Final Journal Entry

studio_AIR Jonathan Ng Cheong Tin_378259
WESTERN GATEWAY pro/ject/*
EOI
2
12
39
41
66
This design journal will be classified into 3 parts; the EOI , the Project Proposal and finally the Learning Outcomes part. It will consists of different features and research projects performed in this ADS 3 AIR studio. As a start, some state of the art projects were chosen as precedents to explain how they are advancing the architectural discourse and how they Integrate into our Expression of Interest (EOI) proposal for the Gateway Project. Then we looked at unique innovations presented by contemporary computational design techniques that could be integrated into our EOI. Contemporary scripting/programming cultures are introduced through a project precedent that was analyzed. Then a matrix of combinations was produced with some grasshopper definitions under specific design criteria related to the Gateway proposal. All the different outcomes were recorded and some were useful for the design process and some were rejected by the search process used. A case-study project was chosen and was used to combine two or more of the provided definitions to produce an intended architectural effect which should be experimented in many ways. Fabrication will then take place so as the discovery design journey continues. After speculating for the EOI, the project proposal part 2 ,
CASE FOR INNOVATION
RESEARCH PROJECT
E.O.I CONCLUSION
PROJECT PROPOSAL
FINAL CONCLUSION
2. Architecture as a Discourse 5. Computing in Architecture 10. Parametric Modelling 11. Case for Innovation Conclusion
I2. Scope of Possibilities 14. Statement Of Gateway Criteria 15. Matrix 28. Case studies Research 30. Reverse-Engineered Case-Study 32. Case Based Designs 34. Fabrication
39. Expression of Interest Conclusion: Competitive Advantage 40. Learning Objectives and Outcomes: Interim
41. Project Interpretation 58. Project Presentation 60. Project Delivery
66. Personal Background and Learning Objectives 67. Learning Progress 68. Learning Outcomes 69. Future Work
JONATHAN NCT_378259 1
CASE FOR INNOVATION HOW ARCHITECTURE CAN CONTRIBUTE TO THE GATEWAY PROJECT[
Architectural theory and practice will be instrumental in the design and fabrication of the Western Gateway installation. The gateway brief specifically calls for the design of an installation, one with “longevity in it’s appeal” and exploration into “place-making aspects and qualities” - these parameters, however superficial, form the immediate basis for general architectural speculation and inquiry.
ARCHITECTURE AFFORDS:
History: EVIDENCE
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ARCHITECTURE AS A DISCOURSE
“Its avant-garde morphology and typology define a new paradigm in the history of Mexican and international architecture.” {Evolo Magazine, 2011}
[ ] EOI
Located in Mexico City, the Museo Souyama employs cutting-edge architectural fabrication technologies to exist as a large organic, curving structure. The Museum plays an integral role in the transformation of the area: “as a preeminent cultural program, it acts as an initiator in the transformation of the urban perception” (Evolo 2011). Hailed by Raymund Ryan, curator of the Heinz Architectural Centre, as an “extraodinary, multi-dimensional icon”, the building relies heavily upon computational design methods to achieve it’s hexagonal-clad, flowing outer skin. What is architecturally significant here is the construction method used for the skin, and that can be an important source for our EOI if we are going to use the same methodology in our project proposal.
ARCHITECTURE AS A DISCOURSE 3
My state of the art body lantern ; fabricated totally from paper using NURBS geometry. The design discourse of the design intent is about the feasibility of the double helix shape along with its curvatures and aerodynamic design. Can it make it to the real world or will it encounter the limitation of the materials used in the design. “Architecture needs to be thought of less as a set of special material products and rather more as range of social and professional practices that sometimes, but by no means always, lead to buildings.”Williams, Richard (2005). ‘architecture and Visual Culture’, in Exploring Visual Culture: Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press), pp. 102-116, p. 108.” From this, we can use this ideology of “experimentation” when we are designing the art form for the Gateway project.
Coordinator : Dr. Stanislav Roudavski
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““The obsession with which many young faculty and their students now pursue digital research to the exclusion of all contextual and real-world issues (materiality, for example) is astonishing,” he says” {William Menking, editor of The Architect’s
Newspaper, 2011}
The design of the Helios House is quite similar to my precedent and the discourse from my personal precedent has been solved as shown in this architectural state of the art project; we can achieve complex NURBS geometry even for a bulky real life project as the Helios House that is seen as an exercise in reinventing a classic American building type: the gas station. Its design conjures a vision that blends contemporary aesthetics, inventive fabrication, and sustainable building practices with a multifaceted communications strategy.“Architect, ‘Helios House LA,’ architect magazine, 96 (2007),74-75 (P.74)” Environmental discourse: Critics of this gas station usually point out the huge irony in having an environmentally sustain- able building sell gasoline. Others find it a step in the right direction, and considering the car culture in Los Angeles, as well as the progressive nature of California in general, it is a perfect fit. Architecturally, it is quite appealing visually and offers a public lesson in sustainable design as well. All of the faceted stain- less steel panels are recycled, and the ground is composed of crushed glass. It can also produce enough electricity from its solar panels to power three homes. As the project brief stated “an exciting, eye catching installation at Wyndham’s Western Gateway”; people are bound to stare at it, it’s a masterpiece as the first LEED certified gas station and because of its exceptional/ unconventional design. Philip Jodidio, Green Architecture Now! (Cologne: Taschen, 2009), p.255 .
HELIOS HOUSE_ OFFICE DA, LOS ANGELES,06-07. [
ARCHITECTURE AS A DISCOURSE 5
“Office dA aims to liberate the boxed-in Swiss as well as reign in the formalism of the likes of Frank Gehry. It’s a testament to the practice’s lofty ambition, but it’s easy to get lost in the language and rhetoric that surrounds it ” {ICON magazine, 2007}
ANTI-SMOG_ Vincent Callebaut, PARIS,07
The architect describes Anti-Smog as an “Innovation Center in Sustainable Development”.“Ali Kriscenski, ‘Anti Smog Architecture: A Catalyst for Cleaner Air in Paris’, Design for Health, (2008) <http://inhabitat. com/anti-smog-architecture-a-catalyst-for- cleaner-air-in-paris> [accessed 4 April 2012].”It is a state of the art complex which will use all available renewable energy forms to fight against the Parisian smog. In being a fully functional entity, the building is a utility for the city and also a big uplift to the surrounding. The Anti-Smog complex takes the idea of the “green” building a step further than usual: the architect proposes to reduce ambient pollution rather than simply taking care not to contribute to energy waste. Philip Jodidio, Green Architecture Now! (Cologne: Taschen, 2009),
[
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““The prototype uses green technologies and techniques but is more than just an example of sustainable design. Callebaut’s ‘Anti Smog: An Innovation Centre in Sustainable Development’ is a catalyst for cleaner air.” {Ali Kriscenski, 2008}
PARAMETRIC DESIGN 7
UNIQUE ADVANTAGES
[
The production of architecture, both intellectually and physically, is on the brink of a significant change. Computational design enables architects to integrate ever more multifaceted and complex design information, while the industrial logics of conventional building construction are eroding rapidly in a context of increasingly ubiquitous computer-controlled manufacturing and fabrication. A novel convergence of computation and materialisation is about to arise, bringing the virtual processes of computational design and the physical realisation of architecture much closer together, more so than ever before. (Menges, A. ,2012) This project above offers a clear demonstration of conceptual and developmental benefits afforded by the parametric approach to design. Parametric design enabled Grimshaw architects to manipulate the dimension of the sequential ribs; using same topology in different scale and varying the axis to follow the shape of the design. A new breakthrough in computational design was achieved by Grimshaw architects and, a highly complex hierarchy of interdependences could be parametrically modeled, allowing iterative refinement, i.e. the dimensional fine-tuning of the project in all stages of its development, from conceptual design to construction. The methodology surpasses analog design capabilities, as any form or geometry may be rationalized in an infinite number of ways in response to the tweaking of parameters. “Employing computation to tap into the intricate and multifaceted design potential latent in the material itself enables the development of material systems that no longer need to be derivatives of long-established and standardised building systems and elements.” (Michael Hensel , 2008) As stated in the project brief, the object centred individual sculpture/ experiential approach; will be a state of the art design due to the high complexity of forms, achievable by such a “savoir faire in terms of manipulation.
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“Waterloo International Terminal offers a clear demonstration of conceptual and developmental
benefits afforded by the parametric approach to design.”
{Kolarevic 2003}
[
This project recasts the initial ambition for vertical expansion. It envisages a rapidly deployable structure that will provide centrally located resources in areas struck by disaster. The tensegrity principle is explored for its potential to provide a feasible structural system that enables the deployment of a [near] instant skyscraper. This design proposal was developed in collaboration with Cache Studio as an entry to the 2009 Evolo skyscraper competition. The motivation for this project was based on earlier observations regarding the incredible flexibility and adaptive nature of tensegrity structures. From 416 entries in the competition , [near] Instant High-Rise was awarded an honorable mention and has been singled out as exemplary in online architectural forums by bringing “some new refreshing ideas [that justify] the persistence of this competition” (Boiteaoutils 2009). Zhou, YY, Li, J, Frumar, JA & Ren, G, Instant Built Tensegrity Structures with 3D Compression Members, Advanced
Materials Research (2011), vol. 243-49,pp. 5894-8. This precedent conceptual project illustrates that, “For the first time perhaps, architectural design might be aligned with neither formalism nor rationalism but with intelligent form and traceable creativity.” ‘Terzidis, Kostas (2006). Algorithmic Architecture (Boston, MA: Elsevier), p. xi’. Innovative digital design produced by parametric tool; what makes it unique is its intelligence and dynamism as an installation. Its deployable feature enables it to be rise in places where there is a disaster like an earthquake . It also explores the principle of structural tensegrity (based on the use of isolated components in compression inside a net of continuous tension) Innovation needed for the project will be using this kind of intelligence in design.
INSTANT HIGH-RISE_ MESNE Studio, 09 [
PARAMETRIC DESIGN 9
“For the first time perhaps, architectural design might be aligned with neither formalism nor rationalism but with intelligent form and traceable creativity.”
{Terzidis, 2006}
ICD ITKE RESEARCH PAVILION_ Acim Menges and Jan Knippers, University of Stuttgart, 2010.
SCRIPTING CULTURES[
In 2010, the Institute for Computational Design (ICD) and the Institute of Building Structures and Structural Design (ITKE) designed and constructed a temporary research pavilion. The innovative structure demonstrates the latest developments in material-oriented computational design, simulation, and production processes in architecture. The result is a bending-active structure made entirely of extremely thin, elastically-bent plywood strips. The information model was individually programmed computer script (in RhinoScript ®). From the two-dimensional drawing of the production-related and machine-specific data to the three-dimensional model .This innovative approach to digital data management in the architectural design process makes use of modern software tools, by expanding this project-specific functionality. The modern script of this 3-D geometric model could be generated with the help of over 6400 lines long code of the information model, all relevant data for the calculation in the finite element analysis software and the CNC machine-specific data.(M. Fleischmann, S. Schleicher, J. Lienhardt, 2010) . Although that the model’s geometry corresponding shape-determining factors such as non-operating properties to the finished construction, traffic and wind loads have not been taken into account, it nevertheless has allowed a realistic evaluation of possible designs in the form of true material; Digital feasibility studies. That this one at all times, especially represented in the earliest design phases present, the central component
of the project, were a particular concern and an important aspect of innovation in the digital modeling process. A very interesting feature/asset to have in our future proposal. From Scripting Culture (Burry,M , 2010) , it is mentioned that the main challenge of the scripting generation is the move from the creation of inventive articulated patterns, and the small- scale installations to the full scale architectural projects where scripting can unleash an entire universe of opportunities for architectural space. (Matias del Campo, SPAN)This is what the research pavilion tried to demonstrate how this is possible. A very good point which the author proposed is that ‘customisation’ enable by the scripting agent is a very powerful motive for using a such design tool as grasshopper, pushing the limits of computational capabilities, its the same as thinking outside the box. In a way the scripting tool is enhancing our creative freedom by not only depending on the presets or database of the software engineers. The role of the computer in the design process,extensively criticized,is suggested to be a practical ‘aide-de-camp’ and a digital design agent. The designer who wants to be completely in control of the results must be in control of the process. To be in control of the process, the designer must be in control of the tools. The tools are computation, therefore a designer who wants to be in control must also be a scripter (or suffer the consequence of the unseen influence of using other people’s tools). (Robert Aish)
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Today’s scripters are inventive; however, scripting is a relatively new technique for the exploration of architectural designs and designers are still figuring out new potentials for using scripting as a design tool. (Brady Peters) In this way the scripting culture, particularly in our context , the visual script rather than textual, will bring new potential outcome to the Gateway project. The design brief states that the Western Gateway installation should provide an entry statement and arrival experience, and become a new identifier for the municipality. Furthermore a good dialogue between sculpture and landscape to compose the Gateway; original and engaging in form. This is the opportunity for ‘scripters’ like us to unleash our creative freedom to make the art community proud and generate a sense of place to the locality, Wyndham. Something that people outside Wyndham will find innovative and appealing because as for the moment the region of Werribee is still unknown and regarded only as a residential suburban area.
PARAMETRIC DESIGN 11
“The designer who wants to be completely in control of the results must be in control of the process and to be in control of the process, the designer must be in control of the tools. Here, the tools are computational; therefore a designer who wants to be in control must also be a scripter. ”
{Robert Aish, 2006}
After my research on contemporary computational design techniques (parametric modelling) , my perspective on these new methodologies have changed. I was unaware to what extent the new technology could go in the building industry particularly in the design process.“For the first time in history, Architects are designing not the specific shape of the building but as a set of principles encoded as a sequence of parametric equations by which specific instances of the design can be generated and varied in time as needed.” (Kolarevic, Branko, 2003, pp. 18) So for we, designers, the goals are not fix anymore, it can change with a single difference in the equation. The design outcome maybe spontaneous and unpredictable in a way that innovation is ensured. Relating that to the project Getaway brief particularly this part where it states that ‘The Western Gateway should propose new, inspiring and brave ideas, to generate a new discourse’; The “high- tech” design tool that we will be using will determine not only the outcome but also it will contribute to its discourse by creating positive polemics around the architectural design. The case for innovation in terms of discourse and parametric toolset will help us for the research project cut ( exploration of parametric designs for the project proposal).
CONCLUSION
Transformative Geometries
insinuating growth/change)
Parametric Design
employ digital media not as representational tools for
visualization but as generative tools for the derivation of form
and its transformation often in an aspiration to express
contextual processes in built form
{Stanislav Roudavski, 2009}
RESEARCH PROJECT CUT
Installation: exciting, inspiring, eye catching Prominent location of the site at the entry to metropolitan Melbourne;
Back dropped by a large scale service centre; Consideration of how the installation integrates with and/or sits in the immediate and surrounding landscape;
Iconic feature; Appropriately scaled;
Dialogue between sculpture and landscape to compose the Gateway; Original and engaging in form;
Objectcentred individual sculpture or a more experiential approach; Literal or abstract;
Adherence to the regulations imposed by VicRoads in relation to siting, view lines, setbacks, materials, colours; Daytime and night time viewing;
Our group’s theme is ‘Nature’. We have been able to develop some criteria so that we can start our designing process. Our focus was on the morphogenesis process; the evolution of life forms, the change in state of matter, the growth of modular shapes into complex ones// SCALE. Growing means evolving from a simple/modular state to a more complex/constraint level under specific rationale. The rationales that we are using to limit/guide our design outcomes are related to the effect of repetition, illusion of light, tectonics. The morphogenesis ideology can be implemented into our EOI by several ways. From the brief, Wyndham city council is looking for a bridging architectural form to link the city and the coast. As analogy the transition from the coast to the city can be seen as a growth , a change in threshold. The “imaginary” bridge will be seen by drivers on the freeway when they go to and from the city using the effect of light and air. Another emergence factor is the city of Wyndham on the world map. The city council wants to create something that will make a special impact on the audience inspiring “Wyndham is alive and here.” So we have analyzed many situations where growth is relevant to the context. With this research project CUT, our group is trying to represent our morphogenesis process by exploiting different grasshoppers definitions to produce some growth output design.
INPUT :PATTERN AND OVERLAP
7.0 8.0
INPUT :USING SURFACE NORMALS
TOPOLOGY Fundamental agent or cell that provides building block for installation, allowing fabrication- relating to biological morphogenic processes. This syntax of simple forms has been exploited to produce this topological relationship with the environment (air).
SN_UsingSets_Rotation
18.0 18.1 18.2
18.3 MATRIX 21
GROWTH Augmentation of geometries within landscape representing cultural emergence of Wyndham. The growing geometry of the design is relevant to our design criteria that relates to the brief requirement; promoting the emergence of Werribee as a new city on the Melbourne map.
21.0 22.0
REPETITION Creating complex, dynamic forms from simple geometry. Parametric driven.
The repetition creates an illusion effect which can be exploited by the sun where shades and light patches can be obtained.
SG_MultipleMathsFunctions_Rotation
TRANSFORMATION The changing of geometries over space/time, a metamorphosis symbolic of Wyndham’s cultural change into the future. Augmentation of geometries within landscape representing cultural emergence of Wyndham.
28.0
28.1
28.2
SG_Mult ipleMathsFunct ions_ Rotation
SG_ImageSampler_Components
1. Hexagonal Grids were used and they were rotated in 3 different axis with the rotation component making the circle geometry spiral effect.
2. Rotating a pattern dependent on an image around a sphere surface. By doing it, an effect is being produced, the concentric pattern is gradually increasing in intensity from the middle. The design is proving its relevancy as the emergence concept has been created here.
3. Superimposing two relief planes using overlapping input and shading one of the layers as red.
4. Overlapping of circles positioned on a curled surface which are being extruded.
5. Interesting overlaid patterns of cones and lines rotated about a curvy plane performing as a special texture.
6. Truncated cones being affected by an attractor point and aligned to a wave surface.
7. The Death Star : extruded rectangles determined by multiple mathematical functions creating the repetition illusion all over a surface.
8. Rotated cones over a wave surface under the influence of multiple mathematical functions.
9. The progressive intensity (growth) of rotating lines around a core produced by streaming a series of numbers in a text. The change in the density of the enclosure is altered to give that rotating and dynamic outcome.
10. A series of extruded cones and lines shaded differently associating a stream text.
11. From a free form surface, circles are extruded normal to this surface producing this fluid shape.
12. Abstract forms sproduced by the image sampler.
13. Extruded polygons being normal to this curved surface producing different concentration of scale due to an image.
14. Using a Mathematical function and a rotation output to create an orbiting pattern.
15. Skin pattern produced by components output using a maths function.
16. Hexagons being extruded under the influence of a curve attracting some elements.
17. Topology explored; Organic patterning created by extruding a geometry along the x-axis.
18. The idea of gradient , from simplicity to density of circles, is produced here by rotating the sets techniques.
19. Levels of patterns enhancing shaded sets .
20. Combination of life forms created by a series of circles under the effect of a curve attractor and a rotating effect.
21. A variety of patterns surfaced on a sphere, cylinders being extruded and patterns shaded in cyan.
22. The Bird: arches rotated and being attracted to points on a distorted plane. Producing this complex bionic form demanded some many attracting points which affected the geometry of the design in terms of transformation.
23. Arches being extruded around an open loop surface under an attractor point effect.
24. Torus surface being meshed by a organic stream text pattern.
25. Ellipses being extruded in the x-axis around a double curvature surface.
26. Shading ellipses positioned on a wavy surface producing interesting visual effect.
27. Fish scales : Rotated circles in graft mode using multiple mathematical functions.
28. The Feather : hexagonal grids used over a simple plane with parallel techniques to produce the intended architectural effect of growth; the lines tend to perform from a common threshold level and follow a specific constraint.
29. Rotating pattern with multiple maths function creating some distortions and producing some growth effect.
30. Rectangles components being set on a surface grid to create this evasive illusion of repetition. The design is made up of simple modular rectangles and they are transformed by an image sampler.
LEGEND This matrix of designs exploration seems to be sort of random and under-constrained. To try to overcome this unpredictably ,without compromising the delight of discovery, architects have developed methods that can be relied upon to produce satisfactory. By using search processes methods where we produced a range of solutions and choosing the “right” one for further consideration and development. In this research project CUT, a combination of search methods were used : Depth first ; where a promising solution is explored to its logical conclusion (either it meets the goals or it fails) before another solution is examined , the other method used was Best First where all available solutions are evaluated, under the current design criteria and constraints of the client, and the one which appears most promising is chosen for further development. ( Yehuda E. Kalay, 2004 pp. 18-20) From this search methods, some designs were outstanding because of the relevancy to the design criteria and their potential application in the Gateway project.
MATRIX 27
[
De Young Museum _ Herzog & de Meuron Pixelated natural skin facade used to stimulate the effect of light filtering through natural canopy of trees. The architects achieved this architectural effect by
image sampling the photographs of the surrounding flora. This demonstrates the powers of the digital tool in the design process specially in a large surface
where 3 millions perforations and debossing were produced.(Ben Pell, 2010) It behaves as a good screen in its environment playing with illusion effect using
the daylight. The repetition factor in its patterning can be used in the design of the gateway project.
Hills Place_ Amanda Levette Architects Amanda Levete Architects has harnessed high quality ship hull technology to create an ingenious sculptural facade for a new office building just off London’s
Oxford Street. They have created from an existing building an elegant, inventive and new durable architecture. (Michael Stacey, 2010) The aerodynamic shapes
relate to its environment and how air is fluid over its surface is amazing. This is a clear example how can a design interacts best with AIR. Smoothness in the
design of the gateway proposal should be paramount.
Restaurant Aoba-Tei_Hitoshi Abe The project was developed around the concept of “soft boundary surface” where the surface takes the form of an organic membrane which responds to the
pressure of adjacent spaces and is constituted as a continuous interior wrapper- a complexly curved steel armature. Image of a Zelkova tree was translated
into a dot-screen for production as perforations making up the surface (Ben Pell, 2010). The parametric tool used here is the one responsible for the resulting
ambience inside the restaurant.
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Articulated Cloud_Ned Kahn The screen is intended to suggest that a digitized cloud has enveloped the building ,its appearance changing dramatically with variations in light conditions
,weather ,and time of day. The acrylic panels just ripple like clouds moving across the sky when under the effect of wind. (Christine Killory & René Davids,
2008) The kinetic effect of the wind is explored here. Dynamism of the design is relevant to our design criteria for the gateway proposal , where growing/trans-
formation/emergence can be represented dynamically with such installations.
Airspace Tokyo_Faulders Studio The cellular design and double-layering of the screen references the biomorphic density of the original layers of vegetation. It acts to protect the building from
the street, much like the lush vegetation that occupied the site. The screen is made up of a series of digitally-generated geometric patterns which were then
overlaid and projected as voids on the facade. (Ben Pell, 2010) The screen interacts with its environment in a natural way as the patterns are vegetation-like
and they provide a good link between the built world and the forest. In that way our design for the brief should interact with the natural landscape.
John Lewis Department Store_Foreign Office Ach. The offset of the two frit patterned surfaces produces a flickering optical effect for passers-by. The design of which combines a textile pattern originating from
the translucency of saris worn by the large South Asian population of the architect’s city. The patterned and layered assembly thus works to maximize the effect
of the skin’s role as an architectural fabric that reveals the exterior. (Ben Pell, 2010) It is a good way to envelop a building and give to its environment this eye
candy impression, that’s not what it is all about? Producing something really eye catching for the brief.
RESEARCH PROJECT CUT CASE STUDIES
RESEARCH CASE STUDIES 29
Project Size / 4,800 square feet
Client / SOWA Restaurant Group, LLC
Architect / Office dA, Inc.
Principal in Charge / Nader Tehrani
Project Architect / Dan Gallagher
Project Coordinators / Catie Newell, Brandon Clifford
Project Team / Harry Lowd, Richard Lee, Lisa Huang, Remon Alberts, Janghwan Cheon, Jumanah Jamal, Aishah Al Sager
Contractor / Homeland Builders
MEP Consulting Engineer/ Wozny/Barbar & Associates, Inc.
Lighting Consultant / Collaborative Lighting
Photographer / John Horner
The application of a case to solving a particular design problem,however, depends on the relevance of the situation from which the case was derived to the current situation. Their degree
of similarity characterizes cases as prototypes, precedents, analogies, symbols, or metaphors-each category further
removed from the particulars of a specific design situation. In this case study,one of the focus is on how the one strip of
modular plywood is evolving (morphing) into another form hence producing this pattern effect; the scale and perspective. Another aspect is the contour one which will be explored in the fabrication process. The last but not least is the intelligence of the design to not only produce a very good ambience with the
design but also to hide services from the eyes of the public; this intelligence will be further explored for our design proposal.
“Restaurants are like calisthenic exercises,” says architect Nader Tehrani, a partner, with Monica Ponce de Leon, of
Boston-based Office dA, explaining how these projects are great places to flex experimental muscles. “You test out a
technique, certain means and methods of production, and they give you a way to expand on them.” With BanQ, a new Boston
restaurant serving French-inspired food with Southeast Asian influences, the architects had the opportunity to continue their long-standing investigation of CNC milling. Here, Tehrani says,
“The experiment was to radicalize the difference between the ground and sky; to do something economical, but have its
effect appear incredibly luxurious.” (Beth Broome, ‘BanQ: Office dA, Inc.’, Architectural Record, (Jan,2009) <http://archrecord. construction.com/projects/bts/archives/restaurants/09_banq/
default.asp?bts=REST> [accessed 17 April 2012]. )
Combining an economy of means with an intrepid spirit, Office dA gets maximum mileage out of its elegantly simple system. With a single gesture, the architects, in the process
of concealing mechanical and providing an acoustic baffle to mitigate sound for the residences above, have given the
restaurant its identity, at once obscuring and exaggerating the infrastructure, creating motion, and introducing a topography
and texture to an otherwise featureless space. But it does so at a tenable volume and, while pouring on the drama, manages
to carve out zones that reinforce dining out as an intimate experience.
B a n Q
REVERSE-ENGINEERED CASE STUDY [ [
REVERSE ENGINEERING 31
“There is nothing subtle about BanQ, it is in- your-face architecture, eagerly calling out for attention and never letting guests forget where they are .” {Beth Broome 2009}
32 studio_AIR BANQ ITERATIONS
The search process continues here with the iterations of the banQ restaurant case study.
The definitions is evolving step by step as the breadth first
methodology is used to get the reverse engineering going.
The parametric tool used here, Grasshopper, has been up to
expectations, in the sense that from all the precedents backing
up this technology, now it is proving itself for this design
proposal.
SCALE/ PERSPECTIVE
CASE EXPLORATION Prototypes are the most common formalism used to capture and apply architectural cases. They are generalized groupings of elements in particular design domains, including prerequisites, sets of elements (syntax) , etc. Much like other design methods, the use of prototypes, precedents, and metaphors is intended to provide the designer with a starting point from which to develop the new design. Each design method uses a different approach to accomplishing this task, whose purpose is to bridge the gap between the three main components of the design process: the analysis of the problem, from which design goals and constraints can be developed; the synthesis of design solutions; and their evaluation vis-a-vis the goals and constraints. ( Yehuda E. Kalay, 2004 pp. 25)
REVERSE ENGINEERING 33
CONTOURS FABRICATION
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The first model was the first step into fabricating what we had
designed in Grasshopper. We tried mimicking the architectural effect of our case study ; Contour
effect. The model was not that successful because of the scale
and there were no variations between each elements of the
model, so with no variations we could not really play with light
conditions as we mentioned earlier in our design criteria,
unfortunately unsuccessful here.
SCALE PERSPECTIVE
FABRICATION 35
The second aspect of the case study that we wanted to explore was the scale and perspective criteria which were directly connected to our design intent. We successfully produced this effect of gradual change; the growth effect that we explored in our research. The change from one modular plywood to the extreme wavy form. Our morphogenesis theme propose the evolution of a component/ emergence of a life form, something morphing through time/space environment.
////SERVICES
After learning from our mistakes for the 1st model,
we considerably scale up the 2nd model and tried to get us nearer to the BanQ restaurant
layout. Following our successful fabrication, we wanted to explore
this time the intelligent design methodology that Office dA
used in their interior space . As mention earlier in my precedent
for the case of innovation, we will try to design intelligently.
So here we have a perfect illustration of how it can be done
, Office dA made the contours not only for the aesthetic value
of the interior but also to hide and purposefully produced a camouflage effect for all the services ; A.C / ventilation ,
electrical wires, water pipes, sprinklers,etc. This is a very
good attempt in designing intelligently and we successfully reproduced this effect in our 2nd
model.
FABRICATION 37
The 2nd model was also exploring the light conditions feature which we intended to research in our design. As illustrated above, the difference in dimensions of the slits made it possible for the light to go through the design. It also helped to vary the spacing between the slits to produce exceptional lighting effect. The brief states that the installation should be running during the day and night, and our design should interact with air. Both of these constraints were being put in our design so that it is at the end satisfying and rationalized.
In this video (on the wiki), light conditions effect has been proven to be very dynamic thanks to our 2nd model case based design. Putting the model in its environment is about taking in considerations all the natural factor not only air has a kinetic influence. The topology of the
landscape can also be our influence.
IMMATERIAL ARCHITECTURE[
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“The user decides whether architecture is immaterial, but the architect, or any
other architecture producer creates material conditions in which that decision can be made while other
authors of architecture and agents of ambiguity- such as the weather-
may intervene to alter perception and matter.”
{Jonathan Hill 2009}
So by now you have seen our research achievements but why you are going to choose us is because we are willing
to push the parameters to the next level by doing more experimentation as illustrated above and by rationalizing
these complex speculations into fabrication-friendly installations. These are more complex iterations of the
case based design, from the same grasshopper definition but put into the site context. Constraints like site boundary specially the curve along the freeway were used as curve attractors in the definition. We started to rationalize the
base of the design so that we can start thinking about the construction feasibility of the installation. Overall it is just
to give you a foretaste of what is waiting for you if you employ us. Thank you for your time..
[COMPETITIVE ADVANTAGE
[ [
The research project cut enabled us to explore the design tool, Grasshopper, by limiting ourselves to our design criteria related to the Gateway proposal. The case base design, BanQ restaurant, also helped us to research the different aspect of our future design proposal will be offering ; from the process of fabrication via the laser cutter, materiality has been proven to be a key factor in the design. We have achieved our goals for the research project by experiencing some existing effect provided by our case. Now it is time for us to go further in our discovery design journey to fully satisfy our design criteria hence fulfilling the proposal’s brief.
“Parametric and generative
production of increasingly
DESIGN PROPOSAL pro/ject/*
DESIGN PROPOSAL 41
“Physical computation is at the very core of the emergence of natural systems and forms .”
{Menges, 2012}
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[
CRITERIA RECAP SCALE TRANSFORMATION MATERIALITY AIR LIGHT CONDITIONS
The speculation was morphing with the different parameters and we try to add complexity by using point attractors placed at three different points on the site representing the threshold ; city, coast and emergence. Hence the peak in intensity of change is at the middle of the form creating a sort of vortex illustrating the growth factor.
DESIGN A CONCEPT
From speculation to a design idea, rationalization took place in terms of the number of complex curve
components in the design and also in terms of the relationship with the site A. The most significant
components remained in the floating design. The concept needed some relationship with the site;
support structures. The idea of a surface floating on a bed of needles was a good start for the concept for the
support structure of the design.
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The rationalisation process changed the curved components of the concept into strings so that it can easily be fabricated. The construction drawing of the needle joining the strings is just a speculation of how this connection works in real life. An experimental model will be made to test the materiality of the string. The needle concept is interesting in the way that the structure can be nearly invisible, subtle and delicate without disrupting/disturbing the light and gentle surface on top of it. The needles should not be overcrowding and the idea is that the “surface” covers the structure so that when drivers will see the installation, they will hardly see any needles but only a drape-like floating in the air. Our goal is to achieve this illusion effect of the one transforming surface interacting with the air element by using our parametric tool. Experimenting with different colors to achieve an interesting pattern and a better aesthetic for this iconic installation.
DESIGN PROPOSAL 45
DESIGN A EXPERIMENTATION
This experimentation looked at how the needle and thread concept behaves
realistically. Only a part of the whole design was used to produce a 1:50 scale model. The physical experimental model
consisted of two essential parts: the needles were made of Perspex to be as
invisible as possible. Different materials for the strings have been tested (a plastic
thread , a thin metal wire and a thicker aluminium armature. The needle poles
that were designed in Rhinoceros and Grasshopper, were unfolded and nested
. The white plastic thread was passed through the middle of the needles to
experiment its behavior within the holes. Patterns of holes were extruded from the needles to produce different visual effect
for different levels of strings.
“We are beginning to recover a certain philosophical respect for the inherent
morphogenetic potential of all materials. And we may
now be in a position to think about the origin of form and
structure, not as something imposed from the outside
on an inert matter, not as a hierarchical command from
above as in an assembly line, but as something that may come from within the materials, a form that we
tease out of those materials as we allow them to have
their say in the structures we create.”
{Manuel DeLanda, 2004}
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The experiment was also testing about materiality, how the metal strings would behave in the required form constraints. The thin metal wire was really malleable and easy to bend and to get into the different holes. The aluminium armature was another story because they were more rigid and thicker, so passing them through the holes was a bit of a pain. The major problem with those kinds of metal strings is that they retain any bending or kinks throughout their length hence producing this uneven, ungraceful and not delicate effect which was not intended. This is probably the hardest part in fabricating this partial model of the digital one because the metal wires would not behave similarly as in the digital model. Maybe we had increased the number of poles at each end of a curve in order to increase the control on those curves. Or if we used piano strings which are more rigid so they will not produce kinks. The
base of the needles were also not solid enough to withstand the tension in the curves so next time the depth of those needles should be deeper.
The experimental model was exploring the possibilities/opportunities of the behavior of the design at night. In those night shots, the poles will be the one lighting up to make the pattern visible at night hence satisfying the brief and our light conditions criteria.
DESIGN PROPOSAL 47
DESIGN A EXPERIMENTATION
To push further the exploration of this concept we decided to experiment with panels which could act as needle or be joined to the needle structure top. The panels would give the flexibility of producing more complex patterns according to specific parameters from the digital computational technique. Patterns of holes were extruded out of the panels made out of wood and Perspex to test materiality.
48 studio_AIR
AIR
One of our design criteria was to interact with the air element and to do so the component interacting with it had to be light and flexible enough to bend, twist , swing. The string component was satisfying all those criteria but the issue is the tectonic connection that it would have with the poles. More exploration and
testing will try to solve this problem.
STATE OF CHANGE
DESIGN PROPOSAL 49
DESIGN A PRECEDENT
Feathered Edge | Museum of Contemporary Art, Los Angeles, CA , 2009.
Drop- In Distraction | Los Angeles County Permit Office, 2009.
Feathered Edge was commissioned by the Museum of Contemporary
Art in Los Angeles. The project explores the convergence of
digital technology and craft. It is one in a series of installations curated by Brooke Hodge and
Alma Ruiz. Integrating complex digital computation, mechanization,
and printing with traditional handcrafted production techniques,
Feathered Edge is comprised of 3604 individual lengths of twine, totaling 21 miles, that have been
dyed, cut, and then suspended from mesh scrims installed on the
walls and ceiling of the gallery. Using specialized parametric
software developed with a programmer, we generated a map
that was printed onto the scrim to establish the proper locations
and lengths of the twine in the space. Each piece was attached to the mesh scrim, and then knotted
by hand in a technique similar to that used to make latch-hook
rugs. This precedent is the living proof that our experimentation
has been carried out before and trying to reproduce the same effect
on our design by using threads will be very complex in terms of
arrangement and components involved. The Drop- In Distraction hanging sculpture for the new Los
Angeles County Building and Safety Permit Office uses approximately
two thousand individual lengths of metallic bead chains hanging
under self-weight to form a matrix of catenary curves. It informed us that self weight is paramount if we want to make the strings undulate
with the wind.
EXPERIMENTATION Following the Ball -Nogues Studio, we
experimented with normal strings to try to mimic the effect of strings pattern. Different patterns have been explored; cross product,
gradual intersection, tensioning.
The strings were so light that they could easily stick together producing an unintended pattern. The objective was to make a fixed pattern that could undulate with the air element.
[
“More recently, digital simulations of physical form-finding experiments, such as the hanging chain models or tensioned membranes originally used by architects and engineers like Antoni Gaudí, Frei Otto or Heinz Isler, have become commonly available.”
{Toni Kotnik, 2012}
DESIGN PROPOSAL 51
DESIGN A EXPERIMENTATION
The 2nd experiment on the same concept of using the needle as structure was testing the behavior of strips instead of
strings. The strips were designed using our parametric tool to generate these spiky patterns. One of the advantages in using
strips rather than strings is that you can put a pattern on the strips and the strips can bend so easily. In this experimental
model, the bending was intentional so that the pattern is transforming.
“There is – despite aspirations to the contrary – no universal theory of pattern formation in nature. Nonetheless, it has proved possible to identify many common principles, such as the universality of certain basic forms (hexagons, stripes, hierarchical branches, fractal shapes, spirals), the importance of non-equilibrium growth processes, the balance or to-and- fro between conflicting driving forces, and the existence of sharp thresholds of driving force that produce global changes in the pattern..”
{Philip Ball, 2012}
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The big issue that we found is about the joint at which the strip and the needle connects. We need to find a good tectonic joinery to make it feasible. The strips’ patterns can also change according to the grasshopper definition making it more flexible and could encourage an interchangeable feature for the whole design so that the design is still transforming with time by changing the patterns on the strips.
DESIGN PROPOSAL 53
DESIGN B CONCEPT
The 2nd concept but not different one , just the continuity of our design. It consists of exploring the difference in height of the needle compared to the previous concept . This difference will drive the pattern of the strips or strings. The digital experimentations of this concept show that when the needles change in height, depending on the parameter of the grasshopper definition (same 3 point attractors used before to keep it consistent) , the emergence factor in the design is more significant and it is more obvious to drivers that the design is transforming with time.
“Far beyond standardised building systems and well-established structural typologies, unknown points in the design space can be explored by employing design computation as a calibration between the virtual processes of generating form and the physical becoming of material gestalt”
{Achim Menges, 2008}
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The digital exploration was pushed further when the height difference factor was mixed with a rotational parameter; it produced a very desirable effect emphasizing on the growth factor. Some part where the peak of the needles mixes with the rotational transformation, the needles are hovering over the road creating a good interaction with the drivers.
DESIGN PROPOSAL 55
DESIGN B EXPERIMENTATION Keeping the same concept of rotating needles, we have experimented the mesh going between them. The mesh is supposed to be threaded with an array of strings producing this intricate patterns very appealing from the road. By our parametric tool to produce the mesh between the needles we have made the conclusion that the mesh did not produce enough growth/ emergence to satisfy our criteria.
“Architects’ view of nature tends to rest on the assumption that it is inherently efficient in its use of materials and energy, and essentially ingenious and elegant in its solutions. This perception in science is one that has been propounded through Darwinism: the notion that refinement of ‘design’ is achieved through repetitive selection, variation and mutation.”
{J. Scott Turner, 2012}
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Once more we rationalised our design concepts to produce this more simple but still achieving the design criteria that we have set before. The transformation is gentle along the path of the design until it reached the peak where the maximum emergence can be observed. Simplicity is a very hard state to achieve but having rationalise our design concept to this point, we are ready to finalise this concept. It critically suites our morphogenesis theme but it has to relate to our site.
“Ever since I have been enquiring into the works of Nature I have always loved and admired the Simplicity of her Ways.”
{Dr. George Martine,in Medical Essays and Observations, Edinburgh, 1747}
DESIGN PROPOSAL 57
PROJECT PRESENTATION PROCESS “No computer on earth can match the processing power of even the most simple natural system, be it of water molecules on a warm rock, a rudimentary enzyme system, or the movement of leaves in the wind. The most power ful and challenging use of the computer ... is in learning how to make a simple organization (the computer) model what is intrinsic about a more complex, infinitely entailed organization (the natural or real system)..”
{Sanford Kwinter, 2011}
After all the search processes or best first and breadth first suggested by Kalay, we tried to develop the final Wyndham City
Gateway Proposal. We kept our theme which is morphogenesis to informed our design and rationalise all our design ideas A/B to produce this array of thin and delicate red
transparent strips that are transforming on the landscape as drivers are passing
by. The strips are meant to form a surface that envelops their needle-like structures and give the impression of floating in the
air. Moreover, as stated in our criteria, the materiality of the design for the strips that
are light and gentle will interact with the environment by undulating in the windy
Wyndham region and the invisibility of the structures will be achieved by the needle-
like steel structures.
We generated a path for our installation by using two essential components. Firstly we considered the topography of our site A to keep our design in context and then adding some complexity to it by using our parametric tool for curve attracting performance along the road that future diagrams will illustrate. We then developed a structural system that will be nearly invisible and subtle for our strips hence the needle-like design of the vertical poles. They will vary in height according to parameters which will produce an illusion effect of a surface using different levels of strips.
58 studio_AIR
“Traditionally, however, the discourses within architecture and the visual techniques of architectural design practice have privileged form over material, with material rarely examined beyond its aesthetic properties or its technological capacities to act as a servant to form. ”
{Toni Kotnik, 2012}
Our design proposal will create architectural discourse by means of its core design criteria and methodologies of fabrication. The materiality aspect has been examined to be not only an aesthetic medium but also a material that can interact with its environment, produce visual effect with different light conditions, being of standard size so that they can be interchangeable later to add to the emerging factor of the design. It will be an entity that people will look up to before they enter the metropolitan area of Melbourne passing through the region of Wyndham, which is emerging. We understand that requirement for Wyndham and that is why we implemented in our core design values the “Growth” factor. We achieved successfully and with such finesse, a gradual transformation of simple geometries producing this intended emergence.
FINAL DESIGN 59
1:250 PHYSICAL MODEL[ PROJECT DELIVERY
The fabrication process of the final design consisted of two stages. The first step was to
reproduce the design on a large scale so that the panel can have a drift of how the design behaves
on the site A where it stands. The model also informed us how the design interacts with the macro scale of the road and the relationship it had with the road ( the contour map illustrates
the point attractors that were used as parameters to computerize our intention). These
points were chosen because we thought the main path of the design should be driven by the
two freeways going in opposite direction.
After all , the drivers will be the one experiencing the design so it is totally
justified why we chose the road to be our main parametric influence. It reinforces the
relationship of the design with the road and the in-site context.
60 studio_AIR
The model illustrates the gradual transformation of the design from its threshold to its peak. This intended growth was successfully achieve by modifying the number of needles from each rows so that the drivers read the change easier. The metaphor of Wyndham emerging as the most populated suburban area in Victoria as been translated into our concept expressing a significant emergence into the landscape. The details of the model in terms of the needles’ height difference were not accurate compared to our digital outcome, so we had to fabricate a more detailed version of the final design.
FINAL DESIGN 61
1:50 PHYSICAL MODEL[
The second step of fabrication was to produce a more detail partial model of the final design to illustrate the most interesting part that expresses our design criteria. The emphasis of this model was mainly of the tectonic relationship of the design with the changing landscape and the height difference of the needle which was successfully produced. The different levels of transparent red plastic strips produced a very interesting visual effect specially when they are interacting with the environment (air). The standard size strips will be joined using metallic clips that will enable the strips to move freely between each other. The connection to the needles will also be flexible in terms of dynamic movement ability of the strips. The near- invisibility of the poles was achieved by using very thin needles (doll-needles), the drivers would not get their attention on the structures because we chose colored strips (red at the moment) to make a good contrast with the landscape and the structural poles.
62 studio_AIR
EXPERIENTIAL JOURNEY[
As stated in the brief, the experiential journey for the drivers should be the most significant value of the installation. The
dynamic shot taken below is a concrete example of how drivers on the freeway will perceive the installation at a moderate speed if they are under the limit. The intended visual effect of a surface
produced by delicate and elegant strips has been created and enhanced when viewed at full speed.
The subtle connection between the strips was made not to disturb the design and be as neutral as possible. Simplicity is a very
difficult achievement in a design proposal because it involves a strong design process that explored different paths/journeys
, tested them, got rid of the weak/unworthy ones , the strongest concept survived and was developed/rationalized to this state of
simplicity.
60 70 70 60
CONSTRUCTION DETAILS[ The design feasibility also depends on its fabrication in real life. We are speculating the process of in-site assembly of our proposal. The structures will be modular and manufactured as standard parts in an off-site factory. The base of the vertical poles should be solid enough to resist external factors like wind and tension in the strips. So concrete and additional metal collars will be used to secure to poles. The strips will be modular components connecting to the top of the poles by simple temporary joints so that the interchangeability feature is provided.
PVC strip components at standard lengths. Pinned to Steel ‘y’ frame.
Steel Pole slots into cap. Cap drilled into poured concrete.
64 studio_AIR
a. Drilling hole for poles coming in by truck. Putting poles inside the hole using a crane.
b. Using a concrete pump to put concrete into the foundation of the poles.
c. Screwing the metal cap. d. Positioning vertically the poles. e. Strip Connection.
ASSEMBLY PROCEDURE
FINAL CONCLUSION Critical Thinking and Learning Objectives
[ Acquiring a theme ,Morphogenesis, for our design criteria clearly identified our objectives of the project proposal. We successfully identified the integral relationship between our criteria and the requirements of the brief. We explored relevant contexts and unleashed our digital creative freedom for our Research Project Cut which led us onto a Reverse Engineering case based design to test the contemporary dialogue between parametricism and fabrication. Having identified the influence of context (parametric driven design) , we started making our assumptions and speculations on how our criteria could be full filed using this technology. The Project Proposal part was the time for us to demonstrate ownership for constructing knowledge and integrating our objectives to the design. We proved our concept/ hypothesis by experimenting significantly and by testing many aspects of the design. Fortunately our technological method enables dynamically mixing and varying the ratios of component materials in complex 3-D distributions in order to produce continuous gradients in 3-D fabricated objects. This expands the potential of prototyping, since the varying of properties allows for optimisation of material properties relative to their structural and functional performance, and for formal expressions directly and materially informed by environmental stimuli. (Oxman, N., 2012,p. 90) If we examine the progress of our work from the start in terms of its evident accuracy, relevance and completeness to the subject in question, the evaluation is modestly positive. The sequence adopted to tackle the project proposal part is quite clear (From design A to final design passing through a lot of experimentation to provide for concrete examples). We tried to integrate in our designs all kind of perspectives, from architects to the general population (drivers) point of view.
66 studio_AIR
Learning Progress[
Communication through the project had to be really clear so that the panel or any readers would be able to understand your ideas and concepts. The organization throughout the journal had to make sense in a way that the information is flowing, transitions enhanced. Our theme {Morphogenesis} has been relevant along the whole process of our discovery journey. It was a good guideline but still very vague and complex. So many architecture related attributes could go into this theme making it very powerful and meaningful. We attempted to understand it and exploit it to generate our path of design.
NORTH ELEVATION
“Morphogenesis is one of several processes typical for living organisms. Apart from morphogenesis, these processes include growth, repair, adaptation and aging. Transferring knowledge of these processes into designing might be also productive, especially in relationship to architectural structures with dynamic capacities. ”
{Stanislav Roudavski, 2009}
CONCLUSION 67
Learning Outcomes[ 1. Learn how to make persuasive arguments: how to develop innovative solutions and such solutions can be accepted unless their advantages are clearly demonstrated throughout the precedents analysed in this journal. From the feedback of the interim critique, my arguments were judged to be too simplified about some precedents. So learning from my mistakes, I reformulated the arguments to be more punchy with a lot more backup material and concrete examples to prove my point.
2. Learn how to formulate briefs : Design innovation becomes the most significant competitive advantage that distinguishes architects from other stakeholders already involved in building (such as developers). Computation brings significant new capabilities into designing and allows radical redefinition of typical design challenges. The Case for Innovation part 1 of the journal gave us the opportunity to make our own design criteria satisfying the brief of the project. We have learned our to respond critically to a brief given to us and designing a project corresponding to many requirements.
3. Learn universal principles of computation: the parametric tool Grasshopper has been introduced to us as a very flexible instrument to inform our design outcomes. Computers are great at quickly analyzing large amounts of information, then generating data used for fabrication, but they can’t yet produce fully realized works of architecture. At best they can produce highly accurate components and spatial mappings or systems, this is where hand craft comes in. We use our hands and our knowledge of material as a filter for the digital possibilities and to achieve the final “built” environment; in effect, we use the prowess of the computer to push the limits of the hand.
4. Learn design workflows that begin with fabrication and detailing. Without any background in parametric modelling we had to adapt to a whole new platform and fabricate our models by maximising our learning.
5. Focus on the progress and not on outcomes: As we were only beginners in terms of computational skills , we cannot judge only the outcome of our design because certainly it will not be at a very high level ,instead we can see the big progression from the start of the journal to the final proposal.
“Material constraints do not have to be understood as limitations to the design, but rather as sets of rules complementary to the geometric constraints defined by architectural intention. Form and material work hand in hand to process various load conditions; deformation of form and the distribution of material are reciprocal methods of design that help to ‘digest’ the flow of forces imposed upon the architecture. Freedom of design arises from the balancing of these two principles”
{Michael Weinstock, 2012}
properties of ‘structural elements’ in living biological systems offer significant advantages
over the constant section that is conventional in engineered structures. Sectional variations
produce anisotropy (The condition of having different structural and or dimensional
properties along different axes),(Kotnik, T. and Weinstock, M.,2012,p.105), a gradation
of values between stiffness and elasticity along the length of the structural element that
is particularly useful for resisting dynamic and unpredictable loading conditions such
as those produced by wind. Growth under the continual stresses of the physical environment
produces this pattern of organisation of material; the forces that the living organism
experiences while it is growing encourage the selective deposition of new material where it
is needed and in the direction that it is. Maybe the strip could have different thickness along
its path so that is satisfies the anisotropy concept.
a. Interchangeable feature should be exploited to the maximum because if Wyndham Town council get bored from the red color, they can change the strip into another color or even another kind of material given that its stays in the same standard size. The design will still be emerging with time given that the floating surface is transforming.
c. Pushing the morphogenesis theme- Indeed, traditional CAD programs are inadequate in efficiently utilising this vast design potential. The MIT research outlines an approach for programming matter and demonstrates the first steps in rendering physical the digital design substrate. Through a new fabrication approach supporting continuous property gradients within structural form, designers can meet high-level functional goals while creating new expressions in nature’s dialect. (Oxman, N., 2012,p. 88)
CONCLUSION 69
Erzidis, Kostas (2006). Algorithmic Architecture (Boston, MA: Elsevier), p. xi
D’Arcy Thompson. On Growth and Form. University Press, Cambridge, 1952.
Ali Kriscenski, ‘Anti Smog Architecture: A Catalyst for Cleaner Air in Paris’, Design for Health, (2008) <http://inhabitat.com/ anti-smog-architecture-a-catalyst-for-cleaner-air-in- paris> [accessed 4 April 2012].
Beth Broome, ‘BanQ: Office dA, Inc.’, Architectural Record, (Jan,2009) <http://archrecord.construction.com/projects/ bts/archives/restaurants/09_banq/default.asp?bts=REST> [accessed 17 April 2012].
Burry, Mark. Scripting Cultures: Architectural Design and Programming (Chichester: Wiley), (2011) pp. 8 - 71.
Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 3 - 62
(Ben Pell, ‘De Young Muesum’, in The Articulate Surface : Ornament and Technology in Contemporary Architecture (Basel, London: Birkhäuser ; Springer distributor, 2010), pp. 74 - 79)
Ben Pell, ‘Restaurant Aoba-Tei’, in The Articulate Surface : Ornament and Technology in Contemporary Architecture (Basel, London: Birkhäuser ; Springer distributor, 2010), pp. 54 - 59
Christine Killory, and René Davids, ‘Children’s Museum of Pittsburgh’, in Detail in Process. 1st edn, Asbuilt (New York:
Princeton Architectural Press, 2008), pp. 112 - 117
Ball, P. (2012), Pattern Formation in Nature: Physical Constraints and Self-Organising Characteristics. Archit Design, 82: 22–27
Fleischmann, M., Knippers, J., Lienhard, J., Menges, A. and Schleicher, S. (2012), Material Behaviour: Embedding Physical
Properties in Computational Design Processes. Archit Design, 82: 44–51
Fisher, A. (2012), Engineering Integration: Real-Time Approaches to Performative Computational Design. Archit Design, 82: 112–117.
Achim Menges, ‘Integral Formation and Materialisation: Computational Form and Material Gestalt’, in B Kolarevic and K Klinger (eds), Manufacturing Material Effects: Rethinking Design and Making in Architecture, Routledge (New York), 2008, pp 195–210.
Kotnik, T. and Weinstock, M. (2012), Material, Form and Force. Archit Design, 82: 104–111.
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”Williams, Richard (2005). ‘Architecture and Visual Culture’, in Exploring Visual Culture: Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press), pp.
102-116,
M. Fleischmann, S. Schleicher, J. Lienhardt, Research Pavilion ICD / ITKE - University of Stuttgart (2010) < http://www.archplus. net/home/news/7,1-4711,1,0.html?referer=128> [accessed on 21/03/12]
Zhou, YY, Li, J, Frumar, JA & Ren, G, Instant Built Tensegrity Structures with 3D Compression Members, Advanced Materials
Research (2011), vol. 243-49,pp. 5894-8.
Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT
Press, 2004), pp. 5 - 25.
Manuel DeLanda, ‘Material Complexity’, in Neil Leach, David Turnbull and Chris Williams (eds), Digital Tectonics, John Wiley & Sons (Chichester), 2004, p 21.
Menges, A. (2012), Material Computation: Higher Integration in Morphogenetic Design. Archit Design, 82: 14–21
Roudavski, Stanislav (2009). ‘Towards Morphogenesis in Architecture’, International Journal of Architectural Computing, 7,
3, pp. 345-374
Michael stacey, ‘New Frontiers in Light Metals: Proceedings of the 11th International Aluminium Conference INALCO 2010 (Netherlands: IOS Press, 2010), pp. 8
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