Part B

STUDIO

AIR

JASPREET KAUR 699094 SEM1, 2016

INTRODUCTION My name is Jaspreet Kaur and I’m currently in the third year of the Bachelor of Environments majoring in Architecture degree. Studios have always been difficult for me as I enjoy the technical side of architecture. I feel that I’m a really good at using software’s like AutoCAD to produce drawing and also a great person to bounce off ideas, but developing them into designs it just not my forte.

I also enjoy using software’s for architecture, so it’ll be interesting to see how I do with the combination of software and design. Parametric isn’t something I have heard of, but I’m really keen on sustainable design so if we are able to combine both it’ll be a bonus. I have used rhino before but not grasshopper, algorithms are a foreign concept and hopefully are easy to understand. I’m looking forward to this subject, hopefully all turns out well.

CONTENTS PART A - CONCEPTUALISATION.................4-15 A.1 A.2 A.3 A.4 A.5 A.6

DESIGN FUTURING..........................................................4 DESIGN COMPUTATION....................................................7 COMPOSITION/GENERATION............................................10 CONCLUSION.................................................................13 LEARNING OUTCOMES....................................................14 APPENDIX.....................................................................15

PART B - CRITERIA DESIGN...................22-54 B.1 B.2 B.3 B.4 B.5 B.6 B.7 B.8

RESEARCH FIELD..........................................................22 CASE STUDY 1.0..........................................................23 CASE STUDY 2.0..........................................................27 TECHNIQUE: DEVELOPMENT...........................................29 TECHNIQUE: PROTOTYPES.............................................39 TECHNIQUE: PROPOSALS...............................................42 LEARNING OUTCOMES...................................................49 APPENDIX.....................................................................50

PART C - DETAILED DESIGN C.1 C.2 C.3 C.4

DESIGN CONCEPT TECTONIC ELEMENTS&PROTOTYPES FINAL DETAIL MODEL LEARNING OUTCOMES

REFERENCES.................................................55

A

A.1 DESIGN FUTURING

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THE HELIX BRIDGE

ARCHITECTS: COX ARCHITECTS & ARUP YEAR: 2010

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Fig. 1-3 Source: http://www.arup.com/Projects/ Helix_bridge.aspx

Design futuring is about designing in a way that creates a design that prolongs the life of resources. An example of this is the Helix Bridge in Singapore, which was designed by COX Architecture and Arup. The Helix Bridge is inspired by the geometries of DNA and incorporates them as tubular trusses as well as an aesthetic form1. Throughout Tony Fry's book Design Futuring, he talks about slowing the rate of defuturing2, I interpreted this as a future that does not have the resources to thrive. As humans, we are using up more resource than we are able to replenish back into the environment. The Helix Bridge combats this issue as it uses five times less steel than a conventional girder bridge.

Not only is it being sustainable by reducing the use of steel it is also reducing Co2 levels that are associated with creating steel3. Overall, this bridge is both pleasing to the eye and a sustainable structure.

1 "The Helix | Arup | A Global Firm Of Consulting Engineers, Designers, Planners And Project Managers", Arup.com, 2016 <http://www.arup.com/Projects/Helix_bridge.aspx> [accessed 9 March 2016].

2 Tony Fry, Design Futuring (Oxford: Berg, 2009).

3 "The Helix | Arup | A Global Firm Of Consulting Engineers, Designers, Planners And Project Managers", Arup.com, 2016 <http://www.arup.com/Projects/Helix_bridge.aspx> [accessed 9 March 2016].

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PERTH ARENA ARCHITECTS: ARM ARCHITECTURE YEAR: 2012

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Fig 4-7 Source: http://www.a-r-m.com. au/projects_PerthArena.html

Environmentally friendly buildings are also considered a form of design futuring as it reduces the carbon emission within the environment. This lowers greenhouse gases and leads to a healthier and greener environment. The Perth Arena in Western Australia is a great example of an environmentally friendly building, it uses photo voltaic solar panels, low energy displacement air conditioning systems, mixed mode ventilation, WELLS rated fixtures and fittings an waterless urinals, locally sourced materials and a water sensitive landscape design. The displacement air conditioning reduces greenhouse emissions from the HVAC system by 60% and the mixed-mode air conditioning saves 127 tonnes of Co2 emissions annually1. Overall this building uses various techniques and products to reduce its impact on the environment and its carbon footprint.

4 "ARM - Perth Arena", A-r-m.com.au, 2016 <http://www.a-r-m.com.au/projects_PerthArena.html> [accessed 9 March 2016].

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A

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A.2 DESIGN COMPUTATION

BENEFITS OF COMPUTERS IN DESIGN

Fig 1

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FIg 1-2 Source: http://www.evolute.at/?p=2008_YAS

Technology such as computers have become a predominant part of today's society.

Computer have now also become a tool for design bringing many advantages with it.

Once programmed a computer can follow instructions and complete a project without assistance. This is beneficial as it allows the person to work on other area that require human input. Since computers are machines and run on electricity they do not require rest or breaks and can work longer hours than a person. This is efficient and effective as it reduces the time spent on projects therefore allowing the company to take on more projects and increase revenue. Another advantage of computer in design is the fact that data can be stored and organised on the device, this makes it easier to access and find files and can be an efficient way to keep files from old projects1.

An example of a computerised design is the Yas Hotel, the hotels 217 meter curved form made of steel and 5,800 pivoting diamond shaped glass panels were created using a software called Evolute for Rhino. The symmetry between all the diamonds and the steel structure would not have been possible if done by hand, however due to the computerisation of the design they were able to optimise the design and create equal spaces all around.2 5 Yehuda E Kalay, Architecture's New Media (Cambridge, Mass.: MIT Press, 2004).

6 "Evolute | The Geometry Experts", Evolute.at, 2016 <http://www.evolute.at/> [accessed 9 March 2016].

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Fig 3-5 Source: http://icd.uni-stuttgart.de/?p=4458

The ICD/ITKE Research Pavilion constructed in 2010 is another example of computerised design. This project had a diameter of more than 12 meters and was constructed using 6.5mm birch plywood sheets. This design was driven by physical behaviour and material characteristics, it looked as the bending behaviour of birch plywood strips and used that as a basis for their design. The strips were robotically manufactured, which ensured that wastage of material was minimum and that all the pieces were exactly the same1.

Overall computerisation of designs has made designing more efficient, it allows us to use material without wastage and allows us to create structures that were not possible before.

7 "ICD/ITKE Research Pavilion 2010 ÂŤ Institute For Computational Design (ICD)", Icd.uni-stuttgart.de, 2016 <http://icd. uni-stuttgart.de/?p=4458> [accessed 9 March 2016].

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A

A.3 COMPOSITION/ GENERATION

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Composition is the computation of a design where the designer is involved in every stage of the process. This is one of the most commonly used practises in architecture, however due to the increase and availability of technology and software this ideal practice has changed to generation. Generation is the use of algorithms to create an optimised design that is created by a computer.

Algorithms are defined as a recipe, method, or technique for doing something1.

Fig. 1

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Fig 1-2 Source: http://icd.unistuttgart.de/?p=6553

Advantages of generation are that it enables a designer to work out the building structure and construction process before it is made. This benefits the designer by providing information on material and its performance in certain situation.

It can also help in making decision on material and the practicality of certain aspects, which will help in optimising the design and reducing costs and time.

The algorithms in generation is a step by step representation of a design.

This allows changes to be made letting designers come up with multiple design in a short amount of time. This is beneficial as it provides the client with many options and also reduces the time spent on designing. The step by step representation can also help in rectifying problems as all aspects of the design are individual and if a certain aspect or point is incorrect it can be fixed rather than starting again from the beginning.

Fig 3-4 Source: http://www.serpentinegalleries. org/exhibitions-events/serpentine-gallery8 Definition of "Algorithm" in Wilson, Robert A. and pavilion-2002-toyo-ito-and-cecil-balmond-arup Frank C. Keil, eds (1999). The MIT Encyclopedia of the http://www.serpentinegalleries.org/exhibitionsCognitive Sciences (London: MIT Press), pp. 11, 12 events/serpentine-gallery-pavilion-2002-toyo-itoand-cecil-balmond-arup

Toyo Ito's Serpentine Gallery Pavilion is also an example of generation, this pavilion was created based on an algorithm of a cube that expanded as it rotated, until the final outcome was reached. The design was then created through the input of an algorithm in to the computer, it cut out certain aspects where the lines of multiple squares intersected resulting in a combination of solid and hollow square and triangular shapes1.

Fig 5. Source: https://www.pinterest.com/ pin/270216046367825456/

The ICD's 2011 pavilion is an example of generation.

It uses the concept of hanging chains as a basis for its design. It was inputted into a computer along with other parameters the designer wanted, which resulted in the final design. The final design did not outwardly resemble the hanging chains, however once inside, the different height levels alluded to the concept in the beginning1.

Fig. 6 Source: https://katemckinnon. wordpress.com/2013/11/13/casa-mila/

9 "ICD/ITKE Research Pavilion 2011 ÂŤ Institute For Computational Design (ICD)", Icd.unistuttgart.de, 2016 <http://icd.uni-stuttgart. de/?p=6553> [accessed 16 March 2016].

10 "Serpentine Gallery Pavilion 2002 By Toyo Ito And Cecil Balmond With Arup", Serpentine Galleries, 2002 <http://www.serpentinegalleries. org/exhibitions-events/serpentine-gallerypavilion-2002-toyo-ito-and-cecil-balmondarup> [accessed 16 March 2016].

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A.4 CONCLUSION Part A focuses on various different topics such as sustainability and computerised design. Today's society is using up more resource than we are able to produce, likely leaving future generation without certain materials. Designing in a sustainable manner can refer to using systems that produce less Co2 emission, this can be done by the position of window for optimum heat or by solar panels on the roof. Computerisation within design has increased possibilities and allows us to create structures aesthetically appeasing and sustainable. The link between sustainability and computerised design can be seen through the Helix Bridge in Singapore, which uses the geometry of DNA as trusses and uses five times less steel than other bridges. Designing in this way has allowed us to create strategic buildings that take into not only the aesthetic but also allow us to plan strategically about materials and other aspects of the structure.

These structures benefit many people especially the users, who enjoy the comfort of sustainable buildings. The impact of these structure on the environment helps to create a long lasting and replenishes resources. Overall Part A has created the basis of this subject and will help in the understanding of complex ideas further on.

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A.5 LEARNING OUTCOMES Architectural computing is an integral part of the design process in parametric design. Its ability to ascertain the usage of materials and use natural geometry within design, has helped in creating many different structures. Parametric design is used to create forms using algorithms, which are inputted into a software by a person. This algorithmic design allows us to create buildings that are focused on sustainability and help us to produce alternative ways of creating these structures. I came into Studio Air not knowing much about parametric design, I assumed it was hard to compute and complex to traditional architecture. However I have gained a lot of knowledge and realised that parametric design can benefit us in many different ways. This technique could have been used in previous projects to create less material waste and make the structure more sustainable. Throughout this section I have learnt how to implement structures created in grasshopper into reality. The link between parametric design and sustainability is very interesting and I feel that this type of design can really benefit our society.

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A

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A.6 APPENDIX

Transform PAGE 16

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Mesh PAGE 18

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Curve Intersection PAGE 20

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B.1 RESEARCH FIELD TESSELATION

Fig. 1 Source:

http://www.iwamotoscott.com/VOUSSOIR-CLOUDcom/2013/11/13/casa-mila/

A tessellation is created when a shape is repeated over and over again covering a plane without any gaps or overlaps. The word 'tessera' in Latin means a small stone cube. They were used to make up mosaic pictures forming floors and tiling in Roman buildings. It is often used to refer to pictures or tiles, mostly in the form of animals and other life forms, which cover the surface of a plane in a symmetrical way without overlapping or leaving gaps1.

Tessellation allows detail to be dynamically added and subtracted from a 3D mesh and its silhouette edges based on control parameters. They also have an incredible mathematical rhythm, and can teach us about the relationship between different elements such as line shape colour.

It can make strong links to other subjects such as angles, spaces, shadows etc.

An example of a tessellated structure is the Voussoir Cloud, where they used hanging chain to create the form of the building. It used petal shapes and tessellated these with voids to create the final structure2. shadows etc.

1"Tessellations - M. C. Escher And How To Make Your Own Tessellation Art", Tessellations.org, 2016 <http://www.tessellations. org/> [accessed 4 April 2016].

2"Tessellations

- M. C. Escher And How To Make Your Own Tessellation Art", Tessellations.org, 2016 <http://www. tessellations.org/> [accessed 4 April 2016].

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B

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B.2 CASE STUDY

1.0

SERIES 1: CHANGED SCALE

SERIES 2: CHANGED REST LENGTH

SERIES 3: CIRCLE AND CHANGED RADIUS

SERIES 4: CHANGED CIRCLE REST LENGTH

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SELECTED DESIGNS I THINK THESE ITERATIONS WERE THE BEST OUT OF B.2 . I LIKED THE PENTAGON SHAPED ONE DUE ITS FORM IT WAS A UNIQUE SHAPE AND I THINK THE SHADOWS THIS WOULD CREATE WOULD BE QUITE INTERESTING. THIS DESIGN COULD BE TESSELATED BY TAKING THE PENTAGON AND ATTACHING IT TO MORE PENTAGONS CREATING A VARIETY OF VOIDS AND SOLIDS. THE SECOND ITERATION WAS ALSO QUITE INTERESTING. I LIKED HOW THE CIRCLES LOOK LIKE THEY ARE BEING PUSHED TOGETHER AND ARE CONFORMING ITS SHAPE IN ORDER TO FIT IN. I THINK CREATING A TESSELATION WITH THIS ITERATION MULTIPLIED WILL BE QUITE INTERESTING. I WOULD LIKE TO PLAY WITH THE VOIDS IN THIS SHAPE.

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B.3 CASE STUDY 2.0 THE SURFACE TESSELATION WAS A PHOTO I FOUND AND THOUGHT THE DESIGN WAS SOMETHING THAT I COULD USE FOR MY FINAL CONCEPT Fig:1 Source: surface_tessellation_01_white_triangles_generative_ pattern_picture_67h5

STEP 1

CREATED WAVE LIKE SURFACE STEP 3

A FILLET IS ADDED WITH 0.7 SIZE TO CROP CORNERS AND MAKE THEM ROUNDED PAGE 27

STEP 2

CREATED TRIANGULAR GRID WITH LUNCHBOX COMPONENT TRIGRID C STEP 4

THE CENTRE OF THE SHAPE IS FOUND AND IS THEN SCALED TO CREATE THE SMALLER SHAPE

FINAL OUTCOME

THE SMALLER SHAPE IS CUT OUT OF THE SURFACE AND CREATES THE FINAL SHAPE

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B

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B.4 TECHNIQUE DEVELOPMENT

SERIES 1: WAVE SURFACE

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SERIES 2: BUTTERFLY SURFACE

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SERIES 3: COMBINED SURFACE

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SERIES 4: LOFTED SURFACE

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SERIES 5: SPHERE SURFACE

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SERIES 6: ECLIPSE SURFACE

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SERIES 7: DOMUS SURFACE

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SERIES 8: TRIANGULAR SURFACE

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SELECTED DESIGNS THIS FIRST DESIGN WOULD FULFIL MY BRIEF AS THE VOIDS WOULD CATCH AND PREVENT THE RUBBISH FROM GOING FORWARD. I ALSO LIKE ITS APPEARANCE, THE STACKED DOMUS GIVES THE STRUCTURE A DYNAMIC APPEARANCE. HOWEVER THE RUBBISH WOULD GET STUCK INSIDE AND THERE WOULD BE NO WAY TO GET IT OUT WITHOUT PHYSICALLY ENTERING THE WATER. THE SECOND DESIGN WAS APPEALING DUE TO IS FORM. THEY LOOK LIKE BUOYS AND I THOUGHT THAT THEY COULD FLOAT AROUND WHILST ANCHORED TO THE BED OF THE CREEK AND COLLECT RUBBISH. THEY CAN THEN BE PULLED ON TO THE EDGE OF THE CREEK AND EMPTIED. HOWEVER IT WOULD BE QUITE DIFFICULT TO CONSTRUCT. THE THIRD DESIGN WAS THE ONE I LIKED THE MOST BECAUSE OF HOW IT LOOKED. IT WAS FUNCTIONAL IN COLLECTING RUBBISH BUT COULD ALSO BE A SCULPTURE THAT PEOPLE CAN LOOK AT. ITS CONSTRUCTION WILL NEED TO BE TAKEN INTO CONSIDERATION IF CHOSEN AS A FINAL DESIGN.

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B

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B.5 TECHNIQUE PROTOTYPES

MY FIRST PROTOTYPE WAS WITH CARD. THE MATERIAL WAS THICK AND EASY TO WORK WITH. HOWEVER IT WAS NOT AS FLEXIBLE AS I WANTED AND DIDN'T GIVE ME THE SHAPE THAT I WANTED. IT WORKED WELL WITH SHADOWS AND WAS OVERALL A GOOD PROTOTYPE BUT A DIFFERENT MATERIAL MAY WORK BETTER. THIS WAS STUCK TOGETHER WITH STICKY TAPE WHICH WILL NOT WORK ON A LARGER SCALE AND THE MATERIALITY THAT WILL BE USED PAGE 40

MY SECOND PROTOTYPE WAS WITH PERSPEX. THE MATERIAL WAS THICK AND EASY TO WORK WITH AND IT WAS FLEXIBLE. THE FLEXIBILITY ALLOWED ME TO CREATE THE SHAPE I WANTED. HOWEVER IT DID NOT RETAIN ITS SHAPE AND NEEDED SOMETHING TO HOLD IT IN PLACE. THIS PROTOTYPE ALSO WORKED WELL WITH SHADOWS AND WAS OVERALL GOOD. HOWEVER MORE RESEARCH NEEDS TO BE DONE ON MATERIALITY AND HOW I CAN MAKE IT RETAIN ITS SHAPE. IN THE PICTURES ABOVE THEY ARE HELD TOGETHER WITH NOTCHES THAT HAVE BEEN PUT INTO BOTH SIDES, I'M NOT SURE IF THIS CAN BE REPLICATED ON A LARGER SCALE OR WITH THE ACTUAL MATERIAL USED.

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B

B.6 TECHNIQUE PROPOSALS

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CLIENT CLIENT: CERES CENTRE FOR EDUCATION AND RESEARCH IN ENVIRONMENTAL STRATEGIES CERES is a not for profit community business, they run various different programs and projects.

Some of these programs/project include: - Environmental education programs - Urban agriculture projects - Green technology demonstrations - Markets, grocery, cafĂŠ, community kitchen1

Due to this area of the creek being a park area where people can have a picnic and book out an area for events, rubbish is a huge problem. Although bins are provided rubbish still manages to get into the water, which negatively effects the flora and fauna around the creek. Therefore Ceres has asked us to create a device that allows us to catch rubbish that is in the water which can then be collected by staff.

Fig 1:Source: http://ceres.org.au/

1"Home", CERES Community Environment Park, 2016 <http://ceres.org.au/> [accessed 17 April 2016].

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SITE

Fig:1 Source: Darebin City Council

Fig:2 Source: Google Maps

Site: Brunswick side near the CERES ( between Albion Street and Blyth Street) as there are many parks and facilities that people can use and therefore leads to a high amount of rubbish. Putting the device in at this site will prevent the rubbish from going further into the stream1.

This land originally belonged to the Wurundjeri people, who used to live at the site of the CERES building. Merri Creek was used as a place to swim, play and a place to gather food. After the European invasion and various other events like the gold rush, the creek was quarried for Bluestone and then turned into a landfill site. This site has now become polluted and the trees and wildlife have started to disappear2.

1 2

"Home", CERES Community Environment Park, 2016 <http://ceres.org.au/> [accessed 17 April 2016].

"Home", CERES Community Environment Park, 2016 <http://ceres.org.au/> [accessed 17 April 2016].

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DESIGN BRIEF TO CREATE A STRUCTURE THAT CAN GATHER RUBBISH TO INCREASE THE SUSTAINABILITY OF THE CREEK AND ALSO BE AESTHETICALLY PLEASING FOR PEOPLE TO ENJOY. WHAT DOES THE DESIGN NEED TO HAVE:

-

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TESSELATED PATTERN PHYSICALLY APPEALING SUSTAINABLE FLEXIBLE DYNAMIC BOLD

HALF OF THE STRUCTURE WILL BE ABOVE THE WATER AS A SCULPTURE

FUNCTIONALITY HOLES IN THE TESSELLATION ALLOW WATER AND ANIMALS TO GO THROUGH

CURVED SURFACE GATHERS RUBBISH AND IS MANUALLY TAKEN OUT BY CERES VOLUNTEERS

STOPS RUBBISH FROM GOING FORWARD PAGE 46

ON-SITE REPRESENTATION

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INTERIM PRESENTATION

QUESTIONS THAT SHOULD BE CONSIDERED: - WHAT IS THE SCALE OF THE STRUCTURE? - WHAT IS THE CONNECTION BETWEEN THE STRUCTURE AND THE WATER/SOIL BED? - WHAT MATERIAL IS BEING USED FOR THE FINAL PRODUCT? - ARE THERE OTHER APPLICATIONS FOR THIS DESIGN? ADVICE: - LOOK AT TESSELLATING THE SURFACE AND SEE THE OUTCOME - RESEARCH INTO THE CONNECTIONS

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B.7 LEARNING OUTCOMES The brief of my proposal is to create a structure that can gather rubbish to increase the sustainability of the creek and also be aesthetically pleasing for people to enjoy. I wanted to create a structure that used a tesselated pattern to create solid and voids to fulfil my brief. I think my skills have increased from the start of the subject due to the weekly videos. I have a better understanding of Grasshopper and have dabbled with Kangaroo and Lunchbox which are extensions of Grasshopper. These skills have allowed me to produce more interesting designs and also allowed me to understand the script so that I could make different changes. When I was having trouble I used Google and FAQ on Food4rhino and Grasshopper3d to overcome them. Overall through a combination of the demonstration videos and FAQs online I have been able to create various different iteration that has led to the chosen outcome.

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B

B.8 APPENDIX

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Expression PAGE 51

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Evaluate PAGE 53

Expression PAGE 54

REFERENCES "ARM - Perth Arena", A-r-m.com.au, 2016 <http://www.a-r-m.com.au/ projects_PerthArena.html> [accessed 9 March 2016] Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12 "Evolute | The Geometry Experts", Evolute.at, 2016 <http://www.evolute.at/> [accessed 9 March 2016] Fry, Tony, Design Futuring (Oxford: Berg, 2009) "Home", CERES Community Environment Park, 2016 <http://ceres.org.au/> [accessed 17 April 2016] "ICD/ITKE Research Pavilion 2010 « Institute For Computational Design (ICD)", Icd.uni-stuttgart.de, 2016 <http://icd.uni-stuttgart.de/?p=4458> [accessed 9 March 2016] "ICD/ITKE Research Pavilion 2011 « Institute For Computational Design (ICD)", Icd.uni-stuttgart.de, 2016 <http://icd.uni-stuttgart.de/?p=6553> [accessed 16 March 2016] Kalay, Yehuda E, Architecture's New Media (Cambridge, Mass.: MIT Press, 2004) "Serpentine Gallery Pavilion 2002 By Toyo Ito And Cecil Balmond With Arup", Serpentine Galleries, 2002 <http://www.serpentinegalleries.org/exhibitionsevents/serpentine-gallery-pavilion-2002-toyo-ito-and-cecil-balmond-arup> [accessed 16 March 2016] "Tessellations - M. C. Escher And How To Make Your Own Tessellation Art", Tessellations.org, 2016 <http://www.tessellations.org/> [accessed 4 April 2016] "The Helix | Arup | A Global Firm Of Consulting Engineers, Designers, Planners And Project Managers", Arup.com, 2016 <http://www.arup.com/ Projects/Helix_bridge.aspx> [accessed 9 March 2016]

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