Yii Wei HOU526685

Tutorial Group 12-13Tutor: Tom & Finn

ABPL30048 Architectural Design Studio Air

2013 SM1

INTRODUCTION

My name is Yii Wei Hou. I am a third year environments student majoring in architecture. I am from Malaysia and I came to Melbourne 2 years ago when I first started my course here in Uni-versity of Melbourne. I took Virtual Environments in Year 1 which exposed me to digital design technique that will be useful for Air Studio.

PREVIOUS WORKVirtual Environments 2011 SM1

Design with digital media is different in many ways and it is indeed something new and foreign which can take time for people to recognise, accept and practise broadly.

Digital design is about conceptualising opportunities, testing them and bring-ing them to reality. Studying the prod-uct of design and the way it is con-ceived, generated and materialised in the digital media will be one step closer to fully understand the digital design process.

Past concept models like representa-tion, precedent-based design and ty-pologies are being replaced by new advanced concepts related to mod-els of generation, animation, perfor-mance-baseddesign.

Digital design is an important aspect for the fundamental of architectural education due to the fact that tech-nologies are constantly changing as we change the way we think and communicate, creating new de-mands of requisite knowledge and skills. This leads to reconsideration of the theoretical basis, its design meth-ods and related knowledge in relation to the ever-changing digital technolo-gies.

Part 1

Case For Innovation

Architectural communications are composed of a wide range of items, including non-built and built, for example published mass commu-nications (magazines, books, blogs and web-sites), drawings, photographs, sketches, render-ings, CAD drawings and buildings; buildings are merely one of many types of architectural com-munications.Built architectural works are exposed to the out-er network of autopoiesis of architecture and they are also within the architectural discourse as points of critical reference. 1

Every architectural communication is seen as a contribution to the architectural discourse, re-gardless of the influence it has on the discourse, it changes the discourse. And, a change of dis-course is considered an achievement in any ar-chitectural work. Architecture discourse is ever-changing as new challenges/problems present themselves, re-quiring attention for new ideas and turns of ar-gument.

1.1 ARCHITECTURE AS A DISCOURSE

Reference1 Schumacher, The Autopoiesis of Architecture, A New Framework for Architecture, 2011, p. 1-28.2 Humberto R Maturana&Francisco, Varela, Autopoiesis and Cognition, The Realization o f the Livings D Reidel Publishing Com-pany (Dordrecht, Holland), 1980

Architecture is often seen as buildings but it is more than that, architecture is a system of communications; a system of communi-cations that consist of knowledge, profes-sional practice and artefacts which are interlinked. 1

This system of communications is intro-duced by the concept of autopoie-siswhichmeans self-production. 2

Thus, architecture as a system of commu-nications is a progressive process that con-tinues to innovate over time, constantly searching for better solutions for the prob-lems encountered.

Son-O-house is more than just a piece of architecture; it embodies both ar-chitectural environment and interactive sound installation which makes it an interactive sounding architecture.

This works through the constant generation of new sound patterns activated by sensors picking up actual movements of the visitors. The purpose is for the sound to influence and interfere with the perception and the movements of the vsitors, thereby, creating a permanent interaction between the architec-ture, the sound and the visitors.

The structure is derived from a choreographed set of movements of hands, limbs and bodies which are inscribed on paper bands as cuts, and the interac-tion between these bands results in natural curves. The basis of curling is used in the remodelling of the analog computing model to produce the extremely complex model of interlacing vaults which lean on each other or collide with one another to create dynamic shapes.

Son-O-House

Image sourcehttp://openbuildings.com/buildings/son-o-house-profile-38562

Location: Son En Breugel, The NetherlandsBuilding type:Public pavilionArchitect: NOX

Image sourcehttp://crowneplazaparkview.com/beijing-national-stadium/

Beijing National Stadium

Beijing National Stadium

Location: Beijing, ChinaBuilding type: StadiumDesign team:Herzog & de Meuron, CAG Design Institute Beijing, ARUP, Beijing Urban Construction Group, Bouygues France

Beijing National Stadium, commonly known as “Bird’s Nest” has a rather traditional concept of Chinese ceramics, which later evolved to bird’s nest appearance in its façade design. The combination of the concept and innovative materials used sets new definition of modern architecture.

Steel structural members are concealed within a network of steel lattice exoskeleton enclosing a concrete core. The steel structure may appear to be random but every element is carefully integrated. According to Herzog & de Mueron, the combination of the elements creates a “spa-tial effect... (that) is novel and radical and yet simple and of almost archaic immediacy. Its appearance is pure struc-ture. Façade and structure are identical.”

Design of the stadium takes into account of the seismic ac-tivity, resulting in the concrete core to be constructed in eight separate zones. Each zone acts like its own building with its own stability system, yet at the same time, all zones act as a body in resisting seismic loads.

Sustainable features are integrated into the design of the stadium through environment-friendly features like use of solar power, harvesting rainwater and natural ventilation and lighting to create a sustainable powerhouse.

Aesthetics and conventions of style which once served as basis of architecture are now insignificant, as designers are more in-trigued by the transfomations of forms that respond to functional influences and com-plex contextual. The advance in computa-tional design like parametric design gives rise to new possibilities that enables archi-tects to explore infinite variable potentiali-ties, thus rejection any sort of fixed solutions as architects are designing a set of princi-ples encoded as a sequence of paramat-ric equations in which design can be gen-erated and varied as needed instead of the conventional way of designing specific shape of the building. 2

Contemporary computational approaches to design embrace non-linearity, indeter-minacy and emergence that often have outcome of creative transformation and invention which is a great constrast to the tradtional conventional design method which adopts stable design conceptualiza-tion and monotonic reasoning. 2 Often, con-ventional design method is seen as problem solving and contemporary computational design method as puzzle making.

Architects are actually more involved in the making of the buildings when dealing with complex forms to ensure that they are in control throughout the buidling process. Therefore, architects play a key role in the construction of buildings via communicat-ing and controlling the information shared betweeen different parties involved.

1.2 COMPUTATIONAL ARCHITECTURE

Reference1. Kalay - Architectures New Media (2004), p 1-25. 2. Kolarevic - Architecture in the Digital Age - Design and Manufacturing (2003), p 3-62.

The advances in computer-aided design (CAD) and computer-aided manufactur-ing (CAM) techonologies change the revo-lution of building design and construction practices. Extremely complex forms which seemed impossible to design , produce and assemble in the past have been made pos-sible through these technologies. Digital technology has become a paramount tool that directly integrates conception and pro-duction.

Computational design systems have assisted designers in many ways through taking care of smaller and larger elements of the design process. They are composed of drafting and modelling systems (speed up design process through drawing lines and other geometri-cal entities), analytical systems (provide ra-tional appraisal of designers' solutions) and knowledge-based design systems (propose design solutions). 1 Although each system is useful to designers, the systems have difficul-ties to communicate with one another due to their vastly different objectives, however, their asistance in communation among de-signers is inevitable via design information storage and query capabilities and systems. 1 Through the use of digital technologies, design information can be extracted, ex-changed and utilized readily.

Patricia and Philip Frost Museum of Science is a 250,000 square-foot complex that houses a planetarium and the Living Core (a standalone aquarium and wildlife centre).

Patricia And Philip Frost Museum Of Science

Through the use of a combination of computation pro-grams such as Rhinoceros, Grasshopper and Revit, the form of the Living Core was developed in which the struc-ture necessary to house the living support systems and flexibility required of the museum programming were taken into account along the process. The geometry of the end product is composed of curved, vertical and in-clined walls in seamless transition. The surface is covered in tile cladding and it is supported by a bent steel grid that spans between structural floor components. The size of til-ing remains constant to express the monolithic nature of the Living Core, while at the same time varying in concav-ity and convexity to create areas of dappled reflection which changes throughout the day.

Due to nature of Miami climate, heat differential expan-sion joints to connect the tile cladding are given extra thought. This results in the development of a patterning process which is able to sustain the form's double curva-ture and test for maximum areas of deviation of a stand-ardised pattern through a meshing sequence, simplifying the control joint pattern to a series of duplicate parallelo-grams which can be cut from the rolls of tile and applied with ease.

Image sourcehttp://www.archdaily.com/343719/patricia-and-phillip-frost-museum-of-science-grimshaw-architects-2/http://app.lms.unimelb.edu.au/bbcswebdav/pid-416194-dt-announcement-rid-12019919_2/courses/ABPL30048_2013_SM1/Com-putation%20Works%20-%20The%20Building%20of%20Algorithmic%20Thought.pdf

Entrance

Initial pattern-generation progress

Patricia And Philip Frost Museum Of Science

Entrance Atrium

Living Core envelope form Detail view of tiling pattern and control jointInitial pattern-generation progress

Location: Miami, USABuilding type: MuseumArchitect: Grimshaw

" while physical form can be defined in terms of static co-ordinates, the virtual force of the environment in which it is designed contributes to its shape".

- Greg Lynn

Lynn integrated the use of particle emission in the pro-tective roof and the lighting scheme for the Port Author-ity Bus Terminal in order to visualize the gradient fields of "attraction" present on the site, created by the surround-ing forces like movement of buses and pedestrians. This phenomenon is the result of dynamic simulation where the forces that do not originate within the system itself have an impact on the motion of objects within the sys-tem. In other words, surrounding forces are fundamental to the form making in architecture.

Image Sourcehttp://cgg-journal.com/2005-3/04/index.htm

Port Authority Bus Terminal

1.3 Parametric modelling

Parametric modeling creates endless opportunities for designers to ex-plore a wide variety of forms that will result in unique characteristic of each design created. This is made possible as parametric systems enable a new set of controls to overlay the basis controls, a great con-trast to conventional systems that provides mathematically motivated controls. 1

Architects are not professional mathematicians; therefore, they do not fully understand the underlying mathematics to effectively create a new model. Hence, it is common to find designers to reuse existing work because readily available code reduces the job of making a model significantly. Also, editing and changing code is much easier compared to creating a whole new code from scratch. It is more ef-ficient to start with a working model and progress in steps to ensure that the model always works along the process than creating a new model.

Parametricism developed as a style when the global economy was good, and many architects thought the parametric designs were pos-sible to be built due to unlimited budgets. However, in reality, many parametric designs remain unbuilt due to the high cost of construction. 2 Parametric buildings often lack consideration in integrating into the surrounding environments, in which users may find them out of context in the real world. Perhaps buildings with parametric design are more suited in the virtual worlds.

Reference1. Woodbury, Elements of Parametric Design (2010), p. 7-48. 2. Adam Nathaniel Mayer, Style and the Pretense of ‘Parametric’ Architecture.

Zentrum Paul Khee

Zentrum Paul Klee’s design consists of a se-ries of waves situated on concentric circles. This design idea makes the geometry of the roof extremely complex which requires the unique rendering of each individual metre of 4.2 km steel girders. Also, each series of the steel arches is inclined at a different angle. To tackle such complex project, Pi-ano tested for several alternative solutions within the scope of his idea in order to achieve the best optimal outcome. During the design process, a parametric model of the steel structure was developed. And, this was used to map the geometry of the curved I-beams into two-dimensional plans for the steel contractor. 3 The steel contrac-tor was able to produce individual sections from steel plates through the use of high-precision computerized instrumentation and each section was welded together by labour. 4 The sections were welded together by hand as the curvature of the steel girders made machine welding impossible.

Location: Bern, SwitzerlandBuilding type: MuseumArchitect: Renzo Piano

Image sourcehttp://www.designtoproduction.ch/content/view/3/23/

Reference3. http://www.designtoproduction.ch/content/view/3/23/

4. http://www.fondazionerenzopiano.org/project/64/zentrum-paul-klee/genesis/

floor level and also, the mesh should attempt to optimize its size and angles as mentioned.6 The end product remains flexible as the structure can be easily altered by simply insert-ing or deleting meshes. The geometry of nodes and edges is exported to an XML file and this is used as a base for the remaining digital chain.

A script reads the XML file into CAD-software Vectorworks and 3D-model of the pavilion is generated with the exact geometries of 320 wooden frames (1280 parts). 6

A second script arranges the parts that are automatically numbered on the raw board for milling. Detailed information for drilling holes and milling the unique part is included when G-code (the production code for the CNC-machine that is the final outcome of the digital chain in which it acts as a medium in instructing the machine which tool to choose and where to move it) is exported for the board, easing the CAM process. 6

Swissbau Pavilion

In 2005, The CAAD Swissbau Pavilion was constructed at Swissbau fair in Basel to investigate the potential of the continuous flow of digital chain from Computer Aided Design (CAD) to Computer Aided Manufacturing (CAM).

The project followed functional rules in which optimized geometry for a given environment was created through a self-organizing process.5 The geometry of the pavilion resembles very much of a traditional coffered dome but it is vastly different in terms of the placement of the openings; the size and angles of the quadrilateral wooden frames (the compo-nents that form the structure of the pavilion) are adapted to produce asymmetric placement of windows.

An interactive software was programmed in Java to creative this adaptive geometry that stimulates a quadrilateral mesh growth on a sphere. The edg-es have to be aligned with the positions of the predefined openings and the

Image sourcehttp://www.generativeart.com/on/cic/papers2005/36.ScheurerSchindlerBraach_final.htmhttp://wiki.arch.ethz.ch/twiki/bin/view/Main/SwissbauPavilion.html

Reference5. F. Scheurer, A Simulation Toolbox For Self-Organisation In Architectural Design, in: S. Sariyildiz, B. Tuncer (Eds.), Innovation in Archi-tecture, Engineering and Computing (AEC), Vol. 2, Delft University of Technology, Faculty of Architecture, Rotterdam, NL, 2005, pp. 533-543.6. http://www.generativeart.com/on/cic/papers2005/36.ScheurerSchindlerBraach_final.htm

floor level and also, the mesh should attempt to optimize its size and angles as mentioned.6 The end product remains flexible as the structure can be easily altered by simply insert-ing or deleting meshes. The geometry of nodes and edges is exported to an XML file and this is used as a base for the remaining digital chain.

A script reads the XML file into CAD-software Vectorworks and 3D-model of the pavilion is generated with the exact geometries of 320 wooden frames (1280 parts). 6

A second script arranges the parts that are automatically numbered on the raw board for milling. Detailed information for drilling holes and milling the unique part is included when G-code (the production code for the CNC-machine that is the final outcome of the digital chain in which it acts as a medium in instructing the machine which tool to choose and where to move it) is exported for the board, easing the CAM process. 6

Location: Basel, SwitzerlandBuilding type: PavilionArchitect: ETH

Swissbau Pavilion

Reflection

There is a typical perception on designing in a conven-tional way, namely the through traditional media which relies largely on sketching, 2D representations and physi-cal models for design exploration. However, there are limitless potentials through designing in degital media as the designers gain benefits from design exploration like better understanding of kinetic design and design involving complex geometry which seems impossible to do through conventional way.

The use of digital tools in conceptual design involves reconceptualising the design process itself in a way in which design with digital tools is perceived as involving an inherently different process. Therefore, digital tech-nology is more than a design tool and should be con-ceived as a design medium.

The generative and creative potential of digital media, together with manufacturing advances are opening up new dimensions in the architectural field. The compu-tational advances like computer-aided design (CAD) and computer-aided manufacturing (CAM) technolo-gies have great influence on building design and con-struction practices. They aid in the construction of more complex forms, opening up new opportunities, unlike in the past where they were too expensive and difficult to design using conventional construction technologies. Through digital producing, communicating and control-ling the information exchanged between numerous par-ties during the construction process, architects have an opportunity to regain more control and power amongst the parties involved.

Through this studio, students are able to sharpen digital design skills and we are more exposed to the current digitally-designed projects in the architectural field. This serves as advantage when we are out in the professional world.

Part 2

design approach

Matrix Exploration

Our group is interested in biomimicry and we started off with exploring with voronoid based on Spanish Pavilion case study by Foreign Office Architects.

Image sourcehttp://www.achimmenges.net/?p=4411

Responsive Surface Structure I

This project explores the changes of wood when exposed to different level of humid-ity in the environment. The main goal of this project is to produce a surface struc-ture which is able to adapt the porosity of its skin and related cross-ventilation in re-sponse to the surrounding humidity with-out any sort of mechanical control device.

Once exposed to changes in relative hu-midity the opening and closure of each local component results in different de-grees of porosity over time and across the surface, which is both structure and responsive skin. This high level of integra-tion of form, structure and material per-formance enables a direct response to environmental influences with no need for additional electronic or mechanical control.

Project: Responsive Surface Structure I, ICD Research Project Designer: Steffen Reichert Year: 2006

Responsive Surface Structure II

Image sourcehttp://www.achimmenges.net/?p=4638

Responsive Surface Structure II

The second phase of the research project focused on the develop-ment of a more integral system that combines both the reactive skin and load bearing structure within one material system. Material used is wood laminate and through vari-ations in local thickness and fibre direction, a system of opening and closure of each component in rela-tion of surounding moisture content, adjusting its skin porosity over time. Similar to the first phase of the reser-ach, no additional electronic or me-chanical control is required for the system.

Our group abandoned this bio-mimicry concept because it is too complex to work out an algorithmic definition in the Grasshopper that will calculate/determine the curving of the wood veneer. So, we decided to go with another direction which is patterning.

Project: Responsive Surface Structure II, ICD Research Project Designer: Steffen Reichert Year: 2008

Matrix Exploration

Matrix Exploration

Our group did this matrix exploration based on the biomimicry concept behind the Responsive Sur-face Structure. We explored different type of form of the individual component, however, this bio-mimicry concept was abandoned because it is too complex to work out an algorithmic definition in the Grasshopper that will calculate/determine the curving of the wood veneer. So, we decided to go with another direction which is patterning.

The pavilion features a perforated façade, in-spired by traditional Polish folk-art paper cut-outs. The cut-out patterns has not only aesthet-ics value but also illustrates Poland’s history, culture, economy and every-day life. The cut-outs change from folk forms into organic ones, then into a city-map and industrial patterns (a metaphor of migration of people to cities from countryside. This purpose is also one of the in-terests of our group through patterning in terms of showing the significant features of Wynd-ham city such as its history and culture to the gateway users.

The pavilion also provides an exceptional ex-perience when visitors enter the interior space by shaping/manipulating the outer skin pat-terning in such a way that the sun rays shin-ing through would chisel , by light and shade, the space under the vault. This concept can be applied to the gateway project in which through patterning, the contrast between light and shade will create a visual impact on the gateway users.

Polish Pavilion for Shanghai expo 2010

Location: Shanghai, ChinaBuilding type: PavilionArchitect: WWAA Architects

Image sourcehttp://www.dezeen.com/2010/06/03/polish-pavilion-for-shanghai-expo-2010-by-wwaa-architects/

Polish Pavilion for Shanghai expo 2010

Impossible Curve Sculpture

Image sourcehttp://cleverspec.com/portfolio/ics-21-157-zigzag-44/

Impossible Curve Sculpture

This art piece consists of parabolic curves cre-ated from straight lines. The process to create these curves is through physical algorithm. The string is derived from one point to another in which each point is either the origin or the end of the strings. This theory gives rise to the inspiration for our patterning for the gateway project which will be explained later.

Designer: Adam BruckerYear: 2012

The Morning Line is both ruin and monu-ment, the blackened frame of a cathe-dral-like structure; a drawing in and of space; an ‘anti-pavilion’.

Unlike traditional architectural pavilions, The Morning Line takes the form of an open cellular structure rather than an en-closure.The Morning Line looks into frac-tal patterning in which each component grows and multiplys to build up the struc-ture. We are intrigued in the growth of the component to generate an interesting form, thus, we will further explore this as-pect for our future direction.

Location: Various (Seville, Istanbul, Vienna)Building type: PavilionDesigner: Matthew Ritchie, Aranda\Lasch

The Morning Line

Image sourcehttp://www.tba21.org/pavilions/103?category=pavilions

The Morning Line

Reverse Engineering Process

We started off with a basic shape of hexagon and explored different pattern that can be generated through hexagon as a basis. The scale of the hexagons were altered and they were rotated to create some interesting forms. Also, the hexagons were aligned at the centre of the previous hexagons to generate recursive patterning.

Reverse Engineering Process

These are the final outcomes in which each pattern has its distinctive form.

This is the matrix exploration of the form that the pattern sits on, derived from The Morning Line case study. Different parameters were explored included extrusion point, number of sides of the polygon, mirroring, as well as the radius of the trim edges. This exploration has led to forms that are far too com-plex to integrate in the pattern, so we moved on with experimentation of simpler geometry.

Reverse Engineering Process

Reverse Engineering Process

This is the exploration of the geometry, different iterations were experimented, including the type of polygon and the radius of trimmed edges.

The pattern shown previously is placed on the surface of the geometry in which a great contrast between na-ture (organic patterning) and man-made (geometry) can be expressed through the design. The organic pat-terning integrated in the design aims to reflect Wynd-ham City’s goal in creating a sustainable environment through continuous work in conservation and preserva-tion of nature. On the other hand, the geometry reflects the advanced technologies in supporting Wyndham to achieve its goal to become a greener city. The pattern-ing gives rise to the play between light and shade, cre-ating a strong visual impact, which in turn attracts more visitors to Wyndham, as well as providing a different at-mospheric experience to the users of the gateway.

Surface panel

Prototype

This is the first prototype made and there are few flaws in it. The notching didn’t join perfectly, leaving gaps between the joints. So, this model had to be put together with the aid of superglue. Also, the patterning thickness was way too thin, making it more prone to breakage; a few snapped when being assembed together.

Thus, we modified the notching, taking into account the thickness of the MDF board which was neglected the previous time, as well as, increasing the number of joints for a more stable connection. And, the patterning thickness was made thick-er to give a stronger structure.

First Prototype

Modified Prototype

Details

Details

Reflection

Based on the feedback, we will continue to work on our design, particularly in terms of in-tegrating the patterning to the whole struc-ture, rather than to individual component (the prototype). This allows the patterning to be more visible to the users from a distance in a large-scaled structure. But first, we will have to figure out the form of the whole structure be-cause at the moment, we have only worked out the individual components. We have to start thinking about the relationship between these individual components and how they would come together in a harmonious way. As mentioned, we are intrigued in the grow-ing form generated through patterning in The Morning Line case study and this is where we will draw inspiration from in generating an in-teresting form that reflects Wyndham as a rap-idly growing municipal and creates strong vis-ual impact which subsequently attracts more visitors to Wyndham.