STUDIO AIR 2015, SEMESTER 1, ALESSANDRO LIUTI RONALD TECK YIH WONG

TABLE OF CONTENTSPART A: CONCEPTUALISATION

INTRODUCTION

DESIGN FUTURING

DESIGN COMPUTATION

COMPOSITION/GENERATION

CONCLUSION & LEARNING OUTCOMES

APPENDIX

PART B: CRITERIA DESIGN

RESEARCH FIELD

CASE STUDY 1.0

CASE STUDY 2.0

TECHNIQUE DEVELOPMENT

PROTOTYPING

PROPOSAL

LEARNING OUTCOMES

APPENDIX

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Who am I?I am Ronald Wong, currently undertaking the Bachelor of Environments, majoring in architecture in the University of Melbourne. I was born in Malaysia and raise there too. Ever since young, I had a fascination for creative innovations that would bring great purpose and benefit for humankind. Having being exposed to creative projects since young and always having a mind that strives to reverse-engineer every object that sparks my curiosity, I found my way into architecture.

I believe that architecture has great connection to the dynamics of the social and spatial environment of spaces. It is a discipline that is able to drive societies forward in the direction the architect envisions. Therefore, taking on the theme of Studio Air this semester, designing for sustainability, I am looking forward to learn and explore innovations that will serve great purpose for me in the future.

INTRODUCTION

The CrownThe cap or the part that sits on top is called The Crown. It utilises the ideas of Symmetry, Move-ment, the Emerging Form and one of the three panels.

Movement and Symmetry

Emerging form Panels

Wavy forms follow the recipe of movement and revolves around in a circle. The Crown is panelled tri-angulary such as the panel above. The holes and lines will be drawn on them manually after the panels are unrolled.

The Golden MoonThe ‘Golden Moon’ by Kristof Crolla and Adam Fingurt gave me the idea to position my ‘spikes’ upwards rather than horizontally like what I did in the previous module. This gives it a rather grand and majestic look that I want to imply onto my lantern. Also, they positioned the lights in the middle of their lantern to allow for maximum exposure and minimal budgeting. I took note of this and will follow in their footsteps in wiring the LEDs to my lantern.

Final FormDrawing ideas from the prec-edent and things that I have learned throughout the se-mester, my final form is born.

Final FormWith less exaggerated panels, the lighting effect looks better than the previous lantern. I brought my model to the outdoors to test its interaction with the outside world. It turned out well as it blended well with the trees and nature. The orange street light also gives it a warm feeling that highlights the features of the lantern.

Final FormWith less exaggerated panels, the lighting effect looks better than the previous lantern. I brought my model to the outdoors to test its interaction with the outside world. It turned out well as it blended well with the trees and nature. The orange street light also gives it a warm feeling that highlights the features of the lantern.

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During my first year in my degree, I took a subject that heavily had relations to Rhinoceros. During that period, I had lots of fun exploring parametric design and saw a great potential in it as a design tool. I hope to learn more about parametrics in Studio Air and hone my skills in order to become an architecture that has design futuring in mind.

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part ACONCEPTUALISATION

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DESIGN FUTURING

Humans have been on planet Earth for thousands of years. However, the advancement of humankind has led to the degration of the very planet humans live. In the past few decades, pressing issues concerning environmental changes has been raised constantly in order to promote awareness of the public. Various professional groups have taken upon themselves the responsibility of countering the condition caused by the anthropocentric mode of worldly habitation. One of the approaches in curing this planetary disease was proposed by Tony Fry in the book ‘Design Futuring’.

“ a future can only exist by

designing against the still accelerating

defuturing condition of

unsustainability. ”Humankind differentiates from other species by having the ability to design. To design is the ability to prefigure what we create before the act of creation.1 Therefore, humankind should take the reins in driving the future away from doom. Fry argues that a future can only exist by designing against the still accelerating defuturing condition of unsustainability. In other words, people who move towards designing a future, design futuring. In this current age, design futuring has two main challenges: to decrease the rate of defuturing and the redirection towards a far more sustainable modes of planetary habitation.2 Design intelligence geared towards sustainability should be taught since young and embedded into the mental philosophy of the up coming generation.

The practice of creating habitable spaces for humans —architecture, plays a huge role in design futuring. Habitable spaces for humans, cities, are the main factors for consumption of resources and the degration of the environment. Therefore, engineers and architects alike should work towards a sustainable design, a design that could create a balanced give-and-take relationship between the environment and the man-made world.

Armed with the current technological advances, architecture has the ability to spearhead humankind into a sustainable future. Such architecture will be discussed as precedents in the following pages.

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Guangzhou, ChinaSkidmore, Owings & MerrillPEARL RIVER TOWER

The Pearl River Tower stands at 309.7 metres, overlooking the landscape of the Tianhe District in Guangzhou, China. The tower was designed by Adrian D. Smith and Gordon Gill in collaboration with Skidmore, Owings & Merrill. The tower started construction in 2006 and was completed in March 2011.3 The completion of the tower marked a milestone in the history of sustainable architecture.

The design intent was aimed towards a creating a energy efficient building that follows a ‘net zero energy’ basis of consumption. ‘Net zero energy’ for a building can be defined as a structure that does not rely upon the production of energy by the local energy production source in order to function.4 In other words, it is a self sustaining building in terms of energy consumption. This idea of a building was revolutionary at its time of conception and even so until today. This is hugely due to its impact on its local communities.

The Pearl River Tower is located at the heart of the city of Guangzhou, which is reported to have one of the worst air pollutions in the world. Due to China’s growing economy, the energy consumption of the country has rocketed, resulting in a huge increase in carbon emission, so much so that it is comparable to the United States in terms of greenhouse gasses production per year. The alarming fact caused the Chinese government to set a goal to reduce China’s carbon emission by 10% by 2010.5 The Pearl River Tower spearheads this campaign by almost realizing a ‘net zero energy’ building. The word ‘almost’ is used because this tower is only recognized as the world’s most energy efficient super-tall tower building in the world at its time of completion. Due to regulations and the economic stability, the original ‘net zero energy’ design was revised into the current tower design.

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Eventhough the building design did not achieve its initial ‘net zero energy’ goal, but its architecture and engineering marvel does serve as a role model for sequential buildings. The overall design of the building paves a way for future architects to build upon and improve.

To everyday passerbys, the aerodynamic form of the tower is very noticeable. The form of the building was developed through the analysis of solar and wind patterns of the site. The Pearl River Tower’s design uses the sun path to its advantage in order to harness solar energy. The building’s exterior are integrated with photovoltaic panels which power the perforated metal window blinds. The window blinds are able to control the amount of sunlight entering the building by tracking the sun path and sunlight intensity.6 An automated and self-sustaining

system that controls daylight filtering into the building greatly decreases the cost of heating and cooling. The cooling effect of the building is futher enchanced by the building’s double skin facade that has the ability to trap heat and channels it to heat exchangers which generates energy and facilitate other heating processes.7

The building also obtains wind power thanks to the curved nature of the building which funnels wind to mechanical floors in which integrated wind turbines are located. The overall design of the building was intentional and directed towards sustainability.

FIGURE (TOP): Wind is funnelled into mechanical floors which harnest wind energy

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The Pearl River Tower is proof that architecture plays one of the leading roles of design futuring. The tower displays the effectiveness of a almost self-sustaining building, but the bigger contribution is the awareness it brings to people around the world. China’s foreshadowing as the new world superpower demands for attention at its development. Therefore, the construction of the Pearl River Tower is set in the spotlight, affecting architects all around the globe to pursue this format of designing.

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In the advent of the idea of sustainable design, various ways have been sought out in order to decrease the rate of defuturing. One of the many ways include designing for better waste management. Waste management is an important issue to address because of its environmental impact and lack of public awareness. According to research conducted by Duke University, an average person produces approximately 2 kilograms of waste per day, 0.7 kilograms more than in 1960.8 Most of the waste produced are eventually transported and end up in landfills. The increasing density of landfills around the globe have caused harzard towards various biodiversity. However, the public is either ignorant or unaware of the consequences of their everyday waste

disposal. A solution type that Fry proposed, decreasing defuturing and redirection onto a more sustainable future, can be found in architectural design. Such architecture can be found in the design of the Armager Bakke.

The Amager Bakke combined heat and power (CHP) complex , also known as Amager Slope is a waste-tpo-power incinerator plant that is undergoing construction in Copenhagen, Denmark. The Armager Bakke is designed by the Bjarke Ingels Group (BIG). The project is estimated to be completed in 2017. When completed, the new plant will replace the 45 year old Amagerforbraending plant. The Amager Bakke is estimated to have the capacity to treat 400,000 tonnes of waste and produce enough electrical

Copenhagen, DenmarkBjarke Ingels Group

ARMAGER BAKKE

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energy for 150,000 households in Copenhagen per year. On the other hand, the plant is designed to reduce nitrous oxide emissions by 85% and decrease sulphur content in smoke by 99.5% in comparison to the current plant.9 The technological design of the power plant is as impressive as the Pearl River Tower, but the Armager Bakke has more to offer.

The architectural design of the Armager Bakke breaks the design norms of power plants all around the world. Waste-to-power generation plants usually does not receive much popularity from the public. However, the Armager Bakke aims to attract public attention. The Armager Bakke founded its place in the middle

of the city, the to the marina. Such a prestigious site makes it a prime iconic destination of the public. To further enchance public attention, the roof design of the plant is intergrated with a ski slope, making it a prime attraction during winter. This design is revolutionary as it brings about the most radical representations of architecture as a means of public engagement this time.

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Parallel to Fry’s proposal of design as a redirective of mindset, the Armager Bakke is not just a green building that generates energy, but it is also a force that is able to stimulate design discipline and cultures towards sustainability. The architect is able to bring societal norms and bring people to waste farms. This brings about awareness of waste disposal as a problem and changes mindsets.

The design motive of architecture that allows the public to engage with issues relating to waste treatment is further pushed forward by the design of the smokestack. The smokestack will produce a ring of smoke of 30cm in diameter every time one tonne of fossil carbon dioxide is released.10 This serves as a gentle reminder to the public of the consequences of consumption.

“One of the main drivers of

behavioral change is knowledge. If

people don’t know, they can’t act.”

The overall of the design excellently portrays the quality of how sustainable design should be. Design that can decrease defuturing and redirect the future. However, the future lies in the hands of the public, and architecture can only go so far to create public awareness. As Bjarke Ingels, head architect of BIG, coins it, “One of the main drivers of behavioral change is knowledge. If people don’t know, they can’t act.”

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PICTURE: The early computational model of the Gherkin

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As discussed in the previous segment of this journal, humans have the capacity to design for the future. In order to change the path of defuturing, architectural design plays a huge part. Architectural design is a practice that integrates external factors that are related to the design and inspirations proposed by the architect. The ideas of the design will meet physical challenges such as the site conditions, climate, functionality, cost, building codes and regulations. Therefore, architectural design demands for creative thinking and the ability of problem analysis.11 However, there are limitations in the capacity of the human brain in terms of analytical problem solving. The demand for precise and accurate data information that is required in series of hundreds in order for architectural design to take place in this age is too much a toll on the human brain. However, the lacking of the human capacity can be substituted with the abilities of the computer.

Computers have the ability to accurately follow a line of instructions to its logic when correctly programmed. The computer is able to process a huge amount of data in a short period of time compared to humans.12 This allows humans to utilize computers in order to solve complex and tedious problems. The advantages of the computer are quickly met by their disadvantages, computers are unable to create new instructions and do not have the creative thinking or intuition possessed by humans. This creates a mutualistic relationship between humans and computers in which both parties compliment each other’s weaknesses.

The human-computer relationship has brought about computer-aided architectural design systems such as Rhinoceros and Grasshopper in order to provide assistance to designers. With the available design softwares, the designers are capacity to achieve more in terms of design. For example, computers are able to provide rational design solutions to design obstacles such as energy consumption, fire egress and acoustic performance. Because of this, architects can now accurately design according to the various parameters and data obtained from the site. Also, design softwares have enabled designers to create and fabricate highly complex geometries that would be almost impossible to recreate on paper. This has revolutionalized the design process and provided a more advanced design logic for designers.

In conclusion, design computation has broken down the limitations of architectural design that exsit in the past. Design computation has lead to the creation of various interesting architectural projects. The following pages will take a look several architectural precedents that have benefited from design computation.

DESIGN COMPUTATION

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London, United KingdomNorman Foster

The Gherkin, 30 St Mary Axe

Masterpiece of Lord Norman Foster, the Gherkin skyscrapper stands 180 meters tall, overlooking the London skyline. The Gherkin received much debate on whether its construction would be necessary. However, due to the Gherkin tower’s high architecture quality, it was granted permission to be errected. Now, the Gherkin becomes one of the most iconic symbol of modern day London.

The building is precedent to many upcoming skycrapers around the world. This is because of its aesthetic features that creates a highly memorable architecture statements and at the same time provides top quality office space.The Gherkin features a rather unique shape in comparison to other sky-scrapers. The form of the building is round rather than the conventional square plan. Also, the Gherkin bulges in the middle and tapers towards a sharp end. The carefully engineered form of the building is not only aesthetically pleasing, but it also fullfils its constraints

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Normal skyscrapers that are close in size to the Gherkin experience the creation of whirlwinds at their base due to sweeping air currents around them, causing the perimeter of the building an unpleasant location to linger. The architects of the building sought a solution by refering to computer models, based on mathematical calculations of turbulence, to simulate a building’s aerodynamic properties. The computer stimulation allowed the designers to create a tower form that could minimise winds at its base.12

The Gherkin’s design is sustainable. Using aerodynamic modelling, the floors of the building are rotated several degrees in respect to each other in order to maximise ventilation. The shafts in the building spiral upwards and interact optimally with the air currents caused by the buildings outward shape. The geometry generated through computation allowed the Gherkin to consume 50% less energy compared to buildings of similiar size.13

Computation also allowed for the curved facade of the building to be “rationalized” into flat panels in order to simplify the originally complex geometrical form of the building. The simplification of the form of the building makes it easier to be constructed and economically more efficient. The computer system used, the Bently System, allowed for the designers to constantly modify the design in order to obtain the best outcome.14 The detailed design condition of the building is achieved by mathematical relationships between several geometric parameters that defines the building’s shape. Overall, design computation assisted the designers greatly in the overall design process of the building.

FIGURE (BOTTOM RIGHT): Computation is used to simulate wind flow scenarios to obtain optimum form for structure.

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The Museo Soumaya is a private museum that houses over 66,000 art pieces ranging from the 15th to the 20th century. The building is located in Mexico City, Mexico and is designed by the Fernando Romero Enterprise. The most prominent feature of the building is the overall form of the building that is clad over by 16000 hexagonal tiles of gloss reflective steel.15 The design of the museum is highly complex, a feat that can only be accomplished through computation. Apart from contributing greatly to the design of the complex facade panel design, computation also played a main role in acting as a communication medium between local expertise and the foreign design team.

The design team retained Gehry Technologies (GT) to facilitate the 3-D engineering of the building. GT utilized its trademark software, Digital Project™, in order for engineers to visualize all construction disciplines, from lighting and finishes to ground-level plans, in a three dimensional model.16 The software enabled the design team to communicate efficiently. However, the realization of the facade design still seemed impossible. The surface orientation and curvature of the building varied at every point, complicating the overall design. The facade was an impossible task for GT’s software.

Mexico City, MexicoFernando Romero Enterprise

MUSEO SOUMAYA

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The “impossible” task was then brought to Geometrica, Inc.. Geometrica utilized its own custom software to design the facade. Laser topography was used by Geometrica to process the real shape to the reticular structiral model, allowing engineers to modify the GT model at specific locations. The laser scan of the form allowed the digital model to define the facade design with hexagonal patterns that was originally proposed by the architect.17

From the design process of the museum, it can clearly be seen that computation does not vastly affect the intended design of the building. Computation allowed the architect to breakthrough the seemingly impossible engineering task. Also, it allowed the design team to develop a central 3-D model in which the panels can be extracted for fabrication. This allowed the construction process to run more efficiently and decreases overall cost.

Computation has created a relationship in order to bridge communications among various disciplines. The architect’s dream is no longer limited to the past engineering constraints.

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FIGURE (ABOVE): Hexagonal Tile families used in the construction of the museum

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PICTURE: An alley through the Dongdaemun Design Plaza

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COMPOSITION / GENERATION

Computation has aided designers greatly in creating and realizing many architectural dreams. In the examples discussed in A2, computation has merely assisted designers as a tool or an extension in the process of design. Though extremely helpful in terms of obtaining data based on computer simulation and generating solutions to engineering feats, design computation has not taken a main role in the design process. However, the following will discuss the shift of design from composition to generation, in which computation takes part in the design process.

In the previous discussions, computation can be defined as how Ahlquist and Menges puts it- ‘the processing of information and interactions between elements which constitute a specific environment; it provides a framework for negotiating and influencing the interrelation of datasets of information, with the capacity to generate complex order, form and structure.’18 However, when viewing generative design, computation is defined as the use of the computer through an algorithm. An algorithm can be defined simply as a recipe, method, or technique for doing something.19 Nowadays, architects use various scripting softwares such as Grasshopper to produce a script or algorithm in order to facilitate the design process. This has given birth to a new method of design processing known as algorithmic thinking. Algorithmic thinking is the interpretive state of mind in which the designer tries to understand the results of the algorithm, having the ability to adjust the algorithim to explore new alternatives and improve on design options.20 The use of algorithmic design is very powerful in which the designer is able to simulate the interractions between architecture and the site, public and various other parameters in a very accurate and sophisticated way. The idea of utilizing a multitude of parameters that affects the formation of design is known as parametric design. Various parameters that are obtained in the form of data information from the site can be input into an algorithm to form the design. This mode of design has greatly changed the designer’s intellect from drawing to algorithmic designing as a way of communicating designs.

Parametric design is young compared to the traditional forms of designs that have evolved throughout the history of humankind. However, parametric design has shown great potential in contributing to architecture design. The following pages will discuss several precedents that utilize parametric design and the various attributes it possess.

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The term parametric design often projects a powerful image onto people’s minds. The conjured mental image usually brings up architecture of unorthodox and curvaceous building forms. This line of thinking is somewhat accurate as the exploration of parametric design often results in designs of such. Therefore, it would be crime to not include the precedents of the queen of such building forms, Zaha Hadid.

The Dongdaemun Design Plaza was designed by Zaha Hadid and was completed in 2014. The plaza accommodates a fashion design information center equiped with lecture halls and seminar rooms. The building also contains several multi-purpose convention and exhibition halls.21

At its time of design, the Dongdaemun Design Plaza utilized the latest rendering and construction methods. The design of the plaza was heavily influenced by parametric design. According to Zaha, the design of the building took in various parameters from the environment such as the context, local culture, city and landscape, in order to create a new refreshing form and spatial experience.22

Seoul, South KoreaZaha Hadid Architects

DONGDAEMUN DESIGN PLAZA

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The generative process of design allowed the plaza to be able to respond to the topological urban landscape of the plaza’s surroundings. On the other hand, the overall building still maintain its overall structural integrity despite the complex predictions of force paths following the form of the structure. The building maintains standing until today thanks to the accurate computational calculations in aid of the engineering process.

Though the building is of parametric design marvel, it also has received criticism. Much like many other Zaha buildings, the exaggeration of organic and curvaceous building form is often seen to be ‘out of place’ in its own location. The use of parametric design could cause the design to respond overwhelmingly in its surrounding, therefore defeating the true purpose of parametric design in responding to the site. However, this claim is very debatable as there are various parties that are both for and against the use of parametric design to achieve sophistication in design.

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Abu Dhabi, United Arab EmiratesAysmptote Architecture

YAS VICEROY ABU DHABI HOTEL

The Yas Hotel is a 85000 square meter structure consisting of two buildings connected by a monocoque steel and glass bridge. The building was built in 2009 and is designed by Hani Rashid and Lise Anne Couture under Asymptote Architecture. The hotel is the first new hotel in the world to be built over a F1 race track. The prominent part of the hotel is the 217 meter expanse of sweeping, curvilinear grid shell structure consisting of 5800 pivoting diamond-shaped glass panels that cloaks the two elliptical-shaped structures23

The grid-shell was inspired by the speed, streamlined form , and dynamic energy of the Formula One racing cars. The steel-and-glass latticework was made possible due to the availability of Building Information Modeling (BIM) and parametric models.24 Parametrics was used in controlling the form and detailing, allowing the structuce to have tight tolerances, giving rise to the seemingly effortless curvilinear geometry. Also, computation allowed the design team to simplify the engineering of the structure by reducing the amount of structural members required to support the entire gridshell.

The architects designed the building by drawing from key influences from local and global inspirations such as aesthetical forms related to speed and the artistry and geometries that come from ancient Islamic art. However, the parametric design of the grid-shell can be argued to be a far-cry from its supposedly Islamic inspired roots. The streamline form of the structure is a jarring constrast in comparison to the modest form of Islamic architecture. Perhaps it is more accurate to use traditional compositional methods of designing in order to link buildings to their historical or religious roots.

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PICTURE: Closer look of underside of Yas Hotel’s gridshell

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CONCLUSION &LEARNING OUTCOMES

Conceptualisation is important. It is the visualising of what will give life to the eventual design. It is the initial force that drives the design process to its end product.

Part A of the Studio Air journal centres itself around precedents and readings. It exposes us to the various architectural design and ideas out there. Ideas and explorations of the designer can be shared among other ideas in order to move forward and improve designing. One of the main ideas or themes that is explored in the begining of this journal is the idea of design futuring. Designing that opens up a path to the future should be sought out by all designers. Therefore, the core concept of the design should center itself around sustainability.

Sustainability in design is not easy to achieve. It requires rigorious thinking and trouble-shooting of various elements related to the environment and human mindset. However, thanks to the availability of computation, sustainable design is made more possible. Computers can assist humans in processing large quantities of data, therefore making the dream of a sustainable future more plausible. Parametric design is also a step into the future as it allows for generative design. If an algorithm that can achieve the output of sustainability can be designed, a sustainable future can be realized.

The core concept of my design will be to explore the ways to sustainability. If parametric design is able to formulate a recipe for sustainability, then I would like to explore and find it. A parametric design that aims at sustainability is powerful because it can draw inputs from the environment and the different users and produce a design that accurately bridges the various relationships between human and nature. This will result in a benefit for both the environment and humans.

Architectural computing in terms of parametric design is new to me. However, it has been a very interesting experience to understand how it is used in the real world. This knowledge has opened my mind to a new way of designing. With generative design, I could create forms that respond well and more accurately to the site. The architecture of my design will open up the oppurtunity for more interractions between architecture, humans and nature.

I am truly thrilled to be able to undertake Studio Air this semester. I hope that it will broaden my designing horizon. I am excited for what is installed for me in the coming weeks.

to formulate a recipe for“”

If parametric design is ablesustainability, then I would like to explore and find it.

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The renderings shown are a model of a pavilion that changes its shape according to an attractor point. These sketches are very interesting as they show a very direct parameter affect on form. The surface texture of the pavilion was created using the weaverbird plugin in grasshopper. The created facade can be easily manipulated to increase or decrease the size of the ‘window’. Overall, this entry in included in my journal as I find it very interesting in my fresh and new explorations of grasshopper. The ability of the pavilion to change its form according to a parameter is very interesting. It opens up questions like: what if the parameter is a human? What if it is based on the natural environment? What if the form was based on the movements of wind or the sun path? The various questions opened up by this simple algorithm is truly fascinating. It has increased my yearning to learn more of parametric designing.

AppendixAlgorithmic Sketches

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Endnotes1. FRY, TONY (2008). DESIGN FUTURING: SUSTAINABILITY, ETHICS AND NEW PRACTICE (OXFORD: BERG), PP. 1–162. FRY, TONY (2008). DESIGN FUTURING: SUSTAINABILITY, ETHICS AND NEW PRACTICE (OXFORD: BERG), PP. 1–163. SOM, PEARL RIVER TOWER – MEP, PROJECTS HTTP://WWW.SOM.COM/PROJECTS/PEARL_RIVER_TOWER__MEP [ACCESSED ON 19TH MARCH 2015]4. FRECHETTE, R. GILCHRIST, R. (2008). TOWARDS ZERO ENERGY: A CASE STUDY OF THE PEARL RIVER TOWER, GUANGZHOU, CHINA, CTBUH TECHNICAL PAPER5. FRECHETTE, R. GILCHRIST, R. (2008). TOWARDS ZERO ENERGY: A CASE STUDY OF THE PEARL RIVER TOWER, GUANGZHOU, CHINA, CTBUH TECHNICAL PAPER6. SOM, PEARL RIVER TOWER – SUSTAINABILITY, PROJECTS HTTP://WWW.SOM.COM/PROJECTS/PEARL_RIVER_TOWER__SUSTAINABLE_DESIGN [ACCESSED ON 19TH MARCH 2015]7. THE SKYCRAPER CENTER, PEARL RIVER TOWER, BUILDINGS < HTTP://SKYSCRAPERCENTER.COM/BUILDING/PEARL-RIVER-TOWER/454 > [ACCESSED ON 19TH MARCH 2015]8. DUKE UNIVERSITY, ‘HOW MUCH DO WE WASTE DAILY?’, CENTER FOR SUSTAINABILITY & COMMERCE, < HTTP://CENTER.SUSTAINABILITY.DUKE.

EDU/RESOURCES/GREEN-FACTS-CONSUMERS/HOW-MUCH-DO-WE-WASTE-DAILY > [ACCESSED ON 19TH MARCH 2015]9. ARCH DAILY, ‘BIG’S WASTE-TO-ENERGY PLANT BREAKS GROUND, BREAKS SCHEMAS’, ARCHITECTURE NEWS < HTTP://WWW.ARCHDAILY.

COM/339893/BIGS-WASTE-TO-ENERGY-PLANT-BREAKS-GROUND-BREAKS-SCHEMAS/ > [ACCESSED ON 19TH MARCH 2015]10. ETHERINGTON, R., ‘WASTE-TO-ENERGY PLANT BY BIG’, DE ZEEN MAGAZINE, < HTTP://WWW.DEZEEN.COM/2011/01/27/

WASTE-TO-ENERGY-PLANT-BY-BIG/ > [ACCESSED ON 19TH MARCH 2015]11. OXMAN, RIVKA AND ROBERT OXMAN, EDS (2014). THEORIES OF THE DIGITAL IN ARCHITECTURE (LONDON; NEW YORK: ROUTLEDGE), PP. 1–1012. KALAY, YEHUDA E. (2004). ARCHITECTURE’S NEW MEDIA: PRINCIPLES, THEORIES, AND METHODS OF COMPUTER-AIDED DESIGN (CAMBRIDGE, MA: MIT PRESS), PP. 5-2513. FREIBERGER, M., ‘PERFECT BUILDINGS: THE MATHS OF MODERN ARCHITECTURE’, +PLUS MAGAZINE, < HTTPS://PLUS.MATHS.

ORG/CONTENT/PERFECT-BUILDINGS-MATHS-MODERN-ARCHITECTURE > [ACCESSED ON 19TH MARCH 2015]14. ARCHINOMY, ’30 ST MARY AXE (THE GHERKIN), LONDON, CASE STUDIES, < HTTP://WWW.ARCHINOMY.COM/CASE-

STUDIES/669/30-ST-MARY-AXE-THE-GHERKIN-LONDON > [ACCESSED ON 19TH MARCH 2015]15. ARCH DAILY, ‘MUSEO SOUMAYA / FR-EE / FERNANDO ROMERO ENTERPRISE’, ARCHITECTURE NEWS, < HTTP://WWW.ARCHDAILY.

COM/452226/MUSEO-SOUMAYA-FR-EE-FERNANDO-ROMERO-ENTERPRISE/ > [ACCESSED ON 19TH MARCH 2015]16. ZWICKER, D.A., ‘MUSEO SOUMAYA HAS A SECRET’, NEWS AND BLOG, GEOMETRICA, < HTTP://GEOMETRICA.

COM/EN/MUSEO-SOUMAYA-HAS-A-SECRET > [ACCESSED ON 19TH MARCH 2015]17. ROMERO, F. AND RAMOS, A. (2013), BRIDGING A CULTURE: THE DESIGN OF MUSEO SOUMAYA. ARCHIT DESIGN, 83: 66–69. DOI: 10.1002/AD.155618. PETERS, BRADY. (2013) ‘COMPUTATION WORKS: THE BUILDING OF ALGORITHMIC THOUGHT’, ARCHITECTURAL DESIGN, 83, 2, PP. 08-15 \19. DEFINITION OF ‘ALGORITHM’ IN WILSON, ROBERT A. AND FRANK C. KEIL, EDS (1999). THE MIT ENCYCLOPEDIA OF THE COGNITIVE SCIENCES (LONDON: MIT PRESS), PP. 11, 1220. PETERS, BRADY. (2013) ‘COMPUTATION WORKS: THE BUILDING OF ALGORITHMIC THOUGHT’, ARCHITECTURAL DESIGN, 83, 2, PP. 08-15 21. MACKENZIE, A., ‘ZAHA HADID’S STUNNING DONGDAEMUN DESIGN PLAZA OPENS IN SEOUL’, ARCHITECTURE, GIZMAG, < HTTP://WWW.

GIZMAG.COM/ZAHA-HADIDS-DONGDAEMUN-DESIGN-PLAZA-OPENS-IN-SEOUL/31385/ > [ACCESSED ON 19TH MARCH 2015]22. THE ANGRY ARCHITECT (2014), ‘ZAHA HADID’S SEOUL DESIGN PARK: URBAN OASIS OR METALLIC MONSTROSITY?’ < HTTP://

ARCHITIZER.COM/BLOG/ANGRY-ARCHITECT-ZAHA-HADID/ > [ACCESSED ON 19TH MARCH 2015]23. OPEN BUILDINGS, ‘THE YAS HOTEL’, BASIC PROFILES, BUILDINGS, < HTTP://OPENBUILDINGS.COM/BUILDINGS/THE-YAS-HOTEL-PROFILE-248 > [ACCESSED ON 19TH MARCH 2015]24. ZEIGER, M., ‘YAS HOTEL’, ANNUAL DESIGN REVIEW, ARCHITECT MAGAZINE, < HTTP://WWW.ARCHITECTMAGAZINE.

COM/AWARDS/ANNUAL-DESIGN-REVIEW/YAS-HOTEL_O > [ACCESSED ON 19TH MARCH 2015]

PART B: CRITERIA DESIGN

In part A of Studio Air, it was seen that the issue of sus-tainability is a big issue that needs to be dealt with. The path that leads to sustainability can be paved by design intentions that aim to solve existing problems and redirect the society towards a more sustainable future. Sustain-able design can be achieved in many ways. In this studio that deals with parametric design, the research field of the parametric model should be headed towards sustainabil-ity. So comes the question, where do you find a model of sustainability in order to follow?

Nature has been around for millions of years and it is still thriving until today. From the engineering of the spider web to the dynamics of an ant hill, nature has fascinated us for a long time. The engineering of Nature to overcome var-ious obstacles is simply amazing. Better yet, Nature has done its feats without bringing damaging affects to its sur-roundings. Therefore, Nature would be the best precedent for sustainable design. Such design utilizes the principles of how Nature designs and mimics it.

“Biomimicry is an ap-proach to innovation

that seeks sustainable solutions to human

challenges by emulating nature’s time-tested pat-

terns and strategies

Therefore, the research field that I have chosen to under-take is the field of biomimicry. According to the Biomimicry Institute, biomimicry is defined as an approach to innova-tion that seeks sustainable solutions to human challenges by emulating nature’s time-tested patterns and strategies.1 Using nature as the driver behind design motives, many ideas could be found. However, biomimicry is a research field that is very new to the current age, therefore it is most-ly within the research stage. The following precedents are architectural designs that have taken biomimicry as their design motive.

RESEARCH FIELD

”

1. Biomimicry Institute (2014) What is Biomimicry?: A sustainable world already exists <http://biomimicry.org/what-is-biomimicry/ > [accessed 15 April 2015]

The Eden ProjectLocated in Cornwall, England, United Kingdom, this visittor attraction are artificial biodomes that houses a collection of plants from all around the world. The project is located in a reclaimed Kaolinite pit that is still undergoing excavation.1

The overall structure of the complex consists of two huge ennclosures of adjoining domes that are like a greehouse to the plants species inside. Each enclosure have vary-ing environmental parameters such as humidity in order to emulate various natural biomes. The first dome simulates a tropical environment, and the second a Mediterranean environment. The superstructure of the biome consist of hexagonal and and pentagonal, inflated, plastic cells sup-ported by steel frames.2

The Eden Project was to be built on a site that was not only irregular, but it was continually changing because it was still being quarried. Therefore, it was a challenge to create architecture that would respond well to the site attributes. The designers turned to nature for an answer.

Many ideas to counter the problems were inspired from biology/nature. For example, it was soap bubbles that helped generate a building form that would worl regard-less of the final ground levels. Studying pollen grains and radiolaria and carbon molecules helped create the most efficient structural solution using hexagons and penta-gons.3 The architects wanted to maximize the size of the hexagons, in order to do that, the designers had to find an

1. Wikipedia (2015) Eden Project <http://en.wikipedia.org/wiki/Eden_Project> [accessed 20 April 2015]2. Ibid3. Micheal Pawlyn (2010) Using nature’s genius in architecture, TEDSalon London <http://www.ted.com/talks/michael_pawlyn_using_nature_s_genius_in_architecture#t-808381> [accessed 20 April 2015]

1.1 Inflated ETFE hexagonal panels that act as the greenhouse panels

alternative to glass because it was very limited in terms of its unit sizing. In nature, there are alot of examples of very efficient structures based on pressured membranes. This lead to the exploration of the use of a high strength polymer called ETFE.4

The architects wanted to maximize the size of the hexa-gons, in order to do that, the designers had to find an al-ternative to glass because it was very limited in terms of its unit sizing. In nature, there are alot of examples of very efficient structures based on pressured membranes. This lead to the exploration of the use of a high strength poly-mer called ETFE.5

4. Ibid5. Ibid

1.2 The Eden Project Houses various plant species from around the globe to create awareness for sustainability.

The pavilion was inspired by the beetles’ lightweight pro-tective shell known as the Elytron. Through micro-comput-ed tomography, the elytron’s morphology could be investi-gated.1 The performance of the beetle’s shell relies on the geometric morphology of a double layered system which is connected by the trabeculae, a column-like doubly curved support element. The trabeculae’s fiber layout allows the top and bottom shell fibers to be continuously connected.2 The double layer and the trabeculae morphology of the beetles’ shell gives it an optimum strength-to-weight ra-tio. Therefore, the principles behind the structure of the beetles’ shell was adapted into the design strategy of the pavilion.3

ICD-ITKE Research Pavilion 2013-14 The material of the structure was also carefully chosen to closely represent the fibers of the shell. Hence, glass and carbon fiber reinforced polymers were chosen due to their excellent strength to weight ratio. Also, the reinforced poly-mers had the potential to generate differentiated material properties through fiber placement variation. The idea was to weave the strings of fiber polymers into a fibrous net-work resembling that of the beetles’.

n order for the chosen material to be crafted into the de-sired form, many methods were put into consideration. The design team wanted to go against the conventional fabrication methods for fiber composites that usually re

2.1 ICD-ITKE Research Pavilion 2013-2014

1. ArchDaily (2014) “ICD-ITKE Research Pavilion 2013-14 / ICD-ITKE University of Stuttgart” <http://www.archdaily.com/?p=522408> [accessed 20 April 2015]2.Ibid3.Ibid4. Amy Frearson (2014) University of Stuttgart unveils carbon-fibre pavilion based on beetle shells, DeZeen Magazine < http://www.dezeen.com/2014/06/26/icd-itke-pavilion-beetle-shells-university-of-stuttgart/> [accessed 21 April 2015]

quire a mold or formwork. Therefore, the fabrication of the prototype was achieved by a robotic coreless winding method. This method utilizes two collaborating 6-axis ro-botic arms to wind fibers between two custom-made steel frames.5 The fibers are tensioned linearly against each other, creating a reciprocal deformation. Then, the resin impregnated fiber bundles are woven in accordance to the winding syntax.6

The prosess from the conception of the idea to the result-ing pavilion is truly amazing. The fabrication method, the coreless filament winding, erases the need for individual formwork to create complex fiber polymer forms, thus re-

sulting in a saving in resources used. Also, the technique allows for no waste or cut-off pieces. Overall, the fabri-cation method of the pavillion aligns well with the idea of sustainability. On the other hand, the geometric shape obtained from the precedent of beetle shells opens up a new oppurtunity for lightweight, high-strength architectur-al possibilities. As an illustration, the biggest element of the pavillion has a diameter of 2.6 meters but only weighs 24.1 kilograms.7 This is truly a material efficent load-bear-ing system.

2.2 Robotic coreless winding method used to fabricate panels of the pavilion

2.3 Microscopic view of the beetles’ trabeculae and double shell system.

5. Ibid6. Ibid7. Ibid

3 The VoltaDom structure

The VoltaDom was chosen as my case study due to its unique shape and its relationsip to the voronoi pattern. The voronoi pattern is a re-curring pattern found in nature. Therefore, in order to follow the path of biomimicry, I have chosen the VoltaDom.

The principle behind the VoltaDom is very simple. It is a collection of overlapping cones that are split at its sides, each spliting each other respectively. The grasshopper definition was provided on the lms to help us engage with the definition.

Grasshopper allowed us to explore the form of the VoltaDom more and mass produce iterations in order for selection. The definition was devel-oped constructively by experimenting with different forms being inter-sected with each other. The matrix on the next page showcases four dif-ferent species that were explored. The first species was the exploration of the original cone. Next was the experimentation with spheres followed by a species that used polygons. Some of the polygons were created by using the expression formula provided in the ‘Aranda Lasch - The Morn-ing Line’ definition. The last species is similiar to the original species but it uses varying cones sizes that change according to an attractor point.

B2: Case Study 1.0Skylar Tibbits - VoltaDom

Iteration MatrixCones

Spheres

Polygons

Cone Variety

Out of the all the iterations made, four iterations were cho-sen as the most successful explorations. The top four was chosen from the same category: The Cone Variation cat-egory.

This species showcases cones of varying sizes being merged against each other. This differential sizing reflectes the random patterning of nature. The creation in nature follows a set of nature governed rules (eg: branching, cell growth, pollination), but no two products of nature are the same. This is because nature contains a certain degree of randomness effect in the rules. The randomness effect is nature’s way of aesthetic display.

“Nature’s computational de-sign results in the formation of complex patterns, shapes

and forms which people would describe as delightful, psychologically reinforcing.”

The cone variation depicts Nature’s way of computation design that is based on material and chemistry. Nature’s computational design results in the formation of complex patterns, shapes and forms which people would describe

as delightful, psychologically reinforcing.1 If architecture were to mimic this mode of design, it will result in some-thing independant of culture and age, the result is delight-ful, intriging, natural.2

The resulting product of design is very important in terms of its aesthetical value. Therefore, a product design that contains the natural effect as the chosen species would be my selection criteria.

Species 4: VoltaDom Cone Variation

1. Stanislav Roudavski (2015) Patterning, Studio Air Lecture 52. Ibid

STEP 1Create intersecting circles that are similiar to the plan of the original Eden Project.

STEP 2Region union intersecting curves to form the base plan of the reverse engineering. Anchor points in kangaroo phys-ics will later be set along this curve.

STEP 4The points of the hexagonal grid are given an unary force acting along the positive Z vector whereas the individual line segments are given an ideal spring parameter. The forces are inputted into kangaroo to obtain the dome-like structure

STEP 5The hexagonal cells are patched to obtain a panelised surface at each hexagon. The patch is then converted to a mesh.

STEP 6The mesh is then inflated with the original hexagon cells of the dome acting as the resistors. The BullAnt plugin is used for this phase to obtain the ‘inflated’ greenhouse panels of the Eden Project.

STEP 3A hexagonal grid is created. The grid is then region inter-sected with the base plan curve in order to obtain all the curves of the hexagon within the base plan.

B3: Case Study 2.0Reverse Engineering

The Eden Project was purposed to be a green house that utilises various new technologies to fabricate. The project aimed to design a green house that could adapt to the ever changing landscape and the entire structure was meant to be lightweight, a huge comparision to the traditional glass green houses. The project was successful in achieving what it aimed. The hexagonal framing system allowed for the minimal amount of framing hence increasing sunlight penetration. The lightweight inflatable membrane allowed the structure to be lightweight, therefore saving on mate-rial usage.

The model that was reversed engineered can be com-pared to te original project. Both utilise hexagonal cells to panelise the surface of the dome. Also, the membrane on the Eden Project can be compared to the inflated mesh surface. However, there are several differences between the two projects. The original Eden Project has its dome shaped structure obtained from a segment of a sphere, therefore the rounded curvature can be clearly seen. How-ever, the dome shaped obtained on the reverse engineer-ing utilized the upward force of the springs to create the dome. This results in a more cornical shape when com-pared to the original Eden Project. Also, the panels of the Eden Project can be seen to be arrayed and projected from the middle of the sphere. The hexagonal cells are seen to be in equal sizing throughout the surface. The hex-agonal cells in the reverse engineering are lifted up from the ground.

The Eden Project provides alot of oppurtunities to explore design. However, one of the main things that I would like to explore is the use of inflatables as a fabrication mate-rial. The form of the greenhouse was based on the study of soap bubbles, a technique that allowed the greenhouse to morph according to the varying topography of the land-scape. This oppurtunity of studying inflatables alongside the idea of a structure that is able to morph with the land-scape opens up a new platform for designing at the site — floating inflatable structure.

The Eden Project

Hexagon Cells- Rounded Base

Square Mesh- Rounded Base

Triangular Grid- Rounded Base

Voronoi Pattern- Rounded Base

B4:Technique Development

Hexagon Cells- Rectangular Base

Square Mesh- Rectangular Base

Triangular Grid- Rectangular Base

The method used for reverse engineering was developed further in this section of Part B. The main elements that were explored were the three different grid systems — hexagons, squares and triangles.

After exploring the various grid systems, I found out that different grid systems had different properties. For the same radius of the polygon, triangular grids will populate the area the most, followed by squares then hexagons. This finding is very interesting as utilising hexagons can potentially lead to material efficiency. However, hexagons do have their drawback as well. The hexagon grid is the most weakess, followed by the square then the stron-gest triangles. This can be seen in the height difference between the three models having equal unary force. The difference in strength is small and sometimes unnoticable. To conclude, hexagons are the best shape to use in terms of strength to shape ratio.

Further exploration on the anchor points were conducted to find out the different effects varying anchor points can give to the overall structure. This has great potential in giv-ing topological values to the inflatable.

Drawing from the selection criteria of B2, the outcoming result of the iterations should connect to the aesthetic af-fects of nature. On the next page are the four selected iter-ations. These iterations are the ones at are most appealing to the eye and has a natural sense to it.

The four selected iterations all look like a natural land-scape or something that results from the creation of nature. Eventhough the voronoi patterns were applied to the grids in one of the species, the overall form of the object plays a larger role in portraying an artificially nature created object when compared to patterning. This finding can be added to my selection criteria of creating form that mimics nature.

B4: Technique Development

Prototyping inflatables would be a challenge as it was something that is unconventional among the students that are taking the Studio Air subject. The fabrication process is quie different as inflatables cannot be ‘printed’ from the normal fabrication labs in the university premises. There-fore, I had to experiment on the fabrication of inflatables.

I decided that the I had to create a mold for the inflatable membrane to be measured and cut in real life. Therefore, I unrolled one of the models in rhino and fabricated on paper.

After having the mold done, a frame was also created in order to hold the membrane in place. Next, the membrane was overlayed on top of the mold then having the edges of the membrane stapled to obtain the correct countouring of the membrane.

Another membrane is cut out to obtain the bottom of the inflatable. The two sheets of membrane are connected to-gether with clear tape. A balloon pump was then used to inflate the membranes.

B5: Technique: Prototypes

“..when all frontiers have been tamed and developed, when all exotic tribes and

species have been winkled out of their hidden crannies and firmly tagged, where af-ter all can one look for the

wild, the unknown?”1

The quote above is a small segment of a quote that is referenced in the begining of the design brief document. This segment of the quote stuck with me since the start of the semester. The quote signifies man’s outcry to escape to a new place, a new experience. When all knowledge is obtained and discovered, where can man find the un-known?

My proposal is to bring a different experience to Merri Creek. Something that could spark a new interest in the people there, bringing them a refreshing look onto Merri Creek. I took a look at the various oppurtunities of available at Merri Creek and found out that the people do not engage much with the creek itself. Merri Creek runs for a few kilometers but throughout the entire stretch, people do not engage with the body of water. I soon came up with an idea of a giant inflatable structure that had a transparent pathway that allowed people to see the water beneath them. This structure will give people an experience of walking on water. The structure will create a new interactive connection between the water and the community.

B6: Technique: Proposal

1. Mathews, Freya (2005). Reinhabiting Reality: Towards a Recovery of Culture (Albany: State University of New York Press)

After putting forward my proposal, I discovered that my inflatable structure could be improved more. One of the improvement would be to restructure the web plan for the inflatable. The web plan is either the tension cable mem-bers of the inflatable or a unrolled strip of the membrane. (The web plan will be explored more in part C.) However, the current hexagonal web plan can be improved by cre-ating tension lines (highlighted in red) perpenticular to the standing position of the inflatable (outlined in black).

This diagrams on the right are just rough drafts of poten-tial inflatables that will be further explored.

Moving ForwardComing up in Part C

I learned alot. Literally.

So far this studio has pushed the boundaries of my knowledge and understanding of design and compu-tational design. The weekly tasks alongside the videos were extremely helpful in allowing me to utilize com-mands in grasshopper to obtain a design that I want. Part B has opened my eyes to realize grasshopper as a powerful tool in aiding design. However, I sooned realized that due to our lack of grasshopper knowledge, we could potentially fall into the trap of only designing within our own grasshopper knowledge limitations.

Other than learning how to use computational tools to design, I have also learned a great deal of knowledge about inflatables. Inflatable structures are simply amaz-ing because of its various properties that are unique to conventional fabrication methods. This posed a challenge as the current FabLab does not ‘print’ an inflatable object. Therefore, due to my lack of knowledge of inflatables, I was unable to push my design further than it already is. In fact, I went the wrong way of using Kangaroo on inflat-ables. However, I hope that I will learn to merge inflatable designs and computational design better.

B7: Learning Outcomes

The weekly tasks helped tremendously. As I was mostly designing on a 2D plane then “kangaroo-ing” it up into a 3D domes, learing various patterning abilities was crucial. For example, utilizing both field expressions and voronoi to create the voronoi inflatables would have been impos-sible without the knowledge obtained from tutorials.

B8: AppendixAlgorithmic Sketches

TEXT

Amy Frearson (2014) University of Stuttgart unveils carbon-fibre pavilion based on beetle shells, DeZeen Magazine < http://www.dezeen.com/2014/06/26/icd-itke-pavilion-beetle-shells-university-of-stuttgart/> [accessed 21 April 2015]

ArchDaily (2014) “ICD-ITKE Research Pavilion 2013-14 / ICD-ITKE University of Stuttgart” <http://www.archdaily.com/?p=522408> [accessed 20 April 2015]

Biomimicry Institute (2014) What is Biomimicry?: A sustainable world already exists <http://biomimicry.org/what-is-biomimicry/ > [accessed 15 April 2015]

Mathews, Freya (2005). Reinhabiting Reality: Towards a Recovery of Culture (Albany: State University of New York Press)

Micheal Pawlyn (2010) Using nature’s genius in architecture, TEDSalon London <http://www.ted.com/talks/michael_pawlyn_using_nature_s_genius_in_architecture#t-808381> [accessed 20 April 2015]

Stanislav Roudavski (2015) Patterning, Studio Air Lecture 5

Wikipedia (2015) Eden Project <http://en.wikipedia.org/wiki/Eden_Project> [accessed 20 April 2015]

IMAGES

1.1 http://www.archreh.com/Eden_Project/EdenProject4.jpg

1.2 http://raredelights.com/wp-content/uploads/2013/10/Eden-Project-11.jpg

2.1 http://www.dezeen.com/2014/06/26/icd-itke-pavilion-beetle-shells-university-of-stuttgart/

2.2 http://www.dezeen.com/2014/06/26/icd-itke-pavilion-beetle-shells-university-of-stuttgart/

2.3 http://www.archdaily.com/522408/icd-itke-research-pavilion-2015-icd-itke-university-of-stuttgart/

3 http://sjet.us/PROJECTS/MIT_VOLTADOM/DSC_0360_Final_small.jpg

References

PART C Detail Design

When all natural wonders have

been scientifically investigated, and all ancient monuments have become tourist attractions, where can one seek the

numinous, the sacred? ”

“

Design Concept

“[…] when all frontiers have been tamed and developed, whenall exotic tribes and species have been winkled out of their hidden crannies and firmly tagged, where after all can one look forthe wild, the unknown? When all natural wonders have been scientifically investigated, and all ancient monuments have become tourist attractions, where can one seek the numinous, the sacred? In a world contracted by motor travel and telecommunications,how can one experience vastness?”

In the quote, Matthews exclaims and yearns for an experience that is out of the ordinary. He seeks for an escape from the dull and boring world that we live in. He is looking for adventure, a place that can be found only in fantasy and dreams.

I took on Matthews’ desire and began on a quest of finding architecture that could bring about an experience of adventure.

I began looking for oppurtunities along Merri Creek that could spell an adventure. What I found was that the interraction between people and the creek was at a minimal. Even at the key locations along Merri Creek such as the CERES community park and the Collingwood Children’s Farm that were hotspots for communal activities, the people did not had a oppurtunity to engage with the stream. Therefore, I saw an oppurtunity to utilise the things that I have learned in Studio Air to bring about architecture that could create a new and bizzare experience.

In Part B of the Studio Air journal, I proposed an inflatable structure that could allow people to walk and perform various activities above the water surface. The idea was interesting and it caught the attention of the critics. However, in order for the idea to work out, I needed to polish and work on the idea more.

The project brief for Studio Air this semester was quite open and friendly towards the students’ own interpretation of the site and users’ needs. The Project Brief attached on the LMS gave students a guideline towards constructing a brief for their studio. In the document, there was a quote from Matthews (2005) that caught my attention and became the basis of my design proposal. Below is the quote:

Look deep into Nature, and

then you will understand everything

better. — Albert Einstein”

“

The main challenge of my idea was to create a structure that could support the weight of people above the water. The structure had to be able to transfer the live loads onto the water surface. Learning from Part B, I turned to biomimicry to search for answers.

I came across the Victoria Amazonica, the world’s largest water lily. The water lily is able to support the weight of a small human ontop of it. Fascinated by the plant’s capabilities, I began researching about it.

The water lily contained air bubbles or air pockets that were created by the intercellular space between spongy parenchyma cells. The air bubbles provides the water lily its buoyancy force. The further enchance its buoyancy, the Victoria Amazonica has a web-like structure beneath it to interconnect all the air bubbles.

Utilising this concept of multiple air bubbles supporting the plant membrane, I adapted this concept into my design.

Ideation1.1: The underside of the Victoria Amazonica, the world’s largest water lily.

1.2: Cross section of a water lily. Spongy parenchyma cells that surround air pockets that gives the plant its buoyancy.

1.3: Simple diagram of the air bubbles/pockets in the plant, all linked together by a web structure that keeps the lily afloat.

The sheetweb spider was another inspiration from nature that was adopted into the design. The web is spun by the spider over grass for support. By combining the two concepts from nature, I created an initial design sketch that would form the basis of my design.

After generating the initial design concept through a biomimetic approach, I began working on the potential of the concept on Grasshopper and Rhino.

1.4: The sheet-web spider’s web

1.5: Initial design concept sketch

The Net Berlin is an installation that allows the user to relate to topics of instability, levitation and regression. The net consists of multiple layers of flexible nets suspended in air. The flat layers of the net are interconnected which each other thus forming a “floating landscape” open for users to climb and explore. The community hammock allows people to experience space in an entirely different way.1

This project was taken as a precedent for my project due to its similiarity in terms of materiality and construction process. The net are connected to steel rods and then anchored to the walls of the building. The overall structure allows to be gauge the actual flexibility of nets available in the marketplace.

Precedent StudyNet Berlin - Numen/For Use

Numen.eu, ‘Numen / For Use » Net Berlin’, 2015 <http://www.numen.eu/installations/net/berlin/> [accessed 16 June 2015].

1.

Interim DesignDesign Definition Diagrams

Collide the points on the mesh net with the solid balls. The sizing of the balls can be changed to manipulate the topology of the net mesh.

Create mesh balls of different sizing and place them within the net area. Turn on the floor on kangaroo to similate the water surface. Make sure the mesh density is enough in order for smooth particle collision.

Create a mesh net from the area formed by the anchors. Make sure that the net is dense enough for smooth particle collision later on. Apply a negative Z vector to simulate dead load of the net as well as possible live loads

Set up points in which the net will anchor to. The anchor points should be located on supports.

The simulation of the interaction between the net and the inflatable balls are made possible with computation. Kangaroo in Grasshopper was used to relax the mesh net then have it collide with the solid balls. The topological effect of the net is dependant on the different sizing of the supporting balls. The entire process can be repeated to produce different iterations.

Population Density Meter

Summer Park

Merri Park

CERES Community Environmental Park

0 100

My design concept centres around becoming an escape for people from their everyday lives. It aims to target a wide range of users. Therefore, I propose that my design to be put in a community hub in order for maximum exposure towards the community.

I surveyed three community parks that were located along the Merri Creek. The data shown on the site plan on the right shows the rough number of people at the area during weekends. This data was obtained through observation and it is a rough estimate.

According to the data, CERES Community Environmental Park is the most populated site. The age groups of the people at CERES range from primary school kids to senior citizens, having the mean age group consisting of young adults.

CERES is an ideal place to locate my design due to its population density. This will allow the design to be exposed to a large part of the community.

Site Analysis

The CERES Community Environmental Park is a social hub for the local community. People generally head to CERES to participate in events such as various musical mini concerts and flea markets. During days that have no events, majoring of the people are seen to be exercising or taking a walk at the area. CERES has a large parking lot and therefore is a good start point for joggers and people who want to are planning to take a walk along the Merri Creek trail.

Taking advantage of the communal density of the location, I intend to locate my design relatively close to CERES. My design will participate as an

‘event’ alongside the various events held at CERES. Therefore, the design needs be located within reasonable walking distance from CERES. The walking distance should be less than 15 minutes as any walking distance that is longer would deter the interest of users participating in my design.

The coloured areas in the map above shows areas that are within close walking distance from CERES.

CERES Community Environment ParkBuildings & Roads

Greenery

Greenery (Denser)

Merri Creek

CERES

CHOSEN SITE

The specific site was chosen due to its close distance from the park and also the existing trees at the area. My design intends to be an ‘event’ and therefore it needs to be a temporary installation. Therefore, the design will have to rely on the existing structural elements at the site for support. In this case, my design will utilise the trees at the area for initial connection of the net.

Finalised Design

Utilising the Rhino and Grasshopper engine, I was able to run simulations between the interaction of the inflatable balls and the net membrane. By anchoring the ends of the net to the location of the trees and by manipulating the position and sizes of the inflatable balls, I was able to continuously test the outcome of the simulation. Computation turned my design process into a cyclical process of producing various iterations and choosing the ones that fulfilled the selection criteria I set for myself in Part B.

The diagrams showcase the iteration that was selected as the finalised design for this studio. The sizing of the balls allow the topology of the net to be transformed into an interesting floating landscape above the water.

The computation approach also enabled the simulation of ‘events’ that would occur in the real world. Such events include the deflation of the inflatable balls as well as the live loads exerted on the system by people.

Another feature that was added to the system was the incorperation of ‘water balls’ that would counteract the anti-gravitational nature of the inflatable balls.

Digital Model Simulation

Inflation Deflation Water Balls

PLAN1:200 @ a4

A

B

A

B

The inflatables supporting the net membrane are in spherical form in order to match a biophillic design. The main aim of the design is to provide an escape from the hustle and bustle of everyday life. Therefore, the biophillic form aims to soothe the tensioned mind.

Also, the form of spherical balls allows people to relate to various ball objects found in the realm of play. Since the birth of a person, the ball object has always had an association to play. From the baby’s play ball to the Zorb Ball of New Zealand, the ball form has always been etched into the human sense of play.

Engaging Nature

A

Section A-A1:100 @ a4

Section B-B1:100 @ a4

Due to the limitations at the FabLab, digital fabrication of inflatable objects were not possible. Therefore, most of the fabrication process documented are done with hand. However, computation was used to aid the

fabrication process of the inflatables.

In Part B, the inflatable prototype was a failure due to the lack of knowledge of how inflatable works. After having done research on the fabrication process of inflatables by Disney, I now am more prepared to tackle the fabrication

of inflatables.

Inflatable objects that are created in a 3D software such as Rhino are usually very curvaceous and contain many doubly-curved surfaces. The doubly-curved surfaces are hard to unroll directly on Rhino. The only possible method of unrolling doubly-curved surfaces is to convert the object into a mesh or panelled surface then unroll it. However, the panelled or meshed surface would not be suitable for creating an inflatable due to the complex amount of panels.

Disney describes the unrolling process of inflatables as an intuitive process, having man and computer work together to unroll a doubly-curved surface. The designer will have to intuitively seperate the entire model into ‘patches’ in which each flat patch will produce a similiar doubly-curved surface after inflation. Highly complex forms such as Disney characters can be fabricated due to Disney’s software and

the designer’s intuition.1

Disney’s software can be mimicked to be used similarly with Rhino and Grasshopper. A curvaceous form can be created in Rhino then translated into a mesh with a low polygon count with Grasshopper. The low polycount mesh can then be inflated in Grasshopper to check whether the mesh would achieve a similiar form close to that of the original. This process is a cyclical trial-and-error process and requires intuition on how the inflated mesh would turn out. The objective is to be able to unroll the mesh with fewest patches possible while being able to achieve the original form once inflated. The following pages showcase the prototyping process of inflatables as well as the fabrication

of the net.

Fabrication

Disneyresearch.com, ‘Disney Research » Designing Inflatable Structures’, 2015 <http://www.disneyresearch.com/project/designing-inflatable-structures/> [accessed 16 June 2015].

1.

As mentioned in the previous page, the process of fabrication starts with meshing NURBS sphere made in Rhino then testing out the mesh configurations required to achieve a spherical shape when inflated.

Inflatable Sphere Prototype 1

1. NURBS sphere created in Rhino

2. Converted into mesh

3. Inflation of mesh. Reset configuration of mesh if outcome not satisfactory.

4. Unrolled surfaces are outlined and printed on paper to continue on fabrication process.

Fabrication:1. Outlines of patches are traced onto plastic.2. The plastic is cut with guidance of the tracing.3. The edges of the plastic are connected by heat sealing. 4. The connections are taped to ensure air-tightness.

The outcome of the inflatable is satisfactory. It gives a spherical inflated form. However, the problems lie in the leakages.

There were several weaknesses found in my first prototype. First of all, the connections (heat seal & tape) were not strong enough to withstand the pressure. A stronger connection would be needed.

Also, the majority of the leakages occur at the ‘capping’ of the ball. This problem can be solved by minimising the surface of the capping and increasing the area of of the side strips.

Another Prototype was made as an improvement from the previous one. The weaknesses were adressed.

The connection was made stronger by creating ‘tabs’ at the connection point for heat sealing. This time, a cloth iron is used for heat sealing. The inflatable is further sealed with grafting tape to ensure air-tightness.

Another added feature are the ties in which the ropes from the net can be connected.

Inflatable Sphere Prototype 2

The outcome of the inflatable was good. It had minimal leakages and it could sustain more tension from the pressure.

NetPrototype

Primary Rope

Secondary rope to secure net to rope.

Net interwoven into primary rope.

The main construction element of the net consists of weaving and knots. In this prototype, the main net structure is taken from a fishing net and then weaved into the primary rope structure. The primary rope structure is then connected to the trees via knots.

The use of knots is excellent in this case because it allows for ease of erection and dismantling. The design is meant to be temporary and therefore the use of knots addresses these issues well. The use of knots also goes well with the biophillic theme of the design instead of using permanent metal bolt connections.

Heaving Line Knot tied to tree for a strong connection.

Anchor into muddy soil for mandatory ground connections that allow people to access the net.

Net - Ball interactionPhysical simulationThe following photos show the simulation between the net and the inflatable sphere. In this case, a prefab inflatable ball is used due to its ability to resist tension from the net.

Studio Air has truly taught me plenty. Learning to apply computation into my design has opened my eyes to the various oppurtunities in architectural design. For example, in my design, I learned to design architecture that has no fixed form and how to account for it. Inflatable structures that are interractive are almost impossible to design to perfection on paper and pen alone. Therefore, the knowledge of Grasshopper helped me achieve my design. It allowed me to discover that there are more to architecture than the conventional tectonic structures used in architecture.

Learning Objectives & Outcomes

1. Numen.eu, ‘Numen / For Use » Net Berlin’, 2015 <http://www.numen.eu/installations/net/berlin/> [accessed 16 June 2015]

2. Disneyresearch.com, ‘Disney Research » Designing Inflatable Structures’, 2015 <http://www.disneyresearch.com/project/designing-inflatable-structures/> [accessed 16 June 2015]

1. https://delightcircle.files.wordpress.com/2014/08/flying-woman.jpg2. http://www.photographyblogger.net/wp-content/uploads/2011/06/Water-Lilies30.jpg3. https://mimiberlinblog.files.wordpress.com/2013/05/tumblr_mmjqrsrvhx1qch0soo2_12801.jpg

References

Images