STUDIO AIR LAURA BRENNAN 803051
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PART C
DETAILED DESIGN
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TABLE OF CONTENTS C1 DESIGN CONCEPT Midsemester Presentation 4
Column Concept 5 Design Process 6-7 Final Column 8-9 Facade Concept 10-11 Deign Process 12 Final Facade 13 Plans & Section 14-15 Elements 16-17 Bidee 18 Construction 19 Site Interation 20 Fabrication of Project 21
C2 TECTONIC ELEMENTS & PROTOTYPES Prototype One 22
Prototype Two 23 Problems Encountered 24
C3 FINAL DETAIL MODEL Time Lapse 25 Diagrams 26-27 Final Model 28-30
C4 LEARNING OBJECTIVES & OUTCOMES
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REFERENCES 33
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C1 DESIGN CONCEPT MIDSEMESTER PRESENTATION During our midsemester presentation we were confronted with three main points. Throughout part C we tried various techniques to address these issues. 1. Function of the building town hall noun a building in which a local government officials and employees work and have meetings. We were asked to define the function of a town hall but after looking at the traditional definition and the current use of Northcote town hall, we decided that along with the new order comes a new identity. This building will be focused towards being more of a collaborative space designed to attract arts, food and cultural market places. 2. Standard form Our original design was criticised for its unrefined form, saying that it’s too conventional to create a building using a ground and roof slab. We then followed a few different paths to counteract this throughout C1. 3. Scale Our original scale of the building was related directly to site but the dome especially wasn’t put into context of a human proportion so it looked out of scale when presented. This was fixed by scaling the dimensions back and not utilising the whole site, then designing the features such as the columns and the dome in relation to a human’s proportions.
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MIDSEMESTER PRESENTATION
COLUMNS The Short Finned Eel was the inspiration behind our column, when it starts its life, it is completely translucent and is referred to as a glass eel. As it matures and moves from salt water to fresh, it begins to develop opacity.
ALGORITHM DESCRIBING TRANSLUCENT BEHAVIOUR
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DESIGN PROCESS
MIDSEMESTER PRESENTATION The original idea behind the columns was that as they grew in size they became more opaque to represent the behaviour of the eel. After the midsemester presentation we decided to refine this idea into a singular column.
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FIRST DEVELOPMENT STAGE We changed our previous algorithm for the column by mapping a diamond grid onto the column’s surface. We then made three different columns of different radiuses and fit them inside of each other. The outer column (green) had the least amount of density allowing you to see through it, the second column inside (blue) had slightly more density, and the inner most column (red) had the highest density. This was meant to represent the changing of transparency at different stages of the Eels life.
SECOND DEVELOPMENT STAGE With help from our tutor we then refined our algorithm again by removing one of the three columns, joining the inner (red) and outer column (grey) together. We then used an attractor curve on the voronoi grid, which was mapped onto our columns. This generated variance in the column, with large openings on one end and smaller/denser openings on the other end. This created the feeling of movement within a singular column, as your eyes are drawn up, it becomes more opaque and complex, representing the Eels development throughout its life.
Attractor pt - 5266 Seed - 56 Offset - 2 Pipe Radius - 0.158 Curves - 5
Attractor pt - 5200 Seed - 49 Offset - 2 Pipe Radius - 0.158 Curves - 10
Attractor pt - 4125 Seed - 56 Offset - 2 Pipe Radius - 0.158 Curves - 7
Attractor pt - 3950 Seed - 44 Offset - 2 Pipe Radius - 0.158 Curves - 8
Attractor pt - 5101 Seed - 56 Offset - 2 Pipe Radius - 0.158 Curves - 10
Attractor pt - 5055 Seed - 45 Offset - 2 Pipe Radius - 0.158 Curves - 14
Attractor pt - 4025 Seed - 44 Offset - 2 Pipe Radius - 0.1 Curves - 7
Attractor pt - 3500 Seed - 28 Offset - 2 Pipe Radius - 0.1 Curves - 7
Attractor pt - 3120 Seed - 53 Offset - 2 Pipe Radius - 0.1 Curves - 6
Attractor pt - 4210 Seed - 46 Offset - 2 Pipe Radius - 0.158 Curves - 8
Attractor pt - 4563 Seed - 56 Offset - 2 Pipe Radius - 0.1 Curves - 7
Attractor pt - 2591 Seed - 48 Offset - 2 Pipe Radius - 0.1 Curves - 8
Attractor pt - 2894 Seed - 42 Offset - 2 Pipe Radius - 0.1 Curves - 7
Attractor pt - 4200 Seed - 49 Offset - 2 Pipe Radius - 0.1 Curves -11
Attractor pt - 3150 Seed - 41 Offset - 2 Pipe Radius - 0.1 Curves - 12
Attractor pt - 3102 Seed - 42 Offset - 2 Pipe Radius - 0.1 Curves - 7
Attractor pt - 3200 Seed - 38 Offset - 2 Pipe Radius - 0.1 7
Attractor pt - 2879 Seed - 48 Offset - 2 Pipe Radius - 0.1 Curves - 8
THIRD DEVELOPMENT STAGE We experimented with this algorithm to create twenty iterations in regards to the form. To create the form we referenced migration path, the Eels swimming patterns and the Eel trap used by Indigenous Autralian’s to capture Eels. 7
Transition into the open ocean | Chaotic breeding grounds | Mouth of river | Commencement of migration from calm river
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FINAL CONCEPT The form and the pattern of the column have two separate stories to tell of the Eels life. The pattern represents the maturation of the Eel as it is growing and the form translates to the path in which the Eel takes during migration, as it moves from fresh water to the ocean and back again during the mating season.
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Bidee newOrder - studio air Rupert Reed + Laura Brennan
FACADE
ICD/ITKE Research Pavillion
FOA · Spanish Pavilion · Divisare
Purple Loosestrife (Lythrum Salicaria) was the inspiration for our facade. During autumn the native water plant turns red and dehydrates, which releases the seeds into the water. The water then carries the seeds along the river and disperses them, creating a network of potential pathways all starting from a single point. Purple Loosestrife
Short Finned Eel
Algorithmic Drawings
Algorithmic Drawings
ALGORITHM DESCRIBING DISPERSAL BEHAVIOUR
Algorithmic Drawings
Algorithmic Drawings
Botanical drawing
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Attractor pt - 5266 Seed - 56 Offset - 2 Pipe Radius - 0.158 Curves - 5
Attractor pt - 4125 Seed - 56 Offset - 2 Pipe Radius - 0.158 Curves - 7
Attractor pt - 5101 Seed - 56 Offset - 2 Pipe Radius - 0.158 Curves - 10
Attractor pt - 5055 Seed - 45 Offset - 2 Pipe Radius - 0.158 Curves - 14
Attractor pt - 4025 Seed - 44 Offset - 2 Pipe Radius - 0.1 Curves - 7
Attractor pt - 3500 Seed - 28 Offset - 2 Pipe Radius - 0.1 Curves - 7
Attractor pt - 3120 Seed - 53 Offset - 2 Pipe Radius - 0.1 Curves - 6
Attractor pt - 3150 Seed - 41 Offset - 2 Pipe Radius - 0.1 Curves - 12
Attractor pt - 3200 Seed - 38 Offset - 2 Pipe Radius - 0.1 7
DESIGN PROCESS
MIDSEMESTER PRESENTATION Our original idea was to use the L-system, a biological algorithm created to represent the growth of a tree, to map the different pathways that a seed could take down a river when it was released into the water. We would then pipe the outcome and use the network of pathways to create the form of the faรงade.
L-SYSTEM ITERATIONS
DEVELOPMENT STAGE In response to our mid-semester presentation we tried to think of ways to push our design into a more abstract approach, we experimented with a stepped faรงade and turned our concept of the Loosestrife into a dome. We played with the placement of the dome, sketching out ideas of it jutting out of the faรงade from within the building before deciding that we preferred it as a central circulation point. We still had the issue of our floor slabs being the main focus within our glass faรงade so we decided to try a different technique to hide the floor slab. We also tried different iterations of the L-system algorithm to create the effect we wanted but we were finding it difficult to get the facade algorithm and the column algorithm to work together. 11
DEVELOPMENT STAGE During this stage we decided to move away from the L-system and use the same algorithm of the column, this allows the building to transition smoothly from column to faรงade. After making a few adjustments we were happy with the form but still deciding on the materiality of the facade, this design was made completely out of glass with steel framing. The inset floor slab was to counteract the dominance of the slab within our designs. We also created a tapering effect for the faรงade.
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FINAL CONCEPT Once we had the form of our faรงade we decided to take a different approach with the materials we used, instead of making the whole building transparent, we infilled the arches with concrete and the only glass used would be in between the steel structure. This would provide a dramatic effect and a stronger connection between the story of the Eels maturation phase and the loosestrifes journey through water.
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PLANS
GROUND LEVEL 1:200
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LEVEL ONE 1:200
LEVEL TWO 1:200
SECTION
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DOME To allow natural light into the domineering concrete form we placed the glass dome in the centre of the building. The steel frame that forms the dome follows the same concept of the faรงade, with a network of pathways all leading away from a single point. It also became the central circulation point between all of the levels with a spiral staircase wrapping around it.
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CONNECTION OF COLUMN & FACADE The strong relationship between the faรงade and the column provides more context for both of our concepts. Using the pinch point at the top of the column as the point of seed release, the Loosestrife algorithm then flows into a network of paths all leading away from a single point, becoming more variable and tapering off towards the edges, mimicking the concept of the seed dispersal through the waterways.
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BIDEE The main theme running throughout both the plant and the animal concepts are the pathways they take throughout their life. Our project was given the name Bidee meaning “path� in an aboriginal dialect. This was to give reference to the native flora and fauna we chose to represent, as well as pay tribute to the traditional owners and custodians of this land.
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CONSTRUCTION To construct this building we would have someone using the HoloLens to guide the assembly of the prefabricated concrete arches and steel elements. The steel rods in the model represent steel beams that would be welded into place to provide a more rigid structure, allowing the columns and faรงade to be load bearing.
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SITE INTERACTION After observing the site on multiple occasions, we mapped out the main pathways that people took while walking past the Northcote Town Hall (shown by blue lines). We realised that there was a lot of interaction with the space, many people walk along high street due to the large amount of cafes and bars. People seem to be drawn here and to the Westgarth area a few kilometres south, which leads directly past the site. There’s a set of pedestrian traffic lights out the front, encouraging people to walk right up to the building and the 86 tram stops a few meters away causing people linger nearby while waiting for their tram. It’s also a popular skateboarding spot for filming videos. After viewing this behaviour we decided to face the entrance of the building East along high street to capture the attention of people as they walked past.
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FABRICATION OF PROJECT
HOLOLENS To fabricate such an intricate design on a large scale we decided to experiment with a new technology called the HoloLens. The HoloLens creates an augmented reality allowing us to project our rhino model onto our workspace and use it to guide the placement and dimensions of the physical assembly of parts.
HoloLens Image (Experenti, 2018)
SOLDERING IRON The soldering iron was good for fabrication because it allowed us flexibility to reheat the joins and change them if we needed due to the variation of the HoloLens. Given the complexity and angles within our project, we needed a way to join pieces that wouldn’t have been possible through other techniques such as 3D printing or laser cutting. The soldered joins resulted in a relatively strong structures at smaller scales, although when making a larger scale we had to tone down the complexity of the algorithm which meant we lost a lot of strength, shape and detail.
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C2 TECTONIC ELEMENTS & PROTOTYPES PROTOTYPE ONE To prove the concept of the HoloLens and practice soldering our tutor asked us to make a sphere. This was a major learning curve because the sphere is so symmetrical it was easy to pick up on mistakes. During this prototype we were able to work through some of the issues with the both the soldering iron and the HoloLens, while also refining our technique. When working on it alone the biggest time and accuracy constraint was using the blue arms to hold the rods in place while soldering. But this was fixed when we were both present, allowing one of us to wear the HoloLens and hold the piece in the correct place and the other to solder. I would probably even recommend three people, so that the person wearing the HoloLens could take a step back and view the model at the appropriate distance.
PROTOTYPE ONE FABRICATION PROCESS
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RHINO MODEL
PHYSICAL MODEL
PROTOTYPE TWO We then worked on a small scale column, this showed us how necessary it was to turn down the points in the algorithm so we could fabricate something bigger but less detailed in the amount of time we had. This stage was when we started to realise how important it was to be able to move 360° around the model instead of having to adjust the model, which wasn’t as much of an issue with the symmetrical sphere. The combination of the soldering iron and the HoloLens allowed for a certain “design as you go approach” where you could add parts in if you needed more support or if you had left over waste pieces, making it a more sustainable and less of a wasteful project. This could easily be translated into the construction of future projects.
PHOTOGRAPH THROUGH HOLOLENS
RHINO MODEL
PHYSICAL MODEL
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PROBLEMS ENCOUNTERED These were the main problems encountered during fabrication and how we solved them. 1. Perception We quickly realised that when looking at the model from one view, the pieces would change angles and size when you looked at it from above or a different view. The recommended distance from the model to get an accurate view and less movement was 1.5m. Because there was only two of us and we were doing such intricate work we couldn’t work at such a far distance so instead we made sure that we looked at the pieces from all angles to get a pretty good understanding of where looked the most accurate before soldering. 2. Track pad When using the HoloLens, the depth perception could sometimes glitch and move around the work space or have trouble detecting the surface, so the model would end up sitting in table rather than on top of it. This we managed to counter with the track pad from the website. This created an axis plane that the HoloLens could detect and track the rhino axis to, eliminating some of the movement. Although sometimes even the trackpad didn’t detect and we had to continue building on a piece of foam to elevate the physical model up to the augmented model. 3. Work space To be able to view the model fluently we needed a space that would allow us to move around it ideally 360°, we were lucky that the fablab were willing to let us set up an extractor, soldering iron and work bench out the back to give us more room to move around.
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C3 FINAL DETAIL MODEL
FABRICATION TIMELAPSE https://youtu.be/tVnBIqbhpD0
We complied a 5 minute video to show the construction of the model over four days, as well as some final shots of the completed project (video is also included on USB)
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FABRICATION DIAGRAMS
Step 1 Place the Fologram screen onto a clear surface
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Step 2 Place the hologram of the column within your workspace
Step 3 Line up the wire (red) with the hologram and measure the length of the piece
Step 4 Mark the wire where you cut and double check t is correct against the ho
u intend to that the length ologram
Step 5 Cut the wire according to the desired length of the hologram
Step 6 While lining up the cut wire, melt some solder onto the soldering iron
Step 7 Use the soldering iron to heat the join and allow the solder to bind the two pieces of wire together
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FINAL MODEL
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PHYSICAL MODEL
HOLOLENS MODEL
2 meters
HIGH DETAIL RENDER
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C4 LEARNING OBJECTIVES & OUTCOMES During the final presentation we were asked to further develop the concepts behind our design. We decided to explore our site through diagrams and refined our ideas to better suit our project. This studio was an interesting look at the way lines can be defined and blurred between computational design and handmade design. There are pros and cons on both sides; limitations of the digital world can hinder deadlines or the “emotion” that a hand drawn image can convey, where as digital design can allow for multiple iterations and site specific calculations to be quickly and accurately accounted for. It was really amazing being able to see the algorithms behind some of the reverse engineered projects and the versatility of each component when applying parts of that same algorithm to our own project with completely different results. Learning grasshopper was a steep learning curve for me throughout the semester. I have definitely developed some strong foundations in parametric modelling, although I still have a long way to go before I will be able to confidently use such a powerful tool. Even though computation design could be a massive challenge at times, I’m really excited by the possibilities, it is such a powerful tool of design, testing and communication. When we started fabrication in C2 I was unconvinced of the capabilities of the HoloLens, I was worried that it wouldn’t be accurate enough but after completing the prototypes I realised that with practice you could learn to work around the errors in perception, even incorporate them into your design. I also realised how important it is to have an understanding of different computational options, using the HoloLens wouldn’t have worked as well for some of the other groups in our class, just as using the laser cutter or 3D printer wouldn’t have worked as well for our project given the fabrication limitations. In the end I was pretty impressed that we were able to spend $30 and build such a large scale model over 4 days with relative ease, something that wouldn’t usually be possible given the complexity of our column. Being one of the first groups to complete a HoloLens project at University of Melbourne this semester was an incredible experience and has inspired me to learn more about the technology available to us and continue to develop on these skills. 31
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REFERENCES Experenti (2018). Microsoft HoloLens. [image] Available at: http://www.experenti.eu/advertising-en/microsoftpresents-their-new-ar-headset-a-first-look-at-hololens/ [Accessed 31 May 2018]. Peake, J. (2018). Aboriginal Waterhole Journey. [image] Available at: https://twitter.com/peake_art [Accessed 30 May 2018].
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