ARCHITECTURE DESIGN STUDIO:
AIR
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CONTENTS PART ONE: EXPRESSION OF INTEREST Introduction
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Previous Work
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Architecture as Discourse 7-11 Milstein Hall, Rem Koolhaas Mokuzai Kaikan, Tomohiko Yamanashi and Nikken Sekkei Computation in Architecture 13-17 London City hall, Foster and Partners Media-Tic, Cloud 9 Parametric Design 18-21 Guangzhou Opera House, Zaha Hadid Algorithmic exploration
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Conclusion
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PART TWO: DESIGN APPROACH Design Focus 28-37 Beijing Aquatic Centre, PTW Architects Metropol Parasol, Jurgen Mayer H. Hearst Tower, Foster and Partners Canton Tower, ITA Architects
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Case Study 1.0
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Case Study 2.0
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Technique Development
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Technique Prototypes
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Technique Proposal
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Conclusion
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PART THREE: PROJECT PROPOSAL Generating a Final Design 60-67 Framing Vistas and Restructuring Space Precedent: Santiago Calatrava Design Iteration 1: The Triumphal Arch Site Location and Context
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Tectonic Elements
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Final Design and Model
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Conclusion
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PART ONE: EXPRESSION OF INTEREST
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INTRODUCTION My name is Adam Moor, I’m a third year environments student majoring in Architecture. To me my favourite aspect of architecture is function and how a building can create its own distinct feeling and environment. The beauty of design is for me in the emotion and feeling that great designs can facilitate and create. Having steered clear from computers as a design tool since I completed virtual environments I am a little apprehensive about using Rhino and Grasshopper. However I am also looking forward to exploring new possibilities and forms that might result from any experimentation with these tools. The role that computers will play in design and indeed everyday life continues to grow in importance. I think that learning how to harness the great improvements and abilities that are offered by the computer age will prove such a great asset that design without the use of such tools will become an increasingly minoritised niche. Hopefully I will be able to begin to learn how to use some of these tools to inhance my designs throughout the length of studio: Air.
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PREVIOUS EXPERIENCE IN DIGITAL DESIGN My only real experience in digital design comes from my participation in the virtual environments course in 1st year at the University of Melbourne. Here I got my first glimpse into what designing using Rhino as a tool was like. It was interesting to learn how to use the software and extremely rewarding producing a model in the real world from my models produced in Rhino.
The brief called for the design of wearable paper lantern. I decided that I would create a few different models and molded them around the curvture of my torso so that they could be connected to my body seperately of each other. I found that I could do this using Rhino quite easily and I could create an endless amount of changes to my designs so long as the underlying curve which I contoured against my bust stayed the same, this wouldn’t have been possible without using the software. What really impressed me about using the software was the complex shapes that I could integrate with ease into my design as you can see pictured above and to the left I turned some loose forms that I had drawn into sharp straight lines that could be managed in the real world. Although I had a lot of trouble using and learning the software the process of creating a real life object from nothing and something which I couldn’t 77 of have created without a computer was one my most rewarding university experiences.
ARCHITECTURE AS A DISCOURSE What is architecture as a discourse? In the context of studio: Air, our Wyndham city project and the use of computer aided design within the course I think that we can define this term to mean that “architecture is communication” but not only does it communicate outwardly its inception in itself is communication. As architect Patrik Schumacher expresses in ‘Introduction: Architecture as Autopoietic System’ information on the subject of architecture is never just on about the subject of architecture, it is about communication between all the different aspects of design, engineering, availible tools, etc, that constitute what can be defined as architecture [1]. When we talk about architecture as a discourse really what we talking about are the elements that comprise architecture and in the context of Studio:Air this relies heavily on the impact of computers on design. Others such as Richard Williams express architecture in more practical terms but again comes out with the statement that “architecture ought to be seen as discourse” [2]. To Williams architecture is the culmination of all that society makes of it. It is not just the built environment it is art, it is urban experience and it is social experience. Such dialogue doesn’t necessarily define our understanding or architecture but rather it gives us a few tools which we can use when we examine it as a subject. It helps us to understand that when we look and experience architecture we need to take many aspects of the design into considerations, we couldn’t confine a design into one realm of experience.
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MILSTEIN HALL, CORNELL UNIVERSITY, NEW YORK, USA, 2011 Rem Koolhaas Asked to add onto the pre-existing architecture facuty at Cornell university OMA had to decide what to keep and what to get rid of, instead they decided to keep the existing buildings and create a horizontal structure that would connect the existing buildings. The four surrounding buildings Rand, Sibley, the Foundry, and Tjaden Hall are comprised of varying styles but they share a common trait of closed rooms and dead ends [3]. What seperates Milstein hall from it’s contemporaries at the university is it’s openess and expanse. With it’s huge floor to ceiling windows and well thought out skylights it is anything but closed off. For me this is what makes the project so interesting not only does the building look spectacular it does so without standing by itself, it was designed to both conflict and integrate with it’s surroundings. It sounds odd but that’s what this design does it supports the surrounding environment by being different it stands out and yet it doesn’t overpower. Considering this building in the context of architecture as discourse seems appropriate as it acts as an intermediary between different schools of architectural thought both from the joining of the local campus and in the building itself which features minimalist grandeaur but revels in subtle details from uncladded and detailed ceilings.
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MOKUZAI KAIKAN TOKYO, JAPAN, 2009 Tomohiko Yamanashi and Nikken Sekkei The project serves as an example of the possiblities of wood as a construction material in an urban environment. Built for the Tokyo Lumber Wholesalers Assosciation the building features traditional Japanese terraces, Engawa, which allow natural breeze in but shut out strong sunlight creating a comfortable environment in the face of harsh exterior conditions. The building is supported by a reinforced concrete frame and where concrete is visible it was cast in slender cedar formwork maintaining the appearance. As so much of the project was composed of timber fire safety issues were a major concern, they are addressed by raising the ceiling height which allows smoke to accumulate [4]. What makes such a large scale timber project possible is the use of a computer numerical controlled cutting machine which allows highly accurate cuts on a larger and faster scale than traditional craftmanship. After all the timber has been cut they are joined together using a traditional Japanese interlocking technique known as the tsugite technique. Using the tsugite technique vertical oak plugs and hidden steel bolts, 4m lengths of timber can be connected together to span large distances while given the appearance of a single member [5]. The Mokuzai Kaikan showcases an intergration of traditional and modern architectural thoughts on a deliberate and obvious level. Using modern methods the project showcases how traditional architectural thought can be modernised, modern processes were used in the construction process and the result is a building which perhaps gives us a look into what the future of architecture might hold.
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COMPUTATION IN ARCHITECTURE As a pursuit and profession architecture is in the midst of a great transformational process. Traditional methods of design and drafting are being replaced with computer aided methods. The argument which arises from the growing use of these electronic tools is based around a simple question. Does the use of computers in design increase creativity or limit it? To me I still feel limited in some aspects of my initial design by using a computer, but increasingly I can see the constant improvements in the field getting better and better and eventually I think the software will become so good that not using it will limit creative output. Although I suppose I should clarfy further, I understand that computer aided design allows the designer to explore possibilities which otherwise would have been impossible but I guess I’m just less interested in some of these possibilities than I am with other aspects of architecture mainly functionality and materials. “It is possible to claim that a designer’s creativity is limited by the very programs that are supposed to free their imagination.” Terzidis, Kostas (2009). Algorithms for Visual design using the processing Language (Indianapolis, In: Wiley), p. xx
I thought the above quote from the architect Kostas Terzidis was a very important point point that was brought up in the lecture. As it highlights some of the shortcomings of computation in architecture because the designer is inherintly confined to the parameters of any given program. However that isn’t to say that a designer would be able to express all of their original intent without the use of software anyway. One heavily impacted aspect of the design process which is brought up by Yehuda Kalay in ‘Architecture’s New Media...’ is the communication process. The ease with which comunication can be shared has opened up all kinds of possibilities within the field. As Kalay iterates it was the advent of constructional drawings which allowed for the seperation of design from the construction process. The new media with which designers can now use and communicate with has “opened up the design process for more people to become involved”[6].
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CITY HALL LONDON, UK 2002 Foster and Partners Designed using computer modelling techniques the building examplifies the possibilites that computer aided drawing can have on the built environment. The building is designed so that it has no front or back and its shape was derived from a geometrically modified sphere using computer modelling techniques. Indeed this process is highlighted to the left by a series of digital modelling iterations showcasing the initial process [7]. Two of the main aspects of the design are its environmental credentials and it’s incorporation of such a powerful staircase. Environmentally, It’s shape achieves optimum energy performance by maximising shade and minimising direct sunlight. The building also utilises natural ventilation, photovaltaic cells and natural groundwater for cooling. The huge interior staircase which dominates the interior conjures powerful symbolism as it gives people the ability to walk above the debating chamber of their elected officials. Through the use of digital design techniques Foster and Shuttleworth were able to play with the form as pictured below to produce the end product. Such detail in design [7] would have been impossible without the use of digital modelling. The use of digital modelling technology also allowed for an ongoing process of optimisation which without its use wouldn’t have been possible.
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MEDIA-TIC BARCELONA, SPAIN 2011 Cloud 9 / Enric Ruiz-Gel The Media-tic building sits within 22@Barcelona an experimental district whereby the powers that be are turning an old industrial district into a new and exciting “knowledge based economy�. Indeed the Media-tic building is designed to be a the forefront and center of this movement within the city as both a meeting point for local companies and professionals and as a hub of innovation. Further examplifying the pursuit of a new age the building boasts a 95% reduction in CO^2 operating emissions [8]. The exterior of the structure consists of a 40 metre high transparent cube and Ethylene Tetrafluoroethylene (ETFE) bubbles that have been been reduced and played with using digital technologies. The use of these ETFE bubbles gives the building an interesting external facade but they also serve another environmental purpose and how Cloud 9 has utilised the material is what makes this building so innovative. Solar shading is a big issue when the external facade of your building is transparent especially when one of the key aims of your brief is environmental sustainability but Cloud 9 have overcome this problem by experimenting and creating an adjustable system within the ETFE membrane. The system works by connecting EFTE skin system with light sensors which can automatically activate systems in place to change the transparency of a given patch of EFTE. This works because inside of each EFTE diaphragm contain three layers of EFTE, the first layer is transparent but the second and third layers are comprised of a polka dot pattern which when inflaten can make the facade opaque thus reducing energy transference from the sun into the building [9].
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PARAMETRIC DESIGN “Initially, a parametric definition was simply a mathematical formula that required values to be substituted for a few parameters in order to generate variations from within a family of entities. Today it is used to imply that the entity once generated can easily be changed.” Yessios 2003, 263
Essentially parametric design is a more specific definition for the form of computational design whereby the design is formed and altered through the use of mathematical formula. By using computers to generate objects from such formula the effort needed to create and test variants of the design become minimised. Parametric design represents a shift from using computers as a drafting tool to using compters as a design tool. But what does using such a process really result in? What is the design outcome when using parametric design tools? In lecture 3 a few key points about parametric design are discussed which explore some basic principles behind the physical form of parametric design, these are: Positive Principles: - All forms must be soft. - All systems must be differentiated (gradients) and interdependant. - All functions are parametric activity scenarios. - All activities communicate with each other. Negative Principles: - Avoid rigid forms (lack of malleability). - Avoid simple repetition (lack of variety). - Avoid collage of isolated, unrelated elements (lack of order). - Avoid rigid functional stereotypes. - Avoid segregative functional zoning. Another expression of parametric design is explored by Robert Woodbury in Elements of Parametric Design. In his writing Robert Woodbury expresses that parametric modelling represents a fundamental change in the process of design. It is no longer the case that designers are limited to adding and erasing with a pencil and paper. Now a designer can “add, erase, relate and repair” making the design process more fluid and changing the very nature of the process [10].
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Interior Guangzhou Opera House Zaha Hadid
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GUANGZHOU OPERA HOUSE GUANGZHOU, CHINA 2010 Zaha Hadid The guangzhou Opera House project, headed by Zaha Hadid, Patrik Schumacher, Woody Yao and Simon Yu examplifies what is possible using parametric design. As Schumacher states, “we used several different programs. We worked the outer crystalline form in Rhino and the inner, more complex and fluid surfaces inside the auditorium in Maya”[11]. It is clear that through the use of such programs facilitates a form which is crystalline and sharp on the outside becomes curves and fluid in the interior. Another design aspect which was heavily influenced by the use of parametric tools is the approach to the building which varies from many different directions and angles. Which was possible to design because of 3D modelling.
The exterior of the building is covered by a structural skin of triangular tiles composed of glass and granite adding to the already present parametric geometry of the building. In a way it is in keeping with the notion that the building is a “volume within a volume” as it explores the interaction between smooth and sharp geometry in a progressively smoother manner into the interior of the structure [12]. [16] [17]
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ALGORITHMIC EXPLORATION Curve menu
Transform Menu
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Gridshell
Week 2: Sketch Assignment Vase
I found this task quite difficult and I took me some time to get it to work. One problem that I didn’t know how to fix was sealing off the bottom of the vase. Obviously I could just plug something into the bottom but I didn’t know how to create one object to slice which 23 would have already been enclosed.
CONCLUSION Over these first few weeks of the course I have begun to develop a better understanding of what it means to design using digital technology specifically Rhino and grasshopper. Using these programs as tools I am finding that I can create models/design which I wouldn’t be able to create otherwise. I am still fairly limited in what I can do but I am still learning and am getting better all the time. From looking into some of my favourite architecture over the weeks which employ digital tools the variety and scope of projects that can be developed using these new age technologies is astounding. I specifically like buildings such as the Mokuzai Kaikan which combine traditional ideas with modern technology to create a new form of the old. For me the things that I will take from these first few weeks are a better understanding of the discourse around digital design methods, what these design methods can lead to, a better understanding of how the programs themselves work and discourse on the future of the architectural design process,
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REFERENCES Images: [1] [2] OMA, Milstein Hall, http://oma.eu/projects/2006/milstein-hall-cornell-university, date accessed 27/03/2013 [3] [4] Nikken.jp, Mokuzai Kaikan, http://www.nikken.co.jp/en/projects/office/midrise/mokuzai-kaikan.html, date accessed 27/03/201 [5] WAA, Mokuzai Kaikan, http://waa.com.vn/images/Gallery/Images/Mokuzai%20 Kaikan.jpg, date accessed 27/03/2013 [6] Quintana, Angel, 3DMETRICA, http://www.cgarchitect.com/2012/03/parametricarchitecture12 [7] [8][9][10] Foster and Partners, Project: City Hall, http://www.fosterandpartners. com/projects/city-hall/ date accessed 29/03/2013 [11][12][13] Bennetts, Peter, Projects: Media-Tic building Barcelona, http://www. peterbennetts.com/project/view/project/media-tic-building-barcelona, date accessed 2/04/2013 [14][15][16][17] Zaha Hadid Architects, Guangzhou Opera House, http://www.zahahadid.com/architecture/guangzhou-opera-house/#, date accessed 4/04/2013
Text: [1] De Zeen Magazine, Milstein Hall by OMA, http://www.dezeen.com/2011/11/03/ milstein-hall-by-oma/, date accessed 27/03/2013 [2] Richard Williams, ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005) [3] Pearson, Clifford A., Architectural Record, http://archrecord.construction.com/ projects/Building_types_study/adaptive_reuse/2012/milstein-hall-cornell-university. asp, date accessed 27/03/2013 [4] nikken.jp, Mokuzai Kaikan, http://www.nikken.co.jp/en/projects/office/midrise/ mokuzai-kaikan.html, date accessed 27/03/2013
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[5] Gregory, Rob,. Architectural Review, www.architectural-review.com/essays/skill/ mokuzai-kaikan-office-by-tomohiko-yamanashi-and-takeyuki-katsuya-nikken-sekkeishinkiba-tokyo-japan/5218274.article, date accessed 27/03/2013 [6] Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), pp. 5 - 25 [7] Foster and Partners, Project: City Hall, http://www.fosterandpartners.com/projects/ city-hall/, date accessed 29/03/2013 [8] World Building Directory, Project in detail: Medi-ICT, http://www.worldbuildingsdirectory.com/project.cfm?id=3752, date accessed 2/04/2013 [9] Ward, Maitiu., Australian Design Review, http://www.australiandesignreview.com/ architecture/1538-media-tic, date accessed 2/04/2013 [10] Woodbury, Robert (2010). Elements of Parametric Design (London: Routledge) pp. 7-48
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PART ONE: PART TWO: EXPRESSIONDESIGN OF INTEREST APPROACH
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DESIGN FOCUS “OUR PEOPLE, ONE COMMUNITY, OUR FUTURE.”[11] In one brief statement taken from Wyndham City’s 2011-2015 Plan the goals and vision of Wyndham City are made clear. The goal of Wyndham city is a united community prospering into the future and our design proposal needs to reflect that ideal above all else.
“WE WILL CREATE A HEALTHY, SAFE, VIBRANT, PROUD AND HARMONIOUS COMMUNITY, WHILE RESPECTING OUR ENVIRONMENT.” [12] Above is the mission statement of Wyndham City council as again outlined in the 20112015 plan. Our goal as designers for the gateway project needs to take the mission statement into careful consideration. We have to make sure that along with adhering to the ideal of unity and community showcased by the city’s vision we should then try to relate this goal to the mission statement. What better way would we be able to do so then through using structure to symbolise the strength of unity and beauty of the community. Our team was very excited about exploring and using structure as our design focus because we had looked at some amazing precedents such as; Canton Tower by ITA architects, the Beijing Aquatic centre by PTW architects, Metropol Parasl by Jurgen Mayer H, Japan Pavilion by Shigeru Ban, S.R Crown Hall by Mies Van der Rohe, Harpa Concert Centre by Henning Larsen and Hearst Tower by Norman Foster. These buildings all showcase amazing structural elements and we were very keen to have a go at trying to replicate and manipulate some of these styles for ourselves.
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BEIJING AQUATIC CENTRE BEIJING, CHINA 2008 PTW Architects
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One of the things that is so great about the structure of the Beijing aquatic centre is that the strucutre of the building reflects on what purpose the building serves. The structure of the building is derived from the structure of water in the aggregation of foam, which was then simplified by PTW and ARUP into repetitive units and they were then able to create a 29 design in which the steel structure and facade are integrated into one element [13].
METROPOL PARASOL SEVILLE, SPAIN 2011 Jurgen Mayer H. The Metropol Parasol in Seville shows exactly how beautiful structure can be and it will be an important precedent for our exploration as we can learn from the many connections that have to be made between different elements of the building. There are 3000 connection nodes at the intersections of the timber elements of the Metropol Parasol and the system had to be design specifically for use in the southern Spanish climate [13]. If we attempt to create a structure which has intertwining lattice forms like the Metropol parasol it would be helpful to look at this system and figure out if we could use something similar in our own work. We should aim to showcase the beauty of form through the structure of our design as the Metropol Parasol does.
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HEARST TOWER NEW YORK, USA 2006 Foster and Partners Hearst tower in New York is an important precedent because has a triangulated ‘diagrid’ form and this allows the structure to use 20 per cent less steel than a conventionally framed structure [14]. As one of Wyndham City councils goals was environmental sustainability we should try to replicate the resource saving efficiency that is present in the design of Hearst Tower into our own explorations. Another aspect of the design which we should emulate in our own exploration may be the external nature of the structure, we should not have an external facade over our design which will hide its structure.
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CANTON TOWER GUANGZHOU, GUANGDONG, CHINA 2009 ITA Architects
Canton Tower in Guangzhou is another important precedent because it shows how a structural diagrid can be used in practise. The geometry itself was generated using parametric assosciative software and because of the structures complex nature the most advanced technologies in wind engineering and simulation was used in its construction [15].
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CANTON TOWER GRASSHOPPER EXPLORATION By Design Playgrounds During our research into grasshopper and structure we found a premade Grasshopper definition by Design Playgrounds at designplaygrounds.com which was really interested and served as a great tool with our initial explorations of structure in grasshopper. Because we were able to play with the model by messing around with the inputs and just to know what some of the components used was very helpful at this early stage of our exploration process.
Pictured above and to the right is the set of sliders which control the layout of the structure and it was interesting exploring the changes that we could affect.
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CASE STUDY 1.0 LunchBox To start off we created a loft using Rhino.
Next we used the random Quad panel command in the Lunchbox Plugin to create a series of panels across the surface.
Next we used the random split command splitting the panels into two seperate surfaces. Offsetting the panels created an interesting effect which we were keen to investigate.
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In this iteration we simply used a torus surface instead of a loft and used a diamond pattern command.
We then used a boolean operation to cut the torus in half.
Finally we did a quick mock up of how the design might take form in the real world so that we could get some more perspective on how the structure functions. Although the exploration was pleasing enough Lunchbox is somewhat simplictic in its interpretation of structure. For example in all of these iterations we didn’t reall address the structure of our designs, we just put a pattern/grid ontop of a surface and messed around with the resulting forms.
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We experimented with another surface and played around with the number sliders to achieve different iterations of the surface pattern.
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By using a random split input we were able to cut out a number of faces creating the final iteration which is pictured below.
Although we were happy with how the exploration had unfolded it was still the case that lunchbox was not giving us enough actual structure to play with and we felt like we were just putting grids onto surfaces.
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CASE STUDY 2.0 Kings Cross Concourse John Mcaslan, 2012
Reverse engineering the king’s cross concourse structure quite easy using lunchbox to create a digrid that we could lay over a lofted surface thereby generating a structure which resembled king’s cross concourse
here we connected a diagrid component to our lofted surface. Then to create to appearance of circular steelk beams we divided the curves and then used the circle component to put small circles around the diagrid lines which we then lofted. We created the exterior structural components in Rhino and then again using the circle and lofting components created cylinders for the support beams around the outside of the structure.
Finally we drew in another grid to represent the support structure which is present along the cut of the structure.
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TECHNIQUE DEVELOPEMENT USING KARAMBA As we hadn’t found enough of a relationship to structure using lunchbox, which had felt more like we were using it to create a pattern ontop of a lofted surface rather than creating a structure which could support itself and on the advice of our tutors we began to look into using karamba to help us with our design process. To begin with we found a number of premade examples on the karamba site and we began to experiment with them. One of our aims from the beginning was to try and combine some of these definitions for example we had an idea to combine an ESO wall (Evolutionary Structural Optimisation) and a minimal surface defnition to try and create a freestanding structure as efficiently as possible. However we had a lot of difficulty getting the definitions to work together andto do exactly what we had envisioned.
ESO WALL The Elovutionary Structural optimisation wall was a useful definition that we could use to observe the loads travelling through a wall very quickly. We also saw potential to use the outcomes from our experimentation with the different walls as part of a larger design concept as we wanted to make an efficient design so that we could continue to be in keeping with our design aim of being sustainable.
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Above is a quick exploration of the ESO wall which we carried out look into the different forms that we could create by altering the inputs. The top two lines depict a progressive loss of horizontal members which forces the definition to recompute the optimal structure with each iteration. It is interesting to note that the third iteration along the top row has a floating member, the most efficient structural outcome doesn’t require the extra member. The lower two rows explore a more general regression of members where we took both vertical and horizontal beams out of the structure.
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TECHNIQUE DEVELOPEMENT USING KARAMBA MINIMAL SURFACE
We found that messing around with the minimal surface definitions was quite difficult but we saw some potential for combining the a minimal surface area wth other definitions so that we could create an efficient structure.
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INFORMED GEOMETRY AND STRUCTURE We also looked at a complex definition from Karamba called Informed Geometry II using it we were able to create some really interesting structures. The designs that we can create using the Informed geometry were interesting because they related directly back to the forces of compression and tension acting on the model. We were able to re explore Case Study 2.0, King’s Cross, and it was then very easy to manipulate the inputs to create some interesting geometries.
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TECHNIQUE DEVELOPEMENT USING KARAMBA We decided that we wanted to explore different elements of the informed geometry definition and but we also wanted to explore the overall shape of what our design could become. Using a matrix we changed the inputs of our grasshopper file so we could alter the number vertical or horizontal spans, the thickness of the structural members, how pronounced the expression of forces running through the structure was and the shape of the structure itself. To begin with we made a fairly arbitary lofted surface in grasshopper and then connected it up to the informed geometry definition from karamba. We used a very fluid design exploration proccess whereby we decided to just follow each iteration up by trying to tweak it with whatever we thought might enhance the design.
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TECHNIQUE PROTOTYPES Building on the explorations we had taken into informed geometry we decided to fabricate a model so that we could better determine some of the issues that might arise during the construction process. It also helped us to better understand some of the structural systems involved and to learn of its limitations. Unfortunantely we didn’t get a model made using fablab however we did explore a section of our exploration of informed geometry. However the process was still very informative and worthwhile. It became apparent as soon as we began the construct the model that we hadn’t thought out the connection of the elements as well as we could have. This was because we had fabricated the model by dividing it into a number of seperate triangular section, this made it extremely difficult to connect the structure together accurately. As a result we had to connect the different elements of the structure together with tape. So we need to figure out a way in which we can connect the different components together more successfully, it may be the case that another structural element could be designed to connect the components together and this could even add expression of the design. In the future we need to provide a system which will enable us to accurately produce a model. Just going to fablab to get something done will not be enough we should anticipate some of the prob;lems that we might have with fabrication and amend or designs accordingly.
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TECHNIQUE PROPOSAL Informed Geometry Our design using informed geometry and interconnected truss systems showcases the beauty of the bare essentials. The nature of the structure is such that it reacts to the forces which it is subjected by increasing the strength of member and trusses where tension and compression are strongest. This allows the design to take on any number of different forms which other designs cannot utilise. This is a huge advantage when considered against other systems because it allows the designer to push the boundaries of what is structurally possible. Wyndham City council should choose our design for the gateway project because we will be able to create an efficient and interesting structural system using informed geometry.
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ESO Wall and Minimal Surface In keeping with a premise of efficiency we saught out the create the most efficient structure that we could however we also wanted to make sure that the design would continue to express the forces that it was subjected to. The result is a structure which highlights the areas of tension and compression within. The ESO walls represent the forces of compression acting on the structure and they are designed so that load is spread as evenly as possible. The minimal surface braced truss structure showcase the transition of tension and compression throughout the grid. This design represents the core basics of structure, tension and compression.
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LEARNING OBJECTIVES AND OUTCOMES We have explored structure in grasshopper quite extensively however our final design aim is still a bit vague and could be stronger. As although we have a notion of showing the beauty that is inherent to complex structures, I feel that we now need to take a more direct route towards a final design outcome. The Crit we received from our presentation was helpful in that we were given a few ideas as to where our design needs to be. We need to start addressing the design in the context of not only Wyndham City but also the road, where will it be placed? How will users perceive it as they drive past? etc. The next step in our design process will therefore be to take what we have learned through creating our case studies and technique development and intergrate these techniques within the context of the site. I think that our team has an oppurtunity to create some really interesting structures but we need to make sure that structures represent something. It might be that we explore efficiency through something involving the ESO wall and minimal surface definitions. Or we could explore something involving informed geometry to showcase the force that runs through our structure. I think a great outcome would be if we could combine all three definitions so that we could express efficiency and force from different angles in the same structure. But as we found it very hard to unite these definitions during the last few weeks this might not be possible in the time we have left. The role that computation has had in my design process throughout the course has been completely new to me and I am starting to find that as I become better at using computation as a design medium the scope of my possibilities has grown. It is still challanging but the designs that can be explored using parametric modelling are more than worth the effort.
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References: Pictures: [18][19] ARUP, Beijing Aquatic Centre, http://www.arup.com/Projects/Chinese_National_Aquatics_Center.aspx, date accessed 2/10/2013 [20] Beijin Aquatic Centre, http://studioformwork.com/2007/12/07/here-is-blog-2/, date accessed 2/10/2013 [21][22][23] J MAYER H., Metropol Parasol, http://www.yatzer.com/Metropol-Parasol-The-World-s-Largest-Wooden-Structure-J-MAYER-H-Architects, date accessed 2/10/2013 [24][25][26] Foster and Partners, Hearst Tower, http://www.fosterandpartners.com/ projects/hearst-tower/, date accessed 2/10/2013 [27][28][29] ARUP, Canton Tower, http://www.arup.com/Projects/Guangzhou_TV_ Tower/Details.aspx, date accessed 3/10/2013 [30] John Mcaslan, Kings cross station concoursehttp://upload.wikimedia.org/wikipedia/commons/9/9d/King%27s_Cross_Western_Concourse_-_central_position. jpg, date accessed 2/10/2013, date accessed 5/10/2013 Text [11][12] Wyndham City, City Plan 2011-2015 - “2012-2013” Update, www.wyndham. vic.gov.au [13] ARUP, http://www.arup.com/Projects/Metropol_Parasol/Details.aspx, date accessed 2/10/2013 [14] Foster and Partners, http://www.fosterandpartners.com/projects/hearst-tower/, date accessed 2/10/2013 [15] ARUP, http://www.arup.com/Projects/Guangzhou_TV_Tower/Details.aspx
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PART C: PROJECT PROPOSAL
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GATEWAY PROJECT: GENERATING A FINAL DESIGN “Our people, one community, our future.” Wyndham city council, City Plan 2011-15 Wyndham city is a fast growing and prosperous regional hub seeking to increase its position as both an economic and cultural center for the surrounding regions into the future. Plans for these increases in the presence of Wyndham within the regional level have been outlined and explored in community plans and discussions, specifically in the City plan for 2011-15. Our design therefore had to fulfil the criteria which Wyndham has outlined as key towards building forwards to the vision of Wyndham city. These key ideals which are outlined by the city in the Quality Community Plan 2007 express that Wyndham will be a self-reliant, family orientated, sustainable, and enjoyable place to live. So from these beginnings we constructed a somewhat vague guideline concerning how far we could push the design and in what direction it should go. Taking this guideline further we began to explore how we could create something that might represent these values that Wyndham had outlined for itself but even more so how we might represent this transition of Wyndham from the past towards the envisioned future. Having already decidied upon using structure as the main medium through which our design express itself we investigated what kind of structural system we could use to highlight the positives of Wyndham city. So we thought about what made Wyndham city special and speciffically what aspects of it’s natural environment we could take into consideration. One of the first things that came to mind when we thought about the Victorian coast was the great ocean road and the spectacular views that are created by the many varied rock formations along the coastline. From these investigations we determined that we should explore the possiblilties of the arch as a structural system as we had observed it occuring naturally in nature along the coast in the form of sea arch rock formations. Furthermore the arch has been used in cultures across the world to symbolise entry and a victory over past struggles so we thought that the form of the arch would be a good way to showcase Wyndham moving into the future.
WYNDHAM CITY GOALS
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LOCAL CONTEXT
HISTORICAL CONTEXT
PARAMETRIC DESIGN
FRAMING VISTAS AND RESTRUCTURING SPACE We Investigated how the presence of the structure would inform the feeling of the site and how the arch being such a powerful symbol in architectural history could inform this expression. We wanted to combine the strength of the arch with the expression of progress that is apparent with a colonnade. To begin with we looked towards some famous European colonnades and arches for inspiration. To the right is a picture of the right hand wing of St Peter’s Basilica and this had significance for our project because of how the progression of columns which is mirrored on the left hand side draw the viewer towards the centre of the structure. We wanted to take elements of this procedure so that we could also frame certain views and elements of our design.
[32]
[31] We also observed that the arch has been used throughout European history as a focal point the local environment. Pictured to the left the Arc De Triumphe is a hub around which local roads circulate unifying the surrounding cities infrastructure and urban landscape. We used this notion of a traditional pathway arrangement and wanted to explore how we could relate this to our own design.
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TECTONIC ELEMENTS - Precedent LIEGE-GUILLEMINS STATION Liege, Belgium 2000-2009 Santiago Calatrava The Liege-Guillemins station by Santiago Calatrave is an extremely important precedent for our project because the concrete forms that Calatrava created are similar to some of the rib structures that we explored. How Calatrava arches and uses concrete in this structure were a huge influence on how and why we created our design. Clearly Calatrava has already addressed a lot of the structural issues that our design faced so we used his forms as a precedent for our own. An important aspect of his work which we used later in the design process related to the incorporation of curved wing supports at the base of the arches which allows the concrete to resist lateral forces from the arch which would push the base points outwards and collapse the arch. Through the fluid and rythmic nature of Calatrava’s design movement becomes the heart of Liege-Guillemins station. The structure is for the most part white and this in many instances inhances the users perception of the curves and shadows which play across the building [16]. We sought to replicate this effect which is examplified in the picture to the bottom right in our own design. You can also observed that the glass roof structure is attached to the ribs and we also experimented with what we could overlay ontop of our structure.
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[33]
[34]
[35]
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[36]
DESIGN ITERATION 1: THE TRIUMPHAL ARCH We experimented with different forms and created a form pictured to the right that was based on a very literal interpretation of a transition from the old to new. Here we presented a change in form from a traditional monumental arch structure to a deformed “modern arch�. Delauney Mesh Connectivity Here we experimented with a delauney mesh system through our structure. This provided the most complex weave and interesting effect. Diagrid Lattice Connectivity Here we put a diagrid pattern through specific points along our rib structure.
Linear Non-Lattice Connectivity here we connected the ribs together using a linear grid.
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SITE LOCATION AND CONTEXT
Originally we wanted the structure to span across both the north and south bound roads however this wasn’t possible without going outside of the site boundaries. The current site of the proposed structure would welcome travellers from the south into Wyndham and would serve as a reminder of the Wyndham turn off for travellers continuing on to Melbourne. The placement on site is also important because it is at the divergence of the road into two seperate paths which is important when we consider the historical implications of the arch as a focal point around which paths revolve/diverge/meet. During the day sunlight hitting the structure needs to be considered and for this reason the finish on the ribs and steel members should not be overly reflective so that drivers are not blinded on sight. At night the structure is lit by lights running along the base of the ribs pointing upwards illuminating the concrete and steel structure.
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SITE B
SITE A SITE C
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TECTONIC ELEMENTS Construction Analysis The structure will be made from prefabricated concrete sections which can be connected together on site to create the ribs as pictured to the right. The steel beams which run horizontally through the structure should be attached to the rib structure with plates and bolts. the base of the rib structure should be attached to a foundation system as specified by an engineer so the forces are transferred vertically and lateral forces are neutralised at the base of the arch. A clean and polished concrete finish for the ribs can be achieved by utilising a number of techniques throughout the molding process. These include using smaller than normal concrete aggregate that allows the material to flow into the forms and around steel reinforcement and removing air bubbles by applying external vibration to the forms [17]. The steel members running through the structure provide tensile strength against lateral movements and increase the perception of movement through the structure when contrasted against the vertical lines of the ribs.
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Steel mesh reinforcement Inserts/furring channels to receive rebar reinforcement Grouted joint Steel piping/horizontal structuarl system
reinforcing steel mesh
Inserts/furring channels to receive rebar reinforcement
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FINAL DESIGN AND MODEL We came to our final design through a process of adjustment to our first iteration however we removed the traditional monumental arch structure at the entry of the structure as we thought the constraints of cost and placement on site would limit our ability to put the feature into our design. We also thought that our new design which we had arrived at by applying an optimised arch karamba definition to our original design iteration was more aesthetically pleasing without the structure in front. This way it reminded us more of Calatrava’s modern architecture and the possibilities of concrete as opposed to the historical form of the arch. However we still positioned it at the beginning of the turn off of Princes highway towards Wyndham city between sites A and C in reflection of the historical interpretation of the arch as a hub which we had observed in the Arc De Triumphe. The structure was produced in Rhino using grasshopper and the Karamba plug-in by taking the form that we had found in our first iteration and applying an optimised arch definition. We did this for aesthetic and design justification as we thought that our first iteration didn’t look into the properties of structure and force as much we would have liked. We had previously explored using many different plugins with which we could experiment with the role of force in directly informing structure and we wanted to use one of these expressions within our design. We came upon the decision to use an optimised arch definition as this would in theory create the best fitting arch based on the weight and shape of the inputed curves. We had to alter the force input upon some of the ribs because the shapes that the definiton was turning out did not fit with our desired appearance and ability to fabricate. This means that the ribs towards the end of the structure need to be thinner and weigh less than the first ribs so that the optimised arch is still aligned with the preceding ribs. The supporting buttreses along the outside of the structure are not part of the optimised arch definition but were added on after precedents of concrete construction and because we and that concrete does not have good tensile strength and by putting butresses along the exterior we could negate some of these forces. We placed a series of points over these ribs and through these points we could create different grid structures through lunchbox. It was not until fabrication that we decided upon a linear pattern as we found it difficult to overlay a diagrid pattern using steel wire in the real world and we needed this element to keep the structure rigid and together. We fabricated our model by laying out the ribs in rhino and then cutting them out of 3mm ply using a laser cutter. We then spray painted the pieces of ply to give the appearance of concrete and then ran steel wire members through the holes in the structure to give it strength and hold the model together. What we didn’t do but should have was create a structural joint or pin at the center of the rbs where the left and right arches dive to join together as the forces imposed upon this section of the arch would require some movement within the structure.
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LEARNING OBJECTIVES AND OUTCOMES REFLECTION ON THE FINAL PROJECT We started this project not knowing exactly where we wanted to go and perhaps structure being such a diverse subject added to the mire through which our group struggled during the first stages of our design process. This lack of direction in the beginning stages of the design process was a big problem for us and resulted in the production of a number of obsolete experimentations. We would have served our interests better if we had created a goal of constructing an arch structure and designing it using parametric softwarefrom the beginning. While it is true that our final form was achieved because of the optimised arch definition that we found for Karamba it took us too long to arrive at this destination simply through experimentation. The main problem that we incountered was working together as a group and communicating effectively. We really just did not communicate our different ideas effectively and this left us at times in very precarious situations. In retrospect it felt that we did not have a leader or in place of a leader a defining goal/design aim to guide our process. Although the final presentation lacked a number of key elements I feel that our design on the whole was sound. We just weren’t able to properly express it’s location and relationship to the site. The idea behind a design has always been a problem for me and usually I cannot justify one of my creations at all. By originally relating the arch structure back to its historical context and its progression into the parametric design I was pleased with our justification of form. I thought that our explorations in grasshopper and Rhino were also a positive we certainly went through quite a number of experimentations andfabricating four completely different models. Throughout the project we worked with plugins such as Karamba, Lunchbox, Kangaroo and Weaverbird. More than anything this project has at least for me been a learning experience. I’ve only done a few other design projects and only one other studio: Earth. This is the first time that I have felt like I could have done more for my design, however I was still pleased with how far we had come. This was the first time that I had worked within a group for a design project and the first time that I have encountered many of these problems. Even so we ended up with a design which I was pleased with; granted our presentation was lacking. Next time I will be more prepared for the challenges of working within a group and I walk away from this project with a knowledge and skill set to design within a computational framework into the future.
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REFLECTION ON STUDIO: AIR I arrived at Studio: Air with extrememly limited knowledge in computational and parametric design with my only previous experience in the field coming from taking virtual environments in first year. As a result I sometimes found the process troublesome but I felt that I adapted quickly to Rhino and Grasshopper and found quite quickly that the possibilities of what I could achieve using computational design methods broadened my scope of design capability. I was especially impressed with some of the earlier classes where we had to produce rhino models from grasshopper such as a vase and a chair with clear instruction on how we could reach that stage. I found that in later stages of the course when Rhino and Grasshopper instruction tapered off a bit into self-instruction and exploration that the broadness of my scope of learning shrank considerably. However in saying this by specialising in one specific avenue of exploration “structure� my knowledge of different plug-ins such as Karamba and Lunchbox grew exponentially. Before taking this course I had never used fablab, in virtual environments I had cut my model out by hand so making use of the facilities availible really opened my eyes to the possibilities of what could be fabricated. Some of the patterns and forms that I observed other groups creating were extremely intricate and beautiful. Certainly such models could not have been fashioned by hand in anywhere near the same amount of time that sending the models through to fablab and then later assembling the cut pieces together were built. The speed with which models could be produced allowed for many different design iterations and added a much needed real world component to the design process. There is still so much to learn and discover about computational design but I think that this semester has given me a good foundation from which I can branch out further and I am excited about what possibilities the future could hold. I have learnt from undertaking studio: Air valuable lessons that I know will help me in the future and I know that the computational design process will form an integral part of my designing repetoire. Objectives Achieved in Studio: Air: - To further develop my skills in digital design technologies and tools such as Rhino, Grasshopper, Photoshop, AutoCAD etc. - To develop an understanding of how a model built in digital space could become realised in the real world. We did so by producing models using fablab so that we could create accurate and complex models. - To improve and refine upon my knowledge of the design process and terminology. - To explore and create designs which I could not produce without the use of computational techniques.
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REFERENCES Images: [31] St Peter’s Colonnade, http://www.digital-images.net/Images/Rome/StPeters/StPeters_ Colonnade_7586.jpg [32] Arc De Triumphe, http://www.earthinpictures.com/world/france/paris/arc_de_triomphe_-_view_from_the_eiffel_tower_1024x768.jpg [33] Liege-Guillemins TGV station, http://www.core.form-ula.com/wp-content/uploads/2009/09/12421_2_tgv2big.jpg [34] Liege-Guillemins TGV station, http://s3.amazonaws.com/europaconcorsi/project_images/2142125/JM_LiegeGuillemins-21_full.jpg [35] [36] Liege-Guillemins TGV station, http://www.plataformaarquitectura.cl/product/atika-procelanato-back2back-de-la-marca-ergo/liege-guillemins-tgv-station-santiago-calatravaliege-2009-day-interior-with-shadow-patterns/ Text: [16] DeZeen magazine, “Liege-Guillemins Station by Santiago Calatrava”, http://www. dezeen.com/2009/12/02/liege-guillemins-station-by-santiago-calatrava/ [17] University of Wisconsin-Madison, “Architectural Masterpiece Challenges the Art of Engineering”, http://epdweb.engr.wisc.edu/aec_articles/24_Reinforce_Concrete.lasso
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