studio air part a

STUDIO AIR2015, SEMESTER 1, GEOFF KIMMRIA EDRA WIDJANARKO

CONTENTS

INTRODUCTION 5

PART A

CONSEPTUALISATION 6

PART B

INTRODUCTION 3

4 CONCEPTUALISATION

CONCEPTUALISATION 5

RIA EDRA WIDJANARKO05 OCT 1994ARCHITECTUREUNIVERSITY OF MELBOURNE

I’ve always been attracted by varieties of building since I was in elementary school. Growing up, I realized I cannot get into architecture major because in my home country I did social subjects in high school whilst to get into architecture we have to do science. Coming to Melbourne in 2012, turns out there is no such rule concerning that and here I am, doing my third year architecture major in University of Melbourne.

For me, architecture is a way of expressing our thought about the landscape and function of the buildings we are designing, as a response on how are we going to utilize characteristics from surrounding areas. I have been in some buildings where I felt connected with the space and social interaction it creates, therefore I am inspired to make buildings that allows users to enjoy every single aspect within it.

I have not been so familiar with architecture software, though trough my studies I have learned basic use of Rhinoceros 5, Grasshopper, Revit and AutoCAD. I learned Rhino and Grasshopper in my first semester when I was doing Virtual Environments, however I did not really using Grasshopper except for making tabs. Hence I do hope this subject would help (or force) me to learn more about computer-aided design skills and inspires me more towards creating projects.

D.O.B.

MAJOR

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INTRODUCTIONABOUT ME

INTRODUCTION 5

6 CONCEPTUALISATION

PART ADESIGN FUTURINGPRECEDENTS A.1.

BANQ RESTAURANTBOSTON, MA, USA

6 CONCEPTUALISATION

FIGURE 3FIGURE 2

FIGURE 1

CONCEPTUALISATION 7

The use of curvy continuous stripes in Banq Restaurant really creates a flowing effect within the area, whilst still clearly divides the use of space. This could be achieved because the stripes grow from the ceilings to columns, with matching natural soft timber color dominating the area. It shows the connection with organic design from its material and color scheme, by also the shape of interior wood stripes that follow the topography of the ceiling making it looks asymmetrical and natural. The clean cut of curvy stripes could be achieved by using computer aided system, which also an aspect of why they look so natural.

Other interesting thing about the stripes is that it has visible spacing between each stripe, making the area seems less dense.1 In addition, users then be able to see different appearance of the inner façade when seen from different angles. As part of sustain-ability design approach, Fry once implied that creating sustainable design would really help changing current architectural practices that he believed are destroying the planet.2 Banq Restaurant mostly uses nature-grown materials, which could be considered sustainable since they produce no waste in making process, as long as the materials are not exploited.

FIGURE 4: EXPLODED AXONOMETRIC DRAWING

CONCEPTUALISATION

CONCEPTUALISATION 7

8 CONCEPTUALISATION

Centre for Ideas is another project that uses computer aided system to design and it uses voronoi tessellation of a plane in order to form the shape. It is a reflection of virtual design that brought to physical building, seeing from the use of materiality and straight edges. It is a valuable project because its development creates debate regarding materialization, design process in the time this was erected and perception of abstractism.

PART ADESIGN FUTURINGPRECEDENTS A.1.

CENTRE FOR IDEASMINIFIE VAN SCHAIK ARCHITECTS

8 CONCEPTUALISATION

In regards of materialization, Centre of Ideas uses only one dominant material for its outer façade, which is steel. It is steel appreciated as it was seen from the reward it got in 2004 from the Australian Institute of Architects as the Best New Institutional Building.3 I think this building was revolutionary at that time because it took a new way of projecting a virtual design into practice, however still keeping some virtual characteristic within it.

FIGURE 6FIGURE 5

CONCEPTUALISATION 9

CONCEPTUALISATION

CONCEPTUALISATION 9

FIGURE 7

Since nature has always been affecting design development from time to time, researchers keep developing tools that allow architects to create more flexible design configuration, including to imitate nature features. This precedent emphasizing the making of 3 dimensional hydrological surface initiated from 2 dimensional plan drawings only, by using algorithm.

PART ADESIGN COMPUTATIONPRECEDENTS A.2.

PERFORMATIVE SURFACES:GENERATING COMPLEX GEOMETRIES USING PLANAR FLOW PATTERNS

It is done by changing maximum/minimum points in the area of a surface, which consists numbers of contour. Considering its mathematical definition, saddle point is also important for the ‘movement’ to travel smoothly.4 By connecting maximum/minimum points and saddle points, a continuous closed curves will be generated.

Each cells will then be connected to each other in one line until no single point left out to create a network. This network can easily be changed with algorithm, to see which output best suit the appearance of dynamic water flow. They tried 3 types of algorithms and were satisfied with the third one, which utilizes the shortest direction to connect lines making one discontinuous line.5

10 CONCEPTUALISATION

FIGURE 8: 2 DIMENSIONAL TO 3 DIMENSIONAL

FIGURE 9: TYPES OF POINTS

FIGURE 10

FIGURE 11

CONCEPTUALISATIONWhen applied to the whole surface including the details, the surface will be filled smooth and clean. This effect creates a more realistic visualization of water surface. Changing the height of points could create variation of water movement in the surface, making it look like it drops from the highest point to the lowest. The advantages of using algorithmic tools is that the result could easily and quickly be adjusted. In addition, unique results are generated because the tools allow designers to choose from unlimited possibilities.

CONCEPTUALISATION 11

FIGURE 12: ADJUST LENGTH

FIGURE 13: ADDING GROUND FIGURE 14: PROTOTYPES


By studying physical and computational movement of some certain materials, a complex of textile and wood framing system was explored. This project was done to achieve a surface that is elastic and resist bending well, find out its bending resistance capacity to then be applied in actual buildings. The material also has the ability to transform during the process due to stress release. For that reason, this project had no formwork to develop from, which is just like the purpose of this algorithmic study to configure form along with the design process itself.

PART ADESIGN COMPUTATIONPRECEDENTS A.2.POST-FORMING COMPOSITE MORPHOLOGIESMATERIALIZATION AND DESIGN METHODS FOR INDUCING FORMTHROUGH TEXTILE MATERIAL BEHAVIOR


FIGURE 15 FIGURE 16

FIGURE 17: FRAMING TRIALS


CONCEPTUALISATION


Moment where pre-stress is released to start the final forming process of the material was considered as a variable6 so that the bending capacity could be known before the variables were put into algorithmic computation. This is one critical step because the bending material and the stiffer material have no linear connection, resulting unpredictability of the result which often lead to 3 dimensional miscomputation during its algorithmic exploration, where mesh tool was utilized. As there are numerous possibility in computation, this project needed the physical material studies as well.

After the variables were attained, numbers of prototypes were made and tested. Shapes of framing and number of layers were produced, explored, combined and compared in order to find the most elastic shape and direction of bending amongst all the trials.

This precedent shows how computational algorithm could be applied in designing future buildings by getting new approach to architecture, exploring new materials; what kind of shapes could they possibly make and how could those materials used efficiently and fully functional.

FIGURE 18

FIGURE 19

FIGURE 20: COMPARISON

FIGURE 21: PROTOTYPE 1

FIGURE 22: PROTOTYPE 2


Computer Aided Design have been a huge development for designers to achieve agenda and to solve problem quicker, more efficient than ever before. It works as a helping hand to attain numerous possibilities by putting mathematical expressions and as a result, fast and precise output could easily be generated. Currently, this development affects design process as designers have more time and options to choose from in order to get the most satisfying configuration. They could also explore the design further and discover additional functions or efficiencies aside of their original agenda.

Scarcity and Creativity Studio (SCL) did a project for Nusfjord’s harbor-side, which is a 2x2 bathing platform facing the open sea towards the Westfjord. They intended to create a floating platform with canopy above, using aluminium tubes for compression members and rope as tension members.7 The problem with this project was that during the winter, large waves will destroy retaining walls and panels in deck could be displaced. It is a semi sheltered space for sun bathing and sauna, with some parts set as stepped seating for events in site during high season.


They initially worked on the canopy using Rhino and Grasshopper before starting to make the physical model of it. In addition, they use wires to connect one stick to another as the substitution of light lines in Rhino. Because all the sticks (6 tripods) are connected to each other, moving one point would change the whole system. All the sticks had to be joint tightly to prevent undesired movement and only 3 bottom sticks stood on the ground, means all the rest were hanging.

They did another trial in bigger scale using wooden sticks with members in the middle left hanging, using as few sticks sitting on the ground as possible. This trial then compared with the one they remade in Rhino and Grasshopper. Lastly, they put membranes in some parts of the canopy. As for the platform, they decided to create a multifunction space, with no strict boundary between ground and landscape furniture. Using grasshopper, a smooth curvy surface is generated after some trials.

PART ACOMPOSITION / GENERATIONPRECEDENTS A.3

LATITUDE 68 NORTH NUSFJORD, LOFOTEN, NORWAY

FIGURE 23: FINISHED PROJECT

CONCEPTUALISATION 15 CONCEPTUALISATION 15

This proves that computation algorithm could solve problem and gives inspiration to designers. Moreover, the use of geometries are improving since computation derives more unthinkable shapes. To sketch and remodel over and over takes time, whilst computation allows designers to change only variables to get different outcomes in short amount of time.

DESIGN COMPUTATION

FIGURE 27-28: ELEVATION VIEW

FIGURE 29: PERSPECTIVE VIEW

FIGURE 24: STICK PROTOTYPE

FIGURE 25: RHINO & GRASSHOPPER

FIGURE 26

FIG.1: (EXPLAIN HERE & REFERENCE AT THE END OF YOUR DOCUMENT)


Seaside Second Home is a project done to integrate design process with its location based on weather, topography and human dimensions as a series of homes. The main derives of the design is contextual parameters and algorithmic computation is needed to stimulate the environment that is constantly changing and need flexibility.8

What’s interesting is that the forming of shape was derived from weather and location value put into parametric equations to get its initial basic form. Then algorithmic is used to decide building thickness according to its relation to the inhabitants. The outer envelope was generated based on the movement or horizontal wind load, which was calculated using computer aided system.9

Therefore I see in this precedent that algorithmic equation could be applied in maximizing functionality in buildings in every aspect, since the building shape itself is a response to its surrounding in this instance. It is very useful to have the ability to generate a pattern that is so easy to modify.

PART ACOMPOSITION / GENERATIONPRECEDENTS A.3

SEASIDE SECOND HOME by JOAKIM HOEN


FIGURE 30

FIGURE 31: PERSPECTIVE VIEW


DESIGN COMPUTATION


FIGURE 32: ANALYSIS

FIGURE 33: DESIGN EXPLORATION


A.4.CONCLUSION


In conclusion, research that I have done for part A has changed my design approach a bit because it introduces me to another level of computer aided software. I am now looking forward to start designing with algorithmic approach because the numerous possibility of design excites me. I like designing simple things with ‘wow’ effect, like playing with shadows etc, therefore I was initially a bit scared that my project would be too simple in terms of pattern shapes or colour. However, precedents I mention above and this following precedents shows that simple concept could also produce nice designs.

These precedents inspire me to explore and create my own unique patterns and shapes as a response to the site, therefore integrating my project to the site more intensely and efficiently. I am interested in doing patterns as a part of a façade, not only for aesthetic, I also wanted them to be functional. In addition, materials that are barely used before could be explored, which is a good thing for design variety in my projects to come.

This will be beneficial for building users if the project is built because it is designed to give users comfort and use. Moreover, it is also good for designers and researchers to have more study in this field by designing over and over again with this approach.

FIGURE 34: THE bRIDGE OF ASPIRATIONLONDON, ENGLAND

CONCEPTUALISATION 19 CONCEPTUALISATION 19

A.5.LEARNING OUTCOMES

FIGURE 35: HORTENbY MIKE DUGENIO HANSEN

FIGURE 36: TOLEDO GRIDSHELL

To see how design process develop from research and history impressed me, where there could be so many possibilities generated from a single program. Doing Studio Air and studying algorithmic based design this past few weeks makes me wonder how much more I could learn this semester onwards, after seen how many variables and tools there are in each software.

I was overwhelmed at the beginning but also excited to start the next part, while currently preparing to spend hours and hours exploring the project.


A.6.ALGORITHMIC SKETCHES



APPENDIXA.6.


studio air part a

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