHADOW/ MODULAR EFFECTS FROM PATTERNING PERFORMATIVE PATTERNING= MORE RADIATION, SMALLER PERFORATIONS CHALLENGING IDEA OF PLAY AREA= FORM/ CLIMBING ON MODULES HAVING FUN AS A CHILD= CHILD’S PLAY AND INTERACTION WITH THE DESIGN

153

C3: CONSTRUCTION PROCESS

Unrolling geometry to parts with numbers to join Numbers show faces that connect together

Join according (joints on next

154

g to numbers page)

Modules (combined to form structure)

155

C3: JOINTS | PARAMETRICALLY DESIGNING JOINTS

156

Exploding geometry into surface curves

Compute intersection 100mm for connectio

Exploding geometry into surface curves

Compute intersection 100mm for connectio

S

n curves at length of on profiles

Extend curves into joints for underside of structure

n curves at length of on profiles

label with numbers to identify joint to component 157

C3: JOINTS | CONSTRUCTION PROCESS

3 20 158

17

12 25

9

27

15

23

0

6

30

Layout metal plate cutting template

Cut metal plat to template

Attach modules by number

Add metal pla

tes according

ates

Lasercut panels

Screw metal plates to joints

159

C3: FINAL DESIGN MODEL

160

161

C3: JOINT MODEL

162

C3: FINAL DESIGN MODEL EFFECTS

163

164

FINAL DESIGN:TOWARDS RIVER

165

166

FINAL DESIGN: SIDE

167

168

FINAL DESIGN: SITE PLAN

169

170

FINAL DESIGN: TOP VIEW

171

FINAL DESIGN: ENT

172

TRANCE (MOST RADIATION SMALL PERFORATIONS

173

FINAL DESI

174

IGN: EXIT (LEAST RADIATION LARGE PERFORATIONS

175

176

FINAL DESIGN: FROM RIVER

177

178

C4: REFLECTIONS The Final design was altered after the final presentation as discussed in page 146 and 147. The modules that made up the pattern were modified by extruding the surfaces into 3D modules that are better to climb on. This process can also be seen in page 148-149. Another comment from the presentation was to create a ground surface analysis with the form as shown on page 130-131. The clarity of the form and design matrix was also refined after the presentation.

This project has affected my knowledge in architecture in terms of an increase in my computational skills and the design process consideration. In using Computational methods i have come to learn that it increases the efficiency in producing designs. Computational methods also enable form exploration which is good to the consideration of forms. Part C thus shows my ability in using computational methods in the fabrication and design.

179

C4: LEARNING OBJECTIVES & OUTCOMES Objective 1. “interrogat[ing] a brief” by considering the process of brief formation in the age of optioneering With parametric thinking the brief formation processes is a result of thinking with course and tutorial briefs. this process can be seen on page 120-121. Within the boundaries the aim of this design is to add fun and enjoyment with child like energy to designing.

Objective 2. developing “an ability to generate a variety of design possibilities for a given situation” by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive design-space exploration; Throughout this course i have learnt and improved on my skills in parametric thinking and visual programming for design exploration. This can be seen in the parametric process of designing the form(pg134), radiation analysis(pg135), patterning (pg136-137) , and joints/construction. (156-157) Objective 3. developing “skills in various three dimensional media” and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication; Three dimensional thinking skills were developed within this course with the exploration of computational tools. Computational tools (Grasshopper) was used to create the geometry with radiation analysis and patterning tools (luncbox and attractor points which are parametric modelling tools).

The curves for the joints were also parametrically designed as shown on page 156-157 Objective 4. developing “an understanding of relationships between architecture and air” through interrogation of design proposal as physical models in atmosphere;

180

The relationship between architecture and air can be shown with the radiation analysis part of the design. The radiation analysis shows the relationship between design and the atmosphere

Objective 5. developing â&#x20AC;&#x153;the ability to make a case for proposalsâ&#x20AC;? by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourse.

Critical thinking towards the final proposal can be seen on page 120-121. The construction of a persuasive and rigourous argument from contemporary discourse can be seen within the development of the final part c design.

Objective 6. develop capabilities for conceptual, technical and design analyses of contemporary architectural projects; Part A and B shows the capabilities in design analysis of existing projects. In Part B4 where i came up with a script for the 2011 ICD/ITKE Research Pavilion without using rasshopper shows innovation in the technical part of architectural innovation. conceptual innovation can also be seen with the design proposal in part c.

Objective 7. develop foundational understandings of computational geometry, data structures and types of programming; Throughout this course I have developed further understanding of computational methods with grasshopper. This can be seen throughout the journal with the increased improvement in computational design.

Objective 8. begin developing a personalised repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application.

Computational methods are important to pushing boundaties towards the futuring of design, It is however crucial to consider human factors such as site and client.

181