AIR rebecca yang architecture studio 2016
TA B LE O F CO NTENTS 4
PART A: CONCEPTUALISATION
6
A.01 DESIGN FUTURING
8
PRECEDANT: THE MALATOR HOUSE
10
PRECEDANT: GEODESIC DOME
12
A.02 DESIGN COMPUTATION
14
PRECEDANT: BUILDING ACADEMY EXTENSION FOYER
16
PRECEDANT: THE DERMOID INSTALLATION
18
A.03 COMPOSITION & GENERATION
20
PRECEDANT: SQUIGGLE RACK
22
PRECEDANT: MINIMAL COMPLEXITY
24
A.04 CONCLUSION
26
A.05 LEARNING OUTCOMES
28 APPENDIX 30 REFERENCES
32
PART B CRITERIA DESIGN
34
B.01 RESEARCH FIELD: TESSELLATION
38
B.02 CASE STUDY 1.0: VOLTADOM
46
B.03 CASE STUDY 2.0: TETRAMIN
52
B.04 TECHNIQUE: DEVELOPMENT
60
B.05 TECHNIQUE: PROTOTYPES
62
B.06: TECHNIQUE: PROPOSAL
70
B.07 LEARNING OBJECTIVES AND OUTCOMES
72 APPENDIX 74 REFERENCES
76
PART C: DETAILED DESIGN
78
C.01 DESIGN CONCEPT [PART 1]
82 88
P SCHWARTZ MINIMAL SURFACE: ARTIFICIAL FISH HABITAT DESIGN
C.01 DESIGN CONCEPT [PART 2]
90
SITE & BRIEF
92
GYROID MINIMAL SURFACE: GENARCIST INSTALLATION PROJECT
102
DESIGN WORKFLOW DIAGRAM
106
C.02 TECTONIC ELEMENTS & PROTOTYPES
120
C.03 FINAL DETAIL MODEL
128
C.04 LEARNING OUTCOMES
130 REFERENCES
P A R T
4
CONCEPTUALISATION
A
C O N C E P T U A L I S A T I O N
CONCEPTUALISATION 5
A.01 DESIGN FUTU
6
CONCEPTUALISATION
URING
On one hand we are at the brink of an infinite number of never before seen breakthroughs in all major disciplines of human effort, on another, our world has finally found itself to be comfortable enough to afford taking the time out to ponder a negative significance of our present actions on future generations. In the scheme of things, the role of design has become essential as we quest to discover possible outcomes to determine a future for the en masse, or even a future at all 5.
A critical need to control the direction of things by design has been realised, and the designer’s role has been elevated from trivial matters of superficiality, to one that weighs the pros and cons of estimated realities 4 while redirecting the present with an ethical approach.
On the way, we start to understand things such as that, regardless, our anthropocentric future must incorporate definite factors like technology as equally an important foundation upon which our civilisation will stand, as natural ecology 5. We start considering the impact of capitalism on the global scale, and how to bring about a radical change among societies completely content with living unsustainable lifestyles 4.
Thus we find ourselves asking, how do we secure a future? How do we change the present?
How do we go about
“design futuring�?
CONCEPTUALISATION 7
TH E M AL ATOR FUTURE SYSTEMS DRUIDSTONE, PEMBROKESHIRE, WALES 1998
The Malator, a house in Wales, is an eccentric subterranean dwelling located within the Pembrokeshire Coast National Park, built by the British architectural practice, FUTURE SYSTEMS, by commission of a former member of Parliament. The house is a living representation of the time’s concerns of sustainability and building, but still remains an uniquely attractive creation in its own right, emphasising particularly on almost no obstruction to the natural landscape11. The efforts behind the design was, and still is considered, a product of an avant-garde theory of subterranean dwelling 9 that places houses in co-existence with nature and the natural, expanding green spaces and allowing for non-human ecosystems and communities to flourish. The discourse is placed as an alternative to urbanisation, wherein spaces are built exclusively for humans, proposing a future in which co-existence is a reality. On a much smaller scale, but such theories also retain sustainable characteristics in the saving of energy spent on active heating and cooling systems, relying mostly on the surrounding earth to insulate the interior appropriately 9. Perhaps due the radical nature of the preposition enforced by the Malator, subterranean dwelling still remains today an uncommon practice of house building. However, even now, the house is having an active contribution to the discourse of design futuring, whether it be incorporated as a fictional aspect of the movie or literature culture, or a proposed possibility by professionals as a way of life for future civilisations. In 2012, the house was listed as part of Architectural Digest’s compilation of the Most Innovative Houses of the Last Century11 and recent years has seen a greater contemplation of how the theory could evolve to potentially build a subterranean city, as summarised by a 2013 Smithsonian article.
8
CONCEPTUALISATION
A.01 DESIGN FUTURING
FI GU R E 1. [A B OV E ] T h e M a l ato r H o us e FI GU R E 2. [ L EF T, U PPER] El e v at i o n o f t h e M a l ato r H o us e FI GU R E 3. [ L EF T, LOW ER] Pl a n o f t h e M a l ato r H o us e
CONCEPTUALISATION 9
GEODESIC DOME BUCKMINISTER FULLER EARLY 20TH CENTURY
During the early 20th Century many architectural projects came to focus their efforts on the issue of insufficient housing for an anticipated growing future population. As contribution to this discourse Buckminister’s Fuller’s research on structure and geometry resulted in the creation of the geodesic dome, an anticipated improved form of shelter. The dome was a demonstration of radical ideas of revolutionised house and a theory of ‘energetic-synergetic geometry, wherein Fuller proposed hybrids of two types of structures or geometry would surpass the originals in strength and flexibility. Expanding on this research, he also designed early prototypes of futuristic shelters inspired by the dome, such as the US Pavilion [Figure 6] in 1967, utilising the light new materiality used to craft airplanes, as a primary structural material. Buckminister also coined the term ‘Spaceship Earth’ in his aspirations for the geodesic dome as an all-encompassing shelter covering cities within which climate and all its reliant factors could be controlled [FIGURE 5]. The resulting building, translated as a house proposed to revolutionise building by it’s lighter weight and futuristic appearance but was essentially stronger, internally more spacious (due to the spanning abilities of the dome), cheaper to manufacture and run, with 30% less surface area causing for equally a third less heat transferring and more adaptable to natural changes and disasters7. Today, the geodesic domes have left a significant mark on modern design. Like Fuller’s time, the geometry has become an inspiration as we seek methods of designing for the future, now the primary doom being realised as a need for sustainable methods of housing and building. The structure itself has become imprinted as an iconic part of sci-fi culture , and also come to be incorporated as part of modern built designs, at times evolving into alternative compositions from the purely triangular form.
10
CONCEPTUALISATION
A.01 DESIGN FUTURING
FI GU R E 4 . [A B OV E ] G e o d e si c D o m e s t r u c t u re i n s te e l FI GU R E 5. [ R I G H T, L EF T SI D E ] Fu t u r is t i c c i t y b y Fu ll e r FI GU R E 6 . [ R I G H T, R I G H T SI D E ] US P av i l i o n at E X P O ‘ 67, M o nt re a l, C a n a d a FI GU R E 7. [ L EF T ] D i a gr a m o n t h e sp a n n i n g a b i l i t i e s o f t h e d o m e
CONCEPTUALISATION 11
“This is precisely where computers excel. If we could find a way to take advantage of the abilities of computers where ours
fall short, and use our own abilities where computers’ fall short,
we would create a very powerful symbiotic design system: computers will contribute their superb rational and search With the ushering of an era so completely defined by technology, we as designers are being forced to acknowledge that design can
abilities, and we humans will contribute all the creativity and intuition needed to solve design problems.”
no longer be defined as it had been in our parents’ generation. A need has thus arisen to reevaluate the process with a
- Kalay, Architecture’s New Media 20048.
consideration for computational methods included, resulting in a discipline wherein the term design is no longer limited as the initial step of conceptualisation but is now able to encompass the entire process leading up to the final product10. What had previously been a linear system of communication between persons of various practices has essentially, by computers, become simplified. New methods of complex form finding, material and structural development, and fabrication have been offered to us as the modern tools of design. As Kalay states however, despite the complex abilities of computers, excellent computational design may only be ultimately achieved by man’s own creativity and intuition manipulating the flow of technological process8. Thus we come into an era in which a symbiotic system of man and computer defines a new future for design.
A.02 DESIG 12
CONCEPTUALISATION
GN COMPUTATION CONCEPTUALISATION 13
FI GU R E 8 . [A B OV E] B u i l d i ng Ac a d e my E x te nsi o n F oye r FI GU R E 9. [R I G H T, L EF T] F lu i d si m u l at i o ns FI GU R E 1 0. [R I G H T, R I G H T] 3 D m o d e l s of s t y r of o a m f o r mw o r k 14
CONCEPTUALISATION
A .02 DESIGN COMPUTATION
THE BUILDING ACADEMY EXTENSION FOYER SOMA SALZBURG, 2012
The foyer extension of the Building Academy of Salzburg was a unique project that utilised unconventional concrete techniques to construct a free-formed roof structure. The form of the design was generated by investigations into fluid properties by simulation using the computational software, Realflow [Figure 8], through input parameters of viscosity, density and surface tension to observe a generated pattern that would ultimately have a great proportion of holes. Simultaneous to the form finding process, functional zoning and structural testings were applied in order to conceive a geometry physically possible before the model was sent to Rhino for technical finishes, and then fabrication. Creation of the roof structure relied heavily upon numerous 1:1 models, achieved by CNC milled styrofoam moulds, that tested surface lighting effects and tessellation methods that would be applied as finishes to the end design. The CNC milling technique was also a key part of the fabrication method in cutting styrofoam formwork [Figure 9] for the reinforced concrete structure to be cast in 6 . Form finding through computational tools is a new perspective on design by digital technology, and is one that has immense potential for the future of design, the architect now being able to achieve a wider range of forms of heightened complexity10. Combined with the ability to also consider real-life limitations of construction for the concrete structure at the same time, the architect was allowed flexibility in refining for an ultimate arrangement.
CONCEPTUALISATION 15
FI G U R E 1 1 . [A B OV E] T h e D e r m o i d I n s t a l l ati o n FI G U R E 1 2 . [R I G H T ] D e ve l o p m e nt of s tr u c t u r e 16
CONCEPTUALISATION
A .02 DESIGN COMPUTATION
THE DERMOID I N STALL ATI ON | S I A L / R M I T/C I TA / R O YA L A C A D E M Y O F F I N E A R T S , CO P E N H A G E N | SALZBURG, 2012
The Dermoid Installation was a research project collaboration that investigated the application of digital design and fabrication in constructing reciprocal frame systems, and a form that could be derived from such material behaviour. This research would not only propose to reduce the quantity of materials needed on architectural projects but would increase sustainability and innovate a more intelligent form of future building. With wood as the primary test medium, bend and flex properties were essential qualities that shaped the process of design. Using digital tools, the form of the spatial enclosure was realised by inputing curvature into an ellipsoid body before applying a hexagonal pattern upon the topology, that would later be used to coordinate the positioning of beams. Once material parameters (of the wood) were embedded as geometrical constraints to the model, inflation of the structure through Kangaroo was utilised and the resulting system behaviour was observed. Fabrication was then completed by laser cutting techniques, coordinated by computational programs 6 . In the integration of computational techniques to the design, the primary benefit was in the ability to receive instant feedback and thus being able to predict, to a certain degree, the overall performance of the final installation. This reduced time and labour committed to the project, the Dermoid Installation having been designed, optimised, fabricated and assembled in less that two weeks with 3-6 people applying themselves at any given time 6 . More importantly however the project exemplifies the possibility of technology in aiding a research to compose a new technique for building in an efficient and informative way.
CONCEPTUALISATION 17
Architecture has long b
space and form as judge technology continues to
as an integral aspect o
design’, an alternative to
is presented to us in the
The true value, howeve
noticed by firstly, an abilit
complex design problems
advanced results that wo
without the aid of com
scripting by algorithms h with an even greater
computational processes
A.03 COMPOSITION & GENERATION 18
CONCEPTUALISATION
been an art of composing
communication with which a system of codes can be
the development process of design, applying the
ed by the architect, but as
interpreted by humans, and then modified according
information to contribute as a form-finding strategy1.
establish itself more firmly
to a design intent2. As algorithms are inherently reliant
of ‘modernity’ and ‘modern
on the relationship between codes, generated form is
o compositional architecture
thus, the unexpected product of exploration through
e form of generative design.
modification of interrelationships between data and observing the resulting order, form or structure
er, of generative design is
produced.
ty to comprehend incredibly
“Despite numerous benefits offered to us by computational design, a primary setback is realised if the fact that the technology and softwares are not readily available for anyone, nor is it easy for one to become proficient with the application of it1. Although firms nowadays have been known to either hire, or
s and solve them to produce
Secondly, generative design has created an
collaborate with designers who have proficiency in
ould normally be impossible
opportunity where architecture can no longer be easily
algorithmic scripting and parametric systems, due to
mputers1. Not only so, but
distinguished from construction. What was once
the all-encompassing nature of computation, a solid
has empowered the designer
regarded as a practice wherein the bulk of the work laid
understanding is essential regardless.
assertion of control over
in the pre-building phase of a project, now integrates
s by creating a method of
real-life constructing limitations and possibilities into
N
CONCEPTUALISATION 19
FI GU R E 13 . [A B OV E] T h e S q u ig g le R a ck FI GU R E 14. [R I G H T, R I G H T] T h e e x is t i ng m o d u l a r co m p o n e nt s FI GU R E 15 . [R I G H T, L EF T] S a m p le of t h e e n d p r o d u c t v a r iat i o ns
20
CONCEPTUALISATION
A .03 COMPOSITION & GENER ATION
SQUIGGLE RACK FA D S T U D I O NEW YORK, 2013 Squiggle Rack is a bicycle rack design that was commissioned by the New York City Department of Transportation. The project generated organic forms through the use of an algorithm based on cellular automaton techniques that would build off an existing modular system of eight components [FIGURE 14]. In order for the system to consistently generate possible working design configurations each module retained some form of symmetry and redundant connections, allowing for flexibility in the connection between two modules. Over 800 useable variations of the rack could be generated as a result of the algorithm, an aspect that not only contributed massively to enriching the urban environment in general but also provided an economically advantageous solution for mass producing a range of the product that would individually be unique in composition3. The project is a primary example of the impact of computation from a quantitative perspective. Whereas traditional methods of compositional design strived to continuously refine an idea over the course of design to produce a single result, we are now able to explore multiple options and refine them simultaneously to present a selection of designs, sometimes within a shorter time span. In fact, this presents a new perspective on the role of the architect, if considering that a design may no longer be exclusively regarded as a singular product, or solely applicable to a certain environment.A certain element of flexibility has been incoporated into the profession, and the future of architectureal practice.
CONCEPTUALISATION 21
FI GU R E 1 6 . [A B OV E] M i n i ma Co m p le x i t y FI GU R E 17. [R I G H T, TO P] P r o ce ss of t h e s e lf- o r g a n is at i o na l b e hav i o u r FI GU R E 1 8 . [R I G H T, B OT TO M] S o a p f i l m si m u l at i o n a n d o p t i m is at i o n 22
CONCEPTUALISATION
A .03 COMPOSITION & GENER ATION
MINIMAL COMPEXITY VLAD TENU LONDON, 2010 Submitted as an entry, and subsequently winning the 2010 REPEAT digital fabrication competition, Minimal Complexity was the result of an emergent parametric system that investigated form inspired by principles behind the ‘state of equilibrium’, or relaxation that may be observed in nature as a reaction to conserve energy. An algorithm was thus created and applied to a translated model obtained by virtual 3D simulation of soap films, to program a continuous update of self-organisational behaviour to the generated form whenever iterations were modified, in order to achieve a minimal amount of tensile energy between components without causing the end result to disintegrate. The end result was then manipulated so as to only incorporate 16 different components (manufactured by laser-cutting) to compose the dynamic surface of the structure, in consideration for ease of fabrication and modelling3.
Minimal Complexity is a project where the practices of architecture and construction have overlapped to become a part of the same design step. Rather than construction following design generation, a new connection has been created so that building methods and theories may contribute and feed the process, as tested and arranged by the algorithm and set parameters. In doing so, investigation into more complex methods of material and structural arrangement may be achieved to innovate new technology and contribute to a greater discourse of parametric design.
CONCEPTUALISATION 23
It is essential to realise the impact of new technology on the modern world and the changes that are made on the practice of architecture as a result. The introduction of computers must be recognised as more than a new tool for architects, and identified as a new branch upon which the design discourse will be reevaluated and expanded from. With the aid of computers we may now achieve greater complexity in both aesthetics and engineering and feed our design process with real-life limitations to obtain a more sustainable and dynamic reality. The definition of design has changed. The method of design has changed. And the architect’s role has developed to encompass more than the initial design proposal.
24
CONCEPTUALISATION
A.04 CONCLUSION
My intention for a design project is to create something that may enable a user to interact more acutely with their surroundings. To do so, I would like to consider elements associated with senses other than of the visual, in an effort to ultiamtely recreate the experience for those who may (for example,) not be able to see. I intend to utilise design computation to explore in particular, textures and in order to comprehend the overwhelming quanitiy of environmental factors that will be affecting the project. As I had deemed the site to be underwhelming as a whole, with this design I hope to enrich the overall experience of Merri Creek on completion.
CONCEPTUALISATION 25
26
CONCEPTUALISATION
A.05 LEARNING OUTCOMES
In the exploration of the technological aspect of the architectural discourse, I have definitely become more aware of the present issues and direction of which the practice will develop in the near future. Rather than from the readings, I feel that in being exposed to the architectural precedants that have aided my research, I have been influenced in the sense of being inspired in how computation can be applied and the limitations/possibilities of exploring the process. Although I have not thoroughly considered using these techniques to imporve on past design projects, I do believe redoing the projects and incoporating parametric design would be immensely exciting.
CONCEPTUALISATION 27
28
CONCEPTUALISATION
A. 06 APPENDIX: ALGORITHMIC SKETCHES
CONCEPTUALISATION 29
1
Brady, Peter, and Xavier De Kestelier, “Computation Works: The Building Of Architectural Thought”, AD, 2003, pp. 8-15
2
Definition of ‘A lgorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences
(London: MIT Press), pp. 11, 12 3
Dunn, Nick, Digital Fabrication In Architecture (London: Laurence King, 2012)
4
Dunne, Anthony, and Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013), pp. 1-9,
33-45. 5
Fry, Tony, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), pp. 1–16.
6 7
Gengnagel, Christoph, Computational Design Modeling (Berlin: Springer, 2012), pp. 283-290, 309-318.
”Geodesic Domes”, Buckminister Fuller Institute, 2016 <https://bfi.org/about-fuller/big-ideas/geodesic-domes> [accessed 4
March 2016] Kalay, Yehuda E, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge,
8
MA: MIT Press, 2004), pp. 5-25 ”Modern Underground”, Inspiration Green, 2016 <http://www.inspirationgreen.com/modern-underground-homes.html>
9
[accessed 4 March 2016] 10 11
Oxman, Rivka and Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014), pp. 1–10
Owens, Mitchell, “The Most Innovative Houses Of The Last Century”, Architectural Digest, 2012 <http://www.
architecturaldigest.com/gallery/most-innovative-houses-last-century-slideshow> [accessed 5 March 2016] [IMAGES] FIGURE 1 OBN, 2016, Malator House aka Teletubby House, accessed 5th March 2016 <http://theownerbuildernetwork.co/househunting/unusual-homes/malator-house-pembrokeshire-united-kingdom/> FIGURE 2/3 IDEASGN, 2016, House in Wales by Future Systems, access 5th March 2016, <http://ideasgn.com/architecture/house-inwales-future-systems/attachment/house-in-wales-by-future-systems-plan-02/> FIGURE 4 Common Action, 2016, Envisioning Heartspace, accessed 5th March 2016, <http://commonaction.blogspot.com.au/2012_02_01_ archive.html> FIGURE 5 Charly, 2010, Buck Fuller, accessed 5th March, 2016, <https://carlacapeto.wordpress.com>
30
CONCEPTUALISATION
REFERENCES
FIGURE 6 Jensen, A 2016, Buckminister Fuller and Shoji Sadao, US Pavillion at EXPO’67 Montreal, Canada 1967, accessed 5th March, 2016, <https://www.pinterest.com/pin/136445063681159281/> FIGURE 7 Meio Digital, 2010, Internet no Brasil: Colonias e Domos, <https://meiodigital.wordpress.com> FIGURE 8/9 Computational Design Modelling (Berlin: Springer-Verlag Berlin Heidelberg, 2012). FIGURE 10 ArchDaily, 2016, Extension of the Building Academy Salzburg/soma, viewed 12th March 2016, <http://www.archdaily.com/24 0594/240594/5018411828ba0d33a8000299-240594-photo> FIGURE 11 Burry, M 2016, Dermoid, viewed 13th March 2016, <https://mcburry.files.wordpress.com/2012/01/5690746465_f9f6cc0373_o. jpg> FIGURE 12 CITA, 2016, Dermoid Australia (2013), viewed 13th March 2016, <http://cita.karch.dk/Menu/Research+Projects/ Digital+Formations/Dermoid+Australia+(2013)/Digital+Formations+-+Dermoid+Australia+(2013)+-+image07.jpg> FIGURE 13 Bitonti, F 2016, Squiggle Rack, viewed 17th March 2016, <http://www.francisbitonti.com/squiggle-rack/> FIGURE 14/15 FAD Studio, 2016, Squiggle Rack, viewed 17th March 2016, < http://cargocollective.com/FADstudio/Squiggle-Rack> FIGURE 16 Think Parametric, 2016, Minimal Complexity By Vlad Tenu, viewed 17th March 2016, <http://designplaygrounds.com/deviants/ minimal-complexity-by-vlad-tenu/> FIGURE 17/18 EVOLO Magazine, 2010, Minimal Complexity Installation – Self-Organising Structure, viewed 17th March 2016, < http:// www.evolo.us/architecture/minimal-complexity-installation-self-organising-structure/>
CONCEPTUALISATION 31
P A R T
32
CRITERIA DESIGN
B
C R I T E R I A
D E S I G N
CRITERIA DESIGN
33
B . 0 1
34
CRITERIA DESIGN
T E S S E L L A T I O N
B.01 TESSELLATION Tessellation in architecture has historically positioned itself to primarily concern roofs, building patterns and/or other decorative surfaces, yet contemporary practices have allowed for the technique to evolve from simple patterning to a potentially structural form of construction and method of form-finding. Generally, the result of projects concerning tessellation would ideally be an assembly of separate periodic, or aperiodic, components that may fit together in an orchestrated manner to form a plane or surface. As such, the success of an overall tessellated structure is highly reliant on the connections between components whether they be structural or purely aesthetic.
Digital architecture has realised fresh possibilites for a traditional technique that enables a new method of exploration and allowing for the possibility to generate complex patterining in greater variation and modulation. In the practice of builidng, tessellation has become integral both in its capability to refine fluid large scale geometries, and the simplicity of the construction method of utilising standard-sized materials in multitudes17. Combined with the new-found technology of digital manufacturing, an even greater flexibility is provided in both the process of fabricaiton and design, with designers no long having to solely rely upon commercially available materials.
CRITERIA DESIGN
35
Contrary to most projects that evidently express tessellation
by the varying density of the tessellating components, the
Morning Line Pavilion is a project example that opted to
utilise the technique in order to realise an outcome as both a structural and aesthetic feature of the design. The pavilion itself,
composed of patterned polygonal components incorporates fractal tessellation methods to obtain its form, wherein
component variation is found in the strategic act of scaling
at specific conditions within the patterning framework. The resulting pavilion thus visually relays a state of simultaneous
integration and disintergration in the seemingly irregular and chaotic appearance of the pavilionâ&#x20AC;&#x2122;s visual composition16.
FI GU R E 2 1 . 36
CRITERIA DESIGN
B.01 TESSELL ATION
CRITERIA DESIGN
37
FI GU R E 19.
38
CRITERIA DESIGN
B.02 CASE STUDY 1.0
Produced by Skylar Tibbits as an installation celebrating MITâ&#x20AC;&#x2122;s
150th Anniversary and the FAST Arts Festival, Voltadom is a
contemporary project reminiscent of classic architectural vaults. Lining the interior surfaces of a corridor spanning across MIT campus buildings 56 and 66, the installation is both
a sculptural and architectural addition to a transitioning space with a particular emphasis on light and form. The overall
project thus conveys a dramatic mood regardless of being
experienced from the interior, or seen externally through the glass windows of the existing corridor construction14.
By tessellating an array of oculus vaults as an irrgular system of double curved surfaces, Voltadom recreates an ambient effect of light while also strategically conneting the individual
to the outside world by visual cues. The specific manipulation of these features is achieved by parametrically managing the
geometrical parameters of the separate components, each of
which was arranged to collectively construct a fluid surface articulation along the entire length of the installation. The design of the Voltadom is greatly distinguished however, by
the rejection of planar surfaces, an aspect that ultimately sets
the structural appearance and fashions the contrast of lights and shadows throughout the structure14.
CRITERIA DESIGN
39
SPECIES 1: VARYING DENSITY AND OBSERVING SEED CONFIGURATIONS
SPECIES 2: CHANGING THE RADIUS OF CONES AND OCULUS OPENINGS
SPECIES 3: ATTRACTOR POINT; CREATING VARIATION [CONE HEIGHT AND OCULUS OPE
40
CRITERIA DESIGN
B.02 CASE STUDY 1.0
ENINGS] IN A SINGLE SURFACE/GEOMETRY
CRITERIA DESIGN
41
SPECIES 4: DIFFERING BASE GEOMETRIES AND COMPONENT FORM
SPECIES 5: COMBINGING AESTHETIC WITH THE UNDERSIDE OF THE CONE
42
CRITERIA DESIGN
B.02 CASE STUDY 1.0
CRITERIA DESIGN
43
In experimenting with the iterations and seeking to create something new, the primary concern was how to create variation of the Voltadom parametrically. As the exercise progressed it seemed that the most essential part of creating a variation was to break the uniformity of the given definition whether it be through the surface design or the component parameters, thus methods such as the attractor point was used. Identifying an interesting textural surface was also essential during the exploration, as it felt to be an appropriate design course for a technique such as tessellation.
These three final outcomes were thus selected for their successful engagement of the applied intentions and aesthetic effect.
The selection criteria, placing emphasis on texture, aesthetics, environmental adaptibility and geometrial adaptibility was chosen to meet a brief wherein senses other than of sigh can
SPECIES 3
be explored in a natural setting. As such, it is important for the design to be texturally interesting and flexible as a design
QUALITIES: USING AN ATTRACTOR POINT, DIFFERENTIATION
proposal.
WAS SOUGHT WITHIN THE A SINGLE SURFACE OF THE TESSELLATING FORM.
SELECTION CRITERIA: - TEXTURE - AESTHETIC CUES - ENVIRONMENTAL ADAPTIBILITY - GEOMETRICAL ADAPTIBILITY
44
CRITERIA DESIGN
DESIGN POTENTIAL: ACHEIVE SOMETHING OTHER THAN A UNIFORM TESSELLATING PATTER.
B.02 CASE STUDY 1.0
SELECTION CRITERIA & OUTCOMES
SPECIES 5
SPECIES 5
QUALITIES: BREAKS UP THE UNIFORM ARRANGEMENT OF
QUALITIES: DUEL APPEARANCE THAT UTILISES THE CONE
THE DEFINTION THAT WAS ORGINALLY STARTED WITH TO
UNDERSIDE AS A TEXTURAL QUALITY OF THE FORM.
CREATE INTERESTING SURFACE TEXTURE AND EVEN MORE POROUS QUALITY. DESIGN POTENTIAL: THE TESSELLATION PATTERN IS NO
DESIGN POTENTIAL: EXPLORATION OF A PARTICULAR
LONGER LIMITED TO THE REFRAINS OF PLANAR SURFACES
AESTHETIC OUTCOME.
AND ABLE TO APPEAR ORGANIC IN ADAPTING TO DIFFERENT FORMS.
CRITERIA DESIGN
45
46
CRITERIA DESIGN
B.03 CASE STUDY 2.0: REVERSE ENGINEERING
Tetramin is an architectural project by the Ball State University
students who sought to create a hanging screen aggregate by tessellating a series of tetrahedron geometries as the separate components15. By using 3D modelling programs such as Rhino,
and the plug-in, Grasshopper, the process of design was
conducted starting from an investigation into varying forms that could be obtained from Schoenâ&#x20AC;&#x2122;s F-RD Minimal Surface species and mirroring the resulting geometries, to create
perfect symmetry that would allow for the components to be arranged in an articulated tessellation sheet form.
FI GU R E 2 0. CRITERIA DESIGN
47
[1]
[2]
[7]
48
[3]
[8]
CRITERIA DESIGN
B.03 CASE STUDY 2.0: REVERSE ENGINEERING
[4]
[5]
[6]
TETRAMIN IS A TESSELLATED PROJECT THAT FINDS CONNECTIONS BETWEEN SEPARATE SCHOEN F-RD MINIMAL SURFACE COMPONENTS BY A REPEATED PROCESS OF MIRRORING AND ROTATION. ESSENTIALLY THE SURFACE IS COMPOSED OF A SINGLE GEOMETRY [1], REPEATED TWELVED TIMES TO CREATE AN INDIVIDUAL COMPONENT [6] WHICH IS THEN MIRRORED THREE MORE TIMES, TO FORM A 4-UNIT GEOMETRY [8] THAT ULTIMATELY ALLOWS FOR THE TESSELLATED ARRANGEMENT TO BE FLUID AND FULLY CONNECTED AT THE JOINING DETAILS. IF THIS TESSELLATION WAS TO EVOLVE FURTHER FROM A SHEET-LIKE FORM TO A DENSE 3DIMENSIONAL GEOMETERY, IT IS IMPORTANT TO NOTE THAT THE 4-UNIT COMPOUND WOULD HAVE TO MIRRORED ONCE MORE IN THE [Z] AXIS .
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49
TETRAMIN: REVERSE ENGINEERED OUTCOME
50
CRITERIA DESIGN
B.03 CASE STUDY 2.0: REVERSE ENGINEERING
CRITERIA DESIGN
51
SPECIES 1: CHANGING INDIVIDUAL COMPONENT PARAMETERS
SPECIES 2: CHANGE COMPONENT PARAMETERS IN THE SHEET SURFACE
SPECIES 3: CURVES AND INCREASED DENSITY BY LAYERING
SPECIES 4: DIFFERING BASE GEOMETRIES AND COMPONENT FORM
SPECIES 5: STRATEGIC TRIMMING
52
CRITERIA DESIGN
B.04 TECHNIQUE: E XPLOR ATION
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53
SPECIES 1: CHANGING INDIVIDUAL COMPONENT PARAMETERS
BY CHANGING THE GEOMETRICAL PARAMETERS OF THE BASIC ORIGINAL FORM THAT WAS USED INITIALLY FOR ALL FOLLOWIN WERE EXPERIMENTED WITH AND MORPHED INTO FORMS OF VARYING COMPLEXITY/SIMPLICITY.
SPECIES 2: CHANGE COMPONENT PARAMETERS IN THE SHEET SURFACE
INTIMATELY RELATED TO SPECIES [1], SPECIES [2] WAS A RESULT OF THE CHANGING COMPONENTS AS AN OVERALL TES TEXTURE PRODUCED RELIED HEAVILY ON THE SINGULAR APPEARANCE OF THE INDIVIDUAL COMPONENT. AS SUCH, VAR PARAMETRICALLY CONTROLLING THE VALUES CONTRUCTING THE ASSEMBLY OF STARTING CURVES OF THE PROJECT.
SPECIES 3: CURVES AND INCREASED/DECREASED DENSITY BY LAYERING
ATTEMPTING TO FIND A MORE SUBSTANTIAL OUTCOME FOR THE DESIGN DIRECTION, INVESTIGATIONS WERE CARRIED OUT O
THE PLANAR SURFACES GENERATED IN SPECIES [2]. THE CONTRADICTION TO THIS METHOD WAS ALSO OBSERVED BY S MINIMUM, BY MANIPULATING THE BLENDBOX DOMAIN VALUES, AND CREATING STRIP-LIKE OUTCOMES.
SPECIES 4: DIFFERING BASE GEOMETRIES AND COMPONENT FORM
IT WAS ESSENTIAL TO IDENTIFY THE BEHAVIOUR OF THE TESSELLATION IN GEOMETRY BASE SURFACES, AND THUS THE PA PARTICULARLY OF THE SPHERE AND ITS DOUBLE CURVED SURFACE, AS THIS WAS IDENTIFIED TO BE AN OPPOSING SHAPE
SPECIES 5: STRATEGIC TRIMMING
FINALLY, TRIMMING METHODS WERE INVESTIGATED TO EXPLORE THE COMPLEX PATTERNING RESULTS THAT WERE RESULT
THE EXPERIEMENTAL RESULTS. THIS WAS ACHEIVED BY EITHER ATTEMPTING TO CUT A SPECIFIC FORM OUT OF A SURFACE
54
CRITERIA DESIGN
NG PROCESSES OF MIRRORING, COMPONENTS
OBJECTIVE
SSELLATED EFFECT, THE COMPLEXITY OF THE
THE PRIMARY OBJECTIVE OF THIS INVESTIGATION WAS TO DISCOVER HOW
IATIONS OF THIS SPECIES WAS OBTAINED BY
TESSELLATION COULD BECOME MORE THAN A TOOL FOR PATTERNING . THUS THE EXPLORATION YIELDED A VARIETY OF RESULTS THAT CONTAINED CHARACTERISTICS THAT COULD POTENTIALLY BE USED TO FURTHER A SOLID DESIGN PROPOSAL, NAMELY THOSE OF TEXTURE AND FORM. AS SUCH, THE RESULTS OBTAINED FROM
SPECIES [2], [3] AND [5] WERE REGARDED AS THE DIRECTIONS WITH THE GREAEST POTENTIAL FOR FURTHER CONSIDERATION.
ON BUILDING A 3 DIMENSIONAL WEIGHT FROM
STRIPPING THE TESSELLATION PATTERN TO A
ATTERN WAS RELAYED UPON VARIOUS FORMS, TO WHAT WAS BEGUN WITH IN SPECIES [2].
TING FROM THE TESSELLATING JOINTS WITHIN
E, OR BY EXPERIMENTING WITH C-PLANES.
CRITERIA DESIGN
55
56
CRITERIA DESIGN
B.04 TECHNIQUE DEVELOPMENT
ONE OF THE GREATEST POTENTIALS FOR THIS TESSELLATION PROJECT WAS CONSIDERING THE EFFECT OF VARYING TEXTURES RESULTING FROM THE DEFINITION CREATED. ELEGANTLY, THE SIMPLE CONSTRUCTION OF THE PATTERNED VARIATIONS OF SPECIES [2] SHOWN [LEFT] IS OVERSHADOWED BY WHAT APPEARS TO BE AN INCREDIBLY COMPLEX ASSEMBLY OF TESSELLATED COMPONENTS. AESTHETICALLY PLEASING AND INTERESTING , DENSITY, COMPLEXITY AND SIMPLICITY WERE ALL FACTORS THAT HAD TO BE CONSIDERED DURING THE COURSE OF EXPLORATION.
IN ANTICIPATING A FURTHER DEVELOPMENT STAGE, IT WOULD BE INTERESTING TO POSSIBLY DEVELOP AN OUTCOME WHEREIN A COMBINATION OF ANY OF THESE VARIATIONS COULD BE INCORPORATED INTO A SINGULAR SURFACE.
SPECIES 2: CHANGE COMPONENT PARAMETERS IN THE SHEET SURFACE
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57
SPECIES 3
SPECIES 3
SPEC
QUALITIES: PERHAPS ONE OF THE MOST DRASTIC
QUALITIES: SIMILAR TO THE PREVIOUS RESULT YET
QUALITIES:
ALTERATIONS FROM THE ORIGINAL REVERSE ENGINEERED
CONVEYING AN OPPOSING IMPRESSION, THE ALTERATION
EXPLORATIONS, THE SMO
PROJECT, THERE IS A DELICATE AESTHETIC QUALITY TO THE
IS ALMOST AGGRESSIVE IN APPEARANCE RELAYING A
TESSELLATED EXTERIOR CO
GEOMETRY THAT DRAWS FROM THE SIMPLICITY OF THE
SENSE OF URGENCY IN ITS TEXTURAL QUALITIES.
ORIGINAL REVERSE ENGIN
TESSELLATING MAKE-UP.
AN
UNEXPE
SIGNIFICANT CHANGE MAY B
OF THE POROUS QUALITY T
IMPRESSION OF MORE SUBS
58
DESIGN POTENTIAL: UNLIKE THE FULLY TESSELLATED
DESIGN POTENTIAL: THE RESULT POTENTIALLY INVOKES A
DESIGN POTENTIAL: AESTH
SURFACES, THIS DESIGN HAS THE POTENTIAL TO BE
DESIRE TO IBE NTERACTIVELY ENGAGED WITH, BY TOUCH
A NEW BRANCH OF EXPLO
EXPRESSIVE IN FORM AND MOVEMENT, POSSIBLY
WHILE BEING AN EXPRESSIVE ARCHITECTURAL ELEMENT IN
DESIGN THAT CONSIDERS
DOUBLING AS A STRUCTURAL ELEMENT.
ITS OWN RIGHT.
DSIGN.
CRITERIA DESIGN
B.04 TECHNIQUE DEVELOPMENT
OUTCOMES
CIES 4
ECTED
SPECIES 5 RESULT
OF
SPECIES 5
THE
QUALITIES: STEMMING FROM AN INVESTIGATION INTO
QUALITIES: A POSITIVE SPACE WAS CREATED BY
OOTH APPEARANCE OF THE
THE INTERAL PATTERNS THAT WERE GENERATED IN THE
TECHNIQUES OF TRIMMING ON A CONE BASE GEOMETRY
ONTRASTS GREATLY WITH THE
TESSELLATION ARRANGEMENT, THE RESULT CREATES
SURROUNDED BY A TESSELLATING PATTERN THAT ALMOST
NEERED PROJECT. THE MOST
DIFFERENTIATION IN WHAT WAS USUALLY A SINGLE
EMPHASIS THE SPACE ITSELF IN THE ARRANGEMENT OF
BE OBSERVED IN THE ABSENCE
COMPONENT APPLIED REPEATEDLY.
THE COMPONENTS FACING INWARDS.
HETICALLY PLEASING, CREATES
DESIGN POTENTIAL: ABILITY TO CONSTRUCT A LANGUAGE
DESIGN POTENTIAL: THE TESSELLATION PATTERN IS NO
ORATION FOR A TESSELLATED
THROUGH THE TESSELLATING COMPONENTS. A DYNAMIC
LONGER LIMITED TO AN ENCLOSED OR PLANAR GEOMETRY
A FLUID SURFACE FOR THE
END RESULT OF BOTH TEXTURE AND AESTHETIC IS
BUT MAY BE USED TO DEFINE SPACE AS A DESIGN
POSSIBLE.
POSSIBILITY.
TO THE SURFACE, GIVING THE
STANTIAL GEOMETRY.
CRITERIA DESIGN
59
LASER CUTTING Initially, inspiration was to be taken from the original TETRAMIN project and a series of planar surfaces were to be printed using a laser cutter, and curved into the desired form manually before being joined together. However, complications were met when merely bending a surface would not recreate the same curving form as the designed iteration, unless the process was to quantitavely doubled by splitting the component into even smaller pieces, risking weak joinery and inefficient fabrication.
3D PRINTING It was acknowledged early on that 3D Printing methods could provide a perfect geometrical outcome for the intended project. However, considerations had to be made when regarding the limited materials that could be used, joinings and most importantly, the price relative to time consumption as the project would require a mass production of small geometries. The technique was thus kept away and reconsidered as possibly part of prototype development combined with another method.
VACUUM FORMING By vacuum forming the component parts that were originally to be laser cut, it was assumed that the form that could not be acheived due to the double surface curves, could be generate by vacuum forming over a 3D printed mold. After a consultation however it was found that, once again, due to the irregular curving face of the geometry, vacuum forming would be be able to recreate a perfect imitation of the mold and would spay out towards the bottom of the cast creating complications for smooth joinery. After further investigation however, a new approach to the vacuum forming was found wherein the molds are created as a small part of the component and constructed by layering each part over each other as a sacle-like arrangement.
CASTING AND MOLDING A final alternative to the 3D printing and Vacuum Forming techniques, the creation of the specific geometry will most likely have to be obtained by some form of casting work, using a 3D printed mold as the base. Investigations into this technique will be concerned mostly by the resulting material and itâ&#x20AC;&#x2122;s flexibility as something to manipulate.
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CRITERIA DESIGN
B.05 TECHNIQUE: PROTOTYPE
DURING THE PROTOTYPING STAGE OF DESIGN, INTENDED TESTS WERE TO BE CONDUCTED TO INVESTIGATE: [1] HOW A COMPONENT COULD BE CONSTRUCTED [2] HOW COMPONENTS COULD BE JOINED [3] WHAT THE RESULTING TEXTURAL QUALITIES WOULD RESULT IN UNFORTUNATELY DUE TO THE COMPLEX DOUBLE SURFACE GEOMETRY OF THE MAJORITY OF THE COMPONENT DESIGNS GENERATED, COMPLICATIONS WERE MET IN THE VARIOUS PROTOTYPING ATTEMPTS. AS A DESIGN MEANT FOR THE EXTERNAL ENVIRONMENT, MATERIALITY ALSO HAD TO BE CAREFULLY CONSIDERED IN RELATION TO THE MASS PRODUCING ASPECT OF THE DESIGN ITSELF.
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CRITERIA DESIGN
B.06 TECHNIQUE: PROPOSAL From the explorations conducted, a particular interest in the
Currently, as a popular walking and biking track for a wide variety
differing textures created by the variation in components was found.
of users, the Merri Creek trail is valued by the community for it’s
Conceptually, this outcome provides an opportunity to explore a
historical, cultural and environmental richness yet sustains, like
spacial quality that may be able to influence the user with cues that
many recreational sites, a limited consideration for the less physically
could be of a sense other than the aesthetic, namely touch or sound.
capable population. The intended brief will thus propose a project for
In doing so, this may be reinterpreted as a chance to design while
enhanced accessibility to the trail for the visually impaired individual,
considering an ongoing discourse of architecture for the minority;
through the incorporation of the explored techniques into the design.
those whose perception of space and environment fall outside of the
As a project aiming to be inclusive rather than exclusive, the intended
standardised ‘norm’.
design will also explore the effect of textural surfaces as interactively inviting for other possible and existing users, approaching the issue with a interrogation of how to force the majority to interact with the proposal the same way as the minority.
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63
The CERES Community Environment Park is a non-profit environmental sustainability centre that has been operating since 1982 at a point along the Merri Creek track12. Since itâ&#x20AC;&#x2122;s commencement the site has evolved from a former landfill site wasteland into a prospering natural park, by the efforts of numerous organisations and volunteers who have contributed to the management of location and its surrounding environments. Nowadays, the location attracts 400 000 visits per year and has developed a vibrant community, enriching the experience with various activities such as environmental education programs, urban agricultural projects and a number of organic market enterprises.13
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CRITERIA DESIGN
B.06 TECHNIQUE PROPOSAL
[SITE ANALYSIS] CERES COMMUNITY ENVIRONMENT PARK
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65
66
CRITERIA DESIGN
B.06 TECHNIQUE PROPOSAL
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67
SITE PROPOSAL
Although the overall design will aim to be versatile in relation to site arrangement and location, for this particular brief a structure that initiates spacial transition to the Merri Creek track itself will be generated. As such, the designated site for the project, shown in the map,, exists along an existing branching path that leads from the track to the CERES Community Centre, selected for the high level of human activity at the park, that would promote the use of the design. Not only so, but the nature of CERES as an open minded and friendly community space was considered ideal for the intended proposal of attempting to introduce the new group to the creek.
68
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CRITERIA DESIGN
69
The learning obejctives of studio air have been designed
to force the student individual to engage with the reality of computational design, realising it as potentially the future of
design iteself. Throughout the course of the subject thus far,
it was important for me to eventually understand the aim of a design process that derives its inspiration from programming, especially in the sense that energy cannot be focused on a
singular outcome but the computational designer should be able to consider unexpected generations of form. As such,
in gradually obtaining a better understanding of algorithmic
functions, it was interesting to find myself in a mindset that
desired to create a definition that could potentially provide greater variation of the end result, moreso than attempting to acheive a final outcome from the start.
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CRITERIA DESIGN
B.07 LEARNING OBJECTIVES AND OUTCOMES
Though not yet near proficient with the Grasshopper
plugin, a better understanding of the systems and the specific language that the program demands was gradually
discovered, especially as the reverse engineering projects progressed. What was surprising to discover was that during
the processes of projecting 30/50 iterations, respectively, a knowledge how to further the design and push the existing
definition boundaries was understood and carried out using simple methods of problem-solving.
Now as we go into Part C, though I hope to discover even more about program, it will be interesting to observe the transition
from a design generated theoretically on the computer to see it adapt and adjust to the existing physical site.
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B.08 APPENDIX: ALGORITHMIC SKETCHES
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73
12
About Merri Creek. (2016). Merri Creek Management Committee. Retrieved 10 May 2016, from http://mcmc.org.au/index.
php?option=com_content&view=article&id=36&Itemid=188 13
Home. (2016). CERES Community Environment Park. Retrieved 10 May 2016, from http://ceres.org.au
14 15
SJET. (2016). sJET. Retrieved 8 May 2016, from http://sjet.us/MIT_VOLTADOM.html
tetraMIN. (2016). iMADE. Retrieved 8 May 2016, from http://i-m-a-d-e.org/?p=2698
16
The Morning Line. (2016). ArandaLasch. Retrieved 9 May 2016, from http://arandalasch.com/works/the-morning-line/
Woodbury, R. (2010). Elements of parametric design.
17
[IMAGES] FIGURE 19 SJET. (2016). sJET. Retrieved 8 May 2016, from http://sjet.us/MIT_VOLTADOM.html FIGURE 20 tetraMIN. (2016). iMADE. Retrieved 8 May 2016, from http://i-m-a-d-e.org/?p=2698 FIGURE 21 The Morning Line. (2016). ArandaLasch. Retrieved 9 May 2016, from http://arandalasch.com/works/the-morning-line/
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REFERENCES
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75
P A R T
76
PROJECT PROPOSAL
C
D E T A I L E D
D E S I G N
PROJECT PROPOSAL
77
C.01 DESIGN CONCEPT Having been arranged into groups, after the completion of the previous segment, a new concept was generated concerning the creation of artificial fish habitats for Merri Creek. In particular, the primary focus of the design generation for this concept would be concerning the use of minimal surfaces, a field of parametric design that was being previously explored with the Schoen F-RD Minimal Surface, and the qualities they retain as spacially intricate, yet adapatable design elements. Building off previous explorations, the design would also further investigate the combination of tessellation techniques of the singular geometery, and trimming methods to develop interesting forms suitable to the brief.
“... my explorative research into spatiality, scale and materiality;
all with deep roots in my architectural background. the
work has transcended those levels by creating artifacts that are interpretable and adaptable to anything from jewellery,
fashion, product design and interiors, architecture to fine art. algorithmic and geometrical concepts generate surface
to volume morphologies that are blurring the boundaries between ‘inside’ and ‘outside’, between ‘solid’ and ‘transparent’
or between ‘natural’ and ‘synthetic’ – blended into abstract hybrid species.’”
– Vlad Tenu, discussing Synthetic Nature22
78
PROJECT PROPOSAL
PROJECT PROPOSAL
79
80
PROJECT PROPOSAL
C.01 DESIGN CONCEPT [PART 1]
Merri Creek has long been an environment wherein a large diversity of wetland ecosystems have been supported, yet a significant decline has been noticed in fish population that has caused for a growing concern by management committees in recent years. A number of strategies were performed to optimise stream flow and the natural interactive process with flood plains, a scheme that countered the disturbing of natural geomorphology by European settlements 150 years ago and the repercussions of human activity since. To do so a management program that involved the removal of submerged logs, overhanging roots and branches was carried out, underestimating the implications that would be had on the existing ecosystems. As such natural debris and cover become prime sources of habitation for fish and aquatic life, a correlation was thus found between the implementation of these schemes and an increasing paucity of fish in recent years20. A need to implement a strategy to impede such negative impacts has thus become essential as, for fish, a secure habitat not only ensures shelter but also a reliable food source and breeding site - essential necessities for survival - and, considering that a reduction of fish population may cause for greater connotations on the health of the ecosystem as a whole.
A design will thus be refined to create an artificial fish habitat addressing the concerns associated in order to encourage population growth without interfering with the performed strategies that seek to restore the natural state of the creek
PROJECT PROPOSAL
81
P SCHWARTZ MINIMAL SURFACE In consideration for the designâ&#x20AC;&#x2122;s function as an artificial habitat for fish, a variety of details had to be thought through in order to generate a realistic and feasible result. The project was to utilise the P Schwartz Minimal Surface for design development, a geometery that, like Schoen F-RD Minimal Surface explored in the previous section of the journal, relied upon mutilple tessellated repetitions to create interesting forms, that could be furthered by trimming techniques. If the form was to be refined to obtain the necessary qualities needed as a design for fish habitation, two primary investigations had to be made concering:
(1) the scale of the first P Schwartz geometery from which a tessellated pattern would be generated, (2) trimming designs to suit an aquatic and nurturing brief.
82
PROJECT PROPOSAL
C.01 P SCHWART Z MINIMAL SURFACE: ARTIFICIAL FISH HABITAT
PROJECT PROPOSAL
83
FI GU R E 24. [TO P] FI GU R E 2 5 .[B OT TO M]
84
PROJECT PROPOSAL
C.01 PRECEDANTS: ARTIFICIAL FISH HABITAT
MANGROVE ROOTS As a starting point, inspiration was thus taken from mangrove roots to
cultivating a reliable feeding ground in its abundance19.
determine the necessary qualities that would be required of the design as a habitat in an existing natural setting.
If the roots were to be taken as the ideal precedant in the creation of an artificial fish habitat, an essential feature to consider would be to create
Key Features:
a system of complex internal passages matched with an appropriate
Defined largely by a complex system of roots growing in shallow water
level of permeability that would account for a large range of exisitng
environments, interweaving spatial qualities of varying density and size
organisms, not only of the fish species. As this project coincides with a
are created to compose a natural habitat for aquatic and semi-aquatic
previous strategy to optimise stream flow, however, it was also important
organisms. As a result, mangrove roots retain ideal physical qualities as
to minimise the level of resistance to water flow the end structure would
a shelter, in being able to provide both protection from both predators
create.
and overpowering natural phenomenoms, such as storms and fast flowing water, while also serving as stable nursery environments and
VLAD TENU Vlad Tenuâ&#x20AC;&#x2122;s explorations of minimal surfaces, one of which was investigated in previous sections of this journal (MInimal Complexity), served as ideal precedants for the possibilities of form and aesthetic in generating a design with the geometery.. Tenuâ&#x20AC;&#x2122;s Synthetic Nature projects of which Alveolata [left] is included, in particular utilised trimming tools of the periodic surface creations to explore new generations spatial construction22.
PROJECT PROPOSAL
85
[1] PATTERN While the P Schwartz Minimal Surface could create an interesting array of openings in the periodic arrangement, a greater permeability and variety of openings was desired, especially if the scale considered for the final model would be of a larger size. Not only so but the application of a pattern would add an aesthetic feature to the design that would encourage a position as a sculptural piece in addition to its function as an artificial fish habitat. Initial investigations into patterning was generated by triangulating mesh surfaces and then creating nurbs curves upon each panel before applying an attractor point logic to parameterise control of the design outcome. What was discovered from this stage was an unexpected ability to translate triangulated panels into strips, anticipating a strips and folding method to be investigated during construction.
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PROJECT PROPOSAL
C . 01 D E S I G N D E V E LO P M E N T: A R T I F I C I A L F I S H H A B I TAT
[2] TRIM
Inspired by projects generated by Vlad Tenu, trimming the periodic arrangement of the minimal surface gave an opportunity to design with the intersecting spaces that were a result of the fluid surface geometery. An organic form was desired for this outcome, it was decided that the fish habitat should be somewhat aesthetically tuned with the existing environment.
PROJECT PROPOSAL
87
At this point, the artificial fish habitat project was abandoned as the group was merged with another, likewise exploring minimal surface geometeries utilising similar techniques of patterning and trimming to generate a design, and the method of converting the triangulated pannelling to strips, to compose the form.
The new project was developed from a brief provided by the client, GENarcist, a hair salon situated in the North Melbourne suburb, to create an installation work to be hung within the shop. As requested by the client, the work was to be minimal and modern in appearance, utilising primarily black and white themes while small accents of red could be inserted if deemed necessary.
Inspired by this brief, the project had been directed toward a biomimicry approach, investigating the structural science composing butterfly wings that, upon close inspection was found to rely upon a minimal surface logic, namely of the Gyroid Minimal Surface18.
88
PROJECT PROPOSAL
C.01 DESIGN CONCEPT
[PART 2]
FI GU R E 2 3 .
PROJECT PROPOSAL
89
GENarcist GENarcist is a small location composed of a rectilinear space with a high ceiling and defined primarily by a clean, white aesthetic, tastefully decorated by a variety of black and white artworks. The installation was provided a tall space between two mirrors to be displayed against, provided with a single bar from which the project would hang and defining a size approximation of 4m tall and 3.5m wide.
As a work of art in its own right, it was important to consider that the end result would become a prime feature to the overall space.
90
PROJECT PROPOSAL
C.01 SITE & BRIEF: GENARCIST INSTALL ATION PROJEC T
PROJECT PROPOSAL
91
GYROID MINIMAL SURFACE The Gyroid Minimal Surface, is a triply periodic minimal surface that, though is composed entirely of an initial patch form like the P Schwartz and Schoen F-RD, cannot be composed solely of mirroring techniques, but must be translated in three independant directions to be constructed.
The pattern produces a fascinating aesthetic by the interweaving of spatial construction in a single geometery causing for an increase in complexity when repeated into a tessellated arrangement. As a result of this interweaving quality, the two sides of the single surface continuously alternate their positions as internal and external features, to produce an infintely connected and twisting form.
92
PROJECT PROPOSAL
C.01 GYROID MINIMAL SURFACE: GENARCIST INSTALL ATION PROJEC T
PROJECT PROPOSAL
93
Ori
win
aes
bio
end
sur
(1)
wo
(2)
wo
req
As
the
wo
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PROJECT PROPOSAL
C . 01 D E S I G N D E V E LO P M E N T: G E N A R C I S T I N S TA L L AT I O N P R OJ E C T
iginally inspired to utilise the Gyroid by an investigaiton into butterfly
The design work flow was thus separated into four elements that
ngs, the design was taken further by drawing out the resulting
would determine the final oucome:
sthetic qualities that would result from the Gyroid composing the
ological structure of the wings. As such, it was decided that the
d result would be composed of two layers constructing the single
[1] PATTERNING: CUTTING THE CELL LAYER
rface of the gyroid form: [2] PATTERNING: CUTTING THE PATTERN LAYER
) a transparent and structural cell (micro) layer into which a pattern
ould be cut, and
[3] PATTERNING: MACRO LAYER
) a black and white patterned (macro) layer that would aesthetically,
ould impact the initial impression of the installation but would also
[4] GYROID TRIM
quire a cut pattern determining itâ&#x20AC;&#x2122;s coordination with the cell layer.
a result of the combination of micro and macro layers applied upon
e gyroid form, the interweaving spatial qualities of the geometery
ould thus be highlighted as the primary feature of the installation.
PROJECT PROPOSAL
95
(a) [1] PATTERNING: CUTTING THE MICRO LAYER
[2] PATTERNING: CUTTING THE MACRO LAYER
(b)
Patterning the cut design of the macro and micro layers was determined from an initial start of triangulating the gyroid mesh into a multitude flat surface panels upon which cuts could be artistically made. This stage was limited only by the fact that specfic points must be equally retained across individual panels of a single gyroid form in consideration of strip joining systems in later construction stages of the design, usually at the vertices, or otherwise along the sides of the triangle surfaces.
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PROJECT PROPOSAL
C . 01 D E S I G N D E V E LO P M E N T: G E N A R C I S T I N S TA L L AT I O N P R OJ E C T
PATTERNING: APPLYING THE MACRO/MICRO LAYERS
As mentioned aforehand, the two cut macro and micro sheet patterns would then be applied as a single surface (b) upon the gyroid geometery (a), and a design selection was made according to the balanced visual aesthetic that was determined collectively by members of the group.
PROJECT PROPOSAL
97
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PROJECT PROPOSAL
C . 01 D E S I G N D E V E LO P M E N T: G E N A R C I S T I N S TA L L AT I O N P R OJ E C T
[3] PATTERNING: MACRO LAYER
In accordance with the brief set by GENarcist, the applied patterning was a combination of black and white colours, taken inspiration off the visual aesthetic of butterfly wings.
In the exploration of various pattern iterations performed manually by members of the group, it was found that the most ideal aesthetic results maintained a certain ratio of black to white triangles that was judged purely by the eye and discussed as a group. Not only so, but the full potential of utilising the gyroid geometery was also realised in this stage of colouring, as highlighting the flowing surface of the form created a fluid yet complex design result. In some iterations, this logic was evolved further in applying white colours primarily to the edges of the trimmed Gyroid geometery, giving an emphasis to the interweaving quality that was found to always create a loop through the form.
Patterns were created by manually selecting individual triangles of the Gyroid mesh, maintaining primarily a â&#x20AC;&#x2DC;stripâ&#x20AC;&#x2122; arrangement of either black or whites, and avoiding an excessive fragmented result. This was due to the fact that, like the fish habitat design, the end result was judged to be constructed by strip/folding methods of respective coloured triangles and a greater ease of construction would be a result of longer strips produced.
PROJECT PROPOSAL
99
Trimming f
of multiple
Rhino tech a primary 3m space
inspired by
3650
into a blun
emphasisin
nature of th 3850
100
PROJECT PROPOSAL
C . 01 D E S I G N D E V E LO P M E N T: G E N A R C I S T I N S TA L L AT I O N P R OJ E C T
[4] GYROID TRIM
for the design end form was acheived by obtaining a tessellated arrangement
Some rudimentry limitations had to be considered however, as a deliberation had to be
e gyroids and applying various methods of trimming through Grasshopper and
made in regards to the scale of individual gyroids that would impact the overall density
hniques, judged primarily by the eye. In testing varioius iterations for the result,
of design, while considering construction limitations as smaller and greater quantities
limitation of scale was found in the brief outlining an approximate 4m by
of gyroids would result in more time and resources being applied to the project. Not
between two mirrors of the hair salon. Conceptually, the general form was
only so but the structural integrity of the form had to be considered as the installation
y the swarm logic (as shown above) wherein, rather than condensing the shape
would hang from a single bar, thus dimensionally a maximum depth of 350mm had to
nt, symmetrical sillouhette, an almost sprawling aesthetic would be achieved,
implicated, or otherwise had to be accounted for during the process of installing.
ng the interweaving surfaces of the minimal surface and the organic, transitory
he projectâ&#x20AC;&#x2122;s original butterfly wing concept.
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[1] P SCHWARTZ MINIMAL SURFACE
BOUNDING BOX & DECONSTRUCT BREP
RETRIEVE POINTS USING ITEM LIST AND USE THESE TO CREATE LINE BETWEEN POINTS
EVALUATE CURVES
-MID POINT OF EDGE A
- FIND POINTS ON LINE
-VERTICES AB
- USE POINTS TO CREATE CURVE
PATCH SURFACE
-CENTRE POINT OF BOX -CENTRE OF TOP FACE
- FIRST PART OF THE P SCHWARTZ MINIMAL SURFACE
MIRRORING MESH USING PLANES & ROTATION OF MESH PATCH SURFACE - MIRROR SYMMETERIES USED
- MIRROR AND REPEAT X6, TO CREATE THE INITIAL GYROID PANEL
REPEAT X8, TO CREATE THE WHOLE GYROID GEOMETERY
[1] GYROID MINIMAL SURFACE
PATCH SURFACE BOUNDING BOX & DECONSTRUCT BREP
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FIND CENTRE VERTICES & CONSTRUCT LINE BETWEEN POINTS
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EVALUATE CURVES - FIND POINTS ON LINE - USE POINTS TO CREATE CURVE
- FIRST PART OF THE GYROID MINIMAL SURFACE - REPEAT X6, TO CREATE THE INITIAL GYROID PANEL
FA MERGE SURFACES
O
A
C.01 DESIGN WORK FLOW DIAGRAM
FACE BOUNDARIES MERGE SURFACES
- RETRIEVE POLYLINES OF MESH - FIND DISCONTINUITIES ALONG CURVE
FIND DISCONTINUITIES ALONG CURVE
- JOIN ALL MESH AND WELD
MIRRORING MESH USING PLANES
ACE BOUNDARIES
RETRIEVE POLYLINES OF MESH
WEAVERBIRD
WEAVERBIRD - JOIN ALL MESH AND WELD
& ROTATION OF MESH PATCH SURFACE - 3-FOLD ROTATIONAL SYMMETERY REQUIRED OF GYROID SURFACE
WEAVERBIRD - JOIN ALL MESH AND WELD
- NO MIRROR SYMMETERIES USED
REPEAT X8, TO CREATE THE WHOLE GYROID GEOMETERY
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[2] PATTERNING: ATTRACTOR POINT CONSTRUCT TRIANGULAR MESH AND FACE BOUNDARIES TO CONVERT MESH FACE INTO POLYLINES
SOLVE AREA FOR CLOSED CURVES, FIND DISCONTINUITIES, GRAFT, MERGE, CREATE NURBS CURVES USING POINT (DISCONTINUITIES), CREATE PLANAR SURFACES FROM EDGES
APPLY ATTRACTOR POINT
[2] PAT
[2] PAT
[2] PAT
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C.01 DESIGN WORK FLOW DIAGRAM
[3] TRIMMING GRID REPETITION
TRIM MESH GRID OF GEOMETERY COMPONENT AGAINST BREP
TTERNING: MACRO LAYER (CUT)
TTERNING: MICRO LAYER (CUT)
TTERNING: MACRO LAYER
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C.02 TECTONIC ELEMENTS & PROTOTYPE In order to gauge how efficient construction methods estimated for the design would be and to observe the formâ&#x20AC;&#x2122;s interaction with real world elements outside of the digital environment, a series of prototypes were constructed as part of the design development and refinement process.
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From the beginning of the process of design development, (of both fish habitat concept and installation), polypropolene was decided to be the most appropriate material for the designâ&#x20AC;&#x2122;s final outcome. Aesthetically, the plastic provided a clean and refined finish required of the projectâ&#x20AC;&#x2122;s position as a work of art to be viewed publicly.
The material, quite malleable in it an unjoined sheet state allowed for a large degree of flexibility that was regarded as suitable in the creation of minimal surfaces, while maintaining the durability and strength that was required from the construction process. Also, as an accessible resource that could be cheaply obtained and cut using Fablab resources, polypropelene was thus unanimously decided upon as the medium for the installation. Though a variety of colours could also be obtained, conforming to the brief meant that only black, white and transparent options were needed for the design, options that were found easily as stocked by the Fablab.
The only concern for the material however was discovered during the fabrication stages of design wherein laser cutting technology used to cut the necessary patterns left burn marks that starkly contrasted with the white and transparent polypropelene sheets used. This was easily countered by roughly scrubbing the material with water, effectively removing the marks before assemblage.
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C.02 TECTONIC ELEMENTS & PROTOTYPES
MATERIAL RESEARCH: POLYPROPELENE
FI GU R E 2 2 .[R I G H T] FI GU R E 2 5 . [L EF T]
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Original proto were created systems that
assemblage m
in the images system), and was that:
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C.02 TECTONIC ELEMENTS & PROTOTYPES
[1] PROTOTYPES 1/2/3: STRIPS
otypes, of just individual panels (1/8th of a full P Schwartz Minimal surface) out of purely the strips as a starting point to investigating various joining
(1) a tab-like system was necessary to effectively connect the strips and obtain a fluid surface as features by minimal surface geometeries.
couldd be used, and complications that would arise from the existing
method. As part of experimenting with connections, respectively as shown
s above (from the left to right) tape, pins (to improvise a pseudo bolt/tab 3D printed pins were tested. What was gathered from the tests conducted,
(2) while polypropelene was an effectively flexible material that could be folded easily, the smaller the scale of P Schwartz geometery, the more difficulty was encountered in constructing the panels effectively.
(3) strips were more easily connected when less fragmented and respective curvatures were considered during the strip making process, mainly due to the doubly curved quality of the geometery.
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C.02 TECTONIC ELEMENTS & PROTOTYPES
[2] PROTOTYPE 4: TAB INVESTIGATION In the next set of prototyping, the tab system was explored, utilising tape as the a temporary solution to finding an appropriate joining mechansim as a finishing detail and for aquatic environments (as was being investigated at the time). The construction of this prototype was significant to the process of design as an enitre P Schwartz service was assembled, providing a physical reference to scale, material performance, aesthetic and structural integrity. The result was found to be surprisingly pleasing with the form proving to be durable and performing well with the selected material. It decided however, that aesthetically the pattern would have to be improved despite it’s positive functional qualities as meeting the design requirements. Not only so, but to provide greater emphasise on the surface attributes of the minimal surface, it was recommended for the triangulation folded pattern. that was a result of a Grasshopper technique for smoothing surfaces, to be disused as polypropolene’s properties as a flexible material could more than make up for it’s loss.
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[3] PROTOTYPE 5: EYELETS AND RIVETS
Joining were explored, namely experimenting with the result produced by eyelets and rivet on polypropolene. Though both systems performed to meet the desired outcome, it was later found that the eyelets, despite being able to produce a smoother finish, did not secure a long-term stable system as the model was found to fall apart a few weeks later. The rivets on the other hand, were selected for their small scale, refined aesthetic and un-obstructing detail that was later considered as part of the design quality in terms of colour and size.
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The core construction element of the design was developed in the final
Unfortunately however, several problems were also encountered in the
detail model. This encompassed a physical manifestation of the macro
process of constructing the model, especially concerning the physical
and micro layers that were tested upon a single panel (1/8th of the
labour and time consumed in building two panels. The current design
Gyroid form) and observed in terms of quality, aesthetic appearance,
was thus considered to be highly inefficient primarily due to the number
joining mechanisms and overall structural integrity. In the creation of
of joints and strips created for assemblage and needed to be changed in
the physical model, an opportunity was discovered to translate the
regards to scale and patterning. It was thus, impossible to construct the
installation additionally as a light feature, as a beautiful shadow pattern
full gyroid within the allocated timeframe, a complication that was realised
was illuminated under a light source.
as a limitation to further evolving the design to full refinement.
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C.02 TECTONIC ELEMENTS & PROTOTYPES
[4] PROTOTYPE 6: DETAIL MODEL
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C.03 FINAL DETAIL MODEL Due to the restriction created by the time frame, the final model was unable to be completed according to schedule and the design process of the installation product was, and is, still in a process of continuous refining. What is anticipated however, is an organic sprawling form (as roughly shown in the render), that would serve as both artwork and light feature to GENarcistâ&#x20AC;&#x2122;s interior setting, displaying the complex surface quality of Gyroid minimal surfaces.
120
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C.04 LEARNING OUTCOMES Throughout a process that drew predominantly on theories of minimal surfaces, an understanding was found in the design experimentation of periodic and complex geometeries that utilised simple methods for a refined end result. The greatest learning outcome was found in the process of creating and testing prototypes, finding refinement of design through a practice of physical building and observing the performance in the real world setting.
Studio Air as a whole has enlightened my perspective on computational design, allowing me to appreciate what I previously considered a tool for the practical aspect of an overall process, as a medium for design generation itself. Though not completely technologically savvy as of yet, I am keen to take the programs of Rhino, Grasshopper, Lightroom, and more, to further learnings and integrate their functions into future design projects.
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18
Brakke, K. Disphenoid Triply periodic minimal surfaces. Retrieved June 10, 2016, from http://facstaff.susqu.
edu/brakke/evolver/examples/periodic/bat wing.html Blackerby, C. (2016). A long the Coast: Sculptor’s artif icial reefs ready for divers. The Coastal Star. Retrieved
19
22 April 2016, from http://thecoastalstar.com/prof iles/blogs/along-the-coast-sculptor-s-artif icial-reefs-readyfor-divers 20
Faithfull, T. (2016, June 30). Merri Creek and environs strateg y chapter 3.3 - aquatic f lora, fauna
and
wetlands.
Retrieved
April
10,
2016,
from
http://w w w.mcmc.org.au/index.php?option=com_
content& view=article&id=284:mces-33&catid=32:mces&Itemid=341 21
Octavia, A. (2015, September 29). Fish spawning aggregations: An illusion of plent y. Retrieved May 10, 2016,
from National Geographic, http://voices.nationalgeographic.com/2015/09/29/f ish-spawning-aggregationsan-illusion-of-plent y/ 22
Tenu, V. (2013). ARCHITECTURE. DESIGN. ART. Retrieved May 10, 2016, from Vlad Tenu, http://w w w.
vladtenu.com [IMAGES] FIGURE 22 Handmade Silver Jeweller y » Lighting:. (2016). Handmadesilverjeweller y.net. Retrieved 4 June 2016, from http://w w w.handmadesilverjeweller y.net/categor y/lighting/ FIGURE 23 Michielsen, K. & Stavenga, D. (2008). Gyroid cuticular structures in butterf ly wing scales: biological photonic cr ystals. Journal Of The Royal Societ y Interface, 5(18), 85- 94. http://dx.doi.org/10.1098/rsif.2007.1065 FIGURE 24 Octavia, A. (2015, September 29). Fish spawning aggregations: An illusion of plent y. Retrieved May 10, 2016, from National Geographic, http://voices.nationalgeographic.com/2015/09/29/f ish-spawning-aggregationsan-illusion-of-plent y/ FIGURE25 Tenu, V. (2013). ARCHITECTURE. DESIGN. ART. Retrieved May 10, 2016, from Vlad Tenu, http://w w w. vladtenu.com 130
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REFERENCES
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