Slonim_Hadar_699088_StudioAir

STUDIO AIR

Table of Contents 04 A.0 INTRODUCTION

CONCEPTUALISATION

A.0

07 A.1 DESIGN FUTURING 15

A.2 DESIGN COMPUTATION

23 A.3 COMPOSITION / GENERATION 31

A.4 CONCLUSION

33

A.5 LEARNING OUTCOMES

35

A.6 APPENDIX - ALGORITHMIC SKETCHES

36 REFERENCES

A.0

INTRODUCTION

My name is Hadar Slonim, 21 years old from Melbourne. I am currently in my final undergraduate year of the Bachelor of Environments and am majoring in architecture.

MAPPING SLEEPING POD

This is how it all began...

I remember sitting in class as a twelve-year-old with a little notebook beside me. I wasn’t doodling like the other girls. Rather, I was drawing plans for residential buildings. Every Saturday morning as a young girl I would look through the real estate section of the newspaper and examine the way the houses were laid

CONCEPTACLE

out and the different features that were said to set the houses apart from the rest. It was in class that I would try

FRAME & INFILL

to redraw plans and elevations I saw in the paper. I still, to this day, read the real estate section on the weekends.

I have been lucky enough to have travelled to various cities around the world, all extremely different in terms of building materials, the environment and their standards of ‘beauty’ in architecture. Somewhere that stood out for me was Israel. Following high school, I lived in the old city of Jerusalem, Israel for a year and was exposed to its historic and monumental beauty. Every building in the area is built with ‘Jerusalem stone’ – a type of pale limestone. It is there that I learnt to appreciate the simplicity and cohesiveness that can be found in the realm of architecture. Contrastingly, the Israeli coastal city, Tel Aviv, hosts modern glass sky scrapers and abstract forms. What inspired me the most on my visits to Tel Aviv was the contrasting old city of Jaffa

Admittedly, whilst being in the undergraduate program I have found it difficult to delve into the ideas of the abstract and conceptual as my interest beforehand was focused on the residential side of architecture.

Therefore, having to create abstract models and using Rhino and Grasshopper proved challenging whereas construction subjects and AutoCAD were more appealing to me due to its straightforward

FINAL DESIGN MASS

nature. Nonetheless, to my surprise, after just a week in Studio Air I can feel myself beginning to appreciate the wonderful opportunities that Rhino and plug-ins provide. I am becoming increasingly positive that I will be able to find ways to bring the software to create simplistic forms and interesting geometries to the world of residential architecture.

that juxtaposed all the postmodern buildings. Seeing

In all, my greatest architectural interests include analysing

the two worlds meet validated my passion to pursue

the flow of spaces in a building plan and paying respect

an architectural career focused on the melting pot of

to and channelling historic architectural façades whilst

architectural history and postmodern building ideals.

utilizing features that the twenty first century has to offer.

FINAL MODEL POINT / LINE / PLANE

FIGURES 1-8: PREVIOUS WORK 2016

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A.1 DESIGN FUTURING CASE STUDY 1: VANISHING POINTS // FREELANDBUCK 'Vanishing Points' is iconic to ways of thinking as it captures the point where reality and representation meet. Whereas buildings are often seen from a single perspective, the uniqueness of the project's sharp geometry plays an important role in the way it is viewed. It is not simply seen from one point but from various angles that allow the naked eye to find a new perspective with each look. The notion of having multiple views is not necessarily radical but it does indeed instigate a change of thinking when regarding the representational role a building plays in reality.

FIGURE 9: VANISHING POINTS SOURCE: http://www.suckerpunchdaily.

CONCEPTUALISATION

07

FIGURE 11: VANISHING POI NTS

THE ‘VANISHING POINTS’ project was not built. This

SOURCE: http://www.suckerpunchdaily.com/2017/02/17/vanishing-point/

However, this is exactly what the Vanishing Points project

should not go unnoticed as the key feature of the project

set out to achieve. The release of the camera changed

is its representational value. It was inspired by the Flat Iron

the way the world could see buildings. It enabled the

Building in New York - a building that encompasses sharp

individual to find acute angles to take an image and

geometry and angles to fit into its inner New York city plot.

distort conventional standards. The ‘Vanishing Project’

Theory that was engaged in this project was influenced by

this successfully accomplishes the notion of being caught

the time period of the flat iron building - and the fact that

between representation and reality - being dependent

the Kodak Camera was released shortly after the Flat Iron

on the chosen view of the individual. VP took the first step

building was built. Some may argue that the distortion of

towards a new design approach, moving away from the

images that a camera can produce contradicts the idea of

literal view of buildings. It expanded future possibilities for

seeing a building in its natural state of beauty.

others to explore new ways of using geometry to distort the way a building is viewed.

FIGURE 10: VANISHING POI NTS SOURCE: http://www.suckerpunchdaily.

CONCEPTUALISATION

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CASE STUDY 2: KARLSPLATZ I & II // GILLES RETSIN Karls Platz & II contributed to the field of ideas by building on the idea of a single element which is then assembled to create a structure. Made up on many single elements, the building pushed design limits as the many different strands could only come together under specific angles.

The Karls Platz I & II project pushes the boundaries with the challenge of connections. It proved radical, to an extent, as it produced a mix of customization and efficiency in terms of moveable connection constraints. The project will forever be appreciated because of its intelligent use of digital design that incorporated algorithmic elements. It reflects the new age of architectural design which combines algorithms and 3D digital modelling tools to achieve top results when exploring building possibilities.

FIGURE: 12 KARLSPLATZ I & II

SOURCE: http://www.suckerpunchdaily.com/2016/10/23/karlsplatz-i-ii/

CONCEPTUALISATION

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It sends a message of possibility, of undefined boundaries.

The projects are not built but represent a way of exposing the inner parts of a building – blending the lines of the structure and the façade of the building. It sends a message of possibility, of undefined boundaries. Interestingly, the project becomes iconic only when combining it with various other elements which in turn creates a new idea of what modernism may be. There are no classic walls or columns and the project therefore suggests that the ‘modernist’ architecture which most identify with, is not what it will be in the future. Instead it encompass messy façades and unstandardised prefabrication. The projects are all about reflecting meaning – bringing singular element together to create a whole.

FIGURES: 13-14: KARLSPLATZ I & II SOURCE: http://www.suckerpunchdaily.com/2016/10/23/karlsplatz-i-ii/

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A.2 DESIGN COMPUTATION With design computation comes many questions; Is creativity being restriced? Perhaps we are just using the tool incorrectly? Is computation a differents form of creativty? Bryan Lawson expresses these sentiments. He juxtaposes the ‘fake’ against the ‘real’, suggesting that Computer Automated Drawing (CAD) echoes ‘fake creativity’. To explore Lawson’s claim, one must first understand the difference between computerization and computation. By examining relevant precedents and the true meaning of creativity, perhaps it will become apparant how creativity

FIGURE: 15: GUGGENHEIM BILBAO

SOURCE http://www.archdaily.com/422470/

ad-classics-the-guggenheim-museum-bilbao-frank-gehry

can maintain a positive relationship with computation design.

CONCEPTUALISATION

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CASE STUDY 1: GUGGENHEIM BILBAO // FRANK GEHRY Gehry’s sketch for the Guggenheim Museum in Bilbao was a process of computerization. It was simply a sketch, analog in design that turned into a building, through a process of digital production.1 Whilst Gehry’s use of digital production was merely part of the design process, there has been a dramatic sgidt over the years in terms of the role of the computer in design.

Computers used to be limited to assisting humans in gemoetrical drawings without providing solutions. However, the past few decades have seen a shift with systemes being developed to form communcation between designers. 2 Yet, the systems prove poor when communicating with one another with little advancement in the realm of interoperability protocols.

1 - Folding in Architecture, ed. by Greg Lynn (West Sussex: Architectural Design, 1993) 2 - Branko Kolvarevic, Architecture in the Digital Age: Design and Manufacturing (New York; London, Spon Press, 2003)

FIGURE: 16: GUGGENHEIM BILBAO

SOURCE http://www.archdaily.

com/422470/ad-classics-the-guggenheim-museum-bilbao-frank-gehry

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CASE STUDY 2: MODEL IN PALAZZO FRANCHETTI // ZAHA HADID Hadid acknowledged the importance of computation as an integral element to design, rather than a final step.

Nonetheless, it myust be noted that with computation must come problem analyiss - the solving of core problems usually hidden to the naked eye. Computation can generate unpredictible results due to the unworkable solutions that are produced. Here, Yehuda Kalay stresses that “It is therefore integral that deisgners consicously use computers in design where they can act as useful computation tools and not subtract from the overall design experience.”1 Hadid, a partner in the world of computation, praises the “developments that computing has brough to architecture [as] incredible, enabling an intensification of relationships and greater psrecision.”2

1 - Yehuda E., Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), p. 5-25 2 - http://www.zaha-hadid.com/architecture/zaha-hadid-at-thepalazzo-franchetti/

FIGURE: 17: GMODEL IN PALAZZO FRANCHETTI SOURCE: http://www.zaha-hadid.com/architecture/zaha-

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AS HADID’S MODELS/PROJECTS demonstrate, models can and are indeed being generated and informed by performative design whilst combined with a digital process of computation. Michael Weinstock builds on the idea thst nature can be coupled with digital design. He explains “that there is an integral relationship between these models and concepts, a great source of knowledge exists in the design principles of nature.”1

1 - Michael Weinstock “Evolution and Computation,” in Hensel, Michael, Menges, Achim and Weinstock, Michael, Emergent Technologies and Design: Towards a Biological Paradigm for Architecture (Routledge, Oxford, 2010) p. 2641.

FIGURES 18-19: GMODEL IN PALAZZO FRANCHETTI

SOURCE: http://www.zaha-

hadid.com/architecture/zaha-hadid-at-the-palazzo-franchetti/#

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A.3 COMPOSITION/ GENERATION

Generating architecture based on rules comes into play regarding composition and generation. There are various systems that explore the sphere of rules, design and digital technology. One of the systems is the Flocking algorithm / BOIDS algorithm which follows the sequence of birds in a flock. Interestingly, the notion of involving nature in technological problem solving reappears. Patterns emerge from the BOID algorithm which result from a set rule.

Now, after examining computerization vs. computation, it can confidently be said that one should not always assume an intuative scribble is better than a simple program that involves computation as it can generate numerous solutions and solve hidden problems that involves algorithmic thinking, parametrics and scripting cultures. There are mathematicians who view algorithms as “abstract descriptions of computing devices.”1

1 - Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds.The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press, 1999), p. 11, 12.

FIGURE 20: FOUNDATION LOUIS VUITTON SOURCE: http://www.archdaily.com/555694/fondationlouis-vuitton-gehry-partnersFONDATION

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CASE STUDY 1: FONDATION LOUIS VUITTON // GEHRY PARTNERS Involving parametric techniques, the Fondation Louis Vuitton is iconic for its use and development of digital technology to assist with construction. The form was generated via a 3D digital model which, “intelligently adapted itself to design requirements” - showcasing the ability of digital constraints and mathematial techinques in generating and fabrication desgins - making a shift from composition of form to generating workable solutions. So, whilst algorithms are often thought of as “unambiguous and simple to follow” like that of a pen and paper, the Fondation Louis Vuitton proves anything but the intellectual ability of computers that comes with generation and computation.1 Additionally, there were new technological tools desgined specfically for the project based on the needs and reuslts produced in the orginal systems. 2

1 - Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press,1999), p 11,12.

2 - http://www.archdaily.com/555694/fondation-louis-vuittongehry-partners FIGURE 21: FOUNDATION LOUIS VUITTON SOURCE: http://www.archdaily.com/555694/fondationlouis-vuitton-gehry-partnersFONDATION

CONCEPTUALISATION

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Computational designers generate and explore architectural spaces and concepts through the writing and modifying of algorithms that relate to element placement, element configuration, and the relationships between elements.

This hasn’t simply transformed what we can design – it’s had a huge impact on how we build.

1

1 - Brady Peters, Computation Works: The Building of Algorithmic Thought’ (West Sussex, John Wiley & FIGURE 22: RESEARCH PAVILION STUTTGART UNIVERSITY SOURCE: http://www.archdaily.com/340374/icditke-research-pavilion-university-of-stuttgartfaculty-of-architecture-and-urban-planningICD/ITKE Research Pavilion /

Soms Ltd., 2010) p. 08-15.

CONCEPTUALISATION

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CASE STUDY 2: RESEARCH PAVILION // STUTTGARD UNIVERSITY For the Research Pavilion, it was morphological principles, geometrical and finite simulations and material testing that determined the “process of form generation and material optimization�.1 Included in the process was also parametric definitions which relates back to the idea of generating architecture based on rules and producing results from emerging patterns and forms. Amazingly, proving that there has indeed been a shift from composition to generation over the last decades; the Stuttgard project incorporated the generation of robot that could control code itself. 2 Thus, there is much value to be ascribed to automation.

1 - http://www.archdaily.com/340374/icditke-research-pavilionuniversity-of-stuttgart-faculty-of-architecture-and-urbanplanning 2 - http://www.archdaily.com/340374/icditke-research-pavilionuniversity-of-stuttgart-faculty-of-architecture-and-urbanplanning

FIGURE 23: RESEARCH PAVILION STUTTGART UNIVERSITY SOURCE: http://www.archdaily.com/340374/icditke-research-pavilion-university-of-stuttgartfaculty-of-architecture-and-urban-planningICD/ITKE Research Pavilion /

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A.4 CONCLUSION

Design is not simply the begining or end of a process but rather an overarching factor in every aspect for the exploration of architecture. In today’s world, digital technology specifically in the form of computerization can be seen as inextricably intertwinded with design. It is about “combining material cultures and technologies within the relam of computer and architecture [which] starts at design and leads to the fabrication of designs.”1 However, with computation comes a risk factor. The risk, which is in fact debatable, being the loss of creativity in design itself as computers perform the solutions. When examining the outcomes, there seem to be more benefits regarding the generation of design via computerization. Computers encapsulate a great deal of intelligence and, as disucussed, have the tools to generate problem analysis and a number of viable solutions against algorithmic constraints. Computerization is this significant in design and pushes architects as well as manufacturers to continuously test the boundaries and rules to breaking point in order to acheive the most valuable outcome for the intended environment.

1 Rivka Oxman and Robert Oxman, eds. Theories of the Digital in Architecture (London; New York: Routledge, 2014), p. 1–10.

CONCEPTUALISATION

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A.5 LEARNING OUTCOMES

The lectures and reading material over the past few weeks have envouraged me to experiment wih designs whilst practicing archtectural computating. At the beginning of the semester I had little understanding regarding the meaning of computation, generation and their relationship with design and creativity.

Now, however, I feel confident to follow the path in which this semester will take me on - exploring grasshopper, algorithms and what it means to really integrate digitilisation and design. I look forward to seeing what can be produced for the upcoming tasks as I am alrerady aware that my previous porjects form past years could have benefited from the process of computation.

CONCEPTUALISATION

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A.6 APPENDIX ALGORITHMIC SKETCHES

CONCEPTUALISATION

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REFERENCES

IMAGES

REFERENCES

TEXTS

Figures 1-8: Slonim, Hadar 2016

1.

David Jenkins (ed), Norman Foster Works 4, Prestel Verlag (Munich), 2004

Figures 9-11:

2.

Oxman, Rivka and Robert Oxman, eds. Theories of the Digital in Architecture (London; New York: Routledge, 2014)

BUCK & FREELAND / VANISHING POINTS (New York, Flat Iron Competition,

3. Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press,1999)

2016) (revised February 2017) < http://www.suckerpunchdaily. com/2017/02/17/vanishing-point/> [accessed 6 March 2017]

4.

Emergent Technologies and Design: Towards a Biological Paradigm for Architecture (Routledge, Oxford, 2010)

Figures 12-14:

5.

Folding in Architecture, Greg Lynn (West Sussex: Architectural Design, 1993)

RETSEIN, GILLES / KARLSPLATZ I & II (LONDON, Karlsplatz Competition, 2016) (revised October

6. Kalay, Yehuda E, Architecture’s New Media: Principles, Theories, and Methods

2016) < http://www.suckerpunchdaily.com/2016/10/23/karlsplatz-i-ii/ > [accessed 6 March 2017)

of Computer-Aided Design (Cambridge, MA: MIT Press, 2004)

Figures 15-16:

7.

GEHRY, FRANK / GUGGENHEIM BILBAO (Spain, Bilbabo Museum, 1997)

8. Peters, Brady, Computation Works: The Building of Algorithmic Thought,

(revised September 2013) < http://www.archdaily.com/422470/ad-classicsthe-guggenheim-museum-bilbao-frank- > [accessed 9 March 2017]

Kolvarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London, Spon Press, 2003)

Architectural Design (West Sussex, John Wiley & Soms Ltd.], 2010) 9.

Weinstock, Michael, “Evolution and Computation,” in Hensel, Michael, Menges, Achim and Weinstock, Michael,

Figures 17-19: HADID, ZAHA / EXHIBITION (Italy, Palazzo Franchetti) (revised November 2016) < http://www. zaha-hadid.com/architecture/zaha-hadid-at-the-palazzo-franchetti/# > [accessed 9 March 2017] Figures 20-21: GEHRY PARTNERS / FOUNDATION LOUIS VUITTON (Paris, Foundation Louis Vuitton, 2014) (revised October 2014) < http://www.archdaily.com/555694/ fondation-louis-vuitton-gehry-partners > [accessed 15 March 2017] Figures 22-23: ICD / ITKE RESEARCH PAVILION 2011 / ICD / ITKE UNIVERSITY OF STUTTGART (Germany, ICD_ITKE University, 2011) (revised March 2013) < http://www.archdaily. com/340374/icditke-research-pavilion-university-of-stuttgart- faculty-of-architectureand-urban-planningICD/ITKE Research Pavilion / > [accessed 14 March 2017]

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Table of Contents 40

B.1 INTRODUCTION TO RESEARCH FIELD

42

B.2 SPECIES / EXPLORATION

48â&#x20AC;&#x192; B.3 REVERSE ENGINEERING

CRITERA DESIGN B.0

52

B.4 SPECIES / EXPLORATIONS

61

B.5 PROTOTYPE AND TESTING

64

B.6 TECHNIQUE PROPOSAL

71

B.7 LEARNING OBJECTIVES AND OUTCOMES

73

B.8 APPENDIX - ALGORITHMIC SKETCHES

76 REFERENCES

...Architecture should be expression of logic

B.1 RESEARCH FIELD: STRUCTURE STRUCUTRE AND ARCHITECTURE Edited by Paulo J. da Sousa Cruz, the book explores the nature of structure and its relationship to architecture.

Structure itseld is not seen as a “a purely material phenomenon”. Instead, for the writers it “a working hypothesis or an intellectual tool that allows us to desribe the mutual relationships within an architectural complex”.1 Mies van der Rohe explored this concept and combined materials and form. “I think a clear structure is a great help for architecture...To me, structure is something like logic. It is not a special idea when I say that architecture should be expression of structure.”2 Whilst it may not seem so, structure and nature have a dynamic correlation. Just as the spatial and static structure of a plan is intertwined so too is architecture; “ [the] correlation between structure and and expression is exptremely important in developing the identity of buidlings.”3

1 2 3

Paulo J. da Sousa Cruz, eds. Structures and Architecture: Beyond Their Limits (London: CRC Press/Balkema, 2016), p. 324.

Paulo J. da Sousa Cruz, eds. Structures and Architecture: Beyond Their Limits (London: CRC Press/Balkema, 2016), p. 324.

Paulo J. da Sousa Cruz, eds. Structures and Architecture: Beyond Their Limits (London: CRC Press/Balkema, 2016), p. 325.

CRITERIA DESIGN

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B.2 SPEICES/EXPLORATIONS

DISPATCH

U = 30, V = 12

U = 7, V = 7

U = 2, V = 2

U = 100, V = 100

U = 41, V = 5

U = 40, V = 40

U = 5-, V = 100

U = 100, V = 50

DEFORMATION

61.88

0

26.05

100.00

10.74

45.91

80.38

4.89 CRITERIA DESIGN

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TRIANGLE B

U = 4, V = 5

U = 17 , V = 5

U = 51, V = 5

U = 5, V = 50

CULL / QUADS

U = 2, V = 20

U = 30, V = 90

U = 15, V = 20

U = 61, V = 100

CULL / QUADS

U = 2, V = 20

U = 30, V = 90

U = 15, V = 20

U = 61, V = 100

P CONNECTED TO QUAD?

NO

NO

NO

NO

YES

YES

YES

YES

YES

U = 1, V = 35

U = 1, V = 3

U = 71, V =10

U = 37, V = 7

CRITERIA DESIGN

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EXPLORATIONS //

SELECTION CRITERIA The orginal shapes were generated by the ‘Beso

Three // This species was done by adjusting the U

Tower’ definition. The starting form was cylinder like

and V sliders for the ‘triangle panels B’ component

with a dynamic twist. The four highlighted outcomes

in grasshopper. I chose this exploration because I like

are successful as th they encaptulate hints of the

how the form twisted whilst still maintaining solid,

orginal form whilist slightly breaking away from the

sharp edges.

original definition and creating a second element.

Four // In contrast to the third chosen exploration,

Most importantly, they resemble elements of structure, the chosen research field.

one

two

the fourth exploration has softer edges. I chose this in order to have that contrast to be able to decide

The four selected explorations:

the look I would like to move forward with. The fourth

One // The first exploration displays a structural

exploration was successfull in producing a softer

form, mimicing a cage. The species was done by adjusting the U and V sliders for the ‘dispatch’ tool in grasshopper. For this design I was attempting to

deconstructed form by adjusting the U and V values for the ‘cull’ and ‘quad’ componenets in grasshopper.

The fluidity is strong too.

acheive a grid structural system perhaps similar to a truss system. I settled for the chosen version as it clearly showeed a horizontal and vertical system working together to create a rigid structure.

Two // The second species was explored by playing around with the deformation. The method was successfull in producing structure with geometric shapes as desired. However, whilst the line work in dyamic, the explorations are not practical in terms of constructing a real structural form. I settled for the chosen version as it was a step closer to porducing something that incorportated a frame structure.

three

DESIGN SPECULATION The explorations, to an extent, could have architectural applications. From dynamic bird cages (one) to striking memorial installations (four), the explorations have potential qualities.

Perhaps the surface could be transformed to one which has indented spaces for plants to grow in order to create a vertical garden. Also, perhaps the surface could be punctured with holes to allow for light to perform various interesting shadows.

four

CRITERIA DESIGN

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B.3 REVERSE ENGINEERING

Being complex, transparent, curvy, gracious and sexy.... human like identity.

SELECTED PROJECT // CANTON TOWER // INFORMATION BASED ARCHITECTURE Canton Tower is located in Guangdong, China. It reaches 600m high and has an area of 114000.0sqm. The tower is the worlds tallest TV and Sightseeing tower and carried the important of portraying the city as new and exciting before the 2010 Asian Games.

The architects had a strong vision in mind; to build a “super-model”; in contrast to what they coin the “male feautres” of the common tower.

Their approach was to move away from the rigid and geometric form; “we wanted to create a ‘female’ tower, being complex, transparent, curvey, gracious and sexy...human like identity”.1 Thus,thequestionmustbeposed,didthearchitectsinfactacheivetheirgoal?

Accordingtothemtheveryfactthatthetowerisknownas‘super-model’isa display of its success.

The tower is indeed fluid and the twist does encompass a feminine and gracious facade. Yet, the view from within the tower may tell a slighty more rigid story.

1 http://www.archdaily.com/89849/canton-tower-information-based-architecture

FIGURES 1-2: CANTON TOWER SOURCE: http://www.archdaily.com/89849/canton-tower-information-based-architecture

FIGURE 3: CANTON TOWER SOURCE: http://www.archdaily.com/89849/canton-tower-information-based-architecture

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SELECTED PROJECT // CANTON TOWER // INFORMATION BASED ARCHITECTURE --> Recreating in grasshopper

The Canton tower has similarities to the Beso Tower definition provided.

Thus, I used this definition to begin my reverse engineering project.

Dead end 1 // Twist Acheiving the twist at the correct place in the tower at 450 metres.

Dead end 2 // Piping The Canton Tower seems to have a more square time type of ‘piping’ whilst the grasshopper generated piping is more round.

Dead end 3 // Horizontal bars I had trouble adjusting the U and V values to the correct lengths. As evident in the third attempt, I was able to generate a similiar twist however it came at the cost of the horizontal bars.

Successes // The overall concept is a success. The twist (U value = 1) (V value = 35) was acheived and the materiality mimics the original Canton Tower. The sheer magnitute of the structure is also captured as well as the thickness of the ‘bars’.

If I were unconstrained by the original form I would explore the possibilities of different surfaces/facades and stretch the limits of the angles. Further, I would attempt to play with the overall form, height and densitiy of the skin.

Attempt 1

Attempt 2

Attempt 3

Attempt 4 (FINAL)

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B.4 SPECIES / EXPLORATIONS

CRITERIA DESIGN

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CRITERIA DESIGN

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EXPLORATIONS // SELECTION CRITERIA The iterations stem from the Canton Tower design

successfull in producing structure however the edges

and have then been transformed to adhere to the

are too harsh for the magical atmosphere I hope to

bried and selected critera.

accomplish with my design. The idea of a frame and

The brief and selected criteria being structure,

triangular truss system begins to take shape.

an interior installation, simple to fabricate and a structure that reflects the movement of air in one form or another.

Three // This species was done by adjusting the U and V sliders for the ‘triangle panels B’ component in grasshopper. Having a low U value meant that there

The four selected explorations: One // The first exploration reflects a fluid form. The

were less parts to the form and therefore closer to the design I was hoping for.

iteration was done by drawing points/curves on rhino

one

two

and then assigning those curves to the previously

Four // The fourth exploration has more defined edges

used defintion. The ‘surface’ and ‘loft’ components

and geomtery. The triangle form is apparant. Again,

were then used in conjugtion with various sliders

the design usies the ‘triangle panels B’ componenet

to test the parametric constraints. I do not plan on

in grasshopper with the U value being 3 and the V

using this iteration as part of my desgin proposal.

value being 5. The fourth exploration was successfull

Nonetheless, I chose this exploration to show the

in producing a possible design for an installation that

different forms that may be produced from one

can be produce intersting shadows without being

definiton. It is in stark contrast to the other three.

visually heavy and in the way of visitors.

Further, perhaps if my design was for the exterior it would work well as it could encompass and integrated bench and be transformed into an outdoor pavilion for performances.

Two // The second exploration was explored by playing around with the ‘pipe’ componenet together with testing the U and V sliders. The method was

three

DESIGN SPECULATION The final exploration has room for improvement.

I would like to have it look like various pyramid structures attached to another. Further, showing the connections could have proved useful too.

four

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B.5 PROTOTYPE AND TESTING

FIGURE 4: PROTOTYPE

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PROTOTYPE // CONNECTIONS // TIMBER DIMENSIONS By making a prototype I was able to test out different types of connections that would connect the timber elements to form structural triangular shapes (black painted balsa wood used for prototype). At first I connected the elements by peircing them through one another (fig. 9). This method proved successful as the connection was rigid and strong enough to hold itself without glue. However, problems occcured when I began to use elements of different thicknesses and one was not thick enough to have a hole that would fit the second element. Therefore, I began to test connections made from styrofoam spheres that could successfully house mutiple â&#x20AC;&#x2DC;timberâ&#x20AC;&#x2122; elements. Whilst exploring this option I noticed that the styrofoam was too soft and weak to carry the load. I then realised that the styrofoam spheres could in fact mimic timber connections of the same FIGURE 5 // 3D NODES

shape - a sphere.

SOURCE: https://au.pinterest.com/pin/574138652471409173/

It is at this stage that I began to do research on possible connections and found interesting examples of 3D printed connections to hold multiple timber elements in place with rigid connections (figure 7). They are sleek in appearance and do not detract from the overall visual aesthetis of the proposed design.

Solution // The next stage in the design process will be exploring the idea of having 3D printed nodes and custom geometry.

FIGURE 7

FIGURE 8

Figure 9 Attempted connections

FIGURE 6 // 3D NODES SOURCE: https https://au.pinterest.com/pin/89931323788367066/://au.pinterest.com/pin/177610779035887420/

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B.6 TECHNIQUE PROPOSAL

DESIGN APPROACH // STRUCTURE

THE SITE // BIG BANG STUDIO

The design is intended to adress structural performance, fabrication constraints and tectonic details. The desgined architectural installation will provide an intriguing and dynamic backdrop to the internal photography and film studio. The studio hosts a 6m high ‘invisibility wall’. The hope is for

134m2 space 6m high ceiling

FIGURE 10:Big Bang Studio

FIGURE 11:Big Bang Studio - Plan

SOURCE: http://bigbangstudio.com.au/specs-features/

SOURCE: http://bigbangstudio.com.au/specs-features/

Concrete-backed white cyclorama (17m wide x 5.5m high)

the installation to interact with this white space to

6 x Polyboards & stands

produce interesting shadows and forms that will

3.9m high roller door

reflect the movement of air in the space.

Drive-in car access / concrete floor 32Amp 3 phase power

During the design process it was kept in mind that the light frame installation should provide an experiencial journey for indivduals. Whilst it should still maint a minimalistic concept to ensure that it does not totally intefere with the studio’s current function. Rather, the design should only enhance its surroundings.

Futther, the design should be simple to fabricate and adhere to the chosen research field being structure.

6 x 16amp GPO circuits Acoustically treated, insulated ceiling, semisoundproof1

1

http://bigbangstudio.com.au/specs-features/

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DESIGN APPROACH // PRECEDENT #1 Even though the walls are transparent and therefore seem less heavy in materiality to the eye, the structure itself would not be flexible enough and functional it terms of moving it around the studio. I chose this project purely as inspiration for the atmosphere it would create as well as its ability to draw people in for a closer view - a concept I hope to encapsualte.

At night time the transparent glow would be

FIGURE 12: ‘RITUAL RUBBINGS’ SOURCE: https://au.pinterest.com/pin/177610779035887420/

wuit evisually appealing and create a dynamic

DESIGN APPROACH // PRECEDENT #2

Inspiration taken from dynamic light installations that are soft to the eye whilst castting interesting shadows and reflect the surrounding spaces. Wanted something that still allows natural air flow around the installation. Whilst the solid walls could be makde mysterious, they form both a physical and mental block to the surrounding flow of air. Additionally, a structure of that type would not be easily moveable around the site.

DESIGN INTENTION // PROPOSAL - Installation with the possibility of multiple - Timber structure painted black to contrast glow at night - LED lights wrapped around timber

RHINO // GRASSHOPPER

--> shadow, glow FIGURE 13: LIGHT INSTALLATION

- Installations to be used for events or photoshoots

SOURCE: http://www.jamesclar.com/portfolio_page/tensegrity-sculptures-2009-current/

- Example: for a wedding white roses can be attached to the structure and reveal a beautiful glow from amongst the petals

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FIGURE 14: DESIGN AND CONCEPT SOURCE: http://bigbangstudio.com.au/

SURFACE

POINT

ORIENT

DIAGRAM // GRASSHOPPER

NURBS CURVE

DIVIDE CURVE

LOFT

U DIVISION (U = 3)

V DIVISION (V = 5)

TRIANGLE B

DOMAIN

PANELS

BOX

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B.7 LEARNING OBJECTIVES AND OUTCOMES Doing extensive research throughout the design

engage in algorithimic construction through self

and modelling process and definately affected

learning. I was pleased with the outcome of the

knowledge of architecture. At the begining of the

iterations as there is a clear sense of development

semester I could not comprehend how structures

and exploration from the first itteration to the

were formed through the computation design

last itteration.

process. And now, I find myself immersed in just that. I learnt that architecture stretches beyond the realms of what seems impossible. By using parametric modelling tools in grasshopper I was able to understand how designs can be pushed to their boundaries and manipulated far more than what can be done by hand. I came accross this notion whilst doing all the 80+ iterations on part B. It was amazing to see how much one definition could change with the smallest alteration in values, scale and surface technqiue.

Within Part B I also learnt to be critical of my own work as I discovered that through critical analysis I was able ot identify limitations in my design and try find a solution (example - reverse engineering B3).

Parts B2 abd B4 helped me prove to myseld that after many doubts, I do indeed have the ability to

Due to personal time constraints I was unable to digitally fabricate a physical prototype. Instead, I constructed the prototype using bought supplies and connecting the elements by hand.

During this process I realised my design would be limited without digital fabrication. Resarching digital fabrication methods for connections was therefore helpful in the design process.

My ability to utilize grasshopper as a parametric modelling tool through alogirthimic sketches has definately improved. Yet, I still need to continue to explore grasshopper and examine how to bridge the connection between my designs in grasshopper and being able to produce functional designs that can be transformed into digitally fabricated outcomes.

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B.8 ALGORITHMIC SKETCHES

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REFERENCES

IMAGES

REFERENCES 1.

TEXTS

Paulo J. da Sousa Cruz, eds. Structures and Architecture: Beyond Their Limits (London: CRC Press/Balkema, 2016)

Figures 1-3:

2. http://www.archdaily.com/89849/canton-tower-information-based-architecture

INFORMATION BASED ARCHITECTURE / CANTON TOWER ( Guangdong, China, 2010) (http:// <www.

3. http://bigbangstudio.com.au/specs-features/

archdaily.com/89849/canton-tower-information-based-architecture> [accessed March 30] Figure 4: Slonim, Hadar 2016 Figure 5: UNIVERSITY OF DESIGN / 3D PRINTING (3D DESIGN, 2016) <https://au.pinterest. com/pin/574138652471409173/> [accessed April 20 2017] Figure 6: UNIVERSITY OF DESIGN / 3D PRINTING (3D DESIGN, 2016) < https://au.pinterest. com/pin/89931323788367066/> [accessed April 26 2017] Figures 7-9: Slonim, Hadar 2016 Figures 10-11: ERIN ENDER / BIG BANG STUDIO (Northcote, 2007) < http://www. braveneweco.com.au/about/> [accessed 26 April 2017] Figure 12: RITUAL RUBBINGS / DO HO SUH (KOREA, 2016) <https://au.pinterest. com/pin/177610779035887420/> [accessed April 20 2017] Figure 13: TENSEGRITY SCULPTURES / JAMES CAR (2009) < http://www.jamesclar.com/ portfolio_page/tensegrity-sculptures-2009-current/> [accessed April 22 2017]

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Table of Contents

DETAILED DESIGN C.0

80

C.1 DESIGN CONCEPT

82

C.2 TECTONIC ELEMENTS

112â&#x20AC;&#x192; C.3 FINAL DETAIL MODEL 120

c.4

LEARNING OBJECTIVES AND OUTCOMES

122

REFERENCES

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C.1 PART B // MAIN DESIGN CONCEPT

1. CONNECTIONS

2. LIGHTING

MAIN DESIGN CONCEPTS ONE // CONNECTIONS

TWO // LED LIGHTING

THREE // TRUSS

3D printed nodes were central

LED lighting ia key to my design

A truss system would allow an

to stage one of my design. The

for part B for the purpose of

even

nodes allow for flexibility in

producing patterning through

and allows the use of fewer

design and can be customised

the

and

materials to acheive the same

for manufacturing to include

shadows. The concept is based

desired outcome. The triangular

feautres unqie to the design. The

around LED lights within the

geometry would also provide the

nodes would also bring fluidity

struts and light being revealed

basis for the pattern of shadows

to the design process bringing

via perforation. The shadows

projected by the LED lgihts within

tofether complex geometries

projected by the lights would

the trusses themselves. The truss

to perform well in lgihtweight

play

structureâ&#x20AC;&#x2122;s

system is benefitial to the overall

structure.

geometry and mimic the shapes

design concept as it means faster

around the space.

installation and fabrication.

medium

with

of

the

light

distribution

of

weight

REFLECTION Moving forward I would love to see some of my concepts included in the group design undertaken in

3. TRUSS

part C. My lighting concept has potential to be quite effective especially in the clientâ&#x20AC;&#x2122;s indoor space as its current function of a studio matches the intended design effect of playing with light and shadows.

Producing prototypes of the nodes would have been helpful in order to consider levels of optimization in the design and how they could be adapted for a future design.

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C.2 TECTONIC ELEMENTS & PROTOTYPES

biomimicry

Part C revolves around developing a detailed design. We have been put into teams. Each team is then divided into 4 with members taking on different roles looking at the following research fields; biomimicry, structure, geometry and patterning. I am part of team ‘Yes’ and had the task of exploring the structural elements of our team’s design.

geometry patterning

structure

Our task was to design for the indoor space at the Big Bang Studio in Melbourne (bigbangstudio. com.au). We decided to design an installation for the space; one that would provide a way for visitors to interact with space and with eachother.

final model DETAILED DESIGN CONCEPTUALISATION

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BIOMIMICRY Using the nature of the human body as a starting point, our team explored the breath, function and rythmic flow of human organs. The exploration began with the lungs and ended with the exploration of the heart and the possibility of connecting the two.

continuity

Through the connection of the lungs, heart and breath,

breath

em t h y r oxygen

is forimed.

heartbeat

The heart and the lungs work together to get oxygen to the tissues. The heart pumps the blood, and the lungs put oxygen into it. This oxygen-rich blood then circulates throughout the body to nourish the cells.

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Central to our design in the notion of

connecting.

The heart produces the largest rythmic elextromagnetic field in the body and its magnetic field can be detected several feet away from the body. Our thoughts and emotions affect the heartâ&#x20AC;&#x2122;s magnetic field, which energetically affects those in our environment whether we are concious of it or not.

...heart of the exhibition

Further, the design would mimic the ever lasting rythem of our daily lives. We hope to inspire visitors to think about the neeed to slow down and be aware of our own internal rythem and appreciate the inner beauty within us.

We hope to conceptualise this concept by integrating it into our design by placing a sensor light within the structure. It would react to the closeness of individuals and the light would mimic the heartâ&#x20AC;&#x2122;s electro magentic field connecting with the surrounding hearts of the those visiting and interacting with the space.

3D printing will allow the design to be printed as a whole entity rather than broken parts which would have challenged our narrative of becoming a coherant whole with the heart.

Often, it is only when we begin to connect with others do we realise that there is the potential

love and share

to

with those around us. It is the heart which reminds us of this.

Thus, our aim is for our desgin to become the heart of the exhibition and for it to act as a constant reminder that our hearts are the means of connecting.

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STRUCTURE The correlation between structure and expression is extremely important in developing an identity

In order to develop our design, we examined the structure of the human heart in the hope of understanding what makes the heart function. By doing so we were able to reflect the structural rationale of the heart into our own design.

*structure was my specified area of exploration DETAILED DESIGN

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First, we looked at the overall elements of the human heart.

1 // right atrium

2 // left atrium

3 // right ventricle

4 // left ventricle

flows

The blood

through the lings; pulmonary vessels.

Trouble with the vessels results in diificulty getting oxygen into the blood.

Second, we examined the outer form/shape of the human heart and how we could perhaps mimic that structure. The shape of the structure stems from the pericardium.

The pericardium serves to hold the heart in position and maintain a hollow space for the heart to expand into when it is full.

Files containing a 3D heart model were downloaded from https://www.thingiverse.com/thing:852939 in order to begin refining the heart’s structural form to be fit for 3D fabrication.

Central to our design, is continuity and flow. Without these important vessels that make up a key structural and functional componenet the heart, our design concept too, would prove difficult.

If the heart is unable to supply blood to the organs and tissues, they will die. And like that, our ‘heart’ desgin too, will ‘die’.

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Prototype structure // We removed the internal structure so that it can be modeled and prinited in PLA. However, the internal structure will be kept for the final design print.

The 3D printed prototype model was 40x50x60mm and cost $60 to print at officeworks.

Third, we looked at the thicknesses of the walls and vessels that make up the structural componennts of the heart.

The thickness of the heart walls varies in different parts of the heart. The atria has very thin myocardium because they do not need to pump blood very far. The ventricles have very thick myocardium in order to

pump

blood to the lungs or throughout the enitre body. This concept constitutes another part of our design - a design that reflects the constant

of the human body which helped

flow

to develope our design from being based on the lungs to being based on the heart.

Karama // parametric structural engineering tool.

Plygin for grasshopper, Rhino.

Karamba was for an accurate analysis of the spatial trusses, frames and shell. It was helpful for optimizing the thicknesses of the trusses (â&#x20AC;&#x2DC;arteriesâ&#x20AC;&#x2122;).

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The heartâ&#x20AC;&#x2122;s structure is central to the structure of the body

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GEOMETRY To follow the inspiration gathered from exploring the lungs and heart, the geometry team utilised grasshopper to turn the abstract design concept into reality.

Initial design // lung & breath

Further trial geometry // lung

CONCEPT 1 // LUNGS After developing our design using the lungs as inspiration, it was decided to discontinue the initial design. We felt that the lungs concept together with our rigid desgins were restricting us in terms of potential for computation, optimisation and fluidity - an integral part of our overall desgin narrative.

Final design for lung concept // ready for patterning

Thus, it was at this stage where we began to look to the heart for inspiration.

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CONCEPT 2 // HEART Geometry foundation // heart dowloaded from https://www.thingiverse.com/thing:852939 After exploring the heart’s structure, we used our finidings to develop the geometry needed to produce a design that mimiced the heart’s form.

In keeping with the narrative, we learned that there is an intrinisc connection between the lungs and the heart. They seemed to be inextricably intertwined and dependant on eachother. Looking to the heart’s heart beat related to the sense of rythem and flow we were trying to achieve in our design. Further, the heart concept provided our team with the necessary inspiration to optimise our design to its full potential.

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MESH // SMOOTHING The geometry team used Weaverbird Laplacian Smoothing to smooth the originally rough tubes generated by cocoon.

smoothing // step 1

smoothing // step 2

smoothing // step 3

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PATTERNING For patterning, our team continued to look at the lung for inspiration. More specifically the alveoli cells - the gas exchange surfaces in the lungs which are surrounded by capillaries. They have a large surface area and resemble a bubble like form.

Extending patterns far beyond the surface notion of style and decoration

In collaboration with the geomtery and structure teams, the patterning team applied the pattern on a curved form and integrated the pattern and the structure.

Grasshopper elements // Box - Pop3D - Sphere - Voronoi3D WbCatmullClark - Wbthicken

We attemped to change the geomtery to

flow

allow more light to

from within

the structure to the outside and create a pattern on the surrounding space.

Pattern design // concept 1 // lungs

Grasshopper elements // Box - Pop3D - Voronoi3D - Exoskeleton

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Pattern design // concept 2 // heart

step 1 // mesh reduction 95%

Using similiar grasshopper componants to those used for the lungs concept, we developed a mesh to mimic the structural pattern of the heart. In order to fabricate the design we reduced the mesh pattern whilst still being careful to maintain the complex geometry. Maintaining this was crucial as it is the geometry juxtaposed against the light source that will create the desired shadowed pattern in the space.

step 2 // mesh reduction 50%

Just as the lungs connect to the heart, the heart beat and rythem of the breath flow from the outside in. So too, t he pattern will reflect from the inside out.

Grasshopper elements // step 3 // mesh reduction 80%

Mesh - Reduce mesh - Wb Mesh Edges - Eoskeleton

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SUMMARY // DESIGN DEVELOPMENT

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SUMMARY // FABRICATION & 3D PRINTING

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fv 3Di

FABRICATION // 3D PRINTING

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FINAL DESIGN The final design will be 3D printed as one whole entity. The breath of the lungs and the beat of the heart are part of the body - a coherant whole. The final design will include an internal light source that will reflect the heartâ&#x20AC;&#x2122;s geometry onto the surrounding surfaces. The light will be sensored, only turning on when more than one visitor is near.

It will reflect the heartâ&#x20AC;&#x2122;s biomagnetic field and the ability for hearts to connect to eachother.

We hope that our installation acts as a platform for interaction; bringing visitors close to the hert but alos to eachother.

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C.4 LEARNING OBJECTIVES AND OUTCOMES Studio Air has has provided me the opportunity not only to design but to push the boundaries regarding what I thought I was capable of designing. It offered me the chance to improve my inidivudal computational skills and a chance to work in a team - a chance to learn from my fellow team members. For me, the highlight of the studio was Part C; engaging in design for a real client and space. Having the client at the final presentation crit together with our tutor and a critic was a bonus. Following the presentation I took note of important feedback. I learned that developing my own ideas coherently is crucial, but so is being able to present them coherantly to a a panel who have not seen my stages of design development. Overall our feedback was positive. However we were advised to really ‘show off’ our design concept in a way that would make it more ‘real’. For example, going beyond our A1 printed panels and photographs and instead using other forms of multimedia such as video and sound.

When discussing our final presentation the idea of using video did come in mind but lack of time and understanding its importance

meant that we did not make one. Follong the presentation I learned that capturing our light concept through video would have been ideal as the concept is all about how the light reacts to inidividuals and connects to the surrounding space. I was pleased that my suggestion from part B of using light within the installation was used in our final design. It was positively noted during our presentation that our team’s presentation was coherant and that having some ovelap between research fields showed a team that worked together. Our team met quite often in the lead up to the presentation. It was definately helpful as we were able to not only share ideas and design together but also able to critic one another an push ourselves to design to the best of our abilities. While working individually in parts A and B I was able to follow through with my design visions. Inidivudal work has its benefits but team work proved just as beneficial. It taught me to be patient, listen and debate design idea. The group process showed that it is indeed possible for six different minds to come together and create one coherant narrative.

When reflecting on the learning objectives of Studio AIr, I am proud yet critical of my acheivements. I am proud of my computational skills which have developed from the bare minimum to being able to use rhino, grasshopper and its plugins (as seen in part B). Nonetheless, I would have liked to have a deeper understanding of the parametric modelling tools and not simply ‘use’ them. I have come to learn that the way to succeed is to understand each element and its use so that in the future I can work with multiple computation elements without struggle. Having such an understanding would also help me with programming and algorithmic construction.

Having a real client and space as part of the design brief meant that my own understanding of my designs was not enough to rely on. I had to continuously justify my work and provide a variety of design possibilities in case the initial concept fell short. On the other hand, I learned to stick to my narrative and be confident in my own concept development.

it to successfully digitally fabricate a prototype that incapcualted our design concepts and narrative well. When digitally modelling our final prototpye we encountered issues regarding scale, structure and geometry. It was at this stage where team work became crucal and we were able to successfully find a solution to our problems.

The design project affected my knowledge of architecture as it showed me that there can indeed be a successfull partnership between architecture and computation. Before the project my knowledge of architecture was limited to simple form, construction and ways of ornament. Through the design project I discovered that architectural boundaries are almost limitless when it comes to manipulating a structures surface or form.

Throughout the semester I discovered design and computational methods that did not know existed. I learned to improve my skills and trust my intuition. Further, I discovered the In terms of digital models and prototypes I importance of being critical of my own work saw an improvement too. Inidividually for part but also the importance of being confident and B I produced a pyhsical prototype without proud of my ideas, being brave enough to follow computation. In part C, together with my team through on my own personal design narrative. members we produced a ditial model and used

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REFERENCES

IMAGES

ELECTROMAGNETIC FIELD // < HTTP://WWW.ABOVETOPSECRET.COM/FORUM/THREAD1004577/ PG1 > [ACCESSED MAY 20 2017] ERIN ENDER / BIG BANG STUDIO (NORTHCOTE, 2007) < HTTP://WWW BRAVENEWECO.COM.AU/ ABOUT/> [ACCESSED MAY 20 2017]

REFERENCES

TEXTS

THE PATTERNS OF ARCHITECTURE (NOVEMBER 2009) < HTTP://AU.WILEY.COM/ WILEYCDA/WILEYTITLE/PRODUCTCD-0470699590.HTML > [ACCESSED JUNE 2 2017]

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