tokkuzun melissa 638547 part b

M e l i s s a T o k k u z u n

S T U D I O A I R

PA R T AC O N C E P T U A L I Z AT I O N

P a r t B26 - 27 B1 RESEARCH FIELD

28 - 31 B2 CASE STUDY 1.0

32 - 37 B3 CASE STUDY 2.038 - 43 B4 TECHNIQUE: DEVELOPMENT44 - 45 B5 TECHNIQUE: PROTOTYPES

46 - 51 B6 TECHNIQUE: PROPOSAL52 - 53 B7 LEARNING OBJECTIVE54 - 55 B8 APPENDIX56 - 57 REFERENCE LIST - IMAGE LIST

C o n t e n t sP a r t A4 - 5 IA0 NTRODUCTION

6 - 9 A1 DESIGN FUTURING

10 - 13 A2 DESIGN COMPUTATION14 - 17 A3 COMPOSITION / GENERATION18 A4 CONCLUSION

19 A5 LEARNING OUTCOMES20 - 21 A6 APPENDIX - ALGORITHMIC SKETCHES22 -23 REFERNCE LIST - IMAGE LIST

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A0 INTRODUCTION

My name is Melissa and I am a third year student at the University of Melbourne. I am currently studying the Bachelor of Environments degree, majoring in Architec-ture. I enjoy spending time with my family and friends and believe that these moments I share with my loved ones make life worth it. I enjoy swimming and playing the flute and I hope to travel as many places as I can, to experience the diverse cultures the world has to offer.

I was always confused as to what I wanted to study; however, I always knew it was related to construction or architecture. The Bachelor of Environments provid-ed me with the chance to explore both fields in first year, before selecting my major. I undertook vari-ous construction subjects along with studio subjects and developed a greater interest in this field. I always viewed both industries as a separate unit. Although, my lecturer in first year said, “there is no architecture industry, there is a building industry”. I questioned this idea and I now see how these two professions compliment one another and must be considered simultaneously rather than two separate entities.

My existing knowledge in digital architecture in rela-tion to computational design and modelling is limited. I am excited to experience this subject to take part in learning practices that go through computation-al iterations of design. This is a new way of thinking and I am looking forward to experiencing an area that will broaden my skill and knowledge in design.

About Me

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Over the pass few years I feel that I enjoy design-ing spaces with functionality as the underlying pur-pose. Design has the power to control the mood and alter the experience one goes through in a given space. Understanding how people interact in spac-es and designing areas that work well is important. Working with a brief and resolving designs, is in fact a stimulating process. During my time at uni-versity, I have been required to develop a range of skills in a short period of time, which has been par-ticularly challenging. I have developed some skills in software’s, such as AutoCAD, Google Sketch Up and a few programs in the Adobe Suite. Although, I have never used Rhino or Grasshopper and frank-ly this makes me nervous about Studio Air. I am yet to perfect my computer aided skills and am looking forward to learning a new set of skills and design.

About Me

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A 1D E S I G N

F U T U R I N G

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Our current architectural practice is shifting towards a futuring concept. It is a concept, which aims to increase time for human existence by negating systems, and actions that take this time away. A formal approach to this can be through understanding what is required to head towards a futuring design practice. Sustainability plays a large role in this component of design as it has the ability to improve environmental conditions through improved designs.

The natural world ‘cannot sustain us’ as we have become ‘too dependent on this artificial world’ [1] . To overcome this issue, it can be argued that the way we design should shift towards a future where the traditional approaches to design are re-focused on become an agency of sustainability.

This can be achieved and has been undertaken by many designers through the process of integrating human systems with natural systems so both entities work as a unified whole. In doing this, architectural design should redirect its knowledge towards an area that will assist in designing a more efficient future.

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The Olympic Sculpture Park, located in Seattle was a winner of an international design competition, and is a principal form in Seattle’s urban setting. The design was proposed as a new ideal for an ur-ban environment, located on an industrial site at the water’s edge. The design creates a continu-ous constructed landscape, forming a Z-shaped “green” platform that connects the urban environ-ment with the natural system of the waterfront [2] .

The collaboration of the built and natural environment is one that is incorporated in many design concepts, and is an aspect of design that is changing the way design integrates human and natural system. This particular project successfully demonstrates the relationship be-tween both of these worlds. Sustainable landforms are designed with relations between art and the city, the city and nature, and organic and inorganic forms [3]. This theme allows the design to develop its form from its surrounding landscape fabric, creating a subtle yet empowering landscape. Tony Fry says, ‘forget design as a territory and practice that can be laid claim to … and start talking to other people, other disciplines; broaden your gaze’ [4] . This is evident in this design, as several industry leaders have joined to ‘suggest a more materially grounded objective and agency’ [5].

It transforms the city scope by capturing the energy

of the city, and using the continuous Z-shaped land-scape with tilted planes to create a new urban edge, which offers an area for future users and practices. This design responds well to its context and successfully integrates several functionalities in a unified manner.

Whether you have an industrial space or a residential site, there are several ways to use existing lands. This particular project restores the land with a public re-source that flawlessly mergers the built environment with the well maintained natural world. It demonstrates the mutual respect and complimentary nature of both the urban and natural world, creating psychological nourishment in the form of art and natural views [6]. Manfredi believed that this project can take the form of ‘recovering the illness’ [7], as envisioned design can work towards understanding the broader context of design.

Throughout the park, landforms and plantings col-laborate to direct, collect, and cleanse storm wa-ter as it moves through the site before being dis-charged into Elliott Bay. As a ‘landscape for art’, the park defines a new experience for modern art outside the museum. The deliberate unrestricted layout, invites new understandings of art and en-vironmental engagement, reconnecting the rup-tured relationships of art, landscape, and urban life.

OLYMPIC SCULPTURE PARKWEISS / MANFREDI

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The winning design of an international competition, the Water Cube, is a well-resolved project developed by PWT Architects, with the assistance of China State Construction Design (CCDI), CSCEC and ARUP [8]. The structure was founded using lightweight construction and derived from the arrangement of bubbles in the state of aggregation found in foam. The use of tech-nology and materials create a remarkable, energy-effi-cient, and ecologically friendly building. Theoretically, the overall box like form are cut out of an unconstrained cluster of foam bubbles, which denotes a condition of nature that is altered into a condition of culture.

This thinking process evidently highlights the idea of speculative design as the designers of the Water Cube ‘redefine our relationship with reality’ [9]. Desires and dreams are redirected to-wards a more speculative and critical design prac-tice that focuses on a sustainable design future.

The highly sustainable arrangement uses translucent ETFE (ethyl tetra fluoro ethylene), which is a strong, recyclable material, weighing only one percent of an equivalent sized glass panel [10]. The bubble clad-ding allows more natural light to travel through the façade compared to glass, with improved insulation capability that is more resistant to the weathering. It was aimed to act as a greenhouse, allowing natu-ral daylight into the building, making use of the sun to passively heat the structure and pool water [11].

Anthony Dunne says that, ‘one is to design as a means of speculating how things could be specula-

tive’ and ‘dream new dreams’ [12]. Based on the unique geometry of bubbles, the repetition of shape is set out in an organic and random manner. The building is a simple regular form, with very complex geome-try in the façade, which is visually appealing. It can be viewed as an imaginative thinking process and can be the means of developing and influencing a journey into the possible future of design thinking.

THE WATER CUBEPTW ARCHITECTS

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A 2D E S I G N

C O M P U T A T I O N

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Design computation has formed a new approach to thinking about the design practice. It allows for a variety of new design ideas and solutions, which can assist, designer to produce unique work, by computing algorithmic codes.This approach is discussed as an aspect of architecture that forces design to become a way of thinking about ar-chitectural generation with the use of algorithmic coding [13]. Parametric modelling has allowed for this new design system as technology provides designers with the opportunity to integrate software’s into the design process.

This style of thinking about architecture enforces designers to think about materially and therefore constructability of the structure. Understating materiality is a component of this paradigm between architecture and construction. This new form of practicing architecture forces us to question what the future of architecture will be. This has developed a new world of forming well resolved and complex forms, and is yet to provide enhanced designs in the years to come.

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Computation is a driving energy across many disciplines and the benefits of computer sys-tems have made computer programming rel-evant to a wide range of professions, includ-ing the field of design [14]. It offers a scope of diverse ideas and new techniques to solve problems.

The Shezhan Bao’an airport design was an outcome of an international competition in 2008. Massimiliano Fuksas and Knippers Helbig, developed a honey-comb like terminal structure, allowing natural light to seep through the 25,000 openings across the double-skin facade, which is supported by a system of slender [15].

The first stage of design development used clay models by Fuksas, which was then implemented in Rhino 3D [16]. Following on, Helbig commenced the discretization of the surfaces with the use of para-metric software tools. The openings and directions of the glass were proportionate to each other as were the daylight and energy input. Developing the geo-metric design required the structural arrangement of the steel composition along with the coordinates of all facade components. The use of computation-al programs allowed for easier iterative optimization of the façade design in a shorter period of time [17].

This evidently highlights the advantages of en-gaging in computational design practices, as the total time of the traditional design process can be greatly reduced, improving time efficiency.

This parametric design is a ‘new form of logic of digi-tal thinking’ [18]. Rather than producing specific design representations, the designer uses a set of r`ules that define a system capable of producing many outcomes. Computerization enriches our ability to challenge or-ganic forms and the future of design and construc-tion is the improved ability to construct buildings, which employ challenging geometries and forms.

SHEZHAN BAO’AN INTERNATIONAL AIRPORT

MASSIMILIANO FUKSAS / KNIPPERS HELBIG

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Material-based design computation is established and anticipated as a form of computational strate-gies accompanying the collaboration of form, ma-terial and structure. This is achieved by integrating physical form-finding strategies with digital analysis and fabrication. Integrating materiality and technol-ogy within the driving force of computer and archi-tecture, digital variety is further developed. In the world of computational design, materiality defines shape. This approach to design conveys that mate-riality effects structural and overall form. This can be seen across many research based material computa-tion designs and built forms, which envision a new way of thinking about architecture and its form [19].

Architects Pablo Zamorano and Jacob Bek, and de-signer Nacho Marti coordinated a research project, demonstrating a new experiment in testing the lim-itations of an efficient, and sustainable construction method of a natural sheet of material. The design took the form of an exhibition and meeting room pa-vilion, whilst examining the multifaceted geometries created by simple patterns cut into a material sheet.

One of the largest inefficiencies in building systems is the lack of integration between building elements. The Expandable Surface System looks to integrate all ele-ments into one – structure, facade and shading while de-veloping a sustainable mode of fabrication. Software’s

like Rhino, Grasshopper and VB Script were collabo-ratively used to produce a 16m2 design proposal [20].

To understand the built structure of this project, the team explored structural and geometric digital analy-sis to understand and anticipate the reaction between the material and pattern, finding ways to digitally control material properties. This process was then studied and revised by findings resulted from struc-tural analysis. Nerri Oxman states, ‘material is not con-sidered as a subordinate attribute of form, but rather as its progenitor’ [21]. Thus, understanding the material properties resulted in a successful research project.

Design computation is related to designing for material efficiently, reduced construction waste, and low ener-gy means of fabrication, transportation and assembly.

In rethinking contemporary modes of construction, this proposal aims to achieve zero material waste. Less than two percent waste is produced during fabrication. The logical and geometric design is implanted in the ma-terial directly, without an additional support system.

This project can be viewed an innovative pro-cess of design and construction, as the pa-vilion questions modern practices focus on a unified and sustainable building process.

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EXPANDABLE SURFACE PAVILLIONPABLO ESTEBAN ZAMORANO / NACHO MARTI / JACOB BEK

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A 3C O M P O S I T I O N /

G E N E R A T I O N

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With the development of technology there has been a shift from composition to generation in the regime of architectural practice and literature. Computerization can be referred to a ‘drafting board … to increase the precision of drawings’ while computation refers to the ‘ability to deal with highly complex situations’ [22]. Peters further distinguishes these two components, as does Kostas Terzidis. Personally, I would support this mentality; though I would defend it by stating that computerization forms the basis of this new computational design practice. The necessity of understanding drawings and computers should assist in the era of computation as a process of information communicated through the use of a tool, which is then expressed as an algorithm. Even though it may appear that design has shifted towards algorithmic thinking, understanding this idea of computerization can potentially assist designers enhance their ability to comprehend this new approach.

It is fair to state that computation does in fact allow designers to explore new ideas and solve more complex designs, and is evident in many buildings across the world. Algorithms form part of computational designs as it acts as ‘a set of rules or operations’, which define a structure and allows a new thinking process; algorithmic thinking [23]. This thinking process can be defined as ‘a means of taking on a interpretive role to understand the results of generating code, knowing how to modify the code to explore new options, and speculations on further design potentials’ [24].

The algorithmic thinking has allowed for conceptual changes, as it provides designers with the abili-ty to explore simple geometries to form complex structures. Computing and coding has assisted and con-tinues to assist many architects in using computations and parametric modelling to enhance build-ing performance. Given that design futuring is a concept of importance for the sustainability of our world, this element allows for the experimentation of building performance to improve efficiency.

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The computational process is redefining the struc-ture of architectural practice as it moves towards a more generative process. With the assistance of software modelling programs, architecture is introducing the idea of algorithmic thinking.

The South Australian Health and Medical Research In-stitute (SAHMRI) uses triangulated and textured façade, which represent the collaboration of art, science and innovation. The façade is made of 15,000 triangulated steel frames, which are arranged in a diagonal grid for-mat. Environmental consideration has been thought, using the basic of passive design ideas to control di-rect daylight. The overall design aims to maximise the natural lighting whilst reducing the glare and energy use with the triangulated system of sunshades [25].

The triangular panels, made of glass, steel mesh and aluminum, are connected at metal points that form an architecturally appealing facade design that integrates the angle of sun exposure. This project was designed to deal with the environment

and to achieve such a successful outcome, para-metric modeling process was employed with the aid of rhino and grasshopper to form a point of stability between architectural form and function. This use of software’s assisted the design process as more accurate and algorithmic thinking was employed. To begin with, around 300 variation of this triangulat-ed shape was formed across the whole faced. However, parametric modeling assisted in reducing this to only 20 variations [26], leading to a more efficient assembly.

This evidently highlights the benefits of interacting with software’s, which require algorithmic thinking to move towards this generative approach to archi-tectural literature. The use of parametric modeling assisted in testing various layouts before produc-tion, to ensure that the system of triangular pan-els work effectively to achieve an energy and en-vironmental design. The outcome was successful and the design received a gold LEED (Leadership inn Energy and Environmental design) rating [27].

THE SAHMRIWOODS BAGOT

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One of the worlds tallest tensile structure were pro-duced by Foster and Partners with an envelope of 3 layers, offering shelter to the extreme climates of Kazakhastan [28]. This location is a civic, cultural and social venue where a variety of activities take place across the year. The sheltered design is formed us-ing a generative design approach with the aim to provide a comfortable atmosphere for users.

The tent like structure is derived with the use of parametric designing tools to generate several forms. The computer-generated designs where test-ed against a written computer program to mimic the structural forces, leading to the use of a cable struc-ture with an ETFE (ethylene tetrafluoroethylene) dome. Peters discusses this new era of algorithmic thinking as architects shift away from using soft-ware’s ‘to one where they create software’s’ [29] and is obvious in the design process as computer pro-grams were ‘written’ to assist the overall structure.

The computational works of this project were a form of algorithmic thought and modelling. Several com-plex forms were created and tested with the use of prototyping machinery as a design tool. This idea that ‘computational designers…generate and explore architectural spaces and concepts’ [30] is evident in this particular project as 3D models are formed along with the creation of design tools to assist in the design pro-cess [31]. This prototyping step allowed for designers to further enhance their understanding parameters of the architectural design. This process implements the computational component of the architectural practice into the whole design process allowing for improved integration and collaboration of the project.

KHAN SHATYR ENTERTAINMENT CENTREFOSTER AND PARTNERS

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A3 C ONCLUSION

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We live in a dynamic world with changes occurring in our technological, social and cultural systems. Architecture is part of this changing world, which affects our future more than people realise. It is a discipline, which has the ability to ‘construct’ or ‘de-construct’ our future. As our world is changing, it too must adapt to this shift towards design futuring. For this shift to occur, education should be constructed in a way to implement this thinking process as part of a new way of living and thinking. Design practic-es and design thinking should move towards a fu-turitive approach, which encounters with the many possibilities of computational design. The world of computerization is one that is changing and it must not be seen purely as a components of design but rather a tool that designers can use as part of this new approach to design to explore new ideas.

My intended design approach is to link the natural and human systems together to ensure that the de-sign fits within its context. By using algorithmic think-ing practices, I am hoping to find a system, which will benefit all users of the site and contribute to this idea of designing for a sustainable future. Designs have a tendency of focusing purely on appearance

and disregard such a vital components in today so-ciety; that is sustainability. In terms of architecture and construction, there should be an interdisciplinary thinking approach that will enhance efficiency of the whole design process as each of the components of design work together. Embodied energy can be an el-ement to consider in terms of reducing the amount of energy required to build a given design, and further contribute to this idea of design futuring. Algorithmic thinking and computational design in essence can as-sist with this idea as materiality should be considered and assist designers to compute competent designs.

I personally like this new thinking approach to the architectural practice in term of designing for a sustainable future. Design futuring, design com-putation and generation/composition are linked in one-way or another. They all form part of this new practise as parametric modelling and algorithmic thinking can assist in producing computational de-signs with complex geometries that allow design-ers in exploring new paradigms and design options that will form an interconnectedness with nature.

A4 LEARNING OUTCOMES

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Before beginning tutorials, I was unsure about what to expect, and somewhat nervous from the workload. The workload is definitely much more than I expect-ed, however, in terms of content, I enjoyed learning about the different topics covered in Part A. I never thought about this idea of design futuring or com-putation. I knew of these ideas but didn’t look deep into the theory. Studying these ideas has broadened my perspective of what architecture should be and what is shouldn’t. The main aspect I enjoyed was the idea presented by Tony Fry about design futuring. Like Fry, I agree that we must further integrate sus-tainability into our course structure, as it is an issue that is affecting our future, and it is in our power to control the way in which we design. We must all understand that “nature alone is not enough to sus-tain us” [32] and look at ways to sustain our future.

Learning about architectural computing was and still is a challenge for me. I have never been exposed to algorithmic design practices and I am currently in the process of learning both rhino and grasshop-per whilst producing my work. However, I don’t see it as a burden as such, but rather a process of de-veloping my skills in computations to enhance my

ability to shift my design practice and style in ways that will contribute to design futuring. I feel that parametric modelling acts as a tool for designers to explore numerous design options and assist in the transition of traditional design to generative design practices to achieve more sophisticated outcomes.

Throughout Part A, I have already learnt a lot about computing and algorithmic designs, and in terms of my past work, I think by understating how rhi-no and grasshopper works, I would have had the chance to explore various forms, resolve my de-signs more proficiently and experiment with de-sign solutions that will increase design efficiency.

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A5 APPENDIXALGORITHMIC SKETCHES

This algorithmic sketch was a basic, yet frustrating process to go through. This outcome was achieved with the use of components such as Pop3D, Voro-noi3D and offsetting. I encountered many struggles, as the offsetting values would not read the commands. This outcome, reminds me of The Water Cube design produced by PTW architects. This tool can be a pro-cess used to explore different ideas and shapes. By adjusting the number slider of the Pop3D component, this should be able to increase the repetitive shapes.

This rigid form was produced through the triangula-tion component of grasshopper, which was then ed-ited in rhino. It is a similar process as the algorith-mic sketch above. However, this was an easier way to produce abstract looking forms. By taking part of this algorithmic exercise, I began to gain an under-signing of how designers actually produce complex forms. Whilst deconstructing the overall form, it was easier to see the relation between some buildings.

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Complex forms are easily created with the use of computer software’s. This was produced through the exploration of grid shells with the use of the geode-sic and shift list command to alter line directions. It is hard to make out what it is, however, with further al-gorithmic thinking and exploration; a clear design can be reached. Grid shell designs are becoming a well-ex-plored design field and by taking part of this exer-cise, I can begin to understand the thinking process.

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REFERENCE LIST

[1] Fry, Tony, Design Futuring: Sustainability, Ethics and New Practice (USA: Oxford Berg, 2009), p. pp. 1 -16.

[2] Weiss and Manfredi, Seattle Art Museum: Olympic Sculpture Park (2014) < http://www.weissmanfredi.com/project/seat-tle-art-museum-olympic-sculpture-park> [accessed 10 March 2015].

[3] Huber, Nicole, ‘Olympic Culpture Park’, Places, 20.3, (2008), pp.6 – 11.

[4] [5] Fry, Tony, Design Futuring: Sustainability, Ethics and New Practice (USA: Oxford Berg, 2009), p. pp. 1 -16.

[6] Levit, Julia, ‘Seattle to the Wrold: Olympic Sculpture Park’, World Chanigng Seattle, (2008), in < http://www.worldchanging.com/local/seattle/archives/008741.html> [accessed 10 March 2015].

[7] Huber, Nicole, ‘Olympic Culpture Park’, Places, 20.3, (2008), pp.6 – 11.

[8] Arc Space, Water Cube: PTW (2013) <http://www.arcspace.com/features/ptw/watercube/> [accessed 10 March 2015].

[9] Duner, Anthony and Raby, Fiona, Speculative Everything: Design, Fiction, and Social Dreaming (The MIT Press, 2013), pp. 1 - 45.

[10] [11] McManus, David, Water Cube Beijing (2015) <http://www.e-architect.co.uk/beijing/watercube-beijing> [accessed 10 March 2015].

[12] Duner, Anthony and Raby, Fiona, Speculative Everything: Design, Fiction, and Social Dreaming (The MIT Press, 2013), pp. 1 - 45.

[13] Oxman, Rivka and Oxman, Robert, Theories of the Digital in Architecture (London: New York Routledge, 2014), p. 1 - 8.

[14] Jacobs, Jennifer, Algorithmic Craft: the Synthesis of Computational Design, Design Fabrication, and Hand Craft (United States: Massachusetts Institute of Technology, 2013), p. 1 - 131.

[15] [16] [17] Welch, AJ, Shenzhen Bao’an International Arport (2015) <http://www.e-architect.co.uk/hong-kong/shenzhen-airport> [accessed 12 March 2015].

[18] [19] Oxman, Rivka and Oxman, Robert, Theories of the Digital in Architecture (London: New York Routledge, 2014), p. 1 - 8.

[20] Singhal, Sumit , Expandable Surface Pavilion in Cologne, Germany by Pablo Esteban Zamorano (2011) <http://www10.aeccafe.com/blogs/arch-showcase/2011/11/29/expandable-surface-pavilion-in-cologne-germany-by-pablo-esteban-zamorano/> [accessed 14 March 2015].

[21] Oxman, Rivka and Oxman, Robert, Theories of the Digital in Architecture (London: New York Routledge, 2014), p. 1 - 8.

[22] [23] [24] Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15

[25] [26] [27] Keller, Candice, ‘15,000 Pieces to the SAHMRI Puzzle’, Architecture and Design, (2015), in <http://www.architecture-anddesign.com.au/news/there-are-15-000-pieces-to-the-puzzle-that-makes-s> [accessed 16 March 2015].

[28] DeZeen, The Khan Shatyr Entertainment Centre (2010) <http://www.dezeen.com/2010/07/06/the-khan-shatyr-entertainment-

[29] [30] [31] Peters, Brady, The Khan Shatyr Entertainment Centre <http://www.bradypeters.com/khan-shatyr-centre.html> [ac-cessed 17 March 2015].

[32] Fry, Tony, Design Futuring: Sustainability, Ethics and New Practice (USA: Oxford Berg, 2009), p. pp. 1 -16.

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IMAGES LIST

1 Personal Photograph - Self Image

2 Personal Photograph - From Studio Water in 2013

3 Personal Photograph - From Studio Water in 2013

4 Wiess/Manfredi, ‘Olympic Sculpture Park’, <http://www.weissmanfredi.com> [accessed 18 March 2015]



7 Shou Ruogu Architects Photograph, ‘The Water Cube’, <http://www.e-architect.co.uk/beijing/watercube-beijing> [accessed 18 March 2015]

8 PTW Photographs, ‘The Water Cube’, <http://www.e-architect.co.uk/beijing/watercube-beijing > [accessed 18 March 2015]

9 Knippers Helbig, ‘Shezhan Bao’an International Airport’, <http://www.e-architect.co.uk/hong-kong/shenzhen-air-port> [accessed 18 March 2015]

10 F. Colarossi, ‘Shezhan Bao’an International Airport’, <http://www.e-architect.co.uk/hong-kong/shenzhen-airport> [accessed 18 March 2015]

11 F. Colarossi, ‘Shezhan Bao’an International Airport’, <http://www.e-architect.co.uk/hong-kong/shenzhen-airport> [accessed 18 March 2015]

12 Courtesy of Pablo Exteban Samorano, ‘Expandable Surface Pavilion’ <http://www.archdaily.com/186069/expand-able-surface-pavilion-pablo-esteban-zamorano/> [accessed 18 March 2015]

13 Courtesy of Pablo Exteban Samorano, ‘Expandable Surface Pavilion’ <http://www.archdaily.com/186069/expand-able-surface-pavilion-pablo-esteban-zamorano/> [accessed 18 March 2015]

14 Candice Keller, ‘The Sahmri’, < http://www.architectureanddesign.com.au/news/there-are-15-000-pieces-to-the-puzzle-that-makes-s> [accessed 18 March 2015]

15 Candice Keller, ‘The Sahmri’, < http://www.architectureanddesign.com.au/news/there-are-15-000-pieces-to-the-puzzle-that-makes-s> [accessed 18 March 2015]

16 DeZeen, ‘The Khan Satyr Entertainment Centre’,<http://www.dezeen.com/2010/07/06/the-khan-shatyr-entertain-ment-centre-by-foster-partners/> [accessed 18 March 2015]

17 DeZeen, ‘The Khan Satyr Entertainment Centre’,<http://www.dezeen.com/2010/07/06/the-khan-shatyr-entertain-ment-centre-by-foster-partners/> [accessed 18 March 2015]

PA R T B

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

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B1 RESEARCH FIELD

Tessellation can be referred to as a process that creates interesting surfaces. A flat surface can be developed though tessellation with the use of geo-metric shapes that are repeated over a surface. The repetitive element of tessellated surfaces form pat-terns usually with with tile arrangements, although through advanced technology, other methods of producing tessellated surfaces have developed.

The VoltDom is an installation that utilizes this idea of repetitive patterning to form a tessellated structure. It was created for the MIT’s 150th An-niversary Celebration and FAST Arts Festival and is positioned in the concrete and glass hallway of building 56 & 66 on the MIT’s Campus. Undertaking several research and experimentations of the sculp-ture, the final form was obtained [1]. It was designed by the research practice SJET, which was found-ed by Skylar Tibbits, the designer of the VoltaDom.

Computational design is an approach to architecture that has been developing with the assistance of tech-nology. It is assisting many designs by allowing for improved efficiency in testing materiality, form, and structure as well as enhancing architectural aesthetics. Tessellation, being a form of patterning assists design-ers to form computational designs with ease, due to the advancement in technology and programming like Rhi-no and Grasshopper, along with several other plugins.

The VoltaDom aims to reminiscent the historically dom-inant structural vaulted ceiling in cathedrals [2]. Using this as a basis of design intent, the development and installation of this project has been appreciative to-wards sculpture and materiality experimentations with the use of digital fabrication. This installment aims to develop the concept of architectural design with the use to tessellation or surface paneling. It experiments with the curvature of the vaulted surface, while focus-ing on the ease of installment and fabrication meth-ods. The VoltaDom uses digital fabrication to produce this tessellated sculpture using a complex double curved vault produced by rolling of a sheet material [3].

The use of tessellation can be seen as beneficial to projects that aim for a patterned appearance as it al-lows for a complex structure yet, aesthetically pleasing architectural compositions. This type of design may not suit all design purposes and projects. However, it can be a valuable aspect of computational design to explore interesting forms and patterns. Computation-al design and parametric modeling provides endless opportunities in terms of increasing efficient research possibilities and improved detailing and design. Al-though, there are still many limitation including time and money. If the idea of tessellation and the use of technology and digital fabrication are utilized proper-ly, it will lead to successful projects like the Voltadom.

TESSELLATION - VOLTADOM

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VOLTADOMSkylar Tibbits

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B2 CASE STUDY 1.0

Species 1Number of seed point on capped dome form

Species 2Capped cone radius is re-duced with seed variations.

Species 3Capped cone radius is en-larged with seed variations.

Species 4Dome form is used with domain variations of V0/V1

Using the VoltaDom project to explore tessellation has been interesting to see the overlapping elements that repeat itself over a given geometry. By varying the number of seed, several patterned surfaces have emerged. The base form was altered by using the domain2 container to allowed for different forms of a given cone geometry. The cones sitting on the surface have also been altered to experiment with potential tessellated surfaces. While it was difficult to connect the capped cone surfaces onto a flat or more com-plex geometry, these iteration have developed techniques by exploring potential design proposal concepts.

1.1

1.2

1.5

1.4

1.3

2.1

2.2

2.5

2.4

2.3

3.1

3.2

3.5

3.4

3.3

4.1

4.2

4.5

4.4

4.3

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VOLTADOMSkylar Tibbits

Species 4Dome form is used with domain variations of V0/V1

Species 5Semi-dome form with varied number of cones on surface. Cone thicknesses are altered

Species 6Capped cones randomly scattered on a flat surface. Number of cones and capps altered

Species 7Number of cones altered on a planar curved surface.

5.1

5.2

5.5

5.4

5.3

6.1

6.2

6.5

6.4

6.3

7.1

7.2

7.5

7.4

7.3

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B2 SELECTION CRITERIA

This iteration is very similar to that of the VoltaDom project. It uses the same idea with ex-aggerated cones on the surface to the spherical base. However, the number of cones has been increased so that the cones are more frequent. The cones are arranged in a random pattern that intersects at the base to form a continuous surface with no breaks in between. The overall form of the iteration is interesting on its own, although in terms of respond-ing to the selection criteria, this design technique will fail to be site responsive as it would appear to be a dominating structure within the area. However, further development can enhance the compatibility of the form by using a material that links well at Merri Creek.

Aesthetic Interesting patterns that is aesthet-ically and architectural appealing.

Form Feasible form that allows for the successful integration of tes-sellation and design concept.

Site Responsive The structure should flow within the site and connect with the natural environment.

MaterialityAim to incorporate the natural materials on site to from a rig-id form with a soft appearance.

FloatingStructure that can be self sup-ported and is free from tra-ditional structural elements.

5.2

31

OUTCOMES

This iteration extends further from the VoltaDom project; it uses a steeper spher-ical form that has the tip of the cone cut off. The idea of capping the cone has been used to on both the base form as well as the coned surface that sit on the original form. The randomly scattered circular components (ie. the capped cones) appear to be disconnected at some point. This will be an area to develop further to ensure the constructability of this idea. The overall configuration is more open and easily defines an area with is curved face. It is successful in achieving an aesthet-ically appealing design and can be site responsive. It also addresses the criteria of having this floating idea as some piece are connected whilst other are not.

This iteration varies the density of the capped cones as the number of cones sit-ting on the surface has been increased so that there is an overlapping affect, which resolves the issue of constructability. The form clearly defines an inter-nal space, by separating one area with a patterned wall. Cuts have been created on three sides of the dome form to develop the idea of creating a self-support-ive structure, which addresses the criteria of having a floating element.

This iteration aims to have cones that sit on a flat surface. The cones are scat-tered forming a random arrangement of the cone shape. This is not a well re-solved form that could be built, however, it is a technique that can be further developed and used within the design proposal to create a structure that is site responsive by using the forms from the surface and place them around the ac-tual structure. These disconnected elements can help achieve the integration criteria by having smaller forms that appear to be the roots of the overall de-sign, which grow from the ground rather than appear in one area of the site.

1.4

3.5

6.5

The FabPod project is an installment in the new RMIT Design Hub. It is a design, which uti-lizes many research fields in acoustic design, architecture, and digital fabrica-tion. It forms an enclosed meeting room space with an open plan-working environment.The design integrates acoustics design elements relating to geometries and materiality. Creating a private area with great acoustic performance using a parametrically design structure was a chal-lenge that has been successfully achieved in the particular project. Several research outcomes of var-ious forms have been tested with ease due to the advantages of using parametric design tools [4]. The research began with a research geometry group by the RMIT Spatial Information Architecture Laboratory (SIAL), which used design elements of the Familia Church by Gaudi. The interior of this church was effective in diffusing sound within the space. The experimentation developed from this idea that hyperbolic surfaces holds sound within the area [5]. Techniques were fine tuned and test-ed to evaluate reverberation and absorption of how sound work on these surfaces. The FabPod design used this element to create repetitive dome like geometric forms on the surface of the overall design.

FABPOD

4

32

B3 CASE STUDY 2.0

5

33

FABPODRMIT SIAL

STEP 1

STEP 3

STEP 2

STEP 6

STEP 5

STEP 4

SKIN 1

SKIN 2

34

B3 REVERSE ENGINEER

Step 1Use a point that forms the center of the overall form. Creating the sphere at this point and subsurface it. Add a domain so that the overall form reduces to a dome.

Step 2Create a voronoi pattern on the surface of the dome struc-ture. Then, you must create two separate skins, which sits around the dome form. Achieve this by creating vec-tor lines that extend from the central point of the dome. Each line should be set at a different length in order to create the two separate skins around the base form.

Step 3Create cones between the two skins. Arrange the cone radius and height so that it is proportion-al to the base form. T prep frame component is used to frame these cones within the defined area.

Step 4Create circles on the outer skin which will then create a circle on the cones previously create. Add a capping container to cre-ate the holes on the cones that sit on the surface of the dome.

Step 5From step 2 – creating the voronoi pattern, you must create a frame element that sits around the voronoi pat-tern. Again, create vector line work that extends from the central point. Set the dimension of the frame width.

Step 6Final combination of the frames and the capped cone surface

35

FABPODRMIT SIAL

6

REVERSE ENGINEERED

FABPOD

ORIGINAL FABPOD

36

B3 REVERSE ENGINEER

The main purpose of reverse engineering the FabPod project is to create a form that has several capped cones that sit on the surface. FabPod takes a unique form of separate curved surfaces, which intersect to create an en-closed meeting space. The reverse engineered file was not successful in rep-licating the exact unique form of the original FabPod. Instead of using sepa-rate curved surfaces as the base form, half of one sphere surface was used. However, the capped cones that sit on the surface have been suc-cessful as they mimic the tessellated pattern of the overall form. The advantages of using the algorithmic designs in developing the FabPod can be linked to design potential accuracy and efficien-cy. The script works in a controlled environment with the use on con-tainers and sliders to adjust overall forms, shapes, and patterns.

Once the script is complete, it is easier to experiment with varia-tions of the original file. The framing lengths can be adjusted and the cone dimensions as well as the holes created on the cones. The unique form was not difficult to produce; however obtaining the capped cones on each individual surface was a struggle. Continuous errors oc-curred with linked the unique forms brep component with the coned surface.

37

OUTCOMES

Species 3The spherical form uses the hexagonal panelling compo-nent of lunchbox. Pipe thick-nesses are also altered to creat more dense structures.

Species 1 Using the FabPod reverse engineered file to alter seed values and seperating the frame structure.

Species 2The V0 and V1 sliders on the domain container are altered to change the spherical form.Framing component is piped with varying pipe thicknesses.

Species 4The diamond panneling com-ponent is used. the U and V values are adjusted tp create more intricate details.

1.1 1.31.2

2.1 2.32.2

3.1 3.33.2

4.1 4.34.2

38

B4 TECHNIQUE:

1.81.71.61.51.4

2.82.72.62.52.4

3.83.73.63.53.4

4.84.74.64.54.4

39

DEVELOPMENTMatrix

Species 5The triangular pannel is added to a form that extends from the ground. Pipe thickneses create more bold structures.

Species 6A gridshell structure was the basis of this form. Basic pan-neling elements are used with varrying U and V values.

Species 7The hexangonal panel used on a unique form which appears to be floating from some angles and more flat on other sides.

5.1 5.35.2

6.1 6.36.2

7.1 7.37.2

40

B4 TECHNIQUE:

5.85.75.65.55.4

6.86.76.66.56.4

7.87.77.67.57.4

41

DEVELOPMENTMatrix

42

B4 TECHNIQUE DEVELOPMENT Te

This iteration looks at the framing structure of the FabPod reverse engineered file. The frames are separated from the overall form to create a more open and less dense structure. The repetitive surface creates a visually ap-pealing form that allows for a communal area. The sphere is a great organic shape that cre-ates a well-defined space. The rigid geometric frames are in contrast with the overall form.Altering the frame thickness and hav-ing some area with less frequent frames can further develop this technique.

This iteration uses the surface of the reverse en-gineered FabPod project with the capped cones. However, it does not include the framing ele-ments. This particular form creates a more con-tinuous surface rather than having a contrast between softer surfaces and the rigid frames. This iteration is successful in achieving an ar-chitecturally appealing design. However, it does not respond extremely well to the criteria that aim to achieve a floating element. It appears to be self supported, although further develop-ment should be explored to resolve this criteria.

1.7 2.3

43

OUTCOMES

A unique form is also tested to experiment with a patterned surface. A hexagonal pan-el is utilized, with a low number of U and V values, creating larger spaces between the frames. This form appears to be more geomet-ric with sharp edges that could be developed in order to achieve a more organic form. This iteration is a potential design technique, al-though, further development is required in order to successfully address the floating cri-teria. Currently, it appears too rigid and may not effectively sit well within its site context.

A completely different form is used in this it-eration. This tessellated surface with repetitive diamond elements, form a free flowing struc-ture. This addresses the criteria that require the design proposal to explore the potential of different forms in order to create this float-ing sensation. If this idea is to be further de-veloped, it can achieve a more successful out-come by integrating its natural, free flowing form with the contour of the site. The spaces that are provided between the overall forms, can allow for plantation growth through the structure to demise that clear distinction be-tween the built and natural environment.

4.3 7.7

44

B5 TECHNIQUE:

This prototype explores the design potential of the voronoi cells that is used to create the frame elements on the FabPod script. Iterations have also been explored by using flat frames and piped frames. This flat frame has been prototyped to ex-plore the design potential in terms of materiality. This particular model is on ivory card that has been la-ser cut. It has etched edges on one joined frame that if folded. It is not an ideal material as it is too loose and does not stand on its own.

This prototype is a more rigid frame, as balsa wood has been used to create a stronger form. It meets the design criteria of being self-supportive, while also creating a repetitive pattern.

This is a replica of the balsa wood frame prototype, however, the capped cone elements are used within the framing elements to create a more enclosed structure. This idea was explored using ivory card, which was laser cut, howev-er, the connections to the frames were not successful. They were too small for the frames. When the sur-face was unrolled to be set up for digital fabrication, there were ac-curacy issues. This infill area must be a tensile material in order to create the dome like curvature.

45

PROTOTYPES

Here, the voronoi pattern with the capped cones have been digitally fabricated by using laser cutting techniques to individually produce the voronoi surfaces. The pattern was printed on a flat surface, which required slits to exist on parts of the surface to ensure the curved surface can be achieved. Tabs should be used to connect each section. However, details that are more complex can exist to create a cleaner finish. This surface was achieved easily on a thin material that is flexible, as it pro-vides more room for bending. A thicker boxboard or balsa wood is not viable.

B 6 T E C H N I Q U E :P R O P O S A L

Site: Merri CreekCommunal Space

48

SITE ANALYSIS

The main users of the site are those who take part in physical activities, like cycling or jogging. How-ever, humans are not the only users of the site. Several fauna types exist at Merri Creek. Animals like the yellow-rumped thronbill and the blue-wrens have particular habitat requirements and fact many threats with the changing environment.

The image depicts the idea of floatation, as the tree grows naturally out of the hill along the side of the pathway. This represents the dominant natural el-ements of free flowing greenery around the site.

This site has a lot of historical reference as the Wurund-jeri people used the site their homeland and particular-ly set base the Dights Falls. This location has increased in cultural importance as it was used as a main meet-ing location. On a plaque near Dights Falls, it men-tions the traditional meetings that occasionally occur. 11

10

9

8

7

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PRECEDENTS

The Living Pavilion Project is a sustainable design outcome that has been developed by Ann Ha and Behrang Behin. It is a low tech; low impact fitting that uses milk cartons to create a framework that allows plants to be built over the surface [6]. The surface has a particular plant that allows for shading as well as a cooler environment under the structure due to the evaporation of the plants that sit on the surface [7]. This is an interesting idea that has links to my potential design outcome. The free flowing form along with the green wall is common to my conceptual idea. This can be linked to the idea that creating ar-eas on the surface of the structure to provide additional habitation for endangered species on site.

12

50

CONCEPT

Design Proposal:

The Merri creek is an environmental, heritage, and recreation passage, which at-tracts many users to the site. Whilst on site, it is evident that there is a clear distinc-tion between the built and natural environment. The large retaining wall separates Merri Creek from the apartments and is contrasted against the vibrant greenery. Inte-grating the parametric design to ensure that it is site responsive should resole this issue.

The historical importance of the site is related to the Wurundjeri people that used the site as a basis for their meetings. Community was a strong value to the Wurundjeri people. Dights falls is also of great importance and is the main meeting location. A plaque along the Creek mentioned that the Wurundjeri people hold occasional gatherings at Merri Creek.This is an interesting idea that seems to be forgotten. The parkland has importance val-ues and a beautiful setting, yet is lacking in providing the best possible uses of the site.

These community meetings that are ‘occasionally’ held could be from the lack of facilities on site. An open communal meeting space can be created with the use of parametric modeling to design a pavilion like structure that al-lows for all users to interact further with the site rather than act as bypasses. Users are not only humans. Various fauna exist on site and some are even threatened species due to variations occurring in the natural environment. This parametric model can use a tessellated surface to allow plants to naturally grow through the design and allow for the integration of both the natural and built environments. The tessellated sur-faces can also incorporate solid section that provides nesting opportunities for the existing fauna. Overall, the final outcomes should be a free flowing and self supportive structure, which re-sponds well to the site whilst also providing for all types of users; humans, plants and animals.

Design Potential Photomontage

51

SUCCESSFUL ITERATIONS

These iterations have been successful in exploring different forms to produce an aes-thetically appealing design. The free flowing element has also been utilized as the structure appears to be self-supportive, which ideally creates this floating sensation.

This lofted surface is the basic form of Species 7 in B4. This is purely a form finding exercise to identify possible de-sign geometries that can work well with the brief. Elevation views have been shown to display the different spac-es created from an organic structure.

52

B 7 L E A R N I N G O B J E C T I V E S &

O U T C O M E S

For the duration of Part B, I have been required to learn a large amount of skills in compiling all the compo-nents required. This studio has been a massive challenge, as I have never been exposed to Rhino, Grass-hopper, or digital fabrication. A lot of self-learning has been required to produce the work in this stu-dio. The workload was also larger in comparison to Part A, with a lot of time and dedication required.

The prior research from Part A has allowed me to understand the process of experimenta-tion of designs with the assistance of parametric modeling and digital fabrication. If tradition-al modeling tools were used, the iterations would take much longer. With the use of parametric mod-eling and the aid of the various components of Grasshopper, like lunch box, several iterations were produced. This allowed the opportunity to explore with a lot more forms and tessellated patterns and geometries.

My first encounter with digital fabrication was in this studio for Part B. This was a new process for me, and I be-lieve that it is a useful tool to experiment with different forms and geometries. Some of the geometries formed using grasshopper would be too difficult, if not, impossible to produce by hand. Also, modeling by hand is much more time consuming. Digital fabrication also allowed for an easier method of testing different materials to un-derstand the constructability and scale of models. Using different materials in my fabrication made it easier for me to be selective of which is more feasible and therefore which material is better for the final design proposal.

In terms of developing a design proposal, using parametric modeling has allowed the opportuni-ty to have a better understanding of which forms are more successful then others. With the re-duced time required to produce 3D models, experimentation has been easier. This has also al-lowed for the testing of limitations and design potential from using different scripts and grasshopper containers. By using various surfaces, I have been able to explore the design possibilities to create various spaces.

Throughout Part B, I believe that I have been able to use parametric modeling to compute various design and experi-ment with different forms. There has been a massive learning curve from Part A to Part B, as I have been able to put my prior research to practice, in order to gain a better understanding of the process required for computational design.

53

54

B8 APPENDIXALGORITHMIC SKETCHES

This was a very interesting and aesthetical-ly pleasing piping technique used during the trials of iterations. However, it was not a fea-sible design as the constructability of this form can be questioned. Further connection would be required in order to resolve this issue.

Another piping experimentation has failed here. The paneling technique has been used again, although the connections have failed once again. One end of the form is connected with intersecting pipes. Al-though, the other sides are not structurally viable.

55

This was an attempt at adding cones on a unique surface. When the surface was set in grasshop-per and the surface was divided, several points where successfully created. However, adding the cones, the points dispersed in an unusual manner.

Spirals were attempted to be made by us-ing grasshopper containers. The point pla-nar element is used and linked with the range container to then use two points, being the start and end, which joins to a nurbs surface.

This image uses the evaluating fields videos in week 5 online tutorials. Graph sections and controllers are used create interesting shapes. The graph mapper is used with the Bezier graph type. Although, this im-age does not clearly show the form that is created.

56

REFERENCE LIST

[1] Sjet, Sjet / VoltaDom (2011) <http://sjet.us/MIT_VOLTADOM.html> [accessed 8 April 2015].

[2] Grozdanic, Lidija, VoltaDom Installation / Skylar Tibbits (2011) <http://www.evolo.us/architecture/voltadom-instal-lation-skylar-tibbits-sjet/> [accessed 8 April 2015].

[3] Grozdanic, Lidija, VoltaDom Installation / Skylar Tibbits (2011) <http://www.evolo.us/architecture/voltadom-instal-lation-skylar-tibbits-sjet/> [accessed 8 April 2015].

[4] SIAL, FabPod / RMIT SIAL (2013) <http://www.sial.rmit.edu.au/portfolio/fabpod-sial/> [accessed 16 April 2015].

[5] SIAL, FabPod / RMIT SIAL (2013) <http://www.sial.rmit.edu.au/portfolio/fabpod-sial/> [accessed 16 April 2015].

[6] Neokentin, Milk Crates Into Green Shelter (2011) <http://www.recyclart.org/2011/03/milk-crates-shelter/> [ac-cessed 26 April 2015]

[7] Neokentin, Milk Crates Into Green Shelter (2011) <http://www.recyclart.org/2011/03/milk-crates-shelter/> [ac-cessed 26 April 2015]

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IMAGES LIST

1 Grozdanic, Lidija, VoltaDom Installation / Skylar Tibbits (2011) <http://www.evolo.us/architecture/voltadom-installation-sky-lar-tibbits-sjet/> [accessed 8 April 2015].

2 Grozdanic, Lidija, VoltaDom Installation / Skylar Tibbits (2011) <http://www.evolo.us/architecture/voltadom-installation-skylar-tib-bits-sjet/> [accessed 8 April 2015].

3 Grozdanic, Lidija, VoltaDom Installation / Skylar Tibbits (2011) <http://www.evolo.us/architecture/voltadom-instal-lation-skylar-tibbits-sjet/> [accessed 8 April 2015].

4 Mokhatar, Arid, Graduate Architecture Portfolio – FabPod <http://www.arifmokhtar.com/fabpod/> [accessed 20 April 2015]



7 Personal Photograph - 2015





12 Neokentin, Milk Crates Into Green Shelter (2011) <http://www.recyclart.org/2011/03/milk-crates-shelter/> [ac-cessed 26 April 2015]

tokkuzun melissa 638547 part b

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