Part b antony maubach 328962

[DESIGN JOURNAL PART B]

ANTONY PAULO MAUBACH 328962

STUDIOAIRSTUDIOAIRSTUDIOAIR STUDIOAIRSTUDIOAIRSTUDIO STUDIOAIRSTUDIOAIRSTU STUDIOAIRSTUDIOAIRST STUDIOAIRSTUDIOAIR S T U D I O A I R S T U D I O A I S T U D I O A I R S T U D I O S T U D I O A I R S T U D I S T U D I O A I R S T U D S T U D I O A I R S T U D S T U D I O A I R S T U S T U D I O A I R S T S T U D I O A I R S T S T U D I O A I R S S T U D I O A I R S S T U D I O A I R S T U D I O A I R S T U D I O A I R

“options are evaluated, tested and selected.” (AIA, 2013)

“develop a particular technique or tectonic system using computational methods through case study analysis, parametric modelling & physical prototypes.”

[LAGI]

SiT TEAM

SOCIAL INTERACTION TERMINAL

Team SiT: (Left to right) Jo De Klee, Antony Paulo Maubach + Nick Love

“The Land Art Generator Initiative (LAGI) brings together artists, architects, scientists, landscape architects, engineers, and others in a first of its kind collaboration. The goal of the Land Art Generator Initiative is to see to the design and construction of public art installations that uniquely combine aesthetics with utility-scale clean energy generation. The works will serve to inspire and educate while they provide renewable power to thousands of homes around the world.� (Land Art Generator, 2014) In response to the 2014 Copenhagen LAGI design competition brief, two classmates and I have formed a design collective with the ultimate aim of submitting an informed design proposal. The team name reflects our intent to create a public space that promotes social interaction, education & sustainable discourse.

1. Oscillating Playgrounf Equipment

“A NATURALLY OSCILLATING MESH SYSTEM AIDED BY HUMAN INTERACTION CREATING ELECTRICAL ENERGY THROUGH KINETIC MO-

2. Jetty free to move up and down

3. Metamorphosis 2, M. C. Escher, woodcut, 1939/40

“SHAPES ARRANGED TO FILL A PLANE, WITHOUT ANY GAPS, ACCORDING TO SPECIFIC RULES.”

4. Metamorphosis 1, M. C. Escher, woodcut, 1937

[TESSELATION] Tesselation is one method of designing that can be powerfully enhanced through parametric design. Grasshopper automation allows quick and easy variation of tesselated shapes in stark contrast to traditional hand drawing or CAD techniques. It will be shown that this has tremendous implications for panelisation, joinery, the use of repetitive building elements and their function in the makeup of complex surfaces.

As such, it is a particularly compelling, relevent & popular area of study. Projects such as ‘Voussair Cloud’ by IwamotoScott (2008), ‘Spanish Pavillion’ by Foriegn Office Architects (Expo 2005) & ‘EXOtique’ by PROJECTiONE (2009) have utlised tesselation with succesfull design outcomes achieved and have therefor been analysed as precedence examples herein.

This chapter will first explore the potential of tesselation through Case Study 1.0 ‘Voussair Cloud’ by IwamotoScott (2008). This study involved exploring and expanding on a grasshopper defintion provided by The University of Melburne.

Case Study 2.0; the reverse engineering of ‘Spanish Pavillion’ by Foreign Office Architects (Expo 2005), will then be shown. This project was chosen for its use of tesselated elements and is the first major grasshopper project I have conducted with a formal end form in mind, in contrast to previous experimentations. As such, this phase of the design begins to include more formal considerations such as scale, habitability, constructability (fabrication)- all in the context of the LAGI design competition.

In presenting the aforementioned studies, and subsequently developing those techniques that worked succesfully further to the design prototype and proposal stage, it will be argued that tesselation is an important part of architectural parametric design and has strong potential to be used in our team’s LAGI design competition entry- in particular in combination with panelling on a surface.

Modern paramtetric design is powerful in this field of study since it allows repeated elements to function as both ornamental and sturctural elements, due to the precition at which individual elements can be fabricated. This means that rather than placing ornamental geometries onto a structural surface, an ornamental geometry can also be in integrated into the structural system. As such, I aim to create a tesselated system that is both structural and ornamental.

“I aim to create a tesselated system that is both structural and ornamental.”

[HISTORY] It is perhaps important to realise that whilst tesselation is popular in modern parametric design (see aforementioned examples), it is by no means a new concept.

For example, Classical Roman architecture exhibited many interiors treated with tesselated elements -often with mosaic (Smith et al., 2009, p.183). In addition, the 9th century ‘Alhambra’ Islamic palace in Grenada features tesselated decorations such as ‘muqarnas’ (stalactite ceiling decorations). Tesselation in the past was not only restricted to ornamentation, for example the geometrically repetitive placement of columns in the Alhambra can be seen as a form of structural tesseltation, as can Gaudi’s repetitive curved walls seen at Park Guell (1900-1914) and self supporting curved facade at Casa Mila (1906-1910) in Barcelona.

4. Muqarnas - Alhambra, Grenada, Spain, 9th Century.

5. Muqarnas - Alhambra, Grenada, Spain, 9th Century.

5. Tesselation - Alhambra, Grenada, Spain, 9th Century.

6. Park Guell, Antoni Gaudi, 1900-1914, Barcelona

7. Casa Mila, Antoni Gaudi, 1906-1910, Barcelona

[PRECEDENTS]

‘VOISSOIR CLOUD’ IWAMOTOSCOTT (2008)

Columns are traditionally created from heavy modular elements. This project utilises the fabrication accuracy of computational architecture to create 3D ‘petal’ elements •STRUCTURAL TESSELATION that are formed by folding wood laminate •PURE COMPRESSION •ULTRA LIGHTWEIGHT MATE- along curved elements. Similarly, our deRIAL (THIN WOOD LAMINATE) sign collective hopes to be able to use such •VAULTS fabrication accuracy to our advantage when •SURFACE TENSION prototyping. Each block fits tightly against the next, allowing forces to be transferred through the structure via adjacent dished faces that are cable tied together. The computational strategy is based on the notion that the curvature of each element is dependent on surrounding petals.

“SRUCTURAL AND MATERIAL STRATEGIES ARE INTENTIONALLY CONFUSED.” (Iwamotoscott, 2014)

‘EXOTique’ PROJECTiONE (2008)

•STRUCTURAL TESSELATION • LOW BUDGET ($500 USD) •WHITE ACRYLIC + POLYSTYRENE •NON PLANAR GEOMETRY INFORMS MATERIAL CHOICE •FABRICATION FOCUS (5 DAY PROJECT) •JOINERY •PATTERNING FOR LIGHTING

‘SPANISH PAVILLION’ FOREIGN OFFICE ARCHITECTS (2005)

•FACADE COVERING • AGGREGATION OF REGULAR FIGURES •6 DIFFERENT BLOCKS •HEXAGONAL BASE •TESSELATION//BIOMIMICRY •INFLUENCED BY ISLAMIC RELIGOUS ORNAMENT

[B2 CASE STUDY 1.0]

➤IwamotoScott-VoussoirCloud

[DESIGN]

“Pure compression coupled with an ultra-light material system. Vaults rely on each other and the three walls to retain their pure compressive form. Each vault is comprised of a Delaunay tesselation.”

“Design draws from the work of Frei Otto and Antonio Gaudi, who used hanging chain models to find efficient form.”

“We used both computational hanging chain models to refine and adjust the profile lines as pure catenaries, and form finding programs to determine the purely compressive vault shapes.

[MATERIAL]

“The three dimensional petals are formed by folding thin

wood laminate along curved seams. The curve produces

an inflected and dished form that relies on the internal

surface tension of the wood and folded geometry of the

flanges to hold its shape.”

[COMPUTATIONAL STRATEGY] •curvature of each petal (dished shape) dependent on adjacent voids •plan curvature at each at each petal edge defined by its end points and a set of tangents with neighbouring modules based on the centroid of the adjacent void •sectional deformation proportinally related to plan curvature - amount the petal dishes in section varies proportionally with the plan curvature at each edge •petal edge plan curvature a function of the tangent offest - the more the offset, the greater the curvature •petals flatter (lesser offset) towards the base and edges where they gain density and connect to purely triangluated cells. Petals more curved (more offset) at the top to create the dimpled effect on the interior

[CONSTRUCTION + FABRICATION]

Batch processed from 3d Rhino model into 2D gemetry (unfolding) for laser cutting. Cable tied together.

A1

A2

Stnrand A: original voronoi cloud model with settings: A2: z force changed to 78

Stnrand A: original voronoi cloud model with settings: X,y,z forces set to 0. slider a 0.42, slider b -7.16

A3

X,y,z forces set to 0. slider a 0.42, slider b -7.16

Stnrand A: original voronoi cloud model with settings: X,y,z forces set to 0. slider a 0.42, slider b -7.16 A3: x50 y50 z78

A1: no changes from original voronoi cloud model

B1

B2

B3

C2

C3

C4

D3

D4

D5.

E4

E5.

G1

G2

F1

G3

ITERATIONS ITERATIONS ITERATIONS ITERATIONS ITERA

A4

Stnrand A: original voronoi cloud model with settings: X,y,z forces set to 0. slider a 0.42, slider b -7.16 A4: slider A changed to 0.42

A5

A6

Stnrand A: original voronoi cloud model with settings: X,y,z forces set to 0. slider a 0.42, slider b -7.16 A5: slider A to 0.85

B4

B5.

C1

C5.

D1

D2

E1

E2

E3

F2

F3

F4.

G4

G5

G6.

SPECIES A B

PARAMETERS CHANGED

•angle of walls •thickness of walls •x,y,z forces (Kangaroo)

•number of base points •radius of piped edges •radius of spheres at intersection of edges •geometry of piping (smooth/

C

•height •x,y,z forces (Kangaroo)

D

•perimeter geometry •x,y,z forces (Kangaroo) •angle of walls

E

•weaverbird (mesh plugin) components

F

•hoopsnake (iterative plugin)

G

•hoopsnake (iterative plugin)

[SELECTION CRITERIA]

•SLIDER SYSTEM

HIGH

LOW

OCCUPIABLE

POINTS FOR BUOYS

TYPICAL

ATYPICAL

FABRICATION OSCILLATION CAPABILITY RELEVANCE TO FIELD OF STUDY In order to assertain what iterations where succesfull, we first had to decide on a selection criteria. Since we are now working as a team of three, it was important to articulate our design direction to one another so that each team member was working towards the same goals. This meant agreeing on a selection criteria that was able to somehow describe what we as designers often feel intuitively but often do not have to communicate during the concept design phase because of the individual nature of most design studios. We realised that criteria such as ‘originality’ or ‘aethetics’ were too broad and subjective, and instead we related our selection criteria to aspects of the LAGI design that we had been developing. This included an occupiable structure that could oscillate and attach to buoys in the water in order to harvest hydrokinetic energy. The fabrication slider refers to the ability to transfer the design into a real world prototype. The typical/atypical slider (the most subjective) is linked to the expected outcomes of experiments, with expected outcomes often but not always resulting in typical forms.

E4

B1

G6

G6

B4

B5

G4

“how can parametric des of an osscilating mesh?�

sign aid in the fabrication

[OUTCOMES]

E3

Throughout the iterative process is became more and more clear that the mesh structures (E3 & E4) exhibited the desired properties in accordance with our design criteria. In many ways, a mesh catenary structure is a natural response to a design that calls for osscilation.

One aspects of the design that is currently less developed and in need of further exploration is fabrication- how can parametric design aid in the fabrication of an osscilating mesh? In addition, the typical and expected results that have resulted from weaverbird experimentations require further experimentation. In addition, the mesh form is essentially a giant surface.

Therefore, since my field of study is tesselation it now makes sense for me to look into panelling tesselated shapes onto curved surfaces.

[B3 REVERSE ENGINEERING FOREIGN OFFICE ARCHITECTS SPANISH PAVILION 2005

➤tesselation/biomimicry

E G] “The source of inspiration for the covering of the facade were the Islamic celosias, the Gothic rose windows and late-Gothic insets of the catherdals of Toledo, Seville and Segovia.”

“A gemoetrical pattern arises from the aggregation of

regular figures that form a uniform design in variable scale.”

“The challange met by FOA was to find an irregular design that would create a fluid pattern without being repeditive. The skin of the building is formed by 6 different blocks, that rise from a hexagonal base (like most of the decorative elements in Gothic and Islamic art).”

http://architecture-library.blogspot.com.au/2013/12/spanish-pavilion-expo-2005-haiki-aichi.html

[PROCESS]

plane (eg side length number of sides

angle between sides

1. Create basic hexagon shape (side length and angle are parametric and based on a centrepoint)

centr

2. Offset hexagon to create inner edge (parametric)

3. Extrude hexagon (parametric)

4. Tesselate hexagon on planar surface (width and height of planar surface is parametric. So to is the number of hexagons applied to the planar surface)

5. Adjust hexagon angle (

g xy)

distance

BASE GEOMETRY

distance

OFFSET

EXTRUDE

6. Cap hexagons as required

distance x

CAP

no

repoint

(parametric)

yes

APPLY GEOMETRY TO A SURFACE

distance y

7. Adjust base geometry, offset, extrude and cap parameters as required

8. Adjust width and height of wall surface as required (surface size is parametric)

[UNEXPECTED RES

SULTS]

[EXTENDING THE D

DEFINITION]

[B4 TECHNIQUE DE B2 RESULT

[ALGORORITHMIC STRATEGY]

LAGI PROJECT

EVELOPMENT] [SELECTION CRITERIA]

HIGH

LOW

OCCUPIABLE

•SLIDER SYSTEM

POINTS FOR BUOYS

TYPICAL

ATYPICAL

FABRICATION OSCILLATION CAPABILITY RELEVANCE TO FIELD OF STUDY Explorations thus far have lead our team to develop an algorithmic strategy (see left). We aim for the overall form to be an organic oscillating mesh type structure. This mesh will be tesselated with gometric components that will give the surface of the overall form texture and atmosphere. As such, the design currently operates at two distinct scales. We decided to focus on the overall form of the structure for B4, and as such this section focuses on organic mesh forms.

A1

A2

A3

A4

B1

B2

B3

B4

B5

B6

ITERATIONS ITERATIONS ITERATIONS ITERATIONS ITER B7 B8

C1 C2

C3 C4

C5 D1

D2

D3

D4

E1

E2

E3

E4

E5

E6

E7

E8

E9

ITERATIONS ITERATIONS ITERATIONS ITERATIONS ITERA E10 E11

E12 E13

E14 E15

E16 E17

E18

E19

[OUTCOMES]

Series E is developing into a succesful architectural form in accordance with our seleciton criteria. This form (for example E8) distinguishes itself due to the clear openings for the buoys, the clear entrance and exit ways and its potential as a mesh to osscilate. In addition, Particular areas of the form are beginning to resemble spaces that match our team’s ideas for the program of the space; for example an ampitheatre, jetty, swimming area & areas that promote social interaction and discussion. The next challenge is to implement our algorithmic strategy on series E by apply panelling to the surface and looking at areas at a zoomed in scale. This will help create spaces that are more atypical in accordance with our selection criteria. In addition, the model must also be fabricated. This will be particularly difficult due to the osscilation characteristic that we require of the form.

E8

SOCIAL INTERACTION TERMINAL

SiT - PROTOTYPES SKETCH MODEL EXPLORATION

[B5]

SOCIAL INTERACTION TERMINAL

SiT - P R O T O T Y P E - 1

1

B O U Y & S T R U C T U RAL SKELETON

SOCIAL INTERACTION TERMINAL

SiT - P R O T O T Y P E - 2

2

BALL AND SOCKET SKELETAL SYSTEM

SOCIAL INTERACTION TERMINAL

SiT - P R O T O T Y P E - 3

3

MESH DRAPE ON S T R U C T URAL S K E L E T O N

SOCIAL INTERACTION TERMINAL

SiT - P R O T O T Y P E - 4

4

CABLE TIE MESH

SOCIAL INTERACTION TERMINAL

SiT - P R O T O T Y P E - 5

5

RESIN MOULD

SOCIAL INTERACTION TERMINAL

SiT - P R O T O T Y P E - 6

6

BALSA & FOAMBOARD WORKING PROTOTYPE

[PROTOTYPE OUT

The link between the design and materiality was evident throughout the prototyping phases.

The resin mould failure exemplified this notion. This type of material was inapproriate for such a tension catenary structure. Our group initially struggled with finding a way to computer fabricate something that has an oscillating quality. We tried to 3D print a ball and socket system to highlight the oscilating structural system, but after submitting our design to the fab lab we found out the following week that it could not be printed. This faillure was a learning exercise in itself and made us recognise our knowledge gap between design and fabrication as well as the fact that one should always submit printing very early. Throughout the design phase our group discussions have often involved the aetshetic and experiential concerns of the structure, but in hindight we could have put more emphasis on fabrication. It was interesting to study the ‘Exotique’ - Projectione (2008) precedent design, which had a strong emphasis on fabrication as a core design concern. This is something we could emulate, rather than focusing on pretty renders which is typical of more standard non-computastional design studios. That being said I believe the cable tie mesh performs structurally similarly to our desired mesh in that it is semi-rigid and oscilattes, and the design direction for part C has been set. Importantly, the cable tie mesh incorporates both a mesh and tesselated elements within it’s structural form which is in line with our algorithmic strategy.

TCOMES]

[SELECTION CRITERIA]

HIGH

LOW

OCCUPIABLE

•SLIDER SYSTEM

POINTS FOR BUOYS

TYPICAL

ATYPICAL

FABRICATION OSCILLATION CAPABILITY RELEVANCE TO FIELD OF STUDY

SiT

SOCIAL INTERACTION TERMINAL

ANTONY PAULO MAUBACH 328962 NICK LOVE 542511 JOSEPH DE STUDIO AIR SEM 1 2014 PART B- THURS 6-9PM W/ FINN+VIKTOR

SEASONAL

SOCIAL INTERACTION TERMINAL

SiT - P R E C E D E N T & C O N T E X T

PUBLIC LESUIRE -SITTING-STAYING-PEDESTRIAN

SOCIAL INTERACTION TERMINAL

SiT - S O C I A L C O N T E X T

A SYSTEM THAT EDUCATES AND PROMOTES SUSTAINABLE DISCOURSE

SOCIAL INTERACTION TERMINAL

SiT - E N E R G Y

MAIN FORM

SYSTEMS

COMPONENT SUBSYSTEMS

SOCIAL INTERACTION TERMINAL

EDUCATION

L E ISURE COMMUNITY SURFACE

JETTY

OSCILLATION SOCIAL HUB

ENERGY SYSTEM AQUATIC AMPETHEATRE

SiT - D E S I G N

INTENT

ORGANIC FORM

SOCIAL INTERACTION TERMINAL

SiT - S T R A T E G Y

“A NATURALLY OSCILLATING MESH SYSTEM AIDED BY HUMAN INTERACTION CREATING ELECTRICAL ENERGY THROUGH KINETIC MOTION. A SYSTEM ACTING AS A HUB FOR LEISURE THAT PROMOTES SUSTAINABLE DISCOURSE. ”

TESSELATED COMPONENTS

SOCIAL INTERACTION TERMINAL

SiT - S T R U C T U R A L C O N S I D E R A T I O N S

SOCIAL INTERACTION TERMINAL

SiT - C O M P O N E N T S

PIEZO CONTACT PAD

CONTACT TOY

FORCED OCCUPANT CONTA CT

V O L UNTARY O C C U P A N T CONTA CT

SMALL SCALE TURBINES NO OCCUPANT CONTACT

SOCIAL INTERACTION TERMINAL

SiT - C O M P O N E N T S O L U T I O N SiT -

COMPONENT

S T RA T E GY

SiT -

COMPONENT S T RATEGY

SOCIAL INTERACTION TERMINAL

SiT - D E S I G N P R O P O S A L

SiT -

DESIGN PROPOSAL

SiT -

DESIGN PROPOSAL

SiT -

DESIGN PROPOSAL

SiTTHANK YOU

REFERENCES: http://ad009cdnb.archdaily.net/wp-content/uploads/2009/01/1068949872_bad-julien-de-smedt-01.jpg http://greyfog.files.wordpress.com/2010/02/17.jpg http://ad009cdnb.archdaily.net/wp-content/uploads/2009/01/1068949872_bad-julien-de-smedt-01.jpg

SiTTHANK YOU

[B7]

LEARNING OBJECTIVES & OUTCOMES

Feedback from the crit included the fact that we had too broad of a focus and had too much going on. It was suggested that we could narrow this focus by concentrating on specific areas of the structure. For example by turning out attention to segments of the structure by designing a jetty or an amphitheater, rather than thinking of the structure as a single whole. Segmenting the mesh into functional areas could work very well with the algorithmic strategy we have in place, since different areas could be segmented and paneled differently.

This will create differing character and senses of place within the site, which will transfer to a differing experiential journey through the site. I am interested in playing with the scale of tessellated elements in different segments of the mesh. In addition, we were also encouraged to create some areas of the mesh that are solid and some that move (for example the jetty). Furthermore, we were encouraged to incorporate the structural system within the tessellated elements rather than having a seperate skeletal system to support the mesh. This could lead us to study the joinery between tessellated elements which could utilise computational fabrication techniques.

[B8 ALGORITHMIC SKETCHBOOK] ➤lofting + stacking wk 4

[WEEK 5.0] VECTOR FIELD ➤point charge

REFERENCES Cf. AIA National and AIA California Council, Integrated Project Delivery: A Guide (AIA 2007 [cited 28 February 2013]); available from http://www.aia.org/groups/aia/ documents/pdf/aiab083423.pdf.

(Land Art Generator, 2014) website http://www.landartgenerator.org/ accessed 03/05/14 (Iwamotoscott, 2014), accessed 04/05/14 from http://www.iwamotoscott.com/ VOUSSOIR-CLOUD (Smith et al., 2009), Architecture Classic and Early Christian’, accessed 02/05/14 from http://www.gutenberg.org/files/29759/29759-h/29759-h.htm (Projectione, 2014), accessed 28/04/14 from http://www.projectione.com/exotique/ )Digiitalarchfab, 2014), accessed 28/04/14 from http://digiitalarchfab.com/portal/ wp-content/uploads/2012/01/Spanish-Pavilion.pdf