Knape Alyse 759021 Journal B by Alyse Knape

Studio Air, SEM 1 2018 ALYSE KNAPE // 759021 DAVID WEGMAN / T8

JOURNAL B

CRITERIA DESIGN â&#x20AC;&#x153;Man realises at last, with humiility, that to listen to and observe the living world around us gives us access to an incredible source of information, inspiration and innovationâ&#x20AC;?1 - Elodie Ternaux

1. (Ternaux, Gomez and Pygott, 2012) 2

CONTENTS

CRITERIA DESIGN

In this section you will find; B0 Self Reflection

// 4

B1 Model for Variation

// 8

B2 Case Study 1; Morning Line Pavilion B3 Case Study 2; Vaulted Willow Pavilion

// 20 // 32

B4 Tecnique Development B5 Prototyping

// 38 // 50

B6 Proposal

// 54

B7 Learning Objectives & Outcomes

// 70

B9 Bibliography

// 72

SELF REFLECTION

Solar-Plexus Chakra

The main function of this chakra is to provide actual momentum to move forward and realise your personal desires and intentions in the world. It relates to personal power and direction in life. This, in turn, influences preoccupations about social-status and self-image. My restrictions with this chakra relate to

independence, personal identity, self-assurance and confidence. This chakra resonates with me on a personal level in relation to my understanding myself and my place in the world. Specifically, my restrictions in the solar plexus chakra have manifested in procrastination, anxiety, depression, toxic relationships and ultimately the ‘dulling’ of my social nature. I exhibit reserved social tendencies and this manifests in feelings of loneliness and social polarity, despite growing up as a bubbly, outgoing person. My strength in the Solar Plexus Chakra is my powerful intuition / ‘gut feeling’. As a group, we have identified our common restriction to be ‘lack of direction’ as a result of following the crowd. Our common strength is strong intuition. This chakra symbolises / represents / calls to attention the blockages formed in many young people in their self confidence and personal identity as a result of the stigma surrounding mental health issues.

B1 MODEL FOR VARIATION BIOMIMICRY; To begin developing our technique, we are looking to biomimicry - using this system as a basis for design research and conceptualisation. This allows us to look at the behaviour of our chosen system to develop scripts, vary the parameters of these scripts, and push the boundaries of the design outcomes. Throughout this process, we will be prompting our design directionality with the question;

“How would nature do what I’m trying to do here?”1

Nonetheless, the exploration of this field of computational architectural design is a new topic for me, and I am interested to begin to understand where it could take my design work. Specifically, I am intrigued by the following idea;

“Everything is nature, everything is artificial. Man, a product of nature, makes and converts elements from nature”. 1

Having this foundation of research into biomimetic behaviour will not only present a multitude of possibilities, but will also impose some constraints on our design work and final design outcomes. Initially, we are considering these constraints to include aesthetic and script-based limitations.

HONEY BEES; Our initial attraction to honey bees came about as a result of our common Solar-Plexus restriction of ‘following the crowd’. We were drawn to the nature of the honey bee as it spends its entire life serving others, and never puts itself first.

RE S E AR CH

Delving deeper into our research revealed many more complex systems within the life and works of the honey bee and has revealed to us some valuable data and behavioural processes to begin to emulate in our pavilion design.

Our key points of interest among these systems includes; - Thier communcation system and its reliance on the location of the sun. - The vitality of their presence (and pollination abilities) for all flower species. Flowers cannot reproduce without bees. - Their social hierarchy. - Their ability to avoid collision with their surroundings; Bees have a pre-defined path to food which they will not deviate from for even a millisecond.

Specifically, we have begun to focus on the social hierarchy of the honey bee, their anti-collision eyesight, and their wiggle-waggle communication system.

1. (Ternaux, Gomez and Pygott, 2012)

H ON E Y BEES 01

The honey bee lives in an organised society with a clear hierarchy. Worker bees dedicate their lives to serve the Queen bee, and drone bees live to provide the Queen with offspring. The honey bee is a social creature with sofisticated communication channels. She uses dance to communicate rich food sources.

Figure 1; Bee Social Hierarchy Diagram

Honey bees are also a vital life force for flowers. They are the creatures responsible for flower reproduction. 9

W IGGLE WAGGL E D ANC E

When a worker bee returns from an abundant food source, she will dance inside the nest in a circle (if food source is <50m from the nest). If food source is >50m from the nest; the worker bee will do the ‘Waggle’; a figure 8 pattern with an abdomen waggle.

The dancing worker bee can also indicate the direction of the food source and will move in reference to the sun’s position (angle from the nest related to the sun’s vertical position).

Figure 1; Wiggle Waggle Dance Diagram 10

A N TI-COLLISION AB I L ITY 01

A bee is able to fly without interruption and without colliding. Itâ&#x20AC;&#x2122;s eyes cover 300 degrees, allowing it to evaluate itâ&#x20AC;&#x2122;s surroundings and anticipate obstacles.

This allows the bee to avoid deviating from its path for even a millisecond.

Figure 1; Anti-Collision Diagram 11

B U I LD

1. DERIVE DATA

2. ADJUSTMENTS

Derive points and lines from foraging pattern map.

Adjust the verticality of the points and joining

5. WEAVERBIRD MESH FROM LINES

6. WEAVERBIRD PICTUREFRAME

Transforms list of lines into a mesh

Computes a new mesh with higher genus, resulting mesh consists of quad faces

3. LOFTING

4. EXPLODE

Loft curves to create the basic geometry

Explode curves into smaller segments

7. WEAVERBIRD MESH THICKEN

8. WEAVERBIRD CATMULL-CLARK SUBDIVISION

Computes a new mesh that is a closed solid

Recursive subdivision. Resulting mesh always consists of quad faces

EX P ER I ME N T

1 2 3

Selection Criteria; - Aesthetic Value - Function in relation to harnessing strength to address restriction.

AESTHETIC FUNCTION

E X PE RI M EN T

1 2 3

Selection Criteria; - Aesthetic Value - Function in relation to harnessing strength to address restriction.

AESTHETIC FUNCTION

A NA AL YSIISS AN LYS

This object is a sculptural pavillion installation. It allows visitors to step inside and observe the This object is a sculptural pavillion installation. It allows visitors structure, as well as their surroundings. to step inside and observe the structure, as well as their surroundings. The space may be used as a space to contemplate take in the surroundings and be un-interrupted. The space may be used as a space to contemplate - take in the The object would only fit one adult person inside. surroundings and be un-interrupted. The object would only fit one adult person inside. The objectsâ&#x20AC;&#x2122; form allows sunlight to enter inside the pavilion. This relates to harnessing the power of the sun The objectsâ&#x20AC;&#x2122; form allows sunlight to enter inside the pavilion. - a form of personal power and force to move forward This relates to harnessing the power of the sun - a form of directly relating to the restriction of lack of direction and personal power and force to move forward - directly relating to willpower. This space allows the occupant to heal their our restriction of lack of direction and willpower. Solar Plexus Chakra by harnessing the power of the sun. This space allows the occupant to heal their Solar Plexus Chakra by harnessing the power of the sun.

B2 CASE STUDY 1.0 THE MORNING LINE PAVILION

Matthew Ritchie in collaboration with Aranda/Lasch and Arup AGU Commissioned by Thyssen-Bornemisza Art Contemporary

We chose the Morning Line Pavilion as a starting point to expand our Grasshopper / Rhino skillset. We were drawn to the form for its nature-like aesthetic. In our exploration of the design of this form, we have manipulated lines and curves to create new form. However, this does not link to our desire to play with mesh surfaces and mesh inflation and so may not provide much direction for our final proposal. Nonetheless, building and manipulating the Morning Line Pavilion was an interesting learning experience which allowed me to become more confident in my basic Grasshopper skills.

Figure 1 (Right);Morning Line Pavilion (Ecosistemaurbano.org, 2018) 20

F 22

5 Cull // Pattern

Polygon

Brep

Sine Cosine Curve

Control Point

Bezier Graph Mapper

A N A L Y SIS // SP E C U L ATI O N STRENGTH: - Aesthetically pleasing - Function: Hexagonal allows sunlight to pass through. WEAKNESS: - Form does not exaclty mimic the open nature of the Morning Line Pavilion - Closed form fails to address our restriction (lack of direction) or harness our strength (powerful intutition) SPECULATIONS: - This form could be used as a part of a network of structures positioned across the site to create an archipelago of structures. We could provide the visitor with a journey from pollen collection to communication and harnessing of personal power.

AESTHETIC FUNCTION

STRENGTH: - Aesthetically appealing. - Function: Hollow roof allows lights passing through, to amplify oneâ&#x20AC;&#x2122;s energy. - Typology: The star shaped walls create zones for different activities. WEAKNESS: - Form too simple in shape. Does not produce something new or exciting. SPECULATIONS: - Integrate this into a large, maze like structure to provide visitors with an experience.

AESTHETIC FUNCTION

STRENGTH: - Aesthetically pleasing. - Function: The winding form of wall can be an expression of direction. - Typology: The star shape planar can function as seats or shelter. WEAKNESS: - Form may be too complex for human activities. - Form too simple (Star shape) - does not replicate the form of the Morning Line. SPECULATIONS: - This form could be used as a directional experience such as a maze.

AESTHETIC FUNCTION

STRENGTH: - Aesthetically pleasing. - Function: The winding form of wall can be an expression of direction. - Typology: The star shape planar can function as seats or shelter. WEAKNESS: - Does not emulate Morning Line Pavilion in form; smaller elements broken up and arrayed. SPECULATIONS: - This form / set of forms could be used as a small area of stepping stones or seating to encourage interaction. This would perhaps not be enough of an architectural intervention.

AESTHETIC FUNCTION

B3 CASE STUDY 2.0

REVERSE ENGINEER

The Vaulted Willow by Marc Fornes; This self-supportive architectural structure was developed using custom computational protocols including form finding and descriptive geometry. It is constructed of ultra-thin aluminium shells, with the aim of; â&#x20AC;&#x2DC;Resolving and delineating structure, skin and ornamentation into a single unified systemâ&#x20AC;&#x2122;.

Figure 1 (Right);Vaulted Willow by Marc Fornes (MARC FORNES / THEVERYMANY, 2018)

By reverse-engineering this project, we are hoping to gain understanding in developing light-weight, self-supporting shell structures and the development of ornamentation through form. 28

PS UE DO COD E / / P R O C E S S

STEP 1 LINES NETWORK

STEP 2 PIPE LINE

STEP 3 C# SCRIPT

Draw a network of lines where the ends of lines defines the feet and anchor points of the structure.

Pipe the network of lines. This is the geometry in which will be inflated later, thus various thickness of the pipes is explored to create the appropriate final form.

The C# script creates points for the feet of the structure. The roundness, size and dent of the feet can be adjusted.

STEP 4 KANGAROO PHYSICS

STEP 5 REFINEMENT 1.0

STEP 5 REFINEMENT 2.0

Using Springs from Line, pressure and unary force, the Kangaroo Physics component can inflate the pipe line, which creates a mesh.

Changing the parameters within the pressure component adjust the inflation of the form.

Changing the parameters within the C# script to adjust the size of the feet within the form.

Parameter within Springs from Line component can change the gravitational force, which also affects the height of the form.

F I NA L FORM // ANAL Y S I S

Our exploration of Kangaroo Physics allowed us to produce a form close to that of the Vaulted Willow. We were able to manipulate a network of lines and inflate the form to create a Vaulted Willow-esque form. Critically, the exploration of this form allowed us to develop our skills in Kangaroo, which we will carry through to develop our pavilion design. The final form achieved has some disparities between the Vaulted Willow precedent, including the control of the network of lines. We would like to apply this to our future design work, focusing on gaining control of the spacing and distances between the line elements in order to gain better control of the form/structure.

D I A GR AM

TECHNIQUE DEVELOPMENT Search;

Step

Worker bees find an abundant food source up to 3km from their hive. Workers have an average flight speed of 25 35km/h.

Step

Worker bee returns to hive and relays information to other workers. If the food source is more than 50 metres from the hive, the worker bee will do the ‘Waggle’ - a dance in a figure 8 pattern with an abdomen waggle.

=1 1S

Waggle Dance;

Workers are capable of carrying their own weight in pollen.

Step

Speed / Intensity;

The worker bee will relay the richness of the food source via the speed and intensity of her abdomen waggle.

Direction;

The dancing bee can also indicate the direction of the food source and will move in reference to the sun’s position (angle from the nest related to the sun’s vertical position).

Multiply / Repeat;

Step

Communication results in additional workers travelling to and using food source, and repeating the above sequence. Workers can make up to 15 journeys per day. 34

T RA N S LA TE

Step

Array Populate

Step

=1 1S

Step

ArrayPath Maelstrom Radius Stretch Offset

Scale Offset Rotate Kaleidoscope

AttractorPoint Lunchbox Sun Vector Generator Arc ArrayArc Populate2D

Populate2D AttractorPoint

DE S IG N PROCESS

1. DERIVING DATA

2. INFLATION

Points and lines are derived from the bees foraging patterns.

From the accumulation of nectar, the bees double in size

B U I LD

The bees also attain knowledge about the nectar source, thus inflation physically symbolises the accumulation of knowledge and direction.

3. RELAXATION

4. PERFORATION

After the bees return to the hive, they unload and store the nectar

Perforation is added to create ornamentation to the structure

At this stage, the bees perform the Wiggle Waggle dance, the relaxation of the mesh symbolises the sharing of information and giving direction.

It also allows the penetration of sunlight, a crucial component in the Wiggle Waggle dance as the bees dance according to the angle of the sun.

EX P ER IM E N T 1

Kangaroo Mesh Relaxation Springs Line Exoskeleton

Kangaroo Mesh Relaxation WeaverBird PictureFrame WeaverBird Loop

Kangaroo Mesh Inflation Inflation Gravity Derived from a network of lines

Kangaroo Mesh Relaxation WeaverBird PictureFrame WeaverBird Loop

Kangaroo Mesh Relaxation of Mesh Inflation. Goal/Length/Percentage

- Not a practical form (yet).

OPPORTUNITIES

WEAKNESSES

A NA LYS I S STRENGTHS

- Interesting perforations.

- Overlap multiple sections of this form to create intersecting perforations - create a more interesting form. - Play with light fractions.

AESTHETIC FUNCTION

- Lack of perforations for sun / light.

OPPORTUNITIES

WEAKNESSES

STRENGTHS

- Interesting form. - Could function as larger pavilion / shelter and/or smaller areas for seating (with changes).

- Add perforations to surfaces in accordance to sunâ&#x20AC;&#x2122;s position / strength. - Form could be replicated or mimiced in a range of sizes to create multiple spaces for different individuals to use.

AESTHETIC FUNCTION

- Patterns created from different viewpoints.

- Form is quite basic. - Pavilion does not provide explicit ability to block out the influence of others. - Nooks too open.

OPPORTUNITIES

- Provides multiple spaces for different people. Possibility to sit in the middle, corners, around the outside.

WEAKNESSES

STRENGTHS

- Perforations allow sun penetration- ability to harness this power during contemplation.

- Provide multiple spaces / sizes of strucutures. This could include seating, smaller pavilions and a larger pavilion. - Control the size of perforations in relation to the sunâ&#x20AC;&#x2122;s position - a moving / evolving structure changing throughout the day. - Create smaller / more private spaces to allow personal space and self-reflection.

AESTHETIC FUNCTION 42

- Not enough personal space - could be mitigated through providing range of different sizes and orientations (e.g. seats).

OPPORTUNITIES

WEAKNESSES

STRENGTHS

- Perforations allow user to harness sunlight. - Intriguing perforations/ patterns. - Practical pavilion form. - Aesthtically pleasing.

- Overlap - Varying shapes and sizes across park. - Colour; gradated according to angle in relation to sun. - Acoustic properties (Keep sound in or block sound out).

AESTHETIC FUNCTION

PROTOTYPES

Our 3D printing process was met with interesting and challenging outcomes which will inform our design process and final forms for the final submission. With some failed attempts at printing a thinner structure, we decided to thicken up our form to produce a prototype. Moving forward, the constraints on the thickness of our structure will inform the our design. We would like to remove the supporting strucutres in order to reduce material waste and to achieve a more finessed form. We are also aware of the areas of joins and multi-directional curves as well as the possibilities of â&#x20AC;&#x2DC;burn spotsâ&#x20AC;&#x2122; in these areas.

3 D PR INT ING

Our initial desires to include large perforations in a thin structure - such as those in the Vaulted Willow Pavilion (B3) - were hindered by the minimum thickness of the 3D print machines. To combat this, we chose to print a thicker version of our model with smaller perforation sizes. Aesthetically, we find this print result quite pleasing and interesting. However, functionally this does not serve us in our original design intention. Moving forward, we would like to gain control of the perforation size and orientation of perforations (in relation to the sunâ&#x20AC;&#x2122;s position) - in order to allow visitors to harness the power of the sun. Using this prototype and our experience with the 3D printing process, we can begin to move forward and develop our design and concepts to find a resolution which provides maximum aesthetic and functional qualities. Following mid-semester crit feedback, we would also like to begin to explore the possibilites of a moving structure which resoponds to site condiions; namely the sunâ&#x20AC;&#x2122;s position. In terms of prototyping, this could allow us to produce multiple prints and play with lighting, wind penetration and seclusion. Developing these prototypes will allow us to understand our design spatially.

PROPOSAL A SPACE FOR CONTEMPLATION We are defining contemplation as;

‘A personal space to self-reflect’. We are aiming to design a space which allows the user to block out demands and expectations from others and take the time to be selfreflective. This space will allow visitors to harness energy from the sun to strengthen their confidence in order to follow strong intutition and gut feelings, rather than follow in others’ shadows. Ultimately, harnessing this strength will provide the visitor with the power to move forward in life, in the direction which is right for them.

A S PA CE T O SELF-REFLECT

HARNESS YOUR INTUTION MOMENTUM TO MOVE FORWARD FIND DIRECTION IN LIFE

Our pavilion harnesses the power of the sun to allow the visitor to empower themselves, in order to harness their intuition. Through our form finding and analysis process, we chose our final form based on its aesthetic quality and functional ability to allow sun penetration into the pavilion.

PLAN 1:50

SITE PLAN 1:100 50

E XPE R IENCE

O PPORT U NIT IES

O PPORT U NIT IES / / R E FL E C TIO N SMALLER PAVILION

Moving forawrd, we would like to develop our pavilion design to better respond to the brief for a contemplation space. We are considering expanding the reach of our design into a network of structures which provide different functions, such as seating, personal pavilions and larger structures. We would like to develop a stronger connection with providing an activity or direction for visitors to interact with in order to harness their intutition and provide them with direction in life. This leads us to opportunities to think about the qualitative features of other architectural precedents which allow people to feel empowered and selfreflective.

SEATING

Our mid-sem crit feedback has sparked our curiosities toward producing an ‘archipelago’ of smaller discoverable spaces for people to move through to give visitors the opportunity to be by themselves. We are also analysing the journey to this space and how we could manipulate our design to produce a journey which emulates the honey bees’ journey to and from the flower. We would like to play with colour and materialisation and define these in a gradation according to the position of the sun. We would also like to consider what will happen to the structure over time and how we may possibly manipulate our chosen materialisation technique to toy with the idea of time and architecture. 62

COLOUR & LIGHT EFFECTS

LEARNING OBJECTIVES & OUTCOMES - Developing “the ability to make a case for proposals”. The process of groupwork in this studio has allowed me to gain valuable perspectives from my group members in relation to the strengths and weaknesses of our design work and mid-semester proposal. We were very clear about our shortcomings for our mid semester crit and were able to identify where we would like to push the project in the coming weeks, which we were not able to achieve at this point in the semester. As a group, we have identified our own indivdual strengths and weaknesses and are aiming to address these through technical help sessions and time spent learning more about Grasshopper and the opportunities and constraints it affords us. - Begin developing a personalised repertoire of computational techniques; Moving through the various video tutorials has allowed me to gain brand new skills in the last seven weeks. Computational design was a completely new skillset for me and I have begun to understand my personal limitations and strengths in these programs. I am aware of my self-imposed limitations when I begin to become frustrated with Grasshopper and have begun to develop techniques to overcome this in order to produce desired outcomes. - Developing “an ability to generate a variety of design possibilities for a given situation” As a group, we have begun to develop our repertoire of Grasshopper commands and outcomes, which has given us the ability to repsond to different Grasshopper situations with multiple directions. We still have a way to go with this and would like to keep expanding our knowledge of the program in order to ensure we have explored all of the possibilities of our designs, and pushed the boundaries to breaking points. Collaborating with other students from across the subject has been our biggest help so far, and we would like to continue to approach our situations with as many sets of fresh eyes as possible.

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B9 BIBLIOGRAPHY - Ecosistemaurbano.org. (2018). The Morning Line anti-pavilion launched at 3rd International Biennale of Seville | ecosistema urbano. [online] Available at: http://ecosistemaurbano.org/english/the-morning-line-anti-pavilion-launched-at-3rd-international-biennale-of-seville/ [Accessed 6 Apr. 2018]. - MARC FORNES / THEVERYMANY. (2018). EDMONTON, AB. [online] Available at: https://theverymany.com/ public-art/11-edmonton/ [Accessed 8 Apr. 2018]. - Ternaux, E., Gomez, B. and Pygott, C. (2012). Industry of Nature. Amsterdam: Frame Publishers.