Part B_ Criteria Design

A F L I E 8 C8@I

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CONTENTS

How I Got Here

4

PART A

Conceptualisation

6

PART B

Criteria Design

26

PART C

x

How I Got Here.

When I was 15, I started doodling on the back of exam papers and dancing in front of my mom’s full-length mirror, and from there, my interest in the arts slowly grew. The idea of creating something new and original really appealed to me and when I moved to Melbourne, and was presented the option to do art-based subjects in high school, I quickly grabbed hold of this opportunity.

Registering into the architecture course was a rash decision at the end of Year 12 but in two years, tertiary education has greatly shaped my mind and made me perceive architecture, art and design in a new light. I now understand the interdisciplinary nature of systems, am aware of the contradictions that somehow complement each other, and recognise the potential of integrating digital means to design.

Studying architecture has made me passionate about combining my creative interests with real-life issues in search of effective solutions that do not simply solve a problem, but also instigate a new form or concept. I realise that having a good command of digital tools is essential in achieving this as our world is becoming more tuned in towards the digital realm.

The digital realm also now serves as a platform for getting ideas out there, not just in terms of generating a design but in sharing them with others too. In saying that, I have been experimenting with various softwares since starting school here, such as the Adobe Creative Suite programs, Photoshop, InDesign, and Illustrator, the 3D modelling program, Rhinoceros, and am now looking forward to add the Grasshopper plug-in to the list.

DESIGN FUTURING. A1

DESIGN COMPUTATION. A2

COMPOSITION / GENERATION. A3

CONCLUSION. A4

LEARNING OUTCOMES. A5

APPENDIX. A6

C O N C E P T U A L I S A T I O N

A6

A1. DESIGN FUTURING

Contemporary architecture is very much about breaking conventions. There are many ways this is achieved, for example, through collaborative efforts, >��Ü��}�Ì�i�y�Ü�>�`��«�i�i�Ì>Ì��v��`i>Ã�vÀ��`�vviÀi�Ì�wi�`Ã]��À]�through research and experimental projects, exploring the possibilities of art, ÃV�i�Vi�>�`�ÌiV��}Þ��v�À��>��}°�/�iÃi�>VÌ��Ã�>Ài��Ì��Þ�ÀiyiVÌi`�in the methodology of design, but also in the aesthetic values and outcome of the architecture.

��À�iÝ>�«�i]�Ì�iÀi��Ã�>��VÀi>Ãi`�v�VÕÃ��V��iVÌ�Û�ÌÞ�>�`�yÕ�`�ÌÞ�Ü�Ì��designs. Not just in form but within the concept too. This is just representative of where our society is currently heading, as what architecture does, is give form to the values we live by.1

In saying that, architectural design now also has a high focus on sustainability. Be it ecological, economical or social, as we become more aware that creating Ã��iÌ��}��i>`Ã�Ì��`iÃÌÀ�Þ��}�>��Ì�iÀ]�Ì�iÀi��Ã�«À�v�Õ�`��ÌiÀiÃÌ��w�`��}�ways to tackle the consequences of building.2

With two selected precedents, some values of our current society will be further highlighted and how these, alongside technological innovations, allow for a new form of architecture to be realised.

[1] Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p. 3.

[2] Ibid., p. 4.

8 A1 DESIGN FUTURING

Figure 1. A/N Blog, Clive Wilkinson Architects Makes a Superdesk, <http://blog.archpaper.com/2015/02/clive-wilkinson-architects-makes-a-superdesk/#.Vuawc4x941i>,

[acccessed 12 March 2016].

6JG� TGPQXCVGF� KPVGTKQT� QH� VJG� $CTDCTKCP� )TQWRoU� QHƂEG� KU� C� ENGCT� GZCORNG� QH�ƃWKFKV[� CPF� EQPPGEVKXKV[� DGKPI� JKIJNKIJVGF�YKVJKP� C� FGUKIP� HQTO� CPF� EQPEGRV��6JG� VTCFKVKQPCN� NC[QWV� QH� CP� QHƂEG� YKVJ� UGRCTCVGF� DNQEMU� KU� TGRNCEGF� YKVJ� C�single-surfaced table, materialising the theme of collaboration and connection.1

6JG� EQPXGPVKQPCN� RGTEGRVKQP� QH� CP� QHƂEG� FGUM� KU� CNUQ� EJCNNGPIGF� KP� VJKU�case, showing the imaginative strides taken by designers today. The CTEJKVGEV� PQV� QPN[� ETGCVGF� C� ƃGZKDNG� U[UVGO� VJCV� GPJCPEGU� VJG� EQORCP[oU�current working environment, but also aimed to bring forth the potential for growth by making it an open structure.2 Speculation is yet another key aspect YKVJKP� FGUKIP� ƂGNFU� VQFC[� CPF� EQPVGORQTCT[� YQTMU� QH� CTEJKVGEVWTG� CTG� WUGF�to prompt discussions regarding what is ideal and preferable for the future.3

The desk structure is made out of individual pieces of laser-cut plywood panels, and with multiple joints, it was easily transported and assembled on site.4 With the use of 3D modelling softwares, the unconventional geometry is effectively represented and each customised panel was accurately fabricated.

The unique desk form, although connective in nature, has archways and other spatial features that create separate spaces. This sort of complementing contrasts is highly seen within works of architecture now as we seek to ƂPF� C� DCNCPEG� DGVYGGP� EQPVTCFKEVKPI� CURGEVU�� +P� VJKU� ECUG�� VJG� CTEJKVGEV�effectively created a unifying structure that encompasses a variety of spaces.

THE BARBARIAN GROUP

New York, New Yorkby Cleve Wilkinson Architects

[1] A/N Blog, Clive Wilkinson Architects Makes a Superdesk,

<http://blog.archpaper.com/2015/02/clive-wilkinson-

architects-makes-a-superdesk/#.Vuawc4x941i>, [acccessed

12 March 2016].

[2] Elaine Louie, Table Manners at Work, (New York:

The New York Times, 2014), <http://www.nytimes.

com/2014/02/13/garden/table-manners-at-work.

html?partner=rssnyt&emc=rss&_r=2>, [accessed 12 March

2016].

[3] Anthony Dunne & Fiona Raby, Speculative Everything:

Design Fiction, and Social Dreaming, (Massachussetts: MIT

Press, 2013), p. 6.

[4] A/N Blog, Clive Wilkinson Architects Makes a Superdesk,

<http://blog.archpaper.com/2015/02/clive-wilkinson-

architects-makes-a-superdesk/#.Vuawc4x941i>, [acccessed

12 March 2016].

9A1DESIGN FUTURING

Figure 2. A/N Blog, Clive Wilkinson Architects Makes a Superdesk, <http://blog.archpaper.com/2015/02/clive-wilkinson-architects-makes-a-superdesk/#.Vuawc4x941i>,

[acccessed 12 March 2016].

10 A1 DESIGN FUTURING

Figure 3. Archdaily, Ribbon Chapel / Hiroshi Nakamura & NAP Architects <http://www.archdaily.com/594947/ribbon-chapel-nap-architects>, [accessed 18 March 2016].

With the Ribbon Chapel, the architects effectively incorporated symbolism with structure. The structure is essentially two entwining stairways that meet together at the top, illustrating the act of marriage.5 Again, there is an idea of connectivity being played out here, both in form and in concept.

Furthermore, by entwining the stairways, the architects managed to realise a self-supporting structure, whilst conceptually reinforcing the idea of two coming together to support one another.6� 6JKU� KU� TGƃGEVKXG� QH� VJG�exploration on reciprocal structures, which were commonly used for roof framing structures, but now, increasingly adapted in other aspects within architecture.7

Parameters would have been applied to a digital model in order to inform the diameter and overall positioning of the design features, and by applying known construction knowledge, calculations were made to inform the support CPF�DTCEKPI�PGGFGF�VQ�TGCNKUG�VJG�ƂPCN�HQTO�8 This highlights the importance of mathematics, science and technology in helping us visualise, model and construct.

The design for the chapel also blends the boundaries of architectural elements. The structural stairways make up the facade of the building, act as roofs, eaves and walls9, provide external circulation and shape the internal space too. Through this, hybridisation between aesthetic feature and function, as well as between functional components themselves, are established.

RIBBON CHAPEL

Hiroshima, Japanby Hiroshi Nakamura/

NAP Architects

[5] Hiroshi Nakamura & NAP CO., Ltd., Ribbon Chapel,

<http://www.nakam.info/en/>, [accessed 12 March 2016].

[6] Ibid.

[7] Alberto Pugnale and others, ‘The Principle of Structural

Reciprocity’, Full Papers:Taller, Longer, Lighter (2011),

�JVVR��XDP�CCW�FM�ƂNGU��VJGARTKPEKRNGAQHA

structural_reciprocity.pdf>, [accessed 18 March 2016] (p. 4).

[8] Archdaily, Ribbon Chapel / Hiroshi Nakamura & NAP

Architects, <http://www.archdaily.com/594947/ribbon-

chapel-nap-architects>, [accessed 18 March 2016].

[9] Ibid.

11A1DESIGN FUTURING

Figure 4. Archdaily, Ribbon Chapel / Hiroshi Nakamura & NAP Architects

<http://www.archdaily.com/594947/ribbon-chapel-nap-architects>,

[accessed 18 March 2016].

Figure 5. Archdaily, Ribbon Chapel / Hiroshi Nakamura & NAP Architects

<http://www.archdaily.com/594947/ribbon-chapel-nap-architects>,


12 A2 DESIGN COMPUTATION

Figure 6. nArchitects, MOMA/P.S.1 Canopy, <http://narchitects.com/work/momap-s-1-canopy-3/>, [accessed 7 March 2016].

A2. DESIGN COMPUTATION

With the precedents discussed before, it is evident that computers play an KPGXKVCDNG� TQNG� KP� TGCNKUKPI� VJG�ƂPCN�FGUKIPU�� +P�OQUV� ECUGU�� EQORWVGTU� CTG�PQV�LWUV� WUGF� VQ�FQEWOGPV� CPF� HCDTKECVG� ƂPCN� RTQFWEVU�� VJG[� CTG� CNUQ� WUGF� KP� VJG�early stages of idea generation and development. Scripting is comparable to initial sketching, and this clearly shows the shift within the paradigm of design thinking.2

Following up on hybridity being a key value in society these days, the collaboration of creative thinking and rational computation has allowed for the boundaries of architecture and design to be pushed. Complex geometries are now easier to generate with the use of parametric modelling, and as these information can be extracted or transferred to other softwares or machines, producing them has become more achievable too.3

Computation was essential in executing the Canopy pavilion where P#TEJKVGEVU� YCU� CDNG� VQ� ƂPF� VJG� OKFFNG� ITQWPF� DGVYGGP� IGQOGVTKE�precision and natural variables. Using parametric means, they created a digital model where the length and intersections points of every arc were depicted. This enabled them to determine the orientation and splicing method of the bamboo pole whilst constructing the pavilion.4

MOMA/P.S.1 CANOPY

Queens, New Yorkby nArchitects

[1] Branko Kolarevic, Architecture in the Digital Age: Design

and Manufacturing, (New York; London: Spon Press, 2003),

p. 7.

[2] Rivka Oxman and Robert Oxman, Theories of the Digital

in Architecture, (London; New York: Routledge, 2014), p. 7.



p. 7.

[4] nArchitects, MOMA/P.S.1 Canopy, <http://narchitects.

com/work/momap-s-1-canopy-3/>, [accessed 7 March 2016].

“ With the use of digital technologies, the design information is the construction information. ”

Kolarevic, 2003.1

13A2DESIGN COMPUTATION

Figure 7. Architect Magazine, Canopy at MoMA PS1, <http://www.architectmagazine.com/project-gallery/canopy-at-moma-ps1>, [accessed 7 March 2016].

14 A2 DESIGN COMPUTATION

Figure 8. Archdaily, EXOtique / PROJECTiONE, <http://www.archdaily.com/125764/exotique-projectione>, [accessed 13 March 2016].

With EXOtique, the hexagonal modules were achieved via Grasshopper algorithms. Fabricating the modules with tabs, labels and connections, enabled for a product that is easily assembled, self-supporting and free of hardware connections.5� 6JKU� TGUWNVGF� KP� C� ƂPCN�product that truly celebrates its material properties, and it also suggests that digital fabrication is expanding the potential of reciprocal structures.

This is exemplar of another key outcome of design computation, performative designs. Architects are using means of computation to simulate structural and material performances as a methodology of design, and this is especially useful in simulating user experience.6 There is also what is known as the emergent form, where the multiplicity of algorithmic scripting enables different forms to be explored and adopted for optimum performance.7

The accessibility of design computation is also a factor that builds collaboration between different disciplines where the computer facilitates EQOOWPKECVKQP� FWTKPI� VJG� FGUKIP� RTQEGUU�� %QORWVCVKQP� KU� FGƂPKVGN[�EJCPIKPI�VJG�GZGEWVKQP�QH�C�FGUKIP��HTQO�VJG�KPKVKCN�KFGC�IGPGTCVKQP�VQ�VJG�ƂPCN�assemblage of modules. This is causing a shift in culture, where YQTMƃQY� KU� DGEQOKPI� OQTG� QH� C� NQQR� TCVJGT� VJCP� C� VQR�FQYP� NKPGCT�process, ultimately paving the way for a new form of architecture.

EXOTIQUE

Muncie, Indianaby PROJECTiONE

[5] Archdaily, EXOtique / PROJECTiONE, <http://www.

archdaily.com/125764/exotique-projectione>, [accessed 13

March 2016].

[6] Brady Peters, ‘Computation Works: The Building of

Algorithmic Thought’, Architectural Design, 83, 2 (2013) pp.

8-15, (p. 13).



p. 26.

15A2DESIGN COMPUTATION

Figure 9. Archdaily, EXOtique / PROJECTiONE, <http://www.archdaily.com/125764/exotique-projectione>, [accessed 13 March 2016].

16 A3 COMPOSITION / GENERATION

Figure 10. 3GATTI, SND Concept Store, <http://3gatti.com/#1866>, [accessed 17 March 2016].

A3. COMPOSITION / GENERATION

A radical movement born out of design computation is generative architecture, where as opposed to traditionally planning out the composition of a building, architects and designers are now able to generate forms by entering a set of rules, parameters and logic to a computer program.1 This presents new QRRQTVWPKVKGU�KP�HQTO�ƂPFKPI�CU�VJKU�OGVJQFQNQI[�QH�FGUKIP�VTGCVU�GCEJ�KPRWV�QH�NQIKE�CU�C�XCTKCDNG��YJKEJ�ECP�DG�GCUKN[�OQFKƂGF�VQ�RTQFWEG�OWNVKRNG�QWVEQOGU�2 Often, unexpected results are attained, further expanding the potential of generating forms as it is now not only limited to the designer’s visualising capacity.

In saying that, complex forms can start to take shape based off rules set by parameters. In the SND Concept Store by 3GATTI, the architects imagined the weight of objects pulling down the ceiling at certain points, and by using a material simulation software, they were able to model the effect this had at each point. The scale-like patternation was also achieved by applying algorithmic rules to the program, generating more than 10,000 separate surfaces which were then machine fabricated to precision.3

Form generation allowed for the morphing and manipulation of a simple surface whilst taking into consideration the materiality and spatial parameters, suggesting the potential of creating unconventional geometry within set constraints.

SND CONCEPT STORE

Chongqing, Chinaby 3GATTI



p. 13.

[2] Ibid, 17.

[3] 3GATTI, SND Concept Store, <http://3gatti.com/#1866>,


17A3

Figure 11. 3GATTI, SND Concept Store, <http://3gatti.com/#1866>, [accessed 17 March 2016].

COMPOSITION / GENERATION

18 A3 COMPOSITION / GENERATION

Figure 12. Archdaily, 'GIQQ�1HƂEGU�F''2�#TEJKVGEVU��JVVR��YYY�CTEJFCKN[�EQO��GGIQQ�QHƂEGU�FGGR�CTEJKVGEVU ��=CEEGUUGF��/CTEJ��?��

This methodology is also enabling the integration of biomimicry into architecture CU�KV�CNNQYU�HQT�VJG�VTCPUNCVKQP�QH�PCVWTCN�RCVVGTPU�CPF�UEKGPVKƂE�ECNEWNCVKQPU�KPVQ�a visual form.4 dEEP Architects employed a cellular sequence in generating the KPVGTKQT� QH� VJG� 'GIQQ�1HƂEGU�� YJKEJ� PQV� QPN[� KPHQTOGF� VJG� CGUVJGVKE� SWCNKVKGU�DWV� VJG� URCVKCN� QTICPKUCVKQP� CU� YGNN�� 1HƂEG� URCEGU� CPF� EKTEWNCVKQP� HQNNQY� VJG�generated cells’ shape and sizes, resulting in a space that appears to be composed randomly but was in fact generated following an organised nodal sequence.5

Here, the architects effectively merged the generated form with symbolism and OCVGTKCNKV[�� ETGCVKPI� CP� QHƂEG� URCEG� VJCV� KU� F[PCOKE� CPF� KPPQXCVKXG�� *QYGXGT��it is arguable that since generative architecture is highly based off logic and rational inputs, the creative aspect will be lacking. Also, there is a potential of the end result being either too literal or deprived of poetic qualities. This is where a balance has to be met in order to maximise the potential of combining the rational programming of computers and the creative intuition of the human mind.6

In saying that, performance, tectonics, materiality, or any other constraints assigned to a project, are becoming more and more integrated within the process of generating a form.7 This creates a digital boundary but it allows us to roam within our own creativity. There is no perfect system or way of designing, therefore piecing together the advantages of each methodology is a viable approach to designing.

EEGOO OFFICES

Beijing, Chinaby dEEP Architects

[4] Rivka Oxman and Robert Oxman, Theories of the Digital

in Architecture, (London; New York: Routledge, 2014), p. 7.

[5] Archdaily, 'GIQQ�1HƂEGU�F''2�#TEJKVGEVU��<http://www.

CTEJFCKN[�EQO��GGIQQ�QHƂEGU�FGGR�CTEJKVGEVU ��


[6] Yehuda E. Kalay, Architecture’s New Media: Principles,

Theories, and Methods of Computer-Aided Design,

(Cambridge, MA: MIT Press, 2004), p. 3.

[7] Oxman, p. 6.

19A3COMPOSITION / GENERATION

Figure 13. Archdaily, 'GIQQ�1HƂEGU�F''2�#TEJKVGEVU��<http://www.archdaily.

EQO��GGIQQ�QHƂEGU�FGGR�CTEJKVGEVU ��=CEEGUUGF��/CTEJ��?�

Figure 14. Archdaily, 'GIQQ�1HƂEGU�F''2�#TEJKVGEVU��<http://www.archdaily.

EQO��GGIQQ�QHƂEGU�FGGR�CTEJKVGEVU ��=CEEGUUGF��/CTEJ��?�

A4. CONCLUSION

Architecture and design serve as a platform for collaboration and speculation, resulting in a society that is becoming increasingly driven by hybridity.1 From the aesthetics of projects being proposed and realised to the methodology of design, there is often a collaboration between different disciplines, concepts and media.

As information is so easily shared and accessed these days, we have the privilege of adopting different ideas and merging them into a solution for our own design problems. This is the biggest potential of the digital and contemporary age, as there are no set rules and so many design possibilities.

What interests me most is the complementation of two very different elements, for example, the rational computer and the creative mind. As mentioned in A1, there is a trend in architecture where contradicting elements are brought together in a unifying way. Furthermore, many designers have successfully done this in producing a structure that is fully self-supported, highlighting this idea of cohesion.

In saying that, I am interested to further explore the potential of digital design in generating forms and producing self-supported structures, with the aim of bridging two contradicting elements together.

[1] Anthony Dunne & Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming (Massachussetts: MIT Press, 2013), p. 6.

A5. LEARNING OUTCOMES

Throughout the Part A module, I came across many design precedents that highlighted the potential of incorporating digital means to design. Although I was already aware of this, the lectures, readings and tutorials expanded my knowledge on digital design as I now know the difference between computerisation and computation. Computers are not just used for documenting, visualising or rendering, but they have the potential to generate designs too.

A different form of thinking will have to be applied when adapting to computation as information have to be inserted to a program to generate solutions. In a sense, this requires a more profound understanding of UVTWEVWTCN�CPF�RGTHQTOCPEG�U[UVGOU��CU�VJGUG�KPHQTOCVKQP�JCXG�VQ�DG�ƂTUVN[�deconstructed before the programs can reconstruct them into a new result.

Prior to this, I have only used computers in later stages of the design process. Through the algorithmic sketch tasks, I have started to practice generative design and am intrigued by both the design outcomes and process. I realised that how I conceived the design within my own thoughts was different from how it would have been if I was sketching it out by hand.

This made me truly aware of how computers are changing the way we conceptualise and I am interested to see how I will develop in this throughout the course of Studio Air.

21

A6. APPENDIX - ALGORITHMIC SKETCHES

Through the algorithmic sketch tasks, I had the chance to explore form generation using attractor points. The multiplicity of Grasshopper quickly became apparent to me when just a simple change of value in the number slider could result in strikingly different results. All FGƂPKVKQP� RWV� KPVQ� VJG� RNWI� KP� CEV� CU� C� XCTKCDNG� VJCV�manipulates the form whilst working within set parameters.

Experimenting with different numerical parameters, input HWPEVKQPU�� FGƂPGF� IGQOGVT[� CPF� TGNQECVKPI� VJG� CVVTCEVQT�points allowed me to generate varied and unexpected forms.

Again, it became apparent to me that although I’m working within the boundary of parameters, there are endless possibilities to the outcomes I can achieve. I ICVJGTGF� VJCV� RCTCOGVTKEKUO� KVUGNH� KU� TGƃGEVKXG� QH� VJG�nature of design; whilst having to work within a framework shaped by issues, opportunities and constraints, there CTG� KPƂPKVG� COQWPV� QH� UQNWVKQPU� VQ� VJG� FGUKIP� RTQDNGO�

This is the plan view of the initial form generated using an attractor point. The circular patternation was achieved by applying mathematical functions to a rectangular grid parameter

YJKEJ�VJGP�KPHQTOU�VJG�TCFKWU�XCNWG�QH�GCEJ�EKTENG��$[�EJCPIKPI�VJG�FGƂPGF�IGQOGVT[�CPF�XCNWGU�GPVGTGF�KPVQ�VJG�OCVJGOCVKECN�HWPEVKQPU��KPVGTGUVKPI�UJCRGU�VJCV�QXGTNC[�UVCTV�VQ�HQTO��

Parametricism allows for patternation and this does not neccesarily have to be employed for the overall form of building, but could also be incorporated to facades or surfaces.

23

Attractor point and loft function.

Introducing multiple attractor points to create

folds in different directions.

Changing degree of curves and allocating multiple

points to one attractor point component creates

unpredicted results.

Iteration to desired form by changing values,

degree of curves and location of points.

REFERENCES

3GATTI, SND Concept Store, <http://3gatti.com/#1866>, [accessed 17 March 2016].

A/N Blog, Clive Wilkinson Architects Makes a Superdesk, <http://blog.archpaper.com/2015/02/clive-wilkinson-architects-makes-a-super

desk/#.Vuawc4x941i>, [acccessed 12 March 2016].

Archdaily, 'GIQQ�1HƂEGU�F''2�#TEJKVGEVU��JVVR��YYY�CTEJFCKN[�EQO��GGIQQ�QHƂEGU�FGGR�CTEJKVGEVU ��=CEEGUUGF��/CTEJ��?�

Archdaily, EXOtique / PROJECTiONE, <http://www.archdaily.com/125764/exotique-projectione>, [accessed 13 March 2016].

Archdaily, Ribbon Chapel / Hiroshi Nakamura & NAP Architects, <http://www.archdaily.com/594947/ribbon-chapel-nap-architects>,


Architect Magazine, Canopy at MoMA PS1, <http://www.architectmagazine.com/project-gallery/canopy-at-moma-ps1>, [accessed 7 March

2016].

Dunne, Anthony, and Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming, (Massachussetts: MIT Press, 2013).

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

Louie, Elaine, Table Manners at Work, (New York: The New York Times, 2014), <http://www.nytimes.com/2014/02/13/garden/table-man

ners-at-work.html?partner=rssnyt&emc=rss&_r=2>, [accessed 12 March 2016].

Hiroshi Nakamura & NAP CO., Ltd., Ribbon Chapel, <http://www.nakam.info/en/>, [accessed 12 March 2016].

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

2004).

Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing, (New York; London: Spon Press, 2003), p. 13.

nArchitects, MOMA/P.S.1 Canopy, <http://narchitects.com/work/momap-s-1-canopy-3/>, [accessed 7 March 2016].

Pugnale, Alberto, Dario Parigi, Poul Henning Kirkegaard, and Mario Sassone, ‘The Principle of Structural Reciprocity’, Full Papers:Taller,

Longer, Lighter��JVVR��XDP�CCW�FM�ƂNGU��VJGARTKPEKRNGAQHAUVTWEVWTCNATGEKRTQEKV[�RFH ��=CEEGUUGF��/CTEJ��?��

Peters, Brady, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2 (2013) pp. 8-15, (p. 13).

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

RESEARCH FIELD. B1

CASE STUDY 1.0. B2

CASE STUDY 2.0. B3

TECHNIQUE: DEVELOPMENT. B4

TECHNIQUE: PROTOTYPES. B5

TECHNIQUE: PROPOSAL. B6

LEARNING OUTCOMES. B7

APPENDIX. B8

C R I T E R I A D E S I G N

26

B

B1. RESEARCH FIELD - TESSELLATION

Tessellation is an architectural tectonic that presents opportunities in realising the fabrication and construction of complex shapes. This is done so by creating panels off a generated surface, and through parametric means, there are many possibilities with how these panels can be manipulated to meet the design criteria.

For our Studio Air project, we will be proposing a ceiling installation, V��ÃÌÀÕVÌi`��ÕÌ��v�Ì��LiÀ�Ûi�iiÀ]�v�À�>��iiÌ��}�À��>V�i�½Ã��iÜ��vwVi°�With this preliminary criteria, tessellation appears to be a viable approach in designing an installation that can be broken down into modular parts, fabricated, and easily assembled on site.

Individual modules can be connected via interlocking tabs or segments, and this tectonic also presents potential in achieving structural stability.1 Furthermore, as we have timber veneer as the set material, we can take the material performance into account and set this as parameters for panelisation ��ÌiÀ�Ã��v��i�}Ì��V��ÃÌÀ>��ÌÃ�>�`�yiÝ�L��ÌÞ°2

The conceptual design implications of tessellation as a tectonic, as well as the opportunities it presents for our ceiling installation in terms of form generation and fabrication, will be further discussed with a few selected precedents.

[1] Sigrid Adriaenssens and others, Shell Structures for Architecture: Form Finding and Optimization, (London; New York: Routledge, 2014), p. 83.

[2] Ibid., p. 83.

B

DRAGON SKIN PAVILIONKowloon Park, Hong Kong

by Emmi Keskisarja, Pekka Tynkkynen, Kristof Crolla (LEAD) and Sebastien Delagrange

(LEAD)

This project explores the potential of post-formable plywood in creating a self-supported volume.3 Panels are designed with slits that interlock when bent, celebrating VJG� ƃGZKDKNKV[� CPF� KPVGITKV[� QH� VJG� OCVGTKCN�� 6JG�connections are articulated in a geometrically patterned manner, allowing for these to contribute to the overall aesthetics of the structure. This is a case of structure, aesthetics and effects being effectively deployed through the use of tessellation. Furthermore, the way VJG�RCPGNU�DGPF�CPF�OGGV�KPVTQFWEGU�XQKFU�YJKEJ�ƂNVGT�light into the encompassed space. With the ceiling installation, it is important to consider light treatment as well as shadows cast onto working surfaces. For our project, the Dragon Skin Pavilion’s inward effects could be reversed to address the lighting and shadow criteria.

[3] Dragon Skin, Dragon Skin, <http://dragonskinproject.com/>, [accessed 5 April 2016].

28 B1 RESEARCH FIELD

TESSELION Philadelphia, Pennsylvania

by Skylar Tibbits

Tesselion represents the potential of constructing curved UWTHCEGU�QWV�QH�ƃCV�RCPGNU��&GTKXKPI�RNCPCT�UWTHCEGU�HTQO�complex geometries is a key exploration within parametric architecture as this approach allows for fast and easy construction.1 Working digitally and through parametric OGCPU�� UVTWEVWTCN� GHƂEKGPE[� KP� VJG� YC[� VJG� RCPGNU� CTG�organised can be achieved too.2 Each panel can be treated individually, and this allows for the optimisation of patterning and perforation. Although dealing with planar surfaces, tessellation as a tectonic is still able VQ�CEJKGXG� EWTXCVWTG�CPF�ƃWKFKV[�YKVJ� VJG�QXGTCNN� HQTO��These aesthetic qualities are of interest to me, especially YJGP� VJG[� CTG� DQTP� QWV� QH� ƃCV�� CPIWNCT� IGQOGVTKGU��

[1] SJET, Tesselion, <http://www.sjet.us/PHILA_TESSELION.html>, [accessed 5 April 2016].

[2] Ibid.Figure 1. masterarchitectureAMS, Images and Graphic Ideas, <https://masterarchitectureams.wikispaces.com/Images+and+Graphic+Ideas>, [accessed 5 April 2016].

Figure 2. Archdaily, Dragon Skin Pavilion / Emmi Keskisarja + Pekka Tynkkynen + Kristof Crolla (LEAD) and Sebastien Delagrange (LEAD), <http://www.archdaily.com/215249/drag-on-skin-pavilion-emmi-keskisarja-pekka-tynkkynen-lead>, [accessed 5 April 2016].

29B1RESEARCH FIELD

ARCHIPELAGO PAVILION Copenhagen, Denmark

by Chalmers University of Technology and Röhsska Museum of Design

Similar to the previous precedent, the Archipelago Pavilion also presents volume, but here, the structure also appears to be a single surface. Tessellation is used here to connect prefabricated steel sheets in a way where a dynamic sense of space is introduced by the webs of spaces created.4�6KODGT�XGPGGT�JCU�C�DGPFKPI�ƃGZKDKNKV[��allowing it to create this sort of structure too. However, it has limitations in strength and fabrication as compared to steel, and creating a three-dimensional panel is not CU�HGCUKDNG��2CTCOGVTKE�OQFGNNKPI�ECP�JGNR�FGƂPG�VJGUG�limitations and a suitable form could be generated, perhaps by creating smaller panels or integrating other support elements (i.e. tabs or interlocking segments).

[4] eVolo, Archipelago Parametrically Designed Pavilion, <http://www.evolo.us/architecture/

archipelago-parametrically-designed-pavilion/>, [accessed 5 April 2016].

RESONANT CHAMBERAnn Arbor, Michigan

by rvtr

This project deals highly with acoustic treatment, and is an example of using tessellation to address this. The tessellated form allows for a kinetic design where panels can be controlled to fold in and out according to acoustic needs.5 This requires a separate software to be developed which informs the folding, but with our design, the idea itself serves as inspiration on how we can combine performative needs with the tessellation tectonic, and how this might inform our design overall.

[5] Archdaily, Resonant Chamber / rvtr, <http://www.archdaily.com/227233/resonant-chamber-

rvtr>, [accessed 7 April 2016].

Figure 3. eVolo, Archipelago Parametrically Designed Pavilion, <http://www.evolo.us/architecture/archipelago-parametrically-designed-pavilion/>, [accessed 5 April 2016].

Figure 4. Archdaily, Resonant Chamber / rvtr, <http://www.archdaily.com/227233/resonant-chamber-rvtr>, [accessed 7 April 2016].

30 B2 CASE STUDY 1.0

Figure 5. Archdaily, Voussoir Cloud / IwamotoScott Architecture + Buro Happold, <http://www.archdaily.com.br/br/01-54024/voussoir-cloud-iwamotoscott-architec-ture-mais-buro-happold>, [accessed 10 April 2016].

B2. CASE STUDY 1.0

Voussoir Cloud is an example of a tessellated tectonic and it uses the material performance of timber laminate to inform the structural and aesthetic design.1 The design draws inspiration from Otto and Gaudi’s hanging chain models in searching for form optimisation,2 and this can be modelled through Grasshopper using the Kangaroo plug-in. Kangaroo allows us to enter anchor points, spring and gravitational forces, and by inputing known parameters regarding the material RGTHQTOCPEG��YG�ECP�TWP�C�RJ[UKEU�UKOWNCVKQP�VQ�JGNR�UGCTEJ�HQT�HQTO�GHƂEKGPE[�

In this project, anchor points were located on the circumference of the base columns as well as on the surrounding walls, allowing for a catenary structure to be formed. In terms of construction, the design features tighter modules at the base columns for more structural integrity and modules have greater offset and curvatures progressing WRYCTFU��6JKU�TGUWNVU�KP�ITGCVGT�CRGTVWTGU�CDQXG�YJKEJ�CNNQY�HQT�NKIJV�VQ�ƂNVGT�KP��demonstrating how structural ornamentation is linked to the architectural effects.

Using the basic script of the Voussoir Cloud project, I experimented with how I could use physics simulation in Kangaroo to inform the design criteria for the ceiling installation. Through manipulating anchor points and rest lengths, I was able to produce iterations that serve as an initial logic that would be applied to our design later. Other than that, I explored different ways that I could potentially panellise a surface. This included experimenting with UWTHCEG� UWDFKXKUKQP� CPF� CNUQ� CRRN[KPI� C� &GNCWPC[� QT� 9GCXGTDKTF� FGƂPKVKQP�

1 2

VOUSSOIR CLOUD

Los Angeles, Californiaby Iwamoto Scott Architecture and

Buro Happold

[1] Iwamato Scott Architecture, Voussoir Cloud, <http://

www.iwamotoscott.com/VOUSSOIR-CLOUD>, [accessed 10

April 2016].

[2] Ibid.

31B2CASE STUDY 1.0

Figure 6. Archdaily, Voussoir Cloud / IwamotoScott Architecture + Buro Happold, <http://www.archdaily.com.br/br/01-54024/voussoir-cloud-iwamotoscott-architecture-mais-buro-happold>, [accessed 10 April 2016].


Mesh surface

Greater UV subdivision

Voronoi cells

Delaunay triangulation

WEAVERBIRD LAPLACIAN SMOOTHINGU: 3V: 3

U: 5V: 2

U: 1V: 2

U: 1V: 1

A B C

33B2CASE STUDY 1.0

SPECIES ASubdivision of mesh surface

Using tools such as Voronoi and Delaunay to attain a subdivided surface, potentially infroming the panelisation of the surface.

SPECIES BWeaverbird Laplacian SmoothingAttaining smoother edges for the mesh

and creating relaxed geometry. Changing the surfave subdivision values (UV values)

generate unexpected outcomes.

SPECIES CWeaverbird Picture Frame

Offsetting the edges of each mesh face to create a frame. Introduces apertures which

could be a potential feature to introduce light in future design. Offset distance

determines thickness of frame and thicker frames could result in a tucked in model.

SPECIES DWeaverbird Laplacian Smoothing

+ Picture Frame#RRN[KPI�DQVJ�FGƂPKVKQPU�VQ�CVVCKP�HQTO�VJCV�does not appear as rigid as initial algorithm outcome. Potential in relaxing the structure QH�C�OGUJ�VJTQWIJ�UOQQVJKPI�FGƂPKVKQPU�

WEAVERBIRD PICTUREFRAMEU: 10V: 10DISTANCE: 10

U: 1V: 2Distance: 50

U:3V: 3D: 50

U: 3V: 3D 25

SPECIES B+CU: 2V: 3DISTANCE: 20

U: 2V: 3D: 33

U: 3V: 1D: 10

U: 3V: 1D: 35

D


E F G

Amplitude: 700Scale factor: 0.25

Amp: 700Smoothing

Amp: 800Smoothing

Amp: 800SmoothingScale factor: 0.75

Unary force: 0.5

Rest length: 5

Removing rest length

Applying timer to attain different forms

35B2CASE STUDY 1.0

H

SPECIES EAmplifying frame

To create volume, the amplitude of frames were altered and also by introducing a scale FGƂPKVKQP��F[PCOKE�HQTOU�ECP�DG�RTQFWEGF�

SPECIES FKangaroo Physics

7UKPI��RJ[UKEU�UKOWNCVKQP�KP�HQTO�ƂPFKPI��Manipulation of rest lengths and unary

forces acting upon the mesh object.

SPECIES GRelocating anchor points

4GFGƂPKPI�CPEJQT�RQKPVU�VQ�CEJKGXG�FGUKTGF�relaxed mesh. This is a handy tool in helping

us visualise potential forms for our ceiling installation as we can input points where

we would like the installation to be held in tension. Generated catenary forms serve as

initial sketch ideas.

SPECIES HFurther manipulation

After understanding the basics of Kangaroo, further manipulation was applied to the rest

lengths, spring and unary forces. A timer was also added to attain different results. This KU�CP�GHƂEKGPV�YC[�QH�IGPGTCVKPI�OWNVKRNG�

sketch ideas.


PANELISATIONDelaunay triangulation

6JKU�FGƂPKVKQP�FKXKFGU�C�OGUJ�UWTHCEG�KPVQ�triangular panels. Triangles are planar,

therefore it is easy to fabricate complex geometries out of them. When turning a complex surface into basic geometries, a

logic is also established, aiding us with both fabrication and construction in later stages.

STRUCTUREWeaverbird Picture Frame

The shared edges could potentially be connected via tabs or other joining methods

to create an integral self -supporting structure. Also, the aperture created

within each panel could potentially be incorporated to the lighting criteria of our

ceiling installation.

VOLUMEAmplifying frame

Another selection criteria is producing an installation that depicts volume. The frame

amplitude, when incorporated with the UECNKPI�FGƂPKVKQP�RTQFWEGU�UQOG�TCVJGT�

dynamic forms that could be morphed out of a single surface.

37B2CASE STUDY 1.0

LIGHT TREATMENTVoids in mesh

Another potential method to allow light through the installation is to have apertures

or voids within the mesh. These voids can be modelled following the basic script of the Voussoir Cloud for the base columns.

FLUIDITYAnchor points and rest lengths

By altering the location of anchor points and rest lengths of a Kangaroo physics UKOWNCVKQP��C�ƃWKF�HQTO�ECP�DG�CEJKGXGF�from an initial rigid or angular geometry.

Fluidity is a key concept for our installation as we aim to push forth the idea of creating

C�ƃWKF�HQTO�QWV�QH�CPIWNCT��QT�DCUKE�geometries.

FORMFurther manipulation

This was the form that we thought to be most successful in terms of its dynamism

and irregular surface. This causes it to be non-hierarchial visually and that is an

aspect we aim to further explore. We are interested in creating a form that is visually striking when viewed from different angles

and directions.


B3. CASE STUDY 2.0

REVERSE ENGINEERING

1. Create surface#�UWTHCEG�YCU�NQHVGF�D[�ƂTUV�FGƂPKPI�VYQ�EWTXGU�then using the divide curve and catenary FGƂPKVKQP�VQ�OCPKRWNCVG�VJG�HQTO�WPVKN�FGUKTGF�look is achieved.

2. Hexagonal cellsHexagonal grid is created off the referenced surface. The U and V parameters are altered to attain desired sizes and numbers of cells.

3. Patching cellsThe cells are produced as geometries which are then deconstructed to attain the edges of each individual cell. This information is then put into the patch command to create individual surface for each cells. This allows us to treat each cell as an individual component.

4. PerforatingThe surface of each cell is then perforated by projecting curves, culling and trimming them. Prior to this, image sampler was used to generate desired perforation pattern.

5. Creating tabs Tabs were drawn for a hexagonal module and repeatedly applied to other modules by locating the midpoint of the edges. (image on following spread)

I chose to reverse engineer this project which I had earlier researched on in Part A because it not only showcases the tessellation tectonic as a potential self-supporting structure, but also because it deals with other selection criteria for our ceiling installation too. The hexagonal panels feature a RGTHQTCVGF� RCVVGTP� YJKEJ� CNNQYU� HQT� VJG� ƂNVTCVKQP� QH� NKIJV�� CU� YGNN� CU� UGVU�up an atmospheric effect for the installation space. The panels are locked onto each other using an elegantly designed tab system which enables the structure to celebrate its connection detailing as an aesthetic feature too.

Furthermore, in terms of form, EXOtique does feature a sense of undulation which is made possible by understanding the material RTQRGTVKGU� QH� UV[TGPG�� 5V[TGPG� KU� UNKIJVN[� ƃGZKDNG�� CPF� D[� CRRN[KPI� C� VCDDKPI�system at the edges of the panels, the panels are forced to bend within each component.1 By extrapolating this, curvature can be achieved.

1WT� OCVGTKCN�� VKODGT� XGPGGT�� KU� CNUQ� ƃGZKDNG� CPF� VJG� FGUKIP� EQPEGRVU�presented with the EXOtique project are potentially effective in helping us kickstart a ceiling installation design that features elements QH� UVTWEVWTCN� KPVGITKV[�� ƃWKFKV[�� NKIJVKPI� CPF� QVJGT� CGUVJGVKE� SWCNKVKGU��

EXOTIQUE

Muncie, Indianaby PROJECTiONE

[1] PROJECTiONE.com, EXOtique <http://www.projectione.

com/exotique/>, [accessed 10 April 2016].

39B3CASE STUDY 2.0

Figure 7. PROJECTiONE.com, EXOtique <http://www.projectione.com/exotique/>, [accessed 10 April 2016].


Mushroom tabs

These tabs slide into slits made on

the panels itself. It was found later

that creating tabs off the surface is

actually more aesthetically pleasing

as they can be tucked and hidden.

Unrolled six panels

to experiment with

different connection

methods.

Surface unrolled ready for fabrication.

B4. TECHNIQUE: DEVELOPMENT

TAB SYSTEMS

A key selection criteria for our project is the structural integrity of the design. We aim to create a self-supporting structure as we believe this will also present opportunities at the later stages of realising the

FGUKIP��9G�CKO�VQ�ETGCVG�C�U[UVGO�YJKEJ�CNNQYU�HQT�GCU[�CUUGODNCIG��CNNQYKPI�HQT�GHƂEKGPV�EQPUVTWEVKQP�CPF�future cleaning and maintenance. Also, this will allow us to truly celebrate the material properties of our

selected timber veneer which will inform the structure and form of our design too.

*GTG�CTG�C�HGY�GZRGTKOGPVCN�VCD�U[UVGOU�YJKEJ�YKNN�DG�NCVGT�HCDTKECVGF�CPF�VGUVGF�HQT�GHƂEKGPE[��

Side tabs

These tabs are made with an offset

from the edges of the panels. This

resulted in neater results as the

connections can be hidden under the

top surface.

Interlocks

Here, we tried a different joining system

where instead of tabs, slits are created to

interlock with one another, This was inspired

by the Dragon Skin Pavilion method of

connection.

42 B4 TECHNIQUE: DEVELOPMENT

A

B

C

D

B4TECHNIQUE: DEVELOPMENT 43

SPECIES AMaking surface into mesh and manipulatingpanels through Kangaroo physics.

SPECIES BHexagonal frid turned into mesh and using baked vertices as anchor points.

SPECIES C4GFGƂPKPI�CPF�relocating anchor points.

SPECIES DReshaping grid mesh.


E

F

G

ATTRACTOR POINTS

6JGTG�KU�ITGCV�RQVGPVKCN�KP�WUKPI�CVVTCEVQT�RQKPVU�VQ�KPHQTO�VJG�ƂPCN�HQTO�QH�QWT�FGUKIP��*GTG��CVVTCEVQT�RQKPVU�CTG�WUGF�VQ�KPHQTO�VJG�TQVCVKQP�CPING�QH�GCEJ�RCPGN�VQ�KPVTQFWEG�C�F[PCOKE��ƃQYKPI�CGUVJGVKE��6JG[�EQWNF�CNUQ�DG�WUGF�VQ�FGƂPG�VJG�UECNG�QH�GCEJ�panel, resulting in panels that ascend / descend in size according to the distance of the panels centroid to the attractor point.

7NVKOCVGN[�VJKU�FGƂPKVKQP�IKXGU�WU�EQOOCPF�QXGT�JQY�QWT�RCPGNU�VYKUV�CPF�VWTP�KP�UGCTEJKPI�HQT�CP�QRVKOKUGF�TGUWNV�


SPECIES EReadjusting anchor points prior to resetting. (Disabling real-life simulation to search for further form potential)

SPECIES FDelaunay triangulation to create triangular panels.

SPECIES GManipulating cells of hexagonal grid through scaling and rotating. Attractor points also introduced to further enhance logic of form.

ATTRACTOR POINTS

6JGTG�KU�ITGCV�RQVGPVKCN�KP�WUKPI�CVVTCEVQT�RQKPVU�VQ�KPHQTO�VJG�ƂPCN�HQTO�QH�QWT�FGUKIP��*GTG��CVVTCEVQT�RQKPVU�CTG�WUGF�VQ�KPHQTO�VJG�TQVCVKQP�CPING�QH�GCEJ�RCPGN�VQ�KPVTQFWEG�C�F[PCOKE��ƃQYKPI�CGUVJGVKE��6JG[�EQWNF�CNUQ�DG�WUGF�VQ�FGƂPG�VJG�UECNG�QH�GCEJ�panel, resulting in panels that ascend / descend in size according to the distance of the panels centroid to the attractor point.

7NVKOCVGN[�VJKU�FGƂPKVKQP�IKXGU�WU�EQOOCPF�QXGT�JQY�QWT�RCPGNU�VYKUV�CPF�VWTP�KP�UGCTEJKPI�HQT�CP�QRVKOKUGF�TGUWNV�


H

I

J


SPECIES HBox morph to introduce a sense of volume to each module.

SPECIES ISurface manipulation using rotation and scale FGƂPKVKQPU�

SPECIES JApplying box morph to twisted surface.


+

DESIGN PROPOSAL

We are interested in creating a form that twists and turns as it represents the multitude of elements creating C�F[PCOKE�YQTM�UEGPG��5VWFKQ�#KT��CPF�VJG�ƂGNF�QH�CTEJKVGEVWTG�KP�IGPGTCN��KU�JKIJN[�CDQWV�EQNNCDQTCVKXG�GHHQTVU�CPF�YG�DGNKGXG�VJCV�EJCTCEVGTKUVKEU�QH�ƃQY��KPVGITCVKQP�CPF�EQPUKFGTGF�EQORNGZKV[�CTG�TGƃGEVKXG�QH�VJKU��

In combining this concept of a smooth, single surface with a fragmented, geometric panelling system, we propose a design that bridges these contrasting elements and in turn produces a coherent aesthetic. Not forgetting our aforementioned criteria, we will continue to develop this concept in search of a design solution that meets best the brief for our timber veneer ceiling installation.


+

52 B5 TECHNIQUE: PROTOTYPES

B5TECHNIQUE: PROTOTYPES 53

B5. TECHNIQUE: PROTOTYPES


Materiality


6JG� ƃGZKDKNKV[� QH� VJG� VKODGT� XGPGGT�material enabled us to create a ƃGZKDNG� UVTWEVWTG� YJKEJ� YG� EQWNF�potentially use ceiling ties to hold up. This presents the potential of curving and manipulating the material even after fabrication. However, this also presents the issue of creating a structure that will PQV� FGƃGEV� KH� YG� MGRV� VQ� QWT� UGNH�supporting concept and not use additional structural reinforcements.

Experimenting with lighting and shadow effects. Besides NKIJV� DGKPI� ƂNVGTGF� VJTQWIJ�the perforation, we noted that by overlaying two sheets of perforated timber veneer, an interesting lighting quality can be achieved as shown on the right.

Testing effects


Exploring with a different connection system. This system presents more potential than the tab system as the interlocking of segments add to the UVTWEVWTCN� KPVGITKV[�� 6JGTG� KU� ƃGZKDKNKV[�in terms of the panel rotation, which could add to the volume and dynamism of the design too.

Connection


1.6KODGT�XGPGGT�OCVGTKCN�KU�ƃGZKDNG�and curvature and folding allows for volume to be formed.

2.Standard perforation light and shadow tests. Projected effects were as predicted.

3.Using the double skin method, different effects were achieved. Overlaying panels creat shimmering effect.

4. Further development of tabbing methods. Side tabs that extent out of edges work better and create neater aesthetics than tabs inserted into slits on panel’s surface.

5.Interlock method of connecting panels create a more variable structure. More suitable for our design direction.

60 B6 TECHNIQUE: PROPOSAL

REINSTATING CRITERIA

FormFluidity and volume present

Fabrication5GNH�CUUGODNCIG��GHƂEKGPV��CGUVJVKECNN[�EQPUKFGTGF

Light8QKFU��RGTHQTCVKQP�VJCV�CNNQY�HQT�NKIJV�ƂNVTCVKQP

B6 presents a series of iterations and further development for a design proposal that meets the above criteria. The concept diagrams help illustrate some key ideas that we will like to bring forth with our design. The design will feature a series of spiralling panels that create an organic-like shape and will also have voids where the panels are on different angles. This will allow for light to penetrate through as well as create a diffusing aesthetic.

B6TECHNIQUE: PROPOSAL 61

B6. TECHNIQUE: PROPOSAL


Selected form


Further manipulating attractor points in determining the scale factor of panels as well as the roatation angle has enabled us to produce various iterations that meet our stated criteria.

Tentatively, our form logic will lie on the distribution of the meeting room space. Spanning 6000 by 4000 mm, our installation will run through the centre of the room, directly above the conference table. The installation will slighlty converge towards the end of the room, suggesting for a OQTG� ƃWKF� CPF� F[PCOKE� CGUVJGVKE�

PLAN VIEW


SOUTH VIEW

NORTH VIEW


WEST VIEW (FRONT)


B7. LEARNING OUTCOMES

In Criteria Design, we were encouraged to experiment with Grasshopper FGƂPKVKQPU�CPF�VQ�WPEQXGT�VJG�RQVGPVKCNU�QH�RCTCOGVTKE�FGUKIP�KP�IGPGTCVKPI�forms. From the interim feedback and my own experience whilst developing matrices, I realised that it is essential to have a selection criteria to inform VJG�HQTO�ƂPFKPI�CPF�QRVKOKUCVKQP�RTQEGUU��*CXKPI�C�TGƂPGF�UGNGEVKQP�ETKVGTKC�GPCDNGU�WU�VQ�ƂNVGT�VJTQWIJ�KVGTCVKQPU�OQTG�GHHGEVKXGN[�CPF�JGNRU�ensure that we stick to designing with a concept.

Initially, it was hard to decide on a set of criteria as algorithmic design outcomes seem to be random and unexpected. However, after more practice and having a better understanding of what we can do with parametric scripting, I now have a lot more control of the design outcome, thus allowing me to set a solid list of design criteria.

In saying that, we did not manage to prepare a proposal that highlights all of our intended criteria, especially with the light treatment aspect. This YKNN�FGƂPKVGN[�DG�CP�CURGEV�VQ�NQQM�KPVQ�OQTG�FGVCKN�HQT�2CTV�%��#U�YG�UGV�out to create an integral structure, we became aware of how aesthetics, ornamentation and structure are all tied together and being able to digitally control these aspects also presented new ideas on how to integrate them.

I was particularly interested in working out a connection system for Part B as I believe this will tie the project together structurally, aesthetically and also inform the fabrication and construction process for Part C. We will move forth with the interlocking connections as we see that as having most potential in addressing the above criteria.

73B7. LEARNING OUTCOMES

In Criteria Design, we were encouraged to experiment with Grasshopper FGƂPKVKQPU�CPF�VQ�WPEQXGT�VJG�RQVGPVKCNU�QH�RCTCOGVTKE�FGUKIP�KP�IGPGTCVKPI�forms. From the interim feedback and my own experience whilst developing matrices, I realised that it is essential to have a selection criteria to inform VJG�HQTO�ƂPFKPI�CPF�QRVKOKUCVKQP�RTQEGUU��*CXKPI�C�TGƂPGF�UGNGEVKQP�ETKVGTKC�GPCDNGU�WU�VQ�ƂNVGT�VJTQWIJ�KVGTCVKQPU�OQTG�GHHGEVKXGN[�CPF�JGNRU�ensure that we stick to designing with a concept.

Initially, it was hard to decide on a set of criteria as algorithmic design outcomes seem to be random and unexpected. However, after more practice and having a better understanding of what we can do with parametric scripting, I now have a lot more control of the design outcome, thus allowing me to set a solid list of design criteria.

In saying that, we did not manage to prepare a proposal that highlights all of our intended criteria, especially with the light treatment aspect. This YKNN�FGƂPKVGN[�DG�CP�CURGEV�VQ�NQQM�KPVQ�OQTG�FGVCKN�HQT�2CTV�%��#U�YG�UGV�out to create an integral structure, we became aware of how aesthetics, ornamentation and structure are all tied together and being able to digitally control these aspects also presented new ideas on how to integrate them.

I was particularly interested in working out a connection system for Part B as I believe this will tie the project together structurally, aesthetically and also inform the fabrication and construction process for Part C. We will move forth with the interlocking connections as we see that as having most potential in addressing our selected criteria.

B8. APPENDIX - ALGORITHMIC SKETCHES

REFERENCES

Archdaily, Dragon Skin Pavilion / Emmi Keskisarja + Pekka Tynkkynen + Kristof Crolla (LEAD) and Sebastien Delagrange (LEAD), <http://

www.archdaily.com/215249/dragon-skin-pavilion-emmi-keskisarja-pekka-tynkkynen-lead>, [accessed 5 April 2016].

Archdaily, Voussoir Cloud / IwamotoScott Architecture + Buro Happold, <http://www.archdaily.com.br/br/01-54024/voussoir-cloud-iwamo

toscott-architecture-mais-buro-happold>, [accessed 10 April 2016].

Dragon Skin, Dragon Skin, <http://dragonskinproject.com/>, [accessed 5 April 2016].

Archdaily, Resonant Chamber / rvtr, <http://www.archdaily.com/227233/resonant-chamber-rvtr>, [accessed 7 April 2016].

eVolo, Archipelago Parametrically Designed Pavilion, <http://www.evolo.us/architecture/archipelago-parametrically-designed-pavilion/>,

[accessed 5 April 2016].

masterarchitectureAMS, Images and Graphic Ideas, <https://masterarchitectureams.wikispaces.com/Images+and+Graphic+Ideas>,

[accessed 5 April 2016].

PROJECTiONE.com, EXOtique <http://www.projectione.com/exotique/>, [accessed 10 April 2016].

SJET, Tesselion, <http://www.sjet.us/PHILA_TESSELION.html>, [accessed 5 April 2016].

Part B_ Criteria Design

Documents

Transcript of Part B_ Criteria Design