Tan_SeanZhenKai_656058_FINAL

S E M E S T E R 1 , 2 0 1 56 5 6 0 5 8S E A N Z . K TAN

AIR

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ABPL30048: Studio AirStudent Journal

Sean Tan Zhen Kai (656058)Tutor: Philip Belesky (Group 12)

Semester 1 , 2015University of Melbourne

Bachelor of Environments (Architecture)

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4 Introduction

Part A: Conceptualization

8 Design Futuring

11 Room Vehicle (RV) Prototype - Greg Lynn

13 Subdivided Columns - Michael Hansmeyer

14 Design Computation

17 Silk Pavilion by Mediated Matter Group, MIT Media Lab

19 Hygroscope by Achim Menges & Steffen Reichert

20 Composition/ Generation

21 MDE 03 Paper Strip Morphologies by Achim Menges

23 Landesgartenschau Exhibition Hall by ICD & ITKE Stuttgart University

24 Conclusion&Learning Outcomes

25 References

26 Images References

29 Sketch 1

31 Sketch 2

Part B: Design Approach

33 Research Field

35 VOLTADOM - SKYLAR TIBIT

36 GrasshopperDefinitionExplorations

38 GrasshopperDefinitionExplorations

40 Conclusion

Case Study 1.0

41 Mutation

Case Study 2.0

43 Maple Leaf Square Canopy by United Visual Artists

44 Analysis and reverse-engineer

Case Study 2.0

50 Development Exploration

56 3D Print Prototyping (Bridge Frame)

57 3D Print Prototyping (Hydroponic Pods)

60 Proposal (Fabrication)

62 Proposal (Site Context)

64 Proposal (Render)

72 Algorithmic Sketches

74 Learning Outcomes

75 References


Part C: Proposal

80 Design Concept

82 Conceptualization

84 Floor Section

86 AlgorithmicWorkflow

88 Construction Sequence

90 Detail Joinery

92 Proto-typing

94 Proto-typing

96 Renders

106 Reconceptualization

108 Floor Section

110 AlgorithmicWorkflow

112 Renders

120 Learning Outcomes


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Current: Undergraduate Student (3rd Year)Institution: The University of MelbourneDegree: Bachelor of EnvironmentsMajor: Architecture

SinceIwasayoungboyasfarasIcanremember,Ilovetodismantleelectronics,lookattheinternalworks,meddlearoundwiththewiresandtrytounderstandthedifferentconnectionsofwireswithinthelogicboard.WhenevermyparentswerenotaroundandIwasbored,Iwouldlook for electronics to dismantle and study; I vaguely recall dismantling my family’s 50-inch rear projection televisionwhenIwas6in1996.Unfortunately,whenyourparents are not around and you have a big television to playwith,it’slikeplayinginventorandItriedtoreinventthetelevisionwithmyphilipsheadscrewdriver.

One year later, home and bored, I stumbled upon my father’scomputer-areallyoldIBMcomputerwiththe8-inchfloppydisk.Iwascompletelycaptivatedbyhowsuch a small feat of technological advancement can be capturedwithinsuchasmallfootprint.Eversincethen,Ihavebeenexperimentingonhowthehardwarecanaffectthespeedofthesoftwaredirectly.Theloveofmycaringmotherhaspropelledmeforward,payingfortheupgradesofmycomputerandallowedmetodabbleintotheworldofelectronics.Afteryearsofbuildingcomputersandrepairing computers, I picked up Design and Technology

I n t r o d u c t i o nBackground & Previous Works

subject in secondary school (2005) and I learnt hands onabouthowdesignaffectsthehumanthinking,feelingsandtheimportanceofergonomicsinaproduct.For my final year project, I created a revolving solar systemwithbreathingLEDsimitatingstarsinspace.

I decided to shift my interest in electronics to design and decide to pursue architecture after my secondary studies.InmyfirstyearofstudyingarchitectureasadiplomacourseattheSingaporePolytechnic,Iwasexposed to the foundations of design and the history ofarchitecture.InaivelystereotypedarchitectureanddesignasthedesignoftheexteriorofabuildingwhollyandonlyandwasslappedhardmyfirstyearwiththerealityandamountofworkIhadtodo.ThankfullyIdidwellandwentontomysecondyear,whereIlearnedtechniquesandprogramstodigitallyfabricatemodels.Iwassweptoffmyfeetwithmind-blowingarchitecturalvisualizationsthatwereshowntous.Ilovedtheideawhereyoucoulduseprogramstodigitallyfabricateamodelinsteadofphysicallyfabricatingwithfoam-boardandbalsawoodwhichIhaveneverbeengoodat.

Constantresearchonhowtobettermyarchitecturalvisualizationsexposedmetotheworldofdigitaldesign.Iusedaugmentedrealityapplicationstoallowmy lecturers to rotate the model virtually in a physical environment,butthatwasnotsufficientanditfeltlikeamarketinggimmick.IlostinterestinthepenandpaperasIgravitatedtowardsdigitaldesignandusingAutoCADand3dsMaxtodesignmyprojects.Iwasreprimanded constantly for using AutoCAD and 3ds Maxtocreatemydesignsasitdoesn’tallowaverybroadandcreativebasefordesigns.Mydesignswerevery monotonous and surgical, the stick to strict rules basedondimensionsandconstraintsoftheprogram.

AftergraduatingwithmyDiplomaofArchitecture,IworkedforPuurAtelierunderMichaelChan.Hegraciouslyallowedmetodesignseveralfurnituresandalsotookpartinthedesignofahouse.Istartedto pick up the pen and paper again and started to designwiththatasthebase.Islowlyrealizedthatmy designs had a very ‘parametric’ and ‘array’ feel to them because I used array and inputs to determine mydesignwhenIwasusing3dsMaxinthepast.

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Above: 3rd year project for a T.H.E Dance Company

Above: Kid’s area atop entertainment room Above: Wall design using simple array

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P a r t A : C o n c e p t u a l i z a t i o n

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Architecture throughout history has evolved tremendously.Inearlycultures,architectureandarthasaconnectiontonatureandproportions.[1]ProportionalanddimensionalrelationshipswerefoundinformsasearlyasthoseinEgyptianperiodsaround2670BC.[2]Architecturesolvedproblemsandcreatedaesthetics.SuchasthoseintheEgyptianperiodwhentheywereobsessedwithcreatinghugeedifices,attributedtothearchitectImhotep,withtheideaofastairwaytoheavenforthesoulsoftheirPharaohsbystackingmastabas.

Sowhatisarchitecture?Isarchitecturetocreateanddesign based on mathematics, geometrical shapes, influences from nature, aesthetics, imaginative humanfeelingsorproblemsolving?ThomasA.Dutton and Lian Hurst Mann describes architecture as, “To make architecture is to map the world in some way, to intervene, to signify: it is a political act.”.[3]

Unfortunately and quite predictably, humanity hasreachedapointwherewehavetostopandthinkaboutourfuture.Theactionsandgreedof our anthropocentric thinking has accelerated humanitytowardsitsownextinctioncreatinga“defuturingconditionofunsustainability”.[4]

A1.0

D e s i g n F u t u r i n g

Donald Rumsfeld summarised it as“There are known knowns - These are things we know. There are known unknowns; that is to say we know there are some things we do not know. But there are also unknown unknowns - the ones we don’t know we don’t know.”.Sohowdoesonedesignthefuture?Todesigntheunknownunknowns,toslowdownthe‘defuturing condition’ of our future and to ‘design futuring ’.[4]

Dunne & Raby speculates that design should be to shapetheworldoutthere,toshapethefutureinsteadoftofixthecurrentstateoftheworld.Bysettinginplace design factors for the future to increase the probability of several desirable futures through design eventhoughtheunpredictabilityisimmense.[5]

To create is to destroy, the ongoing never-ending relationshipbetweencreation,destructionanddisplacement.Totackleoneissueofsustainability,anotherissuewillappearwhichcontradictsthemainissueofsustainabilityinthefirstplace.

Recent advancements in computational design has exploredwaysinwhichdesigncanhelporadvisetheprobable,plausible,possibleandpreferablefutures.

Fig 1.1 Above: Image of the Stonehenge showing proportions of the gate forming right-angled triangles

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[4]Creationofnewarchitecturescanbetotallysubtractedfromexperience,pastworks,influencesandbackground.Theserecentadvancements,explorationsand research in computational design can help to achieve maximum efficiency in areas of structural integrity, easeofreworkinganentiremodel,sustainabilityandperformance of a project, dynamic integration of the relative environment, construction and fabrication processandtobridgethenaturalanddigitalworld.

The first precedent study talks about Room Vehicle by Greg Lynn explores the usage of a building footprintanddynamismofawhatwasonceastatic model into a multi-directional,rotating modelwhichreactstoitsrelativeenvironment.

The second precedent study talks of Michael Hansmeyer’sSubdividedColumnsonhowcomputationalarchitectureischangingthewayinwhichweperceiveimaginablegeometriesandtheunimaginable.

Fig 1.3 Above: Image of the Parthenon to the golden ratio and its symmetry

Fig 1.2 Above: Image of geometric triangles in a parametric population

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Fig 2.4 Above: Sectional drawing showing 0 degrees,

90 degrees and 180 degrees rotation

Fig 2.2 Above: 90 degree positionFig 2.1 Above: Close-up of rotational platform Fig 2.3 Above: Prototype in rotation

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The RV Prototype rethinks luxury, entertainment, patternsoflivingwiththecontrolofmoderndaytechnologies.TheRVPrototypeisacocoonstyle,lazy man’s technologically advanced, rotating living space.Itembodiesthemovementsofarecliningloungechairwhilstplacingcontrolswithinarm’sreachoftheoccupant.Asstaticasitsounds,theRVPrototype is actually immensely dynamic in thinking andmovement.Witheverythingaroundarm’sreach,the footprint of the living space is greatly reduced, add in rotation and several different areas of use and you get a living space that rotates you into a kitchen,bathandapositionforsleeping.[6]

Made out of carbon fibre, the RV Prototype introduces compactnessaswellasanillusoryversionofanastronaut floating around in a space station that neverhasanuprightposition.TheRVPrototypeintroduceslightweightandhighstrengthcarbonfibreas a building material instead of masonry or steel, thisallowsTheRVPrototypetobelight,strongandeasy to manufacture reducing the energy footprint aswellastheconstraintsofsteelandmasonry.[7]

Because the RV Prototype has a hamster ball-

A1.1

P r e c e d e n t W o r k sRoom Vehicle (RV) Prototype - Greg Lynn

Fig 2.5 Above: Bath and Kitchen positions

esquefunction;byliving,walking,rolling,crawlingalongthewalls,ceilingandfloorsofthe cocoon, the space is therefore made use of,therebyreducingthelivingfootprint.

With the added function of rotation, computations canbeinputtoallowtheRVPrototypetorotateinresponse to climatical conditions such as sunlight, wind,temperatureandweatherwhichaddsthepossibility of a sustainability effect in reducing the environmentalimpactthroughsavingsinenergy.[8]

Because of ever increasing technological advancements inentertainment,homesecuritiesandautomation.The lifestyle of the future has a tendency to succumb toasedatedandmonotonouslifestyle.GregLynnwantstochangethatnotonlybycreatingastimulatingand dynamic environment for the user but also tohaveasustainableimpactonthefuture.

“Wecanhelpsetinplacetodayfactorsthatwillincreasetheprobabilityofmoredesirablefutureshappening.”

-AnthonyDunne&FionaRaby[5]

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Fig 3.1 Above: A hexahedra subdivided by an algorithm

Fig 3.2 Above: Subdivided column prototype Fig 3.3 Above: 9x zoom of subdivided column prototype

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Michael Hansmeyer states that “Nature is the greatest architectsofforms.”.Inspiredbynature,MichaelHansmeyerborrowsnature’sprocessofMorphogenesis-thesplittingofonecellintotwocells.Hansmeyerset out a project in the exploration of algorithmic computational design to conceptualise and design a newcolumnorderbasedonsubdivisionprocesses.[9]

Todesignsomethingcompletelyoutofthisworldyetbuild-able.Tobefreeofphysicalconstraints,educationandbackground.Todesigntheprocessesthat generate the object instead of designing theobjectitself.Asimpleinputandasimplealgorithmic process to design a family of complicated designswithamillionfacets.Inconceivablebythehumanmindandhandbutbuild-able.

Hansmeyer uses information already contained in forms tocreateamoreeffectivewayingeneratingthefinalforms.Usinginformationfoundonasimpleformsuchas edge length plot, planarity plot, curvature plot and radialityplot.Heextractsthisinformationfromtheformtocontrolthefolding.Insteadofusingageneralfold ratio, he uses the surface property to give it precise informationofhowitwouldfoldandhowitshouldfold.[9]

A1.2

P r e c e d e n t W o r k sSubdivided Columns - Michael Hansmeyer

Hansmeyer then translates that algorithmic process and surface information into the design ofacolumn.Hansmeyerbelievesthatcolumnsthroughout history has been used as a statement of beauty and technological advancement such asthecarvingsinaclassicalcolumndesign.

Hansmeyercreatesafamilyofcolumnswith16millionfacetswithformationsatmanyscales.Thesefamilyof columns does not have a single detail or motif that areidenticalyetduetothewaytheyareconceivedbya single same algorithmic process, they are much like fromasinglemothercellsplittingasymmetrically.

Hansmeyer believes that the architect in computational design is an orchestrator of these processes - to populate several permutations orgenerationsfromasingleinputform.[9]

Theprojectprovidesaninsightintotheunseen.To think differently as architects, to design the processes instead of the object and to use the processtogeneratetheobjects.Aprocesstogenerateobjectsatallscalesandyetbuild-able.

Fig 3.4 Below: Sixth Order installation - GwangJu Design Biennale

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Fig 4.1 Above: Yehuda.E.Kalay’s diagram of the major components in the architectural design process

Fig 4.2 Above: Yehuda.E.Kalay’s Diagram of design as a dialogue between the goals and solutions

A2.0

D e s i g n C o m p u t a t i o nThe AI of Architecture

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The architectural design process consisted of four intertwinedmajorcomponents:Problemanalysis,solutionanalysis,evaluationandcommunication.[10]But recent advancement in technologies expanded the relationshipbetweencomputerandarchitecture.Thisadvancementcreatedanillusorydigitalbridgebetweenman and machine, transcending the norm of using computers to just to produce the final product but also todesign,formgenerationandfabricationdesign.[10]

Algorithmsnowbecomesthegeneratoroftheformby the inputs of the architect, it has re-defined the normalarchitecturalpracticethatwasbefore.[11]

Thisnewprocessesandadvancementsintechnologyalsobridgedandrenewedthearchitect’straditionalroleasamasterbuilder.Itprovidedthearchitectwiththeunderstandingandabilitytocreatewithinthematerialconstraints.

Advancements in computation also contributed to integratedsimulationsoftwaresuchasAutoDesk’sRevit Architecture and Ecotect Analysis to generate energyandstructuralcalculations.InconjunctionwithprogramssuchasMcNeel’sRhinoceros3DandGrasshopperplug-in,theseadvancementsallowanimmense capability for scripting the algorithms based on the energy and structural performance to provide or create the forms and design that is reactive to the sitewhichincreasesitsdynamicsustainablequality.

ThefirstknownrecordeddesignwasVitruvius’srule-baseddesign.ItwasrecordedthatVitruviushascertain“recipes”orrulesforhisdesigns.[10]This design had great constraints compared to computationaldesign.Withcomputationaldesign,unimaginable shapes and forms can be generated and builtwithsimpleparametricalgorithmicinputs.[11]

Architecturewhichwasoncedeterministicbymathematical rules, calculations and orthogonal geometrieshasnowshiftedintotherealmof

shapeswhichwasonceunimaginable.

The traditional interdependency of goals, solutions anddesigncontextcreatesacyclicalconstraint.Accommodationstodiscoveriesalongthewayofthedesignprocessaswellasmodifiedgoalsandconstraintslimitthechangesallowedtobeapplied.Butwithcomputationaldesign,informationextractedcan be applied and calculated almost overnight to createasetofsolutionswhichcanbecreatedtoapplyto the current set of algorithmic processes to quickly andinformlyrecreateorevolvetheresultantform.Computational design has brought about speed and easeofchange,itallowsthearchitecttoinputextradatacollectedalongthewayofthedesignprocesswithoutuninformedconstraintsofpastmethods.

Advancements in digital modelling has propelled the processes of describing and constructing a design.Withcomputation,informationcanbeextractedandextrapolatedbetweeninter-disciplinaryprogramswithfargreatercapabilitiesinspeedascomparedtoprevioustraditionalmethods.[12]

The first case study examines the Mediated Matter Group, MIT Media Lab’s exploration of biological programming andnewmethodsoffibreadditivefabrication.

The second case study examines hygroscopicity andanisotropicityincombinationwithcomputationalmorphogenesis.

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Fig 5.2 Above: 20mm tall thrust vault spinning platform demonstrating the silkworm’s spinning behaviour. Based on the research on how the silkworm spins its

silk. A path was computed in conjunction to the nature of the silkworm to biologically program them to spin the silk according to the researchers.

Fig 5.1 Above: A Bombyx mori silkworm completing the deposition of approximately 1KM of flat-spun silk. The research

confirms that given the absence of a vertical axis the silkworm will spin a flat silk patch.

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In the Silk Pavilion, MIT’s Mediated Matter Group explores relationshipsbetweendigitalandbiologicalfibre-basedfabricationonanarchitecturalscale.Itharnessesthesilkworm’sabilityofspinninga3-Dimensionalcocoonoutofasinglematerial,it’sownsilk.[13]

Upuntilnow,mostprojectslooktonatureforimitativequalities from an algorithmic perspective and to derive an algorithm and apply them into the design processanddigitallyfabricatethem.[14]Insteadin the Silk Pavilion, MIT’s Mediated Matter Group explores the direct uses of nature symbiotically to organicallyfabricateanendproductwiththehelpofadigitallyfabricatedstructureorplatformwithouttheconstraintsofdigitalfabricationtechniques.

In digital fabrication techniques such as additive fabrication, there are constraints such as print bed size, materialsandZaxisprintingwhereasinnaturetherearenosuchconstraints.Additivefabricationprocessesalsohave a very limited application due to the limitations in size,costlyequipmentandlengthyproductiontimes.[12]

A2.1

P r e c e d e n t W o r k sSilk Pavi l ion by Mediated Matter Group, MIT Media Lab

Fig 5.3 Above: The final organically fabricated silkworm pavilion

This project looks into the unique properties of man-made digital fabrication and biological fabricationmethodswiththetranslationofbiological instincts into digital algorithms to controlnatureitselftogenerateafinalproduct.

Investigationswerecarriedoutonhowsilkwormsgoaboutspinningtheirsilkinrelationtolightandheat.Based on those investigations the team could “compute” thesilkwormtospinaccordingtotheirintendedwaysbasedonthelimitationsandthenatureofthesilkworm.

TheSilkPavilionlinksthebridgebetweendigitallyandbiologically fabricating products by processes deriving fromthestudyandlimitationsoftheorganicfabricator.[13]Potentialcontributionscanbeseeninthewaythesilkwormspinsitssilkaccordingtolightandheatandcan be translated into performance-oriented design in waystoincreaseenergy-savingsinadesignbasedonthereactive “skin” of the building across a range of scales andacrossseveraltypesoffabricationmethods.[14]

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Fig 6.1 and Fig 6.2 Above: Autonomous passive actuation of the wood surface flexing due to climatical conditions.

Fig 6.3 Above: Close-up of the structure

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Hygroscope explores the inherent behaviour of material incombinationwithcomputationalmorphogenesis.In typical situations, climate responsiveness in architecture is conceived of an electrical function enabled by electronic sensors and actuated by mechanisms.ButinHygroscope,theresponsivenessis ingrained in the instinctive hygroscopic nature andanisotropiccharacteristicsofthematerialitself.[15]Anisotropyisthedirectionalrelationshipwiththematerial’scharacteristics.Hygroscopicityreferstothematerial’sabilitytoequilibrateitselfwiththe moisture content of the surrounding relative environmentthroughabsorptionanddesorption.

Inwood,thematerialchangesphysicallyinstrength,flexibilityandoveralldimensionasthewatermoleculesareabsorbedordesorbed.Thesurfaceembodiesthecapacity to sense, actuate and move according to the environment.Thisallowsthepotentialtousewoodas a climate-responsive, organic material that can be designedtoreacttothechangesinrelativehumiditywith

A2.2

P r e c e d e n t W o r k sHygroscope by Achim Menges & Steffen Reicher t

thecomputedanisotropiccharacteristicsofthewoodtocontrolthedirectionofflexormovementbyshape.

Machine computation is used to generate the system in relation to material computation to control the system’sresponsivenesstotherelativeenvironment.The composite system is made up of cut maple veneerandsyntheticcompositeswhicharegeneratedbased on its material properties: fibre directionality, layout,length-width-thicknessratio,geometryandhumiditycontrolduringproductionprocess.[15]

Possibleopportunitiesofthisinvestigationwouldbetoapplyitasa‘living’skinofsorttoafacadewhichallowsittobeentirelysustainable,organicinnature,environmentally friendly, dynamic to the relative surrounding environment and to control the heating andcoolingofaspaceautonomouslyandunmanned.

Fig 6.4 Above: The metereosensitive morphology floating in a glass case.

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Architects have been using computers mainly to digitiseexistingproceduresforawhilenow.Thecomputer has been a digital drafting board making it more accurate and easier to edit than the pen and paper.Thishasbeencoined‘computerisation’.[16]

But computerisation tools like AutoCAD and ArchiCAD justtonameafewcanlimitexplorationandeffectivelyrestrictdesignbydrawinginthe2-Dimensionalrealm.As easy as it is to edit, the more complex the model ordesignthemoreworkisrequiredtoadjust.[17]

Parametricdesignaimstoreaddressthislimitations.[17]Insteadofcreatingthedesignsolutionsuchasthose in conventional methods, parametric design redefinesthatbyattackingtherelationshipsinwhichthe elements are connected and to observe and edit the relationshipstogenerateadesign.Thesystemtakescare of consistency of the design based on the inputs ofthedesignerandallowsfreedomfromthereworkingofthefinalproductallowingeaseofexploration.[17]

The upside of parametric design is the ease of editing, butthedownsideisbecauseitissolelydependentonthe defining inputs, it requires the designer to take a

A3.0

C o m p o s i t i o n / G e n e r a t i o nRedefining the practice of architecture

step back from direct activity of design and focus on the thinkingprocesswhichbindstherelationshipsorinputstogethertogeneratetherequiredresultantform.[17]

MDE 03 is an exploration of parametric proliferation ofsimplematerialcomponents,namelytwistedandbentpaper-strips.Basedontheunderstandingofthematerial system and through elaborate physical studies of the capabilities and behaviour of paper strips the informationwascapturedintoadigitalcomponent.

Through a combination of parametric geometric relationships, the digital element can be generated intocomplexmorphologieswhichcanthenbematerialisedasstripscutfromsheetmetal.[18]

Using a variable ‘proliferation environment’ to create constraintsandgrowthofthisdigitalelementinconjunctionwithanalgorithmwhichdrivesthedistributionoftheelements.[18]Thisparametricrelationshipallowstheelementtorapidlyreacttothemanipulations in a simulated environment, constantly updatingitsgeometrytorevealitsperformativecapacity.Simulated environments such as the relationship betweentheamountoflightshoneontotheparametric

Fig 7.1 Above: Image showing the population of a single component Fig 7.2 Above: Image of the relationship between manipulation

and behaviour tendency of the components.

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A3.1

P r e c e d e n t W o r k sMDE 03 Paper Str ip Morphologies by Achim Menges

Fig 7.4 Above: Simulated environment showing how the components react based on its

behavioural tendencies and environmental conditions such as simulated light flows.

manipulationandtheshadowscastunderthesystem.Thiscanbetranslatedintorealworldsituationsinwhichthe parametric ‘skin’canthenbecomputedtoallowacertain amount or quality of light to enter a space based onhowthe‘skin’reactstothesurroundingenvironment.

Evenwhentheelementsareinconstantfeedbackwiththeenvironment,thebehaviourofthecomponentsareconstantandwillalwaysremainconsistentwiththeconstraintsofmaterialisation,fabricationandassemblyofthepaper-strips.[18]

Fig 7.3 Above: Rendered image

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Fig 8.1 Above: Optimisation of morphological differentiation

of the panels to allow resource effiency.

Fig 8.2 Above: Simulation of plate geometries on curvatures.

Fig 8.3 Above: Computation of the shear and tensional forces between the finger joints Fig 8.4 Above: Tool path for robotic fabrication being generated

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A3.2

P r e c e d e n t W o r k sLandesgar tenschau Exhibit ion Hal l by ICD & ITKE Stuttgar t University

TheLandesgartenschauExhibitionHallshowcasesthe current developments in computational design androboticdigitalfabrication.Thebuildingisafirst to have its entire structure entirely made out of roboticallyprefabricatedplywoodplates.Throughcomputation designs, simulations, fabrication and surveying studies, the robotic fabrication procedureishighlyresourceefficient.[19]

Through advanced computational and simulation methods, the plate structure of the Landesgartenschau Exhibition Hall is generated, simulated and then optimised in principles similar to biomimetic construction.[19]Principlessuchasthoseofmorphological differentiation, the higher degree of uniqueness and differentiation is a key aspect of resourceefficiencythroughmoreuniqueshapes.Thecomputationalgenerationtoolthenallowedfor simulations of an optimised automated form-findingprocesswithresourceefficiency.

Thecomputatonalgenerationtoolalsoallowedfor the generation of tool paths and 7600 unique

fingerjointsontheplatestoallowformaximumstructural integrity resisting tensional and shearingforcesontheexhibitionhall.

Fig 8.5. Above: Interior image of built hall showing the two geometrical shapes Fig 8.6. Above: Interior image of built hall

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A4.0/ A5.0

C o n c l u s i o n & L e a r n i n g O u t c o m e s

A4.0 Conclusion

Technology is progressing at an exponential pace, andwithgreatpowercomesgreatresponsibility.Althoughwehavethecapabilitiesandmeansofcomputinganddesigning,weasdesignershavea responsibility to understand the computational methodsmuchlikeasoftwareengineerunderstandshowthesoftwareworks.Ifwedonotunderstandhowitworks,wecannotcontrolanduseittoitsfullestextent.Butwhenwedounderstanditandapply it vehemently, the results can sometimes be surprisingandhaveastonishingaccomplishments.

Based on the precedent studies and research that I have done on computational and parametric design,Iwouldlovetocombinetheminawaywhichembodies nature as part of the architecture and to progressivelyremovesocialconventionsofhowarchitecture of a certain building should be conceived as(i.e.achurchshouldlooklikeachurch.).

To look to computational morphogenesis, digital fabricational methodologies, hygroscopicity and anisotropicity to better apply this solutions to MerriCreekasanarchitecturalintervention.

A5.0 Learning Outcomes

As I started to read more about architectural computing, my naive and preliminary perception of whatarchitectureorwhatdesignisstartedtoevolve.

Indesignfuturing,Ireadabouthowdesignshouldworkwiththefuture,totackletheissuesofcreationand destruction, to encompass and embrace our technological counterparts, to design a probable, plausible,possibleandpreferablefutures.

In computational design, I looked at computational morphogenesisandhowcurrentresearchisbridgingdigitalcomputationandbiologicalcomputation.Itchanged my perspective and process of designing, insteadofdesigningtheendproduct,Ilearnthowdesigning the processes and understanding the underlyinglogicandrelationshipsofhowthisprocessesareinterrelatedcangeneratethefinalproduct.

Inparametricdesign,Irealizedhowasimplecomponent can become complex through parametric proliferationsandhowcreatingcontrolledconstraintscangenerateasortofperformativearchitecture.

To strengthen my parametric modelling skills, I also watchedthetutorialvideoseveryweekonGrasshopper.As I read about parametric modelling and architectural computation, all these started to piece together like ahugepuzzleinmymindwhenIwatchedthetutorialvideos.Seeinghowtheeaseofeditingtheprocessesandtherelationshipswhichgovernshowaprocessworkand the rapidisation of the final product after a process hasbeeneditedblowsmymindeverytimebecauseIused to draft quite a lot in my previous architectural firmsandaslightdesignorstructuralchangewouldrequiretremendousreworkingofthedrawingandtheeaseatwhichgrasshopperworksisamazing.

Although debugging grasshopper can sometimes be a hassle, I realize through debugging, you actually start to understand the logic of the process better anditwillpreventfuturemistakesincreatingrelationships.IwouldliketoseewhatIcanachievefrom this and hopefully benefit not only myself in the realm of architectural computing but benefit others,whoeveritmaybe,inthefuturetocome.

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R e f e r e n c e sPart A (Conceptual izat ion)[1]Mainzer,Klaus.,SymmetriesofNature:AHandbookforPhilosophyofNatureandScience(WalterdeGryuter,1996),p.117

[2]Kalay,YehudaE.,Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design(Cambridge,MA:MITPress,2004),p.64

[3]Dutton,ThomasA.andLianHurstMann,eds(1996).ReconstructingArchitecture:CriticalDiscoursesandSocialPractices(Minneapolis:UniversityofMinnesotaPress),p.1

[4]Fry,Tony,Design Futuring: Sustainability, Ethics and New Practice(Oxford:Berg,2008),p.1–16

[5]Dunne,Anthony&Raby,Fiona,Speculative Everything: Design Fiction, and Social Dreaming(MITPress,2013)p.1–9,33–45

[6].Lynn,Greg.2012.“RVPrototypeHouse”Homepage.URL:http://www.designboom.com/architecture/greg-lynn-rv-prototype-house/-LastAccessed March 10 2015

[7].Lynn,Greg.2012.“RVPrototype(RV=RoomVehicle)”Homepage.URL:http://www.dezeen.com/2012/10/30/rv-room-vehicle-by-greg-lynn/- Last Accessed March 10 2015

[8].Lynn,Greg.2014“RV(RoomVehicle)Prototype:WheretheSurfacemeetstheMachine.” Inflexions7,“AnimatingBiophilosophy”(March2014),p.184-186.Homepage.URL:http://www.inflexions.org/n7_lynn.html/-LastAccessedMarch102015

[9]. Hansmeyer, Michael. 2011. “Subdivision Columns” Homepage. URL: http://www.michael-hansmeyer.com/projects/columns.html?screenSize=1&color=1-LastAccessedMarch102015

[10]Kalay,YehudaE.,Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design(Cambridge,MA:MITPress,2004),p.5–25

[11]Oxman,RivkaandRobertOxman,Theories of the Digital in Architecture (London;NewYork:Routledge,2014),p.1–10

[12]Kolarevic,Branko,Architecture in the Digital Age: Design and Manufacturing(NewYork;London:SponPress,2003)Suggestedstartwithpp.3–62.

[13].N.Oxman,J.Laucks,M.Kayser,J.Duro-Royo,C.Gonzales-Uribe,‘FABRICATEConferenceProceedings’, Silk Pavilion: A Case Study in Fiber-based Digital Fabrication (2014)

[14].N.Oxman,J.Laucks,M.Kayser,J.Duro-Royo,C.Gonzales-Uribe,‘eCAADe:ComputationandPerformance’,Biological Computation for Digital Design and Fabrication (2013)

[15].Prof.AchimMenges,SteffenReichert,BoyanMihaylov,2012“HygroScope:MeteorosensitiveMorphology.”AchimMenges,“MorphogeneticDesignExperiment”(2012),Homepage.URL:http://www.achimmenges.net/?p=5083/-LastAccessedMarch192015

[16]Peters,Brady.“ComputationWorks.”ArchitecturalDesign(January25,2013):1–8.

[17].Woodbury,Robert.“HowDesigner’sUseParameters.”InTheoriesoftheDigitalinArchitecture,editedbyRivkaOxmanandRobertOxman,153–170,2014.

[18].Prof.AchimMenges,2004“MDE03PaperStripMorphologies.”AchimMenges,“MorphogeneticDesignExperiment”(2004),Homepage.URL:http://www.achimmenges.net/?p=4436/-LastAccessedMarch192015

[19].ICD(A.Menges)&ITKE(J.Knippers)StuttgartUniversity,2014“LandesgartenschauExhibitionHall.”AchimMenges,“LandesgartenschauExhibitionHall”(2014),Homepage.URL:http://www.achimmenges.net/?p=5731/-LastAccessedMarch192015

“ParametricDesign:What’sGottenLostAmidtheAlgorithms”(July11,2013).

“AdvancedArchitectureSoftwareCouldMakeBuildingsMoreEnergy-EfficientandInteresting|MITTechnologyReview”(July31,2013).

26

I m a g e s R e f e r e n c e sPart A (Conceptual izat ion)

Part A1.0[Fig1.1]Mainzer,Klaus.,SymmetriesofNature:AHandbookforPhilosophyofNatureandScience(WalterdeGryuter,1996),p.117[Fig1.2]MorphotacticLab.Homepage.URL:https://morfotactic.files.wordpress.com/2012/09/triangles_3_1_logo.jpg/-LastAccessedMarch20 2015[Fig1.3]Gyorgy,Doczi.,The Power of Limits: Proportional Harmonies in Nature, Art, and Architecture(Boston:Shambhala,2005),p.108

Part A1.1[Fig 2.1]. Lynn,Greg. 2012. “RVPrototypeHouse”Homepage.URL: http://www.designboom.com/weblog/images/images_2/andrea/greg_lynn/RV08.jpg/-LastAccessedMarch102015[Fig 2.2] Lynn, Greg. 2012. “RV PrototypeHouse”Homepage. URL: http://www.designboom.com/weblog/images/images_2/andrea/greg_lynn/RV03.jpg/-LastAccessedMarch102015[Fig 2.3] Lynn, Greg. 2012. “RV PrototypeHouse” Homepage. URL: http://www.designboom.com/weblog/images/images_2/andrea/greg_lynn/RV02.jpg/-LastAccessedMarch102015[Fig 2.4] Lynn, Greg. 2012. “RV Prototype House” Homepage. URL: http://www.designboom.com/wp-content/uploads/2012/10/02RV_SECTION_A.jpg/-LastAccessedMarch102015[Fig 2.5] Lynn, Greg. 2012. “RV PrototypeHouse” Homepage. URL: http://www.designboom.com/weblog/images/images_2/andrea/greg_lynn/RV07.jpg/-LastAccessedMarch102015

Part A1.2[Fig3.1].Hansmeyer,Michael.2011.“SubdivisionColumns”Homepage.URL:http://www.michael-hansmeyer.com/images/platonic_solids/platonic_solids3.jpg/-LastAccessedMarch102015[Fig 3.2]. Hansmeyer, Michael. 2011. “Subdivision Columns” Homepage. URL: http://www.michael-hansmeyer.com/images/columns/columns1.jpg/-LastAccessedMarch102015[Fig 3.3]. Hansmeyer, Michael. 2011. “Subdivision Columns” Homepage. URL: http://www.michael-hansmeyer.com/images/columns/columns3.jpg/-LastAccessedMarch102015[Fig 3.4]. Hansmeyer, Michael. 2011. “Subdivision Columns” Homepage. URL: http://www.michael-hansmeyer.com/images/columns/gwangju_design_biennale7.jpg/-LastAccessedMarch102015

Part A2.0[Fig4.1]Kalay,YehudaE.,Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), p.5–25[Fig4.2]Kalay,YehudaE.,Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), p.5–25

Part A2.1[Fig5.1].N.Oxman,J.Laucks,M.Kayser,J.Duro-Royo,C.Gonzales-Uribe, ‘FABRICATEConferenceProceedings’, Silk Pavilion: A Case Study in Fiber-based Digital Fabrication (2014)[Fig5.2].N.Oxman,J.Laucks,M.Kayser,J.Duro-Royo,C.Gonzales-Uribe,‘FABRICATEConferenceProceedings’, Silk Pavilion: A Case Study in Fiber-based Digital Fabrication (2014)[Fig5.3].N.Oxman,J.Laucks,M.Kayser,J.Duro-Royo,C.Gonzales-Uribe,‘eCAADe:ComputationandPerformance’,Biological Computation for Digital Design and Fabrication (2013)

Part A2.2[Fig 6.1]. Prof. Achim Menges, Steffen Reichert, Boyan Mihaylov, 2012 “HygroScope: Meteorosensitive Morphology.” Achim Menges,“Morphogenetic Design Experiment” (2012), Homepage. URL: http://www.achimmenges.net/wp-content/gallery/hygroscope/HygroScope_05closed_DSC8511.jpg-LastAccessedMarch192015[Fig 6.2]. Prof. Achim Menges, Steffen Reichert, Boyan Mihaylov, 2012 “HygroScope: Meteorosensitive Morphology.” Achim Menges,“Morphogenetic Design Experiment” (2012), Homepage. URL: http://www.achimmenges.net/wp-content/gallery/hygroscope/HygroScope_05open_DSC8216.jpg-LastAccessedMarch192015[Fig6.3].Prof.AchimMenges,SteffenReichert,BoyanMihaylov,2012“HygroScope:MeteorosensitiveMorphology.”AchimMenges,“Morphogenetic

27

DesignExperiment”(2012),Homepage.URL:http://www.achimmenges.net/wp-content/gallery/hygroscope/HygroScope_04_DSC7766.jpg- Last Accessed March 19 2015[Fig6.4].Prof.AchimMenges,SteffenReichert,BoyanMihaylov,2012“HygroScope:MeteorosensitiveMorphology.”AchimMenges,“MorphogeneticDesignExperiment”(2012),Homepage.URL:http://www.achimmenges.net/wp-content/gallery/hygroscope/HygroScope_03_DSC7760.jpg- Last Accessed March 19 2015

Part A3.0 / A3.1[Fig7.1].Prof.AchimMenges,2004“MDE03PaperStripMorphologies.”AchimMenges,“MorphogeneticDesignExperiment”(2004),Homepage.URL:http://www.achimmenges.net/wp-content/gallery/res_mde03/webam_research_04_mde03_am_tn01.jpg/ -LastAccessedMarch192015[Fig7.2].Prof.AchimMenges,2004“MDE03PaperStripMorphologies.”AchimMenges,“MorphogeneticDesignExperiment”(2004),Homepage.URL:http://www.achimmenges.net/wp-content/gallery/res_mde03/webam_research_04_mde03_am_tn02.jpg/ -LastAccessedMarch192015[Fig7.3].Prof.AchimMenges,2004“MDE03PaperStripMorphologies.”AchimMenges,“MorphogeneticDesignExperiment”(2004),Homepage.URL:http://www.achimmenges.net/wp-content/gallery/res_mde03/webam_research_04_mde03_am_tn03.jpg/ -LastAccessedMarch192015[Fig7.4].Prof.AchimMenges,2004“MDE03PaperStripMorphologies.”AchimMenges,“MorphogeneticDesignExperiment”(2004),Homepage.URL: http://www.achimmenges.net/wp-content/gallery/res_mde03/webam_research_04_mde03_am_tn06.jpg - Last AccessedMarch 192015

Part A3.2[Fig 8.1]. ICD (A. Menges) & ITKE (J. Knippers) Stuttgart University, 2014 “Landesgartenschau Exhibition Hall.” Achim Menges,“Landesgartenschau Exhibition Hall” (2014), Homepage. URL: http://www.achimmenges.net/wp-content/gallery/landesgartenschau_process/process_04.jpg/-LastAccessedMarch192015[Fig 8.2]. ICD (A. Menges) & ITKE (J. Knippers) Stuttgart University, 2014 “Landesgartenschau Exhibition Hall.” Achim Menges,“Landesgartenschau Exhibition Hall” (2014), Homepage. URL: http://www.achimmenges.net/wp-content/gallery/landesgartenschau_process/process_02.jpg/-LastAccessedMarch192015[Fig 8.3]. ICD (A. Menges) & ITKE (J. Knippers) Stuttgart University, 2014 “Landesgartenschau Exhibition Hall.” Achim Menges,“Landesgartenschau Exhibition Hall” (2014), Homepage. URL: http://www.achimmenges.net/wp-content/gallery/landesgartenschau_process/process_05.jpg/-LastAccessedMarch192015[Fig 8.4]. ICD (A. Menges) & ITKE (J. Knippers) Stuttgart University, 2014 “Landesgartenschau Exhibition Hall.” Achim Menges,“Landesgartenschau Exhibition Hall” (2014), Homepage. URL: http://www.achimmenges.net/wp-content/gallery/landesgartenschau_process/process_03.jpg/-LastAccessedMarch192015[Fig 8.5]. ICD (A. Menges) & ITKE (J. Knippers) Stuttgart University, 2014 “Landesgartenschau Exhibition Hall.” Achim Menges,“LandesgartenschauExhibitionHall”(2014),Homepage.URL:http://www.achimmenges.net/wp-content/gallery/landesgartenschau_halbe/halbe_07.jpg/-LastAccessedMarch192015[Fig 8.6]. ICD (A. Menges) & ITKE (J. Knippers) Stuttgart University, 2014 “Landesgartenschau Exhibition Hall.” Achim Menges,“LandesgartenschauExhibitionHall” (2014),Homepage.URL:http://www.achimmenges.net/wp-content/gallery/landesgartenschau_icd-itke/stuttgart_08.JPG/-LastAccessedMarch192015

29

A6.0

A l g o r i t h m i c S k e t c h e sSketch 1

Above: Variation 1

Above: Variation 2

Above: Variation 3

31

A6.1

A l g o r i t h m i c S k e t c h e sSketch 2

32

P a r t B : D e s i g n A p p r o a c h

33

Humanbeingsareknowinglydestroyingourworldthrough anthropocentric thinking, amplified by populationgrowthandthegreedformoney,questforknowledgeandthirstforomnipresentpower.Our planet is dying and our finite resources are runningout.Weareonacoursetowardsirreverisbledestruction,butwecanslowthatprocessdownthroughsustainablewaysandeducatingthecurrentpopulationforthefuturegenerationstocome.[TonyFry]

Digital morphogenesis is a classification of computer methods that uses digital media as a gerneative tool instead of a representational tool for the derivation offormanditstransformation.[Kolaveric]

Ithinkbiomimicryallowsustolookatdesigningdifferently.Wecanactuallyextracttheessentialsofnatureorhownatureworksandputthatintocomputationaldefinitionsandchurnoutdesigns.Although there are opportunities, sometimes fabricationcanbetoughbecausenaturegrows,buttoreplicatethatwouldbedifficult.

B1.1

R e s e a r c h F i e l dBiomimicry

34 34Fig. 3.2

Fig. 3.1

35

B2.0

C a s e S t u d y 1 . 0VOLTADOM - SKYLAR TIBIT

An installation created to span the hallwaybetween twobuildings of the MIT Campus comes a creation by Skylar Tibit for the 150th anniversary of MIT and FAST Arts Festival(FestivalofArts,ScienceandTechnology).[1]

The installation comprises of hundreds of vaults curved and bent from a single material to demonstrate the ease to fabricate and the ease of modifying and shaping a space fromaninstallation.

The installation resembles a cell group much like in biology inwhichitmultipliesandgrowsinsymbioticrelationshipto the environment and interdependence between cellsand it’s capabiltiies of adapting to a confined space

Fig. 3.2

Fig. 3.3

Fig. 3.4

Fig. 3.5

Fig. 3.6

36 36

B2.1

C a s e S t u d y 1 . 0Grasshopper Def ini t ion Explorat ions

Cull Pattern - False, False, True, True Cull Pattern - False, True, False, True Cull Pattern - False, False, False, True

37

Cull Pattern - False, True, True, TrueCull Pattern - False, False, False, True Z Factor +1 Z Factor +2

38

B2.1

C a s e S t u d y 1 . 0Grasshopper Def ini t ion Explorat ions

Cull Pattern - False, False, True, TrueCull Pattern - False, True, False, True Cull Pattern - False, False, False, True

Cull Pattern - False, False, True, True Cull Pattern - False, True, False, True Cull Pattern - False, False, False, True

Studying the provided definition, I realized that the space for exploration is very controlled andthereisverylittlespaceforexploration.IdecidedtocreatemyowndefinitionforthisCaseStudy1.0toallowforamorevastrangeofexplorationsanddefinitionchange.

39

Cull Pattern - False, True, True, TrueCull Pattern - False, False, False, True Z Factor +1 Z Factor +2

Cull Pattern - False, True, True, TrueCull Pattern - False, False, False, True U Factor +1 U Factor +2

40

B2.2

C a s e S t u d y 1 . 0Conclusion

Selection Criteria

Why did you consider the four highlighted outcomestobemoresuccessfulthanothers?

Ease of application, fabrication, assemblyandadaptability.

When creating sequences of geometric variation,whatwereyoutryingtoachieve?

IwastryingtoexplorehowcullpatternswouldaffecttheoverallrandomnessaswellaschangingtheZ-Factortoseehowtheshapewouldchange.

Whydidyousettleonthefinalversion?

What kind of architectural application coulditbeusedfor?

Whatkindofqualitiesdoesithave?

Theshapeisveryrigid,whichallowsforeasytriangulationoftheshape.Thetriangulationoftheshapeallowsformaximumstrengthasthetriangleisthestrongestsimplegeometricshape.

Howcoulditbeusedtocreateaneffect?

Ithasarigideffecttoit.Itcreatesabarnaclefeelingonthemicro,almosttryophobic.Howeveron the macro scale it creates a sense of nostalgia, reminsicingvaultsinclassicalarchitecture.

Whatforms,surfaces,couldbemadewithit?

41

Acombinationofallfourtypes.

Tall and short polygons along a curved sparse population basedon“false,true,false,true”cullpatterns.

Madeofacrylic.Opacityandcolorcouldbeintroducedtoallowtheplayoflightandshadowstoentertheinstallation.

B2.3

C a s e S t u d y 1 . 0Mutat ion

42

Fig. 4.1

Fig. 4.2

43

B3.0

C a s e S t u d y 2 . 0Maple Leaf Square Canopy by United Visual Ar t ists

MapleLeafSquareCanopywasinspiredbythefeelingofwalkingthroughaforestcanopywithlightshiningthroughtheleaves.Canopyemploysmassproductionandfabricationtocreateartificiallightmodulestoallowlight to shine through onto the street underneath in the dayandtoreplicatethecanopyofaforestwithartificiallightshiningwithinthemodulesduringthenight.[2]

The project abstracts the shape of a leaf into a polygon and randomly populates the identical module of a polygon ontoasurface.Theartificiallightpulsateswithinthelightmodulestocreatethefeelingofleavesrufflinginthewindcreatingasortof‘lightshow’underneaththecanopy.

The project had the intention of creating a sculpture that simultaneously blurred the boundaries of ‘manmaderationalityandnaturalirregularity’.

Fig. 4.3

Fig. 4.4

Fig. 4.5

Fig. 4.6

44

B3.1

C a s e S t u d y 2 . 0Analysis and reverse-engineer

Aseriesofpolygonspopulatedoveraflatsurface.Random clusters of polygon that popped out of the mainsurfaceandtheoppositeclustersremainedinset.Upon closer inspection, the popped out cluster has atriangulatededgethatwereoppositeeachofthispolygonandtheyformed3setsoftrianglewithinthepolygonitself.Althoughthepopulationwasrandomized,it looks like the polygon clusters are identical to allowforeaseoffabricationandtoreduceuniqueclusters but the random orientation of the polygon allowedittolooklikeeachpolygonwasunique.

From this analysis, I deduced that that the project had

- random clusters

-apolygonof5sides.

-insetclusterswithanedgethickness

-offsetclusterswithanedgethickness

- triangle offset surface opposite each otherthatformed3triangles.

- the polygon clusters are identical toalloweaseoffabrication.

Fig. 5.1

Fig. 5.2

Fig. 5.3

45

B3.2

C a s e S t u d y 2 . 0A t t e m p t 1

1.Populaterectangularsurfacewithrandompoints

2.Voroinoipointsandcullpatterntocreate inset polygon clusters

3.Moveandlofttocreateedgethickness.

Problems:Loftfailed.

46

B3.3

C a s e S t u d y 2 . 0Attempt 2

1.Populaterectangularsurfacewithrandompoints

2.Voroinoipointsandcullpatterntocreate inset polygon clusters

3.Moveandlofttocreateedgethickness.

4.Culledoppositepatterntocreatepoppedoutpolygonclusters.

5.Offsetbothpolygonclusteredgestocreateedgethicknessandsurface.

Problems: Realized that if I populated the points randomly,thevoronoipolygonswouldcomeoutrandomwhichdoesnotgiveeasetofabricationintheend.

47

B3.4


1.Dividesurfacewithpoints

2.Cullpointstocreatearandomgrid.

3.Voronoipointsandcullpatternforinsetclustersandculloppositepatternforoffsetclusters.

4.Offsetbothpolygonclusteredgestocreateedgethickness.

5.Moveedgesandloftupwhilecreatingasurface

6.Brepalltogether.

Problems: Realized that I did not achieve the triangulatedpoppedoutclusterpolygon.

48

B3.5


1.Dividesurfacewithpoints

2.Cullpointstocreatearandomgrid.

3.Voronoipointsandcullpatternforinsetclustersandculloppositepatternforoffsetclusters.

4.Offsetbothpolygonclusteredgestocreateedgethickness.

5.Moveedgesandloftupwhilecreatingasurface

6.Brepinsetclusterpolygons

7.Deconstructloftanddelanuyfacestocreatetriangulatedfaces.

Problems: Unable to get the perfect triangle face even after listing items and shift listing.Myknowledgeislimited.

49

B3.6

C a s e S t u d y 2 . 0Conclusion

ThedefinitionwasnotflexiblefromthegetgoandIdecidedIneededtofurtherchangethedefinitiontohaveamoreflexibleandeasiertimeinpushingthedefinitioninPartB4.0

InPartB4.0,thedefinitionisreworkedtoallowsurfacemappingandthevoronoicellsarenowmucheasiertomanipulateandcullbasedonattractorpoints,pointsoncurveorotherdefinitions.

The surface can be created out of sound mapping from river noise, brightness sampling fromthetreecanopiesorseabedmappingviaimagehuesampling.

50

B4.0

T e c h n i q u eDevelopment Explorat ion

52

B4.0


54

B4.0


56

B5.0

T e c h n i q u e3D Print Prototyping (Br idge Frame)

57

B5.0

T e c h n i q u e3D Print Prototyping (Hydroponic Pods)

58

B5.0

T e c h n i q u e3D Print Prototyping (Hydroponic Pods)

60

B6.0

T e c h n i q u eProposal (Fabr icat ion)

TheprototypemodelsinPartB5.0wereprintedbyanUPPrinter.Duetothecomplexitiyanduniqueness of each pod module, injection moulding wouldbetooexpensiveandtaketoolongaseachmodulewouldrequireamouldtocreate.

Thus3Dprintingwouldbepreferredbuttoprintatsuchlargescaleswouldrequirea‘D-Shape’printer.AD-Shapeprinterisanewroboticbuildingsystemwhichusesstereolithography 3D printing to create superior stone-likestructureswithina6x6x10meterbuildarea.

D-Shapeallowsmoreadvancedandcomplexdesignwithinthetolerancesof5-10millimeters.Thesystemdoes not require any moulds as compared to injection mouldingthereforeitwouldbecheaperandfaster.

The D-Shape printer uses a ‘binder’ to bind “any kindofsandintoamarble-likematerial(i.e.amineralwithmicrocrystallinecharacteristics)”.”Itis“muchsuperiortoPortlandCement.”.Itisalso“onehundredpercentenvironmentallyfriendly.”.[3]

The D-Shape recently printed Radiolaria by MonolithUKshowninFig6.2andFig6.3.

Fig. 6.1

61

Fig. 6.1

Fig. 6.2 Fig. 6.3

Fig. 6.4

62

B6.0

T e c h n i q u eProposal (Site Context)

Iinterviewedthejoggersaswellasbicyclistsalong the Merri Creek route and asked them a fewquestionsregardingtheMerriCreeksite.

They said that apart from the creek and greenery surroundingthecreek,therewasnothingelsethatwasenjoyableexceptthebridges.Theyalsosaidthattherewasaproblemincrossingthecreekasyouhadto find a set of stairs up onto road level and cross usingtheroadbridges.Theyalsopointedoutthatthere isn’t any rest points along the creek and there wasdifficultyinfindingone.Theintervieweespointedoutthatifitrainedallofasudden,theywouldhavetofindshelterunderneathabridgeandoftentheywouldstillgetwetasthereisinsuffientshelterspace.

Iintendtousethesite‘forces’tomouldtheinstallation.Using color mapping or hue mapping of the river bed, Iwillinvertthecurvetocreateasortofmirrorimageoftheriverbed.Iwillthenusethat‘natural’sortofcurvetostartmybridge,itwillserveasareststop.

Therewillbepodsalongthebridgethatgoallthewayintotheriverbedassomesortofhydroponicssystemtoallowgreenerytogrowonthebridge.Iintend to mimic the shelter of tree canopy above the bridge.Theshelterwouldhavesolarpanelsinstalledontherooftopowerthelightingsystematnightaswellastoreturnbacktotheneighbouringdwellings.

64

B6.0

T e c h n i q u eProposal (Render)

66

B6.0


68

B6.0


70

B6.0


72

B7.0

A l g o r i t h m i c S k e t c h e sProposal

Creation of ‘pods’

Hue Mapping of Seabed

Voronoi Mapping

73

Creation of ‘pods’

Hue Mapping of Seabed

Voronoi Mapping

74

B8.0

L e a r n i n g O u t c o m e s

Over the course of Studio AIR, I picked up a lot of Grasshopperskills.MypointofviewandthewayIthinkischangingeverytimeIuseGrasshopper.Ihonestly do not like the usage of Grasshopper to design but I intensely love the ease of editing and theeaseofuseithasduringfabricationlikehowyoucancreateawaffle-gridandspreaditacrossarectangulargridpatterntobereadyforlaser-cutting.

PartBwasveryinterestingtomebecauseitkeptchallengingmetopushtheboundariesofwhatispossibleandwhatisoftenimpossible.Iwasverymuch concerned about the buildability over the incredibilityoftheprojectinPartB.Mybiggestmistake is to keep thinking that the proposal in Part B has to be built because over the course of studying formyArchitecturalDiplomainSingapore,wehaveapenchantformakingthingsworkbuthereinStudioAIR,itisallaboutpushingtheboundaries.

AlthoughIdonotagreewith100%entirelyusingcomputational design methods to parametrically design, I amentirelyokaywithusingittosavetimeonfabrication.

I’mhavingtroublekeepingupwithcomputationaldesign.Much of the time is lost trying to debug definitions and tofindanotherpathtogettowhatyouwantbecauseyouareunabletosolvethecurrentsituation.Ialwaystry and tie my definition back to sustainability no matterhowlostIgetinthiscomputationaljungle.

Althoughourbriefwasverybroadandwewereallowedtodoanythingwewantwiththedefinitionsandtopushtheboundariesofwhatseemedpossible.Ididn’treallyknowhowtopushtheboundariesbecauseIonlyhadsolittleparameterstochangeandsometimeswhenIcomeupwithagreatadditiontotheproposal,mostofthetimeIdonotknowhowtocreatethedefinitiontocreatemyfinalcreation.Mostofthetime,Iamhitbyroadblocksanddisheartenedatmypaceincomputationaldesign.

SometimesIdostopandaskmyselfwhetherIamgoinginthewrongdirectionoramIjustlookingforsomethingthatlooksamazingly‘cool’tobake?

75

R e f e r e n c e sPart B (Design Approach)[1] Tibbits, Skylar. “VoltaDom Installation” Homepage. URL: http://www.evolo.us/architecture/voltadom-installation-skylar-tibbits-sjet/ -Last Accessed May 1 2015

[2]UVA.“Canopy”Homepage.URL:http://www.archdaily.com/81576/maple-leaf-square-canopy-united-visual-artists/-LastAccessedMay1 2015

[3]MonoliteUKPte.“D-Shape”Homepage.URL:http://www.d-shape.com/tecnologia.htm-LastAccessedMay12015

76

I m a g e s R e f e r e n c e sPart B (Design Approach)

Part B2.0[Fig3.1].Tibbits,Skylar.“VoltaDomInstallation”Homepage.URL:http://www.evolo.us/wp-content/uploads/2011/11/VoltaDom-5.jpg-LastAccessed May 1 2015[Fig3.2].Tibbits,Skylar.“VoltaDomInstallation”Homepage.URL:http://www.evolo.us/wp-content/uploads/2011/11/VoltaDom-1.jpg-LastAccessed May 1 2015[Fig3.3].Tibbits,Skylar.“VoltaDomInstallation”Homepage.URL:http://www.evolo.us/wp-content/uploads/2011/11/VoltaDom-6.jpg-LastAccessed May 1 2015[Fig3.4].Tibbits,Skylar.“VoltaDomInstallation”Homepage.URL:http://www.evolo.us/wp-content/uploads/2011/11/VoltaDom-7.jpg-LastAccessed May 1 2015[Fig3.5].Tibbits,Skylar.“VoltaDomInstallation”Homepage.URL:http://www.evolo.us/wp-content/uploads/2011/11/VoltaDom-7.jpg-LastAccessed May 1 2015[Fig3.6].Tibbits,Skylar.“VoltaDomInstallation”Homepage.URL:http://www.evolo.us/wp-content/uploads/2011/11/VoltaDom-4.jpg-LastAccessed May 1 2015

Part B3.0[Fig 4.1]. UVA “Canopy” Homepage. URL: http://ad009cdnb.archdaily.net.s3.amazonaws.com/wp-content/uploads/2010/10/1286978092-uva-canopy--1.jpg-LastAccessedMay12015[Fig4.2].UVA“Canopy”Homepage.URL:http://ad009cdnb.archdaily.net/wp-content/uploads/2010/10/1286978141-uva-canopy--8-528x352.jpg - Last Accessed May 1 2015[Fig 4.3]. UVA “Canopy” Homepage. URL: http://ad009cdnb.archdaily.net.s3.amazonaws.com/wp-content/uploads/2010/10/1286978121-uva-canopy--5.jpg-LastAccessedMay12015[Fig 4.4]. UVA “Canopy” Homepage. URL: http://ad009cdnb.archdaily.net.s3.amazonaws.com/wp-content/uploads/2010/10/1286978115-uva-canopy--4.jpg-LastAccessedMay12015[Fig 4.5]. UVA “Canopy” Homepage. URL: http://ad009cdnb.archdaily.net.s3.amazonaws.com/wp-content/uploads/2010/10/1286978127-uva-canopy--6.jpg-LastAccessedMay12015

Part B3.1[Fig 5.1]. UVA “Canopy” Homepage. URL: http://ad009cdnb.archdaily.net.s3.amazonaws.com/wp-content/uploads/2010/10/1286978092-uva-canopy--1.jpg-LastAccessedMay12015[Fig5.2].UVA“Canopy”Homepage.URL:http://ad009cdnb.archdaily.net/wp-content/uploads/2010/10/1286978141-uva-canopy--8-528x352.jpg - Last Accessed May 1 2015[Fig 5.3]. UVA “Canopy” Homepage. URL: http://ad009cdnb.archdaily.net.s3.amazonaws.com/wp-content/uploads/2010/10/1286978121-uva-canopy--5.jpg-LastAccessedMay12015

Part B6.0[Fig6.1].D-Shape3DPrinter.Homepage.URL:http://images.gizmag.com/gallery_lrg/dshape-0.jpg-LastAccessedMay12015[Fig6.2].D-Shape3DPrinter.Homepage.URL:http://images.gizmag.com/gallery_lrg/dshape-9.JPG-LastAccessedMay12015[Fig6.3].D-Shape3DPrinter.Homepage.URL:http://images.gizmag.com/gallery_lrg/dshape-6.jpg-LastAccessedMay12015[Fig6.4].D-Shape3DPrinter.Homepage.URL:http://3dprint.com/wp-content/uploads/2014/11/dshape7.jpg-LastAccessedMay12015

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P a r t C : P r o p o s a l

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C1.0

D e s i g n C o n c e p t

PickingupfromPartBandfollowinguponfeedbackreceived,severalareasofimprovementwererequiredand the technique needed further refinement

Afewkeythingstoaddresswasthatscalewasunabletobeimaginedandthat3DPrintingwasnotaviableoption.

I decided to pick another spot on the site and rethink myidea.Scrapingtheoldideaofgreenpodsandtorecreatesomethingmorethanabridge.

IdecidedtopickapartofMerriCreekwhichhasalargebodyofwaterwhichwasseparated.Theareaaround the picked site had little to no amenities and theseparationwasverybigbetweentwobanks.

Thenewconceptestablishesalinkbetweenthetwoseparatedbanksandallospedestrianaccessacrossthelinkwithease.Cycling,joggingandaccesspathsallonthebridge.Toinvitepeopleand

tocreateprogrammeswithinthestructureitselfandtoseehownaturecouldbeharvestedtobereturnedbacktothesurroundingneighbourhood.

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C1.1

C o n c e p t u a l i z a t i o n

On blending into the surrounding, I took the shape ofatreeandtranslateditintoaliteralofhowitwouldlook-anhourglassshapewiththetopcone similar to the canopy of the tree and the bottomconesimilartotherootsofthetree.

Awindingsystemofbranchesswirlsupthetree much like creepers up the trunk of the treeandsimilartothebranchesofatree.

Ilookedatsuspensionbridgesandhowitmimicsspiderwebssuspendingfromoneendtoanothercarryingtheentireweightofthebridge.

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Theshapeprovidedafewadvantages-

-Hotairwouldriseupfromthebottomofthestructureandescapefromthetop.

-Coldbreezefromriverlevelwouldriseupinto the structure and cool the building

- Solar panels could be placed on top of the structure muchliketheleavesofatreecollectingsolarpowertopowertheprogrammeswithinthestructureorreturnthepowerbacktothesurroundingneighbourhood.

-Rainwatercouldbeharvestedtobeusedasgreywaterforflushingforthetoiletswithintheprogrammes

- Plants and creepers that are planted along the branchingsystemwouldhelptocamouflagethestructureandallowittoblendeasierwithitssurroundings.

- A vertical center core much like the xylem tubes of a treewillallowcirculationaswellasallthepipesandutilitieswouldbehousedwithinthecentercore.

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C1.2

F l o o r S e c t i o n

PHOTOVOLTAIC CELLS 07

TIDAL GENERATOR -02

BICYCLE PARKING LOTS 00

RAINWATER HARVESTING TANK 05

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06 OBSERVATION DECK

03 CAFE

02 BIKE SHOP

00 TOILETS & WATER DISPENSERS

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BASE GEOMETRY

REPEAT AND LOFT WITH BEZIER

CURVE

CREATE WAFFLE STRUCTURE FRAME

FORM FLOOR PLANES

CREATE LIFT CORE

BRANCH STRUCTURE WITH SHORTEST

WALK

CREATE BRIDGE STRUCTURE

SUSPENSION CABLES

C2.0

A l g o r i t h m i c W o r k f l o w

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NODAL JOINTS WITH DODECAHEDRONS

TRUSS STRUCTURES

CONCRETE FEET

FINAL OUTCOME

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PREC

AST C

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ETE F

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-02 F

LOOR

PLAT

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-02 P

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-02 O

UTER

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-01 F

LOOR

PLAT

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C2.1

C o n s t r u c t i o n S e q u e n c eRO

OF TR

USS &

03 FL

OOR T

RUSS

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S ROO

F & 03

GLAS

S FLO

OR

PERF

ORAT

ED ST

EEL B

RANC

H STR

UCTU

RE

BRID

GE ST

RUCT

URE

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-01 P

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-01 O

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E

00 FL

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LATE

00 PR

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T LIFT

CORE

BRID

GE ST

RUCT

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SUSP

ENSIO

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C2.2

D e t a i l J o i n e r y

Concrete is used for the feet of the structureasitisplacedinwater.

Steelissandwichedbetweentwotimberpanelsto give structural rigidity and then bolted into the steelpanelsandwichedwithintheconcretefeet.

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ThebranchsystemisdesignedwithshortestwalktoimitatehowabranchwouldgrowtowardstheSunasitbranchesouttowardsthetop.

Anodaljointdesignedwithadodecahedronsystem.Holesdrilledinthedodecahedronallowsthepipingtobepokedintothenodeatanydirection.

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C3.0

P r o t o - t y p i n g

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C3.1

P r o t o - t y p i n g

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C3.2

R e n d e r s

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C3.3

R e n d e r s

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C3.4

R e n d e r s

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C3.5

R e n d e r s

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C3.6

R e n d e r s

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C4.0

R e c o n c e p t u a l i z a t i o n

Feedback from the final presentation notified meofthemanyissuesandconcerns.

Thereweremanyremarksfromthepresentation:

-Shape,formandprogramsaretoogeneric.

- Branching system does not appear toresemble“shortest-walk”

- Nodal jointing system should be researched, dodecahedron not needed

-Suspensionbridgenotfeasible.

- Can the shape or size of the floor plan complimentthespacialprogram?

-Whyisthechosenheight6F?

- The render does not inform the tutorofthesurroundings.

-Whytheshapeofatree?

-Therearenotidesintheriver.

-Wheredoestheservicesgo?

-Whatdoyouwanttoobserveontheobservationdeck?

-Whycafeonthehighestfloor?

-Whynotcafeonallfloors?

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Upon further investigation, Merri Creek actually has a very bad reputation for being the city’s most pollutedwaterway,plaguedbyheavystormwaterandindustrialrunoff.MerriCreekalsoexperiencesfloodingduringtimesofheavyrainfall.

Idecidedtoturnmyattentiontobuildingatowerthatcancollectandpurifytherainwaterandalsopurifytheriverwater.Cleanwatercanbeprovidedfortheneighbouringcommunityaswellasusingthewatertoirrigatethesurroundingfauna.

Thetowerispoweredbysolarpanelsontheroofandanyexcessisgiventotheneighbours.Rainwateriscollectedinthetopofthetoweranditisdivideinto4quadrants.

1 quadrant houses the pipes for filtration, 1 quadrant houses the pipes to irrigate the vertical gardens throughout the structure, 1 quadrant is for the lift core andservicesandthelastquadrantisforthestaircore.

Thetowermimicstheshapeofatreeandthe

pipes in the core are similar to the xylem tubes ofaplant,mimickinghowplantstransportwaterfromtherootstotheleavesfortranspiration.

Capillary action in the pipes can control thewaterlevelduringhighrainfalltimestopreventthefloodingofMerriCreek.

Fig. 1.0

Fig. 1.1

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C4.1

F l o o r S e c t i o n

CORE CONSISTS OF FILTERATION SYSTEM TO CLEAN THE RAINWATER AND PROVIDE CLEAN DRINKING WATER FOR THE COMMUNITY

RIVER WATER IS PUMPED UP THROUGH THE BRANCHES WHICH HAS MANGROVE PLANTS PLANTED IN A HYDRO-PONIC FASHION TO CLEAN THE RIVER WATER BEFORE BEING PUMPED INTO RAINWATER RESERVOIR AT THE TOP

CIRCULATION WHICH ALLOWS PEDESTRIANS OR CYCLISTS TO GO TO DIFFERENT LEVELS OF THE BRIDGE

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RAINWATER RESERVOIR IN FUNNEL

RIVER LEVEL

SOLAR PANELS PLANTED AT THE TOP

Fig. 1.1

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BASE GEOMETRY

REPEAT AND LOFT WITH BEZIER

CURVE

CREATE WAFFLE STRUCTURE FRAME

AND CONCRETE FEET

FORM FLOOR PLANES

CREATE LIFT CORE AND RESERVOIR

CORE

BRANCH STRUCTURE AND FLOOR PIPE FOR

ROOF GARDEN

CREATE BRIDGE STRUCTURE

CREATE RAILS FOR BRIDGE

C4.3

A l g o r i t h m i c W o r k f l o w

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FINAL OUTCOME

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C4.5

R e n d e r s

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C4.6

R e n d e r s

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C4.7

R e n d e r s

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C4.8

R e n d e r s

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C5.0

L e a r n i n g O u t c o m e s

Computationalarchitectureistrulydifferent.Onehas to think differently in order to design differently andIbelievecomputationalarchitecturewillgreatlyaffectourfutureinthewayondesigns.

Unfortunately, I believe I spend more time trying to figure outhowtogetwhatIwantratherthanfiguringoutwhatIwant.Ihavelearntalotincomputationalarchitectureand only recently my friend asked me about designing a shirtfromhimbytranslatingemotionsintoshirtdesign.I gave him the idea of translating sound into line vector thatcanbeprintedontheshirtassoundwavescanbetranslatedintovectorworkbyusingGrasshopper.

Computational architecture definitely makes everything easiertomodifyaseverythingworksasalistsbutunfortunately most of the time spent is trying to figureouthowtogetwhatyouwantespeciallyforaninexperiencedGrasshopperuserlikeme.Thatbeing said, computational architecture is literally limitless.Funkyandfreshdesignscansurpriseyouwithcomputationalarchitecturebutsometimesonemustaskwhetherthisiswhatwereallywant.Whyreinventthewheelwhenthewheelisworkingfine?

Although case studies helped in the overall understandingofwhatcomputationalarchitectureis, I think it actually confuses and complicates things moreoftenthanhelpingtheunderstanding.PartBintroduced the reverse engineering of precedents andtoimproveonortoimbueourowntastesintothealreadyreverse-engineeredproject.

InthisPart,Iwasconfused,IdidnotknowwhatIwasdoing,IdidnotknowwhetherIwasdesigningformyself,designing for the tutor or designing just for the sake of doing.Whatwasthepointofdesignifwhatyouhavedesignedisbasicallyaneditofsomeoneelse’sdesign?Where’sthecreativity?IquestionmyselfwheneverI’mdoingPartB.Ihadnodirection,Iwaslost.

InPartC,Iwasevenmoreconfused.Werewesupposedtodevelopourownideabasedofftheprecedentsofreverseengineering?WasIsupposetocreatemultiplejointsystemsforPartC?WasIsupposetocreate something conceptual and totally out of this worldandagamechangeroramIsupposetomakesomethingpracticalandsomethignthatwouldwork?OnceagainIwaslostandhadnodirectionandIamthankfulformytutorinpointingoutthedirection.

IguessPartCwasaboutbasingyourdesignoffthereverse-engineeredprecedentandimbueyourownelementsintotheprojectaswellascreatingtectonicpracticalelementjoinerieswhichwillalloweaseoffabricationandmakingyourprojectareality.

Even though I didn’t really enjoy Studio AIR, I have to sayitdidchangethewayIthinknow.MymindanddesignsarenolongernarrowandconfinedtowhatIhave seen before or past inspirations as computational architecture has unlocked the Pandora’s Box to the unknownandthespectacular.IamactuallyeagertoseehowIwouldusecomputationaldesigninthefuturetodesign,toimpactandtochange.

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I m a g e s R e f e r e n c e sPart C (Design Proposal)

Part C[Fig 1.0]. Image of Transpiration “Transpiration” Homepage. URL: http://image.slidesharecdn.com/02-plantstructuresupplement-vasculartissue-131002161634-phpapp02/95/02-plant-structure-supplement-vascular-tissue-2-638.jpg?cb=1380730647 - Last AccessedJune 16 2015[Fig1.1].Cut-awayofa tree “XylemTube Image”Homepage.URL:https://botanistinthekitchen.files.wordpress.com/2013/03/xylem_art_1.jpg - Last Accessed June 16 2015[Fig1.2].LifeStraw.“LifeStraw”Homepage.URL:http://design-real.com/water-purifier/how-does-it-work/resources/exp-lifestraw-diagram.jpg?v=a0cb994a4097fc932a15deae6ef02fb9-LastAccessedJune162015

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