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STUDIO AIRABPL 30048 / SEMESTER 1 / 2015Tutor: BradleyStudio Group 13634027 _ Weijia PAN (Jessie)
Table of Contents
4 INTRODUCTION
PART A. CONCEPTUALISATION
9 A.1. Design Futuring
15 A.2. Design Computation
21 A.3. Composition/Generation
26 A.4. Conclusion
27 A.5. Learning Outcomes
PART B. CRITERIA DESIGN
35 B.1 RESEARCH FIELD
36 B.2 Case Study 1.0 – GREEN VOID
42 B.3 Case Study 2.0
44 B.4 Technique: Development
50 B.5 Technique: Prototypes
51 B.6 Technique: Proposal
52 B.7 Learning Outcome
PART C. DETAILED DESIGN
57 C.1 Design Concept
70 C.2 Tectonic Elements
79 C.3 Final Detail Model
88 C.4 Learning Objectives & Outcomes
4 INTRODUCTION
My name is Jessie. I am a third year Bachelor of Environments student at the University of Melbourne, major in Architecture. And I am also an international student coming from China. My initial experience about architecture started early in my childhood since my dad is an architect in China. I got many opportunities to look at how my dad working on his projects and to talk with him about the buildings whenever we travelling to a new place. Hence, I was gradually interested in building design and made the decision to study the architecture major.
For me architecture has a very close relationship with both the nature where it sit, and people who are going to use it. Personally, I like focusing on the spacial organization regarding to the change of topography as well as how to attract people to engage with the building. This was much expressed in my design works for both Earth and Water Studio.
Even though I have already been to Melbourne for 4 years, my study back to my hometown still has a great impact on the ways of my understanding and thinking, which in fact limited my imagination and creativity. Throughout my first 2 years in University, my weak points were always at the beginning of a project and how could I effectively answering the design brief. I hope I can improve this a lot in the following studies.
My experience with digital designing is quite limited as I wasn’t able to improve my skill in Rhino at my 2nd year. My main practice with Rhino was during the study of Virtual Environments, which require us to design and make a lantern using Rhino and the plug-in Panelling Tools. Therefore, I am looking forward to revisiting Rhino and studying a new plug-in, Grasshopper, in the Studio Air, which I imagine would allow me to generating more solutions and help me in capturing and communicating ideas.
INTRODUCTION
INTRODUCTION 5
PART A.CONCEPTURALISATION
CONCEPTUALISATION 9
As the city is developing and the population is growing, there are even more concerns that have been raised by the citizens, questioning whether we are going to have a future life better than the past. The critical condition nowadays is the environmental issues following the rapid growth of the city, for instance the shortcomings in the resources and massive problem, that lead to a result of ‘defuturing condition of unsustainability’.[2] Just as what Fry claimed in his book ‘Design Futuring’, it is really the moment, that we, human beings, must be serious to the defuturing issue and start to take responsibility for our behaviours.
In particular for designer, the understanding of the future suggests the way towards the more sustainable and intelligent solutions. It is pointed out by Dunne and Raby in ‘Speculative Everything’, that critical design
would be able to contribute to the thinking about future possibilities while also raise the awareness of our actions.[3] Technique involved, which is the process of design computation, could easily help the designer to generate arrays of outcomes; and by testing and cultivating these outcomes, the final solution is going to be more efficient and fit to the existing context. In this case, design computation changes the way we think and design as we no longer focus on the style, but rather trying to discover what is really benefit to the social community.
Overall, the future is reminding us the importance of balancing the relationship between nature and human system. To actively achieve a better future life, design becomes the leading role in improving the world. And it needs to be ‘re-directed’ and re-defined towards a sustainable future.
A.1. Design Futuring
“In the past, design was about the form and function of things. These features, which were limited in space and time, could be delivered in a fixed form, such as a blueprint. In today’s ultranetworked world, it makes more sense to think of design as a process that continuously defines a system’s rules rather than its outcomes.”[1]
10 CONCEPTUALISATION
the PV system on its large flat roof; the total amount of solar modules is up to 3660.[5] Solar energy would be distributed throughout the building for heating.
Nature ventilation is another key aspect in BMW Welt as there would be a considerable amount of exhaust gases from the cars when the building is in use. Therefore, architects designed the facade to be able to net the solar energy for contributing to the ventilation. This is further operated by generating the natural air via the thermal currents, as well as the wind pressure and turbulences when air accumulates in the area of the facade and roof projection.[6] The adjustment of air intake and outflow was automatically
For the proposal of designing a car delivery centre, the Coop Himmelb(l)au firm was paying a lot of attention in dealing with the building performance in order to provide a sustainable building system, which is an well-being solution that expand the future possibilities in architectural design.
As described by the BMW Group, the BMW Welt unites the design and function in an equal manner.[4] What the architectural team was trying to do during the design process is to make every part of the building contribute to the building system in operation, rather than built only for an aesthetic purpose. For instance, one of the main ideas was about integrating
FIG.1.1
A.1.1 Precedent Project #1
BMW WELTCOOP HIMMELB(L)AU
MUNICH, GERMANY, 2007
CONCEPTUALISATION 11
FIG.1.2
controlled through vents, at the same time, Vegetation near ventilation elements helps bind dust year round and generate a cooling effect during the hot day.[5]
The structural design of BMW Welt represents a significant emphasis on the building performance in modern architecture. It suggests an environmental building system that benefit to both the nature sustainability and human activity within the architecture, which elevates the idea of ‘Design Futuring’.
12 CONCEPTUALISATION
The most remarkable part of this building should be its roof structure, an inspiration from Frei Otto’s grid-shell, which provides a possibility to generate a continuously curved roof that enclose the column-free exhibition spaces.[7] The advantage of this light-weight structure is that it is able to largely reduce the amount of material required yet still strong and stable enough to support the roof cover. And the use of laminated timber for the entire shell effectively reduces the embodied energy and offers more flexibility. The realization of the design involves the cooperation with the engineers, relying on computer modelling and CNC fabrication.[8]
Designed by Shigeru Ban, the Centre Pompidou-Metz is an art museum that features modern and contemporary arts for exhibition. It was designed and constructed for a purpose to display more arts to the public and to be able to show the very large works that cannot be stored in the Paris museum due to the height restriction.[7] Therefore, Ban was considered to design a large continuous space by emphasising on the vertical circulation using three tubes, which jumps out of the radical idea to be a high-rise building.[8] Also, the design achieves both functional and aesthetic outcome, neither as a sculptural nor an industrial architecture, which indicates a new concept for design of art museum.
A.1.2 Precedent Project #2
CENTRE POMPIDOUSHIGERU BAN
METZ, FRANCE, 2010
FIG.1.3
CONCEPTUALISATION 13
In this project, Ban shows his interest in timber shell structure, which in fact was also investigated in some of his other works. It is a good approach towards the sustainable result and provides the future possibility of discovering the intelligent building systems.
FIG.1.4
It is predictable that over the past few decades, technology was becoming one of the dominant forces that changing people’s life and driving the further progression of the world. It plays the role in more and more disciplines including social, political and economic. In particular for design, computation has experienced the increasing importance in generation and performative form finding.[10] Pointed out by Oxman, the rise of the parametric design and algorithmic thinking creates a new form of the logical design thinking, which not only sets the rules and algorithms for experimental design, but also allows the high level of generative variability in performance.[10] In this case, computation acts as the “analytical engine” that integrates the conception and production in order to provide the logic conclusion quickly.[11] At the same time, it contributes to the problem- solving by formulating the goals in response to the context of the design problem, described by Kalay as “puzzle making”,[11] and helps in understanding the potential limitation of the project.
The contemporary architecture also gets the benefits from computation during the design process, defining architectural theory as a digital continuum of material culture and fabrication design.[10] It is about the creation and modulation of tectonic systems. And also, through the process of formulating ideas based on design computation, the collaborative design relationship between architects and structural engineers has been strengthened, and further contributes to the communication with the builders and clients.[11]
Furthermore, design computation suggests the future possibilities in design, the critical idea about sustainability. The digital morphogenesis technology has been used a lot to combine with the performative simulation in order to analyse the nature ecologic system and generate the most efficient and suitable solution for the social community.[10]
A.2. Design Computation
“Architecture is currently experiencing a shift from the drawing to the algorithm as the method of capturing and communicating designs. ”[9]
CONCEPTUALISATION 15
16 CONCEPTUALISATION
A.2.1 Precedent Project #1ICD/ITKE RESEARCH PAVILION 2010
MENGES, ACHIM STUTTGART, GERMANY, 2010
FIG.2.1
FIG.2.2
In many architectural cases, the digital design processes only perform as a tool of representing the geometric shape. It seems that many of them failed in determining the most significant role of design computation. In fact, the physical world indicates the importance of the material culture as well as its influence in the form generation and fabrication that architects need to pay attention to.
However, this architectural precedent, Research Pavilion 2010, demonstrates a material-oriented computational design, in which the material characteristics and physical forces mostly lead to its geometric outcome.[12] The computational process started from a very small perspective, which is the material, the plywood strips. By simulating the planar elements through the algorithmic modelling process, the architects were trying to analysing the elastic bending behaviour of the plywood strip and collecting the relevant geometric information within the complex composition in order to modify the overall shape under the force.[12] In this case, the whole process is like a chain that in specific, the property of a single strip
CONCEPTUALISATION 17
affects the structural capability of the system when it is in composition with other neighbouring strips; as a result, this finally determine the position of the connecting points, the different strip patterns and mostly importantly, the final outcome of this light weight system.
Overall, this precedent is effective in showing the proposition of discovering the computational design in a material-based perspective. It indicates the possibility of involving an algorithmic logics throughout the entire process, including computational design, parametric modelling and production in architecture, which makes the design more feasible and responsive.[13]
FIG.2.3
18 CONCEPTUALISATION
The Landesgartenschau Exhibition Hall is a typical precedent that indicating the development and application of computational design in contemporary architecture. Constructed entirely by a robotic pre-fabrication system, it was designed to be material and fabrication oriented,[14] which discovering the new design possibilities in creating such a complex plate structure. At the same time, the use of locally available material, beech plywood, for its entire primary structure achieves higher degree of morphological differentiation in material efficiency and expressive architectural form.[15]
As the architects described, this project was made possible through the integration of “computational design, simulation, fabrication and surveying methods”.[15] Initially, the computational design and simulation successfully worked out the performative paradigm through an algorithmic modelling process that dealing with the material characteristics and fabrication parameters. As the pre-fabricated computation allows the free
A.2.2 Precedent Project #2
LANDESGARTENSCHAU EXHIBITION HALLICD/ITKE/IIGS UNIVERSITY OF STUTTGARTSTUTTGART, GERMANY, 2014
FIG.2.4
FIG.2.5
CONCEPTUALISATION 19
FIG.2.7
imagination during the design process, architects were able to create more innovative and inconventional outcomes. Afterwards, the main focus shifted from the geometry generation to the digital fabrication and assembly. This fabrication took three weeks, producing all 243 geometrically differentiated beech plywood plates, the insulation, waterproofing and cladding, as well as the 7600 individual finger joints as interlocking connection.[15] These individual elements were then set up on site and finished only in four weeks, following the structure analysis for its long-term behaviour.
The success of this case based on the computational design shows an interdisciplinary cooperation between architects, structural engineers and timber manufacturers.[15] It illustrates the future possibilities of translating the material language into an effective building system as a pattern of the nature world.
FIG.2.6
CONCEPTUALISATION 21
It is believed that the role of computation in architectural practice has gone beyond as just a simple digital tool, but rather, become more and more involved in architecture as the actual design process or a design method. Nowadays, the application of design computation is widely expressed in many architectural precedents; it provides the inspiration when dealing with a highly complex situation while also enables the new ways of thinking.
Generation, as the key aspect in design computation, allows the increasing capability of alternative solutions by working with the scripting language, for instance, Rhino and Grasshopper. It is flexible since it adapts the ability to accommodate change through the changing parameters in algorithm,[16] which itself performs as a model that creating an open system to manipulate. Within the generative design system, the code would be shared, simulated and analysed in order to explore the new options that relating to the future design
potentials.[16] These outcomes are responsive because they are generated from the performance feedback and reflecting the improvement for better communication.
As suggested, an algorithm is tell about “how the function is computed, rather than what the function is”.[17] Hence, the generative design would focus mostly on capturing the experimental processes in discovering the parameters that contributes to the building formation. In this case, while it is able to allow the changes happen during the practice, it also has the limitation of the association with the geometry, as all the scripting languages was clearly written and operated by the computer.
A.3. Composition/Generation
“This hasn’t simply transformed what we can design – it’s had a huge impact on how we build. ”[16]
22 CONCEPTUALISATION
Khan Shatyr Entertainment Centre is described as the tallest tensile structure in the world.[18] The realization of this structure is significantly based on the integration of design computation, in specific, the process of generative design with form-finding algorithm, which effectively provided the arrays of design options for its primary cable-net structure.[16] And also, the algorithm simulated part of the parametric model, which helps the architectural team to develop and define the efficient roof system. On the other hand, this lightweight cable roof is hung from the tripod, structuring all the cables in tensional force and allowing the flexibility of small movement under the impact of natural forces, such as wind and snow loads.
Inspired from the traditional yurt structures, the vast spanning cable roof provides a very efficient way of enclosing a large space.[19] It also performs in sheltering from the extreme local climate by cladding in ETFE, while the translucent canopy is able to allow the nature light into the interior.[18] In this case, computational simulation creates more responsive design, allowing the analysis of architectural decisions on its building performance.
A.3.1 Precedent Project #1
KHAN SHATYR ENTERTAINMENT CENTREFOSTER + PARTNERSASTANA, KAZAKHSTAN, 2010
CONCEPTUALISATION 23
FIG.3.2
24 CONCEPTUALISATION
SERPENTINE GALLERY PAVILION 2002TOYO ITO + CECIL BALMOND + ARUPKENSINGTON GARDENS, LONDON, 2002
The serpentine Gallery Pavilion 2002 is a great built example in showing the application of algorithmic approach in architecture design. The exterior of the pavilion appears to be an extremely complex random pattern, but in fact was generated through a well defined algorithm.[20] Initially, the modelling started from a simple cubic shape; by rotating and scaling a series of squares across the central axis, the numerous triangles and trapezoids are generated from the intersecting lines.[21] These lines are then folded logically over the cube, defining its structural elements. And as a result, there is no clear distinction between the envelope and building structure.
FIG.3.3
A.3.2 Precedent Project #2
CONCEPTUALISATION 25
FIG.3.4
In this precedent, the interpretation of algorithm was mostly dealing with the generation of the skin patterns. Even though the basic form of the building is simple, the use of algorithm is still able to enrich the context of the building. This seems to be a quite different approach of generative design compared to the previous precedents. It indicates another practice of using algorithm mainly for creating the aesthetic patterns rather than modelling of complex building structures. However, the benefit of generative design is even more obvious in this case, as it shows how architectural details could be explored from algorithm in relation to its function and built environment.
26 CONCEPTUALISATION
A.4. Conclusion
In general, PART A: CONCEPTUALISATION, establishes a very systematic approach in discussing the theoretical background of the implementation of computation in architectural practice. This concept was initially introduced through the study of design futuring, which illustrated the present shortcomings in our social community and suggested the potential transition in design discipline towards a more sustainable outcome. As a result, computational approach gradually expresses its advantages in discovering an intelligent building system. It redefines the practice of architecture as a process or performative generation rather than just a project. In this case, computation design enables a set of alternative solutions that generated through the parametric modelling, and by testing and analysing them against the constraints, the final solution would be most suitable for human comprehension in the contextual response.
CONCEPTUALISATION 27
A.5. Learning Outcomes
I think this three weeks study on the theory of computation is quite helpful for me to get into this subject and open up my mind. Basically, from the lectures and readings, I got a general understanding of what the computation is and why it is important in design, as well as how it works to manipulate the most efficient form. These theories were then becoming more practical when we were encouraged to discover how it actually performs in the existing architectural precedents. From those cases, I have realized the shift in contemporary design thinking from a form-based design to an algorithmic process of generation, which is a quite new approach to me since I used to start generating ideas from the geometric form. And it is interesting to see such an algorithmic modelling process contributes to the design outcome that is both flexible in its form and logical in its structure. In addition, learning from the online tutorials about the softwares was the most direct way in building up my ability in design computation.
28 CONCEPTUALISATION
REFERENCES
1. Thackara, John (2005). In the Bubble: Designing in a Complex World (Cambridge, MA: MIT Press), p. 224.
2. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16.
3. Dunne, Anthony & Raby, Fiona (2013). Speculative Everything: Design Fiction, and Social Dreaming (MIT Press), pp. 33-45.
4. BMW Group,”The BMW Welt Architecture,” <http://www.bmw-welt.com/en/location/welt/architecture.html> [accessed 12th March 2015].
5. Kriscenski, Ali (2007). BMW Welt: Solar-powered Masterpiece in Munich,
< http://inhabitat.com/bmw-welt-solar-powered-masterpiece-in-munich/> [accessed 12th March 2015].
6. ArchDaily, “BMW Welt / Coop Himmelb(l)au”,
<http://www.archdaily.com/29664/bmw-welt-coop-himmelblau/> [accessed 12th March 2015].
7. ArchDaily, “ Centre Pompidou-Metz / Shigeru Ban Architects”,
<http://www.archdaily.com/490141/centre-pompidou-metz-shigeru-ban-architects/> [accessed 12th March 2015].
8. ArchDaily, “The Architecture of Pompidou Metz: An Excerpt from ‘The Architecture of Art Museums - A Decade of Design: 2000 – 2010″,
<http://www.archdaily.com/507596/the-architecture-of-pompidou-metz-an-excerpt-from-the-architecture-of-art-museums-nil-a-decade-of-design-2000-nil-2010/> [accessed 12th March 2015].
9. Peters, Brady (2013). Computation Works: The Building of Algorithmic Thought from Architectural Design (AD) Special Issue - Computation Works V83 (2), p. 10.
10. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10.
11. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25.
12. ICD, “ ICD/ITKE Research Pavilion 2010”, < http://icd.uni-stuttgart.de/?p=4458> [accessed 14th March 2015].
13. ArchDaily, “Defining a More Purposeful Architecture: A Guide to Current Architectural Trends”,
<http://www.archdaily.com/585599/defining-a-more-purposeful-architecture-a-guide-to-current-architectural-trends/> [accessed 14th March 2015].
14. Lisa, Ana (2014). Robots Built This Peanut-Shaped Geometric Building From 243 Prefab Wood Panels,
<http://inhabitat.com/stuttgarts-geometric- landesgartenschau-exhibition-hall - is-made-from-243-prefab-wood-panels/>, [accessed 15th March 2015].
CONCEPTUALISATION 29
15. ArchDaily, “Landesgartenschau Exhibition Hall / ICD/ITKE/IIGS University of Stuttgart”,
<http://www.archdaily.com/520897/landesgartenschau-exhibition-hall-icd-itke-iigs-university-of-stuttgart/>
[accessed 15th March 2015].
16. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15.
17. Robert A. and Frank C. Keil, eds (1999). Definition of ‘Algorithm’ in Wilson, The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12.
18. Mills , Joe (2010). “The Khan Shatyr Entertainment Centre by Foster + Partners”,
<http://www.dezeen.com/2010/07/06/the-khan-shatyr-entertainment-centre-by-foster-partners/> [accessed 19th March 2015].
19. BuroHappold Engineering, “KHAN SHATYR ENTERTAINMENT CENTRE”,
< http://www.burohappold.com/projects/project/khan-shatyr-entertainment-centre-224/> [accessed 19th March 2015].
20. ArchDaily, “Serpentine Gallery Pavilion 2002 / Toyo Ito + Cecil Balmond + Arup”,
<http://www.archdaily.com/344319/serpentine-gallery-pavilion-2002-toyo-ito-cecil-balmond-arup/> [accessed 19th March 2015].
21. Rita Margarida Serra Fernandes (2013). “ Generative Design: a new stage in the design process”,
<https://fenix.tecnico.ulisboa.pt/downloadFile/395145541718/Generative%20Design%20a%20new%20stage%20in%20the%20design%20process%20-%20Rita%20Fernandes-%20n%C2%BA%2058759.pdf> [accessed 19th March 2015].
IMAGE REFERENCESFig. 1.1
BMW Group,”The BMW Welt Architecture,”
<http://www.bmw-welt.com/welt _ rb2012/_common/_shared/location/welt/ img/architecture/architecture _statics_1159848.jpg> [accessed 12th March 2015].
Fig. 1.2
ArchDaily, “BMW Welt / Coop Himmelb(l)au”,
< http://www.inhabitat.com/wp-content/uploads/bmwweltbuilding34.jpg> [accessed 12th March 2015].
Fig. 1.3
ArchDaily, “ Centre Pompidou-Metz / Shigeru Ban Architects”,
30 CONCEPTUALISATION
<http://ad009cdnb.archdaily.net/wp-content/uploads/2014/03/53324e2ec07a80cb6b00008f_centre-pompidou-metz-shigeru-ban-architects_pompidou_metz_292-530x353.jpg> [accessed 12th March 2015].
Fig. 1.4
ArchDaily, “ Centre Pompidou-Metz / Shigeru Ban Architects”,
<http://ad009cdnb.archdaily.net/wp-content/uploads/2014/03/53324e78c07a808489000088_centre-pompidou-metz-shigeru-ban-architects_pompidou_metz_319-530x404.jpg> [accessed 12th March 2015].
Fig. 2.1
ICD, “ ICD/ITKE Research Pavilion 2010”,
<http://icd.uni-stuttgart.de/wp-content/gallery/icd_research_pavilion_2010/pavilion_image_05.jpg> [accessed 14th March 2015].
Fig. 2.2
ICD, “ ICD/ITKE Research Pavilion 2010”,
<http://icd.uni-stuttgart.de/wp-content/gallery/icd_research_pavilion_2010/pavilion_image_01.jpg> [accessed 14th March 2015].
Fig. 2.3
ICD, “ ICD/ITKE Research Pavilion 2010”,
<http://icd.uni-stuttgart.de/wp-content/gallery/icd_research_pavilion_2010/pavilion_image_21.jpg> [accessed 14th March 2015].
Fig. 2.5
ArchDaily, “Landesgartenschau Exhibition Hall / ICD/ITKE/IIGS University of Stuttgart”,
<http://ad009cdnb.archdaily.net/wp-content/uploads/2014/06/53ab660fc07a80e73200012c_landesgartenschau-exhibition-hall-icd-itke-iigs-university-of-stuttgart_rh2276-0037-530x396.jpg> [accessed 15th March 2015].
Fig. 2.6
Winston, Anna (2014). WinstonLandesgartenschau Exhibition Hall is a plywood pavilion made by robots,
<http://static.dezeen.com/uploads/2014/06/Landesgartenschau-Exhibition-Hall-at-University-of-Stuttgart_dezeen_sqa.jpg> [accessed 15th March 2015].
Fig. 2.7
ArchDaily, “Landesgartenschau Exhibition Hall / ICD/ITKE/IIGS University of Stuttgart”,
<http://ad009cdnb.archdaily.net/wp-content/uploads/2014/06/53ab68b0c07a80e73200013c_landesgartenschau-exhibition-hall-icd-itke-iigs-university-of-stuttgart_diagram_-2--530x353.png> [accessed 15th March 2015].
CONCEPTUALISATION 31
Fig. 2.8
ArchDaily, “Landesgartenschau Exhibition Hall / ICD/ITKE/IIGS University of Stuttgart”,
<http://ad009cdnb.archdaily.net/wp-content/uploads/2014/06/53ab66eec07a8037b3000149_landesgartenschau-exhibition-hall-icd-itke-iigs-university-of-stuttgart_laga_306_interior-north-530x837.jpg> [accessed 15th March 2015].
Fig. 3.1
Mills , Joe (2010). “The Khan Shatyr Entertainment Centre by Foster + Partners”,
<http://static.dezeen.com/uploads/2010/07/dzn_Khan-Shatyr-Centre-by-Foster-+-Partners-3.jpg> [accessed 19th March 2015].
Fig. 3.2
Mills , Joe (2010). “The Khan Shatyr Entertainment Centre by Foster + Partners”,
<http://static.dezeen.com/uploads/2010/07/dzn_Khan-Shatyr-Centre-by-F.jpg> [accessed 19th March 2015].
Fig. 3.3
ArchDaily, “Serpentine Gallery Pavilion 2002 / Toyo Ito + Cecil Balmond + Arup”,
<http://ad009cdnb.archdaily.net/wp-content/uploads/2013/03/51423db9b3fc4bd202000043_serpentine-gallery-pavilion-2002-toyo-ito-cecil-balmond-arup_3-iii-528x291.jpg> [accessed 19th March 2015].
Fig 3.4
ArchDaily, “Serpentine Gallery Pavilion 2002 / Toyo Ito + Cecil Balmond + Arup”,
<http://ad009cdnb.archdaily.net/wp-content/uploads/2013/03/51423dcfb3fc4b43eb00005a_serpentine-gallery-pavilion-2002-toyo-ito-cecil-balmond-arup_11-iii-528x261.jpgg> [accessed 19th March 2015].
PART B.CRITERIA DESIGN
CRITERIA DESIGN 35
Geometry should be one of the key aspects that lie at the core of architectural design process. It is omnipresent, from the initial form-finding and prototype testing to the actual construction in the real world. In fact, back to the early day, the applied geometry or mathematical ideas had already revealed their important roles in the classical architecture, for instance, the golden ratio in Athens Parthenon. And at the contemporary digital era, the modern constructive geometry could even reaches more and more unexpected solutions with the support of various computational software.
Geometry deals with shapes, but in order to handle these shapes, it is also trying to bring the mathematical logic into the simulation, which is in relation to another aspect ‘structure’. In particular, it covers a
range of techniques, including ruled surfaces, paraboloids, minimal surface, geodesics, relaxation and general form finding, and Boolean. These techniques offer arrays of design possibilities, which could be cultivated in order to meet the challenge in scale and engineering.
My choice of using geometry as the focal point is based on the design brief for our tutorial group. This time, since the design concept is quite open and abstract, I was looking forward to discover the algorithms and generate more interesting geometry through the computational process. At the same time, materiality would potentially determine the constructability and feasibility of all the possibilities.
B.1 RESEARCH FIELD
36 CRITERIA DESIGN
designing and fabrication, in regard to the new building typologies.2 The computer-model, based on the simulation of complexity in naturally evolving systems, establishes a new way of digital workflow. In this case, its geometry smoothly follows the natural lines, contours and surface-tension of the lightweight fabric, and encloses an organic space inside the void.
In addition, the installation of Green Void is also a response to sustainability because it is portable and reusable and it makes an optimum use of material and efficiency in construction weight, fabrication and installation time, while at the same time providing the visual aesthetics in this large atrium space.
Green Void is a 3-dimensional lightweight-sculpture, a digital design outcome that solely based on minimal surface tension, as well as the freely stretching between wall and ceiling and floor.1 The theory of minimal surface was initially explored by Frei Otto in his design of the fabric tensile roof of the 1972 Munich Olympic Stadium. It could be understood by imagining an experiment where two hollow rings are dipped inside a film of soap and then pulled apart. At that time, this design was considered revolutionary with its lightweight tent construction in such a large scale.
Engaged with this theory, LAVA underwent a complete digital workflow in both
B.2 Case Study 1.0 – GREEN VOID
GREEN VOIDLAVA
SYDNEY, AUSTRALIA, 2008
FIG.2.1 FIG.2.2
CRITERIA DESIGN 37
FIG.2.2
MUNICH OLYMPIC STADIUMFREI OTTO
MUNICH, GERMANY, 1972
FIG.2.3
38 CRITERIA DESIGN
B.2.1 Matrix Of Iterations
Specie #1
Specie #2
Specie #3
Specie #4
CRITERIA DESIGN 39
40 CRITERIA DESIGN
B.2.2 Best Outcomes
CRITERIA DESIGN 41
As my design would focus on generating forms based on properties of minimal surface structure, definition of the Green Void was firstly used to investigate the function of kangaroo component. By changing its parameters, including stiffness, tensile strength, gravity force, and manipulating with the anchor points, different forms and surface conditions could be achieved. Also, each branch of opening is strongly related to each other as they share the same central void.
At the second stage, a new component, exoskeleton, was used to create base mesh from curve inputs. It is useful in transferring the line segments into watertight meshes, and generating the nodes at each intersecting point. The created mesh could then be connected to the kangaroo component to explore how the form would be influenced under the living forces.
For the third and forth species, I started to use the basic mesh plane and cube to experience the change. These two inputs, especially the mesh plane are very close to the idea of tensile membrane.
42 CRITERIA DESIGN
The Net Berlin is an op-art social sculpture relating to the topics of instability, levitation and regression.3 It consists of multiple layers of nets suspended in the air with certain openings in order to move from one layer to another. At certain counterpoints, the nets are connected together and fixed with a plate. In this case, a floating space would be set in between the layers, offering a dynamic spatial relationship for users to explore.
I like this idea of layering in Net Berlin, as it reveals another approach to create the space while potentially establish the zones within the entire structure. However, the patterns of nets are quite limited as well as the entire form. And it also relies on the rigid edges to hold the net in position. Further development on this material might includes the generation of the skeleton and the ways of connecting the strings.
B.3 Case Study 2.0
NET BERLINNUMENOPERNWERKSTATTEN BERLIN,26/4/13-2/6/13
FIG.3.1
CRITERIA DESIGN 43
Reverse-engineer Process
1. Create a mesh plane in Rhino and reference into grasshopper
2. Generate mesh edges to turn into springs
3. Create vertices on grids
4. Bake vertices into points
5. Select all the points around the mesh edges
6. Select other points randomly on each layer
7. Capture these points into point component and connect to Kangaroo as anchor points
8. Add UnaryForce component to allow the gravity force
9. Start the Kangaroo Simulation
10. Drag the points to meet with certain points
44 CRITERIA DESIGN
B.4 Technique: Development
Specie #1
CRITERIA DESIGN 45
Specie #2
46 CRITERIA DESIGN
Specie #3
CRITERIA DESIGN 47
Specie #4
48 CRITERIA DESIGN
B.4.1 Best Outcomes
CRITERIA DESIGN 49
In search for the technique to help develop my understanding of the tensile structure, I started the experiment based on the nurbs surface and geometry and changing the parameters of kangaroo component. The results were generally similar to some of the outcomes in case study 1, except in specie 2, the entire geometry indicates stronger relationship within itself under the effect of relaxation.
As I felt the definition is hard to explore any further, I tried to work on some other components to discover the patterns. Specie 3 was an attempt in using voronoi cells to construct the structural frame. By adding the components such as cull patterns and random reduce, I was able to see the effect of such sets components in creating more dynamic solutions. Specie 4 was an experiment on the different components of weaverbird. It is quite useful in creating mesh.
50 CRITERIA DESIGN
B.5 Technique: Prototypes
This is a rough prototype that expressing the definition of kangaroo component. In this prototype, cotton strings were tied to one of the frame, and randomly tied with each other, which are fully relaxed. The final form is mostly affected by the natural gravity of the strings and nodes as well as the bottom triangular frame, which acting as tensile strength which stretching the entire form into a narrowed shape. It also indicated the possibility of produce pattern if increasing the density of strings and connections.
CRITERIA DESIGN 51
B.6 Technique: Proposal
My chosen site is the Merri Creek Labyrinth. It is 4km far from CBD and close to the Clifton Railway Station. It is in fact located within the natural reserves along the Merri Creek and hence would be a great built environment. As observed on site, the main users for this location are the cyclists coming from the Merri Creek Trail, nearby residents and some visitors; activities including cycling, walking dogs and picnic. Therefore, I am intended to provide a temporary web for vistors to take a rest; in particular, the web should engage within the existing context and use the pattern of labyrinth as an inspiration for the final form-finding.
52 CRITERIA DESIGN
B.7 Learning Outcome
The part B provides the practical approach towards the computational design. Throughout the project, the idea of algorithmic thinking is enhanced and also contributing to our ability in manipulating using digital language. My chosen case study, Green Void, helps me a lot in understanding the form-finding process. By changing the parameters in a definition, I was able to play around with the forms, and I could feel how algorithms are efficiency in generating the sets of possibilities. However, it is not enough to just focus on the algorithms themselves, but more importantly, the design brief and agenda are the supports to regulate the exploration process and make the final outcome in a good respond to a certain context. I hope I could discover more about the brief in the following weeks.
CRITERIA DESIGN 53
REFERENCES
1. 1. Radar Exhibition, “Green Void - Anuradha Chatterjee reviews LAVA’s installation at Sydney’s Customs House”,<http://www.sydneycustomshouse.com.au/news/documents/GreenVoidArchitectureAustraliap25-MayJun09.pdf>[accessed 14th April 2015].
2. Baraona Pohl, Ethel (2008), “Green Void/LAVA”,<http://www.archdaily.com/10233/green-void-lava/>[accessed 14th April 2015].
3. Numen/For Use, “Net Berlin”,<http://www.numen.eu/installations/net/berlin/>[accessed 16th April 2015].
IMAGE REFERENCES
Fig. 2.1Baraona Pohl, Ethel (2008), “Green Void/LAVA”,<http://ad009cdnb.archdaily.net/wp-content/uploads/2008/12/1522945956_081210-green-void-build-up7-cb-299x450.jpg>[accessed 14th April 2015].
Fig. 2.2Baraona Pohl, Ethel (2008), “Green Void/LAVA”,<http://ad009cdnb.archdaily.net/wp-content/uploads/2008/12/75422772_model-customs-house-324x450.jpg>[accessed 14th April 2015].
Fig. 2.3Munichphotos, “Munich Olympic Park”<http://www.munichphotos.com/wp-content/uploads/2012/07/Munich-Olympic-Park.jpg>[accessed 13th April 2015].
Fig. 3.1Numen/For Use, “Net Berlin”,<http://www.numen.eu/assets/87/_resampled/SetWidth566.4-2013-05-01-15.18.26x2.jpg>[accessed 16th April 2015].
PART C.DETAILED DESIGN
PROJECT PROPOSAL 57
C.1 Design ConceptDESIGN PROPOSAL
In this last part of Journal, the conceptual approach and algorithmic techniques that developed in Part A & B would be pushed forward and discovered in more detail in relation to the built context. The Detailed Design stresses on the design proposal, conceptual idea and technique, Which conclude the key design phases in Part C. At the current stage, all the decisions that relating to the form should be finalized in responding to the design brief and contextual integration, and most significantly, the scale must to be considered during the form-finding process.
The two briefs we were given for this project includes a general topic about ‘Living Architecture’, and a specific limitation for our class, ‘hammock.net.cocoon.web.canopy’. For the first brief, the concept of ‘living’ suggests the potential demand for people to get away from the pollution and industry and embrace the nature features. During the site visit, we could notice that Merri Creek performs as the centre of ecosystem among this region, which is in particular, the closer to the creek, the more
opportunities that people could interact with the green space and nature environments. Unfortunately, The creek gradually became the site of heavy industrial use throughout the recent years, being home to quarries, landfills and accepting waste runoff from neighbouring factories. In this case, our group was intended to create a system that reducing the feeling of industry world along the creek, while also leading people to pay attention to the importance of nature.
On the other hand, the class brief significantly set up the limitation of the material use as well as the site selection. As the design cannot touch the ground or the water, it is much like a hanging web. Therefore, the strong anchor points or structural supports are required to hold and lift up the main body structure. In the previous part, the algorithmic techniques in discovering the Green Void Kangaroo plug-in are useful in addressing this brief, as it allows the flexibility in the relaxed form, which is helpful in generating a soft shape.
58 DETAILED DESIGN
2.5KM to CBD
wint
er winter
sum
mer
summ
er
0 10 20 30 40 50
N
Main
Yarra
Trial
Capital City Trial
Gipps Street
Victoria Cres
SITE - bridge Main Yarra Trial
Main Yarra Trial
F A Andrews Reserve
Yarra Blvd
wind
wind
PROJECT PROPOSAL 59
2.5KM to CBD
wint
er winter
sum
mer
summ
er
0 10 20 30 40 50
N
Main
Yarra
Trial
Capital City Trial
Gipps Street
Victoria Cres
SITE - bridge Main Yarra Trial
Main Yarra Trial
F A Andrews Reserve
Yarra Blvd
wind
wind
C.1 Design ConceptSITE ANALYSIS
The selected site is a bridge in the Collingwood Suburb, approximately 2.5km away from the CBD. It is located in the way of the Main Yarra Trial, and is relatively a high frequency using space. As observed on site, the activities near this bridge includes cycling, boating, picnic, walking dogs, etc. It extends part of its structure to the area of F A Andrews Reserve and shares with a large area of green space at its east end.
As a connection between the two sides of the river bank, passing trough the bridge from west to east could be seen as a transition from the urban and industrial setting towards the fully nature and green area. In this case, we came up with our conceptual idea of a form in transition, which engaging with the existing bridge structure, and creating a sculptural form in emphasizing the motion across the bridge.
60 DETAILED DESIGN
C.1 Design ConceptSITE ANALYSIS
SITE
PROJECT PROPOSAL 61
SITE
62 DETAILED DESIGN
C.1 Design ConceptCONCEPTUAL IDEA
PROJECT PROPOSAL 63
Our conceptual idea is about to generate a continuous system surround the bridge. The initial inspiration is based on the experiment in twisting an elastic material with two rigid frames at its openings that holding up the form. It suggests the possibility of creating the internal space, and the division of sub-system with the position of the bridge. In particular, the bottom part that under the bridge would be functioned as a net that the users could actually climbing and lying on it, which provides the opportunity to get closer with the water.
The proposal of establishing such an enclosed form is to create a micro environment within the system, which allows the users to easily interact and engage with it. In this design, each part of its structure is going to have a relation with each other. Therefore, the bottom net would not be enjoyed separately and hidden to the upper bridge, instead, people walking on the bridge could also feel the movement of the ropes. At the same time, the lightweight ropes would always be active under the impact of the wind.
64 DETAILED DESIGN
C.1 Design ConceptTECHNIQUE ILLUSTRATION
CURVE
PROJECT TO PLAN LINE
MOVE
ROTATE 3D
SCALE
BREP
(GEOMETRY)
(GEOMETRY)
LOFT
DISPATCH EXPLODE SURFACE
DIVIDE POINTS
(AXIS)
(CENTRE)
HORIZONTAL FRAME
INITIAL GEOMETRY
MESH RELAXATION
PROJECT PROPOSAL 65
LOFT
MESH
MESH EDGES
LIST ITEM
MESH DECONSTRUCT
NAKED VERTICES
SPRINGFROMLINE
WBJOIN
(ANCHOR POINT)
(FORCE OBJECT)
(GEOMETRY) KANGAROOPHYSICS MESH
UV FACTOR
SURFACE MESH
66 DETAILED DESIGN
C.1 Design ConceptFINAL FORM
INITIAL FORM
PROJECT PROPOSAL 67
FINAL FORM
The initial form we presented in the final presentation is much more rigid and heavy. It includes several irregular frames surround the bridge, hollow triangular panels lying across the frames, as well as the ropes directly fixed at the frames and panels. In this case, the whole design seems too heavy and even enhances the feeling of industrial with the steel bridge structure. Therefore, we decided to change the triangular panels with the relatively lightweight ropes, and simplified the core structural frame to be rectangular shape instead of complex geometry.
The final design consists of 3 parts: the core element of
rectangular timber frame, the ropes passing around the bridge through the holes on the frame, and the elastic membrane lying under the bridge. Holes on the frame serves as the extra anchor point in organizing the ropes, and the orders in installing the ropes through different holes would potentially create different patterns and provide the opportunity to generate the curved form. For the bottom part, the net was changed to be double layered, with a tensile membrane as the upper layer for use while the surrounded ropes under the membrane to provide additional anchor points and the feeling of safety.
68 DETAILED DESIGN
C.1 Design ConceptSITE PLAN
PROJECT PROPOSAL 69
N
SCALE 1:300
70 DETAILED DESIGN
C.2 Tectonic ElementsCORE CONSTRUCTION ELEMENT
The core construction element in our design is the structural frames. The most critical point of them is the connection between the frame and the bridge structure as the frames are going to use as one of the load bearing elements in order to carry the load from the ropes. Therefore, additional beams are require to be bolted with the timber frame and also the rigid structure of the bridge. At the same time, the frames are impossible to manufacture into a single unit, as they are designed to surround the bridge. Hence, we divided the whole frame into four separate beams that allows them to be bolted together on site. However, the frames may not as strong as when they are a continuous unit, additional bracing may need to strengthen the structure.
PROJECT PROPOSAL 71
72 DETAILED DESIGN
C.2 Tectonic ElementsPROTOTYPE #1
PROJECT PROPOSAL 73
The Prototype #1 is an experiment focusing on a small part of the initial design. In this prototype, the three key design elements were being illustrated in regard to different materials and different joints, which suggested the possible solution towards the real construction. However, they also indicated some potential issues, for instance, dividing the whole frame into small elements could be more convenient to transport, but it would be quite hard to install on site.
74 DETAILED DESIGN
C.2 Tectonic ElementsPROTOTYPE #2
PROJECT PROPOSAL 75
The Prototype #2 is an attempt in the fabrication of the structure between two core rectangular frames. The elements were being laser cut with 3mm MDF, hence they are strong in supporting the entire structure. In general, it indicates how the space could be regulated by the ropes across and how the holes on the frames are able to orient the path of these ropes. In addition, the membrane need to be tightly fixed to the frame and additionally tied to these ropes; while it is on site, more anchors points on the membrane need to be fixed to the bottom structure of the bridge in order to disperse the living load on the membrane when it is in use.
76 DETAILED DESIGN
C.2 Tectonic ElementsPROTOTYPE #3
The Prototype #3 is a detail experiment towards the final form of our design. It may not effective in exploring the detail of the joints and connections, but it did practically bring us closer to the understanding of how our design may function and how the users could feel either inside and outside of this system. For instance, the entire twisting geometry is able to be realized by organizing the ropes in a particular order. At the inside of the bridge, the ropes create the shadows on the ground. It reduces the rigid feeling from the steel bridge structure and suggests the potential movement along these ropes.
PROJECT PROPOSAL 77
78 DETAILED DESIGN
PROJECT PROPOSAL 79
C.3 Final Detail Model
80 DETAILED DESIGN
C.3 Final Detail Model
PROJECT PROPOSAL 81
82 DETAILED DESIGN
C.3 FINAL DETAIL MODELELEVATIONS
NORTH ELEVATIONSCALE 1:200
PROJECT PROPOSAL 83
WEST ELEVATIONSCALE 1:200
SCALE 1:300
86 DETAILED DESIGN
PROJECT PROPOSAL 87
88 DETAILED DESIGN
B.7 Learning Objectives & Outcomes
The Part C demonstrates a practical design approach in generating and developing a case for proposal. In general, it really opened up my mind in joining up the theoretical understanding from Part A and the algorithmic study in Part B, and appears to be much more comprehensive and complex. For my group, the main purpose of the design proposal is to establish a parametric system that ‘embracing’ the bridge. In this design, we were trying to engaging with the soft and flexible form and intended to create a contrast with the bridge as well as the western bank of the river. For this purpose, the form was mainly explored through the parametric process, and then being detailed to consider whether the structure is reliable and could be built. Significantly, I was inexperience in this process of fabrication considering my study in Architecture, as in either Studios and subjects about construction, the steps of form design and building construction were separately taught. Therefore, Studio Air provides an opportunity for us to push our design forward into the real world, and developing the design outcome based on the tectonic understanding.
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