STUDIO AIR BRYDIE ANDERSON 699039
FIG.1: CURVE DECENT PATTERN, OLEG SOROKO
TABLE OF CONTENTS A1. DESIGN FUTURING
6
A2. DESIGN COMPUTATION
10
A3. COMPOSITION/GENERATION
16
A4. CONCLUSION
22
A5. LEARNING OUTOMES
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A4. APPENDIX
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BIOGRAPHY
BRYDIE ANDERSON, THE UNIVERSITY OF MELBOURNE
FIG.2: IMAGE OF ME
Hi, my name is Brydie Anderson and I am currently a student at The University of Melbournes School of Design. I am in my third year of a Bachelor of Environments majoring in Architecture. My interest in Architecture came at quite a young age. My father, although not a qualified Architect, always seemed to be pen in paper, planning out the designs for our future houses. I would always snatch up any oppurtunity to watch and assist him in the drawing/designing. Although obviously I was unable to contribute much at all, it always really interested me that something on paper could become reality. As i grew older and my experience grew with me, I only became fonder of the Architecture around the world. What intrigued me the most was how much of an impact on culture, society 4
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and sustaibility our designs can have. I thoroughly enjoy the works of Frank Lloyd Wright, especially his concept of ‘organic architecture’, and how he really works the Architecture into the landscape and nature. During my couple of years at The University of Melbourne, I have had the oppurtunity to use Rhino in the subject Digital Design and Fabrication, where I, along with my team, designed a sleeping pod. You can see some images to the right, displaying the final product in Rhinoceros. I have not yet used Grasshopper for any design work, but look forward to utilizing it and becoming increasinly familar with it this year.
FIG.3: DIGITAL DESIGN AND FABRICATION DESIGN
FIG.4: DIGITAL DESIGN AND FABRICATION DESIGN
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A1. DESIGN FUTURING Design Futuring, as discussed by Fry in ‘Design Futuring’ represents a new type of architectural design practice that really recognises how important it is to design in a sustainable way and overcome the unsustainable world we now live in.4
4 Tony Fry, Design Futuring: Sustainability, Ethics And New Practice, 1st edn (Oxford: Berg Publishers Ltd, 2008), pp. 1-16.
FIG.5: EXTERIOR OF BIODOME, CANADA
CASE STUDY 01
HYPER FILTER SKYSCRAPER ALEXEY UMAROV, TOKYO
FIG.2
FIG.6: THE HYPER FILTER SKYSCRAPER The concept of Architectural design has been changing for as long as we can remember, and never really means the same thing to any two people. One aspect that is obviously in need of our full attention, is the approach of defuturing as discussed by Fry4. Environmental pollution is certainly one of the greatest problems the world is dealing with these days. Every year this air pollution is worsening and there for leaving the world damaged and inrepparable. Humans and nature both suffereing the consequences of the pollugtants being released everyday by transportation mechanisms, factories, etc. It is the task of us humans to respond accordingly to these troubles and design in a way that ensures longevity of the world. Hyper Filter Skyscraper designed by Alexey Umarov captures these troubles perfectly, and has designed a skyscraper that aims to diminish the issue of polluted air in larger cities.5 4 Tony Fry, Design Futuring: Sustainability, Ethics And New Practice, 1st edn (Oxford: Berg Publishers Ltd, 2008), pp. 1-16. 5 Lidija Grozdanic, â&#x20AC;&#x153;Hyper Filter Skyscraper Inhales Greenhouse Gases And Exhales Pure Oxygenâ&#x20AC;?, Inhabitat.Com, 2017 <http://inhabitat.com/hyper-filter-skyscraper-inhales-green8
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The skyscrapers duty is to inhale pollluted, harmful gases and carbon dioxide, and exhale clear oxygen. This is made possible through long pipe filters. Once the clean air is discharged into the atmosphere, all the nasty, harmful substances that are collected are stored for future use in the chemical or construction industry. This design shows an incredible growth towards a sustainable future, whereby humans can themselves experience this growth.6 Not only is this systematic approach allowing humans and nature to live without the harmful poluuted air being consumed dailty; the inhaled polluted air is being reused in the construction/chemical industry, meaning no waste. Although unbuilt, this project could have had an extraordinary impact on the residents surrounding the project. Noticing of the clearer air, would have ensured people begin to recognise that sustainability practicies are beneficially for every one, not only in the future, but also in the current time. house-gases-and-exhales-pure-oxygen/> [accessed 2 March 2017]. 6
Carlo Aiello, Evolo Skyscrapers 3, 3rd edn (Los Angeles: Evolo, 2016).
CASE STUDY 02
THE EDEN PROJECT
GRIMSHAW ARCHITECTS
FIG.7: THE EDEN PROJECT, CORNWALL
The Eden Project by Grimshaw Architects was a biomimicry design, this being architecture where humans are borrowing designs and systems from nature to create our own designs.4 This is a valuable concept in Architecture as by using the systems and designs offered by nature, we are able to design more sustainabliy and eco-friendly. The Eden Project is a perfect example of this. Grimshaw used the idea of soap bubbles to design this unique project on the clay mines. He was inspired by the concept of how soap bubbles adapt and change their shape to suit the surface they land on, various bubbles collect together and adapt as they join. He found this to be the perfect concept for this project considering the uneven landscape of the clay mines.5
materials, installing renewable energy technologies and installing water reusing technology alone, another simpler technique was utilised. Minimise the use of materials, use of energy and water, in the first place. This is a big pointer than would encourage a lot of people to think about all the energy and materials that are being used nowadays. Before even considering how to make a structure or building more sustainable, conisder how we can minimise the use of these items and therefore minimise the harmfulness. 6 This design was important as it was a massive contribution to the site, in a way, designing this structure on the site allowed the site tp be utilized much more functionally. It mounded into the ground allowing large utilisation of the site.
At The Eden Prokect, contruction materials were all ethically sourced, renewable and the designs were of low energy. However rather than using sustainable
Designs like this enhance the idea that there is a strong relationship between human and nature and that everyday we can use nature and its complex systems to learn new systems for ourselves, especially in the world of design.
4 “Architecture Of The Eden Project, Cornwall”, Edenproject.Com, 2017 <http://www.edenproject.com/eden-story/behind-the-scenes/architecture-at-eden> [accessed 4 March 2017]. 5 “Architecture Of The Eden Project, Cornwall”, Edenproject.Com, 2017 <http://www.edenproject.com/eden-story/behind-the-scenes/architecture-at-eden> [accessed 4 March 2017].
6 Hugh Pearman and Andrew Walley, The Architecture Of Eden, 1st edn (London: Eden Project Books in association with Grimshaw, 2003). CONCEPTUALISATION 9
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A2. DESIGN COMPUTATION Design computation has evolved very far over the years. We once designed in such a way that we used computing as an aid to present or develop our works. Nowadays we ca use computation as a means to design. Design work can be so much more intrinsic and eleborative. The development of available technologies has allowed an indepth relationship between man and machine, meaning a more functionalist approach to designing.
CONCEPTUALISATION 11 FIG.8: GUANGZHOU OPERA HOUSE
A2: CASE STUDY 01
GUANGZHOU OPERA HOUSE
ZAHA HADID ARCHITECTS
FIG.9: GUANGZHOU OPERA HOUSE
The Guangzhou Opera House, designed by renowned Architect Zaha Hadid, is a significant building for many reasons, including its relationship with nature and the futuristic approach by using parametric modelling. The project draws inspiration from the adjacent river ‘Pearl River’, being perceived as ‘pebbles in a stream smoothed by erosion’. The building blends incredibly with the natural landscape.4 What makes this building so significant, is the fact that it is one of the first parametric designs to be realised in the built environment. Using parametric designing and computering, and by having the money available, this project was made a reality by Hadid.5
The project represents fluidity into the landscape and attempts to focus on the interplay between the natural landscape and architecture. In particular engaging with the principles of erosion, geology and topography but in terms of Architecture.6 Inside, custom moulded glass-fibre reinforced gypsum (GFRG)7 is used in order to bring the fluidity of nature into the interior of the building. We can see that only by using computing techniques would this project have been possible. By using this type of designing, more experimentation can be made and more unique projects can therefore be produced.
The building consists of two different buildings, one grey and one white, they are both cladded in triangulated granite panels, designed parametrically.
Using computation in the Architectural world is important to assist in the creation of projects by increasing creative thought. Hadid’s design of the Opera House would not have been possible to create by mind/hand, therefore this amazing creation is thanks to computation. Without
4 “Guangzhou Opera House / Zaha Hadid Architects”, Archdaily, 2017 <http:// www.archdaily.com/115949/guangzhou-opera-house-zaha-hadid-architects> [accessed 7 March 2017]. 5 Joseph Giovannini, “Guangzhou Opera House”, Architect Magazine, 2017 <http://www.architectmagazine.com/design/buildings/guangzhou-opera-house_o> [accessed 12 March 2017].
6 Rose Etherington, “Guangzhou Opera House By Zaha Hadid Architects | Dezeen”, Dezeen, 2017 <https://www.dezeen.com/2011/02/25/guangzhou-opera-houseby-zaha-hadid-architects/> [accessed 15 March 2017]. 7 Rose Etherington, “Guangzhou Opera House By Zaha Hadid Architects | Dezeen”, Dezeen, 2017 <https://www.dezeen.com/2011/02/25/guangzhou-opera-houseby-zaha-hadid-architects/> [accessed 15 March 2017].
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FIG.10: GUANGZHOU OPERA HOUSE FROM AFAR
FIG.11: IINTERIOR GUANGZHOU OPERA HOUSE
FIG.12: INTERIOR GUANGZHOU OPERA HOUSE CONCEPTUALISATION 13
FIG.14: WATER CUBE, BEIJING 14
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FIG.15: EXTERIOR OF WATER CUBE, BEIJ
The Water Cube, in Beijing was used for the 2008 Beijing Olympics, and represents computation at a great level.
A2: CASE STUDY 02
WATER CUBE, BEIJING
JING
PEDDLE THORP AND WALKER
The form of the Water Cube, represents the formation of multiple soap bubbles, similar to that of The Eden Garden, as discussed previously. ETFE bubble-pattern façade, was chosen to be used as the chosen geometry would be highly repetive creating as ease for building, while at the same time apprearing to be organic, natural and almost random.4 The material used for the bubble cladding is translucent ETFE (ethyl tetra fluoro ethylene), this being a tough, but light, recyclable material that reacts to weathering much better than glass itself. It allows natural light into the swimming pool stadium which allows for natural heating and minimises energy use.5 Computation is very important in Architecture nowadays as it can allow us to create a built environment that is more livable for us and future generations. It’s an opportunity to use computing power in a more deliberate way allowing us to create a built environment that contributes to a more livable planet. And that is a stated goal of nearly every major architecture firm in the world.6
FIG.13: WATER UBE, BEIJING
This design was an important step for computational design as it was showcased to the world in the 2008 Olympics allowing widespread recognition. Not only does computation allow for designs to come through that would otherwise be near impossible to design, it also allows for many different variablities.
FIG.16: EXTERIOR OF WATER CUBE, BEIJING
4 “National Aquatics Center (Water Cube) | Arup | A Global Firm Of Consulting Engineers, Designers, Planners And Project Managers”, Arup.Com, 2017 <http:// www.arup.com/projects/chinese_national_aquatics_center> [accessed 8 March 2017]. 5 Ethel Baraona Pohl and César Reyes Nájera, Watercube, 1st edn (Barcelona: Actar, 2008). 6 “Engineering The Water Cube”, Architectureau, 2017 <http://architectureau. com/articles/practice-23/> [accessed 15 March 2017]. CONCEPTUALISATION 15
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A3. COMPOSITION/GENERATION
FIG.17: KHAN SHATYR, DESIGNED BY NORMAN FOSTER CONCEPTUALISATION 17
MUMBA
The Mumbai Airport Canopy, located at a terminal in Chatrapati Shivaji International Airport, aims to showcase the natural, organic arrangement of peacock feathers whilst representing the traditional air pavilions of Indian Architecture.4 The natural, computational idea of mushroom columns is utilised in the design to create a spacious and ‘airy’ architectural style, perfect for an airport atmosphere like this one.5 The colours of the peacock are arranged organically, as a natural form would be arranged, this being done as a part of generative design - using the natural elements to create a unique design.6 In a way, for India, the terminals design celebrates technology in quite an optimistic way. The design was c4reated using generative techniques where natural systems are used to design intrinsic patterns. Otherwise unable to design by hand.
A3: CASE STUDY 01
AI AIRPORT CANOPY
SOM
Certain rules were used to create this generative form.7 Many advantages come from computational design and in particular generative design, we now have the technology to achieve multiple designs that would otherwise be impossible. We can explore hundreds of different variations for the same design which gives a new light to designing. Limitations however still remain, whether or not they override the advantages is hard ot answer. Human error, could mean an increase to the amount of time the design takes, however, we need to consider the fact that without computation design, we wouldnt be able to create these fascinating buildings in the first place.
4 Amy Frearson, “SOM Completes Mumbai Airport Terminal With Coffered Canopy”, Dezeen, 2017 <https://www.dezeen.com/2014/02/20/chhatrapati-shivajiairport-terminal-mumbai-som/> [accessed 10 March 2017]. 5 Amy Frearson, “SOM Completes Mumbai Airport Terminal With Coffered Canopy”, Dezeen, 2017 <https://www.dezeen.com/2014/02/20/chhatrapati-shivajiairport-terminal-mumbai-som/> [accessed 10 March 2017]. 6 “Chhatrapati Shivaji International Airport – Terminal 2”, SOM, 2017 <http://www.som.com/projects/chhatrapati_shivaji_international_airport__terminal_2> [accessed 15 March 2017]. 7 Asterios Agkathidis, “Generative Design: Form Finding Techniques In Architecture”, Academia.Edu, 2017 <http://www.academia.edu/8208113/Generative_Design_Form_Finding_Techniques_in_Architecture> [accessed 15 March 2017].
FIG.18: MUMBAI AIRPORT CANOPY
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A3: CASE STUDY 02
THE BIRDS NEST STADIUM
Herzog & De Meuron
The birds nest stadium located in Beijing and designed for the Beijing Olympic Games represents generative design in quite an interesting way. The stadium is quite significant as it is the worlds largest enclosed space and a3lso is the largest steel structure in the world. The stadium was designed in such a way that it would be able to withstand Earthquakes due to its location.4 Parametric designing was relied on heavily to design the birds nest form of the stadium, creating layers and steel beams running across and over other members to create an uneven but natural looking form. It emphasises how random the natural world is, for example a birds nest. Appearing to quite a random and complex design, the pattern was actually just defined by complex rules/algorithms.5
4 “Beijing National Stadium, ‘The Bird’s Nest’”, Design Build Network, 2017 <http://www.designbuild-network.com/projects/national_stadium/> [accessed 15 March 2017]. 5 David McManus and others, “Birds Nest Beijing: Chinese National Stadium E-Architect”, E-Architect, 2017 <http://www.e-architect.co.uk/beijing/birds-nest-beijing> [accessed 16 March 2017]. 20
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By using parametric design software, the designers and engineers were able to explore many different varies of the design. Not only for the exterier birds nest form, but also for seating. They were able to use different parameters to explore seating options and decide on the most appropriate.6 Meaning, generative design and parametric design doesn’t only become usefull for exterior design but also for functionality. In the birds nest exterior, experimenting with different variations allowed to designers to choose the most appropriate design in terms of airflow and shading purposes. Generative design is important for the future of design as it not only allows a more sophisticated and interesting architecture but also gives us the ability to explore all variations to allow for a better and more sustainable design.
6 “Architecture Gets An Upgrade: Generative Design Expands Design Possibilities | Infrastructure Writing”, Infrastructurewriting.Com, 2017 <http://www.infrastructurewriting.com/portfolio/magazine-article-written-for-bentley-systems/> [accessed 16 March 2017].
FIG.19: BIRDS NEST STADIUM
FIG.20: BIRDS NEST STADIUM
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A4. CONCLUSION The idea of design futuring and designing for a sustainable future, reaching for a new architectural terminology where we are designing for the future. It is important to consider and embrace the new technologies that are appearing so steadily, as in order to embrace the future, we need to embrace what comes with it. From using computers as an aid to design, to now using computers from the beginning we have been able to create a new sense of Architecture. Something we really need to emphasise and strengthen as we move forward, is the relationship between human and nature, or in particular the built and natural environment. All the precedents chosen throughout Part A, have a strong relationship between humans and nature. They are sometimes displayed in different ways, for instance, the Guangzhou Opera House represents a strong relationship with the landscape surrounding it. The Mumbai Airport canopy, however, represents the stem and canopy of a mushroom. They all have a distinct relationship with nature, and for moving forward in Architecture this relationship is very important.
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A5. LEARNING OUTCOMES After learning a great deal about computation and computing, including growing my knowledge on the different techniques of grasshopper, I have realised that all designs can have so much more potential. I think the most interesting point I have come across is the idea that you can explore multiple different variations for a design by using grasshopper. Rather than just having one design and changing things along the way, you can use algorithms and simple/complex rules to determine the output. I can use this in the future to allow for a more complex design that will allow for a more suitable and appropriate piece of architectural work.
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A6. APPENDIX: ALGORI
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ITHMIC SKETCHBOOK
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REFERENCES Agkathidis, Asterios, “Generative Design: Form Finding Techniques In Architecture”, Academia.Edu, 2017 <http://www.academia.edu/8208113/Generative_Design_ Form_Finding_Techniques_in_Architecture> [accessed 15 March 2017]
Aiello, Carlo, Evolo Skyscrapers 3, 3rd edn (Los Angeles: Evolo, 2016)
“Architecture Gets An Upgrade: Generative Design Expands Design Possibilities | Infrastructure Writing”, Infrastructurewriting.Com, 2017 <http://www.infrastructurewriting.com/portfolio/ magazine-article-written-for-bentley-systems/> [accessed 16 March 2017]
“Architecture Of The Eden Project, Cornwall”, Edenproject.Com, 2017 <http://www.edenproject. com/eden-story/behind-the-scenes/architecture-at-eden> [accessed 4 March 2017]
Baraona Pohl, Ethel and César Reyes Nájera, Watercube, 1st edn (Barcelona: Actar, 2008)
“Beijing National Stadium, ‘The Bird’s Nest’”, Design Build Network, 2017 <http://www. designbuild-network.com/projects/national_stadium/> [accessed 15 March 2017]
“Chhatrapati Shivaji International Airport – Terminal 2”, SOM, 2017 <http://www.som.com/ projects/chhatrapati_shivaji_international_airport_ _terminal_2> [accessed 15 March 2017]
“Engineering The Water Cube”, Architectureau, 2017 <http://architectureau. com/articles/practice-23/> [accessed 15 March 2017]
Etherington, Rose, “Guangzhou Opera House By Zaha Hadid Architects | Dezeen”, Dezeen, 2017 <https://www.dezeen.com/2011/02/25/guangzhouopera-house-by-zaha-hadid-architects/> [accessed 15 March 2017]
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Frearson, Amy, “SOM Completes Mumbai Airport Terminal With Coffered Canopy”, Dezeen, 2017 <https://www.dezeen.com/2014/02/20/chhatrapatishivaji-airport-terminal-mumbai-som/> [accessed 10 March 2017]
Fry, Tony, Design Futuring: Sustainability, Ethics And New Practice, 1st edn (Oxford: Berg Publishers Ltd, 2008), pp. 1-16
Giovannini, Joseph, “Guangzhou Opera House”, Architect Magazine, 2017 <http://www. architectmagazine.com/design/buildings/guangzhou-opera-house_o> [accessed 12 March 2017]
Grozdanic, Lidija, “Hyper Filter Skyscraper Inhales Greenhouse Gases And Exhales Pure Oxygen”, Inhabitat.Com, 2017 <http://inhabitat.com/hyper-filter-skyscraper-inhalesgreenhouse-gases-and-exhales-pure-oxygen/> [accessed 2 March 2017]
“Guangzhou Opera House / Zaha Hadid Architects”, Archdaily, 2017 <http://www.archdaily. com/115949/guangzhou-opera-house-zaha-hadid-architects> [accessed 7 March 2017]
McManus, David, Isabelle Lomholt, Isabelle Lomholt, and David McManus, “Birds Nest Beijing: Chinese National Stadium - E-Architect”, E-Architect, 2017 <http:// www.e-architect.co.uk/beijing/birds-nest-beijing> [accessed 16 March 2017]
“National Aquatics Center (Water Cube) | Arup | A Global Firm Of Consulting Engineers, Designers, Planners And Project Managers”, Arup.Com, 2017 <http://www.arup.com/ projects/chinese_national_aquatics_center> [accessed 8 March 2017]
Pearman, Hugh and Andrew Walley, The Architecture Of Eden, 1st edn (London: Eden Project Books in association with Grimshaw, 2003)
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REFERENCES: IMAGES Figure 1: Soroko, Oleg, Curve Descent Pattern, 2017 <https://www.behance.net/ gallery/18982743/Curve-descent-pattern> [accessed 16 March 2017] Figure 5: Sundin, Jesikah, Exterior The Biodome In Montreal, Canada, 2014 <https://www.goodreads. com/author/show/7742330.Jesikah_Sundin/blog/tag/the-eden-project> [accessed 16 March 2017] Figure 6: Hyper Filter Skyscraper, 2014 <http://www.evolo.us/competition/ hyper-filter-skyscraper/> [accessed 16 March 2017] Figure 7: The Eden Project, 2001 < http://www.detail-online.com/inspiration/ eden-project-in-st-austell-107350.html> [accessed 14 March 2017] Figure 8: Guangzhou Opera House <http://openbuildings.com/buildings/ guangzhou-opera-house-profile-2972/media> [accessed 11 March 2017] Figure 9: Exterior of Guangzhou Opera House <http://openbuildings.com/buildings/ guangzhou-opera-house-profile-2972/media> [accessed 11 March 2017] Figure 10: Exterior of Guangzhou Opera House <http://openbuildings.com/buildings/ guangzhou-opera-house-profile-2972/media> [accessed 11 March 2017] Figure 11: Interior of Guangzhou Opera House <http://openbuildings.com/buildings/ guangzhou-opera-house-profile-2972/media> [accessed 11 March 2017] Figure 12: Interior of Guangzhou Opera House <http://openbuildings.com/buildings/ guangzhou-opera-house-profile-2972/media> [accessed 11 March 2017] Figure 13: Exterior of Water Cube, Beijing, 2016 <http://www.e-architect. co.uk/beijing/watercube-beijing> [accessed 12 March 2017] Figure 14: Pattern of Water Cube exterior, 2016 <http://www.e-architect. co.uk/beijing/watercube-beijing> [accessed 12 March 2017] Figure 15: Exterior of Water Cube Beijing 2016 <http://www.e-architect. co.uk/beijing/watercube-beijing> [accessed 12 March 2017] Figure 16: Exterior of Water Cube, Beijing, 2016 <http://www.e-architect. co.uk/beijing/watercube-beijing> [accessed 12 March 2017] Figure 17: Khan Shatyr, < http://www.oddcities.com/khan-shatyr-entertainmentcenter-astana-kazakhstan> [accessed 12 March 2017] Figure 18: Mumbai Airport Canopy, Polidori, Robert, < http://www.designboom.com/architecture/somunites-mumbai-airport-terminal-with-fractal-roof-canopy-02-25-2014/> [accessed 15 March 2017] Figure 19: Birds Nest Stadium, <https://beijingbirdsnest.wordpress.com/ architecture/architechural-influence/> [accessed 15 March 2017] Figure 20: Birds Nest Stadium, < https://beijingbirdsnest.wordpress.com/birds-nest-facts/> [accessed 16 March 2017]
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PART B: CRITERIA DESIGN
B1: RESEARCH FIELD
BIOMIMICRY
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32
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CANOPY BY UNITED
VISUAL ARTISTS
My exploration of Biomimicry was lead by the knowledge that nature itself is a genius. Everyday we are immersed not only by man made designs but also by incredible designs created naturally. Biomimicry is a process that copies natural systems and incororates them into archgitectural designs. The Maple Leaf canopy by Visual Artists, draws inspiration from the tree canopy in the high up skies of the forest4 The design incorporates the idea of a full coverage canopy for protection with littles spaces for light to reach through, just as it would in a forest. Then during the night, some of the light regains and slowly makes its way through the grid before dissolving,5 The aim of this canopy was to creat the effect of being in a forest and allowing for a moment of srrenity during the busy lives that the city encompasses.
4 ”Maple Leaf Square Canopy / United Visual Artists”,
Archdaily, 2017 <http://www.archdaily.com/81576/mapleleaf-square-canopy-united-visual-artists> [accessed 1 April 2017]. Image 1, CANOPY, by United Visual Artists
5”Maple Leaf Square Canopy / United Visual Artists”, Archdaily, 2017
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In DLAB’s Fallen Star, growth, emergence and regeneration are thoroughly explored through n and biological processes 4 The design explores different users experiences via biomimetrics,
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4 Alison Furuto, “’Fallen Star’ Installation At AA DLAB Visiting Scho Archdaily, 2017 <http://www.archdaily.com/265116/fallen-star-installation-at-a visiting-school> [accessed 14 April 2017].
natural
oolâ&#x20AC;?, aa-dlab-
FALLEN STAR
AA DLAB
interaction and perception. The design uses nature as inspiration is almost all aspects of the design, from shape, purpose all the way through to colour.
Image 2, Fallen Star by DLAB CONCEPTUALISATION 35
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B2: ITERATIONS
ARANDA LASCH: THE MORNING LINE For Part B2, the outline of the task is to create multiple iterations of the grasshopper definition provided. I chose The Morning Line by Aranda Lasch due to its uniqueness, I saw this design as an oppurtunity to really play aorund with the different parameters available whilst also
creating and adding to the definition. I was able to play around with the amount of edges which I found to be really intriguing as by one adjustment the whole design can be significantly affected. I found that a definition does not have to be overly complicated to be able to create several iterations.
Image 3,The Morning Line, Aranda Lasch CONCEPTUALISATION 37
SPECIES ONE
SPECIES TWO
SPECIES THREE
SPECIES FOUR
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ITERA
TIONS
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B3: REVERSE ENGINEERING Airspace Tokyo is a really intriguing piece of Architecture by the way it mimics nature. By taking inspiration from the original site development, Faulders studio used the concept of vegetation and how it protects a building, to design this interesting facade.
deeper than just the appearance, if you look closely to the image above you can see how the density of the facade differs in different areas. The facade has been designed in such a way that the area that need more protection have a denser facade.
The facade is designed to be ‘artificial vegetation’ aiming to offer shading from sunlight, deter excess water from rainfall, and reflect light away from the building.4
This could be due to wind direction or sunlight direction at certain times of the day.
The complexity of this facade goes far 4 ”AIRSPACE TOKYO - FAULDERS STUDIO”, Faulders-Studio. Com, 2017 <http://faulders-studio.com/AIRSPACE-TOKYO> [accessed 29 April 2017].
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The next page explans the process I undertook in order to reverse engineer this project.
AIRSPACE TOKYO
FAULDERS STUDIO
Image 4, Airspace Tokyo, Faulders Studio
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B3: REVERSE ENGINEERING Construct surface in Rhino as a starting point
Extrude surface
Explode - curve into small segments
Populate Geometry
Populate Geometry with points
Construct a Nurbs curve to round the edges
Create planar surfaces by usng the boundaries of the Nurbs curves
30 30 25 20 2015 20 20 15 10 10 10 0 201420152016
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Use Voronoi3d to create pattern
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Once the basic patterning was acheived on Grasshopper through the Voronoi command, I was able to achieve different sizes of the pattern and then use layering to play around with different densities. The density of the facade was an important part of my exploration as it is directly related to the Biomimicry aspect of the design. Obviously wishing to increase density in areas in which require the most protection in comparison to other places in the facade. This is explored more thoroughly in the prototyping where I utilised differeing materials to also affect the density.
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LAYERING EXPLORATION
DENSITY
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B4: ITERATIONS
AIRSPACE TOKYO FAULDERS STUDIO
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B5: TECHNIQUE: PROTOTYPES The grasshopper technique I have thoroughly been exploring throughout previous exercises is Voronoi. Exploring this techniue throughout prototyping was quite interesting. I was interestting in exploring materiality in particular, whether a stretchy material was utilised or more of an elastic type of material. I began my prototyping with the use of stockings, to explore elasticity and flexibility. I was intrigued to see what would happen if I cut holes in the material and then stretched it around a cardboard box. I then repeated this action to create a similar affect to that of the Airspace Studio. Although this prototypes materiality was efficient in created the Voronoi style, and there was a lot
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of experimentation available, the material in particular would not be able to withstand the conditions. Next material I chose to experiment was a wire mesh, in which I aimed to explore in a few different ways. Firstly I cut oout sections of the mesh to create open spaces within the mesh. Then using these pieces to add onto other sections to play around with density. With another piece of mesh i cut heaps of peices of wire mesh up and then attached them to one peice of mesh to explore further indepth the idea of density. To further explore this idea I could begin to add a cloth material to the mesh to act as a protective layer.
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B6: TECHNIQUE PROPOSAL My proposal going forward into the next stages of the project will be to explore the connection between human and nature and incoporate this connection into a suitable design for the open air theatre space.
and nature which is a very important move to make in our growing world. By utilising biomimicry we can not only design more sustainably, but we can also find creativity from other inspiration.
The voronoi command was of great interest to me as it allowed for a fluid design by appearance. It also has many variations available for experimentation and variation in creativity.
Most of my journal I have researched and focused on the important connection that the built environment has with the natural environment. In the next part of this journey I wish to work on a design that integrates these two environments together reminding people of the importance this connection has.
I believe by incorporating Biomimicry into my design, I can strengthen the relationship between humans
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B7: LEARNING OBJECTIVES Throughout part B, I was able to take my understanding of how computational design can affect the Architectural world. In a way, yes the Architects work is being taken over by computers, almost gone are the times of hand drawing all aspects of design. However, with this newly found way of designing, comes new oppurtunities of exploration. Without losing valuable time, Architects are more easily able to create more interesting and detailed designs, including patterning that would take too long to replicate via drawing. Grasshopper is a valuable tool for designers as it provides a new tool for experimentation. By creating a basic design in which would have been fairly simple, grasshopper allows you to add various parameters which cann then be adjusted to create different patterns or designs. This allows the designer to begin with one design and be able to create multiple, if not
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hundreds of variations - allowing a more thorough design exploration. Although I still stand by my belief that Architects are still very important in designing, computers cannot take over completely. They are still a very important aspect of our technologically growing world. Many of the precedents I have researched over Part A and B, look into both parametric tools and also the role that the environment plays in creating their design. This has really increased my interest into design for the environment and encouraged me to use my designs in the future to create a strong knowledge of the importance nature plays, to my audience. Especially during these times, people need to realise how important nature is, using biomimicry in Architecture is a really good way to prove how smart nature is.
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B8: APPENDIX
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REFERENCES "AIRSPACE TOKYO-FAULDERS STUDIO",FAULDERS-STUDIO.COM,2017<HTTP://FAULDERS-STUDIO.COM/AIRSPACE-TOKYO>[ACCESSED29APRIL2017] FURUTO, ALISON, “’FALLEN STAR’ INSTALLATION AT AA DLAB VISITING SCHOOL”, ARCHDAILY, 2017 <HTTP://WWW.ARCHDAILY. COM/265116/FALLEN-STAR-INSTALLATION-AT-AA-DLAB-VISITING-SCHOOL> [ACCESSED 14 APRIL 2017] “MAPLE LEAF SQUARE CANOPY / UNITED VISUAL ARTISTS”, ARCHDAILY, 2017 <HTTP://WWW.ARCHDAILY. COM/81576/MAPLE-LEAF-SQUARE-CANOPY-UNITED-VISUAL-ARTISTS> [ACCESSED 1 APRIL 2017]
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PART C DETAILED DESIGN
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C1. CONCEPT: CELLULAR / PARASITIC GROWTH The concept that was explored during Part C, was taking the given brief/idea in a literal way and using that to form our design. Our main aim was to address the connection between the natural and built environments and strengthen this connection where possible. We began with a parasitic growth that began at the center of the courtyard being a tree. This tree was representing nature in this built courtyard. The parasite was representing nature and grew from the tree and got bigger as it entwined itself through and over the buildings on site. This showed nature as a parasite taking back the site.
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design development A step by step approach was taken to create this design and many prototypes and sketches were produced as we developed everyday. As discussed in the concept we started our designing around the tree in the center of the courtyard and grew from there. The sketches to the right reperesent a starting point for our designing - integrated our work from Part B together as a team. The importance of the environment in our focus was brought upon by researching the history of the site and how the site was used previously. The site was an important meeting place for aborigines and they used it as a camping place - we wanted to bring the landscape back to how it used to be to show respect.
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C2. TECTONIC ELEMENTS AND PROTOTYPES A step by step approach was taken to create this design and many prototypes and sketches were produced as we developed everyday. As discussed in the concept we started our designing around the tree in the center of the courtyard and grew from there. The sketches to the right reperesent a starting point for our designing - integrated our work from Part B together as a team. Firstly, we looked at basic connections using paper and cardboard. An important aspect of the prototyping and modelling was ensuring they were consdered in real time - meaning all the connections were suitable for real life constrcution. This took the most time. We used folding tabs as joints as you can see to the right. These would definitely ensure a more stable joint however these alone would not hold the wood together in real life.
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MATERIALS 0riginally we looked at using wood as the material for the structural part of our pod like design due to the natural appearance it wouild create. However, a part of prototyping is experimentation, so we decided to experiment with concrete like materials (plaster and clay) and a fabric like material. Plaster was used originally, by making a mold to start with and adding in the plaster. We found that the plaster would only hold position very briefly before breaking apart due to its brittleness. Clay was created by just creating the shape using various tools and then waiting for it to dry. However once dry - clay also started cracking and breaking apart. Sticking to the material of clay, I attempted it again and this time utilised a wire mesh as a reinforcement and layered the clay over that to the desired shape. This held better however still ended up cracking once dry and the appearance was not what I had hoped for. To complete this second stage of prototyping, it was decided that fabric could be an interesting material to use due to its flexible properties. This prototype worked the best in comparison to clay and plaster however the overall result differed from the visual we were looking for.
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FURTHER PROTOTYPING The next stage of prototyping, we decided to focus on using timber to create the structure. We used cardboard in the place of actual wood for this prototype to make it easier to play around with joints etc. We used the folded tabs as lap joints and used these in the corners - then used paper fasteners in the place of bolts to join the two pods together. This prototype gave us a good understanding of weak points in our design and where we could develop further.
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BASIC
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GRASS
GLASS
TIMBER
CELL TYPES
The table above, represents the different types of cells we have in our design. These being a plain cell with no filing inside, this cell is generally used where no shading is required for below and no seating or walking is going to be done above it. The second one is a grass filled cell -- this is used for walking on and sitting on. The third is a glass filled cell - this is used for filtering light through (not for walking on or sitting on). The last is a timber filled cell - this one is okay for sitting on and walking over. CONCEPTUALISATION 73
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development... As you can see in the rendered image to the right, our second last design was not as developed as it could have been. We decided to change the size of the cells to create more of a parasitic growth - growing from the tree as discussed in the concept. We worked on the grasshopper definition ensuring we could get a voronoi pattern where the voronoi shapes changed sizes as the cells moved further away from the tree.
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development... In the original developed design, the cells beginning at the tree were the same size as the cells all throughout. By shrinking the size of these cells we were able to create more of a growth.
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FINAL PROTOTYPING DETAILED MODEL
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The final detailed model is pictured above and below. The material used in this final model was timber. This is strong material suitable for this type of contruction. Angles were cut in the wood to create the different shapes and allow for curves in the layour. In terms of connections - nails were used to bolt the two parts together. Wood glue was used to strengthen these connections. A;lso metail braces were used as an extra strenghting device. This is how it would need to be designed in real life to ensure it is stable enough.
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short section CONCEPTUALISATION 83
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long section CONCEPTUALISATION 85
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C4 Learning Objectives and Outcomes The process of starting with two techniques and two similar ideas and connecting them both into one idea and technique was quite challenging at times but really showed me how important step by step planning is, and how important design development is,. We created a design in the end in which had developed many times. The prototyping took a lot of trial and error but we finally we succeeded with a design that illustrated our ideas with structurally sound connections. The feedback we received in the crit showed me that concept is extremely important and ensuring that the concept is clear throughout. The concept was further developed after the crit to ensure it stayed on track and didnt get too complicated throughout the design process. I think using computational tools in design is really important when it comes to trying different possibilties in a timely fashion. By recieving our feedback last week we had the time to use that feedback and use Rhino and grasshopper to change our design around t suit the feedback. Without 3d design tools we would have been unable to make these changes in such a small amount of time. We also would have been unable to try many dfferent ppssibilities during the development of our design.
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