Studio Air Journal Brian Duong 761765 by Brian Duong

BRIAN DUONG 761765

STUDIO AIR 1

TABLE OF CONTENTS PART A: CONCEPTUALISATION

A.1 A.2 A.3 A.4 A.5 A.6

7 11 13 15 17 19

- DESIGN FUTURING - DESIGN COMPUTATION - COMPOSITION / GENERATION - CONCLUSION - LEARNING OUTCOMES - ALGORITHMIC SKETCHES

PART B: CRITERIA DESIGN

B.1 B.2A B.2B B.2C B.3 B.4 B.5 B.6 B.7 B.8

23 25 31 33 41 49 65 69 73 75

- GENETICS - L-SYSTEMS - THE BLOOM PROJECT - COMPONENT DESIGN & MANUAL AGGREGATION - THE BLOOM PROJECT - TECHNIQUE : DEVELOPMENT - TECHNIQUE : PROTOTYPES - TECHNIQUE : PROPOSAL - LEARNING OUTCOMES - ALGORITHMIC SKETCHES

PART C: DETAILED DESIGN

C.1 C.2 C.3 C.4

83 91 99 111

- DESIGN CONCEPT - TECTONIC ELEMENTS & PROTOTYPES - FINAL DETAILED MODEL - LEARNING OUTCOMES

REFERENCES

113

CONTENTS 3

Part A : CONCEPTUALISATION 5

Ecoduct - The Borkeld, ZJA Architects Zwarts & Jansma Architects’ ‘The Borkeld’1 is a wildlife crossing which addresses an issue prevalent in highways all around the world. It is not uncommon for local wildlife to move throughout areas and with the advent of modern highways dividing large expanses of area. Collisions between vehicles and wildlife is a common occurrence. This not only a tragic and unfortunate outcome for the local wildlife but also a dangerous and traumatic experience for drivers. A solution for this situation is to install wildlife crossings to provide a safe passage for wildlife to travel through. Although this wildlife crossing is only one of many around the world, there is still a great lack considering the large network of roads and highways covering the world. This type of design shifts away from design which has “perspectival limitations of human centredness”2 by changing the focus of design away from humans and towards a different aspect, in this case the local wildlife, a new approach needs to be adopted. This not only applies to this particular situation or issue, but can be extended to various other areas of design. It is important for design to shift from designing to suit the needs of people to designing to suit the “‘Ecoduct’ The Borkeld”, Zwarts & Jansma Architects, 2017 <http://www.zja.nl/> [accessed 11 August 2017] Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p.1. 3 Fry, p.2. 4 Fry, p.1. 5 “‘Ecoduct’ The Borkeld”. 6 “‘Ecoduct’ The Borkeld”. 1 2

Above: ZJA Architects – Ecoduct, The Borkeld (Netherlands, 2004)5

needs of the environment. If humans are the centralised focus of every design, then the environment around will be moulded to ideal human image unsuitable for anything else. In this age of “anthropocentric”3 design it is vital to remember the importance of environment around us. The realisation of ‘The Borkeld’ brings upon the notion that nonhuman centred design is not an idealistic thought imagined by a select few individuals, but a feasible concept that encapsulates the idea that design beyond human needs is essential. This piece of architecture can be appreciated by a wide range of people due to its design intention. It holds respect for the environment that it is in and wildlife residing in the area. This gives the structure intrinsic value that can be appreciated by any observer.

Below: ZJA Architects – Ecoduct, The Borkeld (Netherlands, 2004)6

“We human beings unwittingly have created this condition through the consequences of our anthropocentric mode of worldly habitation” - Tony Fry, Design Futuring

A.1 DESIGN FUTURING 7

The Commons, Breathe Architecture Above: Breathe Architecture - The Commons (Melbourne, 2014)10

7 8 9 10 11

‘The Commons’ is a residential apartment complex designed by Breathe Architecture with the intent to promote a sustainable lifestyle through the design of the building7. It features rooftop vegetable gardens and a bicycle rack rather than parking for vehicles. This exclusion is uncommon for the type of building, forcing occupants to depend on other modes of transport and encouraging a more sustainable approach to travel. The building situated beside a railway station is able to provide such alternatives to personal vehicles. This approach to architecture where the building is not built to suit the specific needs of the individual client, but to build with an intention in mind and the occupants are required to adjust to the conditions of the space, is an important concept that should be considered when designing. This occupant adaptation is already existent in the current residential apartment market, although what is absent is the drive to design with a sustainable outcome in mind. There are a select few precedents that do, however the vast majority depend on the interests of the developer. The push for sustainable buildings is a response to the increasing inefficiency in areas of manufacture and design, heading towards an unsustainable future. This building opens up new perspectives on how to achieve a sustainable outcome while incorporating a notion of strong community a varied lifestyle. This example of “speculative design”8 is important to expand the possibilities available to move towards sustainable future. It could also be argued that this

“The Commons”, Breathe Architecture, 2017 <http://www.breathe.com.au/> [accessed 11 August 2017] Anthony Dunne and Fiona Raby, Speculative Everything: Design Fiction, And Social Dreaming (MIT Press, 2013), p.2. Fry, p.11. “The Commons”, The Commons, by Andrew Wuttke. “The Commons”, The Commons, by Andrew Wuttke.

type of sustainable building caters only for a specific lifestyle and outside of that, it is very difficult to adapt. That may be true, living a lifestyle out of interest beyond personal interest is indeed challenging. But this building style opens up the notion of influencing a certain lifestyle through a particular way of design. That through design, the choices of individuals are influenced. To what extent depends on the circumstances. The realisation of this project is an important aspect of turning the idea and intentions into successful solution. To design with awareness and consideration is to design intelligently9. Within this context, sustainable design is an important design intent.

Left: Breathe Architecture - The Commons (Melbourne, 2014)11

Above: Antoni Gaudi - Hanging Chain Models (1889)15

Design computation could be defined as using a technological process to assist in the design process. It is not limited to only digital means but refers to methods used to allow design to form. Rather than an intuitive process, design computation uses processes to produce outcomes based on the inputs. This allows for a wider range of outcomes that may not have been possible without a form of computation. The way in which computers have changed design is widely debated and could be seen as a superficial method of design in which computers contribute to much of the design outcome. However prior to the introduction of computers to the design process, various other methods of design computation existed, for example methods of analogue computation which operate in the same manner as digital computation. Form finding methods such as

12 13 14 15 16

tensile structures to find optimal catenary curves. By changing the input parameters such as the positioning of the endpoints of the strings, various outcomes are produced. This analogue computation method is identical to digital computation in this aspect. With digital computation, there is the ability to customise the computational process. Thus allowing more freedom to design the process or system. This type of design shifts from a traditional approach where design is focused on the outcome whereas in a contemporary digital computation approach, the focus is much more on designing the system where inputs and parameters can be adjusted to form various outcomes. This “parametric design”12 method allows for designs which are able to fulfil certain requirements to be developed through iterations to reach an efficient and desirable outcome.

Rivka Oxman and Robert Oxman, Theories Of The Digital In Architecture (London: Routledge, 2014), p.3. “Gaudi’s Hanging Chain Models”, List of Physical Visualizations, 2017 <http://dataphys.org/> [accessed 11 August 2017] “Bat Tower”, Ants of the prairie, 2017 <http://www.antsoftheprairie.com/> [accessed 11 August 2017] “Gaudi’s Hanging Chain Models”. “Bat Tower”.

With the aid of digital computation, specific needs are able to be addressed at a greater capacity meaning with technology, the ability to adjust designs to mould around a function is possible. Starting with a requirement in the brief for example, then taking information from the environment to create the ability to design very specifically to a certain context. A design that has fully utilised the technology to efficiently produce an outcome which fulfils the requirements is what digital computation is able to achieve. Taking the example of Gaudiâ&#x20AC;&#x2122;s hanging chains13 to form catenary curves. This form finding technique is able to produce structurally optimum forms and from that, variations and iterations can be developed. Similarly digital computation can focus on a specific aspect and is able to create variations based off that initial fundamental concept. Digital computation expands the aspects of design that can be utilised, not only just the structural aspect in the hanging chains example. In the digital computation context, Joyce Hwangâ&#x20AC;&#x2122;s Bat Tower14 is an example of creating a form based off certain aspects of the environment and needs of the brief. This is only one form of design, but is one that allows a greater control over process and outcome through parametrics.

Above: Joyce Hwang - Bat Tower (New York, 2010)16

A.2 DESIGN COMPUTATION 11

The use of digital generation within the design process is a controversial topic. On one hand the notion of delegating a computation system to produce design outcomes can be viewed as undesirable to some. However, without a doubt computational generation has expanded possibilities and created opportunities within architectural design. The shift from composition to generation, traditional to digital means, when comparing the two, seem vastly contrastive. However there are of course methodologies that have been developed and carried through. Although the design process has also transformed from a linear pathway to a more interconnected process of iterative refinement and form finding. With generation, design research has a more predominant effect on the overall design as it informs and influences much of the computational system. The parametric design system is also much more efficient, allowing complex iterations and adjustments to be created by only varying parameters. This powerful tool allows designs to go through a greater number iterations eventually reaching an optimal point of efficiency. Previously, through traditional means, this approach to design is practically unfeasible.

Below: ICD/ITKE - Research Pavilion 2010 (Stuttgart, 2010)19

The use of digital generation results in a design process which is entirely within the digital medium from idea procurement to design outcome. In the upcoming future, fabrication at larger scales could also be possible adding to this digital design process. This idea of “digital continuity”17 is perceived to be what the digital process should accomplish. The current digital design process and work flow has still yet to incorporate all the processes in a digital form, there is still a leap from the design outcome to the built form on larger scales. ICD/ITKE achieved such a feat in the 2010 Research Pavilion18 at a smaller scale, completing the pavilion while maintaining this continuity through digital design processes. The discontinuity within the design process is an inefficient transfer of information. The design realisation into built form is where the methodology is still indicative of the 17 18 19 20 21

Oxman, p.2. “ICD/ITKE Research Pavilion 2010”, Institute for Computational Design and Construction, 2017 <http://icd.uni-stuttgart.de/> [accessed 11 August 2017] “Barak Building”, ARM Architecture, 2017 <http://armarchitecture.com.au/> [accessed 11 August 2017] “ICD/ITKE Research Pavilion 2010”. “Barak Building”.

Left: ARM Architecture - Barak Building (Melbourne, 2015)20

traditional methods used in the construction process. This disparity between the digital and the traditional methodologies creates limitations within the system and the overall design process is not as efficient as it could be. This is seen in the mass production of elements within a built form. This is inherently a traditional method where the outcome is limited by the process. With a digital design process, mass customisation becomes a much more feasible option. An example of this the Barak Building designed by ARM19. In contrast, other uses of the digital process include simply computerisation. Just as the digital medium is used as an outlet for more traditional processes, the translation from the digital design outcome to the built form is not dissimilar. However there is an increasing shift towards digital fabrication methods which expand the potential various digital design outcomes. However the design process is not quite at the stage where this is a completely feasible notion. Digitalisation is shifting design into a new typology which is the result of such digital practises and methods such parametric design and algorithmic modelling.

A.3 COMPOSITION/GENERATION 13

The integration of digital design methods into the design procurement process is a beneficial advancement enabling the use of digital computational methods to produce efficient outcomes. With an increasing concern to produce built form of higher efficiency and reduce the impact of construction methods to the environment, research based design is becoming more prominent. Within digital design outcomes, there is a greater influence on the outcome directly from the research. Parametric design allows for such relationships between information in the environment and transforming it through a computational algorithm to produce a final design outcome. Not only does digital design enable such form generation, but also allows for a greater refinement process after being revised through many iterations. Design no longer becomes about designing an outcome but more designing a computational system to achieve outcomes which are efficient. The design process in traditional methods is starkly different to the digital design approach. This approach is a necessary step to change the way design has been produced in the past which has led to the problematic situation currently being experienced. New methods and processes are what is needed to move towards a more favourable future. Digital design allows such opportunities to be created.

A.4 CONCLUSION 15

For me, I had preconceived notions that digital design was only limited design computerisation, that computers were merely another medium to essentially replicate what was done on paper but slightly more efficiently. Having expanded my knowledge, design computation through computers is what the focus of digital design really is. There has been a shift in the method of design thinking from having a set image of an outcome to refine to a more open approach in changing the algorithmic system to generate an outcome. There is more flexibility in a design computation approach and a wider range of outcomes can be generated through algorithmic design. With traditional idea generation, it is often easy to become fixated on specific ideas which restricts alternatives or opportunities that may exist. Digital generation and parametric design alleviate such issues to a greater extent. Design outcomes also tend to have less of an arbitrary form in digital design and more of a form that closely relates to aspects of the program. For digital design, research is a very important part of the design process. It is able to inform the design and algorithm to what aspects need to be addressed.

A.5 LEARNING OUTCOMES 17

Left: Octree Generation Sketch One

OCTREE GENERATION

These examples explore the octree component within grasshopper. By taking input points, it generates a series of cuboid forms in the most efficient manner. These two examples were generated by using a lofted base curve to populate with points which were then input into the octree component. The various patterns were created by varying the input surface and also the random seed for the populate geometry component. The two sketches vary in outcome greatly from only manipulating certain parameters providing some insight into the capability of algorithmic modelling to make quick and significant iterations.

Right: Octree Generation Sketch Two

GRADIENT DESCENT Top left: Gradient Descent Sketch One Bottom left: Gradient Descent Sketch Two Right: Gradient Descent Sketch Three

These examples are attempts to simulate flow dynamics and interactions with surfaces and fields. The flow simulation was generated using a looping algorithm and downwards motion of points which are traced by curves. I initially began with planar surfaces but then moved onto three dimensional forms. The addition of a spin field creates a spiral like path for the curves down the surface. The second sketch uses a sphere as a base surface instead and variation of the position of the spin field created different path patterns. Finally I joined together a point charge and a spin force to produce the third sketch. From this exploration it is interesting to see particles behave when having an initial set movement vector but then also being affected by external forces to shift the path.

A.6 APPENDIX - ALGORITHMIC SKETCHES 19

Part B : CRITERIA DESIGN 21

Genetics looks at physical attributes which have been determined or governed by a rule set. The study of genetics in architecture takes its roots from biological studies and nature. Biologically, the ruleset in nature is in the form of DNA. This is then translated into physical features in living organisms. Architecture takes inspiration from the genetic nature of living organisms and develops it into architectural fields of study, focusing on various aspects such as natural selection and recursive aggregation. Recursive aggregation is a method which produces outcomes using repetition of iterations over multiple generations. An example of this in nature is the way in which tree branches grow. Each branch adds onto the last and quickly produces an overall complexity. This method is derived from the Lindermayer System or L-system. Recursive aggregation looks at creating complexity as a whole from a possibly simple form. This process can be replicated digitally, taking a simple initial geometry and replicating it over a specified ruleset. The outcomes produced can result in organic aggregations 1. Within genetics, there is also natural selection which is similar to recursive aggregation in that each new iteration or generation is dependent on the previous. However unlike recursive aggregation where the ruleset is constant and new iterations are unchanging in physical properties, natural selection is an iterative process which takes the fittest outcomes from the previous generation to produce a new generation which will be tested for fitness. Over multiple iterations, unwanted attributes are naturally removed until the resulting outcome is at its optimum. In a sense, the natural selection process has iterations which converge over multiple generations, whereas recursive aggregation diverges over multiple generations. Digital recursive aggregation allows changes to be made easily in the ruleset or physical properties which quickly effect the overall aggregation to a significant degree.

B.1 GENETICS 23

TWIST REVOLVE

A = ++>+<+BC>++<+A B = A^+>++>+<++B C = /++<+A<+A angle = 23

Rabbit Plugin Parameters Syntax A.B.C Branch Name + Extend Branch > Turn Right < Turn Left / Roll Right \ Roll Left ^ Pitch Up v Pitch Down

A = ++<B++C B = >+A+^+ C = v/+++A+B>+A angle = 29

A = ++B++C B = >+A+^+ C = v/+++A+B>+A angle = 27

A = ++<B++<C B = +A+^/+ C = v/<++<+AB+B>+A angle = 17

A = ++>B++<C B = +A+^^+ C = v//+++A+B>+A angle = 29

A = ++B+<+<+C B = >+A+^/+ C = v/+++A+B>+A angle = 27

The following collection of drawings are iterations upon the principle of recursive aggregation. They were produced using grasshopper some with the hoopsnake plugin and others with the rabbit plugin. As such the parameters are divided into two types. For iterations produced in hoopsnake, the input parameter consists of input curves placed in the desired orientation. This is then taken and aggregated using the hoopsnake plugin. A limitation to this in this case is each iteration will contain the same initial curves with no variation in the ruleset. For the rabbit plugin, a ruleset may be specified which is then used to produce a recursive aggregation.

B.2A L-SYSTEMS 25

SPRAWL

A = ++<B++<C B = >+A+^+ C = v/+++A+B>^>+A angle = 29

A = ++<B++<C B = >+A+^>+ C = v/+++A+B>+A angle = 29

A = ++<B++C B = +A+^\>>+ C = v/<++<+AB+B>+A angle = 17

A = ++<B++C B = +A+>+ C = v/+++A+B>+A angle = 24

A = ++<B++<C B = <+A+^+ C = v/+++A+B>+A angle = 29

A = ++<B++C B = <+A+^+ C = v/+++A+B>+A angle = 24

Rabbit Plugin Parameters Syntax A.B.C Branch Name + Extend Branch > Turn Right < Turn Left / Roll Right \ Roll Left ^ Pitch Up v Pitch Down

A = ++<B++<C B = <+A+^^+ C = v/+++A+B>+A angle = 29

A = ++>+<+BC>++<+A B = A^+>++>+<++B C = v/++<+A<+A angle = 28

A = ++<B++>C B = >+A+^+ C = v/++<+A+B>+A angle = 29

A = ++^B++<C B = >+A+^+ C = v//+++A+B>+A angle = 17

CURL A = ++<B++C B = <+A+^+ C = v/+++A+B>+C<+A angle = 14

A = ++<B++C B = <^+A+v+ C = v/+++A+B>+C<+A angle = 14

Alisa Andrasek and Jose Sanchezâ&#x20AC;&#x2122;s bloom project is an example of using recursive aggregation to produce a large scale complex structure with an organic feel. The primary focus of this recursive aggregation is to develop a singular component which can be repeated to form a larger aggregation. The components need to be complex enough in order to produce multiple different connections between the same types of component at various orientations. It is also important to note how the aggregation interacts with the surrounding environment. Recursive aggregation behaves almost organically, avoiding objects and adjusting to the site as it grows. This produces a strong connection between a recursive aggregation and the environment it is in as it directly responds to the environment. For practicality custom components may be introduced to provide connections between the aggregation and surfaces and also between aggregations. Overall the design language should be adhered to. In addition, the bloom project holds the ability to be deconstructed and reconstructed as the components are not fixed together. This further amplifies the notion of an organic and changing form. 30

B.2B THE BLOOM PROJECT 31

INITIAL COMPONENTS

The following set of aggregations are produced using a manual aggregation method from a selected range of initial components. The resulting aggregations have been selected on the basis of appearance and complexity. This process explores the implication of rulesets on aggregation outcomes within the area of recursive aggregation.

COMPONENT 1 32

B.2C COMPONENT DESIGN & MANUAL AGGREGATION 33

COMPONENT 2 35

COMPONENT 3 36

COMPONENT 4 39

Take input curves and standardise the lengths of the first segment. For standardised component application. Take the second segment of each polyline, redraw in relation to the index of each polyline so that each polyline has a different second segment length making them unique. This is to allow the identification of each individual curve with a heuristic approach. Create a dummy initial branch for the following branches to aggregate form from. Again, create a plane at the end of the first segment.

Take the input curves and crea each curve. This takes the newl gives them an orientation plan branches.

Orient the initial curves referen dummy initial branch plane to t at the end of each branch. In c step.

Take the list of branches and c to the indexes of the rulesets us the appropriate branch. This tr the branches according to the

Check the branch with one-to-many collision to check if any intersections are occurring along the branch. Use the cull pattern to remove colliding branches and end the branch line.

This series of processes indicate the underlying steps to produce a recursive aggregation using algorithmic modelling met produces a recursive aggregation based off component orientation and ruleset selection. Further development into alg collision system, interaction with the environment and grafting multiple rulesets together.

Create a plane at the end of the first segment of each line using the first and second segment for plane orientation. The plane will be used as a reference to orient each branch. Copy the dummy branch to a new aggregation, leaving the original to be editable with its branches.

ate planes at the end of ly created curves and ne for the following Create a component to overlay onto each branch.

ncing from the original the newly created planes conjunction with the next

cull the indexes according sing heuristics to identify anslates the rulesets into branch type.

Take the component and orient it to a separate dummy branch which has an orientation plane at the end of the curve. Orient the component using the reference curve and plane to the branches and planes in the aggregation.

Check the branch against an environment surface for distance using surface closest point Cull any branch that is within range of the surface

ethods. The foundational algorithm gorithm resulted in enabling a self-

B.3 THE BLOOM PROJECT 41

SURFACE COLLISION This development of the algorithm looks into the collision between the aggregation and any outside surfaces or objects. Whenever a branch of the aggregation nears a specified surface, the growth of the branch is halted. This limits where the aggregation is able to spread and produces alternate outcomes. This can further be applied to generating the aggregation on a specified site.

SELF COLLISION This part of the algorithm looks at the self-collision of the aggregation. As the aggregation grows, more of its branches are likely to intersect and collide with each other. In order to retain a physical feasibility for the aggregation, intersecting geometries must be dealt with. Furthermore, each successive generation of the algorithm increases the complexity. Pruning intersecting branches provides a cleaner outcome. Within this algorithm, each branch is referred to previous geometry to check for collisions. They are then halted if the collision check returns true.

GRAFTING This modification to the algorithm allows for two rulesets to exist in a single aggregation with a clear distinction. The aggregation begins with a ruleset, then after a number of specified generations, switches rulesets. This produces outcomes which have multiple properties and combined aggregation aesthetics.

COMPONENT 1 - RULESET 1

A Gen 4 Gen 3

Gen 2

Gen 1

Axiom

The following set of outcomes explore a set of chosen components with various rulesets applied to each component. The diagrams illustrate the ruleset being implemented.

B.4 TECHNIQUE: DEVELOPMENT 49

COMPONENT 1 - RULESET 2

A Gen 4 Gen 3

Gen 2

Gen 1

Axiom

COMPONENT 2 - RULESET 1

A Gen 4 Gen 3

Gen 2

Gen 1

Axiom

COMPONENT 2 - RULESET 2

A Gen 4 Gen 3

Gen 2

Gen 1

Axiom

COMPONENT 3 - RULESET 1

A Gen 4 Gen 3

Gen 2

Gen 1

Axiom

COMPONENT 3 - RULESET 2

A Gen 4 Gen 3

Gen 2

Gen 1

Axiom

COMPONENT 4 - RULESET 1

A Gen 4 Gen 3

Gen 2

Gen 1

Axiom

COMPONENT 4 - RULESET 2

A Gen 4 Gen 3

Gen 2

Gen 1

Axiom

Developing on the selected component one, the connections between components have been further detailed so that the fabrication of components is feasible. Between each component there are multiple opportunities to have connections and various orientations which are possible. Within the available joint connections, numerous aggregation outcomes can be produced with specified rulesets. As well as components being oriented head to tail with each connection, some components are also connected head to head and tail to tail. This further increases the number of combinations and orientations that can be achieved using this single component. As such the component has slots which accommodate for the successive component to fit into.

B.5 TECHNIQUE: PROTOTYPES 65

The most suitable fabrication process for this component would be laser cutting as the curves which need to be cut have sharp corners which would be limiting for a fabrication process such as CNC milling. Furthermore, the fabrication of this aggregation is quite repetitive as only one component is used to produce the aggregation. Considerations only need to be taken for custom pieces to mount to exterior surfaces and bridging components. Otherwise the fabrication of these components can be achieved through standard laser cutting procedure. After producing a 3D model of the component, the profile is taken and projected onto the cutting template. This component curve is then repeated as many times as needed, limited by the size of the cutting material. The component curves are positioned so that as many components are nested onto the material as possible with the least amount of space wasted. This is then to be sent to a fabricator to produce. A limitation of using laser cutting for this particular component design is that some component connections fit at an angle so prove troublesome to fabricate using a laser cutter which is only able to cut vertically into a thin material. However, this problem can be adjusted by changing the orientation of the components in a way which lends itself to more efficient fabrication.

This section looks at the connections between the aggregation and surrounding environment surfaces and the connections between multiple aggregations. The ground and wall connections are intended to provide stability to the overall aggregative structure. As these are custom connections, the number of connection points are kept minimum and do not interfere with the overall aesthetic of the aggregation. Similarly the bridging components which in this case connect the two aggregation at multiple points are non-intrusive and attempt to use modified component pieces to create a continuous flow through the aggregations.

B.6 TECHNIQUE: PROPOSAL 69

During this process of research and development, Iâ&#x20AC;&#x2122;ve developed a greater understanding in parametric design and an improved way of thinking and approaching algorithmic modelling. The use of algorithmic modelling accelerates the development and research processes. Compared to manually constructing and modifying geometry, algorithmic modelling allows for greater flexibility in modifications and synthesis. This has enabled me to be able to explore many more possibilities than I would have been able to using manual processes. This leads to more unexpected results and outcomes which would be inconceivable otherwise. Especially when it comes to working with algorithms, my proficiency in understanding and adjusting and tweaking algorithms to my own needs has improved greatly. The progression using recursive aggregation through this project highlights the complexity that is able to be achieved with simple conditions. This allows room for more in depth exploration and development.

B.7 LEARNING OUTCOMES 73

B.8 ALGORITHMIC SKETCHBOOK 75

Part C : DETAILED DESIGN 81

HAVEN

The concept for this project relates to the space and experience created for the individual. For the individual, the space should feel enclosing but not to the point that it is suffocating. The reason â&#x20AC;&#x2DC;havenâ&#x20AC;&#x2122; was chosen is that the space is intended to be a place of safety and comfort. From the outside looking in towards the site, the view of the interior should be rather obscured as to almost protect the individuals within. For this reason the aggregation structure and pattern that was chosen starts off much sparser closer to the ground and progressively branches out until a canopy like form is created. This aggregation pattern is created by using two aggregation rulesets which change after a specified number of iterations. This opens space up within the aggregation while still working towards the main concept.

C.1 DESIGN CONCEPT 83

COMPONENT TECTONICS This project began with the aim to create a singular component which was able to connect in multiple ways via recursive aggregation. This creates an expansive and complex overall form from a single base component. As such the main focus of development is directed towards the component and aggregation design. This is done while keeping in mind the overall aesthetic that each change will produce. Especially in the case of recursive aggregation, every small change to the aggregation ruleset, component orientation or component design will have a large effect on the overall aesthetic.

This diagram shows the transition between the two different rulesets. At the specified generation, the new iterations follow the second ruleset.

Gen 7 Gen 6 Gen 5 Gen 4 Gen 3 Gen 2 Gen 1 84 Axiom

Ruleset 1: Axiom = ABC A = AC B=D C=B D=C

Ruleset 2: A = AB B = CD C=A D=B

A B C D

The component design originally began as a base starting object that could be aggregated to generate the desired aggregation outcome. The component was then developed further after considering the concept and tectonics. The original component features two interlocking planes which generates a three-dimensional form out of planar elements. With the addition of the string elements, there is added volume bridging the planar pieces together. This allows the component to be read as one piece.

SPACE AND INTERACTION The overall site is made up of clusters of aggregations which has a similar aesthetic to a forest. The ground level is not completely filled with the aggregation to allow individuals to move through the space. From above, it can be seen that the canopy obscures the view downwards and conceals the contents of the space. This provides privacy when individuals are within the space, giving a sense of security.

GROUND CONNECTIONS

From the ground, the connections required donâ&#x20AC;&#x2122;t clash with the overall aesthetic of the aggregation but at the same time are distinguishable from the rest of the aggregation. This produces the feeling that the aggregation is supported with a steady foundation. This also provides the opportunity some more customisation to the rigid rulesets of the aggregation. The ground elements that have been created use the same interlocking aesthetic as the aggregation components and also forms an organic shape which transitions between the ground and the aggregation. As well as the necessary ground components which connect the aggregation to the ground. There are also a few placed across the site to continue the aesthetic throughout the project. In terms of tectonics, a standard friction joint holds the pieces in place.

The 1:1 prototyping allowed gave an idea of the materiality and tectonics and the way they interacted with the viewer at the full scale. Prototyping at the smaller scale allowed joint tectonics to be developed further and become more resolved as changes were easier to make. During testing, the 1:1 prototype was constructed from MDF which had been laser cut so that the pieces would fit together exactly. These pieces were held together by cord. The material choice was fairly lightweight however further development into the component design allowed the components to become lighter. The use of string gave the component some volume while still allowing it to be light. Construction wise, the jointing and assembly required some manual operation, mainly binding the components together. However, this is a necessary step to produce a structure which contains components which are bound to each other in such a way.

C.2 TECTONIC ELEMENTS & PROTOTYPES 91

In terms of the component design, the first issue was the tectonics and how the components were connected and how they were able to remain connected while part of the overall aggregation. Originally a simple friction joint was used where two components slide together. This joint is acceptable when a small number of components are joined together. However as more components are added, the aggregation exerts more force on the joints and in both compression and tension. To oppose this, the component design that was created used a dual materiality. The skeletal structure is a rigid material that is able to maintain is form and also providing frictional resistance for the friction joints from the materiality. Combined with this is the tension structure, which consists of a string type material which is able to tie the components together and keep the structure in tension. Not only does the string material connect two components together but also holds each component which is made up of two rigid pieces together. This solution allows for the structure to withstand both tension and compression forces while also providing the component itself with rigidity. From the concept and aesthetic point of view, the combination of the rigid and elastic structures creates a component which has a sense of volume to it allowing the aggregation to fill up more space and create that feeling of enclosure while still remaining lightweight and allowing light to pass through.

Further development of the component design led to creating perforations in the component which allows light to pass through. This enables light to reach through the aggregation to the space below while also dispersing the light and removing and harsh light sources creating an ambient atmosphere within the space. Furthermore, the size of the perforations changes as the aggregation grows higher. The perforations in components which are closer to the ground are smaller, while the perforations in components which are furthest from the ground are larger within the component. This adjustment creates a subtle change in the components to allow more or less light through as the higher areas of the aggregation are much denser than the lower areas. While the perforations vary, the tectonics connecting the components remain the same.

The string element of the component provides the tension support needed to maintain the structure. Depending on the amount of force exerted on the structure, the binding pattern of the string element can be adjusted to provide further support. This also can create a more complex pattern in the component aesthetically.

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Overall in this project, a great deal of things were learnt. During the development of the concept and design, feedback was definitely helpful to progress the design further than it currently was. This was especially important when an aspect of the project seems like it is complete and there isnâ&#x20AC;&#x2122;t much to be done to improve it, but feedback and suggestions from an exterior perspective allowed a previously not thought of idea to be developed and expanded upon. For this project, the perforations were added to the components after feedback was given and the ground connection elements were also further developed. The studio learning objectives were to discover and experiment with recursive aggregation to create an aggregation using a single component which aims to follow a certain adjective. In this project, the recursive aggregation was developed on to form the desired aesthetic. In terms of improvements and things that were learned through this subject, the use of algorithmic modelling gave new opportunity to experiment and produce work faster and more efficiently. Since learning the CAD skills, the recursive aggregation and studio aims aided in improving proficiency in the area. Not only did learning algorithmic modelling help in the production of work but also provided a new way to approach problems. The algorithmic modelling aspect of the subject was enjoyable as it is requires logical thought processes which personally is easier to grasp.

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Part A: “Bat Tower”, Ants of the prairie, 2017 <http://www.antsoftheprairie.com/> [accessed 11 August 2017] “Barak Building”, ARM Architecture, 2017 <http://armarchitecture.com.au/> [accessed 11 August 2017] Dunne, Anthony, and Fiona Raby, Speculative Everything: Design Fiction, And Social Dreaming (MIT Press, 2013) “’Ecoduct’ The Borkeld”, Zwarts & Jansma Architects, 2017 <http://www.zja.nl/> [accessed 11 August 2017] Fry, Tony, Design Futuring: Sustainability, Ethics And New Practice (Oxford: Berg Publishers Ltd, 2008) “Gaudí’S Hanging Chain Models”, List Of Physical Visualizations, 2017 <http://dataphys.org/list/gaudis-hanging-chain-models/> [accessed 11 August 2017] “ICD/ITKE Research Pavilion 2010”, Institute For Computational Design And Construction, 2017 <http://icd.uni-stuttgart.de/> [accessed 11 August 2017] Oxman, Rivka, and Robert Oxman, Theories Of The Digital In Architecture (London: Routledge, 2014) “The Commons”, Breathe Architecture, 2017 <http://www.breathe.com.au/> [accessed 11 August 2017]

Part B: “Bloom - The Game | Indiecade - International Festival Of Independent Games”, Indiecade.Com, 2017 <http://www.indiecade.com/ games/selected/bloom-the-game> [accessed 15 September 2017] “Home”, The Bloom Project, 2017 <http://www.thebloomproject.com.au/> [accessed 15 September 2017] Kolarevic, Branko, Architecture In The Digital Age: Design And Manufacturing (New York: Spon Press, 2003), pp. 23-24

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