Studio Air JOURNAL by Antigone Gougoussis

AIR ARCHITECTURE JOURNAL UNIVERSITY OF MELBOURNE ARCHITECTURE DESIGN STUDIO : AIR SEMESTER 1, 2016 ANTIGONE GOUGOUSSIS

CONTENTS

PART A. CONCEPTUALISATION 4 INTRODUCTION 6

A.1. DESIGN FUTURING

A.2 DESIGN COMPUTING

A.3 COMPOSITION/GENERATION

A.4 CONCLUSION

A.5 LEARNING OUTCOMES

A.6 APPENDIX - ALGORITHMIC SKETCHES

32 REFERENCES

PART B. CRITERIA DESIGN 36

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

B.7. LEARNING OBJECTIVES AND OUTCOMES

B.8. APPENDIX - ALGORITHMIC SKETCHES

72 REFERENCES

PART C. DETAILED DESIGN 76

C.1. DESIGN CONCEPT

C.2. TECTONIC ELEMENTS & PROTOTYPES

112

C.3. FINAL DETAIL MODEL

124

C.4. LEARNING OBJECTIVES & OUTCOMES

126 REFERENCES

INTRODUCTION ANTIGONE GOUGOUSSIS

I am currently studying at the University of Melbourne as a fourth year architecture student within the Bachelor of Environments. Primarily interested in design, my interests expand towards construction where I enjoy understanding different structural systems within varying projects and the application of new, innovative and sustainable materials in architectural design. I have an ever-growing interest in sustainable design, particularly within residential projects, and its ability to reduce negative impacts on the environment and our dependency on limited natural resources.

Personally, I believe architecture has the power to awe people and enhance their lives through the experiencing of a building. Through my course I have learnt of the importance to a multidisciplinary and team-work based approach towards architectural design and I look forward to learning from others within the varying fields from construction to project management, 3d modelling to digital fabrication. I also believe digital tools within architectural design have proven to be extremely important in providing efficiency, better suited solutions to complex problems and more streamlined methods towards final outcomes.

Currently, my skills in relation to digital design tools such as Rhino and Grasshopper are quite underdeveloped. I have had little experience with digital design and have completed most past design projects mainly through manual drawing and only minimally through computer aided drafting and 3d modelling software. This is because I enjoy a handson and more active approach to design. Usually, I prefer to create models by hand quickly to generate design ideas and explore different configurations this way.

Programs I am more familiar and comfortable with include Adobe Photoshop, Sketchup and AutoCAD. However, I am extremely interested in developing my skills in parametric modelling through Grasshopper and believe the techniques I will learn in the upcoming weeks will provide me with useful skills that I may apply within my industry in the near future. 4 INTRODUCTION

Studio Earth, Pavilion design based on secrets for Herring Island

Studio Water, Boathouse design for Studley Park (inspired by Master architect, Louis Kahn)

PART A. CONCEPTUA

ALISATION

A.1.

DESIGN FUTURING

In present times, the world is facing major problems of unsustainability and as a result, leading towards a defuturing condition. Consequently, the focus of architectural practice and other professions have been led to a new design approach which can facilitate in reversing the effects of unsustainability. The increases in resource depletion technological developments for human leisure and comfort within the past century have contributed greatly to this defuturing condition of our environment, further fuelling arguments that we may be closer to the destruction of our planet than most would like to believe.

In a world with a rapidly growing population and depleting energy sources, Tony Fry argues the importance of Design Futuring, declaring the need for architecture and other disciplines to work together to solve the complex problems of design which are critical in repairing the present and reversing unsustainability in order to improve our chances of a better quality and longer future.1

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“FLAVOURS ORCHID” FARM CITY / KUNMING, CHINA VINCENT CALLEBAUT ARCHITECTS / 2014 Although not ‘built’, Vincent Callebaut’s design for 45 energy positive villas in Kunming, Southwest China, forwards an important notion associated with Fry’s term of Design Futuring. The need for buildings to be able to create more energy than they produce can lead to a reversal in the current defuturing state of our natural environment, helping to restore the damage caused by decades of carbon emissions and resource depletion.2 Although Callebaut’s design proposal may seem utopian and imaginary, it expands on ideas of green design and illustrates an extreme but important move towards sustainable building in architectural practice. The villa design scheme incorporates the use of wind power as opposed to the burning of fossil fuels and utilises a smart energy grid to deliver excess photovoltaic power to active systems requiring it. Green spaces and organic food produce are incorporated through the design of the futuristic city, an attempt to facilitate biodiversity and encourage eco-responsible lifestyles rather than our present day society’s overexploitation the natural environment.

Modern architectural practice is constantly aiming towards zero-net energy buildings, however the advanced technologies Callebaut implements in his project have the capability to take this further by enabling buildings to produce excess clean energy and stimulate a reversal in the current destructive state of the polluted and over-exploited environment.3 Importantly, the 45 villas aim to encourage more intimate relationship between humans and the natural environment and filter greywater for use in showers and agricultural irrigation purposes. In this way, Callebaut promotes an environmentally conscious-based approach to design which may initially seem radical and excessive, but may be an improved solution for complex issues of sustainability in comparison to current project developments.4

Further supporting Fry’s concept of Design Futuring, Callebaut’s Farm City plan activates passive design strategies in order to produce more energy than that which is consumed. These include triple-glazed windows to minimise active heating and cooling machinery and the use of new technologies, such as green algae filled bio-photovoltaic panels to produce power on site and not depend on coal-based energy.

FIG.1 WIND TURBINES FOR ON-SITE POWER GENERATION (ABOVE) FIG.2 GLAZING PROVIDES HUMAN CONNECTION TO OUSTIDE ENVIRONMENT (TOP RIGHT) FIG.3 GREEN SPACES AND COEXISTENCE BETWEEN BUILT FORM AND THE NATUAL ENVIRONMENT (BOTTOM RIGHT) IMAGE SOURCES: SARAH BARNES, STYLISH ECO-FRIENDLY VILLAS RENEW MORE THAN THEY CONSUME, <HTTP://WWW. MYMODERNMET.COM/PROFILES/BLOGS/VINCENT-CALLEBAUT-FLAVOURS-ORCHARD> [ACCESSED 7 MARCH 2016].

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FIG.1: (EXPLAIN HERE & REFERENCE AT THE END OF YOUR DOCUMENT)

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ECO HOUSE / MANCHESTER, ENGLAND MAKE ARCHITECTS / 2010 Make Architectsâ&#x20AC;&#x2122; residential project near Manchester is their first zero carbon house. The Eco-house is a representation of environment-integrated design. Differing from common above-ground residential projects, the idea of carving spaces within the earth for family homes generates ideas of a future where humans are more closely connected to the environment, fulfilling our deep and subconscious desires to bond with the natural world and encouraging our biophilic nature. In relation to Design Futuring, the Eco-house is an excellent example of responding to both social and ecological issues. The house is purposely embedded into the ridges of the West Pennine Moors to reduce its impact on surrounding views of the landscape and the roof is integrated together with the grass-filled meadows.

Promoting this growth of native flora above the home facilitates continuity throughout the hillside. By building into the earth this way, the home does not destroy ecological corridors and encourage the natural movement of local animals through the English moorland.5 Significantly, this project exemplifies a new type of architectural practice which caters for and acknowledges the needs of not only humans, but other living organisms within our local environments and the impact of design on entire ecosystems. The Eco-house itself provides benefits for the residents, connecting them towards the natural surrounding landscape and orientating views outwards over the moor and onto the nearby town.

FIG.4 OUTWARDS VIEWS TO SURROUNDING ENGLISH LANDSCAPE, CONNECTION TO NATURE (ABOVE) FIG.5 INTEGRATION OF BUILT AND NATURAL ENVIRONMENTS TO ALLOW FOR ECOLOGICAL CORRIDORS (ECO-HOUSE) (RIGHT) IMAGE SOURCES: ADRIAN WELCH, ECO HOUSE BOLTON: ZERO CARBON HOME, <HTTP://WWW.E-ARCHITECT. CO.UK/MANCHESTER/ECO-HOUSE-BOLTON> [ACCESSED 6 MARCH 2016].

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Technologies assist in making the house carbon-neutral, with a ground-source heat pump providing heating in the winter while PV panels generate renewable energy on site.6 Consequently, the critical design of this project is able to save (at least on a local scale) the Earthâ&#x20AC;&#x2122;s unsustainable and limited natural resources. It is important to understand architecture as more than merely aesthetics. As shown in recent shifts

in practice, architectural design is a process capable of reshaping an unsustainable modern world and driving change towards a hopeful future. Initially, this change may begin at a local scale, but if such Design Futuring solutions become commonly applied through design practice, it has the power to reverse unsustainability on a regional level.7

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A.2.

DESIGN COMPUTATION

The ever-growing use of digital media technologies in architectural design have not only sped-up the design process, but streamlined the different stages of design into a combined, logical method. This approach can begin with performative design and lead to parametric modelling or testing of responsive technologies. This naturally produces a design continuum that begins with man-computer symbiosis and a holistic approach to design where practices can become integrated; a digital chain or workflow that redefines the role of the architect.8 He is not only considered to be a mere designer through pencil sketches. The architect himself becomes a builder, a modeller, a fabricator, a scientist in order to achieve an optimal design outcome.

Although arguments against computer-aided design as a tool pose that the digital media is limiting creativity, this modern phenomenon of parametric design allows architects to experiment and explore different possibilities quickly and effectively.9 Computation can improve the designerâ&#x20AC;&#x2122;s ability to create an optimal, sustainable type of architecture which can react to surrounding environmental factors and reverse our current defuturing condition.10

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ICD/ITKE RESEARCH PAVILION / STUTTGART, GERMANY ICD (A. Menges) & ITKE (J. Knippers) / 2011 Computation is creating a new typology of architectural design. This new paradigm of design presents the ability, through the use of parametric modelling tools and computational techniques, for the exploration of various designs possibilities of high complexities unlike past traditional methods.11 Significantly, computational design allows for the designer to formulate optimal solutions to complex scenarios. Exemplifying this is the 2011 Research Pavillion by the institute of Computational Design (ICD) and Institute of Building Structures and Structural Design (ITKE). The project undertaken at the University of Stuttgart acquires digital fabrication methods for construction and computational processes to influence the form generation of the pavilion, discovering ideal complex forms that will allow for the optimal structural performance of the selected plywood material system. The project explores the biological characteristics of the sea urchin and the morphology of its skeletal system within the structure of the research pavilion. Testing the performative properties of the urchin’s polygonal skeletal arrangement

through computational-analysis methods, a modular system was created to optimise the load-bearing capacity of the geometric plates and finger joint system using minimal resources. In this case, 6.5mm plywood sheeting could be effectively used in the morphological generation of the pavilion through the use of computer-simulation methods to allow for an outcome which could be structurally optimised to allow for the use of such a thin material according to shear forces and mechanical stresses.12 Furthermore, unlike conventional approaches to lightweight construction which limit the design to load-optimised forms, computation allows an almost limitless range of previously unimaginable geometries to be explored and conceived, widening the creativity of designers through digital media by broadening explorations of geometric forms. The calculation of complex morphologies through computation can also allow minimal, sustainable materials such as plywood to be used a make such organic and unique forms in the most efficient manner possible. This is an important benefit of computation design, allowing designer to minimise the use of natural resources and lead to more sustainable outcomes.

FIG.6 COMPUTATION ANALYSIS THROUGH 3D MODELLING USED TO DEVELOP THE PAVILION SYSTEM’S STRUCTURE BASED ON PERFORMANCE UNDER STRESSES (ABOVE LEFT) FIG.7 3D MODELLING ALLOWS DESIGNERS TO CALCULATE THE VARYING SIZES OF 6.5MM PLYWOOD SHEETING TO CREATE A PAVILION OF OPTIMAL STURCTURAL PERFORMANCE USING A COMPLEX GEOMETRIC FORM (ABOVE RIGHT) FIG.8 RHINO-GENERATED MODEL ALLOWS DATA EXCHANGE WITH ROBOTIC-DIGITAL FABRICATOR TO CREATE HUNDREDS OF VARYING GEOMETRIC ELEMENTS (TOP RIGHT) FIG 9. PAVILION DESIGN BASED ON POLYGONAL MODULAR ELEMENTS OF DIFFERING SIZE MADE POSSIBLE THROUGH COMPUTATION (BOTTOM RIGHT) IMAGE SOURCES: INSTITUTE FOR COMPUTATIONAL DESIGN, UNIVERSITY OF STUTTGART, ICD/ITKE RESEARCH PAVILION 2011, <HTTP://ICD.UNI-STUTTGART.DE/?P=6553> [ACCESSED 10 MARCH 2016]. 16 CONCEPTUALISATION

Structural calculations performed through computation enhances the material efficiency of the project but also allows for complex geometries to be modelled using 3D software and digitally fabricated later on with ease. Therefore, computation redefines the role of the architect in the 21st century through increasing the designerâ&#x20AC;&#x2122;s ability to generate form, calculate optimal structural requirements and fabricate pieces of the design for assemblage of a project such through the continuous logic of the digital-chain approach to design.13

Such complex and differing geometric forms would be extremely difficult, time-consuming and near-impossible to calculate and design without the use of digital fabrication techniques. Hence, computation in design allows for ease of constructability through the use of a digital information loop between modelling software and fabrication systems.

Parametric tools through computer software facilitated in generating a pavilion form consisting of numerous, differing complex geometries, with the ability to exchange data from a Rhino generated model to the Universityâ&#x20AC;&#x2122;s robotic-digital fabrication system enable the plywood joints and 850 differing polygonal components to be effortlessly cut and made ready for assemblage.14

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AL BAHR TOWERS / ABU DHABI, UNITED ARAB EMIRATES Aedas Architects / 2012 Computational design techniques have the ability to create buildings responsive to the surrounding environment. The Al Bahr Towers in Abu Dhabi by Aedas Architects is a perfect example of the synthesis of intelligent facade systems through the use of building integrated management (BIM) systems and architecture. The form of the tower may not seem complex, however the parametric systems used in computational methods have enabled algorithmic procedures to create variable designs in the mashrabiya lattice shading system facade for optimal responsive behaviour towards direct harsh sunlight. In this particular case, facade generations were tested through parametric modelling to create computer simulations showcasing the operation of the facade design in relation to sun exposure and varying incident angles throughout the year. Each mashrabiya panel screen on the facade is programmed through BIM systems to respond to the movement of the sun, opening and contracting in accordance with solar gain and glare. Therefore, computation allows for innovative and dynamic systems to become a prominent feature of modern and sustainable architecture, reducing the dependability on air-conditioning and lighting systems and improving the overall energy efficient of buildings; a significant factor in leading towards sustainable designs.

For this reason, parametric software including Grasshopper, CATIA, Tekla benefitted the design process by allowing ease of component fabrication through CNC machines and dataexchange. This digital-chain, from geometric explorations to facade performance simulations, digital modelling to fabrication of unique sizes, benefits such complex projects by allowing technologies and unique geometries to be integrated efficiently and produced quickly to create environmental-responsive solutions within varying climatic regions. The use of parametric software in architectural design can modulate differentiation within the building facade systems to create a range of variations in order to analyse and achieve an optimal performance-oriented design. Computation design provides a significant shift towards adaptive and responsive design solutions suitable for differing regional climates across the world, as demonstrated through the modelling of the Al Bahr Towers’ intelligent facade systems. Therefore, computation design is vital in order to lead towards more sustainable building designs and redefine the role of the architect as an important contributor in resolving the significant modern dilemma of unsustainability.

The integration of BIM technologies and sensors within the Al Bahr project is only made possible through the use of computer simulations. In this case, 3d modelling software has allowed for an optimised facade system to be generated based upon performance and logic rather than purely aesthetics. The highly mathematical design of the dynamic system is facilitated through algorithmic thinking, where the kinetic behaviour associated with the mechanised mashrabiya components and complex geometries requires numerous sizes and configurations throughout the facade.

FIG.10 BUILDING MANAGEMENT SYSTEM (BIM) ALLOWS FOR CONTROL AND DISPLAYS INFORMATION ON THE LOCATION AND NUMBER OF OPENED AND CLOSED PANELS WHEN ACTIVATED BY SENSORS (LEFT) FIG.11 3D MODELLING SOFTWARE USED TO INVESTIGATE THE ENERGY EFFICIENCY OF THE FACADE BASED ON DIFFERENT MASHRABIYA CONFIGURATIONS AND CREATE 3D SIMULATION OF AL BAHR TOWERS’ DYNAMIC FACADE AS IT RESPONDS TO SUN MOVEMENT (ABOVE) FIG.12 AL BAHR TOWERS’ INTELLIGENT AND DYNAMIC FACADE SHADING SYSTEM; RESPONSIVE TO THE CLIMATE (LEFT PAGE) IMAGE SOURCES: ABDULMAJID KARANOUH AND ETHAN KERBER, ‘INNOVATIONS IN DYNAMIC ARCHITECTURE, THE AL-BAHR TOWERS DESIGN AND DELIVERY OF COMPLEX FACADES’, JOURNAL OF FACADE DESIGN AND ENGINEERING, 3 (2015) <HTTP://CONTENT.IOSPRESS.COM/ARTICLES/JOURNALOF-FACADE-DESIGN-AND-ENGINEERING/FDE0040> [ACCESSED 11 MARCH 2016] (PP. 185-220). 19 CONCEPTUALISATION

A.3.

COMPOSITION/GENERATION

Parametric modelling techniques through computational design have been encouraged within presentday architectural practice for their numerous benefits. Architects have even continued to develop their own digital tools and software to widen opportunities for generative design and unique outcomes.

Generative design aims to place closer attention to the process of generating often complex variations of a design though algorithmic thinking and computer simulations. This allows for quickly generated explorations of a design through the modification and alterations of variables expressed within an algorithm using parametric modelling software. This provides the opportunity to create thousands of iterations and frozen-instances of the design as it progresses opposed to traditional methods of design composition which may use CAD to simply digitally recreate preconceived and limit creative explorations of generative forms.20

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WEST KOWLOON CULTURAL DISTRICT MASTERPLAN (CANOPY) / HONG KONG, CHINA Foster + Partners / 2004 Generative design options can often be explored and developed in a time-efficient manner through the use of modifications to digital design software or “sketching by algorithm”.21 Additionally, altering codes through design programs enable architects to explore hundreds of new options and speculate complex design potentials which were limited previously through manual design generative processes. In the case of the West Kowloon Masterplan, Foster and Partners, environmental analysis highly informed the generative process of the design project. This environmental data was processed using computational software to generate numerous viable outcomes for the roof structure and overall complex geometric form, taking into account the desired outcome to respond to the local environment. Computer simulations were effectively utilised to optimise the microclimate beneath the canopy and facilitate in the placement of 6 panel types (glazed panels, louvre panels, photovoltaic roof panels, etc.) onto the canopy design spanning over 120 meters. Consequently, this allowed the structure to achieve optimal results in relation to the environmental strategy for the project and therefore, generate multiple possible solutions to the given brief.22 Therefore, this project illustrates the changes in modern architectural practices instigated by computing and algorithmic

techniques, where the architect’s ability to become a problem solver and develop many design options are enhanced through simulative and generative software. The form of the roof structure was quickly developed using Microstation’s Dimension Driven Design system to arrange the discrete 2D roof panels and connect them in 3d to generate an overall smooth form. Additionally, the sequential arrangement and patterning of the panels throughout the canopy system through generative design allowed different relationships between the components to be investigated and “thousands of instances” to be discovered through performing iterations.23 This examples, therefore, illustrates the ways in which generative processes using algorithmic methods are able to stimulate the designer’s creativity, allowing for the wide exploration of multiple and complex design possibilities.24 Such possibilities may be unimaginable by the human mind through traditional means of composition, where a vast array of design solutions of high geometric and structural complexities such as in this project would be near impossible to produce.

FIG.13 HIGHLY COMPLEX DESIGN OF CANOPY STRUCTURE AND PANEL ARRANGEMENT GENERATED THROUGH COMPUTATION AFTRE VARIOUS ITERATIONS (LEFT PAGE) FIG.14 THE ARRANGEMENTS OF 6 PANEL TYPES REQUIRED FOR THE PROJECT WERE COMPUTER GENERATED IN ORDER TO EXPLORE DIFFERENT RELATIONSHIPS BETWEEN THESE COMPONENTS AND FOR THE DESIGN TO OPTIMALLY RESPOND TO THE ENVIRONMENT (ABOVE LEFT) FIG.15 SOME OF THE CANOPY FORMS DEVELOPED THROUGH PARAMETRIC MODELLING IN ORDER TO GENERATE VARIOUS ITERATIONS AND POSSIBLE OUTCOMES (ABOVE RIGHT) IMAGE SOURCES: BRADY PETERS, THE WEST KOWLOON MASTERPLAN, SECOND STAGE COMPETITION, HONG KONG, CHINA, 2003-2004, FOSTER + PARTNERS, <HTTP://WWW. BRADYPETERS.COM/THE-GREAT-CANOPY.HTML> [ACCESSED 17 MARCH 2016]. 23 CONCEPTUALISATION

SHENZHEN BAO’AN INTERNATIONAL AIRPORT / QUANGDONG, CHINA Massimiliano Fuksas Architects and Knippers Helbig Advanced Engineering / 2013 Architectural practice is leading towards generative design methods through the use of parametric modelling to create design possibilities for exploration which are flexible to the constantly changing parameters of design briefs. In fact, computation within architecture is leading to a new emergence of designers custom-creating their own scripting interfaces in order to optimise design outcomes to a specific brief.25 The Shenzhen Bao’an International Airport illustrates the collaboration of Massimiliano Fuksas Architects and Knippers Helbig Advanced Engineering to generate a functional design responsive to the daylight factors and displaying the effective use of natural light for the interior spaces of the airport. Using Rhino 3D to model the initial form, Knippers Helbig specifically designed parametric software tools in order to generate geometry that could only be made possible through computational methods to cater for the many differing dimensions for the facade components due to the organic form of the terminal.26 27

and roof components. The organic double-skin building envelope required the successful integration of an efficient steel truss system and allow for facade perforations to meet daylight factor needs; an outcome made possible through generative methods using computation.29 Often, it is argued that such computer-aided generative approaches to design are creating a new generation of architects simply waiting for designs to emerge as digital software performs quick iterations. However, the role of the modern architect has become that of a problem solver, where computation increases the potential to develop the best possible design solutions through generating design based upon the processing of important data to meet the needs of complex briefs.

The extremely high complexity of the design project meant a generative approach through parametric software tools was essential to creating an optimised design. Taking into account “aspects of sustainability, day light control, energy gain and architectural design intents”, parametric design proves to be an essential part of large and complicated architectural projects.28 By parametrically defining the entire structure, any subsequent changes made to the form can re-generate the arrangement of all elements within hours or only minutes. Therefore, the flexibility of software tools in changing parameters simultaneously with brief requirements allows the computational architect to generate variations in designs in a timely-efficient manner. For this project, computation was significant in generating the geometrical and structural development of the facade FIG.16 OPTIMISED STRUCTURAL AND FACADE GEOMETRIES GENERATIED USING PARAMETRIC SOFTWARE TO SUCCESSFULLY SOLVE COMPLEX DESIGN REQUIREMENTS (ABOVE ) FIG.17 INTEGRATION OF AN EFFICIENT STEEL TRUSS SYSTEM AND FACADE PERFORATIONS TO MEET DAYLIGHT FACTOR NEEDS MADE POSSIBLE THROUGH A GENERATIVE DESIGN APPROACH THROUGH COMPUTATIONAL MEANS (RIGHT PAGE) IMAGE SOURCES: FLORIAN SCHEIBLE AND MILOS DIMCIC, PARAMETRIC ENGINEERING: EVERYTHING IS POSSIBLE, <HTTP://PROGRAMMINGARCHITECTURE.INFO/PUBLICATIONS/ SCHEIBLEDIMCIC _ IASS _ 2011.PDF> [ACCESSED 17 MARCH 2016]. ARCHITECTURAL RECORD, SHENZHEN BAO’AN INTERNATIONAL AIRPORT TERMINAL 3, <HTTP://WWW.ARCHITECTURALRECORD.COM/ARTICLES/7973-SHENZHEN-BAOANINTERNATIONAL-AIRPORT-TERMINAL-3> [ACCESSED 17 MARCH 2016]. 24 CONCEPTUALISATION

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A.4.

CONCLUSION

Through the precedents discussed within Part A, it can be seen that developments in computational design have changed the ways in which architects approach a design brief. As a result, the role of the architect has been redefined in various ways. Rather than simply being a designer of building forms, the responsibilities of the architect now extend beyond this. The architect becomes an instigator for reversing unsustainability through design, a software developer who through algorithmic methods and parametric design tools generates and explores numerous possibilities of a high complexity to resolve incredibly large and complicated projects. The architect becomes involved in engineering processes, testing materials to their limits by simulating forms which effectively withstand stresses and loads for efficient use of resources. Most importantly, advancements in computer software and the shift towards the human-computer hybrid have enabled the architect to become involved throughout the entire process of design; from form generation to performative design simulations, from fabrication to construction.

Consequently, this has allowed for the emergence of the digitalchain within architectural practice, creating a more logical and seamless workflow from beginning to end. In regards to my intended design approach for Merri Creek and the given brief, I intend to produce a design which, through generative computational methods, will respond to the local environment and allow its users to better interact with the site. I hope to use parametric design tools to their full advantage and use generative processes to explore numerous options and push the potential of my design to achieve the best outcome possible. I believe the emergence of digital media and the resulting design continuum within architectural practice has broadened the skills and abilities of the architect to create, test and develop some of the most innovative and unique outcomes and this will prove beneficial in creating an optimal design for the site.

In this way, the progression of computational technologies has broadened the skillset of the architect to include various areas within the design process.

A.5. EARNING OUTCOMES From the beginning of the semester, my understanding on digital design has changed. Previously, I felt discouraged from using computation and algorithmic design tools as I preferred to work with more traditionally methods within my comfort zone. Iâ&#x20AC;&#x2122;ve learnt about the capabilities of digital software within architectural design and have come to understand itâ&#x20AC;&#x2122;s significance in solving complex problems. Beginning to learn the most basic algorithmic techniques through Grasshopper has completely changed my perspective on computational design through innovative software and I feel as if my previous designs have been extremely limited

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as a result of the manual methods Iâ&#x20AC;&#x2122;ve used in past years to generate ideas. I feel enlightened in a way, as though I have become extremely encouraged to upskill in computational design software so that future design possibilities will not be limited. If I am able to develop my techniques in algorithmic thinking and parametric design tools, the potential of my future design projects could be limitless and any creative ideas I generate can be fully explored and developed to higher degrees of complexity.

A.6.

APPENDIX: ALGORITHMIC SKETCHES

27 CONCEPTUALISATION

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Through changing various parameters, the following algorithmic sketches presented contain highly complex geometric forms. As I have learnt of the various benefits of algorithmic moedlling, including its ability generate such quick and complicated forms and to allow for a continuous digital workflow from generation to to fabrication, this knowledge encourages me to welcome parametric modelling tools as they allow for new possibilties and expressions of creativity within architectural design. This process of computational design is able to embrace unique designs through the use of algorithms and differing parameters, allowing architectural design to become almost limitless and without boundaries, producing infinite feasible possibilities and being able to create optimal solutions to complex problems.

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REFERENCES 1. Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg,

25. Ibid., p. 11.

2008), pp. 1-16.

26. Adrian Welch, Shenzhen Bao’an International Airport Building, <http://

2. Ibid., pp. 1-10.

www.e-architect.co.uk/hong-kong/shenzhen-airport> [accessed 17 March

3. Lidija Grozdanic, Vincent Callebaut Unveils Plans for Futuristic “Flavors

2016].

Orchard”

27. Knippers Helbig Advanced Engineering, Shenzhen International Airport,

Farm

City

China,<http://inhabitat.com/vincent-callebaut-

architectures-unveils-futuristic-flavours-orchard-eco-district-for-china />

<http://www.knippershelbig.com/en/projects> [accessed 17 March 2016].

[accessed 8 March 2016].

28. Florian Scheible and Milos Dimcic, Parametric Engineering: Everything

4. Sarah Barnes, Stylish Eco-Friendly Villas Renew more than they consume,

<http://www.mymodernmet.com/profiles/blogs/vincent-callebaut-flavours-

ScheibleDimcic _ IASS _ 2011.pdf> [accessed 17 March 2016].

orchard> [accessed 7 March 2016].

29. Welch, Shenzhen Bao’an International, < http://www.e-architect.co.uk/

5. Adrian Welch, Eco House Bolton: Zero Carbon Home, <http://www.e-architect.

hong-kong/shenzhen-airport> [accessed 17 March 2016].

co.uk/manchester/eco-house-bolton> [accessed 6 March 2016]. 6. Ibid. 7. Fry, pp. 2-15. 8. George Faber, Designing Design: Exploring Digital Workflows in Architecture (University of Cincinnati, 2015), pp. 1-5. 9. Lisa Iwamoto, Digital Fabrications: Architectural and Material Techniques (Princeton Architectural Press: 2013), pp. 1-10. 10. Fry, pp. 1-16. 11. Rivka and Robert Oxman, Theories of the Digital in Architecture (London; New York; Routledge, 2014), pp. 1-7. 12. Institute for Computational Design, University of Stuttgart, ICD/ITKE Research Pavilion 2011, <http://icd.uni-stuttgart.de/?p=6553> [accessed 10 March 2016]. 13. Iwamoto, pp. 1-24. 14. Bridgette Meinhold, Bionic Research Pavilion Explores the Sand Dollar’s Skeleton Morphology, <http://inhabitat.com/amazing-bionic-research-pavilionexplores-the-sand-dollars-skeleton-morphology/> [accessed 10 March 2016]. 15. CTBUH Innovation Award Report, Al Bahr Towers - External Automated Shading System, <http://www.ctbuh.org/LinkClick.aspx?fileticket=c8GlZooAT Fg%3D&tabid=3845&language=en-US> [accessed 11 March 2016], pp. 172. 16. Ibid., pp. 172-175. 17. Abdulmajid Karanouh and Ethan Kerber, ‘Innovations in dynamic architecture, The Al-Bahr Towers Design and Delivery of Complex Facades’, Journal of Facade Design and Engineering, 3 (2015) <http://content.iospress.com/articles/ journal-of-facade-design-and-engineering/fde0040> [accessed 11 March 2016] (pp. 185-187). 18. Karanouh and Kerber, p. 207. 19. Oxman, p. 3. 20. Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83 (2013), pp. 8-15. 21.Ibid. 22. Brady Peters, The West Kowloon Masterplan, Second Stage Competition Hong Kong, China, 2003-2004, Foster + Partners, <http://www.bradypeters. com/the-great-canopy.html> [accessed 17 March 2016]. 23. Ibid. 24. Peters, ‘Computation Works,’ p. 10.

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Possible,

<http://programmingarchitecture.info/publications/

33 CONCEPTUALISATION

PART B. CRITERIA DE

ESIGN

CRITERIA DESIGN

B.1.

RESEARCH FIELD / GEOMETRY

At this early stage in the design process, I have chosen the field of Geometry to begin developing my technique using computational methods through Grasshopper. Through a generative approach using parametric design, Geometry will allow for various complex forms to be found through the alteration of parameters and can be used alongside other research fields, such as Tessellation, to create unique forms and allow for performative criteria to be met. Therefore, the combination of various technique fields with Geometry will also allow for a wide range of results to be produced which can be narrowed down via a selection process to hopefully, meet the functional, experiential and aesthetic requirements for the Merri Creek design brief in the weeks to follow. In addition to this, the field of Geometry will allow for great flexibility within the generative process, as forms can be organic and divided into smaller and simpler components to produce designs which reduce materials and cost requirements during the manufacturing and fabrication process and therefore, increase the sustainability of the design.

The installation for the San Gennaro Northgate by SOFTlab and the Minimal Complexity series by Vlad Tenu are projects which showcase the ways in which minimal surfaces and the division of the membrane into simpler components can allow for ease during the fabrication process.1 2 More interestingly, they ilustrate the ways in which complex geometric forms can broken into simple and repetitive elements which increase the overall visual impact of the design. Also, by dividing a geometric surface into smaller components, ease of fabrication and assemblage is possible and allows for higher efficiency within the design process. Through the development of my technique, it is also important to consider the potential of the iterations generated at this early stage as this will assist in formulating various design solutions which can be implemented on site later on. In regards to a generative design approach used alongside parametric modelling within current day architectural practice, complex designs can be produced to greatly expand the range and potential of design outcomes and hence, increase opportunities for problem-solving.

FIG.1 INSTALLATION FOR THE SAN GENNARO NORTHGATE BY SOFTLAB, USING SIMPLE COMPONENT TO CREATE MINIMAL SURFACES AND ALLOW FOR EASE OF FABRICATION (LEFT PAGE) HTTP://DESIGNPLAYGROUNDS.COM/DEVIANTS/SAN-GENNARO-NORTH-GATE-BY-SOFTLAB/ FIG.2 VLAD TENU’S MINIMAL SURFACE PROTOTYPE 2009 (ABOVE LEFT) HTTP://WWW.VLADTENU.COM/2011/MINIMAL-SURFACES-AS-ARCHITECTURAL-PROTOTYPES/ FIG.3 VLAD TENU’S MINIMAL COMPLEXITY PROTOTYPE LONDON 2010 (ABOVE RIGHT) HTTP://WWW.VLADTENU.COM/2011/MINIMAL-COMPLEXITY-LONDON/ 37

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B.2.

CASE STUDY 1.0

GREEN VOID / LAVA ARHCITECTS / 2008 The Green Void in the Customs House Sydney by Lava Architects in particular highlights the use of parametric modelling to produce lightweight designs using minimal materials and the ability for designs to be fabricated and installed in a time efficient manner through the digital workflow continuum being used presently within architectural practice. The installation is derived from naturally evolving systems such as the soap bubble and minimal surfaces, utilising generative and form-finding computational techniques to realise a more naturally developed and organic form influenced by the behaviour of materials under tensile membrane relaxation. The lycra fabric allows for the tensile membrane form to be produced, reducing the construction weight of the project, fabrication and assembly time while simultaneously attempting to create maximum visual impact within the atrium’s space.3

Form finding techniques through digital design have ensured the most efficient connection of differing boundaries in 3D space using form relaxation and physics simulations. This technique has therefore allowed for an optimal design to be generated for the atrium’s limited space and discovered an ideal form which would require a small amount of material resources to be used for the project. Hence, the installation simply required smalls adjustments to me made on site for the project to be installed quickly and efficiently.4 Therefore, this project interestingly demonstrates the ways in which designs can be generated through computational techniques to reduce overall materials, fabrication and assembly costs and produce more sustainable designs all the while evoking a strong visual impact through naturally developed geometric forms.

FIG.4 GREEN VOID MEMBRANE RELAXATION USED TO GENERATE GEOMETRIC FORM BASED ON MINIMAL SURFACES WITHIN ATRIUM SPACE OF THE CUSTOMS HOUSE SYDNEY (ABOVE LEFT) HTTP://WWW.L-A-V-A.NET/PROJECTS/GREEN-VOID/ FIG.5 CURVED STRIPS OF LIGHTWEIGHT LYCRA FABRIC TO BE JOINED AND FOLLOW THE SURFACE TENSION OF THE MEMBRANE (ABOVE RIGHT) HTTP://WWW.ARCHDAILY. COM/10233/GREEN-VOID-LAVA/ FIG.6 GREEN VOID INSTALLATION WITHIN THE ATRIUM SPACE REQUIRES MINIMAL MATERIALS (WORKS THROUGH SURFACE TENSION AND NATURAL FORM-FINDING PROPERTIES OF THE LYCRA MATERIAL USING COMPUTATIONAL PHYSICS SIMULATIONS (RIGHT PAGE) HTTP://WWW.L-A-V-A.NET/PROJECTS/GREEN-VOID/ 38

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B.2. CASE STUDY 1.0 / ITERATIONS SUMMARY MATRIX

Anchor points: edges of openings Spring length %: 0.62

Anchor points: edges of opneings and chosen points Anchor points: 4 chosen points at each opening Spring length %: 0.13 Spring length %: 0.13

Anchor points: 4 chosen points at each opening Spring length %: 0.52

Anchor points: edges of openings Spring length %: 0.45

Anchor points: edges of openings Spring length %: 0.16

Anchor points: 4 chosen points at each opening Spring length %: 0.16

Anchor points: randomly selected points Spring length %: 0.16 Geometry: closed box

Anchor points: edges of openings Spring length %: 0.62 - mesh surface

Anchor points: edges of openings Spring length %: 0.95 - thick pipes

Anchor points: edges of openings Spring length %: 0.95 - thin pipes

Anchor points: edges of openings, moved anchor porints vertically Spring length %: 0.68 - mesh geometry

-no mesh relaxation - exoskeleton

Scale factor (Nurbs curves): 0.424 - no mesh relaxation - exoskeleton

Anchor points: 2 points chosen at edges Scale factor (Nurbs curves): 0.424 Degree: 2 - exoskeleton

Anchor points: 2 points chosen at edges Scale factor (Nurbs curves): 0.424 Degree: 2 - mesh

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Anchor points: 4 chosen points at each opening Spring length %: 0.72

Anchor points: 4 points chosen at edges Spring stiffness: 872

Anchor points: 1 point at each opening Spring stiffness: 872 - mesh

Anchor points: randomly selected Spring stiffness: 872 - mesh

Anchor points: 8 chosen points on each vertice Spring length %: 0.16 Geometry: box opened at 2 ends

Anchor points: 4 chosen points at each opening Spring length %: 0.16 Geometry: box opened at 2 ends and twisted

Anchor points: 4 chosen points at each opening Spring length %: 0.58 Geometry: spherical

Anchor points: 10 chosen points at each opening Spring length %: 0.02 Geometry: spherical

Anchor points: edges of openings, moved anchor points vertically and horizontally Spring length %: 0.68 - fabric surface

Anchor points: edges of openings, moved anchor points vertically and horizontally Spring length %: 0.92 - thin pipes

Anchor points: edges of openings, moved anchor points vertically and horizontally Spring length %: 0.92 - mesh surface

Anchor points: 2 points chosen at edges Scale factor (Nurbs curves): 0.920 Spring stiffness: 872 Degree: 2 - mesh

Anchor points: 2 points chosen at edges Scale factor (Nurbs curves): 0.920 Spring stiffness: 872 Degree: 2 -rotated geometries - mesh

Anchor points: 2 points chosen at edges Scale factor (Nurbs curves): 0.920 Spring stiffness: 872 Degree: 2 -rotated geometries - fabric surface

Anchor points: edges of openings, moved anchor points vertically Spring length %: 0.68 - thin pipes

Anchor points: 2 points chosen at edges Scale factor (Nurbs curves): 0.920 Spring stiffness: 872 Degree: 2

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ITERATIONS / SPECIES 1

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ITERATIONS / SPECIES 2

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ITERATIONS / SPECIES 3

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ITERATIONS / SPECIES 4

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SELECTION CRITERIA Through altering parameters and creating changes to the definition for the Green Void by LAVA, I have attempted to consider new types of geometry (through form finding and generative design using the Kangaroo plugin for Grasshopper) and techniques of producing minimal surfaces and how this could be applicable to my design for the Merri Creek site. The criteria I will be considering to meet the requirements of the Merri Creek brief include: 1. FUNCTIONALITY AND FLEXIBILITY - how can these ideas be used to create a meaningful project for the site? Can these design ideas adapt or developed to suit various needs? 2. RELATIONSHIP TO THE SURROUNDING SITE - how can ideas presented relate to the complexity of the natural ecosystems and culture of the site? 3. POTENTIAL FOR INTERESTING DEVELOPMENT can these ideas be further developed to create more unique solutions for the brief?

4 MOST SUCCESSFUL ITERATIONS The chosen iterations (right page) seem to exhibit the qualities I am seeking through parametric modelling. Firstly, these iterations seems to demonstrate a certain complexity through their form which can be related to the diverse and intricate qualities of the Merri Creek site. Form-finding through experimenting with the Green Void algorithm has allowed for these design possiblities to be generated which can be connected to the natural ecosystem of the existing site. Also, these iterations can be further developed or refined in interesting ways by making further alterations to the script if neccessary. This would allow for more unique designs to be produced easily through parametric design tools and assist in creating a unique design to answer the brief.

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The membrane relaxation techniques used for these designs through computation allows for minimal surfaces to be created - this is an important functional aspect neccessary in order to produce more sustainable solutions for the site. Importantly, minimal surfaces through form-finding can allow for reduced use of resources, an important factor to consider when designing for Merri Creek.

SPECULATING ON DESIGN POTENTIAL In attempting to change parameters and create alterations to the Green Void script, I have found that design possibilities and variations are almost limited through generative and computational design. The organic and complex iterations discovered through experimenting with the original algorithm have revealed design potentials for the Merri Creek site. There is potential to generate a design solution which can either be suspended between trees on site alongside the creek or assembled partially underground. The qualities of the iterations have proven to have qualities which can relate strongly to the natural ecosystem and environment of the site as well as the cultural aspects of Merri Creek.

Importantly however, the technique of mesh relaxation in particular can allow for a highly efficient design through the use of minimal material resources to allow for a more sustainable design. For instance, perforations in the membrane of the design or the use of a mesh structural system can allow for the design to be extremely lightweight, resource-efficient and possibly allow for a temporary structure which can easily be constructed and disassembled on site. There is good potential for a complex geometric design to be created which can be divided into separate, smaller strips or components and easily assembled in a time efficient manner - a technique which can be made much easier through the use of computation.

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B.3.

CASE STUDY 2.0

SYNTHETIC NATURE (ALVEOLATA_2_4_A) / VLAD TENU / 2013

Vlad Tenuâ&#x20AC;&#x2122;s Synthetic Nature project demonstrates the capabilities of generative computational methods and fabrication techniques in producing complex geometries which would be deemed impossible using manual methods of design. These prototypes by Tenu explore the form and spatial qualities inspired by nature (the behaviour of soap bubbles) to generate modular continuous surfaces which can expand infinitely on various scales.5 The project is also influenced by the Schwartz P surface, a type of minimal surface which has been used to not only increase the material efficiency of the project and create an aesthetically complex structure. The triply periodic minimal surface structure is produced through the repetition of modular components which are repeated through the use of computer simulated algorithms and creates a dynamic structure through generative form finding, allowing the surface to reach a state of equilibrium through surface relaxation.6 48

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The intent of the project is to explore the possibilities of minimal surfaces within architectural projects and creates elements which are able to be simply fabricated through differing shapes, materials and configurations. The modularity and symmetry of the pattern allows for an infinitely expandable geometric design which can be trimmed or left opened at its edges.7 Previous projects by Vlad Tenu, including the Minimal Complexity series from 2011, have used to the same techniques to be produced prior to Synthetic Nature at various scales and configurations. By subdividing the initial geometry into smaller components, the project allowed for ease throughout the fabrication and assembly process. Therefore, this project has proved its ability to be suited to a wide variety of briefs and differing functions. This further illustrates how algorithmic thinking can be used in modern architectural practice to produce highly adaptable designs.

FIG.7 VLAD TENUâ&#x20AC;&#x2122;S ALVEOLATA PROTOTYPE (SYNTHETIC NATURE SERIES) (LEFT PAGE) HTTP://WWW.VLADTENU.COM/2013/ALVEOLATA _ 2 _ 4 _ A-LONDON-2013/ FIG.8 TRIMMED MODULAR COMPONENTS ALLOW FOR NEW INTERESTNG GEOMETRIES WITH ORGANIC QUALITIES (TOP) HTTP://WWW.VLADTENU.COM/2013/ALVEOLATA _ 2 _ 4 _ ALONDON-2013/ FIG.9 MINIMAL COMPLEXITIES SERIES 2011 IN HOUSTON, CLEVERLY TRIMMING THE SAME MODULAR COMPONENTS AS AVEOLATA TO CREATE NEW FORMS WITH THE SAME INITIAL P SCHWARTZ GEOMETRY COMPONENT (ABOVE) HTTP://WWW.VLADTENU.COM/2011/HELLO-WORLD/ 49

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REVERSE ENGINEERING CASE STUDY 2.0 / SYNTHETIC NATURE ALVEOLATA_2_4_A / VLAD TENU / 2013

X X

X X X

X X

4. Patch surface

X X

1. Set Box and deconstruct brep

2. Retrieve points using item list and use these to create lines between points - mid point of edge A - vertice AB - centre point of box - centre of top face

10. Solve area for closed curves, find discontinuities, graft, merge, create Nurbs curves using points (dicontinuities), create planar surfaces from edges

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3. Evaluate curves - find points on lines - use new points to create curves

9. Construct triangular mesh (weaverbird), and face boundaries to convert mesh faces into polylines

final P Schwartz minimal surface

5. Mirroring and joining mesh patches to create full geometry of P Swartz minimal surface

6. Face boundaries (retrieve polylines of mesh), find dicontinuities along curves, create surface and smooth surface

trimming agianst sphere (failed attempt)

trimming against cone (successful attempt)

8. Trim mesh grid of geometry component against brep

7. Grid repetition

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FINAL OUTCOME OF REVERSE ENGINEERING

Although similar, the final outcome for reverse engineering the Alveolata prototype differs slightly from the original project by Vlad Tenu. The perforations created within the skin of the reverse engineered model vary in sizes as opposed to the original in which these punctures retain a uniform scale. The overall geometry has been trimmed similarly to the original model, however there are small discrepancies due to the specific angles used by Vlad Tenu to cut his model compared to the cutting angles testing within Grasshopper through altering parameters. Through further trial and error, a more accurate outcome can be obtained.

I would like to further test the definition obtained through this reverse engineering exercise, possibly through changing the initial geometry, testing forces applied to the structure using the Kangaroo physics plugin for Grasshopper, exploring the lightness and transparency that can be applied to the model and as a result, attempting to generate outcomes which differ from the original project.

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Final outcome for reverse engineering of Alveolata by Vlad Tenu, 2013 (prototype for Synthetic Nature series)

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B.4. TECHNIQUE DEVELOPMENT CASE STUDY 2.0 / ITERATIONS SUMMARY MATRIX

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ITERATIONS / SPECIES 1 / REPETITION AND MIRRORING

Changed parameters:

1. Grid matrix (series) 2. Rotation in x,y,z directions 3. Two-dimensional scaling 4. Kangaroo/spring forces 56

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5. Panelling and box morphing 6. Mirroring and direction 7. Trimming

ITERATIONS / SPECIES 2 / TRIMMING WITH PRIMITIVE GEOMETRIES

Changed parameters:

1. Trimming against primitive geometries (e.g. spheres, boxes,cones, etc.) 2. Grid matrix (series) 3. Rotation in x,y,z directions

4. Two-dimensional scaling 5. Kangaroo/spring forces 6. Panelling and box morphing 7. Mirroring and direction 57

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ITERATIONS / SPECIES 3 / TRIMMING WITH UNIQUE GEOMETRIES

Changed parameters:

1. Trimming against unique geometries (e.g. boolean joined geometric forms) 2. Grid matrix (series) 3. Rotation in x,y,z directions 58

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4. Two-dimensional scaling 5. Kangaroo/spring forces 6. Panelling and box morphing 7. Mirroring and direction

ITERATIONS / SPECIES 4 / RANDOM AND SELECTIVE CONGLOMERATIONS

Changed parameters:

1. Grid matrix (series) 2. Rotation in x,y,z directions 3. Panelling and box morphing 4. Mirroring and direction

5. Cull item (random deleting of components)

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ITERATIONS / SPECIES 5 / CHANGING INITIAL MINIMAL SURFACE

Changed parameters:

1. Input ‘minimal surface’ geometries 2. Trimming against primitive geometries 3. Grid matrix (series) 4. Rotation in x,y,z directions 60

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5. Two-dimensional scaling 6. Kangaroo/spring forces 7. Panelling and box morphing 8. Mirroring and direction

9. Rest length 10. Anchor Points 11. Two-dimensional scaling 12. Cull Item

SPECULATING ON DESIGN POTENTIAL The following iterations developed (below) seem to best reflect the intrinsic and organic qualities I am seeking in order to produce a design which strongly evokes aspects of the natural ecosystems and environment of the Merri Creek area. The original P Swartz minimal surface used by Vlad Tenuâ&#x20AC;&#x2122;s Aeveolata prototype is only one example of multiple possibilities of minimal surfaces. Through changing the initial input geometry and using mesh relaxation techniques through the Kangaroo plugin, more unique and interesting outcomes are able to be generated (as seen particularly within Species 5). Following the idea of the Alveolata prototype, the use of tesselation and repetition of the minimal surface used alongside clever trimming angle techniques allow for a unique aesthetic. Not only does this make these iterations visually striking, but it displays geometric complexity using simple minimal surfaces which can relate to the diversity of organisms and natural features of Merri Creek to produce a more site responsive and emotive solution. Additionally, the particular quality of the highlighted iterations to interchange between the inside and outside of the geometries displays complexity in itself, almost

producing an illusion which shows the potential of the design to be interactive with site visitors and appeal to their curiosity. I can see these iterations using perforated materials for a sculptural installation on site. This installation can possibly be partially suspended to appear floating and almost weightless, with perforations adding to the idea of a lightweight structure and allowing the design to appear almost one with the surrounding environment. Minimal surfaces will allow for reduced use of materials for the design, saving on resources and providing an overall more sustainable design solution for the site. Similarly to Case Study 1.0, there is potential for the repeated minimal surface components to be broken into smaller and separate pieces requiring simple connection to create the overall complex geometric form. Hopefully, this will allow for ease during the assembly process and fabrication process of the final, refined outcome and allow for the possibility of a temporary and moveable structure which can be easily put together and taken apart if neccessary to move to different locations.

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B.5. ECHNIQUE: PROTOTYPES In attempting to allow for efficiency in the fabrication and assembly process, smaller geometric elements were use to test how simpler components could be joined using less materials to create an interesting design aesthetic. For this prototype, I used heavyweight foil board (200gsm) for its flexibility and strength to allow for both ease of cutting and folding. This was important in testing the properties of the material when testing against twisting and bending forces to understand whether more organic and curved geometric forms could be used along with this technique. Experimenting with this material led to the realisation that other materials with similar characteristics (e.g. plastics such as polypropylene, acetate sheets) could be used to allow for this degree of flexibility.

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To test flexibilty within the arrangment of the geometric elements, pin joints were used to allow for movement, different configurations were explored while the component was flattened but also bent to allow for curvatures and test whether these components could be bent in interesting ways to create more complex geometric forms. Although the elements are standardised and repeated, if components of various sizes need to be produced the importance of using Grasshopper and Rhino within the fabrication process will allow for great efficiency within creating models later on. In saying this however, mass producing the same component to create the full design will allow for greater ease in both the fabrication and assembly process.

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B.6. ECHNIQUE: PROPOSAL SITE ANALYSIS A particular area of interest at the Merri Creek site is the CERES Community Park. CERES operates as a nonprofit sustainablity centre, aiming to to run educational programs on sustainability, green technology, urban agricultural projects and organic markets which allow the local community to become involved and aware of the surrounding natural environment. Importantly, the sustainablity centre allows thousands of people each year to learn about the culture and history of the site which belonged to the Indigenous Wurundjeri people for millennia, educating not only locals but visitors on the present local and global issues regarding sustainability. Since 1982, many volunteers and staff have helped to transform the once landfill site into a reenergised and vibrant community aiming to demonstrate the benefits of not only the environmental, but the social, economic and spiritual enrichment that comes from sustainable living.8

Merri Creek and nearby walking trail for visitors

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Locally grown herbs at CERES organic farm

Merri Creek Site

Scale 1:5000

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DESIGN PROPOSAL Nearby the CERES Community Park, the bike trail alongside Merri Creek allows many visitors passing by taking part in either leisurely and physical activites such as jogging and cycling. Therefore, the installation I propose for the site will aim to provide better interconnectivity between the creek and the CERES centre itself, defining a communal space in between the two spaces. The geometries generated through my technique are able to generate unique and intricate forms which not only symbolise the complexity of the site itself (with its extreme biodiversity and cultural indigenous history), but aim to achieve a higher level of interactivity with the proposed installation to invite users to the sustainability centre nearby. The design proposal aims to encourage Merri Creek visitors to visit the CERES Community Park to learn about its educational facilties and volunteer programs on sustainable practices in order to further enrich and bring life into the communal space.

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B.7. EARNING OBJECTIVES & OUTCOMES Throughout this studio (particularly through my research during Part A and technique devlopment in Part B of this document), I have been constantly challenged by the steep learning curve required to use parametric design tools. Computational techniques using Grasshopper, and even digital software such as Rhino, have proved a struggle for me as I have often avoided such methods in the past and opted for manual methods throughout most of my undergraduate degree. Although it has been difficult, I have been able to understand the roles of computation within architectural practice through the set of skills and parametric techniques I have been developing over the past couple of months. Although my knowledge and expertise on parametric design tools are still extremely underdeveloped, I have been able to understand the benefits of computational design in streamlining the various stages of the design process, Computational tools allow for generative designs, assisting in creating various complex and diverse iterations which would take alot longer through conventional modelling tools.

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Through Part B, I have been able to understand how programmes such as Grasshopper (and physics simulation plugins such as Kangaroo) can allow for parameters to be easily manipulated and numerous designs to be generated - therefore, various solutions are able to be explored in an extremely efficient manner. While practising my technique using geometry and tesselation (especially throughout Part B), I have constantly been impressed by the abilities of parametric design to uncover new design solutions which could not have been made possible through more time consuming and laborious traditional methods. Experimenting with my Grasshopper definition has allowed for a more playful approach to design and the ablility to generate unexpected and exciting new forms through small alterations to existing parameters. Moving forward, I hope to further develop my skills and increase my expertise using such computational programmes not only for Part C, but for application within real design practices.

B.8.

APPENDIX: ALGORITHMIC SKETCHES

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REFERENCES 1. Design Playgrounds, San Gennaro North Gate by SOFTlab, <http://designplaygrounds. com/deviants/san-gennaro-north-gate-by-softlab/> [accessed 26 March 2016]. 2. Vlad Tenu ‘Architecture. Design, Art.’, Minimal Surfaces as Architectural Prototpes

2009,

<http://www.vladtenu.com/2011/minimal-surfaces-as-

architectural-prototypes/> [accessed 26 March 2016].

3. Ethel Baraona Pohl, Green Void / LAVA, <http://www.archdaily.com/10233/greenvoid-lava/> [accessed 28 March 2016]. 4. LAVA (Laboratory for Visionary Architecture), Green Void, <http://www.l-av-a.net/projects/green-void/> [accessed 28 March]. 5. Vlad Tenu ‘Architecture. Design, Art.’, Alveolata _ 2 _ 4 _ A London 2013, <h t t p: // w w w.v la d te n u.c o m / 2 013 /al ve ola t a _ 2 _ 4 _ a - lo n do n -2 013 /> [accessed 2 April 2016]. 6. Vlad Tenu ‘Architecture. Design, Art.’, Minimal Complexity Houston 2011, <h t t p: // w w w.v la d te n u.c o m / 2 013 /al ve ola t a _ 2 _ 4 _ a - lo n do n -2 013 /> [accessed 3 April 2016]. 7. Design Playgrounds, Minimal Complexity by Vlad Tenu, <http:// d e signplaygro un ds.c o m /d e v ia n t s /minim al- c o m ple x it y- by- v la d - te n u /> [accessed 3 April 2016]. 8. CERES (Centre for Education and Research in Environmental Strategies), Welcome to CERES - About CERES, <http://ceres.org.au/about/> [accessed 30

April, 2016].

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PART C. DETAILED DE

ESIGN

C.1.

DESIGN CONCEPT

CHANGING THE ORIGINAL DESIGN PROPOSAL / ARTIFICIAL FISH HABITAT For Part C, we have decided as a group to follow a new design proposal which focuses on the benefit of the natural environment and ecosystems present at the Merri Creek site. Our design proposal will focus on the freshwater fish species present at Merri Creek and creating not only an environment, but increasing food production through the design of an artificial fish habitat.

By creating an artificial reef which will encourage food production and also provide a suitable environment for organisms within the creek, we aim to enrich the environment and discourage any further degradation to the natural site and animal life in accordance with the ideologies of the CERES Sustainability Centre.1

The removal of shrubs, branches and tree roots from Merri Creek over the years (to optimise water flow) have destroyed natural fish habitats which are crucial for the survival of species on site. Therefore, we will be designing to cater for the needs and benefits of the vast range of aquatic creatures (with a main focus on fish present at the Merri Creek site) which are at risk of becoming endangered due to unsustainable actions by humans within previous years.

DETAILED DESIGN

Creek bend near CERES provides suitable site for artificial fish habitat; fish population highest here and velocity of water current will optimise delivery of nutrients and enhance food production

Removal of shrubs have destroyed natural fish habitats on site - this provides motivation to design new artifical reef to revitalise Merri Creek ecosystems

DETAILED DESIGN

PRECEDENT SELECTION

MANGROVES Overhanging tree roots and shrubs provide an ideal habitat for a diverse groups of fish species. Long, tangled roots within shallow waters create shelter, shade and encourage production of organic matter.2

Qualities: - interweaving and definining of inside/outside spaces - enclosure through strips - natural and harmonious with environment

REEF BALLS Cast concrete or silica sand Reef Balls with perforations and interior enclosures provide sheltered environments for aquatic species. The roughened texture allows tiny water-based organisms to attach themselves to the surface, optimising food production and the settlement of marine life.3

Qualities: - enclosure - perforations (habitat spaces for fish species) - solid/rigid - curved/organic - textured (surface to encourage settlement of organisms) FIG.1 MANGROVES (TOP) HTTP://TIMLAMAN.PHOTOSHELTER.COM/IMAGE/I0000PMABLDDDKBS FIG.2 CONCRETE REEF BALLS (ABOVE)) HTTP://WWW.REEFBALL.ORG/BROCHURE.HTM FIG.3 SYNTHETIC NATURE (ALVEOLATA _ 2 _ 4 _ A) BY VLAD TENU (RIGHT PAGE) HTTP://WWW.VLADTENU.COM/2011/MINIMAL-COMPLEXITY-LONDON/ 78

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SYNTHETIC NATURE (ALVEOLATA _ 2 _ 4 _ A) VLAD TENU / 2013 The minimal surface (P Schwartz surface repeated within a repetitive grid and trimmed to produce the overall form) used within the Alveolata exhibits beautiful curved and interweaving spatial qualities suitable for the design of an artificial reef. This can also allow for the duality of a fish habitat, but also a unique and organic sculptural feature.

Qualities: - interweaving spaces - enclosure through strips and layers - inside and outside spaces - fluidity and rigidity - organic form/curves - complexity - natural and harmonious with surrounding natural environment - lightness

DETAILED DESIGN

DESIGN CONCEPT: REFLECTION AND SPECULATION With great consideration and reflection, we have noticed that differing types of triply periodic minimal surfaces can in fact be utilised to generate various design solutions. As we have now merged with another design team, our brief has changed. However, this will allow us to prove how our minimal surface design can be applied to a completely new brief and site. It will also allow us to demonstrate how our project (through minor alterations) can provide solutions to new design problems and become adaptable to suit various needs.

Our chosen technique (developed in Part B), involves the repetition of the P Schwartz surface within a 3-dimensonal grid and the trimming of this grid to generate various forms. Evolving our design and extending towards other types of minimal surfaces (such as the Gyroid) and continuing to trim these forms using clever angles, the beautiful curved and interweaving spatial qualities of the surface can be accentuated in new ways. These qualities will be applicable to both our Merri Creek Brief and our new project (sculptural installation) to serve both functional and aesthetic purposes.

NEW BRIEF: SCULPTURAL INSTALLATION FOR HAIR SALON Our new client (owner of small hair salon near Queen Victoria Market) has asked for a new sculptural feature to be installed within his workspace. The design is to be a prominent feature within the salon and can possibly be used with lighting to create a light feature which will be a focal point within the shop. Requirements of the installation:

1. Minimal black and white colour palate

2. To be positioned using rods (currently along upper wall of salon) and strings

3. Ideally installed between 2 large vertical mirrors on east side of the room

4. Intricately detailed and natural aesthetic Minimal surface - infinitely curved and interweaving spatial qualities

DETAILED DESIGN

Precedents: IMAGES OF P SCHWARTZ AND GYROID SURFACES (TRIPLY PERIODIC)

IMAGES OF site (HAIR SALON)

GENarcist (hair salon) - long, narrow space with high ceiling - rods on walls will allow sculptural installation to be hung using strings or thin wires

Gyroid Triply Periodic Minimal Surface Geometry - this will be the minimal surface to be further developed. The complex curvatures and organic qualities of the Gyroid are ideal for applying this geometry to various briefs (i.e. artificial reef and sculptural lighting installation)

DETAILED DESIGN

DESIGN POTENTIAL AND IMPLICATIONS As demonstrated through precedents by Vlad Tenu throughout his Minimal Complexity series of prototypes, minimal surfaces exhibit special qualities which can be applied to a variety of differing briefs and adapted to new sites.4 As demonstrated through this series of prototypes, scale plays an important role in the functionality and purposes of a design. For instance, by developing our design on a smaller scale (1m x 1m), this will provide suitable enclosures and small niches suitable for artificial fish habitats that encourage the production of food and benefit aquatic ecosystems.

Another important quality of the triply periodic minimal surfaces we are using is the repetitive nature and idea of infinitely expandable surfaces. In this way, our design has the possibility to “grow” throughout its form (and by trimming in unique ways) to suit a variety of purposes. Therefore, using our technique of repetitive minimal surfaces and trimming can allow for a range of design possibilities simply through making changes to parameters within our design definition.

On the other hand, by fabricating this same design on a larger scale (e.g. 3m x 3m), it can be applied to a new site as a small pavilion or sculptural installation.

FIG.4 MINIMAL COMPLEXITY LONDON 2012 BY VLAD TENU - MINIMAL SURFACE DESIGN AS A CENTREPIECE SCULPTURAL FEATURE FOR AN ATRIUM (TOP) HTTP://WWW.VLADTENU.COM/2013/MINIMALCOMPLEXITY-LONDON-2012/ FIG.5 MINIMAL COMPLEXITY RESHAPED LONDON 2013 BY VLAD TENU - TENU USES THE SAME MINIMAL SURFACE PROJECT FROM 2012, HOWEVER, THE DESIGN HAS BEEN RE-SCALED AND RE-TRIMMED TO BE APPLIED TO A NEW SITE AS A SCULTPURAL LIGHTING INSTALLATION (THIS DEMONSTRATES THE ADAPTABILITY OF MINIMAL SURFACE DESIGN) (BOTTOM) HTTP://WWW.VLADTENU.COM/2014/MINIMALCOMPLEXITY-RE-MIXED-LONDON-2013/ 83

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DESIGN DEFINITION / WORKFLOW DIAGRAM

REPEAT patch surface x6 to create one panel of Gyroid

Bounding box & DECONSTRUCT brep

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FIND CENTRE VERTICES & construct lines between these points

EVALUATE CURVES - find points on line - use these points to create curves

PATCH surface - to create part of the Gyroid minimal surface

MERGE surfaces

MIRRORING of mesh using planes FACE BOUNDARIES - retrieve polylines of mesh - find discontinuities along curves

WEAVERBIRD to join all meshes & weld

MESH & WEAVERBIRD to join all meshes & weld

ROTATION of mesh patch surfaces (using 3-fold rotational symmetry - this means NO mirror symmetries)

REPEAT 3-fold rotation x8 to get one full Gyroid Minimal Surface geometry

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DESIGN CONCEPT / CONCEPT GENERATION

BIOMIMETIC INSPIRATION / LOOKING TOWARDS NATURE After visiting the new site (modern and artistic location near Queen Victoria Market), our group recognised the light installation project to be an art piece that would communicate poetics through digital tectonics. Looking towards biomimicry, we became inspired by the complex beauty of the butterfly species and their transitory nature.

Microscopic images of the butterfly wing further show double layers and a cell pattern; these are similar traits to the composition of the Gyroid. Looking towards Vlad Tenuâ&#x20AC;&#x2122;s Minimal Complexity series for further inspiration (Alveolata prototype picture below), the composition of the twolayered structure will inform the development of our own design.5

Viewing the micro-structure of butterfly wings, we recognised the relationship between this and the chilarity of the Gyroid minimal surface.

FIG.6 BUTTERFLY SPECIES - LOOKING TOWARDS COMPLEXITIES IN NATURE AN AN INSPIRATION (ABOVE LEFT) HTTPS://AU.PINTEREST.COM/PIN/433260426629778052/ FIG.7 ALVEOLATA PROTOTYPE BY VLAD TENU (2013) DEMONSTRATES USE OF CONNECTING MACRO LAYER (LARGE WHITE STRIPS) AND MICRO LAYER (STRUCTURAL BLACK STRIPS) FOR MINIMAL SURFACE DESIGNS (ABOVE RIGHT) HTTP://WWW.VLADTENU.COM/2013/ALVEOLATA _ 3 _ 7 _ A-LONDON-2013/ FIG.8 VIEW OF BLACK AND WHITE BUTTERFLY WING PATTERN (TOP RIGHT PAGE) HTTP://WWW.FOTOTHING.COM/CHOICES/PHOTO/6DFCE670C0739499F050250DCB42FDDA/ FIG.9 MICROSCOPIC VIEW OF BUTTERFLY WING CELL LAYER (BOTTOM RIGHT PAGE) HTTP://S76.PHOTOBUCKET.COM/USER/BENMYERS/MEDIA/MOTH _ WING2 _ EDIT.JPG.HTML 86

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DESIGN CONCEPT / DEVELOPMENT / MACRO AND MICRO LAYERS

Patterned macro-layer

Structural cell micro-layer

2 layers of design - Bold black patterned top layer (macro-level) and clear/transparent structural layer (micro-level)

Pushing this concept of a double-layered structure, we have aimed to create a structural, cell micro layer (transparent) and patterned macro layer (black and white). In attempting to draw inspiration from nature, detailed and intricate patterns have been explored for the macro and micro layers of the design. Both layers are extremely detailed and intricate, as inspired by complexities within nature.

Development of cell layers upon triangulation pattern

Parametric design using Grasshopper allows us to provide holes at intersections between the macro an micro layer structure for connection points. The triangular mesh pattern of the gyroid is hidden by the detailed and organic pattern of both the cell and pattern layers. This allows for a design of higher quality which showcases the beautiful complexities of the layers themselves.

Fusion of 2 layers of design - application of cell (micro) layer and patterne 88

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ed (macro) layer to Gyroid surface 89

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DESIGN CONCEPT / DEVELOPMENT / P SCHWARTZ vs. GYROID Upon exploration, it was realised that while various minimal surfaces contain similar qualities they also have differing characteristics. This led to the evolution of our original minimal surface to one of higher complexity. The P Schwartz minimal surface (used in Part B) was realised to exhibit symmetrical qualities which were not present in other minimal surfaces. As we discovered, the Gyroid (unlike the P Schwartz geometry) is a minimal surface which features a 3-fold rotational symmetry.

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Therefore, the Gyroid surface features no symmetry throughout its form and exhibits a more organic and natural aesthetic. The interweaving spatial qualities and extreme curvatures of the Gyroidâ&#x20AC;&#x2122;s continuous surface display ideal qualities which relate to the biomimetic concept of our design. These characteristics also allow the design to become adaptable to various briefs, as they are able to serve both functional and aesthetic purposes applicable to both the artificial reef and the sculptural lighting installation.

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DESIGN CONCEPT / DEVELOPMENT / PATTERNING Relating back to the site and the clientâ&#x20AC;&#x2122;s needs, the coloured pattern of the macro-layer was developed by exploring various black and white schemes which would conform to the minimalist interior of the hair salon itself.

Therefore, the pattern developed predominantly consists of black, using thin white strips to follow the curved edges of the Gyroid. This pattern will accentuate the complex curvatures and highlight the beautiful interweaving qualites which are unique to our design.

It was decided early on that the pattern should consist of mainly black, as the detailed pattern layer would provide a stronger contrasting and visual impact against the white walls of the space.

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DESIGN CONCEPT / DEVELOPMENT / FORM

“SWARM” LOGIC Looking towards our biomimetic concept, we began to develop an overall form for our design based upon the collective behaviour of selforganised systems within nature. Using this idea, we began to explore various asymmetrical forms inspired by the transitional and emergent behaviour of biological systems evident through swarm intellegence.

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Asymmetrically trimming a box grid of Gyroids allowed for a more natural and transitional effect throughout the design. Additionally, the refinement of a more organic form allows our installation to retain and highlight the complexities and interweaving continuous surfaces of the Gyroid geometry.

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Polypropylene lamps by Danish design company, Vita (2012) - easily assembled through small â&#x20AC;&#x153;petalâ&#x20AC;? polypropylene components which can be curved by hand and joint with fixed connection to create a rigid final form 96

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C.2. ECTONIC ELEMENTS & PROTOTYPES As our design will be applicable as a sculptural lighting installation and an artificial reef, exploration of materiality is necessary in order to discover the most ideal options to suit both briefs. The restricting nature of an underwater design sets limitations for material options. Therefore, important factors which need to be considered include:

1. Toxicity (as to not pollute the water and harm natural water-based ecosystems) 2. Durability/longevity 3. Availability (readily available and accessible within the time constraints of the project) 4. Cost/affordability 5. Aesthetic quality & visual appearance

MATERIALITY: POLYPROPYLENE Polypropylene is non-toxic plastic material which remains relatively stable when immersed in a waterbased environment. This means it is a suitable material for an artificial reef, as it will not pollute water and or harm the natural ecosystem present at Merri Creek. This material is also recyclable, allowing for a more sustainable and environmentally friendly design. The flexible and durable qualities of polypropylene can allow it to be easily curved in order to produce our minimal surface design and effectively hold its shape if used together with appropraite connections. Orchid Light Shade by Alex Earl (2008) - thin polypropylene sheets are cut into smaller components and bent to create an organic and curved aesthetic derived from nature Combined with soft, ambient light to produce a poetic, sculptural design

Polypropylene can come in matte or semi-reflective surface finishes and is easily malleable and flexible (while also being able to retain strength and rigidity).6 These properties (along with the clean, precise and high quality finishes of the material) make polypropylene an ideal material choice for the both a sculptural lighting installation and an artificial reef design.

FIG.10 (LEFT PAGE) HTTP://INHABITAT.COM/VITAS-GORGEOUS-FLAT-PACK-LAMPS-CAN-BE-MIXED-AND-MATCHED-TO-CREATE-FRESH-NEW-DESIGNS/VITA _ DENMARK _ SILVIA-LAMPS _ LONDON-DESIGN-FEST-2012-10/ FIG.11W (ABOVE) HTTP://WWW.ALEXEARL.COM.AU/LIGHTING/ORCHID/ 97

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PROTOTYPE 1 / INITIAL CONSTRUCTION TECHNIQUE: STRIPS

Fixed pin joints were used for this first prototype, as the main focus was to test the scale of one of the 8 surfaces required to make one full P Schwartz minimal surface geometry. 150X150mm scale proved to be extremely difficult to fold and tedious to join panels.

1 of 8 panels required to form one P Schwartz minimal surface - this prototype was developed while focusing on designing for the artificial reef - attractor points have been used to allow for variations in perforation sizes and create small niches for organisms to settle and encourage population growth.

Colour-coding panels allows for ease of identification of unrolled strips during the documantation process assists later on in when assembling fabricated strips to form panel prototype. 98

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COMPONENTS AND ASSEMBLY / PROTOTYPE 1

Numbering also used to identify unrolled strips - While exploring perforations on the form, a triangulation pattern could be identified. This triangular pattern led to the recognition of strips that could be flattened/unrolled and used with laser-cutting. This technique allowed larger scales to be explored, which would have been a major restraint with 3D printing (maximum size 100x100mm). However, visibility of triangles in prototype creates an unappealing aesthetic which detracts from the overall visual of the design (top of left page).

11 individual components were required for 1 of 8 panels for P Schwartz surface. As the selected strips were not chosen carefully, this led to 5 singular triangles to be extracted for each surface (40 per P Schwartz geometry) and 6 strips. This was realised to be extremely inefficient during fabrication and assembly.

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COMPONENTS AND ASSEMBLY / PROTOTYPE 2

Scale changed from 150x150 to 300x300mm - this creates a more suitable scale for the surface, minimises the amount of surfaces that need to be created later on when fabricating the final form

11 strips reduced to 6 strips per panel - reduces number of components needed per surface and allows for more easier assembly panel

600x600mm polypropylene sheet fits 15 strips - more than 3 sheets required to fabricate one full P Schwartz geometry

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PROTOTYPE 2 / DEVELOPMENT: STRIPS & TAB CONNECTIONS

Prototype 2 was fabricated prior to the evolution from our P Schwartz minimal surface to a Gyroid. This prototype explored tabs as a means of joining strips during the assembly process. After assembling this prototype, it was realised that issues regarding connections could be resolved by joining these tabs to form a singular, spine-like internal structure. This could provide an internal second layer which becomes part of the design itself.

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Aluminium eyelets (top left page) were used for connections and initially provided rigidity to the surface once all strips were joined.

EYELET ISSUES: - Inconsistent clamping of material - Eyelets prone to slipping out of place - Eyelet tool unable to reach inner joint greater than 50mm from edge of material

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PROTOTYPE 3 / OVERLAPPING LAYERS & NEW JOINING SYSTEM Overlapping tab joint provides a cleaner connection to previous prototypes but tab visibility on underside of Gyroid panel produces an ugly aesthetic and inconsistency through layering tabs (bottom left page). Also, burn marks from laser-cutting are clearly visible on white polypropylene, although this can be cleaned off using water and a rough sponge.

Gyroid panel

Overlapping tab joint

REALISATION OF NEW CONNECTION: RIVETS After some consideration, the use of rivets rather than eyelets led to the realisation of utilising smaller joints that can provide better strength and rigidity while alsa transitioning more efficiently with the design when viewed from afar.

Eyelet and rivet (comparison in size)

REFLECTION ON PROTOTYPES 1,2 & 3 During this stage of prototyping, we hadnâ&#x20AC;&#x2122;t developed the final Gyroid design into 2 layers (macro and micro layers discusse in C.1.). However, through these initial prototypes (1, 2 and 3), more efficient methods of fabrication and assembly have been recognised as well as a more resolved joining system. Burn marks clearly visible on white polypropylene 103

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PROTOTYPE 4 / ESTABLISHING CORE CONSTRUCTION TECHNIQUE: LAYERS & PATTERNING Throughout the fabrication and assembly of the macro and micro layers, various issues were detected in our current design. Firstly, the miscalculation of hole sizes in both the macro and micro layer meant our rivets would not fit through these holes properly. However, this is issue which can easily be fixed through fixing parameters within the Grasshopper definition to widen the diameter of these holes to the required size of 3mm. The use of rivets over eyelets as a cheaper and stronger connection has been realised, as these are able to clamp the material much more firmly and ensure the connections do not fall out. In addition to this, we will attempt as we refine the design of our macro and micro layers to account for less joints using rivets. This will reduce the time taken to construct the panels and optimise our system when assembling our final design.

Overlapping layers

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The transparent cell layer of our design was meant to provide rigidity and support through the panel when joined with the black and white pattern layer. However, the very delicate and detailed pattern applied to the micro layer through laser cutting the polypropylene was found to compromise the materialâ&#x20AC;&#x2122;s strength. Later on, we may change the patterning of the micro layer to reduce the amount of detail and retain the material strength. This will be extremely important in fabricating and constructing our final design, as the structural integrity is vital for creating a form that will remain rigid and not slag down in certain places. Although a successful method of fabrication and construction were established through this prototype, the physical labour (6 people) and time taken to build this one Gyroid panel was found to be extremely inefficient. This was mainly due to the number of joints and strips required to make the panel and a lack of an effective system in assembling.

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Polypropylene has proven to be an ideal material for our design, providing a clean and high quality aesthetic we have been aiming for. The fabrication of our cell and pattern layers through laser cutting produced burn marks along edges of our detailed strips. These were particularly visible on the clear and white polypropylene strips. However, these can simply be cleaned off the material later on using water and a rough sponge. The two panels assembled for this prototype cost over $100 for laser cutting, as the intricate and organic details of the macro and micro layer increased the amount of cutting time for the polypropylene significantly. However, the overall cost can be reduced when fabricating the full final design using the $70 cap provided at FabLab for students, allowing for a more cost efficient solution to an otherwise expensive installation.

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PROJECT PROPOSAL

Each panel consists of a total of 17 strip components that when assembled, create 1 of the 8 panels required to form a full Gyroid. This includes 17 pattern strips for the macro layer (9 black, 8 white), and 17 clear strips for the transparent and more intricately detailed micro layer. When further developing our design for fabrication in the coming weeks, we will attempt to lengthen these strips across multiple Gyroids (rather than just one panel) in order to decrease the amount of these required for a full model. This should reduce the assembly time and increase efficiency when constructing our final design.

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PROJECT

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Although it will be necessary to reduce the detail within the transparent cell layer of our design, we discovered that installing a light within our model provides the opportunity to create a beautiful light feature. The light and shadow patterns produced through our detailed macro and micro layers create an emotive and ambient atmosphere. This poetic and artistic lighting effect is special part of our design and has the potential to cultivate creativity. This is something we would like to maintain for our final installation to demand a response from our client and his customers; one of curiosity and intrigue.

Importantly, the interweaving and fluid properties of the Gyroid surface along with the chosen construction technique of layering strips provide interesting small niches throughout our design. These tiny spaces produced display the opportunity for our sculptural lighting installation to be applied to the Merri Creek site as an artificial reef, as these strip surfaces and enclosure of spaces provide an optimal environment for marine organisms to prosper and thrive.

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Although we havenâ&#x20AC;&#x2122;t built the final Gyroid form, a possible concern may be the weight of the installation and whether it will be able to retain its structural integrity when hung on site. We need to consider how the design will be installed on site, whether using strings and wires which attach to rods on the walls above. Our design has been scaled between the 2 vertical mirrors (maximum length 3500mm), not exceeding more than 350mm from the wall. This is an appropriate scale for the rectilinear area in which our design will be installed, as it will make a statement but not overwhelm the space itself. 122

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We have anticipated a final form that is still evolving and in the process of refinement; this includes the form itself and the patterning of both layers. Through nearly perfecting our prototypes, the project is now in its final stages. During the coming weeks, we will start communicating more intimately with the client and the site.

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C.4. LEARNING OBJECTIVES

& OUTCOMES

Throughout the semester, my understanding of computational design has extended towards the realisation of unique and highly explorative outcomes made possible through parametric software. ¬The significance of parametricism and computation in enhancing the problem-solving ability of the designer has become ever more clear, allowing for the generation and exploration of various outcomes while providing simpler means than traditional methods in efficiently resolving design issues. Particularly, this notion has been acknowledged throughout the fabrication and construction processes of various prototypes during Part C. As many problems have been encountered regarding our joining systems, strips patterns and layering techniques, these all have been proven to be easily resolved within a time-efficient manner through simple alterations to parameters within the Grasshopper definition. I believe my experience in this subject has enriched my understanding of design as a whole, inspiring me to push beyond conventional and manual methods of design which have restricted me in the past due. Throughout Part C, I have become much more aware of the benefit of computation in producing a logical, fluid and almost seamless workflow throughout the design process; ranging from generative design and explorative aspects to fabrication and assembly processes. Additionally, this digital design continuum has proven to generate highly accurate and detailed designs with ease, as realised throughout the development of our installation’s highly intricate double-layered structure within Part C. Although my expertise level in parametric modelling is still quite underdeveloped, I am intrigued to continue learning and expanding my skillset in regards to algorithmic design. Ideally, this will allow me to explore highly unique and “limitless” possibilities within the digital realm; possibilities which can be translated into reality through the fabrication of tectonic assemblies and the application of these within real-life design practices in the near future.

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REFERENCES

1. CERES (Centre for Education and Research in Environmental Strategies), Welcome to CERES - About CERES, <http://ceres.org.au/about/> [accessed 3 May,

2016]. 2. Cheryl Blackerby, Along the Coast: Sculptor’s artificial reefs ready for divers, <http:// thecoastalstar.com/profiles/blogs/along-the-coast-sculptor-s-artificial-reefs-readyfor-divers> [accessed 9 May 2016]. 3. The Reef Ball Foundation, “Saving Our World’s Marine Reef Ecosystems Using Designed Artificial Reefs”, <http://www.reefball.org/brochure.htm> [accessed 9 May 2016] 4. Vlad Tenu ‘Architecture. Design, Art.’, Minimal Complexity Reshaped London 2013,

<http://www.vladtenu.com/2014/minimal-complexity-re-mixed-

london-2013/> [accessed 5 June 2016]. 5. Vlad Tenu ‘Architecture. Design, Art.’, Alveolata _ 2 _ 4 _ A London 2013, <h t t p: // w w w.v la d te n u.c o m / 2 013 /al ve ola t a _ 2 _ 4 _ a - lo n do n -2 013 /> [accessed 6 June 2016]. 6. Allplastics Engineering, “Polypropylene”, <http://www.allplastics.com.au/ engineering-plastics/polypropylene> [accessed 6 June 2016].

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