Amber Barton_Journal_Studio Air by Amber Barton

STUDIO AIR JOURNAL AMBER JOAN BARTON

CONTENTS 4 INTRODUCTION A.

CONCEPTUALISATION

A.1. | Design Futuring

A.2. | Design Computation

A.3. | Composition / Generation

A.4. | Conclusion

A.5. | Learning Outcomes

A.6. | Appendix - Algorthmic Sketches

CRITERIA DESIGN

B.1. | Research Field

B.2. | Case Study 1.0

B.3. | Case Study 2.0

B.4. | Technique: Development

B.5. | Technique: Prototypes

B.6. | Technique: Proposal

78 B.7. | Learning Objectives and Outcomes 80

B.8. | Appendix - Algorithmic Sketches

DETAILED DESIGN

C.1. | Design Concept

126

C.2. | Tectonic Elements and Protypes

170

C.3. | Final Detail Model

224

C.4. | Learning Objects and Outcomes

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INTRODUCTION

Hi my name is Amber Barton, and I am a third year Bachelor of Environmentâ&#x20AC;&#x2122;s student majoring in architecture. I moved down to Melbourne in 2014 to study trading my beachside home in Byron Bay in favour of the mysterious laneways and fast paced city life. I have a background in abstract based visual arts, and since beginning study have found this an interesting thread present within much of my studio work. I have completed two architectural studios to date, Earth Semester 1 2015 which focused on the concept of secrets as a driver for context specific design of a pavilion; and Water Semester 2 2015 which used the modernist Peter Eisenman as a focus master to develop a boathouse. Out of these two subjects I developed proficiency with AutoCAD, adobe photoshop, illustrator and indesign and basic skills in Rhino. I became comfortable designing in rhino through the undertaking of Digital Design and Fabrication in Semester 1 2015. This subject pushed me outside my comfort zone into a circular generative method of designing which moved from digital design to prototyping to refining. Coming into Studio AIR in Semester 1 2016 I am looking forward to furthering my understanding of parametric design through the use of Grasshopper. I have no experience with this plug in but hope to add it too my repertoire of design tools to take into Masters and future architectural design.

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CONCEPTUALISATION

“Conceptualization begins to determine WHAT is to be built [...] and HOW it will be built.”1 1 Cf. AIA National and AIA California Council, Integrated Project Delivery: A Guide (AIA, 2007 [cited 28 February 2013]); available from http://www.aia.org/groups/aia/documents/pdf/aiab083423.pdf.

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WEEK 1

A.1. | Design Futuring The question of design futuring is proposed by Fry (2008) as a double headed sword with society only having a future through design, yet the unsurety of whether this future actually be secured by design?1 This roundabout questioning recognises the complex place design holds within the void between present and future, plus the ongoing multi-discipline concerns which set the parameters. So, in considering architecture as a design discipline which may be harnessed to shape the future Dunne and Raby (2013) suggest a speculative design approach be adopted in which design thrives on imagination and aims to open up new perspectives to create discussion and debate about alternatives to problems2. This way of thinking is reflected within the radical architecture of avant-garde group Archigram. Archigram was formed in 1960 at the Architecture Association in London by six architects and designers, consisting of Peter Cook, Warren Chalk, Ron Herron, Dennis Crompton, Michael Webb and David Greene3. Though their projects were all ‘paper architecture’ and as such never built, their portrays of a futuristic vision of urbanism, technology and infrastructure, spurred much debate and interest about alternative and radical urban scenarios within the new generation of architects4. 1 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 2 Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45 Gili Merin, ‘AD Classics: The Plug-In City / Peter Cook, Archigram’, Archdaily (date pub3 lished July 10 2013) http://www.archdaily.com/399329/ad-classics-the-plug-in-city-peter-cook-archigram [date accessed March 15 2016] 4 Merin, Gili, ‘The Plug-In City’

Figure 2. Rory Stott, ‘A Walking City for the 21st Century’, Archdaily (date published November 3) http://www.archdaily.com/443701/a-walking-city-for-the-21st-century [date accessed March 17 2016]

Figure 1. Peter Cook (1964), ‘Plug-in City: Maximum Pressure Area, project (Section),’ Archigram, http://www.moma.org/collection/works/797?locale=en [date accessed March 16 2016]

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One of Archigrams most famous projects was ‘The Plug-In City’ by Peter Cook, which depicted a fantasy city containing movable modular residential units which are plugged into a central infrastructural mega machine. Proposed in 1964 this ‘city’ expanded future possibilities by offering radical new ways of thinking about urbanism and infrastructure’s role within the city1. Placed within the Radical design boom of the Cold War period, the overall impact upon the field of ideas of the time was not as a predictor of the future but instead as a dreamt possibility that can be discussed and debated2. Inspired by a need to revolt against the status quo, ’The Plug-In City’ continues to be appreciated as one of the original radical suggestions of a new generation of architecture which counteracts superficial formalism and dull suburbanism3. The nomadic aspect of ‘The Plug-In City’ can be seen to have directly influenced the thesis project of Manuel Dominguez’s ‘Very Large Structure’ almost 50 years later4. Also occurring within the same Cold War period, was the proliferation of geodesic domes around the United States by architect Buckminister Fuller. Unlike the radical paper designs of Archigram, Buckminister was more concerned with the place of architects within the paradigm of the systems theory5. The systems theory dictates that architecture as a design discipline is intended to exist in close contact with both mankind and nature6. Buckminister’s experimental design for geodesic domes rode off the back of the postwar optimism of society and interest in the innovative new technologies. The most spectacular of Buckminister’s geodesic structures is the expansive 76 meter diameter dome in Montreal7. Originally designed for the United States Pavilion at the Expo 67 in Montreal, the dome is now an environmental museum (renamed the Montreal Biosphere). During the Expo 67 the United States pavilion was marvelled at as a symbol of contemporary architecture and the revolutionary combination of technology, structure and material into a versatile environmentally conscious design. Buckminister had very strong principles which drove his design for the United States Pavilion and that he hoped would instigate change within the larger architectural world. Most notably his belief in the capability of architects to deploy instruments of innovation in a hyper-efficient manner using the newest technologies8. For Buckminister the geometric beauty of the United States Pavilion was an added bonus within the ultimate message of optimism through optimisation, which reflected the overall feeling within society at the time9.

Figure 3. Lori Zimmer, ‘Montreal’s Biosphere Environmental Museum Resides Inside Massive Buckminster Fuller Geodesic Dome’, inhabitat (date published June 2 2012) http://inhabitat.com/ photos-biosphere-environmental-museum-resides-inside-a-buckminster-fuller-masterpiece/ [date accessed March 16 2016]

Figure 4. Lori Zimmer, ‘Montreal’s Biosphere Environmental Museum Resides Inside Massive Buckminster Fuller Geodesic Dome’, inhabitat (date published June 2 2012) http://inhabitat.com/ photos-biosphere-environmental-museum-resides-inside-a-buckminster-fuller-masterpiece/ [date accessed March 16 2016]

1 Merin, Gili, ‘The Plug-In City’ 2 Dunne & Raby, ‘Speculative Everything’ 3 Merin, Gili, ‘The Plug-In City’ 4 Rory Stott, ‘A Walking City for the 21st Century’, Archdaily (date published November 3) http:// www.archdaily.com/443701/a-walking-city-for-the-21st-century [date accessed March 17 2016] 5 David Langdon, ‘AD Classics: Montreal Biosphere / Buckminster Fuller’, Archdaily (date published November 25 2014) http://www.archdaily.com/572135/ad-classics-montreal-biosphere-buckminster-fuller [date accessed March 16 2016] 6 Langdon, David, ‘Montreal Biosphere’ 7 Government of Canada, ‘The Biosphere: A Futuristic Architect’, Environment and Climate Change Canada (date modified July 2 2015) http://www.ec.gc.ca/biosphere/default.asp?lang=En&n=85D4C846-1 [date accessed March 15 2016] 8 Langdon, David, ‘Montreal Biosphere’ 9 Langdon, David, ‘Montreal Biosphere’

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While shell structures remain within the repertoire of architecture, the specific geometry of geodesic domes did not gain the mass-adoption which Buckminster had hoped for. The social upheavals of the 1960s and the apparent fail of modernism called for a proliferation of architecture which represented a deeper meaning1. The United States pavilion dome also lost influence within the world sphere as it fell into disuse for nearly until 1990 when it was reborn as a the Montreal Biosphere2. This reemergence represents the circular interest of society as the use of the systems theory becomes relevant to current debates about sustainability. Overall the pure simplicity of the geometry within the United State’s Pavilion remains as an exemplary example of beauty expressed through structure. Created from a icosahedron of a hexagonal grid interspersed by pentagons both of which are fragmented by equilateral triangles. The overall impact of the repetitiousness is dazzling and will be influential within my further exploration of geometry based generative design. 1 Langdon, David, ‘Montreal Biosphere’ 2 Langdon, David, ‘Montreal Biosphere’ Figure 5. Lori Zimmer, ‘Montreal’s Biosphere Environmental Museum Resides Inside Massive Buckminster Fuller Geodesic Dome’, inhabitat (date published June 2 2012) http://inhabitat.com/photos-biosphereenvironmental-museum-resides-inside-a-buckminster-fuller-masterpiece/ [date accessed March 16 2016]

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WEEK 2

A.2. | Design Computation The computer has undoubtedly had a huge impact on the way architects think about design problems and ultimately undertake the practice of architecture. By the beginning of the millennium digital architecture had already become the de facto subject of much architectural debate, however this was only the beginning of the ever evolving relationship of design, technology, science and material culture. Even from early on in the digital continuum architects began to focus more on morphogenetic conception, generation, non-standard form and the cycle of design to production1. As technology progressed so too did the architectural practice, with the logic of the algorithm marking a new focus on formation before form2. Performative based design and mediated variability was enabled by the introduction of modellers based on Non-Uniform Rational B-Splines (NURBS)3. An example of this is The London City Hall (2002) by Foster Associates which used environmental factors as a drivers form form finding4. Post NURBS the next radical re-defining of architectural practice came in the form of material design which allowed a stronger feedback system to be developed between conception and production as material properties and performance could be modelled on the computer5. Now more than ever the computer has allowed architecture to exist as an integrated process of form generation, performative modelling, and digital material testing so that problem may be framed in such a way that the complex demands of todays society may be met with a suitable solution6.

1 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 2 Oxman, ‘Theories of the Digital Architecture’ 3 Oxman, ‘Theories of the Digital Architecture’ 4 Walk London, City Hall, Walklondon http://www.walklondon.com/london-attractions/cityhall.htm [accessed 20 March 2016] 5 Oxman, ‘Theories of the Digital Architecture’ 6 Kalay,Yehuda E. (2004). Architecture’s New Media: Principles,Theories, and Methods of ComputerAided Design (Cambridge, MA: MIT Press), pp. 5-25

Figure 6. Walk London, City Hall, Walklondon http://www.walklondon.com/london-attractions/ city-hall.htm [accessed 20 March 2016]

“Beyond blobs [...] and the preference for non-orthogonal geometries that characterized the experimentalism of the former decade, the formal tendencies of a new architecture have become much more subtly attuned to the differentiating potential of topological and parametric algorithmic thinking and the tectonic creativity innovation of digital materiality.”1

1 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10

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Yokohama International Passenger Terminal (1995) designed by Foreign Office Architects (FOA) represents an innovative design project which embraced the new digital technologies to parallel the emergent building typology of transport infrastructure ?1. The newest forms of cutter aided design were used by FOA to design the terminal primarily in section. At the time the complex curving surfaces were revolutionary in providing an awe inspiring inhabitable architectural topography2. Flow of circulation was a critical design feature which lended itself to modelling the exterior facade and joining ramps using curvaceous NURBS surfaces3. Material properties were performance tested so that a mostly horizontal structure of steel plates and concrete girders were used to create an open floor plan4. The overall scheme of the design was generated from a single circulation scheme which rejects any notion of linearity in favour of a seemingly ‘random’ pathway through the building5. 1 David Langdon, ‘AD Classics:Yokohama International Passenger Terminal / Foreign Office Architects (FOA)’, Archdaily, (date published 7 October 2014) http://www.archdaily.com/554132/ad-classics-yokohama-international-passenger-terminal-foreign-office-architects-foa [accessed 20 March 2016] David Langdon, ‘Yokohama International Passenger Terminal’ 2 3 David Langdon, ‘Yokohama International Passenger Terminal’ 4 David Langdon, ‘Yokohama International Passenger Terminal’ 5 David Langdon, ‘Yokohama International Passenger Terminal’

Figure 7. David Langdon, ‘AD Classics:Yokohama International Passenger Terminal / Foreign Office Architects (FOA)’, Archdaily, (date published 7 October 2014) http://www.archdaily.com/554132/adclassics-yokohama-international-passenger-terminal-foreign-office-architects-foa [accessed 20 March 2016]

Figure 8. David Langdon, ‘AD Classics:Yokohama International Passenger Terminal / Foreign Office Architects (FOA)’, Archdaily, (date published 7 October 2014) http://www.archdaily.com/554132/adclassics-yokohama-international-passenger-terminal-foreign-office-architects-foa [accessed 20 March 2016]

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41 Cooper Square (2009) by Morphosis Architects is a contemporary example of digital architecture which uses the physical, social and cultural conditions within the context as parameters to drive the design1. Morphosis use computational design techniques to create forms which seem to evolve out of their site. Through digital modelling multiple organisational systems have been put in place within 41 Cooper Square to define the overall form of a vertical piazza2. This involves the use of algorithmic computation. The facade uses flowing curvilinear planes of folded metal with designated geometric volumes removed3. This form I wish to trial within the Semester as a way blend curving planes and triangulation geometry into a site responsive form.

1 Morphosis Architects, ’41 Cooper Square’, Morphosis Architects (date edited October 20 2014) http://morphosis.com/ [date accessed March 19 2016] 2 Morphosis Architects, ’41 Cooper Square’ 3 Morphosis Architects, ’41 Cooper Square’

Figure 9. James Maher, ‘Cooper Union’s Morphosis Building’, James Maher Photography (date edited January 9 2012) http://www.jamesmaherphotography.com/photoblog_view_post/675-cooper-union-smorphosis-building [date accessed March 20 2016]

Figure 10. James Maher, ‘Cooper Union’s Morphosis Building’, James Maher Photography (date edited January 9 2012) http://www.jamesmaherphotography.com/photoblog_view_post/675-cooper-union-smorphosis-building [date accessed March 20 2016]

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WEEK 3

A.3. | Composition / Generation A computational approach allows architects to extend their abilities to deal with highly complex situations using algorithms to set the parameters for which the design must reside1. In argument to this some view this boxing affect as restrictive to creativity resulting in architecture that focuses on the processes without consideration for the actual physical outcome. Computational approach often relies on unexpected results to feed the innovation2. Algorithmic thinking refers to the parametric code which a designer must ‘write’ in for the computer to understand3. However, the power and availability of these scripting codes, such as Rhino and Grasshopper, depends upon widespread usage4. Overall in my opinion, the positives of generative architecture outway the shortcomings, however the success of this method of design relies on a feedback loop of generation, production, analysis, refinement and repeat.

“When architects have a sufficient understanding of algorithmic concepts, when we no longer need to discuss the digital as something different, then computation can become a true method of design for architecture.”1

Preceding the computer there are many examples of architects embracing science and mathematics in a generative design processes to create ‘analogue parametrics’5. One such example is the La Sagrada Familia by Antoni Gaudi, which has been under construction for over 130 years6. Gaudi originally took over the design for the La Sagrada Familia in 1883 incorporating hyperbolic design in the form of ruled surfaces7.

1 Brady Peters (2013) ‘Computation Works:The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15

The Eden Project (2001) by Grimshaw employs ETFE as the main structure for the 8 bubble-shaped domes within the ecological park8. The domes or ‘biomes’ have been modelled using generative processes to take the form of geodesic domes9. These domes were first modelled by Buckminster Fuller (refer A.1) but have since been incirporated into parametric design software for use in gridstructures. Crucial to this project is the input of material performance and properties within the computer modelling stage to embrace the innovative, light weight material of ETFE (Ethylene tetrafluoroethylene a fluorine-based plastic).

Figure 11. ‘Grimshaw Architects to Design £100 million Eden Project in China’, dezeen magazine, (date published September 28 2015) http://www.dezeen.com/2015/09/28/eden-project-grimshawarchitects-100-million-pounds-qingdao-china/ [accessed 20 March 2016]

1 Brady Peters (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 2 Brady Peters, ‘The Building of Algorithmic Thought’ 3 Brady Peters, ‘The Building of Algorithmic Thought’ 4 Brady Peters, ‘The Building of Algorithmic Thought’ 5 Daniel Davis, A History of Parametric [online blog] http://www.danieldavis.com/a-history-ofparametric/ [accessed 20 March 2016] 6 Rennie Jones, ‘AD Classics: La Sagrada Familia / Antoni Gaudi’, Archdaily (date published October 16 2013) http://www.archdaily.com/438992/ad-classics-la-sagrada-familia-antoni-gaudi [accessed 20 March 2016] 7 Brady Peters, ‘The Building of Algorithmic Thought’ 8 ‘Grimshaw Architects to Design £100 million Eden Project in China’, dezeen magazine, (date published September 28 2015) http://www.dezeen.com/2015/09/28/eden-project-grimshaw-architects-100-million-pounds-qingdao-china/ [accessed 20 March 2016] 9 dezeen magazine ‘Grimshaw Architects’

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Gaudi chose to render his models as geometric sculptures rather than two dimensional draws, in a way creating the equivalent of a computer rendered models which he could contiue to work upon until satisfied1. This reflects the computer modeling to 3D printing to refinemnt, loop used within generative design. The Spanish Civil War caused large delays in the construction of the La Sagrada Familia and also destroyed almost all of the documentation work2. As a consequence contemporary digital design technologies, including Rhinoceros and CAD, have been adopted to understand the complex geometries which Gaudi employed and visualise the completed building as a whole3. A digitally rendered video was recently release as a visualisation tool: http://www.archdaily.com/433057/ video-what-the-sagrada-familia-will-look-like-in-2026/. Gaudi drew his inspiration for the La Sagrada Familia from the curvilinear forms within nature which in a way anticipated contemporary biomimetics architecture4.

1 Ceramic Architectures, ‘Spanish Pavilion Expo 2005’, Ceramic Architectures: Works http:// www.ceramicarchitectures.com/obras/spanish-pavilion-expo-2005/ [accessed 23 April 2016]. 2 Rennie Jones, ‘AD Classics: La Sagrada Familia / Antoni Gaudi’, Archdaily (date published October 16 2013) http://www.archdaily.com/438992/ad-classics-la-sagrada-familia-antoni-gaudi [accessed 20 March 2016] 3 Rennie Jones,, ‘La Sagrada Familia’ 4 Jeremy Berlin, ‘Biomimetic Architecture’

Figure 12. Bascilica de la Sagrada Familia, ‘History and Architecture’, Bascilica de la Sagrada Familia http://www.sagradafamilia.org/en/techniques-and-materials/ [accessed 19 March 2016]

Figure 13. Bascilica de la Sagrada Familia, ‘History and Architecture’, Bascilica de la Sagrada Familia http://www.sagradafamilia.org/en/techniques-and-materials/ [accessed 19 March 2016]

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WEEK 3

A.4. | Conclusion In conclusion, Part A has introduced the history of digital design and the evolutionary growth of architectural design in correlation with technological innovation. This introduction to generative architecture has been taken from relevant literature and translated into practice through the use of Rhino and Grasshopper programs to produce an exploratory Algorithmic Sketchbook.

A.5. | Learning Outcomes This initial first three weeks of study has paired learning about the background of computational design and its evolution, with first hand designing using the current technologies. While brief the knowledge gained has set up an understanding of gernerative architecture upon which to continue to build through more targeted case study projects. I have already found that an underlying interest in curviliner surfaces paired with gridshells and triangulation and hope to further explore this in Part B.

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WEEK 3 A.6. | Appendix

Method: Lofting Exploring: NURBS, curvilinear form Inspiration: Gehry STUDIO AIR | JOURNAL

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Method: Triangulation Exploring: Geometry and grids Inspiration: Federation Square, Melbourne

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Method: Geodesic Exploring: Gridshells Inspiration: Montreal Biosphere

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Method: Curve Intersections Exploring: Lists, Curves, Loft Inspiration: Green Towers Sphere, Mario Bellini

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CRITERIA DESIGN

“[m]ajor options are evaluated, tested and selected.”1 1 Cf. AIA National and AIA California Council, Integrated Project Delivery: A Guide (AIA, 2007 [cited 28 February 2013]); available from http://www.aia.org/groups/aia/documents/pdf/ aiab083423.pdf.

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WEEK 4

B.1. | Research Field In moving forward with computational design it is beneficial to begin to develop specialised areas of knowledge in which to explore more thoroughly. Throughout Section B. Criteria Design, research fields of patterning and geometry will be examined by looking at precedent studies, parametric design techniques, and crafting algorithms. This section will aim to develop a toolbox of parametric design understanding in which to use in Section C to create design brief. Woodbury (2004) suggests a set of skills which will be used during investigations, including conceiving data flow, dividing to concur, thinking with abstraction, thinking mathematically and thinking algorithmically1. Patterning involves perforating and transforming in a repetitive or predictable manner. Case studies of interest are Herzog de Meuron - de Young Museum, OMA - McCormick Tribune Campus Centre, and Foreign Office Architects - Spanish Pavilion. In dealing with patterning one of the most common methods of fabrication involves cutting away areas from a flat sheet. This use of patterning lends itself to use within building facades as a way to easily introduce ornamentation. Through this a deeper level of interaction and cultural connection can be fostered; however this comes with the risk of quickly dated or misunderstood symbolic representation, meaning that ornamentation through patterning must take care to not lie too heavily in the figurative2. 1 Woodbury, Robert F. (2014). ‘How Designers Use Parameters’, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge), pp. 153–170 2 Moussavi, Farshid and Michael Kubo, eds (2006). The Function of Ornament (Barcelona: Actar), pp. 5-14.

“[Parametric modelling] Rather than the designer creating the design solution (by direct manipulation) as in conventional design tools, the idea is that the designer establishes the relationships by which parts connect, builds up a design using these relationships and edits the relationships by observing and selecting from the results produced.1” 1 Woodbury, Robert F. (2014). ‘How Designers Use Parameters’, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge), pp. 153

Ceramic Architectures, ‘Spanish Pavilion Expo 2005’, Ceramic Architectures: Works http:// www.ceramicarchitectures.com/obras/spanish-pavilion-expo-2005/ [accessed 23 April 2016].

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De Young Museum by Herzog de Meuron involves the overlaying of two patterns using image sampling. One algorithm models a pattern of circular perforations through the metal sheeting of the facade, while the other models cone shaped indents. This example shows the possibility for patterns to be joined to create a greater depth to the end result. The algorithm uses simple geometry with abstracted organic shapes for the image sampling meaning the facade succeeds at fostering connection between exterior and interior without being overly representational1. McCormick Tribune Campus Centre by OMA also uses image sampling, however this is less abstracted compared to the de Young Museum. The image of faces may be clearly read on the facade of the building through the use of patterning of simple images within the larger image sampling organiser. This also creates a multilayered use of patterning techniques to create a greater visual interest within a facade. This building attempts to bring together the museum function with the patterning however the icons used are very context specific and do not facilitate the deeper connection to processes of construction, assembly or growth2. Consequently this example is seen as a less effective use of patterning as it tends towards decoration as a production of resemblance rather than ornamentation resonance which emerges from the material substrate3. The Spanish Pavilion by Foreign Office Architects creates a hexagonal grid with a smaller hexagonal grid inside which is controlled by image sampling. Within the original pavilion this patterning created modular regular hexagons which were left either solid or hollowed out to create differing levels of interior and exterior connection. The use of patterning within the Spanish Pavilion creates a feeling of dynamism within the facade as the entire fabric of the building is absorbed by a synergy between interior and exterior4.This example will be explored further in B.2 through modification of the patterning algorithm. 1 2 3 4

Moussavi Moussavi Moussavi Moussavi

and and and and

Kubo, The Kubo, The Kubo, The Kubo, The

Function Function Function Function

of of of of

Ornament, Ornament, Ornament, Ornament,

5. 10. 10. 5.

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WEEK 4

B.2. | Case Study 1.0

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MATRIX 1

Species: Composition

0.0 Original Algorithm

0.1 Slider Change

0.2 Slider Change

1.0 Picture Change

1.1 Picture + Slider Change

1.2 Picture + Slider Change

2.0 Picture Change

2.1 Picture + Slider Change

2.2 Picture + Slider Change

3.0 Picture Change

3.1 Picture + Slider Change

3.2 Picture + Slider Change

4.0 Picture Change

4.1 Picture + Slider Change

4.2 Picture + Slider Change

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MATRIX 2 Species: Movement

0.1 Cell Number Slider Changed

0.2 Cell Pattern Changed

0.3 Cell Vector Slider Changed

0.4 Cell Vector Changed to Multiplication Y Vector

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MATRIX 3 Species: Flow

0.5 Cell Vector Changed to Multiplication X Vector

0.6 Cell Vector Changed to New Multiplication X Vector

0.7 Cull Pattern Introduced (False)

0.8 Cull Pattern Introduced (False False False True) STUDIO AIR | JOURNAL

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MATRIX ANALYSIS Selection Criteria

Matrix 1 uses the criteria of ‘Composition’ to create a species of iterations. The main inputs changed are the image sampler and the cell offset slider for the internal hexagonal cells. These two imputs were focused on as they have impact upon the whole layout of the pattern. The main visual interest of the pattern is defined by the picture imput as this identifies where the internal cells will appear within the exterior hexegonal grid. It was found that black and white images of simple shapes create a more easily recognised pattern such as iterations 3 and 4. In contrast complex patterns create an illusion of random placement even though adhereing to a strict array criteria from the image sampler.

Matrix 2 uses the criteria of ‘Movement’ to create a species of iterations. Experimentation was mainly concerned with the original cells. Iteraction 0.1 extended the grid size so that the pattern could be viewed as a whole. Iteraction 0.2 then experiements with the cell shape. Original interions were to create a more fluid shape from circular cells however due to the cell sliders triangular base cells were created. This successfully created a sense of direction and alluded to forward motion, however this cell shape was limiting of further change. Iteration 0.3 transformed the cell side ratio so that a greater irregularity was created. This alluded to a jostling movement within the pattern. Iteraction 0.4 involved the input of a Y vector to control the cell shape. This pulled the cells vertically successfully creating a sense of sliding movement.

Matrix 3 uses the criteria of ‘Flow’ to create a species of iterations. Alteration of the algorithm built upon the vector input of iteration 4.0 to continue to push and pull the cells so that the pattern is overlaid in areas. The transformation of cells using X unit vectors paired with the picture of water (introduced in Matrix 1: Iteration 4) input to the image sampler in iteration 0.5 and 0.6 aims to create a sense of flow within the pattern. A cull pattern was introduced to iteration 0.7 and 0.8 to create a sense of flow in the vertica direction but highlighting the columns of the pattern.

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MATRIX ANALYSIS Successful Results

3.0 Picture Change : By introducing a new pattern a clear interior and exterior boundary is created

0.5 Cell Vector Changed to Multiplication X Vector : By extending the cells in the X direction the overlapping pattern creates a horizontal emphasis alluding to movement and flow STUDIO AIR | JOURNAL

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MATRIX ANALYSIS Successful Results

0.6 Cell Vector Changed to New Multiplication X Vector : By changing the original cell point vector more diversity of shape is created.

0.8 Cull Pattern Introduced (False False False True) : By introducing a culling pattern a sense of falling movement is created STUDIO AIR | JOURNAL

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DESIGN POTENTIAL Specuation

The geometry created within Matrix 1,2 and 3 evolves away from the original patterning algorithm to become substantially different to the original hexagonal grid of the Spanish Pavilion. Cells become less individual and increasingly integrated and overlapped. This cannot be as easily used to create a perforation cell patterning facade. Instead the iterations of Matrix 2: 0.4 and Matrix 3: 0.5 may be better suited to use a wired surface in which the lines are the structural component. This could be used practically for the design of a fence or semi-transparent partition. Iteration 0.6 of Matrix 3 could be further developed by overlaying onto another geometry. The original solid and hollow cell pattern could be maintained on this more complex surface to create variation in internal and external connection. Iteration 0.8 of Matrix 3 appears to have a solid surface quality with the cells becoming the perforations to be cut out. This could be used to create a shell structure of panels with the cells used to create contextual connection.

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WEEK 5

B.3. | Case Study 2.0

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GEOMETRY Precedents

Ruled surfaces, paraboloids, minimal surfaces, geodesics, relaxation, general form finding, booleans, and gridshells Green Void LAVA 2006 “A spectacular 20 metre-high installation of green lycra is a digital design, derived from nature, realised in lightweight fabric, using the latest digital fabrication techniques to create more with less.” http://www.l-a-v-a.net/projects/ green-void/

Gridshell SG2012 2012 “Construction of a wooden gridshell using only straight wood members bent along geodesic lines on a relaxed surface. Using parametric tools, the design was developed and analyzed to minimize material waste while maximizing its architectural presence in the space.” http://matsysdesign. com/2012/04/13/sg2012-gridshell/ Voltdom Skylar Tibbits 2011 “This installation lines the concrete and glass hallway with hundreds of vaults, reminiscent of the great vaulted ceilings of historic cathedrals. The vaults provide a thickened surface articulation and a spectrum of oculi that penetrate the hallway and surrounding area with views and light.” http://sjet.us/MIT_VOLTADOM.html STUDIO AIR | JOURNAL

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MONTREAL BIOSPHERE Buckminster Fuller

The Montreal Biosphere by Buckminster Fuller is introduced on page 7 as an example of design futuring. Buckminster Fuller designed the Montreal Biosphere for the United States Pavilion at the Expo 67 in Montreal1. It appeared as one of the most spectacular materialisations of Fuller’s highly mathematical approach to problem solving through design solutions2. Design intent was based around several of Fuller’s pre-standing interests, including: synergy, material and structural efficiency, scientific design, and dynamism3. In terms of his intent Fuller managed to capture the imagination of hundreds of thousands of people during the Expo 67 as his expansive dome structure created a new interior condition of huge open space which is intimately connected to the exterior. The base geometry can be thought of as a network of great circles crisscrossing each other across a sphere to form triangular patterning4. For ease of construction these circles are segregated 1 Government of Canada, ‘The Biosphere: A Futuristic Architect’, Environment and Climate Change Canada (date modified July 2 2015) http://www.ec.gc.ca/biosphere/default. asp?lang=En&n=85D4C846-1 [date accessed March 15 2016] Ananthasuresh, G K. “Buckminster Fuller And His Fabulous Designs.” Resonance 2 2 (2015): 98. Academic OneFile. Web. 24 Apr. 2016. 3 G K. Ananthasuresh, “Buckminster Fuller And His Fabulous Designs.” 4 G K. Ananthasuresh, “Buckminster Fuller And His Fabulous Designs.”

Figure 5. Lori Zimmer, ‘Montreal’s Biosphere Environmental Museum Resides Inside Massive Buckminster Fuller Geodesic Dome’, inhabitat (date published June 2 2012) http://inhabitat.com/photos-biosphereenvironmental-museum-resides-inside-a-buckminster-fuller-masterpiece/ [date accessed March 16 2016]

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REVERSE ENGINEERING Method 1.

1. Create sphere and trim. Create grid of triangles onto surface - Weaverbird

2. Increase level of grid

3. Create sphere and trim. Create grid of hexagons onto surface - Weaverbird

4. Offset planar surface from linework

5. Overlay hexagonal and triangular grids.

6. Insert triangular planes

This set of reverse engineering uses the weaverbird plug-in for grasshopper to create geometries of triangular and hexagonal grids onto a spherical surface. By increasing the level and overlaying both grid linework a similar visual affect to the Montreal Biosphere is created. However, the structural qualities are not accurate, as triangular planes should be created which are formed from the hexagonal vertices. Improvement of this method would be to build the triangles from the hexagon grid not just simply overlay. STUDIO AIR | JOURNAL

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REVERSE ENGINEERING Method 2.

1. Create Iconosphere - Weaverbird

2. Split into Triangles - Weaverbird

3. Deconstruct Mesh

4. Create Sphere

5. Pull Mesh to Sphere

6. Construct Mesh from Pull Points

7. Return polygon representation

8. Explode into Segments

9. Create ground plan box

10. Trim to exterior

11. Pipe radius 1

12. Pipe radius 0.3

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13. Mesh Split

14. Creating Acrylic Panels

15. Optimising Pipe and Panel

16. Copy Algorithm for Internal Sphere 17. Internal Geometry Rotate

18. Trim

19. Optimise Internal Piping

20. Decrease Internal Level

21. Decrease Internal Radius

22. Attempt to Join Points

23. Attempt to Join Points Level Change

24. Attempt to Join Points Level Change

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REVERSE ENGINEERING Final Results.

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REVERSE ENGINEERING Analysis

The outcome of the reverse engineering of Buckminster Fullerâ&#x20AC;&#x2122;s Montreal Biosphere using grasshopper has some similarities and many differences to the original project. The reverse engineered final outcome was a grid shell of equilateral triangles which create the illusion of a hexagonal grid due to their array. Aesthetically this was the closest that could be achieved which also held resemblance to the structural qualities of the original geodesic dome. The Montreal Biosphere uses a more complex geometric structure which integrates two layers of a hexagonal grid with extruded triangles extending from each corner to a vertex, which creates an undulating triangular grid. This creates a depth to the structure which has not been recreated within the reverse engineered grid shell. This depth could have been modelled more accurately by creating a hexagonal module to be arrayed so that the base of the module forms a hexagonal grid while the vertex aligns with the surface of the sphere. The reverse engineered model of the spherical grid shell also does not consider joins. The Montreal Biosphere used welding to join the steel members. However, the use of modelled joints would allow for a greater ease of construction. This will be explored further through algorithmic modelling and prototyping of possible joint options. Another point of further exploration is the use of geodesic geometry to create differential forms. The spherical shape of the original Montreal Biosphere project is not individualised as it was designed to be transplanted across many different contexts. In order to find new application for this grid shell structure it is proposed that it be used to create different forms. STUDIO AIR | JOURNAL

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WEEK 6

B.3. | Technique Development

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MATRIX 1

Species: Individuality

0.0 Sphere changed to cone

0.1 Sphere changed to cone + pipe

1.0 Sphere changed to ruled surface

1.1 Sphere changed to ruled surface + pipe + panel

2.0 Sphere changed to ruled surface + pipe + panel

2.1 Sphere changed to ruled surface + pipe + increased radius

3.0 Sphere box morph + pipe + panel

3.1 Sphere bend morph + pipe + panel

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MATRIX 2 Species: Dynamism

0.0 Sphere changed to ruled surface

0.1 Removal of hexagonal grid. Sphere changed to lofted surface

1.0 Surface modification in Rhino

1.1 Offset planar surface from linework perpendicular to normal

2.0 Surface modification in Rhino

2.1 Offset planar surface from linework perpendicular to normal

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MATRIX 3

Species: Constructability

2.0 Surface modification in Rhino

2.1 Create planar surface normal to curve.

3.0 Decrease Level

3.1 Introduce material: semi-opaque panels

4.0 Decrease Level

5.0 Maintain Optimum Level + pipe + introduce material: bamboo

4.1 Introduce material: steel + semi-opaque panels

5.1 Extrude + introduce material timber

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MATRIX ANALYSIS Selection Criteria Matrix 1 used the selection criteria of ‘Individuality’ to drive design iterations that aimed to use the geometry of the geodesic dome on altered versions of the sphere geometry. It is a reaction against the rigidity of the sphere geometry. Unexpected results were produced however many lacked a practical application resulting in geometry which confused the internal envionment. Matrix 2 used the selection criteria of ‘Dynamisim’ to drive design iterations that further explored the organic forms created in Matrix 1. The restriction of the sphere was removed and instead flowing surfaces were used within a simpler triangulation algorthim deriving from the original Montreal Biosphere reverse engineering algorithm. These results while unconstrainded by site or constructability represent the direct desired for the project as they portray structure as ornament. Matrix 3 used the selection criteria of ‘Constructability’ to drive design iterations that introduced materiality to the orgainc gridshell forms created in Matrix 2. Extrusions to create planar surfaces attempt to look at wooden members which may be joined in notching to create the grid shell. Piped curves explore the potential use of stell members to be paired with joints.

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MATRIX ANALYSIS Successful Results

1.1 Sphere changed to ruled surface + pipe + panel: alludes to a sense of internal and external with cantilever providing a point of interest or allusion to a framing of site features to draw attention.

3.0 Sphere box morph + pipe + panel: sense of sphere still present yet obstracted so that triangular panels are irregular in shape and size.

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MATRIX ANALYSIS Successful Results

2.1 Create planar surface normal to curve: more dynamism and sense of motion created within grid shell structure. Fabrication techniques of folding with triangular perforations alluded to.

5.1 Extrude + introduce material timber: sense of materiality and constructablity introduced into the design. All lengths of â&#x20AC;&#x2DC;timberâ&#x20AC;&#x2122; remain planar yet the overall design is dynamic.

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DESIGN POTENTIAL Specuation

WEEK 6

B.5. | Technique: Prototypes

Modular Steel Joints: modeling clay and plastic tubes with silver spray paint.

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WEEK 6

B.5. | Technique: Prototypes

Timber Grid Shell with Pin Joints: bulsa wood lengths with pin joints. STUDIO AIR | JOURNAL

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WEEK 7

B.6. | Technique: Proposal

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Frame views of the natural and man-made

Re-introduce native flora

Provide a place for growth

PROGRAM Observation Corridor Provide observation points

Tranformation of pathway Sympathise with verticality of tower

Highlight Interconnectedness Electricity Towers

Grass Trees

Electricity Lines

Shrubs

Merri Creek

Natural

Users Potential

Brief Folding

Carving

Above

Limited opportunities for new users

Lack of public transport

Pathway

Man Made

Site - Electrcity Park, Merri Creek

Current

Urban Furniture

Planar sufaces and perforations

Capital City Trail Lack of car parking Dogs on leads

Joggers Bike Riders

Synergy between interior Modular and exterior

Observation Corridor

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Digging Provide a space for new planting

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PRECEDENTS Grid Shells and Geometry

Design Futuring : Montreal Biosphere, Buckminster Fuller - designing to secure a future - sustainable design - design bridges the gap between present and future - speculative approach to open up new perspectives and discussion - Montreal Biosphere was an innovative building interms of material and structure - incorporates system theory of bringing nature and humans together - material efficiency through geodesic gridshell structure - structure as ornament Figure 5. Lori Zimmer, ‘Montreal’s Biosphere Environmental Museum Resides Inside Massive Buckminster Fuller Geodesic Dome’, inhabitat (date published June 2 2012) http://inhabitat.com/ photos-biosphere-environmental-museum-resides-inside-a-buckminster-fuller-masterpiece/ [date accessed March 16 2016]

Composition / Generation : The Eden Project, Grimshaw - combate highly complex situations using algorithms - parameters to identify the limits for the design to reside within - may be considered restrictive to creativity due to tendency to disregard physical outcome - The Eden Project relies upon input of material performance of ETFE at modelling stage to create the structure and form - transformation of a place of relative anonymity into a multifunctional site - multiple phases of designs life span Figure 11. ‘Grimshaw Architects to Design £100 million Eden Project in China’, dezeen magazine, (date published September 28 2015) http://www.dezeen.com/2015/09/28/eden-project-grimshawarchitects-100-million-pounds-qingdao-china/ [accessed 20 March 2016]

Ornament : Living Pavilion, Behin Ha - ornament has been rejected in the past as superficial and non-essential by the likes of Adolf Loos - moderism introduced a concern for tranparency and connection within design - ornament emerges from the material substrate - expression of embedded forces through processes of construction, assembly and growth - Ornament can no longer be thought of separately from structure by must be considered as an interdependant system - The living pavilion was a temporary structure which blends structure, function and ornament into a integrated living structure - Brings human into intimate contact with nature.

Figure 12. ‘living pavilion’, behin ha design studio, (date published June 2010) http://www.behinha. com/living-pavilion/ [accessed 18 April 2016]

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TECHNIQUES Developing a Method Geometry : Lofting It is proposed that lofting be used in the initial stages to create a nurbs surface from site generated curves. The proposed selection critera is dynamism of composition reminiscent of movement within the site. The lofted surface will be produced algorithmically so that form finding methods may be tried. Lofting will be re-intoduced at later stages to create producable panels from gridshell and mesh linework to be fabricated. Inconsidering the life span of the pavilion it may be neccissary to consider the lofted panels as independant modules to be deconstructed.

Geometry : Gridshells In adopting a synthesised approach to ornament and structure it is proposed that gridshells be used as the primary structure. A gridshell structure will be created after the optimisation of lofting form finding to establish shape. The gridshell will be the main driver of function as both a structure for growth of flora and for use by users a place of observation. The main considerations to drive the creation of a gridshell will be a sense of connection to site and the highlighting of vistas. Separation and interaction of linework will be experimented with to drive geometry towards an organic composition sympathetic to the site.

Patterning Patterning is promopsed to be introduced simultaneously with gridshell geometry as a way to create dynamism within the pavilion. Differential material application and introduction of plants will be applied within patterning algorithms to create the experiential qualities of the pavilion.

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SITE Plan

THORN-

BRUNSWICK EAST NORTHCOTE

SITE - ENERGY PARK

Focus Area

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SITE Analysis

Interaction of Natural and Man-Made The site is bordered by key natural and man-made systems. The Merri Creek water system runs along the Eastern boarder creating possiblities for integration within the aquatic and land flora and fauna. The Capital City Trail runs through the centre of the site providing a key bike and running access path from the city to Northern suburbs. Located at the South of the site is a steel electricity tower with connected powerlines. Located to the West is some replated vegetation which partially obscures the housing which extends beyond.

Circulation and Access Circulation forms a key consideration of the site. The Captial City Trail forms the main accesses from the North and South, with secondary access provided by Kingfisher Gardens. The elevated entry point of Kingfisher Gardens allows for the site to be viewed before entering while the Capital City Trail only allows momentary visual access prior to entry. Access is only by foot or bike. Secondary transport is provided by limited on street car parking or the Nicholson Street trams but this involves a 500m walk. Consequently it is assumed the main users are those accessing the site from the Capital City Trail or imediate suburbs.

Experiential Qualities The site holds a place of inertness owing to the cleared land lacking focus or function. It is dominated by the flowing noises of Merri Creek and momentary emergence / exit of users. The site focuses largely on the horizontal with vertical interest partially provided by the trees surrounding Merri Creek but more prominently by the electricty tower. The site is neither completely natural or completely man-altered. It doesnâ&#x20AC;&#x2122;t actively promote a place of rest yet provides the possibility for interactions with natural beauty. While a single seat exists within the grassed area no further attempt for shelter is provided. It exists in relative disuse for extended occupation. STUDIO AIR | JOURNAL

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GENERATIVE IMPUTS Movement and Flow

Lending from the systems theory it is believed that the project must be formed of a close contact between human and nature. Consequently the movement of users both within the site shall be used as the first generative input, while movement of water within the water system will also be used. These dynamic inputs will be harnessed as a way to undertake form finding. At this preliminary stage it is proposed that attractor paths to the two curves be used to model a two dimensional mesh. Secondary considerations can then be used to introduce verticality, such as the sunken topography of the river and the extreme verticality of the Power Tower

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MATERIAL Timber Products

In considering the chosen techniques of grid shell geometry, surface lofting and patterning alongside the chosen site it was decided that materiality should sympathise with the pre-existing conditions and enable consideration of the use of natural within the man-made. It is proposed that sustainably sourced native woods, such as Southern Blue Gum, be considered with minimal refinement applied. Timber will be the primary materiality focus however early prototyping has revealed that secondary materiality of steel may need to be introduced for connections. By begining to think about the properties of wood at this early stage in the design process it is hoped that the tendency of computational design to be wasteful due to a lack focus on material conception can be avoided. Further, computational design decisions can be made by imputing material properties within the algorithmic stage.

SG2012

GRIDSHELL,

MATSYS,

accessed

April

2016,

http://

matsysdesign.com/2012/04/13/sg2012-gridshell/

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LIFE SPAN Post Use

Option 1: Decomposition The life span of the pavilion may not be limited to the exhibition time of 6 months but instead this concludes the time of established function. After this the pavilion will be left so that the structure slowly decays to return into the ecosystem. This attempts to embrace the initiative of design futuring by providing a processes for future improvment of the site.

Option 2: Deconstruction The life span of the pavilion may be strickly limited to the 6 months specified within the chosen site. However is may then be deconstructed into individual modules to be moved into other areas of Merri Creek and / or sold. Modules should be designed so that a future function is anticipated such as outdoor furniture, planter boxes or trellis structure.

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CONCEPTUALISATION Themes and Concept

Brief To create a temporary timber gridshell structure which alters circulation patterns to force users into a point of framed observation of site, with aim of focusing attention upon the interconnectedness of humans and nature.

Process and Techniques Form Finding: driven by site analysis and modelled using attractor points, lofted surfaces and relaxation surfaces Structural Optimisation: driven by material properties, joints and deconstruction techniques, and modelled using geodesic curves, grid shells and boolean Patterning: driven by experiential qualities and modelled using image sampling, and cull patterns

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CONCEPTUALISATION Method

Original array of points across 50m x 50m focus area

Increasing magnitude of attraction to Merri Creek Curve

Increasing magnitude of attraction to Capital City Curve

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Optimising Results: Merri Creek attraction = 10 Capital City Trail = 20 Critiquing Results: Does not consider key site feature of Power Tower or verticality of site

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CONCEPTUALISATION Method

Point attractor added to represent Power Tower - elevated

Point attractor added to represent River - sunken

Points baked over background bitmat of site

Create mesh from points (Rhino)

Polygonal representation of mesh (Weaverbird)

Alternate circulation path between focus curves

Sweep 2 rail of curves along mesh

Axonometric - miss match of curve heights

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Critiquing Results: Provides one possible form following one possible path. More trials are needed to find an optimal form to create vistas to key natural and man-made features

Critiquing Results: Above ground height has been consider so that views are captured and entrances entice in the user, however consideration of below ground is lacking. Elevated topography of hill and lower topography of Merri Creek need to be considered

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CONCEPTUALISATION Form Finding: Iteration 1.0

10M

10M 10M

10M

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10M

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PLAN

Form Finding: Iteration 1.0

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ELEVATION

Form Finding: Iteration 1.0

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ELEVATION

Form Finding: Iteration 1.0

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WEEK 8

B.7. | Learning Objectives and Outcomes By undertaking research into the specific parametric design fields of patterning and grid shell geometry a greater understanding was gained of the diverse role that computational design can play within different steps of the design process. This multidimensional approach has been used within the project as a way to explore multiple focus areas in a logical way. Form finding has been explored in detail within section B as a way to use the site conditions as drivers of parametric decisions. Woodbury (2004) identifies parametric modelling as relying on understanding of the logic of the algorithm which has become very clear within section B . A greater ability to create, manipulate and design using the parametric interface of Grasshopper has been enabled by focusing on precedents which use similar tools to inform the creation of new designs. While the level of confidence to create and manipulate has greatly increased throughout section B further skills will be needed to take the initial form finding stage into a complete proposal. Within Section C it is hoped that Structural qualities of the grid shell will be understood in greater detail so that these may be harnessed within the design. Objective 1. “interrogat[ing] a brief” by considering the process of brief formation in the age of optioneering This objective has been addressed with section B.6. as a specific brief and program had to be created in groups of 2 as a way to focus iterations into a specialised area. The formation of a brief was quite challenging as many differing factors of the Air course could be drawn upon, each seeming worthy for exploration, yet not all could be included. Several briefs were considered before the final most specific concept was chosen as the driver of parametric design decisions. Objective 2. developing “an ability to generate a variety of design possibilities for a given situation” by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive design-space exploration; Design within section B revolves around the ability for a great variety of design possibilities to be generated with small manipulations of an algorithm. This objective can be seen in the matrix produced for section B.2., B.3., and B.6. Objective 3. developing “skills in various three dimensional media” and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication; The design process of section B was found to produce best results when undertaken in a multi-media way so that original computational geometry underwent further refinement by secondary parametric modelling, followed by written and visual analysis, then by prototyping with the analysis of the prototypes fed back into the computational design. Feedback loop connives until a “end” is reached. Objective 4. developing “an understanding of relationships between architecture and air” through interrogation of design proposal as physical models in atmosphere; This objective has begun to be explored through prototyping of experimental models within section B.5. Further explorations into the relationship of architecture and air will be undertaken within Objective 7. develop foundational understandings of computational geometry, data structures and types of programming; Understanding of grasshopper is highlighted by successful algorithmic sketches. Computational geometry has been explored in depth, however further consideration of the data structures within grasshopper must be undertaken to make for a smoother design process. Understanding of data flow is demonstrated by the annotated matrix of section B.2., B.3., and B.6. Objective 8. begin developing a personalised repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application.

WEEK 8

B.7. | Looking Forward

Transforming Form into Structure While the initial form finding steps have been laid little progress has been made to resolve the grid shell structure of the design. Within Part C this will be a crucial step in the parametric design process. It is proposed that ideas from the following videos be applied to the surface created in Part B to achieve the structural and ornamental qualities of the design. These videos will also provide key insight into fabrication techniques including joints and notching as a way to create structure while also adding to aesthetic qualities.

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WEEK 8

B.8. | Appendix - Algorithmic Sketches

Planar shell of hexagonal grid across sphere

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Conceptualisationof gridshell response to verticality of Power Tower using geodesic algorthim for SG2012 Pavilion.

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Green Void experimentation. Lofting technique to be used to create form within project

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Ghosted representation of circular joint

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Wooden gridshell render applied to Weaverbird triangulation mesh with extrusion

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Key Cosiderations of Context: 50 x 50m focus area, mesh from points within area, Merri Creek curve, Capital City Trail curve, elevated point of Power Tower, and sunk point of closest point in Merri Creek to tower

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Polygonal representation of path between three circulation entrances and natural feature of Merri Creek + man-made feature of Power Tower. Further explorations of alternatives is needed to ensure optimal path for visual observation

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Unpredicted ‘explosion’ result produced by the smoothen mesh comand in Weaverbird.

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Mesh of alternate circulation path which increases connection between Power Tower and Merri Creek. Overhead curves lofted to sympathise with Power Tower. Error occured due to secondary curve loft resulting in a surface which does not connect to central surface.

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DETAILED DESIGN

“The Detailed Design phase concludes the WHAT phase of the project. During this phase, all key design decisions are finalized.”1 1 Cf. AIA National and AIA California Council, Integrated Project Delivery: A Guide (AIA, 2007 [cited 28 February 2013]); available from

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WEEK 9

C.1. Design Concept If looking to design a specific visualised result then grasshopper should not be the first point of call. The pen and paper, or computationally CAD software, allows for a linear progression of design towards a refined form. It is limited to minor alterations usually resulting in a singular species of several iterations. The design process within grasshopper allows for many species with a multitude of easily differentiate iterations. The strength of grasshopper as a tool for architects lies in its ability to generate a previously unidentified form from a set of parameters. This form may not be the complete design and often needs further refinement, possibly the introduction of second, third, forth, etc algorithms, if the desire is to reach an actual fabricate-able design. This hirarchical buildability of grasshopper, in which a change within one part of the algorithm will be transferred into all connecting parts, is from where or design is born and lives. This focus on the generative potential of grasshopper is not to say that one must do away with traditional elements of a brief, program, or site analysis. However, these must be reinterpreted and essentially broken down into drivers for the algorithmic process. The end result may be predicted (to a degree) and critiqued to aesthetic preferences, yet often the most powerful results are those where the designer allows for the result to reside mostly in the unknown generated from the hierarchy of controls.

In respond to this we propose that Merri Creek, firstly in its entirety and then secondly as individual focus sites, be used as the parameters of a designed process for an adaptive architectural solution. The design process will progress as follows: Form-Finding: concerned with developing an adaptive form which is at its essence a ‘mapping’ of the forces at play within a site. Structural optimisation is concerned with enabling ease of constructibility and deconstruct ability with the aesthetic constraints of structure as ornament. Patterning becomes the finality of the design process being concerned with addressing the brief proposed for each site. It becomes the most varied aspect of the design process using repeating circles in ratio to the structure but using material and being applied in such to account for the individual site brief. Part C will progress as follows: investigations into site to obtain physical and conceptual site attributes, and users needs will be first undertaken. The results will be incorporated as controls within the form finding algorithm. The resulting form will be used by myself as the beginning of investigations into structure. A feedback loop will be essential during this stage so that structural considerations become incorporated into the form. Paralleling this algorithmic design will be investigations into patterning applied through a skin, to be undertaken by Harrison. The form and structure will feed directly into patterning development with key aesthetic decisions being based on user experience.

LITERATURE Generative Design

Engagement with scripting allows for a far greater range of outcomes to be produced for the same investment in time as one outcome produced through traditional drawing based design1. It is upon this principle of generative design from which our concept is based. Parametric design aims to overcome the limitations of producing a singular design alterable only by erasure, cut, copy and paste. Instead relationships between parts are defined and it is through these relationships which the design may grow. The generative aspect derives from the ease of alteration within algorithmic design where one change of number or input of command will affect all operations further in the equation2. A previously elusive tendency for mass customisation of designs is enabled as opportunity for versioning and bespoke production can now more readably be achieved through scripting. In designing the algorithm for our design a key desire was total adaptivity of the process across a variety of sites. To enable this the parameters defined by specific sites form the very first inputs for the algorithm, placing them at the top of the hierarchy of operations and allowing for drastically different results immediatly. Perhaps the hardest thing for a designer in adopting a generative approach is to take a step back from total control of results and instead focus on the logic that binds the design together3. This role as the constructor of parts was one of the most challenging within our design as often desired effects were pictured but the actual inputs created very different and unexpected results. It is believed that the unexpected results are those of most value as they allow for designs to flow more ‘true’ to the site as parameter.

1 Burry, Mark (2011). Scripting Cultures: Architectural Design and Programming (Chichester: Wiley) pp. 8-71 2 Woodbury, Robert F. (2014). ‘How Designers Use Parameters’, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge), pp. 153–170 3 Woodbury, Robert F. ‘How Designers Use Parameters’, pp. 153–170.

LITERATURE

Patterning and Ornamentation â&#x20AC;&#x153;Architecture needs mechanisms that allow it to become connected to culture.â&#x20AC;? - Farshid Moussavi Stated with such authority one is forced to believe that their design must meet this requirement but what and how may these actually be achieved? It is proposed that architecture is composed of both visible and invisible forces which manifest through materiality1. Our design of form is built upon both these visible and invisible forces present within a given site, so it makes sense that the design of ornament should also relate to these binary forces. Drawing on the tradition introduced by modernism, transparency becomes key to our design as a way to exploit the internal and external, and as a consequence the man-made and natural. At first the opinion of Loos was adopted with ornament being reduced to the celebration of structure as any more would be a crime2. This ultimately had an unfinished quality to it with the grid holes revealing everything and overall being blandly hollow. The answer ultimately harked back to Moussaviâ&#x20AC;&#x2122;s original comment that a connection must be formed between user and the culture held within a specific context3. Consequently, the step was taken towards translucency in which the design introduces patterning to define and then highlight relationships. Patterning develops within our design as this experiential skin which transforms the users interaction with the design ultimately allowing for specific briefs to become readable. It is this creation of sensations and affects through which ornament may most easily and successfully begin to create a connection to culture. In apply our patterning it must at all times hold to a reason and not be reduced to purely decorative additions as this constitutes a bourgeois practice4.

1 Moussavi, Farshid and Michael Kubo, eds (2006). The Function of Ornament (Barcelona: Actar), pp. 5-14

2 3 4

Moussavi, The Function of Ornament, pp. 5-14 Moussavi, The Function of Ornament, pp. 5 Moussavi, The Function of Ornament, pp. 5-14

Interim Summary

Patterning to create Connection

Structure as Ornament

Design Futuring

Material Efficiency

A plac Grow

Interaction between nature and humans

Site as a Driver of Design

ce for wth

Generative Design

Observation

Interim Feedback

At the conclusion of Part B the proposal contained many contrasting ideas. Over eager and unfocused. In begining to undertake Part C the stronger of these intial explorations had to be found and combined into a overall design program. The following were used as our guiding criteria: 1. Develop central program orientated around design process 2. Bring focus to what is being observed within the site in terms of natural and man-made features 3. Consider interaction of users with the design as related to the program 4. Finalize form, structure and patterning

Interim

Technique Development GEOMETRY: LOFTING AND SECTIONING Lofting of curves to create easily adabtible iterations of NURBS surfaces from site generated curves.

GEOMETRY: GEODESIC CURVES The use of geodesic curves to connect points on a surface as a way of synthesising ornament and structure. Suited to notched lattice structures.

GEOMETRY: GRIDSHELLS AND TRIANGULATION The use of triangluation through the weaverbird plug in to create piped structures suited to steel production.

PATTERNING: CULL PATTERNS Exploring point alteration through cull patterning and image sampling to introduce surface patterning.

CONCEPT Evolution

CONCEPT 1.0 To create a temporary pavilion from modular units of wooden gridshell structure, which provdes a place for beneficial interaction between nature and human as a place for growth and rest respectively. CONCEPT 2.0 To create a temporary timber pavilion through site driven form finding which provides a frame through which to observe the landscape along Merri Creek within the region of Energy Park. CONCEPT 3.0 To create a temporary timber gridshell structure which alters circulation patterns to force users into a point of framed observation of site, with aim of focusing attention upon the interconnectedness of humans and nature. CONCEPT 4.0 General: To employ a generative process which uses the forces present within a site as the design parameters. Specific: To highlight the synergy between the natural and the man-made present within Energy Park by manipulating circulation patterns.

BARTON & BROOKS ARCHITECTS present

THE MERRI CREEK PROJECT The Merri Creek project is concerned with adaptivity within design through the use of a generative design process. Algorithmic parameters are derived from the context to create unique forms which reflect upon and highlight the forces at work within a site.

Form is fixed only to the content of the context Structural simplisity of a wooden latice is applied universally Patterning is the â&#x20AC;&#x2DC;plug-inâ&#x20AC;&#x2122; component based upon brief, program and users. Currently within its initial stages The Merri Creek Project is designed as a 6 month experiment into the direct relationship between site characteristics and algorithmic design. It is limited to application along Merri Creek, Victoria, however it is hoped that further algorithmic growth would allow for greater adaptivity across differing contexts.

CONCEPT Final

CONCEPT

Process and Techniques

FORM FINDING

1. Focus upon specific site conditions as drivers for form finding using attractor ponits, cull patterns, curve push and pull, and lofting.

STRUCTURAL OPTIMISATION 2. Structural optimisation driven by users needs, materiality, construction / deconstruction methods

PATTERNING 3. Design finalising through patterning skin to highlight synergy between internal and external, user and site, and ultimately man-made and natural.

CONCEPT Brief

The key consideration of the brief is design lifespan. In response to this our design is composed of two main elements to be fabricated separately for ease of combined construction on site. After commission period of 6 months the wooden structure will be deconstructed into separate elements for donation to CERES for composing and climbing plants trellses. The polypropylene skin will be kept intack to be used as a shade cloth.

FABRICATION

CONSTRUCTION

USE

DECONSTRUCTION

POST-USE

SITE ANALYSIS Merri Creek Research

Merri Creek is approximately 60km long flowing from the Great Dividing Range through to Melbourneâ&#x20AC;&#x2122;s northern suburbs and finally into the Yarra River1. It is an environmental, heritage and recreation corridor which draws significance due to its continuity and linking of key sites of environmental, heritage and recreation value2. The southern most region of Merri Creek will be the focus of investigations with particular interest in the infrastructure implemented to facilitate metropolitan Melbourne. Revegetation works and parkland development have been key implementations of recent times which have on the most part helped to improve the quality of user experience alongside environmental ecosystem health3. Merri Creek has millions of years of Indigenous history, some of which can be accessed by users through indigenous plantings, constructed wetlands, animal life and monuments or plaques however the majority of this is only available to the Indigenous ancestors4. A significant site along Merri Creek is the Centre for Education and Research in Environmental Research (CERES). CERES is located on 4.5 hectares within East Brunswick along Merri Creek5. CERES is a not for profit sustainability centre dedicated to bringing people together through environmental education programs, urban agriculture projects, green technology demonstrations, and some social enterprises including a market garden, grocery, cafe, community kitchen, and bushfood nursery6. The site of CERES was originally a quarry for Melbourneâ&#x20AC;&#x2122;s basalt , and consequently it and much of the surrounding land had been cleared to facilitate this. From its beginnings one of the most important initiatives of CERES is rehabilitation of environmental ecosystems and strive for sustainability through education and practice7.

CERES. (2016). About: Welcome to CERES. Accessed 10 May 2016: http:// ceres.org.au/about/

1 Merri Creek Management Committee. About Merri Creek. Accessed 5 May 2016: http://www.mcmc.org.au/index.php?option=com_ content&view=article&id=36:about-merri-creek&Itemid=188. 2 Merri Creek Management Committee. http://www.mcmc.org. au/index.php?option=com_content&view=article&id=36:about-merricreek&Itemid=188. 3 Merri Creek Management Committee. http://www.mcmc.org. au/index.php?option=com_content&view=article&id=36:about-merricreek&Itemid=188. 4 Merri Creek Management Committee. http://www.mcmc.org. au/index.php?option=com_content&view=article&id=36:about-merricreek&Itemid=188. 5 CERES. (2016). About: Welcome to CERES. Accessed 10 May 2016: http://ceres.org.au/about/ 6 CERES. (2016). http://ceres.org.au/about/ 7 CERES. (2016). http://ceres.org.au/about/

SITE ANALYSIS Site Map

BRUNSWICK

NORTHCOTE

SITE ANALYSIS Focus Site

The chosen focus site is situated along Merri Creek just north of CERES is a princinct known as Energy Park. This site offers opportunities to expore physical site attributes of the transmission tower, creek and topography alongside the conceptual forces of vistas, movement, and circulation. Energy Park will used as the initial exploration into identification of site attributes and transformation into a generative process. NORTHCOTE

SITE

CERES

MERRI CREEK

150m

150m 300m

300

SITE ANALYSIS Site Diagram

Before beginning the design process the site had to be re-interpretted into curves and points which represent the conceptual forces at play within the site. From first-hand experience within Energy Park and comparision to the larger context of Merri Creek it was decided that the movement paths of on-foot circulation and Merri Creek would be the first design inputs. These are universal across Merri Creek but have very different impacts within focus sites. The secondary inputs of vista points towards the dominant man-made feature of the transmission tower and the dominant natural feature of Merri Creek are site specific inputs to Energy Park. These represent the unique experiential elements of a given site.

SITE ANALYSIS Site Diagram

FORM FINDING Step 1.

FORM FINDING Explanation

Form-Finding: concerned with developing an adaptive form which is at its essence a ‘mapping’ of the forces at play within a site. It is not our desire to recreate the natural or man-made features of the site but instead to ‘map’ the forces and tensions enacted within the site. Most notable across the focus areas of Merri Creek are the movement forces imposed by the creek itself and the circulation patterns of both foot traffic and transport systems. These elements of movement are key to identifying the specific program for each form as they dictate the primary interaction of users with the design. Physical site attributes. especially topography, light and wind, are continuously considered within the design process as much as for any conventional design.

METHOD

Form Finding: Creating a Set of Points

1. Create a grid of points across a specified focus area. In this case a 50m x 50m square grid encompasing the Capital City Trail and Merri Creek.

2. Divide the Merri Creek curve and use points as attractor points to attract the grid of points. The magnitude of the attraction should be adjusted to reflect the impact of the conceptual force on the site currently or to the extent that you wish to highlight the conceptual force in the design.

3. Divide the circulation path and use points as attractor points to resulting points from step 2. The of the attraction should be adjusted to reflect the impact of the conceptual force on the site currently or to the extent that you wish to highlight the conceptual force in the design.

Optimising Results: Merri Creek attraction = 10 Capital City Trail = 20 Critiquing Results: Does not consider key site feature of transmission tower or topography

METHOD

Form Finding: Creating Focus Points

4. Introduce elevated attractor point (approx. 40m) to represent transmission tower

5. Introduce sunken attractor point (approx 5m) to represent topographial influence of Merri Creek

6. Find average point between transmission tower and Merri Creek. Introduce cull pattern to points based on distance to average point so that all points too far from focus area will be removed.

METHOD

Form Finding: Defining a Path

7. Create spline through points to define new circulation path

8. Offset path curve.

9. Adapt offset vertically to respond to topography and vistas to natural and man-made features. Pull curves upwards to maximum 5m to create views towards Merri Creek and the transmission tower.

METHOD

Form Finding: Creating a Surface

10. Tween curves of interior and exterior offset curves

11. Divide Curves

12. Create 3 point arc between points of divided curves. Loft arcs to create surface.

RESULTS Form Finding

METHOD

Form Finding Diagram

RESULTS

Form Finding: Iteration 1.0

The original form was at such an immense scale that it dehumanized users and overwhelmed the site. It also lacked consideration of limitations imposed by transport and on site construction. Consequently the algorthimic controls will be adjusted to account for structural considerations. Changes: Distance of cull from focus point reduced from 12m to 6m, and vertical translation of control points restricted to -2m to 6m.

RESULTS

Form Finding: Iteration 2.0

The second iteration of the form follows a similar path to that of the first iteration due to the use of the same generative algorthmic. The original focus points were restricted to bring the scale towards a greater consideration for the needs of users. The natural and man-made features of the site remain as the focus for vistas within the altered circulation.

PROTOTYPE

Form Finding: Iteration 20 FORM MODEL SCALE: 1:100 MATERIAL: MDF This model was undertaken as an investigation into the actual dimensional qualities of the form. Created at a â&#x20AC;&#x2DC;holdableâ&#x20AC;&#x2122; scale one can explore through touch the curavture of the surface and begin to gain an understanding for the effects of differing forces on the form. This 1:100 model was then transformed into a preliminary site model to deepen the spatial understanding of the design and the site. From this several small alterations were made to the form to allow for buildability, most notable the projection of the interior curve onto the ground plan to provide a method of securing the structure to the ground.

PROTOTYPE

Form Finding: Iteration 2.0

PROTOTYPE

Form Finding: Iteration 2.0

REFLECTION Form Finding Overall it is felt that a strong form finding method has been created in which the forces present within a site are first mapped as curves, and then secondly used as attractor points to create a plan. The 2D design considerations are strong however introduction of verticality and creation of a proposed elevation for the form is not as coherrent. Currently it relies greatly on manual manipulation of curve control points to estimate topography and lines of site through vistas. This could be further refined by designing onto a surface of the sites topography and using point projection so that the interior offset curve is the â&#x20AC;&#x2DC;anchorâ&#x20AC;&#x2122; of the form onto the ground plane. Kangaroo may have been an appropriate tool to incorporate in dealing with vistas as the spring comand could have been anchored to vista points, eg the top of the transmission tower, and used to control the push and pull of the surface away from and towards the natural and man-made features of the site

WEEK 10

C.2. Design Method and Tectonic Elements

STRUCTURE Explaination

Structural optimisation Â is concerned with enabling ease of constructibility and deconstruct ability with the aesthetic constraints of structure as ornament. Simplisity and adaptability across varying forms lie at the core to our process of structural optimisation. The structure must be able to accomodate for the varying curvature of the form while also enabling an experienetial connection to site. Consequently simplisity and adaptibility were the guiding concepts, considered alongside the logic of repetition and the grid Materiality and constructability/ deconstructability are essential inputs within the creation of structure. Geometry becomes integral to the detailing of structure.

MATERIALITY Glulam Research

Glue laminated timber or Glulam, is an engineered wood produced by gluing together pieces of timber. Glulam can be manufactured in curved or straight beams of much larger size and longer length than traditional solid sawn timber members. The length and shape of glulam sections is limited only by manufacturing, transport and handling meaning a large variety of curvilinear shapes and sizes can be achieved. Simple curves, multiple curves and parabolic curves can be manufactured however the cost of production is greater than that of straight glulam members. If the beam is to be under high tensile stress steel and fibre reinforcement can be incorporated at the top or bottom within a member. Glulam beams may carry loads equivalent to that of steel and concrete beams, however they are a much lighter, economical and sustainable materials. Differing species and treatments can be combined depending on the class classification needed to meet environmental requirement. Service class 1 is for indoor use, service class 2 is for indoor use in high moisture environments, and Service class 3 is for outdoor applications. Glulam is manufactured in accordance with AS 1328.1 Glued laminated structural timber Performance requirements and minimum production requirements and standard grades are set out in AS/NZ 1720 Timber Structures Code.Typical sizes can include: Beam Depths: 120 mm to 600 mm Beam Widths: 40, 60, 70, 80, 90, 110 and 130 mm Max. Lengths: from 12 m to 20 m Glulam timber does not perform well with notching connections as this disturbs the tensile load bearing capabilities within the member. Notches may only be made up to 40% of the depth of the beam. Notching may be incorporated into stress calculations prior to manufacturing and embedded shear reinforcement used at the notch. Horizontal and vertical holes are preferable to notches as they lessen the effect on the stress flow within the structure. Holes should not be greater than 25mm and typically only in the middle third of the depth and span. Connections for glulam involving nailing, screwing and drilling can be done on site much the same as traditional timber members. Typical connections use bolts or steel nails with steel plates. For heavy glulam members custom designed and fabricated metal connectors may be needed. Typical glulam and steel connections include: Face Mount Hangers Column Base Connections Plywood Gusset Connections Concealed Connections Information from: Wood Solutions. (2013). Wood Solutions: design and build: Glulam. Accessed 31 May 2016 http://www.woodsolutions.com.au/Wood-Product-Categories/ Glulam

Images from: Pinterest

MATERIALITY

Precedent: John Hope Gateway Project: John Hope Gateway Architect: Cullinan Studio Date: 2009 Location: Royal Botanial Garden, Edinburgh The John Hope Gateway uses Glulam beams of changing depth with connections of concealed steel plates and bolts. This example has been chosen as a detailing inspiration due to the use of circular geometry as the bolted joints. It is proposed that custom designed circularfacemount hangers be used for the joining of primary and secondary members in the structure. This draws a visual harmony between the patterning and structure.

Cullinan Studio. (2009). John Hope Gatway. Accessed 31 May 2016. http://cullinanstudio.com/project/john-hopegateway

MATERIALITY Precedent: Beatfuse!

Project: BEATFUSE! Architect: MOMA PS1 Young Architects Program Date: 2006 Location: New York Beatfuse project has been used as a precedent due to its combination of timber stucture with a translucent skin. Of particular interest is the lighting and shading effects created by the quadrilateral members. The transmission of light through the structure and skin introduces the gemoetric patterning onto the ground surface creating a deeper integration within the site. Inspired by this project it is proposed that a polypropylene skin be used to highlight the synergy between the natural and man-made within the site by creating a distorted vision into and out of the design. The skin will be applied so that it flows around the new circulation path from ground level to above the line of vision. This will hopefully increased the impact upon the viewer of entering the structure and guide views towards Merri Creek and the Transmission Tower.

Obra Architects. (2006). MOMA PS1 YOUNG ARCHITECTS PROGRAM WARMUP 2006 BEATFUSE!. Accessed 31 May 2016. http:// www.obraarchitects.com/work/ps1MoMA/0510PS1.html

STRUCTURE Preliminary Results

METHOD

Structural Optimisation: Iteration 1.0 1. Contour Surface in X direction @ 500mm cts. Contour surface in Y direction @ 500mm cts.

2. Extrude contours to in Y and X directio respectively to create beam thickness: 100mm.

Extrude contours in z direction to create beam depth: 300mm.

PROTOTYPE Iteration 1.0

RESULTS Iteration 1.0

At this stage the structure is formed of doubly curved beams which cross to create a square grid. The grid scale was optimised against the criteria of structural solidity verses visual connection between exterior and interior. The final grid scale was settled at 500mm x 500mm. Going forward this grid scale will be retained but the connections and detailing will be explored in greater detail to suit the materiality choice of glalam and allow for deconstruction.

Tectonic Element Iteration 1.0

PROTOTYPE

Iteration 1.0: Tectonic Element

PROTOTYPE

Iteration 1.0: Tectonic Element

RESULTS

Iteration 1.0: Tectonic Element After reviewing the properties of glulam and the advice from Final Presentation this detailing strategy will be further revised to incorporate bolting connections, and differentiation of primary and secondary members. It is hoped that this will not only ensure greater structural stability but also increase ease of construction while decreasing production cost.

METHOD

Structural Optimisation: Iteration 2.0 1. Begin with surface from Form Finding

2. Contour in X direction @ 500mm cts

Extrude contours in Y direction 100mm and Z direction 300mm

METHOD

Structural Optimisation: Iteration 2.0 4. Begin with surface from Form Finding

5. Contour in Y direction @ 500mm cts

6. Find intersection of contours in X direction and Y direction. Join points to create polyline. Explode polyline into segments.

METHOD

Structural Optimisation: Iteration 2.0 7. Extrude line segments in X direction 100mm and Z direction 200mm

8. Trim line extrusions using extrusions from step 3

9. Repeat for all line segments to produce straight beams with angled face cuts.

DETAILING Iteration 2.0

1. Create circle of diameter 200mm and rotate 90 degrees. Divide circles circumference into 10. Draw line from centre to division points.

2. Cull lines that outside of proposed bolt holes using explode tree. Place 5mm diameter circles at 1/3 distance along lines from circle circumferance.

3. Trim exterior semi circles and join remaining semi circles.

DETAILING Iteration 2.0

4. Extrude surfaces excluding bolting circles. Rotate extrusion to create cleat plates at 90 degrees with 100mm spacing

5. Extrude bolt hole circles to create â&#x20AC;&#x2DC;boltsâ&#x20AC;&#x2122;

6. Completed cleat plate to be placed at intersection of contours identified in Method: Structural Optimisation: Iteration 3.0: Step 3.

DETAILING

Iteration 2.0: Core Construction Element

RESULTS Iteration 2.0

The detailing results from iteration 3.0 use primary and secondary glulam beams in combination custom designed steel cleat plates to create a rigid grid structure. Gemoetric preference was given to the sqaure and circle to create connection between the ratio of structural grid to circular patterning.

STRUCTURE Iteration 2.0: Parts

1. Concrete and Steel Footing: 14 x concrete footing with steel connector plate. A burried concrete footing will be used to secure the primary beams. A steel connector plate will be bolted to the concrete footing and notched and bolted into the base of the glulam beam

2. Primary Beam: 25 x curved glulam beams 100mm x 300mm x various lengths (0.5m-18m). Custom formed to specified curvature.

3. Secondary Beam: 153 x striaght glulam beams 100mm x 200mm x 400mm (approx). Formed from straight beams with custom angled cuts defined by degree of curvature.

4. Cleat Plates: 172 x powdercoated steel cleat plates. Universal design to come in sets of 4 with 8 corresponsing bolts. Some edge connections may not use all four sides to cleat plates.

STRUCTURE Iteration 2.0

REFLECTION Structure

The final structure retains the geometric focus on the square grid, however it transitioned away from a notched timber structure towards a composite steel and glulam bolted structure. The combination of curved glulam primary beams connected by cleat plates to straight glulam secondary members was decided as the final structure at this stage. It works on the repetition of the grid and universal element of the custom designed circular cleat plate. A critism of this structure is that both primary and secondary members must be custom fabricated to accommodate to the variable curvature of the form. In considering the desire for adaptibility this bespoke production is a costly if all elements must be reproduced with new iterations of the design.

PATTERNING Step 3.

PATTERNING Explaination

Patterning becomes the finality of the design process being concerned with addressing the brief proposed for each site. It becomes the most varied aspect of the design process using repeating circles in ratio to the structure but using material and being applied in such to account for the individual site brief.Â Within Energy Park the focus upon synergy between the natural and man-made will be the main experiential focus to be exploited through translucency.

MATERIALITY Polypropylene Research

C3H6 or polypropylene is a thermoplastic polymer resin used in a variety of household and industrial applications and forms. Polypropylene has a high melting point and does not absorb water making it suitable for use in outdoor environments. It is readibly cutomisable through the use of dyes. It is lightweight and very flexible meaning structural usage in its sheet form is limited. However, its stregnth lies in aesthetic effects through application as a finishing element in combination with light. The lamps pictured are made of laser cut polypropylene composed of layered panels (below) and folded triangular planes (right). Polypropylene creates interest through the dual transmittance and refraction of light. The play of light will the main focus in using polypropylene panels applied as a skin over the glulam structure. Information from: Todd Johnson. (2013). What id Polypropylene?. Accessed 31 May 2016 http://composite.about.com/od/Plastics/a/What-IsPolypropylene.htm

Behance. (2012). Luksfera lamp. Accessed 31 May 2016. https://www. behance.net/gallery/6430637/Luksfera-lamp VITA Copenhagan. (2016). ArchiExpo: Silvia Pendant Lamp. Accessed 1 June 2016. http://www.archiexpo.com/prod/vita-copenhagen/product-68260-1630124.html

MATERIALITY

Precedent: 2015 Summer Pavilion Project: 2015 Summer Architecture Commission Architect: John Wardle Architects Date: 2015 Location: NGV, Victoria The 2015 Summer Architecture Commission brief was provided as inspiration for our own design process. A key consideration was the whole lifespan of a structure including deconstructability and post-use. The John Wardle pavilion incorporates a completely deconstructable structure and removable polypropylene skin. We have rejected the steel primary structure as the materiality of this is unsuited to the predominant natural environment without our site. Steel also has a much higher embodied energy compared to glulam. Instead the inherent interest of this pavilion lies in its creaion of internal atmosphere through the use of polypropylene skin. The translucent polypropylene allows a diffused light to enter which immerses the user within the design. The overtly warm colouration of the skin does not have relivance to our site, however It is proposed that a clear translucent skin be used to enhance the connection between the structure and the site.

NGV. (2015). 2015 Summer Architecture Commission John Wardle Architects. Accessed 31 May 2016. http://www.ngv.vic. gov.au/exhibition/john-wardle-architects/

METHOD Patterning

LOFTED SURFACE

DIVIDE SURFACE

EVALUATE SURFACE

CIRCULAR JOINTS AT AVERAGE POINT OF CIRCLE INTERCEPTS

CIRCLE CENTRE AND NORMAL TO DIVIDE SURFACE POINTS

PROTOTYPE Patterning: Iteration 1.0

Positives: The lighting effects of clear polypropylene allow for a diffused view through the skin. The less overlap the less diffused the view. The translucency of the skin creates an abstracted connection between internal and external which is hoped to heighten the directional changes of the designâ&#x20AC;&#x2122;s form.

PROTOTYPE Patterning: Iteration 1.0

Negatives: Polypropylene does not stretch like a membrane skin made of an elastic textile. Consequently jointing must be used which can adapt across varied curvature and allow for connections at idenitfied critical points.

PROTOTYPE

Patterning: Iteration 2.0

PROTOTYPE

Patterning: Iteration 2.0

Iteration 2 attempts to look at fluidity within joints and the overlapping effects of polyproylene. It was found that small bolts allowed for an increased freedom of movement compared to rivets however the finish using standard bolts is not very refined. Using a module of 4 circles a movable joint could be created however the adaptability when combined into a hole would be limited to connection of each module to two others while still allowing a degree of movement. While this prototype works at a small scale it will not allow for adaptibility across the variety of curvature proposed by the Form Finding results.

PROTOTYPE

Patterning: Iteration 3.0

PROTOTYPE

Patterning: Iteration 3.0

PROTOTYPE

Patterning: Iteration 3.0 Patterning prototype 3 allows for the greatest flexibility and adaptability due to the use of sliding joints which create a grid within the skin. Securedbby bolts the joints allow the circles to be extended to minimal overlap accross convex curvature and to multiple layers of overlap within concave curvature. Securing of the skin to the structure is to be provided by simple on site screwing of pre-determined and pre-cut centre holepunch circle onto the primary members at intersections. This prototype relies on simple jointing to achieve adaptability as a skin across surfaces consequently it may be created using any thin sheet material that can hold its own without ripping or tearing when cut.

REFELCTION Patterning

Prototyping proved to be the most useful method for testing the adaptivity of tectonic elements of the patterning skin. It was through physically handling the polypropylene circular modules at a 1:1 scale that the properties could be understood and then consequently translated into a algorithmic equation suitable for mass production of modules. This circular process from physical to computational is the reverse of the form finding and structural design cycle, however it proved an effect way of achieving adaptability and modularity side by side. Iteration 3.0 was the most successful in terms of ability to contort to a variety of compositions. Further refinement of connections should be considered as the current bolting relies on handfixing and is very time consuming.

FABRICATION

Structure and Patterning Workflow

Week 11

C.3. Final Design and Model

DRAWINGS Site Plan

DRAWINGS Plan

DRAWINGS East Elevation

DRAWINGS South Elevation

DRAWINGS Section

DRAWINGS Axonometric

DRAWINGS Experiential Details

DRAWINGS Photomontage

PROTOTYPE Site Model

SPECULATIVE Form

In designing the algorthimic process for form finding the most important factor was the transformation of physical site attributes and conceptual site froces into simple geometry within grasshopper. This not only allowed for ease of alteration within the original algorthim but also means it is highly adaptable to new sites. In speculating about form finding, 4 new sites along Merri Creek have been chosen to become the new parameters for the form finding algorthim. The results have undergone the first iteration of developing a site responsive form with the applied glulam contoured structure. The overall brief remains the same as the original design, however the specific briefs are each tailored to the site and resultant form.

Mass customisation using site as the parameter: Form is fixed only to the content of the context Structural simplisity of glulam contoured lattice is applied universally Patterning derives from users needs and demands of the brief

SITE ANALYSIS Focus Sites

4 Rushall Station

20 m

FOCUS SITE 1 A Highly Seen Proposal

Focus Site 1 is located at the southern most tip of Merri Creek at its entrance to the Yarra River. Curvature inputs of the waterways of Merri Creek and the Yarra River were used as one attractor curve, with the Eastern Freeway as the other. This site is not connected by on foot circulation paths and consequently the subsequent form was of a much larger scale than the original design. The proposed site specific brief: A sculptural installation to be viewed from the Eastern Freeway which marks the connection of Merri Creek to the Yarra River.

Map data ÂŠ2016

FOCUS SITE 2 A Temporary Escape

Focus Site 2 is located between Rushall Train Station and Merri Creek. The railway lines and Capital City Trail were input as separate attractor curves representing circulation, along with Merri Creek. The resultant form directly reacts to the topography of the rock cliff and Merri Creek to create a hidden structure suited to a quiet reflection. The proposed site specific brief: a temporary place for quite reflection capable of seating up to 10 people.

Map data ÂŠ2016 Google

20 m

FOCUS SITE 3 A Place to Sit

Focus Site 3 is located in the cleared park area near the Merri Creek Market Gadren. The Capital City Trail and Merri Creek were input as attractor curves alongside the focus point of the Market Gardens. The resultant form offers an egg shaped seat structure which lies along the capital city trail between the Market Garden and Merri Creek. The proposed site specific brief: a place for for the Market Gardeners to sit and socialise during breaks. Imagery ÂŠ2016 Google, Map data ÂŠ2016 Google

20 m

FOCUS SITE 4 A Submerged Proposal

Focus Site 4 is located at a more northern site along Merri Creek near the Merri Edgars Wetlands. The Merri Creek Trail and connecting bridge were input as attractor curves, along with Merri Creek. This resulted in the form being placed across the creek. The proposed site specific brief: A submerged structure to be an experiemental pollution trap.

Imagery ÂŠ2016 Google, Map data ÂŠ2016 Google

20 m

SPECULATIVE Patterning

In designing the skin for the original form one of the most imporant considerations was adaptibility across variable curvature through the use of circular modules. This was achieved through the use of interconnect circles joined with 4 way sliding joints. Within the speculative section this same module will be applied to unique patterning algorithms to test new possiblities for the skin to respond to the specific site brief.

SPECULATIVE Patterning: Techniques

The patterning algorthim is based from the list of points produced from the surface divide of the form finding resul. Consequently the application of patterning as a skin on the structure is alterable by any multitude of grasshopper comands which transform a list of points. At this stage trials with cull patterning explored within the form finding algorithm have been expanded through integration with gradient colouration, surface curvature, closest points selection, and image sampling. Furthering upon the site as parameters it would have been beneficial to experiement with enviomnetal conditions modelling, particularly solar radiation and wind affects on structure, using Ladybug and Honeybee plugins for grasshooper. Unfortunatly time constraints did not allow this to be implemented at this stage.

SPECULATIVE Patterning: Cull Patterns

In considering material efficiency alongside use it was speculated that the ammount of polyproylene used could be lowered by only applying as a sin to heights relivant to users line of sight. Consequently, the points derived from the evalutate surface command were culled according to distance from ground plane. Any points greater than 3m from the ground were culled and those remaining would have the skin applied, as shown.

SPECULATIVE

Patterning: Surface Curvature and Gradients FOCUS SITE 1 The proposed site specific brief: A sculptural installation to be viewed from the Eastern Freeway which marks the connection of Merri Creek to the Yarra River. In using the brief proposed for this form as inspiration for explorations of patterning the intention was to enhance the structure itself through gradient colouration. The surface curvature was frist mapped at each surface divide point. This curvature was then input within a gradient shader. Initially this colouration was applied to the points, as shown in the first two images in which the green curvature is the steepest, followed by blue, and lastly purple being the gentlest slope. This gradient mapping of curvature was then applied to the circle geometry to create a vibrant coloured skin for the structure which changes colours corresponding to the surface curvature.

SPECULATIVE

Patterning: Gradients and Cull Patterns FOCUS SITE 4 The proposed site specific brief: A submerged structure to be an experiemental pollution trap Building upon the colour gradient and surface curvature experimentation on Focus Site 1, cull patterning was incorporated to apply the â&#x20AC;&#x2DC;nettingâ&#x20AC;&#x2122; skin to acording to the creek depth and tidal levels. This skin is modelled as a coloured spiral netting which would be clipped onto the submerged structure to capture solid pollution within Merri Creek while allowing normal water flow to continue. The eyecatching brightness of the netting is used to take advantage of the site location near a pedestrian bridge by drawing attention to the pollution trap and spur reflection upon the effects of humans on water ecosystems.

SPECULATIVE Extending Lifespan

In considering the material inputs required for the design and cost of the proposed glulam fabrication process it was hypothsised that a longer lifespan may be more suitable. The proximity to CERES and current Merri Creek rehabilitation planting projects were used as inspiration for how the design may integrate within the site to ultimately enhance it. Within this final speculative exploration the orginial design has been modified to incorporate planter beds for native Victorian climbers to grow across the structure. This speculative design aims to intensify the exploration of the synergy between the natural and man-made.

SPECULATIVE Method

The original form was altered by moving the tween curve along a vector toward the bottom ground curve. This changed the arcs to produce a shallower lofted curvature towards the ground. This is desirable for the installation of planter beds within some of the glulam grid squares as they follow horizontally the topography for a greater amount of time. Wiithin these horizontal grids selected ‘plant points’ were modelled. The proposal is for these points to represent seedling growth of Victoiran native vines, such as the Purple Coral Pea, across the structure. Originally with one plant and then with 3 competing plants. Modelling of growth was achieved by the placed ‘plant points’ as the input to the closest point comand in grasshopper which was increased to include increasing numbers of surface divide points. A green gradient input was used to aid the modelling of growth with the darker green showing denser areas of growth closer to the base of the plant gowing towards the yellow-green new foliage. This is believed to represent the spreading growth of the Purple Coral Pea over time.

WEEK 12 / 13

C.4. Learning Objectives and Outcomes Upon presenting at the Final Presentation we received two main points of critique to build upon over the remaining two weeks. The first was a greater refinement of structure especially detailing of tectonic elements and consideration of materiality. The second was the application of patterning as a skin and how this would be achieved using an adaptable modular system. Again we were asked to consider the tectonics. At the Final Presentation we presented Structural Iteration 1.0 and Tectonic Iteration 1.0. While it was agreed that the repetition of the grid provided a desirable aesthetic regularity to balance our curvaceous flowing form the panel suggested that a notched timber structure of primary members at the scale we were proposing would not be stable. In working towards a new Tectonic Iteration we moved away from the sole materiality of timber towards the more sustainable and workable engineered timber product of Glulam. Through this we were able to develop a new Tectonic System of a custom designed circular bottled cleat plate used to connect primary and secondary members. This development was created from the dimensions of a singular primary and secondary joint within grasshopper and then repeated uniformly throughout the structure. The majority of the design work for this was done through a feedback loop paper conceptual and geometric based sketches being transformed into alterable grasshopper geometry. I was responsible for the majority of the design work for the new structure and tectonic elements. At the Final Presentation we presented a very preliminary investigation of patterning through the 1:1 scale riveted polypropylene prototype of Iteration 1.0. While the modular focus was praised due to ease of production, the jointing of the modules was criticised as lacking adaptability. Due to the desire to enable patterning to be applied to various sheet materials we aimed to achieve maximum flexibility with minimal tectonic complexity. The final result after much discussion was a sliding 4 way joint on each module, which would relate to the structural grid but also allow multidirectional movement. This system was tested using polypropylene but speculated to be applied to various materials due to its simplicity. Overall our form finding method remained unchanged from Final Presentation to Final Submission as a large amount of refinement was necessary for this at an earlier stage and consequently had already been resolved in studio discussions. The structure and patterning reached a greater refinement. However, it would have been desirable to have one more person working on the project so that each project member could independently develop their focus area to a greater resolution. The speculative section of this journal is completely my own work and represents my visions for where our design process may develop into. Upon reflection of the individual and collaborative components of this project it was revealed that neither Harrison or I had any previous experience with Grasshopper and so designing was limited by proficiency with comands experimented with in Part B. I found a large amount of the scripting work was achieved by myself while the graphical diagraming was done by Harrison. This played into our strengths but meant conceptual development within Grasshopper was often quite one-dimensional and lacked benefit from a variety of people. In saying this I now feel competent to design using computational methods, especially knowing the depht of knowledge and support that is offered by the Grasshopper 3d forum. Overall it is felt that the learning experience of Grasshopper has been invaluable and definitely stands as a work in progress, to be continued. The design itself is seen as preliminary with some very strong conceptual grounding beginning to materialise within the form, structure and patterning, yet refinement through collaboration with a more proficient grasshopper users would help to transform our design into a â&#x20AC;&#x2DC;finishedâ&#x20AC;&#x2122; product ready for production. Skills in collaboration have definitely been heightened through the intense workload demanded from Studio: Air causing many late nights to be spent as a cohort within the depths of Baldwin Spencerâ&#x20AC;&#x2122;s computer labs. Coming to the final stages I appreciate the positive collaborative environment set up by the grasshopper 3d forum and continued on within the Studio: Air cohort, for it was often the tinkering of a few that would bring a definition into working.

By undertaking research into the specific parametric design fields of patterning and geometry a greater understanding was gained of the diverse role that computational design can play within different steps of the design process. This multidimensional approach has been used within the project as a way to explore multiple focus areas in a logical way. Form finding was initially explored in detail within section B as a way to use the site conditions as drivers of parametric decisions. Woodbury (2004) identifies parametric modelling as: relying on understanding of the logic of the algorithm; this has become increasly clear as the design progressed and the algorithm grew in size and complexity. A greater ability to create, manipulate and design using the parametric interface of Grasshopper has been enabled by focusing on precedents which use similar tools to inform the creation of new designs. While the level of confidence to create and manipulate within the platform of grasshopper has greatly increased throughout section B and section c knowledge of specific commands is limited to those used within this specific design. Objective 1. “interrogat[ing] a brief” by considering the process of brief formation in the age of optioneering This objective was originally addressed in section B.6. as a specific brief and program was created in groups of 2 as a way to focus iterations into a specialised area. This brief was continually redeveloped over the rest of the semester as the parametric design took differing turns towards previously unexpected outcomes. The brief took on a greater adaptability than a traditional design brief as it had to accommodate for the fast evolving results produced during the germinative process. Objective 2. developing “an ability to generate a variety of design possibilities for a given situation” by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive design-space exploration; The entirety of our design revolves around the ability for a great variety of design possibilities to be generated with small manipulations of an algorithm. This objective can be seen in the matrix produced for section B.2., B.3., and B.6. Application within the final design is revealed by the collection of results of form finding and structure, as well as the new gnerations of designs within the final speculative section.

Objective 3. developing “skills in various three dimensional media” and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication; Crucial to studio air has been the integralion of various computational media to allow for design, mostly within Grasshopper, presentation through integration with media in Adobe Photoshop, diagraming through exported vector lifework into Adobe Illustrator, and digital fabrication using unroll commands in rhino. Competency in all of these platforms has grown paramount and can be seen in the increase in quality of work throughout this journal from week 1 through to 14. Objective 4. developing “an understanding of relationships between architecture and air” through interrogation of design proposal as physical models in atmosphere; One of the limitations of computational design is its dislocation from reality. In trying to combat this we aimed to set up a strong feedback loop from computational design to prototyping to re-design to re-prototyping. Seen in section C.2. each stage of design for architectural elements was then supplemented by physical models. These models were key hands on learning to how architecture actually exists within the ‘air’. Objective 5. developing “the ability to make a case for proposals” by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourse. The early stages of this journal, most notable Part A, are ocnerned with current architectural discourse and precedents. This engagement set up a strong theoretical grounding for design which was continually reassessed to develop an argument for why we design what we designed and how we designed it. Within Part C, Section C.2. supporting literature on generative design and ornamentation are included to put forth persuasive argument towards the relevance of our design. Objective 6. develop capabilities for conceptual, technical and design analyses of contemporary architectural projects; Part A includes thorough analysis of precedent projects as compared to relevant themes. Part C also includes architectural projects accompanied with discussion of their positives and negatives and relevance to our own computational design. A greater ability to ‘read’ computational architecture was gained to the point where I would find myself hypothesising the main commands for architecture within the Melbourne CBD. Objective 7. develop foundational understandings of computational geometry, data structures and types of programming; Computational geometry has been explored in depth, with consideration of data structures less visible but instead imbedded within the functionality of the grasshopper definition. Understanding of the flow of data structures and affects on computational geometry can be seen in the workflow methods of section C.2. Objective 8. begin developing a personalised repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application. Studio: Air being the first interaction with Grasshopper and its relevant plugins meant a limited collection of commands were learnt but this had the advantage of facilitating a deeper understanding of the data flow within these commands and the intricacies of their effects. Overall we have only scraped the surface of a very promising method of design.

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STUDIO AIR | JOURNAL

AMBER JOAN BARTON | 89