Air MID SEM

SEMESTER 2 2012

ARCHITECTURE DESIGN STUDIO: AIR

SOPHIE FARMER 390862

CONTENTSC A S E F O R I N N O V A T I O N 04

C A S E S T U D Y 1.0 32C A S E S T U D Y 2.0 34M A T R I X 40P R E S E N T A T I O N P R E P 44E O I P R E S E N T A T I O N 52F E E D B A C K 8 0

CASE FOR

INNOVATION

ABOUT ME Hi, Im Sophie, 20 years old and this is my third year studying architecture. I grew up in Melbourne and have always lived here. Other than architecture Im quite interested in graphic design, origami and just about anything paper related. I also enjoy swimming and playing tennis on the weekends.

My experience with digital architecture is quite limited. I can use AutoCAD comfortably but I am not so confident in using 3D modelling programs. I have used Rhino while taking Virtual Environments, but I much prefer creating and experimenting with physical models.

Despite my lack of skills using Rhino to create digital architecture, I am quite interested in the theories and ideas assoiciated with such architectures, especially in terms of both parametric and algorithmic design.

PREVIOUS WORKShown to the right is my Bodyspace Project from the subject Virtual Environments. It was designed to serve as a lantern. The overall design was inspired by blooming flowers and with the intention of being worn around the neck. To create this I mainly used the panelling tools plugin. Although I had a lot of fun taking the subject I found using Rhino to be quite challenging.

The difficulty I had in designing and experimenting within Rhino at that time is still quite evident. I really hope, however, that by the end of this studio I will be able to take better advantage of the creative and experimental opportunites Grasshopper has to offer. I think that being able to use such programs both competently and confidently will be very beneficial in further years of study and future employment.

ARCHITECTURE AS

DISCOURSE

KIKUTAKE KIYONORI

SKY HOUSE

The Sky House was designed by architect Kikutake Kiyonori in 1958 and served as his own family home. Despite the overall design being quite simplistic, being made up of one single room, what really captures my attention is the theory behind its design. Kikutake was one of the main architects part of the Metabolist movement in Japan, something that I am very interested in.

This building I believe, really showcases the ideas and overall theory associated with the Metabolist architectural movement. The fundamental ideas are that of replacement and renewal - essentially the metabolic process.

The building is designed in such a way as to allow additional rooms to be added underneath the exsiting structure elevated 5m into the air.The core structure of the Sky House is the upper level and the rooms added below act in the manner of capsule-like compartments.

I believe that the architects intention was, that, as the family structure, in this case his own, grew and changed, then so will the house in conjunction.

As the children grew up and became independent then the number of rooms could be adjusted accordingly, the overall layout of the building would go through a somewhat cyclical process that is symbolic of metabolic process (Koolhass and Obrist, 2011).

The theory behind this design was most likely seen as quite innovative at the time although it does not directly relate to the trend in digital architecture today. However, the idea of growth and renewal associated with this building can and has been somewhat implemented into current digital architecture. This is in turn enhanced through the use of mathematical analysis and algorithims of biological processes such as tree growth.

The Qatar National Convention Centre, designed by Isozaki Arata, an architect who was also associated, albeit loosely, with the Metabolist movement, was designed and contructed using such digital methods involving a mathematical analysis of the way tree branches form and grow. Although the architecture does not clearly link to the Sky House or other similar works in a concrete sense, in my own opinion, the ideas of growth are evident in both designs but implemented for different purposes.

In the Sky House, the idea of growth is used to improve the lifestyle of the users, whereas the National Educacation Centre design uses this idea in a structural and biomimical way. It is evident that, by using digital modelling techniques, some architectural theories that were never truly realised at the time they were proposed can now be refined and applied in a much more successful way to architecture.

REM KOOLHAAS

MAISON A BORDEAUX

Designed by Rem Koolhaas and OMA and completed in 1998, the Maison Bourdeaux is another building that I admire. Though the overall volumes are quite simple, I really like the linearity and large cantilevering upper level. The interior space is quite a contrast to the overall volume of the house being complex and dynamic yet it is a very open plan. What makes the interior space so interesting to me is the elevator that connects the three floors. The elevator, however is seen as an entire room, the wheelchair boound clients office. Not only can the client travel comfortably

between the levels, but he can also create different spatial and experiential qualities within his office to his liking. It was designed that all three levels produced different qualities of light associated with them (Kroll, 2011).

The notion of moving rooms I find to be a very interesting concept, its almost as if the house is a machine itself. It instantly reminds me of idea developed during the modernist movement by Le Corbusier. This building expresses this notion very well and also I believe it does so in quite a literal sense.

IN ARCHITECTURE

COMPUTING

Computational design is an approach to design that makes use of computers as an actual design system to aid in both the realisation and creation of design ideas, in comparison to computerization or computer aided design that is really only a tool for organizing information and in turn representing it. A computational design approach allows information to be generated via computers and in turn is able to come up with potential design solutions.

A computerization approach involves the designer having to input all of the information necessary, literally translating it into computer aided design programs. In this case, the computer, being an amazing analytical machine capable of storing and generating enormous amounts of information is not being used to its full potential, and in turn the benefit that designers should be receiving is not being maximized.

WHAT ARE THE BENEFITS?The main objective for the designer is to create solutions to problems, therefore using a computational approach is currenty the most beneficial design approach as the computer is an excellent problem solving tool and can come up with many different design solutions.

There are many ways in which computational design methods can benefit architects and other design professionals. However, despite programs being able to generate solutions, they are purely rational and so the creative abilities of the the architect or designer is necessary. By combining the rationailty and analytical skills of computers and our creative abilities the most suitable and ideal design solutions are able to be explored.

In addition to this, using computers to aid in design allows the architect to experiment

with their design in a virtual space. Although physical models are still important, it is much easier to manipulate the parameters of the design using a computer. Not only does a computational approach aid virtual experimentation, it also is able to make the fabrication processes, such as creating scale models, manufacturing and in turn final construction much more efficient.

Computational architecture also allows for greater optimization, particularly in a structural perspective. Using algorithms and complex mathematical analysis, the most optimatl structural system of a building can be explored and determined. An example of this kind of optimization would be in the design of the British Museum Great Court roof, by Foster and Partners. The optimal structural form was achieved through a mathematical analysis.

This computational process was able to create a surface shape that represented a good fit between architects early ideas and structural/load-bearing criteria. Second application of analysis and optimization considered the shape of individual component facets of the roof that allowed detailed design to meet the edge condition, size and regularity constraints, as shown above to the left.

Computing in architecture gives architects numerous benefits when engaging with the design process. By creating a symbiotic realitionship in a communication sense between both designer and computer, the results that can be achieved are infinite. Computational design does not only optimize the buildings we design, it optimizes the way in which we design too.

AGENT BASED SYSTEMS

COMPUTING

Using agent based simulation systems in architecture involves what is known as swarm intelligence theory.

The theory behind swarm intelligence is that, in nature, despite simple creatures following simple rules, each one acting on local information (no individual creature seeing the big picture or tells any other creature what to do), the interactions that locally and randomly occur between each creature or agent is able to result in very intelligent behaviours as a collective.

For example, within a self-oganized ant colony the individual ants themselves are not very intelligent, it is the collective colony as a whole that functions intelligently. In an ant colony there is no one ant in charge, it is through the vast amount of individual interactions that allows an ant colony to function so successfully. To summarize, success of a large collective

group is achieved through emergent behaviour rather than prescribed (Emergence over prescription).

It is believed that through swarm intelligence, solutions to problems in nature can be solved successfully, then it may also be able to be applied in robotic systems. By specifying simple rules and specifuc behaviours that each agent is constrained by and allowing each to interact randomly through computer simulation, emergent behaviours and in turn solutions are able to arise.

In the case of emergent architectural design, the agents would be architectural elements. Through each individual elements random interactions with one another, the collective optimal architecture, containing all these elements, much like ants in an ant colony, is thought to be able to emerge.

http://ngm.nationalgeographic.com/2007/07/swarms/miller-textSlavin, K. (2010, December 21). Sheryl Sandberg: Why we have too few women leaders[Video file]. Retrieved from

l

SWARM INTELLIGENCE THEORY

KOKKUGIA

BUSAN OPERA

Designed by Kokkugia for a design competiton in Korea in 2010, the Boran Opera House is a good example of agent based swarm systems.

The main idea used for inspiration in this building was evolution by self-organized behaviour of the agents within the simulation system and also design by emergence.

Both the form and the character of the building is realised and created through an agent based system. The interactions of individual agents allow for the surface structure to arise and through further interactions allow the topological surface to morph and evolve.

Using such a system gives many benefits to the designer, the rules set up for the agents within the system were able to be manipulated easily to incorporate the constraints and brief requirements of the project. Examples ofsuch being; connecting the users with water, and transparency and opacity to allow good views.

It is evident by looking at this project just how inherently unique and interesting the building forms generated using agent based swarm systems can be. Implimenting such a system into the design process can be very beneficial as it allows for solutions to arise naturally.

IN ARCHITECTURE

PARAMETRIC MODELLING

Parametric modelling, can be said to be a method computational design that makes use of what is known as parameters or variable within 3D computational software. Parameters are thought of as any factor that defines a given system, in this context, the architectural design. As parameters define a system, they therefore determine the limits of its performance.

Parametric modelling involves linking variables together so that in such way, all the variables or parameters are inherently linked via mathematical equations within the software. Essentially, by using computational software a parametric system is able to be generated and explored to find an optimal solution.

By utilizing such a system, the designer is then able to easily modify the entire model by changing a single parameter of the parametric system created. Within a parametric system all of the parameters are linked with each

OVERVIEWother, therefore it can be seen as a rule driven systematic approach to designing.

Parametric systems allow for infinite variations, and as variation can be said to be one of the mechanisms of design. Architectural design is an iterative process that focuses on creating variations or design possibilities from specific constraints. Up until very recently, and currently still, for the architectural designer, coming up with numerous variations and then exploring each possibilty to reach an optimal solution has been extremely time consuming.

By creating and using a parametric system, design possibilities are able to be explored much more efficiently as variables can be easily adjusted rather than starting a design from scratch manually. While it may be time consuming to set up a system in the initial stages of the design process, more variations are able to be explored in a much

shorter amount of time, making this method theoretically much more efficient.

However, there are some draw backs using such a design method. As the technology is seen to be quite new, that is, in the architectural industry, it involves an entirely different kind of thought process for the current designer that still focuses on two dimensional drafting and analogue computerization techniques to find solutions, and when something needs to ve altered it is started from scartch again. For those that have been practising for a considerable time, it may be difficult to change and others with such technical skill may need to be employed. An example of this is seen at Gehrys, where there is an entire dedicated team that deals with parametric modelling. Yet, for many small firms it can be quite costly and so the change to parametric modelling is difficult to make.

Another problem is the fact that buildings designed using parametric software are categorised by some into a particular style, that of parametricism. Designers may not be drawn to integrating parametric systems into their design process as they do not want to design architecture in a parametric style or aesthetic, in particular organic, blob-like forms. However, many argue that the parametric design should not be seen as an aesthetic style. I also agree with this, the designs that are able to be generated are infinite, therefore I find it strange that the use of such modelling systems can be seen to be conforming to a particular concrete style.

Despite such disadvantages, there are numerous benefits that appear to outweigh the set backs. Parametric modelling aids in finding the most optimal solution to a design problem, in terms of cost efficiency, construction methods as well as structural optimization.

ADVANTAGES & DISADVANTAGES

UN STUDIO

MERCEDES-BENZMUSEUM

The Mercedes-Benz Museum located in Stuttgart, Germany and designed by UN Studio is a good demonstration of the kind of architectural forms that can be generated through parametric modelling.

The overall design, with the aid of parametric systems is highly sophisticated in terms of geometry, form and also spatial organization. The overall program is based on a trefoil form and organization. And through computation software, the layers of each level, their organization and intersections of the building were explored and an optimal solution was able to be realised.

Though the trefoil was already in the mind of the designers, by using a parametric system, they were able to soley focus on the design

of the building without needing to worry about factors such as construction methods. The reinforced concrete that makes up the majority of the structure was established via parameters. Once such parameters were established, the designers were able to focus on manipulating and investigating possible design solutions and variations.

If the architects did not implement parametric systems into their design they would be having to worry about methods of construction and other similar problems at the end of the design process rather than having them established from the start. This is good example of how such a system can really allow designers to work efficiently and optimize their time looking at design variations which is the prinicipal part of architectural design.

SU11

DUNE HOUSE

Designed by New York design studio Su11, the Dune house is a reptilian-like structure designed to be situated in the Nevada desert. The designers used paramteric software that allows for the building to very site-specific, taking into consideration in particular the climate, and topography.

Through the use of parametrics, the building is able to mimic the form and structure of sand dunes. The designers were also able to adjust the structure of the building by altering parameters. In other words, the building elements of the design, such as spatial characteristics, the windows, solar panels and other building technologies that would allow for an optimal solution that was best suited to a desert environment.

OVERVIEWDune House is a good example of how the use of a parametric system can create a building system much like a natural living system.

Though I believe it to be a good use of paramterucs, and it is certainly ecologically sustainable, I think that using biomicry within a design can be achieved without the actual building looking physically like what every biological organism or process it is aiming to mimic. Perhaps less subtlty could be employed.

However, parametric modelling is a great tool in biomimical design and over time as knowledge and technical skill increases the benfits will progress accordingly.

EXPRESSION OF

INTEREST

So far throughout this studio, learning about digital and parametric design theory has proved to be interesting. Before researching these topics, the ideas of parametricism to me were all about aesthetics, in other words, I thought that parametric design seemed to mainly be used for looks, used for the exploration of strange, organic forms.

I still slightly believe this to be case, however, through researching the benefits of using of computational design methods to achieve such things as structural optimization and more efficient construction methods I have started to regard parametric design differently.

Ive realized that its posssible to create quite

EXPERIENCE & OPINION

conventional looking designs using parametric tools and viseversa. There are many projects that appear to be created parametrically however sometimes it may not be the case.

I have also found it quite amazing how organic, what looks to be quite spontaneous, forms arrived at through such a rational and mathematical design. What has interested me the most is the ways in which organic shapes, what seem to me to be just blobs emerge in parametric design. The notions of emergent architecture through agent based systems and swarm intelligence, though seemingly complex to me, is something that I would really like to explore further in the future when I have the time and appropriate knowledge.

RESEARCH

BIOMIMICRY

OVERVIEWUsing a biomimetic approach to design is very advantageous, however, there are also some drawbacks, I believe. In terms of structural optimization, it can be said that taking inspiration from models found in nature is a beneficial option.

However, structure is a somewhat static architectural element, when looking at other cases in nature, particularly processes or biological models that have involve movement it is much more difficult to currently implement into a design. Despite this drawback, we as a group are very interested in movement associated with natural processes and are looking to further explore this notion throughout the coming weeks.

Biomimicry, that is, the mimicking or emulation of models from nature to solve human problems, is an ideal approach in solving design problems not only innovatively but also sustainably.

The types of models from nature vary, but they can be broken up into two levels. The emulation of natural physical forms, for example, leaves or shells. The actual physical structure of an organism can be very useful especially when trying to create an optimal structural system for a building. Biomimicry also exists at a deeper level, using biological processes as a reference when designing. This is what I find to the most interesting, despite being quite difficult to currently implement.

The Wyndam City district is a constantly growing area with a rich natural landscape, when designing the gateway we believe that a biomimetic approach would be the most appropriate given the context.

By using biomimetic parametric techniques, with a focus on natural biological processes associated with growth, the current rapid population growth, renewal and improvement of the district, as well as original natural lanscape of the region will be able to be to be expressed

WHY BIOMIMETICS?in an optimal, creative design. The link between technology and natural, organic forms able to be conceived through such a design approach is ideal as it enables two major characteristics of the region to be embodied, community advancement and the maintenance and conservation of the natural environmental surroundings.

Successful examples include the ICD/ITKE Research Pavilion 2011, inspired by sea urchins, as well as the Bowoos Pavilion shown to the right inspired by marine plankton shells.

ARGUMENT: WHY BIOMIMETICS?

RESEARCH

BIOMIMICRY

GRASSHOPPER: OMA

CASE STUDY 1.0

PARAMETRIC DIAGRAM

YORKSHIRE DIAMOND

CASE STUDY 2.0

OVERVIEWDesigned by Various Architects for the Yorkshire Renaissance Pavilion Competition, the Yorkshire Diamonds form takes on that of a diamond lattice structure with a faceted, cavernous interior space. The entire exterior is comprised of inflatable tubes, which are intended to radiate light in all colours and directions in a way reminiscent to actual diamonds (Basulto, 2009).

The interior is intended to resemble a cavern so as to symbolize the mines (though not diamond mines) of Yorkshire. We do believe that there are some issues with the design, however, especially in terms of the relationship between the interior and exterior form.

OVERVIEW & OPINIONThe diamond lattice form of the exterior appears to be quite superficial and seems to be only in an aesthetic sense, the diamonds dont appear to be doing anything structurally and most of the loads are taken by the interior structure.

We think that it is important that, if the designer is going to use biomimetics to design is should serve a purposes other than that of novel aesthetics.

Another problem is that inside the pavilion, the diamond structure is barely noticable, it seems as if the users would only catch glimpse of it.

PROCESS IN GRASSHOPPER

CASE STUDY 2.0

STEP ONECreate lines that make up the diamond module using point, vector and length components.

STEP TWOLine created in previous step is mirrored alongside an opposing vector in order to form the upper half of the module.

STEP FIVEUnsure how to create copies of the structure in multiple directions. Attempted to copy the module onto a divided surface using a bounding box, however this was unsuccessful, copying the both halves combined.

STEP SIXAnother attempt is made in an effort to copy each half seperately. However, if they were done separatley the would not align correctly. Another method was necessary.

STEP THREEThe upper half of the module created is then mirrored once again and then rotated at a 90 degree angle forming the complete module ready for for tessellation.

STEP FOURModule is copied across from one point to create the diamon structure needed for further tesselation.

STEP SEVENAble to copy the module using series, x, y and z axis components. Module copied successfully, however, the layers did not align and form a diamond structure.

STEP EIGHTThrough further revision, a definition was achieved that allowed that module to copied infinitely with series component without the need for re-alignment and in turn the reengineering process was successful.

OVERVIEW

The technique created in this case study is easily adaptable, however, as we are not very interesting in chemical structuring, we have decided to rework the technique in order to make it more suitable to our intended design approach.

The diamond lattice form of the exterior appears to be quite superficial and seems to be used only in an aesthetic sense, the diamonds dont appear to be doing anything

THOUGHTSstructurally and most of the loads are taken by the interior structure.

We think that it is important that, if the designer is going to use biomimetics to design is should serve a purposes other than that of novel aesthetics.

Another problem is that inside the pavilion, the diamond structure is barely noticable, it seems as if the users would only catch glimpse of it.

We would like to investigate modules of polyps as we reassess our argument, so will come up with a new technique.

PROCESS IN GRASSHOPPER

CASE STUDY 2.0

DIRECTION OF PROJECTION INWARD OUTWARDLENGTH LONG SHORT LONG SHORT SIZE OF OPENINGS BIG SMALL BIG SMALL BIG SMALL

OPEN/CLOSED C O C O C O C O

DIRECTION

LENGTH

SIZE OF OPENINGS OPEN/CLOSED

DIAMOND

HEXAGONAL

QUAD R

QUAD S

TRIANGULAR A

TRIANGULAR B

EXPLORATION OF TECHNIQUE

MATRIX

EXPLORATION OF TECHNIQUE

SELECTION

SELECTION EXPLANATIONWe have decided that a great form to base our technique on is the coral polyp, the fundamental building block of the large, extensive coral reefs. Each polyp is exists independently yet together they form a coral structure. We would like to embody this in our technique. We tried to achieve this by creating a structure constructed of repeated modules which will symbolize the polyps both opening and closing, the geometry, size, and direction of extrusion were explored.

Using panelling components from the plugin Lunchbox and other geometries, the most optimal design solution achieved by our design

technique that we feel expresses our design approach the most ideally is the triangular panelled dome, the opening and closing of the flaps are similar to a polyp which is something that we are quite interested in.

From this form, further exploration will be undertaken in particular to do with the detailing of the flaps as well as testing the panels ability to be mapped on other kinds of surfaces. The joints are a little bit of problem, and construction methods will be investigated through conceptual models.

SHORT

30

short extrusion does not seem to have enough impact. Hexagonal

to be dynamic enough

enough room for opening

long hexagonal external opening creates the most form

result as hexagons

BEST RESULT

LEFT:

DdZ/yK&dZE^&KZDd/KE^

RIGHT:

RENDERED SELECTION

K&dZE^&KZDd/KE^

SHORT

30

short extrusion does not seem to have enough impact. Hexagonal

to be dynamic enough

enough room for opening

long hexagonal external opening creates the most form

result as hexagons

BEST RESULT

LEFT:

DdZ/yK&dZE^&KZDd/KE^

RIGHT:

RENDERED SELECTION

K&dZE^&KZDd/KE^

PREPARING FOR EOI PRESENTATION

CONCEPTUAL MODELS

OVERVIEWAfter selecting what we believed to be the most optimal design option from the matrix and receiving feedback from the tutor we decided to experiment with physcial conceptual models to test materiality as well as structure.

At first, small, flat study models were created by eye from the digital model to test different fabrication techniques. The first model was created using one flat sheet of cardboard, with no structure underneath. The result, while quite pleasing, indicated to us that some structural form or jointing would be necessary as the points at which each module met were quite flimsy.

Taking this into account, another study model was generated, this time using a laser cut structure of card and attaching each module flap individually. The overall appearance was also evalauted, seeing the modules flat seemed somewhat too static for a design that mainly focuses on movement. We experimented with

O=OPINION SO FARbending in an effort to see what the modules would look like applied over a curved surface.

From this experiment it was decided that it, in order to represent our technique in our presentation to fully display its potential, and make it seem less static, it would be best to apply it to some sort of surface. After reviewing both the groups argument and interests, we began developing a suitable surface for the modules to be applied to.

As we were taking inspiration from the growth process of coral polyps, we thought it might be interesting to generate topology that represented the phenomenon of phototropism seen not only in coral, but also in plants in general. In addition to this, our ideas of sun reactivity associated with the already somewhat developed polyp module also became a source of inspiration. Taking these two conceptual ideas we investigated solar paths of the sun during both summer and winter.

OVERVIEWSurfaces were generated using attractor points of the sun position at different times of the day for both summer and winter. It was decided that by creating an average achieved a more pleasant and interesting surface.

On the averaged sun path surface, each module was mapped using attractor points of the sun path, and thus larger modules came to be located in areas on the surface that would experience higher sun exposure on average and smaller ones in darker areas.

O=OPINION SO FARThis idea came from the natural phenomenon of phototropism.

As the sun moves across the sky during the day and the angle of this path changes over the seasons, the appearance of our structure will gradually transform and in some ways adapt to the current conditions much like that of a living organism. Essentially, it may have the potential to be viewed as a different structure everyday, always creating a new experience for the driver.


GRASSHOPPER MODELS


PRESENTATION MODELS

STEP ONETo create the pyramidal texture on the surface of each flap, each flap was sectioned into horizontal strips and unrolled and laser cut onto ivory card. As tested in the conceptual models a triangulated structure was also fabricated using plywood for support.

STEP TWOEach strip was glued onto the plywood structure, covering only one side so as to show the actual support. For a neater finish tabs may have been better, however, as only one side would be covered in the tecture the underside of the card would be able to be seen .

THOUGHTSThe module model was quite successful thanks to the conceptual modelling we constructed early on. The only issue we found was the connection of each of the elements. Despite one of our main focuses being movement, we had not really considered joints and how each flap would open and close to a large extent before fabricating the presentation module. It was probably something that should have been explored through conceptual models as was suggested by the tutor. However, the result is still satisfactory to us despite not being to move smoothly, each flap can open and close albeit with some difficulty.

STEP THREEAfter completing each flap they were attached to a triangular structural base using joints made from boxboard. Originally, we had not considered the joints and these had not been included in our digital model and were only added as makeshift joints at the time.

MODULE MODEL: THE PROCESS


PRESENTATION MODELS

STEP ONEAt such a small intricate scale, it was quite difficult to bend each module in the direction necessary so this initial stage was the most time consuming. However, having tested material qualities of the ivory card in our conceptual models, we were confident that this was the most flexible and suitable material we could use.

When constructing the study model it was also found that the pyramidal texture was difficult to etch in or attach at such a small scale so it was decided that the texture would only be applied to the larger scale module model.

STEP TWOIn order to construct the sun path surface, along with strips of panels, ribs were also created and unrolled so function as structural support, especially given the scale we intended to build the model at, the panel faces just by themselves would be too flimsy as realized in the study models created prior to our presentation models.

These ribs were created purely for fabrication,, as it was thought that the triangular structure tested in conceptual models would be too intricate and flimsy given the scale and number of modules. The structure is something that really needs to be explored and refined when developing the technique for the actual site.

THOUGHTSOverall, the result was pleasing and despite having creating numerous conceptual models, there is evidently still more improvements that can be made in terms of fabrication. The presentation model is accurate to the digital model so I believe it to be successful in that sense.

If we are aiming to express a high amount of intricacy and detailing accurately, other fabrication techniques may also need to be considered for final presentations at the end of semester. In addition to this, a larger scale may be more efficient to construct both in a structural sense and also timewise.

STEP THREEOnce the ribs were slotted and glued into place, it was only a matter of connecting each strip of modules to their given location on the ribs. This was also somewhat time consuming, the end of each strip being quite difficult to glue accurately.

Again, it is evident that in future development the structural form should be explored and refined in more detail. The triangular supporting structure used in concept models as well as the large scale module model would have been more ideal, however given the scale this method of vertical ribs was probably the easiest way to display the modules applied to a surface.

APPLICATION SURFACE MODEL: THE PROCESS

EXPRESSION OF INTEREST

PRESENTATION

ARCHITECTURE DESIGN STUDIO AIRRHIAN AP REES 361874 SOPHIE FARMER 390862EDDIE MA 583573 JUNHAN FOONG 395563BIOMIMICRY

168,552

84,861

60,563

1991

2001

2011

DESCRIPTIONOne of the main characteristcs of Wyndham City is its rapidly increasing population growth. Therefore, we believe that the Gateway should be a celebration of this growth. As growth is a fundamental process of nature, we sought to study biological processes and models in nature to generate a design technique.

INTRODUCTION

ARGUMENT

UNIVERSITY OF STUTTGART

ICD ITKE RESEARCH PAVILION 2011

OVERVIEW

The modular pavilion system was designed using a generative computational process based on the morphological principles of the plate skeleton of sea urchins along with robotic manufacturing methods for physical construction.

The main idea behind the research project was to integrate the peformative capacity of the sea urchins plate skeletal structure into architectural design and investigate the resulting spatial and structural material system s in full scale.

Being fabricated from very thin polygonal plywood sheets, the pavilion is said be not only be efficient economically but also structurally and in regards to materiality (Menges, 2012).

The modular system of polygonal plates are linked to together at the edges by thin, finger-like joints, similar to that observed in sea urchin. Three plate edges always meet together a single point, in order to allow the transmission of normal and shear forces without the presence of bending moments between the joints. This construction method in turn enables the structure to have a high load bearing capacity much like that of a sea urchins domed shell (Dezeen, 2011).

Overall this installation can be considered successful in what it sets out to do. There are a few concerns perhaps with the thinness of material. This structure is not something that would be able to last for a considerably long period of many years. However, it is extremely efficient given the context.

AEDAS ARCHITECTS

AL BAHAR TOWERS

OVERVIEWThe facade shading system, designed by Aedas Architects is able to respond to sun exposure and the changing angles of the sun during different days of the year. The design was inspired by a traditional Islamic shading window featuring latticework known as a mashrabiya.

The facade screen is made up of triangular panels, each being programmed to respond to the movement of the sun during the day. This movement results in a reduction of both solar gain and glare. It is estimated that with the facade, solar gain may be able to be reduced by fifty percent (Cilento, 2012).

The facades reactivity to the sun is what we are particularly interested in, however, the type of technology intergrated into this design is far

too complex and costly to apply to our technique.

Also, although solar gain will be reduced and thus energy use, particularly air conditioning within the buildings will too, the facade relies on a mechanical system powered by electricity.

Therefore, a lot of energy is being used running the facade panels during the day, so the main intention to say energy is made somewhat redundant.

In our design, our main intention is not even to save energy, therefore it would appear that the energy used to create movement within our structure would be highly inefficient. This is probably something that we need to consider when developing our technique in further weeks.

ACHIM MENGES

HYGROSCOPE

OVERVIEWThis project HygroScope, created by Achim Menges in collaboration with Steffen Reichert acts as a climate-responsive system that is is makes use of physically programmable material system that is able to open and close in relation to humidity.

Climate responsiveness seen in current biomimetic architectural design is usually only able to function through mechanization and electrical systems. The HygroScope however, requires no external power supply, its responsive nature being physically ingrained into the material, in this case the material used was timber, which absorbs moisture and when very thin is prone to curling.

When humidity increases, the flaps of each module open in an effort to ventilate the moisture in the air (Menges, 2012). In a sense the installation can be viewed as kind of living, breathing organism. This notion is also what we are

trying to achieve in our technique.

As this is only a small scale installation it is difficult to know how successful this kind of low technology would be if implemented at a much larger scale and also in an outdoor location. It is of little use if it can only function in a highly controlled and confined space.

We tested how moisture would effect certain material in our conceptual study models, and unfortunately the results were no where near as successful as that seen in the HygroScope.

However, the integration of low technology of physically programmable material is of great interest and as our technique is developed further and materiality is being investigated in more depth, we will attempt a more comprehensive investigation into material affects from natural elements, particularly solar.

RVTR

RESONANT CHAMBER

OVERVIEWThe Resonant Chamber by RVTR is as an investigative project on acoustics using both computational and prototype-based research. The first prototype of Resonant Chamber was designed as a kinetic installation (shown above). The installation was scipted to simulate both applied and gravitational forces using Kangaroo, this also allowed for the development of folding patterns that were able to be altered to meet different needs in a spatial sense and also acoustically. Commands tied to the digitalmodel communicate data through the plugin Firefly in order to calculate and coordinate desired movements. (Thun et al, 2012).

The moving elements of Resonant Chamber installation that open and close are in some ways similar to what we are trying to achieve. The Resonant Chamber prototype uses a tessellated pattern consisting of two sizes of

triangular cells. Triangular geometry was chosen as it proved to be most acoustically sensitive in a series of investigations. In our technique we also opted for a triangular (pyramidal) texture on each of the module flaps.

Not only is the installation reactive to sound from something such as a performance it also functions as a performance itself, this is something similar that we wish to achieve in our technique, though through reactions with the angle of the sun in the sky not sound.

This is just a small scale installation, and so whilst it is able to function well in a mechanical sense, at a larger scale similar to that of the Gateway Project, mechanizing and programming such movement may be extremely expensive.

INTRODUCTION

TECHNIQUE

In order to embody the notion of growth in our design technique we investigated the growth/reproductive process of coral polyps. As they grow in large colonies, the concept somewhat similar to a human population. Each colony makes up the large coral structure, much like each person makes up a community as a

OVERVIEWwhole in general.

The reproductive process of coral begins with lavae being released from existing polyps and then the lavae settles and metamorphisizes into another polyp thus contributing to the growth of the colony of polyps (coral).

DESCRIPTIONUsing the polyp and its growth process as inspiration we use a traingular basic cell, and repeated the cell to form a larger module, and these larger scale modules are then able to create an even larger structure, much like polyps forming coral. An in some ways similar to the self similar patterned fractals.

We also investigated the responsive nature of coral polyps as they open and close to control their exposure to their surrounding environment. The flaps of each module are intended to open and close to control the light passing through.

From cell, to module to form, our technique is adaptable and can be applied to any surface. This system can be said to be symbolic of Wyndham CItys growth while still remaining quite abstract.

DEVELOPMENT

TECHNIQUE

PHYSICAL REPRESENTATION

TECHNIQUE

ACOUSTICS

APPLICATION Our technique is advantageous in many ways, specifically in terms of performance, sun reactivity, acoustics and adaptability.

Each module is a pyramidal form, and the texture on each panel is also of the same form. This pyramidal geometry allows for a larger surface area for sound wave contact and in turn is able to disperse and lower the frequency of traffic noise.

By using a pyramid form with such particular angles amount of bounces a sound wave makes increases when passing through the structure.

As the sound wave bounces so many times, by the time the sound actually passes through the modules, it has already been greatly reduced. If this is not necessary, the texture of the panels can be infinitely adapted to suit any need.

SUN PATH SURFACE

APPLICATION DESCRIPTION

In terms of sunlight reactivity, as each module is designed to mimic the biological process of a coral polyp opening and closing through photosynthesis, we have calibrated them to react to the position of the sun during the day.

As the sun moves across the sky each module will react to it by incrementally opening and closing to control the amount of sunlight that passes through the structure. The main intention of this is for each module to act as anti-glare agents and reduce discomfort for commuters along the freeway.

An example structural that the modules have been applied to was created from a surface attained through mapping sun paths in both summer and winter and taking an average of them. Each module is mapped using attractor points of the sun path, and thus larger modules are located in areas of the surface that receive higher sun exposure on average and smaller ones in darker areas. This idea came from the natural phenomenon of phototropism.

As the sun moves across the sky during the day and the angle of this path changes over the seasons, the appearance of our structure will gradually transform and in some ways adapt to the current conditions much like that of a living organism. Essentially it can be viewed as a different structure everyday, creating a new experience for the driver everytime they pass through the structure.

PHYSICAL REPRESENTATION

APPLICATION


FEEDBACK

OVERVIEWAfter presenting our technique for review and receiving relevant, helpful feedback we have come to realize that there are some issues associatiated not only with our technique but also the rationale behind our ideas.

Our group decided that the best way to acknowledge and address these problems was through a feedback action plan that explored the opportunities presented from the comments received during the review.

POSITIVE FEEDBACKGood presentation of story of biomimicry, exciting

Would be wonderful to drive through every morning and wonder what it will look like today

Beautiful lace

Close to standard of final presentation

OVERVIEW & OPINIONThese comments will help us focus our attention on the areas of our work that need more improvement, or possibly take these aspects of our design, and further improve them. Particularly in terms of the experiential qualities that are able to be achieved through our technique.

However, as always, it is more important to focus on the critical yet opportunistic feedback when looking to further develop and refine the design so an emphasis should largely be place on such comments. Below are the comments recieved that are thought to provide our group with the most opportunities in further developing and enhancing our design technique to achieve a better solution.

OPPORTUNITIESNeed reference for biomimicry

- Add reference for all definitions and precedents


FEEDBACK

OVERVIEW & OPINIONPresent less like marketing campaign... more as an architectural concept...its important in an educational setting to be more open about shortcomings, drawbacks and unresolved issues

In our presentation we focused completely on the benefits of biomimetics, however, in order to understand this topic better its important to acknowledge the negative aspects associated with it. By presenting the current problems associatiated with not only our technique, but with biomimicry in general it demonstrates a more informed understanding of the topic and our approach may be seen as more justifiable.

What could be done:

- Not only focus on the positive aspects of biomimicry and our design but also mention some of the problems associated with it.

- Mention unresolved issues in presentation and how they could be possibly be resolved (how we can improve our design technique to do this)

OVERVIEW & OPINIONPracticality of technique e.g energy consumption, maintenance, cost, etc

When coming up with our technique, we did not focus on such things as energy consumption and cost as we did not see it as necessary at the current stage of development. However, it is probably important to begin thinking about such aspects now. These shortcoming could have been investigated and outlined to create a more detailed and somewhat more analytical presentation.

What could be done:

- Research into practicality, e.g energy consumption, cost, acoustics, etc

- Mention these drawbacks in terms of practicality in the presentation

- Remove the movement of the polyps in the technique, change the rationale, or research some low technological options.

OVERVIEWMost references are unbuilt, proof of concepts with no realistic expectations. why doesnt everybody design like this?

It is quite difficult to find built parametric biomimetic architecture and as such makes our argument less convincing. The examples we used were either installations that were small scale and temporary or at a large scale but ridiculously expensive to operate.

What could be done:

- Find other built precedents relevant to our technique

- Justify practicality of technique e.g slow movement = low energy consumption

OVERVIEW & OPINIONShould focus on conceptual aspects of biomimicry and not technical... just conceptual and aesthetics is enough

Acoustic argument is a bit weak

The rationale behind our design, now that I have had a chance to reflect on it does seem to be more technical than aesthetic. I think that we may have been caught up with producing efficiencies. Over the break we should explore the site further and perhaps rethink our rationale behind the groups technique.

Could generate sound inside the structure...could be examples of this found in nature...cultural performance

What could be done:

- Look into sound producing biological examples.

- Focus more on aesthetics; the experience of drivers when moving through the structure.


FEEDBACKOVERVIEW & OPINION

Issues with model... should be able to move...just beautiful lace

Our presentation models, particularly our example application surface did not feature any movement despite that being the main feature of our design. This was due to scale and also technical issues. When further developing our technique, we intend to investigate throughouly into the movement of our design and also small scale mechanical systems that will allow the flaps to open and close.

What could be done:

- Increase range of module sizes to not look too monotonous and more interesting and eye catching

- Devise a strategy to allow movement in models

- Rethink model making techniques

- Come up with a strategy to allow for movement, but also allow for the flaps to remain in raised position as well, possibly with hinges.

OVERVIEW & OPINION- Need to sort out the structure, currently too clunky

The structure is also something that we have not explored in much detail as we were solely focusing on the modular surface system. The structure would also be similar to the modules in terms of form, however other structural forms need to be explored and tested through conceptual study models.

What could be done:

- Explore different structural forms that are able to bend and curve

- Look into both lightweight structures and materials when further developing the design over the coming weeks.

OVERVIEWAfter considering the feedback received, and looking more into the site and other contextual information, there are some changes that evidently need to be made.

Firstly, as the site only featres natural surroundings and a nearby petrol station, the performance characteristics of our design, particularly the acoustic properties, need to be revised. The pyramidal texture on each flap could still remain, however, it would most likely be for aesthetic purposes. In this case, other textures could be explored if its functionality is not of great concern. In addition to this, the intended movement of our design also need to be reinvestigated as well as how the movement will be generated.

In regards to siting, we intend to use our technique to create a structure similar to our solar path application example that would ideally act as a tunnel spanning across sites A, B and C. However, the nearby service centre is a slight disruption, yet it still needs to be fully visible for drivers. Therefore having the

OVERVIEW & OPINIONbe rethought, or the structure could be skewed at one end so as to allow or the service centre to be clearly seen.

Another issue is the size of the site. In terms of length, it is quite short with site A being the longest at approxiamately 90m in length. As it is quite short, the amount of time the drivers would spending going through our design would only be a few seconds. A lot of our previous ideas associated with slow, gradual change. One of the main features of our design technique was that it would gradually change over the day and throughout different seasons, however, due to site constraints, it could be quite difficult for drivers to even realize that the structure has changed since their previous journey through it. With this in mind, perhaps it would be more suitable to adopt a slightly more recognizable changing element into the technique.


FURTHER DEVELOPMENT

OVERVIEWAs the semester progresses and my experience does coincidingly, my views towards parametric design approaches has changed. I am still somewhat unconvinced that it is the most appropriate technique to currently use.

After receiving feedback from the review that the aesthetic properties of our technique were more appropriate at this stage and that other aspects concerned with efficiencies were quite weak Im beginning to question whether or not the real point of parametric design is just purely for aesthetics, at least at the present time, where certain technologies are difficult to implement into a design.

Many conceptual ideas created using parametric software can not be physically constructed at their true scale due to costs, energy consumption and technological issues. Of course, they are possible to construct but most large scale work is very constrained, mainly due to costs. That is why most parametrically designed works are only installations. When researching precedents for our presentation, it was very difficult to find built work or work other than study models and physical installations.

O=OPINION SO FARA parametric approach is advantageous in many ways, however, if the only characteristics that can generally (there are exceptions) be physically constructed to the exact likeness of the virtual model is structure and aesthetics, the approach seems somewhat redundant to me. I also believe that this may also be a contributing factor behind the reason that some think of the approach as more of a style than what it actually is; a method. If a parametric design technique is capable of producing numerous efficiencies (the reason why it is being used), but only digitally, what is the point of using it at this time? I am sure that it will be very beneficial in the near future, but at this time, I feel like it is still developing and quite expensive and appears to be more of a conceptual study tool or for small scale projects, such as installations. Which is great in an educational setting, but I am not entirely convinced by the relevance of the benefits it claims to bring to the design field at present.

Nevertheless, developing our technique has been very interesting and exciting for me. Varying the design and refining our technique at the beginning, I thought would take a great


REFLECTION

OVECURRENT THOUGHTSdeal of time, however, I was suprised just how quickly variations could be made when completing our group matrix.

I found it slightly difficult to not consider context when creating our technique, as did other members of the group. We often found that we were getting too ahead of ourselves. This was probably due to the different design approach that parametrics allows.

Another issue was rationalizing and justifying our technique. To begin with we were essentially just playing around with different components in order to achieve a form that looked the most aesthetically pleasing. And from this form we began to investigate more into other design aspects such as acoustics and solar reactivity as a way to justify our design and undertook further design refinement from that point. I was and still am somewhat confused as to which is the most appropriate way to justfy a parametric design; novel aesthetics or performance, or a balance between the two.

Overall, my views towards parametrics has changed from what I originally felt. Ive come to realize a great deal of benefits and have also become more aware of the drawbacks that the approach currently presents.

OVERVIEW & OPINION

OVERVIEW & OPIN

It is engineering, not design. There is no art for arts sake, or idea for ideas sake. The whole enterprise reeks of utility. But thats what parametrics are for. Why should a design method that comes from engineering and produces a novel form be priviliged over the same method producing high performance?(Hagan, 2008, p.75)


REFERENCES OVERVIEWHagan, S. 2008. Archictecture and the digial, the environmental and the avant garde, (New York: Routledge)

Koolhaas, R., H. U. Obrist. 2011. Project Japan Metabolism Talks... (Koln: TASCHEN)

Kalay, Y, E. 2004 Architectures New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press)

Kolarevic, B. 2003 Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press)

http://www.achimmenges.net/?p=5083

http://ad009cdnb.archdaily.net/wp-content/uploads/2012/04/1334693879-rc-12-1000x800.jpg

http://ad009cdnb.archdaily.net/wp-content/uploads/2012/04/1334693855-rc-06.jpg

http://api.ning.com/files/ogE19DGjM8dJG27AtGzqLPDF*-EyibN1PmfPo*iiDOeY-qGXwxZ2Muy5ecaXbzdOmZXVD44-lV-lA4Z1NLmV5FKCKKdLxVOX/HygroScope_04_DSC7766.jpg

http://www.architectsjournal.co.uk/the-critics/patrik-schumacher-on-parametricism-let-the-style-wars-begin/5217211.article

http://www.architizer.com/en_us/blog/dyn/49023/bowooss-pavilion-a-study-in-bionics/

http://www.nzarchitecture.com/blog/index.php/2010/09/25/patrik-schumacher-parametricism/

http://www.qualterhall.co.uk/projects.php?id=10

http://www.kokkugia.com/

http://www.designboom.com/weblog/cat/16/view/20884/rvtr-resonant-chamber-origami-architectural-acoustic-panels.html

http://designsandprojects.com/wp-content/uploads/2012/06/New-Headquarters-Al-Bahr-Towers-Abu-Dhabi-UAE.jpg

http://neptunesweb.com/wp-content/uploads/2011/07/Leather-Coral-Polyps-GBR-2005.jpg

http://stockarch.com/files/10/11/coral_polpys.jpg

http://vimeo.com/38996182

http://vimeo.com/41075549

http://www.aedas.com/Content/images/pageimages/Al-Bahar-Towers-wins-Innovation-Award-NewsAl-Bahar-Towers-wins-Innovation-Award-1264.jpg

http://www.archiable.com/image/design/120519_ICD_ITKE_Research_Pavillion/Archiable_ICD_ITKE_Research_Pavillion_01.jpg

http://www.digitalfutures.info/wp-content/uploads/2011/02/parametricskin.jpg

http://www.hiren.info/desktop-wallpapers/other-mix-pictures/hard-coral-polyps_taveuni_fiji

http://www.icriforum.org/sites/default/files/images/reef-repro.gif

http://www.itke.uni-stuttgart.de/img/background/default/index.jpg

http://www.messersmith.name/wordpress/wp-content/uploads/2010/04/coral_polyps_IMG_2829.jpg

http://www.youtube.com/watch?v=11KV00yDnbY

Air MID SEM

Documents