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Studio Air Stephanie Clark 640181Tutorial 2 - Canhui Chen

Final Journal

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Table of Content NTRODUCTION A.1 Design FuturingA.2 Design ComputationA.3 Composition/ GenerationA.4 ConclustionA.5 Learning OutcomeA.6 AppendixBIBLIOGRAPHY

B.1 Redearch FieldB.2 Case Study 1.0B.3 Case Study 2.0B.4 Technique :DevelopmentB.5 Technique: PrototypesB.6 Technique : ProposalB.7 Learning Objectives and outcomesB.8 AppendixBIBLIOGRAPHY

C.1 Design AgendaC.2 Design ProposalC.3 PrototypesC.4 Construction ProcessC.5 PhotographsC.6 Learning Objective and OutcomesBIBLIOGRAPHY

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My name is Stephanie Clark, I am a third year architecture student at the University of Melbourne. I was born and raised in Vietnam. It was not until I was 11 years old that my family decided to move to Austra-lia. Ever since I was a little kid, I have had a passion for Art. I loved drawing and often turned the walls at home into my own canvas. Over the past few years, I’ve developed a new hobby of drawing photoreal-istic people using pencils and prismacolours. Architecture was something I’ve always wanted to pursuit; with a dream that one day I would be able to design my own home. I see architecture as art in a solid form, which might explain the organic and somewhat fluid forms of my past projects in design studios. I am par-ticularly interested in the relationship between built forms and nature, and how forms and materials can be utilised in a way that integrate the building and its natural environment into a unified composition. All of my designs up until this point have been done manually, which means that I have very little knowledge in digital design. I have previ-ously used Rhino in Virtual Environment, but from memories it was not a pleasant experience. Studio air would therefore be a challenge for me. However, despite its difficulties, I am hoping to take what I learn in this studio and apply to my future design approaches, to create more complex and creative outcomes.

Introduction

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PART A.CONCEPTUALISATION

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The Hy-Fi Summer Pavilion by the Living

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Figure 1.2: the recycling nature of the structure is solidified into its form, a cluster of adjoining towers with no end- representing the natural carbon cycle, a model of sustainability

Figure 1.3: Cornstalk and mushroom are placed in a formwork where they are allowed to bined chemically to form construction blocks.

As Fry has suggested in ‘Design futurin, for many decades, we human beings have been using more of our planet’s resources than we can reproduce to sustain the excess of the present [1]. This has effectively contributed to the accelerating defuturing condition of unsustainabil-ity. Therefore, redirective practices in design are needed in order to counter the unsustainable state of being while preserving the possibility of a future. Along with this line of thinking, David Benjamin designed and constructed the Hi-Fi Pavilion that aim to inspire and educate people.The Hy-Fi Pavilion is constructed using biological technol-ogies alongside advanced computer-based engineering to design a structure that has zero impact on the environ-ment [2]. The pavilion is made of organic blocks, a combi-nation of discarded corn stalks and mushroom which acts as a natural binding agent. At the top of the tower, the blocks are coated with a light-refracting film (developed by materials firm 3M) that bounces light down inside, eliminating the need for artificial lighting and thus carbon emission. Even though the concept of a ‘green’ building is nothing new, the pavilion is revolutionary in that it has an end of life plan; once the degradable material is done serving its purpose in the structure, it can return back to earth as fertilizers, nurturing new growth. By diverting the natural carbon cycle, the structure requires no energy and no ecological footprint, proving that things don’t necessarily need to be brought into existence at the cost of out planet’s resources and health.With its design intelligence, the pavilion provides a ‘fu-turist’ experience, showing an alternative future that is provoking, yet full of optimism. It surprises the visitors into questioning the current practice and way of living, contributing to changing perspective and culture towards recycling resources [3]. Even though the pavilion is only a temporal structure, it introduced a new technology and ideology that has the potential to expand future’s pos-sibilities of using our planets resources more efficiently. It will contribute to the ongoing architectural practices and more importantly sustainable living, that will no doubt ensure the health of our planet and our future.

Figure 1.1 (left): The Hy-fi Pavilion, with blocked coated with light-retracting film at the top.

A.ONE. Design Futuring

1. Fry. Tony, Design Futuring: Sustainable, Ethics and New Practive (Oxford: Berg, 2008), p.2.2. Perrin. Drumm, Mold Hy-Fi Bricks, http://www.alldayeveryday.com/articles/summer-pavilion-bio-hyfi-bricks-david-benjamin.3. Dunne. Anthony & Raby. Raby, Speculative Everything: Design Fiction and Social Dreaming (Cambridge: MIT Press, 2013), p.3.

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4. Fry. Tony, p.6.5. CTPUH, Al Bahar Tower- Abu Dhabi, http://www.ctbuh.org/TallBuildings/FeaturedTallBuildings/AlBaharTowersAbuDhabi/tabid/3845/lan-guage/en-US/Default.aspx.

Today, we’re living in an era when designs are be-coming increasingly trivialised, concerning with only elaborate and ostentatious appearances while remain-ing ignorant towards their environmental impacts [4]. Through the Al Bahar Tower, architect Aedas redefined the fundamental notion of architecture, demonstrat-ing the possibilities of buildings to extend beyond mere aesthetic and superficial, and towards sustainability. The Al Bahar Tower employed an intelligent façade, with geo-metrical patterns that folds and unfolds (controlled using the building management system) according to the sun’s path, effectively response to the climatic condition of the site [5]. In doing so, the shading screen successfully reduced solar gain by up to 50%, minimising the need for mechanical air conditioning and artificial lighting, thus reducing its carbon footprints significantly. This radical design is the work of architects and digi-tal technologies, whose collaborative effort give rise to a new design intelligence for the future. it redirects our ways of thinking about the impacts we have on the environments and at the same time opens up possibilities of engaging with computation resources for sustainable practices in the future. This idea conforms to the concept of design futuring of Fry, where design facilitates specu-lations and means for countering the still accelerating defuturing condition while creating a far more viable future.

Al Bahar Towersby Aedas

A.ONE. Design Futuring

Figure 1.4: The geometrical pattterns of the shading screen, which open and close ac-cording to the sun’s path.

Figure 1.5 (right): The Al Bahar Towers with their shading screens.

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6. Yehuda. Kalay, Architecture’s New Media: Principles, The Theories and Methods of Computer Aided Design (Cambridge: MIT Pess, 2004), p.10.7. Ghaffarian. Mahdiar, Paskan Tower, http://www.ctbuh.org/TallBuildings/AcademicStudentWork/UniversityofCalgary/2012SinclairStudio/Fracture/tabid/6030/language/en-US/Default.aspx.8. Oxman. Rivka & Robert Oxman, Theories of the Digital Architecture (Newyork: Routledge, 2014), p.3.

Within the last decade, architects have begun to adopt digital technologies as a tool to enhance their creativity, shifting away from the linguistic analogue and manual methods of design and presentation. Software scripting algorithms such as Rhino and grasshopper are often used during the design process and fabrication which widen the possibilities of problem solving in archi-tecture. According to Kalay, there are four processes in design: problem analysis, solution synthesis, evaluation and communication, most of which can be benefitted with the employment of computation [6]. Solution synthesis is phase in which ideas are generated to achieve a designed goal, requirement both human’s creativity and the analyti-cal capability of computers. Therefore, by integrating the parametric algorithms, it can potentially enable the pro-duction of design responses that are complex, creative and simply could not be achieved by human alone. This is clearly demonstrated in the Paskan Tower, a parametric design by Design Dot Studio. With the help of scripting algorithms, the designers are able to break free from the strict geometrical forms of the past and explore the possibilities of forms that are more dynamic and free flowing [7]. Parametric design, as a new form of design logic focuses on the associative and dependency relation-ships between the overall structural form and their parts-and-whole relationship [8]. This means that by manipulat-ing the variable of the parameters, other elements of the form will become mutually adaptive, allowing variable outcomes to be produced without compromising the entity and integrity of the structure. This also allows the form to be optimised according to the physical properties of its structural members which makes these free- form buildings structurally feasible, turning an ideology into reality.

Paskan Towerby Design Dot Studio

Figure 2.1: The parametric modelling process of the Paskan Tower.Figure 2.2 (right): The complex and fluid form of the Tower.

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A.TWO. Design Computation

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9. Oxman, pp 5-6. 10. Menges. Achim, ICD/ ITKE Research Pavilion 2010, http://icd.uni-stuttgart.de/?p=4458.

ICD/ ITKE Research Pavilion

Parametric design also enables a digital continuum from design to fabrication. This means that components that were traditionally independent, such as material design become an integral part of the digital architectural design process continuum [9]. An example of which is the ICD/ IKE Research pavilion, constructed in 2010. The pa-vilion is a material oriented computational design where its overall physical form is dictated by its material proper-ties [10]. The structure is made entirely of thin and elasti-cally bent birch plywood strips, which were digitally and physically tested for their ultimate elasticity and bending capacity (without compromising their integrity). This is what Oxman referred to as information modelling [11]. These material behavioural features are then embedded and simulated in parametric principles, giving rise to a form accordingly.

by Institude for Computational DesignFigure 2.3: The constructed pavilion, with bend birch plywoof strips as the embedded material.

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11. Oxman, p. 5.

Traditionally, the material solutions were often left to the engineers to decide which sometimes lead to errors or modifications that compromise the design intend. How-ever, by integrating the materials into the design process such as the case of the IDC/ IKE Research Pavilion, the architects take the job of the engineers into consider-ation. The design can also be communicated across other disciplines with clarity through software such as BIM, making the process of designing more inclusive, where everyone’s inputs and outputs collectively shape a final design outcome. Therefore it can be said that digital technology strengthen the collaborative design relation-ships and at the same time redefine the role of architects within the construction industries.The introductions of the digital technologies into the design processes can also eliminates errors in the end products and ensure that their functionality as well as

their performances are the same as the design intents. Architects and engineers are now able to study different behaviours of the buildings such as materials, structural systems and energy through rapid prototyping gener-ated by CNC and performance simulations software. This enables buildings to be constructed more efficiently with higher quality. With the help of innovative digital technologies, we are witnessing an emergence of a new era of architecture, a new way of thinking and practice that defies the limitation of what can be manually designed and built. We are now able to explore endless possibilities of design solutions, with forms that no longer need to conform to strict geo-metrical shapes and with new ways of experimenting with materials. It is without a doubt that digital technologies hold the future to architecture, where the only limitation is the human’s imagination.

A.TWO. Design Computation

Figure 2.4: The material is being tested for its physical proties: its ultimate elasticity and bending capacity.

Figure 2.5: the physical properties of the materials are then embedded using computation, which dictates the outcome of the form

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A.THREE. Composition/Generation

Figure 3.1: The Gherkin with its round shap and tapered top.

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12. MIT Encyclopedia of the Cognitive Sciences 2000, Algorithm Definition from Wilson, pp. 11-12.13. Freiberger. Marianne, Perfect Buildings:The Maths of Modern Architecture, https://plus.maths.org/content/perfect-buildings-maths-mod-ern-architecture.

The Gherkinby Foster and Partners

Many architectural firms today are shifting away from the conventional pens-and-paper composition and adopt-ing the emerging design method of computer genera-tion. This method integrates computation into the design process, in which algorithmic thinking plays an important role- processing data and codes inputs, then produces outputs that are complex and innovative [12]. This effec-tively results in the revolution of forms and their perfor-mances, leading architecture itself into a new era.With parametric modelling, contextual information such as topographical features as well as airflow can be incor-porated into the design in the form of parameters or algo-rithmic inputs, which collectively shape the geometrical outputs [13]. An example of this is the Gherkin, designed by Foster and Partners. The high-rise utilised computa-tion to simulate the way the wind blows around its body as well as the sound waves which bounce around it. This

is a common problems faced by tall buildings, which often create spaces that are uncomfortable to be in. In order to mitigate these effects, the Gherkin uses the contextual in-puts to find and test an optimal solution to the form- round in shape and tapered at the top- that has the capability of reducing whirlwind. With the convenient performance feedbacks at various stages of the project, the architects can also modify the algorithm to explore the positions and angles of the building to maximise natural ventilation and sunlight. Thus reducing its energy usage to up to 50%.Evidently, parametric modelling can create designs that are more responsive, allowing architects to analyse their decisions during the design process and in turn gener-ate optimum design responses. At the same time, it can also enhance the connection between the building and its natural context as well as contributing to sustainable solutions as in the case of the Gherkin.

Figure 3.2: using computation to simulate its contextual features and test for an optimal form.

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14. Peter. Brady, Computation Works: The Buildin of Algorithmic Thought, Architectural Design, 83 (2013), p.10.15. Foster and Partners, Smithsonian Institution, http://www.fosterandpartners.com/projects/smithsonian-institution/.

As Peter has suggested: “computation augments the intellect of the designer and increases capability to solve complex solution” [14]. Smithsonian Institution – another project by Foster and Partners- is an example of paramet-ric design, in which computation was utilised to tackle design issues: making its complex geometry structurally feasible [15]. The structure is composed of three intercon nected gridded vaults that flows into one another, creat-ing curves with various heights. Algorithm allows the architects to model and visualise the complex structure, enabling them to explore the design options, not only its appearances but also its physics- structural systems.

The Smithsonian Institutionby Foster and Partners

Figure 3.3: The complex geometrical form is successfully constructed through the method of generative design.

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The Smithsonian InstitutionThey can modify the parameters (codes) according to these feedbacks, changing the geometrical features such as the heights of the curves without affecting the nature of the design itself. This is one of the biggest advantage of generative designs, which allow architects to arrive at their design solutions more efficiently and in shorter time frames.Additionally, algorithmic thinking can tend to all the join-eries details with ease and higher accuracy (generating joints suitable for specific areas), which would almost be impossible with the compositional ap-proach. This facilitates strong connections and a depen-dent relationship between the individual components. For this reason, the Smithsonian Institution was able to be successfully constructed and spanned across a great dis-tance as a single entity without requiring any support of

columns in the middle.

Despite its advantages, there are still short coming with this generative approach. According to Peter in ‘Compu-tation Works- the Building of Algorithmic Thought”, many designers have not quiet developed algorithmic thinking, which results in the majority of today’s architectural firms treating computational design as a separate process[16]. On another hand, there are groups of designers (de-scribed as ‘lone guns’), who, despite their expertise in algorithm, allows their products to become an isolate craft rather than developing into an integrated art form. It is only when these two groups of designers merge to be-come one, where computation can be fully integrated into the practice and the actual design process that we can truly change and revolutionise architectural discourse.

A.THREE. Composition/Generation

Figure 3.4: The parametric design process of the Smithsonian Institution

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Over the past few decades, computation have become the new representative of architectural practices, replacing the conventional methods of pens-and-paper drawings. We are now even moving past the point when computation is restricted as a mere tool for architectural documentation, but have become a method of generat-ing designs through scripting algorithmic softwares. A method which also conveniently governs our fabrication and construction aspects, allowing buildings to be con-structed more efficiently with higher accuracy. It enables architects to explore a much wider range of design possi-bilities, breaking away from all the restrictions of tradi-tional conventions and turning many of the wildest, most innovative imaginations and ideologies into a reality. With this advancement in digital technology, the funda-mentality of architecture is also brought into question. Architecture is now much more than its built forms, much more than its appearances. it now exists in the form of re-search through design, testing for the optimum solutions of not only the design itself, but the underlying

intelligences which can potentially shape the relationship between human and nature, and thus the outcome of our future. This notion is evident in some of the mentioned architectural projects such as The Al Bahar Tower, ICD/IKE Research pavilion and the Gherkin building. This new concept of architecture has inspired my design approach for the upcoming project at the Merri Creek. I am particularly interested in the relationship between the built and natural environment, how the natural aspects of the site such as the wind and the sunlight can inform and contribute to the outcome of the design. These contex-tual information will become parts of the inputs for my parametric design, creating an outcome that will directly interact with the site, and hopefully allow people to expe-rience and appreciate nature in a unique way.

A.FOUR. Conclusion

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Prior to learning about algorithmic thinking of parametric designs, I used to think the existence of computation in architectural practice generates a form of dependency where designers rely completely on this technology to do their thinking, producing design responses that they did not intent for. In my opinion, it limits our imagination and certainly devalue the art of architecture. In some ways, this is true. However, after three weeks of studying and experiencing with a scripted algorithmic software, I be-gan to realize that these impacts don’t necessarily need to be negative and certainly does not make architects any lesser of designers. Instead, computation can enhance the architects’ creativity, turning them in to into a con-structible form no matter how complex and out-of-this-world they may seem. I would definitely use the knowl-edge I’ve gained to assist me in my future design projects, to create many more organic and innovative forms.

A.FIVE. Learning Outcome

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Appendix 1: Using the transformation menu on Grasshopper to explore different patterns and design outcomes on the same loft-ed surface.

Appendix 1 and 2 represent some of the advantages of incorporating algorithm scripting softwares into architec-tural designs. Appendix 1 includes parameters from the tranformation menu on Grasshopper. They allowed me to instantly model or modify the patterns of the loft surface, in relation to a plane or a point. As all components are able to become mutually adaptive, the relationship be-tween the individual components is maintained, reserving its integrity. In Appendix 2, the points of nterception of the curves are detected. This makes it easier to faciliates joints that can connect all the members at once. The ideas of using computation for generative designs, fabrication and construction have been explored in A.TWO. and A.THREE, proving once again the benefit of this advance digital technoly.

Algorithmic Sketches

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A.SIX. Appendix

Appendix 2: Detailing joints at curves intersections.

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CTPUH, Al Bahar Towers- Abu Dhabi, http://www.ctbuh.org/TallBuildings/FeaturedTallBuildings/AlBaharTowers-AbuDhabi/tabid/3845/language/en-US/Default.aspx [ac-cessed 1st August 2015].

Drumm. Perrin, Mold Hy-Fi Bricks http://www.alldayevery-day.com/articles/summer-pavilion-bio-hyfi-bricks-david-benjamin [accessed 1 August 2015].

Dunne, Anthony & Raby. Raby, Speculative Everything: Design Fiction and Social Dreaming (Cambridge: MIT Press, 2013), p.3.

Foster and Partners, Smithsonian Institution, http://www.fosterandpartners.com/projects/smithsonian-institution/ [accessed 13 August 2015]

Freiberger. Marianne, Perfect Building: the Maths of Modern Architecture, https://plus.maths.org/content/perfect-buildings-maths-modern-architecture [accessed 13th August 2015].

Fry. Tony, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p.2,6

Ghaffarian. Mahdiar, Paskan Tower, http://www.ctbuh.org/TallBuildings/AcademicStudentWork/UniversityofCalgary/2012SinclairStudio/Fracture/tabid/6030/language/en-US/Default.aspx [ accessed 8th August 2015].

Menges. Achim, ICD/ITKE Research Pavilion 2010, http://icd.uni-stuttgart.de/?p=4458 [ accessed 8th August, 2015]

MIT Envyclopedia of the Cognitive Sciences 2000, Algo-rithm Definition from Wilson, pp. 11-12. Oxman. Rivka & Oxman. Robert, Theories of the Digital Architecture (New York: Routlegde, 2014), pp. 3, 5-6.

Peter. Brady, Computation Works: The Building of Al-gorithmic Thought, Architectural Design, 83 (2013), pp10,15.

Yehuda. Kalay, Architecture’s New Media: Principles, Theories and Methods of Computer Aided Design (Cam-bridge: MIT Press, 2004), p. 10.

Bibliography

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Figure 1. 1: Drumm. Perrin, http://www.alldayeveryday.com/articles/summer-pavilion-bio-hyfi-bricks-david-benja-min [accessed 1st August 2015].

Figure 1.2: Graves. Kris, http://www.designboom.com/architecture/hy-fi-the-living-david-benjamin-moma-ps1-young-architects-program-2014-07-01-2014/ [accessed 1st August 2015].

Figure 1.3: Graves. Kris, http://www.designboom.com/architecture/hy-fi-the-living-david-benjamin-moma-ps1-young-architects-program-2014-07-01-2014/ [accessed 1st August 2015].

Figure 1.4: CTPUH, http://www.ctbuh.org/TallBuild-ings/FeaturedTallBuildings/AlBaharTowersAbuDhabi/tabid/3845/language/en-US/Default.aspx [ accessed 1st August, 2015].

Figure 1.5: Richters. Christian, http://www.designboom.com/architecture/aedas-clads-al-bahr-towers-with-dynamic-shading-device-02-13-2014/ [ accessed 1st August, 2015].

Figure 2.1: Ghaffarian. Mahdiar, http://www.ctbuh.org/TallBuildings/AcademicStudentWork/UniversityofCalgary/2012SinclairStudio/Fracture/tabid/6030/language/en-US/Default.aspx [ accessed 8th August 2015]. Figure 2.2: Ghaffarian. Mahdiar, http://www.ctbuh.org/TallBuildings/AcademicStudentWork/UniversityofCalgary/2012SinclairStudio/Fracture/tabid/6030/language/en-US/Default.aspx [ accessed 8th August 2015].

Figure 2.3: Menges. Achim, http://icd.uni-stuttgart.de/?p=4458 [ accessed 8th August, 2015].

Figure 2.4: Menges. Achim, http://icd.uni-stuttgart.de/?p=4458 [ accessed 8th August, 2015].

Figure 2.5: Menges. Achim, http://icd.uni-stuttgart.de/?p=4458 [ accessed 8th August, 2015].

Figure 3.1: Freiberger. Marianne, https://plus.maths.org/content/perfect-buildings-maths-modern-architecture [accessed 13th August 2015].

Figure 3.2: Freiberger. Marianne, https://plus.maths.org/content/perfect-buildings-maths-modern-architecture [accessed 13th August 2015].

Figure 3.3: Foster and Partners, http://www.fosterand-partners.com/projects/smithsonian-institution/ [accessed 13 August 2015]

Figure 3.4: Foster and Partners, http://www.fosterand-partners.com/projects/smithsonian-institution/ [accessed 13 August 2015]

Image Bibliography

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PART B.CRITERIA DESIGN

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HypoSurfaceby dECOi Architects

1. Burry. Mark. Aegis HypoSurface, http://mcburry.net/aegis-hyposurface/.

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B.ONE. Research Field

TesselationTessellation is the division of a surface into smaller, repetitive geometrical patterns without generating gaps or overlaps. With the emergence of advance digital tech-nologies today, tessellations can easily be optimized and embedded into complex forms without compromising its nature. This research field is therefore extremely flexible and provides an opportunity to combine with the field of geometry and create more exciting outcomes In the past, tessellation was commonly used to decorate the facades of buildings. However, today, designers are beginning to grasp the full potential of tessellations. They are now expected to be integral part of the structure and can be used to enhance its performances and empower the user’s experience. This can be achieved is by incor-porating kinetics principles into the algorithmic scripting, which allows the tessellations to be more interactive and responsive to the physical environments and its users’ activities. Through the use of software such as Grasshopper and its plug-in Firefly, it is possible to obtain real time data from the physical world such as noise and brightness etc and use them to define a parametric relationship between the tessellations. This would in turn generate a unified and dynamic movement across the surface, bringing the structure itself to life.This is demonstrated in the HypoSurface by dECOI. The structure consists of a series of metallic panels that are connected and move in sync, deforming the structure physically as a reaction to people’s movement and their voices [1]. This allows the building to communicate to the users directly, facilitating a relationship where users become the active participants. This relationship can also be extended to the physical environment in which the architecture locates. The tessel-lation can be parametric designed to response to factors such as wind and sunlight, similar to how it responses to people’s presence. Thus, it‘ll create a structure that is sensitive to the natural aspects of the site, allowing people to experience nature in a unique way. In order to account for the movements and the effects of the tessellations, the fabrication process might be tricky. This will require the use of computation to generate rapid prototypes, to test for the panels’ connections that will al-low for flexible movements and the types of materials that can enhance these effects.

Figure 1.1 (left) : HypoSurface reacting to people’s movements

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Voussoir Cloudby Iwamotoscott

2. Dragicevic. Pierre, List of Physical Visualisations, http://dataphys.org/list/gaudis-hanging-chain-models/3. Iwamotoscott, Voussoir Cloud, http://www.iwamotoscott.com/VOUSSOIR-CLOUD.

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B.TWO. Case Study 1.0

Through the works of Frei Otto and Antonio Gaudi, it was established that the most efficient and structur-ally stable arch follows the catenary curve of an upside down hanging chain [2]. The Voussoir Clouds itself draws from such studies to generate its form [3]. With today’s technology, the architects are able to efficiently experi-ment and optimize the catenaries through software such as Kangaroo physics, and achieve a much more complex shape. As the results, they successfully facilitated a sys-tem of substantial vaults which rely on compression for self-support.

The tessellations in this case, have a major role in main-taining the overall stability of the structure. With digital computation, the Delaunay tessellations can easily be calibrated and optimized to fit into the overall form of Voussoir Cloud. Each of them exerts opposite forces in equal magnitude onto its neighbors, which ultimately achieve a static equilibrium state and in turn the stability of the structure. As the software can easily determine the plan curvature and the compressive stress in each area, the density of the tessellations can then be increased or decreased proportional to the found information. For example, with the column bases under much larger compression, the tessellations are needed to be tightly packed together in the area to maximize the structural support.

Figure 1.2: Voussoir Cloud

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Connecting Two Surfaces with Tubes

Generating Form with 2D MetaBall

Selecting Anchor Poiints to Create Entrances and Open-ings

Exploring Fluid Form with Rocket

Exploring Fluid Form with Wind

Exploring Fluid Form with Rocket

Selecting Anchor Points using Cull Pattern and Reversing Unary Force

Deforming Structure with Pressure

Deforming Structure with Pressure

Deforming Structure with Pressure

Exploring Fluid Form with Rocket

Exploring Form Using Two Opposite Forces

Distorting Form using Curve Pull

Selecting Anchor Points using Cull Patterns

Varying the Length of the Columns

Using Graphmapper to Vary the Length of Tubes

Creating Openings with Weaverbird’s Frame

Creating Openings with Weaverbird’s Frame

Varying the Sizes of Frag-mentation Using Curves as Attractors

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IE 1

SP

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IE 2

SP

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IE 3

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IE 41 2 3 4

Iterations

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Creating Reciprocal Structure

Creating Reciprocal Structure

Creating Reciprocal StructureVarying the Sizes of Open-ings by Using Curves as Attractors

Varying the Sizes of Open-ings by Using Curves as Attractors

Varying the Sizes of Open-ings by Using Curves as Attractors

Varying the Sizes of Open-ings by Using Curves as Attractors

Circle Packing

Creating Interactive Structure using FireFly

Creating Interactive Structure using FireFly

Creating Interactive Structure using FireFly

Creating Openings with Weaverbird’s Frame

Fragmentation

Creating Openings with Weaverbird’s Frame

Creating Openings with Weaverbird’s Frame

Varying the Sizes of Frag-mentation Using Curves as Attractors

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Iterations

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ITERATION 1.3 ITERATION 4.6

ITERATION 3.2 ITERATION 4.7

Successful Iterations

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This iteration is chosen as it possesses the most dynamic form and a striking impact, which guarantee to grab the visitors’ attention. This is achieved by using cull pattern to select the anchor points and reversing the di-rection of the Unary Force. Additionally, even though the form implies an enclosed space, by creating large open-ings with the mentioned method, it effectively invites the outside in, blurring the perception between the internal space and the natural landscape. The structure can po-tentially be used as a canopy or a shelter, where the visi-tors can enjoy the shades or the coziness of the space, yet at the same time maintain a connection and engage their senses with the natural environment.

This iteration demonstrates the possibility of using Firefly to create a kinetic structure. In this particular itera-tion, Video Capture is used to analyse the level of noise generated by users in the physical world. This in turn pro-vides a set of data which acts as the scaling factors for the openings. As the noise level increases, the openings would become wider, letting in more sunlight and wind. This iteration is most successful in providing an interac-tive experience in which the users to become the active participants.

Iteration 4.7 is chosen for its tessellated skin and its potentiality in facilitating an interesting spatial experi-ence for the users. The sizes of the openings are modified by using the distances from each tessellation to a drawn curve as the scaling factors. This resulted in the base of the structure being more closed up and the top being more opened, inviting in sunlight. With the light hitting the surface of the structure at various angles during the day, it can lead to an intriguing and constantly changing light and shadow effect in the internal space. In doing so, the structure takes advantage of an everyday natural aspect and use it to create a compelling environment, in which the user’s appreciation for nature can be heightened. Furthermore, the iteration also entails the possibility of modifying the sizes of the openings to account for a spe-cific contextual factor other than sunlight, such as wind and view, turning the structure into something more site specific.

The iteration possesses a fluid form which is gener-ated by inputting a wind stimulation parameter in Grass-hopper. However, what interest me the most about this design is not the aesthetic quality of the structure, but rather the relationship between the form and the nature’s phenomenon. Rather than solidifying the structure at it is now, it would be more interesting to use a soft fabric for the skin and let the wind at the site itself determine the overall form. This would result in a structure that interacts directly with nature and consistently changes its form according to the wind speed. In doing so, it would also en-able the structure to communicate information about the site to the users and in turn evoke awareness.

Form interact and engages with the contextual phenomenon and topo-graphical features of the site

Form and tessellations as mediums to create experiences Form and Tessellations as mediums to encourage and facilitate interac-tion between users and nature

Selection Criteria

Iteration 1.3

Iteration 3.2

Iteration 4.6

Iteration 4.7

Video

Video

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3. Nikolova.Nadeshda, Entry Paradise pavilion, http://openbuildings.com/buildings/entry-paradise-pavilion-profile-42678.

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B.THREE. Case Study 2.0

The Entry Paradise Pavilion draws inspiration from the structural compositions of the soap bubbles [3]. This concept was then achieved using algorithmic software similar to that of Grasshopper and its plug-in Kangaroo Physics. The algorithm successfully generates a complex geometrical shape with a strong sense of fluidity and interconnection between the different components of the structure, strictly following the composition of its prec-edent.

Just like the surface tension of a soap film, the entire structure of the pavilion is held in tension at points on the ceiling and floor, facilitating a taut skin. The elasticity re-quirement of the structure is satisfied by the use of Lycra fabric. The material itself is stretchable, pliable and can easily be stitched together to form tubular and a continu-ous framework. The tensile force within the fabric in turn generates a pulling force on its connected components, resulting in a fluid transition between the members and an overall structure that acts purely on tension.

The implementation of a tensile structure that stretches between the ceiling and floor successfully subdivides the space in which it is located. This effectively turns the pavilion into partitions which manipulate the users’ movements and encourage a more physical interactions between the users and the structure.

The Entry Paradise Pavilion provides a useful technique and concept, which can potentially contribute to my de-sign ideas and proposal for the installation at Merri Creek. For the next stage of my design explorations, I am aiming to use the algorithm of this project to further my study on tensile structures, examining how they can possibly be used in conjunction to tessellations to facilitate a more exciting experience for the users.

Entry Paradise Pavilionby LAVA

Figure 1.3: Entry Paradise Pavilion

FAILED ATTEMPT

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Step 1: creating the brep in Rhino by booleaning a series of solids. However,in this stage, I made a mistake of joining the solids at different angles and at random positions along their surfaces. The mistake became apparent in Step 2.

FAILED ATTEMPT

Step 2: turning the brep into a mesh using Grasshopper. It is clear that in the areas where the solids intercept, Rhino had taken the liberty to futher subdivide the surfaces of solid. As the result, this created far too many mesh-faces, making the data structure impossible to work with.

SUCCESSFUL ATTEMPT

Step 1: Creating the vertical com-ponents in Rhino then booleaning them together to form a brep. The solids this time are all joined at the edges and at right angles. This successfully minised the number of surfaces subdivisions.

Step 2: Connecting the vertical components with horizontal solids then booleaning them together to create one single brep.

Step 3: turning the brep into a mesh using Grasshopper. Com-paring to the previous attempt, this approach generates far fewer mesh faces which makes it easier to work with Kangaroo Physics.

Step 4: triangulating and subdi-viding the mesh to a reasonable number of faces using Weaver-bird. This is done to mimise the amount of skrinkage and distor-tion of form when Kangaroo Phys-ics is activated.

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Reverse-Engineer

Step 4: triangulating and subdi-viding the mesh to a reasonable number of faces using Weaver-bird. This is done to mimise the amount of skrinkage and distor-tion of form when Kangaroo Phys-ics is activated.

Step 5: activating Kangaroo Physics and relaxing the form. With the restlength of the edges of the mesh faces being close to O, the components began to move closer together. It creates a smooth transition between the elements and an overal form that acts purely on tension.

Creating the Algorithm

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Figure 1.4: The end product of reverse engineer

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IterationsS

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Exploring Different Ways of Connecting the Components Distoring the Forms Using Different Forces

1 2 3 4 5

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B.FOUR. Technique DevelopmentIterations

Distoring the Forms Using Different Forces Manipulating the Sizes of the Openings Using Curves and Firefly

6 7 8

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9 10

ITERATION 3.5

ITERATION 5.6

Iteration 3.5

This iteration possesses a dynamic form and has the potential to engage itself with the natural landscape of the site. The anchor points of the structure can be ma-nipulated and repositioned to generate different surface relaxation forms. In this case, by moving the anchor points I was able to create a tensile structure that seems to extend out into the landscape in all directions. Addi-tionally, the form of this design doesn’t imply an enclosed space and feelings of detachment towards the natural environment. In contrast, the structure evokes feelings towards openness, creating a space where the users are encouraged to engage all senses to enjoy the site rather than an internal space. Here is a structure that wishes to become part of na-ture through its form, blurring the perception boundary between manmade and nature. With this notion, the form can potentially be used to make a poignant statement about man’s intrusion upon natural environment. For this reason, I believe this iteration makes one of the most suit-able responses to the brief.

Iteration 3.5

Iteration 5.6 builds on the concept of Entry Paradise pavilion, where the form possesses a strong sense of interconnectedness and smooth transitions from the outer skin to the internal partitions. The form creates an enclose space, which encourages the users to focus and immersed themselves in the internal spatial experience provided. Similar to that explored in case study one, this iteration uses Audio Capture from Firefly to enable the users to communicate directly to the structure, bringing it to life. The scaling factors of the tessellations in this case are determined by its relative position to a particular drawn curve, which also facilitates the rate at which they contract and expand with the voice stimulation. This in turn creates an intriguing patterns of movements across the skin and more importantly facilitate a much more provocative lighting effects in the internal space. With the use of this technology, it can be said that the shape and the tessellation of this structure become the effec-tive mediations for a unique form of interaction between human and nature.

Successful Iterations

Form interacts and engages with the contextual phenomenon and topo-graphical features of the site

Form and tessellations as mediums to create experiences Form and Tessellations as mediums to encourage and facilitate interac-

tion between users and nature

Selection Criteria

Video

1

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From the explorations of different iterations in technique development, I became particularly interested in the kinetic possibility of tessellations, how they can be modified with the presence of hu-man and in turn facilitate a more interactive experi-ence. Hence, rather than focusing on developing and testing the physical forms, I intend to address and further examine the responsive aspects of tes-sellations in these prototypes. As physical interac-tive prototypes are not practical in term of finance and exceed my competence, they will remain as on screen prototypes in this case. The first prototype uses Firefly, a plug-in in Grass-hopper that obtains real-time data in the physical world then uses them to explicitly define parametric relationships within the grasshopper model. This particular prototype captures real-time images with WebCam Video Stream, which are then remap as a mesh in grasshopper. The mesh possess a varia-tion in elevation, which rises and fall relative to the changes of light and shadow detected. This effec-tively create depth, which allows the users to literally imprint their features on the pattern and distort it with their movements. The use of white for the pattern was chosen, in con-trast to the black background. I believe this would encourage the users to focus more on the interactive aspects of the implementation instead of its form and shapes. The prototype demonstrates that Firefly can suc-cessfully enable the communication between the physical world and the digital. It can give the users the power to manipulate and modify their own virtual environment, which can potentially promote a stron-ger sense of interconnectedness between the users and the installation in Merri Creek.

Prototype 1

Figure1.4: WebCam Video Stream Capture

Video

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B.FIVE. Technique:Prototypes

In order to extent this interactive virtual environ-ment to nature, prototype 2 employs the ‘venation’ – which is the vein patterns on leaf. The voronoi com-ponent was used to replicate the major vein features of the leaf as well as the minor ones.Similar to the previous one, prototype 2 also adopts the use of Firefly to manipulate the venation pattern. The device Audio Capture is used to analyze voices for the average volume, which in turn provides an ever changing set of data. It is eventually used to modify the scaling factors for the voronoi cells and as the result, create a variation of movement within the pattern. In order to enhance the effect of movement of the pattern, I decided to incorporate another input -Web-Cam Video Stream. However, rather than remapping the physical features of users in the real world, this time the device evaluates the average movements, which effectively provide a set of values with the same data structure. This makes it possible to com-bine the two separate sets of inputs, each moving at a different rates and in turn generate a much more dramatic and dynamic movement.This approach facilitates an interactive experience that is more subtle, yet I believed is more successful compare to prototype one. It builds on the relation-ship between users and this virtual environment, by introducing another input device that allows them to use their voice in addition to movements to manipu-late their own experience. In a way, this innovative technology also provides users with the opportunity to bring nature to life, enjoying and appreciate the values of nature in a unique way. These makes pro-totype 2 a much more suitable response to the brief and as an implementation to Merri Creek.

Prototype 2

Figure 1.5: Venation Pattern recreated using 2D Voronoi

Figure 1.6 : Audio Capture activated

Figure 1.7: Audio Capture + WebCam Video Stream activated

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Figure 1.8: Site map- Merri Creek. The bounded area indi-cates the chosen site - Heidelberg Road Bridge

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B.SIX. Technique:Proposal

My chosen site is the Heidelberg Road Bridge which crosses the Merri Creek valley and its walking trail. On one level, the bridge promotes the area by providing a holistic view of the Merri Creek Valley from its platform. Yet on the other hand, it also undermines the area’s natural values. From personal experience, while travel-ling along the trail, I felt as though the bridge interrupts the experience and the enjoyment of being in nature. The solid arch shape and the width of the bridge forms a long and enclosed tunnel over the trail, creating an immedi-ate sense of disconnection to the natural landscape. This feeling is further magnified by the lack of vegetation under and around the bridge, as the bridge itself acts as a sun shade that blocks sun light reaching plants.

From a conceptual view, with the bridge being visually intrusive and devaluing the natural aspects of the site, it reinforces the paradigm that humans dominate the natu-ral environment and are the prime factor for the degrada-tion of the natural landscape.The existing condition of the site presents an opportunity for me to implement an architectural intervention which conforms to the notion of Design Futuring presented in A1. The projects aims to preserve the natural values of the area and at the same time bring people closer to na-ture. It is hoped that the new installation at the site would act as an educational tool that evokes natural awareness among the visitors and can potentially rectify the current human and nature relationship.

Figure 1.9: Heidelberg Road Bridge

Heidelberg Road Bridge

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In order to promote the natural systems of Merri Creek as well as enhancing the relationship between human and nature, an architectural projection will be implemented underneath the Heidelberg Road Bridge. With the under-side of the structure being deprived of light, the constant ambient darkness makes it a perfect environment and an ideal canvas on which patterns of nature- such as the one explored in prototype 2- can be projected. It is hope that in doing so, it would make up for the absence of nature in the area and create a virtual environment in which visitors can engage and interact with nature in a unique way. The aim of the installation is to change the current perception of the existing bridge with this interactive architectural projection; transforming it from something that contributes to the segregation between human and nature to a compelling space where their relationship can be enhanced.

As demonstrated in the prototypes, I am interested in us-ing Firefly to stimulate an interactive experience, where the visitors can directly manipulate the projected patterns with their voices as well as their movements. Through such process, the visual projection of the ever changing pattern signifies the dialogue between visitors and the representative of nature, which can potentially promote a strong sense of interconnectedness. Additionally, the use of Audio Capture also means that other contextual factors such as the sound of birds and river flowing etc. would also be taken into account, turn-ing them into inputs data that can in turn contribute to the dynamic movements of the patterns. By translating such context information into a visual projection, it can am-plify the natural phenomenons at Merri Creek and allow visitors the opportunity to enjoy and appreciate nature in another form.

Figure 1.10: Idea proposal- Interactive architectural projection

Design Proposal

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B.Six. Learning Objectives and Outcomes

Personally, I feel that I have improved immensely over the course of the past few weeks in term of algorithmic thinking and parametric design. I’ve came to familiarized myself with plug-in such as Kangaroo physics, which has allowed me to developed a range of complex and organic forms. Through the explorations of the iterations, I came to understand and appreciate the role of parametric design in architectural practice. By changing one param-eter of the script, I was able to create such vast varieties of design options, each can be efficiently adjusted to create new design effects or to satisfy the requirements of the brief. I also really enjoyed the forces components of Kangaroo. They’ve provided me with many unexpected and dynamic designs such as 3.2 in Case Study 1, and allowed me to predict the behaviors of the forms when placed in real context such as 1.3. My knowledge of data structure has also improved vastly through the process of reverse engineering the Entry Paradise Pavilion and by learning from mistakes. I now have a better understanding of how to manage my data structure to improve the efficiency of work flow. This in turn has boosted up my confidence in developing my own scripts.

Through the learning of Grasshopper, I’ve also ventured into the emerging field of interactive architecture. This is made possible by the discovery of Firefly, which has enabled me to obtain data from the physical worlds and use them as inputs to modify my designs in Grasshopper. The technique has proven to be effective in iterations 4.6 (case study 1) and 2.6 (case study 2). In my opinion, they were the most effective in addressing the speculations of human and nature relationship, which is the main focus of the brief. My knowledge in the area at this point is still very basic. However, it is an area in architectural practice which I want to pursue and contribute to, seeing how their potentialities are still being undermined in the construc-tion industry.

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Algorithmic Sketches

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Using Audio Capture to modify the sizes of the openings and the length of the tubes

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Burry. Mark. Aegis HypoSurface, http://mcburry.net/aegis-hyposurface/.

Dragicevic. Pierre, List of Physical Visualisations, http://dataphys.org/list/gaudis-hanging-chain-models/

Nikolova.Nadeshda, Entry Paradise pavilion, http://openbuildings.com/buildings/entry-paradise-pavilion-profile-42678.

Iwamotoscott, Voussoir Cloud, http://www.iwamotoscott.com/VOUSSOIR-CLOUD.

Bibliography

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PART CDETAILED DESIGN

1

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From listening to the different perspectives of the crit-ics during the mid-semester interim presentation, it was clear that my technique and concept were still under-developed. Despite saying that the aim of my project is to promote the natural system of Merri Creek as well as enhancing the relationship between human and nature, the installation itself failed to act as such medium. The biggest problem lies within the projected venation pat-tern. It was pointed out that the pattern does not provide a straight forward connection to nature since most people would not be able to recognized or apprehend its mean-ing and what it represents. For this reason, my proposal could not be considered as an effective environmental architecture. Furthermore, even though the concept of an interactive architectural projection was said to be a bold idea, the technique was not well thought through. With Firefly converting external noises into data inputs to modify the scaling factors of the pattern, it is inevitable that unwanted noises such as that of passing cars on the bridge will also be included. This problem was not at all

considered when proposing the design, showing a lack of knowledge and research of my own chosen site. As the consequence, it is predicted to inhibit the interaction between the users and the projection, which makes me rethink whether my technique is at all appropriate for the chosen site and my intended goal.It is evident that further research on the chosen site as well as a rethinking on the design concept and technique is required in the next stage of the design development. Furthermore, it would also be beneficial to look for unique characteristic of the site that can potentially influence the selection of technique or act as the input for the design itself. By doing so, I can avoid situations where the func-tionality of the design is compromised due to conflicting qualities with the site.

Interim Submission Feedback

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Final Design Agenda‘lost and found’

About the Heidelberg Road BridgeDimensions: approximately 15m width, 25m length and 18m height

Site users: The majority of the site users are cyclists, who usually pass by the area at fast speeds.

Unique natural features:The presence of the Heidelberg Road Bridge cre-ates a wind tunnel with a substantial amount of wind forceWith the Merri creek acting as a mirror, sunlight is often deflected into the surrounding areas. This results in phenomenon such as the water ripple being reflected onto the underside of the bridge.

With the shift from individual work to group work, a deci-sion was made to continue using the Heidelberg Road Bridge as the site for our architectural implementation. In addition to the information found on the site in part B, our group particularly paid attention to the unique natural features of the site and how they could inform our concept and design. It is found that since the majority of the users are cyclists, who usually speed pass the area, the site is often neglected and overlooked. Therefore, the natural phenomenon of the site such as the beautiful light effect generated by the creek as well as the wind are also largely ignored, undermining the natural values of the site.

For this reason, our group decided to introduce an ar-chitectural installation (underneath the Heidelberg Road Bridge) that can manipulate and interact with these ‘lost’ natural features present at the site, creating a solid visual representation that will magnify these phenomenon. The aim of the installation is to alter the way in which people experience this particular area, getting the users to slow down and appreciate the features of the site which they usually do not notice or disregard.

Diagram 1: the current condition of the Heidelberg Road Bridge.

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We decided on using clear plastic straws as our main material for construction as it has many qualities that are considered to be suit-able for our design intent:

Clear plastic straws have a translucent qual-ity, which means some light are able to travel through the elements. The rest of the light is reflected into the surrounding by the surface of the straws, which makes the elements ap-pear to shine to the eyes. As such, they can be used to facilitate the light manipulation aspect of our design. While experimenting with the material, our group found that straws at different length can create a range of sounds when they collide. Furthermore, with its lightweight qualities, movements between the straws can be easily facilitated when there’s a substantial amount of external force such as wind.

Additionally, our group also felt that we should not limit ourselves to only materials that can be cut using card or laser cutter. As such, using straws would enable us to push pass the material restriction of digital fabrication while still exploiting the advantages of digital technology for the construction process, cre-ating outcomes that are more explorative and expressive.

MaterialityClear Plastic Straws

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Our initial proposal focuses on creating a structure which not only responds to and manipulates the natural forces, but can also engage and interact with the users. The design consists of clear plastic straws which are sus-pended from the underside of the bridge, creating a wind chime system that allows the users to experience the wind force of the site in a unique way. The straws vary in length, collectively forming an enclosed space, which encourages the users to focus and immersed themselves in the internal aural experience. Users are also able to maneuver through the space with the provision of narrow paths, which would facilitate an additional physical inter-action between the users and the structure.

Initial Design Proposal

Diagram 2: Initial design proposal

WindWind

Figure 1: a small prototype of the wind chieme system Figure 2: an unexpected light effect generated by the prototype

1. Bureau of Meteorology, Wind Roses for Selected Location in Australia, http://www.bom.gov.au/climate/aver-ages/wind/selection_map.shtml.

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The overhanging Heidelberg Road Bridge ultimately cre-ates a vast canopy space positioning to the North South axis. As evident from the Melbourne Wind Rose Diagrams (below), the prevailing wind is either from the North or South direction (or both in spring), with the speed oc-casionally exceeding 30km/h. This effectively makes the canopy space under the bridge a wind tunnel with substantial force that can potentially generate movement and collision between the straws.

Upon testing the prototype on a moderate windy day, subtle movements can be seen between the straws, effec-tively reflecting the true intensity of its contextual force. The generated sound is still faint at this point. However, we believe that a much more dynamic movement as well of sound can be produce with the stronger wind force of the site.

Video 1: testing the movement and sound of the prototype in a natural context

Diagram 3 [1]: Wind Rose diagrams indicate wind directions and its average speed.

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CURVES[XY plane] 1.DIVIDE

TOP SURFACE

BOTTOM SUR-FACE

3. PROJECT POINTS

[Z Direction]

2.PROJECT POINTS

[Z Direction] CIRCLE CRN

CIRCLE CRN

GRAFT TREE

GRAFT TREE

POLYLINE

FLIP MATRIX

PROJECT CURVES

POLYLINE

5. EXTRUDE

Step 1: creates a set of points on on xy plane by dividing the curves. The reason the curves are kept to the XY plane is so that when they are divided, the distance between the points will be more uniform, preventing the circles from overlapping in stage 4

Step 2: The points from the XY plane are then projected onto the top surface of the surface. The gap in the middle is intended in order to provide pathway/ internal space for the users

Step 3: Projecting the points from step 1 onto the bottom surface. The gap for this surface would need to correspond to that of the top surface.

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GRAFT TREE

GRAFT TREE

4. LOFT

Step 3: Projecting the points from step 1 onto the bottom surface. The gap for this surface would need to correspond to that of the top surface.

Step 4: The circles are created using the projected points as the centre. The circles are then lofted together to create circular pipes

Step 5: A waffle system is then generated. The circular pipes are suspended from the intersection points of the waffle system.

Creating the Algorithm

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By evaluating the design proposal with group mem-bers as well as seeking objective opinions from peers and tutors, it became apparent that the proposal isn’t able to satisfy the subject’s requirements in using digital technol-ogy.

As we were so focused on developing the concept for our design, our group has inadvertently undermined the true potentiality of algorithmic thinking in the design process. As pointed out, our design was very much predetermined and inflexible, with Grasshopper used only as a near final stage to improve the presentation quality. The intrinsic capacities of Grasshopper for extensive design-space exploration were completely overlooked and as the result, did not sufficiently exhibit our true understanding of para-metric modelling.

For this reason, our group decided to rethink our design concept as well as techniqe, particularly how these two could be integrated and develop simultaneously to facili-tate a true parametric design.

Re-assessing Design Proposal

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Diagram 4: a section of the initial design proposal

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2. Pohl. Ethel, Croatian Pavilion at Venice Biennal, http://www.archdaily.com/74469/croatian-pavilion-at-the-venice-biennale.

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Before establishing our new design concept and tech-nique, we decided to look for precedent that has success-fully demontrated the manipulation of the natural forces, in order to obtain a clearer direction to work towards. The Venice Biennale Croatian Pavilion was consequently selected.

The pavilion is based on the idea of mirage- a natural optical phenomenon in which light rays are distorted to produce a displaced image of distant objects [2]. As such, built with more than 40 various layers of welded wire mesh, the structure possesses different densities that manipulate the infiltration of light. As the result, it creates different transparency and vision lines that blurs the distinction of its structural boundary. This effectively creates a stunning visual effect very similar to that of a mirage from the outside, as well as a unique experience of light within the internal space.

The design demonstrates an ideal method of how light can be controlled to achieve certain effect, a method which we all agreed to apply to our own project. This technique can be competently achieved with recursive subdivision and image sampling on grasshopper, with im-age sampler introduced as a way of gaining control over the densities of the structure.

Venice Biennale Croatian Pavilion

Technique Proposal

Figure 3 (left): Venie Biennale Croatian Pavilion

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As such, the structure will provide a compelling visual light effect, which will no doubt attract the user’s at-tention and get them to appreciate this unique natural phenomenon of the site. Furthermore, as the users can enter the structure, they‘ll also be able to experience the different intensity of light infiltration from the inside, en-couraging a stronger sense of engagement between the users and this natural element.

As part of the light reflection phenomenon, the water rip-ples from the creek are often reflected onto the underside of the bridge, creating a constant moving pattern (figure 5). In order to strengthen the relationship between the structure and the site, it was decided that this pattern will be embedded as a visual input in the design. Through the use of image sampler, different types of water ripple pat-tern can be tested to control the density of the structure.

Our second and final proposal was developed based on the light reflection phenomenon of the site as well as the recursive subdivision technique introduced in the precedent. Using clear plastic straws, our group aimed to create a cloud like structure with different density, where the users can enter from underneath and experi-ence the space inside.

The installation takes advantage of the reflection surface of Merri Creek to deflect light into its elements (figure 4). With the translucent quality of straws as well as the varia-tion in density of the structure, the deflected light can be display at different intensity (the denser the straws the more intense light will appear). Additionally, the dark concretesurface of the underside of the bridge will also act as a back drop for the structure, enhancing its illuminating ef-fects when the light hits, making the structure appear as

Final Design Proposal

Diagram 5: Final design proposal

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Figure 4: The creek acts as a reflection surface, deflecting sunlight to the surrounding areas

Firgure 5: Water ripple reflection

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CONSTRUCT DOMAIN

STEPS

RANGE

CONSTRUCT POINT

RANGE

IMAGE SAMPLER SUBTRACT[from 1]

CONSTRUCT DOMAIN

[from 0 to input data]

Step 1: Generate a grid of points. The density of the points can be modified by changing the number of steps (Note: this can slso lead to the change in density of the overall structure)

Step 2: With the addition of image sampler, the points from step 1 are selected by the domains to form a pat-tern of the input image.

LIST LENGTH

Step 3: The points from step 2 are projected onto a surface, creating a variation of heights between the points giving rise to a more 3D form of the pattern.

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LIST LENGTH

RANDOM

RANDOM

FLATTEN TREE

SMALLER THAN 0.8 CULL PATTERN

PROJECT POINTS

OCTREE BREP EDGES

SURFACE

Step 3: The points from step 2 are projected onto a surface, creating a variation of heights between the points giving rise to a more 3D form of the pattern.

Step 4: Octree is used to form a box around a group of points. (Note: when the number of points in a group decreases, the number of boxes will increases. Hence by change the number of points in a group, the overal density of the structure can also be modified)

Creating the Algorithm

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SP

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Iterations

ITERATION 2.5 as final form

Organic form- most cloud-like

Soft edges- blurring the physical boundary between the structure and the natural environment

Repetition of layers- different focal points depending on stand-ing positions (similar to iteration 2.1) - adding extra expression and experiential quality to the design

Repetition of layers- ease of con-struction

Cavity inside contributes to the varation in density of the design

4 5

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PATTERN 4 controlling density

Wider range of different modules

Greater variations in density

No big gap within the pattern

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Step 1: Place the straws according to the template (see page) then use glue gun where the straws inter-sect in order to prevent unwanted movements. After the straws are laid out and secured, use hole punch pliers to create holes so that straws can be inserted in the z direction.

Step 2:Inserting straws in the z direction. With the holes having the same diameter as the straws, the straws are able to remain in their places.

Step 3: Repeat step 1 then with the same vertical straws in step 2, connect the layers together.

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The prototype tests the ability of self-intersecting straws as joint system. There are a few advantages as well as disadvantages with this method.

Advantages:Using only straws, the system eliminates the needs for ad-ditional materials. The overall structure will therefore be lightweight and could easily be hung from the underside of the bridge

Disadvantages:Despites effort being made on gluing and securing the layers on the XY plane, the connecting straws can still be displaced with just little force. This can potentially lead to the whole structure being distorted by users or the wind force at the site, preventing the desired light effects.

As the holes are made manually, there is no guarantee that they are in the same position for every layer. This effectively altered the directions of the vertical straws, resulting in some being crooked as shown in figure6. The prototype proves the importance of accuracy in achieving the desired form and effect in our model making. It is also a perfect demonstration of how incompetent and unreli-able manual works can be.

Prototype 1Self-Intersecting Straws

Figure 6: Prototype testing self- intersecting straws as the joint system

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Step 1: Prepare Perspex joints. After setting up the files on Rhino, the joints are cut from 2mm clear Perspex sheets with laser cutter. The joints consist of 2 separate components, each with a 2mm slits so that they can be connected together.

Step 2: Connect the straws according to the template using the joints. Unlike the previous proto-type, this system requires the straws to be cut into the lengths of different modules. However, since the lengths are based on standardized cubes, the straws can be mass produced which boosts up the efficiency of the construction process and saves more time.

Step 3: Connect the different layers together.

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After further speculation, a more optimal joining sys-tem has been created which resolves the problems from the first prototype: Since these Perspex joints facilitate fixed connections, they effectively restrict movements in all directions, resulting in an overall rigidity of the structure. More im-portant, with the joints being made from a relatively firm material, they can effectively ensure that the straws stays perpendicular to one another, maintaining the intended visual effects of the elements.

As the joints are identical, they can be mass produced using laser cutter. This also means that human errors as seen in prototype 1 can be eliminated, resulting in higher quality and accuracy of the finish product.

Like straws, the Perspex joints can also manipulate light. However, since the Perspex joints have flat surfaces, the light are reflected at one angle and appear more intense (in opposed to straws which scatter lights). As such, the elements seem to sparkle when the light shines, further contributing to the light manipulation aspect of the struc-ture.

Additionally, since most of the joints won’t receive straws from all six directions, they will appear to stick out instead of providing clean edges for the structure. However, rath-er than interfering with the visual effects of the installa-tion, they add extra expression to the structure while also contributing to the blurring of the boundary perception.

With these advatages, Perspex joints are the perfect addi-tions for the structure. However, since laser cutting these joints are costly and time consuming, it is necessary to modify the density of the structure (iteration 2.5) in order to keep the number of joints to a reasonable amount.

Prototype 2Clear Perspex Joints

Figure 7: Prototype testing clear perspex joints

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Number of Steps: 250 Number of Joints: 4300 Number of Straws Segments: 8000

Number of Steps: 50 Number of Joints: 600 Number of Straws Segments: 900

Number of Steps: 100 Number of Joints: 1100 Number of Straws Segments: 2000

Number of Steps: 70 Number of Joints: 800 Number of Straws Segments: 1500

The modification the structure’s density and number of joints can be easily achieved by changing the number of steps from the algorithm. This process aims to keep the number of joints to approximately 1000 while still maintaining the visual effect of iteration 2.5.

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Diagram 6: the selected form and density of the final design proposal

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Prototype 3Wind Chime Panels

In order to add another level of interaction to our design , our group decided to introduce secondary elements into the structure. The first prototype incorporates and builds on the wind chime system introduced in the first pro-posal, creating a space where people can enjoy the wind through the movements and sounds of the straws.

It is decided that these panels will only be inserted in selective modules to further contribute to the variation in density of the structure. In order for the new implemen-tation to unify with the main structure, the frames of the panels also adopted the technique recursive subdivision and are made from clear perspex as shown in figure 8.

The hole of the straws are made using hole punch pliers. The straws are then inserted one by one into the frame. However, their movements are somehwat restricted by the frames

The wind chime panels are connected to the main structure using these perspex joints with hole. The holes are made just big enough for the frames to be inserted and secured in place.

Figure 8: Wind chime panel

Figure 9: prototype with wind chime panels

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Even though the prototype provides a visual represen-tation of the natural force of the site, feedbacks from crit-ics and peers were mostly unfavorable. It was informed that the addition of the wind chimes weakens the concept of the design, as the main structure itself deals with the light manipulation while the panels deal with sound.

Movements of the straws were also tested during the pre-sentation with the simulation of wind (fanning). The result indicated very little movements and there was no sound generated by the collisions of straws. This could be due to the restricted in movement caused by the frames.

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The Ring by Arnaud Lapierre

Figure 10 [3]: The Ring project

3. Kurze. Caroline, The Ring, http://www.ignant.de/2012/07/26/the-ring/.

Firgure 11: Mirrors contributing to the intensity of light in some areas

Figure 12: the optical effect

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Prototype 4Mirrors

After receiving the feedbacks from tutor and peers, our group decides to have another attempt at the addi-tional interactive elements, this time focusing on enhanc-ing our main concept of light manipulation. Like the Ring project by Arnaud Lappierre, our group intends to use the reflection property mirrors to create an optical effect, distorting views of the site as well as the reflections of the users within the space and in turn infuse the two ele-ments together.

As evident in my prototype, the addition of mirrors cre-ates a playful experience for the users and allows them to interact with the internal space and outside environ-ment in a unique way. Furthermore, since the mirrors can deflect all light (unlike the Perspex and the straws, which can only deflect some amount of light), some areas of the structure appear to glow brighter and glitter more. It is predicted that the angle of light deflection and intensity will change throughout the day according to the sunlight angles, which would further strengthen the relationship between site and the structure itself.

However, similar to the feedback of prototype 3, it is advised that these elements are not to be included in the structure. The main reason being the weight of the mirrors, which might compromise the integrity of the structure when hung from the bridge. Furthermore, the implementation of the mirrors also adds a certain degree of bulkiness, which disturbs the delicate and elegant impression of the main structure. After much thought, our group comes to the decision of maintain the structure as it is in prototype 2, with no further additions of interactive elements.

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A Decomposition of the Form

RULES FOR CONNECTING THE LAYERS Main Layers: 150mm straws

Sub Layers: A-B: 70mm straws

A-D: 150mm straws

B-C: 30mm straws

B-D: 7mm straws

C-D: 30mm straws

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Sub-Layer A Sub-Layer B Sub-Layer C Sub-Layer D

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Template

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Step 1a: Preparing joints. Files of the joints are sent to fab lab for lazer cutting prior to the commencement of the construction process. More then 1100 joints are cut in case some get dam-aged.

Step 1b: Preparing straws. As there are only 3 different modules, the lengths of straws are reduced to 3 standardized segments: 30mm, 70mm and 150mm. These segnments are then grouped into bags with the lengths labelled. In doing so, it can boost up the accuracy and shorten the time for the construction process.

Step 2: With the templates printed at 1:1 scale, the straws can be laid out according to the information shown on the sheets. The non standardized lengths of the straws ( at the edges) can also be cut by following the template. This improves the work flow and accuary of the layers as well as the final form.

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Step 3: After the straws are joined according to the templates, the layers are labelled to avoid getting con-fused and for ease of assemble in the later stage.

Step 4: The different layers are then connected together using the rules indicated on pages 90-91.

Construction Process

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In comparison to prototype 2, our final model is somewhat more fragile, particularly in areas where there are less subdivisions. The problem becomes more severe when the model is hung, as many straws began to disengage from the joints, compro-mising the integrity of the form. This is a problem which could not be detected at a small scale proto-type and could only be seen when the final model is completed. It is necessary to rethink the current joining system, to completely eliminate all form of movements between the elements (figure). Unfortu-nately, the time frame doesn’t allow the resolution to be applied to the final model.

Current Problem

ResolutionThe new joints will have holes on their surface (cut user laser cutter) so that rivets can be inserted

With rivets eminate all move-ments between the joints and the straws, the members won’t disintegrate. Furthermore, clear snap rivets can be pur-chased to blend in better with the existing structure.

Taking the Next Step

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With the model introduced to the site, our group has the opportunity to evaluate the reactions of the site users and whether our installation has met the intended goals. The installation successfully attracts many users and prompts them to stop and speculate about the project. Overall, the users’ reactions and comments are positive and awarding. We also tested the light manipulation aspect of the structure. As the sun begins to set when we arrived, we couldn’t test these effects at our chosen site. However, when positioned at a sunny location, the structure does in fact appear to shine brighter and glitter more. As such, our goals of bringing users closer to the site as well as bringing back the ‘lost’ natural phenomenon are satisfied.

Video 2: the structure interacting with the natural forces of the site.

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Over the course of this subject, my understanding and skills in algorithmic thinking and parametric model-ling have improved immensely. I was able to experiment with a variation of grasshopper’s components and plug-ins, such as Kangaroo Physics, Fire-Fly, projections and recursive subdivision. Through the exploration of the iterations in part b and c, I came to appreciate the role of computation in the design process and it’s potentiality in reshaping the architectural discourse. It has the ability to generate surprising and complex forms, which would no doubt be impossible to do by hand. Some iterations even exceed my imagination and expectation, reaffirming the many literatures studied in part A that digital technology can enhance the creativity of the design outcomes. More-over, Fire-Fly can also enable the interaction between humans and the structures, facilitating a form of engage-ment and participation never before seen in architecture.

Additionally, the subject has also taught me a new ap-proach to respond to the brief. As shown in the journal, after exploring all the possible outcomes through para-metric modelling, each and every one of the iterations can easily be analyzed and assessed against the require-

Furthermore, by changing and tweaking the parameters, the outcomes can efficiently be adjusted and optimized to generate the best possible solutions. As such, it has al-lowed me to push the traditional boundaries and limits of conceptual thinking and practical design.

Through digital fabrication, I was able to actualize my digital model in part C, something which I would have thought to be beyond my ability prior to this subject. I came to realize how the digital realm can be directly translate into reality, creating many unique and explor-ative designs. Furthermore, digital technology can also enable new and innovative means of using everyday materials, as evident in my final outcome.

Learning Objectives and Outcomes

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Group Members: Stephanie Clark, Han Li, Brian Siu

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Bureau of Meteorology, Wind Roses for Selected Location in Australia, http://www.bom.gov.au/climate/averages/wind/selection_map.shtml.

Kurze. Caroline, The Ring, http://www.ignant.de/2012/07/26/the-ring/.

Pohl. Ethel, Croatian Pavilion at Venice Biennal, http://www.archdaily.com/74469/croatian-pavilion-at-the-ven-ice-biennale.

Bibliography

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