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All architecture is shelter, all great architecture is the design of space that contains, cuddles, exalts, or stimulates the persons in that space.

- Philip Johnson

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Content PagePHASE ONE:CHANGING THE DISCOURSESingapore Changi Airport T3Menera MesiniagaChurch Of Light

PARAMETRIC ARCHITECTUREJ-Office & Silk Wall

SCRIPTING & PROGRAMMINGPushkinsky CinemaBoard Art Foundation

CASE STUDyChildren’s Museum Of PittsburgTurbulence

INTERACTIONHuman Interaction With ArchitectureMovement Interaction - Flow 5.0

RESPONSIvE ARCHITECTUREMedia-TIC

GROUP EOI - INTERIM

PHASE TWO:FORM CONCEPTBreaking Down Of Form

INTERACTION DEvELOPMENTIntroductionStudy On Wind DynamicsInflation Development

CONSTRUCTION DESIGN

Resulting Effects

REFLECTION

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Singapore Changi Airport T3The Singapore Changi Airport Terminal 3’s most unique and interesting feature is its ‘butterfly’ roof. The roof is an intelligent system that allows natural lighting into the terminal without the heat of the sun. (World Architecture News 2005)

With this design, it paves the way of rethinking the func-tion of a roof, that not only does it function as a covering, but also a system them enables natural lighting into the building. With the use of the reflective panels (refer to Picture 1), this also enabled the even distribution of light even when using artificial lighting at night, and also re-ducing the glare.

The reflective panels used on the roof adjust automati-cally according to the sun’s conditions in the day (World Architecture News 2005), and the extensive use of green walls inside the terminal really helped pave the way.

As having a multi-functional roof and imense green walls in a building was never attempted (in such a large scale), and has opened the way to seeing the posibilities with new age technologies in a building.

Reference ListWorld Architecture News 2005, University of Melbourne Parkville Place viewed 07 March 2012<http://www.worldarchitecturenews.com/index.php?fuseaction=wanappln.projectview&upload_id=1861>

The Departure Hall inside the Terminal

Picture 1 - A close up detail of the reflective panel system

Picture 2 - The extensive use of grann walls usedPicture 2 - The extensive use of grann walls used

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The Menara Mesiniaga has been an iconic building that has placed sustainable architecture in the forefront. The architect, Ken Yeang blended technology and nature to create a ‘Biocli-matic Skyscraper’. The building was conceptualised in 1989 (ArchNet 1998).

Ken Yeang’s designs were responses to the climate. As such the Menara Mesiniaga had a wide range of sustainable designs and technology incorporated into the building (Refer to Diagram 1-3). Such examples are solar panels, sun screen and others, all of which contributed to the reduction of energy consumption (refer to picture – 1995, MIT Libraries, Aga Khan Visual Archive).

Ken Yeang began to see architecture as ‘living systems’, rather than just structures. This caused a shift in the architecture in-dustry to start thinking and reflecting on the impacts that their buildings are having on the ecosystem, and the response of the design to the physical, ecological and climatic conditions of the site.

This building also challenged the possibilities of implementing sustainable architecture in such a large scaled building, which wasn’t attempted before

Reference ListArchNet 1998, University of Melbourne Parkville Place viewed 02 March 2012<http://archnet.org/library/sites/one-site.jsp?site_id=1231>Mesianiaga 2006, University of Melbourne Parkville Place viewed 02 March 2012<http://www.mesiniaga.com.my/menara_mesiniaga.html>

Diagram 1 - Different sustainable systems integrated into the building

Diagram 2 - A close up on the sun-shading panels

Diagram 3 - Orientation of the build-ing in regards to the sunpath

The view of Menara Mesiniaga on site

Menara Mesiniaga

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The Church of Light is one of Tadao Ando’s well renowned ar-chitectural designs. It was built with religious intent, to house a church in it.

Tadao Ando’s use of concrete as an architectural finish is one of his signature styles, used widely in his projects. The use of concrete as a finish was not only a way to save on cost but it also redefined how architectural finishes can be done (ArchDaily 2008).

Tadao Ando’s translation of a spiritual space in a simplistic de-sign was something not attempted before. This was done during the post-modern movement (which celebrated spiritual buildings with decorative finishes and designs). The building helped rede-fine how spiritual spaces can still be reflective and celebrated without the use of decorative elements.

Tadao Ando’s unique way of finishing the concrete (Refer to Picture 1) created a sense of versatility with the material, that through such a simple material many varieties of finishes and ef-fects can be achieved through the manipulation of the material.

This building exemplified beauty and spirituality in simplicity.The exterior view of a corner of the building

Picture 1 - A close up detail of the concrete finish

Reference ListArchDaily 2008, University of Melbourne Parkville Place viewed 04 March 2012<http://www.archdaily.com/101260/ad-classics-church-of-the-light-tadao-ando/>

Picture 2 - The use of natural lighting as a feature 3D View of the plan

Church of Light

Parametric ArchitectureAlthough Parametric Design has been relatively new in the architecture industry, but is has shaped and re-defi ned how architecture can be approached.

In the J-Offi ce & Silk Wall building, the clear use of parametric design on the façade can be seen. In conven-tional construction in the past, a lot of experimentation and physical labour would be needed to conceptual-ize the design. Bricks would have to be painstakingly stacked and slowly orientated to achieve the given effect. But with parametric design, an image of the desired effect would be super imposed onto the screen, and the program will calculate and manipulate the ‘bricks’ to create the desired results.

This not only saves time from all the try and errors, but also saves on material wastage if there’s an error as a result of getting undesired results. Furthermore, parametric design enables the easy manipulation of the screen as a whole, controlling the opening sizes and the effect achieved, and all these can be easily done through a program, rather than manually having to test out. And even during construction, the location and orientation of the bricks can be plotted out easily with reference from 3D model rendered through the software.

As a result, easy production and control of the screen wall can be carried out as compared to conventional construction methods.

With the parametric screen, it creates a more controlled interaction between the people walking by the screen. As the people walk pass the screen, the screen almost appears to change accordingly to the posi-tion of the passerby. Thus creating a dynamic visual effect and draws people to wonder and think what is inside the building. This interaction creates a new form of interaction as compared to conventional buildings.

This effect creates a new dimension of human and architecture interaction, which would have been diffi cult to create prior to parametric design.

As the concept of the design is drawn greatly from the idea of a snake, which ties back to the indigenous culture of Wyndham. The use of similar design principle as the J-Offi ce & Silk Wall build-ing can be applied. By imposing a wave-like image onto the screen will create a dynamic and moving form, almost as if a snake is moving across the sight. This give great emphasis of visual interaction

With the play of an almost snake-like effect, instead of using brick as the components of the screen (as seen in the J-Offi ce & Silk Wall building), a scale-like structure/module can be used to further bring the idea across. And allowing the software to compute the components for easier fabrication and referencing during consturction.

And in the event there’s a change in the form of the sculpture, the components (scales) can be easily manipulated accordingly to the contour and shape of the sculpture without having to redo or painstakingly change each and every component. Therefore allowing greater focus on how the sculpture’s form relates to the site and the commuters passing by, without the worry that it’ll cause too much technical problems.

Application

Picture 1 - An image samplier is used as a reference to create a similar eff ect through Parametric Design

5 6Reference ListArchi-Union 2012, University of Melbourne Parkville Place viewed 14 March 2012<http://www.archi-union.com/allCase.aspx>

Scripting & ProgrammingWith the help of Scripting and Programming in architecture, creating and conceptualizing of the façade/screen of buildings.

With Scripting and Programming, the variables and defi nitions of the screen can be predefi ned and manipu-lated to create the overall effect desired. This allows very accurate and precise manipulations/changes to the screen, as each aspect of the screen can be controlled at various points.

In the example of the Pushkinsky Cinema, the controlled points were the single geometric form (the hexagon). In which, the hexagons were manipulated at various points to create variances in transparency. Allowing more specifi c areas of the interior to be highlighted through the transparency of the screen. While other areas of the interior were ‘blocked’ with more translucent and opaque areas.

But with the manipulation of the screen, this also allows viewers from the outside to view the ‘blocked’ areas of the interior by simply shifting their position and creating a ‘new’ view. At the same time it’ll block out the spaces that was previously seen. Almost creating an ‘either-or’ effect, as viewers can only either view the ‘wanted’ or ‘unwanted’ views.

And with Scripting and Programming, the ‘wanted’ and ‘unwanted’ views can be predefi ned in the program-ming (this is based on the interior spaces within the screen). And the sizes and perforation of the openings can be adjusted accordingly to how much opacity is desired.

All this enables greater human an architecture interaction, and allowing the viewer to be the variable change in the interaction. As the screen is static by itself, but only becomes dynamic and ‘alive’ when viewers begin to shift their position, which shifts the point of perspective creating different and new visual effects.

ApplicationThe control of specifi c views is something that can be interestingly applied into the design of the sculpture. By cre-ating deliberate focus and hiding certain views with the sculpture, this can direct the commuter’s attention to key views on the site while blocking away unwanted views. This also creates the constricting effect, as not everything can be easily viewed as per normal, thus creating the constricting and limiting effect on the people.

And as they drive pass the ‘hidden’ views and view it from another angle, they are able to see what was blocked, giving them a glimpse of what was missed out. This creates a curiosity and a sense of wanting to know what was missed, and as they travel back to Wyndham they are now able to see what wasn’t easily seen, creating a con-trast as though a past and present sort of time frame.

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Reference ListeVolo 2012, University of Melbourne Parkville Place viewed 21 March 2012<http://www.evolo.us/architecture/new-parametric-facade-for-pushkinsky-cinema-synthesis-design-architecture/>

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Scripting & Programming - ScreensIn the Broad Art Foundation building, Parametric Design has been used to create the screen of the building. The screen was designed to allow fi ltered light into the building but at the same time through its parametric design. At the same time, the screen highlights certain areas and functions of the building through the recess-ing effect created through parametric design.

The building design allows a new dimension of interaction. By recessing or tilting the consistent patterns of the façade, natural lighting is able to enter these highlighted spaces and also creating a more ‘see-through’ feel. Thus drawing the attention of passerbys and people in the building, creating a focal point for interaction and awareness. With the help of scripting and programming, the screen can be manipulated according to the functions of the spaces directly behind the screen. Through scripting and programming the controlling and manipulation of desired effects/views can be fi nely tweaked to the desired outcome and performance desired. By using the functions of the spaces behind the screen as the input data, scripting and programming will be able to calculate and transform the screen accordingly to it (refer to Picture 1).

The applications are similar to the Pushkinsky Museum, that the control and manipulation of the screens can be applied. By controlling the views that the drivers can see (eg. Blocking of the view of the petrol station), this redirects the driver’s focus onto more specifi c areas of the site. And even highlighting certain areas of the sculp-ture that capture views to draw their attention and cause the drivers to refl ect and think about what has been highlighted.

With scripting and programming, controlling of the screen can be easily done with the right driving concept and function behind the manipulation of the screen.

Application

Picture 1 - How the screen fi ts over the building

Reference Liste-architect 2006, University of Melbourne Parkville Place viewed 21 March 2012<http://www.e-architect.co.uk/los_angeles/the_broad_art_foundation.htm>

Picture 2 - Interior spatial experience of the parametric screen

Children’s Museum of PittsburghThe museum has an ‘interactive’ screen on the façade. The screen consists of many tiny panels that have been top piv-oted; this allows the panels to fl utter as wind passes through it. The idea was to create a cloud-like effect that appears to be enveloping the building.

The idea of an interactive screen is something not just unique, but it also creates a non-static screen, which can begin to change accordingly to its surroundings. This idea can be brought into the sculpture, as viewers would be trav-elling at 100km/h, it’s diffi cult to fully experience with your fi ve senses (eg. visually it’s diffi cult to fully appreciate), if it were to be a static screen. But rather more of how the cars interact with the sculpture, creating a dynamic connection between the passengers of the car and the sculpture.

Bringing the idea into a sculpture on the freeway, not only allows greater interaction with the screen and the winds but also as the cars drive pass the screen it creates almost like a new wave appearing and brushing across the screen. It’s almost as though the vehicles are interacting with the screen and almost playing with the dynamic screen.

This screen brings human, nature and architectural interac-tion to a new level, creating a dynamic visual effect. Almost in the sense, making the invisible (wind) becomes visible through the screen. And creating that sense of relativity be-tween the physical and the non-physical.

ApplicationThe Children’s Museum Of Pittsburg’s concept of creating a cloud-like façade that interacts and moves ac-cordingly to the wind. The whole effect of making the unseen seen and using wind as the activating element can be implemented as the wind is greatly present along the highway. When vehicles travel as such high speeds wind is also created, and provides an avenue of interaction with the sculpture and vehicles. Using a similar façade on along the highway, the cross winds will create a dynamic display on the façade. Furthermore, when vehicles drive the sculpture it introduces a ‘new’ wind, which creates a new ripple effect on the façade. This creates a self-awareness on the commuter in the environment. As they can see almost like a refl ection of themselves through the ripples created on the façade. This ties back to the concept of causing the com-muters to contemplate their impact on their environment and that their travelling back and forth from Wynd-ham is actually creating a huge impact on the environment in which a lot of times we do not realize or see.

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TURBULENCEREVERSE-ENGINEERING NED KAHN’S ‘ARTICULATED CLOUD’

The second phase of the case study analysis, as advised by the Cut/Develop experimentation, required the investigation of a definition series or sequence as a means to re-interpret or rather, reverse engineer a relevant case study, in this case, the Articulated Cloud by Ned Kahn. Using the associative inputs and outcomes, it was necessary to regenerate the architect’s design intent of textured or patterned repetition to facilitate a sense of depth and kinetic transitory which has become a primary aspect of Kahn’s work to date. Furthermore, these notions may materialise into an effective component in the development of our own concept and design proposal outcome as stipulated by the EOI brief.

INPUT: SURFACE GRID FRAMES_ASSOCIATION: MATH FUNCTION_OUTPUT:

INPUT: SURFACE GRID FRAMES_ASSOCIATION: IMAGE SAMPLER_OUTPUT:

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The snake skin is comprised of geometric shapes which through the utilisation of complex genetic algorithms, can be transposed into architecture, ultimately, to inform new and more complex and innovative design outcomes through the simulations of natural phenomena at the cellular, molecular or scalar level. Using the referenced the thumbnail image into the Image Sampler component on Grasshopper, the desired, reverse engineering outcome can be feasible. Along with the Attractor component, an produced effects of kinetics and patterning through depth, materializes into the intended qualities which inform the simulations of a surface being subjected to wind loads and other extraneous variables.

INPUT: SURFACE GRID FRAMES_ASSOCIATION: ATTRATOR POINT_OUTPUT:

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Feedback from the previous discussion informed the notion of investigating the application of Pressure Gradients, a meteorological measurement, that could be explored effectively to generate and represent the effects of wind loading onto the delicate and complex surface to promote movement and unique texture patterning. The attempt at simulating the effects of Pressure Gradients resulted in mixed outcomes: it appeared that ambitions outweighed application. A definition refining the previous methodology explored the impact of Graph Mapping, particularly the Perlin line graph, that generated random noise effects that could represent or simulate the effects of wind loading on a surface.

INPUT: SURFACE GRID FRAMES_ASSOCIATION: PRESSURE GRADIENTS_OUT-

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Wind becomes the catalyst to promote a deeper connection and interaction between man and architecture. Creating a non-static experience, that moulds and changes according to its environment. Almost bringing an interacting link between sight and touch without the actual physical act of touching the screen. The interaction plays with the movement of the wind, rather than human movement to create different effects.

This can be seen in the Children’s Museum of Pittsburgh, and how wind is the main medium of interaction. Creating the awareness of space and time through the movement of the wind across the panels creating a ripple-like effect.

With the help of parametric design, the screens of buildings can almost come alive and allow interaction with the viewers as the walk pass the building. This creates a visual play and interactions, creating almost like a playful effect. This interaction plays with the movement of humans, changing accordingly to the position to cre-ate different views. Humans become the driving factor in creating the visual and dynamic experience, which would not be possible to experience from just one point.

WIND - Children’s Museum

SCREEN - Pushkinsky Cinema

With parametric design, it redefi nes how humans interact with architecture through the use of screens. Ex-ample controlling the views either into or out from the building through the manipulation of perforations. Ei-ther creating an image as an overall impression or controlling what the users view at specifi c points or positions inside or outside of the building. This begins to create a stronger control of the spatial environ-ment, allowing an even greater and more specifi c experience in which the architect desires to create.

Human Interaction With Architecture

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Movement Interaction - Flow 5.0

Interactive walls using motion-capturing devices have begin to be widely used with the advancement of technology. The ability for a user to manipulate a wall begins to redefine how interaction can be done without the necessary need for physically touching.

In the interactive wall by Daan Roosegaarde, he created a wall made up of many individual ventilators, which are acti-vated, by sound and motion sensing. Users interact with the wall by simply just walking pass the wall. The sensors pick up motion and sounds which in turn activate the ventilators creating almost like a small wind which cre-ates the awareness of self in a space. Seeing how a person’s presence makes a difference to an environment.

The same technology and concept can be adapted into the sculpture, but instead of just ventilators the sensors will ac-tivate a pump, which will then inflate the modules creating a ‘breathing’ sculpture.

As the car moves pass the sculpture and sees the modules begin to inflate as it passes it, the passengers become con-science of their existence and the awareness that they are impacting the environment around them.

Application

Reference ListInteractive Architecture.Org 2005, University of Melbourne Parkville Place viewed 25 April 2012<http://www.interactivearchitecture.org/flow-50-daan-roosegaarde.html>

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Responsive Architecture - Media-TICThe Media-TIC building is a re-sponsive building that reacts and changes accordingly to its envi-ronment. The building’s façade is made up of infl atable ETFE capsules that infl ate and defl ate according to the heat gain on the façade. During the summer, the capsules will infl ate (refer to Pic-ture 1) with nitrogen fog creating an opaque screen which blocks out sunlight and reduces heat gain on the façade. This reduces the overall building’s consumption.

Picture 1 - Tubes connected to individual capsules that infl ate and defl ate accordingly

Picture 2 - Clost up of the individual capsules

Reference ListArchDaily 2008, University of Melbourne Parkville Place viewed 21 April 2012<http://www.archdaily.com/49150/media-tic-enric-ruiz-geli/>

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A breakdown of the building’s sustainable systems that have been implemented. Different technologies and components come together, which makes this building a success in terms of responding and dealing with its environmental factors.

By adapting and adopting the systems found in this building into the sculpture. This allows a kinetic/living sculpture that re-sponds to the environment of the site.

Reference ListEnric Ruiz-Geli 2009, University of Melbourne Parkville Place viewed 21 April 2012<http://www.ruiz-geli.com/04_html/04_mediatic.html>

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For the main structural system, the architects and engineers used Performative Architecture to determine where would require extra bracing or extra structural elements to prevent the building from deforming out of shape. Although the structural system may be different for the scultpure, but a similar apporach in dealing and optimis-ing the structural system based on the hexagonal components of the sculpture.

Reference ListEnric Ruiz-Geli 2009, University of Melbourne Parkville Place viewed 21 April 2012<http://www.ruiz-geli.com/04_html/04_mediatic.html>

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The above shows a section through the building, giving a sloe up look on how the ETFE capsules are installed and hung up on the facade. From the section, it shows that the main sup-ports are at the top and bottom of the capsule, which uses a ‘clip’ sort of fastening device that attaches on. This system can be applied to allow a simple and quick release when installing and removing of the capsules.

And looking at the close up of the pipping system (the picture on the right), The pipes are wrapped around the frame in a ‘hid-den’ manner, so as to not expose it to the elements as well as give the facade a nice finish. This too will be used, as the high wind velocity of the highway may cause damages if the pipes were exposed directly to the weather, and also at the same time it gives a cleaner finish to the structure.

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The idea that the building reacts and changes according to its environment or a predefined platform (for this instance it’s the weather) can be brought into our design of the sculpture. As our concept challenges the view on the increase in oil consumption and prices resulting in greater strain on society and the environment, the same response in terms of how the sculpture inflates and deflates according to the density of vehicles travelling through the highway. Almost a representation and reminder of how great an impact of travelling back and forth from the Melbourne city affects the environment.

This also gives the sculpture an almost living and breathing structure that changes and reacts to its environ-ment. This is similar to how a snake behaves, in an event that there is danger; it’ll flare up and appear fierce and intimidating. Thus creating a responsive sculpture that not only responds according to its environment but giving a reflection of what is happening.

Application

Picture 2 - Close up deatil of joints and linkages of the ETFE capsules

Picture 1 - Framing system on which the ETFE capsules attached to

By studying the structural framing system and support (refer to Picture 1) from the Media-TIC, the same type of system can be applied into the sculpture. This allows easy installation and removal (if needed for repairs or maintenance) when necessary, which increases the longevity of the sculpture and reduce cost of repairs if the components were all attached to one another. The building provides a simple yet efficient solution.

Reference ListEnric Ruiz-Geli 2009, University of Melbourne Parkville Place viewed 21 April 2012<http://www.ruiz-geli.com/04_html/04_mediatic.html>

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HAMZAH MANSOORGRAZI PRADA

KRISTIAN TAGLIAVENTODARYL TAN

Architecture Design Studio: AIR ABPL30048 Semester 1 2012

GROUP EOI

ARCHITECTURE IN DISCOURSE: WYNDHAM CITY GATEWAY PROJECT BRIEFOBJECTIVES : ‘DEVELOP A PROPOSAL THAT INSPIRES AND ENRICHES THE

MUNICIPALITY’

• ICONIC FEATURE

• LONGEVITY IN APPEAL

• DIALOGUE BETWEEN LANDSCAPE AND SCULPTURE

• DAY-TIME AND NIGHTTIME VIEWING

OUTCOME : THE LIVING AND BREATHING SCULPTURE

• RESPOND TO THE INHERENT CULTURE OF WYNDHAM CITY

• RESTORE WYNDHAM CITY AS A SIGNIFICANT CULTURAL HUB

• REGENERATE THE LANDSCAPE

• PROMOTE USER INTERACTION WITH THE SCULPTURE

• DELIVER A STATEMENT, CHALLENGING THE SOCIAL NORM

THEREFORE : REITERATE THE CONSCIOUS CONNECTION BETWEEN THE

LANDSCAPE, THE USER AND THE SCULPTURE

• CREATE A VENUE FOR CONTEMPLATION REGARDING SOCIAL AND ENVI-

RONMENTAL IMPACT

• CRITIQUE THE ECONOMIC FORCES OF CONTEMPORARY URBANIZATION

OF THE CITY

• FORMULATE AN APPROACH THAT RESPONDS TO THE IDEALIZATION OF

A LIVING, BREATHING SCULPTURE

THE COMPETITION BRIEF

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SITE CONTEXT

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ZA11 PAVILIONCLJ02 WORKSHOP+DIMITRIE STEFANESCU

‘THE OBJECT, THROUGH ITS TECTONIC CHARACTERISTICS TRIES TO MAKE LEGIBLE THE

NEW ONTOLOGY WHICH IS SLOWLY DEFINED BY COMPUTATIONAL ARCHITECTURE

AND THUS BECOMES A SHOWCASE FOR THE DESIGN PROCESSES EMPOWERED BY

PARAMETRIC TECHNIQUES: RHINO + GRASSHOPPER

• GEOMETRY GENERATIONv

• LABELLING + ASSEMBLY

• FABRICATION METHODS

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H O N E Y C O M B

M O R P H O L O G YANDREW KUDLESS + MATSYS DESIGN STUDIO + ARCHITECTURE

‘INTEGRATION IS INHERENT TO NATURAL MATERIAL SYSTEMS, FOR THEY HAVE BEEN DEVELOPED THROUGH EVOLUTIONARY MEANS WHICH INTRICATELY TIE TOGETHER THE FORM, GROWTH AND BEHAVIOUR OF THE ORGANISM[...]AN INTEGRATED AND GENERATIVE DESIGN STRATEGY USING A BIOMETIC APPROACH TO ARCHITECTURE AND FABRICATION’ANDREW KUDLESS (2004)

INTEGRATED BIOMETIC STRATEGIES • RESPONSIVE MATERIAL SYSTEM• BIODYNAMIC STRUCTURE DERIVED FROM NATURAL PHENOMENA• RESEARCH INTO APPLICATIONS OF SCALE PATTERNING SURFACE SYSTEM

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DYNAFORMBERNHARD FRANKEN ARCHITEKTEN

‘GENERATED IN A COMPUTER SIMULATION BY OVERLAPPING THE SPATIALLY TRANSLATED DOPPLER EFFECT AND ENVIRONMENTAL FORCES’BERNHARD FRANKEN (2001)

MATERIALITY+IMPLICATIONS• DUAL ETFE AND PVC MEMBRANE SKIN WITH INFLATABLE NEGATIVE SPACE/VACUUM• SKIN STRETCHED LONGITUDINALLY OVER STRUCTURE TO CONFORM TO ARCHITECTURAL IDEA OF ACCELERATION

KINETIC ARCHITECTURE• ACCELERATION + MOVEMENT• INFLATABLE SKIN INFORMS THE RELATIONSHIP TO AIR + BREATHING

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MEDIA-TICCLOUD 9 ARCHITECTURE STUDIO

‘IN THE DIGITAL INFORMATION ERA, ARCHITECTURE HAS TO BE A TECHNOLOGICAL PLATFORM, IN WHICH CONNECTIVITY, NEW MATERIALS, AND NANOTECHNOLOGY ARE IMPORTANT’RUIZ GELI (2011) RESPONSIVE ARCHITECTURE

• RESPONSIVE TO SOCIO-ECONOMIC + ENVIRONMENTAL ISSUES• SELF-AWARENESS OF SPACE

DIAPHRAGM• SIMULATES THE KINETICS OF BREATHING• ETFE CELLS INFLATE IMITATING THE PROCESS OF FIGHT/FLIGHT RESPONSE 29

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TURBULENCECUT + FABRICATE RESEARCH PROJECT

TECHNOLOGICAL SYSTEMS • ALUMINIUM SPACE FRAME INFORM A SENSE OF LIGHTNESS+FLEXIBILITY, BUT ALSO STRENGTH+INNOVATION

RESPONSIVE ARCHITECTURE• INTIMATE INTERACTION BETWEEN ARCHITECTURE, THE ENVIRONMENT+ THE VIEWERS/USERS• NON-STATIC/DYNAMIC RELATIONSHIP BETWEEN THE SCULPTURE+USERS• STIMULATED BY AIR MOVEMENT

NATURAL COMPLEXITIES• OPTICAL QUALITIES WHERE SKIN AUGMENTS DUE TO WEATHER/SEASONAL EVENTS

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DIAPHRAGMTHE KINETICS OF LIVING+BREATHING

PROTOTYPE ONE PROTOTYPE TWO

PROTOTYPE THREE PROTOTYPE FOUR

PROTOTYPE FIVE PROTOTYPE SIX

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SERPENTINE DREAMTHE CONCEPT DEVELOPMENT: RESPONSIVE MORPHOGENESIS

CONTINUING WITH DIGITAL EXPERIMENTATION: DRAWING INSPIRATION FROM THE MEANDERING RIVER + SERPENT FORM

• USING GRASSHOPPER TO DICTATE AND DETERMINE THE RESPONSIVENESS OF SURFACE DEFORMATIONS• OPTIMIZING THE SKIN STRUCTURE TO ESTABLISH SCALE AND ANGLES FOR GREATER LIGHT PENETRATION + AIR EXPERIENCE• SCULPTURED FORM TO EMERGE FROM THE LANDSCAPE HIGHLIGHTING CONNECTION TO CONTEXT + USER EXPERIENCE• APPEARANCE OF ENCLOSURE OR CONSTRICTING IT’S PREY, PROVIDES A SENSE OF CONTEMPLATION FOR THE DAILY COMMUTERS REGARDING ENVIRONMENTAL + ECONOMIC HARM

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EXPLORATION INTO THE APPLICATIONS OF THE PRIMARY NOTIONS DERIVED FROM THE CASE OF INNOVATION. DISCOVERING THE INTERACTIVE RELATIONSHIP BETWEEN THE SCULPTURE, THE ENVIRONMENT AND THE USERS THROUGH THE ANALYSIS OF HOW THE CONCEPT OF AIR+TURBULENCE CAN COMMUNICATE WITH THE ARCHITECTURAL SKIN+STRUCTURE. THEREFORE RESEARCH WAS CONDUCTED TO DETERMINE AN APPROPRIATE SKIN GEOMETRY.

SURFACE SUBDIVIDE VB SCRIPT

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ECDYSIS: SCALEKINETICS OF SCALE: REGENERATIVE STRUCTURE

ECDYSIS LITERALLY MEANS ‘TO TAKE OFF’

OR ‘STRIP DOWN’ : APPLICATION TO THE

OVERALL CONCEPT OF REGENERATION.

• DELIVER AN ICONIC FEATURE THAT

INFORMS THE DIALOGUE BETWEEN THE

LANDSCAPE AND THE SCULPTURE.

• ITERATIVE MODELLING TECHNIQUES

USED TO SCALE THE ORIGINAL VOLUME

• RESPONDING TO PREVIOUS

EXPLORATIONS DEFINING USER

EXPERIENCE

• RATIONALIZING CONCEPT INTO A

WORKING OUTCOME FOR FABRICATION

I.E. MATERIALITY AND JOINERY SYSTEM

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BIBLIOGRAPHYBOOKS

Kalay. Y (2004) Architecture’s New Media : Principles, Theories, and Methods of

Computer-Aided Design (Cambridge, Mass.: MIT Press), pp. 5 - 25

Killory. C (2008) ‘Children’s Museum of Pittsburgh’, in Detail in Process. 1st edn (New

York: Princeton Architectural Press) pp. 112 - 117

Koch. K (2004) Membrane Structures (London: Pretsel) pp. 236-239

Kolarevic. B (2003) Architecture in the Digital Age: Design and Manufacturing (New

York; London: Press), pp. 3 - 62

Kruger. S (2009) Textile Architecture (Berlin: Jovis Verlag GmbH) pp. 196-197

Moussavi. F (2006) The Function of Ornament (Barcelona: Actar), pp. 5-14

Pawlyn. M, (2011) Biomimicry in Architecture (UK:Riba Publishing) pp. 1-128

Sebestyen. G (2003) New Architecture and Technology (Oxford: Architectural Press),

pp. 1-155

Williams. R (2005) ‘Architecture and Visual Culture’, in Exploring Visual Culture :

Definitions, Concepts, Contexts (Edinburgh: University Press), pp. 102 - 16

ONLINE SOURCES

http://a-ngine.com/

http://e-cloud9.com/

http://franken-architekten.de/

http://matsysdesign.com/

http://nedkahn.com/wind.html

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As seen in the above picture, different aspects of the site have been highlighted. The three main aspects are the ‘line of interaction’ (red), ‘capturing or the wind’ (blue) and ‘blocking of the petrol station’ (yellow). Using these three areas of influence, the form has been shaped along these parameters.

The ‘line of interaction’ is key to creating an interactive sculpture that relates to the users of the highway. By highlighting the ‘line’, it determines the direct interaction between the vehicles and the sculpture, thus informing the cells that would be inflated by the wind generated by the passing vehicles.

As for the second aspect, the ‘capturing of wind’ the curves behave as wind capturing devices, which allow for maximum wind interaction amidst the other cells that cannot be inflated by the vehicles (eg. Other cells that are not in direct contact with the ‘line of interaction’).

Lastly is the ‘blocking of the petrol station, the idea was to prevent the driver from being distracted by the sight of the petrol station just located off the highway. But to bring the attention of the drivers to the sculp-tures to create optimum interaction.

Form Concept

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By using the three parameters, the form was shaped around these, with influence of an indigenous culture whereby snakes and organic like forms are widely used in their art and culture.

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The form was then further borken down into three main components, this is ‘lighten’ the heaviness of the sculpture and to break free from a more literal approach of a snake in its form. At the same time, by breaking down the form, it allows for a faster installation of the sculpture as all three components can be constructed simultaneously. The diagram on the following page shows how the three components have been borken down into the individual cells. The countours are first highlighted and plotted out on three components, which are then divided accordingly to contours, shape and length. 45

Breaking Down Of The Form

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With the initial development of the sculpture, the idea was to use pumps that were timed to inflate and deflate the individual cells based on the number of cars passing through the highway. This was initially done, as the wind capturing of the cells wasn’t great enough to create the inflating and deflating effect.

However, with direct interaction and using the wind generated by the vehicles as a catalyst to create the ef-fect, this would be a more impactful and direct relation of the drivers and creating the sense of self-awareness in space and time. As seen in the case study, Flow 5.0. Therefore further development of the air intake would be carried out to design in such that the intake of air from the wind (generated by the vehicles) would be at its maximum.

In the next few pages, the development and study of the wind generated by the vehicles, wind dynamics and air intakes would be done, so as to achieve the desired effect and creating a direct relation between the sculpture and the users of the vehicles.

Interaction Development

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Study On Wind Dynamics

By studying the wind drag and dynamics as the car travels pass the cells, this can be analyzed and be used to better improve the performance of the inflating and deflating of the cells giving an optimum result.

As seen from the above diagrams, a huge amount of wind force is generated at the sides, top and back of the car. This great amount of force can be used to inflat the cells as it drives by. By developing an air intake to best capture these winds produced would also enhance the inflating effect of the scultpure.

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Inflation Development: Scheme 1

If the louvres were not pivoted but fixed into position, when the wind goes through the louvres at a different angle, the wind that enters the cells would not be as strong and able to inflate the cells (refer to the diagram above). As greater turbulence of wind would be produced due to the angled position of the louvres, thus the input of air would be greatly disturbed and a smooth continuous flow of air would be disrupted. By allowing the louvres to be pivoted, this would ensure that the wind flowing through the cell would be strong and thus inflating the cells as quickly as possible, creating a more immediate effect of the inflation and deflation of the cells.

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Inflation Development: Scheme 2

By studying the air vents on sports cars, the air intake can be shaped with a similar form. The function of these air vents located on the side of the cars are to ‘suck’ in air to generate down force, similar to the sculpture the idea is to suck in/direct the air flow from the cars into the cells to inflate it. The contours of the air vents act as a guiding aid for which the wind flows along and into the cells (similar to a car’s air vents), and creating an almost cup like feature to ensure maximum intake of air through the air intakes are also adopted.

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Inflation Development: Scheme 3

The windmills used in Australia are unique, in the sense that it incorporates a tail-like feature. The function of the ‘tail’ is to direct the blades of the windmill such that it receives direct and maximum flow of air. This simple but yet effective design captures the direction from which the wind is coming from and turns the blades into that same direction, all with the use of a ‘tail’.The same idea can be incorporated into the design of the air intake, by pivoting the perforated air intake and attaching a similar tail-like feature behind it. With this design, it allows the air intake to be directed to the direction of the wind and allow maximum airflow through the cell to inflate it.

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Construction Design

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The sculpture can be broken down into a few components; this is done for easy transportation and maintenance if needed. The sculpture is erected through simple construction methods, mainly using bolts and folding joints to connect the individual cells to one another. The reason being that this allows a cell to be removed easily without affecting the whole structure, if maintenance is required.In the individual cells, it can be broken down to a few parts, which are the air intake/outlet, the main structural frame and the ETFE membranes. The air intake/outlet are attached onto the structural frame by a simple clip attachment, as seen in the cladding brand, Northclad. This also allows easy removal when necessary, should there be any blockage in the perforations that prevent air flow through the cell.As for the ETFE, it has been attached to the structural frame by clips as seen from the BMW Dynaform building. The inner membrane would be attached and pulled tightly to prevent it from inflating, but the outer membrane would be attached loosely so as to allow expansion and creating the inflating effect.The individual cells of the sculpture would be manufactured on single sheets of steel. The honeycomb form would be unfolded such that it becomes flat, and will be cut from a single steel sheet. Once brought onto site, the cell would simply be folded and bolted into shape to ensure rigidity.After the individual cells have been brought and folded on site, the ETFE membranes and air intake/outlets are attached to it. And finally the individual cells would then be bolted to one another to erect the sculpture.

As the site is located on a highway, safety is a major issue and also the time required to do maintenance would be crucial. With this construction method, it allows for simple and easy removal of the various components when damage or maintenance is required. Each component can be removed without affected the sculpture’s overall structural integrity.

Construction Design: Breakdown

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The sculpture can be broken down into a few components; this is done for easy transportation and maintenance if needed. The sculpture is erected through simple construction methods, mainly using bolts and folding joints to connect the individual cells to one another. The reason being that this allows a cell to be removed easily without affecting the whole structure, if maintenance is required.In the individual cells, it can be broken down to a few parts, which are the air intake/outlet, the main structural frame and the ETFE membranes. The air intake/outlet are attached onto the structural frame by a simple clip attachment, as seen in the cladding brand, Northclad. This also allows easy removal when necessary, should there be any blockage in the perforations that prevent air flow through the cell.As for the ETFE, it has been attached to the structural frame by clips as seen from the BMW Dynaform building. The inner membrane would be attached and pulled tightly to prevent it from inflating, but the outer membrane would be attached loosely so as to allow expansion and creating the inflating effect.The individual cells of the sculpture would be manufactured on single sheets of steel. The honeycomb form would be unfolded such that it becomes flat, and will be cut from a single steel sheet. Once brought onto site, the cell would simply be folded and bolted into shape to ensure rigidity.After the individual cells have been brought and folded on site, the ETFE membranes and air intake/outlets are attached to it. And finally the individual cells would then be bolted to one another to erect the sculpture.

As the site is located on a highway, safety is a major issue and also the time required to do maintenance would be crucial. With this construction method, it allows for simple and easy removal of the various components when damage or maintenance is required. Each component can be removed without affected the sculpture’s overall structural integrity.

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Site Plan

Inflating Process

Night Image

Section

Day Image: Model

Night Image: Model

Reflection

Architecture Design Studio: Air has been a challenge in the way I perceive architecture, technol-ogy and conceptualization. With the introduction of Parametric Architecture, the initial phases of the subject were more explorational for me, trying to understand and see the possibilities of Parametric Design.

Through the subject I begin to realize that Parametric Architecture cannot be defined to a particu-lar design or form, but rather its design based on predefined parameters which have been derived from various methods and reasoning. And by understanding the parameters that inform the design of a building, a more precise result can be achieved.

With the use or Rhino and Grasshopper through this subject, it truly allowed greater experimen-tation with the desired outcome and form could be experimented and finely tuned to create the desired effect. And especially with Grasshopper the precise parameters can be defined through numeric input, the inputs are derived based on the site analysis or the driving concept of the over-all design. With the help of technology, the greater input of data and information that controls the results and effects desired in the building’s outcome can generate a more fine-tuned and better informed result.

And area that the subject has challenged me in is the notion of form. Where initially the way I per-ceive architecture has been from a two dimensional plan to a three dimensional overall shape, but with Parametric Design the form is derived based on a wide range of factors. With greater data and parameter input into the form, the conventions of architecture have been pushed to a more infor-mative era where data and analyzing is crucial in experimentation and manipulation of the form.

For this subject, in conceptualizing the design, I was able to group and analyze data based on the brief. One example is the interaction of the vehicles and the sculpture, and how using wind as a catalyst to link the interaction between them. These were the parameters used to understand and conceptualize the form. By using Grasshopper, we were able to input these data into generating the form, therefore achieving our final result. This too helped improve the design performance, es-pecially by angling the individual cells more towards the cars to allow maximum wind input to inflate the cells. This is just one example of how Parametric Design has been used to inform the form and design of the sculpture, while at the same time improving the desired effects.

Realizing the implications of such an avenue to look at Architecture and how Architecture has almost evolved through time, space and technology, has caused me to see the adaptability of Architecture in a new light, almost as though Architecture is a ‘living organism’, living and breathing, constantly adapting and learning from its surroundings. And how informative Architecture is with the help of technological tools to push forward these ideas. This pushes forward the notion that Archi-tecture in itself is never static nor stagnant (though it may be a building), but always in context with culture, societal changes, economics, environmental issues, technological influences and many more. Architecture is constantly finding its meaning and way in society, almost a direct reflection of the current predicaments of society, giving a ‘mirroring’ effect on people causing reflection. As though telling a story and containing data from its current time and space.

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