Woo shuk yee 718781 part B journal submission

AAAAA II II RRRRR

STUDIO AIR

2015 SEMESTER 1 FINNIAN WARNOCK

WOO SHUK YEE

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TABLE OF CONTENTS

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INTRODUCTION PART A. CONCEPTUALISATION

A1. DESIGN FUTURING A2. DESIGN COMPUTATION A3. COMPOSITION/GENERATION A4. CONCLUSION A5. LEARNING OUTCOMES A6. APPENDIX - ALGORITHMIC SKETCHES

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PART B. CRITERIA DESIGN

B1. RESEARCH FIELD B2. CASE STUDY 1.0 B3. CASE STUDY 2.0 B4. TECHNIQUE: DEVELOPMENT B5. TECHNIQUE: PROTOTYPES B6. TECHNIQUE: PROPOSAL B7. LEARNING OBJECTIVE AND OUTCOMES B8. APPENDIX - ALGORITHMIC SKETCHES

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PART C. DETAILED DESIGN

C1. DESIGN CONCEPT C2. TECHONIC ELEMENTS & PROTOTYPES C3. FINAL DETAIL MODEL B4. LEARNING OBJECTIVE AND OUTCOMES

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“NEVER SATISFY AND KEEPING IMPROVING“

WOO SHUK YEE YUKI

PART A. CONCEPTUALISATION

INTRODUCTION

Studied 2 years of architectural studies in Hong Kong and transferred to the University of Melbourne as a 3rd year student, everything is new to me especially the learning environment and language as I am not a native speaker. “Never satisfy and keep improving� is my motto to learn and to remind myself not to be lazy and do my best all the time. Having 2 years of architectural studies does not give me advantage compare to other students as the teaching method and learning aim in Hong Kong is very different to those here. I have taught to design practically and learnt to comply with building standard in Hong Kong, this make my design in the two-year study lack of innovative idea and this restrict me to express and develop my creativity. So, I am here now seeking a different way of learning and keeping improving.

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Design projects in my pervious study are more like real project which must be buildable concerning the structure and building regulations. Some examples are museum, high-rise headquarter building,etc.

Digital programs are important for me when doing projects which they help with fast production of drawings and renderings. Autodesk Revit is the main digital tools to work on project as I can generate plans, sections and renderings in a fast and convenient way. Rhinoceros and V-ray are also helpful in massing and designing process with simple commends to produce 3D models. As digital modelling tools are the trend in the industry, I hope to keeping improving and increasing my knowledge and skill in using digital tools. Grasshopper is a Rhino plug-in which I have heard about its advantages in modelling in a way like programming and it is well known in designing parametric models. I have never try to work with it before this studio and I hope to familiarize with its functions and produce great models after this semester.

PART A. CONCEPTUALISATION

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A1. DESIGN FUTURING

TThe defuturing condition of unstainability

and destruction of our natural environment are problems to due in the moment. “The ‘state of the world’ and the state of design need to be brought together.”1 Design acts an important role in solving the problem. Architects design architecture that shape our world, determine the way we live and even change our thinking.

As design can be easily approached by using software that everyone can simply design by choosing what they prefer. This makes design practice moving towards appearance and style.

More specific in the field of architecture, people want to build stararchitecture that have high economic value or cultural value but ignore the environmental aspect and how the design can contribute to the way of living and the way of thinking. “‘Design futuring’ has to confront two task: slowing the rate of defuturing[...] and redirecting us towards far more sustainable modes of planetary habitation. “2 In order to create better future for human being and our planet earth, designers have responsibility to redirect design to a way that helps to move towards this vision.

1: Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 4 2: Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 6 PART A. CONCEPTUALISATION

FIG.1: Panoramic view of the Munich Olympic Stadium

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PART A. CONCEPTUALISATION

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PART A. CONCEPTUALISATION

MUNICH OLYMPIC STADIUM Munich, Germany, 1972

Frei Otto & Gunther Behnisch

Other than building a typical flat roof with heavy

materials, a light tensile structure was used for the design of the roof of the Munich Olympic Stadium which is a very new idea at that time. Beside the materials, the form of the roof is a continuous sweeping tent-like structure which connected the main buildings of the Olympic game. The section (Fig.3) shows how the roof is connecting the buildings with the floating tent-like form. This is not just to create style or to make it look good but also provide connection between buildings which unitize the area of the Olympic game and connect people to the exterior with the transparency of the material.

The design changes people’s concept of how a roof can be made to create volume and provide such openness to connect to the exterior at the same time.

The acrylic glass panels clad on the tensile membrane established a relationship to the surroundings letting daylight get into the covered space and the form is creating an artificial landscape as well.

After the end of the Olympic game, the structure remains just like the same after 40 years. The roof still serve as a nice cover for people to walk around and like in Fig.2 people can cycle under the roof and enjoy the daylight at the same time.

FIG.2: Roof of the Munich Olympic Stadium

FIG.3: Section of the Munich Olympic Stadium PART A. CONCEPTUALISATION

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THE EDEN PROJECT Munich, Germany, 2001 Nicholas Grimshaw “I think this is a project we will return to time and again. Not just to see the structure, but to see the growth and change in this botanical kingdom.”3 Nicholas Grimshaw

3. Architecture.com, ‘Eden Project’, 2015 <http://www. architecture.com/Explore/Buildings/EdenProject.aspx> [accessed 19 March 2015]

PART A. CONCEPTUALISATION

The intention of building the Eden Project is

using the greenhouses to educate the public with environmental issue and show them the importance of sustainable development. Typical greenhouses are box form made with transparent glass, but the Eden project is form by eight domes with the use of two layers of ethylene tetrafluoroethylene (ETFE) foil in hexagonal panels. ETFE foil is a perfect covering for a greenhouse because it is strong, transparent and lightweight. The lightweight characteristics allow easier construction of the domes to build on the uneven site.

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FIG.4: Panoramic view of the geodesic biome domes at the Eden Project

An innovative idea of the project is that the pillows of ETFE foil on the façade of the Eden Project are adjustable, on a colder day, they can be pumped up with more air to provide better insulation; on a hotter day, they can be partially deflated to allow more cooling.4 This combines the use of technology to achieve the idea of moving towards sustainability which can be a solution to deal with the defuturing problem in our environment.

A later project, the Water Cube, the Beijing National Aquatics Center(Fig.5), is also using the ETFE foil on the façade to reduce energy cost. There are future possibilities to expend the use of this kind of new materials with the development of technology, to enhance the energy saving quality in buildings.

FIG.5: The Water Cube

4. ‘Nicholas Grimshaw. The Eden Project’, 2015 <http://www3. uah.es/proyectosarquitectonicos_etsag/INSTALACION%20 TEMPORAL/RECINTO%20EXP%20EXT/2_Referencias/ Nicholas%20Grimshaw.%20The%20Eden%20Project.pdf> [accessed 20 March 2015] PART A. CONCEPTUALISATION

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A2. DESIGN COMPUTATION

“The majority of computer-aided design over the

past fifty years has been directed toward developing computational systems that provide varying levels of assistance to human design by taking care of smaller or larger parts of the design process. “5 This has pointed out the design process is linked with the use of computational systems nowadays. With software like Rhinoceros, Grasshopper and Revit, calculation and complex modelling can be done by the computer to replace slow manual drawing and complex model making in the old days.

Design computation give assistance to our design process in many ways. Other than help with designing complex or parametric forms as mentioned, it also helps in material fabrication with the research in performance and energy and structure calculation.

These uses of computation help to improve the performance and possibility of design, in terms of form, materials and increasing the degree of sustainability to benefit our environment.

5. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 4 FIG.6: Dongdaemun Design Plaza PART A. CONCEPTUALISATION

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PART A. CONCEPTUALISATION

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FIG.7: Faรงade cladding system of the Dongdaemun Design Plaza PART A. CONCEPTUALISATION

DONGDAEMUN DESIGN PLAZA Seoul, South Korea, 2014 Zaha Hadid Architects

Dongdaemun Design Plaza (DDP) is the first

public project in Korea to utilize the 3-Dimensional Building Information Modelling (BIM) and other digital tools in construction.6 With the use of BIM and design computation, the design can be tested and adjusted with the digital design model to fit the client’s requirement and integrated engineering and construction requirements. The use of design computation in DDP takes the advantage of it which can improve the efficiency of workflow and fasten the design process.

In particular, the façade cladding system of DDP(Fig.6) is a result of design computation to calculate the size and degree of curvature with the parametric model.

The material fabrication process also involves the use of computation with a mass-customization system in the fabrication process to produce the metal cladding information with the use of parametric modelling.

With the help of computation, the performance of the cladding can be controlled and hence reduce cost and enhance the quality. This kind of design and fabrication process contribute a lot to the performance of the design and it may become an essential process for parametric designs in the future which depends on parametric modelling to help with the process.

6. ArchDaily, ‘Dongdaemun Design Plaza / Zaha Hadid Architects’, 2014 <http://www.archdaily.com/489604/ dongdaemun-design-plaza-zaha-hadid-architects/> [accessed 20 March 2015] PART A. CONCEPTUALISATION

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IAC InterActivecorp Headquarters

New York City, USA, 2007 Gehry Partners, LLP

Like Frank Gehryâ&#x20AC;&#x2122;s famous Walt Disney Concert

Hall and the Guggenheim Museum Bilbao, the design of the IAC InterActivecorp Headquarter keep using irreglar form and to facilitate the process of designing these kinds of buildings, design computation tools will be helpful in doing that. The IAC InterActivecorp Headquatarters is designed with the irregular twisting form which makes the entirely glass facade produce thousands of unique facade components with different dimension and curvature. The process of producing these facade components is operated with 3D building information model. It provides accurate demensions for each component to be made and fasten the process of calculating the dimensions and the fabrication of the components.

Cold-blending is used as the construction process of the glass panels which is different from typicla manner that soften glass with heat. The blending angle is calculated with the digital model and the workers install each units by physically joining corners into place.

Architect like Frank Gehry who likes to design irregular and complex forms will find design computation takes a important part in their design process to reduce time and cost and most importantly produce accurate components for construction.

PART A. CONCEPTUALISATION

FIG.8: IAC InterActivecorp Headquarters

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PART A. CONCEPTUALISATION

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A3. COMPOSITION/GENERATION

Other than help with the design process to make

precise drawings, accurate dimensions, research on performance and other advantages, it also extend the parameters for design formation. It can be an algorithmic idea in computation can be an inspiration for architect to generate new design options.

The algorithmic based design approach using digital tools involves the concept of generating design following a logical flow. Architect just need to set constraints and the software will generate models base on the factors provided in a short time. This gives designers a fast and flexible way to explore design by testing different factors.

The idea of it required the designer to have deep understanding of the algorithmic concepts; otherwise the software will become a constraint in design and discourage our creativity.

“When architect have a sufficient understanding of algorithmic concepts, when we no longer need to discuss the digital as something different, then computation can become a true method of design for architecture.”7 Brady Peters

7. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 12

PART A. CONCEPTUALISATION

FIG.9: Embryological House

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PART A. CONCEPTUALISATION

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FIG.10: Development of the Embryological House

Embryological House Greg Lynn, 1997-2001

The Embryological House is a conceptual

project that based on digital tools to generate models of a house. Greg Lynn thinks beyond the idea of house typology and go for some organic and parametric forms. The idea of the house is flexible and he wants to push the capabilities of existing manufacturing technologies for the production of non-standard architectural forms.

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The project was developed with geometrical modelling and character animation software (specifically MicroStation and Maya), as well as digitally-generated physical mock-ups. The use of multiple software applications to develop the work’s forms is inherent to Lynn’s creative process.8 Using this approach to design, models can be easily generated by giving command to the computer, but saying to use it as a real practice, it requires a lot of testing and understanding of the use of algorithmic concepts in order to generate a totally desirable model.

8. Docam.ca, ‘Embryological House, Greg Lynn’, 2015 <http:// www.docam.ca/en/component/content/article/106embryological-house-greg-lynn.html> [accessed 20 March 2015]

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FIG.11: Chanel Mobile Art Pavilion

Chanel Mobile Art Pavilion Zaha Hadid Architects

The Chanel Mobile Art Pavilion is not a firm

structure which it travelled all over the world, Hong Kong, Tokyo, New York until reaching its final stop at L’Institut du Monde Araba in Paris.9 The pavilion is designed with digital tools to form a series of continuous arch shaped elements and loft them to create the surface for enclosure.

9. ArchDaily, ‘Chanel Mobile Art Pavilion / Zaha Hadid Architects’, 2011 <http://www.archdaily.com/144378/chanelmobile-art-pavilion-zaha-hadid-architects/> [accessed 20 March 2015]

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With the idea to travel between cities, the parametric model is used in designing the structure and the steel structure has been designed to be built in less than one week.

This continuous parametric form provides a variety of interior space (Fig.12) due to large flexibility of its plan.

This case of design using parametric model shows the accuracy in digital modelling can make the generated parametric model into a real project with the great flexibility but not just a free from building.

FIG.12: Interior space of the Chanel Mobile Art Pavilion

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A4. CONCLUSION

A5. LEARNING OUTCOMES

The concepts in designing architecture can

Learning from reading and hand on

be related to the defuring condition in the moment, which design should play a role to change the condition as it determine the way people think and live. Aĺ°¸s a designer, we should be responsible to the environment.

Design computation is a way to make the design process effective and accurate, the benefits to design process includes fast 3D modelling design of form, structure, material fabrication, performance research, etc. With the help of computation, there are possibilities to move towards sustainability in terms of design.

With digital designing tools, algorithmic based design is a new option for designer to develop creativity by giving command to the computer and generates models. It is a way that extends the parameter of design if a deep understanding of its algorithmic thinking is achieved.

Designing with digital tools can produce innovative design in form, materials, structure and many different ways, it can also enhance the performance to achieve sustainability which may become a dominant way of design in the coming future.

PART A. CONCEPTUALISATION

experience in using digital tools to generate models in the studio, I have a new perception on the usage of computation tools which can help with design and construction of a real project is a significant way. The idea of being responsible to the defuturing condition make me rethink about the intention to design and I will try to integrate the usage of digital tools to achieve the vision of designing in a more sustainable way. In my past design, creativity is not a main focus and I am hoping to develop my creative thinking in design with the use of digital software and the algorithmic thinking to design. I am looking forward to get inspiration from the studio.

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PART A. CONCEPTUALISATION

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A.6. APPENDIX - ALGORITHMIC SKETCHES

PART A. CONCEPTUALISATION

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Trying different degree of rotation

Make the lines 3D. These are my favourite model as it show clear variation when I change the factors on it and it produce nice result.

Making sphere base on the tree generated

PART A. CONCEPTUALISATION

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BIBLIOGRAPHY 1: Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 4 2: Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 6 3. Architecture.com, ‘Eden Project’, 2015 <http://www.architecture.com/Explore/Buildings/EdenProject.aspx> [accessed 19 March 2015] 4. ‘Nicholas Grimshaw. The Eden Project’, 2015 <http://www3.uah.es/proyectosarquitectonicos_etsag/ INSTALACION%20TEMPORAL/RECINTO%20EXP%20EXT/2_Referencias/Nicholas%20Grimshaw.%20The%20Eden%20 Project.pdf> [accessed 20 March 2015] 5. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 4 6. ArchDaily, ‘Dongdaemun Design Plaza / Zaha Hadid Architects’, 2014 <http://www.archdaily.com/489604/ dongdaemun-design-plaza-zaha-hadid-architects/> [accessed 20 March 2015] 7. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 12 8. Docam.ca, ‘Embryological House, Greg Lynn’, 2015 <http://www.docam.ca/en/component/content/article/106embryological-house-greg-lynn.html> [accessed 20 March 2015] 9. ArchDaily, ‘Chanel Mobile Art Pavilion / Zaha Hadid Architects’, 2011 <http://www.archdaily.com/144378/chanelmobile-art-pavilion-zaha-hadid-architects/> [accessed 20 March 2015]

PART A. CONCEPTUALISATION

IMAGE REFERENCE

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FIG.1: Panoramic view of the Munich Olympic Stadium <http://www.blogcdn.com/realestate.aol.com/blog/media/2012/07/102-wikimedia-poco-a-poco.jpg> FIG.2: Roof of the Munich Olympic Stadium <http://imgkid.com/dload.php?i=http://upload.wikimedia.org/wikipedia/commons/f/f6/Munich_-_Frei_Otto_Tensed_ structures_-_5406.jpg> FIG.3: Section of the Munich Olympic Stadium <http://ad009cdnb.archdaily.net/wp-content/uploads/2011/02/1297389391-olympic-tent-section.jpg> FIG.4: Panoramic view of the geodesic biome domes at the Eden Project <http://en.wikipedia.org/wiki/File:Eden_Project_geodesic_domes_panorama.jpg> FIG.5: The Water Cube <http://upload.wikimedia.org/wikipedia/commons/a/a6/Water_Cube_The_National_Aquatics_Center_Chaoyang_ Beijing.jpg> FIG.6: Dongdaemun Design Plaza <http://www.archdaily.com/489604/dongdaemun-design-plaza-zaha-hadid-architects/533111d3c07a80d6420000 7e_dongdaemun-design-plaza-zaha-hadid-architects_zha_dppseoul_vsb_01-jpg/> Fig.7: Faรงade cladding system of the Dongdaemun Design Plaza < http://ad009cdnb.archdaily.net/wp-content/uploads/2014/03/5331120fc07a80d642000081_dongdaemun-designplaza-zaha-hadid-architects_zha_dppseoul_vsb_05.jpg > FIG.8: IAC InterActivecorp Headquarters < http://c1038.r38.cf3.rackcdn.com/group1/building2176/media/media_52419.jpg > FIG.9: Embryological House < https://s-media-cache-ak0.pinimg.com/736x/39/8b/9e/398b9ea74dd4de12e598812f62cea94e.jpg > FIG.10: Development of the Embryological House < http://buildingsatire.com/wp-content/uploads/cache/2015/03/g-lynn_embryo-house/-1127361183.jpg > FIG.11: Chanel Mobile Art Pavilion < http://ad009cdnb.archdaily.net/wp-content/uploads/2011/06/1308263923-k5-5578.jpg > FIG.12: Interior space of the Chanel Mobile Art Pavilion < http://ad009cdnb.archdaily.net/wp-content/uploads/2011/06/1308264501-k5-5187.jpg >

PART A. CONCEPTUALISATION

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B.1. RESEARCH FIELD - STRUCTURE

structure in a building often serves as a supporting element.

Typical structures usually provide a sense of regularity as they only fulfill the fundamental purpose of supporting a building.

However, with the development of computational tools, structure can be designed based on complex forms and patterns. Parametric design focusing on structure can create unpredictable results when the techniques are applying on different objects, surfaces or meshes. With the help of computational tools, structure itself can be aesthetically pleasing without adding any ornamentation. Structure can be interesting instead of boring.

Parametric designs create non-standard components in the structure and this shows the potential of the use of digital fabrication in the construction of structure,

FIG.2: Metropol Parasol, J. M

Among different types of structure, I am particularly interested in waffle structure as I like to find out how parametric modelling can make this typically regular structure into different expressions and create variations.

Metropol Parasol is the wo iconic and stand out in the structure stands out in the

FIG.1: The passage , 2011 matR Project

1. Voyatzis, Costas, ‘Metropo Metropol-Parasol-The-World

sFIG.3: Pudelma Pavilion,

Eero Lunden and Markus W

The grid pattern in the passage is not facing the same direction but following the surface. The use of digital fabrication in this project shows how computational tools help in producing non-standard structure.

This project will be used to reverseengineer using grasshopper later and more information will be provided later in this journal.

PART B. CRITERIA DESIGN

Waffle structure applied o hanging surface creates ir patterns and the grids foll surface provide a sense o force holding the structur

CNC fabrication is used to entire structure work in co with no glue and minimal basic mortise and tenon j for almost every connecti create the irregular weave

2. Designplaygrounds, ‘Pude - Designplaygrounds’, 2013 < designplaygrounds.com/blo [accessed 19 April 2015]

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MAYER H. Architects

world’s largest wooden structure.1 This large sculptural waffle structure proof that a structure itself can be e city of Seville. The regular gird pattern applied in a complex, organic form create contrast which make the e city.

ol Parasol // The World’S Largest Wooden Structure | Yatzer’, Yatzer.com, 2015 <http://www.yatzer.com/ d-s-Largest-Wooden-Structure-J-MAYER-H-Architects> [accessed 19 April 2015]

Wikar

on a inverted rregular grid lowing the of a invisible re up.

o allow the ompression l screws. And a joint was utilized ion in order to e pattern. 2

elma Pavillion <http:// og/pudelma/> PART B. CRITERIA DESIGN

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B.2. CASE STUDY 1.0 Lattice and grids generated via Lunchbox plugin are tested on two different surfaces, mobius surface and enneper surface.

Different types of structural patterns are applied on the surfaces and their parameter values are adjusted to create variations of patterns.

Grid Structure

Diagrid Structure

Hexagonal Struct

U division = 7 V division = 7

U division = 3 V division = 3

U division = 5 V division = 5

U division = 7 V division = 20

U division = 3 V division = 20

U division = 5 V division = 50

U division = 20 V division = 7

U division = 20 V division = 3

U division = 50 V division = 5

U division = 20 V division = 20

U division = 20 V division = 20

U division = 50 V division = 50

PART B. CRITERIA DESIGN

ture

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MOBIUS SURFACE Random Quad Panel

Space truss Structure

U division = 6 V division = 6

U division = 4 V division = 4

U division = 6 V division = 30

U division = 4 V division = 10

U division = 30 V division = 6

U division = 10 V division = 4

U division = 30 V division = 30

U division = 10 V division = 10

PART B. CRITERIA DESIGN

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ENNEPER SURFACE Grid Structure

Diagrid Structure

Hexagonal Stru

U division = 5 V division = 5

U division = 3 V division = 3

U division = 7 V division = 7

U division = 5 V division = 20

U division = 3 V division = 30

U division = 7 V division = 40

U division = 20 V division = 5

U division = 30 V division = 3

U division = 40 V division = 7

U division = 20 V division = 20

U division = 30 V division = 30

U division = 40 V division = 40

PART B. CRITERIA DESIGN

ucture

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Random Quad Panel

Space truss Structure

U division = 8 V division = 8

U division = 9 V division = 9

U division = 8 V division = 50

U division = 9 V division = 20

U division = 50 V division = 8

U division = 20 V division = 9

U division = 50 V division = 50

U division = 20 V division = 20

PART B. CRITERIA DESIGN

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Successful Iterations As definition of a case is not used in the production of the matrix, selection of the following iterations is based on the appearence of the structure pattern and whether the structural pattern is reasonable.

Diagrid Structure on mobius surface

U division = 3 V division = 20

Space truss Structure on mobius surface

U division = 10 V division = 4

PART B. CRITERIA DESIGN

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The diagrid structure on mobius surface and grid structure on enneper surface selected show a more regular type of structural pattern but interesting at the same time as they created asymmetrical pattern based on the surfaces.

The two space truss structure iterations are more complex patterns and the truss density and patterns are still reasonable and beautiful.

Grid Structure on enneper surface

U division = 20 V division = 5

Space truss Structure on enneper surface

U division = 20 V division = 9

PART B. CRITERIA DESIGN

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B.3. CASE STUDY 2.0 The passage , 2011 matR Project

This project is not the most innovative one in terms of form and

FIG.7: Vertical ribs

function, but the process of applying waffle structure on a complex object and digital fabrication marks the significance of this project.

A waffle structure of 26 vertical ribs and 24 horizontal struts is created on a initial form which the grid pattern is following the surface of the surface.3 As shown in the close up (FIG.9) and the scaled model (FIG. 4&5), the horizontal struts are not extruded in the same direction.

As a student project, real fabrication of the structure is different from the fabrication of small prototypes. With the dimension limitations of plywood, the strusts need to be segmented by creating joints.3 The digital fabrication process with nonstandard components (FIG.7 & 8) created using computational tools help the students to construct the structure with no construction company. This project shows the potential of digital fabrication which can produce complex structures.

“I strongly believe this design is a physical manifestation of the creative thought process, implemented through digital fabrication techniques.”3 Douglas Steidl, dean of Kent State’s College of Architecture and Environmental Design

FIG.4 & 5: Scaled model of the project

FIG.8: Sheet layout of horizon

FIG.6: Plan view of the passage PART B. CRITERIA DESIGN

3. Pagnotta, Brian, ‘2011 Matr P ArchDaily, 2011 <http://www.ar matr-project-the-passage/> [a

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ntal components

Project: “The Passage”’, rchdaily.com/161894/2011accessed 22 April 2015]

FIG.9: Close up of the passage PART B. CRITERIA DESIGN

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Reverse-engineering of “The Passage”

Step1: Draw curves to based on the initial form

CURVE

Step3: Divide the curves in equal counts to outline the horizontal struts

DIVIDE CURVE

LOFT

Step2:Loft the curves to create a similar surface

PART B. CRITERIA DESIGN

FLIP MATRIX

INTERPOLATE

CONTOUR

Step6: Make contour lines on the surface to outline the vertical ribs

Step4: O炎泗ffset the to create depth o

PLANAR

O

O

Step7: O炎泗ffset the the vertical ribs

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lines planarly to the surface of the horizontal struts

Step5: Loft the lines to create the horizontal struts

OFFSET

LOFT

OFFSET

LOFT

lines to create depth of

Combination of the horizontal struts and vertical ribs produced the waffle atructure

Step8: Loft the lines to create the vertical ribs

PART B. CRITERIA DESIGN

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Final outcome

Perspective view

Similarities: Similar structural pattern following the surface is created in the outcome.

Differences: As the initial form recreated is not exectly the

same with the original project. The size and shape of the vertical ribs and horizontal struts are different from the original.

Front view

Plan view PART B. CRITERIA DESIGN

Next step...

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In the next part, the definition of â&#x20AC;&#x153;the passageâ&#x20AC;? will be taken as a starting point to develop different outcomes by changing its factors.

For example, changing the initial curves to manipulate the shape of its initial form, changing the grid patterns using Lunchbox plugin tested in case study 1.0, changing parameter values to create different ribs depth and ribs density.

Shape manipulation Ribs depth

Ribs density

Grid pattern

PART B. CRITERIA DESIGN

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B.4. TECHNIQUE: DEVELOPMENT

Original curves

Distance between vertical ribs = 2000 No. of horizontal struts = 10 Vertical ribs depth = 300 Horizontal struts depth = 200

Distance between vertical ribs = 1500 No. of horizontal struts = 15 Vertical ribs depth = 500 Horizontal struts depth = 500

Distance between vertical ribs = 1000 No. of horizontal struts = 20 Vertical ribs depth = -1000 Horizontal struts depth = 500

Distance between vertical ribs = 500 No. of horizontal struts = 25 Vertical ribs depth = 300 Horizontal struts depth = -600

Distance between vertical ribs = 300 No. of horizontal struts = 30 Vertical ribs depth = 600 Horizontal struts depth = 300

PART B. CRITERIA DESIGN

Triangular curves

Re

ectangular curves

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Random curves 1

Random curves 2

PART B. CRITERIA DESIGN

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Original curves D沁epth = 400芽

Ran D沁epth = 200芽

D沁epth = 400芽

Grid Structure U division = 20 V division = 10

U division = 30 V division = 20

U division = 20 V division = 10

U division = 10 V division = 20

U division = 30 V division = 30

U division = 10 V division = 20

U division = 15 V division = 15

U division = 30 V division = 15

U division = 15 V division = 15

U division = 5 V division = 10

U division = 20 V division = 5

U division = 5 V division = 10

Diagrid Structure

Hexagonal Structure

Space Truss Structure

Others: Typical waffle structure on 3D metaball

PART B. CRITERIA DESIGN

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ndom curves 1

Random curves 2 D沁epth = 200芽

D沁epth = 400芽

D沁epth = 200芽

U division = 30 V division = 20

U division = 20 V division = 10

U division = 30 V division = 20

U division = 30 V division = 30

U division = 10 V division = 20

U division = 30 V division = 30

U division = 30 V division = 15

U division = 15 V division = 15

U division = 30 V division = 15

U division = 20 V division = 5

U division = 5 V division = 10

U division = 20 V division = 5

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Successful Iterations The selection criteria for the successful iterations are focusing on the appearence, reasonability of the grid patterns and possibility of a particular function on the structure.

Rectangular curves Distance between vertical ribs = 1000 No. of horizontal struts = 20 Vertical ribs depth = -1000 Horizontal struts depth = 500

Random curves 2 Distance between vertical ribs = 500 No. of horizontal struts = 25 Vertical ribs depth = 300 Horizontal struts depth = -600

PART B. CRITERIA DESIGN

The rotated rectangles create an interesting wavy shape for the whole structure. A negative value on the verical ribs depth makes the ribs stand out. The closed rectangle curves make it became a tunnellike structure which can be built on a path way or can be adjusted as climbing facilities for children.

The form produced with random curves creates a warpping effect which makes the structure look different on every side. The wraping form has many potential functions such as covering a path way, letting plants grow on the grids and making climbing facilities or benches

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Grid structure on Random curves 1 Depth = 400 U division = 20 V division = 10

Typical waffle structure on 3D metaball

A grid pattern following the twisted surface makes a nice frame for growing plants or climbing facilities. The grid pattern is curved but still possible to fabricate by digital fabrication.

Typical waffle structure on a 3D metaball mesh is created by personal interested.

Although it is not related to the case, the regular grid on an organic form is quiet aesthetically pleasing and a low density grid pattern can be a shelf for planting or placing other things. A sculptural climbing facility is also possible form this structure.

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B.5. TECHNIQUE: PROTOTYPES Two kind of grid pattern in the following is selected to apply fabrication definitions using grasshopper. Notches is produced on the intersecting components for assembly. The components of the prototype for grid pattern following a surface need to be unrolled to laser cut.

Laser cut components produced by fabrication definitions:

Grid pattern following a surface

Typical waffle grid on 3D metaball

The file is sent to fab lab and the components are cut in boxboard:

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The components are slightly bended for the prototype of the grid pattern and fit into the notches.

The result shows a nice pattern following the curve surface.

When light shine on the prototype, beautiful light and shadow effect is created.

Lighting effect is one of the important selection criteria as the design should not cover too much daylight in the natural environment.

The prototype for the metaball is less interesting compare to the grid pattern as the components with larger area cover the light.

From the prototype, it shows that a small model or a small installation cannot express the sculptural aesthetics of waffle structure on a 3D geometry.

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B.6. TECHNIQUE: PROPOSAL

Site Plan One of the successful iterations is selected as the base for the design.

Adjustment is made on the iteration in order to fit into the site:

Distance and size between curves is adjusted to fit length of bridge

Grid pattern is modified to around 500mm x 500mm per grid

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A cover for the Merri Creek Trail Bridge is selected for my final design.

As the existing bridge is located near the junction of the Merri Creek and the Yarra River, the bridge should be more significant to represent the starting point of the Merri Creek.

A iconic structure is decided to build on the existing bridge and fit with the existing site at the same time to minimize effect to the natural environment.

3m

27m

Close up of the existing bridge with the proposed cover

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PERSPECTIVE AND ELEVATIONS

The design concept for the cover of the Merri Creek Trail Bridge is to create a wrapping structure which the two ends are enlarged to create a sense of welcoming.

From the east and west elevation, the wrapping form and the curved structural members make the view of the entering point of the bridge interesting.

The cover is not fully covering the whole bridge to keep the pedestrians close to the natural environment. The grids of the structure will provide different light and shadow effect during different time of the day.

East Elevation PART B. CRITERIA DESIGN

West Elevation

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Perspective

North Elevation

South elevation PART B. CRITERIA DESIGN

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Rendering

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B.7. LEARNING OBJECTIVE AND OUTCOMES

From the matrix exercise of case study 1.0 and case

study 2.0, I have a chance to test the variations produced using Lunchbox plugin and recreate a built project myself using grasshopper. The matrix exercises help me develop and get familiarize with the parametric modelling techniques learnt from tutorial and online videos.

By making prototypes, I experience the digital fabrication process by applying fabrication definitions; laser cut components and assemble them to produce small prototypes. Computational tools are particularly helpful in the fabrication process to produce accurate components in parametric design and I can never fabricate even a small prototype myself due to the complexity of the structure.

The process of planning a proposal for my design let me consider all the aspects relating to my design including the site, the possible functions and the surrounding environment.

PART B. CRITERIA DESIGN

From the feedback gained during the interim presen my technique maybe too simple although the form i to create a innovative design, I will try to adjust the m next stage. More variation maybe made in terms of th pattern such as making the two ends more fluid. Inco techniques like tensile membrane or making super li using other materials can be ways to improve my de

The joints between structural components and the connection between the structure to the existing brid will be the next part that I need to consider.

Overall, I got a great experience in testing the possib and trying to fabrication something using computatio process in part B really helps me develop knowledg modelling and move a big step in my first algorithmic

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ntation, I realized is nice. In order model in the he structural orporating other ight structure esign.

dge

bility of definitions onal tools. The ge of parametric c design experience.

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B.8. APPENDIX - ALGORITHMIC SKETCHES RECURSION

Layers of pyrmaid generated from the surface of a pyramid produced a complex and detailed model.

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A surface is lofted from two curves and a triangle panels are created on the lofted surface using Lunchbox plugin that I have tested in case study 1.0. The definition is then applied on the triangulated surface and it generates a very beautiful result. The generated surface looks like a highly decorated wall.

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BIBLIOGRAPHY 1. Voyatzis, Costas, ‘Metropol Parasol // The World’S Largest Wooden Structure | Yatzer’, Yatzer.com, 2015 <http://www. yatzer.com/Metropol-Parasol-The-World-s-Largest-Wooden-Structure-J-MAYER-H-Architects> [accessed 19 April 2015] 2. Designplaygrounds, ‘Pudelma Pavillion - Designplaygrounds’, 2013 <http://designplaygrounds.com/blog/pudelma/> [accessed 19 April 2015] 3. Pagnotta, Brian, ‘2011 Matr Project: “The Passage”’, ArchDaily, 2011 <http://www.archdaily.com/161894/2011-matrproject-the-passage/> [accessed 22 April 2015]

IMAGE REFERENCE FIG.1: The passage <http://ad009cdnb.archdaily.net/wp-content/uploads/2011/08/1313745952-img-6298.jpg> FIG.2: Metropol Parasol <http://upload.wikimedia.org/wikipedia/commons/6/69/Espacio_Parasol_Sevilla.jpg> FIG.3: Pudelma Pavilion <http://designplaygrounds.com/wp-content/uploads/2013/08/Pudelma-Paviljonki_02.jpg> FIG.4 & 5: Scaled model of the project <http://ad009cdnb.archdaily.net/wp-content/uploads/2011/08/1313745943-img-4186.jpg> <http://ad009cdnb.archdaily.net/wp-content/uploads/2011/08/1313745942-img-4179.jpg> FIG.6: Plan view of the passage <http://ad009cdnb.archdaily.net/wp-content/uploads/2011/08/1313745987-pix8.jpg> FIG.7: Vertical ribs <http://ad009cdnb.archdaily.net/wp-content/uploads/2011/08/1313745990-vribs.jpg> FIG.8: Sheet layout of horizontal components <http://ad009cdnb.archdaily.net/wp-content/uploads/2011/08/1313745939-hrib.jpg> FIG.9: Close up of the passage <http://ad009cdnb.archdaily.net/wp-content/uploads/2011/08/1313745952-img-6298.jpg>

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