The Shape of Wine - Studio 20, 2020

The Shape of Wine.

Progress Folio The Shape of Wine 2020 SM1 George Robert Henry Avraam

Contents.

Contents.

1

Timber Grid Shells, RC Shells & Case Study Introduction 08 Key Concepts

12

Design Exploration Active Bending Grid Shells Physical Models

14

Reflections & Key Developments

16

Design Exploration Digital Design

17

Computation Design Process

18

Critical Reflection on Design & Future Outcomes

23

Key Concepts

26

Initial Digital Explorations

28

Initial Computation Design Process

29

Improved Computation Design Process & Structural Analysis

32

Saville Garden Grid Shell by Glenn Howells Architects, 2005

36

Geometry Generation

37

Recreating the Form Finding

38

Karamba Analysis of Deformation

39

Structural Axo Layers of Roof & Edge Connections

40

Gridshell Connections & Shear Bracing

41

Roofing Layers & Structure Breakdown

42

Variations - Iterations of Form

43

Plan & Elevation

44

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The Shape of Wine: Conceptual Design & Mid-semester Review Context Yarra Valley

51

Competitor Profiling

55

Observations 55 Opportunities

55

Local Winery Size Comparisons

56

Design Precedents

57

Initial Design Response & Explorations

62

Mid Semester Presentation & Reflection

65

Site Principles

70

Vantage Points

70

Access & Movement

71

Landscape Features

72

Views & Vistas

73

Site Plan

75

First Floor

77

Ground Floor

79

Glamping Concept Sketches

86

Events Concept Skectches

86

Glamping & Events

87

Experience

88

Reflections & Development Moving Forward

94

3

4

Span & Structure Initial Design Response (Post Mid Semester Review)

100

Initial Structural Framing Ideas

142

Developed Overall Structural Framing System

144

General Arrangement

146

Detailed Structural System

147

Structural Density Optimisation Process

160

Final Review Competitor Profiling

168

Key Opportunities

169

Observations 169 Opportunities

169

Design Concept

172

Site Principles

176

Vantage Points

176

Site Principles

177

Access & Movement

177

Site Principles

178

Landscape Features

178

Site Principles

179

Views & Vistas

179

Computational Design Work Flow

196

Structural Design Strategy

197

Form Optimisation Process

198

Form Optimisation Outcomes

199

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Structural Optimisation - Minimising Materials

201

Structural Optimisation - Minimising Materials

202

Structural Optimisation Outcomes - Minimising Material

204

Selected Design - FEM Analysis from Optimisation Process

206

Initial Structural and Construction System

208

Typical Ground Connection

209

Tectonics and Detailing

210

Typical Wall Detail - Mero to Concrete Panels

210

Skylight Connection Detail

211

Footing Connection Detail

212

Overall Construction Means & Methods

214

Standardisation of Structural Framing

216

Cladding Cast on Site

217

Reflection 218

5 Appendices.

Appendix A

References Written

222

Appendix B

Glossary

223

1 Introduction.

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Introduction

Working as an Urban Designer and studying the Masters of architecture has opened up a world of different tools which can assist designers in pushing the boundaries of what a design can be and the technologies which can aid our ideas and visions.

As a designer I’m always looking to hone my skills in techniques in methods which can improve my own work flow and expand knowledge of understanding the functions of my design. Computation design tools in the past have provided me with the tools to effectively create designs which can be changed and iterate over time. In saying this never have I had to engage with such free-formed structures which engage with the physical and structural simulations like we have been exploring so far.

George Robert Henry Avraam

Its often hard to realise the feasibility of our designs in terms of structure and whether these can be realised in the real world. Studio 20, ‘The Shape of Wine’ searches to engage with these issues and promote an understanding of an analysis of freeform structures. It highlights how we can take advantage of light structures and freeform design as well as deal with construction program and structure. Through the use of parametric tools such as Grasshopper, physics simulators such as Kangaroo and structural analysis through Karamba 3D this studio engages with how to turn a virtual design into a structure which can be realised. As students we can analyse, evaluate our free form and form resistant structure and develop our knowledge and skill set as designers.

Masters of Architecture Student & Urban Designer

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1.1 Timber Gridshells Figure 1.

Multihalle & Restaurant, Bundesgartenschau, Mannheim Germany,1975 by Fei Otto (Image Credit: IOn Road. https://gezeiten-wie-diese.de/multihalle/)

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Key Concepts

Pictured left is one of the most pioneering gridshell structures of the 20th century designed by Frie Otto, it was charting new territories and was twenty times larger than any gridshell built prior, with even longer spans and rise (Chilton & Tang, 2016).

A timber grid shell is a spatially curved framework of rods and rigid joints. These are light weight structure generally and are formed from a series of laths which are evently spaced apart between each of the nodes. The structure of timber grid shells utilise the principles of reverse hanging nets which when inverted provides a grid structure which is free of moments (Chilton & Tang, 2016).

Gridshells are often fabricated as flat dicrete members and then once joint at the nodes can be deployed into three dimentional forms where the nodes can accomodate movement and stresses therefore they take on the identity of post formed structure. In saying this preformed and prefabricated members can also form a timber gridshell. In terms of structure and strength gridshell the overall form of the structure is designed to maximise the structural potential and minimise the amount of material used to construct the grid through minimising bending, shear and torsions. They work through creating a caternary shape which aims to induce only compressive forces within the shell.

Figure 2.

Multihalle & Restaurant, Bundesgartenschau, Mannheim Germany,1975

by Fei Otto (Image Credit: Institute for Lightweight Structures and Conceptual Design (ILEK), University of Stuttgart)

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Design Precedents

Figure 3.

Toledo Gridshell 2.0 by Diarc & Suor Orsola Benincasa University in Naples (2014) Image Credits: Sofia Colabella

Size: Structure covers an area 75 m2 (156 m2 flat gridshell surface) (Chilton & Tang, 2016) The structure in Naples aligns with a similar form which I want to achieve within the stage design through the use of symmetry, consistent support points at corners and the ability to provide visual connection outwards to the surrounding spaces through the side openings The patterning created by the cross bracing is also effective in maintaining the symmetry within the design.

Figure 4.

Cullinan Studio, The Weald and Downland Gridshell, Singleton UK (2002) Image Credits: Gabriel Tang & Richard Learoyd

Figure 5.

Polydome by Julius Natterer at the EPFL Ecublens Campus, Lausanne, Switzerland (1991) Image Credits: Julius Natterer

Size: 14-16m width & 50m length (Chilton & Tang, 2016)

Size: 27.5m radius spherical Profile, 25 Ă— 25 m plan (Chilton & Tang, 2016)

Although a significantly longer structure Cullinan Studio has show the ability of timber gridshells to create larger span areas and long lengths of alternating and varying forms.

Glue-laminated tension beams linked the corners of the ribbed shell Ribs were fabricated from 27 Ă— 120 mm boards nailed together to give a total rib depth of 108 mm (Chilton & Tang, 2016).

This form although not entirely applicable to the stage, its in its ability to create this sense of dynamic movement within the structure as in the interior the gridshell members curve upwards on an angle creating a gesture of motion within a static form.

The form of this structure isotropic forming symmetrical patterning on the interior and opening evenly on each side of the design. A stage design lends itself to a structure an anisotropic design with higher openings at certain ends. Despite this ability to remain symmetrical at parts is important in the design intent of the stage as balance in form and evenness on both sides is important in how the form is viewed.

Another takeaway from this design is the cladding system which is a modular timber systems which can be added to the exterior and also the ability to open certain parts to light. This can be brought into the stage design when further developing the covering of the structure.

The rib density is greater on the dome diagonals to provide stability which can be a key take away where density can be increased in areas of greater stress rather than uniform bracing across the structure.

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Design Exploration Active Bending Grid Shells Physical Models Iteration 1 ·

Iteration 2

Iteration 1 provided narrow opening at the front of stage deeming ineffective form for the function

·

Iteration 2 was an asymmetrical design which created two primary openings through the movement of support points to the right hand side, although this creating a more tunnelled effect and creating primary and secondary openings the asymmetrical design is no favourable to the stage design outcome.

1.1 Iteration 2 [Insert text here]

Support Points & Vector Forces

Cropping Grid

1:400 (A3)

Plan Elevated Gridshell Model

1:400 (A3)

Support Points & Vector Forces

Cropping Grid

1:400 (A3) 1:200 (A3)

0

2

5

10

0

2

5

10

0

2

5

0

Front Elevation

Left Elevation

Back Elevation

Right Elevation

2

5

10

Front Elevation

Iteration 3 · · ·

0

1:200 (A3)

5

10

Left Elevation

· ·

0

2

Back Elevation

5

10

Right Elevation

Cropping Grid

Plan Elevated Gridshell Model

1:200 (A3)

1:200 (A3)

Iteration 4 was an alternative to Iteration 3 but exploring a change in support points using the same cropping pattern.

Through Moving the support points on each side forward, it created a form which had unstable bending and deflection within the side profiles and opening, forming pinching points at the top of each arch, which would be points of structural weakness.

Support Points & Vector Forces 1:200 (A3)

2

1:200 (A3) 2

Iteration 4

Iteration 3 through cropping of the gridshell on the corner it allowed for a wider frontage opening.

Compared to previous iterations with support points situated to the rear corner it allows two side entrances to the stage.

This form proportionally is symmetrical and balanced and it has the ability to project acoustics outwards.

Support Points & Vector Forces 0

Plan Elevated Gridshell Model

1:200 (A3)

10

5

10

0

2

5

10

0

2

5

0

Front Elevation

Left Elevation

Back Diagonal Elevation

Cropping Grid

Plan Elevated Gridshell Model

1:200 (A3)

1:200 (A3)

10

Front Diagonal Elevation

2

5

Front Elevation

10

0

Left Elevation

2

5

10

0

Back Diagonal Elevation

2

5

10

Front Diagonal Elevation

DATE: 06-08-2020

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Iteration 5 ¡ ¡

Iteration 5 focused on a more complex cropping pattern to try and refine the secondary and opening points within the model.

I felt this exploration was effective in creating a more elegant and open stage at the front of the stage, although pinch points and structural weakness occurred within all openings which should be resolved further.

Support Points & Vector Forces 1:200 (A3) 0

2

5

Front Elevation

DATE: 05-08-2020

10

Cropping Grid

Plan Elevated Gridshell Model

1:200 (A3)

1:200 (A3)

0

Left Elevation

2

5

10

0

Back Diagonal Elevation

2

5

10

Right Elevation

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Reflections & Key Developments

Process · ·

·

·

Reflection

The model created through a 20cm x20cm grid with divisions of 40x40 in each direction (0.5cm intervals) The primary means of altering form was to control the movement of support points, testing different potions and therefore the force of bending on the gridshell.

The grid shell remained the same overall dimension although the cropping of the grid of structure allowed for varying forms Creating different iterations and representing these in plans, elevations and axo views of the model allowed an analysis of how support point position and cropping influenced the structure

·

·

·

Generally a symmetrical design was favoured to those asymmetrical as this allowed for better functioning as a stage design There was a focus on creating a cropping which opened particular areas of the stage form, this is a strategy I felt was successful in creating the frontage for the stage which can be developed further digitally Grouping support points also allowed for tethering of design within particular locations and therefore providing bending and folding within desired areas of the design

Further Development · · ·

·

· · · ·

Trimming the opening of the structure after it has been bent into place as a design exploration

P rogression and development will focus on materiality and the bracing profile of the structure bracing Design within a context which has varying typography in order to integrate the design within a context Refinement of the form with a focus on analysis which reduces buckling and pinch points where structural weaknesses occur Look at the deflection make sure the arches are continuous and there’s not a deflection point, a continuous arch is far more efficient.

Consider straight edge beams along a particular rather than points as this is structurally more efficient also Rotating the shell 45 degrees can describes the surface better, it allows for more density in form.

Consider trimming after the shell is formed (similar to Bini shells) as a concept which could further be developed Develop in digital forms to remove the limitations of paper and create more accurate form making

Continuous arch allows for less deflection and points of weakness in the structure

Consider straight edge beams rather than individual points as realistically this is how the structure will be resolved accurately

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Design Exploration Digital Design

Properties

Objectives

·

·

· · ·

·

Generally symmetrical in shape allowing equal views options from the crowd to the stage One singular primary opening which opens the performer to the stage Secondary openings Create a semi enclosed form which provides some degree of protection to the electronic equipment and artists 20m - 60m in width depending on the stage requirements and size of audience

· ·

·

Creating a structure which provides these primary and secondary openings for functional purposes Create an semi enclosed space Has the ability to project sound outwards from the stage area to allow effective listening Reduce in efficient bending moments, and efficient use of structure to fulfil the other objectives

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Computation Design Process

Kangaroo Solver

·

The solution is solved representing the bending of the timber gird

· · ·

Support points are defined The trimming curve is also defined (see below) The curve which the kangaroo will solve onto is also defined

Y laths

Set Initial Curve

·

Supports & Cutting

Set initial curve in which laths will be created within X Laths

Diagonal Laths

· · ·

Create a grid of points and isolate those which are within the boundary for the curve using ‘In Curve’ Join the points in X&Y direction to form a polyline Diagonals were create through shifting the point grid by 1 and culling both rows of the grid to form a line connection between two corner points of the original grid

Trim Grid

·

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The grid of lines (X, Y and Diagonal) are then trimmed with a defined intersecting curve and the excess segments are culled

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Y A

R

R

A

R

I V

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R

S

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N

D

R

I

D

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I

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H U T S O

N K B A

Q U E E N S

B R I D G E

S T

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Critical Reflection on Design & Future Outcomes Design Intent Overall the design was successful in creating a semi enclosed space within an area which is often under utilised. The design intent was to create a dynamic singular point for the stage opening. Working with the ideas of symmetry and the man made typography of the site.

The form both allows primary and secondary openings, one which opens to the front stage area with secondary passages to allow people to enter and leave the structure.

Discretised Mesh

·

The is opportunity to further improve the design though matching the design intent with the structure of the building, an emphasis of the singular point or ‘spine of the form could be realised through realigning the grid 45o along the spine of the building.

Discretising mesh create from a boundary curve converting nurb to mesh

Cull Pattern

·

Inverted Cull Pattern

·

Cull patterning the mesh so each corner point of the discretised mesh can be obtained

Invert the Cull pattern to select the alternate pattern omitted previously

Another exploration could be extending the stage point over the audience further to Design Realisation & Technical Improvements Although the diagonal bracing was achieved in Grasshopper since the bracing was only realised in one direction, it lead to an non symmetrical solution within Kangaroo as one side was more supported than the other. This design therefore wouldn’t convey our design intent.

The formation of the bracing could be realised in other ways which is more efficient in creating the form without the deformations which occurring maintaining the symmetrical nature of the design.

List Item + Line

·

Do the same with the inverted cull pattern to achieve a ‘criss cross’ bracing system

List Item + Line

·

One method includes having the same input curve and creating a nurbs surface from this and the discretising this into a square mesh. From here you ware able isolate each corner point of the discretised mesh using list item and therefore produce the gridshell structure and bracing in both directions

Use List Item to identify each corner point as seperate points and connect with a line

·

Creating the gridshell select the two points in the x and y directions and join with lines

Trim Grid

(See Figure Right) Structural Improvements

List Item + Line

· Full Grid

Trim the full grid to the desire shape using curve - curve intersection

Although the design is isotropic it was noted that the bracing could be anisotropic. This could produce a series of interesting patterning within the structure as well as minimising material usage.

This can be achieved through the new means of forming the gridshell using a discretised mesh and culling these bracing lines from a cull pattern or using a list item to isolate desired ones (Figure Right) Cull Pattern Grid

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1.2 RC Shells Figure 6.

Heinz Isler, BP Service Station in Switzerland ( (Image Credit: Yoshito Isono)

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Figure 7.

Heinz Isler, Outdoor Theatre in construction (Image Creadits: Naturtheatre Grotzingen, Structurae)

Key Concepts

The design of a shell is for the designer to take advantage of forms and structures which can carry loads in compression minimising bending. The earliest example of structural formfinding was by English engineer, Robert Hooke who later then pioneered the famous Hookes law (Ochsendorf & Block, 2014). The precedent of this theory was that when you invert the hanging chain model which is in pure tension then the inverted structure becomes in pure compression.

This idea has been utilised by many architects in producing large span and thin structures especially out of re-inforced concrete. One which was at the forefront of using these methods was Heinz Isler, who based each design on his reversed hanging method. He utilised structure which under the self weight it was within pure compression allowing slim, light and structures which almost appear to be floating (Moreyra & Billington, 2014).

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Design Precedents

Figure 8.

Heinz Isler, BP Station 1968, Switzerland (Image Credit: Yoshito Isono)

Isler often created his form explorations using the hanging fabrci method. Within this thin reinforced concrete structure a condition of almost pure tension was realised pressure from the inside The slenderness of the profile is highly effective in conveying a light weight design, this is a similar lightness which I want to explore where there are a few singular points of contact with the earth.

Figure 9.

Heinz Isler, Aichtal Outdoor Theatre, 1977 (Image Credits Tessa Maurer)

Size: 28m width. Span 42, Max Height 10m What is most effective about this structure is the way in which it intergrates with the landscape and the typology of site, this is something that I wish to explore in my design interations especially when designing a staged/seated areas.

The slenderness of this design is also intriguing where it has a thickness of between 9-12cm throughout making it appear light but still able to maintain the loads through its compressive nature.

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Initial Digital Explorations

George Avraam

Shell Mesh Divisions: 10 Support Points: 4

Shell Mesh Divisions: 20 Support Points: 5

Shell Mesh Divisions: 12 Support Points: 5

Shell Mesh Divisions: 22 Support Points: 5

Shell Mesh Divisions: 22 Support Points: 6

Shell Mesh Divisions: 22 Support Points: 5

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Initial Computation Design Process

Design Intent The design intent for the initial explorations were to create a variety of structures which facilitate the shape of a shell stage given a specific site within the central space of Melbourne Central.

It was to explore optioneering with varying support point locations and how the catenary was dicreted into a number of triangles. I also wanted to explore catenary in all directional planes to see the results.

Curve & Boundary

·

Creating the algorithm from a boundary surface allowed easy adjustment of control point supports on the catenary

Brep to Tri Mesh

·

There should be another site to consider which provide shelter to the occupants. Other ideas came from group members in maintaining symmetry within the design or merging multiple shells.

Brep to mesh allows kangaroo to solve the hanging catenary, Weaver Bird Triangulate mesh provides the divisions

Vertices of Mesh

·

The ability to select a manipulate corner supports

Design Realisation & Technical Improvements Technical aspects such as the representation of the mesh shell needs to be further refined especially in relation to the discretising method. This also applied to visualising the shell form as a concrete dome Structural Improvements Mirror

Greater focus need to be placed on the supporting points and how these connect to the ground plane these explorations can be progressed doing the FEM Analysis

·

This flips the shell so each point is acting in compression

Kangaroo Solution

·

Creating the catenary/reverse hanging model which provides an output of a simulation of a shell acting in tension

Z Axis Manipulation

·

·

When gaining the vertices of the intial curve it allowed manipulation of the boundary nurbs surface and therefore the final catenary.

This allowing support point to be tethered vertically to different objects as explored in my iterations

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Maximum Displacement 1.919cm

Maximum Displacement 3.287cm

RC Shell C30/37

RC Shell C30/37

Loads

Loads

2kN/m

Support Points & Vector Forces

NW Axo

Structural Analysis

Support Points & Vector Forces

6

Structural Analysis

NW Axo

1:1200 (A3)

1:1200 (A3) 0

2kN/m2

2

15

30

Support Points & Vector Forces

Maximum Displacement 1.179cm

NW Axo

0

6

15

30

Maximum Displacement 3.941cm

RC Shell C30/37

RC Shell C30/37

Loads

Loads

2kN/m2

2kN/m2

Support Points & Vector Forces

Structural Analysis

Structural Analysis

NW Axo

1:1200 (A3) 0

6

15

30

1:1200 (A3) 0

6

15

30

Maximum Displacement 3.877 &0.770m

Maximum Displacement 9.012cm RC Shell C30/37

RC Shell C30/37

Loads

Loads

2kN/m2

Support Points & Vector Forces

NW Axo

Structural Analysis

1:1200 (A3) 0

6

15

Maximum Displacement 8.956cm RC Shell C30/37

30

2kN/m2

Support Points & Vector Forces

Structural Analysis

NW Axo

1:1200 (A3) 0

6

15

Maximum Displacement 7.791m

30

Loads

RC Shell C30/37

2kN/m2

Loads 2kN/m2

Support Points & Vector Forces

NW Axo

Structural Analysis

Support Points & Vector Forces

Structural Analysis

NW Axo

1:1200 (A3) 1:1200 (A3) 0 0

6

15

6

15

30

30

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Maximum Displacement 3.283cm RC Shell C30/37 Loads 2kN/m2

Support Points & Vector Forces

NW Axo

Structural Analysis

1:1200 (A3) 0

6

15

30

Maximum Displacement 9.731cm

Maximum Displacement

RC Shell C30/37

0.672cm

Loads 2kN/m

2

Support Points & Vector Forces

Structural Analysis

1:600 (A3) 0

Support Points & Vector Forces

NW Axo

6

15

30

Structural Analysis

1:1200 (A3) 0

6

15

Maximum Displacement 1.0979m

30

RC Shell C30/37 Loads 2kN/m2

Support Points & Vector Forces

NW Axo

Structural Analysis

1:1200 (A3) 0

6

15

30

Maximum Displacement 1.082m RC Shell C30/37 Loads 2kN/m2

NW Axo

Maximum Displacement

0.672cm RC Shell C30/37 Loads 2kN/m2

Support Points & Vector Forces

NW Axo

Structural Analysis

1:1200 (A3) 0

6

15

30

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Improved Computation Design Process & Structural Analysis Design Intent The overall design intent was to create a light weight structure which can provide shelter to those attending the moonlight cinema. We wanted to produce a dynamic structure with one single arching point which protrudes over the audience. This gives the impression of lightness.I feel like we were successful in creating this structure which melds with the landscape.

Design Realisation & Technical Improvements Improvements from previous iterations include creating a more sutible mesh for anlaysis and realising this mesh visually. Using the Mesh Brep (Karamba 3D) gave more control over the mesh and how it was create yeilding more accurate structural analysis.

Although many of my group focused on using the 2D catenary 路 GH Script to realise the design through patching a surface. I felt that iterating in the 3D script and adapting this was more suitable in trying to realise a truely free form structure based on the principles of creating a structure under pure compression.

Set Initial Curve

Seting an intial curve as the basis allows for control of each corner of the mesh and therefore allowed for the creation of unique shapes which aligns with the design intent

Mesh Breps

路

Solution Kangaroo

This yielded more effective results compared to the standard GH Brep to Mesh component and allowed for greated control over the meshes properties

Structural Improvements To futher develop the design I would like to look at refining where the large projecting form meets the back half of the structure as this is the place which is identified as a structural weakness. It will be interesting to try and minimise the weak points of the design without comprimising design intent.

Structural Analysis

Isolate Supports

路

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Support points were isolated from the original curve and could be manipulated effectively by adjusting the base curve

Wb Stellate

路

Used to create a mesh and visualise the structure

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1.3 Reinterpretation of Case Study Figure 10. The Savill Garden Gridshell (Image Credits Warrick Sweeney)

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Saville Garden Grid Shell by Glenn Howells Architects, 2005

Location

is more or less stress applied.

In 2006, in Berkshire the Savill Garden Gridshell was to create a entrance way to the landscaped gardens within Windsor Great Park.

Competition The Crown Estates created a competition entry which highlighted a design “sensitive building” but would “make dramatic mark on the landscape” won

by Glenn Howells Architects. The design was paced on the landscape to be placed as an icon of the park but also respecting the height of surrounding trees and rolling landscape.

Size The grid shell is 25m approximately in width (varying throughout the the structure) and 90m in length. The gridshell functions as a roof with a glass facade surrounding all edges Function Housing restaurants, garden shot and ticketing booth for the gardens they remain as a visual connection to the landscape.

Flanking these are ancillary spaces to support kitchens, plant rooms and teaching spaces Shell Structure Formed in a series of layers the structure consists of a double gridshell with shear blocks between each layer of laths. Plywood sheet bracing is used to carry active loads to the edge support steel beams and the V shaped steel legging connecting to the concrete footing system. The use of the ply allowed the grid shell to appear less clutter in its appearance as there wasn’t the need for diagonal bracing as in its predecessor the Weald and Downland Gridshell. Oak cladding is used to cover the outer layer of the roof form.

Construction Figure 11.

80 x 50mm laths are used which are milled locally and finger joined to form 6m lengths. This dealt with construction issues such as reduced wastage, creation of different grade laths and members. This is an efficient use of timber as the differing strength properties allowed these graded laths to be used within the most appropriate location of the design, where there

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Plan and Elevations (Image Credits Glenn Howells Architects)

Figure 12. Left Top, Exterior View of shell (Image Credits Warren Sweeney) Figure 13.

Interior view of grid shell (Image Credits: Glenn Howells Architect)

Figure 14.

Exterior view rolling across landscape (Image Credit: John Chilton)

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Geometry Generation

Design Intent Conceptually it was about melding into the landscape, but the initial sketches indicate the design intent in keeping the roof high off the ground to maintain visual connection to the surrounding gardens.

The geometry generation of the is structure is one which blurs the boundary over between the design intent of the architects and their vision and a structural and mathematically derived profile timber grid structure of meticulous engineering.

Figure 15. Original Sketch Design (Image Credits Glenn Howells Architects)

Form The form is geometrically defined where the plan formed by the intersection of two circles (forming two arced perimeters).

The central cross section and outer edge beam is formed by a cosine function which creates peaks and troughs within the gridshell design. The grid shell follows this form with 1mx1m space which overlays these perimeter and central form to create an undualating curved form across the landscape.

Figure 16. Intersection of two circles create the plan (Image Credits: Gabriel Tang, Timber Grid Shells Architecture Structure and Craft 2016)

Diagrid Shell Structure Figure 17.

Trim with region between circles

Support points

Vertical dampened Cosine

Gridshell forms Around

Interpretation of design concept and realisation (Image Credits: George Avraam)

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Recreating the Form Finding

Dampened Cosine

·

Projection Extrusion

Each cosine created from the formula for one for each edge of the structure

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Curve intersection of circles extruded in order to project dampened cosine curves to the right elevation point on the model

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Use brep to mesh to convert loft to mesh, solve within Kangaroo using On Mesh to project verticies to and lines to mesh

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Loft project cosine curves to form a nurbs surface

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Offset original circle intersection curves and using inCurve isolate support points on the edge of the diagridshell

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Mesh Plane Diagrid

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Projected curves

Create a mesh plane and discretised into a diagrid

Trim Diagrid

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InCurve Support Points

Create a double layer gridshell by simply duplicating the curved and moving them down in the Z direction

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Loft Curves

Double Grid

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Cosine Curves

Trim diagrid curves using existing curve intersection poly lines from original circle to circle intersection

Wb Facepoly

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Extract mesh faces and curves to create the diagrid formed by curves

Supports and Edge Beam

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Beam View

Create supporting edge beams using polylines and set edge beam polyline to Line to Beam and footing polyline as the support points (supported in a ‘V’shape by two points)

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Karamba Analysis of Deformation

Anchor Points

Maximum Displacement 4.168 Figure 18. Structural Analysis of double gridshell structure, edgebeam and footing system Savill Gardens Gridshell (Image Credits: Guangen Jin & George Avraam)

Beam Cross Section: Steel O-Shaped Section S355 DIA: 400mm THIC: 0.3m Support Points: Two on each footing Gridshell Cross Section Timber Rectangular Section 80x50mm x2 Weight/Load: 360 kN/cm2 Figure 19.

Deriving the cosine curves from the elevation (Image Credits Glenn Howells Architects)

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Structural Axo Layers of Roof & Edge Connections

Oak Rain Screen, 100x20mm, @135 centres 12mm thickness, nailed to aluminium deck

Aluminium Standing-seam Roof Deck

160mm Rockwool Insulation

Double Layer Lath Timber Gridshell, 80x50mml (Higher Grade Savill 1Timber) Water vapour control layer Birch-faced Ply, 12mm two layers laid over the gridshell diagonally to each layer and butt-jointed with steel strips

Steel Plates, connected to tubular section

Kerto LVL (Laminated Veneer Lumber) Fingers, bolted to steel plates connecting to frame Shear Blocks (Lower Grade Savill 2 Timber)

Tubular Steel Edge Beam, 400mm DIA, 30mm wall thickness

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Gridshell Connections & Shear Bracing

Uppermost layer is notched allowing interlocking of upper members when they intersect

Birch-faced Ply, 12mm two layers laid over the gridshell diagonally to each layer and butt-jointed with steel strips The alternating ply helps stiffen the structure and transfer loads of snow and wind to the steelwork. Its used as a bracing element alternatively compared to other predecessor grid shells which often used diagonal bracing systems of steel ties or timber members.

Double layered grid shell structure with shear blocks in-between

Lower gridshell is pin joined at the bottom within each of the intersections

4 Laths in total, two below then two above with shear blocks between.

This allowed greater spacing of layers and therefore more strength and stiffness providing additional spanning length

Figure 20. Roof Gridshell Structural Detail, Note pin joint (Image Credits: Gabriel Tang)

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Roofing Layers & Structure Breakdown Figure 21. Oak Rain Screen as external roof cladding (Image Credits: Warwick Sweeney)

Figure 22. finger joints - to have long continuous laths with no no bolted connections

Figure 23. Bottom Layer of grid shell and shear blocks

Figure 24. Upper and lower layer of 12mm alternating ply wood to act as shear bracing

Figure 25. Finger LVL connects gridshell to the steel edge beam structure carrying loads to the steel footing system (Image Creadits: Glenn Howells Architects)

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Variations - Iterations of Form

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Plan & Elevation

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2 The Shape of Wine: Conceptual Design & Mid-semester Review Figure 26. View of Dentons Winery from the Vineyard

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2.1 Design Brief & Site Analysis

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Figure 27.

Site Context Map - The Yarra Valleu and Surrounding Regions

Context Yarra Valley

Our site sits between the towns of Yarra Glen and Healesville, within Tarrawarra within the broader context of the Yarra Valley.

Key natural features surrounding the side include the Yarra Ranges to the east, the Yarra River which travels up from Melbourne and the Phillip bay to the South of our site.

To the west is the undulating terrain of the of the Warrandyte & Kinglake Nature Conservation Reserve.

The surrounding area features a regional trainline from Melbourne to Mansfield which connects stations such as Yerling Station, Yarra Glen, Tarrawarra and Healesville Stations.

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Figure 28. Winder Context Map Identifying Wineries within the area

Winery Locations

Our initial site analysis was to look into the locations of Wineries within the immediate vicinity of Dentons Wine. These feature a wide range of different wineries from large scale to smaller boutique arrangements.

Some comparative arrangements of wineries include Balgownie Estate (#2), Yering Station (#9) and Domaine Chandon (#10).

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Competitor Profiling

From profiling the different wineries established within the area allowed us to identify the key observations and therefore opportunities which could assist in developing our own programatic approach to Dentons Wine.

We identified opportunities in areas such as accommodation, wedding ceremony and education which presented itself as a point of difference from other wineries.

Observations

Opportunities

Many wineries provide minimal accommodation and those that do provide it provide it at a high price point (more luxurious and therefore expensive)

Provide accommodation which allows for an expanded winery program but is in more affordable and accessible form such as Glamping, which can offer multiple suites to a wider clientele

Few winery venues providing designated area for wedding areas, these are often incorporated within the main winery building and doesn’t necessarily accommodate the wedding ceremony

Create an additional space which can create a space for wedding ceremonies but also double as additional exterior function room or be hired separately for events

Few wineries provide tours or education about the production of wine

To create an integrated approach where the making process is on display or additional education programs can be formed on site

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Local Winery Size Comparisons

Blagowie Estate Spa & Resort

Medhurst Cellar Door & Winery

Montoro Winery

Shadowfax Winery

Rochford Winery

Lavantine Hill Winery

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Design Precedents

Figure 29. Toskana Thermal Springs, Bad Sulza, Germany, 1999 by by Ollertz Architekten Image Credits: Solemar Therme (Images 1&4) & Ollertz Architekten Image (2& 3)

Figure 30. Naiju Community Centre and Nursery School, Fukuoka, Japan, 1994 by Shoei Yoh+Architects (Image Credits: Shoei Yoh + Architects)

Size: Structure covers an area 2200 m2

This gridshell differs from previously created gridshells as it uses bamboo as the shell structure compared to timber which was locally available. This was also different as the laths were created through interweaving the split bamboo and hoisted into place held by the central steel column with was removed once the structure was placed entirely into compression when the reinforced shell was set.

The form was located on the gently rising terraces situated on former vineyards where the gridshell defines a continuous uninterrupted space (Chilton & Tang, 2016).

This site provides a similar form to the sloping hills which we are designing on but the most interesting element is the gridshells ability to span large distances held by a series of larger columns at few locations. This is of interest to me especially as the series of 5 large columns can hold up the entire structure which spans a large distance. Given its form found nature the double-curved edge beams carry the compressive loads of the glulam timber and their compressive forces to transfer them into their inclined concrete angular pillars. This principle of connection from timber to concrete foundations is something that can be utilised especially in areas of uneven terrain where the concrete members can rise and meet the timber columns.

What interests me about this project was the form it created, we were studying the natural terrains and landscapes of the area of the Yarra Valley and this reminded me of the hill mountains forms expressed throughout.

Like the previous project I like the minimal use of single use of a column, and the ability to bring in light from these openings.

Figure 31. Haesley Nine Bridges Golf Club House, South Korea 2011 (Shigeru Ban)

Size: 36 x 72m (Shigeru ban) This includes timber columns which are prefabricated with a series of columns which extend from the roof and carry the loads.

The interest in this design is the ability to transition a prefabricated gridshells into column structures creating an integrated approach from roof to structure. This is compared to previous shells which often included columns as separate elements.

The patterning of the 3 direction timber which are ofset to form a hexagon in the centre creates an unique pattern on the surface.

The transition of column to roof allows for light to enter the structure from these points which can be utilised in our design

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Topography of the Yarra Valley

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Viewshed & Key Sight lines

Our analysis of the topography of the surrounding terrain within the immediate vicinity and further abroad such as the Yarra Ranges and Warrandyte & Kinglake Nature Conservation Reserve highlighted the mountainous and hill landscape surrounding our site. It allowed us to capture key vistas and identify sightlines to the expansive valleys as well as generate ideas for the form of our building.

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2.2 Initial Design Response Figure 35. External front elevation of winery in front of vineyard

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Initial Design Response & Explorations

Figure 36. Design Exploration 1 - Winged Boomerang

Figure 37.

Design option one was about creating a structure which extends across the landscape. From the initial site analysis it was always apparent that views were across the valley and the vineyard were extremely important. This form was aimed to take advantage of that and have ‘wings’ either side with programmatic functions such as cellar door and restaurant either side.

This was about separating the program into 3 parts on each of the levels, having a protruding form in the centre and two wings either side. Once again thinking about the landscape and connection to views although there’s opportunities with these 3 parts to have visual connection between these different programmatic areas. I still think there is great potential in this design.

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Design Exploration 2 - Centre Extruded Wing

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Figure 38. Design Exploration 3 - Splitting Volumes

Figure 39. Design Exploration 4 - Hiding in the Hill Side

Initial design by Guangen which looked at separating the design within two volumes, those related to production from the main cellar door and restaurant spaces. Although this could formulate an interesting design, I think the interest from wineries come from the interaction between production and wine drinking. This scheme also had in effective orientation which closed off views.

Guangen was looking more closely into a design which extended across the landscape similar to my original sketch designs. It was confined to a rectilinear shape, with a series of folds in the gridshell as columns. The way in which this design is embedded within the landscape is effective in creating a structure which hides way from views. Although in my argument I feel the winery should have some prominence to the main road for wayfinding.

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Figure 40. Design Exploration 1 - NAME

Figure 41. Design Exploration 5 - Twist

This was another iteration featuring columns confined to a similar rectangular shape, the idea was to create a roof to walk on as an extension of the landscape. Irregular column placement to create various in the rectangle.

This was a more developed iteration of my design exploration #2. This was developed because there’s huge potential in creating a winged structure which is broken into areas. I still think there is massive potential in this form, in terms of spatial arrangement and form which we haven’t explored yet due to balancing conflict of interests. This form comparatively allows there to be there’s a separation between program whilst maintaining visual connection between each wing. It allows for maximising views across the landscape from each area but also provides a variation in form through the twisting motion. It creates something dynamic in the landscape, so I believe that can be integrated within the design we have already developed for midsem. Rather than the trimming of the gridshell in a simple shape something more complex with greater variation will create different moments in the building frontage and variation in the upper cellar door levels.

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Figure 42. Design Exploration 1 - NAME

Figure 43. Design Exploration 1 - NAME

Some sketches which attempt to develop the twisting design, and how we can create a more dynamic structure. This included a series of ‘C’ sections joint together or combined or simply overlaying a folded form. Although these explorations didn’t eventuate, it was still interesting creating progressive variations within each section this trying to resemble a slow twist of the structure forming.

This was our attempt at creating a double layer grid shell structure which would allow access to the top levels and views across the landscape from a higher point. We were inspired by the rolling hills of the site and the wider Yarra Ranges. Although this provides an interesting object in the landscape its uniform plan across both levels does not produce a very dynamic form.

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Mid Semester Presentation & Reflection

For midsemester we developed the idea of the double layer gridshell further and developed the plan and spatial arrangement. We were Looking at creating mountain like forms which are inspired by the Yarra Ranges but also the form of Naiju Community Centre and the patterning of gridshell of Shigeru ban as design precedent studies which inspired us.

Some comments fro mid-semester were provided to guide use forward, these included: · · · · · · ·

The relationship between the back wall, the entrance and the landscape. Consider its visual presence and interface from the main road.

A loss in the dynamism from previous iterations , the twist and the winged forms that were previously explored The connection of the building to the landscape, there is greater opportunity to embed the design within the hillside Consider the way in which the gridshell is clipped, there an opportunity to extend the gridshell and connect more to the landscape with a non orthogonal clipping (in plan) Is it in conflict with the Denton House and what is this relationship?

Opportunity to extend forward to the Vineyard with outdoor space.

Develop the masterplan further and work at connecting different program aspects such as glamping and events space to the winery

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2.3 Development Post Midsemester Figure 44. View from Old Healesville Road Traveling East, looking across to Denton House and Denton Winery

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Narrative of the Surroundings

The narrative of the surrounding landscapes became an important driver to explore a curved and undulating nature of our form . Through exploring the topography of the surrounding landscapes and along key vista lines lead use to identify some conceptual ideas which will be used to create our free-form winery design.

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Concept

The melding between the landform and form

These key concepts include the melding of the landforms and the form, where parts of the structure and winery will emerge from, and flow in a similar form to the mountainous terrains of the Yarra Valley.

The relationship between the peaks and valleys within levels

A relationship between levels will be formed similarly to the connection between each hill within the landscapes. From one peak you can see multiple peaks and valleys within the area. This is similar to providing both a visual connection between levels of the winery. From wine making to fine dining, these visual cues and differing levels connect aspects of the winery together as well as to the sweeping vineyards.

The tension created by layering the mountain forms

Within the form we want to create a complexity of depth through the layering of forms and structures so it resembles the multiple layers which occurs within the mountains of the Yarra Ranges.

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Vantage Points

Site Principles

Our positioning of the building is situated on the second highest point on site whilst providing adequate separation from Old Healesville Rd. Its strategic as it allows for people to have views over the rolling hills of the vineyards, natural features such as the lakes and further beyond to the Yarra Ranges.

The higher point allows use to embed the winery within the landscape but also have visual connection from the road important for wayfinding.

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Access & Movement

The siting also allows for effective access and movement both for winery patrons and the production of wine itself. We have established both secondary and primary access points which are separated to allow for functional runnings of the winery and additional programming.

Patrons will enter from the Old Healesville Rd, maintaining easy wayfinding for tour buses and cars.

Separate access for vehicles and trucks off the main road of Old Healesville Rd allows for convenient and effective production process. This road has the ability to access rear locations used for production discretely without interrupting flow of visitors.

Denton will retain the majority of his private road only sharing it with production trucks to allow for more privacy.

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Natural features are important in providing an enjoyable wine experience. The winery uses the natural topography to its advantage where the location of the winery will create views to the features of the water on site as well as the vineyards.

This siting also allows us to maintain all of the vineyard without interrupting or destroying any part of it as these soils and vines took up to 7 years to develop.

There’s an opportunity to create a larger master plan or walkway which connects programmatic spaces throughout.

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It was questioned whether the winery was in conflict with the Denton House being on the second highest point on site. I argue that it does quite the opposite, It allows views from the Winery to Dentons house which is still situated higher than the winery preserving its prominence and hierarchy at the highest point on the landscape.

It allows the winery to capture views to the architectural feature on site. This position allows it to be seen from the main road and access point which can be important in establishing a brand and image, as well as access. It provides visual connection to the vineyards by looking across the entirety of the vineyard which is monumentally important in creating a winery people want to visit.

This location also allows for enough physical separation between Dentons house and the Vineyard program creating privacy.

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VIEW HILL HOUSE (DENTON HOUSE)

Figure 45. Site Plan

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The site plan illustrates the overall masterplan where events spaces and glamping are situated over both lake features on site. The winery is positioned on the hill overlooking the vineyards and the wider Yarra Vally. Carparking and secondary access is situated at the rear to allow convenient access without being obtrusive or disrupting the views. Dentons House sits on the other site of the Winery remaining the most prominent feature on the landscape.

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As you enter from the rear you are presented with the large sculptural structure columns which connects to the gridshell and two void spaces which give glimpses of the barrels and production spaces below.

The first floor is divided into different programs with restaurant on the east side and with the cellar door & function space on the west.

Double height space allows guest to walk below ground to the bottom level. Lifts services the bottom floors with a separate one for staff only. VIP access is through the spiral staircase within the structural column.

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Ground floor consists of the fermentation and work areas within the rear of the building. There is access provided through the side loading bay on the western side.

Barrel storage is situated centrally allowing it to be viewed from both the ground and the first floor. Fermentation and production areas can be visually seen through the glass which connects to the cellar door seating area.

A service bar is situated at the rear with supporting spaces.

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The up most floor consists of the VIP only area, with private cellar door wings with seating. One space is for larger groups where the other one is smaller and more intimate. These have the best views, elevated over the valley and the vineyard.

The service area will provide table service to these VIP areas.

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Section CC - Long through lower ground cellar door entrance space

Glamping Concept Sketches

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Glamping & Events

Our program consists of glamping and event spaces as secondary functions which will support the main winery. These sketches show some initial design ideas. We have featured both these elements positioned over the lakes within the lower points of the site.

More refinement is needed in establishing an overall master plan and the form of these programs.

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Experience

Figure 48. View from Rear Entrance across landscape to the View Hill House (Denton House)

Figure 49. Rear Entrance with distinctive gridshell column as you enter

Figure 50. Interior Space from the Eastern Side

Figure 51. View from VIP Area on rooftop walkway over towards the View Hill House (Dentons House)

Figure 52. View from VIP Area on rooftop walkway over towards the View Hill House (Dentons House)

Figure 53. Entrance area gives glimpses of production below and views to the VIP area above

Reflections & Development Moving Forward

Reflection

Development

Direction

The design gains inspiration from its surrounding context of the flowing vineyards and wider Yarra Ranges area. It explores a melding with the landscape in terms of its form. It creates a layering of mountain like forms, which peak from the roof of the gridshell, mimicking the surrounding landscape. The design creates a relationship between levels, where wine production can be viewed below and exclusive areas are eluded to through the translucent views to the above.

After midsemester we decided to develop a few aspects which were commented on, those in particular with the relationship with the entrance and the main road, Old Healesville Road.

We have integrated the form more with the landscape, through having deeper underground spaces at the lower levels and connecting the gridshell to the slope of the site at the rear. This created a more open entry to the Winery, as well as visually creating a lighter structure on the landscape.

There’s an opportunity to create an integrated typology across these other secondary functions, such as the use of the winery form, structure and materials within the other areas of the master plan.

I feel that the design responds well to the site in terms of access and takes advantage of the terrain whilst responding with a functional approach. There is effective programming and separation between service and served spaces, guests and workers, production and wine drinking. There is a strong integration between production and wine tasting areas, the views and visual connections between levels.

There are numerous elements which need to be developed and definitely areas which can be pushed further. The form itself needs to be pushed forward as I agree entirely that the form has lost its original dynamic visions which were evident in the first explorations and sketches.

I’ve been trying to push to change the simplistic nature of the frontage and the trimming of the plan which is confined to a uniform geometric shape. This was also mentioned within the midsemester reviews that there opportunity to break from these forms which we should do so. I want to explore some of the ideas within the iterations which explored the two wings and the central protruding element. I think this will assist in creating views between functional areas whilst maintains those to the landscape.

The direction which we will approach in the next stages is to develop a more integrated masterplan, and develop the other programmatic ideas such as the Glamping and external events space.

This also includes developing secondary outdoor spaces and terraces which support the main winery.

Although we have investigated the use of certain materials such as polypropylene and locally sourced native timbers, We need to further investigate other possible options which could be used whilst still encapsulating our design intent.

Although a design which is bound to uniform shapes are efficient, the nature of the gridshell can allow use to take advantage of more irregular and dynamic forms which have much larger spans. It is clear that there is a disjointed nature between the bottom rectilinear form and the top grid shell. The level changes provide visual connection between the levels but in terms of the flow of the structure and a connection between forms of the top and lower levels this needs to be developed.

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3.1 The Plan & Section as a Generator of Ideas

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Initial Design Response (Post Mid Semester Review)

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Figure 54. Concept Sketches 2020-09-18

Figure 55. Concept Plans - Testing New Initial Forms (1:500) - Square outer form and circular columns

These were initial concept sketches created right after mid-semester they were exploring how the building could be integrated more within the landscape. Embedding the undulating free form within the topography. Although rough, some of these ideas did translate into our latest designs even if the form did change.

Initially we decided to work at a smaller scale since after our critique we began to experiment with entirely new forms. We were exploring these ideas through minimal surfaces utilising concepts such as creating columns to form high and low points and having a building across the longitudinal axis. This iteration explored more of a rectilinear form with circular columns in contrast

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Figure 56. Frei Otto - Minimal Surface Soap Bubble Experiments (Image Credits Sivesh Melek)

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This option was exploring the same ideas but using the shape we utilised within mid-semester. This explored voided space at the front of the building. We were inspired by Frei Otto’s explorations into minimal surfaces where two enclosing frames can produce these forms. The axonometric was used to illustrate the overall form and get an understanding of how the winery will be envisioned

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Figure 58. Frei Otto - Minimal Surface Soap Bubble Experiments (Image Credits Sivesh Melek)

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Figure 59. Catenoid form

Inspired by the catenoid this iteration was about cropping the plan to a square form and then rising the columns upwards to form the catenoid. Although I feel it was unsuccessful having the two column positioned in front of one another as it didn’t create the ‘undulating landscape’ which was our design intent.

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Figure 60. Frei Otto - Arched Saddle Shaped Soap Bubble (Image Credits: Otto & Rasch - Finding Structural Form)

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Figure 61. Saddle Shapes Combined

This form was inspired by the saddle shape and worked to explore how this shape could be implemented through the creation of 3 separate minimal surfaces which are self enclosed. The primary supports are situated around the voided shape assisting to support the edgebeam around the minimal surface.

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Figure 62. Elipse with three wings interior

This iteration was testing a similar curved form but creating 3 wings within the design through the trimming of the floor plate and creating voids. The design creates two column areas which creates peaks and one which formed a valley.

Figure 63. Irregular Column with double shell

Guangen was exploring the continuation of two grid shell for top and bottom levels creating openings for the roof form and irregular spacing of high and low points. We discussed different ideas at this stage using minimal surfaces which extend upward using a post under tensile stress (Fig 64 Frei Otto) and also the ‘draping’ of timber grid shells (Fig 65).

Figure 64. Left - Frei Otto Tensile structures ‘stretching’ an opening of a minimal surface (Image Credits: Otto & Rasch - Finding Form)

Figure 65. Naiju Community Centre and Nursery School, Japan by Shoei Yoh. The of draping a timber gridshell through the raising of a central column (Image Credits Shoei Yoh Architects)

Figure 66. Thin Column Tectonics

Guangen explored a few iterations based off our previous ideas of using minimal surfaces, except this time it was created using thin and slender columns which rise at a peak which is widened further This tectonic could be applied to either our rectangular plan or elipse in plan.

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Figure 67.

Catenoid Column Form

Guangen was inspired by the catenoid form which can create a wide opening with a small circlular base allowing loads to travel along the surface of the shell or gridshell.

This was also the time when we decided to integrate more of a division within the spaces using monolithic walls which would contrast to the light gridshell above.

In the plans you can see the creation of orthogonal walls which dissect the space but also an orthogonal exterior.

Columns remain small upon the ground plan.

Guangen was trying to explore aspects of universal space and contrast the walls with the light gridshell although in my explorations I felt the wall elements should divide the space rather than creating a free plan.

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In my iteration I was focused on creating larger monolithic walls which strongly divide the space (contrasting to Guangen when was looking at universal space). This idea allows for a different experience within each divided area of building.

This allowing people to experience a different part of the grid shell above as they transition to the next space.

Section AA There was a critique of this scheme which discussed that there was too many horizontal elements through having both the walls and the columns as prominent features. Therefore there wasn’t a balance or hierarchy between elements. It somewhat made the design feel cluttered because of different types of vertical elements.

Figure 69. New Milano Trade Fair by Studio Fukas and Massimiliano (Image Credit: Studio Fukas)

Both Guangen and I’s explorations were inspired somewhat by the New Milano Trade Fair, which looks at creating a very light gridshell structure which rises above a series of rectilinear elements. This creating contrast between the gridshell form and the spaces below and it was what we were exploring through contrasting monolithic walls dividing the space with a raised lightweight gridshell above.

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Figure 70. ‘Twisting’ and integrating ideas

This was the point where we really began to take a divergence from our previous explorations. Within this iteration We were able to intergrate the ideas explored within previous iterations through the twisting form which creates a ruled surface between each curve.

Our main ideas have been to maintain the strong horizontal axis of the form across the landscape but also create the high and low points which we explored through our conceptual sketches based on the surrounding landscape. We also thought that this design outcome integrated both wall and column elements into one which formulates a rotation at each interval therefore better synthesising both our ideas.

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From this point we began to develop the plans within the shells external shape. This included adjusting the form to fit the desired program and rationalising the plans on their interior.

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This iteration was to refined the spaces on a more detailed level and explore the ruled surface and openings created within section.

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Experience We refined the structure further through creating a more dynamic shape which rises from the landscape and emerges from it. The openings were raised to allow for more effective views in the desired locations and exacerbate the feeling of the structure extending forward to the vineyard.

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It was suggested that the plans should be further rationalised and not be as dictated by the form itself, especially in relation to the ground floor and production spaces. We rotated the building slightly to capture more effective views to the surrounding landscape and to work with the terrain contours more seamlessly as wells as minimised cut and fill of the landscape.

Section AA

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Section CC

This was our first attempt at beginning to start to develop tectonics and materials and how this will impact the user experience of the space. We were looking at initially a gridshell as the skylight and using a panellised system for the cladding on the interior and exterior face.

Although this gives a clean appearance to the surface finish it was discussed that we want to emphasise the ruling of the exterior surface, exposing structural members to emphasise the dynamic twist that the structure creatures

3.2 Refined Plans & Sections

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Figure 4.

Figure Caption

Site Plan

O L D

L E E S V I L H E A L

R O A D

T A R R A W A R R A

R O A D

WINERY

VIEW HILL HOUSE (DENTON HOUSE)

Figure 71. Site Plan

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Figure 72. Entry Plan

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Figure 73. First Floor Plan

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Figure 76. Section showing the relationship to the entry and the views outward to the vineyard

Section CC These sections by Guangen show the relationship between structure and design intent where the openings rise and lower at different points to both connect to the ground and create views to the vineyard.

Figure 77. Section showing how the space rises from low point at the rear which is integrated into the topography and then upwards towards the landscape

3.3 Tectonics & Detailing

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Initial Structural Framing Ideas

External Concrete Panels 50mm Thickness

Primary Rail L Flange bolted to plate Fixing plate for Cladding system bolted to primary structure Aluminium Extrusion Cross Rail

200 x 200mm SHS Primary Beam and Columns

Prefabricated Custom Angle Plate to Fix Primary Members (Varies)

Figure 3.

Figure Caption

Figure 79. Initial Explorations for custom detail connections between structural elements

These outline initial concept ideas for the fixing and joining of structural and cladding elements. Initially our design explored two different framing systems one was a space frame system the other a single lattice. Despite these explorations were both unsuccessful due to the complexity of creating unique angles and joints which have to be custom fabricated.

Similarly after testing the space frame system, the depth of this would be extremely thick when including cladding elements. Therefore in the following iterations we explored other options.

Figure 78. Structural Framing Space Frame for Roof Intial Ideas for Connections

Developed Overall Structural Framing System

Our development of structural typologies were important in conveying our design intent. We decided to use a primary and secondary framing system, where vertical straight primary members exhibit the ruling of the surface and the secondary structure brace these. Instead of fulling cladding the exterior faces we would attempt to expose structure members and have these protrude to form evident dynamic twists in the structure on both the exterior and interior.

Primary Structure

Secondary Structure

Space Frame

General Arrangement

610 UB 125 Primary Column

SHS 200x200mm seen on inside but not from exterior

Transparent Precast Concrete Panels

Figure 80. North West Axonometric of portion of the building showing Primary Secondary and Structure with Cladding Figure 82. South East Axonometric Figure 81. South West Axonometric

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610 UB 125, Primary Column Structure, flange thickness 19.6mm, web thickness 11.9mm Custom Angle welded to UB (Angle varies depends on incline between adjacent UBs) T Shaped Steel Keft, Inserted into groove within concrete precast panels and welded to anle

Tab Plate welded to UB

200mm x 200mm SHS - Secondary Structure bolted to tab plate

Air gap UB Capping screwed to wooden spacer lapped with external flashing

Flashing inserted into cut groove on surface of panel, folded and sealed below SHS Cut manually to correct angle and size on site

Tab Plate welded to UB

Transparent concrete panels varying sizes, 20% Resin infill provides translucency, 50mm thickness fixed to T Kerf with groove

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Figure 83. Connections between secondary and primary structure to cladding and waterproofing elements

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Transparent concrete panels varying sizes, 20% Resin infill provides translucency, 50mm thickness fixed to T Kerf with groove

Flashing inserted into cut groove on surface of panel, folded and sealed below

UB Capping screwed to wooden spacer lapped with external flashing

200mm x 200mm SHS - Secondary Structure bolted to tab plate Custom Angle welded to UB (Angle varies depends on incline between adjacent UBs) T Shaped Steel Keft, Inserted into groove within concrete precast panels and welded to anle

610 UB 125, Primary Column Structure, flange thickness 19.6mm, web thickness 11.9mm Backing stiffener plate for UB (4mm)

400mm dia SHS Edgebeam 30mm thickness fixes UB into place through plates Angle Plate Welded to SHS Edgebeam (4mm)

Plate Connection to footing system legs

Figure 84. Giampaolo Imbrighi_Italian Pavillion 2010 (Image Credits: Heidelberg Cement)

200mm concrete slab

Our inspiration for transparent concrete came from the Italian pavilion which utilised a resin infill to provide it with a degree of transparency. This material provides us with unique properties which allows the building to appear relatively monolithic during the day which we feel is important given that the form emerges from the landscape. It also gives a sense of lightness during night hours where structure is revealed on the inside as shadows.

Steel foot carries loads to pad footing below

600x 300mm Concrete Edge Beam

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3.4 Computational Workflow

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Structural Density Optimisation Process This workflow tests different spacing distances and number of primary secondary beams within the overall structure optimising it based on the displacement

P S F D

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3 5 52 31.64

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72 10 5 22.85

P S F D

96 11 6 18.71

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57 20 4 21.64

72 12 5 21.25

130 8 5 16.71

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P S F D

P S F D

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Key P S F D

Material Properties

Number of Primary Structure Members (IUB) Number of Secondary Structural Members (SHS) Number of divisions in Sky Light Displacement (cm)

P S F D

P S F

610 UB 125 200 x200mm SHS Skylight RHS 10mm Dia

Loading 1. Gravity Load 2. Dead Loading 1.5 kN/m2 3. Live Wind Load 2.5kN/m2

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4 Final Review

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Figure 85. Denton’s Winery Exterior View

Context Yarra Valley

Figure 86. Yarra Valley and Surrounding Areas

Winery Locations

Figure 87.

Winery Locations

Competitor Profiling

Figure 88. Analysis of Functions within surrounding Wineries

Key Opportunities

Observations

Opportunities

Minimal accommodation and those that do provide it provide it at a high price point

Provide accommodation which allows for an expanded winery program but is in more affordable and accessible form such as Glamping, which can offer multiple suites to a wider clientele

Few winery venues providing designated function areas or wedding ceremonies

Create an additional space which can create a space for wedding ceremonies or function space such as roof top events area

Few wineries provide tours or education about the production of wine

To create an integrated approach where the making process is on display and seen, including production and aging

Topography of the Yarra Valley

Figure 89. The Valleys of the Surrounding Landscapes

Narrative of the Surroundings

Topography of the landscape viewed from site of the surrounding regions

Design Concept

Site Plan

G L A M P I N G

W I N E R Y

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D E N T O N S V I E W H I L L H O U S E

Site Principles

Vantage Points

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Access & Movement

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Front Elevation

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Glamping Context

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Figure 91. Exterior twisting of ruled surface expands across the landscape

Figure 90. Figure Caption

Figure 92. Level 1 interior experience with views across the vineyards

Figure 93. Ground Floor views to the Hill View House within double height space

Figure 94. Ground floor cellar door looks across barrel storage and dynamic undulating concrete surface

Figure 95. Views across the landscape from viewing platform

Computational Design Work Flow

Gestural free form curves inspired by the topography of the surrounding landscape

Rationalising construction process, using prefabricate mero joints and cast in place concrete panels

Creating a ruled surface between curves to formulate enclosure and openings

Form optimisation to explore forms based on structural displacement

Structural optimisation of steel members minimising mass, cost and material usage

Structural Design Strategy

Create a ruled surface from free form curves which were inspired by the topography of the surroundings

1. Form Optimisation

2. Structural Optimisation

Form Optimisation Process

Form Optimisation Outcomes Form optimisation was to explore different forms which were based off our gestural sketches during the design process. It was to translate points and solve for the displacement of the building, therefore creating some unique forms which were still structurally viable (and some that were not)

δ 14.2cm

δ 17.44cm

δ 19.23cm

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δ 28.50cm

δ 59.54cm

δ 133.47cm

δ 230.16cm

δ 19.77cm

Testing Efficiency of Different Systems & Structures

I Beam & SHS Secondary with Space Frame

Truss System & SHS Secondary Structure

Truss System with Cross Bracing

These explorations were to create a structure which is more efficient through trialling different methods of construction as well as the members used for the structural framing, progressively we were able to minimise the material used through combining cross bracing system and intermediate trusses joining the two walls given the complexity of the form

1.2 Heading [Insert text here]

Primary - Truss System,100mm SHS, Depth 450mm Primary - 610 UB 125 (610mm x 23mm flanges)

Primary - Truss System, 100mm SHS, Depth 800mm

Secondary - RHS 150mm x100mm

Secondary - 200mm SHS

Secondary - 200mm SHS

EB - 300mm Dia

Space Frame - 10mm dia RHS

Brace - 350mm SHS

M 52.771 ton

M 19.22 ton

M 10.24 ton

δ 12.47

δ 16.54cm

δ 20.49cm

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Structural Optimisation - Minimising Materials

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Structural Optimisation - Minimising Materials

Structural Optimisation Outcomes - Minimising Material

2

δ 43.91 cm M 63.98 tonne

δ 38.64 cm M 61.02 tonne

δ 20.5 cm M 68.05 tonne

The optimisation process was based on exploring different spacing between vertical and horizontal elements within the design. Its solved based on the displacement of the structure and mass of materials to see what division of structure could be realised (see diagram previous page).

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δ 18.2 cm M 88.29 tonne

δ 23.7 cm M 144.4 tonne

δ 20.6 cm M 125.48 tonne

With Applied Loading: Wind Loading Northerly Direction 2.5kN/m2 Live Loads - 1.4kN/m2 Dead Loads (Concrete Cladding System) 120.9m3 of Concrete 232,138 kg 2274 kN

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Selected Design - FEM Analysis from Optimisation Process

The discussion around the optimisation process was about how can we balance between design conceptualisation, structural efficiency in terms of materials as well as structural performance.

Our design conceptualisation was to express the ruling of the surface and create a dynamic structure across the landscape.

So there were many optimisation options that performed better than this selected option but they did not align with the design intent.

1.3 Heading

We selected this option as it performed well structurally and had reduced material, but divided the form up in order to better emphasise the ruling and the design intent.

[Insert text here]

It was interesting to explore that sometimes the suboptimal result is the best one and it this the designers discretion to way up the values of a design optimisation process.

With Applied Loading: Wind Loading Northerly Direction 2.5kN/m2 Live Loads - 1.4kN/m2 Dead Loads (Concrete Cladding System) 120.9m3 of Concrete

δ 19.02 cm M 110.85 tonne

232,138 kg 2274 kN

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Initial Structural and Construction System

100mm x 150mm SHS - Secondary Structure bolted to tab plate

Our initial structural system was to create a series of supporting structure and pour a thin layer of concrete directly onto this.

This was planned to be transparent concrete in order to highlight the steel structure through the concrete members.

Despite this approach created some tectonic issues as well as architectural issues. The complexity of construction and the need for multiple custom joins between primary and secondary structure made the design inefficient. Architecturally our form is to create openings through to the landscape, the need of transparent concrete counters this idea as it is better suited for more regular geometric forms or buildings which are more enclosed. Therefore we developed a construction process to simply the elements and realise our design intent.

Steel Custom Angle, galvanised welded to truss during prefabrication connects primary and secondary structure

400mm depth Primary Steel Truss System, galvanised and prefabricated, welded using SHS 100x100mm

50mm Transparent concrete cladding (insitu). Admixtures bind a matrix of plastic resins inside the cement-based material.

Resin admixtures bind with cement and poured insitu on site to produce a concrete 20% translucency

Traditional form work around primary truss members to be covered in transparent concrete The ruled surface allows traditional formwork to create complex curving geometries

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Dash Indicates Ground Line

100mm x 150mm SHS Secondary Structure bolted to tab plate Custom Angle welded to primary during prefabrication

400mm depth Primary Steel Truss System, SHS 100x100mm Backing stiffener plate for UB (4mm) 300mm dia Steel CHS Edgebeam Angle Plate Welded to CHS Edgebeam (4mm)

600m x 600mm slab edge beam

Steel foot carries loads to pad footing below as per structural eng. specifications

Oversized concrete pad footing carries structural load to ground 4.5mx4.5m, Depth 1200mm

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Tectonics and Detailing

Typical Wall Detail - Mero to Concrete Panels

After our initial explorations we decided to pursue a system which integrates both primary and secondary structure using mero joints to create holistic structural system. We also decided on a means of fabrication of panels on site which could be attached to these joints. The architectural implication was to try and express the ruled surface and geometric basis of our design through the zig- zag panelling rather than expressing the structural members themselves which we initially were focused on.

The ability to express our design intent but through simplifying the construction methods was beneficial given the complexity of the freeform curves our design was inspired by.

1.4 Heading [Insert text here]

EXTERIOR SIDE DIA. 60 MM CIRCULAR HOLLOW SECTION STEEL BEAM

75 MM PREFABRICATED CONCRETE CLADDING WITH EMBEDDED BOLTING PLATES

SILICONE STRUCTURAL ADHESIVE BETWEEN TWO CONCRETE CLADDINGS

MERO NODE SYSTEM TO CONNECT STEEL ELEMENTS CUSTOMISED ANGLE BOLTED TO EMBEDDED BOLTING PLATES ON CONCRETE CLADDINGS INTERIOR SIDE

35 MM EXPANDED POLYSTYRENE (EPS) INSULATION BOARD ON INTERIOR SIDE OF CONCRETE CLADDING 30 MM CONCRETE CLADDING

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Skylight Connection Detail

ALUMINIUM FLASHING 35 MM EXPANDED POLYSTYRENE (EPS) INSULATION BOARD ON INTERIOR SIDE OF CONCRETE CLADDING MERO NODE SYSTEM TO CONNECT STEEL ELEMENTS 100X100 MM ALUMINUM SKYLIGHT FRAME

12 MM LAMINATED GLASS

PREFABRICATED PLUGIN WELDED TO THE STEEL EDGE BEAM AND INSERT INTO SKYLIGHT FRAME 200X150 MM SKYLIGHT EDGE BEAM 30 MM CONCRETE CLADDING 75 MM CONCRETE CLADDING INTERIOR SIDE

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Footing Connection Detail

EXTERIOR SIDE

INTERIOR SIDE

30 MM CONCRETE CLADDING 35 MM EXPANDED POLYSTYRENE (EPS) INSULATION BOARD ON

75 MM CONCRETE CLADDING

PREFABRICATED STEEL PLATE ON EDGE BEAM BOLTED TO MERO NODE ALUMINIUM FLASHING WRAP AROUND THE BOTTOM OF EDGE BEAM DIA 300MM EDGE BEAM WITH PREFABRICATED STEEL PLATE TO CONNECT FOOTING AND STEEL TRUSS

STEEL ANCHOR TO SUPPORT EDGE BEAM, DETAIL TO ENGINEER’S SPECIFICATION

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Overall Construction Means & Methods

Excavation & Concrete Works

Key Steel Framing

This includes land works occurring on site. Excavation of topography for footings systems, retaining walls and edge beams followed by the pouring of ground floor slab.

Connected to steel footing members embedded in pad footings, the steel framing system would be prefabricated and lifted into place. This including edge beams around perimeter and key bracing within roof and walls

Structural Framing System

Consisting of mero joint framing, system would be assembled using a block assembly method on ground and then the large framed elements can be craned into place

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Cladding Cast on Site

Cladding would be cast on site using adaptable mould formwork to the curvature of the hypars for each panel. After curing these can be craned into place and fixed to the mero structural system

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After exploring different methods of construction this system works best in creating a lighter framing system which is then clad with on site cast concrete panels.

The structural framing using mero joints can create a diversity of angled connection which assists in creating double curve elements of the structure. They also provide standardisation and simplicity in terms of structural members where the ruled surface allows for trusses to be created as straight framed members with diagonal members varying to create the curvature of the form.

The cladding system of using adaptable moulds which are site cast allows minimisation of transport costs, efficiency in production and reduced material wastage. It allowed us to architecturally express the ruling of the surface across the facade and tectonically create the twisting motion for the form itself.

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Standardisation of Structural Framing

Hollow graphite sphere tuball node connector 60mm dia

End propping and bolted connections to sphere inside

Prefabricated Mero joints provide an array of connection angles. This is a rationalisation of connection joints so there are only two different node connections which need to be fabricated.

60mm dia Circular hollow section

Due to the ruling of the surface there is a standardisation of lengths for CHS for all trusses where each segment can be prefabricated to size.

Custom lengths for cross members allows for the curved geometry to be created with the simple node connections 1:5 (A3) 0

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Cladding Cast on Site Small adaptable moulds 1200x2000m can be assembled on site to create on-site casting of panels Embedded bolting plates to connect to mero framing

Piston actuators are used to vary the vertical height form work which can allow the hypar panels to be cast

On site concrete cast panels 75mm thickness Lifting Anchors for crane Concrete form work membrane moved by actuators

Concrete is poured over the moulded form work with elevated pistons to create curved panels

Steel girders supporting secondary members with steel deck above Piston actuators varying height from 0 to 450mm to create curvature, 200mm spacing in each direction Supporting bars connected to actuators to adjust form work

After curing these panels can use tilt up method where they are craned into place and attached to the mero steel framing system, reducing transportation costs.

Primary steel supporting structure to be erected on site.

BENEFITS 路 路 路 路

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Significantly reduces transportation and cost of panels compared to prefabricated concrete especially give the rural location of the site Minimises complex scaffolding or form work to be produced on site, requiring larger work force to assemble Thinner slabs compared to insitu pouring with reduced wastage of materials Stack Casting can occur when curvatures are replicated

375mm

750mm

Panels can be rationalised to create a series of curvatures which can be replicated. This allows Stack Casting to occur creating efficient process of fabrication.

Reflection

From starting this Studio I expressed a lot how I wanted to develop part of my computational work flow and the tools which can provide analysis of free form structures. What was shortly realised was that this was only half the picture. The difficulty and what is truly learnt in this studio is how to use these tools in order to realise your own design intent and make design decisions.

Guangen and I’s design was one which realised our design intent. We wanted to achieve a design that was dynamic, freeform We wanted to take best advantage of the landscape within the vineyard, expand across it and be inspired by our surroundings. We battled with tectonic issues and construction problems, we learnt a lot about simplicity I believe as the design we built was complex from start to finish. Despite this I feel like we embraced the challenges, solved the tectonic issues and realised the design intent we wanted to achieve.

Overall I am really contempt with how my skills of using grasshopper have progressed, I feel as if I have achieved a lot in terms of computational work flow and better understanding hows these tools can be implemented in the real world.

Much of this was a big learning process, from understanding precedents, to detailing complex connections it was all about understanding how tools can be used to create something freeform and beautiful, yet rational at the same time.

Figure 96. Front view of relationship with the vineyard and surroundings

Figure 5.

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Figure 6.

Figure Caption

5 Appendices.

Appendix A Glossary of Terms Appendix B

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References

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Appendix A References Written

Ochsendorf, J. & Block, P. (2014). Exploring shell forms. in S,. Adriaenssens, P. Block & D. Veenendaal,

Shell Structures for Architecture - Form Finding and Optimisation (22-28pp). New York: Routledge

Garlock, M. Billington D.,(2014). Felix Candela and Heinz Isler - A comparision of Two Structural artists. in S,.

Adriaenssens, P. Block & D. Veenendaal, Shell Structures

for Architecture - Form Finding and Optimisation (262pp).

New York: Routledge

Harris R., Haskins S,. Roynon K,. (2008). The Savill Garden Gridshell: design and construction.

Chilton J & Tang G (2016). Timber Gridshells Architecture, Structure and Craft. NY: Routledge.

Otto,. & Rasch B., (1996). Finding Structural Form -

Towards an Architecture of the Minimal (3rd ed.) (55108pp). NY: Axel Menges

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Appendix B

Glossary

Discretisation - Creating a series of a larger object or element and dividing it into small constituate parts Anisotropic - Having a physical property which has a different value when measured in different directions Isotropic - When the structure has the same measurements and physical properties in different directions Diagrid - A grid structure which has diagonally intersecting beam, laths or elements Displacement - the act of moving something from its original location (referred to structural members) Pneumatic structures -the act of creating a structure or its form through applying pressure of air or gas Catenary -Is a the curve that an idealises a hanging chain and assumes under its own weight when supported only at its ends Vaults - a roof formed by an arch or series of arch often made of cutting of individual bricks Post formed - When a beam or element is formed on site and undergoes active bending Preformed - When a beam or element is formed off site and pre-moulded into shape prior Objective Function/Fitness function - Fitness refers to genetic algorithms and connects to biology, the meaning is objective which you are searching to solve for an optimum solution.

Objective and fitness function are interchangeable.

Finite Element Analysis - To predict how a structure will perform with real world forces applied such as loads, wind or weight

George Robert Henry Avraam 833800 The Shape of Wine Semester 2, 2020