Frohlich natasha 588336 parta&b pdf

STUDIO AIR2014, SEMESTER 2, TUTOR: Philip Belesky STUDENT NAME: Natasha Frohlich

Table of Contents

4 Introduction

4 About me

6 Part A: Conceptualisation

8 A.1. Design Futuring

8 LAGI Precedent

10 LAGI Precedent

12 A.2. Design Computation

13 Benefits of using computers

14 Design Computation

15 Precedent, HSBC Building

16 Precedent, Heydar Aliyev Center

18 Precedent, Guggenheim Museum Bilbao

20 A.3. Composition/ Generating

20 Shift from composition to generation

21 Precedent, God’s Eye

22 Parametric modelling and design

23 Santiago Calatrava

24 Precedent, Guangzhou Opera

25 A.4. Conclusion

26 A.5. Learning Outcomes

27 A.6. Appendix - Algorithmic Sketches

29 References

4 CONCEPTUALISATION

About Me

My name is Natasha, and I am currently a 3rd year student at the University of Melbourne, majoring in Architecture.

I have always been interesting in Art, Architecture and other Creative fields and found that growing up in Hong Kong allowed me to explore all my hobbies in a culturally rich manner. Not only do I enjoy architectural design, but am highly fascinated by painting and photography.

I find the works of architects Daniel Libeskind, Zaha Hadid and Shigeru Ban to be compelling, in particular the :

- Michael Lee-Chin Crystal (Libeskind) - Heydar Aliyev Center (Hadid) - Japanese Pavillion at Expo 2000 (Ban)

I have previously worked with Rhino in two different subjects and found that the range of techniques/ tools to be intriguing and interesting to work with. In a previous subject I experimented with Panelling tools and unrolling / exporting CAD files to be used in architectural modelling. In the prior design studio ‘Earth’, I worked with Rhino to create my final design (as shown in figure 1).

I find that digital architecture allows architectural designs to be taken to the next level through creative development processes that could only be accomplished through digital design.

Introduction

FIG.1

CONCEPTUALISATION 5

FIG.2

FIG.3

FIG 4

PART A .

CONCEPTUALISATION

8 CONCEPTUALISATION

FIG.5

A.1. - DESIGN FUTURING

The Living Ribbon

-Artist team: Brett MacIntyre and Adam Pelissero

-Location: Halifax, Canada

-Energy technologies: Photovoltaic thin film and fog harvesting nets

-Annual Capacity: 1,500 MWh

About the Living Ribbon:

• 1.6km in length

• 15m in width

• Surface area calculates to 24000m square

The living ribbon was inspired by the native flora and fauna , and seeks to improve the salinity of the water being distributed along the coastline. Over the years, the life that thrives along the coastline has been affected by global warming and climate change, thereby killing and decreasing the plant life along this area.

The ribbon will act as a balance between the earth and sky, as well as the sea and land. By utilizing photovoltaic panels and fog harvesting-nets. The structure will be able to harvest moisture from the air for surrounding plant life , as well as generate up to 888kW of solar energy per day.

CONCEPTUALISATION 9

FIG.6

This design contributes to the field of ideas because it integrates two technologies, one that acts as a tension, and another that acts as compression. In doing so, this design has allowed for ‘tensegrity’, which not only minimizes the number of connections to the ground (therefore decreasing negative impacts on the site through constructing a foundation) but also allows for a multiple technologies and an increase in energy harvested.

Although this structure was never built, similar technologies have been considered for other parts of the world, for instance, Miami. In an article by the “Sustainable Business News”, notions and design ideas of a ‘climate ribbon’ have been considered. Similar technologies are being considered in city planning and within skyscrapers. This goes to show that the theory is appreciated and that there are possibilities for expanding upon this design in future years.

Furthermore, the design of the ‘Living Ribbon’ wishes to commemorate the natural beauty of Abu Dhabi’s landscape and provide fresh water for the ecosystem. The use of fog harvesting nets is especially interesting, as it allows for fog to pass through the nets and condense, creating water droplets. These droplets will be able to provide water for the surrounding flora and fauna, as well as help stabilize the salinity of the water along the coastline. Not only does the design wish to improve upon the sites natural habitat, but also seeks to improve outwards.

10 CONCEPTUALISATION

A.1. - DESIGN FUTURING

The Solar Cairn

Artist Team: Julianne Brown and Christian Brown – Onion 3D Design

Artist Location: New York City, US

2012

The Solar Cairn features semitransparent shapes that form an oval structure. These shapes are constructed from photovoltaic thin film, stationed over varying sizes of curved frames. The Solar Cairn is located on a hilltop and is intended to be used by both people and native animals, as the structure caters for both.

The structure is stretch across 5 acres of land along the LAGI design site and seeks to commemorate the freshkills landfill. Not only does the design act as a reminder of the negative consequences of “over consumption”, but also serves as a beacon of hope towards renewal and the future.

FIG.7

CONCEPTUALISATION 11

The design creates an outer body experience, as it mentally transports its visitors from the past, to present and the future. The interior space features varying surfaces, which are created using recycled materials. I believe this design is radical in its way of thinking, as it utilizes these many recycled materials to allow for drainage on the site.

Furthermore, the design is integrated with Oak trees, which provides acorns as a source of nourishment for local wildlife. This incorporation into the design of the site emphasizes its unity between humans and nature. The photovoltaic panels not only act as a shading device for visitors, but also transform sunlight into energy.

This design contributes to the field of ideas by utilizing radical technologies in different ways. Not only does it collect and store energy, but the 17ft curved panels are fastened to the ground using a mesh grid. This mesh grid allows for easy drainage and a reduction in erosion levels. Moreover, the mesh allows local birds to rest on the site, creating harmony between nature and the structure.

Lastly, this design could be expanded for future possibilities by being incorporated into playground and parks. The design is not only aesthetically pleasing, but could also provide solar energy.

FIG.8


A.2. - DESIGN COMPUTATION

FIG.9


The benefits of using computers in the architectural design process:

There are numerous benefits to using computers in the architectural design process, not only does CAD and CAM allow for quick and easy changes to architectural designs, but it also benefits the design process.

Computing in the architectural design process allows users to “generate and explore architectural spaces”, therefore enabling users to explore there design from both exterior and interior perspectives. This benefits designers by allowing them to visualize, construct and experiment with spaces without having to physically build models. Computer aided design allows for designers to experiment with their designs in an easy and flexible nature. For example, A single design can be altered and if the outcome is not desirable, reversing the change is only a few clicks away. This not only saves time and money, but allows for a greater understanding and development of the design process.

Furthermore, software, such as Rhino and Grasshopper, allow for the community/ users to share their experience with the company. This enables programs to benefit from the learning experience of its users, as well as store information that could improve the software, and Furthermore, allow for templates and guidelines. By incorporating computing into architectural design, computing can re-define the design practice by taking design a step further. These programmes allow users to easily write and modify designs and experiment with different materials and colours, thereby experimenting with the aesthetics of the model without actually having to physically build one.

“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”

Computation also allows for unique opportunities and innovative designs by allowing designers to fabricate their designs/ models from the computer blueprints. This unique opportunity allows designs to be technically accurate and also speeds the design process.



Some people believe that due to the complex notions associated with computer design, that the design process can be negatively affected. Not only do they supposedly stunt creative thinking, but they also limit the geometries and innovative design ideas (through restricted options in the chosen software).

Although some consider design computation to be a negative impact on architectural design, there are many reasons to support it. As mentioned previously, computing affects the design process in many ways. Not only does it allow for easier communication between architects and clients, but it also allows designers to experiment with multiple design strategies.

What are the main differences between Computation and Computerization?

Computation enables architects / designers to expand their potential and cope with elaborate situations. Not only does it do this, but it also allows them to use the computer to take care of information and process it through a known model, known as an algorithm. This design approach allows for the exploration of new ideas and enables designers to investigate and consider architectural spaces and ideas through algorithms.

FIG.10

FIG.11

“ IT IS POSSIBLE TO CLAIM THAT A DESIGNER’S CREATIVITY IS LIMITED BY THE VERY PROGRAMS THAT ARE

SUPPOSED TO FREE THEIR IMAGINATION”- TERZIDIS, KOSTAS (2009).


The HSBC Building, Hong Kong

The HSBC buildings most intriguing feature is the exterior structure and non-existent interior supporting structure. In addition to this, each level / floor of the structure is designed to move flexibly in case of seismic shifts. This element was made possible by using digital design technologies and by doing so reduced the need for more adjustments.

This building is an example of how computer-aided design can improve and provide a unique opportunity to respond to design problems. This is a great accomplishment, as buildings would previously have to manipulate the foundation that the building stood on, whereas now, through prefabrication and CAD, these problems are only a minor aspect.

FIG.12 FIG.13



‘Heydar Aliyev Center’

Zaha Hadid’s ‘Heydar Aliyev Center’ is a intricate building located in Baku, Azerbaijan. The building features a distinctive style that could not have been accomplished without the use of digital design. The buildings skin was one of the most difficult design aspects to achieve and features a ceaseless free-flowing façade that incorporates complex technical systems. Through the use of sophisticated computing, the continuous curvilinear form has been accomplished.

This building is a fine example of how computation impacts the range of achievable geometries. The use of computer-aided design has allowed for fluidity in the structure, which is a unique opportunity of modern digital design. Computation allows for innovative ideas in this design because the shapes structure is able to mirror and respond to the topography of the site. FIG.14

FIG.15


Computing has been used to re-define practices here by utilizing digital design to form the frame system. The frame allows for the building to incorporate a free form composition. Not only did this benefit the overall shape of the building, but also saved an immense amount of construction time (similar to Frank Gehry’s Guggenheim Museum Bilbao).

The architectural composition is complex and may not have been achievable without CAD. Due to the shape integrating structure with a seemingly effortless geometry, the building materials and mere scale were extremely difficult to accomplish. Hadid credits CAD and CAM for resolving all construction problems, for example: external loads, mass production, issues associated with temperature variation, as well as earthquakes.

FIG.16

FIG.1:7



FIG.18


Frank Gehry’s Guggenheim Museum Bilbao:

The Guggenheim Museum Bilbao is one of the earliest examples of architecture to welcome computer-aided design.

The surface of the structure was only attainable through the use of digital design software’s and could not have been accurately accomplished without it. This allowed Gehry to create free-flowing forms, a concept that was believed difficult, if not impossible to accomplish with simple design.

Gehry designed the building to capture the light through the use of seemingly random curves/ forms. The building is an intriguing example of contemporary architecture and was completed within budget and on time. Gehry credits this to the use of digital design, as it allowed him to realistically envision the design outcome and control costs through the use of precise material measurements.

Computation and Computerization advantages:

There are many advantages associated with the use of digital design, some of these include:

Performance

Ease of use

Sharing Ideas


A.3. - COMPOSITION/GENERATION

The shift from composition to generation:

Architecture is being reconstructed and defined through the practice of computation. Not only does computation allow for efficient development and a wide range of possible geometries, but also it creates a number of opportunities in design processing and fabrication.

Design tactics have changed immensely in modern architecture, from creating intriguing preliminary designs to generating multiple options of how the form may be constructed

Algorithms:

An algorithm is a method for doing something, essentially it is a strict set of rules that are easy to comprehend. Although many people think that algorithms are confined to numbers only, however this is not the case, as algorithms can be as simple as a categorized list of words. Algorithms illustrate how something is computed instead of what that function may be. Although there is a connection between computation and algorithms, it is extremely limited.

FIG.19


“God’s Eye” – Christina Galanou and Chrystalla Koufopavlou

The ‘God’s Eye structure is a good example of composition and generation. The design came to life by utilizing computation and refining the structures features, whereas through generation the shape was constructed. The structures “skin” is made using a weaving technique and features interweaving curved surfaces. Furthermore, the design was experimented on using ‘digital simulation’ and through computing, the designers found that there were numerous restrictions on the structures design. However, by taking advantage of generation and computer- aided design, they found that by changing the design material and methods of construction they would be able to successfully build the form.

FIG.21FIG.20



FIG.23FIG.22

Parametric Modelling:

Santiago Calatrava, a notable Spanish architect uses geometric transformation to experiment with parametric modelling. These transformation allow him to translate shapes both vertically and horizontally, twisting aspects of a structure to create a more interesting shape and/or solve design problems. Many of his design are noted as bio-morphic and allow for the structure to seemingly come to life.

Parametric Design:

Parametric design uses a number of algorithms and variables to create a mathematical order, allowing for geometric relation and thereby allowing designers to generate specific designs. Architects are no longer constrained to tools, as there is now the option to create and design your own tools. This fundamental design approach decreases the overall effort needed to create a shape, as it eliminates the energy dedicated to creating and testing options. Parametric design isn’t necessarily a way of constructing a solution, but about generating a wide range of possible design outcomes.

Generative Design:

Generative design is the method in which the outcome of a design is created using an algorithm, usually through the use of a computer program, such as grasshopper and rhino. This method of design allows for fast and easy explorations of design possibilities and diminishes the need for repetitive tasks.

Form Generation:

Form generation is the developing of numerous alternative solutions for the design idea, generally in a practical and formal matter,

I.e. generating forms to solve the design problem.

There are many generative tools that aid in the development of new structural systems, for example, parametric modelling allows for easy developments. Katherine Liapi designed a way for architects/ designers to use tensegrity to envision frameworks (as shown in figures 22 & 23).


FIG.24

FIG.25



FIG.26

The Guanzhou Opera

The 2010 Guangzhou opera house was designed by architect Zaha Hadid, and features curvy forms clad in glass, attributing a steel structure as the frame. The overall design was done through computer-aided design and manufacturing. Due to the need for high acoustic quality, computation and generation allowed for simple experimentation and implementation of high quality acoustic technology. The overall interior structure is complex and could only be constructed from custom made materials (“moulded glass fibre reinforced gypsum”) and would not have been possible without CAD and CAM.

CONCEPTUALISATION 25FIG.27


A.4. - CONCLUSION

In conclusion, I have learn a lot about computation and digital design. The LAGI design competition acted as a introduction as what to expect and allowed me to gain better understandings on renewable energy designs and how they can be incorporated into architecture. Computation plays an important role in the design process and allows designers to explore and mend a wide variety of design ideas. Renewable energy

The significance with designing using renewable energy technologies is that we are bettering our futures. By combining CAD, CAM and renewable energy, buildings/ structures can have multiple functions. This approach to designing for the future will benefit everyone, however I can benefit from it by learning new technologies and learning to design sustainably.


A.5. - LEARNING OUTCOMES

By learning about what algorithms are and what architectural computation is, my idea of design has changed and I am able to create architectural designs in new and exciting ways. Furthermore, by understanding the definitions of computing and computerization I am able to differentiate between different notions of design

In addition to this, I learnt about how computing can be used to re-define practice and how it affects the design process. By using computer aided design, the designers can expand their capability to handle intricate situations and computer aided design allows designers to create complex shapes and forms, by creating frameworks and processing information through algorithms.

Although I initially found Grasshopper very difficult, I have begun to understand the software and find that experimenting on shape, colour etc allows me to better my knowledge of the program. By experimenting with Grasshopper I have been able to construct complex forms through Rhino and investigate alternative design results.

Understanding developed through semester:

My understanding has developed throughout the semester by gaining a better comprehension of what computation, computerization and algorithms are. Furthermore, I have been able to develop a skills in new computer design software, which will allow me to improve on my design approach

How could I have used my knowledge to improve a past design?

With this new understanding of computer-aided design, I could have improved a past project by exploring a more detailed design process. By being able to experiment using grasshopper, my past design studio project could have benefited from a wider range of design options. Moreover, I may have been able to trial with parametric design and incorporate a more interesting façade design. The latest algorithmic sketch task (task 3) is especially relevant, as it allowed for this.


A.6. - APPENDIX - ALGORITHMIC SKETCHES

How did my research extend the material in tutorials:

My research extended the material in tutorials by allowing me to gain a better understanding of the reasoning behind each experiment, symbol and algorithm.

Furthermore, by researching existing projects, I was able to understand and generate new ideas, as well as incorporate them into my designs. The precedents I researched provided as useful examples for each design theory, as well as act as inspiration for future architectural designs.

FIG.28 FIG.29


Reasons for choosing these sketches:

These algorithmic sketches were chosen because they best exemplify my understanding of computation. In addition to this, these designs were the most interesting for each of the chosen tasks

What new knowledge, new understanding or new creative ideas do they represent?

These algorithmic sketches have allowed me to gain a new understanding and perspective on computer-aided design. The use of Grasshopper in the design process was new to me, as I have only ever designed in Rhino before. However, these tasks represent a new way of designing and act as initial ideas for future projects,

FIG 30 FIG.31


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PART B .

CRITERIA DESIGN


B.1. - RESEARCH FIELDS: SECTIONING

For this project I chose to explore Sectioning as my material system. I chose sectioning because it is growing in popularity, especially in architectural pavilion design. I wanted to explore why this technique is in demand, particularly in large structural designs, as well as explore how this technique is used in other styles of architecture.

When researching sectioning as a material system, I found that there was a close link with waffling methods. Figure 32 portrays four different styles of sectioning (radial, symmetrical, 2D-adaptive and 1D adaptive) and these sectioning algorithms provide multiple perspectives on how the system can be used.

Sectioning has been used in numerous forms of architecture and design, including pavilions, theatres, landscape architecture and furniture design.

FIG.32


Examples of sectioning in design: Figures 33 and 34 portray “The Screen”, and architectural fabrication project conducted at the Arizona State University. The screen was a class project where student explored interlocking components and experimented with how this technique could be applied to architecture and product design, such as furniture. The project provides an interesting look into how sectioning can vary in style and how by notching when using sectioning as a material system can provide structural stability.

Figures 35 and 36 depict how the software Rhino can be used to create complex parametric architecture through computation. Yeom explores 3D modeling and how planar sections can be manipulated to intersect and expand the boundaries of design. After exploring how the curves could intersect, he experimented with the notching process and created a physical model using card (figure 36). These images provide an interesting example of how sectioning is used within computation and how it can be transcribed through materialization, which will be useful later in the project.

FIG.33 FIG.34

FIG.35 FIG.36


B.1. - RESEARCH FIELDS

The Metropol Parasol, Seville, Spain:

The Metropol Parasol was designed by Jurgen Mayer-Hermann and was completed in 2011. The wooden structure is located in Seville, Spain and claims to be the greatest/ largest wooden pavilion structure in the world.

There has been much public controversy surrounding the structure and its form, making it an interesting precedent to explore.

FIG.37

The structure consists of six large mushroom shaped parasols, inspired by the ficus trees within the area. Although the structures form is interesting and complex, the engineering firm Arup found that there were many structural difficulties due to the material in combination with the material system.

They found that the material used added extra weight to the structure, which they had not anticipated. This is an interesting view into why materialization and fabrication is an important role in parametric design, as the structural integrity and overall design can be greatly affected when not tested accurately.


FIG.38

Although many small structures that use sectioning or waffling as a material system are found to be solid and structurally intact, a common problem with large structures utilizing the system is structural integrity.

Through my research I found that many pavilions and architecture that utilizes this technique must reinforce the designs with concrete and steel. This structure is relevant parametric design and computation because without computerized design, the building would not have its complex spherical shapes.

Structure dimensions: 150m x 70m x 26m


B.2. - CASE STUDY 1.0

FIG.39

FIG.40

Office dA Banq:

‘Banq’, designed by Office dA, is a restaurant project featured in Boston, USA. The design focused on how interiors could create bold and evocative feelings, through a ‘tectonic point of view’. Due to the nature of the location, Office dA had to give way to the floor and design the roof as its focus plane.

Through sectioning, architects Nader Tehrani and Monica Ponce experimented with the conventional terms of ceilings and eclipsed expectations when they used this latest materian resource. Office dA credits computation and exploring parameters for its design and found that sectioning was the most successful style for the restaurant.

With sectioning, much inspiration seems to come from topography and utilizing this to create the shapes, which will be interesting to explore during the LAGI project. Through exploring this material system, I have found that wood seems to be the most appropriate material choice for the technique, and it a popular choice amongst architects.

Due to the complex nature of the technique, as well as the added weight from the number of ‘ribs’ required, it is understandable why wood has been chosen. Additionally, when utilizing sectioning as the main technique within an architectural design, Office dA boasts that the installation for the design is an important factor. Due to computation and fabrication, the structure makes for easy maintenance and replacement/ dismantling.


Speculation into the ‘function of ornament’:

Moussavi, Farshid and Michael Kubos 2006 reading, ‘The Function of Ornament’, provided a range of insight into ornamentation and why architects choose to use this. This is an important aspect of parametric design, as modern architecture is becoming increasingly decorative and computerized. In order to proceed with my experimentation of computational design, I must first understand where and why it is used. Farshid and Kubo describe ornamentation as an element that allows architecture to connect to culture, through incorporating design concepts and materials to create new aesthetics. In the past, this has been done in many ways:

Modernism used transparency

Postmodernism used décor

Deconstructivism used geometry of collage

However, it is also important to note that certain buildings don’t need ornamentation and that the relationship between the interior and exterior is conveyed in the function itself. Although ornamentation has been frowned upon in the past, architects are now specializing in the design of a buildings ‘outer shell’.

In reference to the LAGI brief and energy saving solutions, I believe it is important to understand which materials can be utilized to prevent extra costs and can be used to design sustainably. When cross referencing this with the Farshid and Kubos reading, I believe that certain materials need ornamentation in order to create energy saving elements in architecture. For instance, in relation to my chosen material system ‘sectioning’ glass may be utilized as a popular material, however sometimes layering is needed to improve thermal performance, and through sectioning this can be done in an aesthetically pleasing way.

“Once we realized we had a system, we wanted that system to yield the most provocative readings”

– Office dA

FIG.41 FIG.42


B.2. - CASE STUDY 1.0 - MATRIX


Below is my design matrix for Case Study 1. I explored the material resourse sectioning and how i explored the possibilities of the definition, changed existing parameters, investigated, pushed boundaries and created unexpected outcomes. The matrix features four ‘species’ with multiple iterations for each.

Going left to right *

* ALL IMAGES ARE MY OWN


B.2. - CASE STUDY 1.0 - SUCCESSFUL EXPERIMENTS

I found these experiments to be successful becuase they were the ones that i could control the sectioning in the most. Compared to the other experiments, i had the most control over how i could manipulate the sections within the design. When creating the sequence of geometries, i was trying to achieve a number of items. The first being (first image) i was trying to control the sectioning over the topography, so that each of the sections would follow the curvature of the landscape and follow it to create the shape. In the second image i was attempting to control which points would be extended and which would remain lower down, i found that this was difficult yet through the algorithms i managed to pick a number of points that i could command. The third image i created usign a topographical image, thereby importing a black and white topographical map and using it in the algorithm to create a landscape out of sections. Finally, in the fourth image i was attempting to limit the number of sections while still decreasing the overall heigh as the panels increased, this was very difficult.



I find that these kind of experiments can be applied to landscape architecture and would be useful in determining landscape patterns, as well as in pavillion architecture. Sectioning could be used to create a number of effects, such as topography within interiors, which i researched when looking at the ‘Banq’ restaurant. Because sectioning is fairly limited in what kind of style you want to achieve, i find that it would be best when used for creating interesting textures on surfaces, rather than a just a building using the technique.


B.3. - CASE STUDY 2.0

Zaha Hadid’s Galaxy Soho Building:

For my second case study precedent, i chose to look at zaha Hadid’s Galaxy Soho building. The buildings exterior resembles my chosen technique and is known for its computational design.

“There are 360 degrees, so why stick to one?”

- Zaha Hadid

FIG.43

Brief Description and Analysis:The Galaxy Soho building designed by Zaha Hadid architects is located in central Beijing and consists of 330000 meters square worth of retail, office and entertainment space. Beijing’s impressive scale and futuristic environments within the present inspired the building. The structure consists of five volumes that continue on to one another, flowing and creating bridges between the shapes. The architecture resembles sectioning and through this material technique, creates a panoramic architectural transition. The building aims to deliver fluidity within its composition and aims to resemble every day life/ urban issues.


FIG.44

Critical analysis of precedent:

When analyzing the Galaxy Soho building, it is important to consider how the form/ structure relates to the original design intent. The structure aimed to create fluidity and act as a futuristic transition into present life, and I believe that through the use of computational design, Zaha Hadid has achieved this. The structures five main spherical buildings connect and mesh with one another through walkways and intersecting levels, without a single corner or harsh line in place. The buildings entire structure oozes fluidity and would not have been manageable without computation. Although sectioning has mainly been utilized into wooden structures, Hadid’s building is constructed from aluminum cladding and insulated glass. This material choice creates a futuristic effect and changes the dynamics of the system. Although the building has been nominated for numerous awards, some see it as a failure due to its immense size and believe that it is just a creation of a name/ brand and is disconnected from reality.


B.3. - CASE STUDY 2.0 - REVERSE ENGINEERING

Attempting To Reverse Engineer Zaha Hadids Galaxy Soho Building:



Final Reverse Engineering Of Precedent:

Although I found this case study interesting to research and experiment with, I found that it became increasingly difficult to reverse engineer the project. Due to the sectioning system, I found that it was difficult to control how the building could be sectioned using grasshopper. I initially tried to reverse engineer Zaha Hadid’s Galaxy Soho building using the sectioning algorithms provided by the Office dA Banq material resource as well as editing the algorithms to accommodate the shapes curvature.

However, I found that this wasn’t working quite the way I wanted it to, so I explored the grasshopper 3D forum and discussion pages and found that the metaball technique was suggested for such forms. As seen in my reverse engineering, I utilized this technique but had many troubles controlling it. The large spherical shapes/ parts of the building were difficult yet manageable to recreate, however when trying to incorporate the floors / different levels onto the existing structure, I found that grasshopper and rhino wouldn’t allow for it, and that the shapes would disappear when they were placed onto one another. This is something that I found incredibly difficult in this project and think that choosing another precedent option may have produced better results, however learning the metaball component was intriguing.


B.4. - TECHNIQUE DEVELOPMENT - DESIGN MATRIX

CONCEPTUALISATION 49* ALL IMAGES ARE MY OWN

Below is my design matrix for Case Study 2. I chose to explore the how the parameters of the Galaxy Soho building could be pushed and manipulated and how it could be twisted into somethign completely different.


B.4. - TECHNIQUE DEVELOPMENT - DESIGN MATRIX CONTINUED



B.4. - TECHNIQUE DEVELOPMENT - SUCCESSFUL EXPERIMENTS

I found this task to be the most difficult, however i find that this could have been because of my chosen material resource. Sectioning as a material technique is fairly limited within algorithms and is difficult to control, as changing individual sections or ribs is extremely difficult in grasshopper. While i was trying to recreate Zaha Hadid’s Galaxy Soho building, i found that creating the first few spheres was the easiest of the tasks. I initlally did this using the sectioning algorithm that i had learnt during the previous experiments, however while researching how best to section spheres i found that many people on the grasshopper discussion board had benefited from using the metaball component. I tried to use this component in my algorthms and is how i managed to link the sectioned spheres to one another, creating the walkways featured in the buildings design. Although this was a difficult component to use, it only got harder. While trying to create different levels using metaball, so that there could be walkways higher up in the levels, i found that i had to create two seperate algorithms to do so, yet when the points were placed near the existing shape, they would dissapear.


For this series of successful experiments, i chose them based on the techniques that i learnt while exploring them. Firstly, they allowed me to control the size of the floor plane and create interesting topographies. Secondly, the selection of experiments shown display my progress in how i was able to manipulate the boundaries between spheres, to create multiple levels. These experiments could be utilized in architecture through creating passages between objects, however more experimentation with the metaball technique would have to be done.


B.5. - TECHNIQUE PROTOTYPES

As i mentioned previously, when researching sectioning i found that the most common materials used were glass or wood and therefore i have decided to experiment with both of these materials (aesetate in replacement to glass). i began attempting to waffle aesetate but found that the materials strength was too low to section with acurately, and therefore decided to see what it looked like when it was layered (in reference to the function of ornament reading). i found that while layering the plastic, it only looked aesthetically pleasing and didnt serve any purpose that i could articulate into my design.


Secondly, i experimented using the sectioning/ waffling technique using balsa wood. This structure seemed to be stable and strong, even when pressure was put upon it. The best thing about the waffling technique was the light effects that were created. i experimented using a torch light and placed the light over the structure at different angles in a dark room and r ecorded the process with images.



B.6. - TECHNIQUE / DESIGN PROPOSAL

For my technique proposal to the LAGI brief, I chose to design a farmers market and community garden. The Garden space would be owned by the sellers at the farmers market, and would be utilized in conjunction with the bazaar. The entire sites space will be used, whilst the structure will only cover half of the area (estimated). Although numerous crops could be grown, I have chosen to limit the design to only five. I have chosen these vegetables because I believe that they will be of most use at a farmers market/ bazaar space and because research into Danish cuisine suggests that they are the most commonly eaten, these vegetables include: Cabbage, tomato, carrots, beans and a lettuce/ herb garden.

Although the design could vary in any shape or form for a market, I have chosen to limit the parameters to certain aspects (as mentioned in detail on following pages). The roof levels and corridor widths will vary in accordance to the vegetables that are growing within that space, as some will need more space than others. For example, the tomato plants need direct sunlight and grow in tall stalks, therefore the design over this area will accommodate for this and there will be a high roof, wide corridor and will face the north. Crops such as lettuce will be placed on the south side of the site, with low roofs and wide corridors.

Although some of the interior will be used for the market stalls, I plan for the design to utilize the outside space and plan for the building to provide enough shade to accommodate this.

Furthermore, in later design stages, I plan to change the topographical layout of the site in order to make it more interesting and accessible. In relation to the LAGI brief, my structure will incorporate photovoltaic panels and store energy, this energy will be used to light the structure and provide energy to run the marketplace, thereby making the farmers market self sufficient and good for the community.

Lignum Pavilion - Inspiration:

FIG.45 FIG.46


Initially, i planned to create a community garden structure that families or schools could go to to grow their own crops. This would act as a bonding activity

Mood Board:

Zmianatematu Restaurant - Further Inspiration:

FIG.47 FIG.48


B.6. - TECHNIQUE / DESIGN PROPOSAL CONTINUED

The four images above show my intial design stages. After a minor presentation in class i found that my design was too simple and that i should change the overall shape and break it down into smaller and more structures. Due to the simple paneling design (which will feature the photovoltaic panels) it was decided that the structure would need to become more showy and that the exterior should include more curves rather than straight lines. Because the structure will be designed for a community garden and market place area, i found that certain parts of the structure should be larger than the rest, for instance later in the design stage i plan to change the roof levels so that they will vary in accordance to the height of the crops growing in that space, and the number crops that need more sunlight will face the north.

Initial design:


Developing Design Proposal:


B.6. - TECHNIQUE / DESIGNPROPOSAL CONTINUED


Design is innovative because it utilizes the natural sunlight and the photovoltaic panels not only act as a shading device, but also collect energy that will be used for the farmers market

Photovoltaic panels

There are a few drawbacks to my design and i plan to address them and change them during the next stage of the project. The buildings materiality will have to be reconsidered in order to make sure it is stable. furthermore, the layout of the design should be reconsidered, as well as the overall height of each of the structures, as they are currently too tall

Space to grow crops


B.7. - LEARNING OBJECTIVES AND OUTCOMES

For my design proposal, I plan to experiment more with the materials that could be used, as well as the overall material systems. Currently I have been working with sectioning and grids, which will hold my photovoltaic panels in accordance with the LAGI design brief, however I plan to incorporate two systems together to take my design to the next left and push the structure further. I still find that the designs overall structure is too simple and that by using grasshopper and rhino I can make a more creative design. My design however is still innovative and meets the LAGI brief because it is a self-sufficient market place and incorporates modern technology into staying sustainable. Within the next few stages of this project, I plan to experiment with materials, form, and innovative solar energy tricks.

Over the course of this studio, I have found that working with rhino and grasshopper is incredibly interesting and inspiring. I have found that the tasks for this section of the project have become increasingly difficult, in particular I had a lot of trouble with my case study 2 design matrix, however I believe that with more practice it wont be an issue. I also found that certain component on grasshopper proved more difficult than others, for instance the metaball technique I tried to utilize in Part B.3. This component seemed the most appropriate for what I was trying to create, however it is hard to control and videos explaining this component were difficult to follow.

Although there were many challenges, I enjoyed the algorithmic sketch tasks and found that they helped me with my journal progress. By researching the material systems, my knowledge of architecture has expanded and I have found that the world of computation is only just beginning. The theoretical research tasks have affected my knowledge of architecture by allowing me to understand why ornamentation and parametric architecture came to be and what role it plays in the design world. Furthermore, the roles of computation in the design process are much more apparent to me. I find that many of todays modern architecture, especially that of Zaha Hadid, would not have been possible without computation, materialization and fabrication software’s, and that many architects are now using these software’s to create more intriguing ‘outer shells’.

After this stage in the project, I find that I am more ocmpetend in creating and manipulating algorithms, as well as designing using parametric modeling. The reverse engineering task, however difficult it was, allowed me to understand what stages of design may have been taken in order to create the precedents.


B.8. - APPENDIX


IMAGE REFERENCE LIST:

Title Page:“Digital Fabrication in Architecture Group.” Digital Fabrication in Architecture Group. N.p., n.d. Web. Sept. 2014. <https://dfabnus.wordpress.com/category/studio/ay-20112012-sem-1/>.

Figure 32“Ongoing Research - Sectioning Design Systems.” Behance. N.p., n.d. Web. Sept. 2014. <https://www.behance.net/gallery/3528751/Ongoing-research-Sectioning-Design-Systems>.

Figure 33 & 34“The Screen | Sectioning.” Jeff Yarnall. N.p., n.d. Web. Sept. 2014. <http://jyarnall.wordpress.com/product-design-and-misc-projects/the-screen-sectioning/>.

Figure 35 & 36“Interaction Design Story.” Interaction Design Story RSS. N.p., n.d. Web. Sept. 2014. <http://www.myrobbie.com/blog/?tag=parametric-architecture>.

Figure 37 & 38“Metropol Parasol // The World’s Largest Wooden Structure.” Yatzer.com. N.p., n.d. Web. Sept. 2014. <http://www.yatzer.com/Metropol-Parasol-The-World-s-Largest-Wooden-Structure-J-MAYER-H-Architects>.

Figure 39 & 40“BanQ / Office DA.” ArchDaily. N.p., n.d. Web. Sept. 2014. <http://www.archdaily.com/42581/banq-office-da/>.

Figure 41“Artist Layers Sheets Of Glass To Create Ocean Waves.” DeMilked. N.p., n.d. Web. 20 Sept. 2014. <http://www.demilked.com/glass-sheets-wave-sculpture-ben-young/>.

Figure 42“Glass Panels » Retail Design Blog.” Retail Design Blog RSS. N.p., n.d. Web. 22 Sept. 2014. <http://retaildesignblog.net/tag/glass-panels/>.

Figure 43 & 44“Galaxy Soho / Zaha Hadid Architects, by Hufton + Crow.” ArchDaily. N.p., n.d. Web. Sept. 2014. <http://www.archdaily.com/294549/galaxy-soho-zaha-hadid-architects-by-hufton-crow/>.

Figure 45 & 46“Lignum Pavilion / Frei + Saarinen Architekten.” ArchDaily. N.p., n.d. Web. Sept. 2014. <http://www.archdaily.com/274331/lignum-pavilion-frei-saarinen-architekten/>.

Figure 47 & 48“Zmianatematu Restaurant by XM3 Architects.” Visua Design Inspiration RSS. N.p., n.d. Web. Sept. 2014. <http://blog.visua.com.au/previous-blog/architecture/zmianatematu-restaurant-by-xm3-architects/>.


REFERENCES:

“ARCHICRAIC.” : INSPIRING INTERIORS. WEB. 17 SEPT. 2014. <HTTP://ARCHICRAIC.BLOGSPOT.COM.AU/2012/09/INSPIRING-INTERIORS-BANQ-RESTAURANT.HTML>.

“ARTIST LAYERS SHEETS OF GLASS TO CREATE OCEAN WAVES.” DEMILKED. WEB. 20 SEPT. 2014. <HTTP://WWW.DEMILKED.COM/GLASS-SHEETS-WAVE-SCULPTURE-BEN-YOUNG/>.

“AUSTRALIAN DESIGN REVIEW.” BANQ. WEB. SEPT. 2014. <HTTP://WWW.AUSTRALIANDESIGNREVIEW.COM/INTERIORS/661-BANQ>.“BANQ / OFFICE DA.” ARCHDAILY. WEB. SEPT. 2014. <HTTP://WWW.ARCHDAILY.COM/42581/BANQ-OFFICE-DA/>.

“BANQ RESTAURANT BY OFFICE DA.” YATZER.COM. WEB. SEPT. 2014. <HTTP://WWW.YATZER.COM/BANQ-RESTAURANT-BY-OFFICE-DA>.

“DESTROYING BEIJING HERITAGE.” THE GUARDIAN. WEB. SEPT. 2014. <HTTP://WWW.THEGUARDIAN.COM/ARTANDDESIGN/ARCHITECTURE-DESIGN-BLOG/2013/AUG/02/ZAHA-HADID-DESTROYING-BEIJING-HERITAGE>.

“DIGITAL FABRICATION IN ARCHITECTURE GROUP.” DIGITAL FABRICATION IN ARCHITECTURE GROUP. WEB. SEPT. 2014. <HTTPS://DFABNUS.WORDPRESS.COM/CATEGORY/STUDIO/AY-20112012-SEM-1/>.

“GALAXY SOHO / ZAHA HADID ARCHITECTS, BY HUFTON + CROW.” ARCHDAILY. WEB. SEPT. 2014. <HTTP://WWW.ARCHDAILY.COM/294549/GALAXY-SOHO-ZAHA-HADID-ARCHITECTS-BY-HUFTON-CROW/>.

“GALAXY SOHO BY ZAHA HADID ARCHITECTS PHOTOGRAPHED BY HUFTON+CROW.” DEZEEN GALAXY SOHO BY ZAHA HADID ARCHITECTSBR PHOTOGRAPHED BY HUFTON + CROW COMMENTS. WEB. SEPT. 2014. <HTTP://WWW.DEZEEN.COM/2012/11/15/GALAXY-SOHO-BY-ZAHA-HADID-ARCHITECTS-PHOTOGRAPHED-BY-HUFTON-CROW/>.

“GLASS PANELS » RETAIL DESIGN BLOG.” RETAIL DESIGN BLOG RSS. WEB. 22 SEPT. 2014. <HTTP://RETAILDESIGNBLOG.NET/TAG/GLASS-PANELS/>.

“INTERACTION DESIGN STORY.” INTERACTION DESIGN STORY RSS. WEB. SEPT. 2014. <HTTP://WWW.MYROBBIE.COM/BLOG/?TAG=PARAMETRIC-ARCHITECTURE>.

“LIGNUM PAVILION / FREI + SAARINEN ARCHITEKTEN.” ARCHDAILY. WEB. SEPT. 2014. <HTTP://WWW.ARCHDAILY.COM/274331/LIGNUM-PAVILION-FREI-SAARINEN-ARCHITEKTEN/>.

“METROPOL PARASOL // THE WORLD’S LARGEST WOODEN STRUCTURE.” YATZER.COM. WEB. SEPT. 2014. <HTTP://WWW.YATZER.COM/METROPOL-PARASOL-THE-WORLD-S-LARGEST-WOODEN-STRUCTURE-J-MAYER-H-ARCHITECTS>.

MOUSSAVI, FARSHID, AND MICHAEL KUBO. THE FUNCTION OF ORNAMENT. BARCELONA: ACTAR, 2006. 5-14. PRINT.

“ONGOING RESEARCH - SECTIONING DESIGN SYSTEMS.” BEHANCE. WEB. SEPT. 2014. <HTTPS://WWW.BEHANCE.NET/GALLERY/3528751/ONGOING-RESEARCH-SECTIONING-DESIGN-SYSTEMS>.

“THE SCREEN | SECTIONING.” JEFF YARNALL. WEB. SEPT. 2014. <HTTP://JYARNALL.WORDPRESS.COM/PRODUCT-DESIGN-AND-MISC-PROJECTS/THE-SCREEN-SECTIONING/>.

“ZAHA HADID’S GALAXY SOHO: BACK FROM THE FUTURE - FAILED ARCHITECTURE.” FAILED ARCHITECTURE ZAHA HADIDS GALAXY SOHO BACK FROM THE FUTURE COMMENTS. WEB. 20 SEPT. 2014. <HTTP://FAILEDARCHITECTURE.COM/ZAHA-HADIDS-GALAXY-SOHO-BACK-FROM-THE-FUTURE/>.

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