air part a submission

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Semester 2, 2014The University of Melbourne

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Yee Ann, Tan (573608)Tutor: Bradley (Group 3)

AIRSTUDIO

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Table of Contents

A.1 Designing Futuring

A.2 Design Computation

A.3 Composition/Generation

A.4 Conclusion

A.5 Learning Outcomes

A.6 Algorithmic Sketches

A.7 Part A References

Part A: Case for Innovation

B.2 Case Study 1.0

B.3 Case Study 2.0

B.4 Technique: Development

B.5 Technique Prototypes

B.6 Technique Proposal

B.7 Part B References

Part B: Case for Innovation

C.1 Design Concept

C.2 Tectonic Elements & Prototypes

C.3 Final Detail Model

C.3 Part C References

Part C: Case for Innovation

Table of ContentsTable of Contents

A.1 Designing FuturingA.1 Designing Futuring

A.2 Design ComputationA.2 Design Computation

A.3 Composition/Generation A.3 Composition/Generation

A.4 ConclusionA.4 Conclusion

A.5 Learning OutcomesA.5 Learning Outcomes

A.6 Algorithmic Sketches A.6 Algorithmic Sketches

A.7 Part A ReferencesA.7 Part A References

Part A: Case for InnovationPart A: Case for Innovation

B.2 Case Study 1.0B.2 Case Study 1.0

B.3 Case Study 2.0B.3 Case Study 2.0

B.4 Technique: DevelopmentB.4 Technique: Development

B.5 Technique PrototypesB.5 Technique Prototypes

B.6 Technique ProposalB.6 Technique Proposal

B.7 Part B ReferencesB.7 Part B References

Part B: Case for InnovationPart B: Case for Innovation

C.1 Design ConceptC.1 Design Concept

C.2 Tectonic Elements & PrototypesC.2 Tectonic Elements & Prototypes

C.3 Final Detail ModelC.3 Final Detail Model

Part C: Case for InnovationPart C: Case for Innovation

Introduction

P 28-29

P 2-7

P 8-13

P 14-19

P 20-27

P 30-31

P 32-47

P 48-51

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introduction

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introduction

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My name is Yee Ann (Ean) , Tan. I am from Singapore and currently in my third year of studies in the Bachelor of Environments, majoring in Architecture, in the University of Melbourne.

My interest in architecture developed from my initial love for drawing and painting. In addition, I have always had a passion for the Sciences and curiosity about how things worked. Therefore, it was natural that I was drawn to architecture XIJDI�TBUJTm�FT�CPUI�NZ�QBTTJPO�GPS�UIF�BFTUIFUJDT�BOE�NZ�TDJFOUJm�D�OBUVSF�

Initially I was unable to design using the computer and most of my designs were hand drawn. However, through my course of study in the university, I was given the opportunity to learn and hone my digital rendering skills (eg. Learning Software such as Rhino, Illustrator, Indesign Vray plugin and Photoshop), allowing me to pursue my dreams. The course fanned my interest for the arts and design, deepening my understanding of architecture.

I hope to continue learning and developing my skills in digital presentation.

My name is Yee Ann (Ean) , Tan. I am from Singapore and currently in my third year of studies in the Bachelor of Environments, majoring in Architecture, in the University of

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These are some of my sketches and paintings

that I have done in the past.

Sketchs and Paintings

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1. Sketch of Melbourne CBD with pencil and ink2. Sketch of Lion with pencil3. Sketch of Rose with pen4. Surrealistic experimentation painting5. Painting of Stag6. Mayan stone relief design

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The Cafe space: Lighted up with the oculous water feature for the roof top garden. Rood top Garden: accessible by the public via the ramp.

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Restaurant. The curvature and the sky-lighting facilitates the movement to the seatsThe loft: A Private space within the Restaurant.

Previous Studios

Virtual Environments

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7. Final lantern design8. Preliminary Rhino Model9. Preliminary Lantern Model

10. Earth Studio Final Project V-ray Render11. Earth Studio Final Project Plan12. Earth Studio Final Project Model

10. Water Studio Project V-ray Rendering11. Water Studio Project Model12. Water Studio Project Model

Earth studio Water studio

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introduction continued

Work experience:1. Quality Control assistant at Capstone Aluminum fac-tory. (Intern)

I assisted in the quality control and conducted various quality control checks on the aluminum extrusion. I also oversaw the construction process of Curtain wall projects for both Singapore and Australia.

2. Art Teacher at D’Collage Studio

I taught art to Primary School Children. Through the experience I learnt how to deal with children as well as got the chance to explore some new painting/drawing mediums that I did not frequently use.

3. Quantity Surveyor assistant at Minesco.(Intern)I was assigned the role of stock taking and inspection of glazing panels for the company’s projects. Through the inspection process (of ensuring precision of panel dimensions) , I was exposed to architecture, shop and fabrication drawings.

4. Assistant at Jangho (intern)During my internship, I had the chance to learn more about fabrication and basic shop drawings.

Next, I would be looking at an internship with an architec-UVSF�m�SN�UP�MFBSO�BOE�HBJO�NPSF�FYQFSJFODF��

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Architecture as a discourse is understood differently around the world. Schumacher argues that Architecture is a Autopeitic system, which is able to sustain or regenerate itself as an entirety. 1 This can be interpreted as architecture being a diverse profession which requires the knowledge from a myriad of discipline. In Fry’s book he envisages the need for architecture to move towards sustainable designs where design is key to achieving sustainability.2 Many people believe that with the consideration of various disciplines, architecture can streamline and minimise wastage and increase FGm�DJFODZ��

Kieran theorizes that in the near future architects would become the locus of architecture project communicating between the engineers, builders and material scientists. 3 He suggest the shift from a linear production method which isolates the different disciplines towards an amalgamated discourse with the diagonal and vertical interaction between disciplines being knitted by architects. 3

"Buildings should be like birds which ruff le their feathers and change their shape and metabolism to suit different environmental condition" 4

Edwards

With the insuppressible emergence of technology, Architecture as a discourse now incorporate technology that was previously unavailable or from other disciplines, to facilitate the design and construction of buildings. 3 The in-cooperation of CAD(Computer-Aided Design) and CAM(Computer-Aided Manufacturing) technology, architects are able to design better performing buildings. In addition technology streamlines the construction process and open the doors to discover methods of designing and constructing a building . Hence it is absolute that Architecture designs in the future would develop within the virtual realm.From the 2 case study of Eden Project by Grimshaw architects in Cornwall and AVAX headquarters building in Athens Greece the CFOFm�UT�PG�VTJOH�UFDIOPMPHZ�UP�EFTJHO�CVJMEJOHT�JT�LFZ�UP�BUUBJOJOH�sustainability.

A1 Designing Futuring

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Eden Project and the Beijing Aquatic Swimming centre Case Study 1:

Eden project completed in 2003, was designed by Grimshaw and Tony Hunt. These Lightweight geodesic domes are the largest greenhouses in the world, that span 240m.5 The structure was conceived using cutting edge technology of that time with the use of ETFE ,which has a high UV transmittance and also weighs 1% the weight of glass ,and Aluminum instead of the traditional Wrought Iron and Glass. 5 The dome transfers its load to the ground uniformly replacing the need for footings. In this example the incorporation of Material engineering in line with parametric software was evident. Through computation design QSPDFTT�IFNJTQIFSF�XBT�VTFE�JO�PSEFS�UP�NBYJNJTF�FOFSHZ��FGmDJFODZ �where the sphere has the largest volume reducing the materials used & energy loss at the same time, maximizing space.

This simple illustration shows how computation design can evaluate the optimum outcome. This project showcased the world an alternative design approach with the blurring of the roles of the architects and UIF�FOHJOFFST�JO�UIF�DPMMBCPSBUJPO��5IJT�QSPKFDU�IBE�EJSFDU�JOnVFODF�on construction of the Beijing water cube which employed the same technology and methodology. Eden project used parametric software to create a geodesic dome with hexagon polygons while the Beijing water cube used a more complex algorithmic to mimic the natural form of bubbles. 6

This project is a forerunner to the new architecture discourse, where architects collaborate with other disciplines. For the buildup process of Beijing Aquatic Swimming centre project it involved 20 specialist engineers from different disciplines to collaborate to synchronize the complex interface. 6 This novel collaboration methodology proves to be a great accomplishment for mankind’s development in architecture as a discourse. In addition the Use of lightweight ETFE made it not only easi-er to mount but also easier to maintain, 5 showing the harmony between the material sciences and architecture.

Figure 1: Eden Project Geodesic dome

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Figure 2: Eden Project hexagonal module

Figure 3: Beijing Water Cube

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AVAX headquarters buildingCase Study 2:

Next The AVAX Headquarters Building in Greece. This building has automated the building’s glazing facade to control the amount of sunlight entering the building. 7

5IF�TNBSU�GBDBEF�TZTUFN�mMUFST�UIF�TVOMJHIU�BDDPSEJOH�UP�UIF�JOUFSOBM�temperature. The fritted glass panels is mounted on structural con-crete reinforced by steel trusses

This case study showcases the integration of different disciplines and the positive result it generated with the well engineered mechanical system combined with the architecture design intent.

*O�BEEJUJPO�UIF�DFJMJOH�GBO�BOE�UIF�GBMTF�nPPS�TZTUFNT�GBDJMJUBUF�UIF�cooling of the structure. These designs are conceived through the understanding of the environment.

Figure 4: AVAX fritted glass facade’s shadows created to minimise sunlight penetration

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'JHVSF��%JBHSBN�PG�UIF�4NBSU�GBDBEF�T�PQFOJOH�BOE�DMPTJOH�PG�JUT�mOT�UP�SFHVMBUJOH�the amount of sunlight depending on the time of the day

Figure 5: AVAX facade

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Architecture in the 20th century has evolved with the emergence of technology. Oxman argues how the design process is symbiotic to technology .8 Digitization of designing is key to problem TPMWJOH �BTTPDJBUJWF�m�OEJOHT�BOE�MPHJD�FOUFSFE�BT�BMHPSJUINT�acting that as limits to the digital iterations. 8 This process would generate outcomes based on the parameters provided, which JT�NPSF�FGm�DJFOU�EVF�UP�UIF�QSFDJTJPO�JO�DBMDVMBUJPO��*U�OFHBUFT�the failures that are bound to happen in traditional analysis and experimentation of forms. Frampton is worried about the loss of artistic construction due to the mechanization, however this is not accurate although his concern is understandable. 8

Digitization has lead to a particular ‘style’ of buildings with a TQFDJm�D�AUBTUF��JO�UIFJS�GPSN�UIBU�JT�EFFNFE�ABQQSPQSJBUF��1 However the emergence of style and architectural philosophy is evident through out history. When Baroque Style architecture was conceived many believed it to be ludicrous and unacceptable. Nevertheless Baroque architecture XBT�m�OBMMZ�SFDPHOJ[FE�BOE�JT�HSFBUMZ�BQQSFDJBUFE�BOE�MPPLFE�VQPO�as inspiration till today. The buildings built in the 1600s with similar characteristics were categorized under it despite the variations that the individual architects holds.

There have been different view about computation architecture. Kalay argues how computation is a powerful analysis tool which people use to design buildings. 9 On the other hand Allen theorizes that design tool which architecture is conceived in is not of utmost importance, but what matters is the relationship and response between architecture and the public. 12 I concur with Allen’s theory and believe that architecture’s primary objective is to resolve the problem in the most aesthetic, functional method, which is through computational tools.

On the other hand, some may argued that the human element in the design process might be eliminated with the introduction of CAD and CAM software. 9 Computation design does not negate experimentation or errors, but serves as an alternate design medium which decrease the chances of error and expedite the process of design. 9 Computers are super analytical tools that abide by the algorithms that are suggested, hence the inclusion of this function in the design process does not interfere with design inspiration. 10

In the next section would consider 2 case studies, Camera obscura BOE�(-"�)FBERVBSUFST�UP�TIPX�DBTF�UIF�CFOFm�UT�PG�DPNQVUBUJPOBM�design.

Good buildings come from good people, and all problems are solved by good design.

Stephen Gardiner

A2 Computation Architecture

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Camera ObscuraCase Study 1:

The Camera Obscura is designed by SHoP BSDIJUFDUT��4)P1�JT�BO�BSDIJUFDUVSF�mSN�UIBU�DPOTJEFST�interdisciplinary perspectives in design striving to create something both aesthetic and serviceable exploiting the new age of IT. 11

The camera Obscura is a dark room for the Waterfront Park to have a 360o degree view of the park. The construction of this viewing point requires computation software for CNC fabrication. Out of the 2800 pieces of timber no two pieces are identical. This showcases the CFOFmUT�PG�DPNQVUBUJPO�EFTJHO�UISPVHI�JUT�BDDVSBDZ�and precion.11

5IF�VTF�PG�%FTJHO�DPNQVUBUJPO�IBT�SFEFmOFE�UIFJS�architecture practice evident in SHoP. Their emphasis in Digital fabrication which allows them to create more complex architecture with greater degree of control BOE�BDDVSBDZ �TFUT�UIFN�BQBSU�GSPN�PUIFS�mSNT��11

Figure 7: Camera Obscura

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Shop Architects strive to create original designs for each project using similar systems making it simpler for fabrication. The fabrication of the camera obscura is a great example of how practical computation design can be, through the automated calibration of components and labeling for production. 11

Computing design does not stop only at the design of form, but allows the analysis of materials facilitating actual fabrication. The architect is able to do so by scripting the material’s properties in to the software, this boundary set by the program designer enables the full exploration a design concept, without wasting time with trial and error. Hence with a more comprehensive understanding of digital fabrication the more accurate and easier it is to realize a design.

Figure 8: Software generated parts for the construction of the Camera Obscura 7

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Case Study 2:GLA Headquarters

Similarly Great London Authority (GLA) Headquarters designed by Norman Foster and opened in July 2002 it TIPX�DBTFT�UIF�CFOFmUT�PG�DPNQVUBUJPO�BSDIJUFDUVSF��With digital design the design process becomes easier and more accurate in its fabrication, evident in Camera Obscura. In addition Computation design also considers performance based design proposed by Kolarevic 10 , evident in the design of the GLA Headquarter.

To achieve desired performance for the project, Norman GPTUFS�VUJMJ[FE�PO��EJGGFSFOU�TPGUXBSF �mOJUF�FMFNFOU�method (FEM) and Computation Fluid Dynamics (CFD).FEM is geometric modeling software that calculate QSFDJTFMZ�JUT�TUSVDUVSBM�QFSGPSNBODF� �FOFSHZ�BOE�nVJE�dynamics analysis. This software enables the generation GPS�DPNQMFY�TZTUFNT��$'%�JT�VTFE�UP�JOWFTUJHBUF�BJSnPX�both within and outside the building.

FEM and CFD illustrates how Computation design 1) optimized performance in response to the site conditions ��JODSFBTFT�UIF�CVJMEJOH�T�FGmDJFODZThis in turn result in the reduction of environmental impact and cost of building maintenance over it’s lifespan.

The Computation generated result is translated into the form of the building. GLA building’s bulbous form is generated in view of the building structural, thermal and acoustic properties, which is evaluated through digital simulation. 10 (Figure 10 & 11). The spherical form is the result from the computation algorithm process trying to minimise the surface area that is exposed to sunlight, to maximise its energy performance. The surface area of the spherical skin’s is 25% less than of a cube of the same volume. 10

Figure 9 : GLA Headquarters.

Figure 10: GLA headquarters solar study by Arup

Figure 11: GLA headquarters Acoustic study by Arup

http://nuddhav.wordpress.com/2009/11/29/greater-london-authority-headquarters/

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Figure 12: GLA headquarters Structure and how it informs the systems.

http://nuddhav.wordpress.com/2009/11/29/greater-london-authority-headquarters/

The reduction of surface area reduces the solar heat gain and loss of the building. The building form is skewed towards the south, which corresponds to the sun path, this provides shading from the most intense sunlight .13 The reduction of total surface area resulting in the spherical form and the direction of which the structure is skew generated by computation software lead to JODSFBTJOH�UIF�CVJMEJOH�FGmDJFODZ��

Computation is used to design GLA Headquarter building Structure. Through computation GLA Headquarter project was able to amalgamate the complex systems within the structure. GLA Headquarters uses a diagrid structure which supports the northern face. This structure is integrated with 12 inch diameter pipes which is part of the hot water system, crucial in warming the atrium. Therefore, we can see the how the systems is interrelated to each other. 13 (Figure 12)

In addition the building shape is also informed by the TQBUJBM �TPDJBM �DVMUVSBM �mOBODJBM �FDPMPHJDBM�BOE�UFDIOJDBM�factors, which shapes the building’s design, construction process and design practices. 10

From this case study it is clear that, the form of a building and the organization of internal systems can CF�DBMJCSBUFE�UISPVHI�$PNQVUBUJPO�EFTJHO��#Z�EFmOJOH�the input parameters the computer is able to generate many different design iteration solutions to meet the 1BSBNFUFST��UIBU�UIF�BSDIJUFDU�EFmOF �GVMmMMJOH�UIF�EFTJSFE�requirements.

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The emergence of technology and the impending destruction of the environment compels the shift from composition to generation design suggested by Fry 1, 14 . From the previous 2 section we can see how architecture is slowing digitizing into the virtual realm from composition designs to generative designs. Composition design (traditional design process) is design that is based on site analysis and experimentation of the form and building system organization in response to the collected data. This design process is largely based on form testing, this is facilitated by building experience and design intuition.

0O�UIF�n�JQ�TJEF�(FOFSBUJWF�EFTJHO�JT�MBSHFMZ�CBTFE�PO�"MHPSJUINJD�sketching. An algorithm is a recipe that follows a set of rules,it is a precise tool that changes the input systemically by abiding simple operations instructed. 15 Generative design is the automation of GPSN�HFOFSBUJPO�UISPVHI�QBSBNFUFST�BOE�BMHPSJUINJD�EFm�OJUJPO��

Generative design enabled by computation can be characterized BT�B�QSPDFTT�UIBU�JT�QSFDJTF�CVU�ZFU�n�FYJCMF �SBUJPOBM�CVU�DPNQMFY��However, these are not oxymoron. Peter argues how computation would facilitate designers to solve complex problems in a favorable design method. 14 Its associative properties enables the adjustment of the algorithm inputs or alteration of parameters. 14 Computation program would then recalibrate the outcome, in accordance to the adjusted rules, generating a new design that is both complex and precise. 14

Generative design offers boundless design possibilities as proven by Hansmeyer, who writes algorithms based on cell division. He generated many different digital column design by scripting his principle of folding into Parametric softwares. 16 The study of a single algorithmic pattern lead to the generation of countless of design iterations. 16 Think of the possibilities in just forms alone!

Compositional design and Generative design can be distinguished from the design approach. Compositional design are form making XIFSFBT�JO�(FOFSBUJWF�EFTJHO�JU�JT�GPSN�m�OEJOH �CZ�VTJOH�BMHPSJUINT�UP�EFm�OF�CPVOEBSJFT�GPS�UIF�DPNQVUFS�UP�HFOFSBUF�GPSNT�

However Generative design have certain shortcomings such BT�UIF�OFFE�UP�VOEFSTUBOE�BMHPSJUIN�MBOHVBHF�UP�CF�FGm�DJFOU�JO�designing them. 14 The limitations of understanding impedes on ones creativity, only with a greater understanding of the computation tools and function then can the designer be able to develop unique architecture distinguishing the individual. The degree of understanding of this tool is limited hence resulting in similar design outcomes and functions which may account for Schumacher’s argument on ‘Parametricism’ 2 .

A3 Composition / Generation

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"When architects have a suff icient understanding of algorithmic concepts...Computation can become a true method of design for architecture" 11

Peters

Computation can replicate site conditions and test building functions. The analysis of the materials, the production process. This design tool, computation, allows performance feedback to alter the design and construction at any stage PG�BSDIJUFDUVSF�QSPKFDU �NBLJOH�JU�NPSF�nFYJCMF�UP�TPMWF�problems that might arise, such as fabrication limitations. 14

Stan Allen argues that architecture is the amalgamation of architecture and public. 12 He suggest that the means of which the design is generated is not important as long as the building relates back to the users. Hence the use of software is favorable with its ability to capture great amount of data and effectively calculate the complexity of the QSPKFDU��4PGUXBSF�TVDI�BT�(SBTTIPQQFS �,BOHBSPP �'JSFnZ �Weaverbird, GECO and Pachyderm Acoustical Simulation. 14

Through the case study of Gaudi’s Sagrada familia and Doris Kim Sung’s experimental project using thermalbimetal, bloom. From the two case studies this journal will identify UIF�CFOFmUT�BOE�TIPSUDPNJOHT�UIBU�1BSBNFUSJD�EFTJHO�brings and how computation improved over time.

composition/generation continued

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Case Study 1:Sagrada Familia

Sagrada Familia (Figure 13) was designed by Antonio Gaudí who was lauded as a genius in architecture. He employs on rudimentary parametric design through his analysis of a physical model. The model tests the effects of weights and how the strings reacts when weights are hung on. The curves generated through the experimentation (Figure 16) MFBE�UP�IJT�EFSJWBUJPO�PG�DBUFOBSZ�BSDIFT�XIJDI�GPSNT�UIF�NPTU�FGmDJFOU�arch for loading as seen in Sagrada Familia 18 (Figure 14 and 15). His analytical study of forces are rules generated with physical modeling, making his design methodology seemingly parametric.

In this case study, we can see Gaudi utilizing concepts of parametric design in the construction of the Sagrada Familia allowing him to maximize the building material through calculations and concepts. No doubt, some ideas may still be designed using the compositional style, however, it is undeniable that computational design expedites the XIPMF�QSPDFTT �JODSFBTJOH�UIF�FGmDJFODZ�PG�UIF�EFTJHOFS��

Figure 13: Sagrada Familia

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Figure 14: Unstable catenary arches that does not follow the force line,

Figure 16: A recreation of Gaudi’s string & weight model in Sagrada Familia Museum

Figure 15: Stable Catenary arches that follow the force lines.

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Case Study 2:

Professor Doris Kim Sung recognizes the degradation of the environment occurring in the world. Through her experimental research on sun-shading and ventilating facade,which uses smart thermalbimetals that opens and closes in response to temperature, seeking to alleviate environmental damages 19 The thermalbimetal is a laminate of two different metals that has B�EJGGFSFOU�FYQBOTJPO�DPFGmDJFOU��4IF�VTFE�DPNQVUBUJPO�NFUIPET�UP�HFOFSBUF�3D facade patterns that adjust in response to temperature.

Professor Sung drew inspiration from the human skin. The human skin is dynamic and responsive organ that helps regulate the body’s temperature, it is also an integrated systems that consist of different components such as pores, sweat glands. Similarly she employs biomimicry for the creation of building facade, that can regulate temperature and have systems integrated into the facade. 19

*O�UIF�QSPKFDU�#MPPN�mHVSF�� TIF�XBT�BCMF�UP�HFOFSBUF�BMHPSJUINT�GPS�UIF�TNBSU�GBDBEF�TZTUFN �XIJDI�SFTQPOET�UP�UIF�TJUF�DPOEJUJPO�EFmOFE�CZ�algorithmic parameters, as well as calibrate the angle of the 14000 unique pieces of metal.

In contrast to case study 1 it is clear that technological advancement has allowed for more complex and site responsive structures to be created, greatly reducing the environmental impacts.

Figure 17: Bloom

Bloom

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Figure 18: Thermalbimetal expanding allowing for wind and sunlight to penetrate

Figure 21: Bloom pieces.

Figure 19: Eyelash model experimentation on Rhino3D

Figure 20: Bloom’s base form

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A4 Conclusion

Part A has provided an overview of computation design, stressing its importance and value in architecture in this century. Case studies have been given to further substanti-ate its importance, showcasing how certain designs can be made possible with computation design. Through Module A, i have learnt to utilize computation in architecture, designing optimum spaces through algorithmic sketching on software plug-ins like grasshopper for Rhino3D.

Using Algorithms, architects are able to generate precise, quick and optimal designs. This movement towards compu-tation design from the traditional composition is a precursor to a new age for man.

This advancement would enable designers to generation of design theories and map them into algorithms to produce forms or systems, which the next part of the Journal would seek to tackle.

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A5 Learning Outcomes

From the course of my studies, I have been exposed UP�BSHVNFOUT�PG�WBSJPVT�UIFPSJTU�PO�UIFJS�EFm�OJUJPO�PG�architecture and Parametric Design. The debate on Parametric design has provided me with a greater insights and value to my learning journey by challenging me to DSJUJDBMMZ�SFn�FDU�PO�UIF�EFm�OJUJPO�PG�BSDIJUFDUVSF �FOBCMJOH�NF�to establish my own views.

I personally believe that parametric design is a valuable tool in facilitating architects in designing buildings. It not only QSPWJEFT�BDDVSBUF�EFTJHO�PVUDPNFT�CVU�JT�BMTP�NPEJm�BCMF�NBLJOH�JU�n�FYJCMF�BOE�FGm�DJFOU��%FTQJUF�UIF�VOQSFEJDUBCMZ�of generative design, I believe that with a strong grasp of the computation programs architects can create unique and individual designs while responding to the site conditions. I believe that Computation design is in the forefront in DSFBUJOH�NPSF�TVTUBJOBCMF�BOE�FGm�DJFOU�CVJMEJOHT�

Also, I have been given the opportunity to use the Grasshopper. It has enabled me to generate and test forms and design concepts much quicker and accurately. The OFX�TLJMM�*�IBWF�BDRVJSFE�XPVME�EFm�OJUFMZ�CF�PG�HSFBU�VTF�JO�future.

In addition, Computation design has allowed me to evaluate TJUF�DPOEJUJPOT�BOE�SFTQPOE�UP�UIFN�NPSF�FGm�DJFOUMZ��It allows the evaluation of forces and stress on the TUSVDUVSF �UIF�n�PX�PG�XJOE�BDSPTT�UIF�CVJMEJOH �UIF�TVO�QBUI �temperature conditions, mathematical formulas... Through experimentation with the softwares, I can personally appreciate the beauties of computational design where softwares may complement architecture, enabling us UP�EP�PVS�UBTL�XJUI�HSFBUFS�QSFDJTJPO�BOE�FGm�DJFODZ��

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The grasshopper is a plug-in for Rhino 3D enabling me to create an algorithm for my design intent. The following segment showcases some of my scripting practices that explores the plug-in, enhancing NZ�VOEFSTUBOEJOH�PG�UIF�DPNQVUBUJPO�EFTJHOT�BOE�UIF�CFOFm�UT�JU�entails.

A6 Algorithmic Exploration

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Week 2: Exercise 1

For this week I experimented with several functions. Using the Tools I have learnt I decided to create a roof with perforation in BDDPSEBODF�UP�BO�JNBHJOBSZ�TQBDF�XJUI�TQFDJm�D�[POFT�XIJDI�requires more light.

Imaginary space with extrusion of space that requires light demarcated with the extrusion

The gradient of the space closer to the blocks showcases a yellow color compared to the darker parts which is indicated with red

Changing the gradient to Black and White in order to feed the data into the image sampler Brightness function.

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Above shows the different outputs I have collected with the zoning of spaces. The differential gradient is useful in creating a scaling effect of perforation for the degree of sunlight.

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Using grasshopper I was able to map out openings of a plane in accordance to the light and darkness of the image.

Formula for the creation of image sampler gradient data extrapolation

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Here I used a random black and white image to map out the perforations in the plane. After which I inputted the data collected from the previous step to map out the opening size and perforation zones.

After inputting the image data I used sliders to control the opening size (radius) and the minimum penetration which simulates the fabrication limitation which might occur.

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Week 2: Exercise 2

Grasshopper visual algorithm of the tunnel’s recipeGrasshopper generated tunnel based on curves and the arches between them.

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I learnt how to create arches and how to loft the arches forming a polysurface. Manipulation of the curve was made possible with the adjustment of the curve control points and amplitude.

This curved forms inspired me to experiment out on forms on my own, utilizing the skills i have acquired in school. Drawing inspiration from the Henderson wave bridge in Singapore, I decided to create a wave like structure similar to the bridge.

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Using the Sine function I was able to generate waves of different frequency , period and amplitude. By Offsetting a curve of different period I was able to create a loft surface between the two sinusoidal curves.

Henderson Wave Bridge in Singapore

Grasshopper visual algorithm of the wave skin.

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Week 3: Exercise 1

For this week I attempted to use the loft tool , shift list and tree explode tool to create a geodesic curve, pattern. I experimented with the differing forms, creating 3 different curvatures which resulted in varying geodesic curves.

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Next I tested the Voronoi function and created different pattern with the inclusion and exclusion of certain points. The above images showcases some of the patterns generated with the grasshopper plug-in.

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Week 4: Exercise 1 w

For this short exercise I learnt how to use point BUUSBDU�FST�UP�DSFBUF�B�m�FME�XIJDI�DPVME�CF�VTFGVM�JO�generating the overall composition of a structure.

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Week 4: Exercise 2 Fractal tetrahedral

In this Exercise I created a Tetrahedral polygon with grasshopper. Grasshopper enables n�FYJCMF�BOE�RVJDL�XBZ�UP�HFOFSBUF�forms. As seen in the forms quickly generated with the change of a slider.

Grasshopper visual algorithm the creation of the base geometry for the Fractal patterning.

Different base forms created by changing the polyon properties.

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Week 4: Exercise 2.2 Fractal tetrahedral

In this step I am able to apply the concept of generative design principles to this exercise. The recursive algorithmic programs the sub-units to undergo same function.

The algorithmic formula representing recurrence relation of the base function

Recurrence pattern for 3 basic forms

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Week 4: Exercise 2.2 Fractal tetrahedral

Instead of generating a polysurface I set a poly surface in Rhino as the basic Brep for the algorithm to run. This exercise show cases the n�FYJCJMJUZ�PG�1BSBNFUSJD�EFTJHO �XIFSF�UIF�VTF�PG�any base geometry could create the a design iteration when processed by the algorithm function.

Hence the use of algorithm could help designers generate new forms using a simple formula such as this exercise.

In the subsequent week I would seek to utilize all the functions I have learnt and combine them together creating a more complex and detailed design solution that seeks to resolve actual problems that construction entails.

The algorithmic formula representing recurrence relation of the base function using a Brep as the main form to run the algorithm

Trimmings that generated on the polysurface undergoing the programmed algorithm

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A7 Part A References

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References

Week 11. Fry, T. 2009. Design futuring : sustainability, ethics and new practice / Tony Fry (: Sydney : University of New South Wales Press, 2009; Australian ed)

2. Schumacher, P. 2011. The autopoiesis of architecture / Patrik Schumacher (: Chichester : J. Wiley, c2011-)

3. Kieran, S., and J. Timberlake. 2004. ‘Refabricating architecture : how manufacturing methodologies are poised to transform building construction / Stephen Kieran, James Timberlake’, in Anonymous (: New York : McGraw-Hill, 2004), pp. 13,15,23

4. Edwards, B., and C. du Plessis. 2001. ‘Snakes in Utopia:a Brief History of Sustainability’, Architectural Design, 71: 9-19

5. Melvin, J. 2001. The Eden Project from Architecture design Green Architecture vol 71 No July 2001

6. Zou, P.X.W., and R. Leslie-Carter. 2010. ‘Lessons Learned from Managing the Design of the ‘Water Cube’ National Swimming Centre for the Beijing 2008 Olympic Games’, Architectural Engineering & Design Management, 6: 175-188

7. Gauzin-Müller, D., and N. Favet. 2002. Sustainable architecture and urbanism : design, construction, examples / [Dominique Gauzin-Müller with the contribution of Nicolas Favet] (: Boston, MA : Birkhauser, 2002)

Week 28.Oxman, R., and R. Oxman. 2014. Theories of the digital in architecture / Rivka Oxman and Robert Ox-man (: Abingdon, Oxon ; New York : Routledge, 2014)

9. Kalay, Y.E. 2004. Architecture’s new media : principles, theories, and methods of computer-aided design / Yehuda E. Kalay (: Cambridge, Mass. : MIT Press, 2004)

10. Kolarevic, B. 2003. Architecture in the Digital Age [electronic resource] : Design and Manufacturing (: London : Spon Press, 2003)

11.Pasquarelli, G. 14 May 2013. Architecture, Building and Planning Dean’s Lecture: Gregg Pasquarelli, Out of Practice (University of Melbourne: Dean’s Lecture Series)

12. Allen, S. 2012. Practice [electronic resource] : Architecture, Technique and Representation (: Hobo-ken : Taylor and Francis, 2012; 2nd ed)

13.Merkel, J. 2003. Along the Thames, Foster and Partners puts a new twist on government and gives green a different shape with the highly accessible London City Hall (: The McGraw-Hill Companies, Inc)

Week 314 Peters, B., and X. De Kestelier. 2013. Computation works : the building of algorithmic thought / guest-edited by Brady Peters and Xavier De Kestelier (: Chichester : John Wiley & Sons, 2013])

15. Wilson, R.A., and F.C. Keil. 2001. ‘The MIT encyclopedia of the cognitive sciences’, in Anonymous (: MIT press), pp. 11

16. Hansmeyer, M. Jun 2012. Building unimaginable shapes (: TEDGlobal 2012)

��'FSSZ �3� �BOE�&��.POPJBO��B�mFME�HVJEF�UP�SFOFXBCMF�FOFSHZ�UFDIOPMPHJFT��BWBJMBCMF�BT�1%'�POMJOF�

18. Barrios Hernandez, C.R. 2006. ‘Thinking parametric design: introducing parametric Gaudi’, Des Stud, 27: 309-324

19. Doris Kim Sung. May 2012. Metal that breathes (TEDxUSC: Ted Talks)

Week 4 19. Woodbury, R.F. ‘‘How Designers Use Parameters’, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge)’: 153–170

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Figure 1.RIBA, a Biome for the Eden Project, http://www.architecture.com/whatson/exhibitions/atthevicto-riaandalbertmuseum/architecturegallery/structures/abiomefortheedenproject.aspx edn, 2014 vols ()

Figure 2. Rehwoldt, Christopher, Research, http://www.archreh.com/ecotarium-research.html edn, 2014 vols ()

Figure 3. China tourism, Beijing Water Cube – New Landmark of Modern Beijing, http://beijingwatercube.com/ edn, 2014 vols ()

Figure 4 Gauzin-Müller, D., and N. Favet. 2002. Sustainable architecture and urbanism : design, con-struction, examples / [Dominique Gauzin-Müller with the contribution of Nicolas Favet] (: Boston, MA : Birkhauser, 2002)

Figure 5 Gauzin-Müller, D., and N. Favet. 2002. Sustainable architecture and urbanism : design, con-struction, examples / [Dominique Gauzin-Müller with the contribution of Nicolas Favet] (: Boston, MA : Birkhauser, 2002)

Figure 6 Gauzin-Müller, D., and N. Favet. 2002. Sustainable architecture and urbanism : design, con-struction, examples / [Dominique Gauzin-Müller with the contribution of Nicolas Favet] (: Boston, MA : Birkhauser, 2002) Figure 7 4)P1�"SDIJUFDUT �$BNFSB�0CTDVSB �IUUQ��XXX�TIPQBSD�DPN�TJUFT�EFGBVMU�mMFT�projects/%5Btitle%5D/04_11.jpgw edn, 2014 vols ()

Figure 8 4)P1�"SDIJUFDUT �$BNFSB�0CTDVSB �IUUQ��XXX�TIPQBSD�DPN�TJUFT�EFGBVMU�mMFT�projects/%5Btitle%5D/04_11.jpgw edn, 2014 vols ()

Figure 9 Brohard, Loïc, Galleries and Portfolio, http://brohardphotography.blogspot.com.au/2011_07_01_archive.html edn, 2014 vols (2014)

Figure 10 :Kolarevic, B. 2003. Architecture in the Digital Age [electronic resource] : Design and Manufac-turing (: London : Spon Press, 2003)

Figure 11: Kolarevic, B. 2003. Architecture in the Digital Age [electronic resource] : Design and Manufac-turing (: London : Spon Press, 2003)

Figure 12 Naik, Uddhav, Greater London authority headquarters, http://nuddhav.wordpress.com/2009/11/29/greater-london-authority-headquarters/ edn, 2014 vols (2014)

Figure 13 Bellard, Miriam, Gaudi, http://blog.playingwithspaces.com/2014/03/engineering-art-work-of-gaudi-candela.html edn, 2014 vols (2014)



Figure 16Bellard, Miriam, Gaudi, http://blog.playingwithspaces.com/2014/03/engineering-art-work-of-gaudi-candela.html edn, 2014 vols (2014)

Figure 17 eVolo, Metal that Breathes: Bloom Installation made with 14000 Thermobimetal Pieces, http://www.evolo.us/architecture/metal-that-breathes-bloom-installation-made-with-14000-thermonimetal-pieces/ edn, 2014 vols (2014)





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