Vassiliadis anna 636571 partb pages

ARCHITECTURAL DESIGN STUDIO: AIR S1, 2015

[DESIGN JOURNAL PART B SUBMISSION] ANNA VASSILIADIS (639571)

B1: RESEARCH FIELDS

TESSELATION IN COMPUTATIONAL DESIGN

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VOLTADOM , 2011

BY SKYLAR TIBBITS

The VoltaDom by Skylar Tibbits aims to communicate forms through the exploration of space, light, material and context, paying homage to the vault noted in many historic cathedrals.

In many respects, this installation can be said to adopt the vault in an extremely fluid way, allowing for instances of overlap, intersection, scale, as well as transparency. Overlapping of vaulted surfaces can be described as both largely intense and quite intricate in detail and depth respectively. Interestingly, the extent to which the vaulted “surface panels� overlap one another is given by the scale and positioning of the vault itself; with a tendency for smaller, more curvaceous panels to have less overlap at the base of the structure, and larger, more solid and controlled panels to have greater instances of overlap at the top.

By observation, it must also be noted that the size of openings within the panels is also dependant on the arrangement of the design, and also the point of overlap; by which openings are generally seen to be located centrally to panels as opposed to at points of intersection or where joinery is concerned. The openings among the bottom panels tend to be more wide and lacking depth when compared to openings closer to the top of the structure, creating an interesting dynamic of distinct, yet variable volumes.

Although spatial confinement to a

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corridor display of glass and concrete prevents physical interaction with the given context, the forms created can be said to be a visual play on what is commonly understood to be a surface, and more so allows viewers to redefine three dimensional volumes with variable components, that can still be arranged with a given set of information. This notion can be exemplified by the span of the installation itself, by which is horizontal in nature, but relies on joints of the components in which span in more than one direction for stability. Similarly, the placement of variables such as joints can be said to be quite strategic, as one variable gives rise to another as opposed to both occurring in the same hierarchy.

For example, the variation of openings and location of joining elements do not co-exist, as openings at joining elements would defeat the ability for components to link together. Yet it is clear that both are present at various stages to different degrees throughout the structure, this point in particular may have been an area of concern in earlier design phases.

Another potential area of concern with assembly and fabrication of the VoltaDom could extend to the material type, which ultimately has to be highly flexible, able to join to other components, support openings (some may argue they act as aesthetic gain, but structural weakness), accommodate for lighting, respond in a

confined environment and maintain an element of stability.

Assembly can be said to form a large part of fabrication, and is imperative to consider and include in early design phases to gain an understanding of how components are to be attached to one another. The types of connections needed are also very important considerations that need to be well thought out prior to final assembly, and factored into design as elements as well.

However, it is important to note the need for extensive research and understanding of material, and more importantly its limitation and weaknesses that can be strengthened by the types of connections chosen. In the case of the VoltaDom, powder coated white aluminium was used in conjunction with white polyethylene plastic, all of which was cut by a threeaxis CNC router and the parts assembled insitu, allowing for bolt and rivet holes as the mode of connection.

Further opportunities that could have been explored with the VoltaDom was its structural response to a human environment, allowing for physical interaction which ultimately would not alter the design intent of expressing tessellation in a non-linear, non-planar way.

B2: CASE STUDY 1.0

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ORIGINAL ALGORITHM ADDED A NUMBER (1.5) CONNETED TO HEXAGON INPUT “t” FOLLOWING #3, ADDED ANOTHER NUMBER THROUGH ADDITION COMPONENT (0.5), CONNECTED TO HEXAGON INPUT “t” HIDE #2 AND #3 ITERATIONS: CHANGED HEXAGON “v” input to NUMBER 50 HIDE #4: NUMBER SLIDER WITH MAX 100 TO HEXAGON “u” input HIDE #5: ADDED A DOMAIN COMPONENT TO AMP input “a”; Domain of 5 to DOMAIN input A, and Domain of -3 to input B of DOMAIN CONNECTED NUMBER SLIDER TO HEX’S T PARAMATER, SET TO 1 “ SET TO 2 “ SET TO 3 “ SET TO 3, CHANGE AMP TO 20 CONNECTED T PARAMATER SLIDER ADDITIONALLY TO V INPUT OF HEX (1.5), CHANGED AMP TO 13 AND RADIUS TO 0.2 “ + CONNECTED T PARAMATER SLIDER ADDITIONALLY TO U INPUT OF HEX (4), AMP AND RADIUS SAME AS 11. “ + CHANGED RADIUS TO 10 ONLY T PARAMATER CONNECTED (3), AMP 17, RADIUS 0.3 ERASED T PARAMATER SLIDER, AMP 40, RADIUS 0.3

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INSERTED DOMAIN, CONNECT UP TO HEX’S U VALUE, AMP 20, RADIUS 0.3 “ CONNECTED DOMAIN TO HEX’S U AND V VALUE, CHANGED AMP TO 5, RADIUS TO 0.5 CONNECTED DOMAIN TO HEX’S U: 30, CONNECTED ANOTHER DOMAIN TO HEX’S V:40, AMP 12, RADIUS 0.8 “ CHANGED AMP TO 20, RADIUS TO 0.1 “ CHANGED BOTH DOMAINS U AND V: 10, CHANGED AMP TO 13, RADIUS 3.3 “, + CONNECTED T PARAMATER:1, CHANGED AMP TO 5, RADIUS TO 1.5 REDUCED DOMAIN TO 0.1 REPLACED CIRCLE ELEMENT WITH RECTANGLE; XSIZE 1, YSIZE.64, RADIUS 0, AMP 8.5 “ XSIZE1, YSIZE3, RADIUS .2, AMP2 “ XSIZE2.6, YSIZE3, RADIUS .2 AMP5, TPARAMATER (HEX)1 “ XSIZE2.6, YSIZE6.5, AMP25, TPARAMATER(HEX)1 “ + CONNECTED A PANEL TO X AND Y INPUTS, THEN CONNECTED SLIDER (2.6), DOMAIN TO “R”INPUT, AND SLIDER TO DOMAIN AT .3 REPLACED AMP DOMAIN AND SLIDER WITH VECTOR DISABLED RECTANGLE, ENABLED CIRCLE AND USED MULTIPLE VECTORS INSERTED A SURFACE OFFSET TO HEX, RADIUS 1.1 “ INSERTED A SURFACE FLIP REPLACED AMP VECTOR WITH A SLIDER:1

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B2: CASE STUDY 1.0 4 SUCCESSFUL OUTCOMES: ADAPTATION IN A DYNAMIC WORLD CHANGE OVER TIME - MATERIALITY CHANGE OF USE OVER TIME- FUNCTION DEVELOPABLE - NOT LIMITED BY FORM OR APPLICTION EMOTIVE EVOCATION - CONNECTION TO USER AND SITE

Trying to achieve a uniformly distrubuted pattern that is not limited to the use of a particular material. The pattern itself creates structural integrity, eliminating the need of additional structure. Examples of use can extend to decorative partitioning wall or shading device, allowing for light and visibility with element of framing perspective and perception of surrounding context.

The use of a rectangular component proved to give some interesting results when thinking about the provision of light, visibility and ventilation in unconventional ways. The pattern generated above can be said to have great structural integrity, but also variation, allowing scope for further development.

The use of Grasshopper domain and range components produced some interesting results, particularly in this iteration. I had intended for cylindrical forms to be distributed somewhat unevenly on the base surface grid, however produced the above result that prompted me to think about structure and potential use. The extruded cylinders in multiple planes provides aesthetic variation, which interestingly creates a range of possibilities in approaching this iteration as a realistic form. This in turn brings about new questions regarding the provision of light and visibility in unconventional ways.

In this iteration, the notion of structural support was very important, as well as the openings allowing opportunities to provide for visual connectivity to surrounding context.

Similar to the other chosen iterations, this too is not limited by the use of particular materials, and could extend to the use of degradable fabrics and metals to bring about ongoing change.

RMIT FABPOD

INSTALLED EARLY 2013

B3: CASE STUDY 2.0

RMIT FABPOD // 2013

5 STEPS & BRIEF COMMENTARY

DIAGRAM: POTENTIAL PROCESS OF PRODUCING FABPOD

BRIEF ANALYSIS The FabPod, completed in 2013 by staff and students of RMIT aims to create a small enclosure to host meetings within open plan environments, providing elemental privacy and acoustic properties through process of prototyping and digital fabrication technologies.

DESIGN INTENT & CRITICAL ANALYSIS The overall design intent was to create a smaller enclosed space within the wider context of open plan offices, to allow users a place to gather and discuss ideas without disrupting acoustic flow of surrounding spaces.

As a result, the FabPod project was largely concerned with acoustic control, evidenced by extensive research into the patterns of noise flow resulting from different geometric forms. It is here that the action of prototyping and digital fabrication becomes integral to the design and functionality of the FabPod, now used as a meeting space within the RMIT Design Hub. Hyperbolic surfaces on the internal sides of this project allow noise to travel in a very concentrated way. The external finishes give no indication of hyperbolic surfaces, but include small circular panes of perspex allowing for light and visibility in and out of the FabPod, and therefore retaining connection with the surrounding office. In many respects, light, visibility and sound have been designed for with specific intent of concentrating the provision of all three into one space that provides new functionality (private space) within a surrounding environment.

SURFACE GEOMETRY CREATED

HYPERBOLOID FORMS MAPPED ONTO SURFACE

HYPERBOLOIDS SUBTRACT CYLINDERS (HOLES)

SURFACE GEOMETRY DIVIDED INTO POINTS

1. SPHERE & 3D Voronoi to generate original pattern. Cone component added, circle component set at midpoints, to trim points of cones later, thus creating the “holes”.

2. CONE component extruded slightly to create textural variation.

3. CONE component extruded further.

4. Smooth geometry produced as a result of minimising cone height.

5. Combination of Step #3 and #4, whereby smooth exterior surface can be seen overlayed upon highly variable cone geometries.

6. Combination of #3 and #4, surfaces have been joined together in the vertical plane, producing an interesting result of a smooth surface on the exterior, and multiple volumes on the interior.

CYLINDRICAL FORMS MAPPED ONTO SURFACE & EXTRUDED

COMPONENTS PROCESSED BY COMPUTER INFORMATION CONVEYED TO MACHINERY COMPONENTS ARRANGED & ASSEMBLED

FUTURE DEVELOPMENT In fufure, I would like to explore variation in size of the hyperboloids on the internal surface, as sound within the space may not always require even distribution, and is somewhat static in what it provides over time.

B4: TECHNIQUE DEVELOPMENT

B4: TECHNIQUE DEVELOPMENT 3 SUCCESSFUL OUTCOMES: ADAPTATION IN A DYNAMIC WORLD CHANGE OVER TIME - MATERIALITY CHANGE OF USE OVER TIME- FUNCTION DEVELOPABLE - NOT LIMITED BY FORM OR APPLICTION EMOTIVE EVOCATION - CONNECTION BETWEEN USER + SITE

+ SPACE

DESIGN POTENTIAL After visiting the site, I believe it is important for my design to address the surrounding context in a direct way, through the use of framing as a means of breaking up the landscape. This can ultimately come about through the use of materials, potentially extending to materials that will decompose, presenting a very interesting and dynamic form.

B5: PROTOTYPES

PROTOTYPE 1 Prototype 1 was interesting to digitally design as well as assembling it in reality at a small scale. Although the model in the adjaent photographs is constructred from paper, this prototype helped me gain a greater understanding into a lightweight structure, and more specifically, how the loads are being transferred from one component to another to make this structurally sound.

Along with the scenic nature of the site, I envisage a structure of this form to be made of a lightweight timber or plywood sheets, as it allows for continuity of form and the ability to conceal the joints between elements. However, given the outfoor context of the site, the use of a “living” material such as timber would have to allow for seasonal swelling, which might put additional pressure on constructability, and stability.

This prototype also has the opportunity to be infilled with a translucent fabric, similar to the Eureka Pavilion by NEX (pictured below).

Times Eureka Pavilion by NEX

PROTOTYPE 2 Prototype 2 was a little more challenging than Prototype 1 in terms of constructability, due to the intersection of cone volumes and tendency to want to sit flat. This model is constructed out of a thin cardbord, which holds its form much better than paper and gives the indication of greater structural integrity.

The provision of the circular “hole” intersection, that essentially trims the end of the cone, allows for the passage of light and interesting shadows to come about as a result. When thinking

about this form as a structure, it would perform much better in an outdoor environment than Prototype 1, as its geometry allows it to perform multiple functions (such as shedding water in the instance of rain).

Although there are many materials that could be used to achieve this form, concrete or dense masonry could help this form to be realised, but materials can extend to plywood without additional framing.

B6: PROPOSAL

BA

TECHNIQUE & APPLICATION TO SITE

In Case Study 1.0, I became interested in the use of tessellation to create form and structure. As I explored this area further, I reealised that tessellation is not limited to the fitting together of even shapes, but rather can be useful in creating visually appealing forms by introducing greater variation in the shape and placement of forms within a given geometry.

Case Study 2.0 was helpful in understanding how parametric tools can be used and manipulated to generate any number of forms, thus creating a multitude of solutions for a given design problem.

With respect to my chosen area within the site, tessellation is seen to occur naturally, but in a implied rather than explicit way.

Upon visiting and experiencing the site and its driving factors, I was fascinated by the way large rocks were able to slow down rapidly flowing water by obstructing the path in a highly variable way.

It is here that the use of tessellation will be particularly interesting to explore further, as I aim to mimic this occurrence of the rocks and water, in the form of a gathering space, but alter the obstruction process with the flow of user groups, as well as responding to natural phenomena (for example, wind, rain and sunlight).

WEAKNESSES & OPPORTUNITIES

Some weaknesses in using tessellation may extend to the choice of materials, type of connections, response to site and engagement by a range of user groups.

Some materials are more susceptible to weathering over time in given conditions, such as steel and timber. Although the weathering process is often undesirable, it may be that the gathering space is highly dynamic, and therefore expected to change over time. This can be said to be a point of both weakness and opportunity; weakness as it becomes a hazard for humans when left to weather over time, however may create a functional habitat for local flora and fauna, thus contributing to the dynamic nature of the design.

Cyclists are a major user group at the site.

A. Man-made waterfall beyond the rocks

B. Residential apartments onlooking the river

Rapids being obstructed by the rocks.

Types of connections, like the choice of materials are largely important in ensuring structures remain stable, but can provide opportunity for non-human engagement over time, as they can allow for degrees of flexibility.

Response to site with tessellation is largely an opportunity, when thinking about the creation of a gathering space with multiple viewing points. Non-uniform tesselation provides a unique way of framing the landscape to be viewed in a certain way, acting almost like an influence to user groups as to how this space should be experienced. In this sense, users are left to assume their own meaning and use for the space, a large opportunity to consider in the design process.

Times Eureka Pavilion, 2011 by NEX

Calm water flowing through the rocks, evidence of weathering edges over time.

Scale of the rocks located at specified area of interest.

Non-human user groups might also be an interesting consideration

B7: LEARNING OBJECTIVES & OUTCOMES Part B has been an important process of learning how to approach parametric design within given time frames. Whilst constructive criticism was given along the way, I found that some parts challenged me to seek further insight as to why I liked or disliked a particular design output.

The setting and explaining of selection criteria was very helpful, particularly in Case Study 1.0 and 2.0, and were linked directly to the brief, providing a means of thinking about how parametric design translates into a functioning space.

The videos were integral to understanding how to use Grasshopper, despite many dead-end results, encouragement to try again often brought about new waves of inspiration, and generation of ideas that had not been expressed before.

B8: APPENDIX Ryan, A, 2011, VoltaDom, Skylar Tibbits, viewed April 25th 2015 < http://arts.mit.edu/events/skylar-tibbits-voltadom/> Burry, M, 2013, RMIT: FabPod, viewed April 27th 2015 < http://mcburry.net/2013/02/27/fabpod/> Grozdanic, L, Times Eureka Pavilion, Evolo magazine (online), viewed April 25th 2015 < http://www.evolo.us/architecture/ times-eureka-pavilion-cellular-structure-inspired-by-plants-nex-marcus-barnett/> RMIT University, FabPod, Digital Fabrication techniques, viewed April 25th 2015 < http://www.sial.rmit.edu.au/portfolio/ fabpod-sial/>

Photomontages of potential pavilion outcomes at Merri Creek.

B8: ALGORITHMIC SKETCHES

SURFACE GEOMETRY

SOLID SUBTRACTION OF FORMS (SPHERES) TO PRODUCE SIMILAR RESULT TO FABPOD

FIELDS: ASSISTED IN THINKING ABOUT TESSELLATION OF PATTERN IN AN UNEVENLY DISTRIBUTED WAY TO PRODUCE INTERESTING RESULTS