STUDIO AIR 2015, SEMESTER 1, TUTOR: GEOFF KIMM ZACHARY AVERY-MITCHELL
INTRODUCTION ZACH I have lived nearly my entire life in Melbourne, in the north, south and eastern suburbs. Due to my Mother’s career as a Travel Agent, I have travelled extensively alongside her, including multiple trips to Japan, South East Asia and Mainland Europe. Japan, more specifically Tokyo, has left the greatest impression upon me, with its ultra-high density and incongruous towers present where ever one looks and the delicate fusion of technology, tradition and innovation prevailing over the operations of the city.
I am in my third year of the Bachelor of Environments, majoring in Architecture. When I started the Bachelor of Environments I was majoring in Property. I found this major completely unengaging and promptly changed focus to Architecture. My experience with using digital design tools is limited. Studio Air is the first class I have taken that explicitly teaches how to use software for design. In the past I have used Sketchup for my project in Studio Earth, however, I felt my understanding of the software and its capabilities to be very inadequate.
My perception of digital architecture is that it provides designers with amazing capabilities which allows unimaginable forms to be modelled. At the same time, it is usually very obvious when a design has been formulated in a digital format, with seemingly similar styles of shapes and forms being regurgitated en masse. I am somewhat cynical about digital software, but also intrigued as to how I might find it most useful.
CONTENTS PART A - CONCEPTUALISATION A1. DESIGN FUTURING A2.DESIGN COMPUTATION A.3 COMPOSITION/GENERATION A.4 CONCLUSION A.5 LEARNING OUTCOMES A6. APPENDIX - ALGORITHMIC SKETCHES PART B - CRITERIA DESIGN B1. RESEARCH FIELD B2. CASE STUDY 1.0 B3. CASE STUDY 2.0 B4. TECHNIQUE DEVELOPMENT B5. TECHNIQUE PROTOTYPES B6. TECHNIQUE PROPOSALS B7. LEARNING OBJECTIVES & OUTCOMES B8. APPENDIX - ALGORITHMIC SKETCHES PART C - DESIGN PROPOSAL C1. DESIGN CONCEPT C2. TECTONIC ELEMENTS & PROTOTYPES C3. FINAL DETAIL MODEL C4. LEARNING OBJECTIVES & OUTCOMES
PART A CONCEPTUALISATION
‘Center for Architecture Science and Ecology’ Fig.1
By Skidmore, Owings & Merrill in collaboration with Rensselaer Polytechnic Institute, New York Source: http://blog.archpaper.com/2012/03/aiany-honors4
CONCEPTUALISATION
2012-design-award-winners-unbuilt-work/#.VXpqgvmqpBc
A1. DESIGN FUTURING
Architectural discourse has evolved over thousands
It is radical concepts and visions that redefine our
of years, adapting to circumstances, cultural trends,
perception of what could be. Fry’s speculative ideas
technological innovation and style. The concept of
on design futuring promote a discourse that is contrary
‘design futuring’ has become part of this discourse in
to a lot of the design theory of the past. Its ambitious
contemporary architecture, as architects become more
outcomes provoke alternative theories and critical
self-aware of the impacts that unfettered development
designs in response. Anthony Dunne & Fiona Raby write
has had upon the Earth. Tony Fry, a desvign theorist
about critical design being an integral part of speculative
describes “design’s complicity in adding to the rapidly
imagining. They define critical designs as “testimonials to
increasing impetus of the forces of unsustainability.”[1]
what could be, but at the same time, they offer alternatives
Fry proposes the idea of ‘Design futuring’ as a method
that highlight weaknesses within existing normality.”[4]
of pushback against this global trend of unsustainable development through the rethinking of traditional
A priority must be to sustain the planet for as long as
design practices and education. This change of course
possible, and to take all mitigating actions to ensure that
involves “slowing the rate of defuturing… and redirecting
this becomes reality. Design futuring is one proposal
us towards far more sustainable modes of planetary
that could provide this outcome. With this concept as a
habitation.”[2] In terms of achieving these outcomes, Fry
starting point, many other speculations can be arrived
proposes that “design practice itself has to be remade
at through thinking about the past, present and future.
to become an agency of sustain-ability.”[3] For this to be realised, design education must be made part of any school curriculum which would then enable greater awareness of design problems amongst non-design CONCEPTUALISATION 5
VCA CENTRE FOR IDEAS (2001) Minifie Van Schaik Architects The VCA Centre for ideas embraces the purpose of
ideas as a process, and could inspire them to use this
the building in its design. Indeed, the design for this
methodology in their own creative world. With technology
building appears as though many iterations of an idea
challenging the traditional orthodoxy of architectural
have been worked out in a digital format and modified
composition, the Centre For Ideas highlights the powerful
for a practical outcome. The unusual stainless steel
nature of algorithmic designing, particularly the warped
façade on the south side demonstrates the capacity
nature of the Voronoi plane on the southern façade.
of digital modelling to be integrated into built projects
Furthermore, the juxtaposition of elements of the façade
through ‘brainstorming’ in a digital environment. As a
create a sense of the overwhelming whilst actually being
result, the building straddles between the digital world
built. Perhaps it is harking back the idea of the ‘sublime’.
and the physical world, showing the possibilities of what can be achieved. This type of workflow demonstrates
The overall composition of The Centre for Ideas is rather
very well the capabilities of using software a designing
ambiguous, with no defined scale when observing from
tool as opposed the traditional methods, where quick
the exterior. This theme is furthered enacted throughout
alterations can generate a branch of different design
the interior of the building with the angular nature of
outcomes. Minifie Van Schaik Architects state, “The
the façade seemingly penetrates the interior, forming
primary impetus of the project is conveyed through a
interesting internal room shapes and obscure window
sense of movement from the virtual to the actual…” [5]
placements. This again is breaking away from the orthodoxy of traditional compositions and redefining
In this day and age using these methods to design
methods of design. Perhaps the most interesting
interesting shapes for buildings is quite common.
feature of this building is the fact that it was built.
However, the stated intent of the design coupled with the function of the building allows the users to embrace 6
CONCEPTUALISATION
Fig.2 VCA Centre For Ideas - South Facade Fig.3 VCA Centre For Ideas - Exterior Detail Fig.4 VCA Centre For Ideas - Interior
Fig. 2
Fig. 3
Fig. 4 Sources: Fig.2 & Fig.4 : http://www.mvsarchitects.com.au/doku.php?id=home:projects:victorian_college_ of_the_arts:image05 Fig.3 : https://c2.staticflickr.com/4/3822/8992766204_83738794f8_b.jpg
CONCEPTUALISATION 7
BANQ (2009) Office DA
Banq Restaurant by Office DA playfully shows off the
the restaurant to perform well whilst still being
capabilities of using Grasshopper3d as design tool.
aesthetically interesting without being encumbered by
The rippling ceilings and walls of the interior combine
service fit outs. Described as a canopy, the ceiling will
to form a seamless interior that has illusory qualities.
always appear quite different as you move around the
Office DA have used the space between the ceiling
space and observing it from different angles. The slatted
and the floor to create a sense of fluidity throughout
layout of the ceiling panels is what gives the restaurant
the entire space of the restaurant. Furthermore, the
a sense of constant fluidity, which is accentuated by the
variation of the ceiling height create a sense of a cave-
precise spacing of the slats apart from each other.
like environment, with smooth, narrow planes undulating above. This technique is not unique to Banq, having been
The use of Grasshopper3d in designing the interior has
used in other projects such as the HOPS lounge bar in
demonstrated to other designers its capabilities, however,
Kolkata by Arturo Interiors. It is easy to appreciate the
as technology improvements take hold, it is likely that
interior form of Banq, particularly in terms of how it is
more complex and unusual designs will emerge.
integrated with the building’s infrastructure, allowing
Fig. 5
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CONCEPTUALISATION
Fig. 6
Fig. 5 : BANQ - Perspective Drawing Fig. 6 : BANQ - Exploded Axonometric Diagram Source: http://www.archdaily.com/42581/banqoffice-da/ CONCEPTUALISATION 9
A2. COMPUTATIONAL DESIGN Since its invention, computational design has become
and technique.”[7] The example to draw upon from
an essential tool for architects and the design industry
Utzon’s work is his design for a minor hall in the Sydney
more broadly. Major technological shifts in any industry
Opera House. A combination of computing and traditional
or practice necessarily redefine the way its practitioners
design enabled Utzon to model the acoustics of possible
go about their work. For example, the period during the
interior spaces for the design, demonstrating the potential
industrial revolution led to new materials and technologies
for problem solving through computer modelling.
being incorporated into architectural and design practice, creating new professions such as engineers who could
As computers become more powerful the types of design
work in combination with an architect to create a new
outcomes would seem linked to the capabilities of the
building language. Architecture was again redefined
computers. This is perhaps most evident during the turn
during the modernist movement of the 20th century.
of the last century. Terzidis again observes, “It is only
Design computation is no different to these other major
during the last decade, with the spectacular development
events in the history of architectural practice. Computers
of computer graphics and the fascination exerted by the
first started having an impact on the design process in the
strange forms, the blobs and others…”[8] During this
1950s. Kostos Terzidis reflects on its impact, “It played,
instance, it appears that formal design techniques were
of course, a fundamental role in the first reflections
forgotten, and design through exploring the capabilities
and experiments regarding a possible computed or
of the computing software took over. This design method
cybernetic architecture in the 1950s and 1960s.”[6]
was applied by the architect, Greg Lynn. Lynn’s “main
During this period time, architects such as Jorn Utzon
concern lies in understanding the consequence of making
were grappling with the best method of using this new
every element of architecture computational.”[9] We
radical technology in an efficient and beneficial way.
can see this approach in his design, ‘Blobwall’ from
The emerging technology of the 50s and 60s provided
2005, where a repeating sequence of blob-shaped
Utzon with an opportunity to “break down the barriers
spheres are created through parametric modeling.
between architecture and the technical aspects relating to architecture, thus supporting innovative architecture
Henri Achten summarizes Lynn’s heavily reliance on
with an inner correspondence between form and
computational design as: Lynn’s work points to the
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CONCEPTUALISATION
Fig.7 Blob Wall - Greg Lynn (2005)
Source: http://architizer.com/projects/blobwall/
direction where all pieces of architectural design can be
every time there is a new breakthrough. In addition, the
coded in a computational form, and thus proceed through
practice of parametric design is redefining the creative
architectural design in a reflective, studied, manner that
process, allowing designers to focus “upon a logic of
reacts on emerging events rather than a completely
associative and dependency relationships between
controlled process in which the drive behind changes
objects and their parts-and-whole relationships.”[12]
in the design comes from the architect alone.”[10] Perhaps the most important advantage of design In their Book, ‘Theories Of The Digital In Architecture’,
computation is the ability to analyse the performance
Rivka Oxman et al acknowledge the change in design
of a building, whether it be its structural performance,
process that computing has had in Architecture, “the
environmental or any measurable performance
digital in architecture has begun to enable a set of
indicator. The ability to easily manipulate data and
symbiotic relationships between the formulation of
to instantly see the overall affect it would have
design processes and developing technologies.”[11] As
on the performance of a design is very useful to
a result the range of potential design outcome through
architects. Oxman et al again observe the impact of
computation is infinite, particularly as the rate of
this technology in the design world, “The growing
technological innovation in the digital space increases
capability for scripting the algorithms of a mediated CONCEPTUALISATION 11
variability that can be selectively studied for performative behaviours such as energy and structural performance provided a new creative professional profile.�[13] With the centuries of development of design theory, the fusion of old-school practices in a digital format feels like a natural progression. This will no doubt lead to more innovation as architects and designers become more literate with digital tools as a means of designing.
Fig.8 Sydney Opera House - Yellow Book Cover (1962) - Jorn Utzon Source: http://www.records.nsw.gov.au/state-archives/images/documents-1/sohyellowbook.jpg/view
12
CONCEPTUALISATION
Fig.9 Sydney Opera House - Construction - Jorn Utzon Source: https://serendipityproject.wordpress.com/2012/01/14/ jan-14-2012-a-gallery-of-twenty-four-photographs-and-case-studies-from-architectural-review-march-1966/sydney-opera-house-under-construction-from-architectural-review-march-1966/ CONCEPTUALISATION 13
A3. COMPOSITION/GENERATION The advent of digital technology in design has augmented
Terminal 3 at Shenzhen International airport exemplifies
the intellect of the architect, pushing compositional
the power of parametric design tools when influencing
techniques that would have the modernists scratching
the overall design outcome. The composition process
their heads. There are now important additional
relied heavily on parametric tools in order to produce the
tools that are only possible through computational
free-form design of the Terminal. Furthermore, Helbig
integration in architectural designing. These new tools
et al describe the approach that the firms, Massimiliano
and approaches are: algorithmic thinking, parametric
Fuksas Architects and Knippers Helbig, “The inherent
modelling and expanding scripting culture. Some of
optimization potential of the iterative process not only
parametricism biggest advocates, such as architect
facilitated thegeometrical definition of a large number
Patrik Schumacher have hailed this approach as the
of unique, non-repetitivecomponents, but also resulted
“new global style for architecture and urban design.”[14]
in a successive performance improvementfor the integrated structural system.”[15] By measuring site
Algorithmic thinking in its simplest definition is a technique
related data such as sun direction and tectonic issues,
for carrying out a specific action, or the organisation
the architects of Terminal 3 were able to compute the
of logic. When applied in a computational manner,
optimal settings for the design and achieve an overall
algorithms can form the basis of architectural composition
outcome fuses a new typology of geometry within an
through establishing the parameters of a design and
efficiently operating megastructure. Furthermore, the
therefore understanding the interconnected elements.
combining of thousands of different components in
Other algorithmic techniques include writing script that
a parametric model proves the usefulness of digital
is connected intrinsically to the planned design and can
design tools in creating daring new typologies.
only be realised through the creation of such a script. Designing with this methodology expands the possible
Scripting for digital design is another emerging tool that
outcomes of designs, enabling parametric modelling
has proven to be useful for composition, empowering
to observe, measure and represent this ideas through
architects and designers alike to have even greater
computation. With a decision-making framework in place,
control of parametric compositions. Examples of
designing becomes optimised like an efficient machine. 14
CONCEPTUALISATION
scripting software that has been developed for use by architects are Grasshopper., Kangaroo and other similar software has been taken up enthusiastically by firms, individuals and education centres. For a more specific example, Thomas Heatherwick’s British Pavilion at the 2010 Shanghai Expo was designed using purpose built software created by AKT (Adams, Kara, Taylor). The 60,000 spikes that are protruding from the centre
Fig. 10 British Expo - Detail - 2010 Source: http://www.dezeen.com/2010/03/31/uk-pavilion-atshanghai-expo-2010-by-thomas-heatherwick-2/
of this installation relied on custom-built algorithmic interface in order to observe the arrangement of these spikes in an optimal setting. With such innovation taking place on the scale of individual design projects, the potential for scripting to become even more integral as designers become more script-literate, is extraordinary. The combination of human creativity and computational analytical skills will push architectural discourse into a new age. Kaijima et al observe this partnership, “the importance of the software does not lie only in the particular method itself but in its potential to alter an architect’s perception of material and structure.”[16]
Fig. 11 Terminal 3 Shenzhen International Airport - Interior Source: http://www.dezeen.com/2013/11/26/studio-fuksas-terminal-3-shenzhen-baoan-international-airport/
CONCEPTUALISATION 15
Fig. 12 : Terminal 3 Shenzhen International Airport - Exterior Source: http://www.dezeen.com/2013/11/26/studio-fuksas-terminal-3-shenzhen-baoan-international-airport/
16
CONCEPTUALISATION
Fig. 10 British Pavilion - Shanghai Expo- 2010 Source: http://www.dezeen.com/2010/03/31/uk-pavilion-atshanghai-expo-2010-by-thomas-heatherwick-2/
CONCEPTUALISATION 17
A4. CONCLUSION
A5. LEARNING OUTCOMES
The emphasis on interconnectedness between design
My understanding of digital design has greatly improved.
elements and the overall outcome is fundamental to
Through researching the context and history of digital
parametric modelling and algorithmic thinking. It empowers
architecture and parametric design, the concept no
the architect to move beyond the traditional barriers of the
longer feels so alien. Furthermore, when analysing the
orthogonal to new typology of geometric shapes. This is
concept of algorithms, the process and implications
perhaps its greatest innovation; the unshackling the chains
of designing in a digital environment become a lot
of centuries of architectural discourse and opening up to
more obvious. Built projects such as Banq and VCA
the speculative. The significance of parametric composition
Centre for Ideas demonstrate the power of the tools
lies in its progressiveness. A new tool for a new age. Using
we are using such as Grasshopper3d. Observing built
this approach for a design project based at Merri Creek
projects which have used the software tools that we
will emphasize the geometric capabilities of this technique
will be learning about this semester has created a
in a local context, allowing stakeholders and interested
sense of excitement around the prospect of using these
observers to enjoy an experimental design project.
tools in a similar way to create interesting designs.
The exploration and understanding of Grasshopper3d will be vital in achieving a satisfactory outcome.
A6. APPENDIX - ALGORITHMIC SKETCHES
18
CONCEPTUALISATION
A6. APPENDIX - REFERENCES 1. Fry, T 2009, Design futuring : sustainability, ethics and new practice, Sydney : University of New South Wales Press, 2009. Pp 7. 2. Fry, T 2009, Design futuring : sustainability, ethics and new practice, Sydney : University of New South Wales Press, 2009. Pp 6. 3. Fry, T 2009, Design futuring : sustainability, ethics and new practice, Sydney : University of New South Wales Press, 2009. Pp9. 4. Dunne, A, & Raby, F 2013, Speculative everything : design, fiction, and social dreaming, Cambridge, Massachusetts : The MIT Press, [2013]. Pp35 5. http://www.mvsarchitects.com.au/doku. php?id=home:projects:victorian_college_of_the_arts 6. Terzidis, K 2012, Algorithmic Architecture. [electronic resource], Hoboken : Taylor & Francis, 2012. Forward 7. Schmidt, A, 2005, Navigating towards digital tectonic tools, OAIster, EBSCOhost, viewed 16 March 2015. Pp1. 8. Terzidis, K 2012, Algorithmic Architecture. [electronic resource], Hoboken : Taylor & Francis, 2012. Forward
15. Helbig et al, 2014, ‘Engineering in a computational design environment – New Terminal 3 at Shenzhen’, Steel Construction Volume 7, Issue 1, pages 24–31, January 2014 16. Kaijima et al, 2011, ‘Intuitive Material Distributions’, Architectural Design, Volume 81, Issue 4, pages 66–69, July/August 2011 IMAGES Figure 1: http://blog.archpaper.com/2012/03/aiany-honors2012-design-award-winners-unbuilt-work/#.VXpqgvmqpBc Figure 2: http://www.mvsarchitects.com.au/doku. php?id=home:projects:victorian_college_of_the_arts
Figure 3: https://c2.staticflickr.com/4/382 2/8992766204_83738794f8_b.jpg Figure 4: http://www.mvsarchitects.com.au/doku. php?id=home:projects:victorian_college_of_the_arts Figure 5 & 6. http://www.archdaily. com/42581/banq-office-da/6. Figure 7. http://architizer.com/projects/blobwall/
9. Achten, H, 2001, Normative Positions in Architectural Design - Deriving and Applying Design Methods, OAIster, EBSCOhost, viewed 18 March 2015. Pp267 10. Achten, H, 2001, Normative Positions in Architectural Design - Deriving and Applying Design Methods, OAIster, EBSCOhost, viewed 18 March 2015. Pp267 11.Oxman, R, & Oxman, R 2014, Theories of the digital in architecture, Abingdon, Oxon; New York : Routledge, 2014. Pp1. 12.Oxman, R, & Oxman, R 2014, Theories of the digital in architecture, Abingdon, Oxon ; New York : Routledge, 2014. 13. Oxman, R, & Oxman, R 2014, Theories of the digital in architecture, Abingdon, Oxon ; New York : Routledge, 2014. 14. Patrik Schumacher, 2009, ‘Parametricism: A New Global Style for Architecture and Urban Design’, in Architectural Design 79 (July-August 2009) (Digital Cities, AD Profile 200), ed. by Neil Leach, pp. 14-23
Figure 8. http://www.records.nsw.gov.au/state-archives/ images/documents-1/sohyellowbook.jpg/view Fgure 9.https://serendipityproject.wordpress. com/2012/01/14/jan-14-2012-a-gallery-of-twenty-fourphotographs-and-case-studies-from-architecturalreview-march-1966/sydney-opera-house-underconstruction-from-architectural-review-march-1966/ Figure 10. http://www.dezeen.com/2010/03/31/ukpavilion-at-shanghai-expo-2010-by-thomas-heatherwick-2/ Figure 11 & 12. http://www.dezeen.com/2013/11/26/studiofuksas-terminal-3-shenzhen-baoan-international-airport/ Figure 13. http://www.dezeen.com/2010/03/31/uk-pavilionat-shanghai-expo-2010-by-thomas-heatherwick-2/
CONCEPTUALISATION 19
PART B CRITERIA DESIGN
Fig 1. HYGROSCOPE - METEORSENSITIVE MORPHOLOGY (2012) - ICD Source: https://futuresplus.files.wordpress.com/2012/07/
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CRITERIA DESIGN
B1. RESEARCH FIELD - BIOMIMICRY The complexities of natural world have always provided
This relatively new area of study, known as
a guide for humans in dealing with problem-solving.
‘Morphogenetic Engineering’ attempts to mimic
Its presence has always been pervasive across many
these systems through computational design. As
different disciplines. Biomimicry within the design industry René Doursat et al ask: “Can we understand their is beginning to gather a large following as designers;
precise self-formation capabilities and integrate them
biologist and engineers combine to extract the mysteries
with technological planning? Can physical systems
of the natural world in order to implement them through
be endowed with information, or informational
designed projects, with the intention of replicating its
systems be embedded in physics, to create
inherent sustainability. In a sense, biomimicry is the
autonomous morphologies and functions?”[1]
reverse-engineering of nature in order to understand how these organisms self-organize to create these extremely
It is these questions that are fundamental to progressing
complex systems. Furthermore, with the intention to
to the next stage of architectural practice. Tim McGinley
design using biomimetic methodology, the opportunity to
from the University of South Australia believes that
design a project that is relevant to the naturalness of the
when Morphogenetic Engineering is fully realised,
area could potentially lead to a multitude of abstractions of Architecture will have reached its singularity point, the local flora and fauna. In addition, the rise of parametric where “Buildings become more intelligent than their modelling has reinvigorated the discourse around
occupants and designers.”[2] Initial steps have
biomimicry in design as it allows a greater understanding
been taken to design projects that have embedded
of individual elements, more accurate calculations
intelligence that can change its form in response to
and greater computation of organic geometries. When
changing weather. For example, the FAZ pavilion at
analysing the self-organizing components of natural
the university of Stuttgart opens and closes its conifer-
organisms, such as the opening and closing of a flower
shaped structure in response the climatic conditions
depending on climatic conditions, we are seeking
its faced with. This type of design work has only been
to replicate similar processes in designed work.
made possible since the advent of parametric design.
CRITERIA DESIGN
21
Salma El Ahmar et al explain the design process for the FAZ Pavilion, “This algorithmic process enables a quite simple prototype, to adapt its morphology, material density, curvature and other aspects in response to contextual requirements and overall form. It results in the integration of structural and responsive elements as one system.� [3]
If we take one step back from Morphogenetic Engineering, we can use biomimicry as process for form finding. With the abundance of natural organisms sprawling across the Merri Creek, there are plenty of shapes that the design can take its cue from. By directly acknowledging the environment surrounding the proposed site for the design, the users and observers of the site can feel a continuous connection between the built and natural worlds. Furthermore, if we were to go beyond merely form as a guide for the design, and studied the sustainability systems inherent within the surround nature of Merri Creek, a real opportunity for innovation is possible.
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CRITERIA DESIGN
Fig 2. FAZ Pavilion - Frankfurt Source: http://www.achimmenges.net/icd-imagedb/FAZ_Pavilion.jpg
CRITERIA DESIGN
23
B2. CASE STUDY 1.0 : ARANDA LASCH THE MORNING LINE
Fig 3. The Morning Line (2008-13) - Design Sequence - Aranda Lasch Source: https://farm4.staticflickr.com/3098/3191703998_315e2450e9_b.jpg
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CRITERIA DESIGN
The Morning Line by Aranda/Lasch & Matthew Ritchie ex-
The initial results produced the same base geometry but with
plores the possibilities fractal cycles as means of biomimicry.
different pattern lines on the surface of the polygon. This was
The intended representation is that of a scale-less universe
without the recursive cycle applied. After using the recur-
in the form of “an open cellular structure rather than an
sive trim and scale function on the same polygon the result
enclosure, basing its eloquent visual language on a radical
crashed my computer many times as thousands of lines were
cosmological theory developed by Paul Steinhardt and Neil
created through the generative process.
Turok.”[4] The intricate patterning in this pavilion is also of interest as it randomly scales up and down the project creat-
However, once processed, the result created a large scale
ing a sense of complexity that could only be found in natural
cubesque style polygon that a had seemed to be formed
or cosmological matter.
through the layering of platforms on top of each other (species D). In terms of recreating the overall form of the ‘Morning
The Grasshopper definition that was provided enabled me to deconstruct and expand on it to achieve quite different results from the original definition. The definition provided started off with a tetrahedron created from a polygon component. A recursive cycle of scaling and trimming was applied to generate the form found in ‘The Morning Line’. As a starting point, I changed the number of sides of the polygon which resulted in a triangular, diamond and pentagonal base depending on the number of sides set. This simple alteration in combination with changing the scaling factor and trim function of the definition created fractal patterns that were related to the base geometry input. The result (species A) produced a very interesting pattern layout. After exhausting that technique, I then attempted to change the input geometry to other forms beyond the basic polygon function. I referenced geometry from previous Grasshopper attempts to see what would we the effect on it after the scale and trim cycle had been applied.
Line’ a mirror process was applied to arrange the trimmed geometries in a similar style to the case study. This technique proved to be quite useful in two regards as it allowed me to add a depth to the outcome which was similar to the case study. The other outcome of this process was the ability to increase the fractal potential of the design through repetitive elements (species C). Finally, species B was generated through using an altogether different grasshopper definition. This definition used C# script to enact the recursive part of the definition. The results were similar to species A in the way it would generate patterns, but the actually process was quite different. Using ‘anchor points’ of of a sphere, box, triangle or random curve the script would place defined geometries on these points to create a fractal outcome. Further to this, the ease of manipulating the points, geometries and input scales was remarkably easy and enabled relatively quick results that were quite different from the previous iterations. CRITERIA DESIGN
25
With such different outcomes from the original definition, the technique become more about patterning than biomimicry. These patterns could be used as fabrication aesthetic to a surface to create a dynamic surface. Furthermore, depending on how these patterns are applied to surface, (laser cut or brail) can generate different tactile experiences for people. The results of the iterations that were created really lend themselves to sculptural installations due to their abstract formations as many of the results would be quite impractical over a larger scale due to the intricacy of the intersecting components.
Fig 4. The Morning Line (2008-13) - Digital Representation - Aranda Lasch Source: https://farm4.staticflickr.com/3098/3191703998_315e2450e9_b.jpg
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CRITERIA DESIGN
Fig 5. The Morning Line (2008-13) - Aranda Lasch Source: http://artpulsemagazine.com/the-morning-line-launches-in-istanbul
CRITERIA DESIGN
27
A
B2. CASE STUDY 1.0 : ITERATION MATRIX
B
C
D
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CRITERIA DESIGN
SPECIES A - CHANGING NUMBER OF SIDES OF POLYGON
SPECIES B - C# RECURSIVE USING GEOMETRY ANCHOR POINTS TO ARRANGE OTHER SHAPES SPECIES C - MIRROR FUNCTION TO ARRANGE GEOMETRIES SPECIES D -USE OF DIFFERNT GEOMETRY AT SCALE AND TRIM STAGE
CRITERIA DESIGN
29
B2. CASE STUDY 1.0 : SUCCESSFUL ITERATIONS
This iteration is interesting due to the combination
This iteration sets out boxes around a curved line, with points
of different geometries and the nature in which
along that line dictating the placement of the boxes. This is of
they have been arranged. With circles taking
interest to me due to the potential to arrange different forms
the focal point of the pattern, the way in which
around a defined curved or even a 3D geometry. A further
they have been arranged in a pentagonal form
point of interest is the incorporation of C# component in the
combined with the triangular criss-crosses
definition to simplify the process. The decision to render this
produces an interesting patterning result. In
in a transparent material adds to the complexity of the form,
terms of application in a physical world, the
showing off the entire range of boxes and the variation in
construction process might be difficult to carry
their size. It might be difficult to apply this outcome to a real
out. However, the way the divisions have
world application, however, I don’t believe it to be impossible.
occurred across the geometry could studied further to test in a real-world application.
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This iteration explores the mirror technique
The mass of this iteration is its strongest aspect.
that was used in the Morning Line project.
Furthermore, what really accentuates the scale
Although it is represented in a similar form seen
of this iteration is the repetitive platforming that
in the Morning Line, It unfortunately does not
composes the form. The recursive function that
resolve how these geometries could be joined.
led to this iteration really went to the extreme in
My speculation is that a particular carpentry
computing the huge amount of geometries that
joint would need to be employed in order to
make up this iteration. A real world incarnation
notch the separate geometries together.
of this would be difficult, however, I believe that with adjustments, the overall form and effect of this iteration could be achieved.
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B3. CASE STUDY 2.0 ICD/ITKE PAVILION
Fig 6. ICD/ITKE Research Pavillion - University of Stutgart (2011) Source: http://www.knstrct.com/art-blog/2011/12/20/icd-itke-research-pavilion-2011
Taking its cue from a sea urchin’s shell, the ICD/ITKE
is built from thin ply-wood, yet it creates a sense of mass
Pavilion at the University of Stuttgart incorporates
and bulkiness to its rippling case. This project is quite
biomimicry and patterning to a very refined outcome.
successful in my opinion as a parametrically designed
The purpose behind this project was have a multi-partner
pavilion. The continuing differences between each cell
approach to designing the pavilion. The partners included
of the shell is quite remarkable, which sits well with its
the Institute for Computational Design and the Institute
intention to viewed as biomimicry. Furthermore, even
of Building and Structural Design, in collaboration with
from a patterning perspective the pavilion provides
a group of design students from the University on which
an interesting path to purse. Overall, this project is
the project is built. The intent behind the project is overtly
quite successful in its design and processes.
one of incorporating biological principles of sea urchin’s shells into a functional and aesthetically pleasing pavilion.
My attempt to reverse engineer this project was
The building process adopted a modular approach,
initially quite confusing as I researched methods of
making the connecting of tiles and fabrication of the
applying hexagonal grids to a surface. My focus was to
project rather straight forward. Interestingly, the pavilion
achieve the same variation in the shell and to offset
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these edges to create the patterning on each cell.
extruded hexagons could be have its edges offset after
Eventually I found a definition that used C# script to
being joined. Finally, to create the organic nature of the
apply a hexagonal grid to a surface which streamlined
offset patterns, a fillet component was introduced in
the generative process as all that was needed was a
order to create curved edges of the offset patterns.
surface to be referenced. The next step in recreating
Unlike the ICD/ITKE Pavilion, I was not able to apply the
the shell casing of the ICD/ITKE Pavilion was to find
hexagonal grid to both sides of the surface. However, in terms
the centre point of each hexagon of the grid. After
of looking forward to technique development, I believe that
evaluating the surface, the centre points of the hexagons
this should not be a hindrance. Furthermore, I did not recreate
are moved upwards along the Z-axis to form a point
the overall form of the surface used in the ICD/ITKE Pavilion as
and line to extrude the surface to. As a result the
I believe the primary focus of this case study was to create the
surface now consists of pyramids with hexagonal bases.
rippling hexagonal grid. In terms of developing this definition
The next step in creating the project was to create a
further, the opportunity to introduce a form of transparency,
perpendicular surface along the z-axis line which will
either through the fabricating material or through cutting
act as the trimming point to create an extruded hexagon
out certain sides of the each hexagon on the surface could
minus the pointy tip. By this stage overall form of the
create an opportunity to views in its location from either
ICD/ITKE Pavilion has been realised with an extruded
inside the pavilion or outside. This grasshopper definition is
hexagonal grid mapped to a curved surface. The
capable of exploring biomimicry as demonstrated, however,
detailing of the hexagonal grid required the geometry
it seems to me more capable as a patterning tool/definition.
to be run through an item list so each face of the
Fig 7. ICD/ITKE Research Pavillion - University of Stutgart (2011) Source: http://www.knstrct.com/art-blog/2011/12/20/icd-itke-research-pavilion-2011
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33
B3. CASE STUDY 2.0 MATRIX STEP 3
STEP 1 Apply Hexagonal grid to lofted surface
STEP 2 Centre points of each hexagon moved upwards along Z-axis. Then surface is extruded to these points, creating a pointy surace
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Setting planar surface through pointy hexagons in order to trim the top points of the geometries to produce a flat surface
STEP 4 The planar surface is then extruded in preparation to trim brep from brep
STEP 5 After trimming the extruded hexagon, a shell stystems of hexagons is left, providing the overall form of the project
STEP 6 The final detailing of the model is achieved through offsetting the edges of the hexagon and then filleting them to achieve a rounder edge
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B4. TECHNIQUE DEVELOPMET After many iterations using the definition developed for Case
The next path (B) I went down involved taking a hexagon cell
Study 2.0 it became clear that Biomimicry could not always
from finished Case Study 2.0 and trimming the faces to make a
be a focal point for the outcomes of the iterations. As a result,
hexagonal frame. This frame was then piped to create a mass
a decision was made that, with the available definition, and
to the form. Again, the offset function was used mangle the
the limitations of my own Grasshopper skills, that patterning
original form which produced some interesting results. Finally I
would be a greater focus for the technique development stage.
added the recursive scale and trim procedure from Case Study
However, the possibility to incorporate biomimicry into the final
1.0 which created a bulging mass of rectangles that organised
design could be achieved through structural form rather than
themselves around the form of a rectangle. By this stage the
the patterning results that were coming out of Grasshopper.
definition is becoming unrecognisable to its original incarnation.
As a result, the selection criteria has altered somewhat to reflect the explorations I had the greatest success with.
For iteration groups C , D, F and G a simplified approach was taking by just using the C# hexagonal grid component and
Using the script developed for Case Study 2.0, I decided to alter
applying it a cone surface, sphere surface, a box surface. The
parameters right at the start of the Grasshopper definition and the
manipulations involved in these iterations were just adjusting
types of surfaces that the C# Hex-grid component could be applied
the number of points the C# component would apply to
to (A). Initially, I changed the input surface to a sphere which
surface and therefore alter grid that would be applied. This is
applied a hexagonal pattern to its surface. After rewiring geometry
perhaps some of the most interesting patterning I came across
components into different offset values, the iterations became
while exploring this technique development. In particular, the
very different to what was initially produced. Quite interestingly,
symmetrical patterns applied to a sphere surface produced
the definition produced floating panels which appeared to be quite
quite intricate patterning. Furthermore, when applying the
messy, but were actually taking the form of a mushroom cloud. The
hexagonal grid to a box surface, the iteration held a resemblance
organisation of these panels in that shape was quite unexpected.
to the Spanish Pavilion by Foreign Office Architects.
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For Iteration group E, I retired the C# Hexagonal Grid component
to diagrams that represent gene and DNA structures. Finally, for
in favour of using a Voronoi component to map to the surface of
iteration batch I, I went back to a similar structure that was used
a sphere. The use of the voronoi is not obvious in the iterations
in the ICD/ITKE Pavilion. I wanted to explore the possibilities of
produced as I seemed to ‘break’ the definition by adding a pipe
using this hexagonal grid layout as a framing system as opposed
component which radically transformed the result. In these
to a completed surface. This technique had the most practical
iterations a sea star form is achieved. Then, by changing the
outcomes in terms of ability to fabricate with simple alterations
source of the piped curves, it became somewhat of a rose-
taking the original technique into quite different directions.
like form. This was perhaps the most unexpected result of the technique development process. Also worth noting in this batch of iterations is the introduction of a map grapher to manipulate the range of points on the sphere of the surface.
In regards to the technique development aligning with my selection criteria, I found that due to my limited skills in Grasshopper, I was not always able to control the outcomes of the definitions in the manner in which I had envisioned. However, this led to quite a few
For iteration batch H, I took a similar approach to batch E.
‘happy mistakes’ which produced quite unusual results. The most
However, instead of using a voronoi component to map to the
successful batch of iterations was group I which took on a wavy
surface, I used a Bezier span. The Bezier produced a more
structure that had a hexagonal grid applied and then taken away.
rigid pattern than other iterations. The next step I took with this
This wavy form also provides an opportunity to engage with the
technique was to project spheres and circles on to points along
concept of biomimicry, allowing the design to take an undulating
the Bezier lines. Then finally a pipe component to thicken up
form spanning the site, as if a wave is about to break on the shore.
the Bezier lines. The final result appeared to be quite similar
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B4. TECHNIQUE DEVELOPMET A
B
C
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D
E
F
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G
H
I
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SUCCESSFUL ITERATIONS
This iteration makes simple alterations to original ICD/
The round noded connections of this iteration are of
ITKE pavilion. As opposed to a pavilion, this iteration
particular interest in terms of a construction method.
reduces the surfaces to a frame-like structure. The ability
Furthermore, the similararity between the pipes and node
to introduce transparencey into the design to portray ‘two
connections to the representations of DNA proivde an
sides’ and therfore framing views through and beyond
opportunity combine a form of biomimicry with a structural
the location of the project. Its construction would be a
system. This system could act as a structural installation
relatively simple process of welding the frame together.
in the site providing a focal point for people to gather
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SUCCESSFUL ITERATIONS
This iteration again is simple variation on the ICD/ITKE
Although this iteration is the line-work of a sphere, the pattern
pavilion. It adopts a similar aesthetic as the frame iteration,
that is visible in a 2D context is quite interesting due to its
but also adds extruded hexagons. The extruded elements
rigid and cravass like symetry. This pattern could be applied
provide an opportunity to incorporate some form of multi-
slabs of stones of carved into wood to become a collection of
media. My initial thoughts on this involve speakers placed
tiles that would form a path through the site. Furthermore, it is
in various extrusions, that would be processing the sound
consistant with the hexagonal motif of previous iterations.
of the nearby train or reacting to users walking past
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45
B5. TECHNIQUE PROTOTYPES With the intention to create a design that dynamically
To improve this process to make it more precise and efficient,
responds to the natural and non-natural events and process
a card cutting process at the Fab Lab would have produced
happening nearby, whilst leading users of the space to a
a similar result. Unfortunately this facility was not available at
focal gathering point, it became clear that the technique
the time. To connect separate hexagons to each other a glue
would require a response to the topography of the area
was used. This is less than ideal as a joinery system between each hexagonal component would improve overall structural
The desire to Shepard people from a narrow walkway to a large open space that could host a multitude of different events led me to conclude that a formal pathway to inform users of the appropriate route to take was necessary. This provided the opportunity to engage a framing system that could perform as a guide to lead users through the space, whilst also deterring them from walking on to the nearby train tracks which currently
integrity which is something I will investigate for the next stage of this prototype. The frame should not encounter many adverse structural issues as it is intended to be lightweight to relieve the overall stress. The main issue I encountered when producing Prototype A was attaching the the outer components of the hexagon to the edges of the inner hexagon. I could not get the desired angle which resulted in a flatter surface than was intended.
provide no barrier to discourage people and animals from accessing them. As a result, taking a similar aesthetic approach
This prototype is only portions of the technique that has been
to the ICD/ITKE Pavilion at the University of Stuttgart; a series of
explored so far. As a result, the overall affects of the design
de-constructed hexagonal components composed in a framing
can not be fully appreciated. However, the desired affect of
system was explored in the Prototype. When assembled, the
this prototype when fully developed will revitalise and form
individual components create an unorthodox cell aesthetic.
this currently neglected section of the Merri Creek precinct.
Furthermore, in an attempt to incorporate the ideas of biomimicry, the overall structural form of the wall will emulate that of a rippling water current. This structural approach signifies its connection with Merri Creek, whilst also providing a dynamic and evolving frame. In relation to the assembly of Protoype A, I used a modular approach by cutting out a trace of the hexagonal gird on flat cardboard and then reassembling the components. 46
CRITERIA DESIGN
ASSEMBLY PROCESS
1. Trace components onto card in preparation for modular assembly
2. Glue outside components back to the centre hexagon at an angle to increase the depth of the design
3. Repeat process for next connection, connecting at a different angle to produce indented positioning
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B.6 TECHNIQUE PROPOSAL
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IMAGE TAKEN FROM GOOGLE EARTH SOFTWARE
After further explorations of the chosen technique, my attention
Thus far, the technical achievements of the chosen technique is
turned to how it would be best implemented at the selected site.
its ability to change the size of individual hexagonal components
This question is still not fully resolved, however, preliminary tests
depending on the surface contortion that it is applied to. This
have been made in the Grasshopper see the suitability of the
results an evolving grid of hexagons with a seeming randomness
technique in its current form. The hexagonal geometry of the
to their size and orientation. Furthermore, given that the intended
frame is satisfactory thus far. Perhaps alterations will be made
outcome is for it to be a frame, it provides an opportunity for stake
further down the track but at the moment the shape will be used.
holders of the area to change the function or add to the design.
Whilst trying to explore the overall form of the frame at a macro
For example, a vertical garden could be grown throughout
level, I found that slight manipulations to the curves that formed
the frame, adding greenery and overall vegetation to what
the shape would break components within my Grasshopper
is quite an ugly back drop of train track steel and gravel.
definition. As a result, my intention is to study where and
This approach is quite minimal. The overall size of the frame
why this is happening in order to make the overall form more
will be quite expansive given the size of the site, however,
dynamic and varied than in its current representation.
despite this, it retains a relatively small footprint.
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49
B.7 LEARNING OBJECTIVES & OUTCOMES
After the interim presentations, I am confident that my technique
Thus far, the overall program of this subject has really informed
and planned design is headed in the right direction. The
me of precisely what is needed to carry out computational design.
feedback gained from the presentation advised me to explore
In addition to this, the interesting areas of study within this field
greater interaction between the two contrasting areas of the site.
has enabled me to appreciate the varied uses of this practice.
Furthermore, I got the impression that scale would also play an important role in the outcome of this design due to the expansive area of the site and the desire to have maximum visual impact. In this sense, I believe that further interrogation of the brief will provide more options and solutions to the future of this proposal.
The Case-Study sections as well as the technique development section really forced me to explore as many possible outcomes with the definitions provided and created, and instilled a sense of confidence that my overall understanding and skills using parametric modelling are developing. Perhaps where I have let myself down is in my presentation skills and graphic design. My use of Adobe products is primitive although I am making some progress to improve my overall presentation skills.
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B.8 APPENDIX - ALGORITHMIC SKETCHES
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B.9 REFERENCES
TEXT
IMAGES
[1] -Doursat, R, Sayama, H, & Michel, O 2013, Morphogenetic Engineering. [Electronic Resource] : Toward Programmable Complex Systems, n.p.: Berlin ; New York : Springer, c2013., UNIVERSITY OF MELBOURNE’s Catalogue, EBSCOhost, viewed 25 March 2013. Pp1.
Figure 1: https://futuresplus.files.wordpress. com/2012/07/hygroscope_01_dsc7738_crop.jpg
[2] - McGinley, T 2015, ‘A morphogenetic architecture for intelligent buildings’, Intelligent Buildings International, 7, 1, pp. 4-15, Environment Complete, EBSCOhost, viewed 25 March 2015. Pp4. [3] - El Ahmar, S, Fioravanti, A, Hanafi, M, 2013, A Methodology for Computational Architectural Design Based on Biological Principles. [Electronic Resource]. Computation and Performance – Proceedings of the 31st eCAADe Conference – Volume 1, Faculty of Architecture, Delft University of Technology, Delft, The Netherlands. [4] - http://www.tba21.org/augarten_activities/49/page_2
Figure 2: http://www.achimmenges.net/ icd-imagedb/FAZ_Pavilion.jpg Figure 3: https://farm4.staticflickr.com/3098 /3191703998_315e2450e9_b.jpg Figure 4: https://farm4.staticflickr.com/3098 /3191703998_315e2450e9_b.jpg Figure 5: http://artpulsemagazine.com/themorning-line-launches-in-istanbul Figure 6: http://www.knstrct.com/art-blog/2011/12/20/ icd-itke-research-pavilion-2011 Figure 7: http://www.knstrct.com/art-blog/2011/12/20/ icd-itke-research-pavilion-2011
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PART B CRITERIA DESIGN
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PROJECT PROPOSAL
Fig 1. Rushall Reserve Source: http://yarraconversation.com.au/rushall-reservebypass
C.1 DESIGN CONCEPT The site of Rushall Reserve which is just north of Rushall train
This proposal will use the framing system proposed earlier
station is a large open space that is used by many different
to minimally intervene in Rushall Reserve. The repetitive use
stakeholders. However, this area despite its proximity to the
of hexagons is similar to how beehives are constructed and
naturalness of the Merri Creek, feels stagnant. Furthermore,
will provide a similar visual effect. However, this design goes
the train lines which form the boundary of the reserve are left
beyond the rigid symmetry employed in beehives which is in-
unprotected, creating some potentially hazardous situations
trinsic to computational power of the design. The hexagon and
with users of the space, both human and non-human. Howev-
there side components will vary in size and ultimately shape
er, after engaging with the site during a party which was held
as hexagons are applied to the surface. In my opinion, this
there, the opportunity to enhance the experience of passing
gives the fence an element of dynamism and fluidity which is
trains for both people in Rushall Reserve and for passengers
essential for this design and site considering how large the
on board the train whilst also discouraging humans and non-
space is. Without the heterogeneity taking effect, the overall
humans alike from crossing onto the tracks became an idea.
impact of the fence upon the site would be lost, particularly to those users who are doing more than simply passing through
This idea was presented during the interim presentations. It
the area by foot, train or bike. In addition, the design em-
received broadly supportive critiques from my Tutor and the
ploys anisotropy, a further computational realization, allowing
guest crit. A key area of focus to achieve the final result is
the cells to orient themselves according to the mechanical
understanding the structural elements in relation to the site as
stresses. Another element of this proposal is the possibil-
they had been left unresolved up until this stage. My under-
ity of incorporating organic materials such as creeper plants
standing of how the fence would fit together improved greatly
to grow amongst the fence, creating areas of the fence that
after the fabrication of part of the design. What I found is that
change along with the growth of the plants and by the cycle of
by rotating the fence by 90 degrees, the curves in the fence
the seasons. For example, the lush greens of Boston Ivy that
would have greater structural support as the fence distributes
appear during spring change to deep reds during the autumn.
its load in a lot more even way, taking the pressure off the
By incorporating this ecosystem, it can bring the fence to life.
base of the fence which was present during its initial proposal.
Staying with the theme of evolving surfaces, fence will be
Despite the overall rigidity of the fence improved by turning it
constructed from an unsealed metal allowing it to degrade
on its side, I felt as if the illusory effect of the curves undulat-
and change as time and weather takes its natural course.
ing along the z-axis were lost in this configuration. The fence
Using the idea of symbiosis in this way will greatly add to the
felt a little bit more static than I would like.
beatification of the reserve. PROJECT PROPOSAL
55
PRECEDENTS
Fig 2.
Fig 3.
Fig. 4
Fig 5.
Fig 6.
Fig 7.
Fig 8.
Fig 9.
Fig 10.
Fig 11. 56
PROJECT PROPOSAL
ICD/ITKE RESEARCH PAVILION 2011 The ICD/ITKE Research Pavilion at the University of Stuttgart uses computational principles very effectively to explore the idea of biomimicry. Using a sea urchin’s plate structure as its main inspiration, the design explores the use of heterogeneity and anisotropy in its overall form. Furthermore, this is consistent with the principles which underpin the biology of the sea urchin’s exterior plates. Furthermore, the modular nature of the design also greatly informs the construction principles which underpin my own project, allowing a relatively straightforward fabrication process. The use of finger joints to link together the hexagonal plates is also quite interesting as it increases the overall load-bearing strength of the structure. (Fig 2-4)
ZA11 PAVILION (2011) The ZA11 Pavilion is of interest due to its lightweight framing system. When analyzing the parametric diagrams detailing the process of achieving this outcome, it bares many similar steps to my own design. Furthermore, the openness and transparency that this framing system achieves informs my design in the sense that it appears more minimalist and as a result, not overbearing when placed in its site. In addition, it opens the possibilities for there to be engagement between people on different sides of the pavilion. For example, passers-by stopping to investigate the pavilion and then engaging with the activity that is already taking place inside the space created by the pavilion. (Fig 5-7)
LANDSCAPE FENCE - HENRI & SALLE(2011) This design incorporates a twisted steel framing system which is of a similar typology to that of my own proposal. I refer to this project as a precedent due to its intense curves with structural rigidity. Furthermore, this design also employs biomimicry as it seeks to recreate the form of a cocoon wrapping around the swimming pool. (Fig 8-11)
PROJECT PROPOSAL
57
FORM FINDING
COMPONENT DE Offset curves of each side component
Extrude base of hexagon
Apply hexagonal grid to surface via C#
Define Surface
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Trim intersection of extruded hexagon base from spikey Surface
Move point along Z Axis
Find centre point of hexagon
PROJECT PROPOSAL
Extrude surface to point to create spikey surface
Deconstruct BREP into constitutuant parts
List item to apply details to each side surface
REPEAT FOR
PARAMETRICS In creating this project, the use of parametric modelling to achieve the final outcome was intrinsic. Furthermore, the ability to alter aspects such as the length of extrusions, the offset
ETAILS
distances and the overall number of hexagons the surface will consist of particularly given the intended length of the fence. To work out the connections for each hexagonal cell would be too time consuming to undertake manually and therefore can
Fillet the offset curves to achieve a smoothness
only really be achieved through the power of computation.
Despite designing a fence, I was able to apply the exact same principles and definition to construct a structurally solid paPerform “Solid difference� to create final side detail
vilion. I discovered this during the fabrication process for my detailed model. After assembling a few of the hexagonal cells and joining them together, I could rotate the model to form a pavilion like structure. The adaptability of this design is also one if its key features. It is something I very much would like to develop further.
EACH SIDE
Approaching the fabrication stage of this design, it became quite clear that further use of parametric modelling would facilitate this process a lot easier than I have experienced with past model making. Being able to unroll whichever hexagonal cell I select, then adding tabs to the appropriate edges automates the process. This was realized when I received my sheet of card with the cuts and etches done precisely as specified. PROJECT PROPOSAL
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SITE
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PROJECT PROPOSAL
PLAN
E N
S W
PROJECT PROPOSAL
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C.2 TECTONIC ELEMENT’S & PROTOTYPES The flowing web of hexagonal components makes up the core
installed. A trench must be dug following the line (visible in
construction element of this design. Given that the design is
the site plan) of the fence, and when base hexagon compo-
using planar surfaces, the fabrication process can be auto-
nents are complete and assembled, a concrete footing will be
mated by machines in order to cut out the shapes more ac-
poured into the trench, then the base components of the fence
curately and efficiently. In order to ensure maximum structural
laid to set. Not only does this give the base of the structure
strength, each component of that make up the hexagonal cells
a rigidity, but it will also give the effect of the fence emerging
must be welded along their connecting edges at the appropri-
through the ground.
ate angle. This process I imagine will be time consuming and delicate. Furthermore, I believe a specialist in metal smithing
The model fabricating process was very instructive in figuring
would be invaluable during this process.
out the structural elements. Given that each hexagonal component is fabricated seperatly, it provided an opportunity to
In regards to the core material of the fence, I believe steel
manually arrange the components in different manner to what
would be most appropriate in ensuring structural soundness.
has been desiging in Rhino and Grasshopper. In addition, by
If a lighter metal were to be used, aluminium for example, it
having a physical model of the fence, I was able to test the
may create a situation where there is too much flexibility in the
strucutral soundness of the fence. The conclusion of which
structure as a whole, which on windy day could be exacer-
was to rotate the design by 90 degrees to improve the load
bated and cause the structure to fail. Furthermore, using steel
sharing of the fence. As mentioned earlier, this approach lost
allows ageing and coloring of the metal to take place.
some of the aesthetic appeal of the initial design. The solution was to load up the base with as much mass as possible to
Given the expansive nature of the fence, the site at Rushall
provide as solid foundation as possible.
Reserve will require some preparation before the fence is
Unroll surface into induvidual componnents (Fig 12)
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PROJECT PROPOSAL
Alluminium sheets are cut to each component spec. (Fig 13)
Ground is dug up at site in anticipation of concrete footing
Fig 12
Base components set into concrete footing and left to set (Fig 14)
Fig 14
Fig 13
Assembly of fence takes place on site with welding linking each component PROJECT PROPOSAL
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PROJECT PROPOSAL
PROTOTYPE WITH DOUBLE CURVED SURFACE
In looking for greater structural stability, my tutor suggested applying the definition to a double curved fence. This would theoretically disperse the mass of the fence across the curves to give a more solid footing.
The results were quite interesting. I could apply the hexagonal grid with no problems at all. However, somewhere the definition breaks and gives the result seen on the opposite page. The combination of the transparent framing system with entire components that have been blocked in is quite striking. The area that is blocked in is where the definition has failed to calculate the extrusions and therefore cannot offset the curves.
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Random assembly of prototype components under controlled lighting
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PROJECT PROPOSAL
Random assembly of prototype components under controlled lighting
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Random assembly of prototype components under controlled lighting
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PROJECT PROPOSAL
Prototype components
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Completed fabricated model. Laying on its side, forming a pavilion-like structure.
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PROJECT PROPOSAL
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C.3 Final Detail Model
For the final model of my design, I decided to focus on representing the core construction element of the design at the expense of creating a scaled model of the entire design project. The reasoning behind this is due to the overall size of the proposal, which would make it unfeasible to fabricate a model. As a result, the model demonstrates the variability in size and form of the hexagonal components in order to present the key concept behind the proposed fence. In order to preview a sense of the impact of the design on the site, rendered images of the design in-situ have also been included to provide a greater context to the fabricated model.
The process for fabricating this model involved unrolling the hexagonal components in individual cells. Because the model would be fabricated out of card, there is a difference in how the unrolling would be done between fabricating using a card-cutter and fabricating using a laser cutter for metal. The key difference between these two processes is that using the card cutter involves folding and bending the card which allows for all the components of the hexagonal cell to be cut in one whole piece. I believe that this process taking place in a metal material context would require each component of the hexagonal cell to be cut into its own piece, and then attached through welding.
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PROJECT PROPOSAL
Mode w
el in upright positioning, as would be place in site.
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Side profile of fabricated model
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Perspective provile of fabricated model
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Fence leading onto Rushall Reserve, following the ridge along the train line
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View of fence from Rushall Reserve
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View of fence from train tracks looking onto Rushall Reserve
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Detail of Boston Ivy growing across the fence frame. Metal frame is also decaying.
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Fence running along neglected path Towards Rushall Train Station.
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Fence running along neglected path away from Rushall Train Station towards Rushal Reserve. PROJECT PROPOSAL
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Pavilion form of model when rested on corners. Highlighting shadows. 84
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Model turned upside-down revealing underside
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C.4 LEARNING OBJECTIVES & OUTCOMES Undertaking this design project has been the most informa-
Process in a lot more detail to influence the outcome.
tive design process that I have experienced. Using 3D design software was a first for me this semester, and as a result,
Overall, I feel as though most of the learning objectives have
has greatly improved my confidence in using this a medium
been satisfied to varying degrees. My foundational under-
for designing. Furthermore, this studio also introduced me to
standing of computational geometry has gone from nonex-
the concept of practical computation to achieve a designed
istent to very interested. This is further exacerbated by the
outcome. By engaging in this computational process to create
tutorial videos that I studied through out the semester which
my own work, my knowledge of how certain types of pattern-
gave me a range of different techniques and approaches to
ing and form finding through computational processes has
computational designing. The technique development section
been greatly expanded, de-mistifying the complex forms and
was very important in asserting the variety of possibilities
shapes that feature in architectural publications.
when working with a definition and therefore allowing me to understand where manipulations can be added to explore its
The relationship of my final design to its site somewhat re-
possibilities.
stricted the form finding capabilities of parametric modelling. However, once a surface had been created, every process
My computational and overall computer skills are still relatively
involved parametric modelling to arrange the pattern and the
naive. However, this subject has given me a great starting
eventual tectonic elements of the design. There were several
push into the world of 3D designing and the power of compu-
stages whilst creating this definition where manipulation could
tation. Furthermore, a desire to improve and refine my skills
be invited, such as length of extrusions, number of hexagons,
has sprung up and for that I am most happy.
trimming points, offset distances etcetera.
Another first for me during this design project was using digital fabrication. This was by far the most straightforward and streamlined process of model making I have ever experienced. I believe that future design tasks will consider this 86
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REFERENCES Images Figure 1. http://yarraconversation.com.au/rushall-reservebypass Figure 2. http://icd.uni-stuttgart.de/?p=6553 Figure 3. http://icd.uni-stuttgart.de/?p=6553 Figure 4. http://icd.uni-stuttgart.de/?p=6553 Figure 5. http://www.arch2o.com/za11-pavilion-dimitrie-stefanescu-patrick-bedarf-bogdan-hambasan/ Figure 6. http://www.arch2o.com/za11-pavilion-dimitrie-stefanescu-patrick-bedarf-bogdan-hambasan/ Figure 7. http://www.arch2o.com/za11-pavilion-dimitrie-stefanescu-patrick-bedarf-bogdan-hambasan/ Figure 8. http://www.archdaily.com/202150/landscape-fenceheri-salli/ Figure 9. http://www.archdaily.com/202150/landscape-fenceheri-salli/ Figure 10. http://www.archdaily.com/202150/landscape-fenceheri-salli/ Figure 11. http://www.archdaily.com/202150/landscape-fenceheri-salli/ Figure 13. http://www.rentapen.com/2012/01/05/laser-metalcutting-services-verses-water-jet/
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