part b submission done

STUDIO AIR2016, SEMESTER 1, MATTHEW MACDONNELLLUKE KIM (699277)

CONTENTSA.0 INTRODUCTION

A.1 DESIGN FUTURING

1.1 ONE CENTRAL PARK

1.2 IN-ORBIT

A.2DESIGN COMPUTATION

2.1 COOPER SQUARE

2.2 YOKOHAMA TERMINAL

A.3 COMPOSITION/ GENERATION

3.1 EDEN PROJECT

3.2 LA SAGRADA FAMILIA

A.4 CONCLUSION

A.5 LEARINING OUTCOME

A.6 APPENDIX

4

9

15

21

27

29

31


A.1 DESIGN FUTURING


1.2 IN-ORBIT


2.1 COOPER SQUARE



3.1 EDEN PROJECT


A.4 CONCLUSION


A.6 APPENDIX


A.1 DESIGN FUTURING


1.2 IN-ORBIT


2.1 COOPER SQUARE



3.1 EDEN PROJECT


A.4 CONCLUSION


A.6 APPENDIX

4 CONCEPTUALISATION

Hello My name is Luke Kim, I am currently in my third year of architecture this semester. I was born in South Korea, and have moved to New Zealand at a young age, and completed my last year of high school at Perth, and ended up coming

architecture for me I believe is not just about the functionality or the aesthetics of the building rather its creating new experience for people.

My overall exposure to studio includes ; design environment, studio earth, studio water and AA visiting school program. Through these studios I have taught myself softwares such as sketchup, photoshop, indesign, autocad and a bit of rhino and grasshopper.

ABOUT ME

to Melbourne. Through my adaptation around varies of different cities, from dense to dispersed, I started to grow an interest in architecture by seeing how architecture is heavily influence by culture and function making every architecture unique and fascinating. I always thought architecture as the face of a city; how in every different city there is at least one architecture representing its city. My architecture goal is to one day design an architectural piece that can represent the city that I live in.

INTRODUCTION

FIGURE 1- PROJECT TITLE-” GET OUT OF MY PERSONAL BUBBLE” AA VISITING SCHOOL PROGRAMME (COMPLETE FEB-2016)

FIGURE 2- PROJECT TITLE-” JOURNEY THROUGH SOUND” STUDIO WATER (COMPLETE SEMESTER 2 2015)

FIGURE 2- PROJECT TITLE-” BUILDING THAT EATS NATURE ” STUDIO EARTH (COMPLETE SEMESTER 1 2015)

CONCEPTUALISATION 5

ABOUT ME

FIG.1: (STUDIO WATER -2ND YEAR 2ND SEMESTER)

CONCE PTUAL I Z AT ION

A


A.1 DESIGN FUTURING


1.2 IN-ORBIT


2.1 COOPER SQUARE



3.1 EDEN PROJECT


A.4 CONCLUSION


A.6 APPENDIX

4

9

15

21

27

29

31


A.1 DESIGN FUTURING


1.2 IN-ORBIT


2.1 COOPER SQUARE



3.1 EDEN PROJECT


A.4 CONCLUSION


A.6 APPENDIX

8 CONCEPTUALISATION

A .1

“STATE OF DESIGN SHOULD REFLECT THE STATE OF THE WORLD”

BY TONY FRY

CONCEPTUALISATION 9

Living in a more or less anthropocentric world, the act of designing is seen as an unsustainable process; “leading to our own extinction.” Part A.1 “Design futuring” confronts the contemporary architectural practice; where architect tries to satisfy the rapid development of urbanization which blinds us from seeing the future. “Answering the ‘design futuring’ question requires having a clear sense of what design needs to be mobilized for or against.”1 Even more significantly, it means changing our thinking, then how and what we design. Equally, it also requires understanding that the ‘dialectic of sustainment’ is another basic feature of being human. inorder to further supporting this discussion two precedents- One central park and In-orbit are analyzed.1

D E S I G N F U T U R I N G

1. TONY FRY, DESIGN FUTURING (OXFORD: BERG, 2009), P.1-16.

10 CONCEPTUALISATION

“LANDSCAPE IS ARCHITECTURE,” DECLARES NOUVEL. “HERE WE HAVE CREATED A CONTINUITY SO THE FAÇADES EXTEND THE PARK INTO THE SKY”

2. TONY FRY, DESIGN FUTURING (OXFORD: BERG, 2009), P.1-16.

1.CENTRAL PARK SYDNEY”, CENTRALPARKSYDNEY.COM, 2016 <HTTP://WWW.CENTRALPARKSYDNEY.COM/LIVE/ONE-CENTRAL-PARK> [ACCESSED 7 MARCH 2016].

FIGURE 1- DIRECTING OF SUN LIGHT USING MOTOEISED MIRROR

FIGURE 1.1- REPRESENTING THE GREENERY AROUND THE FACADE

CONCEPTUALISATION 11

O N E C E N T R A L P A R K

greenery, due to the conflicting relationship between urban growth and natural environment. One central park challenges this perspective of design, where 250 different species of Australian flowers and plant are used as a system revolving around the design of the building. When seen from a distance the design almost looks as if the nature is embracing the building. The design represents a harmonies relationship between the building and nature; where the system work coherently bringing benefits to both systems.

For example the plants are growing on the façade of the building providing natural shade; whereas it can also be seen as building direct the plants so that it gains the optimum sunlight possible. Additionally the incorporation of plants decreases the CO2 present on the site enhancing the inhabitants’ comfort and performance.

In order to facilitate this harmony, the design have featured the installation of motorised mirror which provides plants with sunlight in areas of design where there is no direct sun-exposure. “After dark the structure is a canvas for leading light artist Yann Kersalé’s LED art installation that carves a shimmering firework of movement in the sky. This brings a new starlit architectural shape to the One Central Park design.”1

Referring back to the designing futur sustainability is a very critical aspect in contemporary architectural practice. There practically aren’t any architecture which can increasing or enhancing the concept of sustainability as the optimal condition is when the land is left alone.2 However since it is impossible for humans to move forward without any kind development. The One central park displays some sense of sustainability through the use of plants, where extra budget on shading can be lowered dramatically,also lowering the embodied energy required for the construction. One Central park can be seen as a successful green building. This precedent have proven that architecture can be created to satisfy both human and nature.

Location: LOT 1 Broadway, Central Park, Chippendale NSW 2008, AustraliaDesign architect: Ateliers Jean Nouvel.Green Walls: Patrick BlancProject Year: 2014

ATELIERS JEAN NOUVEL A.1-1

In contemporary urbanized cities it is merely impossible to see any

A.1-1


“ TO DESCRIBE THE WORK MEANS TO DESCRIBE THE PEOPLE WHO USE ITAND THEIR EMOTIONS.”

Location: Kunstsammlung Nordrhein-Westfalen GermanyArchitects: TOMAS SARACENOProject Year: 2013project statues: temporary installation

TOMAS SARACENO

I N - O R B I T A.1-2

1. INTERNETAGENTUR PROGRAMMMIERUNG, "KUNSTSAMMLUNG NRW: TOMÁS SARACENO", KUNSTSAMMLUNG.DE, 2016 <HTTP://WWW.KUNSTSAMMLUNG.DE/EN/DISCOVER/EXHIBITIONS/TOMAS-SARACENO.HTML> [ACCESSED 6 MARCH 2016]. CONCEPTUALISATION 13

the distance of 2500 meters square.1 When viewed from below or from intermediate levels of the Standehaus, it gives the illusion of people floating on the air.1 In contemporary architecture the exploration of material is very limited where most of the building now a days are created using material such as concrete. Due to this factors architecture nowadays are seen very grounded and static. Therefore through this installation Tomas Saraceno is challenging the notion of contemporary architecture. He explores the nature of floating architecture to examine the relationship between a peoples’ movement with the space, which I believe one day will change people perception on architecture and view it in a more wider spectrum.

The In-orbit installation by Tomas Saraceno is a temporary installation to provide users the experience of weightlessness by suspending a steel net structure two-hundred meters above ground. This safety net, covers

I N - O R B I T


A . 2


Design in contemporary society is heavily driven by the use of technology such as softwares like, Autocad, Rhino and etc. Design Computation talks about the necessity of these computer aided software in architectural discourses. Some says it’s a tool in which frees the architects creativity in creating something new and extraordinary; on the other hand it is represented as the creator, in which architects are no longer needed.1 Part A.2 “Design Computation” will create an argument in which to prove how computation is a tools that enhances the architects’ ability to design and create; by analysising two precedents- Cooper Square and Yokohama terminal.

D E S I G N C O M P U T A T I O N

1. YEHUDA E KALAY, ARCHITECTURE'S NEW MEDIA (CAMBRIDGE, MASS.: MIT PRESS, 2004).2. RIVKA OXMAN AND ROBERT OXMAN, THEORIES OF THE DIGITAL IN ARCHITECTURE (LONDON; NEW YORK: ROUTLEDGE, 2014), PP. 5-6.


How does computing affect the design process ?

The modern architecture design evolved from simple schema to a more agorithmic process (through parametric design) where design development is recorded with variable parameter to identity the optimum solution.1 Not only this enhance the speed of designing but also creates a more desirable design outcome. As represented in figure 2 Morphosis architects have generated a design process involving logical step to produce the optimum form of the atrium represented in Cooper Square. The facade of the Cooper Square represents a complex curved geometry which without the aid of computer will have been hard to achieve.

Computation also enchance the architects ability to represent and organise ideas, This is critical, as architecture is a discourse revolving around communication. The 41 Cooper Square design consist of a complex exterior building skin which allows the control of the sun penetration, enhancing the comfort of the inhabitants. As represented in figure 2.1 the diagram clearly represents the sustainable strategies that have been undertook by the design of Cooper Square with the aid of computer software.

MORPHOSIS A.2-1

Different to many other designing industries, Architecture are required to deal with external factors such as “site conditions. Climate, functionality, cost, building codes and so forth.”1 Which make architecture a discourse that doesn’t solidly rely on the use of creativity but also the analytical aspects such as-calculating the load capacity of a material, the angle of shading devices and so forth.1 There is no universal design solution as all the sites are unique and factors that arise from these site are all independent. Therefore in-order for architects to design computer programs are required to fasten the process of analytical thinking.

4 1 C O O P E R S Q U A R E

1. YEHUDA E KALAY, ARCHITECTURE'S NEW MEDIA (CAMBRIDGE, MASS.: MIT PRESS, 2004).

FIGURE 2- AGORITHMIC PROCESS REPRESENTING THE CHANGE IN THE FORM OF THE ATRIUM

FIGURE 2.1- DIAGRAM REPRESENTING THE SUSTAINABLE STATEGIES WITHIN THE DESIGN

2. "41 COOPER SQUARE | THE COOPER UNION", COOPER.EDU, 2016 <HTTPS://WWW.COOPER.EDU/ABOUT/HISTORY/41-COOPER-SQUARE> [ACCESSED 4 MARCH 2016].

The Cooper Square by Morphosis architects, is an academic and labaratory building, that have attempt to incorporate the characteristics of culture and vibrant represented by the 150 year old institution and the city itself. The complexity of this design comes from the exterior facade and the atium itself.2 The exterior skin of the building is created out of semi-trasparent layer of peforated stainless steel with the buidling glazed. This provide the critical interior eviromental control while also allowing for transpariencies to reveal the creative activities that takes place inside.2 As stated the Cooper Square building like many other contemporary building tackles the notion of function and form at the same time looking into the concept of sustainability. Due to the complex relationship between the factors that arise during the design phase of this building; computer is used to break down some of the elements into parameters which can be easily adjusted during the design process.


4 1 C O O P E R S Q U A R E



FOAY O K O H A M A T E R M I N A L A.2-2 Y O K O H A M A T E R M I N A L

The Yokohama terminal by FOA is a ship terminal which is the creation of inventive architectural methodology and socially conscious thinking.1 Where through the use of computation unqiue form is generated which challenges the social responisibilty of large-scale projects in enhance the environment of urban space. 1

The futuristic appearance of the terminal was heavily derived from the use of computer-aided design.1 The design originally was designed using section, with highly complex series of geometry that are later lofted together. The form almosts looks as if an atificial landscape have been constructed; with series of different topographical level (creating a sense of hieracial order.) enhance the overall comfort of the inhabitant.

1."AD CLASSICS: YOKOHAMA INTERNATIONAL PASSENGER TERMINAL / FOREIGN OFFICE ARCHITECTS (FOA)", ARCHDAILY, 2014 <HTTP://WWW.ARCHDAILY.COM/554132/AD-CLASSICS-YOKOHAMA-INTERNATIONAL-PASSENGER-TERMINAL-FOREIGN-OFFICE-ARCHITECTS-FOA/> [ACCESSED 7 MARCH 2016].


Y O K O H A M A T E R M I N A L Y O K O H A M A T E R M I N A L “Computers, by their nature, are superb analytical engines. If correctly programmed they can follow a line of reasoning to its logical conclusion. They will never tire, and never make silly mistakes and will gladly search through and correlate facts buried in the endless heaps of information they can store.”2 As stated by Kalay, Yehuda there are areas in which computers are far beyond the capability of normal human beings- however due to this outstanding performance the role of the architects are under looked and questioned. Due to the overpowering capability of the computer shadows the fact that computers are totally incapable of making up new decision; they lack any creative abilities or intuitions. Which make it a nothing but a tool.3

What are the ongoing and incoming changes within design and construcion industries?

Computing have brought a signifcant changes to the design and construction industries. As discussed previously the use of computing enhance the quality and the speed of both the industries.2 Additionally not only that- computing have created a communication system; which enables designers to share knowledge.2 computing have enhance the way in which we commucate ideas where computing allows architects to design beyond the limit of the two-demisional construction drawing, This also enables architecture to become more complex and can incorporate curved geometries that is difficult to achieve by normal means.2

Can computing be used to refine practice?

It is obvious that the computing have bought siginificant changes in the way architects think and design. the development of computing design changes and redefine the way we view the practice, as prior to 21st century architecture was a course which was based around the idea of compostion. Where composition compose a building through geometrical qualities; where as through computation the shift to generation is represented which is a complete different way of generating different forms through the use of algorithmic thinking. This will be discussed further in part A3.


FIGURE 2.3- AERIAL IMAGE OF THE TERMINAL

FIGURE 2.4- THE SECTIONAL REPRESENTATION OF THE TERMINAL

3. RIVKA OXMAN AND ROBERT OXMAN, THEORIES OF THE DIGITAL IN ARCHITECTURE (LONDON; NEW YORK: ROUTLEDGE, 2014), PP. 5-6.


A . 3


In the recent years of architectural practice we can identify the shift from compositions to generation design. In order to examine how architectural literature and practice react to this shift; the question of what is composition and generation design has to be established first. The Composition in architecture looks into the fundamental characteristics of design such as space, pattern, line and abstraction- As mentioned in the lecture it also looks into the idea of symmetry and size of human body (by Le Corbusier); where then the form of the design is based around these characteristics. Whereas On the other hand Generation design links heavily with the development of computation.1 Generation design generate new form through the use of computation which enable the architects to think algorithmically.2 Software such as Grasshopper branches of the notion of parametric design which part A3 will discuss about through investigating two precedents Eden project and La Sagrada Familia and discuss the advantage and shortcoming of this approach to design.

C O M P O S I T I O N / G E N E R A T I O N

1. BRADY PETERS AND XAVIER DE KESTELIER, COMPUTATION WORKS (ARCHITECTURAL DESIGN), PP. 8-15.2. ROBERT A WILSON AND FRANK C KEIL, THE MIT ENCYCLOPEDIA OF THE COGNITIVE SCIENCES (CAMBRIDGE, MASS.: MIT PRESS, 1999), PP. 11-12.


GRIMSHAWA.3-1 E D E N P R O J E C T

However despite this limitation Grimshaw architect resolve this problem very professionally. Since Eden project is a construction of green house complex the ability to allow light in is a very critical factor that arise during designing phase. The Grimshaw decides to use ETFE instead of using glass which is a primary material to enhance the light penetration.2 ETFE is an inflatable material which brings a very similar characteristics of glass into the architecture discourse. The advantage of using ETFE comes from the light weight of this material, which in comparsion to glass will be much lighter. This will dramtically lowers the load capacity of the structure lowing the cost in creating the form. Additionally other advantage of using ETFE for this case come from the round nature of the structure; where the surface created are not planar making the costruction with glass fairly impossible.2

The Eden project by Grimshaw architect is a multiple greenhouse complex. The complex is dominated by two huge enclosures consisting of adjoining domes that house thousands of plant species.2

In order to provide a in-door condition which satisfies the survivability of the diverse plants- rises the complexity in the factors that needs to be achieved by the structure such as the amount of sun exposure and temperature of the overall condition. The generative design enable Grimshaw architects to create a structure in which allow to generate a form that optimizes the condition; making the design even more contextual (incoporating the environmental factors.)1 . The one negative aspect about the generative method is that due to digital world that the architects are trapped in, the architects lose the quality of handcrafting.1 The advantage of handcrafting is represented through material choices. In digital world the ability to explore and test out different types of material such as its load bearing capacity is still very limited. Which might result in problems in the construction process.

1. BRADY PETERS AND XAVIER DE KESTELIER, COMPUTATION WORKS (ARCHITECTURAL DESIGN), PP. 8-15.

FIGURE 3- DIAGRAM REPRESENTING THE ETFE MATERIAL QUALITY TO REACT TO SUNLIGHT.

2. FOOTNOTE: "TOP ECO VISITOR ATTRACTION - RAINFOREST, GARDENS & EDUCATIONAL CHARITY - EDEN PROJECT CORNWALL UK", EDENPROJECT.COM, 2016 <HTTP://WWW.EDENPROJECT.COM/> [ACCESSED 13 MARCH 2016].

Architect(s) - Grimshaw Architectural- BiodomeEstimate Completed- 2000Location- St Blazey, Cornwall, UK


1. BRADY PETERS AND XAVIER DE KESTELIER, COMPUTATION WORKS (ARCHITECTURAL DESIGN), PP. 8-15.2. FOOTNOTE: "TOP ECO VISITOR ATTRACTION - RAINFOREST, GARDENS & EDUCATIONAL CHARITY - EDEN PROJECT CORNWALL UK", EDENPROJECT.COM, 2016 <HTTP://WWW.EDENPROJECT.COM/> [ACCESSED 13 MARCH 2016].


The la Sagrada Familia project by Antomi Gaudi is a Roman Catholic Church which is influenced by gothic architecture. The construction of the project commenced ever since 1882, till the contemporary society; where it’s expected to be complete in 2026.1

As the Church was design in 1882 computation was not an option of designing method; making the project ever more rely on the use of composition. from the observation we can identify a strong sense of symmetry represent from its external and internal deisgn. The advantage of composition comes from is aesthetic and spatial quality which is created, where the design represent a sense of order in terms of proportion. However the disadvantage of composition come from the slow nature of design and construction phase; additionally it will be less site contextual compared to generation. (due to the lack of data that computers can provide.)

In recent decades, La Sagrada Familia has adopted contemporary digital design and construction technologies.1 Architects and craftsmen use Rhinoceros, Cadds5, Catia, and CAM to understand the complex geometries and visualize the building as a whole. Plaster models are still used as a design tool, now generated by a 3-D printer to accelerate the process. A digitally rendered.1

La Sagrada Familia adapt the comtemporary method of design through the aid of computers- taking the advantage of the speed provided by the computers.La Sagrada Familia represents both traditional and comtemporary method of designing, taking the advantage of both the methods. Making the la Sagrada Familia ever more extraordinary.

ANIOMI GAUDIA.3-2 L A S A G R A D A F A M I L I A


FIGURE 3.1- PLAN OF THE LA SAGRADA FAMILIA (DISTINCT SYMMETRY REPRESENTED.)

FIGURE 3.2- INTERIOR CEILING AND COLUMNS OF LA SAGRADA FAMILIA

1. "AD CLASSICS: LA SAGRADA FAMILIA / ANTONI GAUDI", ARCHDAILY, 2013 <HTTP://WWW.ARCHDAILY.COM/438992/AD-CLASSICS-LA-SAGRADA-FAMILIA-ANTONI-GAUDI/> [ACCESSED 12 MARCH 2016].


L A S A G R A D A F A M I L I A


Architect(s) - Antoni Gaudí Architectural style-ModernismeEstimate Completed- 2026-2028Location-Barcelona, Catalonia, Spain


A . 4


Living in a rapid developing society, understanding the theory of conpectualization is very critical. In order to facilitate the development of our society we need to understand that architecture itself have evolved in-order to enhance the ability to reflect back to our community. As in the modern era of architecture the use of computer aided design (CAD) arises. The notion of computer aided design have caused a great debate in architectural literature and practice; whether it actually facilitate or hinder the creativity of the architects. The study of part A have summaries the importance of computer aided design- As “A1 design futuring” states that the direction in which the design in contemporary society is heading- is to defuturing. The idea of defuturing rises from the fact that in modern architecture, does not consider the fact that our world have limit resource with infinite demand. The reading states that “the state of design should reflect the state of the world” inorder for design to work with the development of our society rather the working against it. This creates an indirect link to part A2 design computation; where computation is represented as the new era of architecture which is a way of responding to the state of the current society.

continuing on, part A2 discussed the idea of computation how it brings positive influence to the architectural practice. The computer enable architect ability to think and design in 3 dimension with complex geometries including curves. The current world of architecture is very demanding as it incorporate and reflect the value of functionalilty, aesthetic while hindered by the notion of sustainability. This make architecture ever more a practice of analytical thinking rather the creativity. This highlights the necessity of computer aided design in the architectural practice -where computers are perfect analytical engines. moving on, the shift of compostion to generation as the computation in architecture is no longer considered as an improper way of designing; The idea of generation in ever more present in the contemporary practices. The advantage of generation is far more outstanding compared to the advantages of composition as discussed in “A3 composition/generation.” From this study of Part A we can clearly identify the evolution of architecture with the aid of computation, and how this evolution is to reflect the state of our society; and rather then question this notion of “new generation” Architects should realised that their in an era in which computers are there to enhance the quality of the architecture in modern society.

C O N C L U S I O N


A . 5


L E A R N I N G O U T C O M E

However after actually exploring parametric design through the creation of algorithmic sketchbook. I can to appreciate the power of computation how it can not only fasten the process of designing, but finds the optimum solution for a design through the variable parameter which we can set.1

Looking back to my previous works the understanding of parametric design would have provide me with design solutions in a more earlier state; and would have resulted in a more desirable design outcome.

Through the completion of part A it has broaden and at times challenged my understanding of the role in which computer software take place in the architectural discourse. Prior to the studio air my understanding on computer aided design was very limited to the idea of computerization where I believe architects used computer to enhance the quality and the speed of the design that we have finalized through pen and paper. I had a very shallow understanding of parametric design which I came across through the studying AA visiting school initially I was very against the idea of computation as I thought of it as a fake creativity. Where you explore and generate cool looking forms with function like lofting and etc.

1WW. BRADY PETERS AND XAVIER DE KESTELIER, COMPUTATION WORKS (ARCHITECTURAL DESIGN), PP. 8-15.


A . 6


Through the creation of algorithmic sketchbook. we were introduced to the basic functions of grasshopper (form of parametric design software). The learning outcome of part A sketchbook, consist of- lofting, triangulation, and exploration of meshes and grid structure. The basic understanding of variable parameters were also covered. The outcome of some of the exploration is included, in PART A.6.

A P P E N D I X


WEEK 1 LOFTING VASE

The lofting technique using grasshopper enable the creation of three different outcome of a vase design. series of different size circles were lofted together then the radius of the circle were then changed using the control points. out of 6 different iteration 3 best looking result were taken and photoshopped.

VASE ONE VASE TWO VASE THREE


The meshes tool through grasshopper enables the creation of difference outcome of pergola shades. The advance to the lofting, few variable parameters were set which enable the control of the density and the height of a individual struts as represented through the renders on the right.

WEEK 3 M E S H E SPERGOLA

PERGOLA ONE

PERGOLA TWOE

PERGOLA THREE


“41 Cooper Square | The Cooper Union”, Cooper.edu, 2016 <https://www.cooper.edu/about/history/41-cooper-square> [accessed 4 March 2016]

“AD Classics: La Sagrada Familia / Antoni Gaudi”, ArchDaily, 2013 <http://www.archdaily.com/438992/ad-classics-la-sagrada-familia-antoni-gaudi/> [accessed 17 March 2016]

“AD Classics: Yokohama International Passenger Terminal / Foreign Office Architects (FOA)”, ArchDaily, 2014 <http://www.archdaily.com/554132/ad-classics-yokohama-international-passenger-terminal-foreign-office-architects-foa/> [accessed 7 March 2016]

“Central Park Sydney”, Centralparksydney.com, 2016 <http://www.centralparksydney.com/live/one-central-park> [accessed 7 March 2016]

Dunne, Anthony, and Fiona Raby, Speculative Everything

Fry, Tony, Design Futuring (Oxford: Berg, 2009)

Kalay, Yehuda E, Architecture’s New Media (Cambridge, Mass.: MIT Press, 2004)

Oxman, Rivka, and Robert Oxman, Theories Of The Digital In Architecture (London; New York: Routledge, 2014), pp. 5-6

Peters, Brady, and Xavier De Kestelier, Computation Works (Architectural Design), pp. 8-15

programmmierung, internetagentur, “Kunstsammlung NRW: Tomás Saraceno”, Kunstsammlung.de, 2016 <http://www.kunstsammlung.de/en/discover/exhibitions/tomas-saraceno.html> [accessed 19 March 2016]

“Top Eco Visitor Attraction - Rainforest, Gardens & Educational Charity - Eden Project Cornwall UK”, Edenproject.com, 2016 <http://www.edenproject.com/> [accessed 13 March 2016]

Wilson, Robert A, and Frank C Keil, The MIT Encyclopedia Of The Cognitive Sciences (Cambridge, Mass.: MIT Press, 1999), pp. 11-12

BIBILIOGRAPHY

BC R I T I C A L D E S I G N



37

47

54

69

81

93

108

111

B.1 PATTERN

B.2 CASE STUDY 1.0

2.1 MATRIX

2.2 ANALYSIS

B.3 CASE STUDY 2.0

3.1 REVERSE ENGINEERING

3.2 AL BAHAR REVERSE ENGINEERING

B.4 TECHNIQUE DEVELOPMENT

4.1 MATRIX

4.2 ANALYSIS

B.5 PROTOYPE

B.6 DESIGN PROPOSAL

B.7 LEARINING OUTCOME

B.8 APPENDIX

CONTENTS


B .1

The implementation of pattern in design industries have been around from the time of classical architectures used mainly for aesthetic purposes (e.g. shown through ornaments). In the contemporary architecture the uses of pattern is focused on the external skin of the building bringing both aesthetics and functional performance. Through the use of parametric designing, patterning have been ever more implemented in architecture in means to controling amount of sunlight the building lets in or out. The recent studies are looking into the kinetic aspects of facade patterns, where patterns will move according to the angles of the sunlight enabling the optimum sunlight gain. Further implementation of pattern extend to the idea of phenomenology.

REPETITION OF ELEMENTS

P A T T E R N


B .1-1 P H E N O M E N O L O G YGALLE R IA CE NTE RCI T Y UN I S TUD I O


Through the evolution of architectural practice in response to the development of technology; the implementation of patterning have develop for beyond the point of aesthetics. Since the time of classical architecture patterning was a technique in which to enhance the overall beauty of the building. In the contemporary architectural practice patterning are implemented in a far more sophisticated applications through the help of computation. As represented by architectural project Galleria Centercity by Unstudwio implements patterning on the exterior skin of the building bring both aesthetic and more significantly creates a stimulating experience for the users.

In the field of architecture which deals with the concept of phenomenology, often stimulate the users experience through the spatial and visual qualities which can be achieve through patterning, scale and lighting. Through the development of computation phenomenology architecture are much more easier to achieve. As represented by the exterior skin of Galleria project represents a double layered façades which are articulated in a trompe l’oeuil pattern of vertical muilons.1 The vertical patterning of the facade creates a sense of illusion where the idea of scale is blurred out. (E.g. viewers would not know how many stories the building might be from the outside.)

Additionally through out the internal space of the center implements patterning as represented on figure 4.1. Through the development of technology the patterns are complemented with LED coloured lighting enhancing the experiential aspect of the architecture.

1. "GALLERIA CENTERCITY INTERIOR BY UNSTUDIO", UNSTUDIO.COM, 2016 <HTTP://WWW.UNSTUDIO.COM/PROJECTS/GALLERIA-CHEONAN-2> [ACCESSED 2 APRIL 2016].


I n t h e r e c e n t a r c h i t e c t u r a l d i s c o u r s e t h e e x p e r i m e n t a t i o n i n k i n e t i c s a n d a r c h i t e c t u r a l s k i n s i s m o r e w i d e l y i m p l e m e n t e d a s a m e a n s f o r e n v i r o n m e n t a l r e l a t e d d e s i g n i s s u e s . T h e a l b a h a r t o w e r b y A e d a s A r c h i t e c t c h a l l e g e s t h e t y p i c a l h i g h - r i s e t y p o l o g y o f t h e a r e a , s u g g e s t i n g t h a t m o r e r e s p o n s i v e a n d d y n a m i c s o l u t i o n t o c l i m a t i c c o n d i t i o n s a r e m o r e a p p r o p r i a t e t h a n t h a t o f t h e t r a d i t i o n a l s t a t i c . I n r e s p o n s e A e d a s A r c h i t e c t s c r e a t e a r e s p o n s i v e f a ç a d e w h e r e t h e p a t t e r n o p e n s a n d c l o s e s m e d i a t i n g t h e c o n t r o l o v e r l i g h t . T h e s h a p e o f t h e p a t t e r n w e r e i n s p i r e d b y J a p a n e s e o r i g a m i w h e r e t h e f o l d i n g m o v e m e n t f o l l o w s s a m e l i n e o f l o g i c . T h r o u g h t h e u s e s o f p a r a m e t r i c a l g o r i t h m s i t e n a b l e t h e A e d a s a r c h i t e c t s t o e x p l o r e t h e f o l d i n g m o v e m e n t o f t h e t r i a n g u l a r p a n e l s i n r e s p o n d t o t h e e n v i r o n m e n t a l l o w i n g f o r t h e o p -t i m u m s o l u t i o n . A s s t a t e d p a r a m e t r i c d e s i g n h a v e b e e n e s s e n t i a l p a r t o f t h e d e v e l o p m e n t o f k i n e t i c d e s i g n w h e r e i t a l l o w A r c h i t e c t s t o e x p l o r e m e c h a n i c m o v e m e n t i n r e l a t i o n t o e n v i r o n m e n t a l c o n t e x t ; s i t i m u l a t i n g t h e d a y l i g h t p r o j e c t o r y t o s u c c e s s f u l l y g a i n c o n t r o l o v e r s u n l i g h t s . 1

B .1 - 2 K I N E T I C AL BAHAR TOWE R AE DA S ARCH I TE CT S

1. AYMAN HASSAAN AHMED MAHMOUD AND YOMNA ELGHAZI, "PARAMETRIC-BASED DESIGNS FOR KINETIC FACADES TO OPTIMIZE DAYLIGHT PERFORMANCE: COMPARING ROTATION AND TRANSLATION KINETIC MOTION FOR HEXAGONAL FACADE PATTERNS", SOLAR ENERGY, 126 (2016), 111-127 <HTTP://DX.DOI.ORG/10.1016/J.SOLENER.2015.12.039>.

TECHNIQUE: KiNETIC PURPOSE: CONTROL OVER LIGHT

P A T T E R N

C O M P A R A T I O N


TECHNIQUE: LAYERINGPURPOSE: VISUAL STIMULUS

P A T T E R N


After exploring the two different types of patterning which are seen in contemporary society: I was interested to see how these development was generated to fullfill its functions. While examining the properties of these two techniques; the question of whether the technique can be used to full-fill the function of the other was my main argument of the research. Therefore Through the exploration of Part B I’m going focus of these two different types of patterning technique and explore how these two technique will respond to its contrasting functions.


B . 2

De Young Museum by Herzog De Meuron. The facade of the building is approximately 18,000m^2. The facade. The copper sheets, embossed with constantly changing patterns, that are based on digitally enhanced photos of trees in Golden gate park, gives the facade a multifarious surface which is rich in nuances.

In Case study 1.0 through the uses of parametric software I am going to manipulate the alternating convex and con-caving patterns represented by the De young museum. The changes that I will undertake comprise of changing existing parameters, imputing new parameters, geometries and components The aim is to result in diversity of possible design that can be derived from the De young museum pattern with the aid of grasshopper.

C A S E S T U D Y 1 . 0H E R Z O G D E M E U R O ND E Y O U N G M U S E U M

`


S P E C I E 1

B A S E - C I R C L ER E S O L U T I O N - 1 5 X 1 5A D D I T I O N - N U L L



B A S E - R E C T A N G L ER E S O L U T I O N - 1 5 X 1 5A D D I T I O N - N U L L



B A S E - C I R C L ER E S O L U T I O N - 1 0 X 3 0A D D I T I O N - I M A G E S A M P L E R



S P E C I E 2 S P E C I E 3

RE

SO

LU

TIO

N

P E R M U T A T I O N M A T R I X

`





S P E C I E 3

B A S E - C I R C L ER E S O L U T I O N - 2 5 X 3 0A D D I T I O N - I M A G E S A M P L E R + L O F T



B A S E - C I R C L ER E S O L U T I O N - 1 1 X 1 1A D D I T I O N - I M A G E S A M P L E R + L O F T + D I V I D E S U R F A C E + C I R C L E + C U L L P A T T E R N



S P E C I E 4 S P E C I E 5

P E R M U T A T I O N M A T R I XC A S E S T U D Y 1

D E Y O U N G S M U S E U M

S P E C I E 6 S P E C I E 7 S P E C I E 8

P E R M U T A T I O N M A T R I X 2


B A S E - C I R C L ER E S O L U T I O N - 2 0 X 4 0A D D I T I O N - C H A N G E I N S U R F A C E G E O M E T R Y

B A S E - C I R C L ER E S O L U T I O N - 2 0 X 2 5A D D I T I O N - C H A N G E I N S U R F A C E G E O M E T R Y

B A S E - C I R C L ER E S O L U T I O N - 4 0 X 3 5A D D I T I O N - I M A G E S A M P L E R + L O F T + C H A N G E I N S U R F G E O

B A S E - R E C T A N G L ER E S O L U T I O N - 1 5 X 1 5A D D I T I O N - P R O J E C T T O S U R F A C E



B A S E - C I R C L ER E S O L U T I O N - 2 0 X 1 6A D D I T I O N - I M A G E S A M P L E R + L O F T + D I V I D E S U R F A C E + C I R C L E + C U L L P A T T E R N + P R O J E C T T O S U R F .



S P E C I E 8 S P E C I E 9 S P E C I E 1 0

P E R M U T A T I O N M A T R I X 2C A S E S T U D Y 1






B A S E - R E C T A N G L ER E S O L U T I O N - 2 5 X 3 0A D D I T I O N - I M A G E S A M P L E R + L O F T



B A S E - C I R C L ER E S O L U T I O N - 1 1 X 1 1A D D I T I O N - I M A G E S A M P L E R + I T E M L I S T + S H I F T L I S T

B A S E - C I R C L ER E S O L U T I O N - 3 0 X 2 5A D D I T I O N - I M A G E S A M P L E R + I T E M L I S T + S H I F T L I S T

B A S E - C I R C L ER E S O L U T I O N - 1 1 X 1 1A D D I T I O N - I M A G E S A M P L E R + L O F T + C U L L P A T T E R N

A N A L Y S I SS U C C E S S F U L S P E C I E S

Iteration 12

Iteration 12 represents a dynamic aesthetic qualities which highlight a sense of movement. Iteration 12 as a shading device shows potential from its hierarchy in surface which bring control over angular sunlight. The offset loft of the two surface create a triangular fin reflecting the lights out.

iteration 8

iteration 8 represents a two very contrasting surfaces giving it a very futurist looks. The density of the pattern will enable control over the light to a certain degree. the varieying sizes of the pattern creates a image of distortion. Additionally it allows the relationship between internal and external space,

ITTERATION 12

ITTERATION 8

ITTERATION 15

ITTERATION 30

ilteration 30

ilteration 30 represents a very plan surface, however if looked carefulliy some of the patterns are lofted creating a sense of heiarchy between the layer. What makes this ilteration so interesting is the distribution of pattern in each layer- some overlap creating a division between dense area to non- dense (where infact the resolution were set the same.)

ilteration 15

ilteration 15 is the most sucessful one in terms of aesthetic the flower like pattern will provide some sense of lateral shading, enabling control over angular sun light.


A N A L Y S I SC A S E S T U D Y 1


The 4 iteration represented on p.g 52 represented to be the most successful species in means of controlling sunlight. This 4 species were chosen to be the most successful from the following characteristics:

-Density of pattern

-The protrusion of patterns

- Offset between the two layers of patterns

The difference in depth of the overlapping pattern provides lateral shading preventing angular light penetration when the location of the sun corresponds to the angle of the protruding patterns.

The dense nature of the overlapped patterns would provide some control over the light, while maintaining the relationship between internal and external space.

In summary throught these ilteration I have to conclude that layering technique represents some level of potential in terms of controling the sunlight. where it bring the benefit of shading while enabling the relationship with the internal and external.


RESPONDING TO THE SUN


B . 3 DIOR GINZ AUN STUD I O


B . 3 -1 R E V E R S E E N G I N E E R I N GD I O R G I N Z AA L B A H A R T O W E R S

For Case study 2.0 in order to fully analysis the technique of layering and kinetic patterning I have looked into 2 different projects Dior Ginza and Al bahar tower. Part B.3.

S P E C U L A T I V E P R O C E S SD I O R G I N Z A

C A S E S T U D Y 2


1.) DIAMOND CHECK PATTERN EQUALLY SPACED. WAYS OF CREATING IT.

- SERIES OF CURVES- SERIES OF RETANGLE -IMAGE SAMPLER- ATTRACTOR POINT

2.) GRID STRUCTURE TWO NARROW LINING. WAYS OF CREATING IT.

- SERIES OF CURVES- SERIES OF RETANGLE -IMAGE SAMPLER- ATTRACTOR POINT

3.) DIAMOND CHECK PATTERN EQUALLY SPACED. WAYS OF CREATING IT.

- SERIES OF CURVES- SERIES OF RETANGLE -IMAGE SAMPLER-SHIFT LIST OF 1.)

4.) GRID STRUCTURE TWO NARROW LINING. WAYS OF CREATING IT.

- SERIES OF CURVES- SERIES OF RETANGLE -IMAGE SAMPLER-SHIFT LIST OF 2.)


CREATE A SURFACE DIVIDE THE SURFACE

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


SERIES OF CIRCLES ACCORDANCE TO THE IMAGE SAMPLER WILL FOMULATE THE PATTERN ON SURFACE.

SERIES OF CIRCLES ACCORDANCE TO THE IMAGE SAMPLER WILL FORMULATE THE PATTERN ON SURFACE.

CONSTRUCT THE BASE PATTERNING USING IMAGE SAMPLER( THIS CAN BE DONE THROUGH ATTRACTOR POINTS)

D I O R G I N Z AC A S E S T U D Y 2


F I N A L O U T C O M E

PATTERN 1

PATTERN 2

PATTERN 3

PATTERN 4


D I O R G I N Z AC A S E S T U D Y 2

NOTE : IN REALITY THERE IS ONLY TWO SURFACES; JUST FOR DIAGRAMIC PURPOSE.

FINAL RESULT

1. "AL BAHAR TOWERS RESPONSIVE FACADE / AEDAS", ARCHDAILY, 2012 <HTTP://WWW.ARCHDAILY.COM/270592/AL-BAHAR-TOWERS-RESPONSIVE-FACADE-AEDAS> [ACCESSED 17 APRIL 2016].62 CONCEPTUALISATION

B . 3 AL BAHAR TOWERAE DA S ARCH I TECT S

T h e a b a h a r towe r by Ae d a s A rch i te ct s i s a re n ow n e d wo r k fo r i t re s p o n s i ve fa ca d e s t h at wo u l d re a ct a cco rd i n g to t h e a n g l e o f t h e s u n . Ae d a s A rch i te ct s p r i m a r y co n ce r n o f t h e towe r we re t h e a b i l i t y to ta ke f u l l co nt ro l ove r s u n l i g ht, a s t h e s i te wa s l o cate d at A b u D h a b i (d e s e r t ). t h e d e s i g n re p re s e nt s s i m i l a r ch a ra cte r i s t i c o f t h o s e o f i s l a m i c ve r n a cu l a r a rch i te ct u re a n d t h e re p re s e nt s re fe re n ce s to t h e j a p a n e s e o r i g a m i .1

T h e f i n a l i ze d fo r m of t h e d e s i g n i s a fa ca d e s t r u ct u re t h at a cco m m o d ate d f i b re - g l a s s p a n e l s w i t h o p e n a b l e a p e r t u re. Pa ra m et r i c a l o g o r i t m s we re u t i l i ze d to ex p l o re h ow a t r i a n g l u a r s h a p e d fo l d a b l e m o d u l e ca n b e p ro g ra m m e d to re s p o n d to t h e e nv i ro n m e nt. T h e fo l d i n g te ch n i q u e h e re h a s b e ex te n s i ve l y s p e cu l a te d a n d i t i s te s s e l l l a te d o n t h e fa ca d e i n a ve r y m ate r i a l - e f f i c i e nt m a n n e r.

1. "AL BAHAR TOWERS RESPONSIVE FACADE / AEDAS", ARCHDAILY, 2012 <HTTP://WWW.ARCHDAILY.COM/270592/AL-BAHAR-TOWERS-RESPONSIVE-FACADE-AEDAS> [ACCESSED 17 APRIL 2016]. CONCEPTUALISATION 63

R E V E R S E E N G I N E E R I N G 2A L B A H A R T O W E R A D J U S T A B L E F A C A D E


S T E P 1 S T E P 2 S T E P 3

S T E P 8S T E P 7S T E P 6

• Create triangle• Set geometry

• Create a point at the center. • Deconstruct brep • line from the vertices to center point.

• move point along the z-axis. • number slider 0-5

• Extrude to Point. • re-define surface using the points generated in step 3,4,5

C A S E S T U D Y 2K E N E T I C P A T T E R N I N GR E V E R S E E N G I N E E R I N G 2


• Deconstruct brep • line from the vertices to center point.

• re-define surface using the points generated in step 3,4,5

S T E P 4 S T E P 5

S T E P 1 0S T E P 9

• Divde curves • Divde curves • item list and select the point located

on the center of the curves

• Construct line connecting the point to the center point.

• number slider enable the points from step 4 to move to center.

• number slider controling the height of the point.

F I N A L O U T C O M E


0% sunlight intake

0% sunlight intake

50% sunlight intake

50% sunlight intake

100% sunlight intake


C A S E S T U D Y 2K E N E T I C P A T T E R N I N G




18 modules put together


B . 4 -1 T E C H N I Q U E D E V E L O P M E N TA L B A H A R T O W E R S


3 S T R U T M O D E L

S P E C I E 1

E X T R U S I O NN : 1 - 6 N : 0 - 3 6 0

A N G L E

S P E C I E 2 S P E C I E 3 S P E C I E 4

C L O S E D

S E M I

O P E N1 . 0

P A R A M E T E R

P E R M U T A T I O N C A T A L O G U E

0 . 5

0 . 0

N : 3A - 2 7 5

A - 2 7 5

A - 2 7 5

A - 3 6

A - 3 6

A - 3 6

N : 3

N : 3

N : 1

N : 1

B . 4 . 1 .T E C H N I Q U E D E V E L O P M E N T :


P A R A M E T E R4 S T R U T M O D E L

S P E C I E 1 S P E C I E 2 S P E C I E 3 S P E C I E 4

E X T R U S I O N A N G L E

A - 2 7 5

A - 2 7 5

A - 2 7 5

A - 3 6

A - 3 6

A - 3 6

THE PATTERNS ON STRUCTURE ARE CREATED IN A SIMILAR WAY AS REPRESENTED BY REVERSE ENGINEERING OF THE DIOR GINZO (P.G. 58-59)THE PATTERN WAS CREATED THROUGH THE DIFFERENT RESOLUTION IN 3 DIFFERENT SURFACE OF THE MODULE.


P A T T E R N

C L O S E D

S E M I

O P E N

S P E C I E 2S P E C I E 1


S U R F A C E AS U R F A C E BS U R F A C E C







U = 9 , V = 9U = 2 0 , V = 2 0U = 9 , V = 9

U = 2 0 , V = 2 0U = 9 , V = 9U = 2 0 , V = 2 0

U = 2 0 , V = 2 0U = 9 , V = 9U = 2 0 , V = 2 0

U = 2 0 , V = 2 0U = 9 , V = 9U = 2 0 , V = 2 0



R E S O L U T I O N R E S O L U T I O N

R E S O L U T I O N

R E S O L U T I O N

U = 9 , V = 9U = 2 0 , V = 2 0U = 9 , V = 9

U = 9 , V = 9U = 2 0 , V = 2 0U = 9 , V = 9

R E S O L U T I O N

R E S O L U T I O N


P A T T E R N

S P E C I E 3 S P E C I E 4(C U L L PAT T E R N T O R E G RO U P S U R FAC E M A K E DI F F E R E N T ) (O F F S E T O N S R F )

S P E C I E 5











U = 2 0 , V = 2 0U = 9 , V = 9U = 1 5 , V = 1 5

U = 2 0 , V = 2 0U = 9 , V = 9U = 1 5 , V = 1 5

U = 2 0 , V = 2 0U = 9 , V = 9U = 1 5 , V = 1 5

U = 9 , V = 9U = 2 0 , V = 2 0U = 9 , V = 9

U = 9 , V = 9U = 2 0 , V = 2 0U = 9 , V = 9

U = 9 , V = 9U = 2 0 , V = 2 0U = 9 , V = 9

U = 9 , V = 9U = 2 0 , V = 2 0U = 9 , V = 9

U = 9 , V = 9U = 9 , V = 9U = 9 , V = 9

U = 9 , V = 9U = 2 0 , V = 2 0U = 9 , V = 9

R E S O L U T I O N

R E S O L U T I O N



R E S O L U T I O N

R E S O L U T I O N

R E S O L U T I O N



S U R F A C ET H E M O D U L E S A R E A P P L I E D T O T H E S U R F A C E U S I N G B O X M O R P H

C L O S E D

S E M I

O P E N

R E S O L U T I O N C O N S T . 1 0 X 1 0



S T R U C T U R E

V I S U A L I S I N G T H E M O D U L E I N D I F F E R E N T S C A L E . W H E N S E E N F R O M A D I F F E R E N T S C A L E T H E M O D U L E I T S E L F C A N R E P R E S E N T A S T R U C T U R E O F A P A V I L I O N .

P I P E D

E X T R U D E

S T A N D A R D

F U S I O N

P O I N T C L O U D




??

RIGHT VIEW RIGHT VIEW

LEFT VIEW DIAGRAMDIAGRAM

S U C C E S S F U L S P E C I E S


itteration 1 was chosen to be a sucess. As represented on the diagram above the surfaces creates an overlap in some areas, making the pattern dense. This effect creates a new set of patterning system for the specie. The beuty of these itteration were that from different angle of observation the specie will look very different, which can be observed just by comparing right and left view. The overlapping pattern in specie 1 creates a sense of movement where the two thick lines weavy along the edge when viewing around the structure.

itteration 2 was creating from a dome like surface, which creates a great spatial potential. Similar to the itteration 1 the patterns overlap creating a new sets of patterning system. From my own observation itteration 2 different from itteration 1 resembles a imagery. Where the left view of the specie resemble the face of “tyrannosaurus rex.” as this observation is based on my subjective view, I believe different people might not see rex and see something else.

Since the criteria was visual stimulus, there were no set values to grade it upon; the judgement was greatly dependent on my own subjective views.

RIGHT VIEW RIGHT VIEW

LEFT VIEW LEFT VIEWDIAGRAM



itteration 2 was creating from a dome like surface, which creates a great spatial potential. Similar to the itteration 1 the patterns overlap creating a new sets of patterning system. From my own observation itteration 2 different from itteration 1 resembles a imagery. Where the left view of the specie resemble the face of “tyrannosaurus rex.” as this observation is based on my subjective view, I believe different people might not see rex and see something else.

itteration 3 was created through a mistake. However dispite my failure in creating a controlled design, the end result produced a interesting outcome, as represented the form of the pattern does not take the shape of a hexegon like the rest. This organic form represent fluidity. The pattern that is formulated on the surfaces of the circle is all different making the specie visually interesting.


B . 5 T E C H N I Q U E : P R O T O T Y P E SE X P L O R I N G J O I N T S & K I N E T I C M O V E M E N T

P R O T O T Y P E 1K I N E T I C M O V E M E N T

O B J E C T I V E: E X P LO R IN G T HE K INE T IC M OV E ME N T.

B . 5 -1

MDF PANELS- THE PANELS ARE LASER CUT HINGE CONNECTION

SPRING CABLE WITH ATTACHABLE HOOKS


I was interested in the kinetic movement of the iteration- and wanted to explore different possible outcome of controling it. Unlike the world of degitalisation where kinetic movements can be achieve through simple shift in slider, ignoring property and element which fundementaly require in real life inorder for it to move. The first thing that were to be considered were the material choices including what types of joints where going to be used.

as represented in the image below the material that were involved includes:MDF panels (frabricated through laser cutters.)

-hinge connection -screw 6mm in depth -and spring cable

B . 5 -1CONCEPTUALISATION 83


C O N N E C T I O N D E T A I L

The intial idea was to frabricate the hinge joint (refer to appendix.) using the 3D printer. However due to constant stress that will be applied to the joints in the process of testing; I believed The 3D print will be too fragile for this exercise. Therefore the prefabricate steel hinges were used for this prototype.

The spring cable (which its intial purpose is used for the curtains) connects the vertices of the triangle to the center by a steel ring where the hooks are hooked onto. The spring cable allows for a easy connection where the hook screw screws and the coil inside the cable interlock creating simple yet rigid connection.



The spring cable (which its intial purpose is used for the curtains) connects the vertices of the triangle to the center by a steel ring where the hooks are hooked onto. The spring cable allows for a easy connection where the hook screw screws and the coil inside the cable interlock creating simple yet rigid connection.

hook screw are connected on to the triangular mdf panel located at the vertices. This works are a rail system which allows the cable to slide while preventing it from separating. Then similar to the central connection the spring cables are hooked on to the steel ring. These steel ring connectio allows for possible expansion.

K I N E T I C S Y S T E M


This cable system not only works as a joint system (which connects the 2 modules together.); it also creat es a system which allows for the control over the folding movement of the panels. The cables have spring loaded inside it allowing the cable to work with tension.

If the cables are pulled from the two rings that are connecting the two modules the cables will undergo tension pull all the panell together resulting in the folding movement.

O B J E C T I V E: E X P LO R IN G M AT E R I A L I T Y TO AC HIE V E K INE T IC


P R O T O T Y P E 2M A T E R I A L T E S T I N GB . 5 -1

The 2nd prototype was heavily linked with the concept of “young’s modulus of elasticity.” Young’s modulus of elasticity , “is a mechanical property of linear elastic solid materials. It defines the relationship between stress (force per unit area) and strain (proportional deformation) in a material.”1

in simple terms it examines the material tendency to return to its original form after deformation. This natural movement of the materials were the primary investigation for prototype 2.

Therefore polyproperine was decided to be used- due to its low young modulus property as represented in the image below the material that were involved includes:

-Polypropyline, frabricated using laser cut.-binding screws

TRIANGLUAR BASE CUT USING LASER CUTJOINT SYSTEM CREATED USING POLYPROP.

BINDING SCREW

1. DAVID ROYLANCE, MECHANICS OF MATERIALS (NEW YORK: WILEY, 1996).

CONCEPTUALISATION 891. DAVID ROYLANCE, MECHANICS OF MATERIALS (NEW YORK: WILEY, 1996).


The joint system that I have create; is a very simple 6 sided straps which works similar to a clip plate where the straps consist of holes which are connected to the panels using the binding clip.

C O N N E C T I O N D E T A I L


To enable more flexiblity in movement the six straps are further cut in half allowing for the additional movement.

P R O T O T Y P E 2Y O U N G ’ S M O D U L U S


B . 6 -1 T E C H N I Q U E : P R O P O S A LW E D O N T O W N L A N D - L A N D O W N S U S

BACKGROUND RESEARCHHISTORY

POLLUTION

The merri Creek land originally owned by

Wurundjeri-willam. The land have signifi-

cant importance to the Aboriginal peo-

ple where activity such as tribal meet-

ing (The largest recorded meeting-1844) 1 and Batmans treaty were made (only

treaty made between aboriginal and

white settlers.- 1835)1

Since European settlement, the lower

reaches of the creek have been seriously

degraded due to human activity. These

activity include extraction of bluestone dur-

ing the early development.1 These quarries

were later used as landfill for waste. street

drains are directed into the creek bring

rubbish and other polution.1

94 CONCEPTUALISATION1."ABOUT MERRI CREEK", MCMC.ORG.AU, 2016 <HTTP://WWW.MCMC.ORG.AU/INDEX.PHP?OPTION=COM_CONTENT&ID=36:ABOUT-MERRI-CREEK&ITEMID=188> [ACCESSED 29 APRIL 2016].

CONCEPTUALISATION 951."ABOUT MERRI CREEK", MCMC.ORG.AU, 2016 <HTTP://WWW.MCMC.ORG.AU/INDEX.PHP?OPTION=COM_CONTENT&ID=36:ABOUT-MERRI-CREEK&ITEMID=188> [ACCESSED 29 APRIL 2016].


S I T E O B S E R V AT I O N

S E L E C T E D A R E A

L E G E N D

Site Users -mainly residents. -bikers.

key Ammenities -bike route-tracking route

key activities-jogging-walking a dog-biking-dwelling

key Problem-lack of ammenties including: toilet, shade, bench, rubbish bin.making the site not functional.


T E C H N I Q U E : P R O P O S A L S I T E A N A L Y S I S

NOTES

The site seems abandon very minimal interaction with the site. Additionally there is no ammenities located at this area cause problems such as litter.There isnt any sort of structure with create area for congregation. The is flood warning sign representing that there is a drastic change in the water levels.

opportunitys.large ammount of land area which are not used. river running through the site. but very shallow preventing it from being seen. no engagement with the site The valley like topography creates a isolating environment


To create a pavilion where it teaches people about the culture and traditions of aboriginals.

why ? Aboriginal in contemporary society are represented in a negative light where they are usuallly labelled with alcohol or drug related issue.I believe since the comtemporary society is marginalising the aboriginals, it indirectly forces the aboriginals in creating crimes, (lose their cultural and traditional values.} Therefore by creating a community area where they teach both aboriginal and other race about the culture and tradition of the aboriginals; it would help to bring them back into the society.

“We cultivate our land in

a way different from the

white man. We endeav-ourto live with the land; they

seemed to live off it.”

- TOM DYSTRA, ABORIGINAL ELDER

endeavor

DESIGN PROPOSAL


The aborigine’s cultural, traditional and religional values are all related with the land

itself. They view land in a different manner to those of the white men. “In white society,

a person’s home is a structure made of brick or timber, but to our people our home was

the land that we hunted and gathered on and held ceremony and gatherings.”(ref.)

The precedent reading between the line by... is a very intricate piece of design where

the church will merged in to the horizon depending on the angle in which the users

view the structure. This effect is achieved through the spacing of verticle steel structure

which with the aid of the sunlight enhances this mysterious effect. This idea of the

structure merging with the landscape will be a effect that I will explore in response to

my agenda in an attempt to view the land through the eyes of the aboriginal.

Precedent

reading between the line

T E C H N I Q U E : P R O P O S A L A G E N D A

LOW VISIBILITY SEMI VISIBILITY


H OW I T S G O I N G TO B E AC H I E V E T H R O U G H K E N E T I C PAT T E R N

SEMI VISIBILITY HIGH VISIBILITY


H OW I T S G O I N G TO B E AC H I E V E T H R O U G H K E N E T I C PAT T E R N


C O N C E P T UA L D E S I G N

V I S I B L I T Y

H I G H d u r i n g h i g h v i s i b i l i t y t h e s t r u c t u r e c r e a t e s a s e n s e o f e n c l o s u r e e n h a n c i n g t h e u s e r s a b i l i t y t o c o n g r e g r a t e a n d d w e l l o n s i t e ; o v e r a l l e n h a n c i n g t h e e n g a g e m e n t w i t h t h e s i t e .

d u r i n g m e d i u m v i s i b i l i t y t h e s t r u c t u r e p r o v i d e u s e r s s o m e s e n s e o f e n c l o s u r e , t h e i n t e r n a l a n d e x t e r n a l r e l a t i o n s h i p i s m a i n t a i n e d .

d u r i n g l o w v i s i b i l i t y t h e s t r u c t u r e p r o v i d e c r e a t e s t h i s m y e s t i c a l e f f e c t w h e r e t h e p a v i l l i o n s e e m s t o b e d i s a p e a r e d f r o m t h e l o c a t i o n

F r o m t h e o u t s i d e r s p e r s p e c t i v e p e o p l e a r e g a t h e r i n g n o w h e r e - s y m b o l i s i n g t h e t r a d i t i o n a l g a t h e r o f a b o r i g i n a l p e o p l e

M E D I U M

L O W

D E S C R I P T I O N


C O N C E P T UA L D E S I G N


C O N C E P T UA L D E S I G N 2T E M P O R A R Y I N S TA L L AT I O N TAC T I C

T h e t e m p o r a r y i n s t a l l a t i o n i s g o i n g t o b e a c h i e v e t h r o u g h t h e d e m p o s i t i o n o f m a t e r i a l p r o p e r t y w h e r e t h e w h o l e s t r u c t u r e w i l l d e c o m p o s e a w a y a f t e r a c e r t a i n y e a r s . T h i s d e c o m p o s i n g p h a s e r e p r e s e n t s t h e r e l i g i o n o u s v a l u e o f t h e a b o r i g i n a l s w h e r e t h e i r i d e a o l o g y o f e v e r y t h i n g s t a r t a n d e n d f r o m t h e l a n d .

t h e d i a g r a m i n d i c a t e s t h e s u s t a i n a b l e l o o p w h e r e t h e d e c o m p o s e m a t e r i a l g i v e s n u t r i e n t f o r n e w l i f e .


M AT E R I A L E X P LO R AT I O N D E C O M P O S I N G P R O P E R T Y

Y E A R S

1 - 3

0 . 2

P LY W O O D

C A R D B O A R D

N Y L O N F R A B R I C

3 0 - 4 0

M AT E R I A L


B . 7 L E A R N I N G O B J E C T I V E & O U T C O M E

The objective of studio air I believe is to make us understand the impact that computation have brought to the contemporary architectectural practices; how its slowly changes the way contemporary architects think and design. After completing part B I begin to understand the power of parametric design and the overall benefit it provide to the designer.

Creating the ilteration was challenge at time but have certainly thaught me a lot about the algorithmic thinking and approach when using grasshopper. Comparing the process of B.2 to B.4 ilterations; I believe have change quite a bit, how B.2. where ilterations were generated mainly through the shift in parameters and addition of component in a series of trial and error- which produced unexpected outcomes. However during ilteration for Part B.4 after grasping a understanding of the key components of data structure and good idea of how each components affect the design, it has allowed me to take bit more control over the design,.As represented from the matrix of B.4 I have divided the ilteration in to smaller sub-components where best ilteration were combine to create the final outcome.

During the protoyping phase was the most challenging, as to replicate what we have in grasshopper to the real world. The downside to the computation comes from the fact; that all the elements such as joints and material are neglected where two faces are simple joint by the edges. Therefore separate testing on how it was going to actually move; join and what type of material was going to be used were taked place.

Exploring parametric design in relation to patterning have provided me with the ability to identify varies of design, which can be created from the uses of parametric software. After part B I have a relatively good understanding on parametric design which have reshaped me as an architect and opened up possibilities for new types of design.

WHAT IM GOING TO DO IN PART C.

My design proposal consist a lot of kinetic factor, which through the uses of kangaroo (physics engine.) going to generate different ilteration testing out the relationship between the form, and the kinetic aspect itself to result in the optimum and desirable solution.


B . 8 A P P E N D I X


J O I N T 1 .

J O I N T 2


ROTATION OF STUT

LENGTH OF STRUT

SEGMETN 1

SEGMETN 2

SEGMETN 3


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“Al Bahar Towers Responsive Facade / Aedas”, ArchDaily, 2012 <http://www.archdaily.com/270592/al-bahar-towers-responsive-facade-aedas> [accessed 17 April 2016]“AD Classics: Yokohama International Passenger Terminal / Foreign Office Architects (FOA)”, ArchDaily, 2014 <http://www.archdaily.com/554132/ad-classics-yokohama-international-passenger-terminal-foreign-office-architects-foa/> [accessed 7 March 2016]

“Galleria Centercity Interior By Unstudio”, Unstudio.com, 2016 <ht tp://www.unstud io.com/pro jects/ga l le r ia -cheonan-2> [accessed 2 April 2016]Dunne, Anthony, and Fiona Raby, Speculative Everything

Mahmoud, Ayman Hassaan Ahmed and Yomna Elghazi, “Parametric-Based Designs For Kinetic Facades To Optimize Daylight Performance: Comparing Rotation And Translation Kinetic Motion For Hexagonal Facade Patterns”, Solar Energy, 126 (2016), 111-127 <http://dx.doi.org/10.1016/j.solener.2015.12.039>Kalay, Yehuda E, Architecture’s New Media (Cambridge, Mass.: MIT Press, 2004)

Malott, David, “Al Bahar Towers, Abu Dhabi”, Ctbuh.org, 2016 <http://www.ctbuh.org/Tal lBui ldings/FeaturedTal lBui ldings/AlBaharTowersAbuDhabi/tabid/3845/language/en-US/Default.aspx> [accessed 16 April 2016]Peters, Brady, and Xavier De Kestelier, Computation Works (Architectural Design), pp. 8-15

Roylance, David, Mechanics Of Materials (New York: Wiley, 1996)

BIBILIOGRAPHY

part b submission done

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