edip murat buyukbekir - design studio air

AIRStudio Journal - 2015

air Edip M. buyukbekir - 540907

Semester one - 2015

Table of Contents Introduction

8-9 Introduction.

Part A. Conceptualisation 10-13 - A.1. Designing Futuring 14-17 - A.2. Design Computation

18-21 - A.3. Composition/Generation

23 - A.4. Conclusion

23 - A.5. Learning outcomes

24-25 - A.6. Appendix – Alorithmic Sketches

Part B. Criteria Design 30-31 - B.1. Research Field

32-41 - B.2. Case Study 1.0

42-47 - B.3. Case Study 2.0

48-53 - B.4. Technique: Development

54-57 - b.5. Technique: Prototypes

58-65 - B.6. Technique: Proposal

66-67 - B.7. earning objectives and outcomes

68-69 - B.8. Appendix - Algorithmic sketches

Part c. detailed design 74-79 - C.1. Design Concept

80-89 - C.2. Tectonic elements

90-101 - C.3. Final Detail Model

102-103 - C.4. Learning objectives and outcomes

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Part B. conceptualisation

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My name is Edip Murat Buyukbekir. I am a student at The University of Melbourne, studying a Bachelor of Environments, with an Architecture major.

Two years ago I moved to Melbourne Cen-tral Business District to not only minimize my commute and environmental footprint, but to find work in the field.Late January, I started volunteering at an Architecture firm called Elevli Plus, in hopes to gain knowledge and experience in the field. During my first week however, I over heard the Interior designer talking to a cli-ent about 3D models for some renovation work the firm was undertaking. This led me to enquire about me doing the model, for experience, in order to really push myself to learn the program and see what I could do.Late 2014, I had started using Rhino again, in hopes to create some models for my class, Architecture Design Studio - Water, and I was eager to revisit my skills and de-velop them for this new work opportunity. For two weeks I focused on rendering an interior space, which was part of an exten-sion. Learning as I went, I developed an im-age the interior designer loved. From there I got asked to do some more projects as a member of their staff. More then a month in, I have just recently completed two exte-rior and two interior models/renders of an existing building under renovation, The Point Albert Park, for the client and an exterior render for a town planning application. At this point, however, Grasshopper seems like an overcomplicated tool that adds more complexity to a system that already functions to meet any three dimensional need.

introduction

I haven’t put too much thought on build-ings designed through digital architec-ture, however, a digital source did spark my initial interest in Architecture. And that source came from a game called, The Sims. When I was younger, I found myself build-ing home after home, digging deep into cheats and new abilities that aloud me to design homes more excessive in compari-son to the standard homes inbuilt into the game (see figures #,# & #). From interior, to exterior, I developed my use of space and design approach to different sized lots and the structures overall form. The Sims was es-sentially a quick little architecture program that could construct a quick home with a semi-realistic view. All other features of the game were redundant to me.

I suppose digital design brought me to Architecture. While working at Elevli Plus doing 3D renders, I’ve found a growing in-terest in bringing building to life. The ability to get a feel for a space before it has start-ed construction is an area of Architecture I want to explore thoroughly.

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Image 1. What got me started. The sims 3 Image 2. The Sims 3 interior.

Image 3. Design Studio Water Image 4. Design Studio Water - Interior

Image 5. The Point Exterior Model with proposed extentions

Image 6 Function Remodel Proposal

Image 7. Proposed Entry Image 8. Ground Floor Bar Front Remodel Proposal

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A.1. Design Furturing

Image 7

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that was abandoned for years in Boston, but thanks to Office dA, a firm with an abundant of experience designing restaurants, have ren-ovated the building and brought it back to life.1

The architect Nadar Tehrani said there are lim-itations to designing restaurants, as they need to be flexible “at all costs”.11 Restaurants can be booked out for events and tables can be shifted to appeal to larger parties, or many other rea-sons. This however limits the ability to design on the floor space. Through years of experience, Office dA uses their wisdom to move beyond the floor to continue to create something great.

Tehrani states that, although the floor must be kept as flexible as possible, the “sky can be the locus where design occurs”.11 This project tack-les its design to the ceiling impeccably, catering for everything, such as aesthetic, materiality, and functionality. Its look can be interpreted in many ways, to waves, canopies, fluid, etc. The colours are also bright and warm, giving life to the once abandoned building. And finally the

functionality. Tehrani added that the ceiling de-sign for the BanQ restaurant is similar to a com-mon application done to industrial-commercial buildings, with all the exposed network of utili-ties visible through the ribs, allowing for easy maintenance.11 However by using this contoured pattern of the ribs, from perspective, everything was hidden, except “the light through the fins”. 11

Office dA were praised for the efforts with this design, winning the best new restaurant, according to Wallpaper magazine. Keeping all design additions off the existing walls of the building, Office dA managed to create a reno-vation that appeals to all aspects of design, in-cluding minimum impact to the 1920 structure.11

To take form this, digitally designed architec-ture can create possibilities and flexibilities to an already built environment. It has flexibility and allows for manoeuvrability, giving designers a wider array of design opportunities to solve problems in an efficient way. However, the abil-ity for a building to be completely designed us-ing this technique is questionable, but the ability to add to a built form is successful.

n Boston sits the BanQ Restaurant, by Office dA. The restaurant is set inside a buildingI

BanQ Restaurant, Office da

1. ‘Banq Restaurant by Office Da’, 2009) <http://www.yatzer.com/BANQ-restaurant-by-Office-dA> [Accessed 17 February 2009].11. David Sokol, ‘Banq’, australian design review, (2009) <http://www.australiandesignreview.com/interiors/661-banq> [Accessed 30 June 2009].

Image 8

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A.1. Design Furturing

Image 9

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CEntre of ideas

The Centre of Ideas, located in Victoria, Aystralia and designed by Paul Minifie and Fiona Nixon, is another example of successful implementation of digital design. With its small budget of $5 million, a beautiful and technical façade was accomplished, adding to the efficiency digital design has to offer. 3

The architects used algorithms to implement the “Voronoi diagram” into its façade, accompanying it with a specific selection of materials, such as metal, to obtain a reflective surface that highlight the contours of the design, giving them depth.10

In 2004, the awards for Australian Insti-tute of Architects was given to this proj-ect for the Best New Institutional Building.6

Digital design has many uses, and many aid in ways traditional architecture cannot. The Centre of Ideas perfectly illustrates how something interesting, beautiful and impact-ing can be accomplished using a simple idea, in this case the Voronoi diagram, to construct a façade that will not only be continued to be admired, but also at a cost effective price.10

Nevertheless, the façade is only part of a building. Designing something completely in this way seem difficult, however with the technique used to design the Centre of Ideas, the building grows much closer than the BanQ restaurant to a complete design, with its window integration.

Image 10 Image 11

3 Adrian Hemiak, ‘Victorian College of the Arts Building’2007) <http://srt251adhe.blogspot.com.au/2007/04/victorian-college-of-arts-building.html> [Accessed 17 March 2015].6 MVSArchitecture, ‘Centre for Ideas’ <http://www.mvsarchitects.com.au/doku.php?id=home:projects:victorian_college_of_the_arts> [Accessed 15 March 2015].10 Olivia Smith, ‘Reviewed: The New Mathematics of Architecture’2013) <https://theredandblackarchitect.wordpress.com/2013/10/22/re-viewed-the-new-mathematics-of-architecture/comment-page-1/> [Accessed 16 March 2015].

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A.2. Design computation

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Dubai consist of some of the most innovate architecture and buildings in the world, and Al Bahr Towers is no ex-ception. With the world’s “largest computerized façade”, this building is a perfect candidate for this argument.4

Through computer aided software, Aedas Archi-tects were able to design a façade that responds to the sun and temperature of its surroundings. Dubai can get very hot, and this solution allows the build-ing to run much more efficiently, with 50% less so-lar gain, reducing the need to use cooling systems.4

The architects used an old technique from Is-lamic architecture called “mashrabiya”, and im-plemented it into their design, allowing them to achieve their impeccable sustainable outcome.4

The advantage of using computational design in this process is not only convenient, but better pre-sented. Computational design has evolved into animation, so during a presentation the architects can show the way the façade works and also calculate its efficiency for real world outcomes.

This façade is not traditional, so a traditional means of design becomes very difficult to reach the same outcome. This is an active system, and needs computational design in order to make it work.

Al Bahr Towers, Dubai

4 Tafline Laylin, ‘Exclusive Photos: World’s Largest Computerized Façade Cools Aedas’ Al Bahr Towers‘, inhabitat, (2014) <http://inhabitat.com/exclusive-photos-worlds-largest-computerized-facade-cools-aedas-al-bahr-towers/> [Accessed 17 March 2015].

Image 13

Image 14

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A.2. Design computation

Image 15

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In Melbourne, computational design has al-lowed Disengo Australia and Elenberg Fraser to design the façade of Melbourne’s new res-idential tower Abode318.8 The façade has a wave like design, giving impact to onlookers. It’s a great addition to Melbourne’s Skyline.

The building is efficient and sustainable, exceed-ing Australia’s minimum building standards and achieving a 6.5 star energy rating.2 The wave façade also allows for something very import-ant that most apartments don’t have. Choice.

With the façade being the way it is, it allows apartments to be big and small, allowing people to choose the right one for them and also adding a sense of uniqueness to each dwelling.2 Unlike many apartment buildings in Melbourne, for ex-ample, the Upper West Side buildings, it doesn’t have an identical floor plan for most of the building.

The pixilated effect of the window boxes allow for a framed image to the residence, in addition to having sustainable effects.2 The apartments with inset windows have their own inbuilt shad-ing device by the neighbouring window boxes, keeping those apartments cooler during summer.

It’s clear these design innovations have exten-sive applications to a variety of different projects and different ways to apply them. Most notably however will be sustainability. Unlike other prec-edents, however, this is an integrated design. Although, still successful in its application, it does bring some issues. Because the building is not standard and repetitive across all floors, Chris White says that the protective screens during construction process had to be “custom designed” to make sure the construction process was safe.2

ABODE318

2 Angela Fedele, ‘Abode318 Prepares to Captivate Melbourne’s Skyline’2014) <http://sourceable.net/abode318-prepares-to-captivate-mel-bournes-skyline/> [Accessed 18 March 2015].8 Melcorp Property, ‘Abode318’2013) <http://www.melcorp.com.au/building/abode318> [Accessed 18 March 2015].

Image 16

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A.3. composition/generation

Image 17

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The Beijing national Aquat-ics Center, or Water Cube, is widely known around the world. Its rectangular structure is en-closed with bubbly or foam type case which is considered to be inspiring to future buildings.9

A unique feature to this design is the choice of steering away from predictable perfect cir-cle that sit side by side. It works in the same way foam works; connected from every curve.9

This building has many challeng-es with its design. And through a generative approach, the structural issues were solved using Weaire-Phelan’s model. 9 Using computational design, the structure was possible through a number of process’ using this model (see image 12). This al-lowed for a seemingly random appearance. From here, recycled materials were used to give the water effect from the conceptual renders (see image 13) and to ul-timately create the Water Cube.

This structure is an excellent ex-ample of computational design. Where most buildings looked at previously were mostly façades, this is a computational design in its entirety. The use of generative design allowed this to be possi-ble, giving a revolutionary build-ing to be built beyond its concept.

Water Cube

9 Nilufer Senses, ‘Foam Structures: A Comparative Structural EfficiencyAnalysis Based on the Building Case “Water-cube”’, Continuin Education Center (2007), 23-25.

Image 18

Image 19

Image 20

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A.3. composition/generation

Image 21

Image 22

Image 23

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Opening in 2009 in time for the ’09 Abu Dhabi Grand Prix, the Yas Hotel has since become an attraction and a landmark to its land.7 With a complex frame of thou-sands of glass panels blanketing the struc-ture within it, the hotel became an instance ‘wow factor’, stimulating your imagination.7

To achieve this magnificent, the building went through a vagarious process in de-sign and planning. This is where compu-tational design’s process shows its flaw. Its limitation. Massive three dimensional mod-els, such as the one used to model the glass façade, are limited by the technolo-gy they’re running on.5 And in the case of the Yas Hotel, this became an issue. With

5 Alexander Pena de Leon, ‘Two Case-Studies of Freeform-Facade Rationalization ‘, in Modes of Production p. 1-9.7 Vivian Nereim, ‘Abu Dhabi’s Yas Viceroy Hotel: It’s Whatever You Want It to Be’2012) <http://www.thenational.ae/news/uae-news/abu-dha-bis-yas-viceroy-hotel-its-whatever-you-want-it-to-be> [Accessed 19 March 2015].

The Yas Viceroy hotel

over 200,000 components, wrapping the oddly shaped building became difficult, as there were no repetition in curves.5 Al-exander Pena de Leon states that even the fastest available computer in the of-fice would have taken weeks to finish run-ning his algorithmic design tool, so opt-ed for using multiple computers at once which completed portions of the structure.5

This brings up a string of complications. Any miscalculation through the algorithms used and portions of the blanket don’t fit together. The generative process for this structure was mostly about getting it right. This required an abundant of planning and precision prior to its design application.5

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Conclusion

Learning outcomes

Through the use of computational design, many things are possible. It gives the ability to stretch the extra mile in design and allows for innovative decisions. Many designs using computational design are facades, but there are some that a buildings themselves. I aim to look further into the Al Bahr Towers to focus on the folding technique and its application to sustainability and possibly as a shading device. The ability for a form to block and let through light or wind fascinating and the ability to use it in the current time will be a bigger step into the future of ever shifting struc-tures. To do this, however, a generative design approach is key to having a resolved outcome.

Stepping into this subject, I had already had extensive knowledge using Rhino. A month before the Semester started to the present, I’ve been and still am constantly render-ing existing and upcoming buildings for clients through my firm. I had no idea what grass-hopper did and it’s oddly designed user interface reminded me of an electronic cir-cuit board. It seemed like an over complicated tool that had no actual necessity. Week 3’s class however finally gave me insight to its abilities. With its possibilities, innovation is possible. It’s a tool that allows computational design to extend further into opportunities.

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A.5. Appendix - Algorithmic Sketches

I’ve yet to really give the time Grasshopper needs to show its potential. Currently I’ve only done a few simple things, such as lofting and using a command I absolutely love. The Sweep1 command. It allows me to draw a pipe, using one line as a rail and the other as the shape of the tube. The bottom left image on page 24 illustrates this perfectly, however the command is very buggy through grasshopper (centre image, page 24). The potential of this command lead me to do a park bench I thought of when first reading of the assessment (bottom image, page 25). However, this was done outside of grasshopper. My plan is to study grasshopper thoroughly and attempt to tear away from my automatic reaction to model everything within Rhino itself. By doing this, I hope to create more refined and beau-tiful objects that go beyond the render below.

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Reference:

1 ‘Banq Restaurant by Office Da’, 2009) <http://www.yatzer.com/BANQ-restaurant-by-Office-dA> [Accessed 17 February 2009].

2 Angela Fedele, ‘Abode318 Prepares to Captivate Melbourne’s Skyline’2014) <http://source-able.net/abode318-prepares-to-captivate-melbournes-skyline/> [Accessed 18 March 2015].

3 Adrian Hemiak, ‘Victorian College of the Arts Building’2007) <http://srt251adhe.blogspot.com.au/2007/04/victorian-college-of-arts-building.html> [Accessed 17 March 2015].

4 Tafline Laylin, ‘Exclusive Photos: World’s Largest Computerized Façade Cools Aedas’ Al Bahr Towers‘, inhabitat, (2014) <http://inhabitat.com/exclusive-photos-worlds-largest-computerized-facade-cools-ae-das-al-bahr-towers/> [Accessed 17 March 2015].

5 Alexander Pena de Leon, ‘Two Case-Studies of Freeform-Facade Rationalization ‘, in Modes of Production p. 9.

6 MVSArchitecture, ‘Centre for Ideas’ <http://www.mvsarchitects.com.au/doku.php?id=home:proj-ects:victorian_college_of_the_arts> [Accessed 15 March 2015].

7 Vivian Nereim, ‘Abu Dhabi’s Yas Viceroy Hotel: It’s Whatever You Want It to Be’2012) <http://www.thenational.ae/news/uae-news/abu-dhabis-yas-viceroy-hotel-its-whatever-you-want-it-to-be> [Accessed 19 March 2015].

8 Melcorp Property, ‘Abode318’2013) <http://www.melcorp.com.au/building/abode318> [Ac-cessed 18 March 2015].

9 Nilufer Senses, ‘Foam Structures: A Comparative Structural EfficiencyAnalysis Based on the Building Case “Watercube”’, Continuin Education Center (2007), 23-25.

10 Olivia Smith, ‘Reviewed: The New Mathematics of Architecture’2013) <https://theredandblackar-chitect.wordpress.com/2013/10/22/reviewed-the-new-mathematics-of-architecture/comment-page-1/> [Accessed 16 March 2015].

11 David Sokol, ‘Banq’, australian design review, (2009) <http://www.australiandesignreview.com/interiors/661-banq> [Accessed 30 June 2009].

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IMAGE REFERENCE: Image 1: Authors own work. Edip Murat Buyukbekir.

Image 2: Authors own work. Edip Murat Buyukbekir.





Image 7: http://yatzer.com/assets/Article/1513/images/BANQ_restaurant_by_Office_dA_photos_by_John_Horner_at_yatzer_6.jpg

Image 8: http://www.archdaily.com/42581/banq-office-da/bnq_cp_002/

Image 9: http://www.archello.com/sites/default/files/imagecache/media_image/VCABennettsextwest2resizeresize_0.jpg

Image 10: http://www.archello.com/sites/default/files/imagecache/media_image/VCABennettsSEview_0.jpg

Image 11: http://www.peterbennetts.com/library/project/1248851085_image_lg_08090303.jpg

Image 12: http://www.designboom.com/wp-content/uploads/2014/02/aedas-al-bahr-towers-designboom-03.jpg

Image 13: http://www.archdaily.com/270592/al-bahar-towers-responsive-facade-aedas/adic-responsive-facade-abu-dhabi-uae-research-2/

Image 14: http://www.archdaily.com/270592/al-bahar-towers-responsive-facade-aedas/adic-responsive-facade-abu-dhabi-uae-research-3/

Image 15: Authors own photo. Edip Murat Buyukbekir. Photo taken by Xperia Z.

Image 16: http://www.pdg.com.au/images/projects/1097x653_PROJECT_DETAIL_CONTENT_BANNER-13.jpg

Image 17: http://awoltrends.com/wp-content/uploads/2011/10/beijing_swimming_venue.jpg

Image 18: http://samjshah.com/2008/08/17/lord-kelvin-bubbles-and-the-olympics/

Image 19: http://www.laticrete.com.au/Portals/0/images/Timeline/Beauty,%20Exterior,%20Building,%20Watercube%20Bldg%20artist%20render.jpg

Image 20: http://media.npr.org/assets/img/2012/07/09/water_cube_custom-89dbba2af0f26b97b2dd62d12b39d0fa1a7d5c91.jpg

Image 21: http://mithunonthe.net/wp-content/uploads/2010/08/yas-hotel-light-starting-to-come-on.jpg

Image 22: Alexander Pena de Leon, ‘Two Case-Studies of Freeform-Facade Rationalization ‘, in Modes of Production p. 9.

Image 23: http://cdn.homesthetics.net/wp-content/uploads/2014/02/Amazing-Construction-Built-Over-F1-Racing-Track-Yas-Viceroy-Abu-Dhabi-Hotel-by-Asymptote-Architecture-Homesthetics-11.jpg

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Part B. Criteria

Design

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B.1. Research Field

The research field that felt had the best potential and most interesting design concept for me was the Strips/folding concept. I chose this because of a sort of familiarity to it. I’ve always been interested in this design style, ever since my first year at university, fabricating a rounded object using triangular patterns. In Semester 2 of 2014, I had decided to develop my design using the folding concept there, in a subtle

way, even designing my own unique option to the bar. I’ll be primarily focusing on the concept of folding. Folding has the unique opportunity to create a flow-ing surface that can be straight or flexible, or both, through the use of panels, shaped like triangles or

rectangles. As mentioned in in part A, the Al Bahr Towers are able to use this concept in an active way, creating a shading system that continuously changes in accordance to the sun. The possibilities seem limitless in future developments. Folding allows for more than just shading devices, but also turning something com-pact larger, reducing the need to bend metal and other materials into curves, which can save on costs,

and simplify designs, making the process minimal.

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B.2. Case Study

1.0

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Iteration One

- Populate 3D to the stablished curves. - Delauney Mesh connected with Populate 3D com-mand. - Increase of flow line to 9 (up from 5). - Decreasing number of devisions to 19 (down from 24).

Iteration Two

- Adjusting graph to increase area of surface. - Decreasing number of devisions.

Iteration Three

- Adjusting graph to bring mid point down to create a fan type look.

Iteration Four

- Readjusting mid to create height and increase angle of the baseline surface.

Species One - Lily pad

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Iteration Five

- Restricting number of points of Populate Geometry command.

Iteration Six

- Increasing the restricted number of points by 2. - Adjusting the graph to reduce overlap.

Iteration Seven

- Increase the number of strips.- Increased length to give design ‘legs’.

Iteration Eight

- Change default curve to create a single path. - Increase number of geometries.

Speculation:

What comes most from this design is the athstetics. It allows for minimal type of art work. This flat panels design is flexible with its deign opportunity. Furthermore, this entire series is made of triangular panels. The curved seen in many of the iterations comes from more smaller panels. This also gives the ability to curve each panel as they are not all flat. Because of this a variety of materials can be used without haveing to

specially mold each componant.

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Iteration One

- Adding a variable pipe.- Meshing Pipe- Adding custom Mesh setting- Triangulate mesh; to keep with the folding concept.

Iteration Two

- Adjusting graph variables.

Iteration Three

- Adding thickness to pipe.- Restricting segments on the divide.

Iteration Four

- Changing graph.- Decreasing parameters.

Species two - the cage

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Iteration Five

- Increasing parameter and restricting height.- Increasing thickness to emphasize the folding of triangular geometry.

Iteration Six

- Adjusting graph from number Iteration 5. - Increasing number of faces per module.

Iteration Seven

- Adjusting thickness to better create an entry point.

Iteration Eight

- Changing default curve.

Speculation:

This is one of my favorite Species. It uses slimmer triangular panels to species one to create solid ob-jects. Its ability to encase from the first four iterations resembles to me a traditional hut or trap. It’s an interesting cage type structure. Iterations five to eight are my favorites. With their thick bases, paneled design, special molding isn’t required from most materials giving it flexibility. The shorter height also al-lows it to be a cozy space rather than a harsh enclosure. This type of structure could be used to create a sort of maze. With its

repetitive pattern, the entry and exit will be difficult to see from within and the size is limitless.

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Iteration One

- Adding the Populate 3D command to the circle geometry around selective points on each curve (see Species four – Spider for more information)

Iteration Two

- Adding pipes for structural support

Iteration Three

- Scale to allow for thinner pipes

Iteration Four

- Decrease clutter. - Increase number of Prep Frames.

Species Three - paper

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Iteration Five

- Change in graph variables.

Iteration Six

- Adjust clutter.

Speculation:

Using a number of different Grasshopper techniques, I’ve managed to create a design that resembles scrunched paper through a wire frame. Like the previous Species, this uses triangular patterns to form each of the scrunched paper components. The possibilities for this type of designs can be limited or limitless. As it stands, it’s an atheistic design for a feature, however on a larger scale could perhaps be levels along a singular vertical wire. It can be formed into many different shapes and can represent a number of different forms. Iteration Seven follows a spiral curve to form its direction. In another respect, one wire could be formed in to what seems to be a random geometry, but could allow each scrunched paper component to

form seating, surfaces or steps to a slide.

Iteration Seven

- Change default pattern.

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Iteration One

- Adding following commands:- Distance.- Bound.- Remap Numbers.- Construct Domain.- Circle.- Loft.- This was an addition to the cage species.

Iteration Two

- Increase in circular radius. This didn’t turn out well however.

Iteration Three

- Change mesh definition.

Iteration Four

- Change mesh definition - Change mesh height.

Species four - spider

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Iteration Five

- Adjusting graph variables. - Changing number of circle segments along each curve.

Iteration Six

- Changing min edge. This gives the curves sharper corners for easier panelling.

Iteration Seven

- Adjusting graph variables.

Iteration Eight

- Change the default curve.

Speculation:

Spider was the closest to which I wanted to create form the beginning. Using flat triangular patterns to cre-ate rounded, oddly shaped surfaces, with pointy tips. The possibility with this technique is limitless. Looking at Iterations Five and Six, the form can be smooth with many edges, or jiggered with few. It’s like the pixels on a screen. Each pixel displays a different colour, but with all its multi-million pixel siblings, it can display smooth images that can look soft. This specific design also uses a point attraction algorithm to adjust the thickness of each strip, allowing me to create the pointed tips. Using a vast number of components, it easy to see that most iterations have very different forms using the same technique. This shows the possibilities

of the panelled and folding design technique.

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B.3. Case Study 2.0

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Bahr Towers Active Facade

Image 1

Image 2

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The Project I’ve chosen is the Al Bahr Towers, in Dubai. Using computation design, an active façade was able to be created, blocking a vast amount of sunlight, reducing solar gain by 50%1. This is important for Dubai’s harsh weather. Using a system where panels fold to block or creating a visual pass-through, they were able to achieve this and this is what got my attention. Refer to

page 15 for more information.

My main focus for the reverse engineering process is mainly on the geometry of the façade. I was able to accomplish this through the following steps taken:

Image 3

Image 4

1 Tafline Laylin, ‘Exclusive Photos: World’s Largest Computerized Façade Cools Aedas’ Al Bahr Towers‘, inhabitat, (2014) <http://inhabitat.com/exclusive-photos-worlds-largest-computerized-facade-cools-aedas-al-bahr-towers/> [Accessed 17 March 2015].

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Create Loft

Triangualte Panels (Lunchbox Plug-in)

Locating and offsetting Mid-point of triangle

Weave to create shape.

Extrude point and lines.

Frame Panels (Lunchbox Plug-In)

Al Bahr Towers, Dubai

reverse Engineered

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B.4. Technique: Development

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My favourite 4 are presented larger. Howev-er, almost all effects are exactly what I want to see. The issue is, however, the effect is lost in a flatter base loft, whereas these towers highlight its geometry and repetition. All have potential with what I want to create. I want my design to be impacting through overall curved forms through flat planes, to create some interesting patterns. The 3rd highlighted image (next page) has a overlapping type geometry, which could allow for concealing things like lights, to create

an entirely new street lighting effect.

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B.5. Technique: Prototype

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Thinking about materials, my initial thought was to go with paper (for fabrication purposes), as it was cheap, easy and had the ability to make a prototype efficiently. The greatest thing about this field is the ability to use almost any material to fabricate. The issue with using paper though was its inability to hold its form. Each edge acted as a hinge and was able to swing freely. If a structure formed using this technique, it would surely fail. This is because of the structure system as a whole.

I decided to go in a different direction, making a structural frame (see bottom right), and placing each panel on the frame, similar to the Bahr Towers Active Façade. This would allow for a more rigid façade and give flexibility to each panel. Some can be larger, smaller, made of different materials or non-exis-tent, with a sturdy frame. In addition, it can have a hovering effect. The possibilities using this technique are great. To make the frame, however, 3D printing it could be an option, as it allows for a rigid print.

A rigid frame needs to be achieved in order to succesffully create a result that will not

buckle.

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B.6. Technique: Proposal

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Merri Park Site

Image 5

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These are some photos of my chosen site. It’s a small lot with its own small topography that I found interesting. Across the path, there’s a small and forgettable entry into Merri Park, so the site seems very unimportant as it stands. It, at the moment, is nothing more than a lot,

with backyard grass, and a backyard gate.

The site also sits high up. The views from the site are amazing, and this is something I want to incorporate towards the end of Part C.

Image 6 Image 7

Image 8

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Structure proposal

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I needed to create impact for the site, to give it importance. I also wanted to make something people could interact with, offset their path around, and catch their attention.

I came up with this tower. It has punctures, to allow light in. Children from the neighbouring parks can crawl under and look up and feel a similar effect to the night sky full of stars, with the moon in its centre. Its rounded foot print can allow by passes to offset their course around the structure. And the structure

also acts a large grand piece, which could signify some importance to the area.

Using the folding concept, I am able to create structure that has an extravagant geometry and many edges to contrast with the soft surroundings of its site.

I chose this folding concept approach mostly because of cost and efficiency. It has an almost unlimited list of materials to choose from for its design, because of its flat panels. It also deters from have to mould

or bend other materials. These only need to be sheets that are cut to size.

There are drawbacks to this however. The structure, as its stands in its earliest development, lacks the impact I seek. Because of its extravagant geometry, it does look very harsh, which could possibly be a

negative thing. In addition, its design may not appeal to everyone that runs by the site.

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B.7. Learning Objectives and outcomes

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I hope through this Studio I can achieve the ability to comfort-ably use Grasshopper at work to achieve better results, in addi-tion to faster results. My performance at the moment has been lacking however. The layout of Grasshopper seems confusing and is in a whole new world to Rhino. Rhino is just like any other architectural program, however I hope to master Grasshopper

to make great designs.

Using Al Bahr Towers as my precedent, its evident the impor-tance of computational design when looking at a system like this. In a standalone design respect, I find the system to be great in a few key factors: Ability to manipulate design quickly and efficiently; create a design without any errors (size, separation,

etc.); broadening your possibilities.

My ability to do so at this time, however, is very limited. There are many types of components and an infinite number of reci-pes to combine them. The ability to learn what each component does, how they relate, what they can change and assist, and how to avoid errors are features I am working towards. Nev-ertheless, this takes time, time this class doesn’t offer, nor the resources. Google and Youtube searches to find things I am looking for became a greater source for knowledge then the

basic and extended videos offered to students here.

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Tinkering through Lunchbox, I found a neat little compo-nent that frame every panel. This was really useful, as it allowed me to create a frame structure through one component. This persuaded my fabrication planning for

Part C.

Through all the additional components following the triangulate panels (Lunchbox) tool, I was able to adjust the geometry of the repeated shape. I like the idea of how this result stood out, as it could replace st lights. Having all inward facing folds made of glass, it allows for a street light that also lights itself up, creating a self-lit piece of art. It could also be a good addition to thick

columns inside large apartment. This specifically to my design help my design to add the tower type shape, as it best represented the geometry

I wanted to achieve.

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B.7. Appendix - algorithmic sketches

After hours of searching, I found what could possibly be the closest to what I wanted to achieve. I’m yet to learn of the components I really want to achieve a pat-tern of large and small circles cut into each face, with size dependant on location (using an attractor point for this), however this is the closest I came. However this allows for some interesting effects. With the ability to cut through any face using a reference surface, I was able to create the starry effect I liked and want to incor-porate in future designs. The usefulness of the feature allows me to put absolutely any shape on the surface, which could mean to create and a very abnormal ef-

fect in future designs.

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Reference:

1 Tafline Laylin, ‘Exclusive Photos: World’s Largest Computerized Façade Cools Aedas’ Al Bahr Towers‘, inhabitat, (2014) <http://inhabitat.com/exclusive-photos-worlds-largest-computerized-facade-cools-ae-das-al-bahr-towers/> [Accessed 17 March 2015].

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IMAGE REFERENCE: Image 1: http://www.youtech.it/var/ezwebin_site/storage/images/youtech/eco-tech/habitat/i-palazzi-futuristici-di-abu-dha-bi-s-ispirano-al-passato-4703/scopri-la-responsive-facade-dei-palazzi-al-bahar/al-bahar-mashrabiya-03/51446-1-ita-IT/Al-Bahar-Mashrabiya-03.jpg

Image 2: http://ad009cdnb.archdaily.net/wp-content/uploads/2012/09/1346845523-adic-responsive-facade-abu-dha-bi-uae-research-2.jpg

Image 3: http://www.designboom.com/weblog/images/images_2/danny/albahar/albahar05.jpg

Image 4: http://ad009cdnb.archdaily.net/wp-content/uploads/2014/05/5384afb2c07a8044af0000bd_light-mat-ters-mashrabiyas-translating-tradition-into-dynamic-facades_07_opening_sequence.jpg

Image 5: https://www.google.com.au/maps/place/Merri+Park/@-37.772274,144.986312,305m/data=!3m2!1e3!4b1!4m7!1m4!3m3!1s0x6ad643668a4c3561:0x31e114011e0f9ddf!2s1+Sumner+Ave,+Northcote+VIC+3070!3b1!3m1!1s0x6ad-64366f5295735:0xf0456760531daf0

All other images used, including background images are of Authors own work. Edip Murat Buyukbekir.

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Part C. Detailed

Design

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C.1. Design ConceptMy design proposal that concluded Part B was distant from what I truly wanted. It ticked all the boxes that I wanted to add to the site, however its presence was underwhelming. The feedback from the interim presentation was useful. I was suggest to possibly look into a pavilion, which was my initial idea for the site.

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Form proposal

I started to look at pavilions, coming across a variety with generic sizes and shapes. I then came across the Dragon Skin Pavilion and the Ring Dome by Minsuk Cho/Mass Stud-ies. The size was small and it had the ability to be versatile on the site in means of positioning. It also decreased the need for excessive tectonics, as the smaller size allows for

smaller loads.I changed the form of my design to a similar form found on the Dragon Skin Pavilion, applying my grasshopper algo-rithm to the form, which gave it a very eye-catching geomet-

ric shape.

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Image 1: http://www.archdaily.com/215249/dragon-skin-pavilion-emmi-keskisarja-pek-ka-tynkkynen-lead/22-pekka-tynkkynen/

Image 2:: http://www.massstudies.com/news/index.php?m=02&y=09&d=11&entry=en-try090211-234504&category=1

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Site Plan

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Each pavilion is place and orientated for a specific function.

The far left pavilion on page 80 is placed on a slope to make use of the sites form. It allows users to sit upright comfortable, without having to bend too far forward when occupying the pavilion.

The two pavilions place along the path allow for shaded cover to pedestrians, when they need to rest. This is useful when it’s raining or on a hot day, proving relief from Melbourne’s unpredictable weather.

The right pavilion on page 80 is facing west, for users to enjoy the sunset on any given day.

The left pavilion on page 81 is facing south, proving absolute shade all year round. It faces also faces a dense amount of local fauna, emphasising piece and serenity.

The far right on page 81 faces east. This pavilion provides great views from the site, acting as a comfortable lookout. It also look towards sunrise for early rises wanting serenity in the early mornings.

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BEAM

JOINTS/BOLTS

PANELSJOINTS

To add some complexity to the design, I thought of having layered materials to the pavilion. Below are the materials needed to make the design possible. The main joint needs to be a custom made item that can hold the structure together, however all other products can be cheaply cut from existing materials available at a local hardware store.

The issue with this type of structure are the main custom made joints. These will be very expensive and difficult to get perfect. Many complications can arise, as they can be millimetres off. This will throw the whole structure into an unbuilt state. The pieces won’t fit.

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ASSEMBELED RESULT

C.2. Tectonics

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SAMPLE RENDER

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The issue with this type of structure are the main custom made joints. These will be very expensive and difficult to get perfect. Many complications can arise, as they can be millimetres off. This will throw the whole structure into an

unbuilt state. The pieces won’t fit.

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COMPLICATIONS

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New approach

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The issue with this type of structure are the main custom made joints. These will be very expensive and difficult to get perfect. Many complications can arise, as they can be millimetres off. This will throw the

whole structure into an unbuilt state. The pieces won’t fit. For this reason, I looked into other forms of construction. Although the motif of “curved forms through flat surfaces” is now irrelevant considering materiality, I chose concrete to create this form. It was a more solid technique that could age well. The structure itself is a repetitive pattern that can be pre-fabricated using

reinforced concrete and joined together using a concrete binding agent or concrete itself. For most of the structure, the weight of the concrete can keep the structure together itself.

The thermal mass to this structure is a great sustainable solution to the use of these pavilions. During winter, the sun will heat up the concrete and keep the internals warm, which will help those stuck in the

rain or extreme cold.

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genericRepeatable

strips

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C.3. Final Detail Model

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Dimentions in MM

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3dPrinted MODEL

3D printing is a fairly new fabrication technique. It provides a precise and de-tailed model, free from manmade im-perfections, creating a solid model that is both clean and decorative. The result

speaks for itself.

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RENDERS

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Through the subject, the use of computational design has become more evident in its importance to contemporary architecture. Its ability to create geometry, natural processes, and active systems allow nature and response to delve into architecture. I’ve learnt, through the semester, that this subject was open to many directions in architecture. We were not limited to criteria, however this made the subject a little

less interesting and more complex also.

In doing so, it has allowed me, to an extent, to exercise my creative thought to pro-duce something that doesn’t exist, hasn’t been proposed, or hasn’t been needed to

a site that has been neglected.

My proposal was to give impact to the space, to allow users to engage with the site. I designed something that uses computational design, however allows pedestrians to use the product for years to come, making my design something that people didn’t

think they needed, but something they want there for its benefits.

I’ve always been a big believer in designing for the people, am my aim was never to make something so complex the world outside of architecture wouldn’t understand. My aim was to draw attention to those outside of the field. After all, the majority are not architects. And to them, architecture is nothing but aesthetic and sustainability,

two functions my design incorporates.

C.4. learning objectives

edip murat buyukbekir - design studio air

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