AIR YOUNG WOOK CHANG S E M E S T E R 1 2 0 1 6 F I N N W A R N O C K

AI

COVER IMAGE: Black and White Architecture (Pexels,2016)

<https://static.pexels.com/photos/10643/photo-1442406964439-e46ab8eff7c4.jpg> [accessed 17 March 2016]

AIRCONTENTS

INTRODUCTION

A.0. CONCEPTUALISATION

A.1. DESIGN FUTURING

A.2. DESIGN COMPUTATION

A.3. COMPOSITION/GENERATION

A.4. CONCLUSION

A.5. LEARNING OUTCOMES

A.6. ALGORITHMIC SKETCHES

REFERENCES

B.1. RESEARCH FIELDS

B.2. CASE STUDY 1.0

B.3. REVERSE ENGINEERING

B.4. CASE STUDY 2.0

B.5. PROTOTYPES

B.6.1. PROPOSAL

B.6.2. FURTHER DEVELOPMENT

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B.7. LEARNING OBJECTS & OUTCOMES

B.8. ALGORITHMIC SKETCHBOOK

REFERENCES

C.1. DESIGN CONCEPT

C.2. TECTONIC ELEMENTS & PROTOTYPES

C.3. FINAL DETAILED MODEL

C.4. LEARNING OUTCOMES & OBJECTIVES

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INTRODUCTION

My name is Young Wook Chang and I am currently in Bachelor of Environments, majoring in Architecture at

The University of Melbourne. I was born in Seoul, Korea but spent most of my life in Auckland, New Zealand. I’ve first wanted to do architecture when I was in middle School. We had a special day once a week called T-Day or known as Talent Day. Fortunately or unfortunately, my tutor used to be a practising architect. She showed me images of Frank Ghery’s Bilbao Guggenheim Museum and I was inspired and wanted to become an architect since then.

My experience in digital design so far only included using programs such as Adobe Photoshop, InDesign, Illustrator, Autocad and Rhino. These programs were used to represent my drawings in a better way or to enhance my design. I have never used Grasshopper or any other algorithmic programs to actually generate forms or shapes. This semester would be a great opportunity to learn how to use Grasshopper and this will be a whole new experience.

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CONCEPTUALISATION

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SOURCE: Cheongyecheon Scenary (Pentagreen, 2010) <http://pentagreen.tistory.com/40> [accessed 9 March 2016].

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DESIGN FUTURINGA.1.

CHEONGYECHEON RESORATION PROJECTO-14 TOWER

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CHEONGYECHEON RESTORATION PROJECT SEOUL, KOREA 2005

Seoul, capital city of Republic of Korea is a mega-city with population of 30million that

developed around the Han-Gang River and is a lot like Melbourne and its Yarra River.

Seoul had a exponential growth in the last 50 years despite its dark past of Japanese colonisation and the Korean War. As a result, environmental issues were not the best interest of the people in Seoul.

Cheongyecheon is a stream which flows from Han-Gang River but majority of the stream was poured with concrete in the 1940s to construct a highway for vehicles. However in the 1990s with growing numbers of the middle class and growing interest of the natural environment, the stream was finally restored in 2005.

The project changed people’s perception of a city life. The restored stream provided spaces for leisure and relaxation and public spaces for cultural activities were also created to enrich people’s lives.

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Also, average temperatures of the neighbouring areas decreased significantly and number of cars entering Seoul has also decreased. Living creatures also came back to the stream and diversified the biodiversity1.

In the past, the stream was used for cloth washing, swimming or taking a bath. Unfortunately the stream is no longer being used the way it use to be but through restoration, it is believed that the stream has been returned to the people of Seoul2.

Following the project, many areas especially roads has been transformed in to public spaces for gathering and sharing. This is an extremely positive trend in a city where individuality and originality of an individual is not really being appreciated due to conservative atmosphere of the Korean Society. Large amount of areas in Seoul are becoming nature reserves where development of buildings and removal of living creatures are prohibited.

1. Kyeong Ok Kim, Cheongyecheon Biodiversity Increases (Hani, 2009) <

http://www.hani.co.kr/arti/society/area/340515.html> [accessed 9 March]

2. ibid

3. Historical photo of Cheongyecheon (Korea Culture Centre, 2012) <http://

www.koreanculture.jp/korean/info_news_view.php?number=2286>

[accessed 9 March 2016]

4. Cheongyecheon (Foodplus, 2008) <https://i.ytimg.com/vi/

Ryv7o5-QFn4/maxresdefault.jpg> [accessed 9 March 2016]

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O-14 TOWER, DUBAI, UAE 2010

Structure is the most essential part of a building which holds up the building and without it, architecture is

not possible. Commonly, structures are hidden in the core of the building as structures are considered as elements that hinders the building’s physical appearance.

Reiser + Umemoto together changed this idea of clean exterior facade and it is interesting that this ‘exoskeleton’ idea was applied on a skyscraper in Dubai. It can be seen that the architects challenged the forms of common skyscraper by refusing what was given as given1. The facade of the skyscraper is the most essential part of the tower. Not only it is visually appealing, the building cannot exist without its exterior facade as it acts as the most important structural feature of the building.

At the same time, the gap between the building’s facade and the glass surface forces hot air to rise and allows passive cooling2. Leaving air gaps between the facade and the glass would also prevent conduction of heat and thus this would help towards sustainability.

In a desert condition, heat gain would be a huge problem in buildings that are covered by glass façades. It is important for architects to consider its context and think about the building’s energy consumption that are used for heating and cooling. We should move towards designing less environment harming design rather than designing buildings with human centrered mind and should not treat the planet as a infinite resource3.

This building form may not satisfy every clients and users. Considering that Dubai is a affluent society of the Middle Eastern world, aesthetic quality that emphasise wealth and abundance would be prioritised when designing such buildings like skyscrapers.

However in the future, it would be practical to move towards a trend that encourages using less materials and removing unnecessary building elements. Integrate integral elements of the building to form the façades like the O-14 Tower.

1. Anthony Dune and Fiona Raby, Speculative Everything Design, Fiction and Social Dreaming (Massachusetts: MIT Press, 2013), p.33. 2. Evelyn Lee, Eye-Popping ‘Green’ O-14 Skyscraper Nears Completion in Dubai (Inhabitat, 2011) < http://inhabitat.com/o-14s-lace-like-exoskeleton-opens-in-dubai/> [accessed 9 March 2016].3. Tony Fry, Design Futuring Sustainability, Ethics and New Practice (New York: Berg, 2009), p.1.4. O-14 Tower by Reiser + Umemoto (Karmatrend, 2011) <https://karmatrendz.files.wordpress.com/2011/04/o-14_tower_04.jpg> [accessed 13 March 2016].5. ibid

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DESIGN COMPUTATIONA.2.

SUPREME COURT OF NZICD-ITKE Research Pavilion

SOURCE: Supreme Court- Lambton Quay (Ministry of Justice, n.d.) < http://www.justice.govt.nz/cour ts/the-supreme-cour t/images/Supreme%20Court_Lambton%20Quay%20St.jpg/view >[accessed 13 March 2016]

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SUPREME COURT, WELLINGTON, NZ 2010

Computation has changed the design industry radically, allowing impossible to become possibility

and to reality. Designers are now capable of designing with complex geometries because it is possible to analyse and predict what is possible and what isn’t1.

It is important for young designers nowadays to distinguish the two terms; computation and computerisation. Computerisation involves entering of processing existing information in to the computer so it is about digital conversion of information2. On the other hand, computation is “about exploring intermediate, vague and unclear processes”3.

Computation cannot be separated from the design process. Although many designers begin designing without relying on digital technology, at certain stage, their design must be commutated in order for them to be documented and presented. This allows designers to review their design in three dimensional perspective and this allows for further development and analysis4.

Supreme Court of New Zealand in Wellington design by Warren and Mahoney has translated tradition and heritage through use of modern technology. The exterior facade is influenced by Pohutakawa and Rata and both which are Maori Ideas. Without the aid of computer technology, the repetitive patterns of the envelope would have been designed manually. In which this would have been the case in the Past where Maori craftsmen would hand carve façades of a building. Interpreting the past by the use of modern technology could be seen as modern version of craftsmanship of a mason.

Computerisation has not only enhanced the way architects design the exterior and interior of a building, it has influenced the way buildings are engineered. The courtroom located in the heart of the courthouse was designed with the aid of the computer. A series of elliptical profiles were analysed to find out where sound were caused to focus. This analysis allowed for appropriate material selection and to design a space for speech and hearing.

1. Yehuda Kalay, Architectures New Media (Massachusetts: MIT Press, 2004), p. 6.2. Tugrul Yazar, Computerisation and Computation (Designcoding, 2012) < http://www.designcoding.net/computerization-and-computation/> [accessed 11 March 2016].3. ibid. 4. Rivka Oxman and Rober t Oxman, Theories of the Digital in Architecture (London: Routledge Taylor & Francis Group). p. 2. 5. Local Architecture Awards (NZIA, 2010) <http://www.nzia.co.nz/awards/new-zealand-architecture-awards/local-architecture-awards.aspx?activeLocation=-1&activeYear=2010&activeType=Winners&page=14> [accessed 9 March 2016].6. New Zealand Supreme Court (ICE Design, 2013) <http://www.icedesign.net.au/projects/cour trooms/new-zealand-supreme-cour t/> [accessed 10 March 2016].7. Local Architecture Awards (NZIA, 2010) <http://www.nzia.co.nz/awards/new-zealand-architecture-awards/local-architecture-awards.aspx?activeLocation=-1&activeYear=2010&activeType=Winners&page=14> [accessed 10 March 2016].

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ICD-ITKE Research Pavilion 2013-14

Nature is becoming integral part of design and architecture. Two design teams ICD and ITKE at

the University of Stuttgart has design a research pavilion made of woven fibres. From beginning to the end computerisation dominates the design process and the project attempts to expand new architectural possibilities through computational design and robotic fabrication1.

The biomimetic process involves scanning of beetle’s shell and analysing their shapes. Together architects and biologists worked collaboratively in this process and developed light weight canopy design for the pavilion.

Design computation not only solves design problems, it may also be a solution for reducing construction costs. The pavilion shells are segmented and can be prefabricated in a factory or a lab. The prefabricated shells are simply transported to the site and then can be joined in to a large structure.

The robotic fabrication also uses materials efficiently; the computer works out the most efficient way of fabricating the shells in order to reduce the amount of steel frames and fibres used in the fabrication.

“The research pavilions are developed within the context of a paradigm shift in architectural design and fabrication”2. Some might argue that CAD software conspire against creative thought by encouraging ‘fake’ creativity. However in the case of ICD and ITKE, they’ve taken a different approach to designing.

Their concepts and ideas were developed through the use of computer software and thus it is difficult to say their creativity is fake. It is important for designers to understand the way that the world is shifting towards sustainability through computation process which enables us to analyse, predict, and rationalise.

1. Trent Fredrickson, Interview with ICD/ITKE Team on Fiber-Woven Research Pavilion 2013-14 (Milan: Designboom) < http://www.designboom.com/architecture/icd-itke-research-pavilion-2013-14-interview-08-18-2014/> [accessed 13 March 2016]. 2. ibid. 3. ibid4. ibid5. ibid

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COMPOSITION & GENERATIONA.3.

SUBDIVIDED COLUMNGHATKOPAR INDIA SCHOOL FACADE

SOURCE: Michael Hansmeyer, Subdivided Columns - A New Order (Michael Hansmeyer/Computation Architecture, 2010) [accessed 18 March 2016]

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SUBDIVIDED COLUMN, 2011

“Algorithms can generate endless permutations of a scheme. A slight tweaking of either the input or the process leads to an instant adaptation of output. When combined with an

evaluative function, they can be used to recursively optimize output on both a functional and aesthetic level”1

Architect are nowadays given empowerment in the architecture field as they did in the

past. With the ability to create a system, by setting finite set of rules known as algorithm2,

However it is questioned that whether computation or using algorithm is hindering architect’s imagination and creativity. Hansmeyer is not just designing a decorative column. He is designing a process that produce a column and so that this process or set of algorithms could be altered to created innumerous variety of unique columns. The algorithm could then be entered to another column and then a variant will be generated3.

Columns are fabricated in full scale and are 2.7 metres high and uses 1mm sheet4 . Each column contains millions of layers of cardboard and are held together by a steel column4.

1.Karen Cilento, Subdivision / Michael Hansmeyer (Archdaily, 2011) < http://www.archdaily.com/138323/subdivision-michael-hansmeyer> [accessed 18 March 2016].2 Rober t Wilson, MIT Encyclopaedia of the Cognitive Sciences (Cambridge: MIT PRESS, 1999), p.11. 3. Michael Hansmeyer, Subdivided Columns - A New Order (Michael Hansmeyer/Computation Architecture, 2010) [accessed 18 March 2016]4. ibid

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GHATKOPAR INDIA SCHOOL FACADE 2010

Proportion, geometry, symmetry and historicism are emphasised in classical architecture and thus

considered as compositional architecture. Why were these aspects so important in classical architecture? Many forms of architecture in the past were used to impose order and power to the general public1. Nowadays architecture is becoming important part of our lives and also the environment. New ways of thinking and designing has emerged from computation to interpret architecture in a ‘generative’ perspective.

Generative architecture, looks closely at the genesis of a form or a shape2. So in other words it is about establishing a system to create an unexpected result through the use of simple and complex algorithm; i.e. Rhino & Grasshopper. Computation in the past were tools for representation of a design but nowadays, it has become a tool to stimulate our creativity3.

Projects that features phase change materials, automated louvre shades and etc. has been planned and has already been realised in the industry.

But what if the facade or the envelope of the whole Biothing’s conceptual project for Ghatkopar India’s building facade reacts to the weather condition and challenges the idea that buildings being static. The fibre concrete facade changes in a irregular pattern and the algorithm controls the aperture; the size of the openings of the building skin and it’s purpose is for cooling and shading effects4.

It is interesting how scripting can give dynamic character to a building as if the building is living. Set building form is generated through algorithmic coding in the architectural office but if this building is realised, it means that the building is generating new buildings form after it is constructed.

Although it is a exiting concept there are drawbacks of generative architecture of this sort. It could be questioned that whether the algorithm to control the building facade is the ultimate solution to meet the user’s need? And when could this building be realised?

1. Kim Williams, Symmetry in Architecture (Institute of the Serbian Academy of Sciences and Arts, 1998) < http://www.mi.sanu.ac.rs/vismath/kim/index.html> [accessed 17 March 2016].2. Phil Bernstein, Make Your own Rules with Generative Architecture (Line/Shape/Space, 2015) < https://lineshapespace.com/make-your-own-rules-with-generative-architecture/> [accessed 17 March 2016].3. Brady Peters, Computation Works_The Building of Algorithm Thought (Hoboken: Wiley, 2013). p.13. 4. Alisa Andrasek, GHATKOPAR INDIA _ SCHOOL FACADE (Biothing, 2010) < http://www.biothing.org/?cat=20> [accessed 17 March 2016]. 5. ibid6. ibid

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CONCLUSIONA.4.

Part A: Conceptualisation was a interesting way to start of Studio Air. The three parts we explored

in the last three weeks covered Design Futuring, Design Computation and Composition/Generation. Parametrics has opened a new design possibilities for the future. It enhances our ability to design with the aid of computers and algorithms to generate new design. But we must not rely completely on the computational process. We must consider the future and think about how our design might affect our society in terms of sustainability and its affect on the broader community.

Our design brief for the project is to design a ceiling installation in an Architectural office in Brunswick. Compatitional, generative and parametric design would allow me to produce so many different design outcomes. I cannot yet say that just because I am using Grasshopper to design, it must be innovative and radical.

And thus it is important for me to understand the material properties well in order to produce a successful design that is asthetically pleasing, durable and functional at the same time. The program would help me to visualise forms I have never seen or visualised before but just because the program has created something unintended and revolutionary, this should not dictate my design process and decisions.

It is my self who would directly benefit from learning how to design in this particular way. It expands my future possibilities and strengthen my design skills. Also my design could inspire people or it could give others the oppertunity to be critical or be inspired.

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LEARNING OUTCOMESA.5.

Before starting Studio Air, my understanding of computational architecture was that it is all

just about creating repetitive patterns and visually stunning architecture. Now my understanding of computational architecture is about designing the process of designing. At the moment, using grasshopper to come up with iterations of different from is very much like an experimentation. And it is a really an interesting experiment because this is really different to design methods I have been using in other studios.

Another interesting this is that I have to consider aesthetic quality of my design and as well as how to design an algorithm efficiently. There are numerous ways of achieving similar outcome but I’ve realised that it is important to realise the limitation of technological equipment that is available to me right now. And thus the most efficient and simple algorithm must be achieved in order to develop more complex algorithms.

If I was able to understand the concept of computation and was capable of using Grasshopper, I think my design processes in the past would have changed radically. For example, after forming concepts and developing my ideas, I may have used Rhino and Grasshopper to generate forms and shapes of my boathouse for Studio Water. And so I might have chosen a different master architect who that designs more abstract architecture that incoporates computational architecture.

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ALGORHITHMIC SKETCHBOOKA.6.

The form of a plane could be changed by folding, rotating, and pulling. All these commands were

done by simply altering values of the modules and by adding or rearranging the algorithm. It was interesting to see how the location of one single attracter point or multiple points could affect the outcome. Planar shape like this would have been achievable by simply bending a A4 piece of paper. But grasshopper allows me to interpret this design algorithmically and thus a ‘formula’ for this design is generated.

This sketch could become a early conceptual deisgn of the ceiling installation. Grid of hexagons vary in sizes depending on their distance from the attracter points; and in this case the attractor points are created by a curve. In the future, this sketch could be lofted to create a surface which could form the ceiling installation.

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REFERENCES

Andrasek, Alisa, GHATKOPAR INDIA _ SCHOOL FACADE (Biothing, 2010) < http://www.biothing.org/?cat=20> [accessed 17 March 2016].

Bernstein, Phil, Make Your own Rules with Generative Architecture (Line/Shape/Space, 2015) < https://lineshapespace.com/make-your-own-rules-with-generative-architecture/> [accessed 17 March 2016].

Black and White Architecture (Pexels,2016) <https://static.pexels.com/photos/10643/photo-1442406964439-e46ab8eff7c4.jpg> [accessed 17 March 2016].

Cheongyecheon (Foodplus, 2008) <https://i.ytimg.com/vi/Ryv7o5-QFn4/maxresdefault.jpg> [accessed 9 March 2016].

Cheongyecheon Scenary (Pentagreen, 2010) <http://pentagreen.tistory.com/40> [accessed 9 March 2016].

Cilento, Karen, Subdivision / Michael Hansmeyer (Archdaily, 2011) < http://www.archdaily.com/138323/subdivision-michael-hansmeyer> [accessed 18 March 2016].

Dune, Anthony and Fiona Raby, Speculative Everything Design, Fiction and Social Dreaming (Massachusetts: MIT Press, 2013), p.33.

Fredrickson, Trent, Interview with ICD/ITKE Team on Fiber-Woven Research Pavilion 2013-14 (Milan: Designboom) < http://www.designboom.

com/architecture/icd-itke-research-pavilion-2013-14-interview-08-18-2014/> [accessed 13 March 2016].

Hansmeyer, Michael, Subdivided Columns - A New Order (Michael Hansmeyer/Computation Architecture, 2010) [accessed 18 March 2016].

Historical photo of Cheongyecheon (Korea Culture Centre, 2012) <http://www.koreanculture.jp/korean/info_news_view.php?number=2286> [accessed 9 March 2016].

Kalay, Yehuda Architectures New Media (Massachusetts: MIT Press, 2004), p. 6.

Kim, Kyeong Ok, Cheongyecheon Biodiversity Increases (Hani, 2009) < http://www.hani.co.kr/arti/society/area/340515.html> [accessed 9 March].

Lee, Evelyn, Eye-Popping ‘Green’ O-14 Skyscraper Nears Completion in Dubai (Inhabitat, 2011) < http://inhabitat.com/o-14s-lace-like-exoskeleton-opens-in-dubai/> [accessed 9 March 2016].

Local Architecture Awards (NZIA, 2010) <http://www.nzia.co.nz/awards/new-zealand-architecture-awards/local-architecture-awards.

aspx?activeLocation=-1&activeYear=2010&activeType=Winners&page=14> [accessed 9 March 2016].

O-14 Tower by Reiser + Umemoto (Karmatrend, 2011) <https://karmatrendz.files.wordpress.com/2011/04/o-14_tower_04.jpg> [accessed 13 March 2016].

Peters, Brady, Computation Works_The Building of Algorithm Thought (Hoboken: Wiley, 2013). p.13.

New Zealand Supreme Court (ICE Design, 2013) <http://www.icedesign.net.au/projects/courtrooms/new-zealand-supreme-court/> [accessed 10 March 2016].

Oxman, Rivka and Robert Oxman, Theories of the Digital in Architecture (London: Routledge Taylor & Francis Group). p. 2.

Tony Fry, Design Futuring Sustainability, Ethics and New Practice (New York: Berg, 2009), p.1.

Williams, Kim Symmetry in Architecture (Institute of the Serbian Academy of Sciences and Arts, 1998) < http://www.mi.sanu.ac.rs/vismath/kim/index.html> [accessed 17 March 2016].

Wilson, Robert, MIT Encyclopaedia of the Cognitive Sciences (Cambridge: MIT PRESS, 1999), p.11.

Yazar, Tugrul, Computerisation and Computation (Designcoding, 2012) <http://www.designcoding.net/computerization-and-computation/> [accessed 11 March 2016].

Computerisation and Computation (Designcoding, 2012) <http://www.designcoding.net/computerization-and-computation/> [accessed 11 March 2016].

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CRITERIA DESIGNPART B

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RESEARCH FIELDB.1.

For example skin of a building could be perforated with patterns which control the amount of sunlight that enters the interior space. I have chosen this research field so that I could look at the way patterns transmit light and the atmosphere it creates and in this case the effect of perforations on the ceiling panel inside a meeting room.

PATTERNING

SOURCE:De Young San-Francisco ( Jeff Warrington, n.d.) <https://jeffwarrington.files.wordpress.com/2015/01/jeff-warrington_deyoung_san-francisco_03_dsc_3873_bw.jpg> [accessed 26 April 2016]

Patterning in architecture was considered as a method of decorating buildings and act as

ornaments. Patterns are now widely being used by architects not only to ornamentise the building, but use patterning to create the facade of the building or even look at how patterns could be performative.

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SOURCE: M.H. de Young Museum (arch2o, n.d.) <http://www.arch2o.com/wp-content/uploads/2015/04/Arch2O-HerzoganddeMeuron-MHdeYoungMuseum-07.jpg> [accessed 5 April 2016]

DE YOUNG MUSEUM, HERZOG DE MURON

Patterning has been used intelligently to decorate the external skin of the museum’s facade. The

architects not only used perforated circles as patterning, they thought about the material performance and created embossed effects that gives more dynamic and interesting effect. Combination of the embosses and perforations results in a wave-like effect and juxtaposes to the linear and volumetric form of the museum.

It would be interesting to use similar patterning on a timber veneer, to push timber’s performance to its limit and whether it could be embossed.

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Dior Shinsaibashi (Office of Kumiko Inui, April 2005) <http://www.inuiuni.com/projects/271/> [Retrieved 5 April 2016]

DIOR SHINSAIBASHI, KUMIKO INUI

This is a typical example of how patterning could be used on a building’s exterior facade. Dior’s iconic

pattern has been perforated on the metal facade of the building, to let light pass through and create illuminating effects. The first metal sheet layer consists of larger perforations. And on the next layer, metal sheet with same but smaller patterns are perforated. Combination of these two layers adds sense of volume despite the fact that the metal sheets are flat and planar. Surrounding areas are illuminated by subtle and comforting light effects.

It would be interesting to apply similar patterns and perforations on a curvd surface to see the light effects.

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GALLERIA CENTRE CITY, UN STUDIO

Facade of this department store is almost like a wave. This pattern is achieved by layering two

layers of aluminium panels; Straight panels on the top and angled panels at the back. Fixtures and lights systems are hidden behind the panels.

Fluidic and sculpturic form of the facade adds elegance to the overall apperance of the building and also gives a dynamic characteristic. I could think about layering multiple timber veneer layers without using curved surfaces to create optical illusion effect that is similar to this facade. However I need to consider properties of timber veneer, whether it will bend like aluminium.

Galleria Cheonan (UN Studio, n.d.) <http://unstudiocdn2.hosting.kirra.nl//uploads/original/4e139ec0-4c71-4f9d-a03e-c5e5c463e9b2/2615067744> [Retrieved 5 April 2016]

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PORTRAIT BUILDING, ARM

This building was controversial from its proposal stage. Image of a famous aboriginal elder is sampled to

create the facade of the building which directly faces The Shrine of Rememberance on the other end of Swanston St/St Kilda Road. Multiple fluidic strips are used to make up the shilouette of the elder’s facial features. When looked from below or from a place too close to the building, the pattern cannot be recognised. The building must be seen from a distance and from the right angle.

Melbourne’s new William Barak building is a cruel juxtaposition (The Conversation, 19 March 2015) <http://theconversation.com/melbournes-new-william-barak-building-is-a-cruel-juxtaposition-38983> [Retrieved 5 April 2016]

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CASE STUDY 1.0B.2.

DE YOUNG MUSEUM

SOURCE:De Young San-Francisco ( Jeff Warrington, n.d.) <https://jeffwarrington.files.wordpress.com/2015/01/jeff-warrington_deyoung_san-francisco_03_dsc_3873_bw.jpg> [accessed 26 April 2016]

SELECTION CRITERIA:

Balanced Light Filtration Subtle Imagery

Feasibility in FabricationClustered pattern

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Image Sampler y=0.1 y=0.2

Image Sampler

Hexagonal Grid y=0.1y=0.2

Image sampler + Hexagonal Grid y=0.1

y=0.2

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y=0.8 y=1.5 y=4.0

y=0.8 y=1.5 y=4.0

y=0.8 y=1.5 y=4.0

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b=1 b=2

b=1 b=2

b=1 b=2

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b=4 b=6 b=9

b=4 b=6 b=9

b=4 b=6 b=9

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REVERSE ENGINEERINGB.3.

DIOR GINZA

Dior@Ginza (Flickr, 2 April 2010) <https://www.flickr.com/photos/39749369@N04/6605286405> [Retrieved 5 April 2016]

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Base sqaure surface to sample the image on to

[Lady Dior Pattern] Circular curves are attracted

to white lines

Adjust varaiables and the equation to control the number of circles and its sizes. This panel has bigger circles

which will become the front panel

Create panel with circles that are about 20% smaller.

This panel will be the back panel

Overlap the panels

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CASE STUDY 2.0B.4.

SELECTION CRITERIA:Balanced Light Filteration

Subtle Imagery Feasibility in Fabrication Overlapping Patterns

Dior@Ginza (Flickr, 19 January 2007) <https://www.flickr.com/photos/soul72/367117872> [Retrieved 5 April 2016]

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y=0.2 y=0.8 y=1.5

+0.08 +0.12+0.20 +0.50

a=0.2 a=0.5 a=2.0 a=4.0

a=0.75 a=1.0 a=1.2

y=4.0

a=3.0

a=0.75 a=1.0 a=1.2 a=3.0

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DESIGN POTENTIAL

Series of circular perforations would create beautiful light effects on the desk that is in the centre of the

meeting room. At this stage we have tried to select patterns with perforations that doest not overlap in order to create a imagery that is clear and is not obscured.

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DESIGN POTENTIAL

After generating a number of different species and iterations, it was actually interesting to see

iterations with curves intersecting rather than just playing with circles. These species could be later developed in to patterns with perforations by using image sampler or curve attractor scripts. And I believe that more sophisticated and complex patterns would achieve more successful and beautiful light affects.

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PROTOTYPESB.5.

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LIGHT FILTRATION TEST

A number of different shaped panels with different patterns were tested with halogen lights. Through this test we realised that light cannot be bent when using non-reflective material. Also the sizes of the pattern perforation

has to be appropriate in order to filter enough amount of light. Small perforations created beautiful light effects but when multiple panels were overlapped on top of each other, the effect was unrecognisable and ineffective.

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TABS & CONNECTIONS TEST

Different tabs and connection types were tested to find out the most suitable and interesting connection type would be for the timber veneer panels. The panels were fabricated in the right way following the

grains of the timber. However when the tab sizes were too small they tend to brake off very easily because of the direction of the grain. Also holes for the tabs to go in were too small. If the material was plastic or paper, then some of the tabs would have worked successfully. Also our intention was to find the connection type that would be articulated so that connections itself becomes part of the aesthetic quality of the ceiling installation.

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PROPOSALB.6.1.

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DESIGN PROPOSAL

Jeanne and I combined our ideas together and produced one outcome to present in the Interim Presentation.

We have attempted to show how volume could be created by using planar hexagonal panels. Large void was created in the centre, in between the two layer of panels so that illuminating effect could be achieved.

The form we have chosen here is bigger where the entrance is and becomes narrower and smaller towards the screen. So it was an attempt to draw attention to the screen and exaggerate its important in the meeting room.

At this stage we were not able to embed and perforate patterns on to the panels and so this was shown by using a number of prototypes that has been fabricated by using laser cutter.

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FURTHER DEVELOPMENTB.6.2

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FURTHER DEVELOPMENT

“Going back to earlier stages and pushing limits...”

Our initial proposal to Hachem Architecture Firm was a very conservative and

safe approach. Now that we are capable of generating forms and patterns using Grasshopper, Our next step is to go back to our matrices and re select iterations by altering and narrowing down our team’s selection criteria so it is more specific and successful.

Our next step is to concentrate on the form that highlights fluidity, flow, volume and fragmentation. And in terms of patterning/perforation, we will focus on series of patterns that are dynamic, evocative and patterns that filters light effectively.

Also we have to consider the site conditions more thoroughly and now think about the ceiling installation’s direct impact on services maintenance and safety features such as sprinklers and other services that are installed in the ceiling.

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LEARNING OBJECTS & OUTCOMESB.7.

Image sampler is a powerful component when trying to achieve imageries that are quite obvious but at the same time it is difficult to achieve patterns that are more complex and sophisticated. This is because image sampler is really just a tool that could be used by just changing the image. But combination of image sampler and for example attractor component would be interesting.

At later stages, it could also be interesting to test light effects using different light sources, for example halogens, LED lights, fluroscent light and etc. This is because every light has different colours, brightness and light directions.

In the beginning of the Studio Air course, interesting and surprising forms and patterns were explored through the

use of Grasshopper. But I think I am now at a stage where I can use grasshopper to create something that I have imagined in my head, so computing my ideas or sketches by using Grasshopper. I was able to learn new skills from playing with random components and changing variable or by adapting ideas from other Grasshopper users.

Using Grasshopper often limited possibilities as I did not really understand what can be fabricated or what cannot be fabricated. But after a series of trial and error, I learnt that Grasshopper is a powerful tool which allows me to explore different ideas and generate ideas. Also even patterns that cannot be fabricated could become basis of a whole new series of species and iterations that could actually be fabricated through development and refinement.

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ALGORHITHMIC SKETCHBOOKB.8.

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REFERENCES

Dior@Ginza (Flickr, 2 April 2010) <https://www.flickr.com/photos/39749369@N04/6605286405> [accessed 5 April 2016].

Dior@Ginza (Flickr, 19 January 2007) <https://www.flickr.com/photos/soul72/367117872> [Accessed 5 April 2016].

Dior Shinsaibashi (Office of Kumiko Inui, April 2005) <http://www.inuiuni.com/projects/271/> [Accessed 5 April 2016].

Galleria Cheonan (UN Studio, n.d.) <http://unstudiocdn2.hosting.kirra.nl//uploads/original/4e139ec0-4c71-4f9d-a03e-c5e5c463e9b2/2615067744> [Accessed 5 April 2016].

Melbourne’s new William Barak building is a cruel juxtaposition (The Conversation, 19 March 2015) <http://theconversation.com/melbournes-new-william-barak-building-is-a-cruel-juxtaposition-38983> [Accessed 5 April 2016].

M.H. de Young Museum (arch2o, n.d.) <http://www.arch2o.com/wp-content/uploads/2015/04/Arch2O-HerzoganddeMeuron-MHdeYoungMuseum-07.jpg> [accessed 5 April 2016].

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DETAILED DESIGNPART C

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DESIGN CONCEPTC.1.

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Reflecting upon feedbacks from the interim presentation, it was important for our team to strengthen our

conceptual ideas and the selection criteria which helps us to generate and develop the ceiling installation’s form and structure. It was important for us to incorporate conceptual ideas of all three members, but not to overcomplicate and to keep the concept simple and precise.

We have addressed four main driving factors of our conceptual idea :

INTEGRATION

FLUIDITY

CONCEAL & REVEAL

LIGHT

INTEGRATION This may be the most important driving factor for our design. Through out the design process, we tried to integrate the frame and the panel. So this means that our aim was to not separate and identify these two elements as two completely different tectonics; the panels could be the frame and the frame could also be understood as panels. This is an interplay of what is a frame and what is a panel and blurring the boundary. However for practicality and actualisation, we have identified two main parts to our ceiling installation design;

HEX-PANELS & X-PANELSX-Panels act as the selection or the main frame structure of the installation design. Hex-Panels are the decorative elements which manipulates according to the distance from the meeting room’s entrance and presentation screen. Timber veneer has been used for both elements in order to integrate these two elements together.

FLUIDITY Generating a form that is fluidic and curved was important to highlight the idea of dynamism, transition and collaboration between the clients and architects at Hachem Architecture. Form of the design rotates and transforms from horizontal axis to a vertical axis. So, closer to the entrance of the meeting room, the installation lies on a horizontal axis to have a welcoming but surprising stance on clients and staff members who are entering the space. As the installation moves towards the presentation screen, it rotates the rear end now becomes horizontal.

CONCEAL & REVEAL Along with the integrated frames and panels and fluidic transition of our design, the panels were manipulated to transform with a logic. This generates a structure that has elegant undulations. Similarly with the transformation of the overall form, panels vary in size and shape, bends and dislocates according to its location. Attractor points at different locations affects bending, scaling and rotation of the panels. At both ends, the panels is fixed just at one point so that they hang or flops off the frame; this is using the natural properties of the timber veneer, its tendency to bend and gravity. Then the panels are fixed at both ends and is bent. Panels in the centre are flat and conceals the structure.

LIGHT The hollow section of the installation allow light to be enclosed within the volume and creates an illuminating affect and then creates an atmospheric effect. The shifting and transforming panels then create voids which light is revealed and creates patterning light effect. The overall light effect is intended to be very elegant and not overpowering in order to mimic the chiaroscuro painting or Andrew Saunder’s light; contrast between the light and dark.

Modular Assembly & Transformation

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Form Generation

FORM FINDING-ROTATION & SCALING-

PANELISING (X-PANELS)-ATTRACTOR POINTS & SCALING-

PANELISING (HEX-PANELS)-BENDING, SCALING & ROTATION-

CONNECTION DETAILS-EYELETS & PROTOTYPES-

LIGHT INTEGRATION

TECHNIQUE

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Frame & Panels

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Panelisation

Progression of Panels

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TECTONIC ELEMENTS & PROTOTYPESC.2.

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Early Prototypes

EARLY PROTOTYPING

Earlier on in the design stages, idea of space frames or tensegrity system was considered with the use of 3d printed connection systems. However, this moved away from the idea of ‘self supporting’ structure and hindered the relationship and integration of frames and panels. We wanted to further explore possibility of using same timber veneer as part of the connection and joint details.

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Tabs & Fasteners

Slits

Perpendicular Notches

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PROTOTYPING

The purpose of prototyping for our group was one of the most important stages of our design process.

It allowed us to explore what is possible and what is not possible. Since we were exploring with the idea of integration and self support, we had to push materials to its limit and understand it natural properties. Understanding the grain of our timber veneer was very important. Timber bends extremely well along its grain but when bend against it in the wrong direction, it brittles and break very easily. Panels were fabricated in various ways for example, grain running horizontally or vertically.

Horizontal Vertical Perpendicular

When we wanted the panels to bend, we’ve fabricated the panels with grains running horizontally (refer to above diagram). Whereas if we wanted the panels to bend the opposite way, then the panels would have vertical grains; panels would slightly bend but maintain its form better than the other grain direction because of the length of the Hex-Panel.

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Eyelets and fasteners were used to fix the panels and frames together. Other methods were experimented too; slits and perpendicular notches. Eyelets were great for securely fastening the elements together but the drawback would be its performance; it would be difficult to repair the panel of the frame.

Slits were also interesting because the panels and frames would hold together because of friction. However when the whole structure would be too heavy to solely rely on frictional force; but it may be a nice way to hide the connection details of Hex-Panels to X-Panels.

Perpendicular notches were also relying on frictional force and it was stronger then the slits prototype. This is because two timber veneer with grains running in different directions are pressing against each other. This prototype has a lot of potential of creating a stable framework the structure to main its shape and curvature, along with the use of tabs and fasteners.

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FINAL DETAILED MODELC.3.

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BUILDING THE FINAL MODEL

Final model was build with an intention of showing the overall form, materiality and light effects. Connection details were not shown

explicitly in the final model because the material would behave slightly differently in smaller scale and this was shown previously in the prototypes. Scale of the model and the site model were built to 1:10 so it is easy to get an general idea of the actual product and atmosphere.

Fabrication involved laser cutting timber veneer, perspex and MDF. We had issues where the veneer warped when laser cutting and so position of the panels had to be repositioned on the file.

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LEARNING OUTCOMES & OBJECTIVESC.4.

We received both positive and negative responses from the crits in the final presentation. Some of the

positive comments were that the form of our installation was very beautiful and elegant. However we did received comments that were negative or which we disagreed upon. We were criticised that our project was too sculpturic and looked too much like a centre-piece rather than a ceiling installation which covers the whole ceiling. Our approach was to design a installation with a concept of a sculpture and a centre-piece because our intention was to draw attention of users of the meeting room and create an elegant atmosphere. However I believe that it is important to understand and match client’s criteria.

My ways of thinking and design has changed over the semester through the use of parametricism. Parametric tools are complex yet powerful generative tool which is produces revolutionary outcomes in the architectural design industry. It has somewhat become compulsory for graduate architects to be able design using parametrics. When I first started using Grasshopper my concern was that the program would have full control on our design process and form generation. After a series of trial and error and practice, me and my group members were in a position where we could sketch an idea we had in mind and computerise it using Grasshopper.

Our project has started off as individual works and in Part B, I star ted off the group with Jeanne and in Part C, Aye joined our group. Collaborating and integrating our idea together was an intriguing and interesting process. We’ve focused on the conceptual ideas in order to successfully produce a project with strong conceptual ideas and narrative that would guide us through the process of form finding, prototyping and finally fabricating and realising our conceptual ideas.

In Part B, I explored patterning of lights and the idea of double skin and patterning was achieved by perforating individual panels. The double skin idea has dominated our project’s concept and has differed our project from other ceiling installations. Patternation of light has been further developed and was resolved by creating interesting pattern and light effects by the use of voids, gaps and openings in between the Hex-Panels and the X-Panels.

This project has also made me to re think about how I design in terms of constructibility. Although fabrication methods and the construction methods required for this particular project is not traditional (e.g. timber, concrete and steel), it has made me to think realistically. Before when I designed for other studios, constructibility was not a driving factor of my designs. However it is important to carefully consider constructibility as an important factor because most of the time we’re designing something that we want to build. So our design shouldn’t just work in the digital world, it has to make sense in the physical world and Grasshopper has allowed us to understand the relationship between the two worlds.

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