potential of nature. Evolution has forced organisms to be highly efficient.

Form follows performance

Patterning is a technique used to achieve two things. First is performance , aligned with the idea of biomimicry, such as structure, thermal and acoustics. The design of Aqua Tower was inspired by the striated limestone outcroppings common in the Great Lakes area. But this sinuous shape is not just a mere formal gesture, but it is also a strategy to extend the views and maximize solar shading. And by looking at the plans we see a rational structure, true to the Mies legacy in the city. 2

We can see how the building mimics natural form of limestone to achieve building performance.

Design implications

Patterning as a technique to mimic nature allows maximized floor space and easy to construct to achieve the effect. If we look at the typical floor plan, only where the peripheral of the building is occurring change. Basically, all floors are identical. Not only does this means the use of space is maximized, the construction of the pattern is also made easier, as only the balconies are changed.

Fabrication can be made easier because of the repeating components of the whole structure as illustrated in P-wall later, where the wall is divided into repeating modules and assembled.

Biomimicry

Biomimicry is can be the driving force behind generative architectural design in the contemporary architecture. 1 This is because building design look for inspiration in nature to respond dynamically to changing environmental conditions, just like organisms do, since nature optimize by achieving highest efficiency with minimal means. In addition to mimicking complex appearance, organization of patterned skins and structures in nature, their behavior is also investigated for possible new ideas about performance of building skins and structures. The impulse is to harness the generative

1 Kolarevic, Branko and Kevin R. Klinger, eds (2008). Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge), pp. 10

2 See http://www.archdaily.com/42694/aqua-tower-studio-gang-architects/

Fig 1: Aqua Tower, Chicago, USA, Studio Gang Archi-tects, 2009

Fig 2: Typical floor plan of Aqua Tower

Opportunities

Patterning gives freedom to building design in the way that an inspiration is drawn from a particular form in nature but how the design achieves performance is flexible to executed. In Aqua Tower, although it mimics limestone in nature, the performance is not restricted to how the structure of limestone does the job. The architect is free to design how the pattern of limestone achieves performance. In this case, it is extending the views and sun shading.

Fabrication concernsHowever, it also presents some problems in the realm of fabrication and construction. As the building is big in scale, how the building is assembled can be an issue.

The sinuously curved concrete decks on each floor assume different configurations where balconies extend anywhere from 2 to 12 feet. Although the architects used computer modeling to create the rippling contours, the fact that each floor slab is unique in shape meant calculations had to be done separately for each floor. An edge-form steel plate was reused to guide the concrete pour: The steel form would bend for a pour and then spring back into a straight line, ready to be bent again for another curve. 3

Aligning different floor slabs to be precise to follow the curved

3 See http://greensource.construction.com/green_building_projects/2010/1001_Aqua-Tower.asp4 Moussavi, Farshid and Michael Kubo, eds (2006). The Function of Ornament (Barcelona: Actar), pp. 85 Kolarevic, Branko and Kevin R. Klinger, eds (2008). Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge), pp. 18

Fig 3: P-wall, Columbus, Ohio, Andrew Kudless, 2006

Fig 4: Algorithmic patterning

form can be difficult due to the number of slabs in this scale, but not impossible.

Ornament inspired by nature to create affect

The second function of patterning ornaments is to create sensate affect to the building. It is through ornament that material transmits affects. Ornament is therefore necessary and inseparable from the architecture. It is capable of generating an unlimited number of resonances. Ornament is necessary and

produces affects and resonance. 4

In the p-wall project, Andrew Kudless used elastic fabric to cast a series of plaster panels, arranged in a large field. This project is based on a cloud points generated from the grayscale values of pixels in a digital image. The points are used to constrain the elastic fabric in the formwork, as it expands under the weight of poured plaster. It tries to resonate with the human body as it sags, expands and stretches in its own relationship with gravity and structure. The resulting supple surface invites visitors to touch it, to sense its smooth undulations. 5

The sensate affect it creates also attracts audience and they relate themselves to the p-wall project. Patterning ornaments are not just superficial but carries a sensual meaning.

It mimics the natural human body in the way the body ages and lose elasticity and forms this pattern. The fabrication involves fabric mould penetrated by rods and then liquid plaster is poured into the mould and left to set. Then, the tiles are assembled to form a wall according to a predetermined order and pattern. Thus, the fabrication process is simple.

However, since it is assembled by hands, and it is not done by machines, such as a CNC machine, the accuracy of the location of the points may not be accurate . The process of letting the plaster set also incurs time. It can be a problem to mass produce the tiles to apply to a bigger scale for larger effect.

Patterning opens up opportunities for designers to create interesting, efficient structures that achieve both environmental and societal goals.

Conceptual limitations

Due to the fact that patterning relies on a system of repetitive elements, the form must evolve by a set of rules, be it geometrical or not, that limit the freedom of its form creation. Also, some forms that derive from patterning are just made of geometrical patterns such as triangular grids, that the form is too simple and not surprising, and therefore, not completely making use of the potential of parametric design, to create spectacular effects.

B2 Case Study 1.0Spanish Pavilion

Manipulating internal points

Manipulating internal points of different grid species

Image Sampler

Mapped on different surfaces manipulated by graph mapper

Lofting between offsets and grid

Mapped on different surfaces manipulated by graph mapper

Selection Criteria

1. Shadinga) allows creating custom size openings to achieve the level of shading needed.

b) is successful in creating shading at areas where they are needed as I could just change the image to map on the grid. The pattern of the shaded areas are evenly distributed across the surface.

2. Ventilationb) is capable of allowing ventilation through the openingsSufficient ventilation is distributed across the surface evenly.

Custom openings made by a) also allows controlling of the amount of ventilation through.

3. Strong structured) is a loft between the offset and the grid which it offsets from. The downward manner can be excellent in creating a structure, be it a pavilion, acting as supports.

The arching geometry of c) allows a strong structure to be erected.

Speculatea) could be used to create an interesting facade pattern that also suggests some shading.b) could be used as a suspended structure that spans over an area where it could create shading patterns.c) could be used as a pavilion where the middle part where it is projected upwards creates a space for people.d) could be used as a rain collection device, where the top openings can collect water and channelled down to the ground. Space at ground could also serve as a circulation space.

Successful iterationsa)

b)

c)

d)

point on 0,0,0,moved in XY directions, Line between two points.

Move lines to X and Y direction respectively

Tween curves and create 6 curves inbetween.

Curve / Cruve intersections to find points.

Cull pattern to find and separate rows of points in true, false manner

Cull pattern to find and separate rows of line in true false manner. The points are also culled in true false manner. Break lines in segments according to points.

Join a) and b) curves and loft between curve segments.

Same process repeated for the second row of grid, except that the first and last item on the list must be culled so that the loft can start to loft on the second row and ends on the second last row.

Scale down surface on center point of each surfaces and draw nurb curves on the 4 corner points of the scaled surfaces.

Move the nurb curves in Z direction.

Loft between the nurb curves and the original grid pattern.

a)

b)

Reverse Engineered

B3 Case Study 2.0Iwamoto Scott - MoMA/Ps1 Reef

Introduction

This project is produced by a finalist entry in the MoMA/PS1 Young Architects Program by iwamotoscott Architecture. This project aims at creating an atmosphere of light, shadow, shade and movement similar to coral reef underwater.

It aims at creating atmospheric conditions of shade, sunny, misty, dry and rainy by creating anemone clouds that float over the courtyard by suspended cable trusses. 6

I think it is successful in creating the design intent because as seen from below the suspended anemone clouds, it provided a shaded environment but at the same time does not block the sky or sky. Since it is hanging, the clouds could move by the wind force. This enhances the atmosphere of anemone clouds floating.

6 See http://www.iwamotoscott.com/MOMA-PS1-REEF

Comparison

My reverse engineer was successful in creating the following similarities. They are lofted surfaces from the grid to the closed curve at the center point. The grid is also the same that it is shifted on every second row so that the grid is different from a standard rigid grid.

They are different in the way that the curves in the project follow a wavy pattern that I think is created by deforming the grid with a field. My pattern may follow the curvature because it is derived from tweening two curves.

I would like to take this definition in part C where I could create some shading or noise barrier structure that spans over a space that requires the attention. This pattern is also good at being deformed and adjusted to any geometries to be applied to the site. So I would like to see how this pattern evolve in the site.

B4 Technique: Development

Applying attractor points

Split by brep surface at different levels

Changing number of cells in X and Y

Changing curvatures

Using different geometries to loft with

Split the grid by rows and jitter

Changing cull pattern

Image sampler

Recursive scaling of openings

Different graph mappers

Different graph mappers

Controlling shape of openings by internal points

Overlay different grid types and create voronoi

Selection Criteria

The selection criteria have been revised from B.2 and included some new items.

1. Shadinga) allows creating custom size openings to achieve the level of shading needed. The twisting of the lofts also create interesting aesthetics.

b) allows shading at places where I want by image mapping. Openings were significantly smaller and thus better shading effect.

2. Controlling pollutiona) is also capable of shielding away any visual or audio pollution since the faceted surfaces of the lofts could block and hence reduce the overall pollution emitted from the source.

Custom openings made by d) also allows controlling the amount of pollution, smaller opening for greater level of control.

3. Strong structureThe arching of c) is allows the creation of a strong structure against vertical loads. Thus may allow spanning over a large area.

4. Flexible pattern to apply on siteAll these patterns can be adapted to site forces since they have different input parameters. ie, the attractor point may be able to track the sun path, image sampling of areas of the site where there are not enough shading.

Speculate

a) could be used as a component in a pavilion that creates shading or hang along a path for shading for people walking by.b) could be applied to a facade of a building where behind the larger openings can house rooms such as meeting room where the smaller openings can house utility rooms or more private rooms.c) could be an arching bridge over a river where people can walk across on top. Or it can be a furniture which is spongy to lay down.d) could create even more interesting shapes(deformed circles) of openings of a pavilion for shading or aesthetics considerations.

b)

c)

d)

a)

B5 Technique: Prototypes

I want to use the cells I have created in my technique to create a pattern on a surface that wraps around a bridge structure, with the aim of reducing the noise pollution of the traffic and creating shading if possible (fig. 6, 7).

I want to look at the how the bridge (fig. 5) creates a form with the overhead that creates shading. Except that I will focus on using the cells I have developed to apply on a structure like this. Not only does this bridge creates shading, it also creates scenic viewing for pedestrians and cyclists. 7 Maybe it can be something worth looking at also.

.

B6 Technique: Proposal

B7 Learning Objectives and Outcomes

7 See http://www.e-architect.co.uk/singapore/singapore-bridge

Fig 5. South East Asian Crossing Project, IJP Corporation, Landscape Architects

Fig 6. Noise diffusion by cell developed in patterning technique

Fig 6. Noise reflected on the facetted surface.

In this sketch, I have used graph mapper to distort the lofted surfaces created by field lines. The field lines are created by merging several fields together and evaluated.

I have used extensively the field in my technique exploration and the graph mapper to create shapes that inform my proposal at the end, a bridge system.

Points on a surface are used as inputs for the image sampler and then circles are drawn at these points and the radius according to the image. What is different here is the radius of the circles are further controlled by replacing the radius with 4 numbers, thus enabling a higher degree of control.

I have used this to explore my iterations to create different shading areas with an image of my choosing.

B8. Appendix - Algorithmic Sketches