Yip_Rebecca_641155 journal pdf

TUTORIAL FOUR | TUTOR: GEOFF KIM | REBECCA YIP | 641155

A I Rj o u r n a l

ARCHITECTURE DESIGN STUDIO | 2015 SEMESTER ONE

CONTENTS

PART A

A.0 INTRODUCTION A.1 DESIGN FUTURING A.2 DESIGN COMPUTATION A.3 COMPOSITION & GENERATION A.4 CONCLUSION A.5 LEARNING OUTCOMES A.6 APPENDIX - ALGORITHMIC SKETCHES REFERENCES

PART B B.1 RESEARCH FIELD B.2 CASE STUDY 1.0 B.3 CASE STUDY 2.0 B.4 TECHNIQUE: DEVELOPMENT B.5 TECHNIQUE: PROTOTYPE B.6 TECHNIQUE: PROPOSAL B.7 LEARNING OBJECTIVES AND OUTCOMES B.8 ALGORITHMIC SKETCHES REFERENCES

PART C C.1 DESIGN CONCEPT C.2 TECTONIC ELEMENTS & PROTOTYPES C.3 FINAL DETAIL MODEL C.4 LEARNING OUTCOMES REFERENCES

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My name is Rebecca and I am commencing my third year of studying Architecture in The University of Melbourne. I grew up in Malaysia before migrating to Australia in 2011 to pursue my studies. Having always known throughout my childhood and teenage years that I had an interest in the creative industry, my journey through school in Malaysia where the science oriented streams were more favourably looked upon has been very stimulating. It placed me in a position where I had to really think about my passions and aspirations for the future.

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A.0 INTRODUCTION

Built environments always fascinated me. As I come from a family that loves to travel, I have been blessed with the opportunity of being exposed to many different cultures and architecture. Through the exposure to different architectures and construction, I have come to realize the significance of design and its impact on human experience. From as far back as I can remember, I have examined the relationship between my experience and the environment around me, sometimes deliberately, other times subconsciously. I loved discovering what it was about the environment that made me feel the way I did. Although the decision to study architecture comprises of many different reasons and insights, studying architecture had and will always be something I would love to pursue. Correspondingly, my love for the environment and interest in sustainability has prompted my aspiration to delve into the expanse of sustainable and passive architecture.

My first contact with Rhino was through Virtual Environments in first year where we had to familiarize ourselves with the commands and capabilities of the software. However due to the gap of time between then and now, my recollection of the software has definitely faded. Although I am both excited and overwhelmed by the software, I look forward to discovering the potentials of Grasshopper in Studio Air this semester and for the opportunity to enhance my digital programming abilities.

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In the past, the restraint of technological capacity has controlled the impact humans have impressed upon the environment. However, with technological advances and the intensification in scales of projects, resources are being extracted at a rate so fast that is unsustainable, all in hopes of satisfying the unappeasable needs of human beings. As such, it demands desperately for a new nature of the future, also the search for new innovative designs in order to bring it to existence.

While architecture originated with the purpose of defense against the natural environment and seeing to the fundamental needs of human beings, over time, it has developed to a form of meeting the requirements of civilization for one to own a space, extending beyond a protective structure but also becoming representations of cultures. However, in more recent times where design in the design community is territorial, architecture has gradually become an investment for design, a competition.

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A.1 DESIGN FUTURING

The understanding that our actions are generating immense strain on the environment calls desperately for new designs for the future. This includes strategies for decelerating the pace at which we are damaging the environment and also redirecting towards more sustainable forms of habitation. In order for design to generate change, the approach to design in architecture has to be revolutionized.

With the development in technological competence, resources can now be employed in response to slowing defuturing and moving towards more sustainable resolve. Not only that, digital computation design also provides the opportunity for a transformation in design approach, allowing designs to be virtually verified before its realization.

In the two subsequent architectural precedent projects, notions of intelligent design in accordance to sustainability is explored.

As change has to be by design rather than chance, design has to be in the front-line of transformative action. [1]

Tony Fry

@ A

4

BanQ Restaurant Office dA

5

[a]

A . 1.1

The BanQ Restaurant designed by Office dA has certainly incorporated principles of parametric design in its construction. Because the ground space for the restaurant has to be flexible in order to accommodate the restaurant’s variety of activities, attention was shifted towards the ceiling as the locus for design. This ability to design parametrically has greatly revolutionalized the way designers think, enabling architects to expand their design thinking to harvest greater solutions and ideas.

Furthermore, as designs are able to be tested and trialed as a benefit from technological advances, the architects are able to be more creative and innovative in their designs.This led to its final design where the architects were able to use planes of plywood, each different in size and shape while still holding the structure’s continuity in order to achieve their design interest of creating something simple that was at the intersection between the extraordinary and the conventional.

Not only were they able to deliver something that changed the entire aesthetics of the place, they were also able to combine that with the practicality of hiding unsightly objects and imperfections in the ceiling. Design software involvement is evident in the restaurant, enabling the possibility for the architects to do so much more, using repetitive two-dimensional planes to resolve the design problem and illustrate the balance between simplicity and complexity. This restaurant design still continues to be appreciated, and have inspired many other designs, employing similar characteristics.

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[a]

Minifie Van Schaik

Architects

Centre forIdeas

7

[b]

[c]

An example of the incorporation of digital design in architecture can be seen in the Victorian Collage of Arts’ Centre for Ideas designed by Minifie Nixon. Here, architects are able to design complex intersecting conical facades which are implemented in the external facade of the building, through the use of modeling softwares. Construction using differences and repetitions in its fabrication and design that would have formerly pose as a challenge has now become a lot more feasible, allowing architects greater freedom and enabling new forms of designs. The form and spatial qualities fo this building was derived from algorithmic generative processes and spatial propertices. This new form of architecture design has significantly revolutionized design thinking as a whole.

With the use of computer softwares and greater understanding of the materials used and the spatial properties of the site, architects are able to be more efficient in delivering their design intent and using it to solve ther design problems. In this architecture, the use of textured, reflective material of the facade is able to be utilised to convey the designer’s idea of movement flow, something that would have been challenging without the help of Computer Aided Design. Furthermore, in the atrium space, sculpted stairs cut through section of the building, the inclined ceiling plane that permits natural sunlight to enter the building divides the spatiality of the building.

With these new understandings, the way architects design has definitely been revolutionalised. Not only are buildings able to serve greater aesthetically, the use of technology also aids in meeting greater needs, providing innovate ideas to convey messages, portray ideas, and finding solutions.

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[b]

[c]

A . 1.2

With the development of architecture over the years, design has transitioned from traditional design methods, to the use of Computer Aided Design (CAD), and now to Computational Design. This has also led to a shift in designer thinking, bringing about contradictory opinions on design computation.

This is evident with Bryan Lawson where he mentioned that CAD conspires against creative thought, thus encouraging “fake” creativity. As the outcome of computer generated designs emerges from hidden decisions that have been implemented by other professionals like software engineers, who are not in the domain of creative design, Lawson argues that these outcomes result in “fake” creativity that is predesigned by another person.

However, while it is true that outcomes from computational softwares do come from predestinated choices, it is undeniable that this new approach to design has opened up new possibilities in designing, enabling designers to greatly expand their innovation and capabilities.

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A.2 DESIGN COMPUTATION

Though designing on paper brings about limits of things such as pencil thickness, and the two dimensional limitation of a single plane, design computation allows designers to work with parametrical design and explore more in tectonics, allowing greater understanding and freedom of form.

Thus, this provides itself as a greater tool in the exploration of better and more innovative design solutions, assisting in the search for better design futuring. The usage of computation also helps to reduce wastage that would have otherwise been generated by physical fabrication in exploration of design, providing greater flexibility to implementing changes after changes in a proposal to find the best possible solution.

Computation has enabled design to be explored in ways that weren’t possible before. In the following precedents, computational benefits are seen in the architecture field where design computation facilitates the move toward more efficient and sustainable design.

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Catalyst Hexshell11

[d]

This project by the professor and students at University of Minnesota and help from MATSYS is a great example of design that uses computation. This structure explores the fabrication of shell structures using computational practices and softwares, allowing the designers to better grasp its form and parametric properties.

The mundane material of cardboard that is often only used for ordinary construction of boxes was chosen as the material to be used in this structure. Although the material is weak in contrast to other structural materials such as steel, timber, and concrete, with the knowledge of its properties, with greater understanding of the material, a solution is generated that allows for compensation in its weaknesses, employing techniques of folded plates to provide structural integrity. This allowed the design to be greater enhanced in its aesthetic nature and design intention of using the cardboard material while still retaining its structural erquirements.

In addition to that, this hex shell structure incorporates significant parametric designing in its design process. Though monitoring the traffic flow and usage density of the site, a design is generated in response, altering the movement of students and teachers. This resulted in a thin shell structure with carefully placed structural supports to produce a responsive walkway installation in the school.

Here, design computation is employed to explore innovative ways in responding to the sustainability and reusability problems that are being faced in the world of today, also bringing new solutions to architecture and its design processes.

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A . 2.1

Fernando Romero

EnterprisE

Museo Soumaya

13

[e]

This building by Fernando Romero EnterprisE is another example which demonstrates computational use in architecture design. From an exterior perspective, the building in its organic and asymmetrical form is perceived very differently by each visitor, demonstrating its complexity in design and detail. As the envelope of the building is constructed with columns of various diameters and differing geometry, it involves great care in ensuring that the envelop of the building wraps around seamlessly.

With a project of this scale, it is impossible for one to construct, design, and fabricate it without the use of computational softwares. This seamless surface is made possible with the usage of Computer Aided Design (CAD) softwares, algorithmic principles, parametrical properties and the understanding and manipulation of forms. As a result, the repetitive hexagon plates allows the surface to respond organically in its three-dimensionality to its underlying form.

Architects are much better equipped through design computation to respond to the challenging geometrical forms of buildings, providing a leap in designing methods and realization. Through computational software, new forms of solutions can be explored in parametrical domains, enhancing the ability of designers, in this case, architects, to discover greater and more effective resolutions to the pressing sustainability issues of this and the future generation.

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[e]

A . 2.2

Architectural design has gone through many phases as discussed in the previous entries. Over the past years, computation has been redefining the way architects design, creating more opportunities in the design, fabrication and construction processes through the use of digital technologies. In Brady Peter’s book “The Building of Algorithmic Thought”, he talks about the importance of algorithms in computation.

Algorithms are recipes, methods, and are made up of rules. The use of algorithms in computers has allowed designers to transfer ideas from two-dimensional forms of design to parametric space, enabling a new era of designing through the implementation of predesigned decisions. By providing architects the capacity to design more complex forms and structures in a much greater detail, it also allows for more efficient fabrication and construction. However, the discourse of architectural creativity in reference to the use of computation still endures.

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A.3 COMPOSITION / GENERATION

Here, Peters suggests that “when architects have a sufficient understanding of algorithmic concepts, when we no longer need to discuss the digital as something different then computation can become a true method of design for architecture”.

When architects are able to employ parametric design such that its capacity is not only utilized to finding forms to apply to designs, yet is utilized instead to generative new forms through their understanding of algorithmic concepts behind the program, only then will generational and compositional design emerge.

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[2]

COMPOSITION / GENERATION

CHANGI AIRPORT “JEWEL“

17

[f ]

The revelation of computational programs has brought about great advancement in architecture, enabling complex and intricate designs to be realized. However, the discourse of creative architecture has challenged the way architects design, questioning its conformity to employing set algorithms and encouraging generative design in architecture through manipulating algorithmic rules.

A great example of this generative approach to architecture is Singapore’s Changi Airport’s upcoming “Jewel” construction. On the surface, the dome-like form of the structure does appear relatively simple and rigid, however evidence of problem solving parametrical design can be seen, generating form that is able to respond to their design intentions.

Through experimentation and use of Computer Aided Design programs, the architects are able to incorporate the world’s tallest indoor waterfall into the structure of the building. In Singapore where the climate is incredibly humid and hot, the thermal mass of water serves as a passive cooling system, bringing the outdoors into the building. Rather than incorporating the waterfall separate form the envelope of the building, the architects were able to incorporate both seamlessly through the shape of the structure, caving inwards at the top for the waterfall. This advantage of parametrical design has provided the architects with the ability to test and fabricate solutions and outcomes.

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[f ]

A . 3.1

AL HAMRA TOWER

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[g]

[h]

The Al Hamra Tower designed by Skidmore, Owings & Merrill Architects is another great example of the use of generation in the architectural design process. The 80-story concrete structure was a product of parametric study, its geometry based on a set of criteria that integrated the client’s needs of space and size and also the environmental factors of wind loading and solar exposure.

Furthermore, through usage of computational fluid dynamic (CFD) software, the architects were able to combine the knowledge gained from the computational software together with studies obtained from wind tunnel testing on physical models. This resulted in the resulting shape of the tower, as a slightly irregular profile was deemed most effective for the climate and location.

“The tower responds to its context and cannot be repeated elsewhere,” Farid Abou ArrajThrough parametric and computational Computation studies, the form of the structure was generated to best suit its location and climate. Computation in this instance allowed for a greater understanding of the structural properties and requirements for the structure, providing greater solutions in design, generating a best-suited form, its contribution to the tower prominent from the start of the design process.

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[g]

[h]

A . 3.2

Technological advancement has transported architecture into new realms of potentials, enabling greater innovation and design capacity. Although the existence of Computer Aided Design (CAD) software is far from recent, their use were mainly concerned with more efficient documentation. However, with the aid of technology, architecture has moved towards a more algorithmic and parametric form of design.

Through the use of computational software and parametric design, building systems have become a lot cleverer, responding better to the people and environment. The ability to experiment and analyze designs prior to construction definitely aids in greater efficiency, opening up doors of opportunity to experiment with different concepts and ideas for more efficient solutions to design problems. As such, architecture is increasingly designed to cater to specific environments and requirements, creating architecture that is unique to its site. By doing so, efficiency is maximized and also allows for a move towards a more sustainable design for the future, benefiting not just those directly involved with the project, but also future generations.

In my opinion, computation has impacted positively on architecture. However, in its discourse, it is crucial to find the equilibrium between finding a form, and generating one. The ability to integrate aesthetics and productivity in a design is definitely something that I intend to explore as I delve further into the course, also something that I anticipate.

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A.4 CONCLUSION

It’s only been three weeks into the course, and I have been greatly enlightened by a whole new world of design thinking in architecture. It was only after completing part A of this journal that I realized how narrow my perception of architecture was. Computerization, parametric, algorithms, all these terms that previously held no meaning to me has definitely transformed my perspective of architecture and their design processes. Now, I feel that I am able to to look beyond the surface of architecture and delve into exploring the complexity and innovation of design and its relation to sustainability, on whether the design is able to integrate aesthetics, material and structural properties, and function in a sustainable manner.

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A.5 LEARNING OUTCOMES

Grasshopper has definitely been a challenge thus far to maneuver through. However, it has also been a door of opportunity for me to develop algorithmic design thinking, something that I have never considered before. Through my research and exploration of the precedents, I have come to realize the importance of integrating form and function in a design. As such, I have tried to design my algorithmic sketches in relation to the function it brings to the site, where the curves and folds all play a role.

These selected algorithmic sketches reveals part of my journey through exploring grasshopper. Although these sketches may appear elementary to someone who has a better grasp of the software, it is definitely an achievement for me. I look forward to exploring more of grasshopper’s endless possibilities in design and receive a better understanding of the algorithms behind it so that I may move start to generate design.

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A.6 APPENDIX ALGORITHMIC SKETCHES

TOP VIEW

SIDE VIEW

SIDE VIEW

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[1] Fry, Tony, Design Futuring (Oxford: Berg, 2009), p. 6

[2] Peters, Brady, ‘Computation Works: The Building Of Algorithmic Thought’, Architectural Design, 83 (2013), 15 <http://dx.doi.org/10.1002/ad.1545>

[3] Gonchar, Joann, ‘Sculpting The Skyline: Architects, Engineers, And Contractors Tackle A Challenging Geometry To Build A Supertall Tower With A Striking Silhouette For A Desert City.’, 2015 <http://archrecord.construction.com/projects/portfolio/2012/05/Al-Hamra-Firdous-Tower.asp#sthash.WRC16PWf.dpuf> [ac-cessed 20 March 2015]

[a] Horner, J, 2015 <http://www.australiandesignreview.com/interiors/661-banq> [accessed 9 March 2015]

[b] McGrath, S, 2015 <http://www.abc.net.au/radionational/programs/bydesign/vca-centre-for-ideas-melbourne/3228326> [accessed 9 March 2015]

[c] Bennetts, Peter, and Derek Swalwell, 2015 <http://www.mvsarchitects.com.au/doku.php?id=home:projects:victorian_college_of_the_arts> [accessed 9 March 2015]

[d] MATSYS, 2015 <http://matsysdesign.com/2012/04/13/catalyst-hexshell/> [accessed 12 March 2015]

[e] Evolo, 2015 <http://www.evolo.us/architecture/completion-of-museo-soumaya-mexico-city-free-fernando-romero-enterprise/> [accessed 12 March 2015]

[f] Kaur, K, 2015 <http://www.straitstimes.com/news/singapore/transport/story/work-changi-airports-jewel-project-and-t1-expansion-begins-20141205#8> [accessed 18 March 2015]

[g] SOM, 2015 <http://archrecord.construction.com/projects/portfolio/2012/05/Al-Hamra-Firdous-Tower-slideshow.asp> [accessed 18 March 2015]

[h] Turner, 2015 <http://www.turnerconstruction.com/experience/project/2D/al-hamra-tower> [accessed 19 March 2015]

BIBLIOGRAPHY

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B.1RESEARCH FIELD

B I OM I M I C R Y

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B. 2C A S E 0 S T U D Y 0 1 . 0

VoltaDom by Skylar Tibbits was an installation that was constructed for the celebration of the 150th anniversary of MIT and the Festival of Arts, Science, and Technology. This installation consists of series of vaults resembling the characteristics of Gothic cathedrals where the articulated vaults create a perception of boundary. This design of the installation takes after the design of cell group formations, examining its multiplication and growth in relation to the cells, which creates an external border. The VoltaDom installation explores the combination of biomimicry and parametrical design in architecture’s ability of self-replicating elements within boundaries.

This idea of boundaries in height and size, and the multiplication of cells became the foundation of my experimentation with the grasshopper definition. As such, I explored with the height at which the cones are intersected, along with the number of cones and its radius, as I was interested to see how the manipulation of a single input would alter the other cells in the equation, ad how this may be add to the potential of future architecture.

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VoltaDom by Skylar Tibbits was an installation that was constructed for the celebration of the 150th anniversary of MIT and the Festival of Arts, Science, and Technology. This installation consists of series of vaults resembling the characteristics of Gothic cathedrals where the articulated vaults create a perception of boundary. This design of the installation takes after the design of cell group formations, examining its multiplication and growth in relation to the cells, which creates an external border. The VoltaDom installation explores the combination of biomimicry and parametrical design in architecture’s ability of self-replicating elements within boundaries.

This idea of boundaries in height and size, and the multiplication of cells became the foundation of my experimentation with the grasshopper definition. As such, I explored with the height at which the cones are intersected, along with the number of cones and its radius, as I was interested to see how the manipulation of a single input would alter the other cells in the equation, ad how this may be add to the potential of future architecture.

[a]

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V1POINTS

CONE RADIUS

V1POINTS

CONE RADIUS

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CONE RADIUS

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CONE RADIUS

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CONE RADIUS

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CONE RADIUS

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CONE RADIUS

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CONE RADIUS

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CONE RADIUS

V1POINTS

CONE RADIUS

V1POINTS

CONE RADIUS

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CONE RADIUS

V1POINTS

CONE RADIUS

V1POINTS

CONE RADIUS

MATRIX ITERATION

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V1POINTS

CONE RADIUS

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CONE RADIUS

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CONE RADIUS

V1POINTS

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CONE RADIUS

V1POINTSCONE RADIUS

V1POINTSCONE RADIUS

V1POINTSCONE RADIUS

V1POINTSCONE RADIUS

V1POINTSCONE RADIUS

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V1POINTSCONE RADIUS

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S E L E C T E DO U T C O M E S

ITERATION ONE

ITERATION THREE

When evaluating the success of the iterations, the iterations were chosen in the context of its ability to be transferred into a potential design for the site. These four outcomes were the ones that stood out among the others.

Iteration one was chosen because of the large area of the cones where its shape spans out to increase coverage. This iteration was interesting and could be incorporated into a design of a roof where the centers of the shapes are clustered together, and the area of coverage needed determines its spread.

I found Iteration two interesting, and included it more because of the complexity that it achieved rather than for a specific design situation that it can be incorporated in. Inspired by this iteration, a potentially exciting idea could be the stacking of individual cones at different heights that formed a structure; achieving the same complexity of layering that can be perceived in the iteration.

Iteration three and Iteration four were chosen for similar reasons. When evaluating the iterations on a whole, the play on light and shadows were on my mind, and these two explorations appeared the most fitting in its incorporation. Iteration three’s interlacing rings, if transferred to a design exposed to sun is bound to create shadows that are dynamic. Iteration four also appealed to me, as the small openings in the cones in relation to the material that is used to construct it would produce very different outcomes. The usage of metal may direct light rays through the points very sharply whereas plastic may create a more diffused light ray.

However as I felt that my exploration for the VoltaDom definition lacked in variation, I wanted to explore with another definition. I decided then to retrace me steps and explore the ZA11 Pavillion to see how I can improve my exploration with the iterations.

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ITERATION TWO

ITERATION FOUR

When evaluating the success of the iterations, the iterations were chosen in the context of its ability to be transferred into a potential design for the site. These four outcomes were the ones

Iteration one was chosen because of the large area of the cones where its shape spans out to increase coverage. This iteration was interesting and could be incorporated into a design of a roof where the centers of the shapes are clustered together, and the area of coverage needed

I found Iteration two interesting, and included it more because of the complexity that it achieved rather than for a specific design situation that it can be incorporated in. Inspired by this iteration, a potentially exciting idea could be the stacking of individual cones at different heights that formed a structure; achieving the same complexity of layering that can be

Iteration three and Iteration four were chosen for similar reasons. When evaluating the iterations on a whole, the play on light and shadows were on my mind, and these two explorations appeared the most fitting in its incorporation. Iteration three’s interlacing rings, if transferred to a design exposed to sun is bound to create shadows that are dynamic. Iteration four also appealed to me, as the small openings in the cones in relation to the material that is used to construct it would produce very different outcomes. The usage of metal may direct light rays through the points very sharply whereas plastic may create a more diffused light ray.

However as I felt that my exploration for the VoltaDom definition lacked in variation, I wanted to explore with another definition. I decided then to retrace me steps and explore the ZA11 Pavillion to see how I can improve my exploration with the iterations.

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[b]

35

B.2 CASE STUDY 1.0#2

The pavilion designed by the Foreign Office Architects (FOA) represented Spain in the Aichi International Exhibition that was held in Japan. This pavilion consisted of a hexagonal lattice envelope, which enclosed series of vaulted spaces, reflecting the hybridization of the Christian and Islamic culture that is evident in the history of Spanish architecture. The lattice envelope consists of six different hexagons, where each hexagon is either a solid form or an opening. These ceramic hexagonal pieces were coded in the colours that resonated with the Spanish culture while the use of ceramics correlated with the Japanese.

Because of the innovative design process that the architects performed, the lattice pattern ensured that when assembled, the hexagonal tile pieces on the facade would never repeat itself, as such maximizing the visual outcome of the pavilion.

[c]

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DISPERSION PIPE SIZE












TYPE ONE

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DISPERSION PLANE SIZE X Y












TYPE TWO

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INTENSITY OF POINTSTURNING








TYPE THREE

39









40









TYPE THREE

41









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ITERATION ONE

ITERATION THREE

Within my exploration of the definition, I wanted to explore the architect’s intention of ensuring that no homogenous hexagonal shapes would be situated right next to each other, along with its possibilities when extracting it away

from the original form.

Type One included applying different sized pipes around the different dispersed forms to create an added complexity, amplified by the decision to develop the line works in exploring the relationship between intersecting

components. These iterations were primarily to experiment and test the ability of introducing complexity in a simple way. As seen in the first line of the iterations, although the underlying forms hold very minute complexity, the alteration of pipe size were able to create beautifully complex geometries and patterns, demonstrating the

significance of computational design.

As I intended to stray away from the hexagonal shapes of the definition, I decided to lay out the planes involved to understand the principal movements of the dispersion technique to facilitate my understanding of the technique, as

can be seen in Type Two.

Type Three of my iterations were dedicated to investigate if the dispersion technique could be applied to line work being extracted from the plane. However it was not an exceedingly successful exploration as not many variances

were evident in the iterations.

As such, my selection criteria for the outcomes involved the ability of the iterations to address the purpose of its exploration. The beautiful complexity in my chosen Iteration One and Iteration Two were unerringly the type of

results I wanted to achieve from my exploration as per mentioned above.

I found Iteration Three a rather interesting outcome of my exploration. In my Type One iterations, they had the appearance of a more organized dispersion that still resulted in an enclosed polygon. However, Iteration Three

breaks the dispersion down to its plane movement, and reveals to me the different flows and movements involved.

Although my Type Three explorations were not entirely successful, Iteration Four suggested a new possibility for which I can explore my technique on later in the Journal.

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ITERATION TWO

ITERATION FOUR

Within my exploration of the definition, I wanted to explore the architect’s intention of ensuring that no homogenous hexagonal shapes would be situated right next to each other, along with its possibilities when extracting it away

from the original form.

Type One included applying different sized pipes around the different dispersed forms to create an added complexity, amplified by the decision to develop the line works in exploring the relationship between intersecting

components. These iterations were primarily to experiment and test the ability of introducing complexity in a simple way. As seen in the first line of the iterations, although the underlying forms hold very minute complexity, the alteration of pipe size were able to create beautifully complex geometries and patterns, demonstrating the

significance of computational design.

As I intended to stray away from the hexagonal shapes of the definition, I decided to lay out the planes involved to understand the principal movements of the dispersion technique to facilitate my understanding of the technique, as

can be seen in Type Two.

Type Three of my iterations were dedicated to investigate if the dispersion technique could be applied to line work being extracted from the plane. However it was not an exceedingly successful exploration as not many variances

were evident in the iterations.

As such, my selection criteria for the outcomes involved the ability of the iterations to address the purpose of its exploration. The beautiful complexity in my chosen Iteration One and Iteration Two were unerringly the type of

results I wanted to achieve from my exploration as per mentioned above.

I found Iteration Three a rather interesting outcome of my exploration. In my Type One iterations, they had the appearance of a more organized dispersion that still resulted in an enclosed polygon. However, Iteration Three

breaks the dispersion down to its plane movement, and reveals to me the different flows and movements involved.

Although my Type Three explorations were not entirely successful, Iteration Four suggested a new possibility for which I can explore my technique on later in the Journal.

44

The ZA11 Pavilion was a temporary student project endeavoring to attract passersby to the ZA11 Speaking Architecture event in Cluj, Romania. The design brief of the project included aspects such as its integration into the historical context of the surrounding building, its ability to use the space for unfolding of the varying events that were to be held at the architecture festival, and also the as a showcase for the possibilities that can be done through computational design.

Not only was it able to fulfill its initial objective by attracting spectators of different ages and backgrounds during the construction process of fitting together the pieces involved, and after the construction of the pavilion, it also manage to achieve another design intention of aiming to make legible the ontology that is increasingly defined by computational architecture. This was achieved by using the pavilion as a showcase for the processes behind its emergence where computational processes are prominent in the designing of its structure. The use of deep hexagonal pieces of plywood which are connected together by smaller hexagonal joints were clear evidence of the parametrical and computational software involved in producing the design.

CLJ02ZA11 PAVILION

45

B.3 CASE STUDY 2.0

The ZA11 Pavilion was a temporary student project endeavoring to attract passersby to the ZA11 Speaking Architecture event in Cluj, Romania. The design brief of the project included aspects such as its integration into the historical context of the surrounding building, its ability to use the space for unfolding of the varying events that were to be held at the architecture festival, and also the as a showcase for the possibilities that can be done through computational design.

Not only was it able to fulfill its initial objective by attracting spectators of different ages and backgrounds during the construction process of fitting together the pieces involved, and after the construction of the pavilion, it also manage to achieve another design intention of aiming to make legible the ontology that is increasingly defined by computational architecture. This was achieved by using the pavilion as a showcase for the processes behind its emergence where computational processes are prominent in the designing of its structure. The use of deep hexagonal pieces of plywood which are connected together by smaller hexagonal joints were clear evidence of the parametrical and computational software involved in producing the design.

[d]

46

CASE STUDY 2.0

[e]

47

The designers for the ZA11 pavilion developed their design with the use of Grasshopper, providing diagrams of their process. Although they used a different process in achieving their design, that is, applying hexagonal grids to the lofted surface and subsequently extruding the grids to form their overall shape, my exploration with the hexagons and its results were not as successful as the results I had with the voronoi diagram. Therefore, I chose to reverse engineer this design using this method instead.

[e]

48

R E V E R S E E N G I N E E R I N G

Create two base curves

Move and scale the curves for the inner

and outer skin

Loft between the surfaces

Voronoi command for points on lofted surface

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R E V E R S E E N G I N E E R I N G

Voronoi command for points on lofted surface

Solve brep intersection

Move and scale the brep for the inner

and outer skin

Loft between the surfaces

50

Prior to developing my iterations, I felt it was crucial to have an idea of my design direction for the project, so that my technical developments could relate and add to my exploration. As such, I went back to the brief and my chosen site to identify the course I wish to undertake in terms of my design.

When choosing my site, one of the key aspects that I took note of was the fact that the site was prone to flooding. Because of that, the inclination to producing something above ground and suspended led me to my research field of biomimicry to see how nature has dealt with the idea of water and suspension.

This inevitably led me to research on spiders and their spider webs, especially how dew drops are able to suspend on the string of silk which appears delicate when in actual fact has the tensile strength five times stronger than steel. [1] Thus, the idea of the suspension of water and the revealing of strength in the fragile become the direction to which I decided to head towards.

[f ]

BIOMIMICRY

B. 4T E C H N I Q U E 0 D E V E L O P M E N T

TYPE ONE TRIANGULATION SURFACE

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TYPE ONE TRIANGULATION SURFACE

56

INTENSITY OF POINTS 90 INTENSITY OF POINTS 70



PLAN VIEW


TYPE ONE

57

PLAN VIEW





TYPE TWO

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TYPE THREE

NUMBER OF FACETS

NUMBER OF POINTS

NUMBER OF POINTS


ITERATION ONE

61

ITERATION THREE

ITERATION TWO

62

ITERATION FOUR

63

Going back to the definition from my Case Study 2.0 reverse engineering, I decided to develop the definition by extending it beyond its original definition in order to attend to my new design direction. As such, rather than exploring within the fixed geometries present in the original definition, I decided to combine the relationship of complexity and lines as explored in the different iterations from Case Study 1.0 of the VoltaDom and Spanish Pavilion into my iterations.

The significance of my Type One exploration of triangulation surfaces in relation to the boundaries of the original definition was to discover the idea of lines and connections. After experimenting, Iteration One in particular stood out to me, as I saw it as a possibility for my idea of suspension in regards to the framing.

Type One and Type Two iterations were explored with boxes and different intensities of boxes created within the boundaries. While boxes are generated within a clear boundary for Type One, the boxes in Type Two were not restricted to the inside of the margin, but were also created along the exterior. My reason for exploration had to do with looking at the interrelationship between the organized and the disorganized. Type One appears more organized when in plan view in comparison to Type Two, however the results are reversed when looking at the perspective line work. These differing perception as seen in Iteration Two and Iteration Three insinuates an interesting path I can take with my design.

The resulting explorations in Type Three were the result of the combination of my interest in complexity, lines, perspectives, and the organized relationship with the disorganized. Iteration Four also presented a possibility for the arrangement of suspended modules in my design.

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PROTOTYPE ONE

65

B.5 TECHNIQUE PROTOTYPE

PROTOTYPE TWO

STRING PROTOTYPES

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TECHNIQUE PROTOTYPE

MARK DORFDIGITAL IMPOSITIONS

[g]

YASUAKI ONISHIFLOATING MOUNTAIN

[g] [h]

In light of my explorations, I moved on to thinking about the materiality and fabrication

techniques that I could implement for my design. As my exploration revolved a great deal on lines, I decided to explore the possibilities of thread

in my design and how that could embrace suspension.

Prototype One was a result of studying the possible relationship between points and connections, and also on how the threads could interlink with one another. This was a result

of visualizing my iteration exploration of triangulation and thread connections. Although I did appreciate the result, the two dimensional restriction of my prototype prompted me to envision

how a structure using threads will express itself. Thus, Prototype Two was built.

However, my prototypes were not successful in conveying the suspension of materials that I wanted to convey in my design. Thus, this led me to exploring how thread can be used to suspend

an object, or a series of objects.

Mark Dorf’s and Yausaki Onishi’s digital and fabricated creations represented the ideas that I have, the Floating Mountain employing the use of threads and hot glue gun to construct

the installation.

In Prototype Three, I implemented the idea of suspending threads from a flat plan to hold up the glass particles. This prototype was made to test

the fabrication method. I further experimented it with my iteration explorations and fabricated it in grasshopper.

SUSPENSION PROTOTYPES

69

techniques that I could implement for my design. As my exploration revolved a great deal on lines, I decided to explore the possibilities of thread

Prototype One was a result of studying the possible relationship between points and connections, and also on how the threads could interlink with one another. This was a result

of visualizing my iteration exploration of triangulation and thread connections. Although I did appreciate the result, the two dimensional restriction of my prototype prompted me to envision

how a structure using threads will express itself. Thus, Prototype Two was built.

However, my prototypes were not successful in conveying the suspension of materials that I wanted to convey in my design. Thus, this led me to exploring how thread can be used to suspend

Mark Dorf’s and Yausaki Onishi’s digital and fabricated creations represented the ideas that I have, the Floating Mountain employing the use of threads and hot glue gun to construct

In Prototype Three, I implemented the idea of suspending threads from a flat plan to hold up the glass particles. This prototype was made to test

the fabrication method. I further experimented it with my iteration

PROTOTYPE THREE

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I M P L E M E N T I N GT E C H N I Q U E

B. 6T E C H N I Q U E P R O P O S A L

SITE LOCATION

SITE VISIBILITY

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The site I chose is located on the northern segment of the vast Merri Creek site we were given to design on. It is situated on a flat piece of land just along the stream with the sound of rushing water due to the large rocks that are situated in the stream, and is in close proximity to a bridge further up North and a college nearby.

One of my main reason for choosing this site is the fact that it is a piece of land that can be very easily seen, especially by the users of the Merri Creek trail including cyclists, and joggers, and also the children and parents who crosses the bridge on their journey to the college. Although it is easy for one to access the site, because of its position that is out of the way of the general movement flow, it results in a piece of land that you see but generally don’t go to. Because of its visibility, I feel that the site has significant potential, relating to the ZA11 case study example where the pavilion was placed in a location where it was visibility significant.

Another aspect of the site that stood out to me was the fact that the site is prone to flooding, even having a devised alternative route for the users of the trail when a flood occurs. As such, I decided that I did not want to design something that is on the ground due to its propensity of getting wet and muddy, but rather, design something that is above ground, and suspended. As such, my design proposal revolves around the interests of suspension and water.

SITE CHOICE

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This design is a floating installation of glass cylinders, where each of the glass tubes contains water and has a plant that grows from it. Rather than a place for users to lounge and relax, because of the site’s inclination to flooding, I have decided to design a plant and water installation that gives back to the environment and utilizes the water to facilitate a floating ‘garden’. This also can reveal new ways of planting which is enabled through computational and parametrical design. In this case, in the form of a floating garden.

[j] [k]

FRONT VIEW

TOP VIEW

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PERSPECTIVE

HOW IT WORKSWater will be drawn up the pipes through pressurized pipes, which are also the structures of the installation, gathering at the top plane of the structure before being distributed through the threads into the cylinders. The plants, which are situated within the cylinders, then draw from this water source.

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COMPONENTS BREAK DOWN

Water collector/ Filter

Connecting threads

Glass Cylinders

Pipes

B.7 LEARNINGOBJECTIVES

&0OUTCOMES

Part B has been an entirely different journey from the previous theoretical basis of Part A. Now that we are required

to explore the grasshopper definitions in a greater depth, there is a need for increasing our understanding and being confident in the

software.

The ability to see and practically experience how parametrical design, as analyzed beforehand, can be integrated into design and modeling has been

incredibly exciting. My initial stance on grasshopper and rhino was not entirely optimistic because of the doubts I had in its usage in the real world. However, at this stage, I have begun to enjoy and see the potential that algorithmic software

can contribute to the ease of designing.

The vastness of parametric design’s ability at times can be incredibly overwhelming, especially when paired with the lack of software abilities.

However, the journey so far has been enjoyable, and I look forward to continuing my exploration with the subject.

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B.8APPENDIX

ALGORITHMICSKETCHES

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BIBIOGRAPHY

[a] SJET, Http://Sjet.Us/MIT_VOLTADOM.Html, 2015 <http://sjet.us/MIT_VOLTADOM.html> [accessed 1 May 2015]

[b] AZPML (FOA), 2015 <http://www.ceramicarchitectures.com/obras/spanish-pavilion-expo-2005/> [ac-cessed 1 May 2015]

[c] Architecture Library, 2015 <http://architecture-library.blogspot.com.au/2013/12/spanish-pavilion-expo-2005-haiki-aichi.html> [accessed 1 May 2015]

[d] Archdaily, 2015 <http://www.archdaily.com/147948/za11-pavilion-dimitrie-stefanescu-patrick-bedarf-bogdan-hambasan/110423-facade/> [accessed 1 May 2015]

[e] <http://designplaygrounds.com/deviants/clj02-za11-pavilion/> [accessed 1 May 2015]

[f] <http://wallpaperscraft.com/tag/web/240x320/page4> [accessed 1 May 2015]

[g] Dorf, Mark, 2015 <http://mdorf.com> [accessed 1 May 2015]

[h] Crest, Russ, 2015 <http://beautifuldecay.com/2012/05/15/yasuaki-onishis-floating-mountain-made-out-of-plastic-sheeting-hot-glue/> [accessed 1 May 2015]

�Q � �P\\X��___�NZMMXPW\W[KWU�M[�@MTI"LM"IZI�I"KWV"OW\I["LM"ZWK�/��-0W&QUIOM&308a603a98cf3ae5b99b377486948470.html#.VUMgFrplnKY> [accessed 1 May 2015]

[j] <http://www.aliexpress.com/popular/vase-glass.html> [accessed 1 May 2015]

[k] <http://www.notonthehighstreet.com/newtonandtheapple/product/hanging-test-tube-vase-for-mum> [accessed 1 May 2015]

[1] Naturalsciences.org, ‘Spider Silk Is 5 Times Stronger Than Steel | North Carolina Museum Of Natural Sciences’, 2015 <http://naturalsciences.org/nature-research-center/how-do-we-know/spider-silk> [accessed 1 May 2015]

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C.1DESIGN PROPOSAL

Addressing feedback from Presentation

91

FRAMINGEnsuing the interim presentation, a need for a more resolved design response

was clear. The most conspicuous aspect of my design that required addressing was for a more refined framing. For the suspended cylinders to extend from

a rigid plane, the solidness takes away from the intended aesthetics of weightlessness and fragility. As such, rather than restricting my parametric

exploration within the fixed geometries of the frame and only limiting it within the suspended cylinders, the rigid supporting structure should be reevaluated and redesigned to maximize its potential and use of parametrical elements.

FORMAn advice from the presentation that I was quite fascinated with was the idea of manipulating the installation in such a way that the form itself would gather water, relating back to my research field where the spider webs are able to capture and suspend the dewdrops using nothing but its form, rather than

relying on external help.

SITEFurthermore, comments from critics have also suggested for the expansion

of my installation such that it is not restricted to only one area of the site, but rather providing the possibility of employing them all throughout the site.

These are all valuable feedbacks that I intend to take on and implement in my exploration for a new finalized design.

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Concept

My final design proposal is to create a floating light installation that harvests rainwater, using it to generate light play which engages with the environment of the site.

94

Based on the feedback, I explored for other possible functions that can be implemented in my installation for it to be usefususpended glass. Following my revisit to the site, I have concluded that the lack of street lighting along the path of the Merri Creek trail could be a problem that my installation strives to solve. As such, I looked towards precedents of lighting installations that could aid in my new design direction.

In the Nabana no Sato botanical garden on the island of Nagashima, Japan, a seven million light installation was opened to webotanically inspired light bulb. The array of lights envelop around the visitors as they walk through the bright tunnels, emula

“If you can shut out the noise of the hundreds of people around you it really does feel like you’re stepping into another world”

This installation succeeded in evoking an experience for the users journeying through the installation solely with the use ofsits on the side of the walkways at a site that people usually do not venture out into. Previously, my focus on creating something that would utilize the site led to my ignorance of

creating an experience for the users of the site, which is something that I aim to address in my final design.

While succeeding in creating this experience for its visitors, the installation however uses an incredible amount of energy, which I do not want to impose on the site. As such, I broadened my research to look at innovative and more sustainable ways in which lighting can be used.

LIGHT PRECEDENTTunnel of Lights

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[b]

Based on the feedback, I explored for other possible functions that can be implemented in my installation for it to be useful, replacing my idea of growing plants within the suspended glass. Following my revisit to the site, I have concluded that the lack of street lighting along the path of the Merri Creek trail could be a problem that my installation strives to solve. As such, I looked towards precedents of lighting installations that could aid in my new design direction.

In the Nabana no Sato botanical garden on the island of Nagashima, Japan, a seven million light installation was opened to welcome visitors to the gardens, each LED encased in a botanically inspired light bulb. The array of lights envelop around the visitors as they walk through the bright tunnels, emulating rainbows, auroras, and even a sunrise.

“If you can shut out the noise of the hundreds of people around you it really does feel like you’re stepping into another world”

This installation succeeded in evoking an experience for the users journeying through the installation solely with the use of lights. In my previous design proposal, the installation sits on the side of the walkways at a site that people usually do not venture out into. Previously, my focus on creating something that would utilize the site led to my ignorance of

creating an experience for the users of the site, which is something that I aim to address in my final design.

While succeeding in creating this experience for its visitors, the installation however uses an incredible amount of energy, which I do not want to impose on the site. As such, I broadened my research to look at innovative and more sustainable ways in which lighting can be used.

LIGHT PRECEDENTTunnel of Lights

[1]

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[c]

[d]

LIGHT PRECEDENTGlow Road Lighting

Fascinated with glow in the dark technology and its ability to sustain itself using sunlight, which is abundant in Australia, I wanted to see if there were any successful projects that instigated this technology

as a source of lighting. This led me to the glow in the dark road markings on a highway in Netherlands. Due to the shutting down of streetlights at night to save on money and energy, interactive artist

Daan Roosegaarde teamed up with Dutch civil engineering firm Hejimans to work on the idea of using “photo-luminising” powder that

charges up in the daytime and slowly releases a glow at night.

Furthermore, what really interested me about this project was their aim for an interactive road where the technology reacts with the temperature to reveal different symbols that was reflective of the environment it is in. Although this area of the project hasn’t been realized, I wanted to carry that idea of interactivity into my project.

[c]

[d]

98

Originally intending to coat the containers with photoluminescent paint, the results I had from my experimentation with liquid from glow sticks, while satisfactory, was something that I thought could be pushed further. By disbursing glowing particles throughout the installation, it can add more than thinly coating the glass in a film of paint to the complexity of my intention in interacting with its environment. Representing the star particles in the night sky, its appearance of glow in the installation as users of the Merri Creek jog around the site signifies the beginning of dusk, reflecting its environment.

The picture of the Trap Light vaguely depicts the direction that I want my design to head. The photoluminescent pigment added to the glass lamp allows the glass to store light and glow softly for hours after exposure to illumination.

NIGHTAside from water harvesting, the most crucial aspect of my design is its ability to utilize the collected water to generate light play on its surrounding and create interaction with the site.

Assured from the success of the previous design precedent of glowing roads, the glass containers of my installation will be infused with photoluminescent particles, giving off a glow at night while not changing the material’s translucent and clear characteristics during the day.

INTERACTION WITH SITE

99

Originally intending to coat the containers with photoluminescent paint, the results I had from my experimentation with liquid from glow sticks, while satisfactory, was something that I thought could be pushed further. By disbursing glowing particles throughout the installation, it can add more than thinly coating the glass in a film of paint to the complexity of my intention in interacting with its environment. Representing the star particles in the night sky, its appearance of glow in the installation as users of the Merri Creek jog around the site signifies the beginning

The picture of the Trap Light vaguely depicts the direction that I want my design to head. The photoluminescent pigment added to the glass lamp allows the glass to store light and glow

Aside from water harvesting, the most crucial aspect of my design is its ability to utilize the collected water to generate light play on its surrounding and create interaction with the site.

Assured from the success of the previous design precedent of glowing roads, the glass containers of my installation will be infused with photoluminescent particles, giving off a glow at night while not changing the material’s translucent and clear characteristics during the day.

INTERACTION WITH SITE

[e] TRAP LIGHT

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[f] SOLAR WATER BOTTLE

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DAYIlluminating thousands of houses in many countries especially among the under-privileged, Alfredo Moser’s invention of using simple plastic bottles to create solar water bottle bulbs has impacted and been used in more than 20 countries.

Comprised of a plastic bottle full of water and two caps of bleach to prevent o growth of bacteria and algae, the invention utilities the simple principal of refraction. The sunlight, which falls on the exposed surface of the water bottle, gets refracted within the bottle and also to its surroundings, illuminating the space around it.

While its effect will not be very prominent in the installation, it would generate some bursts of light due to its redirection. This idea of refraction can be implemented in the design to create light play, especially when coupled with prisms.

[2]

102

RAINSunlight usually travels in straight lines. However when interrupted with a transparent substance such as glass or water which are denser than air, the light rays will bend. In prisms where its shape has been predetermined, light can disperse through its form to create the separation of visible light. These different colors making up white light travels at different speeds, as such revealing the colors in the order of: red, orange, yellow, green, blue, indigo, violet.

On normal sunny days when no rain is captured within the capsules, sun shines through the glass normally, not having enough density from the water to disperse the light spectrum. However, just like rainbows that light up the sky after a rain, the installation, filled with rainwater containing prisms also splays out colors of the rainbows, creating juxtaposition between the natural and artificial.

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[g]

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TECHNIQUE water collection

Prior to anything else, the form of my design required significant alteration. Going back to the spider webs and its suspending

dewdrops, I studied its technique of collecting and suspending droplets of water off such a delicate thread, hoping to mimic its

ability within my installation.

Many biological surfaces posses the ability of controlling their interaction with water, spider webs being one of them. A spider

web’s ability in collecting water from air lies predominantly with the material of the spider silk. Its unique fibrous structure

that forms after wetting, along with the ‘wet-rebuilt’ fibres characterized by periodic spindle-knots (a) and separating joints

(d) made of random nanofibrils enables water collectability.

The spindle-knots and joints, which form a surface gradient and difference in Laplace pressure act together to enable the

achievement of condensation and directional collection of water, creating a space within the silk structure that facilitates water

gathering.

However, researched by many material scientists over the years to recreate the materiality of spider silks, its complexity and

difficulty that defines life long research is not something that I intend to delve in. Instead, I aim to reconstruct the underlying

techniques of its water collection.

[3]

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C.2TECTONIC ELEMENTS & PROTOTYPES

MATERIAL ONETo apply these findings of water gathering, I formed a number of prototypes for a clearer understanding of its procedure and natural rules. In my first prototype using cotton threads, due to my directed concentration on the structure of the artificial web and its ability to direct water, I failed to remember that materiality played a crucial role in its success. When it came to applying water unto the prototype and observing its reaction, the cotton threads absorbed majority of the moisture and allowed for no formation of water droplets. Although this material allows for water to soak and gather within the material, potentially transferred down the connecting threads, it would create immense load on the installation and may cause failure in its structural integrity. As such, a non-porous material aiding in the direction of water is more favorable as it can reject access water, and teaming with the number of glass containers, controlling the amount of weight the installation will hold.

MATERIALITYweb

Moving away from the microscopic properties of the spider silk in condensing water vapor, the construction of the spider webs also reveals its use of gravity and manipulation for dewdrops to gather. While the structure of the material allows for water to gather essentially along the whole length of the silk, the meeting of threads in the web where knots are

formed amasses the water droplets to form larger ones.

As my design revolves more around the collection of rainwater, rather than harvesting moisture from the air around it, looking towards spider webs for its competency in manipulating water droplets is something that I will resolve in my design.

109

To apply these findings of water gathering, I formed a number of prototypes for a clearer understanding of its procedure and natural rules. In my first prototype using cotton threads, due to my directed concentration on the structure of the artificial web and its ability to direct water, I failed to remember that materiality played a crucial role in its success. When it came to applying water unto the prototype and observing its reaction, the cotton threads absorbed majority of the moisture and allowed for no formation of water droplets. Although this material allows for water to soak and gather within the material, potentially transferred down the connecting threads, it would create immense load on the installation and may cause failure in its structural integrity. As such, a non-porous material aiding in the direction of water is more favorable as it can reject access water, and teaming with the number of glass containers, controlling the amount of weight the installation will hold.

MATERIALITYweb

Moving away from the microscopic properties of the spider silk in condensing water vapor, the construction of the spider webs also reveals its use of gravity and manipulation for dewdrops to gather. While the structure of the material allows for water to gather essentially along the whole length of the silk, the meeting of threads in the web where knots are

formed amasses the water droplets to form larger ones.

As my design revolves more around the collection of rainwater, rather than harvesting moisture from the air around it, looking towards spider webs for its competency in manipulating water droplets is something that I will resolve in my design.

110

This led me to my search for another material that can aid in my technique observation. Selecting raffia strings due to its impermeability and superior scale as compared to an incredibly fine thread, its interaction with water can be better studied. This proves to be true as water movement can be

tracked across a longer width. Proving the theory, water droplets caught on the string runs down the length, gathering at intersections before naturally dropping off or when other droplets add on to it, gaining in weight. However, due to the flattened nature of the raffia strings, I’ve realized that some

droplets drop off at different portions of the web due to the change in direction of the string, its

Further experimentation with poly strings revealed it to be the best material thus far of those tested, meeting the needs of impermeability and rounded properties. However because it was composed of a number of intertwined strands, it enable water droplets to form along many surfaces of the string.

111

MATERIAL TWOThis led me to my search for another material that can aid in my technique observation. Selecting raffia strings due to its impermeability and superior scale as compared to an incredibly fine thread, its interaction with water can be better studied. This proves to be true as water movement can be

tracked across a longer width. Proving the theory, water droplets caught on the string runs down the length, gathering at intersections before naturally dropping off or when other droplets add on to it, gaining in weight. However, due to the flattened nature of the raffia strings, I’ve realized that some

droplets drop off at different portions of the web due to the change in direction of the string, its surface unable to provide a continuous surface for water to run.

MATERIAL THREEFurther experimentation with poly strings revealed it to be the best material thus far of those tested, meeting the needs of impermeability and rounded properties. However because it was composed of a number of intertwined strands, it enable water droplets to form along many surfaces of the string.

As such, I opted for nylon strings for my final model.

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SITE LOCATION

As mentioned previously, rather than containing my installation within one part of the site, I have decided to place them along different areas of the Merri Creek trails. Because the installation has a lot to do with the interactivity with its environment, the site that it sits on pays particular importance in regards to its shape and design.

The site with its frame bolded black is the site I am working with to exhibit my design proposal.

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SITE LOCATION

As mentioned previously, rather than containing my installation within one part of the site, I have decided to place them along different areas of the Merri Creek trails. Because the installation has a lot to do with the interactivity with its environment, the site that it sits on pays particular importance in regards to its shape and design.

The site with its frame bolded black is the site I am working with to exhibit my design proposal.

114

One great factor of the design is the points at which the webs hang from. As no framing was created, the installation will make use of the surrounding trees for support of the web. This allows for flexibility in adapting to

the environment and allows for the installation to virtually be placed anywhere along the site.

Another aspect determining the form of the installation is the pathway that it sits above. For the experience of the users to be as personal and relevant as possible, information on the shape and use of site will be

SITE

TREES ON SITE

PATHWAY ON SITE

115

One great factor of the design is the points at which the webs hang from. As no framing was created, the installation will make use of the surrounding trees for support of the web. This allows for flexibility in adapting to

the environment and allows for the installation to virtually be placed anywhere along the site.

Another aspect determining the form of the installation is the pathway that it sits above. For the experience of the users to be as personal and relevant as possible, information on the shape and use of site will be

transferred into the design.

WEB SHAPE

116

INITIAL FORM

117

Initially having the thought of significantly lowering the suspended containers along the sides of the path for the glass to encase around the path, I altered that decision and opted for a higher installation. On certain sites where there is not

much land on the sides of the pathway, enclosing the path will further reduce the use of these lands as they become more

inaccessible, which was a problem I had identified at the start of the project.

Concerned with the regeneration of site, the trail is dotted with many revegetation plots. Rather than putting a wall between the path and the restoration works, there is greater need for shorter thread lengths so that users are able to see the work

of the community, not ignoring the efforts made to improve the site and its environment.

As such, when looking for the ideal form of the suspended containers, these are the selction criterias I will refer to.

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FABRICATIONweb

To create my web structure based on the technique explored, any web containing the intersection and knotting of right material threads can successfully capture and direct water droplets to the glass containers. In search for a suitable web, I decided on employing the voronoi pattern as opposed to using a standard net pattern as it emulates the nature of organically structured spider webs.

CONTSTRUCTION PROTOTYPE ONE- Identify intersection points on the voronoi diagram and hammer nails

for construction- Line poly thread around the nails, mimicking the voronoi pattern

beneath.- Wrap around length of intersecting threads

Because of the lack of thought and organization behind how the threads meet to form the web, it resulted in many stray ends of strings with no place to go. While this prototype proved the threads’ ability in forming the shapes of the voronoi, I constructed another prototype to apply more order in its construction and outcome.

119

Rather than using many different threads, I opted for the insides of the web to be made entirely out of one strand, held by two separate threads forming the boundary of the web. Although spider webs consist of various number and lengths of silk, its ability to seamlessly attach to one another contributes to its

appearance of fragileness. Regardless of attachments used for my installation, the appearance of any connecting elements will take awayof my interim design proposal, the fragileness and weightlessness of the design. As such I wanted the web to be constructed in a way that does not require any

need for connections.

CONTSTRUCTION PROTOTYPE TWO- Identify intersection points on the voronoi diagram and hammer

nails for construction- Line side boundaries - Thread around nails, wrapping around the length of intersecting

threads

121

Rather than using many different threads, I opted for the insides of the web to be made entirely out of one strand, held by two separate threads forming the boundary of the web. Although spider webs consist of various number and lengths of silk, its ability to seamlessly attach to one another contributes to its

appearance of fragileness. Regardless of attachments used for my installation, the appearance of any connecting elements will take away, as with the rigid frame of my interim design proposal, the fragileness and weightlessness of the design. As such I wanted the web to be constructed in a way that does not require any

need for connections.

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PROTOTYPEStechnique

WATER DROPLET FORMATION

123

OUTDOOR GLOW STRENGTH

PROTOTYPEStechnique

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KANGAROOweb

PARAMETRICSAs the web is to be interactive with the site’s activities, I opted for using kangaroo in determining its form. As most of the activities occurs along the center of the pathway, applying unary forces to the web with the sides of the pathway as anchor will result in greater height along the middle of the form to accommodate these activities, lowering around the sides where less people walk along.

Using the same amount of forces but altering the stiffness of the web allows for different variations in form, while still staying true to the underlying principle.

10 20

125

KANGAROOweb

30 60

10 20 30 60

126

FORM EXPLORATIONAfter experimenting with the different tensile properties from

kangaroo and scale in creating my design, I settled down with this chosen form as it holds the most potential in realizing my

intentions. Not only does it provide enough height for users to walk beneath it, its shape also envelops the users without

extending down to hinder the side views.

128

SUSPENDED GLASS PRISMS

SHAPEFrom studying the basics of light refractions using prisms, I applied this knowledge to my suspended glass. Forming two triangles, the cube provides greater surface area for light to be captured and refracted. While a cube filled with water will successfully serve as a prism, an empty glass cube will lack the density needed for light bending to occur. As such, on any sunny day, light will shine through the glass, creating simple light effects on the surroundings. However, after a rainy day, the water that stays encapsulated within the cube will provide for dances of color around the site.

129

WITHOUT WATER

WITH WATER

130

DIGITAL FABRICATION

FRONT VIEW

SIDE VIEW

KANGAROO FORM POINTS ON INTERSECTION

DIGITAL FABRICATION

POINTS ON INTERSECTION PROJECT LINE TO ABOVE WEB CREATE POINTS

PERSPECTIVE

BOX ON POINTS

FABRICATION

Similar to the above construction guidelines, fabrication of the model follows the same principle of using a single thread to create the inner web, intertwining between existing threads. As a result of the complete

elimination of connectors in the fabrication, the aspect of fragileness and transparency is able to carry through in the design.

131

FABRICATION

Similar to the above construction guidelines, fabrication of the model follows the same principle of using a single thread to create the inner web, intertwining between existing threads. As a result of the complete

elimination of connectors in the fabrication, the aspect of fragileness and transparency is able to carry through in the design.

132

INITIAL FABRICATION METHOD

IMPROVED FABRICATION METHOD

LIGHT PLAY - COLOUR

TEMPORARY SUPPORT

134

LIGHT PLAYday

135

TRANSPARENCY

136

FABRICATED MODEL

137

The end product, I feel has successfully conveys fragility and transparency. In an effort to not take away from that characteristic, a supporting frame was created out of perspex. The lines connecting to the frame all correspond with the location of the trees on my selected site.

FABRICATED MODEL

138

The end product, I feel has successfully conveys fragility and transparency. In an effort to not take away from that characteristic, a supporting frame was created out of perspex. The lines connecting to the frame all correspond with the location of the trees on my selected site.

C.3FINAL DETAIL MODEL

Independant threadsSingle threadIntersections

WEB

1

23

4

5

67

89

1011

1213

141516

17

1819

2021

2223

2425

26

27282930

3132

33343536

3738

39

40 414243

45

46

47 48

49

505152

5354

5556

5758596061

6263

646566

67 686970

7172

7374 75

7677

78

798081

8283

8485

86

87

8889

90 919293

94 9596

9798

99

100101

102103

104105106

107108

109110

111

112113

114115

116

117 118119

120121 122

123124

125126

127128

129130

131

132133134

135

136137

138

139

140141

As with the fabrication of the prototype, the real world construction will also follow the same rules to achieve the web. Running the threads through the numbers, the nylon voronoi web will require fabrication machines to follow the sequence and instructions. However, if wanted, it could also be constructed by the residents of the area, creating a potential community project.

REAL WORLD CONSTRUCTION

141

REAL WORLD CONSTRUCTION

GLASS CONTAINER

Photoluminescent particles imbeded into the glass material

String attatched to glass by knotting under a thin glass plate on the bottom

Middle of cube contains holes for water to go into the prisms

String

142

SITE LOCATIONS

MATERIALS USEDClear nylon stringsGlass prisms

ATTACHMENTClear nylon strings attached to web and trees on site

143

GLASS PRISMS

CONSTRUCTION diagram

CLEAR NYLON WEB

CONNECTING THREADS

SUSPENDED GLASS PRISMS

144

10cm

10cm

10cm

WATER diagram

Water is gathered on the voronoi web above, naturally forming droplets at intersection points in the web before flowing down the connecting threads into the suspended glass containers.

146

POST RAIN

153

C.4

LEARNING OUTCOMES

Studio AIR has definitely been an interesting learning curve for me. Initially hesitant about the subject and extent of technological capabilities, I found that my skills in using computer programs have improved significantly. These include other softwares aside from Grasshopper. As

this subject relies a lot on visual presentational skills in journals, time spent altering and improving my journal has

unquestionably taught me a lot.

Furthermore, studying different precedents to gain insight on how computational skills has been implemented in their design has put architecture in a new perspective for me.

Although there are many areas in which I would have liked to improve, I am satisfied with the overall conclusion of the

subject. It has been an eventful journey.

[a] Naturalsciences.org, ‘Spider Silk Is 5 Times Stronger Than Steel | North Carolina Museum Of Natural Sciences’, 2015 <http://naturalsciences.org/nature-research-center/how-do-we-know/spider-silk> [accessed 1 May 2015][b] <http://www.123inspiration.com/japans-spectacular-tunnel-of-lights/japans-tun-nel-of-lights-4/> [accessed 15 June 2015][c] <http://www.bbc.com/news/technology-27021291> [accessed 15 June 2015][d] <http://www.bbc.com/news/technology-27021291> [accessed 15 June 2015][e] <http://www.envirogadget.com/lamps-and-lights/trap-light-photolumines-cent-glass-lamp/> [accessed 15 June 2015][f] <http://permaculturenews.org/2014/03/14/solar-water-bottle-bulbs/> [accessed 15 June 2015][g] <http://www.pstcc.edu/departments/natural_behavioral_sciences/Web%20Phys-ics/Chapter036.htm> [accessed 15 June 2015][h] Zheng, Yongmei, Hao Bai, Zhongbing Huang, Xuelin Tian, Fu-Qiang Nie, and Yong Zhao and others, ‘Directional Water Collection On Wetted Spider Silk’, Nature, 463 (2010), 640-643 <http://dx.doi.org/10.1038/nature08729>

[1] Tocher, Joanna, ‘Step Into Christmas With Nagoya Area Winter Illuminations | Wide Island View’, Wideislandview.com, 2009 <http://www.wideislandview.com/2009/12/step-into-christmas-with-nagoya-area-winter-illuminations/> [accessed 14 June 2015][2] Krishnamurthy, Ravindra, ‘Solar Water Bottle Bulbs’, The Permaculture Research Institute, 2014 <http://permaculturenews.org/2014/03/14/solar-water-bottle-bulbs/> [ac-cessed 14 June 2015][3] <http://www.nature.com/nature/journal/v463/n7281//pdf/nature08729.pdf> [ac-cessed 15 June 2015]

BIBLIOGRAPHY

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