Design Studio Air

Journal

Benjamin Er528003

“People move – Architecture stops. People desire – space defines. The designer as spatial programmer collects movements and desires and releases them into the conception of building.”

- Ben Anderson

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Contents

Part 1 : Case for innovation

Personal ProfilePast Projects : Headspace

Architecture as a Discourse

Lotus DomeSerpentine Gallery Pavilion - Alvaro Siza

Computational Architecture

Transbay Transit Center Design CompetitionStaid Aviva - Aviva Stadium

Parametric Modelling

Taichung Metropolitan Opera HouseLondon Aquatics Centre

Algorithmic Exploration

Journey So Far..

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Part 2 : Design ApproachDesign Focus

Case Study 1.0 - Voussoir Cloud - Matrix Exploration

Case study 2.0 - ICD/ITKE Research Pavilion 2010 - Re-engineer - Matrix Exploration

Material Research - Plywood - Veneer

Grasshopper Translation

Model Prototype

Moving On...

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Personal Profile

Hey guys!

My name is Benjamin Er Eng Qiang, people usually calls me Ben. I’m 21 years old and is currently a 3rd year environments student majoring in Architecture. I’ve encountered Rhino and Grasshopper before in my previous experimentations with designs but I was never excellent in using the program.

However, the reason I chose this subject is not only because this subject a course recommendation, but I personally feel that Parametricism pushes Architecture into new boundaries. And I would like to be one of those who could contribute and experience this new era.

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Past Projects : Headspace

The headspace project was part of the Virtual Environments subject. That point was my first encounter with using the software, Rhino or basically any CAD programs.

I’ve heard about these programs but have never explored into it but once I finally did it, it’s like my mind exploded from an empty bombshell.

The project aim was to create a piece of design which integrates with the human body. The design criteria is having a source of limit emitting through the model. With this particular design I was playing with Panelling tools, which I feel is somewhat my first exposure with Parametric Architecture.

I’ve also experimented with Grasshopper by creating a simple Waffle Grid.

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Part 1 Case for innovation

Architecture as a DiscourseTo me, defining Architecture as a discourse is to create an engaging object/sculpture that passively interacts and responds to it’s users and surroundings. The journal will start off by exploring the effects of Architecture as a spatial experience and further as we dwell into the discourse.

With iron, an artificial building material appeared for the first time in the history of architecture. It went through a development whose tempo accelerated during the course of the 17th century. And now in the 20th century, we are moving towards a new age, one which highly involves computers and its softwares which greatly expanded the discourse of Architecture.

In the past Architects was seen similarly to artists. People believes that buildings are simply an Architect’s work of art. Williams also stated that: “We expect them to be unique expressions of a single creative mind [...] objects that have their own integrity regardless of site”.1

This thought of Architecture as art changed when people started to combine culture and information with it thus creating many different interpretation and to an extent becoming a type of symbolic

1 Richard Williams, ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), pp. 105

reference. Hence people see Architecture as signs.The interest in architecture as signs opened up many possibilities for users to engage with the discourse. Signs are derived from culture and information. Hence it is therefore important to consider a new approach, one that users examines architecture not only by its aesthethic appeal or message, but how they interact and experience alongside it.

In the William’s reading there were 2 sociologist which examines the relationship between society and space. It was shown that buildings play a role in shaping people’s experience of the space.

With that I feel that Architecture itself creates a space. A space in which it could engage with the experiences of users, one which responds and function in harmony with its natural surroundings.

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Lotus Dome

A living aluminium foil structure that ‘blooms’. “We’re updating Renaissance, applying a high tech layer that makes the architecture come alive”.

- Roosegaarde

The lotus dome located in the Renaissance Cathedral in Lilles, France is a light-up aluminium ball featuring aluminium flower petals that response to human movement. “Reacting to light and shadow, when approached the dome illuminates and opens its pedals. Its brightness grows when more people interact. The glowing light also slowly follows individuals’ movements as they walk around the circular structure.” 1

This piece of sculpture is a source of inspiration for anyone who pursues responsive architecture. This is a dynamically responsive sculpture that requires highly advanced technology in order to create a fluid and precise response based on human movement. It’s like a whole new chapter in the books of architecture.

I find this project very closely related to my 1 The Lotus Dome, Daan Roosegaarde, http://www.architizer.com/en_us/blog/dyn/56318/the-immaculate-collection-daan-roosegaardes-lotus-dome-transforms-cathedral-into-techno-club/#.UV2JqpNTBMp

discourse of architecture. This is the type of sculpture or structure that I wish to pursue. A sculpture which incorporates the current CAD and sensory technologies as well as the exploration of material performance, compiling it all in sync to create an item which provides a whole new experience to users.

Architect/Artist : Daan Roosegaarde

Date: 2011 - 2012

Client: City of Lille for exhibition ‘Fantastic’ Lille 3000, France.

Materials: Dome of 3 x 3 x 2 meters with smart foils, lamps, electronics, sound and other media.2

2 Studio Roosegaarde, Lotus Dome, http://www.studioroosegaarde.net/project/lotus/info/

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Serpentine Gallery Pavilion - Alvaro Siza

“A pavilion is usually an isolated building, but with this site we felt we should maintain a relationship with the gallery and the trees, and these things were the start of the idea,” -Alvaro Siza

This temporary structure built by Alvaro Siza is like a giant artificial hill plonked on top of the existing gallery. It is built in consideration of blending in to the existing context.

This became a source of inspiration to me because of the way this pavilion is built. The structure, facade, interior are all included in this continuous span of timber and metal ribs with panes of polycarbonate to fill up the grid.1

The pavilion has a passive design which utilises solar power for lighting up the pavilion at dusk. The open plan of the timber “legs” allowed for natural ventilation through cross breezes that circulated the interior. Besides that the semi transparent polycarbonate panes allows the sunlight to enter the pavilion during the day.

1 Serpentine Gallery Pavilion, 2005, Alvaro Siza, http://inhabitat.com/timber-and-polycarbonate-pavilion-at-londons-serpentine-gallery-illuminated-by-solar-paneling/alvaro-sizavieira-serpentine-pavilion4/

Passive designing a structure enhances the overall quality of the product, which is what I’m interested and will look into it in my future projects.

Architect : Alvaro Siza

Date : 2005

Client : Serpentine Gallery Pavilion, London

Materials : Timber woodwork, Metal cladding, heavy bolts, Polycarbonate Panes, Solar panels

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Computational Architecture

‘But while they can follow instructions precisely and faultlessly, computers are totally incapable of making up new instructions: they lack any creative abilities or intuitions..’

First Graphical Software

CAD programs are only as good as it’s designers. The majority of computer-aided design research over the past fifty years has been directed toward developing computational systems that provide varying levels of assistance to human designers by taking care of smaller or larger parts of the design process. Some may have the same view as Lawson’s theory where CAD encouraged ‘fake’ creativity1. But in a sense these CAD programs assist architects on the more technical aspects of Architecture such as drafting and modelling.

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Just as Yehuda described, Architecture can be seen as problem solving. The analyzing of these problems, setting goals and solving them may be part of the creative phase of the design process.2 With the advanced in CAD technology Architects are more likely to be able to picture/image the outcome while making changes in order to satisfy the pre-set goals.

1 Lawson. Bryan. (1999). “‘Fake’ and ‘real’ creativity using computer aided design: Some lessons from Herman Hertzberger”, in Proceedings of the 3rd Conference on Creativity & Cognition, ed. by Ernest Edmonds and Linda Candy (New York: ACM press), pp. 174-179

2 Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), pp. 6-11 19

Transbay Transit Center Design CompetitionSOM’s design for the new Transbay Transit Center would have preserved and enhanced the exceptional qualities of the City (San Francisco)—the beauty of the light, climate, topography, bay, and City—as well as its people, while embodying a potent belief in the region’s future.

This was one of the design entry for the Transbay Transit Center Design Competition by SOM (Skidmore, Owings & Merrill LLP). The 1375 Foot high tower would have a major stability and structural issue. Computational stress analyses have shown that the actual structural behaviour of the tower distributes most of the forces to the corners and less to the center.

In order to adapt and solve the problem, SOM architects turn to nature for inspiration. They looked into the logarithmic pattern of the spider’s web and snail’s shell that responds to strength and stresses. Hence the Michell truss was adopted as the optimal structural cantilever.1

SOM overlay the Michell Truss configuration on the Tower form, hence were able to apply a rational structural system braced frame onto the tower. This contributes to the actual design aesthetics of the tower as well. The outcome of this integration of composite frame efficiently distributes forces to corners, effectively resisting uplift by wind and seismic forces. This could only be done by computational simulations.

1 Transbay Transit Center, SOM, https://www.som.com/project/transbay-transit-center-design-competition?description=1

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Staid Aviva - Aviva Stadium

Aviva Stadium located in Dublin, Ireland is a product of collaboration between global architects Populous and Scott Tallon Walker. The stadium was built on the existing Lansdowne Road Stadium which hosts plenty of rugby and soccer matches through its history.

The reason I picked this building is yet again due to the element of thoughts regarding sustainability and blending with the surrounding environment The building form is a fully site responsive design solution, keeping its height at its lowest closest to the adjacent two storey houses. The north end of the Aviva stadium has a dramatic dip to the roof and seating to allow sunlight to the houses immediately behind and likewise at the south end to provide daylight to the buildings along Lansdowne Road.1

Regarding sustainability and energy saving, the cladding around the stadium are made out of light weight polycarbonate panels that can be recycled. These panels are made translucent to allow maximum natural lighting entering the stadiums which results in a lower energy costs from artificial lighting demands.2

According to Buro Happold, structural engineer of Aviva Stadium, his engineers designed a sweeping, complex two part roof featuring an innovative ‘horseshoe’ truss, spanning over the three higher tiers and connecting to an independent shell structure over the lower north stand – the roof in effect spans the whole perimeter of the building wrapping back on itself through 180 degrees.3 Hence the success of Aviva’s structural form is obtainable only through the present computational softwares.

1 Aviva Stadium, Archdaily, http://www.archdaily.com/60213/aviva-stadium-opens-today-in-dublin/2 Scott Tallon Walker Architects, Aviva Stadium, http://www.stwarchitects.com/project-sustainability.php?p=041353 Buro Happold, Aviva Stadium, http://www.burohappold.com/projects/project/aviva-stadium-12/

“The bold design of Aviva’s roof creates the image of the sky coming down to meet the ground in a reflective crystal bowl.”

- Ben Vickery

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Parametric Modelling

“We pursue the parametric design paradigm all the way, penetrating into all corners of the discipline. Systematic, adaptive variation, continuous differentiation (rather

than mere variety), and dynamic, parametric figuration concerns all design tasks from urbanism to the level of tectonic detail, interior furnishings and the world of products.” 1

- Patrik Schumacher

Parametric can be seen as the next generation in Architectural design methods. Parametric designs are still in its early stages and it’s slowly being adopted by modern architects. Unlike conventional architecture, parametric uses a bottom up approach where it firstly defines the definition of the system.

Parametric modelling aims at representing change. When we say parametric, we think of a system. A system in which includes components such as functions, relationships, etc. Every components in the system are tied together, meaning a change in one component changes the overall design and its performance. This direct manipulation of the model often assist designers in reducing the need to re-work, unlike conventional architecture where every definition is needed to be altered.

However the system is created by the designers themselves and hence designers are boxed within their own understanding. This is a huge cost especially to new designers where they aren’t able to grasp every concept yet.

1 Patrik Schumacher, Parametricism as Style - Parametricist Manifesto, London, 2008.

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Taichung Metropolitan Opera House

“Architecture has to follow the diversity of society, and has to reflect that a simple square or cube can’t contain that diversity”

- Toyo Ito

This was Toyo Ito’s winning project in the competition entry for the Taichung Metropolitan Opera House. Toyo Ito is known as the leading architect which is famous for making the impossible, possible. The goal of the design is to have an open structure which actively engages its surroundings in all directions. Architecture as spatial experience is always Toyo Ito concern hence he came up with a concept of emerging grid which transforms standardized rigidity into fluid organic spae, allowing a more natural interaction between architecture and people.1

As I began researching about this building, I found out that geometrically, the Taichung Opera House is composed of many catenoid surfaces.2 These catenoid surfaces are the core and basic element of the Taichung Opera House.

1 Taichung Metropolitan Opera House, Toyo Ito & Associates, http://www.arcspace.com/features/toyo-ito--associates/taichung-metropolitan-opera-house/2 DesignBoom, Taichung Metropolitan Opera House, http://www.designboom.com/architecture/toyo-ito-wins-praemium-imperiale-exhibition-at-venice-biennale-2010/

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London Aquatics Centre

A concept inspired by the fluid geometry of water in motion, creating spaces and a surrounding environment in sympathy with the river landscape of the Olympic Park

- Zaha Hadid Architects

The recent Olympics was held in London and specifically water sports, was held in the London Aquatic Centre. This was designed by the internationally acclaimed Zaha Hadid Architects. Despite the continuous flames towards Zaha Hadid due to some restricted views within the centre, this building as a whole represents the present Parametric Architecture.

The design of the roof is based off waves where it represents the sheer volume of swimming and diving pools.1 The advance in material performance pushes the boundaries of Architecture, in this case, allow Zaha Hadid to represent something that is so fluid in motion such as waves into a static form.

1 London Aquatics Centre, Zaha Hadid Architects, 2012, http://www.zaha-hadid.com/architecture/london-aquatics-centre/

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Algorithmic Exploration

My personal Grasshopper exploration is like driving a Volkswagen Golf. Having a little bit of experience of Grasshopper before this subject I must say made life slightly easier.

However my Grasshopper skills are far from being anywhere near the expectation of the subject, which provides me the drive to explore further to achieve greater forms and outcomes.

Because my Case Study 1 was based on Iwamoto Scott’s Voussair Cloud, it was my first time using the voronoi component in grasshopper. I noticed that the component was used to basically divide spaces into a few different regions. Much like other components such as divide surface etc however it’s done in a more fluid and circular manner. (blob)

Image Sampler is my next favourite tool because it easily generates a pattern on any surface. It’s a handy tool where I may see myself utilizing this for a varying size/shape facade (tesselation).

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Algorithmic Exploration Journey So far..

With the constant drill on Grasshopper and readings provided. I believe that my understanding of arithmetic modelling, computational architecture and most of all my own Architecture as a discourse have been expanded. Deeper understanding of CAD and parametric softwares would allow my group and I proceed smoothly into Case Study 1.0 and 2.0 and especially the Final Wyndham Project.

The upcoming Wyndham Project is both an exciting and challenging one. Having known of plenty parametric treasures around the world had made this challenge even tougher as we need to find our way to differentiate ourselves from them as well as satisfying the brief of placing Wyndham on the map.

Most of all with the current computational knowledge and more to come, it would be an exciting opportunity to showcase and develop our skills and designs to the world and be part of this parametric era.

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Part 2 Design

Approach

As a team unlike conventional architecture which pleases the eyes through aesthetic measures, we’re all interested in Architecture and pushing it to a rather modern approach that is responsive and interactive to its users and I felt that dwelling into Material Performance would satisfy my aim in creating a stand out piece of sculpture for Wyndham City.

Material is like oil for architecture as it is for cars. It is the single most fundamental element that creates and brings architecture alive and could somewhat described as the ‘roots’ of architecture. By taking a step back and experimenting with these roots, we hope to achieve greatness in architecture. Hence we really wanted to explore into the different types of materials especially one that’s easily available to us.

Messing with the different types of materials is becoming increasingly popular in the field of

MajorDesignFOCUS

architecture. An iconic symbol of parametric architecture would be the Guggenheim Museum in Bilbao. The degree of curvature is not easily achieved hence the museum used 33,000 pieces of titanium half a millimetre thick, each with a unique form suited to its location1. As these pieces are so thin, it is possible to wrap around the skeleton of the structure.

1 Guggenheim Museum, Bilbao, http://en.wikiarquitectura.com/index.php/Guggenheim_Bilbao

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MajorDesignFOCUS

Case Study 1.0 - Voussoir Cloud | Iwamoto Scott

We started using Voussoir Cloud as our Case Study 1.0. The first step we took was to understand the entire definition of Voussoir Cloud provided in the LMS. We looked at how the different factors can affect the way we respond to how a structure functions and is formed. We broke it down to what each component does and contributes to the entire definition. One component which stood out amongst others was the Kangaroo plugin, which we had to download it separately. Kangaroo is a Live Physics engine for interactive simulation, optimization and form-finding directly within Grasshopper1. We thought that the best way to familiarise ourselves with Kangaroo is just by playing with

it, which stems to our first matrix exploration.

1 Kangaroo Physics, http://www.grasshopper3d.com/group/kangaroo

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Case Study 1.0 - Voussoir Cloud | Iwamoto Scott

By looking at the definition we’ve understood that the Voussoir Cloud is made up of various pentagon with different radius. In the first row we’ve played with the size of the pentagon. This can be seen in the final illustration of the row that in this case the model is made up of 5 pentagons. As the radius goes larger it just extends towards the boundary set by us. We’ve chosen to further the circled matrix because it gives a combination of straight lines to show its rigidity with circular arches to show its dynamism.

By looking at the definition we’ve understood that the Voussoir Cloud is made up of various pentagon with different radius. In the first row we’ve played with the size of the pentagon. This can be seen in the final illustration of the row that in this case the model is made up of 5 pentagons. As the radius goes larger it just extends towards the boundary set by us. We’ve chosen to further the circled matrix because it gives a combination of straight lines to show its rigidity with circular arches to show its dynamism.

Moving down next we’ve messed with the radius of each pentagons, each becoming wider or smaller. In the end we settled for the one we’ve chosen because we thought or practicality. If the radius (the base) becomes to small it wouldn’t be stable, and if it’s too wide it gives a dull straight shape.

Next we showed that we could also manipulate the height of the sculpture, however one restriction I noticed is that it wasn’t possible to change the height of each pentagon but only all of it together. Hence we could not show a more complex side of this component.

Next we’ve stumbled upon the unary force component from Kangaroo. What it does is basically acts as a gravity acting upwards, stretching the entire model. This could also be used as a component which generates a 3D model from a 2D drawing. After that we explored into the effects of different panelling options and finally we’ve tried to use what we learnt from earlier on which is using point attractors to manipulate the placing of the pentagons.

I believe that the greatest feedback from Case Study 1.0 is the exposure to Kangaroo. The live physics engine would assist us in achieving a free form sculpture for our final model.

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Case Study 2.0 - ICD/ITKE RESEARCH PAVILION 2010

Case Study 2.0 - ICD/ITKE RESEARCH PAVILION 2010

Case Study 2.0 - Re-Engineer

The second case study that we have looked into is the ICD/ITKE Research Pavilion 2010. The ICD research pavilion focused on material-oriented computational design. The structure is entirely based on the elastic bending behavior of birch plywood strips hence the form is directly driven and informed by physical behavior and material characteristics of it. Plywood was chosen in this research pavilion because of its bending behavior and the usability to allow the structure to be self-supporting, with great control over specific angles on how plywood can be bent.

We had 2 different approaches to re-engineering the ICD Research Pavilion 2010. The first one, which we failed with, is by obtaining a single strip and array these strips to a certain angle in order to form a complete loop. We’ve encountered several difficulties with the first being the inability to form the loop. The second flaw of this approach is that the bend/shape of every strips are the same, the change in shape of the initial strip would apply to every other strips.

Case Study 2.0 - Re-Engineer

The second case study that we have looked into is the ICD/ITKE Research Pavilion 2010. The ICD research pavilion focused on material-oriented computational design. The structure is entirely based on the elastic bending behavior of birch plywood strips hence the form is directly driven and informed by physical behavior and material characteristics of it. Plywood was chosen in this research pavilion because of its bending behavior and the usability to allow the structure to be self-supporting, with great control over specific angles on how plywood can be bent.

We had 2 different approaches to re-engineering the ICD Research Pavilion 2010. The first one, which we failed with, is by obtaining a single strip and array these strips to a certain angle in order to form a complete loop. We’ve encountered several difficulties with the first being the inability to form the loop. The second flaw of this approach is that the bend/shape of every strips are the same, the change in shape of the initial strip would apply to every other strips.

Besides that we’ve found that the Grasshopper definition of this approach is getting too complicated and redundant. Hence with the help of our tutor David, we’ve come up of another approach to re-engineer. Basically what we did was first get the lofted shape that’s similar to the original pavilion, then divide the curves which formed the shape into a number of points. By using the Arc 3Pt component we’re able to create an arc that travels through the points of the curve. However a restriction we’ve noticed that this is only applicable to a model made up of 3 curves only. Then we lofted the arcs to create a closed surface. The lofted surface is used as a base surface for geodesic to create another set of arcs but this time when lofted can be separated into its sections instead of an entire closed circuit by using the cull pattern component. The final form we’ve obtained is a sculpture made up of weaving strips.

Grasshopper

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Case Study 2.0 - Matrix

We’ve created another matrix exploration but of Case Study 2.0 showing how the total form can take shape with different bends on the strips.

In this matrix we wanted to change the entire sculpture from the original through playing with the size of the strips, curve locations, different types of bend and just really see what we can create from it.

During this process we wanted to base the form of our model from the bending and weaving technique seen in this project. However we felt that it was more important to firstly get to understand the materials we’re dealing with and run some tests to see the capability of bending of the material.

Case Study 2.0 - Matrix

Exploration47

Bending parallel to the grain

Bending perpendicular to the grain

Material Research - Plywood

We’ve chosen Plywood as our initial material to test. Our main focus here is to gather information regarding the flexibility of Plywood and how much it can resist bending before meeting its yield point. Before doing the actual tests we did some research about Plywood and found that it is quite commonly used in the field of Architecture. An example of these would be the ICD/ITKE Research Pavilions and the Lookout Tower at Korkeasaari Zoo (Helsinki) designed by Avanto Architects1.

1 Korkeasaari Zoo Lookout Tower, Avanto Architects, http://www.arch2o.com/kupla-helsinki-zoo-lookout-tower-avanto-architects/

Bending parallel to the grain

We’ve chosen Plywood as our initial material to test. Our main focus here is to gather information regarding the flexibility of Plywood and how much it can resist bending before meeting its yield point. Before doing the actual tests we did some research about Plywood and found that it is quite commonly used in the field of Architecture. An example of these would be the ICD/ITKE Research Pavilions and the Lookout Tower at Korkeasaari Zoo (Helsinki) designed by Avanto Architects1.

1 Korkeasaari Zoo Lookout Tower, Avanto Architects, http://www.arch2o.com/kupla-helsinki-zoo-lookout-tower-avanto-architects/

Moving on we’ve purchased sheets of 3 mm plywood from Bunnings and cut it into strips of 300mm x 60mm. By using elastic rubber bands we were able quantify the amount of rubber band (force) the plywood can resist before failing and breaking apart. This gives us solid information regarding plywood’s flexibility.

The test was done through different criteria such as testing the bend perpendicular to the grain and parallel to the grain. We’ve found that in order to achieve a great degree of curvature, the bending must be parallel to the grain. We ran the tests with different amount of strips stacked onto each other to illustrate increasing stiffness.

I think it’s important to look back onto existing architecture and understand why plywood was a successful material to use with. The following are the reasons :- High planar shear strength and impact resistance of plywood provides a self-supporting structural system- Suitable for outdoor weather conditions and doesn’t corrode- Changes in temperature and moisture have insignificant impact on expansion and shrinkage- Has a great amount of control of the stresses and bending of the plywood

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Single Strip Veneer

Double Strip Veneer

Laminated Strip Veneer

Laminated (Pattern) Strip Veneer

Material Research - Veneer

Single Strip Veneer

Laminated Strip Veneer

We did not want to restrict ourselves with just one material, therefore we decided to test out veneer. Veneer is basically a thin slice of wood ranging from 1mm – 3mm and is usually used for laminating onto separate core panels. We did research on veneers and decided it may be a suitable material for our design through a few reasons :

- The thin nature of veneer allows it to have a great bending capacity- Gives a natural wood grain pattern- Changes in temperature and moisture have significant impact of expansion and shrinkage- Low shear strength and resistance by itself but strong when is stacked

Again we’ll be using rubber bands to quantify the force needed to bend and before it breaks. The same tests was done to the veneer as the plywood however for veneer due to its great flexibility we wanted to test if it was possible to alter the shape and location of the bend. In order to achieved that we’ve laminated only the 2 end of the strip. This provides greater rigidity at the ends while the bend only occurs in the middle. We pushed this further by laminating another layer with a different shape and the result shows the bend and wood warping occur simultaneously.

So far I’ve only highlighted the pros but not the cons of veneer. While handling veneer we found that it is much more fragile and prone to breaking apart due to its thinness. It is difficult for the veneer to be its own self-supporting structural system. This lack of endurance and rigidity may not be suitable for a long term structure.

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Grasshopper Translation

Low Stress

Mild Stress

Medium Stress

Maximum Stress

So far I’ve only highlighted the pros but not the cons of veneer. While handling veneer we found that it is much more fragile and prone to breaking apart due to its thinness. It is difficult for the veneer to be its own self-supporting structural system. This lack of endurance and rigidity may not be suitable for a long term structure.

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Model Prototype 1

Model Prototype 2

We found out that by cutting holes at different parts of the strips, it’ll produce a different location of bend. The strips with holes will bend at the midpoint of the holes. This can be seen in the first prototype. This range of curves would have an effect on light and perception. By doing this we can offer a variation of curves and this can be adopted in our next part where we decide on the final form of our design. However by doing this we are undermining the structural integrity of the veneer itself, causing it to split and crack at the edges of the carved holes. The first prototype was hand cut and we couldn’t achieve the precision we wanted hence we sent to the fablab for the 2nd prototype.

The second prototype had a much smoother finish and cut to exact precision. In this prototype we took advantage of the ability of veneer to warp and shown it in the model. We also noticed that by laser cutting the veneer strips, the probability of the veneer cracking and splitting decreased due to a cleaner cut. However over time these cracks are starting to appear and still pose a problem for us.

We found out that by cutting holes at different parts of the strips, it’ll produce a different location of bend. The strips with holes will bend at the midpoint of the holes. This can be seen in the first prototype. This range of curves would have an effect on light and perception. By doing this we can offer a variation of curves and this can be adopted in our next part where we decide on the final form of our design. However by doing this we are undermining the structural integrity of the veneer itself, causing it to split and crack at the edges of the carved holes. The first prototype was hand cut and we couldn’t achieve the precision we wanted hence we sent to the fablab for the 2nd prototype.

The second prototype had a much smoother finish and cut to exact precision. In this prototype we took advantage of the ability of veneer to warp and shown it in the model. We also noticed that by laser cutting the veneer strips, the probability of the veneer cracking and splitting decreased due to a cleaner cut. However over time these cracks are starting to appear and still pose a problem for us.

Moving On..

The feedback we received from the presentation was very helpful in pointing out the necessary direction that we should be taking.

There was one comment from the guest judge which really touched on the package we’re lacking, and I’ll quote him “You’ve stopped at the point where the real story begins ….. Build the story”.

In the following weeks to come our team will be focused on building up our story of our piece of sculpture. This story will be the base of our form that includes different elements that we’re going to play with such as Light, Shadow, Perception, Wind etc.

Another comment which put the whole project into perspective was Michael’s comment of thinking about the actual sculpture in reality, and the materials which could create the effect we want. Thinking realistically a structural strong timber with a great span that could bend and warp is impossible to find. Our team will re-visit this issue and address this by expanding our scope of material and look into precedents of similar design intent.

Looking back to the brief, Wyndham is a city that’s focused on sustainable living. This includes saving of energy, maintaining a constant supply of clean water, reduce waste and encourage recycling. Not only that Wyndham city wants to be known as a place of peace and freedom with the slogan of “City. Coast. Country”. We believe that through the type and engineering of materials incorporated with a free-form style of architecture, we could voice out Wyndham’s intent of peaceful sustainable living to the world.

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Moving On..

BibliographyRichard Williams, ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), pp. 105

The Lotus Dome, Daan Roosegaarde, http://www.architizer.com/en_us/blog/dyn/56318/the-immaculate-collection-daan-roosegaardes-lotus-dome-transforms-cathedral-into-techno-club/#.UV2JqpNTBMp

Studio Roosegaarde, Lotus Dome, http://www.studioroosegaarde.net/project/lotus/info/

Serpentine Gallery Pavilion, 2005, Alvaro Siza, http://inhabitat.com/timber-and-polycarbonate-pavilion-at-londons-serpentine-gallery-illuminated-by-solar-paneling/alvaro-sizavieira-serpentine-pavilion4/

Lawson. Bryan. (1999). “‘Fake’ and ‘real’ creativity using computer aided design: Some lessons from Herman Hertzberger”, in Proceedings of the 3rd Conference on Creativity & Cognition, ed. by Ernest Edmonds and Linda Candy (New York: ACM press), pp. 174-179

Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), pp. 6-11

Transbay Transit Center, SOM, https://www.som.com/project/transbay-transit-center-design-competition?description=1

Aviva Stadium, Archdaily, http://www.archdaily.com/60213/aviva-stadium-opens-today-in-dublin/

Scott Tallon Walker Architects, Aviva Stadium, http://www.stwarchitects.com/project-sustainability.php?p=04135

Buro Happold, Aviva Stadium, http://www.burohappold.com/projects/project/aviva-stadium-12/

Patrik Schumacher, Parametricism as Style - Parametricist Manifesto, London, 2008.

Taichung Metropolitan Opera House, Toyo Ito & Associates, http://www.arcspace.com/features/toyo-ito--associates/taichung-metropolitan-opera-house/

DesignBoom, Taichung Metropolitan Opera House, http://www.designboom.com/architecture/toyo-ito-wins-praemium-imperiale-exhibition-at-venice-biennale-2010/

London Aquatics Centre, Zaha Hadid Architects, 2012, http://www.zaha-hadid.com/architecture/london-aquatics-centre/

Guggenheim Museum, Bilbao, http://en.wikiarquitectura.com/index.php/Guggenheim_Bilbao

Kangaroo Physics, http://www.grasshopper3d.com/group/kangaroo

Korkeasaari Zoo Lookout Tower, Avanto Architects, http://www.arch2o.com/kupla-helsinki-