Lim Angeline_596462_FinalJournal_StudioAir

STUDIO AIRLIM BINXIU ANGELINE, 5964622014, SEMESTER 2, TUTORIAL GROUP 3BRADLEY ELIAS

2 CONCEPTUALISATION

CONCEPTUALISATION 3

Table of Contents

PART A: CONCEPTUALISATION

INTRODUCTION

A.1 DESIGN FUTURING

A.2 DESIGN COMPUTATION

A.3 COMPOSITION/GENERATION

A.4 CONCLUSION

A.5 LEARNING OUTCOMES

A.6 APPENDIX - ALGORITHMIC SKETCHES

REFERENCES

PART B: CRITERIA DESIGN

B.1 RESEARCH FIELD

B.2 CASE STUDY 1.0

B.3 CASE STUDY 2.0

B.4 TECHNIQUE: DEVELOPMENT

B.6 TECHNIQUE: PROTOTYPE

B.7 LEARNING OBJECTIVES AND OUTCOMES

B.8 APPENDIX - ALGORITHMIC SKETCHES

REFERENCES

PART C: DETAILED DESIGN

C.1 DESIGN CONCEPT

C.2 TECTONIC ELEMENTS AND PROTOTYPES

C.3 FINAL DETAIL MODEL

C.4 LEARNING OBJECTIVES AND OUTCOMES

REFERENCES

4 CONCEPTUALISATION

CONCEPTUALISATION 5

part a: conceptualisation

6 CONCEPTUALISATION

biography

I am Lim Binxiu Angeline, a third year architecture student from the University of Melbourne. I spent most of my life in Singapore and I came to Melbourne two years ago to study architecture. It is truly a blessing to be studying architecture in this city rich in history and culture. During my leisure time, I love wandering around the city to admire the streetscape and the historical buildings. At the same time, I think that Melbourne is also doing well in utilising modern technology and construction methods such as prefabrication, renewable energy and passive design strategies.

introduction

CONCEPTUALISATION 7

Having spent two years in this architecture programme has really widened my perspective and understanding of architecture. Architecture isn’t only about buildings - their aesthetic, function and performance. It encompasses broader aspects such as understanding human needs, societal conditions, user experience, context, building technology as well as environmental concerns. I love architecture because of this complexity and the infinite possibilities that can be achieved from one brief itself. Furthermore, the design process is never a straightforward one and it is really rewarding to keep challenging myself to exploring new compositions, techniques and methods.

Apart from the theory, I managed to pick up some technical skills through my previous design studios and work experience. In Virtual Environments, I was introduced to Rhinoceros where I had my first experience with digital modelling. I used the basic modelling tools and the plug in panelling tools to create my design. I also used Grasshopper to create tabs for fabricating our lantern. In visualising environments, I managed to learn some Photoshop and Indesign skills which would help me greatly in my presentations. Lastly, I was lucky enough to work in an interior design firm in Singapore where I played around with SketchUp, picked up some basic rendering skills and did working drawings on AutoCad.

architecture and my digital experience

Fig. 1 Studio Earth project model, Author’s own, 2014 (top)

Fig. 2 Studio Earth project plans and sections, Author’s own, 2014 (above)

8 CONCEPTUALISATION

digital architecture

I feel that digital architecture is breaking through the realms of paper architecture and has great potential in the designing field. Digital architecture enables complex geometries to be created while factoring in material constraints as can be seen in the Beijing National Stadium by Herzog and de Meuron, 2008. We can also input parameters and algorithms to generate a design. I really admire Bernard Tschumi’s, Parc de la Villette which relies heavily on computation to organise the points, lines and surfaces of structures that are scattered across the park. This cannot be achieved by traditional methods, hence, digital softwares really open up possibilities in architecture. Last but not the least, I feel that digital softwares like Building Information Modelling (BIM) technology is convenient in the construction processes as it provides 3D visualisation while containing layers of information that can understood and reviewed by builders, engineers and architects.

Fig. 3 Beijing Olympic Stadium, Herzog and de Meuron, Beijing, 2008 (top)

Fig. 4 Parc de la Vilette, Bernard Tschumi, Paris, 1987 (above)

CONCEPTUALISATION 9

a.1 design futuring

ginger and fred, frank gehry, prague, 1996.

This building was designed by Frank Gehry in 1996 to recreate the streetscape in Prague after the US bombing in 1945. Based on the analogy of a dancing couple, Gehry designed Ginger and Fred, a twisted glass tower joining an apartment block with wavy effect and unaligned windows.1

His intention was to recreate the effects of destruction through the irregularly shaped building with skewed angles, which falls under the category of Deconstructivism.1 Here, Gehry challenges the notions of previous architectural styles be it classical or modern that is made up of well-defined elements and can be easily read and understood as a whole building.

This gesture challenges us to reconsider what we take for granted in buildings - stability, rigidity, fixed geometries and the uniform repetition of elements. In most buildings that we see and inhabit in our daily lives, we do not stop to question them because they fit into the our constructed ideals of a building. For instance, we would expect buildings to have straight walls joined at distinct corners, regular arrangement of windows and be in a stable form. Anything that falls largely within this description would be seen as just another building. It can be said that stereotypes of what an ordinary building should look like is largely informed by our experiences with buildings, reading books and through the internet.

This is supported by Schumacher who argues that new theories are a reconstruction of existing architectural autopoiesis.2 We need an empirical base of knowledge to test our ideas against and propose changes that challenges existing norms and expectations. This would lead to the expansion of architectural discourse resulting in progress in architecture.

Hence, we need a great knowledge of architecture in the past and an understanding of social conditions of the present to design for the future. Perhaps, the typical building (a solid cuboid with regular arrangement of rooms) was constructed due to it being the most efficient in terms of materials and space. And now, due to the improvements in technology, we are able to handle complex geometries and fabricate irregular components which lead to greater capacities and possibilities in the field of architecture.

“Theory is no reflection of the given order of the world. Rather, it is a designed apparatus to give order to the phenomena we experience.” 2

10 CONCEPTUALISATION

Fig. 5 Ginger and Fred, Frank Gehry, 1996

CONCEPTUALISATION 11

The mindmap above shows the relationships between theory, society and technology on architecture. It can be argued that architecture is not an autopoietic system as it is influenced by external factors such as social conditions and technological advancements. Architects are constantly trying to reconcile their ideas according to the current context and theories are changing to ensure that architecture remains relevant. This is a continunal process and experiments, built projects, publications all feeds back and expands the existing architectural discourse.

* Note: Pink labels represents architecture in general and the black labels relate to the specific example of the Ginger and Fred building by Frank Gehry.


nanyang technological university art, design and media building, cpg consultants, singapore, 2006.

The Art, Design and Media Building was designed as a learning space for university students. It is made up of two sloping curves with green roofs wrapping around each other, giving it an elegant form.

The rationale for the green roof may be influenced by the ideals of Le Corbusier. CPG Consultants wanted to create a green roof to return the green space that was originally there back to the environment, which was what Le Corbusier advocated in his book the Five Points of Architecture, 1926. 3 Hence, we should acknowledge that theories of the past are still relevant today and they can help to shape our design while taking the current context into consideration.

Apart from restoring nature back to its place, the green roof also serves an environmental role. As Singapore is in the tropics, the cooling demands of a building is very high. With the green roof and an external water feature, it significantly helps to cool the building down and reduces the energy consumption of the building. 3

What is so special about this green roof is that it occupies the whole roof and is sinuous with the architecture of the building. Traditional roof gardens are usually located at the highest point of the building and are not directly accessible from the ground level. They are not visible to people walking on the street level and are usually composed of potted plants with little relationship to the architecture. Hence, I feel that this building is a significant breakthrough in terms of creating a large scale green roof that is inviting to the public and encourages people to use and interact with the roof. Another project that is inspired by this building is the Marina Barrage, which is a dam with a green roof. The dam is designed to keep the seawater out and it has a green roof for families to enjoy recreational activities such as kite-flying and picnicking. 4

The combination of architecture with landscape architecture and reaping the benefits of both is a great step towards design futuring. In Design Futuring, Fry argues that, “Nature alone cannot sustain us... We have become too dependent upon the artificial worlds that we have designed, fabricated and occupied.” 5 He makes a very valid view that it is inevitable for us to stop building but what we can do now is to encourage sustainable design and change our attitudes and the way we design to secure a greater future.

“Nature alone cannot sustain us... We have become too dependent upon the artificial worlds that we have designed, fabricated and occupied.” 5


Fig. 6 Nanyang Technological University Art, Media and Design Building, CPG Consultants, Singapore, 2006 (top)

Fig. 7 Marina Barrage, Singapore, 2008 (bottom)


a.2 design computation

Architectural design has evolved from representation using the pen and paper to 3D modelling in the digital realm over the years. In today’s practice, it is undeniable that computers are necessary tools for architectural design and communication.

The following paragraphs describe how computing and computers affect four aspects of architecture - problem analysis, form generation, performance-based design and communication.6 In addition, references will be made to two case studies in particular, the Al Bahr Towers, in Abu Dhabi by Aedas and the ICD / ITKE Research Pavilion, by ITKE University of Stuttgart in Germany.

1. problem analysis

Computers play a great role in changing the way we conduct background research and analysis. It is not surprising for architects to be using computer programmes such as Building Information Modelling (BIM) with sun path diagrams to ascertain the ideal orientation of the building and its facade treatment. This is a more efficient way of analysing building forms, orientation and seasons as values can be easily manipulated to provide a detailed and comprehensive study of how external conditions will affect the building throughout the year. This graphic form of analysis is advantageous over traditional methods of calculations as computers are highly efficient in organising and processing data and transforming them into graphic representation that can be easily understood. In addition, we can obtain resources from the huge database available online for instance soil information, aerial photographs, historical background which would not be obtainable through a typical site visit. These information can be layered to provide a more comprehensive understanding of the site.

Fig.8 Studio 2 Relational Architecture, 2006-2007 (left)

Fig.9 Building Information Modelling Sun path diagram, Autodesk (top)


2. form generation

“Parametric design is the new form of the logic of digital design thinking.” 7

By changing algorithms and through scripting, we are able to control and influence the form generation, the performance as well as the materiality and fabrication of the design.

For example, The ICD / ITKE Research Pavilion 2011, by ITKE University of Stuttgart, Germany analyses the principles behind a sea urchin’s plate skeleton to develop the structure of the pavilion. 8 Computation has enabled more complex forms and geometries to be conceived that cannot be easily expressed through traditional sections and plans. Modelling in the 3D world provides greater opportunities for the architect and it is a quick way of visualising and communicating a design. Furthermore, the geometry can be broken up into parts by using grids and panelling tools and depending on the choice of material and the aesthetics. These parts can then be sent for fabrication and be pieced together to create the overall form.

This streamlines the whole construction process as parts are already fabricated according to dimensions and specifications and only assemblage is required on site. Furthermore, this helps to reduce material wastage and also leaves less room for calculation and production error.

Fig.10 and Fig 11. ICD/ITKE Research Pavilion, 2011, ITKE University of Stuttgart (above and below)


3. performance-based design

Computers can be programmed to control building operations to maximise efficiency. In Abu Dhabi, the facade of Al Bahr Towers are linked to the building management system which affects its response to external climatic conditions. The triangle panels of the facade are parametrically designed with the ability to increase or decrease in size throughout the year to minimise heat and glare. This decreases the energy demands on the building which makes it more sustainable. 9

Despite being so highly reliant on digital design technologies, the Al Bahr Towers is actually inspired by the humble ‘mashrabiya’, a traditional Islamic shading device made of carved woodwork. 9 Hence, making a point that digital architecture can harmonise with culture and traditional architecture to maintain its relevance within its social and environmental context.

4. communication

Lastly, computer programmes can be used for communication to the client and to builders of a project. Renders of 3D models give clients a perspective view of the space and it is easy to change the angle, orientation, materials in our renders as compared to a traditional hand-drawn perspective. Furthermore, construction drawings on AutoCAD drawings facilitate communication between architects and engineers as they can be easily transferred and edited.

“Digital linkage of form generation and performative form finding that is the significance of digital deisgn informed by performance.” 6


Fig.12 Al Bahar Towers, Abu Dhabi, Aedas, 2008-2014 (above)

Fig. 13-14 Al Bahar Towers facade Abu Dhabi, Aedas, 2008-2014 (bottom left)

Fig. 15 Mashrabiya (bottom right)


a.3 composition/generation

from composition

Architecture has once again managed to break through its formal capacities, moving away from orthogonal and linear surfaces to more complex curvilinear surfaces, non-Euclidean geometries and folding in architecture. This success is made possible through 3D modelling software programmes, such as Non-Uniform B-Spline (NURBS) which enables the calculation and representation of geometries that were unconceivable through traditional methods.10 Hence, opening the realm of possibilities of architecture in terms of formal composition.

Composition in digital architecture means creating a preconceived design by traditional means such as sketching and physical modelling and only using computation for a more precise representation and fabrication. An example of composition is the Walt Disney Concert Hall by Frank Gehry - its form was first designed through physical models and sketches before being transferred into the digital realm. These sketch models were accurately represented digitally and modified based on the material properties and calculations.10 After all structural issues and fabrication methods were resolved through testing and prototyping, construction can then proceed. Hence, in composition, digital tools are only used to aid in the representation and construction and form is still determined by the architect through traditional means.

to generation

In recent years, digital architecture has progressed from compositional to generative design. This shift is a result of algorithmic design thinking and parametric modelling.

“Algorithm describes how the function is computed, rather than merely what the function is.”11

Algorithms are fixed rules which can be applied to a set of objects.11 For instance, if we want to draw a circle in Rhino or Grasshopper, the specification of the radius, a centre point and the circumference is the algorithm. There are also other ways to achieve the circle, hence different algorithms may be applied.

Parametric modelling involves a relationship between objects and parts.10 Instead of considering fixed values or functions, it studies the relationships between objects and changes in one component will have flow-on effects on other parts.

Algorithms and parametric modelling are digital tools that can be used in generative design. Generative design is form finding process instead of a form making.10 In generative design, the algorithm is the focus and the form is a result of combining external forces with internal (structural/material) considerations.

Fig.16 Walt Disney Concert Hall sketch, Frank Gehry (left)

Fig. 17 Walt Disney Concert Hall, Frank Gehry, Los Angeles, 2003 (right)


generative design - the good

performance-based design

Generative design has enabled us to maximise efficiency in our buildings and to create more sustainable buildings.12

This is achieved by using computers to process climatic data, plot sun path diagrams and calculations before the design stage. After which, based on the data, the form will be generated in response to these external conditions to ensure that the building is performing optimally and is responding well to the environment.

This method is better than compositional design whose form may not be directly responsive to the site conditions because it is based on speculation rather than a comprehensive calculation. Hence, any additional measures to make the building more sustainable may be less efficient than the former.

Fig.18 Port Authority Bus Terminal, Greg Lynn, New York

architecture representing dynamic stimulation

Dynamic stimulation signifies a process such as gravitational forces, collision and obstacles.10 They cannot be quantified but their effects can be seen through the way the parts behave in relation to one another. Such conditions can be stimulated by point attractors and creation of fields. In this case, the site forces are translated into dynamic stimulation which affects the form of the building. An example would be the Port Authority Bus Terminal in New York, by Greg Lynn. Particle systems are utilised to visualise gradient of fields that represent circulation of people and transportation on site.10

Hence, generative design allows us to map out elements, understand their patterns in terms of particles and then create a form that best reflects this behaviour.

“Generative design is form finding process instead of a form making.” 10


generative design - the bad

1. lack of originality

As architects are using the similar programmes and digital tools around the world, it is highly likely that designers may be using the same few panellising tools, resulting in similar looking buildings all over the world. Panelling tools and standardised algorithms may be conveniently used in design projects for its ease in fabrication. This over reliance on technology stifles the architect’s creativity as he will be more inclined to reuse these trial and tested templates instead of searching for new inspiration and ideas from nature or architecture theory. For example, the Voronoi tool is a popular choice among designers and architects as can be seen in the Times Eureka Pavilion, by Nex Architecture and a couple of furniture design projects. It will be worrying when designers solely rely on these tools instead of their imagination and skills.

2. fabrication and materiality

Digital architectural design and production bridges the gap between architect and the builder as the architect is more involved in the fabrication process. However this process may decrease the architect’s understanding of materials as everything is CNC milled or laser cut and the architect does not interact with the materials directly. For example, in the Times Eureka Pavilion, pieces are being cut out by the CNC miller with labels and all that is left is the assembly. Hence, the architect will miss out on design opportunities that can only be obtained through tactile act of handling the materials. In addition, digital fabrication is limited to certain materials and techniques. This results in the dying of craft trades such as wood and stone carving and a loss of place-specific materials and skills that reflects a country’s culture and history.

Fig.19 Times Eureka Pavilion, Nex Architecture, London, 2011 (left)

Fig. 20 Voronoi shelves, Hopf Nordin (right)


a.4 conclusion

In conclusion, Part A discusses how computation has become more prevalent and has changed the way the way we think and design in architecture. Computation enables the architect to stimulate forces and mimic nature to generate interesting forms. In addition, constraints can be factored into the design through algorithms which would influence the form. Thinking algorithmically shifts the focus of architecture from form to studying relationships between parts and objects. Parameters can be modified based on constraints (materials, site, construction) to create a resultant design specific to the conditions and situations. One of the advantages of parametric modelling is that one can view and edit one parameter and the entire design will be automatically updated because it works as an explicit history. This makes it convenient for changes to be made to the design. Once the form has been decided upon, these geometries can be broken down into components that can be fabricated, bringing the architect closer to a master mason once again.

the way forward

In the LAGI project, I hope to create spaces where people can interact with the installation as opposed to it being a static structure. When approached by a visitor, the structure can have a response and this could vary with the addition of more people as seen in the Deep Walls project by Scott Snibbe. This positive response generated by the actions of people can contribute to the artwork. I hope this idea will promote interaction among people and drive the message of a collective effort towards sustainability.

As Copenhagen experiences 17 hours of daylight in summer but only 7 hours in winter, it would be useful to analyse how the parameters of the design can be tweaked in summer and in winter to respond to these changes. For instance, in winter, the size and number of the solar panels can be increased to match up with the amount of solar output it can produce in summer.

Based on my research, the solar technologies that I found interesting are solar pond, thin film photovoltaics and thermal concentrated panels. The solar pond allows electricity to be generated based on the difference in salinity and temperatures of water. It would be a stimulating project to explore how huge quantities of water can be stored and linked to the surrounding river. Moreover, it would be exciting to think about how people can move across and interact with the water. Secondly, the thin film photovoltaic cells are flexible to work with as they are translucent and can be rolled onto any surface. This gives me greater freedom to explore structure and digital tools without being restricted by the solar generation technology. Lastly, I can explore the use of regular grids and fixed patterns over a surface for the thermal concentrated panels as the dimensions of these plates are rather standardised. 13

Fig.21 Deep Walls, Scott Snibbe,2003


a.5 learning outcomes

I feel that my understanding of architectural computing has widened through the readings in theory as well as the practical experience of using Grasshopper. I am now more compelled to find out more on buildings that utilise digital tools, from their form generation to the considerations in the construction process. In the past, my knowledge of digital architecture was limited to using software programmes to create panels for fabricating a complex geometry. Little did I know that we could come up with a list of factors and input this data to generate a site specific form. This moves away from composition to computation in architecture and the form is no longer the main importance of the design. I really appreciate using algorithmic thinking in our design as it brings in more logic into design and allows to understand relationships between parameters and how to manipulate them. Furthermore, I also learnt to consider fabrication as part of our design process, for instance creating joints for manufacture.

introducing digital computation into studio earth project

In my Studio Earth Project, the walls of my building are created by infilling stones into the spacing between stud frames. The positions and size of the openings are determined by the use of space. For example, larger openings are created for a communal space and smaller openings are used for dark and secret spaces.

The design could be improved by placing point attractors at areas that I want to be the brightest and relating them to the size of the openings. This allows for a more systematic and logical conclusion for aperture sizes. The form of the panelling in this design could be further enhanced by using Grasshopper to model grids and cells as opposed to having perpendicular lines. Building the model would also be less laborious and time-consuming as the model can be unrolled and pieces be laser cut and assembled together.

Fig.22- 23 Studio Earth project model, Author’s own, 2014


a.6 appendix: algorithmic sketches

week 1: triangulation algorithms

I transferred an extruded curve from Rhino into Grasshopper and used populate geometry command to create random points on this surface. Then the 3D voronoi tool was then used to break up this geometry into smaller pieces. Instead of deleteing some fragments as shown in the tutorial, I decided to keep them and shift them out. They can be used as seats or landscaping elements that relates to the overall structure. What is left behind is a voronoi facade with openings and a curved wall which can be used as structural support.

week 2: curve menu

This is an adaptation of the arc tutorial whereby points along two curves are joint to form an arc. Instead of using an arc, I experimented with Bezier Span tool which allows me to create an S-shaped spline. I think this can be a canopy for people to travel underneath and solar panels can be arranged on the top of the surface as the grid is facing one direction. It would be an interesting experience for people to be able to view the solar panels from below and I can explore with various paneling effects on the roof.


week 2: curve divisions and cross reference

The following two algorithmic sketches show my explorations with the cross refereence tool. Cross reference allows us to connect one point from parameter A to all the points in parameter B. I am intrigued by how this tool allows more complex patterns to be formed based on simple rules. I really like the resultant pattern formed by the overlapping lines.

The points of intersections between the lines can also be determined using the curve intersect tool to create a unique grid of points. In virtual environments, I made my analytical drawing by using a protractor to create a grid and then joining up lines to form a pattern between the points. Looking back, I think this process is rather time-consuming, less accurate and difficult to modify. Grids had to be redrawn to achieve multiple iterations and development. Through the use of computation, parameters like number of division points, lengths of lines/arcs can be manipulated easily to change the pattern. Hence, moving designing towards relationships between parameters rather than a static creation.

These line works can also be useful in creating tensile structures whereby forces can be calculated and loads be distributed evenly to various points of the support.

Fig. 24 Analytical drawing for virtual environments, Author’s own, 2013


week 3: gridshell

This last algorithmic sketch is based on the gridshell tutorial whereby three circles are divided into points and arcs are being formed by joining a point in each circle together. I think this technique is suitable for weaving elements together. In doing so, one must understand the bending properties of materials well and consider the joinings between pieces.


sources

1. Josef Pesch, ‘Frank Gehry’s “Ginger and Fred” in Prague’, (Kunst & Kultur 4.5 (Juni/Juli/August 1997): pp. 14-17.) <http://lava.ds.arch.tue.nl/gallery/praha/tgehryen.html> [accessed 4 August 2014].

2. Schumacher, ‘Introduction: Architecture as Autopoietic System’, A New Framework for Architecture, 2011, 1-28, p. 5.

3. Aric Chen, ‘Case Study: Nanyang Technological University’, Green Souce - The Magazine of Sustainable Design, May 2009, <http://greensource.construction.com/projects/2009/05_Nanyang-Technological-University.asp> [Accessed on 5 August 2014].

4. PUB Singapore’s National Water Agency, <http://www.pub.gov.sg/Marina/Pages/3-in-1-benefits.aspx#la> [Accessed on 5 August 2014].

5. Tony Fry, ‘Introduction’, Design Futuring, Sustainability, Ethics and New Practice (2009), 1-16, p.3.

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

7. Issa, Rajaa ‘Essential Mathematics for Computational Design’, Second Edition, Robert McNeel and associates, pp 1 - 42

8. Shinpuru, ‘Parametric Wood Architecture, Germany’, Real WoWz, 2012 <http://www.realwowz.net/2013/03/parametric-wood-architecture-germany.html> [accessed on 12 August 2014]

9. Karen Cliento, ‘Al Bahar Towers Responsive Facade/Aedas’, (archdaily, 2008-2014) <http://www.archdaily.com/270592/al-bahar-towers-responsive-facade-aedas/> [accessed on 12 August 2014]

10. Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) [accessed on 15 August 2014]

11. Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12 [accessed on 15 August 2014]

12. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 [accessed on 15 August 2014]

13. Ferry, Robert & Elizabeth Monoian, ‘A Field Guide to Renewable Energy Technologies’’, Land Art Generator Initiative, Copenhagen, 2014. pp 1 - 71

references


references

images

Figure 1, 22-23: Author’s own, ‘Studio Earth project model’, 2014

Figure 2: Author’s own, ‘Studio Earth project plans and sections’, 2014

Figure 3: Graemeeyre.Info, ‘Beijing Olympics’, 2009 <http://graemeeyre.info/?p=137> [accessed on 6 August 2014]

Figure 4: csparkman, Design Research Seminar, ‘Tschumi’s Villette’, 2011 <http://drscsparkman.files.wordpress.com/2011/12/lavillette.jpg> [accessed on 6 August 2014]

Figure 5: Michelle Potter, ‘Fred and Ginger – by day’, 2009 <http://michellepotter.org/news/fred-and-ginger-in-prague/attachment/fred-and-ginger-2> [accessed on 6 August 2014]

Figure 6: Carla D’Errico, ‘Top Green Roof Designs’, 2010 <http://buildipedia.com/aec-pros/design-news/top-green-roof-designs?print=1&tmpl=component> [accessed on 6 August 2014]

Figure 7: M Clara Wresti, ‘Singapore Marina Barrage’, 2013 <http://travelerguidance.blogspot.com.au/2013/01/singapore-marina-barrage.html> [accessed on 6 August 2014]

Figure 8: ‘Studio 2, Relational Architecture’, (Shelffield MArch Studio 2 - 2006/2007) <http://studiotwo.wordpress.com/category/process-work/> [accessed on 12 August 2014]

Figure 9: Autodesk, ‘Ecotect: Shading Masks and Calculations’, (Autodesk, Autodesk Sustainability Workshop, 2011) <http://sustainabilityworkshop.autodesk.com/buildings/ecotect-shading-masks-calculations> [accessed on 12 August 2014]

Figure 10-11: Shinpuru, ‘Parametric Wood Architecture, Germany’, Real WoWz, 2012 <http://www.realwowz.net/2013/03/parametric-wood-architecture-germany.html> [accessed on 12 August 2014]

Figure 12-14: Karen Cliento, ‘Al Bahar Towers Responsive Facade/Aedas’, (archdaily, 2008-2014) <http://www.archdaily.com/270592/al-bahar-towers-responsive-facade-aedas/> [accessed on 12 August 2014]

Figure 15: Maryam M., ‘Arabesque/Marshrabiya’, (Pinterest) <http://media-cache-ec0.pinimg.com/236x/55/7d/c1/557dc151326d65252685aaa1a5a2ca45.jpg> [accessed on 12 August 2014]

Figure 16: ‘Learning from Frank Gehry... Chapter 1, His design tools’ (Someone has built it before, 2011)http://archidialog.com/2011/10/24/learning-from-frank-gehry-chapter-1-his-design-tools/

Figure 17: Wikipedia, ‘Walt Disney Concert Hall’, (Wikipedia, 2014) http://en.wikipedia.org/wiki/Walt_Disney_Concert_Hall [accessed on 15 August 2014]

Figure 18: ‘Triple Bridge Gateway to 9th Avenue’, (Basilisk) http://www.basilisk.com/P/portauthority_561.html [accessed on 15 August 2014]

Figure 19: Michal Piasecki, ‘NEX Architecture: Times Eureka Pavilion’, (Michal Piasecki, 2011) http://michalpiasecki.com/2011/05/16/nex-architecture-times-eureka-pavilion/ [accessed on 15 August 2014]

Figure 20: ‘We create Berlin Interview: Nopf, Nordin’, (minimum blog,2013) http://www.minimumblog.com/author/admin/page/4/ [accessed on 15 August 2014]

Figure 21 Brandon Brauer, ‘Art/React - Interactivity in recent art installation’, (Art 245: Screenings, 2011) http://lawrencenewmedia.blogspot.com.au/2011/05/act-react-interactivity-in-recent.html

Figure 24: Author’s own, ‘Virtual environments analytical drawing’, 2013

references

28 CRITERIA DESIGN28 CONCEPTUALISATION

CRITERIA DESIGN 29CRITERIA DESIGN 29

part b: criteria design

30 CRITERIA DESIGN

b.1 research field

biomimicry

Nature has existed in this planet way before human civilisation and it still continues to grow and evolve. But how do these organisms survive and live harmoniously with the system? What are the underlying principles and processes behind their behaviours? How do they react to external changes and adapt themselves for survival?14 A lot can be learnt by studying natural processes and incorporating these principles into design.15 This process is biomimicry. In recent years, research has been put into biomimicry to generate engineering solutions, stimulate performance-based buildings, optimise energy use, creating new materials to improve the way we design.14

“There is no universal theory of pattern formation in nature.”16 Despite being able to do the mathematics and computer stimulation, we are unable to accurately determine how a pattern is formed in nature because of the many overlapping factors and anomalies. Nonetheless, there are some basic principles that organisms use to achieve efficiency and to perform their functions which are - the universality of basic forms (hexagons, spirals, fractals), fixed thresholds which exceeding it results in a disturbance, and maintaining an equilibrium against two driving forces.16

Biomimicry is not merely mimicking the form but to understand the underlying processes and systems behind it.16 In the example of flocking, birds follow three simple rules - separation (short range repulsion), alignment, cohesion (long range attraction).17 By adhering to the rules and through interaction with other birds, they get to self-organise and in the process, create an emergent behaviour (V-shaped formation). Hence, ‘this illustrates how spontaneous patterning is a general property of complex systems of many components, interacting via local rules which are often relatively simple’.16

Fig.25 Fibonacci Sequence in a Sunflower

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20 bridges for central park, aranda lasch, new york, 2011.

These rules can be brought into digital modelling through parameter tools such as point attractors, voronoi, golden ratio, vector directions... giving designers the freedom to manipulate parameters to generate their own set of algorithms. In Aranda Lasch’s 20 Bridges for Central Park, he specifies a set of general rules and the resultant design is formed by the relationships between parts.18 Hence, the outcome is unpredictable and this generative design process is similar to emergent behaviour observed in nature.

Fig.26 Flocking pattern observed in birds

“Biomimicry is not about merely mimicking the form but to understand the underlying processes and systems behind it.” 16

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Fig.27 Rules for bridges in Central Park, Aranda Lasch, 2011 (above)

Fig.28-30 Models for bridges in Central Park, Aranda Lasch, 2011 (right)

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airspace screen, faulders studio, tokyo, 2007.

Apart from rules, processes can also be inspired from nature. In the Airspace Screen by Faulders Studio, the analogy of the tree is used consistently throughout the design project. One interesting feature of this project is the layered redundancy of the facade. Instead of having a single wall, layered surfaces are used. This mimics the tree canopy with multiple layers of leaves that is never enclosed but still shelters the understorey from rain. Furthermore, a cellular irregularity and a play in solid void density is used to customise views and to control sunlight entering the rooms. Wind loads can be absorbed by a pliable mechanism that oscillates and dampens the force similar to how a tree has flexible trunks that allows it to sway with the wind. Lastly, rainwater is channelled out to pavements via gravity and capillary action.19 Therefore, from this example, we can learn how the structure and characteristics of organisms are adapted to perform its function and respond to external conditions to achieve optimal efficiency.

Fig.31-32 Airspace Screen, Faulders Studio, Tokyo, 2007 (top and above)

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Fig.33 Airspace Screen, Faulders Studio, Tokyo, 2007 (above)

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icd/itke research pavilion 2011, icd,itke and university of stuttgart, stuttgart, 2011

The ITKE Research Pavilion is inspired by the skeleton of the sand dollar, a particular type of sea urchin. The sand dollar’s skeleton is made up of modules of polygons joined together by finger-like calcite protrusions, producing an efficient and stable system. Hence, this project incorporates the elegance and performance of the sand dollar into the form and connection of the pavilion.20

The pavilion consists of varying sizes of hexagonal modules in response to the applied stresses and loads at different points. Three plates touch only at a point, eliminating bending moments while allowing shear and normal forces to be transferred along the plates. The thin sheets of plywood plates are connected to one another by finger-joints which is highly similar to the finger-like calcite protrusions of the sand dollar.20

Construction of plates and joints are fabricated by the university’s robotic fabrication system, resulting in a double shell structure with a porous interior and arc shaped openings for circulation.20

Fig. 34 The sand dollar (sea urchin) (above top)

Fig. 35 Finger joints in ICD/ITKE Research Pavilion 2011. ICD/ITKE and Univeristy of

Stuttgart, Stuttgart, 2011 (above)

Fig 36 ICD/ITKE Research Pavilion 2011. ICD/ITKE and Univeristy of Stuttgart, Stuttgart, 2011 (right)

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Kolaveric et al argue that the re-emergence of ornamentation is due to opportunities provided by digital design tools and fabrication.21 In the ITKE Research Pavilion, a functional approach is used in ornamentation. The hard solid exterior frame shields users from harsh external conditions while providing structural support. Instead of proposing a solid interior frame, the students decided on perforations to reduce self weight as well as facilitate installations of lights. This slight variation in between interior and exterior shell creates an interesting visual affect and provides a new experience for users. This project can be argued to be highly successful in terms of biomimicry principles and exhibits a balance between monotony and complexity in patterning.

The ITKE Research Pavilion demonstrates a creative way of looking into nature and drawing these biological principles into architecture. As quoted by Benyus, when we are searching for a solution to a problem, it is worth asking ourselves ‘How does nature solve this?’.14

The finger-like calcite joints of the sand dollar are cleverly adapted to finger joints used in carpentry in response to the large scale and use of plywood material for the pavilion.

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b.2 case study 1.0

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Fig.37- 39 The Morning Line, Aranda Lasch, Spain/Turkey/Austria/Germany (left)

Fig. 40-41 The Morning Line Modelling, Aranda Lasch, Spain/Turkey/Austria/Germany (above )

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the morning line, aranda lasch, spain/turkey/austria/germany.

The Morning Line project is made up of lines forming a network,like a line drawing in space with fractals that make up the base geometry.

Despite its complexity, the project can actually be broken down into a series alogirithms which can be manipulated to achieve a variety of effects.

The diagram on the right shows the breakdown of the designing process and the following pages includes various iterations and explorations. 2.4 unrolling + arrangement of fractals

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2.1 manipulating geometry - creating polygons with n sides

2.2 scaling, rotating and trimming

2.3 drawing frames on surfaces

2.4 unrolling + arrangement of fractals

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using my own geometry (a box) as an input

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2.1 manipulating geometry - creating polygons with n sides

n = 3 n = 4

n = 5

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scaling by a factor > 1 outward growth

scaling by a factor of 0.5 triangles divided to form smaller triangles instead

scaling by a factor of 0.33 one third width of triangle forming a heaxgon

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scaling by a factor > 1 outward growth

rotation of scaled triangles around a pivot

negative scaling factor

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scaling by a factor of 0.5 on the vertices

scaling by a factor of 0.5 on the edges


scaling by a factor of -0.2 on the edges

scaling by a factor of -1.2 on the faces

scaling by a factor of -0.2 on the vertices

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scaling by a factor of 0.2 on the vertices and trimming

The centre of scaling can be changed among (vertices, faces and edges) of the polygon to achieve scaled breps at different positions.

The scale factor can also be varied. The polygons on the top are created using a positive scaling factor which results in scaling of the geometry inward. The polygons on the bottom of the page are created using a neagtive scale factor that results in the scaling of the geometry outwards.


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connecting midpoints on edges with polylines

connecting midpoints on edges with bezier curves

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2.3 drawing frames on surfaces

connecting midpoints on edges using kinky curve

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uniform scaling and moving in z-direction

exponential scaling in z-direction and moving in y-direction

non-uniform scaling in z-direction and moving in y-direction

non-uniform rotation around a point

uniform rotation around a point

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non-uniform scaling in z-direction and moving in y-direction

unrolled surfaces and offseting curves to form frames

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kaleidoscope, segments=5, xy plane

kaleidoscope, segments=10, xy plane

kaleidoscope, segments=5, yz plane

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polar array, angle=2 radians

polar array, angle=4 radians

transform 2 rows of polygons in y direction, trimming the overlapping areas

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curve array using multiple curves

rectangular array

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curve array using a single curve

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Fig.42 Driftwood Pavilion, Architectural Associarion, 2009, London

driftwood pavilion, architectural association, 2009, london

The Driftwood Pavilion consists of trimming a solid against a series of offset curves which are extruded. The split surfaces are then deleted selectively to create undulating surfaces. These surfaces are held together by hidden frames within the structure.

I will exploring the possibilities of using the polygon created from the Aranda Lasch’s project to trim against a series of curves.22

the morning line + driftwood pavilion

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trimming a solid (from the aranda lasch’s morning line) against a series of extruded curves)

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base set of extruded curves

varying the height of extrusions by 0.2 and deleting selected surfaces

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trimming surfaces with geometry using a constant curve height

varying the shape of the curve

trimming surfaces with geometry using curves of varying heights

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the brief

The brief states that solar energy must be generated on site. I would like to use solar ponds to generate electricity for Copenhagen. As the temperatures at the bottom of the solar pond is around 100°C, this surrounding thermal heat can be used to create hot springs on site. I would like to create multiple hot springs of different temperatures scattered around the site so my explorations was mainly focused on transformations and variations in geometry to experiment how different pools can be situated on site.

selection criteria

Hence, the forms selected on this page are based on the criteria of creating visual interest, transformation, structure, further application and construction.

visual interest: the interlocking geometries and the openings on the surface

transformation: moving geometry by a specified distance in the y-direction.

structure: each individual ‘hut’ can represent a private cubicle pool. the entrance is quite interesting as it is formed by the trimming of the same module offset in the x-direction.

further application: layers can be stacked above one another to form a wall.

construction: can be made up of thin timber posts with interlocking with one another to form a weaving effect.

visual interest: the layering effect of extruded curves.

transformation: scaling and vertical displacement upwards.

structure: the shape is similar to a pool, hence this structure can be inverted to form a pool that decreases in area as depth increases.

further application: treating the whole structure as a building, the focus will be placed on the vertical curved walls. which forms a layering effect and emphasis can be placed on the central top opening (dome with a skylight above)

construction: strips of foldable materials, can consider using steel. for the hot spring, the material selected should be able to withstand high temperatures.

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visual interest: light-hearted, playfulness, whimiscal nature.

transformation: negative scaling, breaking the boundaries of the fixed geometry.

structure: symbolises growth from a centre core in a systematic way.

further application: non-habitable space such as installations. elements connected at a node and can freely rotate with the wind.

construction: -

visual interest: free and random population of modules.

transformation: scattering of the same module along a curve

structure: the relationships among individual elements makes up the overall geometry. individual elements stand alone however when considered in a broader context, they come together to create a pattern.

further application: scattering of modules along a curve can inform patterns across a landscape

construction: using standardised components to fabricate modules and precise locations of the module should be accurately determined.

Fig 43 ICD/ITKE Research Pavilion 2011. ICD/ITKE and Univeristy of Stuttgart, Stuttgart, 2011 (right)

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b.3 case study 2.0

grid of hexagons for inner shell of pavilionprojecting hexagons on a lofted surface

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My first attempt in reverse engineering was the ICD/ITKE Research Pavilion 2011. The structure of the pavilion was made through a tedious process of dividing points on a surface, selecting two points to draw a arc and subsequently creating a two rail sweep of the arcs against the curves.

Hexagonal grids are then projected to form the pattern on the inner shell however, they tend to warp and distort near the base as the surface gets steeper. For the external shell, I extruded the hexagons to a point but failed in trimming them.

I ultimately gave up reverse engineering this project due to its complexity as the use of Kangaroo plug in is required to inflate the hexagonal grid of points.

two rail sweep and offset to create inner and outer dome

attempted patterning of inner and outer shells

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b.3 case study 2.0

maple leaf square canopy, united visual artists, 2010.

Nature is never static, it is constantly growing and reacting to its surroundings. Likewise, designers shifting away from a static building to one that is responsive to external conditions to increase its performance. This can be achieved by computational modelling and programming. The Maple Leaf Square Canopy by United Visual Artists consists of identical panels abstracted from leaves, stimulating the cell activity inside a leaf. In the morning, daylight is filtered into the streets and at night, artificial lights illuminate the grid. The artificial lights light up and die across the grid, their survival determined by the amount of energy passing through the surface, which creates an organic effect.23

This project is generated by tessellating pentagons on a 2D surface and I presume that there is a base grid of points and lines are connected to the points based on some algorithms.

Fig.44-45 Maple Leaf Square Canopy, United Visual Artists, 2010 (above)

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analaysis of pattern

I tried to find patterns that would inform how these tessellations came about before attempting to recreate them in grasshopper. The list below shows some of these considerations.

1) repetition of a larger unit - I identified three possible units (highlighted by the white boxes above) which can be repeated to form the pattern. Within each unit itself, pentagons can be formed by trimming or evaluating points on a curve.

2) centre point of pentagon - the centre point of the pentagons are marked out in red and I used these points to understand how an underlying grid can be used to create the pentagons.

3) end points of pentagon - similar to the centre point of the pentagon, I tried to establish a relationship between the boundaries of the pentagons.

Fig.46 Maple Leaf Square Canopy, United Visual Artists, 2010 (above)

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trial 1: drawing polyline between 5 points and using vectors to control the direction and distance of the points

The vectors can be manipulated to change the shape of the pentagons and to achieve interesting effects.

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trial 2: creating a circle, dividing the circle into five points and joining them up to form a polyline. pentagons are then moved and rotated.

I realised that creating pentagons and trying to rotate them is highly inaccurate as the pentagons do not fit exactly to create a continuous pattern. Hence, grids should be used instead to ensure that the lines meet up coherently.

trial 3: creating a single pentagon and rotating it by 90degrees

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trial 4: establishing a grid for the pentagons

I tried to use culling patterns to choose selected points for drawing pentagons but I failed to get the exact group of points that I require.

trial 5: using a triangle grid and drawing polylines to midpoints

A pattern is starting to emerge however the geometries were

restricted to three or four edges and pentagons could not be created.

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trial 6: using a hexagonal grid and the evaluate curve command to form lines between different segments of the curve

An attempt is made to create polylines between different segments of the hexagon. Initially, I wanted to create lines that intersect the hexagon but I failed to create a proper list item to select the points. However, the final outcome is rather unexpected and nonetheless, maybe useful. The offsets around hexagons can be fabricated and by changing the curve evaluate parameter, thickness and angles of the offset can be varied.

evaluation

Based on my trial and error processes, I deduced that this pattern should be made up from a grid to

ensure that pentagons are connected to one another. Evaluate curve and list item is used to connect polylines along various positions of the curve.

I realised that the pattern of the maple leaf canopy square maybe simple but creating a set of algorithms for it is not easy. The process requires

a lot of mathematics, logical deduction and understanding of geometries. In addition, one

needs to know how to manipulate data structures effectively to retrieve specific items from the list.

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b.4 technique: development

Based on some research, I realised that the patterns on the Maple Leaf Square Canopy actually follow the Cairo tesselleations, an arrangement of pentagons with unequal edges. The picture below is a Cairo tessellation.

The grasshopper definition for the Cairo tessellations is shown on the right with labels (1-7) showing the iterations made.

Fig.47 Cairo tessellations (above)

1

5 6

varying surface divide points

Fig.48 Grasshopper code for Tatami-Cairo- Diagrid tessellation by Co-de-iT (above)

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2

3

3 changing polylines to arcs

4

4

evaluation of curve instead of midpoints

5

6 7

varying transition value

6

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vector diagram

The following images show the step by step breakdown of how the project is conceived using grasshopper.

Step 1: Divide a surface into u and v points.

Step 1: Find the midpoint between points in List 1 and List 2.

Step 2: Create two separate lists of alternating points - List 1 and List 2.

Step 4: Draw a vertical line between List 1 and List 2.

Step 6: Draw lines to link up the points in Step 5 to the end points of the grid.

Step 5: Create a curve evaluator between the points such that the position of the points can be altered along the line.

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Step 8: Repeat Steps 2-7 but this time in the horizontal direction.

Step 7: Final outcome from the following steps.

Step 9: A double grid of hexagons are formed one over the other.

Final outcome of Cairo tessellation

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1. varying number of points of surface divide

u = 7, v = 7

u = 11, v = 7

u = 10, v = 6

u = 10, v = 9

u = 11, v = 11

2. varying transition value (0<t<0.5)

When u = 11, v = 11

t = 0

t = 0.125

t = 0.250

t = 0.375

t = 0.500

When u = 10, v = 10

t = 0

t = 0.125

t = 0.250

t = 0.375

t = 0.500

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3. changing two polylines into two arcs

When u = 11, v = 11 When u = 10, v = 10

t = 0

t = 0.125

t = 0.250

t = 0.375

t = 0.500

t = 0

t = 0.125

t = 0.250

t = 0.375

t = 0.500

4. changing four polylines into four arcs

When u = 11, v = 11 When u = 10, v = 10

t = 0

t = 0.250

t = 0.500

t = 0

t = 0.250

t = 0.500

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5. evaluation of curve on two polylines instead of midpoints (for t=0.25)

When u = 11, v = 11

c1 and c2 = 0.25

c1 and c2 = 0.50

c1 and c2 = 0

When u = 10, v = 10

6. evaluation of curve on four polylines instead of midpoints (for t=0.25)

c1 and c2 = 0.25

c1 and c2 = 0.50

c1 and c2 = 0

c1 and c2 = 0.25

c1 and c2 = 0.50

c1 and c2 = 0c3 and c4 = 0

c3 and c4 = 0.25

c3 and c4 = 0

c1 and c2 = 0 c3 and c4 = 1

When u = 11, v = 11 When u = 10, v = 10

c1 and c2 = 0.25

c1 and c2 = 0.50

c1 and c2 = 0c3 and c4 = 0

c3 and c4 = 1

c3 and c4 = 0.25

c1 and c2 = 0 c3 and c4 = 1

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7. evaluation of curve on four polylines instead of midpoints (for t=0.5)

When u = 11, v = 11

c1 and c2 = 0

c1 and c2 = 0c3 and c4 = 0.5

c3 and c4 = 1

When u = 11, v = 11

c1 and c2 = 0c3 and c4 = 1

c1 and c2 = 0c3 and c4 = 0.5

selection criteria

organic in nature can be fabricated as two different meshes - one diagonal and one made up of arcs

interesting pattern formed that suggests movement and direction

I would like to achieve an organic form of patterning such that the original square grid becomes indistinguishable.

asymmetical patterning with pentagons of differing lengths and angles

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b.6 technique: proposal

water

My initial design inspiration came from water because I really like how water interacts and behaves, for instance how an initial agent is able to produce flow on effects such as waves and ripples which are governed by the laws of wave theory. I feel the patterns and movements produced by water is interesting and can serve as a inspiration for design ideas.

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solar ponds

After looking through the list of solar technologies, I decided to pick the solar ponds because it uses water to generate electricity. 24

The solar pond has two distinct layers of water, the top layer has a low salt content and the bottom layer has a high salt content. This makes the water at the bottom denser and heavier. When sunlight shines on the pond, the heated water at the base of the bottom remains trapped there due to its greater density and the heat will not rise up via convection currents and not be lost to the surroundings. Hence, the heated water at the base of the pond can be used to generate electricity and for industrial purposes as shown in Figure 50. 25

Fig.49 Solar pond technology from LAGI Field Guide for Renewable Energy (above)

Fig.50 Diagram showing the processes behind the solar pond technology (above)

advantages

The advantages of solar ponds are as follows:

1. No burning of fuel, reduces pollution. 2. Renewable resource. 3. Able to purify contaminated water. 4. Low cost per unit area of collection and good storage capacity. 5. Works 24hours day. 6. Functional in snow-prone areas like Copenhagen.

It is suitable for the LAGI brief as the site area is a large piece of flat land with sufficient space for installation of a large pond. In addition, the LAGI site is situated next to the Alantic Sea which serves as an ideal water source for the solar pond.

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solar ponds

The following images show examples of solar pond technology used throughout the world. The heated water has a variety of applications ranging from aquaculture, to refrigeration, desalination, textile production and dairy industry. One example that caught my attention was the Buhj Solar Pond that uses the heated water from the solar pond for industrial processes of the dairy.25

Therefore, this led me to consider how the heated water by the solar pond can lead to meaningful applications on site.

Fig.51 Buhj Solar Pond, TERI, India, 1995 (left)

Fig. 52 El Paso Solar Pond, University of Texas , 1983 (top right)

Fig. 53 Pyramid Hill Solar Pond, RMIT University, Geo-Eng Australia Pty Ltd and Pyramid Salt

Pty Ltd ,Victoria, 2000 (bottom right)

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Fig.54 Mornington Peninsula Hot Springs

design proposal: spas

This led to idea of building spas, jacuzzis and saunas on site that utilises the heated water generated from the solar pond.

heat2 (hot spas and solar ponds)

heat2 - a place to rejuvenate, enjoy views of the city and absorb the warmth of the naturally heated waters.

Heat from the sun is transferred to the solar pond and then to the spas. The square in heat2 represents how heat doubled up in two activities- spas and solar pond and together, they produce an exponential effect.

Another meaning of the word square is a place for gatherings for example Federation Square.

Fig.55 Aerial Image of Refshaleoen, Google Maps, 2014

Fig.56 Views from Reshaleoen to the city, Google Maps, 2014

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site analysis

The LAGI Site is in Copenhagen, Refshaleoen and it is a land reclamation area. I will focusing on views towards the city (Figure 56) when choosing locations for the spas, so that users can admire a great view while relaxing in the spas.

Furthermore, I will consider circulation pathways between two entries - the water taxi terminal and the main road.

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initial design concept

The diagram on the left shows the consideration of water flows across the various components on site. Water will flow in from the surrounding sea, get heated by the sun, then passes through filters to the spa. Another part of the heated water will be used to generate electricity.

The sketches below show the explorations of functional zoning and levels of the site.

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finalised design plans and sections

The following images show finalised plans taking into consideration the circulations, topography and views across the site.

According to the brief, the existing area used to be a landfill site with cement stabalisers. Hence, I would like to propose infilling the land and creating stepped terraces for the spas instead of excavation which may risk water contamination.

The location of the the saunas and spas relate to the position of the solar pond. As heat is lost by the pipes across the distance, I would like to propose placing the spas with a lower tempertaure at the top. Saunas are placed next to the solar pond as they are highest temperatures and can tap on the surrounding thermal heat of the solar pond.

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site model

The created the contours using grasshopper by scaling a curve. and I manually drew in the pond and spas. I am still working towards achieving an algorithm that can allow me to generate the form and location of the spas in relation to the contours. I could try exploring with the metaball function or field lines to generate curves.

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sectioning

The technique I explored for Part B is biomimicry. I did the Aranda Lasch project and I really like the subtle variation in a series of objects through transformation tools like move, rotate, scale. For reverse-engineering, I did the Maple Leaf Square Canopy project but I think that it is less relevant for the final project because its developments were more limited to a 2D pattern and I do not want to just place a facade over the building.

Hence the technique I will be adopting in my design is sectioning as I feel that it relates to waves. I would like to create a similar effect to the Banq restaurant such that people can relax in the spas and admire the dynamic ceilings.

Fig.57 Waves

Fig.58 Banq Restaurant, Office dA, 2009

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sectioning

I used the LMS definition with an image mapping to explore possibilities for sectioning of the ceiling. In this definition, the height of the points extruded are based on an image.

The input image I chose is the black and white functional zoning of my floor plan. In this case, functional areas such as the jacuzzi and the main lobby have been extruded upwards to create greater height so that users can have feel that greater space while engaging in activities and serves as a transition between the zones.

I have yet to explore the use of columns to further divide the zones as in the Banq Restaurant.

main lobbyjacuzzi

reception

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sectioning

This is another definition of sectioning provided on LMS that uses a curve with perpendicular frames that cuts through a surface and the intersection between the curve and the surface to form the sectioning strips.

Initially, I tried using curves for the input curve parameter but I realised that this results in strips that intersect one another because perpendicualr frames are created in all directions. Hence, I deduced that using lines would be a more practical option. The following images shows my explorations with cutting perpendicular frames through a sphere.

These strips in sections could be used as the walls for the equipment storage area as ventiliation is necessary for the equipments to prevent overheating. Hence, these sections with gaps between them are suitable as a form but further testing with prototypes on the materiality and connections have to be carried out first to determine its feasibility.

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sectioning

I also tested out sectioning on a curved surface to stimulate seating areas next to the spas. Using the existing definition, I realised that the strips are linear extrusions and would not provide an interesting variation across the site as shown on the left. Hence, I altered the definition to by moving the strips 1 unit away to and linked the end points of the curves to create surfaces ready for fabrication as shown below.

seating area

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1

2

applications on site

As mentioned in the previous pages, sectioning will be applied throughout the various structures on my site.

1. I will be creating strips for the walls of my building for storage of solar equipment.

2. The ceiling of the main building and the saunas areas will be divided into sections to create a dynamic effect. The exterior of the building and the walls will be plain and flushed to place the focus on the ceilings. And from the exterior, the building will look like a box and an unexpected experience will be created when one enters the building.

3. The seats and decks will populate the right hand side of the area to reduce its scale of the terracing (the base is 4m in height) and make it less daunting for the public. These would serve as resting areas for users of the spas and people waiting for the river taxi.

3

1

2

2

3

3

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materiality

I will be using fibreglass for the curved sheets of the ceiling as curves can be cut out of the material and it is less affected by moisture too.

For the storage building, metal or timber sheets would be preferrable and for the seats, I am currently considering using grass or timber.

I have yet to experiment with prototypes and the areas for consideration would be the spanning capacity of the member, column supports, connections.

b.7 learning objectives and outcomes

In conclusion, I feel that my design lacks algorithmic thinking and processes are still highly dependent on Rhino and sketching. The placement and the form of the building should be driven by algorithms instead of being conceived in the mind and merely using basic algorithms to create surfaces.

I realised that I should be working more algorithmically instead of already planning and zoning areas like a conventional studio and I should be striving towards taking a generative approach instead of a compositional one.

Fig.59: Materials for consideration - Decking/Turf

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week 4: field fundamentals

For this algorithmic sketch, I placed two fields within each other and tested out how the direction of the resultant vectors would be affected. I then related the magnitudes of the resultant forces at each point to the radius of circles to achieve the resultant pattern in below.

b.8 algorithmic sketches

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week 5: graph controllers

These sketches explore the use of equations and a culling pattern to generate a series of point locations. The delaunay edges and voronoi produce interesting effects and forms.

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week 5: evaluating fields

The following sketch is about placing point charges on a circle and controlling how these lines will bend using graph mappers. This stimulates the effects of trees swaying in the wind. This is a useful tool in creating multiple iterations of the same unit over a curve/grid of points. The movement of the curves can be along the x, y or z axis to achieve more dynamic variations.

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week 7: fractal patterns

This week’s video explore the use of recursive functions to generate repeated branching, I merged the curves with kinked polylines to create dynamic and random movement.

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week 8: voussoir clouds

Explorations of the voussoir clouds algorithms using a negative scaling in the z-axis to stimulating forces pulling upwards.

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sources

14. Janine Benyus, ‘Biomimicry in Action’, TED Talk, 2012 <http://www.biomimetic-architecture.com/2012/ted-talk-janine-benyus/> [accessed on 26 August 2014].

15. Biomimicry Institute, ‘What is Biomimicry?’, 2014, <http://biomimicryinstitute.org/about-us/what-is-biomimicry.html> [accessed on 26 August 2014].

16. Ball Philip, ‘Pattern Formation in Nature’, AD: Architectural Design, Wiley, 82 (2), March, (2012), pp. 22-27.

17. Wikipedia, ‘Flocking(behaviour)’, 2014, <http://en.wikipedia.org/wiki/Flocking_%28behavior%29> [accessed on 26 August 2014].

18. Aranda et al, ‘20 Bridges for Central Park’, Aranda\Lasch, 2014, <http://arandalasch.com/works/20-bridges-for-central-park/> [accessed on 26 August 2014].

19. Thom Faulders, ‘Airspace Surfaces: responsive mediation through layered redundancy’, Faulders Studio, 2008 <http://faulders-studio.com/LAYERED-REDUNDANCY> [accessed on 26 August 2014].

20. Institute for Computational Design ICD/ITKE Research Pavilion 2011, <http://icd.uni-stuttgart.de/?p=6553> [accessed 6 September 2014].

21. Kolarevic, Branko and Kevin R. Klinger, eds (2008). Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge), pp. 6–24

22. Mihai, ‘Architectural Assoication Summer Pavilion 2009: Driftwood’, freshome, 2014, <http://freshome.com/2009/07/09/architectural-association-summer-pavilion-2009-driftwood/> [accessed 6 September 2014].

23. Nico Saleh, ‘Maple Leaf Square Canopy/United Visual Artists’, archdaily, 2010 <http://www.archdaily.com/81576/maple-leaf-square-canopy-united-visual-artists/> [accessed on 26 August 2014].

24. Ferry and Monoian, A Field Guide to Renewable Energy Technologies, LMS Resources.

25. Ceylan and Omer, ‘Solar Ponds’, 2004 <http://webcache.googleusercontent.com/search?hl=zh-CN&q=cache:idiAOPfnCuoJ:http://www.physics.metu.edu.tr/~ecevit/projects/471projects/2004-5_1.semester/471-2004-1-SOLAR%2520PONDS,%2520%25D6MER%2520B%25DCY%25DCKKIDIK,%2520A.%2520CEYLAN%2520SERHADO%25D0LU,%25202004-1.ppt%2Bsolar+pond+bhuj+university+of+texas&gbv=2&&ct=clnk> [accessed on 1 September 2014].

references

CRITERIA DESIGN 101

references

images

Figure 25: Quran and Sunnah, ‘Fibonacci’, 2013, < http://www.salafiguiden.com/products/fibonac/> [accessed on 27 August 2014].

Figure 26: ‘Bird Flock’, Nova Science Now, 2014 < http://www.pbs.org/wgbh/nova/sciencenow/3410/03-ever-01.html> [accessed on 27 August 2014].

Figure 27-30: Aranda et al, ‘20 Bridges for Central Park’, Aranda\Lasch, 2014, <http://arandalasch.com/works/20-bridges-for-central-park/> [accessed on 26 August 2014].

Figure 31-33: Thom Faulders, ‘Airspace Surfaces: responsive mediation through layered redundancy’, Faulders Studio, 2008 <http://faulders-studio.com/LAYERED-REDUNDANCY> [accessed on 26 August 2014].

Figure 34: ChrisM, ‘Cloning As Sand Dollar DEFENSE! Why run & hide when you can divide?’, 2010, <http://echinoblog.blogspot.com.au/2010/08/cloning-as-sand-dollar-defense-why-run.html> [accessed 6 Septmeber 2014].

Figure 35-36, 43: Institute for Computational Design ICD/ITKE Research Pavilion 2011, <http://icd.uni-stuttgart.de/?p=6553> [accessed 6 September 2014].

Figure 37-41: Aranda et al, ‘The Morning Line’, Aranda\Lasch, 2014, <http://arandalasch.com/works/the-morning-line/> [accessed on 1 September 2014].

Figure 42: Mihai, ‘Architectural Assoication Summer Pavilion 2009: Driftwood’, freshome, 2014, <http://freshome.com/2009/07/09/architectural-association-summer-pavilion-2009-driftwood/> [accessed 6 September 2014].

Figure 44-45: Nico Saleh, ‘Maple Leaf Square Canopy/United Visual Artists’, archdaily, 2010 <http://www.archdaily.com/81576/maple-leaf-square-canopy-united-visual-artists/> [accessed on 26 August 2014].

Figure 46: ‘Canopy + Connection at Maple Leaf Square’, Lanterra Developments, 2012, <http://lanterradevelopments.com/2012/canopy-connection-maple-leaf-square/> [accessed on 26 August 2014].

Figure 47: David Bailey, ‘Aesthetic Cairos’, David Bailey’s World of Escher- Like Tessellations, 2012, <http://www.tess-elation.co.uk/cairo-tiling/aesthetic-cairos> [accessed on 9 September 2014].

Figure 48: Davide et al, ‘Tatami-Cairo-Diagrid tessellation’, Co-de-iT, 2014, <http://www.co-de-it.com/wordpress/code/grasshopper-code> [accessed on 9 September 2014].

Figure 49: Ferry and Monoian, A Field Guide to Renewable Energy Technologies, LMS Resources.

Figure 50: ‘6 Flat plate collectors’, Power from the Sun, <http://www.powerfromthesun.net/Book/chapter06/chapter06.html> [accessed on 20 September 2014].

Figure 51-53 Ceylan and Omer, ‘Solar Ponds’, 2004 <http://webcache.googleusercontent.com/search?hl=zh-CN&q=cache:idiAOPfnCuoJ:http://www.physics.metu.edu.tr/~ecevit/projects/471projects/2004-5_1.semester/471-2004-1-SOLAR%2520PONDS,%2520%25D6MER%2520B%25DCY%25DCKKIDIK,%2520A.%2520CEYLAN%2520SERHADO%25D0LU,%25202004-1.ppt%2Bsolar+pond+bhuj+university+of+texas&gbv=2&&ct=clnk> [accessed on 1 September 2014].

Figure 54: Peninsula Hot Springs Dolphin Swim Package Moonraker Dolphin Swims, <https://moonrakercharters.rezdy.com/9450/peninsula-hot-springs-dolphin-swim-package?lang=de> [accessed on 1 September 2014].

Figure 55, 56: Google Maps of Copenhagen, 2014 < https://www.google.com.au/maps/@55.6712674,12.5608388,11z> [accessed on 1 September 2014].

Figure 57: The Science Behind Waves, 2014, <http://www.underwateraudio.com/blog/science-behind-waves/> [accessed on 20 September 2014].

Figure 58: Horner, ‘BanQ/Office dA’, archdaily, 2009, <http://www.archdaily.com/42581/banq-office-da/> [accessed on 20 September 2014].

Figure 59: Nick, ‘Decking or turf? What is your preference?’, Thinking Outside the Boxwood, 2011

<http://thinkingoutsidetheboxwood.blogspot.com.au/2011/11/decking-or-turf-what-is-your-preference.html> [accessed on 22 September 2014].

references

102 PROJECT PROPOSAL

PROJECT PROPOSAL 103

part c: detalied design


c.1 design concept

feedback from mid-semester presentation

During the mid-semester presentation, I only had a rough idea of creating stepped terraces and pools for the spa. My design was rather simplistic, using a traditional approach in terms of the form and functional zoning of the site. Sectioning was considered as a tool but the ideas were not mature in terms of construction and materiality.

Hence, in Part C, I will be addressing the following issues to further develop and refine the design.

1. Using algorithms to design the form.

2. Further development in sectioning algorithms for the pavilions.

3. Rationalisation of construction details and joints of the pavilions.

4.Working on improving presentation skills and graphic illustration.



design concept: heat2 (solar pond and spas)

heat2 is a renewable energy source that captures heat from the sun to warm up Copenhagen’s waters for public use.

The combination of the solar pond and spas make up a heated platform where people can relax and immerse themselves in the warm spas on a cold wintery day.


// site plan - refshaleøen

water taxi terminal

main entrance


spas

solar pond

pavilions and seats

// site analysis

The following diagrams show the circulation paths and the various elements (spas, solar pond, pavilions and seats) on site.

In terms of circulation, people can enter the spas through the main entrance or via the stairs next to the water taxi terminal. There is also a direct route from the main road to the water taxi terminal which bypasses the spas.

access routes


access routes

// renders (through the human eyes)

The series of images capture the mood and experience on site.

the main entrance


the shower areas


the shower areas

the solar pond and generator

water taxi terminal

solar pond

generator

seawater in

wastewater out electricity

heated water to spas


// solar analysis (heating solutions)

solar pond

I will be using a solar pond to generate electricity on site. The solar pond will heat up a body of water and the steam from the hot water can be used to generate electricity while the heated water can be used to fill up the spas.

The diagram above shows how water will flow to and away from the solar pond and the diagram on the right shows how the solar pond operates.

Diagram of the water flow network on the site

Diagram of elements of a solar pond.60

seawater in

generator


travelling salesman

I used the travelling salesman algorithm to determine the piping networks on site. This analysis will replace the ladybug solar analysis undertaken by other students that utilise solar panels.

1. Find the centre point of all the spas.

2. Use the generator as the starting point and find the closest point to the generator.

3. Find the next closest point to the point identified in Step 2.

4. Repeat step 3 until three to four points have been identified.

5. Draw a polyline to link the points together.

6. Repeat Steps 2-5 and cull the points that have already been selected to create different pipe branches.

Diagram of all pipe branches

Pipe branch 1

Pipe branch 2

Pipe branch 3Pipe branch 4

hot

cold

generator


// solar analysis (heating solutions)

spas of different temperatures

Having established the pipe networks from the travelling salesman algorithm enables us to obtain the most efficient pipe network by taking the shortest route possible.

This pipe network can be related to the temperatures of the spas whereby the temperatures of the spas will decrease along the pipe routes. This is based on the theory that heat will be lost through the pipes across distance, hence resulting in spas of different temperatures scattered across the site.

However, this is only a generic concept as many other factors such as length of pipes, depth and size of spas have to be taken into consideration to accurately determine the temperature of the spas.

hot

cold


// algorithmic technique (thinking parametrically)

1. Set one rectangle the size of the site

2. Offset the rectangle inwards by x length.

3. Generate a random set of points.

4. Set three random points for the isocurves.

5. Create metaballs around the iso curve.

metaball

The following diagrams show the process of using metaball

to generate the site plan.


6. Extrude largest curve (contour outline) by 3000mm.

7. Extrude smaller curves downwards by depth of spas and solar ponds.

8. Cap extrusions and use boolean difference to create depressions.

9. Extrude other curves by varying heights and add in stairs to achieve final site contours.


9. Extrude other curves by varying heights and add in stairs to achieve final site contours.

variables1. number of points (n)2. spacing between isocurves3. seed

n = 23

n = 7

n = 19

n = 28

n = 88

// other explorations

selection criteria

The following points are characteristics that I found to be suitable for my design.

1. 20 < n < 30 too little (n=7) or too many points (n=88) will affect the scale of the spas.2. a large metaball isocurve connecting several points is required for the solar pond3. shift points on isocurve such that the outermost two isocurves are far apart enough to provide a platform for people to walk on

n too small

n too largeisocurves too close together, no space for platform

isocurve is not large enough for the solar pond

17000mm

3000mm

ceramic poolwith waterproofing

concrete base


// spa materials and dimensions

There will be a 3000mm thick concrete base supporting the spas and solar ponds as the land beneath the site used to be a landfill so excavating it for the spas may result in water contamination and an infilling method will be a better option instead.

The spas have an average diameter of 17000mm and the water depth ranges from 500mm to 1200mm, suitable for soaking one’s feet only or being partly submerged in water.

Ceramic will be used for the base and the surface of the spas and the construction details are shown on the right.

Construction details for spa.61


1. Divide a curve into n segments.

2. Connect points with a polyline.

3. Draw vertical lines directly upwards from points.

4. Set one surface between adjacent points and adjacent lines.

5. Find intersections between perpendicular frame and surface.

7. Extrude surfaces and cap them to form panels. Orient the panels across the lines. Pipe the lines to create poles.

6. Connect these curves to polyines form planar surfaces.

// sectioning

The next algorithm I used was sectioning to create planar curved surfaces for the pavilions. These diagrams show the algorithmic process undertaken in grasshopper.


// applications of sectioning

showers

seating areas

material and equipment storage

These diagrams show how the sectioning algorithm, as mentioned previously can be applied across the site. Parameters can be altered to produce different forms, different number, height and length of planar panels.


showers

// structural joints (making connections)

c.2 tectonic elements and prototypes

My first attempt in creating joints was to cut notches on the panels and on the timber supports and slot them together.

Although it was successful, I did not like the form because it was too rigid and they have to be individual entities as it was difficult to link adjacent walls together.

first prototype1:25

proposed shower decks on site


second prototype1:25

The second prototype I did was to use grasshopper to create a joint based on the angles between adjacent walls. The panels are then linked together by the joints and rods.

Comparing both prototypes, I prefer the second prototype as it involves linking adjacent walls together to form a pavilion as opposed to the showers beingdiscrete elements.

The subsequent page describes how the joints from this prototype were created using grasshopper.

final shower decks


4. Offset the base curve by a fixed distance in both directions.

5. Evaulate curve to obtain a point on the line. Link this point to the offset curve.

1. Orient the planar panels onto the xy plane and label them.

2. Follow the subsequent steps to create a connection joint between the panels.

3. Identify the base curves of the structure.

6. Repeat steps 4-5 for the adjacent curve. 7. Bake lines to Rhino. 8. Extend lines and trim

unwanted edges.

9. Draw a circle in the centre point.

10. Map the geometry back into Grasshopper and offset edge curve, Use evaluate curve to obtain points for the screws.

11. Draw circles around the points.

12. Mirror the holes about the centre line.

13. Orient planar panels in Step 1 on top of the joints to determine the positions of the holes.

14. Move pieces apart and nest them for fabrication.


Based on the algorithm in the previous page, the parameters can be altered to create joints with different angles, widths and lengths. The positions and diameters of the circles can also be easily changed to suit different joints. The photographs here show the flexibility of the algorithm in creating slightlydifferent joints for themodels.


// inventory list for pavilions

metal rod (ø=150mm) x1

washer (inner ø=150mm) x7

plywood panels (30mm) x4

metal joints (15mm) x2

screws (ø=15mm) and bolts x16



// inventory list for pavilions


axonometric drawing



Only half the length of the actual ply-wood panel is fabricated as the full load of the panels is shared across two joints. Hence, this represents the actual loading per joint.

The pieces are then fixed together make the protoype as shown on the left. However, the members are found to be bending downwards due to gravity. This is an unexpected outcome as it is not possible to tell how the members will be behave from a 3D model in Rhino.

To further increase the strength of the members, blocking members were created with notches between them. The washers were remade with notches to fit the blocking elements. Two different types of blocking members were tested, the tapered and the flushed blocking.

structural failure

blocking members

tapered blocking flushed blocking

// fabrication process


final model1:5

screws (ø=15mm) and bolts x16

metal rod (ø=150mm) x1metal rod (ø=30mm) x4

washer (inner ø=150mm) x4washer (inner ø=30mm) x12

plywood panels (30mm) x4

metal joints (15mm) x2

washer with holes

(large ø=150mm)(small ø=15mm) x2

base with holes

(ø=15mm) x1


// inventory list for seating areas


axonometric drawing

below ground

above ground



final model1:5


c.3 final detail model

1. Mark out the spots on the ground where the poles are supposed to sit.

2. Attach poles with footings. Then excavate the marked spots and place footings onto the ground.

3. Attach the first layer of plywood panels to the poles using connection joints.

4. Repeat step 3 and continue stacking the plywood panels and joints above one another, completing the same level first before proceeding to stack them upwards.

5. Repeat step 4 until all the plywood panels are installed on the seats.

// assembly process (building in sequence)

These series of images show how the final model should be assembled on site. This process applies to both the seats as well as the pavilions. While fabricating the final model, I realised that building the pavilions by stacking vetical walls is less stable than building them in horizontal layers. This is because the joints work better when they are overlapping each other. Further clarification will be provided by the photographs on the subsequent pages.



// fabrication (building in progress)

Note: As mentioned previously. the model should be laid out in horizontal layers to prevent poor connection with the joints and mis-aligned edges (bottom left).

final model1:50


final model1:50



c.4 learning objectives and outcomes

1. The approach to the site is not dealt in a harmonious way. A 3000mm block is currently plonged on site and users may feel rather overwhelmed when approaching the site. I propose creating terraces along the edges to make it much closer to the human scale and hence, more inviting.

2. Besides, the massive height of the design, there should be greater consideration of how edge of heat2 will interact with the site boundaries - the sea. The picture on the left is a pool in Denmark, Island Brygge. I feel that it is a creative idea to extend the pool out to the edge of the sea to give users greater interaction with the sea and to appreciate and understand the source of the water in the spas.

3. Another area that could be improved was the sectioning pattern of the walls. At the moment, each wall is made from the same sectioning pattern which is rather repetitive. Further integration of the pattern to adjacent panels could be done.

While walking pass Domain Interchange in Melbourne, I realised that the glass facade is actually made up of three identical panels but they form a continuous pattern. This is because the lines at the edges of the panels actually meet up with the adjacent lines. I found this interesting and could be applied to my design to increase coherence between neighbouring walls.

Island Brygge, Denmark.62

// further development (thinking about designing)

After receiving feedback from the final presentation, I noted several areas to further refine and improve my deisgn.

Panel facade of Domain Interchange, Melbourne.

1 23


4. Alternative methods to sectioning can be undertaken to produce panels as demonstrated in the Zero/Fold Screen by Andrew Kudless.4

In this project, curves are offset with their control points slightly edited and nested on a rectangular sheet of plywood. In doing so, he is able to minimise the wastage of materials.4

After some reflection and thought, I figured out placing pieces back to back and using an efficient nesting system can be applied to my project. By working on the negative space that is left from the original cut, I can actually use these curves to fabricate panels as shown in the diagram below.

Set 1

Zero/Fold Screen, Andrew Kudless, 2010.63

The orange panels represent the original panels that were sent for fabrication. The green panels represent new panels that can be cut based on existing curves.

Set 1 shows my original file that I sent for fabricating panels of two walls and Set 2 shows how negative space can be used to produce an additional set of wall (highlighted in green). Lastly, Set 3 shows how efficient nesting can cut down material waste. By comparing Set 1 and Set 3, we can see that the amount of materials that is required to fabricate two walls can be significantly reduce by 40% if the existing curve was to be reused to create a new panel.

Set 2 Set 3

Nesting pieces to reduce material wastage


Zero/Fold Screen, Andrew Kudless, 2010.63

// my journey (things i have learnt)

Studio Air has been a really challenging but amazing journey and I am really proud of my achievements and how much I have improved this semester.

Since I started designing, I have always been more of a functional and practical designer. Hence, workability of the solar power, the programme and the construction process were the primary concerns behind my design.

At first, when given the LAGI brief and having finalised my programme, I tried to figure out how things would work out but doing some sketches and placing individual elements strategically. These sketches had no relation to any algorithm and they were merely based on my understanding, research and imagination. I knew the spas had to be elevated due to a landfill underground and terracing seemed to be a good idea to include different levels for the spas. I also worked out the elements I needed for a spa and solar pond - showers, equipment storage and main lobby areas.

These sketches were then directly translated into Rhino to create a 3D model and the only advantage of using Rhino was that it allowed me to consider the scale of the design more accurately as well as to obtain perspective views of my design. Basically, it was just a different mode of representation from paper, without much additional meaning.

At this point in time, I realised I was just using Rhino and minimum grasshopper as compositional tools only. The curves were arbitrary and they had little relation and significance to one another. I desperately needed to incorporate in algorithms and start designing and thinking parametrically.

Initial sketches

Translating sketches into Rhino


I guess that was the hardest part for me, to move away from traditional design methods and to let the design be governed and informed by algorithms. Another major dilemma I faced was in choosing which algorithm I should use, Easy as it may seem, it was a tough choice because of the unfamiliarity with some of the tools and lack of understanding of the others. Here is when I realised the importance of creating my own grasshopper definitions, to create connections that I understand, will be able to manipulate and apply them into my design.

And so I began my attempt with using metaball to generate site contours. What surprised me was the ease of the algorithms in generating complex organic forms with multiple points. Furthermore, multiple iterations could be made by simply moving the sliders. The design could be altered so effortlessly and suddenly, the opportunities seemed to be infinite. Grasshopper enabled me to analyse relationships between the points and isocurves to create organic forms which would be difficult to envisage and tedious to draw out by hand. I think this was the turning point for me, moving away from composition towards generative design. Having been through this process directly myself, I now better understand why architects choose to use computation in design, for the computer is better at processing information and coming up with complex patterns and relationships.

The output I received from metaball was a series of curves and the next step I had to take was to make sense of this data, and turn it into something useful. As I already had initial ideas of terracing and creating large depressions for the spas, it was all down to basic extrusion and boolean difference based on judgement to create the form.

Hence computational tools is only able to give us curves, lines and surfaces drawn out by relationships and algorithms. Based on that alone, it is only merely a structure or a pattern that exists in virtual space. The challenge for us as designers, is to decide what we want to do with this information and give purpose and meaning into the data that is generated.

Metaball isocurves used in heat2Metaball isocurves


Sectioning for the pavilions was an experimental process of testing out various forms against my algorithms. What I learnt from this process is the importance of coming up with a flexible algorithmic definition. This was algorithmic formulation process required understanding of the characteristics and behaviours of parameters in grasshopper. I was fortunate to be able to come up with a definition that I could work with based on referring to LMS definitions and having experience working through the reverse engineering process.

I then explored how various forms and scales can be applied to this definition to generate panels for pavilions and seats. It is really convenient to have this definition to plug into any form that I want. At this point, I would like to emphasise the flexibility of grasshopper compared to analog design because we can change the parameters of our design efficiently through the ease of sliding nodes. Instead of designing fixed objects, I feel that these algorithms gave me more control over the design and I knew I could make changes and adapt them to different contexts quickly.

The next process was fabrication. I took a step back and considered joints by doing sketches and thinking how they would be connected in reality before realising them in grasshopper. Grasshopper gave me both accuracy and flexibility in terms of fabricating joints, I could get precise angles based on the Rhino curves and by storing these values as algorithms, changing the diameters, length and positions of the circles were just a mouse click away. This is definitely more efficient than manually drawing joints (on paper or in Rhino). And needless to say, sending files to fablab for laser cutting results in precise pieces to be fabricated quickly. Then it all came down to juggling trips to fablab, the art supplies store as well as hardware stores to get components I needed to create the joints.

I faced several problems during the construction process and bringing the structure into reality. There were problems that I could not foresee such as gravitational forces and the sequence of assembling the pieces that could only be through making and fabricating. Changes were made, ideas refined and fed-back into the computer for editing where necessary.

In conclusion, I would like to say that everyone designs differently and every designer has his own story to tell. There is no one fixed way of designing and algorithms can complement the function or vice versa. I find it necessary to be juggling between the computer, making things and doing sketches throughout the design process as each medium has its merits and should be used simultaneously. I am really glad that Studio Air has introduced me to new ways and approaches of design thinking which are more efficient and adaptable than traditional methods of designing. Although this journey has not been easy, but I am grateful for this opportunity to increase my confidence in software such as Rhino, Grasshopper, Illustrator and Photoshop. This studio has changed my understanding of renders, pushed me to work on my representational skills and definitely thought me to think algorithmically in design.

Thank you Studio Air.

Designing through sketches, fabrication and 3D models


images

Figure 60: ‘6 Flat plate collectors’, Power from the Sun, <http://www.powerfromthesun.net/Book/chapter06/chapter06.html> [accessed on 20 September 2014].

Figure 61: ‘Pools/Fountains’, National Tile Contractors Association, 2007, <http://www.ceramic-tile.com/articles.cfm?page_id=37> [accessed on 27 October 2014].

Figure 62: ‘Islands Brygge’, Den Store Danske, <http://www.denstoredanske.dk/Danmarks_geografi_og_historie/Danmarks_historie/K%C3%B8benhavns_historie/Islands_Brygge> [accessed on 27 October 2014].

Figure 63: ’Zero/Fold Screen’, Matsys, 2010, <http://matsysdesign.com/2010/02/28/zerofold-screen/> [accessed on 27 October 2014].

references

Documents

Lim Angeline_596462_FinalJournal_StudioAir