Minhytieu 643679 finaljournal airstudio

ARCHITECTURAL DESIGN STUDIO: AIR

MINH Y TIEU 643679

SEMESTER 1, 2015

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TABLE OF CONTENTS 4. Introduction

Part A: Conceptualising 5. A.1. Design Futuring 10. A.2. Design Computation 14. A.3. Composition/ Generation 18. A.4. Conclusion & A.5. Learning Outcome 20. A.6. Algorithmic Sketches 23. Bibliography

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INTRODUCTION

My name is Minh Tieu, 3rd year undergraduate undertaking Bachelor of Environments, pursuing a career in the designing industry of Architecture. Many are

intrigued by the simplicity of modern architecture or the detailed ornamentations of the ancient world; as they are pleasing to the eye. I like pretty things, like many

others, we share similar perception of things viewed by our eyes. However, I am more intrigued by the emotions that are embodied within the designs, like the abstractions

that Frank Gehry; I’m intrigued by the bold concept of abstractions.

The older I, now, am more startled by the concept of sustainability and defuturing. “To be human is to refuse to accept the given as given”, as humans are categorised as

more intelligible than other living species such as plants and animals; we disposes nature for our benefits- causing defuturing. I am very intrigued by the ideas of

speculative designs. As “dreams are powerful. They are repositories of our desire. They animate the entertainment industry and drive consumption. They can blind people to reality and provide cover for political horror…people are complicated,

contradictory, and even neurotic, but not design”

Algorithmic designs and the concept of parameters are new to me; it feels very ‘technical’. I was introduced to Rhinocerous and Grasshopper in Virtual Design studio,

and developed my skills in Rhinocerous, AutoCAD and Adobe Photoshop in subsequence studios. I love model making/ fabricating/ laser cutting despite the cost

and stress that are acquired from mistakes; I guess we all learn from mistakes.

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PART A: CONCEPTUALISATION A.1. DESIGN FUTURING

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O-14 is innovative exterior solar shading that constructed based on perforated exoskeleton [1]. The structure and skin of the office complex is inverted, offering new speculation of tectonics and space. The concrete shell of the tower accumulates an efficient structural

exoskeleton that frees the core from lateral forces- column free interior. The exoskeleton is a new innovative design in which enables minimal core constructions; parting from

traditional structural convention of columns. Traditionally, the core of the building is enlarged for bearing the lateral forces in most curtain wall office buildings; by placing the

lateral bracing in the perimeter help to minimise vertical forces.

The design exploits the efficiency of a web system to generate a diagrid shell that offers minimal structural members [2]. This modulation of systematic analysis and construction

allows the design to maintain its basic structural form; and adding a variety of visual aesthetics. The varying openings in the shell enable penetration of natural sunlight,

creating an ever changing interior atmosphere. Thus, “…the pattern of the design is a combination of a capillary branching field, gradients of vertical articulation, opacity,

environmental effects, a structural field, and a turbulence field.”[3]

The shell plays the role of an aesthetic element as well as the primary structural element of the design, in which requires the partnership of architects and structural engineers.[5]

It’s important that architects and engineers work together and seize for the most efficient and effective in constructing designs. Instead of complying traditional theories of

constructions, a more new and advanced systematic of webbing is introduced; parting from traditional standard glass cladding and innovating new curtain walls as fitting

solutions to given briefs. The size and placements of openings are arranged in which to maximise the efficiency of the wall; channelling the gravitation and vertical lateral loading

on the building. This was carried by numerous iterative analysis and systematic calculations. Dissolving from traditional conventions of an office building; with the ever

changing problematic world, it is important to speculate our designs and advance from the traditions for greater futuring.[6]

0-14 TOWER, DUBAI 2010 RESIER AND UMEMOTO WITH YSRAEK A SEINUK

1. Council on Tall Buildings and Urban Habitat. “O-14, Dubai” in “CTBUH Journal 2010 issue III”. Web. 15.March.2015. http://www.ctbuh.org/TallBuildings/FeaturedTallBuildings/ArchiveJournal/O14/tabid/1818/language/en-GB/Default.aspx 2. Council on Tall Buildings and Urban Habitat. “O-14, Dubai” in “CTBUH Journal 2010 issue III”. Web. 15.March.2015. http://www.ctbuh.org/TallBuildings/FeaturedTallBuildings/ArchiveJournal/O14/tabid/1818/language/en-GB/Default.aspx 3. Council on Tall Buildings and Urban Habitat. “O-14, Dubai” in “CTBUH Journal 2010 issue III”. Web. 15.March.2015. http://www.ctbuh.org/TallBuildings/FeaturedTallBuildings/ArchiveJournal/O14/tabid/1818/language/en-GB/Default.aspx 4. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 5. Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45

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http://www.ctbuh.org/TallBuildings/FeaturedTallBuildings/ArchiveJournal/O14/tabid/1818/language/en-GB/Default.aspx












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EMBT SPANISH PAVILION, EXPO 2010, SHANGHAI ERIC MIRALLES, BENEDETTA TAGLIABUE

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The Spanish pavilion for the Expo 2010 in Shanghai was designed by the architectural firm EMBT (Enric Miralles and Benedetta Tagliable) [6] in collaboration with the structural

engineers of MC2. It is a very innovative design idea in terms of using complex geometries, merging architectural design with engineer’s rhematic thinking. The structure appears like

a warped fabric, constructed with steel and wicker. Engaging with woven architecture that are objected to merge with primeval crafts

aesthetic, a weaving of complex non- linear network that are envisioned for the future.

The design composes of complex, irregular, free form curves that can be problematic when applying with traditional structural design[7]. However, with the application of archetypal

structural systems, enables the geometries to be further exploited and used to their advantages[8]. The building was configured as an attempt to find a structural system that complies with its form in creating a coherent structure. Challenging the tensibility of the

double curvature, when this geometry is configured adequately would then provide an optimal construction. The spatial double orthogonal layer of tubular grids that forms the

facades[9], with the double curvatures the building are structurally responsible for different loading and forces that are applied (live- loads/winds/self-weight/ seismic force).

With such structural complexity, it is important that the building is built to establish its structural capacity to withstand natural climate on existing site.

This design is very inspiring and innovative, as it conspires architects and engineers [10] to

create such organic form. Channelling the speculative future, in which engineers must be open-minded, a catalyst in coherently redefines the relationship between architectural

and structural means. Thus, expanding the field of possibilities and futuring by eliminating restrictions; providing a new world of speculation by parting traditional contemporaries.

EMBT proposed this project as an innovative handicraft technique of applying wicker into constructions. The wicker basket array moulds the pavilion into a tubular metallic

structure, sustaining a wicker grid that filters natural light and functioning as a climatic membrane. This new language of materiality is implemented to future bridge design

between East and West, and among Spain and China.

6. Calzon, Julia Martinez and Jimenez, Carlos Castanon. (2010) ‘Weaning Architecture Structuring The Spanish Pavilion Expo 2010, Shanghai’,Architectural Design, pp. 55-59 7. Calzon, Julia Martinez and Jimenez, Carlos Castanon. (2010) ‘Weaning Architecture Structuring The Spanish Pavilion Expo 2010, Shanghai’,Architectural Design, pp. 55-59 8. Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT 9. Calzon, Julia Martinez and Jimenez, Carlos Castanon. (2010) ‘Weaning Architecture Structuring The Spanish Pavilion Expo 2010, Shanghai’,Architectural Design, pp. 55-59 10. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16

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PART A: CONCEPTUALISATION A.2. DESIGN COMPUATION

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DESIGN COMPUTATION “COMPUTERS, BY NATURE, ARE SUPERB ANALYTICAL ENGINES”

Resolving recurrent ever changing problems is an important aspect towards the design process, designers are confronted with uncertainties that are very problematic[11].

Designing deals with a wide spectrum of measures and constraints such as site conditions, climates, costs, functionality etc.; designers must then be analytical as well as creative.

These problems may be interrelated with subdivisions of data but human’s ability to store and recall memories are restricted. On the other hand, computer by nature are analytical

engines in which are used to our own advantage when programmed correctly. They are able to search through data and correlate facts very quickly, with impeccable data storage. Computation advances design process through a teachable manner where design methods

of successful solutions are recorded, taught, learned then applied and improved. Computation advances drawing conventions and scaling, this enables a flow of

communication between architects, builders, clients; permitting more people to be involved in the design process. Designs can be experimented and tested before

constructions, also, designers are able to develop and create more intricate designs.

Prior to the Renaissance, buildings were being constructed rather than planned; this process of design is very costly[12], ineffective and is a very slow process. By expanding

the level of communications without designs; enabled a broader communication between architects and engineers. Accommodating new futuring developments and theories,

interrelating architectural theories with science application.

Parametric designs are introduced as logical digital design in which focuses on schematic relationship between geometries, multiplicity and variations. Thus, developing sets of

rules and algorithmic procedures; providing structural calculations and recording its energy and structural performances.

Digital morphogenesis[13], a process in which develop shapes through computation, combining “…tectonics of digital material and performative simulation to create naturally

ecologic systems… computational modelling of natural principles of performative design of material systems that we can potentially create a second nature, or a sounder architecture with respect to material ecology…” reading 2. Revolutionising digital architecture in a more

‘natural’ matter, enabling construction of organic forms. .

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. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 13. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10

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GUGGENHEIM MUSEUM BILBAO, SPAIN 1997 FRANK GEHRY

Computation enable mathematical calculation of building’s structures and materiality, parting from traditional conventions as solutions can be pushed even more in a more speculative manner. The collaboration between architects and engineers made free- form geometries possible. In Frank Gehry’s Guggenheim Museum Bilbao[14], computation has allowed him to translate his poetic curves into structural forms. The design dissolves away from traditional museum, with distinctive titanium curves and geometries of varying materiality (stone, glass, titanium)[15]. As designs are generated in a more logic and algorithmic manner, thus, enabling digital fabrications that are aloe more efficiency- reducing waste. Parting from traditional construction to innovative “file to factory” and Computer Numerically Controlled (CNC) fabrication.

14. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 15. Guggenheim. “Guggenheim Museum Biblbao”. “The Solomon R. Guggenheim Foundation (SRGF) 2015”.Web.15.March.2015. http://www.guggenheim.org/guggenheim-foundation/architecture/bilbao

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http://www.guggenheim.org/guggenheim-foundation/architecture/bilbao



RAVENSBOURNE COLLEGE OF DESIGN AND COMMUNICATION GREENWICH PENINSULA, LONDON

FOREIGN OFFICE ARCHITECT (FOA)

Structural engineers Adams Kara Taylor (AKT) articulated a theory of practise for architectural structural engineers[16], in which they referred to as ‘design engineering’; a collaboration between architects and engineers. Instead of engineers rationalising architect’s design, they empathise; “…that requires inhabiting the mind of the architect…while thinking with the knowledge of an engineer”. Foreign Office Architects (FOA), Ravensbourne College, London, 2010 was inspired by gothic rose windows and flower patterns, an abstract interpretation of nature; using computation in generating systematic tiling.

16. Dezeen Magazine. “Ravensbourne College by Foreign Office Architects”. Web.17.March.2015. http://www.dezeen.com/2010/9/13/ravensbourne-college-by-foreign-office-architects/

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PART A: CONCEPTUALISATION A.3. COMPOSITION & GENERATION

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SMITHSONIAN INSTITUTION, WASHINGTON DC 2007 FOSTER AND PARTNERS

The Smithsonian Institution, Foster and Parners, Washington DC 2007 [17]; was designed using a computer program that were written by Brady Peters, member of

Foster and Partners’ Specialist Modelling Group (SMG). Computing was used to explore and constantly modifying the geometry of the roof. The generative process

of iterations was used to carry out analytical data of structural concepts, environmental control, lighting and acoustic performances. The structural and

fabrication concepts are closely related to the existing environment conditions. The diagrid is constructed with glass that is precisely fixed into steel frames without

using secondary glazing bars. The columns supporting the tubular roof are part of the ventilation system; treated air comes in about the courtyard slab and exists

through the louvres.

17. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15

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JAMESON HOUSE, VANCOUVER 2011 FOSTER AND PARTNERS

Computation had profound effects upon traditional design methods and fabrication, enabling designers to deal with more complex design composition, form and structure[18].

Algorithms embedded within digital software allow designers to explore architectural compositions through scripting and modification. With the ever changing parameters and designing environments, with the help of technology, we are now enabling to exploit and

comprehend a wide spectrum of flexibility. Computation is now necessity to fabricating and constructing highly complex models, making the process a lot faster.

Computation creates a relationship between the virtual environment and the existing physical environment, enable designers to further exploits building’s system and

environments in generating efficient designs. With the advance in computation, designers are able to compose analytical designs, how forms interact with climatic changes/

landscape/lighting etc. The design of the Jameson House by Foster Partners was developed in corresponding to climatic changing REF [19], seasonal sun paths, prevailing winds,

humidity levels, air temperature and the precipitation rates of Vancouver. Generative design process in hands enable designers to generate countless iterations very quickly,

thriving for the most effective and efficient outcome. Design processes in the digital world are recorded in terms of algorithmic activities. In the context of computing and

computerising, computerising can offer unexpected speculative outcomes- feeding potential inspiration that exceeds beyond designer’s intellectual. This may be conceived as

‘fake’ creativity; however, architects are now able to generate their own computer software. Thus, when designers have sufficient knowledge towards the concept of

algorithm, ‘digital’ are merged into the design process instead of being seen ‘different’. In designing a sustainable design, we must have vast knowledge towards the functionality of ecological systems; the interconnectedness between human and nature as they coexist. In

computing, to generate a successful design we must thoroughly comprehend the capability of computation.

18. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 19. Dezeen Magazine. “Jameson House by Foster + Partners”. Web.17.March.2015. http://www.dezeen.com/2012/01/27/jameson-house-by-foster-partners/

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PART A: CONCEPTUALISATION A.4. CONCLUSION

A.5. LEARNING OUTCOME

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A.4. CONCLUSION .

, The digital world have profound impacts upon the development of the new world. As

algorithmic entities enables architects to generate and further exploit architectural spaces in term of its composition. With constant changing in parameters, it is important that we

store and recall data for further possibilities. However, as human our data storage is limited, computer itself are capable of storing unlimited data. Thus, enable designers to analyse forms and space in a more complex spectrum- more potential possibilities. The

subject of computerization may be used to excel design’s intellectuals providing unexpected speculative design. In the near future, when computational software and

programs are thoroughly examines, the new world of digital will excel into an even larger spectrum of possibilities and flexibilities. My intended design approach is through the

design process of composition and generation, as it is important to correspond to existing environment conditions to generate a successful outcome. In the context of the

interrelatedness between humans and nature as they coexist and it is important for humans to be engaged spiritually with the design for a long term sustainability. .

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A.5. LEARING OUTCOME

In Studying the theory and practise of architectural computing, I now have a broader and deeper understanding towards the possibilities of computation. Tutorial discussions helps with exploring the readings and topic of the lectures. I find it very interesting to learn new

terms such computing/ computerisation and composition/generation; with embedded meanings. Imp very inspired by the concept of composition- generation, in obtaining the

most effective outcome. How structures corresponds to the architectural design, exceling traditional structural formwork and materiality.

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PART A: CONCEPTUALISATION A.6. ALGORITHM

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PART A: ALGORITHM .

Metaball: create point like electrical charges and fits a curve threshold where the charge is equal to certain value

Voronoi 3D: reference box using a geometry parameter

Octree: populate geometry to create some points, fitting boxes around the curve so that

every box contain curves. 21

PART A: ALGORITHM .

Box Morph : planar surface turn into complex- good for representation not

fabricated geometry. Mesh is applied creating interesting

patterns of geometry as the surface is curved.

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PART A: BIBLIBIOGRPAHY .

- Calzon, Julia Martinez and Jimenez, Carlos Castanon. (2010) ‘Weaning Architecture Structuring The Spanish Pavilion Expo 2010, Shanghai’,Architectural Design, pp. 55-59 - Council on Tall Buildings and Urban Habitat. “O-14, Dubai” in “CTBUH Journal 2010 issue III”. Web. 15.March.2015. http://www.ctbuh.org/TallBuildings/FeaturedTallBuildings/ArchiveJournal/O14/tabid/1818/language/en-GB/Default.aspx - Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12 - Dezeen Magazine. “Jameson House by Foster + Partners”. Web.17.March.2015. http://www.dezeen.com/2012/01/27/jameson-house-by-foster-partners/ - Dezeen Magazine. “Ravensbourne College by Foreign Office Architects”. Web.17.March.2015. http://www.dezeen.com/2010/9/13/ravensbourne-college-by-foreign-office-architects/ - Dezeen Magazine. “Spanish Pavilion at Shanghai Expo 2010 by EMBT”. Web.15.March.2015. http://www.dezeen.com/2010/04/26/spanish-pavilion-at-shanghai-expo-2010-by-embt/ - Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45 - Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 ·- Guggenheim. “Guggenheim Museum Biblbao”. “The Solomon R. Guggenheim Foundation (SRGF) 2015”.Web.15.March.2015. http://www.guggenheim.org/guggenheim-foundation/architecture/bilbao - Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 - Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 - Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 ·

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TABLE OF CONTENTS PART B: CRITERIA DESIGN B.1: RESEARCH FIELD 4 BIOMIMICRY IN ARCHITECTURE CANOPY BY UNITED VISUAL ARTISTS, CANADA MANGAL CITY BY CHIMERA DESIGN, LONDON B.2: CASE STUDY 1.0 8 SPANISH PAVILION BY FOA (ITERATIONS) SUCCESSFUL ITERATIONS B.3: CASE STUDY 2.0 16 HONEYCOMB SKYSCRAPER BY MAD ARCHITECTS REVERSE ENGINEER PROCESS OUTCOME OF THE REVERSE ENGINEER PARAMETRIC TOOLS DIAGRAM B.4: TECHNIQUE DEVELOPMENT 24 B.5: PROTYPES 38 B.6: PROPOSAL B.7: LEARNING OBJECTIVES AND OUTCOME 44 B.8: APPENDIX- ALGORITHMIC SKETCHES 45 BIBLIOGRAPHY 47

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PART B: CRITERIA DESIGN

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With the rapidly rising of new technologies, architectures embrace the new innovative framework of applying biological processes within their design; this is known as Biomimicry in Architecture. Professor of Biomimetic Julian Vincent defines ‘biomimicry’ as ‘the abstraction of good design from nature’[1]. Biomimicry focuses on designing sustainable solutions by mimicking the fundamental biological forms of nature. Bio- utilization refers to the direct use of nature within our urban landscape by planting trees to produce evaporative cooling. Biomimicry in architecture focuses on ‘Biophilia’, the interconnectedness instinctive bond between humans and nature. Biomimicry follows the revolutionize process of genetic variability, from the survival of the fittest. This has driven organisms into ecological niches and developing astonishing adaptive behaviors in coexisting with the constrained environments. Thus, in the parametric world, this can be achieved by digital morphogenesis[2], combines the tectonics of materials and performance in creating a natural ecological system. Computation enables us to model the principles of nature in relating to material systems etc. that potentially can assist in creating a new world of second nature. 1. Michael Pawlyn, Biomimicry In Architecture ([London, UK]: Riba Publishing, 2011). Oxman, Rivka and Robert Oxman, eds (2014). 2. Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10

B.1: RESEARCH FIELD BIOMIMICRY IN ARCHITECTURE

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B.1: RESEARCH FIELD CANOPY TORONTO, CANADA

UNITED VISUAL ARTISTS

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This is a great example for Biomimicry in Architecture as it explores the influence of nature; inspired by ‘the experience of walking through the dappled light of a forest…during the day, apertures in the molecules filter natural light to the street below. After dusk, particles of artificial light are born; navigate through the grid and die, their survival determined by regions of energy sweeping across the structure. The result simultaneously recalls the activity of cells within a leaf…’ [3]through parametric modeling, the design is fabricated using mass production and precise fabrication. Thousands of molecules, the geometry abstraction of leaves are organized in different variations. By abstracting the parametric model enables it to be applicable in new situations, like the adaptation of organisms. The sculpture spans 90m long with over 8000 polygon modules, combining the parametric rationality with nature’s irregularities. 3. Designplaygrounds, 'Canopy By United Visual Artists - Designplaygrounds', 2010 <http://designplaygrounds.com/deviants/canopy-by-by-united-visual-artists/> [accessed 28 March 2015].

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Mangal City is designed to be urban ecosystem that mimics the natural aspect of Mangrove plant [4], its spiraling growth patterns. Its structure draws upon phyllotaxis in

which the mechanism of the leaf that determines the patterns for maximum exposure to sunlight and moisture. The center of the building is high lattice frame that acts as the stem

in which holds the surface of leaf-like pods. These pods are able to rotate as according to the environmental climatic changes, to maximize the warmth, light and PV potential. This

possess as beautifully designed biomimicry. Parametric designs have outdated conventional design skills, as it offers broader parameters within out designs, hence,

futher development and possibilities. “…its requisite modes of thought may well extend the intellectual scope of design by explicitly is a part of at least some real understanding”

[5]

4. Pinterest.com, 2015 <https://www.pinterest.com/jeroenvdliende/biomimicry/> [accessed 28 March 2015].

5. Robert Woodbury, Elements Of Parametric Design (London: Routledge, 2010).

B.1: RESEARCH FIELD MANGAL CITY, LONDON

CHIMERA DESIGN

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B2: CASE STUDY 1.0 SPANISH PAVILION, FOA

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B2: CASE STUDY 1.0 ITERATIONS: SPANISH PAVILION, FOA

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CHANGING IMAGE SAMPLER

CHANGING EXPRESSION FROM X*Y-1 INTO X*Y+1 FOR THE X CELLS

CHANGED BOTH X AND Y CELLS FROM X*Y-1 INTO X*Y+1

CHANGING EXPRESSION FROM X*Y+1 INTO X^2+Y+1 FOR THE X CELLS

CHANGING EXPRESSION FROM X*Y+1 INTO X^2+Y+1 FOR THE X CELL AND Y


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INTERNAL POINT01: X=0.2 Y=-0.2 CHANGED INTO X = 1, Y =1

CHANGING CULL PATTERN

CHANGE CELL# FROM 1,2,3,4,5 TO 2,4,6,8

DOMAIN Y EQUAL 0

SET NUMBER SLIDER FOR X=17 AND Y=42 DOMAIN

DOMAIN X EAQUAL 0


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CHANGING THE INTERNAL POINTS

CHANGING HEXAGONAL GRID INTO RECTANGULAR GRID

CHANGING OFFSET SLIDER

X AND Y CELL FROM X*Y-1 INTO X*Y+1

CHANGING POINT # INTO 0,0,1,1,2,2,3,3

X AND Y CELL INTO X*Y+3

LET DOMAIN BE 0


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CHANGING HEXAGONAL GRID INTO TRIANGULAR GRID

CHANGING THE SIZE

CHANGING THE DOMAIN

CHANGING X*Y-1 INTO X^2+Y

CHANGING THE INTERNAL POINTS


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CHANGING HEXAGONAL GRID INTO RADICAL GRID, OFFSET EQUAL

INCREASING OFFSET

CHANGING INTERNAL POINTS

B2: CASE STUDY 1.0 SUCCESSFUL ITERATIONS: SPANISH PAVILION, FOA

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In proposing the design concept of Biomimicry, I think the idea of natural patterns is a prominent aspect. By changing the internal points, varying the shape of the polygons creates a more prominent characteristic rather than just repetition. Natural patterns displays a sense of repetition to an extent, in a more systematic order in respond to its function. So by changing the domain varied the patterns, they start to appear repetitive when you look at them as a whole. In comparison to the other iterations, the changes were predominantly in terms of patterns, which is ideal but by changing its geometries feels in a sense more natural because they’re not so perfectly aligned. I think this could be a very speculative façade when further developed, when each polygons corresponds to a role of function in responding to ecological matters. The original design of the Spanish Pavilion reminds me of a beehive, whether this appear not as systematic. I feel that movement could be incorporated into the piece using the patterns rather than shape. Creating movement on a flat surface , this would reduce cost on complex engineering construction.

By changing the Cull Patterns, the tessellations are interrupted. This could be a change in materiality, in blending into the Merri Creek, I think adding vegetation to the façade is necessary. The form can be manipulated into a pavilion, more of seating and relaxing, multifunctional/ multipurpose. The negative can be uninterrupted strips of vegetation, I feel like the designs can manipulate behaviours within a space and evoking a feel/ emotions. The positive space (polygons) can be varied in steps creating depth and dimension. Like a nice walk I the park, not so a picnic area. This design have similar polygons as the Spanish Pavilion but more irregular.

B2: CASE STUDY 1.0 SUCCESSFUL ITERATIONS: SPANISH PAVILION, FOA

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By changing the hexagonal grid to a triangular grid , initially I intended for the grid to tessellate, much like the Spanish Pavilion. However, the geometries are far from one another. Thus, computations at times offer spontaneous/ unexpected results. Changing the internal points to create a more irregular geometries, the geometries could be more dense because at the moment it feels a bit empty. And the offset line can be glass that illuminates during the night. It could be a new material, that act like concrete- absorb the thermal heat during the day and releases at night time. But instead absorb the solar energy and use it for lighting when dark. The geometries in this design is different to the Spanish Pavilion, I think the Spanish Pavilion feels a bit clustered, so density could be further exploited to achieve desirable result.

By changing the hexagonal grid to a rectangular grid, for some reason disconnected the geometries. I think this design could be further culled and rearranged in a more systematic way. The offset can be cutaways in which light is extruded into the interior space. In manipulating the 3 dimensional aspect of the surface could induce sharp speculative light spectrum. The parts that disconnects the geometries, strips of green wall could be added to the façade. Not only is it more green but it’s pleasing to the eye. The geometries can be further culled, to make it less aligned. This is very different to the original design of the Spanish Pavilion, as geometries are pulled away from one other, tessellation can be achieved through filling in the gap, or the gaps can be seen as the positive element instead of negative. In terms of fabrication I would avoid reflective materials and stick with something more soothing. The vegetation could be the pop of colour.

B3: CASE STUDY 2.0 HONYCOMB SKYSCRAPER BY MAD ARCHITECTS

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Honeycomb skyscraper replicates the internal space of the bees honeycomb, the hexagonal façade eliminates the need for internal columns [5]; offering flexible interior design. The exoskeleton facade have varying patterns that evolve in corresponding to the different airflow and solar heat radiations present on site; offering different dynamic perspectives. The placement and size of the window are design to minimise heat loss during winter and heat gain during summer, thus, reducing the energy consumption.[6]

5. The Creators Project, 'MAD Architects' Honeycomb Skyscraper | The Creators Project', 2015 <http://thecreatorsproject.vice.com/blog/mad-architects-honeycomb-skyscraper> [accessed 23 April 2015]. 6. Jesus Diaz, 'Honeycomb Skyscraper Has No Internal Structure, Attracts Giant Killer Wasps',Gizmodo, 2015 <http://gizmodo.com/5031877/honeycomb-skyscraper-has-no-internal-structure-attracts-giant-killer-wasps> [accessed 23 April 2015].


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Starting by creating a Hexagonal grid and offsetting the grid to replicate the windows

Overlaying and scaling a Voronoi grid to replicate the point attractor on the patterned facade


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I tried to find the centre point of the Voronoi grid to create attractor points that supposedly influences the grid pattern in the skyscraper. By using the scaled NU component in grasshopper, remapping the numbers so it’s not too large. However this was unsuccessful

I proceed by attempting to use the attractor point component from the Lunchbox plugin, however I was unable to put in multiple points of attractions.


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Instead of using the attractor points I tried using the attractor wave from the lunchbox plugin

I tried changing the Domain and Frequency of the attractor waves resulting random offsets of patterns.


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I then tried to create boundaries and remapping the numbers before plugging in the lists to the offsetting polygons. Resulting random patterns.

The attractor point and attractor wave wasn’t working so moved onto the scaled components. By plotting points onto the grid to create the field. At this stage I was manually selecting the points because plugging the in the centre points of the Voronoi grid didn’t work. However, I was having trouble selecting more than 2 points and the pattern was inverted.


21

To invert the patterns I tried to divide the distances instead of multiplying because I thought it might do the opposite thing- what I wanted, but it didn’t.

Lastly, I tried using the graph mapper component to scale the Voronoi grid but by plotting the curves as attractors rather than point. Changing the graph type didn’t have much effect on the pattern, I think because all the graph produced numbers for the offset/scaled elements, and by manipulating the graphs you’ll get similar results


OUTCOME OF THE REVERSE ENGINEER

22


PARAMETRIC TOOK DIAGRAM

23

CREATE HEXAGON GRID

FIND CENTRE POINT OF EACH POLYGON

SIZE

NUMBER OF X-CELLS

NUMBER OF Y-CELLS

BOUNDS

SCALE WITH NON-UNIFORM FACTORS

FIND POINTS CLOSEST ON CURVE

JOIN CURVES

NUMBER OF POINTS

DECONSTRUCT DOMAIN

START OF DOMAIN

BOUNDS

REMAP INTO NEW NUMERIC DOMAIN

PLOT INTO BEZIER GRAPH MAPPER

SCALE UNIFORMLY IN ALL DIRECTIONS

SCALE IN Y-AXIS

VORONOI DIAGRAM

RECTANGLE

POPULATE 2-D GRID

B4: TECHNIQUE DEVELOPMENT ITERATIONS: HONYCOMB SKYSCRAPER BY MAD ARCHITECTS

24

CHANGING HEXAGONAL GRID INTO A TRIANGULAR GRID

CHANGING THE NUMBER OF POINTS FOR GENERATING VORONOI

CHANGING HEXAGONAL GRID INTO A SQUARE GRID

CHANGING HEXAGONAL GRID INTO A RADICAL GRID


25

USING KANGAROO RE-MESHING ELEMENT, COMBINING EXISTING WITH

DIAMONDS

DIAGONALIZING THE SCALED COMPONENTS

EXTRUDING THE GRID ONTO A SURFACE EXTRUDED THE SCALED HEXAGONS


26

CULL PATTERN TRIANGULAR GRID

TRIANGULAR GRID- VORONOI PATTERNS TRIANGULAR GRID- CULL PATTERN


27

FORM FINDING USING FORCES- HEXAGON GRID (KANGAROO)

FORM FINDING USING FORCES- SCALED ELEMENTS

REPLACING THE HEXAGONAL GRID WITH VORONOI 2D

FORM FINDING WITH SCALED VORONOI


28

EXTRUDING THE BASE GRID TOWARDS THE SCALED COMPONENTS

EXTRUDING SQUARE GRID TO SCALED COMPONENTS

EXTRUDING THE GRID ONTO A SURFACE EXTRUDED THE SCALED HEXAGONS


29

EXTRUDE-CULL PATTERNS EXTRUDE BOTH GRIDS INDIVIDUALLY- CULL PATTERN

EXTRUDE BOTH GRID- CULL PATTERN BOTH GRIDS

EXTRUDED – WEAVERBIRD STELLATE


30

EXTRUDE-WEAVERBIRD CARPET

SQUARE GRID- EXTRUDE SURFACE

MAPPING SURFACE- LOFTING X-AXES

SURFACE EXTRUSION OF HEXAGON GRID


31

EXTRUDE- WEAVERBIRD STELLATE

EXTRUDED- WEAVERBIRD CARPET

WEAVERBIRD CATMULL CALRK DIVISION

WEAVERBIRD BEVEL VERTICES

LOFTING EXTRUDED- MAPPED ON SURFACE


32

LOFTING SQUARE GRID

SQUARE GRID- WEAVERBIRD CARPET


33

TRIANGULAR GRID

TRIANGULAR GRID

TRIANGULAR GRID

LOFTING ALL AXES


34

SURFACE EXTRUSION OF HEXAGON GRID TRIANGULAR GRID

TRIANGULAR GRID

TRIANGULAR GRID


35

PANELING ON SPHERE WEAVERBIRD FORM FINDING

WEAVERBIRD

WEAVERBIRD SIEPINSKI TRIANGLE SUBDIVISION


36

WEAVERBIRD TRIANGLE SPLIT SUBDIVISION

WEAVERBIRD STELLATE

WEAVERBIRD CARPET


37

In cooperating Biomimicry within the design, I thought of how each facades are affected by the site. In according to climatic response, the overall form can be manipulated to suffice the weather conditions, further develop by using point attractors to express the change of patterns due to the climate change- aiming to increase comfort and minimising the use of energy. I really like the slanted roof, can be manipulated to block out the sun. The overall form can be manipulated and developed by mapping patterns and extrusions/lofting to create different lighting effects.

This design can’t be fabricated due to the mesh edges, but I really like the patterns and the balance between the void and supposedly solid, creating a lighting effect. The opening holes can be the attractor points and depending on the size of the opening the pattern will changing depending on the façade. The curve of the surface can be used as a shading device, as it casts a shadow.

B5. PROTOTYPING

38

The geometry is quite complex and when I unrolled the surface they were overlapping one another because they’re not planar surfaces. So I had to unrolled and exploded each surface.

B5. PROTOTYPING

39

After unrolling each surfaces I had trouble making tabs on each surfaces. The card cutter machine was out of order so I did everything manually. Which got me thinking about how computation and digital fabrication had made everything a lot easier in designing.

B5. PROTOTYPING

40

3D PRINTING

B6: TECHNIQUE PROPOSAL SITE ANALYSIS: PLAN

41

KINGS ROAD

MERRI CREEK

100M N

NORTH: RECEIVES THE MOST SOLAR RADIATION IN WINTER. WIND IN THE MORNING. OPENINGS SHOULD BE IN THE NORTH/EAST/SOUTH.

WEST: AVOID OPENINGS, SUMMER HEAT GAIN

SOUTH: WIND IN THE AFTERNOON

B6: TECHNIQUE PROPOSAL SITE ANALYSIS: BACKGROUND INFORMATION

The Vision for Merri Creek since 1999 “ A healthy living stream flowing through an attractive

environment that provides habitat for native animals…”

42

Pavilion The Merri Creek flows from the Great Dividing Range through Melbourne’s northern suburbs to the Yarra River. The creek is significance in terms of present tributaries (Edgars, Merlynston, Central, Curly Sedge, Aitken and Malcolm Creeks) and its role as a continuous environment corridor. The pavilion aims to maintain the creek’s main attributes of preserving the threatened flora and fauna within the community and providing a natural drainage for surrounding catchments. Extrapolating on the idea of biomimicry in terms of natural survival instincts, firstly, we must consider its surrounding environment and climatic impacts. Aiming to reduce the use of energy by integrating passive design ideas. Focusing on its adaptive behaviours, corresponding to site conditions- each site have personalised characteristics. Thus, the ‘survival of the fittest’ has driven organisms into ecological niches and developing astonishing adaptive behaviors in coexisting with the constrained environments. In the parametric world, digital morphogenesis enable us combine the tectonic of materials and performance to create a natural ecological system. Ecological systems can assist us in designing a sustainable design that’s not only beautiful but functional. Design a pavilion that engages the interconnectedness relationship between humans and nature. Humans need to be apart of the ecological system in creating a closed loop relationship. With the revegetation works and the development of parklands, a trail was constructed in creating a linear park system. Linking to the design concept of bio- utilization, in which refers to the direct use of nature within our urban landscape by planting trees to produce evaporative cooling. “…where after all can one look for the wild, the unknown? When all natural wonders have been scientifically investigated, and all ancient monuments have become tourist attractions…” The idea of redefining nature, characteristic of nature would typically be a place filled with vegetation where one seek for a breath of fresh air. Nature can be brought back to the site spiritually by psychological impacts. Manipulating ones feels towards the space, a remnant of the what used to be nature. Natural lighting have great impacts towards the users comfort and the use of energy. The interplay of light and shadows can have great impacts on perspectives, as light can manipulate the design- revealing and concealing certain design aspect.

B6: TECHNIQUE PROPOSAL PARAMETRIC MODELING WITH GRASSHOPPER

43

Graph Mapper/ Scaling With varying patterns in according to the site conditions, graph mapper/scaling can assist in corresponding to the climate changes. I think these component are very interesting because they create interesting effects of patterning rather than just repetition and that the patterns can be functional, linking the virtual environment with the existing environment.

Weaverbird Weaverbird have very interesting components in creating meshes and all over geometries of the design. The form can be easily manipulated and modified in achieving the desired effects.

B7: LEARNING OBJECTIVES AND OUTCOME

44

Before studying Air Studio I didn’t know much about digital computation or biomimicry, which I think is very interesting. With an on going development of studies, architects taking on the role of engineers and designing their own programs is really cool. I think supposedly architects should have an engineers perspective when design so that things could be smoothly with less complications. Thus, inventing new design strategies from materiality or in accordance to prominent issues to accommodate sustainability. The idea of Biomimicry is very interesting, mimicking ecological attributes and applying it in architecture. I think designs should be considered as living organisms instead of a dead load, because it will have great impact towards the existing environment, on- going operation. As interesting the idea is, I find it had to look further into something that wasn’t so common. Biomimicry is predominantly photosynthesis or trees, I’m hoping to find more fascinating case studies. Furthermore, biomimicry is not only on mimicking, but taking the concept then applying it with existing site conditions and the constraints of reality. The application needs new innovation and development of material in accommodating the change.

B8: APPENDIX- ALGORITHMIC SKETCHBOOK

45

FRACTUAL GEOMETRY

IMAGE SAMPLING

B8: APPENDIX- ALGORITHMIC SKETCHBOOK

46

EVALUATING FIELD

GRAPH MAPPER

PART B: BIBLIBIOGRPAHY .

47

Pawlyn, Michael, Biomimicry In Architecture ([London, UK]: Riba Publishing, 2011) Diaz, Jesus, 'Honeycomb Skyscraper Has No Internal Structure, Attracts Giant Killer Wasps',Gizmodo, 2015 <http://gizmodo.com/5031877/honeycomb-skyscraper-has-no-internal-structure-attracts-giant-killer-wasps> [accessed 23 April 2015] Designplaygrounds, 'Canopy By United Visual Artists - Designplaygrounds', 2010 <http://designplaygrounds.com/deviants/canopy-by-by-united-visual-artists/> [accessed 28 March 2015] Pinterest.com, 2015 <https://www.pinterest.com/jeroenvdliende/biomimicry/> [accessed 28 March 2015] The Creators Project, 'MAD Architects' Honeycomb Skyscraper | The Creators Project', 2015 <http://thecreatorsproject.vice.com/blog/mad-architects-honeycomb-skyscraper> [accessed 23 April 2015] Woodbury, Robert, Elements Of Parametric Design (London: Routledge, 2010) Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10

TABLE OF CONTENTS PART C: DETAILED DESIGN C.1: DESIGN CONCEPT 3 C.2: TECTONIC ELEMENTS AND PROTOTYPES 10 C.3: FINAL DETAIL MODEL 20

1

C.1: DESIGN CONCEPT DESIGN PRECEDENT: HONEYCOMB SKYSCRAPER BY MAD ARCHITECTS

2

Biomimicry focuses on designing sustainable solutions by mimicking the fundamental biological forms of nature. The Honeycomb skyscraper designed by MAD architects also uses a hexagonal façade to offer a flexible interior space. Its exoskeleton façade have varying patterns that evolve in corresponding to the different airflow and solar heat radiation present on site. The placement and size of the window are design to minimise heat loss during winter and heat gain during summer, thus, reducing the energy consumption.

C.1: DESIGN CONCEPT SITE OVERVIEW

3

CERES COMMUNITY ENVIRONMENT PARK

200M N

PHILLIPS RESERVE

MERRI PARK

BRUNSWICK TERMINAL STATION

SUMNER PARK

NORTHCOTE HIGH SCHOOL

C.1: DESIGN CONCEPT STUDYING THE SITE

4

The relationship between humans and nature appears to be two parting element on site, due to the revegetation and the developments of parkland. “…where after all can one look for the wild, the unknown? When all natural wonders have been scientifically investigated, and all ancient monuments have become tourist attractions…” Nether less, the park provides an opportunity for visitors to re-connect what’s supposedly nature in the context of greenery/vegetation. However, this was absence at the Brunswick Terminal Station located along the Merri Creek. Prior to interim presentation feedback, I proposed in designing a pavilion in which aims to manipulate the atmospheric aspect of the location; using light/our intuitively respond to things . However, its inevitable that ones perception will different to another, thus; the proposal was too objectified. It was suggested that I could focus on the different lighting patterns that could ‘light up’ the space or a shelter that would provide a different feel when bypassing.


5

The Merri creek corridor extends from north-east to southeast, flowing in a south- easterly direction. The creek is plays an important role in supporting a wide range of existing flora and fauna communities.


6

220KV TRANSMISSION

TOWER

CONTROL & SWITCH GEAR

BUILDING

REDUNDANT 66KV YARD

220KV SWITCH YARD

UNDERGROUND CABLE TO

RICHMOND TERMINAL

STATION

EXISTING BRIDGE

SHARED PATH FOR CYCLIST

AND PEDESTRIANS

50M N

The Terminal Station supplies electricity to the inner northern suburbs of Melbourne. With overhead transmission towers and pylons, create high impact towards the aesthetics of the parkland.


7

LEGENDS

SWITCH YARD INTERNAL POINTS SWITCH YARD ELECTRIC CABLES TRANSMISSION TOWERS UNDERGROUND CABLES

N 20M

The relationship between humans and nature appears to be two parting element on site, due to the revegetation and the developments of parkland. “…where after all can one look for the wild, the unknown? When all natural wonders have been scientifically investigated, and all ancient monuments have become tourist attractions…” Nether less, the park provides an opportunity for visitors to re-connect what’s supposedly nature in the context of greenery/vegetation. However, this was absence at the Brunswick Terminal Station located along the Merri Creek. After re-examining the site, I’ve decided to change from designing a pavilion to designing a bridge, connecting the Brunswick terminal station (crossing the Merri Creek) to the Merri Park. ‘The bridge spans from one side to another, metaphorically reunites the two segments.’

C.1: DESIGN CONCEPT DESIGN PROPOSAL: IMPLEMENTING NEW BRIDGE DESIGN

8

The switchyard is an important aspect towards the generation, transmission and distribution of electrical. They transform high voltages to low voltages or vice versa. The switchyard interconnects the transmission lines, autotransformers, switching stations and step down transformers. The underground cables transporting electricity from the Brunswick terminal station to the Richmond terminal station; transporting the reduced voltage of electricity to other substations.

9

DIAGRAM OF BRUNSWICK TERMINAL STATION

I’ve decided to incorporate the functionality of the terminal station, the differential aspect of functionality/purpose, and reflect it on the parting boundary. By reflecting the internal points of the terminal station as scaled components. As reference to the Honeycomb skyscraper by MAD architects. In this project, Graph Mapper was used as a scaled component to manipulate the overlaying Voronoi grid. REVERSE ENGINEER: HONEYCOMB

SKYSCRAPER DESIGNED BY MAD ARCHITECTS

C.2: TECTONIC DEVELOPMENT & PROTOTYPES DEVELOPMENT

10

C.2: TECTONIC DEVELOPMENT & PROTOTYPES DEVELOPMENT

I’ve decided to use the hexagonal grid as a base pattern for further development , like a honeycomb , the hexagons enable a flexible interior. Movement is a main aspect in designing a bridge, the open plan interior will give maximum movement .

Circle opening , with no edges, at the opening this could enable more flexibility in form.

Scaling the pattern with varying circular opening

11

C.2: TECTONIC DEVELOPMENT & PROTOTYPE DEVELOPMENT

Instead of having a flat façade, I wanted to further emphasise the attractor points of the internal electric points, I’ve decided to pull the points in the z plane, complimenting the varying opening that are scaled to the same set of points.

To save material, instead of having extruded hexagons, I’ve decided to cut off the unnecessary; extruding towards a point. This will offer the same lighting effects. However, this would reduce materiality and further emphasise the pattern of the façade aesthetics, the pattern are more vivid by doing so.

12


To rationalise the pattern for fabrication, instead of having a thick layer of material for extrusion. I’ve decided to make the extrusions a thin layer. To reduce the amount of material used, also for easier fabrication, reducing the weight of the design- also would provide more flexibility for form finding.

13


INTERNAL ELECTRICAL POINTS, USED AS SCALING ELEMENTS

THE FIRST SCALING ELEMENT IS THE CURVE, THIS WAS DERIED FROM THE UNGROUND ELECTRIC CABLES RUNNING FROM THE BRUNSWICK TERMINAL STATION TO THE RICHMOND TERMINAL STATION. THE CURVE IS PLACED SO THAT THERE’S SMALLER OPENINGS IN THE WEST (TO AVOID THE SUMMER HEAT).

BIGGER OPENINGS ARE TOWARDS THE NORTH WHERE THERES MOST SOLAR RADIATION IN WINTER (COMFORTABLE).

14


With the pattern designed prior to form finding, the pattern should adjust itself onto the form but still giving the intended design requirements. The curve form is derived from the underground electric cables, the cables metaphorically connects the site together running underground, however, not visible on the surface. Thus, I want to emphasise the present of these cables. The form and pattern are manipulated so that bigger openings towards the North, smaller openings towards the west.

15

HEXAGON GRID FIND CENTRE POINT OF EACH

POLYGON

USE GRAPH MAPPER TO SCALE EACH

POLYGONS

SCALED HEXAGON GRID

MERGE

MOVE UP (Z-AXIS) PULL POINT ATTRACTOR POINTS REMAP NUMBERS

CURVE

LOFT

PATTERN OUTLINE

TURN POLYLINE INTO MESH

TURN PATTERN INTO ELASTIC

WEB

INFLATE PATTERN TO INCREASE

VOLUME

EXTERIOR OUTLINE

FIX PATTERN ONTO THE

OUTLINE

CURVE

FORCE

KANGAROO

PAVILION OUTLINE

C.2: TECTONIC DEVELOPMENT & PROTOTYPE PARAMETRIC TOOL DIAGRAM

16

C.2: TECTONIC DEVELOPMENT & PROTOTYPE FINALISING

17

C.2: DESIGN CONCEPT FABRICATION: CONNECTION

18

C.2: DESIGN CONCEPT FABRICATION: CONNECTION

19

Each cell are unrolled into planar surfaces with tabs for connections, the are numbered individually by rows.

C.3: FINAL DETAIL MODEL FABRICATION

20

C.3: FINAL DETAIL MODEL FABRICATION

21

C.3: FINAL DETAIL MODEL

OPENING HERE, PROVIDE AN OPPORTUNITY FOR VISITORS TO REST HERE. OPENING SUGGESTS ENTRY- USERS CAN GATHER HERE TOWARDS THE NORTH WITH NATURAL SHADING INSTEAD OF BLOCKING MOEMENT WITHIN THE BRIDGE

ENTRY/EXIST

ENTRY/EXIST

CURVE TO BLOCK THE SUMMER HEAT GAIN IN THE WEST

22


23


NORTH ELEATION

SOUTH ELEATION

EAST ELEATION

WEST ELEATION

24


PERSPECTIVE: SOUTH/WEST

PERSPECTIVE: NORTH/ EAST

25

C.4: LEARNING OBJECTIVES AND OUTCOME

Prior to Air Studio, I didn’t know much about digital computation or biomimicry; which are very interesting, mimicking ecological attributes and applying it in architecture. Grasshopper is very new to me, at first it is very intimidating; components and nods seems so technical. Thus, changes my perception towards design; I feel like before where designers were supposed to visualise their design through sketches and everything was done manually. This then set parameters to their design; whether with computation, we are able to expand these parameters enabling computers to do the calculations that human let alone can’t. With the ever changing parameters, such as the site conditions, computation enable designers to further exploit and comprehend a wider spectrum of flexibility. The design process can be branch out with many more possibilities, whether expected or unexpected; more complex design composition, form and structure. It was difficult to design when you’re first studying the program because at time you feel like you’re not in full control. However, as the semester progress I feel more control of my design; much like having an idea then putting it into the digital world. It is very time consuming as we need to try different nods and variations in achieving the desired result. I think computation has made fabrication a lot easier, as it calculates and enables tectonic assemblies- controlling joints between each cells.

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