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Part A: Conceptualization
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Kloppersbos Retreat metz + metz architects cc Dinokeng Reserve, Pretoria, South Africa
The Kloppersbos Retreat project encourages new life to what was once an unused part of history through a very considerate approach. An existing kraal-like ruin was converted to form this retreat1. In effect the new retreat’s geographical point acts as a marker of history for generations to come, whilst simultaneously representing the progression in technologies and ways of living. The ‘retreat’ is used to remind humans of how we used to live in a self-sufficient manner from the gifts of the land. Through these progressions into modern times where humans are more technologically advanced, less self-sufficient and more globally and locally connected with resources, it’s important to look back and acknowledge how we can still be environmentally resourceful and build a working relationship with nature as it will always exist.
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The retreat’s thoughtful design incorporates new human knowledge (materials such as concrete, new technology, controlled sun orientation devices), respect and understanding of the ever presence of nature and the site’s history and environmental context.2 The low energy requirements3 generated by considerate and responsive design allow the structure to act as a ‘retreat’ from the consumerist nature of the city areas. The Kloppersbos Retreat quintessentially promotes a reminder of the past and its benefits to essentially move forward.
1 Pieter Mathews, Contemporary Capital: An Architectural Journal, (Brooklyn Square: Visual Books, 2011), p.212. 2 Mathews, p.212. 3 Mathews, p.212. 4 Figure 1: Fritz Metz (photographer), Contemporary Capital. 5 Figure 2: Fritz Metz (photographer), Contemporary Capital.
Fig.1. Klopperbos Retreat Photo 14
Fig.2. Klopperbos Retreat Photo 25
A.0.
Design Futuring
This house was developed to predominantly pay tribute to its surrounding context through its aim to provide a continuous unity with the immediate environment.1 The house is situated on a game farm close to this small town of Rooiberg in the foothills of the Waterberg Mountains.2 The endeavour for this project by its architectural and professional team was to have an attentiveness and recognition of being in a naturally beautiful place.3 The intention of this house’s architecture is to be lesser than its surrounding context so as to always predominantly enlighten the viewer to the environment, more so than the structure.4 This engages the theory that architecture does not necessarily aim to focus on itself but rather has the power to be used as a reflective piece to focus alternate matters.
1 Pieter Mathews, Contemporary Capital: An Architectural Journal, (Brooklyn Square: Visual Books, 2011), p.240. 2 Mathews, p.240. 3 Mathews, p.240. 4 Mathews, p.240. 5 Figure 3: David Ross (photographer) (courtesy VISI), Contemporary Capital. 6 Figure 4: David Ross (photographer) (courtesy VISI), Contemporary Capital.
Rooiberg W Design Architecture Studio Portion Rooiberg, Limpopo, South Africa
Fig.3. Rooiberg Photo 15
Fig.4. Rooiberg Photo 26
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Izmir Opera House (comp.), Nuvist Architecture & Design, Izmir, Tur-
A.1.
Design Computation
adaptive, Innovative, Efficient
Fig.5. Izmir Opera House Photo 11 Shellstar Pavillion, Matsys, Hong Kong
As opposed to in past, computation now has the ability to generate new innovative ideas responding to the information we feed it instead of having a predetermined idea and playing around or simply copying it onto the computer until the designer is content. Computation is an apparatus that can tell us about the nature of a specific environment and how to change design into sharable, analysable information.1 Design can in turn be produced as an expression of this understanding rather than the usual parameters of cultural background, personal taste or income2 and thus overall may be seen as re-defining current practice.
Subsequently time efficiency was also achieved using advanced digital modelling techniques (form-finding; surface optimization; fabrication planning) for a result in just 6 weeks - design, fabrication and assembly.4 Computation presents many unique possibilities and innovations which read quite differently visually, from architectural history. As seen in the Opera Izmir which presents quite an obvious computerised design. This project’s intention was to create function and inserted data regarding the environment, perceptual data, vista areas and meteorological factors.5
Preceding Architectural theorist Louis Sullivan was adamant form ever follows function.6 We can somewhat appreciate this theory and adapt it into modern thought where function when related to people, flows, the environment and a general consideration of purpose does come first as algorithmic data and the computer can then with all information gathered, create a form.
Efficiency is a key concept allowed by computational practice. In the Shellstar Pavillion, the project focused on achieving maximum strength with minimal structure and material.3
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1Figure 5: <http://www.tuvie.com/izmir-opera-house-by-nuvist-architecture-and-design/>, [accessed 15 March 2015]. 2 Figure 6: Dennis Lo, <http://matsysdesign.com/2013/02/27/shellstar-pavilion/> [accessed 14 March 2015] 3 Figure 7: <http://www.tuvie.com/izmir-opera-house-by-nuvist-architecture-and-design/>, [accessed 15 March 2015].
Fig.7. Izmir Opera House Photo 23
Fig.6. Shellstar Pavillion Photo 12
1 Rosemary Gunzburg and Stanislav Roudavski, Air Lecture 1, conducted University of Melbourne, 2015. 2 Gunzburg and Roudavski, 2015. 3 Matsys, Shellstar Pavillion, <http://matsysdesign.com/2013/02/27/shellstar-pavilion/> [accessed 14 March 2015]. 4 Matsys, Shellstar Pavillion 5 Tuvie - Futuristic Technology, Izmir Opera House by Nuvist Architecture and Design, <http://www.tuvie.com/izmir-opera-house-by-nuvist-architecture-and-design/>, [accessed 15 March 2015]. 6 Louis H. Sullivan, The Tall Office Building Artistically Considered, <http://academics.triton.edu/faculty/fheitzman/tallofficebuilding.html>, [18 March 2015]. 7 Figure 8: Dennis Lo, <http://matsysdesign.com/2013/02/27/shellstar-pavilion/> [accessed 14 March 2015]
Fig.8. Shellstar Pavillion Photo 27
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The shift from architectural composition to generation is a recent one and may be seen as a gradual and natural progression from traditional practice and thought. The very nature of tradition suggests a relentless attachment to the past regardless of the relevance to the present day and can in the case of architecture have a negative effect if no progress is sought and agreed upon by a majority. Architectural generation is the new form of thought and action in the design process and includes the aspects of algorithmic thinking, parametric modelling and scripting cultures. The focus and difference of generation design is to design a componential system to enable multiple variations of a product. The shift to this approach has come with much reaction, particularly a sense of lament for the place of creativity and old school imagination.1
Whilst many are hesitant to this new direction as they hold concern for the place of creativity and imagination, Peters describes this new method as in fact an expansion of the designer’s knowledge and mind.2 He also believes once the digital is no longer conceived and discussed as a separate thing, then computation can truly receive its accreditation as a verified design method.3 With every method and material, such as a pencil, it will hold certain limitations, benefits and possibilities.4 The present needs of society match with the benefits of computational methods and these methods are able to tackle the more complex issues of this time, which ironically have resulted by humans’ misuse of the planet as a limitless resource.5 Some of these benefits and limitations can be seen in these structures which utilize generation.
Shenzhen Bao’an International Airport Building Massimiliano Fuksas Architects Bao’an, Shenzhen, China
Fig. 11. Shenzen Baoán International Airport Building Photo 18
Composition/Generation
Shenzhen Bao’an International Airport Building Massimiliano Fuksas Architects Bao’an, Shenzhen, China
Fiber Woven Research Pavilion ICD/ITKE team University of Stuttgart (Parametric modelling & computer simulation tools)
(Using parametric software tools)
Fig.9. Shenzen Baoán International Airport Building Photo 16
Benefits •The team was able to create a sense of dynamism – the 3D nature of the features allow them to look different from different positions of the viewer1 •Ability to analyse daylight and energy input2 •Time efficiency – optimization could be repeated and tested very quickly allowing the primary design of the facade and structure to be completed in just a year and immediately passed on to other disciplines (engineering/ planning)3
Limitations •Lack of specific control over visual product •Limited to patterned style, less freedom
Limitations •Performative morphology in nature
can’t be transferred immediately to the design and construction – human investigation is still needed and then can be applied to technical applications4 •In moving one element, the entity
as a whole will shift – this may be undesired
Benefits •(ability to be) Collaborative –collaborating with biologists to explore novel and efficient strategies5 •Use of robots as part of construction – time efficiency, automated and precise results, reduced manual labour and risk of error6 •Helps realise novel design and construction potentials that were formerly impossible7 •Exploring unique and new architectural solutions •Resource efficiency (calculated use of resources and use of robots for implementation)8
1 Architectural Record, Dodge Data & Analytics, Shenzhen Bao’an International Airport Terminal 3, < http://archrecord.construction.com/projects/portfolio/2014/03/1403-shenzhen-bao-an-international-airport-terminal-3-studio-fuksas.asp>, [acessed 18 March 2015]. 2 AJ Welch, E-Architect, Shenzhen Bao’an International Airport, < http://www.e-architect.co.uk/hong-kong/shenzhen-airport>, [accessed 18 March 2015]. 3 Welch, E-Architect. 4 Architecture for Future, Interview with ICD/ITKE, < http://www.architectureforfuture.com/blog/24/8/2014/interview-with-icditke-team-on-fiber-woven-research-pavilion-2013-14>, [accessed 18 March 2015]. 5 Architecture for Future. 6 Architecture for Future. 7 Architecture for Future. 8 Architecture for Future. 9 Figure 12: Courtesy of ICD/ITKE University of Stuttgart, < http://www.architectureforfuture.com/blog/24/8/2014/interview-with-icditke-team-on-fiber-woven-research-pavilion-2013-14>, [accessed 18 March 2015]
1 Rosemary Gunzburg and Stanislav Roudavski, Air Lecture 2, conducted University of Melbourne, 2015. 2 Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, (2013), 8-15 (p.15). 3 Peters, p.15. 4 Gunzburg and Roudavski, 2015. 5 Tony Fry, Design Futuring: Sustainablilty, Ethics and New Practice, (Oxford: Berg, 2008), pp.1-16. 6 Figure 9: Knippers Helbig, < http://www.e-architect.co.uk/hong-kong/shenzhen-airport>, [accessed 18 March 2015]. 7 Figure 10: Courtesy of ICD/ITKE University of Stuttgart, < http://www.architectureforfuture.com/blog/24/8/2014/ interview-with-icditke-team-on-fiber-woven-research-pavilion-2013-14>, [accessed 18 March 2015] 8 Figure 11: Leonardi Finotti, < http://archrecord.construction.com/projects/portfolio/2014/03/1403-shenzhen-bao-an-international-airport-terminal-3-studio-fuksas.asp>, [acessed 18 March 2015].
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A.2.
Fig.10. Fiber Woven Research Pavillion Photo 17
Fig.12. Fiber Woven Research Pavillion Photo 29
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A.3.
Conclusion
Part A critically analyses current architectural thinking and ways of designing and explores the computational thinking and systems of the future at present. My intended design approach is to be contextually focused, be experimentative and try not to be predetermined with a particular visual product but allow computational possibilities to originate an outcome. My approach is to build some sort of relationship between what is there and what could potentially be. It is significant to design in this way because it creates a shift in thinking and puts the emphasis on purpose. It is a very organised and literally methodological approach rather than being aesthetically focussed. It would be innovative to design something which may enhance how someone lives or interacts as well as the method by which itâ&#x20AC;&#x2122;s designed. The users of this structure should be able to relate and interact, much like engaging happily with a new friend. 1 Figure 13: Cara Brogno, Photo
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Fig.13. Chains representing linked systems Photo 11
1 Figure 14: Cara Brogno, Photo Fig.14. Chains representing linked systems Photo 21
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A.4.
Learning Outcomes
My experience learning about the theory and practice of architectural computing thus far has been a real challenge and extension of my breadth of knowledge but I have found aspects interesting and am starting to realise the beneficial nature of the new technologies being developed. From the beginning of the semester to now Iâ&#x20AC;&#x2122;m a lot more aware of computing possibilities whereas before I had the preconception that computing was just a tool to compose your ideas faster. I realise now that it can act as a generator of things you hadnâ&#x20AC;&#x2122;t even thought of or may have been quite difficult to even conceive and then express. What interests me a lot is the multidisciplinary nature of sharing files and adapting to the surrounding environment therefore making each structure as self sustainable as possible and unique to their individual context rather than just artistically unique.
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1 Figure 15: Cara Brogno, Photo Fig.15. Possibilities Photo1
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1 Figure 16: Cara Brogno, Photo Fig.16. Possibilities Photo 21
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A.5.
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Appendix - Algorithmic Sketches
Why did i select these to include?
How did reseach extend the material in tutorial?
What new knowledge/ understanding/creative ideas do they represent?
How do they represent some of the arguments made?
The image on the far left is the original product of what I thought was a loft gone haywire, but instead ended up being one of the most interesting geometries. When trying to comprehend it in perspective I realised the obscurity and complexity of the interlapping curvature and that it actually made sense. Turning it upside down, I discovered its possible use as a structure in this state. I think I appreciate the niches, its dynamic nature and the connected yet flowing sense it may give to a viewer as a pavillion - it would leave much to the viewer’s imagination and promote a mental and physical interaction.
I used the search tool a lot in Rhino to find out more about the commands, their definitions, what they require and what they can produce. This helps a lot to increase user creativity by providing the knowledge base and allowing the user to interweave their own ideas. When I turned it over, I wanted to enclose the roof so as to give a sense of closure and finished geometry. I researched into the ‘capping’ feature. Although very simple, it’s a command now under my belt for future reference.
This primarily taught me that experimenting with the perspective can be extremely inspirational and useful and to not judge an execution by how it first comes out. It has made me a believer in the beauty of organic complexeties. What I’m going by is that I don’t have to neccessarily have to understand how everything will turn out, but to keep on trying and experimenting until I’m inspired.
Much of the reasearch I discussed relates to these examples and their process: - Not having a predetermined idea can create something great - The creation of unique possibilities - The invention of something you may not even have comprehended or known how to visually represent - Creating something amazing without working for hours on paper but commanding the computer within minutes to create various representions to share with others who can understand it.
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References Mathews, Pieter, Contemporary Capital: An Architectural Journal, (Brooklyn Square: Visual Books, 2011) Gunzburg, Rosemary and Roudavski, Stanislav, Air Lecture 1, conducted University of Melbourne, 2015 Matsys, Shellstar Pavillion, <http://matsysdesign.com/2013/02/27/shellstar-pavilion/> [accessed 14 March 2015] Tuvie - Futuristic Technology, Izmir Opera House by Nuvist Architecture and Design, <http://www.tuvie.com/izmir-opera-house-by-nuvist-architecture-and-design/>, [accessed 15 March 2015] Sullivan, Louis H., The Tall Office Building Artistically Considered, <http://academics.triton.edu/faculty/fheitzman/tallofficebuilding.html>, [18 March 2015] Gunzburg, Rosemary and Roudavski, Stanislav, Air Lecture 2, conducted University of Melbourne, 2015 Peters, Brady, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, (2013), 8-15 Fry, Tony, Design Futuring: Sustainablilty, Ethics and New Practice, (Oxford: Berg, 2008), 1-16 Architectural Record, Dodge Data & Analytics, Shenzhen Bao’an International Airport Terminal 3, < http://archrecord.construction.com/projects/portfolio/2014/03/1403-shenzhen-bao-an-international-airport-terminal-3-studio-fuksas.asp>, [acessed 18 March 2015] Welch, AJ, E-Architect, Shenzhen Bao’an International Airport, < http://www.e-architect.co.uk/hong-kong/shenzhen-airport>, [accessed 18 March 2015]
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Part B: Criteria Design By Cara Brogno 637369
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The Morning Line Aranda/ Lasch Arup AGU Mathew Ritchie CAAC, Seville
Advantages for Designers: By using biomimicry parametrically the designers were able to create something which became: interactive; experiential; visceral; not differentiated between narrative and fact1; educational; surprising; unexpected; creative; organic but following nature ; representative; testable; multi-layered information into one; an individual experience for various people at different angles.
B.1.
Research Field: Boimimecry
Biomimecry/ Biomimetics
The Morning Line
The nature of biomomicry in architectural design implies the possibility to imitate nature and its various systems at different scales or, as this project inspires, to combine multi-disciplines of thought or information about a particular system into one diverse experience. The opportunities are thus extremely broad considering the endless amount of natural systems and so each project may be extremely individual and focus on a particular set of information which can be observed and interacted with by humans as an enlarged structural form.
The conceptual notions behind this contemporary art piece entitled ‘The Morning Line’ are really the basis and objective message of this project rather than satisfying the need for a pavilion to shelter people. It was created for the exhibition ‘Youniverse’ celebrating the union of art, science and technology1. It is therefore quite relevant conceptually to our project which seeks to connectarchitecture, nature and technology. It strongly emphasises the collaboration between fields of expertise from music to physics to cosmology2. It uses parametric data to express the theories of different disciplines and combine them to create a universal theory of how the world was created. Geometrically it works by a very modular system using one block with a fractal structure which is scaled, multiplied and made into structural rings3.
1 Thyssen-Bornemisza Art Contemporary, (p. 25) Figure 1: Jakob Polacsek, < http://www.redbull.com/cs/Satellite/en_INT/Article/The-Morning-Line-Francesca-von-Habsburg-interview-021242879347997 >, accessed 30 March, 2015.
Critical Analysis This makes it a structure of multiple moments; of a dynamic cycle with loops and without a set beginning or end, entrance or exit1. “the evolution of the universe as a story without beginning or end, only movement around multiple centres”2 ‘There is no single way in or out, no final form. The surfaces, shapes and configurations were developed following information from the various fields including recent theories of cosmology and universal formation and famous 17th century poetry circulating the topic of the creation of the world3.
I’m holding some concern over the possibility of fabrication for my potential project. Many of the connections in this project would seem quite small and not particularly strong, if made at a smaller scale using lighter and weaker materials. What I am considering therefore is to make sure I maintain large enough connections and perhaps a limited amount of them, as well as visually approximating the structural stability. This is one of the flaws in making without engineering expertise. It is a process of testing though modelling which will establish its fate against physics.
In this case what the technique does is essentially gives a meaning and response to a somewhat incomplete and undefined worldly question, thus giving form and a small sense of completeness to the not yet defined.
1 TBA21, Matthew Ritchie with Aranda/ Lasch and Arup GU – The Morning Line, <http://www.tba21.org/augarten_activities/49/page_2> [Accessed 7 April 2015]. 2 TBA21 3 Thyssen-Bornemisza Art Contemporary, Edited by Eva Ebersberger and Daniela Zyman, ‘The Morning Line – Matthew Ritchie Aranda\Lasch Arup AGU’, Issuu, <http://issuu.com/tba21/docs/the_morning_line_book_with_cover> [Accessed 7 April 2015], (p.27). 4 Thyssen-Bornemisza Art Contemporary, (p. 27) 5 TBA21 6 Thyssen-Bornemisza Art Contemporary, (p. 23) Figure 2: < http://ubiquarian.net/2012/12/the-morning-line-goes-to-zkm-in-karlsruhe-as-a-permanent-gift-by-the-tba21/ >, accessed 30 March, 2015.
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Figure 1: The Morning Line Figure 2: The Morning Line Detail
B.2.
Case Study 1.0: VoltaDom Iterations
Density Variation
Selection Criteria... Height Variation
Requirements: Brief Connect architecture, nature and technology. Be responsive to the specific site â&#x20AC;&#x2DC;Merri Creekâ&#x20AC;&#x2122;
Openning Variation
Biomimicry Imitate/ utilise the laws/ systems of nature at different scales.
Overall Criteria/ ideas Pattern Variation
Surface Variation
Be representative of the systems at play: Be adaptive in the modelling of the structure to the Merri Creek wildlife/ natural systems. Allow the structure to be accessible and used by humans: Allow the structure to progress from the ground plane to higher accessible levels.
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Biomimetic Relationship Long-necked Tortoise
Height Variation: Iteration 2
Echidna
Height Variation: Iteration 6
Qualities
Potential for Architectural Application
Potential for Use as Creative Effect
Slight elevation of individual shapes Open circular components
The surface base is easily altered whilst maintaining an equal pattern without stretching. Could be used as an inner/ outer shell structure
Shell pattern Open circles could create a light/ shadow effect
Spikes which alter in direction with a distorted surface. More pointed at ends.
Echidnas are not native to the Merri Creek region but many have passed through and people are urged to inform the management committee. This structure could potentially be an awareness campaign for stray wildlife.
High visual effect and interest potential.
Curved path pulling a pattern into itself Snakes are common along any urban Pattern of a snake path. Textured waterway. Extruding scales. This structure would create awareness for humans that Merri Creek is for many species, a habitat.
Something With a Fur Texture - Flora/ Fauna
Densely packed forms
Native Flower such as the Swamp Daisy/ Button Wrinklewort
Bunch of intersecting circular extrusions. Surface pattern Extrusions expand outwards on an angle (not straight)
Surface pattern
Case Study 1.0: Iteration Potential
The spike surface may be set back in places to look as though itâ&#x20AC;&#x2122;s been indented with something such as writing.
Brown/ Common Snake
Pattern Variation: Iteration 3
B.2.
Surface pattern
Surface Variation: Iteration 2
Openning Variation: Iteration 5
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http://www.mcmc.org.au/index.php?option=com_content&view=frontpage&Itemid=1
Could add more patterns to resemble the flowers more or leave them with holes for a light and shadow effect.
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B.2.
Urban Alloy Towers AMLGM Chad Kellogg & Matt Bowles New York Proposition
Figure 4: Map of Bourough Connection
Figure 3: < http://www.amlgmlabs.com/urban-alloy-towers/>, accessed 30 March, 2015. Figure 4: < http://www.amlgmlabs.com/urban-alloy-towers/>, accessed 30 March, 2015.
Figure 3: The Morning Line
Case Study 1.0: Urban Alloy Towers
Design Intent
Critical Analysis:
They describe the dynamic cities of the 21st century including New York as being dynamic anthropomorphic alloys, as machines for innovation and societal unity1. To insure New Yorks future as a leading global centre they believe they need continued growth in intelligent ways2. The project utilizes the opportunity of connecting Manhattan with the other boroughs without disturbing existing land use3. The Urban Alloy suggests a residential typology in the free spaces or ‘air rights’ around and above an intersection of transport4. The aim is to create a set of highly linked yet heterogeneous living environments using different materials5. The blend of geometries along with site constraints produces a complex geometry requiring an optimizing façade6. At the grid intersections, the optimal solar shading and light transmitting requirements are analysed7. This analysis then creates fins to blend with the profile, both vertical and horizontal8.
I think overall, looking at what it’s actually achieved is that it is concentrating a lot more people and functions at a junction of transport, thus essentially creating a centralised district with excellent transport outwards and inwards. And all using an otherwise unutilised space. The primary concerns would be transport noise, movement and the disturbance of construction that it would bring to many major transport services. The analysis of solar shading and lighting needs is an intelligent aspect. I understand the idea of the shape as wrapping around like a skin but question the necessity of the grandness of scale in how much it covers if lighting efficiency is really such a factor. Although it makes a statement of the link of major paths, it’s more of a sculptural emphasis as the amount of people and functions it can host is limited.
1 AMLGM, Urban Alloy Towers, < http://www.amlgmlabs.com/project-desription/ > [Accessed 10 April 2015]. 2 AMLGM 3 AMLGM 4 AMLGM 5 AMLGM 6 AMLGM 7 AMLGM 8 AMLGM Figure 5:< http://www.amlgmlabs.com/urban-alloy-towers/>, accessed 30 March, 2015. Figure 6: < http://www.amlgmlabs.com/urban-alloy-towers/>, accessed 30 March, 2015.
Figure 5: Diagram of Functions
Figure 6 , Apartment Example
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B.3.
Case Study 2.0: Reverse Engineering
Final Grasshopper Definition
The addition of Weaverbird-Triangles provides an extra diagonal division resembling the Alloy Towers.
The thickening provides thickness to the patterned skin.
This section defines the shape by lofting the base as well as additional arms.
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Kangaroo/ Spring force provides this smoothened effect, where the shape loosens and holds its position almost like an effect of gravity on all sides.
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B.3.
Case Study 2.0: Reverse Engineering
Process Imagery
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B.3.
Case Study 2.0: Reverse Engineering
Final Rhino Replica
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pg
B.3.
Case Study 2.0: Reverse Engineering
Final Rhino Replica
pg
B.4. Density Variation
Quad Density Variation
Openning Variation
Shape Variation (Kangaroo)
Technique: Development
Mesh Variation
Mesh Variation
Stellation Density Variation
Even Quad Density Variation
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B.4.
Technique: Development
Potential for Architectural Application Shape Variation: (Kangaroo)
I found my definition limiting in some respects as I found that I was restricted by what forms I could produce. I feel that kangaroo has an ability to create desirable forms for biomimecry because the smoothed effect it produces is common in many systems such as microorganisms. For Part C Iâ&#x20AC;&#x2122;d like to test kangaroo using a different definition and perhaps adapting forms of the microorganisms found in the river to create my base form. Onto this I could adapt a type of skin, representative of a kind of flora or fauna.
In researching the wildlife and habitation of Merri Creek I have come across the echidna as being present Stellation even in the narrowest regions of Merri Creek . Although not native they are creatures of survival. With little Density Variation: fighting ability they depend on their spikes to detract threats and sheild themselves from predators. In the barest sense the spikes created from the stellation tool form the extruded shape of an echidnaâ&#x20AC;&#x2122;s spikes in defense and would be interesting to form the skin.
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B.5.
Technique: Prototypes
Updated Selection Criteria
Selection Criteria... Concept Of Prototype... Inspired by the echidna, which is not native to the trail but are often sighted wandering through vulnerably and so in a way, endangered. The pavilion could act as an awareness message to promote the reporting sightings of passers by to environmental management. The focus is experimenting with how the skin can move and how the space and skin is experienced internally. the external skin is characterised by the echidnas reaction to a percieved threat in its defensive state, where it curls up, altering it’s surface state.
Requirements: Brief Connect architecture, nature and technology. Be responsive to the specific site ‘Merri Creek’
Biomimicry Imitate/ utilise the laws/ systems of nature at different scales.
Overall Criteria/ ideas Be representative of the systems at play: Be adaptive in the modelling of the structure to the Merri Creek wildlife/ natural systems. Allow the structure to be accessible and used by humans: Allow the structure to progress from the ground plane to higher accessible levels. Create a plastic structure Structure may be movable in some way or depict movement Movement should form changing visual effects Mimick principles of an animal skin Base form may imitate a natural system at a different level e.g. micro-organism
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B.5.
Technique: Prototypes
Photos Testing Prototype Performance
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B.6.
Technique: Proposal
Potential Site Application decisions:
Reasoning:
Placement should be: Close to but off the main path or Over the main path
The pavilion/ Interactive Sculpture should: not disrupt the flow of people, be up to the viewer to engage and interact
Positioned in the middle of the trail
act as a source of stimulation, be surprising to the passer by, by acting as a change from a repetitive scenery
Design Proposal...
At a safe distance from the creek
To create an interactive pavilion whose parts are inspired by the natural systems associated with Merri Creek at different scales. Itâ&#x20AC;&#x2122;s surface skin will have an affect of movement, be it just visual or also physical. The structure should progress upwards from the ground plane and be climb-able.
How is it Innovative:
not be hazardous, but allow view to be a major feature
It uses references of natural systems at different scales all in one structure. The skin is maliable and interactive. People can interact and experience smaller scaled systems at an exploded scale; from underneath, on the surface itself as well as standing upon the surface.
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B.7.
Learning Objectives & Outcomes
OBJECTIVE 1 Interrogate Brief
OBJECTIVE 5 Develop Ability to Make Case for Proposal
OBJECTIVE 2 Generate Variety of Design Possibilities
OBJECTIVE 6 Develop Capabilities for Conceptual, Technical and Design Analyses for Contemporary Projects
OBJECTIVE 3 Develop Various 3D Media Skills
OBJECTIVE 7 Develop Foundational Understandings of Computational Geometries, Data Structures and Types of Programming
OBJECTIVE 4 Develop Understanding of Relationships Between Architecture and Air
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OBJECTIVE 8 Begin Developing Personalised Repertoire
A lot of these objectives have been satisfied or atleased attempted and will be improved upon after the completion of Part C; somewhat actively but also partly subconciously. Although I know I have room for more detailed development and improvement, I think I’m on the right path at turning my conception and ideas into a translatable reality using computational techniques. I feel like my head may be running faster than my hands in terms of concepts and realistic technical abilities. Considering it’s a completely new system of design and thinking that i’m adapting to in a short time, the benefit of the growth that i’m achieving is worth the struggle.
What I’m looking forward to is making it more of my own thing (developing a personal signature repertoire). I think this can be achieved by developing a clearer concept and argument for the application of my design to the site to prove that my work is my own and unlike what has been done. I think this was always my intention in the conceptalisation phase but there is a world of designers and structures already utilising the foundational ideas of many concepts.
I am able to manipulate using parametrics and I’m often seeing how I can potentially plug in new things and adjust definitions. My research has opened my eyes to the potentials of computation in the design process. One of the common aspects which interests me is using design to achieve environmental sustainability, the incorporation of efficient materials to create an efficient overall system as well as the use of immitating preexisting systems of nature.
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B.8.
Appendix: Algorithmic Sketches
I really appreciate the free-flowing nature of the forms using kangaroo. They are quite abstract and show a good example of how designs can be created in little time and with a little thought they can become a reality. This would just be near impossible to approximate by hand drawing and showing how the shape looks from different perspectives.
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B.8.
Appendix: Algorithmic Sketches
Although not a particularly attractive design, it taught me a few principles. This was made from editing the defintion in a quad mesh state and moving the frequency of quad lines. This created an unexpected result as when the lines where moved, the positioning of the circles also moved randomly. This was because each was connected to a position in space connected to a number. This is a good example of how space can be numbered and systemmatically organised.
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B.8.
Appendix: Algorithmic Sketches
From this close-up, I appreciate the sketched, human like nature of the repeated lines. It seems like an appealing composition due to level of detail and achievement of this accuracy in such a short period. I also really enjoy the photographic potential including the ability to go close up or inside a structure or composition.
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References TBA21, Ritchie, Matthew with Aranda/ Lasch and Arup GU – The Morning Line, <http://www.tba21.org/augarten_activities/49/page_2> [Accessed 7 April 2015] Thyssen-Bornemisza Art Contemporary, Edited by Ebersberger, Eva and Zyman, Daniela, ‘The Morning Line – Mat-thew Ritchie Aranda\Lasch Arup AGU’, Issuu, <http:// issuu.com/tba21/docs/the_morning_line_book_with_cover> [Accessed 7 April 2015], (p.27) Architecture for Future, Interview with ICD/ITKE, < http://www.architectureforfuture.com/blog/24/8/2014/interview-with-icditke-team-on-fiber-woven-research-pavilion-2013-14>, [accessed 18 March 2015]. AMLGM, Urban Alloy Towers, < http://www.amlgmlabs.com/project-desription/ >, [Accessed 10 April 2015].
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