Limanto metaniawati 618475 partb

STUDIO AIR2015, SEMESTER 1=, BRADLEY ELIAS

METANIAWATI LIMANTO 618475

CRITERIA DESIGN

PART B

B.1. RESEARCH FIELDS

B.2. CASE STUDY 1.0

B.3. CASE STUDY 2.0

B.4. TECHNIQUE: DEVELOPMENT

B.5. TECHNIQUE: PROTOTYPES

B.6. TECHNIQUE: PROPOSAL

B.7. LEARNING OBJECTIVES AND OUTCOMES

B.8. APPENDIX - ALGORITHMIC SKETCHES

4 RESEARCH FIELD

system led into design computation that simulates the design process. It results in a complex version of the soap bubble experiment. It is then structurally engineered and subjected subsequently to a computer controlled material (computer numerical controlled/CNC) cutting and mechanical re-seaming. The form of the sculpture consists of a “double stretch” or a “two-way woven fabric,” which is specially treated high-tech nylon (lycra). This is mechanically attached to aluminium track profiles, which are then suspended from above and attached to the sides of the atrium with stainless steel cables2.

The installation has an organic branch-like form with a seamless flow of narrow and hollow tubes which each of them culminates in a funnel like form2. The twenty meters length structure hovers above ground weighs a mere forty kilograms and encloses three thousands cubic meteres of space. This project takes sustainability into account as it is portable, reuseable and it makes an optimum use of material. The installation also consider the site context that the atrium has clear glass floor and the building has a heritage status. The material chosen for Green Void is a lightweight material that can be suspended and leaving the floor unobstructed for passage, pause and observation. Also, the installation and removal of the project have minimal impact to the heritage fabric of the building2.

According to Oxford Dictionaries1, geometry is “the branch of mathematics concerned with the properties and relations of points, lines, surfaces, solids and higher dimensional analogues.” In terms of design computation, it can be explored even further as ruled surfaces, paraboloids, minimal surfaces, geodesics, relaxation and general form finding booleans.

The Green Void is designed by Chris Bosse, Tobias Wallisser and Alexander Rieck of LAVA Architecture. It was exhibited in the atrium of Sydney’s Customs House from 10 December 2008 to 10 June 2009. It consists of a luminescent green lightweight membrane structure that is suspended from a few different points in the atrium.

Green void is one project that is resulted from the exploration of geometries. It is inspired by the relationship between man, nature and technology2. “The shape of the pavilion is not explicitly designed; it is rather the result of the most efficient subdivision of three-dimensional space, which can be found in nature in things like organic cells, crystals and the natural formation of soap bubbles” says Bosse2.

LAVA applies a theory to work in a three dimensional space as a three dimensional phenomenon using the concept of minimal surface theory. They utlise the soap bubble analogy for the five boundary conditions (rings) which correspond to five points in the atrium of Customs House. This natural evolving

green void // LAVA

RESEARCH FIELDB.1,

Sydney, Australia 2008

RESEARCH FIELD 5

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

RESEARCH FIELDB.1.

LAVA brings us to a new premise of architecture2.

The purpose of architecture is to connect, bridge and weave things (ideas, events, people and spaces) that were previously disconnected2.

Like in the project, they treat the void of the atrium as the three-dimensional canvas and its five branches form and organic ‘weave’ through it. It perceives experience as it engages the human body - the mind, the body and the eye. It is believed that its extraordinary form evokes curiousity which compels one to look up, walk up, walk around, look across and down, to contemplate and appreciate its multiple visual effect2.

This research field is relevant for my project as the brief is to design a hammock/cocoon/net/canopy/web which has to be suspended. The idea of considering installation in part of the project inspires me to think even further than just the geometric form of the product.

RESEARCH FIELD 7

8 CASE STUDY 1.0

Computation design plays a big role to achieve the relaxed surface of Green Void. The base form of Green Void is made on Rhino, then manipulated using Grasshopper. Kangaroo plug-in for grasshopper is used to optimize the geometric form. It can set different anchor points and control the elasticity of the surface.

CASE STUDY 1.0B.2.

Sydney, Australia 2008green void // LAVA

CASE STUDY 1.0 9

:: =ALTERING ANCHOR POINTS

10 CASE STUDY 1.0

CASE STUDY 01 // ITERATIONB.2.

:: ORGANIC BASE GEOMETRY

:: KANGAROO-ING VORONOI

:: EXOSKELETON

:: SQUARE BASE GEOMETRY

CASE STUDY 1.0 11

:: =KANGAROO DEFORMATION

This experiment use series to make the holes and weaverbird stellate to achieve the post-effect after Kangaroo-ing the mesh.

12 CONCEPTUALISATION

ZHA design the chamber music hall for Johann Sebastian Bach’s chamber music masterpieces solo performances. The design is intended to enhance the multiplicity of Bach’s work through a coherent intergration of formal and structural logic3.

The form of the project is a suspended ribbon of translucent lightweight synthetic fabric (150g/m2) articulated by an internal steel structure, translates the intricate relationships of Bach’s harmonies into an architectural spatial condition. “The single continuous ribbon fabric swirls around itself, creating layered spaces to cocoon the performances and audience with in an intimate fluid space,” Hadid stated. The ribbon wraps around the stage, the audience and itself, creating different layered conditions by

bach chamber music hall // Zaha Hadid

CASE STUDY 2.0B.3.

Manchester, United Kingdom 2008

“alternately compressing to the size of a handrail then stretching to enclose the full height of the room”.3

In terms of its installation and materiality, there are a few things to consider. As the music hall must provide clear acoustic for those viewing the concert, it is a big challange for the desing to achieve the optimum condition for chamber music. The design needs to ensure that the reverberation time is not too long as this blurs individal notes so music can lose its intricacy. Also, it should not be too short as this will cause a lack of response for the performer and the music will sound overly dry. Hence, they explore various materials such as different fabrics, plastics and metals to ensure that the architectural elements would not take away the musical experience.

CONCEPTUALISATION 13


B.3.CASE STUDY 2.0 // REVERSE ENGINEERING

CURVE 02

CURVE 01

DIVIDE

DIVIDE

TWEEN CURVE

LOFT

COUNT

DIVIDE

SURFACE CP EVAL SRF

VECTOR 2 PT A X B

AMP

MOVE

MOVENEG

POINT VEC 2 PT SORT POINT

POINT

POINT


POINT ITEM

POINT

POINT

MERGE

ARC

INT CRVLOFT

SRFC SPLITAREA

SRFC =CP

EVAL SRFC

SHIFT

AMP MOVE

MOVENEG

POINT VEC 2 PT SORT ITEM

EDGES JOIN

PATCH


B.4.TECHNIQUE: DEVELOPMENT

:: BACH CHAMBER MUSIC HALL ITERATION

37 0.27 0.20 28 0.40 0.34 18 0.13 0.63 6 0.60 0.87 15 0.08 0.17

:: MESH AND KANGAROO DEFORMATION


:: DESIGN PROPOSAL


This prototype is experimenting on how a surface is pulled by the structure. In this early stage, I used wooden stick as the structure and plastic tape as the stretch fabric.

TECHNIQUE: PROTOTYPEB.5.


TECHNIQUE: PROPOSALB.6.

Both of the research field and case studies used are cocoon-like structure. They both explores the possibilities of form that may be produces by geometries using parametric design approach. The design proposal wants to enhance the value of the existing site by engaging the architectural structure on the wishing tree to the users around the labyrinth.

The Merri Creek Labyrinth is located in a linear park that runs the length of Merri Creek in Clifton Hill. It is easily accessible as it can be reached on foot by walking north along the Merri Creek path from Wright St, or south from The Esplanade. It lies in a hollow (Hewson’s Hollow) under a cliff, opposite a willow tree on the bank of the creek. The labyrinth was created by the community for the community over ten years ago. It is a significant environmental art installation, and is the only known Labyrinth in a Melbourne park. The cocoon will be hung on the tree near the wishing tree. The site level is higher than the bank of the creek which will prevent the cocoon being flooded. The trees are also load-bearing trees which will be strong enough to hold the structure of the cocoon.


Design computation allow us to achieve a huge amount of design possibilities. So many algorithms that can be combined together. However, it is not that easy as those algorithms also have some constraints in particular areas. I found it hard to have a mindset of letting the algorithm do the design process, but once a definition works it can produce various design possibilities. This subject made me realise that computer is a tool for us to reach any possible outcomes instead of just helping us producing things.

The research fields and case studies reminds me that design is not just about the form but also the material and installation. It is important to consider the site context during the design process. It affects the design in many ways such as size, material, shape and function. Material should come early in the design process as it will definitely affect the design flexibility.

B.7.LEARNING OBJECTIVES AND OUTCOMES

REFERENCES

1. Baraona Pohl, Ethel. “Green Void / LAVA” 16 Dec 2008. ArchDaily.Accessed 29 April 2015. <http://www.archdaily.com/?p=10233>

2. http://www.sydneycustomshouse.com.au/whatson/documents/AnuradhaChatterjeeessayonGreenVoid.pdf

3.Cilento, Karen. “Chamber Music Hall / Zaha Hadid Architects” 08 Jul 2009. ArchDaily. Accessed 29 April 2015. <http://www.archdaily.com/?p=28250>

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Limanto metaniawati 618475 partb