STUDIO AIR 2017, SEMESTER 1, MANUEL BOYD HELLIER KNOX
StudioAIR
CONTENTS
Table of Contents 5 Introduction 5 Biography 9 Precedent Studies 9 Project EGG, Eindhoven
61 Analysis 62 Structural Development 65 Design Proposal 72 Site Plan 74 Learning Objectives & Outcomes 76 Algorithmic Sketches
11 Transparent Shell, Guangzhou
78 Image Credits
12 Computational Structure
79 Bibliography
16 Computational Fabrication
82 Reflection & Main Design
20 Algorithmic Sketches
82 Concepts
23 Learning Outcomes
84 Group Design Development
25 Summary
86 Biomimicry
26 Image Credits
87 Patterning
27 Bibliography
89 Geometry
32 Structure
90 Structure
34 Twisted Beso Tower
97 Final Review
39 Analysis
99 Conceptual development
41 Japanese Pavilion 100 Individual Work 49 Reverse Engineering 104 Final Model 52 Exploration 104 Fabrication Process 57 Analysis 108 Completed Model 58 Prototypes and Testing 117 Learning Objectives and Outcomes
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A1 INTRODUCTION
Introduction
Biography I’m Boyd, a third year architecture student at the University of Melbourne. For me, architecture is about the relationship between the immaterial and the material, and the way in which they inform and distort one another. I have previously engaged with the more technical and material elements of architecture, grounding my work in tangible and relatively conventional means of construction and design. It is with this in mind that I look I looked to Studio Air to broaden my perception of architectural design, and the role computational design will play in shaping the future of the discipline. This studio is my first opportunity to engage with structured education on contemporary, and speculative technologies emerging in the field of architecture. My personal experience of digital design largely involved the Adobe Creative Suite, with some limited forays in to 3D using Rhino and Sketchup. I am looking for Studio Air, and parametric design as a whole, to add to my understanding of architectural design, serving as an influence and a resource I will engage with in my educational and professional careers.
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PART A
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Clockwise from top left. Fig 8.1 - Completed Egg on site. Fig 8.2 - Completed Egg exterior wall detailing. Fig 8.3 - Interior view through aperture.
A2 PRECEDENT
Precedent Studies Project EGG, Eindhoven Michiel van der Kley’s 2014 work, project EGG, advocates for a new means of production and distribution, made possible through advents in digital design and fabrication. The structure speaks to the level of unity and cooperation achievable through digitally enabled and coordinated programs and goals. It is as much an exercise in communication and community building as it is in engineering, setting out new opportunities for non-conventional models of manufacturing and fabrication. The 5x4x4m pavilion is comprised of 4760 individualised ‘stones’, sourced from participants around the world1. Digital files are sent to interested parties, where the stones can be fabricated using entry level desktop 3D printers. The stones are then sent to van der Kley in the Netherlands, where they are assembled using custom hexagonal screws2. The result is the worlds largest 3D printed co-created art project. While the result is aesthetically pleasing and structurally innovative, it is in the broader social context that the project is most valuable. It is indicative of the power of technology and computation to disrupt powerful social structures, such as the construction industry. Van der Kley grounds his work in the notion that many of the complex structures we see around us are merely the sum of many parts. He opines that the proliferation of new technology allows for new models of collaboration and construction3, allowing consumers to become producers and designers. By accommodating new avenues for assembly, van der Kley challenges the factory based model of manufacturing, posing a future of concientious maker users. Following the initial exhibition, the Egg toured the world, meeting many of it’s donors and offering an insight in to a future avenue of manufacturing 4.
7.1 “Project EGG by Michiel van der Kley,” contemporist, last modified 21 October, 2014, http://www.contemporist.com/project-egg-by-michiel-van-der-kley/ 7. 2 “michiel van der Kley presents 3D-printed Project EGG,” designboom, last modified 20 October, 2014, http://www.designboom.com/design/ michiel-van-der-kley-project-egg-dutch-design-week-2014-10-20-2014/ 7. 3 “The 3D-Printed Pavilion - Project EGG,” ARCH20, accessed 15 March, 2017, http://www.arch2o.com/project-egg-michiel-van-der-kley/ 7. 4 “Project EGG,” projectEGG, accessed 15 March, 2017, http://projectegg.org/project-egg/
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Clockwise from top left. Fig 8.1 - Detailed view of film imposed on steel beams. Fig 8.2 - Structure in use, with seating and walls seen. Fig 8.3 - Side elevation highlighting contrast of grid and undulating structures.
A2 PRECEDENT
Transparent Shell, Guangzhou Transparent Shell is a project by PONE Architecture that looks to reinterpret architectural conventions such as enclosure and structure in the age of computational design. The main structure is comprised of 30 ‘bone models’ and three groups of sweeping radian curves1. The structure is made of undulating steel beams tightly wrapped in clear film, which is then suspended upon a relatively conventional steel square grid. It measures 7000x13000mm, making it a sizeable structure, able to be traversed and inhabited by viewers2. The structure was influenced by the helix shape of a conch shell, as the spiralling elements create a logic to the form as it ebbs and flows from one end to the other. This spiral is in seemingly harmonious opposition to the grid, floating upon it almost weightlessly. The architects deem the structure an exercise in ‘behavioural art’, rather than construction3. Within this structure there are allusions to windows, doors, ceilings and desks, as the architects look to advocate for such a structure’s applicability, rather than just its possibility4. This familiarity, coupled with the ability to navigate the space allows for a degree of feasibility, as the viewer images themselves within the space, and the negatives and positives such a lifestyle may entail. This juxtaposition of old and new, of organic and inorganic exemplifies the fact that traditional and developing models of construction may be complimentary to one another, rather than simply exclusionary. Such a model, in this instance, promotes a more fluid traversal of the individual through the built environment5.
9.1 “Pone Transparent Shell,” Red Dot Award, last modified 2016, http:// red-dot.de/cd/en/online-exhibition/work/?code=13-00210&y=2016 9. 2 “PONE Transparent Shell Exhibition,” A’Design Award, last modified 24 February, 2016, https://competition.adesignaward.com/design.php?ID=46207 9. 3 “PONE Architecture weaves undulating and immersive ‘transparent shell’ pavilion, designboom, last modified 14 December, 2016, http://www.designboom.com/ design/pone-architecture-transparent-shell-guangzhou-design-week-12-14-2016/ 9. 4 Ibid. 9. 5 “Transparent Shell by PONE Architecture,” Koozy Design, last modified 25 January, 2017, http://koozydesigns.com/transparent-shell-by-pone-architecture/
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Computational Structure Seismic shifts in industry take time to materialise, but materialise they do, shaking and changing the very foundations of the field. Computation in architecture promises to be one such shift. As both awareness and capability of the power of this new technology grows, so too does an understanding of it’s viability not merely in form finding exercises, but in achieving structures of a new degree of coherence, as the buildings systems and forms enhance and support one another. Foster + Partners 2013 building, the National Bank of Kuwait Headquarters, exemplifies the value of computational design in achieving complex and challenging performance requirements, without compromising aesthetic or programatic ideals1.
iteration. One of the great benefits of computational design in such an operation is that so long as the model lies within the given parameters, it is viable. Therefore the process is not concerned with what works merely sufficiently, but rather what works best for the client, the user, and the architect. Such a model allowed for accurate modelling to counter the 50 degree heat 2 , as well as providing computationally generated performance data regarding light, wind and acoustics. The speed, and minimal cost of such modelling promises to be a great shift in the field, allowing for unprecedented levels of knowledge of the building, and a more holistic approach to architecture. The fact that such models may be rapidly fabricated as prototypes is a further boon.
Through establishing a set of rules that would satisfy the performance This shift to a more managerial requirements, the team would be role echoes a shift in the able to design in a feedback loop of architectural field for some time, sorts, seeking the most successful which only looks to accelerate with the contrasting complexity, and autonomy of computation. 10.1
A3 PRECEDENT BASED DISCUSSION
Computation Works (Wiley, 2013), 34-35
10.2 “National Bank of Kuwait HQ,� Buro Happold, last modified 2017, http://www.burohappold. com/projects/national-bank-of-kuwait-headquarters/
PTW Architects’ 2007 Beijing National Aquatics Center utilised computation in ways they initially did not anticipate. While initially using a somewhat antiquated geometric stacking algorithm to generate their initial form, the resulting complexity of the steelframed bubble array1, coupled with the inclusion of a new material ETFE necessitated the use of computational modelling for the management and fabrication of a complex form. Through this computation, efficiency was maximised, generating a self supporting system of more than 4000 bubbles, while only requiring 23 different configurations of structural elements, simplifying manufacturing and construction2. New methods for testing the structures viability expanded the Chinese building code to accommodate individualised methods of evaluation.
Fig 11.1 - Cutaway image of tower, including structural elements and references to computational design elements.
It is clear that computational design is already changing the conventional model of architecture, advocating for a shift away from an imposed scheme of interfering pieces to an integrated system of interactive parts.
11.1
“Engineering the Water Cube,� Architecture AU, last modified 1 July,
2006, http://www. burohappold.com/projects 11.2 Fabricating Architecture (Princeton Architectural Press, 2010), 140-51
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Clockwise from top left. Fig 12.1 - Tower under construction, with clear views of the vertical structural concrete fins. Fig 12.2 - Completed tower. Fig 12.3 - Example of Foster + Partners prototypes and digitally fabricatied models.
A3 PRECEDENT BASED DISCUSSION
Beijing National Aquatics Center
Clockwise from top left. Fig 13.1 - Perspective view of digital model, including entrance. Fig 13.2 - Strand7 Finite Element model. Fig 13.3 - Exterior view of steel structure and EFTE bubbles.
references
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Computational Fabrication While computational design may often speak to broader structural and performance based quandries, it is perhaps in relation to more acute and tangible issues that the everyday value of computational design may be realised. As reliance upon computational design grows, and the technology itself progresses, integrated systems of managing and resolving design problems will emerge. Technological ecosystems will fabricate complex computised schemes, as entire chains of design, from generation to fabrication and construction may be automated. The reality of such a situation poses both issues and opportunities for architects, demanding a fluid notion of what their role is, and may be in the future. In a world of mass produced items, architecture promises a unique, bespoke service and product1. This distinguishes architecture both economically, and conceptually from other design fields. The architecture of the future will be concerned with
broaching this divide, largely through the systemisation and computisation of architectural tools and schemes. Echoes of such a notion may be seen in UNStudio’s Ometosando Commercial Complex. The buildings facade reacts to the programmatic needs of the interior, allowing different degrees of light and visibility according to their requirements1. Programmed to react to simple grayscale colour coding, as processed through an image editing suite, the data generates a dynamic, yet resolved facade. The weaving pattern generated is visually complex, while accounting for all discrete elements within the algorithm. Means of fabrication and construction will also rely heavily upon computised models, accomodating a shared knowledge between the disciplines2. The value of integration within the fabrication process allows not only for bespoke solutions, but systematised models of architecture, as seen in Facit Homes’ D House.
14.1 14.1
A4 PRECEDENT BASED DISCUSSION
Instrumental Geometry (New York: Princeton Architectural Press, 2010), 22-42.
“Block Strategies - A Neverending Story,” UNStudio, last modified 2016,
http://www.unstudio.com/research 14.2 Innovate or Perish (New York: Princeton Architectural Press, 2010), 56-86.
Positioning themselves as the first architectural practise to both design and produce their products using only digital means, Facit Homes look to be on the cutting edge of a shift in domestic architecture, driven by computation. All stages of design and construction are conducted in house, allowing a generally higher quality of finish, with reduced hassle1. Using a proprietary computational system, Facit creates a base ‘chasis’ on site using mobile manufacturing facilities, while individualised components are completed in their workshop. Through use of their self contained ecosystem, the compatibility of the components is never in question or misinterpreted. The efficiency of such a system results in further attenting paid to a comprehensive climate and ventilation system2 , while reducing material waste.
Fig 11.1 - Example of correspondence between programatic needs and facade design.
It is clear the computation, and the effects it will have on manufacturing and fabrication processes have the ability to reshape conventiona approaches and understandings of architecture. Through the offering of systems-based approaches, new levels of efficiency and responsiveness may be achieved.
15.1 Computation Works (Wiley, 2013), 88-91 15.2 “Facit Homes’ D-Process,” inhabitat, last modified 29 March, 2015, http://inhabitat.com/facit-homes
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Clockwise from top left. Fig 17.1 - Example of the ease of construction of manufactured parts following digital manufacturing. Fig 17.2 - Illustration of the accuracy of digital modelling and construction process. Fig 17.3 - Detailed look at interior digitally manufactured cladding during late construction phase.
A4 PRECEDENT BASED DISCUSSION
Ometosando Commercial Complex
Clockwise from top left. Fig 17.1 - Perspectival visualisation of completed structure, with facade scheme visible.. Fig 17.2 - Illustration of the interaction between interior and exterior, mediated through computational design. Fig 17x.3 - Illustraction of varying cladding elements, and the manner in which they meet.
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Algorithmic Sketches
A5 ALGORITHMIC SKETCHES
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A6 LEARNING OUTCOMES
Learning Outcomes Learning new methods and tools for development and design can be tedious. Hundreds of unknown buttons in seemingly loose collections make for daunting initial encounters.
the work of Zaha Hadid Architects. With even a basic understanding of the principles of Grasshopper, forays in to more complex components are possible, allowing for risk free and informative exploration.
This apprehension gives way to slow comprehension, as order and rules emerge. Grasshopper is no exception to this. Through patient use of the program, one begins to understand the logic that governs the generation of familiar shapes and forms. These early successes give way to a slow understanding of the great value and relevance of such a program. More complex algorithms and computational structures, such as those seen in the tutorials, give an idea of roles that computational design may play in real world applications, rather than mere aesthetic exercises. Array based configurations of parametrically designed blocks evoke complex building facades, while more singular shapes are evocative of
The visual feedback offered by the Rhino software allows for instant visual gratification of your successes, prompting further boundary pushing. Through an engagement an interest in the subject of computational design, one is able to broaden their mind to speculate on it’s future role in the profession. A willingness to engage and a determination to participate in the future of architecture place computational design at the forefront of marketable skills moving forward, making the outcomes of this course crucial stepping stones in this development,
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A6 LEARNING OUTCOMES
Summary To summarise, part A has not only broadened my understanding of what computational design is, or can be, but put me in a strong position to generate design choices through computational means. Through an understanding of the multifaceted nature of computational design, one can understand its strength across manufacturing, generation and performance, amongst others. The precedent studies highlighted the variability of computational design. The egalitarian Project EGG moved the factory to the home, as individuals participated in collective action in advocating for new means of construction. Transparent Shell on the other hand looked to reinterpret traditional architectural forms in a dramatically new digitized language. Computational design can be invaluable at the generative stage of the design process. Working within a set of performance and aesthetically driven paremeters, rapid change and concept development may be achieved.
Projects such as Foster + Partners’ NBK HQ and PTW’s Water Cube thrive on this feedback based model of design, where data driven choices contribute to creating a cohesive design that satisfies client needs. When used in conjunction with contemporary fabrication and manufacturing tools, computational design yields highly responsive and successful outcomes. Both UNStudio’s Ometosando Commercial Complex and Facit Homes illustrate the value of the systematisation of computational models, not just in a particular instance, but as a tool that may be developed and implemented in later instances. The trend of computational design within architecture is not likely to subside, necessitating an understanding not only of where such a model has taken us, but where it will take us going forward.ß
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Image Credits Page 6
udens-atrakciju-parks/328579
6.1, 6.2, 6.3 - Michiel van der Kley, Project EGG, 2014, photo, http:// projectegg.org/press/
13.2 - PTW, Water Cube facade, 2008, photo, http://www.ptw.com.au/ptw_project/ watercube-national-swimming-centre/
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13.3 - AEC Magazine, Strand7 Finite Element Model, 2005, photo, http:// aecmag.com/case-studies-mainmenu37/36-beijing-waterworld
8.1, 8.2, 8.3 - Architecture Prize, Transparent Shell, 2016, photo, https://architectureprize. com/winners-2016/winner.php?id=2670
Page 15 Page 11 11.1 - Dusanka Popovska, “Overall tower geometry”, in Computation Works: the Building of Algorithmic Thought, Brady Peters and Xavier De Kestelier, 35. Page 12 12.1 - Adrian Welch, National Bank of Kuwait, 2017, photo, http://www.e-architect. co.uk/kuwait/kuwait-building-photos/ attachment/kuwait-building-a240217-aw58 12.2 - Dusanka Popovska, “Design of new tower”, in Computation Works: the Building of Algorithmic Thought, Brady Peters and Xavier De Kestelier, 35. 12.3 - Dusanka Popovska, “Design of new tower”, in Computation Works: the Building of Algorithmic Thought, Brady Peters and Xavier De Kestelier, 34. Page 13 13.1 - SPOKI, Water Cube, 2011, photo, http:// spoki.tvnet.lv/foto-izlases/Iespaidigais-
BIBLIOGRAPHY
15.1 - UNStudio, Tiling Strategy , 2015, photo, http://www.unstudio.com/research/spp/ block-strategies-a-never-ending-story Page 16 16.1, 16.2, 16.3 - Facit Homes, Assorted Images, 2016, photo, http://facit-homes.com/ Page 17 17.1, 17.2, 17.3 - UNStudio, Assorted Images, 2015, photo, http://www. unstudio.com/research/spp/blockstrategies-a-never-ending-story
Bibliography A’Design Award. PONE Transparent Shell Exhibition. February 24, 2016. https://competition.adesignaward.com/design.php?ID=46207 . Arch2o. The 3D-Printed Pavilion - Project EGG. http://www.arch2o.com/ project-egg-michiel-van-der-kley/ (accessed March 15, 2017). ArchitectureAU. Engineering the Water Cube. July 1, 2006. http://www. burohappold.com/projects/national-bank-of-kuwait-headquarters/ . Bell, Bruce, and Sarah Simpkin. “Domesticating Parametric Design.” In Computation Works, by Bradley Peters and Xavier de Kestelier, 88-91. Architectural Design, 2013. Buro Happold. National Bank of Kuwait HQ. 2017. http://www.burohappold. com/projects/national-bank-of-kuwait-headquarters/ . Celento, David. “Innovate or Perish: New Technologies and Architecture’s Future.” In Fabricating Architecture, by Robert Corser, 56-86. New York: Princeton Architectural Press, 2010. contemporist. Project EGG by Michiel van der Kley. October 21, 2014. http:// www.contemporist.com/project-egg-by-michiel-van-der-kley/ . designboom. Michiel van der Klay presents 3D-printed Project EGG. October 20, 2014. http://www.designboom.com/design/michiel-vander-kley-project-egg-dutchdesign-week-2014-10-20-2014/ . —. PONE Architecture weaves undulating and immersive ‘transparent shell’ pavilion. December 14, 2016. http://www.designboom.com/design/ponearchitecture-transparent-shell-guangzhou-design-week-12-14-2016/ . inhabitat. Facit Homes’ D-Process. March 29, 2015. http://inhabitat.com/facithomes-d-process-creates-efficient-buildings-that-snap-together-like-lego-bricks/. Koozy Design. Transparent Shell by PONE Architecture. January 25, 2017. http://koozydesigns.com/transparent-shell-by-pone-architecture/ . Menges, Achim. “Instrumental Geometry.” In Fabricating Architecture, by Robert Corser, 22-42. New York: Princeton Architectural Press, 2010.
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Popovska, Dusanka. “Integrated Computational Design: National Bank of Kuwait Headquarters.” In Computation Works: the Building of Algorithmic Thought, by Brady Peters and Xavier De Kestelier, 34-35. Wiley, 2013. projectEGG. Project EGG. http://projectegg.org/project-egg/ (accessed March 15, 2017). Red Dot Award. PONE Transparent Shell. 2016. http://red-dot.de/ cd/en/online-exhibition/work/?code=13-00210&y=2016 . UNStudio. Block Strategies - A Neverending Story. 2016. http://www.unstudio.com/research. Weinstock, Michael. “Self-organization and Material Constructions.” In Fabricating Architecture, by Robert Corser, 140-151. New York: Princeton Architectural Press, 2010.
BIBLIOGRAPHY
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PART B
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Structure Computational design has the ability to transform the understanding and integration of structural considerations within the architectural design process. Design and structure have often occupied a competing place in the mind of architects, with one often considered to suffer as a result of the other. As an appreciation of materials, and the engineered systems they exist within increased, a shift began to occur within the field, that looked to harmonise the conflicts between design and structure, pitting them as equally crucial parts in a more holistic and humanistic architecture. Computational design marks the next shift in this paradigm. The power of computation replaces the merely illustrative nature of computerised representations, hindered by their inability to respond to issues outside the architects concerns. Computation instead replaces this largely visual medium with a highly reflexive and dynamic framework. This framework invests early architectural conceptual thought and modelling with material and structural considerations commonly reserved for engineering, thus allowing for earlier and more thorough multidisciplinary interaction1.
The ability for computational design to imbue digitally modelled elements with material values is invaluable in achieving efficient and effective real world outcomes2. Plugins such as Karamba allow for realistic material properties to be attached to modelled elements 3. By keeping an updating itinerary of materials and their quantities, accurate costings may be achieved. The ability of computational frameworks to monitor such information highlights their referential nature. By centralising this body of information, documentation shared related to a project can be shared, while still updating in accordance with the computational model. This dynamism is just one of the outcomes of working within the iterative, non-destructive framework that computational design suites offer. Outcomes are not set in stone, but reflexive and responsive to shifting demands, be it from the client, the climate or anything in between 4. Furthermore, auxiliary systems that engage with the primary structural systems will react responsively rather than conflictingly, with their own forms developing related to the structure. Caitlin Mueller and John Ochsendorf, ‘From analysis to design: A new computational strategy for structural creativity’, Proceedings of the 2nd International Workshop on Design in Civil and Environmental Engineering, (2013), 46-57. 32.1
Paul Nicholas, and Martin Tamke, ‘Computational Strategies for the Architectural Design of Bending Active Structures’, International Journal of Space Structures, 28.3/4 (2013), 215-228. 33.2
Henry Louth, and others, ‘A Prefabricated Dining Pavilion’, in Fabricate 2017, by Achim Menges, and others, (UCL Press: 2017), page 58-67. 33.3
33.4
B1 INTRODUCTION TO STRUCTURE
Mueller, ‘From Analysis to Design.
Structures may be optimised through physics based modelling, both strengthening the structures itself, and delivering savings for both contractors and clients. In the case of primary structure on large-scale developments, this saving could be crucial in achieving profitable outcomes. Plugins to Rhino such as Kangaroo allow a comprehensive, yet visually engaging manner for testing such physics based outcomes, such as with catenary based forms.
understanding of the development of structural systems in architecture. This shift is away for a singular defined path of development, and towards one of malleability, as iterations of designs with the specified constraints may be explored. Computational design of structural elements thrives off evolution, and development, key tenets in the constantly changing architectural and construction landscapes.
Such advents allow for a shift in
Caitlin Mueller and John Ochsendorf, ‘From analysis to design: A new computational strategy for structural creativity’, Proceedings of the 2nd International Workshop on Design in Civil and Environmental Engineering, (2013). Fig.33.1
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Twisted Beso Tower
1.1 Scaling.
B2 SPECIES EXPLORATION
1.2 Divisions on curve.
1.3 Cull pattern.
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2.1 Extrusion of panels.
2.2 Cull pattern.
2.2B 3D rotation.
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2.3 Smoothing through Weaverbird.
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3.1 Hexagonal panel centres offset.
PROJECT PROPOSAL
3.2 Lofted lines.
3.3 Piped.
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4.1 Randomized sphere generation and distribution based on loft points.
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4
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B2 SELECTION CRITERIA & SPECULATION
Analysis Across the number of different species and iterations, the defining characteristic amongst them was a quest for coherent and discreet shapes and forms. Computational design commonly returns iterations that are overbearing in terms of sheer quantity and clashes. These chosen outcomes were those that minimised the clashes, while still outputting forms that were identifiable and interesting. At this point my selection criteria largely revolved around aesthetic outcomes. The exception to this would be species 1, which still existed within the initial Karamba framework. Since the first instance of the definition took a tower form, this species looked to create a more visually arresting instance of the tower, while still maintaining some recognisability. In architectural practise such a method may be used for structural optimisation studies, or facade patterning. Species three has some was overwhelmed with elements to begin with, until cull pattern reduced the clutter. The outcome is quite arresting, resembling a non-sensical system of piping. It bears some
similarity to the Pompidou Center by Renzo Piano, as seen in Fig. 35.1.
Fig 35.1 - Pompidou Centre, Renzo Piano (1971)
Species 2 is perhaps the least grounded in reality, but it could still have applicability as a form of hanging ornament, or a feature light fitting, perhaps made from driftwood or another salvaged, aged material. Species 3 is a satisfying image, albeit with little to no function. It is evocative a sculptural light fitting, like in Fig 35.2.
Fig 35.2 - Empirico light fitting.
The Michel Ticket, ‘Paris. The Centre ’, The Michel Ticket <http://www.le-billet-de-michel. com/paris-le-centre-pompidou-a112541028> 35.1
Artemide Lighting, ‘Empirico’, Artemide <http:// artemide.com/prodotti/scheda-architectural. action?data.catalogoId=0&idSubfamily=668810> 35.2
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PROJECT PROPOSAL
Japanese Pavilion SHIGERU BAN, 2000 HANNOVER Shigeru Ban’s Japanese Pavilion for the 2000 Expo in Hanover is an intriguing study in pushing material boundaries through the incorporation of several compatible structural systems. Ban also sought the help of pioneering structural engineer, Frei Otto. Through these several systems, Ban is able to produce a vast, cavernous space of 74m in length, 25m in width, and 16m in height1. The structure adheres to structural requirements, while also developing a innovative structural system.
feature is a gridshell of cardboard tubes. Ban has used the tubes throughout his earlier work, due to their availability, strength, cheapness and versatility. The tubes in this project are 120mm in diameter 3, and may be spigotted together to generate lengths of up to 68m. The length achieved allows for virtual continuity from one end of the space to the other. Despite Ban’s insistence that this system alone was sufficient, stringent German building regulations required it be supported through more conventional system 4.
Shigeru Ban is a highly regarded Japanese architect, who has pioneered the use of paper and cardboard structures. He says a value in paper as a structural component, in turn looking to prompt a re-evaluation of the perception of the material within the built environment 2. The theme of the Hanover Expo was sustainability, so Ban’s structure reflects this through the recyclability and environmentally responsible materials chosen. The Japanese Pavilions primary Detail Online, Japanese Pavilion at the Expo in Hanover <http://www.detail-online.com/inspiration/japanesepavilion-at-the-expo-in-hanover-106867.html Fig 41.1
Shigeru Ban Architects, 2000 Japan Pavilion Hannover Expo <http://www.shigerubanarchitects.com/ works/2000_japan-pavilion-hannover-expo/ 41.1
> [accessed 17 April 2017]. Hebel, Engineering and Architecture: Building the Japan Pavilion <http://www.hebel.arch.ethz.ch/wp-content/ uploads/2012/08/Shigeru-Ban.pdf> [accessed 17 April 2017]. 41.2.
Wiki Arquitectura,Japan Pavilion Expo 2000 Hannover <https://en.wikiarquitectura.com/building/japan-pavillionexpo-2000-hannover/> [accessed 17 April 2017]. 41.3
4.
Ibid.
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Working with Otto, Ban established a system of ladder trusses and steel girders, that would form the basis of the structural system1. The cardboard gridshell was then attached to these formal structural elements, largely using tape, reflective of Banâ&#x20AC;&#x2122;s awareness of environmental concerns2. The wooden arches serve as a resistance grid, countering the lateral strain of the cardboard3. The curvature and length of these arches accommodate the natural spiral of the cardboard, allowing for the cardboard, accommodating the innate tendencies of the material.
One of Banâ&#x20AC;&#x2122;s desires for the structure was to make it as structurally simple as possible. When reverse engineering the project, this was an important factor in developing an understanding of Grasshopper not only as a vehicle for geometric complexity, but also for a more systematised and coherent simplicity.
The end walls of the structure consistent of a honeycombed structure, with post tensioned cables providing further bracing 4. These end structures served as structural diaphragms, providing planar strength through their connections to the adjacent timber beams5. The structure was clad in a paper membrane, 5 layers thick which provided the mandatory fire and waterproofing requirements.
Detail Online, Japanese Pavilion at the Expo in Hanover <http://www.detail-online.com/inspiration/japanesepavilion-at-the-expo-in-hanover-106867.html 42.1
> [accessed 17 April 2017]. 2
Shigeru Ban Architects.
3
Wiki Arquitectura.
4
Detail Online.
5
Shigeru Ban Architects
IMAGE Detail Online.
42.1
B3 REVERSE ENGINEERING CASE STUDY
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Early form finding using an interpolated line through a series of points from the case study. These lines are then joined through catenary lines before being lofted.
B3 REVERSE ENGINEERING
Early use of Lunchbox plugin to test usage on early lofted surface.
More refined series of points results in more refined lofted form, with the verticality of the space defined by the same geometry.
Ribs of the shape found through analysis of the edges of the mesh created by Lunchbox.
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Lofted shape is divide in to section, with cull pattern performed to find repeated patterns that match case study ladder trusses.
B3 REVERSE ENGINEERING
Similarly to the ribs, the diagrid is created through linking opposite vertices on the face panelled surface.
End structure found through the establishment of new end surfaces, subjected to Lunchbox plugin.
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B3 REVERSE ENGINEERING
Reverse Engineering Reverse engineering the Japanese Pavilion required an essentially instinctive feel for the assembly of the given elements, and where they stood in relation to one another. Grasshopper, and the ease of operation of its sliders were of great assistance in this.
Ladder truss
The Lunchbox plugin made the production of structural frames incredibly simple, with numerous options to transform surfaces in to neat and accurate structural grids, that were highly flexible. One of the biggest differences to the original project were the end diaphragm walls. The level of complexity on these elements in the final project was beyond my understanding of the software package.Another difference in this case was the lack of paper and PVC lining over the structure. This was a decision made to keep the structure as visible as possible. Future development of this project could revolve arund the piercing of this structural frame, opening up gaps and holes within the pavilion. Further experimentation could occur with the different framing options within Lunchbox, as they looked highly adaptable and useful for designing to a smaller scale.
Horizontal ribbing
Gridshell
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PROJECT PROPOSAL
Wiki Arquitectura,Japan Pavilion Expo 2000 Hannover <https://en.wikiarquitectura. com/building/japan-pavillion-expo-2000hannover/> [accessed 17 April 2017]. 51.1
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Exploration Experiments in changing the origin of the lofted form, or the number of points used to generate the interpolated curve.
B4 SPECIES / EXPLORATIONS
Reengineering the whole project, using an algorithm from the internet, which utilised a series of tangent arcs and circles to generate initial curve, that was then revolved.
Experimentation with the number of circles and tangent arcs used in generating lofted surface.
Differing circle radii.
Differing circle distances, can break up the overall body of the form.
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Experimenting with different Lunchbox panelling and grid options.
StudioAIR Surface area changed using the isotrim component.
B4 SPECIES / EXPLORATIONS
Experimenting with the density of the gridshell.
One of the smaller edges of the surface face was then revolved, creating a series of arches. This series shows this scaling, to a more human level.
Points within the structure were then added and removed.
Extrusion a centralised point, posited it as an early structural or visual feature.
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Conceptual iterations, getting more intimately involved in possible structural or visual features.
StudioAIR Adding depth and body to arch forms.
B4 SPECIES EXPLORATIONS
Final form to be explored further.
Analysis These points highlight the iterative design process associated with computational design. The design shifted and morphed from itâ&#x20AC;&#x2122;s origins, as the B3 definition. The scale of these iterations were dependant on their ability to satisfy the selection criteria decided upon, which also continued to evolve.
of performative spaces, such as stages. Through this assessment, I ruled the gridshell form to be restrictive, unless on a larger scale. To achieve a sense of enclosure within the space would likely involve cladding, thus dividing the site through the introduction of a non transparent mass.
At this point in the process, architectural considerations of enclosure and structure were considered, as the initial framework for the building was based on the research focus of structure. Investigations were therefore clearly influenced by this focus, as considerations of tectonics, fabrication and constructability were prioritised.
The arch form generated seemed more fitting for the area, as it allowed a degree of transparency, while allowing for a sense of verticality. I perceived this verticality to be a good avenue for exploration of potential screen elements, as stipulated within the brief.
At this point in the design process, it was also important to consider the desires of the brief, and the client. Ceres Environmental Park is proudly focused on an harmonious, and mututally respectful relationship with the natural environment. Structures that would represent this mantra would therefore be similarly harmonious, seeking to exist within their context, and not impose upon it.
It is clear that as an understanding of the tools and principles of computational design developed, so too did an ability to harness these skills in generating design outcomes that meet the design brief, and the desires of the client.
Furthermore, the brief stipulates the space must be used for a performance, necessitating the need for unhindered space. The interactivity of the performance would similarly require a space devoid of the typical conventions
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Prototypes and Testing
Immediately after fabricating sections of timber that were the dimensions of the computational model, I realised the scaling of the model was completely incorrect for human dimensions. After a number of revisions, this length was decided upon for its smooth and consistent arc, as well as safety concerns regarding head clearance that would have plagued the earlier design, especially in a playground full of active children.
The final configuration of the arcs. As is clear, they are not reliant upon each other for bracing, as that role will be performed later by the pentagon in the middle. The beams at this point are in their resting positions, which generate a healthy arc, both in terms of visuals and structure. The prototype at this stage, with no pinned elements was already quite strong, with parts put under duress utilising the support of their neighbour.
B5 PROTOTYPES AND TESTING
At this point, issues related to constructability were important to understand. A number of configurations were trialled, before settling on a configuration of two lower beams, one middle beam, and two upper beams. The two lower beams can perform the role of temporary bracing for the middle beam, while the middle beam performs the role of generating leeway for the two upper beams to pass through the pentagon without conflict.
Testing the material characteristics of the prototyping material. The length chosen, and the spacing between the start and end points on the model were retroactively applied to update the Grasshopper model.
Similarly, pressure on the middle of the beam, as would be applied from the pentagon form resulted in positive outcomes, as the deflection would be countered by the rigidity of the composite structure of the other beams.
As can be observed, these pinned points allowed for significant stress and loading without material failure. This material is less rigid than glulam, but results may be interpolated.
This image highlights the necessity of install a number of cross supporting elements in the fabrication and installation phase. The integrity of the structural system, in the occurrence of additional stress or loading is far greater with two supporting elements.
The ability of other members to support one another is highlighted in this image. Though the actual structure will minimise the physical intersection of these members, it will incorporate them in to a more coherent and regimented system, that would counter additional stresses through distribution to all beams, rather than just those immediately effected.
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The pentagon form was constructed, albeit in a fairly rudimentary iteration. Originally the pentagons depth over the beams was only half their width, but this aesthetic sacrifice was important for structural integrity and ease of construction.
One of the greatest developments of my design related to cross bracing members, that connected the lower sections of the glulam beams. This simple addition added great strength to the structure, especially in relation to resistance from shear. Countering the beams natural inclination outwards was easily handled by tensile reinforcement between the two.
Here is the structure, performing more than adequately when exposed to great vertical loading. The mash hammer used as a weight weighed more than 2 kilos, many times heavier than the structure. Though this form of loading would be highly irregular, it is indicative of the strength of the form.
Here is an image of the top beams, created from a thinner glulam member. These members were constructed using the lengths as generated in Grasshopper, as well as the dictated curvature. This was achieved through creating a glue laminated piece using 2 strips of very thin ply, bent and glue over an arc.
Also featured are two small figurines, that of a child and an adult, which were invaluable in assessing to exist within a human context, and on a human scale.
As is evident, the form itself alludes to computational principles such as the projection of points along a vertical vector, as the meeting points of both top and bottom members exist at the same XY coordinates.
B5 PROTOTYPES AND TESTING
Analysis A number of changes occurred as a result of prototyping. The entire scale of the building was changed, in an effort to attain a more human scale. The use of figurines was invaluable in achieving this, especially in developing a form that would minimise risk of hitting the structure when passing through it. This is especially important within the context, with children present. The structural elements I had considered before the prototyping process were found to be adequate, but additional lateral bracing between the glulam members greatly increased the rigidity and strength of the pavilion. The pentagonal form, which underwent a number of iterations proved successful as a binding element, that also minimised deregulated clashing between the glulam members.
one another through pin joints, as they were laterally braced through other structural elements. This prototype was invaluable for understanding the viability of the computational model generated. Alterations largely concerned more pragmatic changes required, as issues of structure and constructability were at the forefront, following work conducted on them in the research topic stage.
The glulam members were also reconsidered following prototyping, with concerns regarding the feasibility of their fabrication being key. This was as a result of the new developments to the curvature of the arching members. Also in mind were their installation and transportation. With this in mind, further computational modelling divide each of the bottom glu laminated members in to three pieces, with 2 of the three members being identical, with only small alterations to them needed, which could take place on site. They could then by fixed to
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StudioAIR Structural Development A brief section through the profile of the pentagon, highlighting its position, nestled within the central form, while still being aesthetically present.
The pentagon at the peak of beam performs a number of important roles, both structurally and aesthetically. This element frames the sky, operating as a performative element within the structure. Furthermore, it binds the 5 beams that meet at their apex, within the pentagon. Through this minor, yet important vertical load, the beams engage with each other. A high degree of ridigity is achieved, as lateral forces are countered from all angles . It is constructed from a lightweight cold rolled steel , wrapped around a timber frame. This allows for the curves of the beams to be implemented within it. These materials were also chosen for their light weight.
Bracing the adjacent , lower glulam beams added much greater structural integrity, as shear and lateral movement was greatly reduced. As a result of this rigidity, the structure itself became far stronger.
Load from arches is carried by hot rolled steel elements . From here it is passed to a pad that distributes the load to the pad footings below. The pad and footing will be below ground level to soften the buildings visual effect, as if it was rising out of the ground semi organically. The hierachy of materials, from hard steel to blond timber at the apex echoes this.
B5 PROTOTYPES AND TESTING
The arcing Glulam beams are divided in to three smaller parts, that form a continuous beam through bolted joints. Glulam timber is crucial for achieving structurally sound timber arcs, with strong performance.
The beams terminate on a pad within the steel box, with their load being transferred down to the footing. This interior action in hidden by an identical, repeated element in the steel.
Quick sketches regarding the shape of potential steel members, to connect the steel section to the Glulam member. Different profiles reflect different aesthetic effects, as well as different bearing capacities. The cross option for instance is more viable as it allows for the passage of the steel through the Glulam more efficiently, as this steel will need to continue on, for structural reasons
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PROJECT PROPOSAL
Design Proposal LIGHTWEIGHT PAVILION CENTRAL HABITAT, CERES ENVIRONMENTAL PARK Engagement with an immediate site and its users is crucial in delivering a work that meets their needs not only for the present, but for the future. This opportunity is even greater when the site sits within a vibrant, active and engaged community. This proposal looks to reinvigorate this space for the wider community through the introduction of a multidimensional indoor outdoor pavilion. Achieving the interactivity dimensions mandated by the brief neccessitated the development of an open sided structure, that breaks down the walls of typically hierarchical performance spaces, such as stages.Through this openness, a sense ofmovement is fostered, allowing for greater levels of partipation and engagement between viewer and performer. The ever shifting light from the hanging sails compounds this aim.
The pavilion also looks to cater to the many preexisting stakeholders of the space. Children and parents may use it as a congregation space, with the mix of shaded and sunned spaced creating a gentle local climate of a warm day. Students from the neighbouring classrooms may be taught in the space on pleasant days, as an alternative, semi-formal classroom. Patrons of the new cafe will also engage with the structure. Furthermore, the wider Ceres community have use of the space, be it through yoga groups, meditation groups or simply relaxation with friends.
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Visualisation of the pavilion as a shading structure a childrenâ&#x20AC;&#x2122;s area.
B6 PROJECT PROPOSAL
Conceptual Aesthetically, the pavilion uses materiality to highlight a vertical hierarchy, from the bottom to the top. Heavy hot rolled steel grounds the pavilion, while the glulam members go from a darker to a blonder timber as they rise. This is capped with the white, ethereal sail forms, which soften the interior structure. These sails lower as they move towards the core of the structure, creating a sense of movement and invitation, increased by the movement of the wind.
Fig 67.1 James Turrell’s Skyspace
The pavilions interest in air can be seen in it’s reference to James Turrell’s Skyspaces, and their open ceilings. In this model, the sky is framed, a moving painting of contrasting hues and tones, afforded agency through the elemental force of air. As users of the space lay back, they too will have this view framed, a dynamic and timeless display. The sails that descend
from wires surrounding the space will similarly echo this sense of movement. These conceptual goals look to create a dialogue between the users of the space, and their environment, using the structure as a framework for this communication.
Structure The structure of the buildings a composite system of glue laminated timber and steel. Arranged in a pentagon shape, timber members arc across to their corresponding end point. Prototyping of the structure led to the decision to divide each arc in to three pieces, for ease of fabrication and transportation. This system utilises standardised dimensions of timber, allowing for ease of construction and fabrication. The structural steel members that meet the ground are similarly standardised. This steel meets, and passes in to the timber for greater rigidity. The central pentagon binds the structure members together in a system that The structural merits of this pavilion are strong, utilising different bracing systems and structural concept to achieve a lightweight, yet exceptionally robust structure.
Design Addicts, ‘James Turrell Skyspace’, Design Addicts < http://designaddicts.com.au/ platform/2013/03/11/ohlhausen-dubois-architects/ screen-shot-2013-03-11-at-3-59-11-pm/> Fig. 1.
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Visualisation of the pavilion in the open site bordering where the cafe will be installed. Here we see the space being used a classroom. The openness of the structure allows for a sense of communication with its context.
B6 PROJECT PROPOSAL
Shortfalls The shortfalls of the project concern seating and useability related to surface conditions. Tanbark is not ideal for users, especially those partaking in seated activities or wishing to relax. The installation of any fixed seating may be beneficial in some manners but restrictive in terms of the flexibility of the space.
pavilion. Further would also involve the development of an alternativ to the draped sails, perhaps developing the notion of a threshold between interior and exterior, something that may be of merit to a performance space.
Another shortfall of the proposal is in the fabrication of the central pentagonal core. The proposed element may be too complex with too little margin for error. In principle, the element is beneficial, but a more simple, elegant resolution may be reached. The environmental merits of this structure could also be improved, through a concientious sourcing of materials.
Technique Advancement The means for improving this structure will come from an engagement with the discreet phyics and structural analysis elements of Grasshopper and itâ&#x20AC;&#x2122;s associaited plug ins. Testing the strength of these members is crucial in developing an understanding of the structural merits of the
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CRITERIA DESIGN
CRITERIA DESIGN
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Site Plan
B6 PROJECT PROPOSAL
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Learning Objectives & Outcomes My development of an understanding of computational design in this part of the studio has been one of slow but certain progress, characterised by stagnation broken up by bursts of eureka moments. These eureka moments commonly concerned conceptual elements of the Grasshopper framework, more so than design outcomes, as an awareness and understanding of the program, and its management of data streams grew. This understanding allowed me to navigate the objectives of the studio with growing confidence, crafting outcomes that met self-imposed, and brief-imposed requirements.
Interrogating a brief The understanding and delivery of a project that meets a brief is crucial, as in practise, the project must always seek to satisfy the desires of the client. The interpretation of these desires is where the architect sits, offering novel and intriguing, yet tangible solutions. Computational design allows for unprecedent levels of optioneering and iteration. The constraints of a brief therefore operate as parameters for this exploration, as stipulations such as a canopy, or enclosure dictate the bounds in which the designer must work. My work has been highly
B1 INTRODUCTION TO STRUCTURE
referential to the design brief, using it as a point of motivation in the iterative design process.
Generation of design possibilities for a given situation Computational design is a powerful tool in generating a variety of design outcomes that adhere to the stipulations of the brief. This can be used in aiding the designers outcome, particularly in the case of consultation with the client. Computational design benefits from its exceptional reflexivity, that when coupled with critique and reference to the design brief, may generate outcomes that do not exist in solitude, but may rather have elements, or features, that can be reintroduced to other species of iteration, allowing for a notion of design that iterates possibilities not only for the present, but also potentially the future. My generation of design possibilities were grounded in testing the boundaries of paramertic formfinding, while maintaining an awareness of the material qualities of the potential structure.
Skills in various threedimensional media The learning curve of Grassshopper may be steep at first, but perserverance and continued probing of the components and concepts that make up
the framework allow for an understanding of how the tools may be harnessed to realise complex design goals. The introduction of additional plugins, like Kangaroo and Karamba are initially overwhelming, yet with a similar attitude of investigation, I was able to understand some of their concepts better Through repitition and practise, I looked to streamline the process of Grasshopper formfinding, to the presentation of these iterative models within this body of work. This presentation conveys both the scope of change possible through minor shifts in parameters, to the intricacy of detail that may be developed.
An understanding of the relationship between architecture and air Delivering an outcome in this project required navigating a number of preordained fields. The interpretation of the relationship between architecture and air was one of them. Air lends itself to notions of flow and transparency, a dynamism and constancy inherent in the forces of nature. Harnessing this power, without dominating it was key in generating a design that was grounded, while still speaking to a relationship with atmospheric forces. The work of James Turrell was important
Fig. 75.1.
Theo Jansenâ&#x20AC;&#x2122;s Strandbeest.
in this regard, as was the work of Theo Jansenâ&#x20AC;&#x2122;s Strandbeest, that similarly harnesses air as a functional and performative element.
Making a case for proposals My proposal appealed to the community in which it was set to exist, offering a broad functionality to the similarly broad Ceres community. This vibrant and diverse community were clients with an embedded interest and genuine passion for the space, and I wanted my proposal to reflect this, as well as they ideals they believe in. Also of great significance to my proposal was a sense of the tangible, as I attempted to convey this project as one that had the structural integrity, as well as the conceptual basis for further commitment and development.
Georgetown Festival, Strandbeest, Georgetown Festival <http://georgetownfestival. com/event/strandbeest//> 75.1.
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Algorithmic Sketches
B1 INTRODUCTION TO STRUCTURE
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Image Credits Design Addicts, ‘James Turrell Skyspace’, Design Addicts < http://designaddicts.com.au/ platform/2013/03/11/ohlhausen-dubois-architects/screen-shot-2013-03-11-at-3-59-11-pm/> Wiki Arquitectura,Japan Pavilion Expo 2000 Hannover <https://en.wikiarquitectura.com/ building/japan-pavillion-expo-2000-hannover/> [accessed 17 April 2017]. Georgetown Festival, Strandbeest, Georgetown Festival <http://georgetownfestival.com/event/strandbeest//> Caitlin Mueller and John Ochsendorf, ‘From analysis to design: A new computational strategy for structural creativity’, Proceedings of the 2nd International Workshop on Design in Civil and Environmental Engineering, (2013), 46-57. Wiki Arquitectura,Japan Pavilion Expo 2000 Hannover <https://en.wikiarquitectura.com/ building/japan-pavillion-expo-2000-hannover/> [accessed 17 April 2017].
BIBLIOGRAPHY
Bibliography Shigeru Ban Architects, 2000 Japan Pavilion Hannover Expo <http://www. shigerubanarchitects.com/works/2000_japan-pavilion-hannover-expo/ > [accessed 17 April 2017]. Detail Online, Japanese Pavilion at the Expo in Hanover <http://www.detail-online.com/ inspiration/japanese-pavilion-at-the-expo-in-hanover-106867.html Hebel, Engineering and Architecture: Building the Japan Pavilion <http://www.hebel.arch.ethz. ch/wp-content/uploads/2012/08/Shigeru-Ban.pdf> [accessed 17 April 2017]. Henry Louth, and others, ‘A Prefabricated Dining Pavilion’, in Fabricate 2017, by Achim Menges, and others, (UCL Press: 2017), page 58-67. Caitlin Mueller and John Ochsendorf, ‘From analysis to design: A new computational strategy for structural creativity’, Proceedings of the 2nd International Workshop on Design in Civil and Environmental Engineering, (2013), 46-57. Paul Nicholas, and Martin Tamke, ‘Computational Strategies for the Architectural Design of Bending Active Structures’, International Journal of Space Structures, 28.3/4 (2013), 215-228. Wiki Arquitectura,Japan Pavilion Expo 2000 Hannover <https://en.wikiarquitectura.com/ building/japan-pavillion-expo-2000-hannover/> [accessed 17 April 2017].
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PART C
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Reflection & Main Design Concepts The client responded positively to my design, and Malak’s design, prompting our group to proceed with an interpretation of these two designs. Both these designs displayed a desire to exist harmoniously within nature, while serving the needs of the client sufficiently. Both however, suffered from issues related to costing, use of recycled materials, and issues of constructability. With the strength of the group now behind us, our further explorations were largely a result of group engagement, with all members bringing knowledge of their chosen field of study to bear. This afforded members of the group the ability to step back from a broader attempt at completing an entire concept, and focus instead on realising highly finished elements of the
Fig. 82.1.
C1 REFLECTION & CONCEPTS
Malak’s sunshading structure over the sandpit.
design related to their field. We also looked to CERES 2016 Strategic Directions document to prompt our design. The themes were largely related to an educational drive to instil a sense of conciousness within the wider population of the precarious nature of the environment and ecosystem in today’s consumption driven society. This educational element was particularly fitting within the context of the children’s area, and would be a key conceptual driver in our design. At this point the client also indicated a shift in focus to solely designing a shading structure for the sandpit area, fortunately something that had been accounted for in our earlier designs.
Minimal complexity The limited number of elements, coupled with the repetition of 4 key pieces allows for quick and simple assembly, as well as reduced fabrication costs.
Non-intrusive form The role of this structure is not to impede upon the existing area, and the activities within, but rather accommodate and bolster them. Materials were similarly chosen according to this mantra.
Diversity of application and use The structure looked to accommodate a diverse array of activity within the space. This would reflect the diverse Ceres community.
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Group Design Development The client responded positively to my design, and Malak’s design, prompting our group to proceed with an interpretation of these two designs. Both these designs displayed a desire to exist harmoniously within nature, while serving the needs of the client sufficiently. Both however, suffered from issues related to costing, use of recycled materials, and issues of constructability. With the strength of the group now behind us, our further explorations were largely a result of group engagement, with all members bringing knowledge of their chosen field of study to bear. This afforded members of the group the ability to step back from a broader attempt at completing an entire concept, and focus instead on realising
C2 GROUP DESIGN DEVELOPMENT
highly finished elements of the design related to their field. We also looked to CERES 2016 Strategic Directions document to prompt our design. The themes were largely related to an educational drive to instil a sense of conciousness within the wider population of the precarious nature of the environment and ecosystem in today’s consumption driven society. This educational element was particularly fitting within the context of the children’s area, and would be a key conceptual driver in our design. At this point the client also indicated a shift in focus to solely designing a shading structure for the sandpit area, fortunately something that had been accounted for in our earlier designs.
Initial geometry generated through L-System
Geometry cleaned up using baked curves
Structural elements integrated in to form
Material properties introduced to existing geometry
Tectonic PVC piping elements introduced
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Biomimicry A canopy form was seen as evoking a sense of shelter while speaking to trees themselves. This environmental theme was in keeping with CERES, and their action plan that advocated for educational ideals within the community.
Clockwise from left: 86.1 - Render of canopy form, highlighting interplay between the branches and the flower that dropped from them. 86.2 - Photo of preexisting foliage at the site, that served as a visual motif and motivator for biomimicry designs. 87.3 - Tree rings drawn on structural prototype, speaking to educational, environmental, and biomimicry notions.
C2 GROUP DESIGN DEVELOPMENT
Patterning The patterning on the structure looked to the forms of nature once more, aiming to create a pattern that echoed the soft, breezy shapes of a flower, or leaf filled canopy. Achieving a visually arresting shadow pattern was of importance.
Clockwise from right: 87.1 - different arrangements of flowers and leaves were tested for visual qualities, as well as to gauge the ease of fabrication 87.2 - Examples of the construction process of these leaves, highlighting their parametric nature, as well as the computational logic behind their conception
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These prototypes looked to engage the community of CERES in a painting activity. This activity would engage the community, in turn allowing for a personal investment within the structure they would use. Bottles would be collected, and painted by members of the CERES community.
Clockwise from right: 88.1 - Customisable, parametric mounts for the plastic bottles 88.2 - Painted bottle samples 88.3 - Painted bottle samples
C2 GROUP DESIGN DEVELOPMENT
Geometry The geometry of the shade structure was created using the Grasshopper plugin, Rabbit. Rabbit allows for modelling of L-System trees, which utilise a step based algorithm that grows from text based prompts, following a dictated angle and unit of movement. This system allows for visually complex systems that obey regular and understand logics, albeit it with a somewhat steep learning curve. The systems strengths lie in the visual complexity of itâ&#x20AC;&#x2122;s repetition.
Clockwise from top right: 89.1 - L-System samples, highlighting patterns of growth 89.2 - Computational model visualising radiation received from sun, using Ladybird script within Grasshopper 89.3 - Computational model visualising shade generated by shading geometry
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Structure Development of the structural elements of the design were largely dependant upon the geometry generated by the L-System. The complexity of the system, and itâ&#x20AC;&#x2122;s highly angular form made dealing with these junctions a priority. Similarly, the top heavy design mandated a focus upon the grounding of the structure, and the footings that would grant it some strength from loading and use.
Above, right - assorted structural sketches and concepts.
C2 GROUP DESIGN DEVELOPMENT
Below, right - structural prototype images.
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Connection to upper canopy 2 bolted connections reduce moment forces
Lower member Gusseted at T-junction Two identical element
Capping element Hides structure
Spacers Ensures stability
Steel brackets Joins lower members to secured stumps. Four used for solid connection
Wing nuts Allow for gradual assembly of the project Assist in generating flex in plywood members
Ply member Hubs at ends to fit with others Mass customizable
Washers
Oversized for aesthetic detail May incorporated flower pattern from
C2 GROUP DESIGN DEVELOPMENT
Clockwise from top left: 92.1 - Construction diagram of footing system 93.1 - Footing system 93.2 - Footing system 93.3 - Plywood hub prototype detail 93.4 - Triangulated plywood hub system
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C2 GROUP DESIGN DEVELOPMENT
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TITLE OF SECTION
Final Review After experiencing an overwhelmingly negative review and being largely dissatisfied with the product of the group, I decided to re-evaluate and continue the project individually. I would take in to consideration a number of valid and thoughtful recommendations put forth by the reviewers. As my research focus was on structure, the result of my further investigation would of course be skewed towards a more structural exploration. Achieving the desires of the client, such as shading, inability to climb, and
the use of recycled materials were not disregarded however. These concerns propelled my further explorations, utilising the constraints as directions to take the project in. My further development would utilise the triangulated hub system seen in the earlier prototype, as well as the plywood we had chosen to use throughout.
Single system
The differing systems between the canopy and uprights created irregularities and weaknesses. A single system would avoid this.
Consolidate canopies
The two canopies counteracted each other, and the effect they strove for. A single canopy would simplify the form and concept.
Triangulate base
Two points of contact to the ground is insufficient structurally. Similarly, relying on the posts is an unsuccessful resolution.
Less top-heavy
The structure generated by the L-system got far more complex as it grew, creating a complex network of beams, and adding an impossible amount of weight.
Possible to realise
The geometry of this form made realising it, either in reality, or in a model form, using the methods and materials chosen was not possible.
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TITLE OF SECTION
Conceptual development
Clockwise from left; 102.1 - Proposed render of shade structure 103.1 - Mass customised plywood beams, with connecting hubs, bolts and washers, early prototype 103.2 - Tectonic detail of beam spacer - sunshade connection
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Individual Work
C2 INDIVIDUAL WORK
Shading element The shading element utilises the existing sandpit shade cloth. It was assessed to have little to no structural damage, requiring instead a removal of mould and dirt build up. Recycling this element, while reinterpreting it was an important part of the recycled ethos associated with CERES. The cloth would be reintroduced as a number of smaller sections, allowing for a play of light, and reducing uplifting wind forces that exist on site.
Shading to beam spacers A system of two coloured plastic pots would be placed inside one another serving as an aesthetic element, as well as a reminder of context. This is illustrated on P103.
Mass customised plywood beams The plywood beams would be fabricated in recycled plywood, commonly found cheaply as old formwork or construction surplus. It would be milled in to the desired, mass customised form through use of CNC router and computational data, generated from the model.
Beam to footing connection Connection to the ground would be achieved through use of an off-the-shelf structural steel component, like the accompanying image. This would then be secured through a small amount of concrete. While this compromises the environmental ethos in some ways, it ensures the long term structural viability of the structures base.
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C2 SITE PLAN
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Final Model Fabrication Process The fabrication of this model utilised a computational system of mass customised beams, meeting through hubs, with a suspended sunshade above. The beams were calculated through measuring their distance, and then reduced at 1:10 to achieve the desired scale. The bolt holes were kept parametric up to this point, until 3mm was decided as ideal circumference. This was after a period of prototyping, as well as checking for availability in stores. The leaf patterns were added to the beams, evoking the canopy element of the earlier design, as well as CERES environmental ethos. Plywood was used, as it was the decided material for the project, chosen for itâ&#x20AC;&#x2122;s availability from recycled vendors. On each hub, the length of the component was registered. This was used during the fabrication process in conjunction with the computational model, and text tags within Grasshopper and Rhino. This was a remarkably efficient and accurate process. I was initially concerned about the increased depth at each hub as they built up, cutting 4 copies, 2 of the original distance, one 5% larger, and one 10% larger. These larger copies were redundant however, as the materials tolerances were sufficient to catering to this minor discrepancy.
C3 FINAL MODEL
Upon receiving the laser cut pieces, initial work involved cleaning them, to achieve an even surface, free from discolouration and burn marks. This was done using a sander. All 3 copies were sanded at this point, to ensure a similar finish regardless of their set.
It took some time at the beginning of the build to work out an adequate construction sequence, that avoided costly mistakes, while being efficient. Attempts at filling in row by row were too time consuming and prone to mistakes. The system of identification I chose, with the length of each piece etched on the hub was sufficient, but required constant reference to the computer. In hindsight, a numbered hub system would have been preferable.
The final construction method involved all horizontal members, and all edge pieces. From this point onwards, the construction process would be complicated through movement on the vertical axis. This method would be similarly viable for construction on a larger scale, with minimised risk for builders, as the work would take place at ground level, rather than at elevation. Pieces at this point were loosely bolted, with nuts and washers attached. This allowed for pieces to be attached later easily enough.
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Upon completing the initial framing elements on flat ground, the model was suspended, simply using a hook and string. This idea emerged from Gaudiâ&#x20AC;&#x2122;s hanging catenary models, used to natural form find curves. Though the application here was somewhat different, it did aid in the assembly process through easier access to joints. Also visible is the pattern of the canopy. An interesting element of this was the inability of some pieces to meet while lying flat, while easily reaching once suspended. The construction process at this point ensured that the beams were arranged in a cascading manner. The overlap this system would create would reduce the pooling of water, reducing weather impact.
A base was created for the model in 12mm marine plywood. This would provide a secure element for the structure to attach to, ensuring the proper dimensions were achieved in the spans. The circumference of the circle was found using measurements from the digital model, with a 25mm allowance on either side. The interior of the circle was removed both to increase visibility, as well as a reference to the sandpit. The structure was fixed to the model using small 90 degree brackets. These were used in this instance to replace the stock structural steel elements mentioned previously.
The model was once more suspended to allow for even and consistent coating of spray varnish. The varnish would be applicable on a full size model, however would be more likely painted on, as an outdoor grade would be necessary. This coating increases the lifespan of the structure greatly. The blue elements featured are the scaled representations of the pot plants mentioned in the structural breakdown, serving as spacers for the suspended shade cloth. They were made of small sections of 8mm wall plug.
C3 FINAL MODEL
The model is pictured here, with the spray varnish finish. The finish creates a richness in colour and texture, accentuating the existing grain and patina of the timber. Alternatives to this would be a waxed finish, which is more natural and environmentally friendly, in tune with CERES ethos. This was not chosen at this point, as in reality, a varnish finish would be more like as a protective option. Some of the lower leaves were also removed from the model, to reduce climb-ability, an important point for the client.
The shade cloth was pierced by the existing bolts, to ensure a robust fix. Nuts were then screwed in to position, fixing the shade cloth. It was trimmed after this, aiming to make the shape as closely reflective to the design as possible. A heat gun was used to shrink the shade cloth over the top of the structure, with the plastic in the cloth responding well to the heat. This subsequent tautness was used to communicate the design intent of tensioned shading elements.
Finally, the model was pierced with a soldering iron to create the individual shading elements. The soldering sealed the frayed edges of the sail also. The completed models construction occurred over a substantial period of time, using a combination of computational data, and physical exploration, as the best route was often found through a process of trial and error, akin to prototyping.
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PROJECT PROPOSAL
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PROJECT PROPOSAL
Learning Objectives and Outcomes Studio Air offers a gentler, yet still comprehensive entrance in to the, at times, intimidating world of computational design. Presented at the beginning with a new and seemingly nonsensical visual display, and an accompanying metalanguage of apparent jargon, the studio offers a structured path to follow. Personally, this discovery has been both engaging and challenging, as the new adoption of many new technologies commonly are. I have already used the computational tools of Grasshopper in my professional work, using them to contour and label a 40 layer thick assortment of stepped contours. Without the knowledge Studio Air gave me, the job would have been prolonged greatly. The design project grew my understanding of architecture away from a simply functional understanding of architecture, and towards something that may emerge as a response to not only the clientâ&#x20AC;&#x2122;s needs, but also to itâ&#x20AC;&#x2122;s context. This feedback based relationship utilises tools like sun shading to create more efficient while avoiding disturbance of the design intent. Parametric modelling was invaluable throughout the process of my
final design, especially following the shift to the fabrication stage. Components could be scaled easily, while still being flexible if changes were necessary. In the case of the bolt holes, this adaptability allowed me to assess which bolt would do the job sufficiently, and then this decision could be rapidly incorporated in to the fabrication files, before they were manufactured.
Interrogating a brief Successful architectural interventions walk the line between meeting the needs and wants of the client, while attempting to infer their future desires or idealised mode of operation. In this design studio, it was crucial to appeal the broad community that lies under the banner of CERES. It is rare to find such a large and diverse community bound together under a shared identity and desire for educational and community based problems to global issues. This community, and the energy they possess was a primary motivator for my design exploration. Computational design offered a flexible and responsive palette to explore this, with design choices being highly responsive and flexible. As the semester progressed, so too did my ability to realise my design choices accurately through computational methods.
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Generating a variety of design possibilities As the semester progressed, several major design changes were evident. While seemingly following a linear path of refinement, this path was paved with the many attempts, failures, and test afforded through the flexibility of computational modelling. One of the virtues of computational modelling most valuable for this studio was the ability to fail, and then learn from these failures. Whether it was within the Grasshopper definition, or as a design or structural element, the flexibility afforded by working in a highly responsive digital ecosystem made fixing these errors simply a matter of a bit of time and hard work.
Skills in various threedimensional media Modelling in Grasshopper and Rhino does not exist in isolation. Instead the communicative strength of these programs is often at its best when viewed through other digital tools and media, that reinterpret the data in to a more readily accessible form. This may be through rendering, where the generated forms can be inserted in to the context, accommodating a strong visual dialogue, especially
C4 LEARNING OBJECTIVES
with a client, who may not understand the complexity of architectural, or computational, data. The relationship between the modelled structure, and itâ&#x20AC;&#x2122;s fabrication was also interesting. Realising the structure in all itâ&#x20AC;&#x2122;s complexity, purely through Grasshopper was often impossible at a beginner/intermediate skill level. What resulted then, was a relationship between the model, and fabricated elements, where one would trust in the process to render the results shown by the computational modelling.
Ability to make a case for proposals The ability to make a case for proposals was an interesting development. As the level of refinement of the project increased, so too did the ability to explain processes, and schedules for construction and fabrication. These developments greatly increase the tangibility of the project, adding a sense of excitement to itâ&#x20AC;&#x2122;s realisation. The devil is in the details, and computational design is allows for many, many details, affording a depth of quality only found through progressive development and refinement.
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