STUDIO
Wendy Zhang 586019 2015 Semester 1 Tutorial 14
A
cloud does not know why it moves in just such a direction and at such a speed... It feels an impulsion... this is the place to go now. But the sky knows the reasons and the patterns behind all clouds, and you will know, too, when you lift yourself high enough to see beyond horizons. ~ Richard Bach
Table of Contents 3   INTRODUCTION 4 7 13 21 29 30 32
A. CONCEPTUALIZATION Design Futuring Design Computation Computation & Generation Conclusion & Learning Outcomes Appendix References
34 36 38 42 46 48 50 54 55
B. CRITERIA DESIGN Research Field Case Study 1.0 Case Study 2.0 Technique: Development Technique: Prototypes Technique: Proposal Learning Objectives and Outcomes References
56 58 68 70 74 75
C. DETAILED DESIGN Design concept Prototype Finish model Learning objectives and Outcome Images
INTRODUCTION Hi! I’m Wendy and I’m originally from a beautiful city located in the northeast of China called Changchun, where half of the year is summer and the other half is covered in snow. Used to be into dancing, Latin, Ballroom, Hip hop, Jazz... Played keyboard, piano...Drawing had always been my passion too, used to sit there drawing for hours without feeling tired or bored. Like everyone else, I’m also major in architecture. It has always been a “on and off, love and hate” relationship between us. My passion for architecture started from my dream to design my very own future house. However during my time at university, the initial inner fire had gradually starting to fade when comes to reality and the biggest problem I am encountering is to do things digitally. For me personally anything that are computerized or programmed was never my thing. Thus caused me to constantly ask myself does this really suite me after how hard I’ve tried yet still not getting things right? However just thinkng about what started me in architecture, indeed gave me great motivations and pushed me forward towards the dream. I am aware that this subject is primary focusing on digital design development and studio air is an good opportunity to build my design understanding and broaden my abilities by learning parametric modelling and overcome my weakness.
PART A
CONCEPTUALIZATION
4
CONCEPTUALISATION
FIG.1 CONCEPTUALISATION 5
DESIGN FUTURING
Fry has a holistic design definition,
as many others, he thinks of design as much more than aesthetics and end-of-the-process polishing. According to him, ‘we all design’ 1and design is a ‘world-shaping’ force. 2
ecological balance by utilizing earth’s rich resources. It is interesting what we have done to our earth will eventually come back at us. Our “individuals, communities, races and even nations can be fated or made to disappear” 4
D
esign futuring is all about changing the way we do and think about design. focusing on moving from a unsustainable environment to the ideal, sustainable world. Throughout history of design, we can find that every design reform and progress ver since humans started taking were inseparable from the living adva ntage of the earth, they have circumstances change, the democratic indeed intruded upon the natural process, the awakening of the people and the progress of society5. 1 Tony Fry. Design futuring: sustainability, ethics
Design
futuring has to face two tasks: slowing the rate of defuturing and redirecting us towards far more sustainable modes of planetary habitation. 3
E
and new practise, (Berg Publications, Oxford, UK,2008), 2 2 Fry. Design futuring, 3
4 Fry. Design futuring, 1
3 Fry. Design futuring, 6
5
Fry, Design futuring, 6
How does design contribute to the
continuation of humanity? It is stated in Fry’s book Design futuring that designing has a deep connection with our humankind and intertwined with numourous issues which the world currently faces. Design practices with its currently standings is not only ineffective in many ways but has also become a crucial reason for our unsustainable living and is currently causing ‘defuturing’, thus taking away our future.
An ethereal, glowing geodesic half-dome entitled ‘Rising Moon’ surfaced on Hong Kong’s Victoria Park for Lantern Wonderland 2013. Composed of thousands of recycled water bottles and illuminated by LED lights, this art installation brings out the best of Hong Kong: its dedication to sustainability and its vibrant nightlife. “Rising Moon” is a hemispheric installation measuring 10 metres in height and 20 metres in diameter. In addition to about 7,000 recycled plastic bottles, other recyclable and reusable materials, including steel frames, cable wires and energy-saving LED light bulbs, are used to construct the lantern. The lantern will sit on a pool of water, where lighting effects will allow it to join its reflection to produce the different lunar phases. After the exhibition, the plastic bottles will be collected by the Yan Oi Tong EcoPark Plastic Resources Recycling Centre for recycling. The hemispheric structure consists of 148 triangular steel components, each crossed with cable wires to form a cable net. LED lights tied to plastic bottles are secured to the cable net in each triangular steel frame, forming the surface of the lantern. In recent years, the society becomes more aware of the term Sustainability, on different aspects of our living environment such as foods, shelters and transportations. “As a temporary pavilion, we would propose using sustainable materials which is recyclable after deconstruction or even using recycle material for construction directly, to promote Hong Kong as a sustainable city.” -Daydreamers Design1
1 Rising Moon Pavilion by Daydreamers Design, A’ Design
Award and Competition, last excessed 11.03.15 http://www.adesignaward.com/design.php?ID=30919 8
CONCEPTUALISATION
PAVILION MADE FROM RECYCLED WATER BOTTLES BY DAYDREAMERS DESIGN
FIG.3
FIG 2
FIG.2
FIG3 FIG 4
FIG.4
CONCEPTUALISATION 9
Aiming to achieve the world’s most energyefficient skyscrapers, The Pearl River Tower, in Guangzhou, China, designed by Skidmore, Owings & Merrill LLP (SOM) had successfully incorporated the latest sustainable technology and engineering into its design of this 309 meter tall Tower. The design embodies the idea of humankind existing in harmony with the environment.1 The tower’s sleek, aerodynamic form was developed through a thorough understanding of solar and wind patterns around the site. A building’s performance is intrinsically linked to the building envelope’s performance. Taller buildings indeed equate to a larger consumption for heat gain or loss, as tall as the building 1 “Pearl river tower”, SOM, last modified, 8.03.2015 http://www.som.com/projects/pearl_river_tower 10
CONCEPTUALISATION
is, it is important to have an energy efficient façade. Less heat gain or loss through the façade means less energy consumed in order to cool or heat a building. To achieve the goal of a high performance façade, it was designed to generate its own energy through photovoltanic panels in the building’s exterior to optimize the solar path and uses the sun to provide benefit to the building. The tower’s sculpted body directs wind to a pair of openings at the mechanical floors, where turbines generate energy for the building.2 Other integrated design and engineering elements include double-skin curtain wall, a chilled ceiling system, underfloor air ventilation, and daylight
harvesting. all of these attributes, green features certainly achieved a significant energy saving and also reduced the tower’s dependency on the city’s infrastructure3. The Pearl River Tower had definitely redefined what is possible in sustainable design by incorporating the latest green technology and engineering advancements. It is crucial for designers nowadays to really think design the ‘green’ way, and thoroughly analyzing the site, the wind and sun path in my opinion is crucial in order to integrate into any designs, as these renewable resources can undoubtly sustain and provide benefits to the building, our earth and ultimately back to ourselves.
2 “Tall Buildings: Imaginative Façade Solutions”, practical imagination, last modified 21.2.2015 http://practicalimagination.info/tall-buildings imaginative-facade-solutions/
http://www.som.com/projects/pearl_river_tower
3 “Pearl river tower”, SOM, last modified, 8..2015
PEARL RIVER TOWER
FIG.5 CONCEPTUALISATION 11
FIG.6
12
CONCEPTUALISATION
DESIGN COMPUTATION
Computerization converts the existing idea into Computational design offers a number of digital representations which involves storing benefits which extend traditional design information in a computer system. Whereas techniques. computation is the procedure of calculating, creates process of formal generation, • Precision and Complexity: Computation which involves determining something by highest level of precision enabling mathematical or logical methods, with the provides transformation and development chances of the outcome being unpredictable. quicker of relatively more complex patterns and structures. It is known to manage complex geometries and large data load excellently helps making the world ‘a better “Computerization is about automation, which mechanization, digitization, and conversion... place’ for designers. • Creativity/randomness: Rather unique and computation is about the exploration of indeterminate, vague, unclear, and often ill- unexpected designs often can be generated defined processes; because of its exploratory through trial and errors. nature, computation aims at 1 emulating or • Recording processesDocumentation: extending the human intellect.” Easier and faster in editing projects and also more convenient and thorough when communicating and analysing designs and projects. • Time Saver: After becoming familiar with digital software, 3D modelling and 2D drawings can be a relatively faster precess 1 Terzidis, Kostas. Algorithmic architecture / in comparison with traditional productions. Kostas Terzidis. n.p.: Oxford : Architectural, 2006. xi
FIG.6 CONCEPTUALISATION 13
Fig 20
Liquid Glacial Table
Fig 7 Zaha Hadid Architects, Liquid Glacial table, London, UK, David Gill Galleries
When you think about computational design, Zaha Hadid’s work may be the first to pop into your mind. However, although Hadid’s work has a digital, computated appearance to it with all the smooth, flowy, sleek forms and it may looks like it was generated with the use of a program, if fact it isn’t. Zaha always starts her projects with concepts through paintings, which she calls “narrative stance of spatial language”. These paintings represent her themes and feelings for architecture. Many of her paintings associated with projects that are mainly black and white are the sketches of infinite possibilities that are open to interpretation. Therefor the architect has always had a clear idea of how the form of the final production would look like in her mind at the very beginning of computerisation and digital softwares are not used for further design developing, in her case, computers are only a tool for converting her existing designs into communicable digital 3D and 2D representations.
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“I HAVE ALWAYS BEEN INTERESTED IN THE CONCEPT OF FLUIDITY,” SAYS HADID. By using computers, this allows us to have designs that go beyond cubic forms and more towards a rather fluid, flowy and more organic shape. This is the Liquid Glacial Table, made in clear polished Plexiglas is Zaha Hadid’s later product design which is exhibited at David Gill Galleries in London, UK. This design blends complexity and refraction surfaces beautifully, and presents a powerful, sophisticated and yet at the same time due to its choice of material, simple and fluid-like dynamics. The basic geometric shapes of this flat table surface seems to become a liquid transforming from a rather static plane by subtle waves and ripples connecting the top plane and the legs. These table legs also seem to be poured from the horizon into a whirlpool of water and the essence of it is that all the movement was as if being captured by the freeze of time.1
1 Marija Bojovic, Liquid Glacial Table By Zaha Hadid, eVolo, 2013 http://www.evolo.us/architecture/liquid-glacial-table-by-zaha-hadid/
Fig 8. Zaha Hadid Architects, Liquid Glacial table, London, UK, David Gill Galleries
CONCEPTUALISATION 15
ICD/ITKE Research Pavillon 2011
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CONCEPTUALISATION
This pavilion was designd and fabricated by Insti-1 tute for Computational Design, Institute of Building Structures and Structural Design, and students from University of Stuttgart as a temporary, bionic research pavilion1 made of wood for research and teaching purposes.
The use of computer within this project allowed the students to explore the architectural transformation of biological principles of the analogy of sea urchin’s plate skeleton, as well as manipulating these forms through biological principles. As a computational design, the anology was rather used as a starting point to form the basic geometries and further process of fomal generation. The analogy of the sea urchin does not define the final design1 which the geometries are conceivable but surely archiveble with assistance of parametric design softwares. Today, traditional tectonic relationships are undergoing a revolutionary transformation due to the appraciation and recognition we now have for computational methods in designing which includes going beyond cubic forms and more towards a rather fluid, flowy and more organic shape. Computers allowed us to reconsider the performance of design thus assisting the realization of these organic forms. It is clear that the latest innovative technologies of generating designs computationally has provided more possibilities for tectonic and material creativity.2 Continuing this semester it is indeed fundamental in obtaining a comprehensive understanding of algorithmic design in order to develop a design that addresses good performances and material tectonics.
1
Unistuttgart, ICD/ITKE Research
Pavilion, last accessed 11.03.2015
http://icd.uni-stuttgart.de/?p=6553
Fig 9 ICD/ITKE Research Pavillon 2011
2
Oxman Rivka (2012) Informed Tectonics in Material-
based Design, The International Journal of Design Studies 1
Computational Design and Robotic Manufacturing, Style park, last accessed 11.03.15
https://www.academia.edu/2130797/Oxman_Rivka_2012_Informed_Tectonics_ in_Material-based_Design_The_International_Journal_of_Design_Studies
http://www.stylepark.com/en/architecture/computational-design-and-robotic-manufacturing/330016 ,
,
CONCEPTUALISATION 17
Fig 10 ICD/ITKE Research Pavillon 2011
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Fig 11 elevation
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“‘Computation’ allows designers to extend their abilities to deal with highly complex situations1.” --Brady Peter
1 Peters, Brady, 2013. Computation Works: The Building of Algorithmic Thought, Architectural Design, pp. 11. 20
CONCEPTUALISATION
COMPOSITION/GENERATION
“Generative design is not about designing the building – Its’ about designing the system that builds a building.” - Lars Hesellgren
Compositional design has the concept of designing with an ordered expression that organises pre defined geometries which are often in regular forms. Nowadays, with the aid of parametric and algorithmic scripting, we are able to generate forms from a simple element such as a regular cube, sphere etc. to design outcomes that are rather unexpected and surprising. Computation is the term often used for this use of computer as a generator for design, and can also be addressed as generative design.
CONCEPTUALISATION 21
Moving from the era when designing was mainly about mass and space, designers have then gradually progressed their way of designing leaning towards a generative approach. Generating results that are unexpected and unique inspires architects thus allowing them to think and work beyond their intellect. Michael Hansmeyer is a computational architect and programmer who specialises in subdivision to generate interesting and abstract forms and is known for his exploration into combining architecture and computer programming to create architectural forms, he often looks at the nature’s approaches: cells splitting, breaking the process down to its simplest form and then expanding on that, like he mentioned on his video: “Nature has been called the greatest architect of forms”. He uses the example of folding paper, as you fold the paper you create individual surfaces and where you make these folds is entirely up to you, up to the ratio you enter into the computer. People are often amazed by Hanspeyer’s work by its level of complexity and the exquisite, detailed and sophisticated appearance. “On the one hand, their [algorithms] computational power can address processes with a scale and complexity that precludes a manual approach. On the other hand, algorithms can generate endless permutations of a scheme. A slight tweaking of either the input or the process leads to an instant adaptation of output. When combined with an evaluative function, they can be used to recursively optimize output on both a functional and aesthetic level,” Hansmeyer explains. Inspired by abstracted doric columns, the process of this delicate creation has begun. This project is a beautiful example of the possibilities that lie within program driven designs. “The complexity of column contrasts with the simplicity of its generative process.”1 As Hanmeyer stated in his 2012 TED talk, “we are moving from an era where architects use software to one where they create software.”
1 Subdivided Columns - A New Order (2010), Michael Hansmeyer Computational Architecture http://www.michael-hansmeyer.com/projects/columns_info.html
Fig 13
Fig 14
Fig 12
“There are unseen objects that await us, if we as architects begin to think about designing not the object, but a process to generate objects.” --Michael Hansmeyer CONCEPTUALISATION 23
Fig 15
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CONCEPTUALISATION
“In the digital age computer simulation of evolutionary processes has been integrated into architectural design in order to generate, manipulate and visualize non-standard and complex forms. Parametric design has major role in the process of form exploration and generation of design instances within its family via altering values of the parameterized schema.” -Hardi K. Abdullah
This is the final design for Beijing’s National Aquatics Centre, which is also known as the Water Cube, this building provides the stadium for the swimming and other aquatic competitions at the 2008 Olympics. This optimal design was finally decided by analyzing multiple configurations of thousand of steel members and connecting nodes. In this design, engineering and construction have evidently shown dependency on heavy computational geometry legitimately generational design. The multinational engineering, design, project management, and consulting firm Arup used MicroStation, MicroStation TriForma, Bentley Structural, and Bentley’s generative design technology to model the Water Cube’s unique design, which is based on the natural pattern of organic cells and the formation of soap bubbles.1 1 Kevin R. Conway, Observations on the Nature of Computational Geometry,
The Arup spokesperson, J. Parrish (director of ArupSport) explains: “using parametrics, I was able to investigate far more alternatives. We built version 34 because it was better. But version 1 would have worked fine. Generative design allowed us to get better results in a fraction of the time.”2 The building has presented a great advantage of structure and materials by computational design, expecially the generational methods which are based on simulating natural process. To differentiate with many other representative generational examples, the essence of this design is shown and achieved by controlling it, setting it a boundary with a box, thus forming these rather disordered bubble structures into a regular cube. The University 2 on the Nature The University
of Washington, 2010 Kevin R. Conway, Observations of Computational Geometry, of Washington, 2010 pp6
Fig 16
CONCEPTUALISATION 25
Fig 12
Fig 17
“Architects are now taking advantage of the computer in new ways through experimentation with algorithmic and simulation-driven design.” -- Brady Peters 26
CONCEPTUALISATION
Fig 18
Fig 19
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CONCLUSION & LEARNING OUTCOME
Ever since the earlier digital architecture world, the methods for creating designs have moved on from the computerised to the computated. Computers are now no longer the digital representations for designs, but instead, the generator that provides inspirations for designs which are hardly possible for the mind nor the hand, whilst allows us to better analyse our designs. In the exploration of future architecture, with the process of algorithmic logics, the new computational design strategies provide us more possibilities for producing complex, intricate commands and forms. This technique shifts from the traditional way of designing forms to parametric designs. Before starting this course at Melbourne University, what my initial thoughts for architecture in mind was rather superficial (ashamed). I thought it was mainly simply about inspirations, ideas in your mind down to pen and paper. This concept has changed (thankfully) significantly throughout my time with the real architecture world here, which now leads me to see architecture not just what is out there
visible, but rather more importantly, the invisible conceptual world behind it. From the lectures, readings and precedents analysis in this part A assignment, I have learnt the difference between computerization and computation, which are architecture that is enabled and architecture that is driven by computer technology. I have also indeed gained a better understanding of the reasons and benefits of designing digitally in architecture. To be honest, using computer software has always been my weakness, after a short time with GrassHopper, I have learned that it is important to understand its properties and features of the function menu in order to connect them in a logical manner. Therefore, what I need to do to gain familiarity and proficiency with it is to research and practice more and learn and inspire from precedents and thus create my own definitions. It is undoubtedly to say that modern technology has contributed great impact and possibilities to the evolution of architecture. I am excited to start to apply this for me rather new knowledge to my own future designs.
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APPENDIX
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CONCEPTUALISATION 31
Bibliography Christoph Gengnagel, A. Kilian, Norbert Palz, Fabian Scheurer , Computational Design Modeling: Proceedings of the Design Modeling Symposium, Binlin, 2011, pp53 Computational Design and Robotic Manufacturing, Style park, last accessed 11.03.15 http://www.stylepark.com/en/architecture/computational-design-and-robotic-manufacturing/330016 Computerization, Collins Dictionary, last accessed 11.03.15 http://www.collinsdictionary.com/dictionary/english/computerization Fry, Tony. Design futuring: sustainability, ethics and new practise, (Berg Publications, Oxford, UK,2008), pp1 Jacobs, Jennifer and Leah Buechley, “Codeable Objects: Computational Design and Digital Fabrication for Novice Programmers” http://web.media.mit.edu/~jacobsj/codeable_objects_forthcomming.pdf Kevin R. Conway, Observations on the Nature of Computational Geometry, The University of Washington, 2010 Oxman Rivka (2012) Informed Tectonics in Material-based Design, The International Journal of Design Studies https://www.academia.edu/2130797/Oxman_Rivka_2012_Informed_Tectonics_in_Material-based_Design_The_International_Journal_of_Design_Studies “Pearl river tower”, SOM, last modified, 8.3.2015 http://www.som.com/projects/pearl_river_tower Peters, Brady, 2013. Computation Works: The Building of Algorithmic Thought, Architectural Design, pp. 11. Subdivided Columns - A New Order (2010), Michael Hansmeyer Computational Architecture, last accessed 19.03.15 http://www.michael-hansmeyer.com/projects/columns_info.html “Tall Buildings: Imaginative Façade Solutions”, practical imagination, last modified 21.3.2015 http://practicalimagination.info/tall-buildings-imaginative-facade-solutions/ Terzidis, Kostas. Algorithmic architecture / Kostas Terzidis. n.p.: Oxford : Architectural, 2006. xi Unistuttgart, ICD/ITKE Research Pavilion, last accessed 11.03.2015 http://icd.uni-stuttgart.de/?p=6553
Bibliography Images Fig1: http://wowhdwallpapers.com/view-dark_abstract_art-1280x800.html Fig2: Tam Raymond, Rising Moon Pavilion, 2013, digital photography http://2.bp.blogspot.com/-FlJefYff1gg/Ul7VT34_rMI/AAAAAAAAF2s/B49qV-mJMtA/s1600/Lantern-Pavilion-made-from-Recycled-Water-Bottles3.jpg Fig 3 Kar Vincent, Rising Moon Pavilion, 2013, digital photography http://1.bp.blogspot.com/-qpPqdql-GO4/Ul7VTkRcBXI/AAAAAAAAF2o/MAslOFSMtz4/s640/Lantern-Pavilion-made-from-Recycled-Water-Bottles.jpg Fig 4 Wong Ho Ka Jay, Rising Moon Pavilion, 2013, digital photography http://3.bp.blogspot.com/-YaJtTVfHQZY/Ul7VYP3yGBI/AAAAAAAAF3Q/yX2l4F8cTew/s1600/Lantern-Pavilion-made-from-Recycled-Water-Bottles7.jpg Fig 5 Skidmore, Owings & Merrill LLP, last modified 8.7.2014 http://www.som.com/FILE/19407/pearlriver_1575x900_timgriffth_08.jpg?h=800&s=17 Fig 6 Wind Turbine Generator http://www.capa.me/uploads/posts/2010-03/1270008093_007_21597798.jpg Fig 7 Zaha Hadid Architects, Liquid Glacial table, London, UK, David Gill Galleries http://www.evolo.us/architecture/liquid-glacial-table-by-zaha-hadid/# Fig 8 Zaha Hadid Architects, Liquid Glacial table, London, UK, David Gill Galleries http://www.zaha-hadid.com/wp-content/files_mf/cache/ Fig 9 ICD/ITKE Research Pavillon 2011, archello http://www.archello.com/sites/default/files/imagecache/media_image/FP11509ViewS.jpg Fig 10 ICD | ITKE research pavilion 2011, university of stuttgart http://mydesignview.files.wordpress.com/2012/06/20120609-025440.jpg Fig 11 ICD/ITKE Research Pavillon 2011 elevation http://www.archello.com/sites/default/files/imagecache/media_image/FP11102DrawingElevS.jpg Fig 12 Subdivided Columns - A New Order (2010) http://www.michael-hansmeyer.com/images/columns/columns_m6.jpg Fig 13-15 Cross sections of designing process http://www.michael-hansmeyer.com/projects/columns_video.html?screenSize=1&color=0 Fig 16 Aquatic centre, Beijing http://1.bp.blogspot.com/_UUtoneYTRN4/TUxpXBn9B6I/AAAAAAAABSM/mMIuObzQx2k/s1600/WaterCubeInside-1.jpg Fig 17 Aquatic centre, Beijing http://www.ptw.com.au/wp-content/uploads/2012/11/45-MCMILLAN-19-10-06-TIFF.jpg Fig 18 Aquatic centre strusture, Beijing https://moreaedesign.files.wordpress.com/2010/09/484446352_8c4be35714_b1.jpg Fig 19 Aquatic centre facade, beijing http://p.am774.com/ltw/wp-content/uploads/sites/2/2014/12/234.jpg Fig 20 http://www.mas.caad.arch.ethz.ch/blog/wp-content/uploads/2012/11/side.png 32
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CONCEPTUALISATION 33
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PART B
CRITERIA DESIGN
CONCEPTUALISATION 35
RESEARCH FIELD BIOMIMICRY
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FIG3
Biomimicry is the term used to describe the substances, equipment, mechanism and systems by which humans imitate natural systems and designs.
• Nature runs on sunlight. • Nature uses only the energy it needs. • Nature fits form to function. • Nature recycles everything. • Nature rewards cooperation. • Nature banks on diversity. • Nature demands local expertise. • Nature curbs excesses from within. • Nature taps the power of limits. 1 1
Benyus, Janine M. 2002. Biomimicry
: innovation inspired by nature / Janine M.
“The architectural profession is rapidly embracing digital design technologies developed and applied in the framework of biologically inspired processes. Put simply, nature is the largest laboratory that ever existed and ever will. While biomimicry does not exclude emulating form, we are interested in the processes and systems in which all design resides.” Benyus. n.p.: New York : Perennial, 2002.
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CASE STUDY 1 SPANISH PAVILIAN
This pavilion was created by FOA to represent Spain in the 2005 Universal Expo in Aichi, Japan. Even though it seemed to have repetitive patterns but the facade of the building is formed by 6 different blocks that rise from a hexagonal base (like most of the decorative elements in Gothic and Islamic art) and are then deformed.1 The blocks are made of glazed ceramic, a customary technique common on the Mediterranean Spanish coast, but also in traditional Japanese ceramics. The idea of creating a ceramic facade symbolizes the spanish approach to Japan. Recovery of the traditional ceramic lattice from Meditteranean architecture in order to acheive traditional spaces and shadow in the building perimter help in regulating the solar gains and spread of thermal load over the pavilion.2
1
Foreign Office Architects Spanish Pavilion Expo 2005 - Haiki, last accessed 2.4.2015
http://immagini.archinfo.it/vedimmagine.php?data=2&_obj=37033&PHPSESSID=c0ee3b96ef8a2e570725f354394114e9 2
Spanish Pavilion, Expo 2005, last accessed 2.4.2015
http://www.cusa-dds.net/ARCH842SP2010/wp-content/uploads/2010/01/Foreign-Office-Architects.pdf
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CONCEPTUALISATION 39
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CONCEPTUALISATION 41
CASE STUDY 2 Beijing National Stadium Beijing National Stadium, designed by the Swiss architects Herzog & de Meuron, is an excellent modern architecture example of biomimicry using algorithmic computation. The stadium rises out of the landscape in the shape of a giant bird’s nest and that is where it gets its more well known nickname, the ‘Bird’s nest’ from. Drawing from the structural strength and beauty of natural objects is a growing trend as architects and designers become increasingly interested in the efficient use of energy and materials. According to Janine Benyus, the American natural sciences writer, this movement is known as biomimicry; “a new science that studies nature’s models and then imitates or takes inspiration from these designs and processes to solve human problems.”1 Biomimicry’s concept itself is nothing new. Humans throughout history have ever borrowed from the nature. For example, our earliest indigenous shelters when innovative technologies have not yet invented, they were only the use of materials that are available locally like branches and composes upturned bird’s nests. In fact, it shall be said that, Biomimicry is not considered as a new movement and yet a return to our earliest inspiration, and modern technologies allow us to explore and replicate more large scale systems which our ancestors could not achieve. 1 Environment and Ecology, last accessed 28.4.2015 http://environment-ecology.com/biomimicry-bioneers/367-what-is-biomimicry.html
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Biomimicry’s concept itself is nothing new. Humans throughout history have ever borrowed from the nature. For example, our earliest indigenous shelters when innovative technologies have not yet invented, they were only the use of materials that are available locally like branches and hay composes upturned bird’s nests. In fact, it shall be said that, Biomimicry is not considered as a new movement and yet a return to our earliest inspiration, and modern technologies allow us to explore and replicate more large scale systems which our ancestors could not achieve.
FIG 4 CONCEPTUALISATION 43
Step 1: Draw three enclosed curves base on one centre point for the outlines of the stadium.
Step 2: Apply a loft surface for the three curves in order.
Step 3: Divide the curves into multiple points.
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Step 4: Link the divided points using geodesic function and find perpendicular frames of each geodesic curve.
Step 5: Draw a square as sections of the pipes, use the squares as profiles and the geodesic curves as paths, then use the sweep function for generating pipes.
Step 6: Final outcome.
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TECHNIQUE DEVELOPMENT Beijing National Stadium
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changing the order of loft
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PROTOTYPE
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CONCEPTUALISATION 49
PROPOSAL The Merri Creek flows through the northern suburbs of Melbourne, which begins in Wallan north of Melbourne and flows 70Â km south and joins the Yarra River at Dights Falls. The area where the creek meets the river was traditionally the location for large gatherings of the1 Wurundjeri people. It is an environmental heritage and recreation corridor.
Beautiful, colourful birds really stands out A large bird pattern drawn on the lawn Research on the birds at Merri1 creek -> 130 bird species including many endangered species but now much less Severe manmade pollution happened 20 years -> living for the birds seriously threatened, many birds have left Merri creek Us, the users of this land need to participate in protecting the environment
Fig 5
Unique role to play -> preservation of threatened flora and fauna and the maintenance of vegetation where in other places have almost been totally destroyed
Fig 6
1 About Merri Creek, Merri Creek Management Committee, Victoria, Australia, last accessed 30.04.2015 http://www.mcmc.org.au/index.php?option=com_content&view=article&id=36:about-merricreek&Itemid=188
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1 Bird species recorded in the FoMC surveys at 10 sites, friends of Merri Creek, Victoria, Australia, last accessed 28.04.2015 http://www.friendsofmerricreek.org.au/media/ docs/Bird%20species%20recorded%20 Oct%202008-Feb%202012.pdf
help letting people be more aware of this issue + once again pay attention to the importance of protecting the environment in a more “visual” way: Build a small sculptural building consists two parts/functions: A museum at the ground floor exhibiting photos and specimens of a selection of bird species which are living or have lived in Merri creek Then it will have stairs going up, leading to a platform designed for viewing the birds
The location I have chosen is on a small cliff/hill (shown on image above). Receiving best views of the creek flowing down + all the beautiful scenery, hill high point of the landscape, + elevating the viewing platform = perfect spot for bird watching. Users: Families (here for picnics) Provide interesting information and very educational especially for the children Cyclists & Joggers A place for them to slow down a little, take a rest and enjoy our beautiful nature.
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PROPOSAL
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Bird species at Merri Creek
Superb Parrot
Fig 7
Superb Fairy-wren
Fig 8
Musk Lorikeet
Fig 9
Galah
Fig 10
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LEARNING OBJECTIVES AND OUTCOMES After hours of watching tutorials and still not getting things to work or to produce the form I had in mind, I really had to sit back, rethink about the problems I encountered, and realising that most of the time I have been rushing things with a confused mind. This is not what parametric studies are about, it is about logics, about understanding how each parameter you put into your computarional design works, thus the process will flow more smoothly. Also, often when utilising computational techniques, you find yourself immersing yourself within these techniques, and get lost within as they themselves are of a rational formula, which indulges you into also thinking that everything you do is also coherent for the matter. Then your purpose is lost. Softwares like grasshopper is only a process, it is supposed to be a powerful tool to help to achieve your concept, your design in mind, not driving it. Learning from the feedback of the presentation, I have realised that much more experiment with grasshopper and technique development needs to be done. I have jumped direct to my vague idea of the final outcome with rather little connections to my previous explorations. Therefore in the coming part C journal, I will be really digging into enjoying the power of what computational softwares can do as oppose for being someone who completed past studios mainly by pen drawings.
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IMAGE REFERENCE: Fig 1 http://environnement.ecole.free.fr/images_5/feuille_sans_cellulose.jpg Fig 2 https://mathmunch.files.wordpress.com/2013/06/wiki-sacred-geometry-e1325031356204.jpg Fig 3 http://pernille.typepad.com/.a/6a00d834522fa869e201156f2ad94f970c-500wi Fig 4 http://www.djc.com/stories/images/20080919/BirdsNest_big.jpg Fig 5 http://upload.wikimedia.org/wikipedia/commons/b/b9/Merri_Creek_Plenty_Ranges-Troedel.jpg Fig 6 https://neveridol.files.wordpress.com/2012/03/beautiful-creek.jpg Fig 7 http://www.davidkphotography.com/images/20070803172044_superb-parrot.jpg Fig 8 http://www.natureaustralia.org.au/cs/groups/webcontent/@web/@ australia/documents/media/superb-fairy-wrens.jpg Fig 9 http://shines.smugmug.com/Nature/Fauna/IMG1486/1220695913_gfBWs-L.jpg Fig 10 http://ibc.lynxeds.com/files/pictures/galah-in-tree.jpg TEXT REFERENCE: About Merri Creek, Merri Creek Management Committee, Victoria, Australia, last accessed 30.04.2015 http://www.mcmc.org.au/index.php?option=com_content&view=article&id=36:about-merri-creek&Itemid=188 Bird species recorded in the FoMC surveys at 10 sites, friends of Merri Creek, Victoria, Australia, last accessed 28.04.2015 http://www.friendsofmerricreek.org.au/media/docs/Bird%20species%20recorded%20Oct%202008-Feb%20 2012.pdf Environment and Ecology, last accessed 28.4.2015 http://environment-ecology.com/biomimicry-bioneers/367-what-is-biomimicry.html Foreign Office Architects Spanish Pavilion Expo 2005 - Haiki, last accessed 2.4.2015 http://immagini.archinfo.it/vedimmagine.php?data=2&_obj=37033&PHPSESSID=c0ee3b96ef8a2e570725f354394114e9 Spanish Pavilion, Expo 2005, last accessed 2.4.2015 http://www.cusa-dds.net/ARCH842SP2010/wp-content/uploads/2010/01/Foreign-Office-Architects.pdf
CONCEPTUALISATION 55
PART C
DETAILED DESIGN
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SITE PLAN
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DESIGN CONCEPT
• A place for people to get closer to nature and enjoy it • Appreciate nature especially the birds at Merri Creek • ‘hidden’
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FIG2
The design is intended to create a birdswatching platform that’s ‘hiding’ and ‘merging’ into the nature, for minimising the feel of intruding the local birds’ habitat, also by having branches like organic shapes, birds will rest natually on top of the structure like their natural behavier. The up-lifted platform provides users a closer connection to the nature and view birds. also to enjoy the nature from a closer viewing angle of theirs.
FIG 1
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During final presentation, the idea of having the structure elevated above the ground wasn’t elaborated and used very well. Also to explore more into the waffle structure techinique, a rather different formed structure but with the same concept has been designed.
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DEVELOPMENT ON ALGARITHMIC FORM
1: Create surface forms in Rhino
2: Setting 15 contour lines in both X and Y vector direction
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3: Making loft
4: Extrude the surfaces of 54mm, adding the thickness
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SECTIONS ELEVATIONS PERSPECTIVES
NORTH ELEVATION
EAST WEST SECTION
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EAST ELEVATION
NORTH SOUTH SECTION
PERSPECTIVE
CONCEPTUALISATION 65
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To access this platform people are to be climb up a rope ladder against the tree, and there will be two access entries / exits on either side of of the tree trunk. The ‘drapes’ at the edges gives a flowy feel where also provides sun block during the sunniest days. The light and thin waffle cover at the top are to be aesthetically balanced with the rather heavy looking structure at the bottom. Bamboo sheets will be used for the flooring on top of the waffle structure as it is a thin, flexible material that provides great strength.
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PROTOTYPE
prototyoe for innitial design
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prototyoe for experimenting notching connections which are chosen to be the final joints type. As it is strong and rigid enough for a structure with scale small like this, and no bolting or welding plates will be needed, it also takes less construction time.
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FINAL MODEL PROCESS
1: separate laser cut job into pieces
TOP
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PROBLEM: during fabrication it is realised that due to the nature of plywood, they tend to bend especially after being laser cut, therefore the notching doesnt connect very well, and the cut edges get friction and causing reall problem when notching.
SOLVING PROBLEM: spraying silicone lubricant all over timber especially on notches then using a dumbbell to hit individual pieces in place.
BOTTOM
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FINAL MODEL
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CONCEPTUALISATION 73
LEARNING OBJECTIVES & OUTCOME Despite Studio Air being my first studio to have contact with grasshopper, a practice of algorithmic thinking with aids of computational methods and parametric design, I realised the difficulty of meeting innovation with actuality. With the habit of hand drawing, Grasshopper provides another interesting ways for finding the aesthetic elements and the possibility of design. In algorithmic software, you would acquire considerable variations of model by only adjusting the difference of one factor. It was a ‘love hate’ relationship for me with grasshopper. While it obtains the ability to generate more abstract patterns and forms, yet small problems kept coming up, and it was always a hard time finding the cause of the problem and the sollution for it. For example the hole inside my structure for the tree to come through had created so much trouble, when Grasshopper reads the contour lines, all the data went broken messed up, out of order and was really frustrating. Yet finally had found a way to rewrite the script, manually changing the orders of the contours so that it looks all neat again, just that the price for it was hours and hours searching and stucking and trying. Indeed my journey throughout the semester had been very challanging yet ultimately, my ability to manipulate and generate parametric forms has increased from the start of the semester. When utilising computational programs such as Grasshopper, I found the initial stages very difficult to comprehend the process behind definition generation. Indeed, with these newly developed skills, creating parametric algorithms at a later stage will be more feasible and easier to utilise and I will continue learning more, explore more of this useful and valuable skill in the future.
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IMAGES fig 1 http://www.cs.lafayette.edu/foo/tree%20branch.png Fig 2 https://s-media-cache-ak0.pinimg.com/236x/b0/54/e0/b054e058630557531505154c41563d22.jpg
CONCEPTUALISATION 75
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