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...................55-99 C.1 C.2 C.3 C.4
DESIGN CONCEPT..........................................................55 TECTONIC ELEMENTS&PROTOTYPES...............................64 FINAL DETAIL MODEL....................................................83 LEARNING OUTCOMES....................................................99
REFERENCES...............................................100
A
A.1 DESIGN FUTURING
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THE HELIX BRIDGE
ARCHITECTS: COX ARCHITECTS & ARUP YEAR: 2010
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Fig 1
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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
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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 3.
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. 4Fig 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
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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
C
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C.1 DESIGN CONCPT
DESIGN BRIEF Propose an architectural intervention that will express, support, amplify or question continuous relationships between technical, cultural and natural systems.
RELATIONSHIP Technical: - The use of grasshopper in the design - The connection to the drain - The filtration of the water from the drain to the creek
Cultural - The use of the graffiti to form the shape - Graffiti influencing the colour of form
Natural system - The use of the drain in our design - Use of material that is natural and not harmful to the environment
DESIGN AGENDA To create a permanent structure that hides all drains within Merri Creek, which will make the creek more inviting and appealing for users and passers-by. This will be achieved using vibrant colours and intriguing form, improving the user experience.
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CLIENT Moreland City Council has an invested interest in Merri Creek, itâ&#x20AC;&#x2122;s ecology and appearance. This design is a response to their request for a form to cover the numerous storm-water drains that lead into the creek. Stakeholders - Friends of Merri Creek - Merri Creek Management Committee (MCMC) - Moreland City Council - Local residents - Aquatic life in Merri Creek and the Yarra River - Local flora and fauna
Fig.1 Source: http://sustainability.ceres. org.au/wp-content/uploads/2014/07/ MCMC-logo.png
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Fig.2 Source: http://sustainability.ceres.org.au/wp-content/ uploads/2014/07/MCMC-logo.png
Fig.3 Source: http://sustainability.ceres.org.au/wp-content/ uploads/2013/03/Moreland-City-Council-Logo-300x290.png
SITE Underneath the Eastern Freeway, very near the intersection of Merri Creek and the Yarra River. Surrounding Sites - Dights Falls - The Quarries Park - Main Yarra walking trail - Nearby Collingwood Streets
Existing Users - Bike Riders - Walkers - Dogs - General public only passing through to reach another destination
Extreme amounts of noise from the Eastern Freeway and surrounding main roads. Itâ&#x20AC;&#x2122;s a major factor for negative user experience. Fig. 1 Source: Google Maps
Fig. 2 Source: Google Maps
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The sun path shows sunlight coming from the North which creates large amounts of shade in the morning from the trees and roads, as seen in this image.
Fig. 3 Source: Google Maps
Wind flows through the site from the North and South. It makes the underpass of the Freeway extremely cold and windy.
Fig. 4 Source: Google Maps
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DESIGN PROPOSAL Aim To improve the aesthetics of Merri Creek, this will be done by covering up the multiple drains around the creek with a structure. Form The form will take on an organic shape which is influenced by the culture around the creek i.e. the graffiti. It will also need to take into consideration the flow of water and how it will be removed from the drain. Materiality The material will need to be durable in all temperature and weather conditions. It must be water proof so that the quality of the material does not diminish when coming unto contact with the water from the creek and drain. PAGE 60
STUDIO PROPOSAL JIL
A STRUCTURE THAT PROVIDES SHELTER TO PEOPLE AT THE SITE
OLIVIA
A TREE HOUSE WHICH WRAPS AROUND THE TREE AND CAN BE PLAYED IN BY PEOPLE
KATE
A SCULPTURE THAT COVERS UP THE STORM WATER DRAINS THAT RUN INTO MERRI CREEK
JASPREET
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A STRUCTURE THAT PREVENTS RUBBISH FROM GOING FURTHER INTO THE STREAM RUBBISH
PRECEDENCE
NON-LIN PAVILION
Fig.1
MARC FORNES | 2011 LOCATION | ORLEANS, FRANCE Marc Fornes Nonlin Pavilion combines elements that mimic nature, architecture, sculpture and organic form which is also known as biomimetic design. The form of the pavilion takes on a coral-like shape that creates tunnels that people can sit on, walk around and even climb1. Fig.2
1 ”11 FRAC CENTRE”, MARC FORNES & THEVERYMANY™, 2010 <https:// theverymany.com/constructs/10-frac-centre/> [accessed 12 May 2016].
Fig.3 Source: https://theverymany.com/ constructs/10-frac-centre/
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Fig. 1
RAINFOREST PAVILION
The tree like canopy gradually drips water down through fabric triangles, onto a planting area below filled with ferns. it focuses on water accumulation and circulation so that small amounts of water are released at a time1.
GUN ARCHITECTS | 2014
The sounds, smell and touch entice passers-by and the white 'stalactites' stand out against the greenery. This precedence could help with materiality and the function for the final design.
LOCATION | LONDON
Fig. 2 Source: http:// rainforest. aaschool. ac.uk/
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1 Rainforest Pavilion, 2016 <http://rainforest.aaschool.ac.uk/> [accessed 12 May 2016].
DESIGN CONCEPT
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TOP VIEW
FRONT VIEW
RIGHT-SIDE VIEW
BACK VIEW
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DESIGN CONCEPT
This is a section of our final design. In order to get it ready for the laser cutter, strips were created. Each strip was a different colour and these colours represent the final layout of the design. Each strip was put on a different layer and numbered to make it easier to construct after being printed. The strips were then laid out flat on a grid and the circles for the connections were added. After being laid out they were transferred onto template for the laser cutter and was then printed. They were connected together with eyelet joints
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DESIGN CONCEPT
This is how the water would flow from the drain and out of the design.
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DESIGN CONCEPT
ABS (ACRYLONITRILEBUTADIENESTYRENE) Advantage -Impact resistant -Tough -Heat resistant -Acid resistant -Recyclable
POLYPROPYLENE Advantage -Mould-able, -Heat resistant, -Light -Weight, -Many possible colours
POLYMER PLASTIC Advantage -Light-weight -Strong -Many possible colours -Thermal insulator
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Disadvantage -Difficult to fabricate at a large scale -Flammable under high temperatures -Harmful to the environment when melted
Disadvantage -Can become brittle -Liable to degradation under UV heat
Disadvantage -Can become brittle -Liable to degradation under high amounts of heat
C
C.2 TECTONIC ELEMENTS AND PROTOTYPES
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PROTOTYPE
This prototype was made from card, staples and sticky tape. It explored the different types of connections that could be used to construct the final model. These joints ranged from strips that were stapled together to score marks that allowed us to bend the card. None of these connections were used for the final as they did not have a clean finish. Overall we tried various different connections that allowed us to have options for the final. PAGE 71
PROTOTYPE This prototype was create by wrapping string around a balloon which was then sprayed with hair spray. Once dried the balloon was popped and the string retained its shape. The spheres that were fully covered tended to retain its shape more than the ones that were only half spheres. All of the elements were separate and were connected together by weaving the same string in and out of the balls to bind them together. Overall this was an unsuccessful prototype as the strings did not retain its shape and we were unable to create the tunnels which are a main part of our design. an issue with this prototype was that it doesnt have any link to the rhino design.
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PROTOTYPE
This prototype was create with plastic cups and plastic shot glasses. The plastic cups were stapled together while the shot glasses had to be glued together as the plastic was too hard to staple. The white plastic cups created a nice shadow and the light was spread evenly through the whole shape. However the shot glasses were clear and when a light was put under it, the light did not spread and stayed at one point. This was the first attempt at a prototype and provided us with a smooth surface however there was a problem with the addition of other spheres and we were unable to create one shape the looked like the final form. there was also the issue that the prototype did not have any link to the script.
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PROTOTYPE
This prototype is made from chocolate. It was created by three separate balloons that are joined together with a mesh. The chocolate is melted and spread around the balloon and mesh and then left to dry. Once dried the balloons were pooped and the chocolate retains it shape. This method was quite unique however the chocolate melted quite easily and was therefore not a viable technique for the final model
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PROTOTYPE
This prototype is 3d printed using ABS. This method was quite effective in getting the overall shape of the design, however the finish was not as smooth as we wanted. Overall it was a good prototype for a small scale but will not be a method that will work well on a larger scale.
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PROTOTYPE
This is a powdered 3d printing of the whole concept. The red colour links to the graffiti at the site. It provided more smoothness when compared to the ABS 3d printing and was therefore a better prototype. The white square with the hole represents the drain at the site.
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FINAL PROTOTYPE The final prototype is made from polypropylene strips and are connected with eyelet joints. The colours used are pink, purple, blue and white. These colours were chosen due to the colouring of the graffiti at the site.
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PRESENTATION FEEDBACK - THE PROTOTYPES WERE GOOD IT SHOWED A GOOD PROCESS OF HOW WE GOT TO THE FINAL PROTOTYPE - THE FUNCTION DID NOT FIT THE FINAL PROTOTYPE BECAUSE OF THE GAPS BETWEEN PIECES - CHANGE THE FUNCTION TO FIT THE DESIGN
POTENTIAL CONCEPT IDEAS - LIGHT FIXTURE THAT TREES
HANGS AROUND
- A SCULPTURE THAT PEOPLE CAN WALK IN AND EXPLORE - WATER FILTER WHERE RUBBISH IS CAUGHT INSIDE THE STRUCTURE - A BRIDGE THAT CONNECTS ONE SIDE OF THE CREEK TO THE OTHER
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C
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C.3 FINAL DETAIL MODEL
PROCESS
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FINAL MODEL
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C.4 LEARNING OBJECTIVES After the interim presentation, the proposal was changed to a structure that would cover a storm water drain. We tried to incorporate all four of our projects together from Jil and Oliviaâ&#x20AC;&#x2122;s design we took the use of the metaball, from Kateâ&#x20AC;&#x2122;s we took her design proposal and site and from my design wee took the water filtration as the function. Our design was form focused and then we started prototyping. Our prototyping tried to find a way to create the smooth surface of our design. We divided our workload based on skills, Jil and Olivia had worked with metaball as they had used it before whilst Kate and I worked on the narrative and looked at possible ways to make prototypes. I think during this part I learned how to coordinate with a team and how to incorporate all our ideas so that everyone was happy. The model has allowed me to become more creative instead of focusing on scripting and I think the prototyping process has really shown how much we have progressed to the final. Overall the final model is creative and unique in its design and construction and fulfils our design brief.
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REFERENCES "11 FRAC CENTRE", MARC FORNES & THEVERYMANY™, 2010 <https://theverymany.com/constructs/10-frac-centre/> [accessed 12 May 2016] "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) "Rainforest Pavilion", 2016 <http://rainforest.aaschool.ac.uk/ http://rainforest.aaschool.ac.uk/http://rainforest.aaschool. ac.uk/> [accessed 12 May 2016] "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-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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