Tan yee ann (ean) 573608 final journal

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Semester 2, 2014The University of Melbourne

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Yee Ann, Tan (573608)Tutor: Bradley (Group 3)

AIRSTUDIO

Semester 2, 2014The University of Melbourne

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AIRSTUDIO

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Table of Contents

A.1 Designing Futuring

A.2 Design Computation

A.3 Composition/Generation

A.4 Conclusion

A.5 Learning Outcomes

A.6 Algorithmic Sketches

A.7 Part A References

Part A: Case for Innovation

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 Algorithmic Sketchbook

B.9 Part B References and Appendix

Part B: Case for Innovation

C.1 Design Concept

C.2 Tectonic Elements & Prototypes

C.3 Final Detail Model

C.4 Learning Objectives and Outcomes

C.5 Part C References

Part C: Case for Innovation

Table of ContentsTable of Contents

A.1 Designing FuturingA.1 Designing Futuring

A.2 Design ComputationA.2 Design Computation

A.3 Composition/Generation A.3 Composition/Generation

A.4 ConclusionA.4 Conclusion

A.5 Learning OutcomesA.5 Learning Outcomes

A.6 Algorithmic Sketches A.6 Algorithmic Sketches

A.7 Part A ReferencesA.7 Part A References

Part A: Case for InnovationPart A: Case for Innovation

B.1 Research FieldB.1 Research Field

B.2 Case Study 1.0B.2 Case Study 1.0

B.3 Case Study 2.0B.3 Case Study 2.0

B.4 Technique: DevelopmentB.4 Technique: Development

B.5 Technique PrototypesB.5 Technique Prototypes

B.6 Technique ProposalB.6 Technique Proposal

B.7 Learning Objectives and OutcomesB.7 Learning Objectives and Outcomes

B.8 Algorithmic SketchbookB.8 Algorithmic Sketchbook

B.9 Part B References and AppendixB.9 Part B References and Appendix

Part B: Case for InnovationPart B: Case for Innovation

C.1 Design ConceptC.1 Design Concept

C.2 Tectonic Elements & PrototypesC.2 Tectonic Elements & Prototypes

C.3 Final Detail ModelC.3 Final Detail Model

Part C: Case for InnovationPart C: Case for Innovation

Introduction

A 28-29

B 22-45

C 44-47

C 48-51

P 2-7

A 8-13

B 1-5

C 1-27

A 14-19

B 6-15

C 28-37

A 20-27

B 16-21

C 38-43

A 30-31

B 46-49

A 32-43

B 50-67

A 44-47

B 68-69

B 70-77

B 78-89

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introduction

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introduction

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My name is Yee Ann (Ean) , Tan. I am from Singapore and currently in my third year of studies in the Bachelor of Environments, majoring in Architecture, in the University of Melbourne.

My interest in architecture developed from my initial love for drawing and painting. In addition, I have always had a passion for the Sciences and curiosity about how things worked. Therefore, it was natural that I was drawn to architecture XIJDITBUJTmFTCPUINZQBTTJPOGPSUIFBFTUIFUJDTBOENZTDJFOUJmDOBUVSF

Initially I was unable to design using the computer and most of my designs were hand drawn. However, through my course of study in the university, I was given the opportunity to learn and hone my digital rendering skills (eg. Learning Software such as Rhino, Illustrator, Indesign Vray plugin and Photoshop), allowing me to pursue my dreams. The course fanned my interest for the arts and design, deepening my understanding of architecture.

I hope to continue learning and developing my skills in digital presentation.

My name is Yee Ann (Ean) , Tan. I am from Singapore and currently in my third year of studies in the Bachelor of Environments, majoring in Architecture, in the University of

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These are some of my sketches and paintings

that I have done in the past.

Sketchs and Paintings

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1. Sketch of Melbourne CBD with pencil and ink2. Sketch of Lion with pencil3. Sketch of Rose with pen4. Surrealistic experimentation painting5. Painting of Stag6. Mayan stone relief design

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The Cafe space: Lighted up with the oculous water feature for the roof top garden. Rood top Garden: accessible by the public via the ramp.

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Restaurant. The curvature and the sky-lighting facilitates the movement to the seatsThe loft: A Private space within the Restaurant.

Previous Studios

Virtual Environments

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7. Final lantern design8. Preliminary Rhino Model9. Preliminary Lantern Model

10. Earth Studio Final Project V-ray Render11. Earth Studio Final Project Plan12. Earth Studio Final Project Model

10. Water Studio Project V-ray Rendering11. Water Studio Project Model12. Water Studio Project Model

Earth studio Water studio

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introduction continued

Work experience:1. Quality Control assistant at Capstone Aluminum fac-tory. (Intern)

I assisted in the quality control and conducted various quality control checks on the aluminum extrusion. I also oversaw the construction process of Curtain wall projects for both Singapore and Australia.

2. Art Teacher at D’Collage Studio

I taught art to Primary School Children. Through the experience I learnt how to deal with children as well as got the chance to explore some new painting/drawing mediums that I did not frequently use.

3. Quantity Surveyor assistant at Minesco.(Intern)I was assigned the role of stock taking and inspection of glazing panels for the company’s projects. Through the inspection process (of ensuring precision of panel dimensions) , I was exposed to architecture, shop and fabrication drawings.

4. Assistant at Jangho (intern)During my internship, I had the chance to learn more about fabrication and basic shop drawings.

Next, I would be looking at an internship with an architec-UVSFmSNUPMFBSOBOEHBJONPSFFYQFSJFODF

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Architecture as a discourse is understood differently around the world. Schumacher argues that Architecture is a Autopeitic system, which is able to sustain or regenerate itself as an entirety. 1 This can be interpreted as architecture being a diverse profession which requires the knowledge from a myriad of discipline. In Fry’s book he envisages the need for architecture to move towards sustainable designs where design is key to achieving sustainability.2 Many people believe that with the consideration of various disciplines, architecture can streamline and minimise wastage and increase FGmDJFODZ

Kieran theorizes that in the near future architects would become the locus of architecture project communicating between the engineers, builders and material scientists. 3 He suggest the shift from a linear production method which isolates the different disciplines towards an amalgamated discourse with the diagonal and vertical interaction between disciplines being knitted by architects. 3

"Buildings should be like birds which ruff le their feathers and change their shape and metabolism to suit different environmental condition" 4

Edwards

With the insuppressible emergence of technology, Architecture as a discourse now incorporate technology that was previously unavailable or from other disciplines, to facilitate the design and construction of buildings. 3 The in-cooperation of CAD(Computer-Aided Design) and CAM(Computer-Aided Manufacturing) technology, architects are able to design better performing buildings. In addition technology streamlines the construction process and open the doors to discover methods of designing and constructing a building . Hence it is absolute that Architecture designs in the future would develop within the virtual realm.From the 2 case study of Eden Project by Grimshaw architects in Cornwall and AVAX headquarters building in Athens Greece the CFOFmUTPGVTJOHUFDIOPMPHZUPEFTJHOCVJMEJOHTJTLFZUPBUUBJOJOHsustainability.

A1 Designing Futuring

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Eden Project and the Beijing Aquatic Swimming centre Case Study 1:

Eden project completed in 2003, was designed by Grimshaw and Tony Hunt. These Lightweight geodesic domes are the largest greenhouses in the world, that span 240m.5 The structure was conceived using cutting edge technology of that time with the use of ETFE ,which has a high UV transmittance and also weighs 1% the weight of glass ,and Aluminum instead of the traditional Wrought Iron and Glass. 5 The dome transfers its load to the ground uniformly replacing the need for footings. In this example the incorporation of Material engineering in line with parametric software was evident. Through computation design QSPDFTTIFNJTQIFSFXBTVTFEJOPSEFSUPNBYJNJTFFOFSHZFGmDJFODZ where the sphere has the largest volume reducing the materials used & energy loss at the same time, maximizing space.

This simple illustration shows how computation design can evaluate the optimum outcome. This project showcased the world an alternative design approach with the blurring of the roles of the architects and UIFFOHJOFFSTJOUIFDPMMBCPSBUJPO5IJTQSPKFDUIBEEJSFDUJOnVFODFon construction of the Beijing water cube which employed the same technology and methodology. Eden project used parametric software to create a geodesic dome with hexagon polygons while the Beijing water cube used a more complex algorithmic to mimic the natural form of bubbles. 6

This project is a forerunner to the new architecture discourse, where architects collaborate with other disciplines. For the buildup process of Beijing Aquatic Swimming centre project it involved 20 specialist engineers from different disciplines to collaborate to synchronize the complex interface. 6 This novel collaboration methodology proves to be a great accomplishment for mankind’s development in architecture as a discourse. In addition the Use of lightweight ETFE made it not only easi-er to mount but also easier to maintain, 5 showing the harmony between the material sciences and architecture.

Figure 1: Eden Project Geodesic dome

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Figure 2: Eden Project hexagonal module

Figure 3: Beijing Water Cube

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AVAX headquarters buildingCase Study 2:

Next The AVAX Headquarters Building in Greece. This building has automated the building’s glazing facade to control the amount of sunlight entering the building. 7

5IFTNBSUGBDBEFTZTUFNmMUFSTUIFTVOMJHIUBDDPSEJOHUPUIFJOUFSOBMtemperature. The fritted glass panels is mounted on structural con-crete reinforced by steel trusses

This case study showcases the integration of different disciplines and the positive result it generated with the well engineered mechanical system combined with the architecture design intent.

*OBEEJUJPOUIFDFJMJOHGBOBOEUIFGBMTFnPPSTZTUFNTGBDJMJUBUFUIFcooling of the structure. These designs are conceived through the understanding of the environment.

Figure 4: AVAX fritted glass facade’s shadows created to minimise sunlight penetration

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'JHVSF%JBHSBNPGUIF4NBSUGBDBEFTPQFOJOHBOEDMPTJOHPGJUTmOTUPSFHVMBUJOHthe amount of sunlight depending on the time of the day

Figure 5: AVAX facade

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Architecture in the 20th century has evolved with the emergence of technology. Oxman argues how the design process is symbiotic to technology .8 Digitization of designing is key to problem TPMWJOH BTTPDJBUJWFmOEJOHTBOEMPHJDFOUFSFEBTBMHPSJUINTacting that as limits to the digital iterations. 8 This process would generate outcomes based on the parameters provided, which JTNPSFFGmDJFOUEVFUPUIFQSFDJTJPOJODBMDVMBUJPO*UOFHBUFTthe failures that are bound to happen in traditional analysis and experimentation of forms. Frampton is worried about the loss of artistic construction due to the mechanization, however this is not accurate although his concern is understandable. 8

Digitization has lead to a particular ‘style’ of buildings with a TQFDJmDAUBTUFJOUIFJSGPSNUIBUJTEFFNFEABQQSPQSJBUF1 However the emergence of style and architectural philosophy is evident through out history. When Baroque Style architecture was conceived many believed it to be ludicrous and unacceptable. Nevertheless Baroque architecture XBTmOBMMZSFDPHOJ[FEBOEJTHSFBUMZBQQSFDJBUFEBOEMPPLFEVQPOas inspiration till today. The buildings built in the 1600s with similar characteristics were categorized under it despite the variations that the individual architects holds.

There have been different view about computation architecture. Kalay argues how computation is a powerful analysis tool which people use to design buildings. 9 On the other hand Allen theorizes that design tool which architecture is conceived in is not of utmost importance, but what matters is the relationship and response between architecture and the public. 12 I concur with Allen’s theory and believe that architecture’s primary objective is to resolve the problem in the most aesthetic, functional method, which is through computational tools.

On the other hand, some may argued that the human element in the design process might be eliminated with the introduction of CAD and CAM software. 9 Computation design does not negate experimentation or errors, but serves as an alternate design medium which decrease the chances of error and expedite the process of design. 9 Computers are super analytical tools that abide by the algorithms that are suggested, hence the inclusion of this function in the design process does not interfere with design inspiration. 10

In the next section would consider 2 case studies, Camera obscura BOE(-")FBERVBSUFSTUPTIPXDBTFUIFCFOFmUTPGDPNQVUBUJPOBMdesign.

Good buildings come from good people, and all problems are solved by good design.

Stephen Gardiner

A2 Computation Architecture

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Camera ObscuraCase Study 1:

The Camera Obscura is designed by SHoP BSDIJUFDUT4)P1JTBOBSDIJUFDUVSFmSNUIBUDPOTJEFSTinterdisciplinary perspectives in design striving to create something both aesthetic and serviceable exploiting the new age of IT. 11

The camera Obscura is a dark room for the Waterfront Park to have a 360o degree view of the park. The construction of this viewing point requires computation software for CNC fabrication. Out of the 2800 pieces of timber no two pieces are identical. This showcases the CFOFmUTPGDPNQVUBUJPOEFTJHOUISPVHIJUTBDDVSBDZand precion.11

5IFVTFPG%FTJHODPNQVUBUJPOIBTSFEFmOFEUIFJSarchitecture practice evident in SHoP. Their emphasis in Digital fabrication which allows them to create more complex architecture with greater degree of control BOEBDDVSBDZ TFUTUIFNBQBSUGSPNPUIFSmSNT11

Figure 7: Camera Obscura

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Shop Architects strive to create original designs for each project using similar systems making it simpler for fabrication. The fabrication of the camera obscura is a great example of how practical computation design can be, through the automated calibration of components and labeling for production. 11

Computing design does not stop only at the design of form, but allows the analysis of materials facilitating actual fabrication. The architect is able to do so by scripting the material’s properties in to the software, this boundary set by the program designer enables the full exploration a design concept, without wasting time with trial and error. Hence with a more comprehensive understanding of digital fabrication the more accurate and easier it is to realize a design.

Figure 8: Software generated parts for the construction of the Camera Obscura 7

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Case Study 2:GLA Headquarters

Similarly Great London Authority (GLA) Headquarters designed by Norman Foster and opened in July 2002 it TIPXDBTFTUIFCFOFmUTPGDPNQVUBUJPOBSDIJUFDUVSFWith digital design the design process becomes easier and more accurate in its fabrication, evident in Camera Obscura. In addition Computation design also considers performance based design proposed by Kolarevic 10 , evident in the design of the GLA Headquarter.

To achieve desired performance for the project, Norman GPTUFSVUJMJ[FEPOEJGGFSFOUTPGUXBSF mOJUFFMFNFOUmethod (FEM) and Computation Fluid Dynamics (CFD).FEM is geometric modeling software that calculate QSFDJTFMZJUTTUSVDUVSBMQFSGPSNBODF FOFSHZBOEnVJEdynamics analysis. This software enables the generation GPSDPNQMFYTZTUFNT$'%JTVTFEUPJOWFTUJHBUFBJSnPXboth within and outside the building.

FEM and CFD illustrates how Computation design 1) optimized performance in response to the site conditions JODSFBTFTUIFCVJMEJOHTFGmDJFODZThis in turn result in the reduction of environmental impact and cost of building maintenance over it’s lifespan.

The Computation generated result is translated into the form of the building. GLA building’s bulbous form is generated in view of the building structural, thermal and acoustic properties, which is evaluated through digital simulation. 10 (Figure 10 & 11). The spherical form is the result from the computation algorithm process trying to minimise the surface area that is exposed to sunlight, to maximise its energy performance. The surface area of the spherical skin’s is 25% less than of a cube of the same volume. 10

Figure 9 : GLA Headquarters.

Figure 10: GLA headquarters solar study by Arup

Figure 11: GLA headquarters Acoustic study by Arup

http://nuddhav.wordpress.com/2009/11/29/greater-london-authority-headquarters/

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Figure 12: GLA headquarters Structure and how it informs the systems.

http://nuddhav.wordpress.com/2009/11/29/greater-london-authority-headquarters/

The reduction of surface area reduces the solar heat gain and loss of the building. The building form is skewed towards the south, which corresponds to the sun path, this provides shading from the most intense sunlight .13 The reduction of total surface area resulting in the spherical form and the direction of which the structure is skew generated by computation software lead to JODSFBTJOHUIFCVJMEJOHFGmDJFODZ

Computation is used to design GLA Headquarter building Structure. Through computation GLA Headquarter project was able to amalgamate the complex systems within the structure. GLA Headquarters uses a diagrid structure which supports the northern face. This structure is integrated with 12 inch diameter pipes which is part of the hot water system, crucial in warming the atrium. Therefore, we can see the how the systems is interrelated to each other. 13 (Figure 12)

In addition the building shape is also informed by the TQBUJBM TPDJBM DVMUVSBM mOBODJBM FDPMPHJDBMBOEUFDIOJDBMfactors, which shapes the building’s design, construction process and design practices. 10

From this case study it is clear that, the form of a building and the organization of internal systems can CFDBMJCSBUFEUISPVHI$PNQVUBUJPOEFTJHO#ZEFmOJOHthe input parameters the computer is able to generate many different design iteration solutions to meet the 1BSBNFUFSTUIBUUIFBSDIJUFDUEFmOF GVMmMMJOHUIFEFTJSFErequirements.

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The emergence of technology and the impending destruction of the environment compels the shift from composition to generation design suggested by Fry 1, 14 . From the previous 2 section we can see how architecture is slowing digitizing into the virtual realm from composition designs to generative designs. Composition design (traditional design process) is design that is based on site analysis and experimentation of the form and building system organization in response to the collected data. This design process is largely based on form testing, this is facilitated by building experience and design intuition.

0OUIFnJQTJEF(FOFSBUJWFEFTJHOJTMBSHFMZCBTFEPO"MHPSJUINJDsketching. An algorithm is a recipe that follows a set of rules,it is a precise tool that changes the input systemically by abiding simple operations instructed. 15 Generative design is the automation of GPSNHFOFSBUJPOUISPVHIQBSBNFUFSTBOEBMHPSJUINJDEFmOJUJPO

Generative design enabled by computation can be characterized BTBQSPDFTTUIBUJTQSFDJTFCVUZFUnFYJCMF SBUJPOBMCVUDPNQMFYHowever, these are not oxymoron. Peter argues how computation would facilitate designers to solve complex problems in a favorable design method. 14 Its associative properties enables the adjustment of the algorithm inputs or alteration of parameters. 14 Computation program would then recalibrate the outcome, in accordance to the adjusted rules, generating a new design that is both complex and precise. 14

Generative design offers boundless design possibilities as proven by Hansmeyer, who writes algorithms based on cell division. He generated many different digital column design by scripting his principle of folding into Parametric softwares. 16 The study of a single algorithmic pattern lead to the generation of countless of design iterations. 16 Think of the possibilities in just forms alone!

Compositional design and Generative design can be distinguished from the design approach. Compositional design are form making XIFSFBTJO(FOFSBUJWFEFTJHOJUJTGPSNmOEJOH CZVTJOHBMHPSJUINTUPEFmOFCPVOEBSJFTGPSUIFDPNQVUFSUPHFOFSBUFGPSNT

However Generative design have certain shortcomings such BTUIFOFFEUPVOEFSTUBOEBMHPSJUINMBOHVBHFUPCFFGmDJFOUJOdesigning them. 14 The limitations of understanding impedes on ones creativity, only with a greater understanding of the computation tools and function then can the designer be able to develop unique architecture distinguishing the individual. The degree of understanding of this tool is limited hence resulting in similar design outcomes and functions which may account for Schumacher’s argument on ‘Parametricism’ 2 .

A3 Composition / Generation

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"When architects have a suff icient understanding of algorithmic concepts...Computation can become a true method of design for architecture" 11

Peters

Computation can replicate site conditions and test building functions. The analysis of the materials, the production process. This design tool, computation, allows performance feedback to alter the design and construction at any stage PGBSDIJUFDUVSFQSPKFDU NBLJOHJUNPSFnFYJCMFUPTPMWFproblems that might arise, such as fabrication limitations. 14

Stan Allen argues that architecture is the amalgamation of architecture and public. 12 He suggest that the means of which the design is generated is not important as long as the building relates back to the users. Hence the use of software is favorable with its ability to capture great amount of data and effectively calculate the complexity of the QSPKFDU4PGUXBSFTVDIBT(SBTTIPQQFS ,BOHBSPP 'JSFnZ Weaverbird, GECO and Pachyderm Acoustical Simulation. 14

Through the case study of Gaudi’s Sagrada familia and Doris Kim Sung’s experimental project using thermalbimetal, bloom. From the two case studies this journal will identify UIFCFOFmUTBOETIPSUDPNJOHTUIBU1BSBNFUSJDEFTJHObrings and how computation improved over time.

composition/generation continued

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Case Study 1:Sagrada Familia

Sagrada Familia (Figure 13) was designed by Antonio Gaudí who was lauded as a genius in architecture. He employs on rudimentary parametric design through his analysis of a physical model. The model tests the effects of weights and how the strings reacts when weights are hung on. The curves generated through the experimentation (Figure 16) MFBEUPIJTEFSJWBUJPOPGDBUFOBSZBSDIFTXIJDIGPSNTUIFNPTUFGmDJFOUarch for loading as seen in Sagrada Familia 18 (Figure 14 and 15). His analytical study of forces are rules generated with physical modeling, making his design methodology seemingly parametric.

In this case study, we can see Gaudi utilizing concepts of parametric design in the construction of the Sagrada Familia allowing him to maximize the building material through calculations and concepts. No doubt, some ideas may still be designed using the compositional style, however, it is undeniable that computational design expedites the XIPMFQSPDFTT JODSFBTJOHUIFFGmDJFODZPGUIFEFTJHOFS

Figure 13: Sagrada Familia

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Figure 14: Unstable catenary arches that does not follow the force line,

Figure 16: A recreation of Gaudi’s string & weight model in Sagrada Familia Museum

Figure 15: Stable Catenary arches that follow the force lines.

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Case Study 2:

Professor Doris Kim Sung recognizes the degradation of the environment occurring in the world. Through her experimental research on sun-shading and ventilating facade,which uses smart thermalbimetals that opens and closes in response to temperature, seeking to alleviate environmental damages 19 The thermalbimetal is a laminate of two different metals that has BEJGGFSFOUFYQBOTJPODPFGmDJFOU4IFVTFEDPNQVUBUJPONFUIPETUPHFOFSBUF3D facade patterns that adjust in response to temperature.

Professor Sung drew inspiration from the human skin. The human skin is dynamic and responsive organ that helps regulate the body’s temperature, it is also an integrated systems that consist of different components such as pores, sweat glands. Similarly she employs biomimicry for the creation of building facade, that can regulate temperature and have systems integrated into the facade. 19

*OUIFQSPKFDU#MPPNmHVSF TIFXBTBCMFUPHFOFSBUFBMHPSJUINTGPSUIFTNBSUGBDBEFTZTUFN XIJDISFTQPOETUPUIFTJUFDPOEJUJPOEFmOFECZalgorithmic parameters, as well as calibrate the angle of the 14000 unique pieces of metal.

In contrast to case study 1 it is clear that technological advancement has allowed for more complex and site responsive structures to be created, greatly reducing the environmental impacts.

Figure 17: Bloom

Bloom

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Figure 18: Thermalbimetal expanding allowing for wind and sunlight to penetrate

Figure 21: Bloom pieces.

Figure 19: Eyelash model experimentation on Rhino3D

Figure 20: Bloom’s base form

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A4 Conclusion

Part A has provided an overview of computation design, stressing its importance and value in architecture in this century. Case studies have been given to further substanti-ate its importance, showcasing how certain designs can be made possible with computation design. Through Module A, i have learnt to utilize computation in architecture, designing optimum spaces through algorithmic sketching on software plug-ins like grasshopper for Rhino3D.

Using Algorithms, architects are able to generate precise, quick and optimal designs. This movement towards compu-tation design from the traditional composition is a precursor to a new age for man.

This advancement would enable designers to generation of design theories and map them into algorithms to produce forms or systems, which the next part of the Journal would seek to tackle.

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A5 Learning Outcomes

From the course of my studies, I have been exposed UPBSHVNFOUTPGWBSJPVTUIFPSJTUPOUIFJSEFmOJUJPOPGarchitecture and Parametric Design. The debate on Parametric design has provided me with a greater insights and value to my learning journey by challenging me to DSJUJDBMMZSFnFDUPOUIFEFmOJUJPOPGBSDIJUFDUVSF FOBCMJOHNFto establish my own views.

I personally believe that parametric design is a valuable tool in facilitating architects in designing buildings. It not only QSPWJEFTBDDVSBUFEFTJHOPVUDPNFTCVUJTBMTPNPEJmBCMFNBLJOHJUnFYJCMFBOEFGmDJFOU%FTQJUFUIFVOQSFEJDUBCMZof generative design, I believe that with a strong grasp of the computation programs architects can create unique and individual designs while responding to the site conditions. I believe that Computation design is in the forefront in DSFBUJOHNPSFTVTUBJOBCMFBOEFGmDJFOUCVJMEJOHT

Also, I have been given the opportunity to use the Grasshopper. It has enabled me to generate and test forms and design concepts much quicker and accurately. The OFXTLJMM*IBWFBDRVJSFEXPVMEEFmOJUFMZCFPGHSFBUVTFJOfuture.

In addition, Computation design has allowed me to evaluate TJUFDPOEJUJPOTBOESFTQPOEUPUIFNNPSFFGmDJFOUMZIt allows the evaluation of forces and stress on the TUSVDUVSF UIFnPXPGXJOEBDSPTTUIFCVJMEJOH UIFTVOQBUI temperature conditions, mathematical formulas... Through experimentation with the softwares, I can personally appreciate the beauties of computational design where softwares may complement architecture, enabling us UPEPPVSUBTLXJUIHSFBUFSQSFDJTJPOBOEFGmDJFODZ

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A-33

The grasshopper is a plug-in for Rhino 3D enabling me to create an algorithm for my design intent. The following segment showcases some of my scripting practices that explores the plug-in, enhancing NZVOEFSTUBOEJOHPGUIFDPNQVUBUJPOEFTJHOTBOEUIFCFOFmUTJUentails.

A6 Algorithmic Exploration

A-34

Week 2: Exercise 1

For this week I experimented with several functions. Using the Tools I have learnt I decided to create a roof with perforation in BDDPSEBODFUPBOJNBHJOBSZTQBDFXJUITQFDJmD[POFTXIJDIrequires more light.

Imaginary space with extrusion of space that requires light demarcated with the extrusion

The gradient of the space closer to the blocks showcases a yellow color compared to the darker parts which is indicated with red

Changing the gradient to Black and White in order to feed the data into the image sampler Brightness function.

A-35

Above shows the different outputs I have collected with the zoning of spaces. The differential gradient is useful in creating a scaling effect of perforation for the degree of sunlight.

A-36

Using grasshopper I was able to map out openings of a plane in accordance to the light and darkness of the image.

Formula for the creation of image sampler gradient data extrapolation

A-37

Here I used a random black and white image to map out the perforations in the plane. After which I inputted the data collected from the previous step to map out the opening size and perforation zones.

After inputting the image data I used sliders to control the opening size (radius) and the minimum penetration which simulates the fabrication limitation which might occur.

A-38

Week 2: Exercise 2

Grasshopper visual algorithm of the tunnel’s recipeGrasshopper generated tunnel based on curves and the arches between them.

A-39

I learnt how to create arches and how to loft the arches forming a polysurface. Manipulation of the curve was made possible with the adjustment of the curve control points and amplitude.

This curved forms inspired me to experiment out on forms on my own, utilizing the skills i have acquired in school. Drawing inspiration from the Henderson wave bridge in Singapore, I decided to create a wave like structure similar to the bridge.

A-40

Using the Sine function I was able to generate waves of different frequency , period and amplitude. By Offsetting a curve of different period I was able to create a loft surface between the two sinusoidal curves.

Henderson Wave Bridge in Singapore

Grasshopper visual algorithm of the wave skin.

A-41

A-42

Week 3: Exercise 1

For this week I attempted to use the loft tool , shift list and tree explode tool to create a geodesic curve, pattern. I experimented with the differing forms, creating 3 different curvatures which resulted in varying geodesic curves.

A-43

Next I tested the Voronoi function and created different pattern with the inclusion and exclusion of certain points. The above images showcases some of the patterns generated with the grasshopper plug-in.

A-44

Week 4: Exercise 1

For this short exercise I learnt how to use point BUUSBDUFSTUPDSFBUFBmFMEXIJDIDPVMECFVTFGVMJOgenerating the overall composition of a structure.

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A-45

Week 4: Exercise 2 Fractal tetrahedral

In this Exercise I created a Tetrahedral polygon with grasshopper. Grasshopper enables nFYJCMFBOERVJDLXBZUPHFOFSBUFforms. As seen in the forms quickly generated with the change of a slider.

Grasshopper visual algorithm the creation of the base geometry for the Fractal patterning.

Different base forms created by changing the polyon properties.

A-46

Week 4: Exercise 2.2 Fractal tetrahedral

In this step I am able to apply the concept of generative design principles to this exercise. The recursive algorithmic programs the sub-units to undergo same function.

The algorithmic formula representing recurrence relation of the base function

Recurrence pattern for 3 basic forms

A-47

Instead of generating a polysurface I set a poly surface in Rhino as the basic Brep for the algorithm to run. This exercise show cases the nFYJCJMJUZPG1BSBNFUSJDEFTJHO XIFSFUIFVTFPGany base geometry could create the a design iteration when processed by the algorithm function.

Hence the use of algorithm could help designers generate new forms using a simple formula such as this exercise.

In the subsequent week I would seek to utilize all the functions I have learnt and combine them together creating a more complex and detailed design solution that seeks to resolve actual problems that construction entails.

The algorithmic formula representing recurrence relation of the base function using a Brep as the main form to run the algorithm

Trimmings that generated on the polysurface undergoing the programmed algorithm

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A7 Part A References

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References

Week 11. Fry, T. 2009. Design futuring : sustainability, ethics and new practice / Tony Fry (: Sydney : University of New South Wales Press, 2009; Australian ed)

2. Schumacher, P. 2011. The autopoiesis of architecture / Patrik Schumacher (: Chichester : J. Wiley, c2011-)

3. Kieran, S., and J. Timberlake. 2004. ‘Refabricating architecture : how manufacturing methodologies are poised to transform building construction / Stephen Kieran, James Timberlake’, in Anonymous (: New York : McGraw-Hill, 2004), pp. 13,15,23

4. Edwards, B., and C. du Plessis. 2001. ‘Snakes in Utopia:a Brief History of Sustainability’, Architectural Design, 71: 9-19

5. Melvin, J. 2001. The Eden Project from Architecture design Green Architecture vol 71 No July 2001

6. Zou, P.X.W., and R. Leslie-Carter. 2010. ‘Lessons Learned from Managing the Design of the ‘Water Cube’ National Swimming Centre for the Beijing 2008 Olympic Games’, Architectural Engineering & Design Management, 6: 175-188

7. Gauzin-Müller, D., and N. Favet. 2002. Sustainable architecture and urbanism : design, construction, examples / [Dominique Gauzin-Müller with the contribution of Nicolas Favet] (: Boston, MA : Birkhauser, 2002)

Week 28.Oxman, R., and R. Oxman. 2014. Theories of the digital in architecture / Rivka Oxman and Robert Ox-man (: Abingdon, Oxon ; New York : Routledge, 2014)

9. Kalay, Y.E. 2004. Architecture’s new media : principles, theories, and methods of computer-aided design / Yehuda E. Kalay (: Cambridge, Mass. : MIT Press, 2004)

10. Kolarevic, B. 2003. Architecture in the Digital Age [electronic resource] : Design and Manufacturing (: London : Spon Press, 2003)

11.Pasquarelli, G. 14 May 2013. Architecture, Building and Planning Dean’s Lecture: Gregg Pasquarelli, Out of Practice (University of Melbourne: Dean’s Lecture Series)

12. Allen, S. 2012. Practice [electronic resource] : Architecture, Technique and Representation (: Hobo-ken : Taylor and Francis, 2012; 2nd ed)

13.Merkel, J. 2003. Along the Thames, Foster and Partners puts a new twist on government and gives green a different shape with the highly accessible London City Hall (: The McGraw-Hill Companies, Inc)

Week 314 Peters, B., and X. De Kestelier. 2013. Computation works : the building of algorithmic thought / guest-edited by Brady Peters and Xavier De Kestelier (: Chichester : John Wiley & Sons, 2013])

15. Wilson, R.A., and F.C. Keil. 2001. ‘The MIT encyclopedia of the cognitive sciences’, in Anonymous (: MIT press), pp. 11

16. Hansmeyer, M. Jun 2012. Building unimaginable shapes (: TEDGlobal 2012)

'FSSZ 3 BOE&.POPJBOBmFMEHVJEFUPSFOFXBCMFFOFSHZUFDIOPMPHJFTBWBJMBCMFBT1%'POMJOF

18. Barrios Hernandez, C.R. 2006. ‘Thinking parametric design: introducing parametric Gaudi’, Des Stud, 27: 309-324

19. Doris Kim Sung. May 2012. Metal that breathes (TEDxUSC: Ted Talks)

Week 4 19. Woodbury, R.F. ‘‘How Designers Use Parameters’, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge)’: 153–170

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Figure 1.RIBA, a Biome for the Eden Project, http://www.architecture.com/whatson/exhibitions/atthevicto-riaandalbertmuseum/architecturegallery/structures/abiomefortheedenproject.aspx edn, 2014 vols ()

Figure 2. Rehwoldt, Christopher, Research, http://www.archreh.com/ecotarium-research.html edn, 2014 vols ()

Figure 3. China tourism, Beijing Water Cube – New Landmark of Modern Beijing, http://beijingwatercube.com/ edn, 2014 vols ()

Figure 4 Gauzin-Müller, D., and N. Favet. 2002. Sustainable architecture and urbanism : design, con-struction, examples / [Dominique Gauzin-Müller with the contribution of Nicolas Favet] (: Boston, MA : Birkhauser, 2002)

Figure 5 Gauzin-Müller, D., and N. Favet. 2002. Sustainable architecture and urbanism : design, con-struction, examples / [Dominique Gauzin-Müller with the contribution of Nicolas Favet] (: Boston, MA : Birkhauser, 2002)

Figure 6 Gauzin-Müller, D., and N. Favet. 2002. Sustainable architecture and urbanism : design, con-struction, examples / [Dominique Gauzin-Müller with the contribution of Nicolas Favet] (: Boston, MA : Birkhauser, 2002) Figure 7 4)P1"SDIJUFDUT $BNFSB0CTDVSB IUUQXXXTIPQBSDDPNTJUFTEFGBVMUmMFTprojects/%5Btitle%5D/04_11.jpgw edn, 2014 vols ()

Figure 8 4)P1"SDIJUFDUT $BNFSB0CTDVSB IUUQXXXTIPQBSDDPNTJUFTEFGBVMUmMFTprojects/%5Btitle%5D/04_11.jpgw edn, 2014 vols ()

Figure 9 Brohard, Loïc, Galleries and Portfolio, http://brohardphotography.blogspot.com.au/2011_07_01_archive.html edn, 2014 vols (2014)

Figure 10 :Kolarevic, B. 2003. Architecture in the Digital Age [electronic resource] : Design and Manufac-turing (: London : Spon Press, 2003)

Figure 11: Kolarevic, B. 2003. Architecture in the Digital Age [electronic resource] : Design and Manufac-turing (: London : Spon Press, 2003)

Figure 12 Naik, Uddhav, Greater London authority headquarters, http://nuddhav.wordpress.com/2009/11/29/greater-london-authority-headquarters/ edn, 2014 vols (2014)

Figure 13 Bellard, Miriam, Gaudi, http://blog.playingwithspaces.com/2014/03/engineering-art-work-of-gaudi-candela.html edn, 2014 vols (2014)



Figure 16Bellard, Miriam, Gaudi, http://blog.playingwithspaces.com/2014/03/engineering-art-work-of-gaudi-candela.html edn, 2014 vols (2014)

Figure 17 eVolo, Metal that Breathes: Bloom Installation made with 14000 Thermobimetal Pieces, http://www.evolo.us/architecture/metal-that-breathes-bloom-installation-made-with-14000-thermonimetal-pieces/ edn, 2014 vols (2014)





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B-3

In Part B, we are to select a Material system and explore it’s design technique. I have decided on Strips and Folding, as the material system for my research.

Strips and Folding is a powerful design technique that explores the three dimensionality of a surface, which enables the creation of geometric structures. 1 In addition, this process provides designers with a great degree of control in generating aesthetic composition VTJOHTVSGBDFJOnFDUJPOBOEEFGPSNBUJPO5IJTUFDIOJRVFJTEPOFwithin design parameters that facilitates design fabrication. 1

In Iwamoto’s book Digital Fabrication, She argues that Folding is a technique that can be used for ornamentation and also functional purposes. 1 This is substantiate in Cruz’s Journal which provides some practical examples of how folding technique that is beautify can be functional. 2 Also, Herzog de Meuron’s Messe Basel -Newhall in Switzerland show-cases how folding technique facade could be utilized in a functional aspect, evident in its double curving facade which could vary the degree of sunlight penetration. Conversely some of their designs focuses solely on ornamentation of the facades, seen in de Young museum with its ‘folded’ dimple facade. 3

Through 2 case studies, Miura Ori Origami folding Pattern and The %SBHPOnZQSPKFDUCZ&.&3(&/545PN8JTDPNCF5IJTUFDIOJRVFwill be explored and elaborated.

" Folding is not limited to being a secondary system of articulating the larger building diagram. The operation of folding material is also a generative design tool ...in digital fabrication" 1

Iwamoto

B1 Research Field

B-4

Miura Ori PatternCase Study 1:

In the article Folding Origami-Geometry of Folded Plate Structures , Buri Argues how folding of paper was useful in facilitating us to designing. .JVSB0SJ1BUUFSO'JHVSFBOEJTBCVJMETPMBSFGmDJFOUGPSN5IJTfolding pattern has demonstrated its potential in its use in satellites sails, where its can retract into a very compact form while having a maximum extension area.

However, this technique is limited to materials that has some tensile ability to withstand the twisting forces. This design method is something worth considering in my project which considers Solar panels, which may be further explored in Part C.

Figure 1: Miura Ori Pattern 2

Figure 2: Miura Ori Pattern 2

B-5

'UDJRQÁ\E\(0(5*(17·67RP:LVFRPEHCase Study 2:

*O5PN8JTDPNCFT%SBHPOnZQSPKFDU'JHVSFXFDBOsee how Strip and folding Technique cross path with bio-mimicry as a process for designing (Figure 4 &5). Despite UIJTQSPKFDUCFJOHOPOGVODUJPOBM A%SBHPOnZFYQMPSFTUIFphysics of spanning. This was carried out through the TUVEZPGUIFESBHPOnZTXJOHTUSVDUVSF8IJDIXBTUSBOT-lated into the art installation made of folded metal strips. 1

This project is one of many biomimicry inspired designs which draws design inspiration from biology and nature BOENJNJDTUIFOBUVSBMFGmDJFOUEFTJHOTUPEFBMXJUIclimatic problems. 4 This can be seen in the Case studies EJTDVTTFEJO1BSU" UIF#FJKJOH8BUFS$VCFBOEBMTPUIFBloom Project.

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of nature's processes in order to

achieve greatereff iciency and improvement in

man's products and processes" 4

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B-7

In this segment I experimented with different grasshopper functions to generate different iteration from the base design, Biothing. I used tools such as pipe, graph mapper, projection and lofting arches between the curves generated to alter the design and generate different outcomes.

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Figure 6: Biothing

B-8

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Design Species 2: Alteration of the Base curve

In this Species iterations are generated by changing the number of points on the circle, this results in the change in the number of branches. From the left to SJHIUUIF/WBMVFDIBOHFEGSPNUPBOEmOBMMZ

The alteration of the base curve can create a distinctively different outcomes. The closeness of each curve generate the degree of compression of curves due to the Point charges that are located along the curves.

Figure 7: The different patterns formed with the change of number of Line origin points.

Figure 8: The alteration of base input curves of the base algorithm

B-9

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In this iteration the Graph mapper enabled me to alter the shape of curve in the Z axis, forming arches and splaying out curves.

Figure 9 &10: Different Pipe Radius and their outcomes

Design Species 4: Projection of pattern on a plane

This Species is generated through the projection of the base curves generated on different surfaces and piped forming different iterations.

Figure 11 &12: Different outcomes with different planes of translation

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Design Iteration 6: Piping the Curves with a Variable Pipe

In this Species, iterations are generated through varying the radius values for pipes generated from the base curves.

In this species the piping differs, where the piping across the curve is varying in it’s radius.

The First two iteration on the top starts from a bigger base followed CZOBSSPXFSQJQJOHBUUIFFOE8IFSFBTUIFCPUUPNJUFSBUJPOTTUBSUTwith a narrower base followed by a thicker piping.

Figure 14: The Piping of curves with different changes of pipe radius

Figure 13: Different Pipe Radius and their outcomes

B-11

Design Iteration 8: Merging additional Charged points

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Figure 17: The close up structure of one of the iterations

Design Iteration 7: Array Function

In these iterations the base curve is arrayed along another curve and the charges merge and clashes forming different structures. This is repeated twice with different base curves, resulting in differing results.

Figure 15: The Base Curves and the outcomes of the forms generated

B-12

Design Species 9: Drawing Arcs along the branches

Arcs are drawn along the curves generated. The iteration created has different number of arches. From the Left to Right the number of arches changes GSPNUPBOEmOBMMZBSDIFT

Figure 18: Arcs mapped to branches next to it

B-13

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The arches that are derived from Design iteration 9 were lofted through the use of an item list function. The different iteration are generated by regulating the number of arches drawn. In doing so it changes the resolution of the structure’s curvature.

Figure 20: Iteration of different number of arches drawn along the curves

Figure 19: Lofting of the arches drawn

B-14

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From the Design Species generated I took interest in the Lofted Arches which created an umbrella liked structure which could be used as shelter in designs. (Figure 21)

Second Design Species I found interesting is the addition of BMUFSOBUJWFmFMEMJOFTUIBUJOnVFODFUIFTUSVDUVSFTGPSN5IFbase curve is not intersecting which enables the branching structure to exist without much distortion enabling isolated pavilion like structures to emerge. (Figure 22)

The Third outcome that I saw potential is the projection iteration. In the projection the design can be translated as QBUUFSOTPSJOUPBOFXGPSNFOUJSFMZNBLJOHJUnFYJCMFGPSfurther iterations (Figure 23)

Lastly the alteration of the base curve species. The species of iterations is simple but really powerfully in altering the structure of the iteration. (Figure 24)

Figure 21: The umbrella like structure generated by lofting arches along the curve generated

Figure 23: Projection of curves on a surface

Figure 24: Change base curves

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B-15

Future iteration considerations

Additional ideas that could be further developed for Species in future projects. 1. Changing the charge from positive to negative2. Change the charge’s magnitude"EEBTQJOGPSDFPOUIFJOnVFODFPGUIFmFME4. Projection on a different axis 5. Instead of Arcs drawn lines could be drawn instead making JUnBU

B-17

For this segment I have chosen to replicate Chris Bosse’s Digital Origami. This project is made up of Dodeahedron modules that are folded and attached to each other, the structure populate and grows in an organic manner. In each module of the structure has some of their surface cut with an offset or varying size.

Through Grasshopper I seek to recreate the project through reverse engineering. I made several attempts to map out the structure in Grasshopper and was able to reproduce a structure that is similar to the original structure.

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Figure 25: Digital origami project by Chris Bosse Figure 26: Reverse Engineered outcome

B-18

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$WWHPSWTo Reverse Engineer Digital Origami I started by trying to create the base module used for the structure. I off-setted one of the surface to achieve the form in (Figure 27).

Steps Taken:

1.Lunchbox Geometric form2. Deconstruct Brep3. Item List Selecting a Single face with the Slider4. Planar Surface of the Face5. Offset the surface6. Surface split7. Cull Index of the original deconsrtucted brep (same index as the face selected)8. Merge the faces together.

Figure 27: Base Structure of the object (Dodeahedron)

B-19

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Then I manually orient the modules together. Forming Figure 28 &29. I decided to dive deeper into the generation of the structure and create an automated arranging algorithm which varies the faces and the offset on the pentagonal module.

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In my second attempt to reproduce the module with offsets and translate them into position. In addition the offset controlled by point charges. However this method was complicated and lead to many problems. Leading to attempt 3.

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Steps taken:1. Lunchbox geometric shape2. Deconstruct brep

Construct the offsetted structure 1. Lunchbox Geometric form 2. Deconstruct Brep 3. Item List Selecting a Single face with the Slider 4. Planar Surface of the Face 5. Offset the surface 6. Using the distance from points from the centroid to the distance multiply the offset by a scale that makes it appropriate 7. Surface split 8. Cull Index of the original deconsrtucted brep (same index as the face selected) 9. Merge the faces together.

3. Get the Centroid with the average function of the deconstructed vertices4. Item list to select the face to translate along5. Using the area function to get the centroid6. Get a vector between the 2 points7. Multiply the vector 2x8. Move the structure9. Rotate the structure along the normal of the plane by 180 degrees (by converting it to radians)

B-21

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$WWHPSWLearning from Attempt 2, I generated forms without offsets and off-setted the individual modules that were translated. I also branched in two directions for some branches to create a more interesting form.

In addition I used the cluster command to help clean VQUIFPSHBOJ[BUJPOPGUIF(SBTTIPQQFSmMF

Steps taken:1. Lunchbox geometric shape2. Deconstruct brep3. Get the Centroid with the average function of the de-constructed vertices4. Item list to select the face to translate along5. Using the area function to get the centroid6. Get a vector between the 2 points7. Multiply the vector 2x8. Move the structure9. Rotate the structure along the normal of the plane by 180 degrees (by converting it to radians)

Construct the off-setted structure1. Lunchbox Geometric form2. Deconstruct Brep3. Item List Selecting a Single face with the Slider4. Planar Surface of the Face5. Offset the surface6. Using the distance from points from the centroid to the distance multiply the offset by a scale that makes it appropriate7. Surface split8. Cull Index of the original de-constructed brep (same index as the face selected)9. Merge the faces together.

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Figure 30: Digital model of Digital Origami project

B-23

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In this segment I used various functions to seek methods UPSFEFmOFUIFTUSVDUVSFUPHFOFSBUFOFXEFTJHOJUFSBUJPOTCBTFEPOUIF(SBTTIPQQFSEFmOJUJPODSFBUFEJO#

B-24

Design Species 1 and 2: Branch and Point Charge alteration

Figure 31-38: Iterations of the Digital Origami Project

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B-25

Design Species 1 and 2: Branch and Point Charge alteration

In this iteration I repeated the algorithm and changed the branch order generating a number of iterations of this species. I also shifted around the point charge to modify the offset arrangement of the structure.

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Next I tried to create a loop with the Anemone plug-in. However the looping algorithm met with some glitch forming some explosive iterations where the cells are dispersed from the origin.

Figure 39-41: Shows the dispersed model generated with the loop function

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Figure 42-45: Shows the dispersed model generated with the loop function

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B-28

Design Species 4: Circles

To generate a different Species I decided to make an opening using a different shape. In this species I used a circle as an opening for the object.

Figure 46-54: Shows the iteration species of the form with a circular hole

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B-29

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In this species deviant I added an additional opening on the surface of the object. This set of iteration as an open surface on one side and an circular opening on another.

Figure 55-58: Shows the iteration species of the form with a circular opening and an open edge as well.

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Design Species 5: Sphere joint

In this Species, I connected spheres to the vertices which can be used to facilitate construction with the slotting in of sheets into the spheres

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B-31

Design Species 5: Sphere joint

Figure 59-64: Shows the iteration of the species with spheres added to the edges.

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B-32

In this iteration I extruded the opening DSFBUJOHBnBQJOTUFBEPGBOPGGTFU

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Figure 65: Shows the iteration module for the extrusion species

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Figure 65-80: Shows the iteration species of extrusion along the open surface

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In this species a extrusion pointed cap was added to one of the faces. The iterations differ from each other with difference in branching directions.

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Figure 81-88: Shows the iteration spe-cies of a pointed extrusion cap on one of the base module’s surface

B-36

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Again incorporating an opening I generated another iteration with more species for form with varying branches. This is a slight variation to that of Iteration 7.

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Figure 89-101: Shows the iteration variant species with a pointed extrusion cap for one of the open-ings and an open surface for another surface.

B-38

Design Species 8: Base change

This Species is where the base form is altered from a Dodeahedron to a Isoahedron to generate a unique and different structure.

Figure 64-69: Shows the iteration species where the base geometry is changed to triangulated model and the shifting of point charges and branch directions

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B-39

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This species of Tetrahedron base form failed to work due to the difference in translation of the base module.

Despite the failed attempt in generating geometries that would stack and grow similar to previous iterations. This failure lead to the intersecting forms generated which could have some design potential in future projects.

Figure 64-69: Shows the failed iteration spe-cies where the base geometry intersects other geometries

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Figure 111: Different shearing direction and factor

Figure 112: Different shearing direction and factor

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Figure 113: Different shearing direction and factor Figure 114: Different shearing direction and factor

This species is where the structure is augmented through shearing the form in different direction and of different magnitude.

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B-43

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Figure 115- 117: Shows the different iterations generated using the 3D Voronoi of the base vertices.

These images shows the iteration that I achieved through plugining in the 3D Voronoi component over the vertices of the model.

117

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Design Species 11: Vonornoi Cull Pattern

This base pattern is created by projecting the vertices of the modelled Digital Origami project onto a plane and using cull pattern to generate pattern design using the random QPJOUTHFOFSBUFE 8JUIUIFDVMMFEQPJOUT*ran it into a voronoi function generating the following designs.

Figure 118: Shows the different iterations of a voronoi cull pattern of the vertices projected on a plane

Figure 119: Shows the projection of vertices on a plane

Figure 120 Shows the projection of vertices on a plane

B-45

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Figure 121: Planes of the mesh created after running through the Kangaroo Physics component



B-47

B5 Technique Prototypes

For this segment, I would provide theoretical basis for the construction of the Dodeahedron structure prototype.

For construction of the actual Conceptual Design in Part B6, I would consider the use of a steel frame. The steel frame would use either Circular hollow sections or Square hollow sections and will be connected via welded joints for construction. The pods will then be cladded with concrete textured boards in the interior and Solar panels on the external face of the pods. Seats within the pod would be made of Timber. In Part C this would be further investigated when the Design is established.

If the Prototype model is to be constructed I would utilise the CNC card cutter for the fabrication. To execute this I would make tabs on the surfaces of an unrolled Dodeahedron module and cut the shapes out while scoring the lines that are to be bent.

B-48

For the construction of the Dodeaheadron pods for the Conceptual Design in Part B6 , I would recommend the use of a Steel Frame as it would be hanging from great heights BOEIBWFUPXJUITUBOEUIF8JOEGPSDFT5IFstructure would be then clad with Concrete sheets in the interior and Solar panels on the exterior. The faces without solar panels would be clad with Steel. Between the 2 claddings it shall be insulation.

The connections of the cladding shall be bolted and hung on the frame, while the steel frame shall be welded together.

Detail Consideration

Figure 124: Dodeahedron structure

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B-49

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For the construction of these Dodeaheadron pods model I would use CNC card cutter XIJMFQVUUJOHUIFnBUUFOTVSGBDFTJOUPUIJTcluster to create parts for the construction.

Model Fabrication Method

Figure 126: Grasshopper plug-in

Figure 127: Tabs created on the surface.

B-51

As part of the assignment requirements of incorporating solar energy technology into my design, I drew inspiration from site & solar panel researches and conceived a Carbon Neutral Star Gazing Platform that can generate clean energy for Copenhagen.

Utilizing Computation design Techniques I have learnt from Case Study 1 , 2 and the weekly Algorithm Practices. I have conceived a Conceptual design which employs Stripping and Folding techniques. By Amalgamating the various elements explored I appropriated it for my conceptual design.

This section showcases a preliminary idea of the design I am working on.

This section’s breakdown1. Site Analysis 2. Solar panel research and decision. 3. Program 4. Design concept that drives the project 4. Precedent for my project. 5. Description and diagrams of how I achieved my design via the computation design. 6. Material Choice7. Plan , Elevation8. Draft Images and renders on the structure.

B6 Technique Proposal

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Site AnalysisSonder Hoved Pier is a man-made island, which used to be a MBOEmMMTJUF*UJTMPDBUFEBUUIFBU$PQFOIBHFO)BSCPS 3FGTIBMFFO3FGTIBMFFOIBTBCFOJHOUFNQFSBUFDMJNBUFXJUINJMETVNNFSTBOEDPPMXJOUFST JOnVFODFECZUIFXFTU(VMG4USFBNDVSSFOUXJOEsystem. In addition, Copenhagen also experiences distinct seasons 5 ,in Summer (July and August) the temperature reaches a high of 22 oC and a low of 13 oC at night. In winter (December to Febuary) the temperature varies from 4 oC to -1 oC , this information can be see from (Figure 128).

Copenhagen has a low level of pollution with air pollution with index of 26.46, water pollution with index of 25.00 and light pollution index of 23.33. 8 From (Figure 131) we can see that Copenhagen has a relatively clear skies through the year. 6

Copenhagen is a city that strives to reduce carbon emissions. The City of Copenhagen Technical and Environmental Administration prepared CPH 2025, which strive for carbon neutrality by 2025. Supplementarily, this report it states how the climate of Copenhagen has experienced increasing rainwater and increment of sea levels. 7 Hence a need to grade the landscape of the site to drain the water away.

'PSUIF-"(*CSJFGXFBSFUPVUJMJTFUIFMBOEmMMTJUFBOEQSPQPTFBprogram that would attract people to the site while generating clean renewable Solar energy for the city, within the boundary and (125 meters) height limitations.

* (For this Subject we are tasked to focus on Solar energy. )

Figure 129 : Annual Rainfall of Copenhagen 5

Figure 128 : Annual Temperature for Copenhagen 5

Figure 130 : Annual daylight of Copenhagen 6

Figure 131 : Annual Cloud cover of Copenhagen 6 Figure 132 : Annual Cloud cover of Copenhagen 6

B-53

Solar Panel Research and ChoiceThe Desire to draw visitors to the site, with Copenhagen’s naturally clear skies and Low light pollution level inspired my proposition to build a Carbon Neutral Star gazing platform. To generate clean solar energy for this public space I had to investigate different solar panel systems and decide a suitable method for the Program and Design (Subsequent Section).

I have decided to use the Multi-Junction cells (Figure 133), due to its IJHIFOFSHZFGmDJFODZPGBOEJUTDMJNBUJDBQQSPQSJBUFOFTT9

5IF.VMUJ+VODUJPODFMMFGmDJFODZJTEVFUPJUTBCJMJUZUPDBQUVSFNVMUJQMFwavelength. 9

During my research on solar panels, I stumbled upon 2 solar panels that inspired my design process.

1. Thermal concentrated panel Sterling Dish (Figure 134)This system is not appropriate for Temperate climates, however its Solar Tracking design system inspired me to incorporate this Tracking system JOUPNZ#VJMEJOHTZTUFN8IFSFUIFTPMBSQBOFMTBUUBDIFEUPUIFQPET(Figure 136) would rotate in accordance to the sun’s angle.

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For my conceptual design the Multi-Junction cells QBOFMTXPVMECFmYFEalong the Skywalk way and the pods ( Figure 136). The Branches holding the pods would rotate in accordance to the angle of the sun via an axial core structure. This Solar tracking function would increase the degree of sunlight capture This would be explored in greater detail in Part C.

The energy generated by the solar panels will be used to heat the pods at night, rotate the structure and light the path way with small Led Light strips at night.

Figure 135 : Photovoltaic 3D cell 9

Figure 136 : Rendered image of the Proposed design XJUIDJSDMFTEFOPUJOHXIFSFTPMBSQBOFMTNBZCFmYFEon to.

Figure 134: Thermal Concentrated Panel Sterling Dish9

Figure 133: Multi-Junction Cells 9

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The program that I propose is a Carbon Neutral Star Gazing Platform Structure which generates Clean Solar Energy. This Structure seeks to become Copenhagen’s New Iconic Public space which would be open 24/7 for people to gather in the day and experience the wonders of the Stars at night. This attraction would attract visitors from all around the world. The JODSFBTFJOnVYPGWJTJUPSTXPVMEGBDJMJUBUFUIFFYJTUJOHQSPHSBNTPOTJUFnFBNBSLFUBOEUIFSFUBJMCVTJOFTT

Figure 137: Stars in Space 10

Figure 138 : Flea Market in the Existing Site 12

This structure seeks to become Copenhagen’s new Iconic public space that would attract visitors from around the world to experience nature in its fullness. This gazing platform is going to be open 24/7. In the day it would act as a public space for people to gather and meet and emphasizing on its nights functions to star gaze. This program would lead to more visitors coming to the site which would generate more revenue for the existing nFBNBSLFUBOESFUBJMCVTJOFTTPOTJUF

B-55

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The concept is inspired by the experience of Gazing at the Stars situated in the Vast and endless depth of space, which invokes a profound sense of awe.

Similarly I seek to recreate this humbling emotion through Architecture. The structure would induce a sense of humility via the scale and material of the structure.

5IF$PODFQUOBNFEA5IF*OmOJUZ1MBUGPSNJTEFSJWFEGSPNthe endless space and the slow and continous motion of the rotation.

B-56

Precedent: Super Trees of Singapore

The design was inspired by Singapore’s Marina Bay Super trees which is both functional and aesthetically pleasant. (Figure 128) It is used to release the heat and cool the air for the conservatories as well as collect rainwater for irrigation and the water features. In addition the scale of the Super Trees, triggered the sense of humility.

4JNJMBSMZGPS5IF*OmOJUZ1MBUGPSN UIF.FHB5SFFTwould be both Aesthetic and functional. The scale of the infrastructure would certainly make it one of Copenhagen’s icon. These Trees serve to elevate the pods which are clad with solar panels. The arms XPVMECFSPUBUJOHJOEFmOJUFMZJOUIFEBZUPDBQUVSFUIFoptimum amount of sunlight and be stationary at night to demarcate the constellations in the sky. This would be further examined in Part C as well.

*ODPOUSBTU UIFMJHIUJOHGPSUIF*OmOJUZ1MBUGPSNXPVMECFkept to a minimum. Only the foot paths would be lighted with Led light strips.

Figure 140 : Singapore Marina Bay Super trees 11


B-57

Here is some of my rough preliminary sketches which I doodle bearing in mind the algorithmic process that could be used. From this I then proceeded to generate them in Grasshopper.

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B-58

The Grasshopper plug-in facilitated me in creating the pods that can respond to the sunlight. I would continue to research on this and improve on the star gazing pods in Part C.

Elements which Grasshopper is used:1. The Pods -Opening size -Branching of the Dodeahedron module2. The Branching structure of the ‘Mega Trees’3. The Skywalk path and the peripheral solar panels4. The Grading of the hollowed landscape

Using the folding technique To execute the Design concept inspired by nature (tree).The Folding approach enable me Multi-Junction cell panel on the facade of the structure. Folding also enabled me to grade the landscape such that water can drained off the site and also to raise the structure.

Folding Technique

Figure 146: Dodeahedron modules of Star Gazing pods which uses folding technique.

Figure 145: Panelised Sky-walk way with a fold one each side of the walkway.

B-59

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Figure 153 & 154 : Experimentation of different forms for the Pods used for the structure. The openings correspond to the point charges i created affecting the opening. However I have yet to resolve the use of the Point charge and how it would be used to increase the perfor-mance of the structure.

Figure 147-149: Experimentation of different forms for the Grading of the landscape

Figure 150-152: Experimentation of different Lofted panels. These panels are lofted along lines instead of arch.

Figure 155 & 156 : Experimentation for branching. I selected the branch which has an angle of 120 degrees branching in 3 direc-tions evenly.

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Materiality

1. Corten or Rusted Steel to be used for the main structure of the trees2. Concrete for the ground3. Glass for the balustrades4. Cream Stones for the entrance walls.5. Dark Concrete Cladding for the interior of the pods.6. Dark metal for the pod’s exterior7. Multi-Junction Cells to be clad on the surface of the skywalk way and the pods(SBTTUPCFPOUIFHSPVOEnPPSTUSVDUVSF9. Metal mesh used for the skywalk way.

The use of rusted/weathered material for the Mega Tree, Metal Mesh for the Sky-walk and glass for balustrades brings a sense of fragility in the visitor’s experience. This correlates to the humbling effects of the cosmos to humanity.

1. Corten

2. Concrete for the ground

4. Cream Stones

2. Concrete for ground

8. Metal mesh for sky walkway

1. Rusted steel

3. Glass for the Balustrades

8. Grass

Figure 157-165: Materials used for the DPOTUSVDUJPOPG5IF*OmOJUZ1MBUGPSN

5. Dark Concrete cladding

B-61

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Grasshopper facilitated me in creating the cells that can respond to point charges. I would continue to research on this to think of BXBZUIBUUIFTFQPJOUDIBSHFTDPVMEIFMQGBDJMJUBUFUIFFGmDJFODZand performance of the star gazing pods.

Figure 166: Plan view of the proposed conceptual structure

Figure 167: Perspective view of the proposed conceptual structure

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Figure 168: Perspective view of the proposed conceptual structure

B-62

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Figure 168: Elevation of the Structure

Figure 167: Plan of the Structure

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The entrance opens up to a dark and large enclosed space which opens up to the side. This room has small openings on the top platform.This image also shows the BSUJmDJBMUFSSBJOTDSFBUFE

Sky-walk is made of Metal Mesh and balustrade built with glass. The transparency and ‘fragility’ of the material induces the sense of scale of the user to the structure and instill the sense of humility in face of the structure.

After leaving the main entrance and reemerging to the central open space. The Tall Mega trees structures with Dodeahedron Pod Modules branching out from the Central Core column overhanging the Court yard.

Figure 169: Entrance to the Structure

Figure 170: Sky walk with solar panels at the edge and Glass Balustrades

Figure 171: Courtyard area

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Figure 172: Image of the Pod like structures when view from the Court yard

Figure 173: View from within the pod and gazing upon the constalations

In addition the height separation of the pod facilitates in disconnecting to the rest of the society allowing the user to fully immerse themselves to the views of the stars. The images on the left shows views of the structure at night from the court yard and the pod.

B-65

Figure 174-176: Several views of the structure.


B-66

Figure 177: Entrance Figure 178: Stair way up to the Sky-walk and the 1st Mega Tree

Figure 179: Internal Room (dark room with light holes) Spiral stair in middle of the room.

Figure 180: Room Exit (In relation to the site)

Figure 181: Room Exit Figure 181: Graded Landscape: Place to lie and interact with the site Metal Mesh Sky-walk way. The graded landscap also ensure water does not reach and damage the main structure and ensures the water drains.


B-67

Figure 182: Metal Mesh Sky-walk way

Figure 184: Path/ Structural element leading to the Spiral stairs up the

Figure 183: Path/ Structural element leading to the Courtyard Atrium with massive Mega Spiral stairs up the Mega tree

Figure 185: Courtyard Atrium with massive Mega Spiral stairs up the Mega tree tree and pods overhanging above


B-69

From this segment of the course, I was able to look at designs and replicate the general form of the design using Grasshopper. 8JUI(SBTTIPQQFSQMVHJOOPUPOMZBN*BCMFUPHFOFSBUFEFTJHOTiterations quickly, but also generate different iteration species that can look inherently different from the original precedent project.

I hope that in the next segment (Part C) I would be able to sharpen NZTLJMMTJOUIFUFDIOJDBMBTQFDUBOEQSPEVDFmOFSRVBMJUZEFTJHOTIn addition, I would like to develop and enhance my presentation and rendering skills to attain professional standards thus, gearing NZTFMGGPSUIFXPSLGPSDF8JUISFTPVSDFTGSPNUIFDPVSTFBOETFMGdirected learning, I hope to be able to meet the learning objectives I have set.

Moving forward to Part C, I aim to resolve issues the algorithm to produce a more integrated design. Based on feedbacks I have received, my design had comments on its practicality/constructability and seemed divided. Hence, in my design EFWFMPQNFOU *TFFLUPSFDUJGZUIJTBSFBTBOESFmOFNZEFTJHO

Continuing I will have to consider the details of the how the structure would connect and work together.

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B-71

This segment showcases some of the tutorials examples I BUUFNQUFE*EPDVNFOUFEUIFEJGmDVMUJFT*GBDFEBOEEFTJHOiterations that I have created and expanded from the online videos.

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B-72

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Labeling the points on a sphere surface with tag. To further simplify the tag what I learnt next was to simplify the data to remove empty branch indexes on the point

This is the image of the mapped out lines on the surface. This was the only step I was unable to panel the surface.

In another exercise we are to label points using series and domain components. This image shows the mapping of points in a surface

B-73

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In this exercise I used a base circle and a graph mapper to get a spatial uneven offset. After which I divided the circles to distinct points I used the Voronoi component to make cells. Using cull pattern I was able to cull certain points creating unique cellular patterns. Alternatively for the last imagery I used a rectangular base geometry to create the points which created the pattern as shown.

B-74

5SBWFMMJOH4BMFTNBOQSBDUJDF*UmOETUIFTIPSUFTUroute between points. Using the Closest point function and remove the used points that is used to prevent repeating the same points.

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5SBWFMMJOH4BMFTNBOQSBDUJDF*UmOETUIFshortest route between points. Using the Closest point function and remove the used points that is used to prevent repeating the same points.

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The base curves for the branching of the curves

The branching of the curves and piping them

In this exercise I added an additional branch for the cluster such that I could have more than one branch. This was used for my project for the branching of the ‘Super Trees’.

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B1Research Field:

1. Iwamoto, Lisa, Digital Fabrications : Architectural and Material Techniques / Lisa Iwamoto (New York : Princeton Architectural Press, c2009, 2009) <https://search-ebscohost-com.ezp.lib.unimelb.edu.au/login.aspx?direct=true&db=cat00006a&AN=melb.b3353228&scope=site; http://catdir.loc.gov/catdir/toc/ecip0823/2008029765.html>

2 Cruz, Paulo J., Hans Ulrich Buri and Yves Weinand, Origami-Geometry of Folded Plate Structures, Structures and Architecture, 400 vols (CRC Press/Balkema Taylor & Francis Group, 2010)

3HWHUV%UDG\¶5HDOLVLQJWKH$UFKLWHFWXUDO,QWHQW&RPSXWDWLRQDW+HU]RJ'H0HXURQ·$UFKLWHFWXUDODesign, 83, 2, pp. 56-61

5LWX9DVX3¶%LRPLPLFU\2QWKH)URQWLHUVRI'HVLJQ·9LODNVKDQ7KH;,0%-RXUQDORI0DQDJHPHQW139-148 <https://search-ebscohost-com.ezp.lib.unimelb.edu.au/login.aspx?direct=true&db=bth&AN=90712907&scope=site>

Site Analysis:

5.Numbeco, Pollution in Copenhagen, Denmark, http://www.numbeo.com/pollution/city_result.jsp?country=Denmark&city=Copenhagen edn, 2014 vols (2014)

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7. weatherspark, Average Weather for Kastrup Near Copenhagen, Denmark, http://weatherspark.com/averages/28823/Kastrup-near-Copenhagen-Capital-Region-of-Denmark edn, 2014 vols (2014)

8.worldweatheronline, Copenhagen Yearly Weather Summary, http://www.worldweatheronline.com/Copenhagen-weather-averages/Hovedstaden/DK.aspx edn, 2014 vols (2014)

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B6 Technique Proposal:

10. FWS Wallpaper, Space Wallpaper 7680, http://freewallsource.com/space-wallpaper-7680.html edn, 2014 vols (2014)

11.visualnews, Supertrees of Singapore, http://www.visualnews.com/2012/07/31/supertrees-of-singapore/ edn, 2014 vols (2014)

12.Leth, Christopher, Flea Market, http://crleth.blogspot.com.au/2012_09_01_archive.html edn, 2014 vols (2012)

References

B-81

Iteration 8

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B-82

Second Attempt in creating a Grasshopper Algorithm to amulate DIgital Origami. (Included Translation and a generative pattern)

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First attempt in creating a Grasshopper Algorithm (creating the base module for the structure and attaching them manually in rhino)

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Third attempt image of the algorithm for the generation of the structure with cluster functions

Culled tetrahedral clusterCluster for Off-setted structure

Cluster for offsteface

Attempt 3

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Iteration 11

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Grading surface

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Mapping out and labing of the suface.

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The Fractal branching patter Grasshopper edited and developed. By adding extra branch which orient and scale by the same scale factor

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B-91

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C-3

In view of the Site Conditions, Brief and the feedback given in the interim submission, I made amendments to the initial design proposal. In this section would re-present the new design concept BOEFYQMBJOUIFQSPDFTT*UPPLUPBDIJFWFUIFmOBMPVUDPNF

Design Concept: To Humble Users in the face of the vast space and experience a sense of Profoundness.

C1 Design Concept

C-4

LAGI 2014 Site : Sonder Hoved Pier at Copenhagen Harbor, Refshaleøen

Site Analysis

As mentioned in Part B, the Site is a UHFODLPHGODQGÀOOVLWHOLPLWLQJWKHDPRXQWRIH[FDYDWLRQZRUNRQVLWH&RSHQKDJHQalso has a mild temperate climate, low OHYHORIOLJKWSROOXWLRQDQGJHQHUDOO\FOHDUVNLHVWKURXJKRXWWKH\HDUZKLFKLQVSLUHGWKHSURJUDPSURSRVDOIRUWKHVLWH

,QDGGLWLRQDFFRUGLQJWRWKH&+&&RSHQKDJHQVWULYHVIRU]HURFDUERQemissions.

$GGLWLRQDOO\WKHVLWHLVFXUUHQWO\XVHGIRUÁHDPDUNHWVDQGVPDOOUHWDLO

Figure 1: Sonder Hoved Pier at Copenhagen Harbor, Refshaleøen

Figure 4: Cloud Cover of Copenhagen 2Figure 3: Temperature of Copenhagen 1

Figure 2: Close up of Site

C-5

Carbon Neutral Star Gazing Platform Structure

Program

:LWKWKHXQGHUVWDQGLQJRIWKH6LWH,SURSRVHD3URJUDP1HZSURJUDPIRUWKHVLWHDCarbon Neutral Star Gazing Platform 6WUXFWXUH7KH,QÀQLW\3ODWIRUP

5IF*OmOJUZ1MBUGPSN1. Generates Clean Solar Energy.

2. Copenhagen’s New Iconic Public space opened 24/7, for people to gather in the day and experience the wonders of the Stars at night.

3. This Attraction would attract visitors from all around the world. 5IFJODSFBTFJOnVYPGWJTJUPSTXPVMEfacilitate the existing programs on sitenFBNBSLFUBOEUIFSFUBJMCVTJOFTT

Figure 5: Stars in Space 3

Figure 6: Flea Market in the Existing Site 4

C-6

Addressing Interim feedback

Steps taken to make amends to the feedback provided:

1. Reduction in the number of “trees” as it proved to be EJGmDVMUUPBDDFTTBMMPGUIFN

2. The Skywalk way had no functional use other than connecting the trees together. Hence altering it into a ramp to access the trees from the entrance.

3. The Scale was reduced as it seemed unfeasible

4. Reduction of the trees and scale made ensured made the design more plausible.

5. The number of branching of the Mega trees were reduced to facilitate ease of access.

Comparison Between the Prelimary Design and the Final Proposed Design

*OJUJBMEFTJHO'JHVSF.FHB5SFFT8JUI7JFXJOHQPET1 Sky-walk Path1 Large room1 Court yard/Atrium

"MUFSEFTJHO'JHVSF3 Mega Trees1 Sky walk Ramp1 Courtyard/Atrium1 Viewing platform

Figure 7: Initial design

Figure 8: Developed design after feedback

Design Development

C-7

Design Concept “To Humble Users in face of the vast Space and experience a sense of profoundness.”

The Concept is inspired by the experience of Gazing at the Stars in the Vast and endless depth of space, which invokes a profound sense of awe.

the Design Concept, which seeking to instill a Humbling emotion helps inform my Design decisions in both form and material choices.

Design Concept: Humbling Emotion

Design Concept

Figure 9: New design

C-8

Precedents Explored

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Plug in City, Peter Cook, Archigram

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Functional Qualities of Singapore’s Super Trees- Collect rainwater - Heat chimneyAesthetic Qualities of Singapore’s Super Trees- Large scale structure- Ability to view the city-scape Design proposal

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Functional and Aesthetic Qualities.Functional Qualities- Generate Solar Energy- View ConstellationsAesthetic Qualities- Large scale structure- Ability to view the city-scape Design proposal

Peter Cook’s Avant-garde style also inspired me to create viewing pods, up in tall Mega Trees. 6 The Archigram designs may have been irrational in 1960’s with its non structural qualities 6, however with today’s construction technology, I believe that these structure can be realized to a certain extent.

Having been critiqued in the interim submission I decided to seek to rationalized this conceptual BSDIJUFDUVSFQSPKFDU"MUIPVHIUIFmOBMEFTJHOTUJMM

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number of pods and strengthening the structural frames the design structure would become much more convincing. This would be further elaborated in C3 .


Figure 11: Plug in the city 6

Figure 12: Plug in the city 7

C-9

Algorithmic Process

1. Base Curve

5. Interpolate Curves with Graph mapper

2. Divide Curves

6. Divide Curves

3. Set Point Attractors

7. Join the curves with curves and Lines

4. Field lines

8. Loft the Lines

Steps taken to Generate the Design Form (Grading & Platform)

The diagrams above shows the step by step process in which I created the algorithmic recipe for the design.

1. I started of with a Base Curve that was drawn in this shape with the intention to guide and lead the users within the site.2. Next, I divided the Curves up into segments to locate the origin of the Mega Tree3&4 .Setting the points as point attractors and drawing mFMEMJOFTPVUPGUIFQPJOU EFmOJOHUIFCSBODIFTPGUIF

platform.

Figure 13-21 : Algorithm process in creating the platform and grading

5. Using Graph-mapper to interpolate the curves into constructible structural forms.6. Dividing these curves into further segments with Divide Curve7. Joining Adjacent points using Lines or Arcs 8. Lofting the Curves together to form panels and

C-10

Algorithmic Process

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Terrain Iteration

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Here are the various Iterations of the Grading of the landscape and the platform, of the new form.

Figure 22-29 : Iterations of the platform and Terrain

C-11

'JHVSFTUIFUPQJNBHFTshowcases the iterations of the platform/landscape grading of the Preliminary design.

5IFmOBMJNBHFBUUIFCPUUPNleft shows an alternative design structure for the grading for the site that I considered.

Figure 30-36 : Old Iterations of the platform and Terrain

Previous Iterations and experimentation

C-12

Algorithmic Process

1. Dodecahedron Base form 4. Offset the Translated Dodecahedron

2. Translation and Offset 5. Multiplying it by repeating the algorithm

3. Translation 6. Translating it in multiple directions

Steps to create this Dodecahedron branching algorithm, that varies the direction and size of the offset, which is dependent on point attractors.

1. Start with a Basic Dodecahedron from Lunch-box

2. Offset one face of the Dodecahedron module determined by the distance to a set point and Cluster the algorithm together.

3. Translate the base Dodecahedron

4. Repeat the Offset Cluster on newly translated position of the Dodecahedron.

5. Repeat this process and vary the branching direction

6. Repeat the process on the origin Dodecahedron to branch in multiple directions

'PSUIFmOBMEFTJHOUIFPGGTFUTXFSFLFQUDPOTJTUFOUsimplifying the construction process.

Steps taken to Generate the Design Form (Pods)

Figures 37-42 :Algorithm process in creating the branching of the Pods

C-13

Algorithmic Process

Iterations Generated for the Branching of the Pod units

The images above showcases the Iterations of the different branching designs of the Mega Tree structure. The chosen orientation and design JTJOnVFODFECZUIFPSJFOUBUJPOPGUIFPQFOJOH

The opening would direct the users to either constalations, views of the city or parts of the structure.

Figure 43-54 : Mega tree pod branching iterations

C-14

Figure 57: View out of the Ursa Major Constellation pod

Figure 58: Section cut of a constellation viewing podFigure 56: James Turrell’s Dividing the Light installation 8

Figure 55: Mapping out where the pods would orient towards.

Algorithmic Process

The opening of the Decahedron would be orient towards constellations. Drawing inspiration from James Turrell’s architecture designs, which frames parts of the sky.8

James Turrell Inspired Pod Orientation Concept

"TNFOUJPOFECSJFnZQSFWJPVTMZ TQFDJmFEQPETXPVMEGBDFTUIFconstellations while others would be oriented as windows or as openings to views.

C-15

Figure 59: Multi-Junction Cell 9

Figure 60-67 :Solar analysis of the Mega Tree.

As mentioned in Part B Multi-Junction cells was the solar panel chosen for the QSPKFDUBTJUIBTB$POWFSTJPOFGmDJFODZof 25%-45% and the ability to capture multiple wavelength. 9

Solar Analysis

Solar Analysis using Ladybug plug-in

Dark Red and Orange components would be mounted with Multi Junction Cells.Solar tracking systems or adjustable panels is ideal but more expensive and requires HSFBUFSDPTUIFODF*QSPQPTFBmYFEQBOFMsystem on the red panels in the diagrams above

Multi-Juction Cells & Solar Mapping Using Ladybug Plug-in

February May August November

C-16

Figure 67-70 shows the Mega Tree design iterations that I considered. I used Hexagonal grid to panalize the ‘trunk’ of the Mega Tree, however I decided to keep the Tree’s Core Smooth to draw emphasis to the skyward structures.

Figure 67-69: Panelized surface of the ‘Trunk’ of the Mega Tree.

Figure 70: Panelized surface of the ‘Trunk’ of the Mega Tree.

Figure 67-69: Panelized surface of the ‘Trunk’ of the Mega Tree.

Figure 70: Panelized surface of the ‘Trunk’ of the Mega Tree.

Considered Design Exploration

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C-17

Figure 73 : Facaade Iteration with its variation of extrusion lenght determined by a image mapper.

Figure 71-71 :Facade Testing Figure 74: Location of the Iteration testing

Considered Design Exploration

Other Exploration : Hexagonal Facade

Figure 73 : Facaade Iteration with its variation of extrusion lenght determined by a Figure 73 : Facaade Iteration with its variation of extrusion lenght determined by a

In addition, I also Experimented with a hexagonal grid structure that could be appropriated for the interior terrain walls of the EFTJHOTUSVDUVSF'JHVSF PSBTTVQQPSUJOH

elements to the Pods .

Figure 73 shows the Grasshopper Iterations I generated. The Hexagonal grids are designed with varying degrees of extrusion length, dependent on the image mapper.

This design iteration was not completely resolved and appropriated to the design hence not intergrated into the design.

C-18

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Figure 75:Plan

Plan

C-19

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Figure 76: East Elevation

Figure 77: North Elevation

Elevations

C-20

TREE detail

TREE detail

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Figure 78: Section AA

Figure 79: Section AA Cut of the Mega Tree Figure 80: Elevation of the Mega Tree

Section AA

C-21

TREE detail

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Figure 81: Perspective cut of Section AA Mega Tree and the lift that is within the Mega Tree

This diagram shows the Proposed spatial breakdown of the Mega Tree. The circulation of the structure does not follow the pod’s surface but through the internal platforms. The intersection of the pods and the platform at different angles creates unique passageway to the Pods which frames the constellations.

To access the Mega Tree Users can access from

1. The Ground Floor through the central axis to the doors that open up to the lift.

2. The ramp to the access corridor and to the lift.Figure 82: Plan annotating the circulation access

Section AA

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C-22


Figure 84: The Ramp

Figure 85: The Pod

The Ramp

The Viewing Pods

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Figure 85: The Pod

The Ramp

The Viewing Pods

Impressions of the Different spaces

C-23

The Viewing Pods

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Figure 86: The Mega Tree

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TREE detail

Mega Tree

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C-24

Rendered Images of Design Proposal

C-25

Rendered Images of Design Proposal

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C-26

Glass Metal mesh grate Concrete Lose graveMaterials

94 95 96 97

101

C-27

Lose graveMaterials

Sandstone wall cladding

Grass Steel sheets and pipes

Figure 94-100: Materials usedFigure 101: Rendered View of Ramp

cladding98 99 100

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C-29

For this project I have decided to prototype and detail the Decahedron pods. I have designed several detail design that could be used for the construction of the structure. This segment would also describe some of the problems I faced with the prototyping process and explained what I learnt in the process.

C2 Tectonic Elements & Prototypes

C-30

Prototype Precedent

Drawing inspiration from Gianoarlo Mazzanti’s El #PTRVFEFMB&TQFSBO[B)PQF'PSFTU BTQPSUTDFOUFS which has a similar structural form to my design. 10 I adapted the detail design and appropriated some of the structural elements to my structure.

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'JHVSF&M#PTRVFEFMB&TQFSBO[B)PQF'PSFTU1PET10 'JHVSF&M#PTRVFEFMB&TQFSBO[B)PQF'PSFTU%FUBJM10

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C-31

Prototype Designs

Detail 1 Detail 2 Detail 3

Figure 106-108: Three different Detail iterations

106 107 108

Detail Proposals

C-32

Prototype Design 1

Detail 1 Components

1. Circular joint pipes 2. Circular hollow sections3. Metal panels.

Figure 111: Detail 1 Circular Joint pipes11

Figure 109: Detail 1 Figure 110: Detail 1 components

Detail 1

C-33

Figure 112: Detail 2 Figure 113: Detail 2 components

Prototype Design 2

Detail 2 Components

1. Circular joint pipes 2. Circular hollow sections3. Variable rings with a slot for the panel4. Metal panels.

Detail 2

C-34

Prototype Design 3

Detail 3 Components

1. Angled joints2. Steel plates where Bolts will be attached to.3. Metal panels.

Figure 115: Detail 3

Figure 116: Bolt on metal plate 12

Figure 114: Detail 3

Detail 3

C-35

Figure 117-122 shows 3D printed models that represent the actual design compo-nents that are made with steel. This proto-types facilitates and shows how compo-OFOUTBSFDPNCJOFEBOEmYFEUPHFUIFSUsing this fabrication means mimics how the actual product is fabricated

Prototype Fabrication

Figure 117-119: Detail 1 Prototype

Figure 120-121: Detail 2 Prototype

Figure 122: Detail 3 Prototype

1:20 3-D print prototypes to mimic the Cold/Hot press Process of Steel.

C-36

Prototype Fabrication Problems and Lessons

Through fabrication of the joints I learnt an Several important lessons.

1. We need to understand the machine creating the Detail DQGWKHÀQLVKHGTXDOLW\RIWKHSURGXFW

In understanding the machine we would be able to prevent problems that would arise if we do not understand the TQFDJmDBUJPOMJNJUBUJPOTPGUIFNBDIJOFBOEUIFRVBMJUZPGUIFmOJTIJOH

With the understanding of the machine can we know the TQFDJmDBUJPOTJOXIJDIUIFQSPEVDUIBTUPNFFUUPSFBMJ[FEthe design. For example the 3-D printing machine has a 170 x 170 x 170 dimension for the printable space and a minimum 2 mm thickness for the product to be printed successfully. Similarly for other machines such as the CNC cutter and its pressure and speed of the cutting pen.

The understanding of properties of the materials is also crucial in fabrication. With the understanding of the limitations we as designers have to work around these boundaries or design using alternative materials.

2. Tolerance needs to be considered in detailing a construction joint

In my prototyping process, I overlooked the need to specify a tolerance for the detail fabrication. This lead to UIFEFUBJMQSPUPUZQFTQSJOUFEPVU UPOPUmU4JNJMBSUPEFUBJMTQFDJmDBUJPOTPGBDUVBMDPOTUSVDUJPOEFUBJMT UPMFSBODFJTrequired. Construction detail tend to be either slightly bigger or smaller depending on the nature of the detail component, UIJTJTEPOFUPFOTVSFUIBUJUXPVMEmUBOEXPSLBDDPSEJOHUPthe designer’s intention.

Having made the mistake and learnt I would ensure in my future project and career would not face this problem again.

3. In the fabrication Process Problems are bound to happen. When it does we need to think of ways to work around the issue.

In the fabrication of the details, my negligence in detailing UPMFSBODFMFWFMMFBEUPJUCFJOHVOBCMFUPmU)FODF*DBNFVQXJUIBTPMVUJPO UPSFDUJmFEUIFJTTVFCZTBOEJOHUIFEFUBJMDPNQPOFOUT TVDIUIBUUIFQBSUTDPVMECFmYFEUPHFUIFS

4. The importance of Protoyping (making sample joints)

This procedure is seen in the actual construction process where subcontractors would bring their construction details to the builder and tender for a job. Hence I saw the importance of prototyping details. With the fabrication of a detail we can see UIFXBZUIFEFTJHOXPVMECFBTTFNCMFEBOEUIFmOJTIJOHPGUIFproduct.

Even though I was detailing a prototype that was representative of another material I served its purpose as through the GBCSJDBUJPOQSPDFTT*MFBSOUIPXUIFmOJTIJOHPGUIFQSPEVDUIBTFEHFTBOEIPXJUXBTOPUUIFEFTJSFETVSGBDFmOJTIJOHUIBU*envisioned.

Prototypes serves as a mock test for the actual fabrication of actual detail. This would help reduce chances of making bad details. In addition it enables the architect to see the detail’s mOJTIJOHBOEBMMPXTTPNFUJNFGPSDIBOHFTUPUIFTFEFUBJMTWith these prototypes we could also run structural test on them to ensure it’s performance.

C-37

Prototype Fabrication Problems and Lessons

)URP¶0LVWDNHV·ZHFDQFRPHDFURVVKDSS\FRLQFLGHQFH(Making the best out of Mistakes)

In sanding the detail I was able to rectify the problem with the connection between the detail components. In addition I was able UPBDIJFWFBEJGGFSFOUmOJTIJOH BTNPPUImOJTIJOHBTDPNQBSFEUPUIFHSBJOZUFYUVSFUIBUXBTXJUIUIFmOBMEFUBJMQSPUPUZQFQSJOUFEPVU4JNJMBSMZJOEFUBJMJOHBOBDUVBMEFUBJMXFDBOmOEPVUCFUUFSNBUFSJBMTPSCFUUFSmOJTIFTXIFOXFDPNFBDSPTTQSPCMFNT5PJMMVTUSBUFUIJTlets say a facade is originally pannelized by a clear material but the tenants wanted more privacy hence treating the glass such that JUIBTBIJHIFSSFnFDUJWFBOEUJOUFEmOJTIIFMQTDSFBUFBHSFBUFSbarrier between the interior and exterior environment.

Additionally the sanding of the prototype created a model that was closer in texture to represent steel. Sanding removed unwanted edges that was a result when making the Nurbs poly-surface into triangulated mesh.

6. Ensure Good Communication between the designer and the Subcontractor (Fabricator).

*OUIJTEFTJHOQSPDFTT*TFOUNZmMFUPUIF'BC-BCUPfabricate,which mimicked the construction process between an architect, the builder and the subcontractor of an actual building.

At times designer has to detail the structural components and it JTDFSUJmFECZUIFTUSVDUVSBMFOHJOFFSTUIFFYQFSUT*OUIJTDBTFthe Fab-Lab assistants are experts in the fabrication process and I the designer. From my consultation with Fab-Lab, I realized the machine could not print the details I designed due to the Size of the components. Hence I needed to reduce the Size of the prototype.

In addition, through communication with the Fab-Lab staff I learnt more about the machine and its actual printable space, the HVJEFMJOFPGYYTQFDJmFEXBTUPFOTVSFUIFPCKFDUXPVMEmUCVUJUDPVMEHPTMJHIUMZPWFS

*OUIFGBCSJDBUJPOQSPDFTTUIFmOJTIFEQSPEVDUXBTXSPOHBTUIFQSJOUFEUIFXSPOHWFSTJPOPGUIFmMFTFOU UIJTXBTEVFUPUIFMBDLof communication with the Fab-Lab and me. Hence I with better communication such problems could be avoided.

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C-39

From the prototypes I have decided that Detail 1 was most appropriate as the components that are required for construction are available in the market and is a lot simpler to construct reducing the chance of making mistakes during fabrication.

The detail would also have to be welder or screwed at the joints to increase its Structural stability.

From the structural prototyping I also realized the structural instability of the design . Hence in the design would reduce the total number of Dodecahedron modules on one side.

In addition the Dodecahedron pods higher up in space would have to be cross braced and stiffened.

C3 Final Detail Model

C-40

Detail Selection

Detail 1 is selected as my recommended Detail proposal, as it is the simplest and easiest to fabricate. In addition, the components BSFBMTPBWBJMBCMFJOUIFNBSLFU'JHVSF

To fabricate the Dodecahedron modules I would recommend Prefabrication and installed on site to ensure a strict standard for this monumental design.

In addition this design would probably require cross bracing and welding to increase the strength of the modules, since it would be raised to such heights .

Figure 123: Detail 1 Design Figure 124: Detail 1 Prototype

Figure 125: Detail 1 Additional reinforcement method : Welding

Figure 126: Detail 1 Circular Joint pipes11

Detail 1

C-41

Design Models

Figure 127-128 : 1:2000 model

This model shows the general structure and form of the design proposal in relation to the site. The model also has small scaled humans and the site context embossed into the base of the model.

1:2000 Site Model

C-42

Design Models

Figure 129-131: 1:100 model of the tree

4




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w

t f

w

lp


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t f

w

t f

w

lp


For the construction of these Dodecahedron pods model I used CNC card cutter. I used the make tabs Grasshopper algorithm to create cut and score lines, after unrolling the Dodecahedron poly-surface.

This model provides a clearer understanding of the structure with its scale. This prototype helps explain the components that might be too small in the 1:200 scale model.

Figure 132: Grasshopper plug-inFigure 133: Tabs created on the surface.

1:200 Model

C-43

Failures of the model and Learning outcomes

In constructing the Models I learnt how unstable the structure is. However the sense of instability of the structure is in line with my design concept.

However to envision this design hypothetically, the design would have to be advised by a structural engineer. From the construction of both my models of the structure and the failures of the structure, I believe that the next step for this design to progress would be to either reduce the number of Dodecahedron pods or to have really strong bracing and welding in addition to the bolting of the structural elements to hold the large cantilever structure.

Learning Outcomes

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C4 Learning Objectives &Outcomes

From Part C, I have learnt the importance of details in actualizing a design. As Mies van der Rohe’s famous quote suggests “God lies in the detail”, Details are the medium for which architecture is conveyed and realized. 13 Only with a rational detail proposal will a project become feasible GPSDPOTUSVDUJPO%FTQJUFTPNFnBXTJOUIFTUSVDUVSFPGNZdesign, the construction of it is still possible with additional bracing and perhaps the reduction of the Pods.

Through Prototyping in Part C2 I learnt

1.1 The importance of Understanding the Machine in creating the Details1.2 The importance of The Finishing of the Detail created by the machine2. That all details need to have tolerance3. That problems are bound to happen in the process but XFOFFEUPmOEBTPMVUJPOUPEFBMXJUIJU4. The importance of Protoyping 5. Make the best out of mistakes6. Ensure good communication with the construction team

the need to have certain tolerance in creation of a detail NBLJOHJUNPSFnFYJCMFGPSPOTJUFJOTUBMMBUJPO

From Part C3 I am reminded of the value in creating physical models and how it provides a invaluable understanding of how the structure would stand or look in reference to the site.

From this course I felt I have improved my presentation skills especially in conveying my design, Evident in the Photo renderings from Part B to Part C.

C-46

Learning Outcomes and Objective from the Entire Course

Through Studio Air, I have learnt technical skills of Computation Design. Grasshopper enables me to generate designs iterations quickly and accurately, which can aid my design process. Through this course I BNBCMFUPEFTJHOTUSVDUVSFTUIBUBSFNPTUTUSVDUVSBMMZFGmDJFOUXJUIkangaroo, create designs that respond to the sun with ladybug. The limit with grasshopper is endless. Through this course I have picked up some of the computation design language and would continue to explore it in my subsequent years of study in my pursuit to becoming an architect.

Having completed this course I am pleased with the things I have learnt. This course is great as it has pushed my designing and presentation skills. I will continue to improve and develop my designing process and methods to convey my design concept.

Learning Outcomes

C-47

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C5 Part C References

C-50

References

1.Numbeco, Pollution in Copenhagen, Denmark, http://www.numbeo.com/pollution/city_result.jsp?countrZ%FONBSLDJUZ$PQFOIBHFOFEO WPMT

5IF$JUZPG$PQFOIBHFO5FDIOJDBMBOE&OWJSPONFOUBM"ENJOJTUSBUJPO A$1)$MJNBUF1MBO

3.FWSWallpaper,SpaceWallpaper7680,http://freewallsource.com/space-wallpaper-7680.IUNMFEO WPMT

4.Leth, Christopher, Flea Market, http://crleth.blogspot.com.au/2012_09_01_archive.html edn, 2014 vols

5.visualnews,SupertreesofSingapore,http://www.visualnews.com/2012/07/31/supertrees-of-singapore/FEO WPMT

6. ArchiDaily, AD Classics: The Plug-in City / Peter Cook, Archigram, http://www.archdaily.com/399329/BEDMBTTJDTUIFQMVHJODJUZQFUFSDPPLBSDIJHSBNFEO WPMT

7.imgkid.com, Archigram Urbanism, http://imgkid.com/archigram-walking-city.shtml edn, 2014 vols

8.Russo, Julie, James Turrell / “Dividing the Light” Experience, http://surfwarpedspace.blogspot.com.BVKBNFTUVSSFMMEJWJEJOHMJHIUFYQFSJFODFIUNMFEO WPMT

9. Ferry, Robert & M., Elizabeth, ‘Field Guide to Renwable Energy Technologies’,2012

10.Domus, El Bosque De La Esperanza, http://www.domusweb.it/en/architecture/2012/01/04/el-bosque-EFMBFTQFSBO[BIUNMFEO WPMT

11.Component Force, 19mm Round Tube Connectors, http://www.componentforce.co.uk/DBUFHPSZNNSPVOEUVCFDPOOFDUPSTFEO WPMT

12.imgarcade.com, Steel Plates Bolts and Steel, http://imgarcade.com/1/steel-plate-with-bolts/ edn, 2014 WPMT

'SBTDBSJ .BSDP A5IF5FMMUIF5BMF%FUBJM JO4QSJOHFS QQ

C-51

Appendix

Grading surface

Platform

Exploration Facade

Design Algorithm Screengrabs

Documents

Tan yee ann (ean) 573608 final journal