Studio Air Final Journal 2015 Semester 2

STUDIO AIRJ O U R N A L2 0 1 5 , S E M E S T E R 2T I M O T H Y T A N 6 1 7 1 1 4

04 INTRODUCTION06 CONCEPTUALISATION

07 DESIGN FUTURING12 DESIGN COMPUTATION

18 COMPOSITION / GENERATION24 CONCLUSION

26 LEARNING OUTCOMES28 REFERENCES

28 CRITERIA DESIGN29 RESEARCH FIELDS

30 CASE STUDY 1.036 CASE STUDY 2.0

38 REVERSE ENGINEERING40 TECHNIQUE DEVELOPMENT

DETAILED DESIGN

03 CONTENT

04 INTRODUCTION

OPENING

05 INTRODUCTION

Hi. My name is Timothy Tan and I am currently in my third year of the Bachelor of Envrionments Un-dergrad course at the University of Melbourne.

It is unfortunate to be coming into this module for the second time, but I believe this is a sec-ond opportunity for me to better understand the whole of com-putational design and grasp the efficiency of the use of grass-hopper in design. With an experi-ence in this subject, I hope I am

better prepared to tackle the stu-dios brief with a better understand-ing of computational techniques. Coming into University as a blank canvas, design to me was all about the tradtion of composition. There-fore a concept I struggled with last semester was the supposed irratio-nal design process of parametric designing.

Back here for the second time, I am more than determined to conquer this subject, and delve deeper into the world of computation.

06 CONCEPTUALISATION

0 8 S E N D A I M E D I A T H E Q U E1 0 T H E C S E T B U I L D I N G 1 4 F A B H O U S E1 6 K R E O D P A V I L I O N2 0 S A G R A D A F A M A L I A2 2 D O N G D A E M U N P L A Z A

DISCOURSE

07 DESIGN FUTURING

As we continue to move through this criti-cal century, the importance of design in dictating and ensuring comfortable but sustainable lifestyle for the future increas-es. Looking at this responsibility of design, Fry has attempted to redefine the concept of designing in this era by suggesting to estable design as a redirective practive capable of steering the inhabitants of this planet away from the annihilation of our race from unsustainability. 1

the influence of design as aforementioned is capable of influencing the direction of our society.2 The crux of Frys article on de-sign futuring establishes the idea that, yes, solving our global problems of unsustain-ability is a far cry from the simple snapping of fingers, but, it is fundamental that the first action of confronting the two tasks of slow-ing the rate of defuturing and redirecting us towards a more sustainable modes of habi-tation has to be done.

Therefore by redefining the basics of design and architecture as a system on its whole, to incorporate the concerns of sustainabil-ity, this will allow a radical shift in the way designers look to build our future, opening up more opportunities for possible solutions to our global problems.

One aspect of this redirective practice of design with reference to Dunne & Raby in speculative everything, would be to utilise the ideas of probable futures as a means of understanding the present and to discuss what the future people want. With design found in part and parcel of the built and natural environment of our planet

08 SENDAI MEDIATHEQUE

SENDAI MEDIATHEQUESENDAI, JAPAN

TOYO ITO

09 SENDAI MEDIATHEQUEICON OF REVOLUTION

Completed over the turn of the new mille-nium, the Sendai Mediatheque by Toyo Ito challenged new notions of spatial organisa-tion and structure. Seven floors of different functions make up the transparent centre appear to float with the aid of thirteen vertical lattice columns that support this open plan.

INVULNERABILITY

A seemingly delicate glassbox of space and activities across seven visible open floors, the Sendai Mediatheque does not suggest any capabilites of resistance to an epic nat-ural disaster. The structural system of the building consists of simple slabs and shafts, where a single layer truss structure of thick steel components make the design viable for a transparent but strong building. This incredible structural system realised by Itos engineers gave the building seismetic and vertical resistance, allowing the building to withstand the earthquake that occuerred in 20113.

THE ELCTRONIC AGEMoving away from the usualy typologies of a museum and library, the Mediatheque is

Itos diagrammatic expression of different forms of communication used by humansin this age of information. The flexible tube like structures are smartly configured to function differently across the building from lightwells to services to circulation to elevators. These tubes are the focal activity points throughout the plan of the building, a poetic translation of information carriers that generate interac-tion between the users and space4.

LEGACY

From the day it opened, the Mediatheque establishsed itself as an icon of the Sen-dai City, welcoming up to 3,000 visitors a day. The legacy of the building can be summed up perfectly by Mr Sasaki, stat-ing, no building has pushed architectural or structural thought futher than the Sendai Mediatheque.5 Itos modernist take on the architecture in an electron age gave rise to a building that was ahead of its time, a struc-ture of the future from the year of 2001. This precedent was a perfect example of how for-ward thinking can revolutionize the industry, a practice of design futuring that might no necessarilty have been about sustainability, but looked towards opening new possible frontiers of architecture and men.

THE CSET BUILDING 10

CENTRE FOR SUSTAINABLE ENERGY TECHNOLOGYNINGBO, CHINA

MARIO CUCINELLA ARCHITECTS

11 THE CSET BUILDINGINDEPENDENCE

The first zero carbon building in China, the CSET building was the perfect building to look to for further knowledge on sustainable design. Producing 100% of its own energy for its energy use, technology from solar panels to wind turbines to geothermal heat pumps are used to make this possible6.

STRATEGY

A 5 prong design strategy approach of a high performance envelope, exposed thermal mass, daylight & solar control, natural ventilation to tower and piped ventilation to laboratory and workships was used to lower the buildings reliance on heating, cooling and ventilation7. The building has also developed ecological relationship with its site, creating a biodiversity of life and community for the people utilising the building. This respect paid to the site is further amplified by the use of locally sourced low embodied energy to ensure the building minimises its environmental impact from its very stage of construction. Therefore this precedent once again becomes a learning lesson as according to the design brief, an understanding of environmentally friendly materials and dynamic, interconnected ecologies have to be shown in our design.

TECHNICAL WORKFLOWS

The facade of the building, insipired from traditional chinese lanterns and wooden fans, was also designed to be dynamic, adapting to the harsh winter and summer conditions to reduce heating and cooling needs. The main feature of this building is the roof, a large opening that allows maximum sunlight into the building while creating a flue effect for natural ventilation7. it can be seen how an interesting form of a building can be inspired by something as simple as a chinese lantern, once again inspiring me to observe the geometries around me for ideas on my design.

LEGACY

Being able to produce its own enerygy is the essence of sustainability. Furthermore, a self-sustaining building is part of the inevitable course of architecture with fossil fuels a finite resource. With the CSET building being only phase one of a sustainable instiution and home to research on sustainability issues, this building represents the future of a green China, a hub where solutions to sustainability issues may just be found here.

12 DESIGN COMPUTATION

When architects 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.

Brady Peters

13 DESIGN COMPUTATION

REDEFININGDesign according to science philosopher Jacob Bronowski, is the epitome of intelligent behaviour: it is the single most important ability that distinguishes humans from other animals8. Throughout our human history of problem solving, design has always been involved in the rational behaviour of problem analysis in resolving societys issues. This idea of rationalism and functionality in design can be seen in the understanding of architecture from Vitruvius to Frank Lloyd Wrights famous statement, form follows function.

As mentioned by Peter Brady, we are in the midst of a radical change to our approach of design in architecture. In this shift towards digital and computation design and thinking, new possibilities have been opened. For example, through parametric design, a range of variable instances are seen in the creation and modulation of the differentiation of elements of designs9 . Such innovative technologies have been seminal in leading a new trend of tectonic material creativity and exploration. With

these new technologies of design generation from input of information, algorithms and variables, are we moving from form follows functions towardsformation precedes form?.

In his book, Algorithmic Architecture, Kostas Terzidis argued that, for the first time perhaps, architectural design might be aligned with neither formalism nor rationalism but with intelligent form and traceable creativity. Hence, are we forgetting the essence of design in the understanding of Kalay, that design is a purposeful activity, aimed at achieving some well-defined goals. Therefore, I question, with design computation, are we able to solve the problems of todays society? In relation to our design brief, are we able to design a complex non-standard geometric architectural form that is functional in being sustainable?

What are the benefits of computational design techniques such that it has become a new direction of designing? Let us look into some design precedents.

14 FABHOUSE

THE FABHOUSECOPENHAGEN, DENMARK

GENETIC DESIGN

15 FABHOUSE

PIONEERING

The fabhouse by the architecture firm Genetic Design is the first of its kind in the country. This project was also the studios attempt on challenging norms and traditions to better understand new design techniques.

DESIGN PROCESS

Parametrically derived, the form of the fabhouse was intentionally shaped to challenge the possibilities of 2D production and construction logistics. This complexity of form led to the construction of the lab to be done without any traditional construction drawings, plans and sections, as the form could only be understood in 3D. The absence of traditional construction drawings shows an efficient manner structures can be built through computational designing10.

LEGACY

In terms of the windows, a 3D CAD solar analysis was created to aid in the strategic placement of the windows to ensure maximum sunlight penetration from the limited area possible11. This project was able to show that even with complex geometries and form, with digital technology, the fabrication process can be easy and affordable.

16 KREOD PAVILION

KREOD PAVILIONLONDON, UK

CHUN QING LI

17 KREOD PAVILIONSOPHISCATION

The Kreod Pavilion was a new way at looking into multifunctional spaces with its structural design aimed to show an innovative and sustainable way of thinking in the digital age.

DISCOVERY

Inspired by forms of nature, the trio of seed-lookalike structures are easily moved and adapted into different and infinite compositions to create a unique setting and experience for the ever different user, creating a multifunctional space11. With the aid of advanced parametric modelling technology, structural engineers were able to create a simple yet efficient joint connection to achieve a hexagonal panel connection to realise Chuns vision of a complex geometric structure12. This breakthrough in the structural engineering of the pods only goes to show the endless possibilities that parametric modelling can open. In addition, this simple join creation helped the designers to avoid complicated CNC milling, which not only helped to lower production costs, but gave way to efficient fabrication14.

LEGACY

Presented with the prestigious Structural Award for Small Projects under 2m, the Kreod Pavilion has become synonymous with how an innovation can push the limits of computational design to open new possibilities for our exploration as societys issues continue to grow more complex.

18 COMPOSITION / GENERATION

Architecture is recasting itself, becoming in part an experimental investigation of topological geometries, partly a computational orchestration of robotic material production and partly a generative, kinematic sculpting of space.

Peter Zellner

19 COMPOSITION / GENERATION

PARAMETERSAs oppose to the traditional approach of de-sign through composition, generation is the essence of computational architecture, the concept of creating design processes that generate endless variations of forms. Self evident in the word generation, generative design is the creation of a variation of forms through the use of scripting language to in-put information and variables. An example of generative design is parametric design-ing.

The introduction and evolution of generative design has not only changed designers approach to design, but the industry itself as a whole. The essence of the change from composition to generation is the replacement of singularity with multiplicity in the design process, simplified in this example: An architect previously drew a house, designed its ev ery detail, approved it and signed it as a unique proposal. Currently, an architect can define parameters and the computer can use these parameters for designing a hundred thousand different houses. Defining a parameter and the input of variables is fundamental to a generative design, however as architects

continue to explore with computation - structural, material or environmental performances can become fundamental parameters to generate more efficient and ovbjective designs With the complex unpredictability of the relationships of the variables of generative design, this adds a new skill level required in the design process. As designers define a parameter for the design, thorough thought has to be put into the relationships between the variables as designers must be able to anticipate which kinds of variations he wants to explore in order to determine the kinds of transformations the parametric model should do13. Therefore it requires the designer to acknowledge that he is still the head of the design and has to understand the logic that binds the design together13. What may seem like a daunting task, however if done with accuracy, this opens another side to designing with generation.

As we move on, let us look into how generative design or parametric designing has been used in the design process. Through this chapter, I hope to gain insight into efficient ways of utilising parametric designing as a way to respond to the studios brief.

20 SAGRADA FAMILIA

SAGRADA FAMILIABARCELONA, SPAIN

ANTONIO GAUDI

21 SAGRADA FAMILIAFIRST OF ITS KIND

The Sagrada Familia, synonymous with Antonio Gaudi and his later life is a good project to look into parametric modelling. Gaudi developed a unique language of geometry and form based on nature and its law to design the building. Knowing he would not live to see his work be completed, Gaudi visioned this formula to be guidlines for his apprentices to carry out his work14.

APPLICATION

Spending two years, Gaudi created a strategic methodlogy from the manipulation of simple geometrical rules to make complex forms for the generation of Sagrada Familias columns. With this geometrical rule established, Gaudi was able to generate columns of different sizes and shapes based on its location and hierarchical order14. This technique by Gaudi is a unique perspective on generative design where computation is not required for forms to be produced.

RESPONSE

However, the Spanish Civil War saw the destruction of Gaudis plans and study models leading to a loss in the geometrical methodlogy for the creation of the columns. Despite the setback, the digital age of parametric modelling allowed the current designers of the Sagrada Familia to study these columns. With the original columns set as parameters, designers were able to explore these columns geometry to establish a Gaudian language of columns and produce endless variations of such columns in synonymous style14.

LEGACY

This precedent did not explicitly state how generative design aids design, but it is important to note how it is efficient in design exploration and problem solving.

DONGDAEMUN PLAZA22

DONGDAEMUN PLAZASEOUL, KOREA

ZAHA HADID

23 DONGDAEMUN PLAZA IMPACT

Marked with Hadids signature bold free flowing facade, the Dongdaemum Design Plaza (DDP) is Koreas first public building constructed with 3D building information modelling (BIM).

GENERATION

The main direction that Hadid took with the design was to consider every building section as a set of inter-related spatial relationship which will define the social and spatial interaction of the plaza and site12. With the aid of parametric modelling and calculation, aspects of the sites culture and topology was used to drive the form of the DDP. This indicates that although the use of algorithms can generate flamboyant forms, it is important to first have rational variable inputs.

EXECUTION

The parametric process not only maintained a consistent design approach, but aided in the construction of the building. The digital model could be refine at any moment throughout the construction to allow unexpected on-site changes, evolving client briefs. Despite the complex geometry, parametric modelling enabled the fabrication of a mass mixed concrete and steel structure for the building15.

LEGACY

Named the Worlds design capital in 2010, this building represents Koreas ever forward advancement in innovation.

24 CONCLUSION

Architecture is currently experiencing a shift from the drawing to the algorithm as the method of capturing and communicating designs.

Peter Brady

25 CONCLUSION

CONCLUSIONWith the endless possibilities of technology, we are still at the premature stage of computational design as we continue through this exciting era of diving into greater horizons of design futuring. A large emphasis of our future has been placed on the issue of sustainability as we direct our attention tow

ards tackling the issue of unsustainability and exploring this idea with the aid of technology.

Coming to the end of Part A, we have been exposed to how computation and its design techniques such as generation have brought architecture to previously unseen new heights. Dynamic and bold architectural designs of freeform, complex geometries will soon become a norm as computational techniques grow stronger in their foothold on the design approaches of

present day architects, and designing itself as a whole. This studios brief calls for a dynamic design that engages the natural system of the site with its culture and present day technology, while ensuring sustainability. My design approach is to stay grounded on the rationalism of design. Not to get lost in the infinite possibilites of variations with the generative design approach, but be logical and firm on my design decisions.

Arthur Erickson says it best in his quote, rationalism is the enemy of art, though necessary as a basis for architecture, thus I hope to avoid the temptations of creating complex geometrics of no reason as at the end of day, the essence of architecture is to be societys solutions to humanitys issues.

LEARNING OUTCOMES 26

Architecture is a learned game, correct and magnificent, of forms assembled in light.

Le Corbusier

27 LEARNING OUTCOMES

TAKE AWAYSRounding up week 3 of this studio, looking into new precedents gave me new perspectives on computational design. I have come to gain a better understanding and knowlegde of computional design. Still skeptical of how parametric designing and its counterparts can be objective in creating functional architecture at the start of this semester and even from last semester, I have come to learned through the explored precedents that this technology can actually aid us in

our understanding of design and creating design that is responsive and rational. However, as we continue to move through this semester, I hope to grow my understanding of the use of computation in relevant design situations, though there is no arguments that it is the manifestation of creativity in the form of algorithms.

3 0 M O R N I N G L I N E3 2 C A S E S T U D Y 1 . 03 6 S H E L L S T A R P A V I L I O N4 0 C A S E S T U D Y 2. 04 4 T E C H N I Q U E P R O T O T Y P E

28 CRITERIA DESIGN

29 RESEARCH FIELDS

BIOMIMICRYBiomimcry can be defined as the implementation of design principles dervied from biology, where these principles can be then applied to an approach that is more orientated towards systems1. Throughout our human history of designing for problem solving, nature has been involved as a source of inspiration and education.

Riding on the increasing influence and capabilities of computational design, the boundaries of biomimicry can only be pushed to be further explored in higher detail. One conceptual mistake of undestanding biomimicry is that it involves the simple task of copying biological structures and patterns into a design solution1. Yes, to a certain extent, that is biomimicry, but to truly move beyond this superficial level of designing, one has to analyse more deeply the success of biological structure and materials in order to milk the worth of nature in helping our society to be of function and reason.

Due to the common mimicking of natural forms, biomimicry has always been a source of inspiration for only the forms of architectural design. However,

it is timely we begin to concentrate on biomimicrys potential to influence the function of our buildings1. Nature in its purest form, has been in existence since the beginning of the universe, and past these billion of years, has come to be proof of its self sustaining capabilities. Therefore, biomimicry presents an opportunity for a radical change in our approach to sustainable and functional designs based on lessons that can be drawn from nature.

Aforementioned, computational design can be a huge benefit in how we approach biomimetic design in this era. With the aid of parametric design. it is important that concepts of nature are translated into algorithms where information can be logically explored2. Hence, there is no redundancy in exploring concepts for the sake of it, but with the help of a defined parameter, biomimetic exploration and fabrication cab be executed at less complication.

With the studio brief calling for the idea of exploring living systems, it is fundamental to look at the technique of biomimicry as after all, nature has been described as a model, measure and mentor

30 MORNING LINE

THE MORNING LINESEVILLE, SPAIN

MATTHEW RITCHIE

The Morning Line, an anti-pavilion designed with the aid of computation, was inspired by the biomimetic idea of cosmology to study the connections of art, architecture and music.

Unlike tradition architecture, the main form of the Morning Line is an open cellular struture of geometric truncated tetrahydron fractals. This cellular structure is weaved to form an intertwining network of figures and narratives with no single beginnnings and endings, fractal cycles that can be scaled up and down based on its numerical parameters3.

This notion of unpredictability is further seen in its interactive centre that traces out an outlay of ideas reagarding the history and structure of the universe. The simplicity and complexity of this structure lies in the same reason of its approach to biomimicry, where nature is the main generative force of its form and reason4. Therefore, this strong evidence of computational strength in the project is a perfect example and studying how biomimicry has been used in the context of parametric design.

SPECIES A

SPECIES E

SPECIES D

SPECIES C

SPECIES B

1 2

32 CASE STUDY 1.0 MATRIX3

4 5 6

33 CASE STUDY 1.0 MATRIX3

34 CASE STUDY 1.0 MATRIX

flexibility viability

Changing the parameters and the number of sides of the tetrahedron gave me and interesting tesselation of hexagonal panels. I chose this iteration due its f lexibility as with panelling, it allows a greater variety of forms to be explored. In addition, it keeps in check with reality where it can be possibily fabricated.

This iteration is a strong example of how repetitive fractals can go on to create complex patterns. Therefore, this iteration can be the start of a learning point where a single hexagonal cell can go to form a pattern for my design. This iteration was also chosen for its f lexibiility as it is an example of how other shapes can be similarly multiplied to create the same effect.


fabrication pattern

This iteration was particularly interesting to be as it is not only just another example of tessalation, but its dynamic triangulated form actually opens up more poosibilites for design from a dynamic facade skin to sustainability. Once again, being able to be fabricated is also important as it allows me to further explore this iteration.

I found this iteration especially interesting as it was attained with the simple function of the polar array. The organic infinite pattern makes it a classic example of biomimicry.

36 SHELL STAR PAVILION

Although this project has no affiliations with the field of biomimicry, I was particularly interested by its concept and how its form was generated. This project looked more into techniques of structure and tesselation where basically, the pavilion was birthed from the idea of a vortex that draws people in towards the centre, and generating a form to dictate circulation.

This idea of drawing people into a central space was the main decision of choosing this project as a precedent as I would like to create a space of activation in the Merri Creek site. One particular aspect of this deisgn was how it was quickly designed and iterate in a span of 6 weeks, showing the capabilities of design computation. By using Grasshopper and Kangaroo, the use of anchor points, a simple yet dictative function, was able to allow the form to self-organize the form into catenary-thurst surfaces with structure vectors.

Attempting to reverse engineer this project was made easier with the aid of computation diagrams by Matsys, allowing a greater understanding of the project.

38 REVERSE ENGINEERINGR E V E R S E E N G I N E E R I N G

s h e l l s t a r p a v i l i o n

1. Guided by the diagrams provided by Matsys, I generated the basic curve for the form of the pavilion.

2. A hexagonal grid was then easily set up as an outline for the cells of the pavilion

3. With the region intersection function, I was able to input the hexagonal cells into the curve to generate a mesh. With the anchor points set, the mesh is now rady to be generated into a structure.

4. Using the Springs function, I then managed to give stiffness to the mesh, where with a cantenary force input, the Kangaroo Physics function was then used to simulate the generation of the pavilion into curves.

5. With the form of the pavilions in curves, I was able to use Weaverbirds pictureframe function to turn the curves into a surface while allowing holes in the centre of every hexagonal cell, imitating the actual ShellStar Pavilion.

39 REVERSE ENGINEERING


TECHNIQUE PROPOSALB.6


The main criteria seleection for my iterations was a look into basic geometric forms of pavilions. Although somehwat similar to the shellstar pavilion, this iteration shows potential in the use of circulation around it.

This iteration was chosen for its potential in being a functional form. The wall of triangular panels to me can work as solar panels and by this iteration can be easily adjusted based on the tension of the mesh to change the angle of this form in accordance to the sund direction.

The reason I chose this iteration is once again due to the fact that it displays a simple form of what a pavilion could be.

44 TECHNIQUE PROTOTYPE

TECHNIQUE PROTOTYPEB.5

45 TECHNIQUE PROTOTYPE

This prototype hinges on the concept of two main components, with nails acting as the method of joinery between the fundamental piece. Each hexagonal cell has f laps which are joined together by the nails, allowing the construction of medium scaled projects. One interesting observation made from this prototyping is the f lexibility of the prototype. Although rotation was disallowed by the nails, the prototype was f lexible in its lateral bending, thus giving notions of possibilites for crazy shapes to be explored in the future.


46 TECHNIQUE PROPOSAL

TECHNIQUE PROPOSALB.6


SITE LOCATION

COLLINGWOOD CHILDRENS FARM


The Collingwood childrens farm was the chosen site. One main problem that the site faces is a lack of water, especially during summer where the creek runs dry, hence maintaining the vegetation and animals becomes an issue. This presents an opportunity to explore the options of water sustainability and conservation in my project. Other opportunities were the presence of f lora and fauna where the farm is home to over 50 species of f lora locally and internationally.

The main concept of my project will look to exploring the possibilities of an installation that will aid the farm in sustaining water. Thus, my proposal would be for suspended water harvesting systems to be hung on the trees of the site. With a large open space, this will allow large amounts of rainwater to be harvested. With Melbourne as a hub of culture and hub, these installations are designed to be like pieces of artwork, contributing to the site in aspects of its environment, benefiting the f lora and fauna, and ultimately Merri Creek.

L E A R N I N G M E E T I N G P L A Y I N G+ +

DESIGN APPROACH

The design approach started off with a grid of hexgonal cells, where hexagonal cells are extruded on grasshopper with random values based on how close they are to the centre of the base plane. Each extrusion forms a cylinder which is the main component for the capturing of water from the trees. This installation will be hung across trees of the site as shown in the rendering.


5 4 P R O P O S A L 15 6 P R O P O S A L 26 0 Z E R O / F O L D S C R E E N6 2 P R O P O S A L 36 4 S I T E7 2 C O N S T R U C T I O N S Y S T E M7 4 T E C H T O N I C E L E M E N T S7 9 F I N A L M O D E L1 0 0 L E A R N I N G O B J E C T I V E S

52 DETAILED DESIGN

REACTION

53 FEEDBACK

Due to a flu, I was unable to be present my Part B, therefore not attaining any critique for my work. As we begin Part C, I was placed in a group of 4 where our main research field was sectioning. This was a new research field for me as I did biomimcry as my research in Part B. As a group, we realised that the entire group did not fare very well in the Part B presentation, therefore instead of working on an old idea, we decided to explore a complete new project for the coming 4 weeks. Following a meeting with Chen, we were challenged with going deeper with the research of sectioning, beyond ah simple loft joints and do something innovative.

PROPOSAL 1

54 C.1 DESIGN CONCEPT

PHONE CHARGING STAND


Being briefed by Chen, we were advised to build a project that could be fabricated at a 1:1 scale, therefore meaning furnitures and smaller scale projects. Our first proposal as a group was a shade/shelter that worked dually as a phone charging stand. We thought that it was a great idea as it was not only a furniture scale that could be built at a 1:1 scale but that it was an innovative idea where sectioning is applicable in the creation of a form.

Proposal Downfalls: This idea was scrapped as we realised it was not practical. Firstly, it had little relation with the environment of the site, and it would encourage anti social behaviour amongst the creek visitors. It was also impractical for someone to stand in the park waiting for hours to charge their phone.

DESIGN APPROACH


PROPOSAL 2 SOLAR CHAIR


Clay Model of the Form


Solar Panels are placed on here

Sitting

Faces north


DESIGN APPROACHThis second proposal grew from the first one, where the phone charging stand was declared impractical as people would have to stand for hours while charging their phone and who would want to do that in a park?

Therfore, this second idea proposes a chair with solar panels on its back, that will allow phone charging while the user sits and relaxes in the park. Once again, our group believed this was a feasible idea as it was possible to fabricate it at a 1:1 scale.

The concept in the chair lied in obtaining sunlight throughout the day, made possible by combining two chairs together in the opposite direction. This meant that both sides would be exposed to the sun from morning to evening, maximising the chairs capacity to obtain solar energy and be an effective contributor to the sites environment.

Proposal downfalls: This proposal came up late towards the end of the semester and we faced two main problems. As the group was thinking of two main joints, the first joint which was a simple connection joint was deemed by our tutor as too superficial, something we had to avoid with doing sectioning. Our second main joint which required heaps of grasshopper defining would require too much time for our project to be successfully built in time. In addition, the idea of a chair on the site was not a convincing enough project for this assessment.

60 ZERP/FOLD SCREEN

61 ZERO/FOLD SCREEN

This project revolved around the main concept of zero wastage to materials, a design problem with fabrication that occurs frequently. Therfore the approach of the design was to use parametric design to generate the form from the basic dimensions of the materials and laying out the cuts for fabrication, minimising wastage. This was done opposed to the conventional method of designing a form, then adjusting the material based on the dimenstions of the design.

This project is an example of innovative use of sectioning. Therefore, with reference to this project, we went ahead with proposal 3.


PROPOSAL 3 FLEXIBLE SPACE

Our final design proposal is with the use of zero waste material, design a a functional wall/screen to define space.

DESIGN CONCEPT


The screen will be multifunctional, and can be configurated to the liking of the user for how they want their space to be. This is an especially effective design considering the Merri Creek is a very happening place where tonnes of activities occur daily.

64 SITE

SITE LOCATION

65 SITE

COLLINGWOOD FARMERS MARKET

66 SITE

67 SITE

Our selected site was the Collingwoods Children Farm, and to be specific, it is the large piece of land as seen in the map on pg. 65. This space plays host to the monthly Farmers Market, part of our target clients.

Opportunities: With each month, the farmers market occurs where stalls have to be set up with metal poles and tents, which is a real inconvenience and hassle for a monthly affair. Therfore, our design proposal offers a solution of a foldable wall of shelf, where it functions as not only space for the shop, but as shelves for their produce to be placed. One particular aspect of our design that we wanted to focus on is the flexibility of space and how fragile spatial awareness can be, how the changing of walls would change the space in a dramtic but weirdly simple fashion. Therefore, what we aim in this design for the farmers market is to give people the power to define their space, to give farmers the freedom to create a space on how they want their customers to enter their shops and view their produce.

What other opportunities lie beyond the farmers market? The versatility of the site as also a grazing land gives opportunities for this wall to be multifunctional. Another proposal for its usage is to act as a barrier for animals and land, for farmers to define a space where animals are not allowed to enter. Therefore, that means the wall will be always serving the people of the Collingwoods children farm every day, instead of only once a month for the Farmers

SITE OPPORTUNITIES&CLIENTS


DESIGN TECHNIQUEWith the Multiple tween curves function, I was able to generate random curves within a defined box, with dimensions of the materials we were using. However, one main issue we faced in our design exploration is the lack of appeal in the curves generated. This mainly lied with our project being functional, therefore only a maximum of 13 curves can be generated in order to obtain correct dimensions for the screen wall. This was a design constraint as with lesser number of curves meant less exaggeration of curves generated. This can be seen in the tests that were done, where curves began to grow straight as it approached the middle of box, hence lacking the appeal in its curvature and design. This was not seen in the zero/fold screen project as they had many curves on each panel of material, therefore being able to obtain a pretty effect of gradual growth in the curves.


Therfore instead of using grasshopper, we elected to to use the same curve, and repeat it multiple times across the board, therefore creating a modular effect of panels of the same size and shape. This would be a more clean and organized design compareed to if we used the curves generated using the Multiple tween curves function.

Although this step of our design was not parametric, we decided it was the right step to take as we came to a conclusion that parametric design does not always mean a better or more refined design method. To not compromise ordedr and beauty of our project, we stuck with natural composition for the design of our panels.

TECHNIQUE RESTRAINTS


FLEXIBILITY OF FORMAfter maning to reverse engineer the Zero/Fold Pavilion, the grasshopper definition formed the basis of our design. Here, we managed to find some configurations of what the screen could be, and show how flexible it can be in not only being functional, but creating space.

73 C.1 DESIGN CONCEPTCONSTRUCTION SYSTEM1. Alternating

The complexity with the assembly of the project is that every panel has to be placed in alternation, while at the same time. Therefore, the project cannot be split into parts and built, but has to be built as a whole. It is important that the panels alternate as this would then permit the folding effect of the screen.

2. First layer

The first layer of alternating panels are placed into the columns.

3. Alternate layer

The rest of the construction follows this alternating pattern of a panel, then no panel then another panel to finish the construction of the design. Although it is a simple techqniue of alternating the panels to construct the design, it will be complex in its production as one mistake in the fabrication can lead to the entire model having to be dismantled.

PANEL WASHER COLUMN

74 C.2 TECHTONICS

TECTONIC ELEMENTS&PROTOTYPES

C.2

75 C.2 TECHTONICS

CONNECTION PROTOTYPE

77 C.2 TECHTONICS

CONNECTION PROTOTYPEThe main function of this prototype was to test the washers capabilities in allowing the rotation of the panels. As seen in the pictures on the left of the page, this prototype was a success, highlighting the washer as the core construction element of our design. Being built at a 1:10 scale, we believe that it will be capable of functioning at even a 1:5 scale or 1:1. The ability to rotate is pivotal in the design concept as a flexible folding screen which once again the photos highlights the different configurations of the protoype.


FINAL DETAILED MODELC.3

80 C.3 DETAILED MODEL


FABRICATION WOES1. To the left was the file we sent to the CNC Router for cutting. Due to our inexperience with using the CNC, we were unable to establish zero wastage in our fabrication. This was due to two main problems. Firstly, the drill had a 3mm thickness to it, therefore, there had to be an offset between each panel. In addition, due to the small size of our panels, this meant that we had to have a 20mm gap between each panel to allow holding material to prevent the panels from flying into the vaccumm after it is cut. HOWEVER. It is to be noted that this problem will not be present in a 1:1 scale as the size of the panel would be big enough to hold its own weight, therefore not having to waste 20mm gaps between each panel

2. Once again, due to the scale of our model, we had no choice but to laser cut our washers. Due to the laser cuts limitations of only 3mm thickness materials, that means each washer had to be broken up into 10 pieces. This meant that we had to deal with 1500 pieces of mini washers for our fabrication.


MORPH


THE FARMERS MARKET


VARIOUS FLEXIBLE USE OF SPACE


1OO LEARNING OBJECTIVES

LEARNING OBJECTIVES &OUTCOMES

C.4

101 LEARNING OBJECTIVES

LESSONS1. The first feedback that we received was to develop the shape of our model, to find a more exaggerated shape of ups and downs.

2. Material Wastage. Once again, it is addressed that our 1:5 model was not done with minimal wastage due to limitations in fabrications. However, at a 1:1 scale this could be possible. We failed to make a 1:1 as it was too expensive to even build a portion of it due to the expensive material only available to us at the fablab. Therefore, another aspect of the project to look at would then be how to make it affordable? What other materials are available?

3. Extension. Another suggestion we got to push our design further is to bring it up a notch by looking at the folding effect at different directions. This would mean being able to create a space that folds in a multiple directions, possiblly creating a shelter.

CONCLUSIONPARAMETERS.

Through this semester, I have defintely gained greater understanding of designing parametrically, on how algorithms can aid in the generation of ideas, fluent and seamless.

Although it has been a struggle adapting from what previous studios have been teaching on traditional architecture, it has definitely been rewarding to finish the semester with a design that I am satisfied. This subject has definitely inspired me to pursue more parametric designing and to dive even deeper into the world of computational design.

It has been an interesting semester from learning about computational design in Part A to getting practical with computational design in Part B, and finally executing computational design in Part C. What is the most important takeaway for me from this subject is the newfound perspectives on architecture, and most importantly space. How space can not only be defined by walls in a building, but beyond that into art and conceptual installations.

This will not be my last time seeing computational design.

104REFERENCES1. Tony Fry, Design Futuring: Sustainability, ethnics and new practice. (Oxford Berg, 2008), p. 1-16

2. Dune, Anthony & Raby, Fiona, Speculative Everything: Design Fiction and Social Dreaming. (MIT Press, 2013), p. 1-9, 33-45

3. Megan Sveiven, AD Classics: Sendai Mediatheque / Toyo Ito, Archdaily, 2011, < http://www.archdaily.com/118627/ad-classics-sendai-mediatheque-toyo-ito>, retrieved 7 August 2015

4. Leeji Choi, Toyo Ito: Design Boom Interview, Design Boom, 2001, < http://www.designboom.com/architecture/toyo-ito-designboom-interview/>, retrieved 7 August 2015

5. Ada Huxtable, Why one remains standing, Wall Street Journal, 2011, < http://www.wsj.com/articles/SB10001424052748703859304576305243667119026>, retrieved 7 August 2015

6. The University of Nottingham, Centre for Sustainable Energy Technologies (CSET). (China: The University of Nottingham, 2015) , retrireved 7 August 2015

7. Mario Cucinella Architects, The Centre for Sustainable Energy Technologies. (Italy: Mario Cucinella Architects, 2008) < https://asab.nottingham.ac.uk/estates/documents/developments/csetbuildinginformation.pdf>, retrieved 7 August 2015

8. Kalay, Yehuda E. (2004). Architectures New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25

9. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 110

10. Martin Bulow, Genetic design digitally-generates denmarks first fabrication lab. (Italy: Design Boom, 2014) Retrived 8 August 2015

11. Alison Furuto, KREOD / Chun Qing Li of Pavilion Architecture. (Chile: Archdaily 2012) < http://www.archdaily.com/275460/kroed-chun-qing-li-of-pavilion-architecture/> Retrieved 8 August 2015

12. Perrin Drumm, Last Weekend to See London Design Festivals Parametric Kreod Pavilion. (USA: The Architects Newspaper, 2012) < http://blog.archpaper.com/2012/10/last-weekend-to-see-london-design-festivals-kreod-pavilion/>, Retrieved 8 August 2015

13. Brady Peters. (2013), Computation Works: The Building of Algorithmic Thought, Architectural Design 83, 2, pp. 08-15

14. Carlos Hernandez. R. B, Thinking parametric design: Introducing parametric Gaudi, Design Studies , 6 (2006), < http://sophclinic.pbworks.com/f/Hernandez2006.pdf> p. 309-321

15. Ulf Meyer, Dongdaemum Design Plaza. (Denmark: Arcspace 2014) (assessed 15 March 2015)

Studio Air Final Journal 2015 Semester 2

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Transcript of Studio Air Final Journal 2015 Semester 2