Studio Air 2015 S2 Journal

AIR.studio

ABPL30048 Architecture Design Studio: Air 2015 Studio 04 | Canhui Chen

Brian Siu 635900

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CONTENTS

PART A: Conceptualization 05

Introduction 03

PART B: Criteria Design 19

PART C: Detail Design 55

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I am Brian, a 3rd year student in the Bachelor of Environments course at the University of Melbourne, majoring in architecture.

I was born and raised in Hong Kong, moving to Australia at the age of 8.

I have been interested in the areas of art and drawing from a young age, and this interest of mine grew over the years, influencing me to develop a passion in the fields of design and architecture.

Outside of the architecture field, my other interests and pastimes include music, fashion, graphic design, reading, drawing/sketching, photography, and model building.

My fascination with architecture stems from seeing how a space can be created through the combination of simple shapes and surfaces. When broken down, a piece of architecture is merely a collection of geometrical elements, but it’s the way in which these elements are composed and arranged that determine the qualities of the structure, from its aesthetic attributes to its function and even the emotive responses it can evoke.

Introduction

Throughout much of the course, my typical approach to the design process has largely been comprised of using sketching and hand-drawing as my main tools for generating ideas. It was only once I had already formed a general impression of the design in my head that I would begin using computational software to create a detailed representation of it. While the digital model would definitely assist me in refining certain elements of the concept, it was never utilized as the primary method for developing designs.

Hence, the idea of solely using computation to tackle a design task will be a rather unorthodox process for me; but nonetheless I feel that Studio Air will be an interesting subject to help me further my skills with parametric design, while also prompting me to use computation as an asset within the design process for exploring and developing ideas, rather than just as a tool for creating models.

Past Experiences

In terms of parametric design, the only encounter I have had with it was in the subject of Virtual Environments during my first year within this course. My project at the time required me to design and fabricate a “second skin”; a wearable item which could be used as a way to protect the wearer’s personal space. I focused specifically on the idea of sound projection as a method of preventing unwanted proximity. I looked into aural insulation and passive amplification, creating a modular system of panels which lined the interior of a wearable speaker in order to project the user’s voice.

I used Rhinoceros 3D for all the digital modelling done in this project. While I was also introduced to Grasshopper, I did not end up using it. I found Rhinoceros 3D to be somewhat challenging to learn and get comfortable with, as well as having quite a steep learning curve. But I did find that it was extremely useful in the long run, especially during the time of prototyping and eventually fabricating the physical model, as the digital model already had the exact dimensions and parts laid out. I also found that using digital software allowed for much more variety in the forms that the design could take, enabling me to experiment with much more organic and fluid shapes that would otherwise be difficult to execute without computation.

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PART A:Conceptualization

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A.1. Design Futuring

A.2. Design Computation

A.3. Composition/Generation

A.4. Conclusion

A.5. Learning Outcomes

A.6. Appendix

Bibliography

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– 11

– 13

– 15

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– 16

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PART A – Contents

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We humans as a society now live in an age where the consequences and impact of our actions are more critical than ever. After years of frivolous and thoughtless expenditure of our planet’s finite resources, we have finally reached a point where the repercussions caused by our “defuturing” exploits are looming over us and becoming a very tangible threat to the survival of our species.1 It is only now that we begin to realize the actual scale of devastation our behaviour has caused to our home, and the truth about our possible extinction can no longer be ignored or belittled.

Hence, now is more imperative a time than ever to change the way we think about our influence on the environment, particularly in the design practice, which directly shapes how our material world is formed and functions.2 Design now needs to be thought about not only in terms of its function in the present, but also its lasting impact on the earth hereafter, as a step to attempt securing a future for the human race. This process of design futuring is pivotal to our continual existence.

As Tony Fry states, in order for design to lead change in the world, the scopes of design themselves must first be changed, including the field of architecture.3

One such example of architecture taking into account the notion of design futuring through

sustainability is the House in Muko by FujiwaraMuro Architects. The design of this residence in Kyoto, Japan is informed by its context in order to maximise use of passive energy and minimise the building’s impact on the environment. The house features a facade of louvred boards on its southern wall, which allows direct sunlight to penetrate into the house’s interior,4 utilising it as passive heating as well as a light source, dramatically lowering the household’s energy consumption.

The push towards creating architecture which diminishes negative ecological impact through informed design is perfectly demonstrated here, and this is only one of many instances where new buildings have begun to embrace the incorporation of passive energy as a method of design futuring.


House in Muko || FujiwaraMuro Architects

1. Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2009), pp. 1-4.2. Ibid., p. 3.3. Ibid., p. 6.4. Amy Frearson, House in Muko by FujiwaraMuro Architects (London: Dezeen Magazine, 2013) <http://www.dezeen.

com/2013/03/27/house-in-muko-by-fujiwara-muro-architects/> [accessed 4 August 2015]5. Toshiyuki Yano, House in Muko, 2013, photograph, http://static.dezeen.com/uploads/2013/03/dezeen_House-in-Muko-by-

Fujiwara-Muro-Architects_9.jpg6. FujiwaraMuro Architects, Ground floor plan, 2013, architectural plan, http://static.dezeen.com/uploads/2013/03/dezeen_House-

in-Muko-by-Fujiwara-Muro-Architects_10.gif7. Toshiyuki Yano, House in Muko, 2013, photograph, http://static.dezeen.com/uploads/2013/03/dezeen_House-in-Muko-by-

Fujiwara-Muro-Architects_4.jpg

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Fig. 1. Southern elevation.5

Fig. 2. Ground floor plan.6 Fig. 3. Louvred boards - interior detail.7

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The idea of design futuring in recent architecture projects is apparent not only in small-scale residences, but also in skyscrapers, such as that of the Hearst Tower by Foster + Partners. Located in New York City, every element of this forty-six storey-high office building’s design and construction has been carefully considered in order to make it as sustainable as possible.

The tower utilises a diagrid form for its structural frame, reducing the total amount of structural steel used by 21% in comparison to that of a traditional moment frame structure. In addition, the frame is constructed using 85% recycled steel; locally sourced materials are also used throughout the rest of the building, greatly reducing its ecological footprint.1

The shape of the building envelope is also intentionally designed to limit glare from sunlight. This is also achieved by the installation of roller blinds. High performance low emission glass is implemented for the tower’s glass facade, lowering heat gain while still permitting sunlight penetration for natural lighting, decreasing energy consumption.2

Other efforts in reducing resource consumption include a rainwater harvesting system implemented into the roof of the office, which is used for irrigation as well as the atrium’s water feature.

In conjunction with other water-saving fixtures, this has enabled the Hearst Tower to reduce water usage levels by 30%.3

The tower’s design is also intended to promote sustainability in other ways. By upgrading the subway station and incorporating an entrance within the building itself, it encourages the use of public transportation over private vehicles, helping in reducing the ecological footprint of the building’s occupants.4

These components all come together to form a large-scale building that aims to minimise its negative environmental impact. For the building typology of the skyscraper, which had traditionally been considered as a colossal construct which required great amounts of energy and resources to erect and sustain, the Hearst Tower can be seen as an innovative design which aims to oust such preconceived notions by being a “green” high-rise building, proving that sustainable large-scale architecture is possible, paving way for other similar buildings to follow suit and moving towards the direction of design futuring.


Hearst Tower || Foster + Partners

1. Foster + Partners, Case Studies: Materials + Waste (New York: Foster + Partners, 2015) <http://www.fosterandpartners.com/design-services/sustainability/case-studies/materials-waste/> [accessed 4 August 2015]

2. Foster + Partners, Hearst Tower (New York: Foster + Partners, 2015) <http://www.fosterandpartners.com/projects/hearst-tower/> [accessed 4 August 2015]

3. Ibid.4. Ibid.5. Chuck Choi, Hearst Tower, 2006, photograph, http://www.fosterandpartners.com/media/1705476/img10.jpg6. Foster + Partners, Hearst Tower Diagrid Frame, 2006, diagram, http://www.fosterandpartners.com/media/927840/7_1.jpg7. Chuck Choi, Hearst Tower, 2006, photograph, http://images.adsttc.com/media/images/5038/2697/28ba/0d59/9b00/1108/large_

jpg/stringio.jpg?14141999848. Chuck Choi, Hearst Tower, 2006, photograph, http://www.fosterandpartners.com/media/1705441/img3.jpg9. Chuck Choi, Hearst Tower, 2006, photograph, http://images.adsttc.com/media/images/5038/2690/28ba/0d59/9b00/1106/large_

jpg/stringio.jpg?1414200004

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Fig. 1. Tower exterior.5

Fig. 2. Tower structure.6

Fig. 3. Diagrid frame detail.7

Fig. 4. Atrium interior.8

Fig. 5. Interior column.9

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The implementation of digital technology and computation greatly impacts the design process of architecture. Spaces and forms which would have previously been near impossible to conceptualise and in turn, fabricate, are now made possible through the use of computational design. Architectural forms are now moving away from the traditional imagery of orthogonal and perpendicular shapes, instead shifting towards the non-linear, creating structures from abstract geometry.1 This new ability to work with irregular physical configurations also lends itself to the potential of creating performative designs which can respond to its occupants’ lifestyle in a much more effective manner.

This possibility is excellently demonstrated in the Mobius House, by UN Studio. This private residence embodies the spatial qualities of the Mobius Strip, a continuously looping surface, by physically representing it in its form and using it to tailor the space for the clients’ use. The unbroken surface of the Mobius Strip is interpreted as the constant 24-hour cycles of a person’s life. Using this idea, the shape of the strip is translated into a 3-dimensional volumetric form, conceptualised through computation, to generate a home composed of two intertwining paths which contain personal quarters at either end, with shared spaces at the intersections, creating a habitat which can be both private and communal.2

This concept of transforming a non-orientable geometry into a habitable construct would not be possible if not for the use of computation in formulating the physical design.

As computational design techniques become increasingly common, the range of material systems used in architecture also expands. Previously unexplored substances such as hybrid materials and extreme textiles are now being experimented with to create new forms with more effective performances,3 as is the case with Synthesis Design + Architecture’s Pure Tension Pavilion. Intended to be a portable solar-powered charging station for electric cars, the canopy stretches a mesh membrane across an aluminium frame, relying on the tensile nature of the membrane for structural integrity. Flexible photovoltaic panels are installed on top of the fabric. These panels are completely adhered to the curvature of the pavilion, which had been developed through extensive analysis to maximise sunlight exposure in order to optimise the charging station’s performance. Due to the pliable and light qualities of the materials used, the pavilion can be quickly dismantled for portability.4

With the aid of computation, every element of the pavilion, from its structure to its performance, can be thoroughly tested before fabrication begins, to ensure that it is realisable in its physical form.

A.2. Design Computation

Mobius House || UN Studio

Tension Pavilion || Synthesis Design + Architecture

1. Rivka Oxman, Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014), p. 7.2. Architizer, Mobius House (New York: Architizer, 2015) <http://architizer.com/projects/mobius-house/> [accessed 8 August 2015]3. Oxman, p. 5.4. Synthesis Design + Architecture, Pure Tension - Volvo V60 Pavilion (Los Angeles: Synthesis Design + Architecture, 2013)< http://

synthesis-dna.com/projects/pure-tension-volvo-v60-pavilion> [accessed 8 August 2015]5. UN Studio, 24 hours of living, 1998, diagram, http://photos1.blogger.com/hello/133/6247/1024/c.11.jpg6. UN Studio, Mobius band, 1998, digital rendering, http://architizer.com/projects/mobius-house/media/189763/7. UN Studio, Mobius House, 1998, diagram, http://architizer.com/projects/mobius-house/media/189764/8. Synthesis Design + Architecture, Pure Tension Pavilion, 2013, photograph, https://m2.behance.net/rendition/pm/12111187/disp/

d2acb8fb91637a7a7b5762f643bc67d2.jpg9. Synthesis Design + Architecture, Solar incidence studies, 2013, diagram, https://m2.behance.net/rendition/pm/12111187/disp/

f5c6efaaada558ee5e2fa8afc119c365.jpg10. Synthesis Design + Architecture, Strutural analysis, 2013, diagram, https://m2.behance.net/rendition/pm/12111187/disp/

a9847ecd5e849db66c204c81e8a5d96a.jpg

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Fig. 1. Flow diagram of living pattern for the Mobius House.5

Fig. 2. Conceptual digital model of the Mobius form.6

Fig. 4. Pure Tension Pavilion in demonstration.8 Fig. 6. Analysis of the Pavilion’s structure.10

Fig. 5. Analysis of sun path against the Pavilion’s form.9

Fig. 3. Mobius house layout represented on clockface.7

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With the increasing amount of computation used within the design process of architecture, it is only natural that the methods in which a design is generated also changes dramatically.

By using algorithms set with specific parameters and guided by extensive research, it is now possible for software and programs to generate a range of possible design solutions for one single project. This method of design development utilizes contextual parameters taken directly from the environment of the site itself to systematically determine the most suitable outcomes for achieving the objectives set out by the project brief.1 In this way, the outputs of the algorithm are always ensured to be closely tailored to the needs stated by the client, as the computer program will not, or rather cannot, take into consideration any elements which are irrelevant to the issues at hand if these elements are not input into the algorithm.

However, this methodical and fixed approach to design does have its drawbacks. As it is an automated program which simply takes information and puts it through a fixed process, it lacks the input of a human overseer to organize and supervise the direction that the design has taken, meaning that the developed idea can possibly lack a sense of coherence.

The urban design project for the suburb of Veld 12 by Kaisersrot is a prime example of how computation and algorithmic design can generate tailored solutions. Based on the core philosophy that the layout of the suburb should be influenced by its inhabitants and not by the urban planner, a software was used to determine the organization and sizing of each household’s plot of land. This allows for precise and exact planning, with optimized infrastructure.2

On the other hand, some instances of parametric design that seem ideal in theory can prove to be problematic in reality. For the Globus Provisorium competition of 2004, CAAD utilized a three-dimensional grid with equally sized cells to form the framework of their building design, where each cell would be configured into forming rooms, hallways or void spaces. An urban planning software was then used to alter the shapes of each of the cells, creating an unorthodox design. While this use of computation allowed for exploration of an interesting form, it was not an ideal design in terms of construction. The shape of the building’s space made it inefficient and unconventional to fabricate, making it impractical in reality.3

A.3. Composition/Generation

Veld 12 || Kaisersrot

Globus Provisorium entry || CAAD

1. Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, (2013), p. 13.2. Markus Braach, ‘Solutions You Cannot Draw’, Empathic Space: The Computation of Human-Centric Architecture, Architectural

Design, 231, (2014), p. 49.3. Ibid., p. 50.4. Kaisersrot, “Kaisersrot parcelling software”, in Empathic Space: The Computation of Human-Centric Architecture, Architectural

Design, Markus Braach (2014), p. 49.5. CAAD, “Globus Provisorium competition”, in Empathic Space: The Computation of Human-Centric Architecture, Architectural

Design, Markus Braach (2014), p. 50.6. CAAD, “Globus Provisorium competition”, in Empathic Space: The Computation of Human-Centric Architecture, Architectural

Design, Markus Braach (2014), p. 51.

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Fig. 1. Veld 12’s planning layout iterations.4 Fig. 2. Globus Provisorium’s cell division layout.5

Fig. 3. Evolution of Globus Provisorium’s design generation.6

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After looking into the various precedent projects and observing how they have used computation as a tool to develop their designs, I intend to use information gathered from my site as parameters, then experimenting with algorithms to generate an initial design which I could then continue to refine. I feel that this method could possibly allow me to see things about the site that I never noticed or considered before. In my previous experiences with design, I often found my work lacking in response to the site and the brief.

Hence, with this subject, I will try to approach the brief with a more conscious attitude towards the context in order to produce a design which will more closely respond to the issues presented, improving the design’s functionalism.

A.4. Conclusion

From the various readings, research, as well as practical experiences with computation throughout these past few weeks, I am beginning to see a new side of parametric design which I was not aware of before. In the past, I always thought of digital modelling as just a method for interpreting design on a electronic medium, while algorithms were just a short cut for achieving the desired result. However, it is now apparent to me that computation in architectural design is much more than that. It can be an immensely powerful tool for generating ideas, as effective as traditional methods such as sketching or observing precedents.

A.5. Learning Outcomes

I have also learnt that algorithms are not simply a means to an end, but can also be used to create forms which were previously impossible to conceive due to technological limitations. This has a huge impact on my design thinking and design process, as in the past I found myself subconsciously restricted by limitations in technique and method, hence greatly reducing the possibilities in designs I create. I feel that, with enough experience, I could definitely use computation as a tool to further develop my past designs, all of which I feel are quite reserved and unambitious in retrospect.

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A.6. Appendix

Throughout the past few weeks of experimenting with Rhino and Grasshopper, I found the techniques of triangulation and patterning to be particularly intriguing. Above are some examples of organic curved surfaces being broken up into patterns of planar elements. I found that using linear components in a repeated fashion to represent the curvature of a surface changes the tectonics of the form. The contrast between the rigid nature of the pattern elements and the fluid nature of the curved surface creates an interesting dynamic in its shape.

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Architizer, Mobius House (New York: Architizer, 2015) <http://architizer.com/projects/mobius-house/> [accessed 8 August 2015]

Braach, Markus, ‘Solutions You Cannot Draw’, Empathic Space: The Computation of Human-Centric Architecture, Architectural Design, 231, (2014), 49-50

CAAD, “Globus Provisorium competition”, in Empathic Space: The Computation of Human-Centric Architecture, Architectural Design, Markus Braach (2014), 50

CAAD, “Globus Provisorium competition”, in Empathic Space: The Computation of Human-Centric Architecture, Architectural Design, Markus Braach (2014), 51

Choi, Chuck, Hearst Tower, 2006, photograph, http://www.fosterandpartners.com/media/1705476/img10.jpg

Choi, Chuck, Hearst Tower, 2006, photograph, http://images.adsttc.com/media/images/5038/2697/28ba/0d59/9b00/1108/large_jpg/stringio.jpg?1414199984

Choi, Chuck, Hearst Tower, 2006, photograph, http://www.fosterandpartners.com/media/1705441/img3.jpg

Choi, Chuck, Hearst Tower, 2006, photograph, http://images.adsttc.com/media/images/5038/2690/28ba/0d59/9b00/1106/large_jpg/stringio.jpg?1414200004

Foster + Partners, Case Studies: Materials + Waste (New York: Foster + Partners, 2015) <http://www.fosterandpartners.com/design-services/sustainability/case-studies/materials-waste/> [accessed 4 August 2015]

Foster + Partners, Hearst Tower (New York: Foster + Partners, 2015) <http://www.fosterandpartners.com/projects/hearst-tower/> [accessed 4 August 2015]

Foster + Partners, Hearst Tower Diagrid Frame, 2006, diagram, http://www.fosterandpartners.com/media/927840/7_1.jpg

Frearson, Amy, House in Muko by FujiwaraMuro Architects (London: Dezeen Magazine, 2013) <http://www.dezeen.com/2013/03/27/house-in-muko-by-fujiwara-muro-architects/> [accessed 4 August 2015]

Fry, Tony, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2009), 1-6

FujiwaraMuro Architects, Ground floor plan, 2013, architectural plan, http://static.dezeen.com/uploads/2013/03/dezeen_House-in-Muko-by-Fujiwara-Muro-Architects_10.gif

Kaisersrot, “Kaisersrot parcelling software”, in Empathic Space: The Computation of Human-Centric Architecture, Architectural Design, Markus Braach (2014), 49

Oxman, Rivka, and Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014), 5-7

Bibliography

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Peters, Brady, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, (2013), 13

Synthesis Design + Architecture, Strutural analysis, 2013, diagram, https://m2.behance.net/rendition/pm/12111187/disp/a9847ecd5e849db66c204c81e8a5d96a.jpg

Synthesis Design + Architecture, Pure Tension - Volvo V60 Pavilion (Los Angeles: Synthesis Design + Architecture, 2013)< http://synthesis-dna.com/projects/pure-tension-volvo-v60-pavilion> [accessed 8 August 2015]

Synthesis Design + Architecture, Pure Tension Pavilion, 2013, photograph, https://m2.behance.net/rendition/pm/12111187/disp/d2acb8fb91637a7a7b5762f643bc67d2.jpg

Synthesis Design + Architecture, Solar incidence studies, 2013, diagram, https://m2.behance.net/rendition/pm/12111187/disp/f5c6efaaada558ee5e2fa8afc119c365.jpg

UN Studio, 24 hours of living, 1998, diagram, http://photos1.blogger.com/hello/133/6247/1024/c.11.jpg

UN Studio, Mobius band, 1998, digital rendering, http://architizer.com/projects/mobius-house/media/189763/

UN Studio, Mobius House, 1998, diagram, http://architizer.com/projects/mobius-house/media/189764/

Yano, Toshiyuki, House in Muko, 2013, photograph, http://static.dezeen.com/uploads/2013/03/dezeen_House-in-Muko-by-Fujiwara-Muro-Architects_9.jpg

Yano, Toshiyuki, House in Muko, 2013, photograph, http://static.dezeen.com/uploads/2013/03/dezeen_House-in-Muko-by-Fujiwara-Muro-Architects_4.jpg

PART B:Criteria Design

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B.1. Research Field

B.2. Case Study 1.0

B.3. Case Study 2.0

B.4. Technique: Development

B.5. Technique: Prototypes

B.6. Technique: Proposal

B.7. Learning Objectives and Outcomes

B.8. Appendix

Bibliography

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– 25

– 29

– 35

– 39

– 47

– 49

– 51

– 53

PART B – Contents

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As computational methods become increasingly integrated and intrinsic to the field of architecture, new possibilities in materiality and fabrication also begin to emerge, revolutionizing the way in which architecture is perceived and developed. With the aid of digital technology, designs of complex geometries have not only become possible, but can even be used as a technique for enabling convenient assembly through repetition of elements which combine to form the whole outcome.

One notable example of this patterning is the process of tessellation. Tessellation refers to the practise of breaking up complex surfaces into a repetition of elements, essentially segregating the geometry into multiple smaller shapes.

This method of patterning opens up possibilities in several different aspects of architecture when applied to a design. Firstly, utilising tessellation in a design’s construction adds an ornamental quality of intricacy the form, as is the case in the Voussoir Cloud installation by studio IwamotoScott. A composition of vaults and columns, this compressive system of shapes is made up of a series of curving petals. These individual elements all differ from each other slightly in their geometry, creating a pattern of unique surfaces and openings, which increases the complexity of the installation’s form to a higher degree.1

B.1. Research Field

II T E S S E L L A T I O N II

Fig. 2. View from above the Voussoir Cloud installation.3

Fig. 3. Underneath the installation’s vaults.4

Fig. 4. Close-up of tessellation.5Fig. 1. Differentiation in geometry of petals.2

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Beyond the facet of aesthetics, tessellation also generates opportunities for a design’s function, specifically in regards to movement. By dividing a single geometry into a multitude of smaller surfaces, displacement in these small elements is made achievable, allowing movement as a series to create motion in the built form. This is perfectly demonstrated in the Hyposurface project by dECOi Design. The Hyposurface is a coordinated arrangement of tessellating triangular tiles, supported by actuators on the underside to enable movement. The system can be programmed to produce motion in response to a number of external inputs, such as sound, touch, and even recognised movement in its proximity. Hence, the Hyposurface becomes applicable in numerous designs to serve different functions, from being an information display medium, to an interactive structure for users, or even an ever-shifting installation.6

Another instance of tessellation utilised as a means for creating movement is the Fermid sculpture by Behnaz Babazadeh. The sculpture, which hangs from the ceiling space, is comprised of a series of interconnected parabolic ‘scales’ which are linked to a network of scissor hinges, allowing the sculpture to become kinetic. This is intended to replicate the breathing movement found in living organisms, engaging viewers and giving the design a natural and biological quality.7

Fig. 6. Detail of tessellating joint system.9

Fig. 5. Fermid sculpture.8

Fig. 7. Module of Hyposurface.10

Fig. 8. Detail of Hyposurface’s supporting actuators.11

Fig. 9. Hyposurface in action.12

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1. IwamotoScott Architecture, Voussoir Cloud (San Francisco: IwamotoScott, 2008) <http://www.iwamotoscott.com/VOUSSOIR-CLOUD> [accessed 21 August 2015]

2. IwamotoScott Architecture, Petal Geometries, 2008, diagram, http://adbr001cdn.archdaily.net/wp-content/uploads/2012/06/1339694235_voussoir_cloud_1307120461_vc_petal_geometries.jpg

3. IwamotoScott Architecture, VC Above Close-up, 2008, photograph, http://adbr001cdn.archdaily.net/wp-content/uploads/2012/06/1339693898_voussoir_cloud_1307120316_isar_vc_above_closeup02.jpg

4. IwamotoScott Architecture, VC Fore and Background, 2008, photograph, http://adbr001cdn.archdaily.net/wp-content/uploads/2012/06/1339693917_voussoir_cloud_1307120352_isar_vc_fore_and_background.jpg

5. IwamotoScott Architecture, VC Detail Front-lit, 2008, photograph, http://adbr001cdn.archdaily.net/wp-content/uploads/2012/06/1339693913_voussoir_cloud_1307120342_isar_vc_detail_frontlit.jpg

6. Hyposurface Corp, What is Hyposurface? (Massachusetts: Hyposurface Corp, 2003) http://hyposurface.org/ [accessed 21 August 2015]

7. ThinkParametric, FERMID by Behnaz Babazadeh (ThinkParametric, 2015) http://designplaygrounds.com/deviants/fermid-by-behnaz-babazadeh/ [accessed 21 August 2015]

8. Behnaz Babazadeh, Kinetic Sculpture Fermid, 2015, photograph, http://designplaygrounds.com/wp-content/uploads/2011/05/kinetic-sculpture-fermid-inide03.jpg

9. Behnaz Babazadeh, Kinetic Sculpture Fermid, 2015, photograph, http://designplaygrounds.com/wp-content/uploads/2011/05/kinetic-sculpture-fermid-inide02.jpg

10. dECOi Design, Hyposurface, 2003, photograph, http://www.mediaarchitecture.org/wp-content/uploads/sites/4/2006/06/digi1gn.jpg

11. dECOi Design, Hyposurface 002, 2003, photograph, http://www.mediaarchitecture.org/wp-content/uploads/sites/4/2006/06/PR_2003_hyposurface_002_p.jpg

12. dECOi Design, Hyposurface, 2003, photograph, http://www.upf.edu/pdi/dcom/xavierberenguer/recursos/ima_dig/_2_/ig/hyposurface.jpg

13. dECOi Design, Aegis Hyposurface 5, 2011, photograph, http://www.alchimag.net/portale/wp-content/uploads/2011/12/Aegis_Hyposurface_5.jpg

Fig. 10. Hyposurface’s fluid movement being demonstrated.13

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B.2. Case Study 1.0

Smoothing Weave volume

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The project used for this case study is the Voussoir Cloud installation by IwamotoScott. This installation is a result of utilizing computation as a process for structural form finding and patterning; as such it is ideal for the exploration of tectonics in tessellation, as well as simultaneously testing the structural capabilities of this system in accordance to real-world physics via digital simulation. Through the application of various algorithms, the base form can be experimented with and altered to consider a wide range of tessellating geometries which could be used in architectural designs.

loop tranSformation SubdiviSion

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ITERATION 01: Weave

From the matrix of case study iterations, four were selected as the most successful outcomes based on several criteria. Firstly was whether the geometry had notably interesting attributes in its visual, spacial or even emotional qualities. Secondly was whether it had potential in its practical application towards architectural design. Finally, the resulting geometry was judged on in terms of its correlation with the research field of tessellation, and whether it could be conducive to technique development in the tectonic of tessellation.

ITERATION 02: Pore effect transformation

This particular outcome is a result of altering the existing mesh into a weaving pattern which intersect and overlap to create the overall form. In the process of creating this geometry, I was experimenting with the possibility of using this weaving pattern as a means of breaking up the form into smaller elements to allow movement in between each module. As the elements fold and stretch, the shape as a whole will also change along with it. The potential for introducing a kinetic factor into the architectural form opens up many prospects as to its functionality, allowing the design to physically transform in accordance to its intended uses and become a multipurpose construct.

This pore effect was achieved through experimentation with transforming the surface of the base mesh, creating a series of perforations on the geometry. This pattern of holes and interconnecting volumes could have its uses when applied to an architectural design. The openings can provide functional access, whether it be access to sunlight in an overhead canopy or human access in a pavilion. The cubic pores may also be used as footholds or steps in a ladder/stair structure. The resulting skeletal-like geometry may also have potential in its structural capability, possibly being used as a base frame for complex forms.

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ITERATION 04:Facet loop

ITERATION 03:Crystallize loop

This iteration was one of the outcomes produced from experimenting with pattern looping. In this particular case, the surface is divided up into a collection of radially symmetrical surfaces and perforations. This process not only creates an interesting pattern on the facade, but also in the negative space of the openings. This can potentially be implemented in architecture to give functional facade openings an ornamental quality, adding to the design’s aesthetics.

Another outcome from experimenting with pattern looping, the facet loop populates the geometry with concave diamond indentations. This results in the surface gaining a distinctive visual quality. The pattern can be repeated, with the sizes of the indentations being controlled to generate unique facades, using techniques such as image sampling. In addition, the pattern also gives the surface an unusual texture, which could engage the user’s sense of touch, giving architectural designs an often overlooked element of interaction, captivating people’s curiosity.

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B.3. Case Study 2.0

Al Bahr Towers || AedasIn order to gain a more comprehensive grasp of the tessellation tectonic and to fully understand how it can be manipulated within the realms of computation, a precedent project related to the research field was selected to be analyzed and reverse-engineered using Grasshopper.

The chosen project is the Al Bahr Towers by Aedas architects, a pair of government office buildings situated in Abu Dhabi. Due to its location, the towers are constantly exposed to intense heat and harsh sunlight; hence it was imperative for the design of the buildings to take these environmental factors and performance into consideration. In order to combat these issues, the design team at Aedas took inspiration from the “mashrabiya”, a traditional wooden shading screen installed on windows in traditional Arabic architecture which assisted in reducing solar gain. In addition, Aedas also took cues from the natural precedent of adaptive flowers, which open and close in accordance to varying external elements.1

These influences resulted in the design of the Al Bahr Towers’ reactive facade. The panels, configured in a tessellating triangular grid, are installed on a frame of hydraulics projected outwards from the windows. As the building is exposed to sunlight, the facade responds accordingly to open and close depending on the amount of light reaching each panel. Areas of the facade which experiences excessive solar gain will close, covering and shading the glass underneath, while areas of little sunlight will open up to allow natural light into the offices.

This reactive facade dramatically reduces the energy usage; solar gain can be lowered by up to 50%, minimizing the use of active cooling systems while also cutting down artificial lighting by facilitating the use of natural light.2

The combination of tessellation and kinetics in architecture was the basis for this design concept, and this project outstandingly demonstrates how the tectonic of tessellation can be applied in order to create new possibilities in functional architecture which is informed by its context to truly adapt to its surroundings.

Fig. 1. Al Bahr Towers.3

Fig. 2. Variation in facade’s opening sizes.4

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1. AHR, Al Bahr Towers (London: AHR, 2014) <http://www.ahr-global.com/Al-Bahr-Towers> [accessed 14 September 2015]2. Ibid.3. AHR, 2 Al Bahr, 2012, photograph, http://cdn2.ahr-global.com/images/2_AlBahr_960x960.jpg4. AHR, 7 Al Bahr, 2012, photograph, http://cdn1.ahr-global.com/images/7_AlBahr_1120x800.jpg5. Aedas, ADIC Responsive Facade Abu Dhabi UAE Research 3, 2012, digital render, http://www.styleofdesign.com/wp-content/

plugins/wp-o-matic/cache/4e7d1_1346845527-adic-responsive-facade-abu-dhabi-uae-research-3-528x396.jpg6. Aedas, ADIC Responsive Facade Abu Dhabi UAE Research 2, 2012, digital render, http://www.styleofdesign.com/wp-content/

plugins/wp-o-matic/cache/4e7d1_1346845523-adic-responsive-facade-abu-dhabi-uae-research-2-528x396.jpg

Fig. 3. Digital render of facade module’s movement.5

Fig. 4. Simulation of facade’s response to sunlight.6

B.3. Case Study 2.0Reverse Engineering Process

01 02 03 04

01. A planar triangular grid is first created using Grasshopper.

02. The grid is then subdivided by drawing lines from the cells’ centre to its vertices.

03. The centre points of each cell are moved upwards on the Z plane to form the pointed pyramidal shape of the facade’s panels. As the position of the point changes, the rest of the cell also changes shape accordingly.

04. Each facade panel is further subdivided by forming lines between the cells’ centre point and the midpoint of

its exterior edges. 05. Intersecting circular rails perpendicular and parallel to the cells’ interior edges are used to determine the

folding movement of each cell’s subdivided panel, ensuring that each panel’s dimensions are constant as the facade opens and closes.

06. Surfaces are lofted from the cells’ interior edges, giving the facade a physical form. 07. A tessellating frame is fitted in between each facade cell.

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05 06 07

The reverse engineering process for this project was deceptively difficult. While the basic form of the facade panels was relatively simple to recreate, the challenging aspect was enabling the design to open and close. Moreover, preventing any deformation or change in the panels’ dimensions was especially hard. The process required me to thoroughly examine the Al Bahr Tower’s facade, particularly the movement of the facade panels in order to work out how the components move in unison while retaining rigidity.

Another challenge came from solving the issue of using one input to influence several movements of the facade. As each cell opens, the centre point is moved vertically while the panels fold inwards, and this series of movements are linked. Hence, there was a need to create a definition where the variation in one input will affect the entire construct’s movement, meaning that the definition used to produce the facade had to be carefully considered in the way it was structured to facilitate this joint kinetic system.

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B.3. Case Study 2.0Reverse Engineering Process

34

In comparison to the original project, the reverse-engineered outcome is somewhat simplified in its kinetic system. While the movement of the panels are still linked, the original facade is controlled by a mechanical system of hydraulics, whereas the outcome produced moves via changing the height of each cell’s centre point to achieve the folding action, making it more akin to that of an origami paper folding technique. In addition, the original contains no gaps in between panels, with each triangular module meeting at edges. However, in the case study outcome, due to the limit in the range within which the panels can open, the exterior edges of each module do not meet.

As I continue to develop the definition, I would like to explore different inputs in influencing the movement of the tessellating elements. I would also like to experiment with different patterns and forms, changing and adapting the algorithm to work with a wider variety of geometry.

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B.4. Technique:

Development

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B.4. Technique: DevelopmentSu

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After reverse-engineering the case study of

the Al Bahr Towers facade, I continued to

explore reactive tessellation with different

forms, patterns and inputs. This series of

iterations were produced by using the Firefly

plug-in for Grasshopper, which allows for

a number of sensory-based inputs such as

visual streaming and audio recording. The

data taken from these inputs were then

used to influence the displacement and

movement of each tessellating element,

changing the form of the outcome. As the

data recorded by the Firefly component

fluctuates, the geometry also changes

along with the constantly shifting data.

39

The purpose behind of this prototype was to explore how the tessellation of a large planar surface can allow for movement and fluidity in its form. By dividing the surface up into triangular panels and using the panel edges as creases, the surface is able to fold and bend at these points while the triangular elements still remain planar. This allows for geometry with complex curvature to be fabricated easily by spliting it up into a series of developable surfaces.

The prototype was relatively successful in replicating the principle in question. However, due to the method in which the segments are joined together (via tabs), as well as the nature of the card material it was fabricated in, the prototype has a tendency to revert back to its original planar form. This is an issue which I had not considered previously, and one that I will need to keep in mind when using the tessellation technique on designs of a larger scale.

B.5. Technique: PrototypesPrototype 01

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This prototype is basically a simplified physical replication of the reverse-engineered outcome of Case Study 2.0. The intention for this model was to test how a kinetic system such as that of the Al Bahr Towers facade would function in a real-life physical context. The prototype was designed to mimic the movement of the facade, where the centre point of the module moves upward, and each panel follows this movement and folds inward. In order to achieve this, the panels were attached to a railing frame, allowing the movement of the point to influence the folding of the panels without pushing the entire module upwards altogether. A wooden rod is fixed to each module’s centre in order to push and pull the point.

Due to a range of issues, the prototype did not quite perform to expectations. While each panel is able to fold and open as the digital outcome does, this action did not occur when the centre point was push upwards. This was largely due to the materiality of the prototype, as the card-cut panels had a tendency to revert to their original planar shape unless a considerable amount of force is exerted directly onto the creases of the panels to make them fold inwards. Another issue was the connections between each component, particularly the joint between the panels and the frame underneath. As there was too much allowance for possible movement in the connection, the panels did not adequately stay fixed to the plane of the frame, meaning that when the rod pushed the centre upwards, the entire module moved vertically along with it. These issues will need to be particularly addressed as I develop this technique and apply it to my design.

B.5. Technique: PrototypesPrototype 02

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NORTHCOTE

EAST BRUNSWICK River

Possible flood levels

B.6. Technique: Proposal

TESSELLATING PATH

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My design proposal is mainly concerned with the issue of seasonal flooding at the site of Merri Creek, specifically at the pedestrian path just south of the CERES environment park. Due to flooding which occurs at the banks of the creek, there is currently a need for an alternate path, used in the case of flooding, situated directly above the lower walkway, as risen water levels would render the lower path inaccessible. My idea is to create a path which would be able to change form and adapt to always stay above the water level as it fluctuates, so that it can still be accessed when flooding occurs, eliminating the need for two separate paths. This will be achieved by dividing the surface of the path into a series of smaller tessellating panels, which could move individually in accordance to the flood level.

Aspects of the proposal which would need particular consideration are the materiality and physicality of the design. These are areas which I would be exploring as I further develop my idea.

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After exploring a specified field of parametric design in detail and experimenting with its techniques, my understanding and perception of its role in architecture has developed further. Through personal experience with using algorithms as the primary method for generating different design outcomes, I have discovered some of the advantages of using an algorithmic approach for idea generation, such as the ease at which the algorithm can be altered. This allows for a large variety of design iterations to be generated quickly, opening up possibilities and enabling designers to test the parameters’ limits further. The convenience of using component-based algorithms also allows for easy adaptation and interchangeability between definitions, meaning that the components used to produce one design can be extracted and combined with another definition to develop it further.

B.7. Learning Objectives and Outcomes

While this exploration of parametric and computational design has been eye-opening, and I am steadily becoming more accustomed to the mindset of designing with parameters, it has also been quite challenging on a technical level. The tasks of reverse-engineering and prototyping in particular have been a insightful learning experience on the transition between the digital and physical realm. It highlighted the importance of taking into consideration all physical factors when creating the digital design, as it could prove to be an issue during fabrication, and could also affect the performance of the design.

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B.8. Appendix

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Bibliography

Aedas, ADIC Responsive Facade Abu Dhabi UAE Research 3, 2012, digital render, http://www.styleofdesign.com/wp-content/plugins/wp-o-matic/cache/4e7d1_1346845527-adic-responsive-facade-abu-dhabi-uae-research-3-528x396.jpg

Aedas, ADIC Responsive Facade Abu Dhabi UAE Research 2, 2012, digital render, http://www.styleofdesign.com/wp-content/plugins/wp-o-matic/cache/4e7d1_1346845523-adic-responsive-facade-abu-dhabi-uae-research-2-528x396.jpg

AHR, Al Bahr Towers (London: AHR, 2014) <http://www.ahr-global.com/Al-Bahr-Towers> [accessed 14 September 2015]

AHR, 2 Al Bahr, 2012, photograph, http://cdn2.ahr-global.com/images/2_AlBahr_960x960.jpg

AHR, 7 Al Bahr, 2012, photograph, http://cdn1.ahr-global.com/images/7_AlBahr_1120x800.jpg

Behnaz Babazadeh, Kinetic Sculpture Fermid, 2015, photograph, http://designplaygrounds.com/wp-content/uploads/2011/05/kinetic-sculpture-fermid-inide03.jpg

Behnaz Babazadeh, Kinetic Sculpture Fermid, 2015, photograph, http://designplaygrounds.com/wp-content/uploads/2011/05/kinetic-sculpture-fermid-inide02.jpg

dECOi Design, Hyposurface, 2003, photograph, http://www.mediaarchitecture.org/wp-content/uploads/sites/4/2006/06/digi1gn.jpg

dECOi Design, Hyposurface 002, 2003, photograph, http://www.mediaarchitecture.org/wp-content/uploads/sites/4/2006/06/PR_2003_hyposurface_002_p.jpg

dECOi Design, Hyposurface, 2003, photograph, http://www.upf.edu/pdi/dcom/xavierberenguer/recursos/ima_dig/_2_/ig/hyposurface.jpg

dECOi Design, Aegis Hyposurface 5, 2011, photograph, http://www.alchimag.net/portale/wp-content/uploads/2011/12/Aegis_Hyposurface_5.jpg

Hyposurface Corp, What is Hyposurface? (Massachusetts: Hyposurface Corp, 2003) http://hyposurface.org/ [accessed 21 August 2015]

IwamotoScott Architecture, Voussoir Cloud (San Francisco: IwamotoScott, 2008) <http://www.iwamotoscott.com/VOUSSOIR-CLOUD> [accessed 21 August 2015]

IwamotoScott Architecture, Petal Geometries, 2008, diagram, http://adbr001cdn.archdaily.net/wp-content/uploads/2012/06/1339694235_voussoir_cloud_1307120461_vc_petal_geometries.jpg

IwamotoScott Architecture, VC Above Close-up, 2008, photograph, http://adbr001cdn.archdaily.net/wp-content/uploads/2012/06/1339693898_voussoir_cloud_1307120316_isar_vc_above_closeup02.jpg

IwamotoScott Architecture, VC Fore and Background, 2008, photograph, http://adbr001cdn.archdaily.net/wp-content/uploads/2012/06/1339693917_voussoir_cloud_1307120352_isar_vc_fore_and_background.jpg

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IwamotoScott Architecture, VC Detail Front-lit, 2008, photograph, http://adbr001cdn.archdaily.net/wp-content/uploads/2012/06/1339693913_voussoir_cloud_1307120342_isar_vc_detail_frontlit.jpg

ThinkParametric, FERMID by Behnaz Babazadeh (ThinkParametric, 2015) http://designplaygrounds.com/deviants/fermid-by-behnaz-babazadeh/ [accessed 21 August 2015]

PART C:Detail Design

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C.1. Design Concept

C.2. Tectonic Elements & Prototypes

C.3. Final Detail Model

C.4. Learning Objectives and Outcomes

Bibliography

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– 69

– 79

– 93

– 95

PART C – Contents

57

NORTHCOTE

CLIFTON HILL

During the interim presentation, I received some feedback on my tessellating path proposal. One of the primary concerns for my idea was the feasibility of its realization; a mechanised moving path which would have to support live loads while being structurally stable would be incredibly difficult to fabricate. Another problem was the cost; a mechanism of this scale with tessellating panels would require numerous actuators and components, dramatically increasing the budget of the entire project. All these issues made the proposal unrealistic in practice, and it was suggested that the tectonics of the design be simplified, possibly creating a path which floated on the water surface, allowing it to passively adjust to the flood levels accordingly without having to use motors to actively move the path.

After evaluating my proposal and concept, I began working on a new idea, while still focusing on the same core principle of architectural interaction with the existing site. I worked with two fellow students who had similarly dealt with interactive architecture in their initial concept, and we started to discuss how we might be able to take elements from our previous proposals and apply them into a new concept.

We decided to revisit our site of Merri Creek in order to find elements in the environment which may inform or drive our concept. A particular area of the Merri Creek trail which drew our interest was a section situated beneath the overhanging Heidelberg Road Bridge. The overhead spanning structure created an almost cavernous space. The presence of the bridge also enabled a unique effect in conjunction with the natural landscape; when sunlight hits the water surface of the creek, the light is reflected and projected onto the underside of the bridge’s arch, creating a dazzling display of ever-changing patterns on the bluestone surface. This was a naturally occurring phenomenon which we wanted to somehow incorporate into our concept. In addition, there was also a substantial amount of wind force present at the location, which could possibly also be utilised in our design.

C.1. Design Concept

Evaluation & Reconception

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From the analysis of our site, we brainstormed about how we could utilise existing on-site elements such as wind and sunlight in our design to create a certain level of interaction. We also explored the aspect of materiality, putting emphasis on using existent “off the shelf” components for the fabrication of our design.

With these criteria in mind, we looked at various precedents which shared these characteristics with our concept. We explored multiple possible inspirations, such as wind-driven kinetic installations and building facades.

One particular project which stood out to us was the Straw-blurry Fields installation by a group of students from the Tulane School of Architecture. The project is comprised of two hanging “walls” of translucent plastic straws, threaded with string to allow for fluid movement in the structure when blown by the wind.

The transparent quality of the material also allows for an additional element of interaction with light, creating a unique experience for the users’ senses.

1. Robert Mosby, Straw-Blurry Fields, 2014, photograph, https://mir-s3-cdn-cf.behance.net/project_modules/disp/10f5e715121319.5628d28faa7e0.jpg

2. Robert Mosby, Straw-Blurry Fields, 2014, photograph, https://mir-cdn.behance.net/v1/rendition/project_modules/hd/05e05515121319.5628d398ada20.jpg

3. Robert Mosby, Straw-Blurry Fields, 2014, photograph, https://mir-s3-cdn-cf.behance.net/project_modules/disp/b0d65415121319.5628d2f9395e5.JPG

Fig. 3. View of both “walls”.3

Fig. 2. Translucent “blur” effect of material.2

Fig. 1. Straws’ effect on light and shadow.1

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C.1. Design ConceptEvaluation & Reconception

Ultimately, we chose straws to be our primary material for construction, due to its lightweight properties, its ability to interact with light, as well as its low cost.

From this point, we began looking into form generation for our design. Our initial concept was a large series of straws which hung from the underside of the bridge, surrounding the path of the trail, so that as users walk and bike through the area, they experience the installation around them, almost like walking through a forest of illuminated pipes. In addition to this, we also considered creating a light display projected onto the straws to further amplify the installation’s level of interaction with light. Additionally, we wanted the straws to be hung at varying heights as well as vary in length, so that the structure takes on a floating organic form. As a space must be created inside this installation to allow people to use the existing path, we needed to allocate and consider each thread of straw’s specific positions. In order to achieve this computationally, we considered using image sampling to provide a visual input of the path we wanted to create, then populating the negative space of this visual with points for straws.

However, a major issue of this design was the method of fabrication. As the straws would be hanging directly from the underside of the bridge, we would be restricted to only being able to fabricate the installation in situ. There was also the problem of permits; in order to install our design on site, we would need to first gain approval from the city council and other respective authorities, as we would be physically modifying the bridge. Moreover, the height of the bridge meant that such a method of fabrication was simply impractical and infeasible. These issues meant that we had to revise our form slightly, as we would need to hang the straws from a standalone frame structure, which would then be moved on-site once completed.

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C.1. Design ConceptRefinement

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The solution came in the form of a waffle grid frame, which would be situated at the top of the installation. The straws would then be hung from each intersecting point of the frame, instead of from the bridge. The frame itself would be of a wavy, organic shape. However, as the frame’s individual members would still be planar, it would still be able to be fabricated by being cut from flat materials.

While this did solve the issue of construction, it brought up another problem; the rigid and visually heavy-looking waffle grid frame detracted from the lightweight and airy aesthetic of the installation. By essentially “capping” the top end of the structure, the design lost the sense of elegance and simplicity which was achieved by using the slender and translucent straws, and also took away the illusion of a floating installation. As these were qualities of our concept which we did not want to sacrifice, we had to reconsider our design once more.

Waffle grid structure detail

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After considering the behavioural patterns of the average user on site, another issue was brought up. As many of the users of the path are cyclists, they often ride through this section of the trail at high speeds. This meant that if the installation surrounded the path, it would obstruct the cyclists’ activity, becoming a hindrance rather than adding to their experience of the site. With this in mind, we changed the installation’s location to be adjacent to the path, closer by the creek, rather than hanging over the path itself. This way, the structure would still draw people’s attention and offer them a way to experience the area in a unique manner, while still allowing them to perform their usual activities.

With this slight change in the installation’s function also came a change in the scale of the structure. As the installation no longer needs to surround the existing path, the size of it could also be reduced accordingly. The installation would now be a space enclosed by straws which individual users could enter to experience the manipulation of light and the unique spatial and visual qualities produced by the structure.

As the design was now much smaller and more compact in scale, we had to take into consideration how this would affect the original construction tectonic of our installation. We felt that our original concept, which had the straws all hung vertically, would have less impact visually when done in a smaller scale. Therefore we began rethinking the configuration of the straws. After exploring several different possibilities, we decided to configure the straws in layers of a grid-like pattern, where the structure would be formed by intersecting vertical, horizontal and longitudinal members. Due to the tubular and translucent quality of the material, this layering of straws would create a visually complex yet captivating form, as well as add to the airy and light quality of the “floating” installation.

This quality of lightness drove our form-finding process, and ultimately we settled on the abstract form of a cloud for our installation. This form complements the aesthetics of our materiality and tectonics, and also creates the surreal imagery of a person standing inside a floating, translucent cloud, which would be conducive to drawing the attention of passer-bys, therefore creating a unique experience not only for the person inside the space of the installation, but also for those in the immediate vicinity.

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From this point on, we experimented with the technicalities of how to produce this intended form in computation. Due to the grid-like nature of our design, we decided to look into recursive subdivision as a parametric method of achieving the desired outcome. This process would allow us to divide the form into a number a squares; some of these squares would then be further subdivided into smaller quads, and this process would repeat itself until the output of the algorithm meets a certain condition. As we wanted this subdivision to tie in to our site, we used the ripple pattern of the creek as a visual input. By sampling the image of the ripple, points were extracted from this visual information. These points were then used as input for the subdivision algorithm, where the quads would subdivide a certain amount of times depending on the proximity of points from the sampled visual pattern. This introduced an element of varying density in the divided grid-like form of the installation, creating certain areas in the structure where the straws would be more tightly packed than others, thereby changing the way the installation looks when viewed from different angles.

INPUT SAMPLE IMAGE

ARRAY SUBDIVIDED STRUCTURE TO CREATE THREE DIMENSIONAL

FORM

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CREATE POINTS FROM IMAGE

RECURSIVELY SUBDIVIDE GRID WITH POINTS FROM

SAMPLE IMAGE

TRIM FORM WITH GEOMETRY TO GENERATE

DESIRED FORMCHANGE GRID LINES TO

HOLLOW CYLINDERS

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We explored multiple iterations for our form, playing with different variables such as the subdivision sizes, density, and the overall shape, finally settling on this form. The irregular subdivision produces areas where the straws completely block any vision from certain angles, creating a sense of illusion and visual ambiguity.

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C.2. Tectonic Elements & Prototypes

Joint Element Experimentation

Once we had settled on our design, we looked into how we could realize our installation in its physical form. One of the most crucial factors of our design was the tectonic of its joinery. It was important to us that any joint elements we introduce into the design would not undermine the lightness and translucency of the straws, while still providing the structural integrity needed to keep it stable.

As we wanted to keep the installation as light as possible, both visually and physically, we experimented with a self-intersecting peg-and-hole joint system. This was achieved through punching holes in the straws at predetermined positions, and threading vertical straws through the openings. This system meant that there was no need to introduce another material into the design, achieving our criteria for keeping it as light and minimalistic as possible.

However, despite its advantages, this particular joint system is extremely time consuming in terms of fabrication, making it impractical when applied on a large scale. Another issue was that it was difficult to determine the precise positions of each opening, meaning that when the model is assembled, the straws would not be completely parallel and perpendicular to each other, making for a crude final product.

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C.2. Tectonic Elements & PrototypesJoint Element Experimentation

We constructed another prototype using the same joint system to test its affects on a smaller structure with less members. We discovered that when a minimal amount of straws are used for this system, the structure tends to bend and deform, as the opening are round, allowing for rotation. We also found that the horizontal straws were prone to movement along the vertical members, freely sliding up and down. This would be a problem when applied to our design, particularly in sections which have large cells with little subdivision, as the low amount of straws in those areas would mean a lack of rigidity.

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C.2. Tectonic Elements & PrototypesJoint Element Experimentation

Wanting to retain the translucent quality of our design, we experimented with using clear Perspex as the material for our joint system. These joints were inserted at each straws’ ends, joining them into a singular structure.

We found that these joints offered great rigidity in the structure, and were quite simple to fabricate, but also made the model somewhat heavier physically. However, an unexpected effect given by the Perspex material was the way in which light illuminated the edges, contributing to the light manipulation aspect of our core concept.

We explored two different forms for the joints; one type which consisted of two T-shaped members that intersected with each other, and another type which was a cross-shaped member intersecting diagonally with an I-shaped member.

Ultimately we settled on using this joint system for our final model, due to its ease of fabrication, rigidity and the material’s interaction with light. We decided to use the second form of the joints we tested, as there would be certain long members in our design which would require straws to be joined end on end, and the I-shaped member of that joint type would be suitable for the task, eliminating the need to fabricate yet another type of joint just for that specific connection.

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C.2. Tectonic Elements & PrototypesDiscoveries

During the process of prototyping, we discovered an unexpected aural quality to the material that we had not considered before. When straws of different lengths collide with each other repeatedly, they create a soft, light sound which almost resembles raindrops. We wanted to implement this quality into our installation to add another dimension to the experience provided by our design so that it becomes multi-sensory, not just visuals alone.

In order to accomplish this, we produced a prototype of a small module which could be attached to our existing design. This module consists of a small grid made of intersecting polypropylene strips at the top, which would then support a cluster of straws hanging from these strips. As the wind blows, these freely hanging straws would move and collide with each other, producing the sound we had discovered. These modules would be fitted into certain cells of our structure, fabricated in different sizes in accordance to the size of their respective cell.

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C.2. Tectonic Elements & PrototypesDiscoveries

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C.3. Final Detail Model

Fabrication Process

In order to fabricate our model, we created a series of two-dimensional templates for each layer of our structure, which we printed out to use as a base. Each layer is labelled in order, and we used these templates in conjunction with an exploded digital model to aid our fabrication process.

Using templates made the construction process a lot quicker and more convenient, as we simply had to place each straw on top of the template and connect them with joints accordingly.

As each layer was fabricated, they would be tagged with their respective layer number. After all layers were made, they were assembled in order according to their tags.

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C.3. Final Detail ModelOn Site

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An architectural installation which changes the way in which people experience the site by manipulating and interacting with the natural features of the surroundings.”

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C.4. Learning Objectives and Outcomes

After presenting our concept, we received some feedback as to certain aspects of the idea which could be further developed or considered. One of the main points brought up was that the sound modules we had included in our installation detracted from the simplicity of the form, and felt “tacked-on”. The sound produced by the modules was quite feint, which made it weak as an experiential factor, and thus when added on to our core concept, it actually took away from the clarity of the installation’s core intention, which was its visual impact and effect.

Another issue that was raised was the tectonic of the joint system. There was some concern that the structure was still too unstable even with the Perspex joints, particularly in holding the vertical members. As the joint system was essentially a compressive system, there was a risk of the vertical straws slipping and detaching from the joints when being hung. Suggestions of possibly implementing a pinning system in the joint to prevent straw detachment were made.

Presentation Feedback

Similarly, there was also concern that the plastic straws would not be able to hold its shape in certain areas, due to the load of other straws and joints weighing down upon it. We were advised to look into using an alternate material for areas which were prone to deform, possibly more rigid substances such as metal.

In terms of the installation’s interaction with light, the general consensus was that it could be amplified to a greater degree, creating a more interesting effect. We were prompted to explore implementing other elements which could enhance the structure’s light manipulation, such as light reflective strips which would bounce light in different directions.

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Studio Air has been a unique, challenging, but ultimately rewarding learning experience. The introduction the whole concept of parametric design was very foreign to me, but still intriguing, and as the semester continued I found myself naturally dealing with this concept in practice, particularly in part C. The notion of using rules to guide your design was much more helpful than I had anticipated, and would definitely be something which I would continue using in my designing journey.

This subject has also allowed me to learn a lot about the fabrication process, particularly the stage of prototyping. While I had always known about prototypes as a method of testing designs in its physical form, I had never imagined that it could also lead to new discoveries which could complement the core concept of your idea. This made me realize that design is often not just a linear system, but can be cyclical, with certain stages leading back to earlier steps, being a constant process of continuous refinement and redevelopment.

In terms of technical skills, this subject has challenged me to greatly improve in my ability with computational design. Over the semester, I have become much more familiar with using Rhino as a design tool, and more importantly, I have learnt how to use Grasshopper to assist me in my design process. The task of learning to use this software was quite daunting in the beginning, and the learning curve seemed quite steep. But over time, as my knowledge of it grew deeper, it has helped me immensely in form generation and exploration, allowing me to accomplish tasks with ease. While I still have much to learn with using Grasshopper, this subject has definitely been a huge stepping stone for me in helping me become adept at utilising it in my design process.

Overall, Studio Air has opened my eyes to a whole new realm of design which I had been previously unfamiliar with, and has introduced me to a design discipline which I had felt uncomfortable with before. It has been quite a difficult experience at times, but this also helped me gain invaluable skills and knowledge which I can use in my design process from this point onwards.

Reflection

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Bibliography

Mosby, Robert, Straw-Blurry Fields, 2014, photograph, https://mir-s3-cdn-cf.behance.net/project_modules/disp/10f5e715121319.5628d28faa7e0.jpg

Mosby, Robert, Straw-Blurry Fields, 2014, photograph, https://mir-cdn.behance.net/v1/rendition/project_modules/hd/05e05515121319.5628d398ada20.jpg

Mosby, Robert, Straw-Blurry Fields, 2014, photograph, https://mir-s3-cdn-cf.behance.net/project_modules/disp/b0d65415121319.5628d2f9395e5.JPG

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Documents

Studio Air 2015 S2 Journal