DESIGN STUDIO AIR 2017 SEMESTER 1 MATTHEW MCDONNELL CHONG HENG TAT 655128
PART A CONCEPTUALISATION
CONTENT PART A CONCEPTUALISATION A.1. DESIGN FUTURING A.2. DESIGN COMPUTATION A.3. COMPOSITION A.4. CONCLUSION A.5. LEARNING OUTCOMES A.6. APPENDIX- ALGORITHMIC SKETCHES
INTRODUCTION I am Heng Tat, a third Year student of Environments at University of Melbourne. What drew my interest in architecture was the interaction between built form and its occupants. I firmly believe architecture is dynamic and ever changing, from the radical use computers to the advent of new materials. However, after experiencing two years of Being a design student, I learnt that architecture and the design process has much more depth than one would perceive. A good design would interact and serve it users and taking advantage of its surroundings and having a good design process would take cultural and exploration of form and function to the frontiers of form finding, making seem uniquely beautiful in its perspective regardless of time. “Architecture should speak of its time and place, but yearn for timelessness”-Frank Gehry
“Architecture should speak of its time and place, but yearn for timelessness ” - Frank Gehry
Architecture, is more than just simple or complex form finding rather, a spatial arrangement that has meaning and function. Architecture can be the bridge between people and the way they treat their environment. Design is a crucial part of steering the society in a responsible direction. Sustainability and a good understanding of usage of material is what I hope to achieve through the course of my studies.
DESIGN LANGUAGE Currently I believe that my design usually involves the use culture or nature to draw inspiration. I firmly believe that biomimicry can change we perceive out built environment and nature. However, this works both ways as the design can be influence by our cultural upbringing. As a designer, I hope to be a socially and morally responsible architect. In my two years of studying architecture, I believe that good designs are timeless and will be appreciated as such. A good site specific design is one that maximize a site advantages and minimizes its disadvantages.
A.1. DESIGN FUTURING “The ‘state of the world’ and the state of design need to be brought together.”-Fry
1. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 2. Kibert, C. J. (2016). Sustainable construction: green building design and delivery. John Wiley & Sons 3. Anastas, P. T., & Zimmerman, J. B. (2003). Design through the 12 principles of green engineering. Environmental science & technology, 37(5).
Architecture is a dynamic and ongoing practise that contributes the culture and discourse at large1. The boundaries of design and what good design means has changed through the centuries. Can Architectural design steer the societal values of today? According to Fry, he believed that Architecture can set the course in which the societies’ morals and ethics are based upon. With current environmental woes being at the fore front of the 21st century worries, building have begun to take shape and form based on the sustainability factor of its existence. Green designs and design which bring nature close to its occupants have start becoming popular, incorporating lush greenery with its design. Environmentallyfriendly building designs with good performance have also seen an increase in popularity2. Green engineering focuses on durability, using local material and a design for commericial afterlife3. However, being Environmentally responsible is more than just building green buildings but a change of mind set1. Environmentally responsible design would no doubt continue to see the success it has with on-going climatic concerns growing. Societal values and responsibility will not doubt shape the form of future design as it has with current green buildings.
CASE STUDY 1
ROYAL PARK HOTEL, SINGAPORE, by WOHA Architects Global warming is undeniably on of the biggest challenges we will face in the 21st century. Buildings do influence the way we interact with the environment. With the spot light on the greener designs, vegetation is now seen a component of the buildings rather than mere decorations which may could be an after thought after a design process is completed. Vegetation incorporated of the design process where vegetation is specifically thought of during the conceptual stage with its functionality in mind.
This project aims to bring gardens to elevated levels within the building. Seldom do we see larger vegetation being place at a higher level. The disjunction between the form of the building and the vegetative elements is a unique feature which makes the building stand out. The building is using vegetation as a faรงade to shade its occupents. The complex linear form of the these green balconies are also a great contrast to the simplistic extrior form
Top: Front shot of the building showing the different layers of green balconies Right: section view of the hotel Left: Floor plan and front elevation Far Left: View of the geometric green balconies that flank the front facade of the building [1]
1.image from: http://www.archdaily.com/363164/parkroyal-on-pickering-woha
CASE STUDY 2 HARBIN OPERA HOUSE by MAD Architects The primary design focus of the opera house is to make it seem like it blends into the environment. This is through the use of white aluminium cladding on the exterior which camouflage the structure on a snowy backdrop. It serves it users by enabling great acoustics within the interior yet having a design aesthetic which flows from the outside in. Long arches flow form the exterior of the building while the interior is made up of long wooden arches which is a continuation of the design theme.
The delicate harmony of nature and man with the emacluate use of landscape and form blends the design into the snowy backdrop. The dynamic form changes from season to season with different colour hues in the back drop in different seasons, in winter the structure hides in The aim of the building to reduce the visual foot print on the environment is one that is not frequently done.
Right. Ariel shots of its Visual footprint Left: section plan showing how the structure is hidden into the unique shape.[1]
1.Image from: http://www.archdaily.com/778933/harbin-opera-house-mad-architects
Top: Harbin Opera house at dusk. Right: Parametric interior Atrium and Stairway Left: Top plan
1.Image from: http://www.archdaily.com/778933/harbin-opera-house-mad-architects
A.2. DESIGN COMPUTATION Computers enable to architects to be master builders, empowering them with the ability to create their craft in a virtual world with the precision and analytical abilities a computer provides 1 . This includes building singular but slightly different individual elements which together form a cohesive and dynamic façade which consolidates as the physical form the building. The precision in computational design is the hall mark of using computers in parametric design. Precision is crucial in complex designs which have many different small elements. A single design flaw will result in a exponentially larger defect in the physical form of the product. Compared to old practices, these computerized design process will reduce the number of error as production and designing can be calculated and automated. Labour cost, labour shortages and higher cost can all be mitigated with automation 2 . With computers, each element can be designed individually, manufactured, labelled and even assembled easily through the use of algorithms and programming. These computations also allow more extreme and smoother geometries to be achieved, which would have been extremely difficult or impossible with old-
“...computers are totally incapable of making up new instructions: they lack any creative abilities or intuition.” -Kalay er techniques The exploration of geometric design can be easily done as with computerized models, smaller adjustments can be made easily as additional calculation can be done automatically. The adoption of parametric design tools is becoming more relevant, due to the increase in demand for complex and extreme geometrical designs with smaller and smaller elements. As more digital and automated processes make our life and work easier, many jobs have come under threat. Precision Robotics and advance computational devices have begun taking over their human counterparts partially or completely. Architecture is no exception, a stagnant architectural industry will lead to a shrinking community. The role of architecture has varied in the past, where architects would have also assumed the role an engineer, performing calculation and designing at the same time 1 . However, the way forward with the architectural industry is with the programming of these computational tools which would further enhance the role of the architect in the building industry. These virtual
1. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 2. Groover, M. P. (2007). Automation, production systems, and computer-integrated manufacturing. Prentice Hall Press. 3. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15
parametric designs can easily be shared among the design teams allowing modification to be made easily with recalculation done automatically. These up to date drawing can then be shared among the designers and the constructors. This means that the latest and most accurate set of data is used, achieving higher precision. The change in inputs will, undoubtly change the form the design which would be reflected on the parametric tool 3 . Though, it has been argued that computation has inhibited the designer’s creativity to constraints of algorithms. However, the logic behind algorithmic thinking is different from that of physical models. However, what computer can never replace their human counter parts is creativity and intuition. The Human mind can appreciate good design. The parameters and selection of design is still set from the intuition made by the creativity of the artist. “...computers are totally incapable of making up new instructions: they lack any creative abilities or intuition.” -Kalay 1 . Today’s computer still lack the ability to solve problem which we do not have an algorithm for. What is the future for computational problem solving?
CASE STUDY 1 Left: Parametric frame and structure. [1] Right: Form principle and frame structural section [2]
MORPHEUS HOTEAL AT CITY OF DREAMS By Zaha Hadid Architects Parametric design increases the speed at which complex designs can be produced. It enables the users to collaborate and share the latest set of data. It also enables the team to easily modify the project with new calculation being recalculated instantaneously. The Challenge of building with human production of information is the time frame. The parametric tools communicate and recalculates outputs when a new parameter is entered or modified. This allows different teams to implement change and recombine the data to a latest and accurate set of data for teams to use. Four Designing teams were used in the construction of the facade. Zaha Hadid Architects had set up a strong network of communication between the design teams which share performance, geometric and aesthetical input. These inputs helped to calculate the structural stability, fabrication limitations, budgets and program of the tower. Structural teams used the data provided outputs to determine the structure strength of the exterior facade on the building and the environmental impact of the construction of the building2. The design was achieved using custom scripts and codes in Rhinoceros and Grasshopper. With the customized scripts and codes the design teams needed to share old and modified data with one another to form a cohesive facade which seemed to flow together as a large singular unit The design process was to finalize the parameters in response to structural and limitation of manufacturing, sort the parameters priorities and defining the functions that control the parameters.Using grasshopper, the designers had quicken the designing process by reducing the number of 2D diagrams need to be compiled by using a 3D model of the complex areas such as the inner sections. 1. Image from: https://archpaper.com/2014/04/the-grand-macau-hotel-zaha-hadid-behind-new-addition-to-chinese-casino-resort/ 2. Image from: http://global.ctbuh.org/resources/papers/download/2946-design-to-fabrication-fifth-hotel-city-of-dreams-macau.pdf
CASE STUDY 2
Left: areial and photographic shots of the research pavilion. Right: Parametric outputs used for structural calculation and automated manufacturing [1]
ICD-ITKE RESEACH PAVILION, by University of Stuggart
ometer enabling modification to be made for the strongest design to be achieved.
The research Pavilion was created to test the limits of computational design. Each individual geometric shell was created withthe assistance of computational tools.
An added benefit to computational design is the use of precision machines to fabricate single or multiple components. With these precision robotics, these parts can be created with a high accuracy and with speed. However, these robotics are unable to produce complex design which require the dexterity of the human touch. In the research pavilion, each shell was fabricated using a precision robotic arm which created an accurate joint enabling seamless connections between each individual shell.
The research Pavilion shows the benefit of having communication with parametric design where outputs were created using parametric tools and used for further calculation such as structural validation Each shell within the system was also able to be tested for structural strength at a particular ge-
1.Image from : http://www.archdaily.com/786874/icd-itke-research-pavilion-2015-16-icd-itke-university-of-stuttgart
A.3. COMPOSITION/GENERATION Architecture can steer the existing landscape of our cities and change the way we think and interact with our built environment1. Thus, the generation of shapes and design of structure have often been debated upon. The shift from a purely design aesthetic to one which considers the amount of resources used is slowly becoming more ubiquitous among the design community . Many new forms and shapes are influenced by usage of material or the energy efficiency of the design2. Biomimicry is often popular in today’s designs. Many design draw inspiration from nature either through color or shape. Often patterns are taken from natural sources and replicated multiple times in a geometric fashion or the entirety of the product is copied from nature. Another form of natural inspiration is one that mimics
the landscape. Usually this is done to reduce to the visual and physical foot print the structure. This can resemble mountain, slopes, trees and even cliffs. These structures usually have an additional layer of camouflage by using color or natural vegetation such as grass to conceal the size of the structure. These inspirations have significant impact on the design and generation of form. Computation can be used generate these organic structures and for exploration with these shapes. Computation can also be used to create unique forms by using data from natural sources such as the swimming patterns or fish or sharks. Generation of these shapes are not just limited to what we can visually perceive but by data we can collect. Thus, computational design can be created meaning in design using data which would otherwise irrelevant. With a virtual workspace compared to physical proportions, the logic for form design will
1. Pearson, M. P., & Richards, C. (Eds.). (2003). Architecture and order: approaches to social space. Routledge. 2. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 3. Anastas, P. T., & Zimmerman, J. B. (2003). Design through the 12 principles of green engineering. Environmental science & technology, 37(5).
change. Digital design thinking is one that focus on the relationships between objects in part or whole2. Computational parametric modelling has also enabled the exploration of form through virtual trial and error, Tweaking the designs constantly to find one which appeals the most3. This can be simple changes to dimension or drastic changes such as change in form and composition.
CASE STUDY 1
Top The paramtric research pavilion in mexico Right: Step by step parametric form generation using folding elements [1]
PARAMETRIC PAVILION by Tecnologico De Monterrey This was the product of 11 students and their parametric design. Initially, the project first begun with an algorithm of a vaulted surface. This the base shapes are the core structural members which hold up the pavilion. A pyramid shaped surface with slight changes in form is overlaid over the base structure. These algorithms determined the final shape of the faรงade by enabling the designers to tweak the outcome of the pyramid dimensions such as the height and wide of the base. The 1. Image from: http://www.evolo.us/architecture/parametric-pavilion-in-monterrey-mexico/
shape of the faรงade could also be modified until a satisfactory form is found in a digital and virtual space Another algorithm was used to unfold all the 195 components to be laser cut. With Parametric design the form and shape generation was easy to manufacture. The exploration of unique shapes is made possible due to the flexibility and instant. Instantaneous calculation using these tools lead to minor changes or drastic changes in form easily made .
CASE STUDY 2
TWISTs Plywood By EmTech The project aimed to see the replication of small individual cells across a large surface. Computational paramteric modelling was used to determind the final outcome of model. Different shapes were used within the cell.
1.Image from: http://www.archdaily.com/775842/emtechs-twist-displayed-at-the-timber-expo-in-birmingham
With parametric modeling, different shapes can be created and tested to see the practicality in construction without building a complex physical model. As bending wood often involves stretching and tensioning the wood some shapes were not feasible. Hence, these paramet-
Top: Photographic shot in an exhibition Left: Parametric modeling, individual wood bending and design schema
ric tools can determine the final shape by calculation. The shapes of the elements can be used to test out the weight and shape of the object. And modification and exploration can be done in the physical space finalised a practical model which is physically possible. This ultimately results in generative form where the design is from an evolutionaty standpoint. Bad mutation in designs are phased out while good mutations are kept.
CONCLUSION The advent of computational device has changed the architectural community 1 . The discourse in which computational designing is one that affects a multitude of industries in the build environment. From design to realisation, from manufacturing to assembly, computational device will radically change these industries to one which relies more on computation and automation. However, there will always be a role for designers as these computer lack judgement and intuition in which they are programmed upon through algorithms. The advantages that computational parametric tools provide such as increase speed and precision, better manufacturing processes and structural checks, ease of modification have made the rise of these tools evitable. Without a change training and the role of architecture, a stagnant architectural community will lose it purpose. However, working with these parametric tools as ‘master craftsman’ will enable us designers to produce better quality product which are more rigorous and digitally tested 2 . Engineering community will benefit as the digital outputs from computation can be easily used for structural, acoustics and wind loading checks. Even builders will benefit from the precision and well labelled manufactured parts produced by automation. And as whole computation enables real time collaboration, enabling modification to be made instantaneously and for everyone to access a up to date set of drawing changing the architectural language of drawing to an instantaneous feedback loop. The exploration of form, function and expression in product will evolve with parametric design. Now, with these new tools, data can be collected from a source and can be used as a mode for inspiration. Form generation is a fundamental change to the composition finding.
1. Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) Suggested start with pp. 3-62 2. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 3. Groover, M. P. (2007). Automation, production systems, and computer-integrated manufacturing. Prentice Hall Press.
LEARNING OUTCOMES Before the start of my learning journey of the theory and practise of architectural computing, parametric design seemed daunting due to the complexity and precision required to achieve desirable outcomes. However, since learning parametric design tools, it has provided me with the confidence for complex geometric design. With these parametric tools, I can further my exploration of more organic geometric shapes. With grasshopper as a visual designing aid, I can understand the data flow and trees more easily. The use of the trigonometry functions and golden ratio have interested me as I would have never thought that these designs had used these mathematical elements. Looking back, before the start of this semester, my designs have often gravitated towards the use of geometry and curves. This is applicable to my design in which I constructed a wooden structure with shorten strips of timber where the elements are divide by two repeatedly. With a parametric tool like grass hopper, I would have further explored the use of the gold ration and more dynamic angular elements. With past studios, the exploration of physical form is true the use of photos or physical inspiration. However, with such inspiration, these designs tend to favour more simplistic designs.
APPENDIX 1. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 2. Kibert, C. J. (2016). Sustainable construction: green building design and delivery. John Wiley & Sons 3. Anastas, P. T., & Zimmerman, J. B. (2003). Design through the 12 principles of green engineering. Environmental science & technology, 37(5).2. 4. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 5. Groover, M. P. (2007). Automation, production systems, and computer-integrated manufacturing. Prentice Hall Press. 6. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 7. Pearson, M. P., & Richards, C. (Eds.). (2003). Architecture and order: approaches to social space. Routledge. 8. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 9. Anastas, P. T., & Zimmerman, J. B. (2003). Design through the 12 principles of green engineering. Environmental science & technology, 37(5). 10. Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) Suggested start with pp. 3-62 11. Issa, Rajaa ‘Essential Mathematics for Computational Design’, Second Edition, Robert McNeel and associates, pp 1 - 42 12. Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) Suggested start with pp. 3-62 13. Schumacher, Patrik (2011). The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley), pp. 1-28 14. Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12 15. Mathews, Freya (2005). Reinhabiting Reality: Towards a Recovery of Culture (UNSW Press), ch.7 - Merri Creek
ALGORITHMIC SKETCHBOOK
PART B CRITERIA STUDY
CONTENT PART B CRITERIA STUDY B.1. RESEARCH FIELD -BIOMIMICRY
B.2. CASE STUDY -VOLTADOM B.3. COMPOSITION -REVERSE ENGINERING B.4. TECHNIQUE DEVELOPMENT -ITERATIONS
B.5. TECHNIQUE PROTOTYPES B.6. PROPOSAL
B.1.BIOMIMICRY PROJECTS OF INTEREST TOP LEFT Elytra Filament Pavilion BOTTOM LEFT DO|SU Studio Architecture’s “Bloom” FAR RIGHT VERTEBRAE STAIRCASE Often the use of biomimicry seen as to associate design with the intrinsic beauty of nature. In the past many design drew from nature from the smallest details to largest, man has always use nature as inspiration from famous works of arts to monumental buildings. Biomimicry can be draw on fully or partially in the design process. This should be done early in the infant stage of the design process to have a larger impact on the final outcome of the design. Inclusion late in the design processes is maybe seen an abrupt disjunction in form preventing a cohesive design. Often natural systems have adapted to form optimal shapes which perform their role in nature effectively and effortlessly. With nature, these
designs were perfected over centuries. An example is the egg where its slight oval shape spreads the load evenly making a effective structure in transmitting load. Thus, its shape has been used in the design process of submarine to ensure a stronger shell. The way we draw from nature can be in form of singular functional elements such as cells for structural integrity of the façade or the composition of the building where many elements takes on a natural entity forming a nature inspired form. Biomimicry can also be involved in the material selection process where materials mimic those in nature either through performance or physical properties. The selection of inspiration can depend on the goals of the design process, such as the to make a building seem lighter, brighter colours or elements which are associate in nature as light such as wings can used for biomimicry.
1. Image from: http://www.archdaily.com/787943/elytra-filament-pavilion-explores-biomimicry-in-london 2. Image from: http://www.archdaily.com/293386/tedx-metal-that-breathes-doris-kim-sung
“Trees and bones are constantly reforming themselves along lines of stress. This algorithm has been put into a software program that’s now being used to make bridges lightweight, to make building beams lightweight.”-Janine Benyus Another area in which nature can be drawn upon besides form is through its natural processes. These processes can inspire the outcome the design. For example, the erosion of sand banks forming alluvial patterns can be used to create building form. Biomimicry can play a large role in architecture with many beneficial outcomes by inspiring the building process as a whole or partially. The ELYTA FILAMENT PAVILION used string which simulated the fibrous structures of the forewing shells of flying beetles known
as elytra. This enabled the roof the pavilion to remain light weight yet strong due to the rigidty of the tensioned fiber system.
While the DO|SU Studio Architecture’s “Bloom” used thermobimetal which breathes like human skin. Thus heat managment is done is cost effective and environmentally friendly way The vertebrae staircase by Andrew Lee McConnell mimicks the spines of whales in an attempt to acheive a light but strong frame structure which bones have evovled over the years for, having a weight to strenght ratio which is stronger than steel.
1. Image from: http://www.biomimetic-architecture.com/2013/vertebrae-staircase-andrew-lee-mcconnell/
CASE STUDY 1.0 SKYLAR TIBBIT’S VOLTADOM VOLTADOM SKYLAR TIBBITS MIT and the FAST Arts Festival Buildings 56 and 66 MIT campus
systems which focus on the materials inherent properties and its programmable form.
The VOLTADOM was designed by Skyar tibbit. It was exhibitied in MIT’s 150th Anniversary Celevration & FAST Arts Festival (Festival of Arts, Science and Technology) .
VOLTADOM accentuates this vision by being a cell group that multiplies and replicates through the relationship of cells growing the build a visible border. As a self-replicating structure, it is adaptable to a given space.
Skylar Tibbit is known for his work which involves a singular large structure which consist of multiple small self-assembling non-mechanical
While analysing the form of the structure, it can be concluded that it holds a strong resemblance to a Voronoi structure where the polygons with
1. Image from: http://www.evolo.us/architecture/voltadom-installation-skylar-tibbits-sjet/
different border sizes make up the defining trait of the pattern. Voronoi is inspired by nature where the seemingly random patterns are inspired by natural patterns namely a giraffe’s skin. This shows that patterns in nature have overlapping properties. While through an architectural lens, the VOLTADOM may take on the form of more traditional architecture where it is similar to that of cathedrals. With the vaulted ceilings it mimics churchs of the past.
The VOLTADOM installation expands the architectural perception of a panel surface, increasing the depth to 3-dimensional structure with depth through the use of a curve vaulted surface. This gives the advantages of using panels. The components aim to be easily manufacturing and assembled. To ease manufacturing each panel is produce in 2 dimension which is a stark comparison with the 3 dimensional shape of the cells. To attained the 3D shape of the cells, the cells are then bend and fixed by metal pins.
1. Image from: http://www.evolo.us/architecture/voltadom-installation-skylar-tibbits-sjet/
PROCESS
GRASSHOPPER DEFINATIONS The Grasshopper definations consisted of two different but similar components. The bottom defination used the cones to form the voronoi surface leading to a much slower defination. But with the lower defination, projecting on to a surface was made possible. Hence more complex forms and interesting shapes could be form. The arrangement of the cones could also be altered. DEFINATION STEPS 1 CREATE INTERSECTING CONES 2 TRIM CONES TO CREATE VORONOI 3 FIND INTERSECTION WITH PLANE 4 TRIM CONE TO CREAT OCULUS 5 DEVELOPABLE SURFACE CREATED
1
2
4
3
5
SHAPE EXPLORATION
INDIVIDUAL PANELLING VOLTADOM mimics individual cells with a central aperture being the nucleus of cells. The exploration of different parameters will no doubt affect these individual units. The ease of manufacturing is dependent on the individual cells and the cohesive form is also heavily influenced by the change in the singular components. Hence, thus it is important to see how an individual unit is affected by changing parameters as it will change the form and ease of manufacturing and assembly. Initally the Can the design process be reverse where the shape of individual units influence the collective form?
ITERATIONS
POPULATION HEIGHT RATIO APERTURE SIZE CONE RAIDUS
60 2.6 0.2-1.0 0.6
POPULATION HEIGHT RATIO APERTURE SIZE CONE RAIDUS
60 0.8 0.4-1.0 0.9
POPULATION HEIGHT RATIO APERTURE SIZE CONE RAIDUS
60 0.5 0.4-1.0 1.4
DESIGN AIM The design process for the original form was conical structures which where connected togeather through varying population density over a rectangular area. These conical structures are joined togeather by using the intersectation to create a vaulted area. Thus, using the grasshopper defination the population density was tweaked to suit the new conical structures. Height and depth of the structures was changed. The apeture at the top of the structure was also reduced and increase to emphasize the the height of the structure. Tall and small apeture structures created more depth and shadows which greatly changed the vaulted surface. Each individual panel was also greatly affected by the overall change in form. I wanted to make the change in overall form caused by the change in panel. The voronoi surface was also changed by the population density and conical height ratio. POPULATION HEIGHT RATIO APERTURE SIZE CONE RAIDUS
60 0.4 0.8-1.0 1.5
POPULATION HEIGHT RATIO APERTURE SIZE CONE RAIDUS
40 2.2 0.8-1.0 1.0
CASE STUDY 2.0 ITERATIONS
POPULATION HEIGHT RATIO APERTURE SIZE CONE RAIDUS
60 2.0 NIL 0.6
POPULATION HEIGHT RATIO APERTURE SIZE CONE RAIDUS SPHERE RAIDUS
150 2.0 0.2 0.6
POPULATION HEIGHT RATIO APERTURE SIZE CONE RAIDUS EXTERIOR SPHERE INNER SPHERE
300 0.8 0.8 0.6
VORONOI KANGAROO
DESIGN AIM With the exploration of conical height done, the overal form the structure was tweaked. The conical structure was overlayed on to various shapes to dramatically change the form the structure. However much diffculty was exprienced when the components failed to vault correctly on more complex shapes. Thus, simpler and random populations seemed to work the best for the change in grasshopper defination. Playing with the voronoi arrangement of the cones was also interesting as it produce more dramatic emphasis on the the facade. The varying change in cone size, gave interesting shapes.
POPULATION 150 HEIGHT RATIO 2.0 APERTURE SIZE 0.2 CONE RAIDUS 0.6 POPULATED GEOMETERY
POPULATION VORONOI
KANGAROO
ANCHORED POINTS GRAVITY POINTS
77
ITERATIONS VORONOI
POPULATION APERTURE SIZE VORONOI CONVEX
30 0.2
POPULATION APERTURE SIZE VORONOI CONCAVE
30 0.2
The sphere is a change in overall form. it cinsisted of a double layer of voronoi conical surface. the cones were placed on random point which populate the spheres. These spheres exist into layers to provide a layer for the geometery to populate. The double layer also gives a thicker look and feel to the geometric structure. A large aperature and low height to give a better view into the interior of the sphere where the second sphere is visible. Cone height is reduced to give a cleaner structure.
Projecting on to complex shapes in kangaroo is seem to break the grasshopper defination. This structure was created using grasshopper and kangaroo. In kangaroo point on the surface are anchored while a force, gravity is applied to other points which gave a wave like surface. Size of cone was determined using voronoi surface leading to different size curves. More exploration of kangaroo forces such as collision and attraction may done in the future to explore the defination to its full potential.
SELECTION CRITERIA AESTHETICS
One of most important principles is Aesthetics as the design must be appealing before consideration. However, the defination of Aesthetics must lie deep than a face value of what is visuakky appealing. Some form of beauty in geometric logic must be seen and how it can influence the user in abbotts convent.
MANUFACTURING AND ASSEMBLY
A key compoment in realism. As these model get more complex, more documentation and measurements have to be done. A aspect of parametric design is one that has many components that make up the overall cohesive form. Thus it is important to consider how the project can be produce and realised up front before further development is done and road blocks are encountered. A complex model may be visually appealing, however it may not be realised due to it own complexity.
PERFORMANCE OF MATERIAL
the performance potential of the material must be able to be realised. Inspired by nature, the material must be able to perform its intended purpose. The form must also be create within this performance threshold as the bends and splitting of material may not be possible.
IDEA EXPRESSION
the form must not dictate the meaning rather the intention of design must create the form. A form must push the logic too more extremes yet retain some the original design intent
B.3. CASE STUDY 2 / REVERSE ENGINEERING CLJ02: ZA11 PAVILION By Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan The pavillion acts as a social meeting spot. It is an example of how parametric model tools can be used to create interesting shapes. Using grasshopper, the pavilion was created and manufactured using automated processes. To ensure that assembly would be seamless more
attention was placed on the joints of these panels. Assembly was important as each panel was unique and fits only in the right spot. Thus the automated labelling system used by automation made assembly quick and effortless. The extruded hexgonal grid all pointed back to a singular point located in the center of the sphere. Thus, creating more attention to the center of
1. Image from: http://www.archdaily.com/147948/za11-pavilion-dimitrie-stefanescu-patrick-bedarf-bogdan-hambasan 2.
sphere as the line of sight through the grid was restricted to that particular point. Circulation of people is handled by two opening at the base of the structure allowing people to easily move in and out. Being a self supporting structure, the structure had to to rigid and strong without supporting structures to hold
the panels in place
PARAMETRIC DESIGN PROCESS
OVERALL STRUCTURE CREATED GRID EXTRUDED TO POINT
HEXGONAL GRID OVERLAYED PANELS CREATED
CENTER POINT CREATED JOINTS AND FINISHING DETAILS
1. Image from: http://www.archdaily.com/147948/za11-pavilion-dimitrie-stefanescu-patrick-bedarf-bogdan-hambasan
REVERSE ENGINEERING 1
2
3
6
7
8
OUTCOME
4
5
REVERSE ENGINEERING PROCESS
9
10
INITIALLY, the exterior form the structure had to be made. Three poly curves was created with additional 3 point arcs created between them. The arcs were loft to created the overall surface. The poly cruves off set and were used to create a surface. A hexgon grid was created which match the pavillions arrangement of panels. The grid was extruded to a point in the center of the structure. The interior was removed using a loft surface and split brep component. The exterior of the structre was shaped using the loft surfaced which mimicked the exterior. As the exterior had a rounded finish. Four 5 sided polygon was inserted between each surface to act as the joints. The panels were scaled to create individual panels with space between them.
FINSIHED MODEL
TOP VIEW
SIDE VIEW
CLOSE UPS
B.4. TECHNIQUE DEVELOPMENT GRID CHANGE
HEXAGON GRID 1 30
HEXAGON GRID 2 20
HEXAGON GRID 4 28
HEXAGON GRID 1 120
HEXAGON GRID 2 10
HEXAGON GRID 4 28
HEXAGON GRID 1 3
NO APERTURE
NO APERTURE
NO APERTURE
APERTURE SCALE 0.24
HEXAGON GRID 8 28
PANELLING CHANGE
EXTRUSION POINT AND DISTANCE CHANGE
HEXAGON GRID 1 3 APERTURE SCALE 0.9
HEXAGON GRID 1 3 PANEL SCALE 0.4
HEXAGON GRID 4 10 PANEL SCALE 0.72
HEXAGON GRID 4 28 PANEL SCALE 0.72
HEXAGON GRID 16 36
HEXAGON GRID 1 60
HEXAGON GRID 1 120
HEXAGON GRID 2 20
HEXAGON GRID 2 10
HEXAGON GRID 4 28
HEXAGON GRID 12 20
APERTURE SCALE 0.24
APERTURE SCALE 0.9
APERTURE SCALE 0.9
APERTURE SCALE 0.9
HEXAGON GRID 12 32
CULLING AND EXTRUSION POINT CHANGE
HEXAGON GRID 12 28 PANEL SCALE 0.72
HEXAGON GRID 4 28 PANEL SCALE 0.72 EXTRUSION POINT MOVED
HEXAGON GRID 4 28 PANEL SCALE 0.72 EXTRUSION POINT MOVED
HEXAGON GRID 4 28 PANEL SCALE 0.72 EXTRUSION POINT MOVED
B.4. TECHNIQUE DEVELOPMENT EXTRUSION VECTOR Y
HEXAGON GRID 2 10
HEXAGON GRID 2 28
HEXAGON GRID 6 28
HEXAGON GRID 26 28
EXTRUDED VECTOR Y
EXTRUDED VECTOR Y
EXTRUDED VECTOR Y
EXTRUDED VECTOR Y
HEXAGON GRID 2 10
HEXAGON GRID 2 28
HEXAGON GRID 6 28
HEXAGON GRID 26 28
EXTRUDED VECTOR Z
EXTRUDED VECTOR Z
EXTRUDED VECTOR Z
EXTRUDED VECTOR Z
HEXAGON GRID 2 10
HEXAGON GRID 2 28
HEXAGON GRID 6 28
HEXAGON GRID 26 28
EXTRUDED VECTOR X
EXTRUDED VECTOR X
EXTRUDED VECTOR X
EXTRUDED VECTOR X
EXTRUSION VECTOR Z
EXTRUSION VECTOR X
PATTERNING CHANGE
TRIANGULAR GRID 4 10
TRIANGULAR GRID 4 28
TRIANGULAR GRID 4 28
TRIANGULAR GRID 16 28
APERTURE SCALE 0.6
APERTURE SCALE 0.6
NO APERTURE
NO APERTURE
PATTERNING CHANGE
RECTANGLE GRID 1 10
RECTANGLE GRID 4 16
RECTANGLE GRID 4 28
RECTANGLE GRID 4 40
APERTURE SCALE 0.3
APERTURE SCALE 0.6
APERTURE SCALE 0.6
APERTURE SCALE 0.6
TRIANGLE GRID 4 16 POLYGON RADIUS 0.7
TRIANGLE GRID 4 16 POLYGON RADIUS 1.5
TRIANGLE GRID 4 16 CIRCLE RADIUS 1
JOINTS SIZE CHANGE
HEXAGON GRID 4 20 POLYGON RADIUS 1.8
B.4. TECHNIQUE DEVELOPMENT
This structure was create through the use of a triangular grid which is 2 by 10 and extruding it to a point. Circular joints are made between the panels and are enlarge to more easily hold the panels in place. The triangular panels are also altered to give a more open look so the geometry can be appreciated and geometry complexity can be acheive with less parts. This more easily created compared with the rest.
This structu of triangula logic as the structure, t however joints wer joints and were rem metrically triangular size the c compone assemble most like
B.4. TECHNIQUE DEVELOPMENT
ure was also through the use ar grid which carried the same e original reverse engineered the CLJ02: ZA11 PAVILION. the 5 five sided polygon re replaced with circular d the holes in the panels moved. This model is geoy pleasing to me as the r exterior lines emphacurves. The interlocking nts making it easier to e. Manufacturing would ey be automated as well
ITERATIONS While making the iterations for the reverse engineering, saw my design evovling and changing in terms of individual componenets. However, i wanted to change the form of these structures thus i began using kangaroo to form free hanging structures using unary forces and creating minimal surfaces. With these surfaces i overlay a grid and extrude them to acheive a similar but different result from the case study. These two structures on the left appeal to me most as the are easily constructure yet contain enough complexity to have beauty in geometry
SELECTION CRITERIA AESTHETICS
Aesthetics is fundamental in the selection citeria as the design must be appealing before consideration. However, the defination of Aesthetics must lie deep than a face value of what is visually appealing. Some form of beauty in geometric logic must be seen and how it can influence the users in abbotts convent.
MANUFACTURING AND ASSEMBLY
Being a complex model intially, the model have to be automated and assemble by a large group of people due to its own complexity. Thus when evolving the structures, complexity must not go beyond a throshold which is not feasible in constructability.
PERFORMANCE OF MATERIAL
Materials used may vary, however, all materials have limits and boundaries of what they are capable of. It is important to start thinking of the materils to be used at this stage. This will prevent road blocks and delays in manufacturing and asembly of the prototypes and models.
IDEA EXPRESSION
the form must not dictate the meaning rather the intention of design must create the form. A form must push the logic too more extremes yet retain some the original design intent
B.4. TECHNIQUE DEVELOPMENT KANGAROO MINIMAL SURFACE
FLAT PANEL SURFACE
HEXAGON GRID EXTRUSION
DIAMOND GRID PANEL
MULTIPLE ANCHOR POINTS
RADIAL GRID
HEXAGON GRID
SQUARE GRID
HANGING STRUCTURES The creation the free hanging structures also use the same logic behind the reverse engineered project. grids and curves are extrude and detailed. With the free hanging structure created in kangaroo i wanted to create a form which resemble beehives which i encounter during a site visit along merricreek. i was inspired to create a form which hanged down from a tree yet retains individual cells. The surfaces below were created to see what would it be like to have a colony of beehives. I particular like the hexagon grid which gave a more fluid and beehive like form compared to the rest. construction of these forms could also follow the original intent of CLJ02: ZA11 PAVILION by using interlocking components as joints
TRIANGULAR GRID EXTRUDE
TRANGULAR GRID
B.5. TECHNIQUE: PROTOTYPES
MATERIAL SELECTION
MATERIAL SELECTION SELECTED MATERIAL
REFLECTIVE WHITE PLASTIC
WOOD PANEL
BRUSHED METAL SHEETS
TRANSPARENT ARCYLIC
Materials selection depend on the properties of the various avialble material and what made the prototypes stand out more. However, manufacutring by hand was of great diffculty due to the prototype contain 2000 over surfaces to manufacture. Thus, auto mated manufacturing was at the center of prototype making. However, i wanted to eliminated the restriction automated production had on form thus hand model were first made to explore the possiblities. the final outcome was then laser cut in plywood giving a accurate and sleamless finish.
PROTOTYPE CRITERIA
SELECTION
MANUFACTUR EASE The model must be easily created without exceeding machining limits and materials limits such as having panels which curves and cannot be laser cut
ASSEMBLY
BROWN LEATHER
CHROME
CHERRY WOOD
BLACK ARCYLIC
Assembly should be done quick and easily without roadblock. With exprimentation done, i would rather assemble by interlocking pieces
DESIGN INTENT
It should fulfill the design intent and yet contain geometric beautty in replication.
FORM FINDING: PROTOTYPES
thIS model was laser cut to produce interlocking circular pieces which resemble a flower. the pieces are joint togeather using slot which are laser cut to give precise angles in which the model can be replicated. The cohesive form of the structure could be similar to that of a bunch of flowers. different types of joints can be explored. The unity of the structure and the spatial qualities are is strong points. The ease of replication is also strong. This model reminded me of the coral reef example where the follow brunch of extrusion can take on a different path. For this model, the circular peices are randomly slot into one of 6 different cuts which make the cohesive one abrupt and disjunct. This similar to coral reefs which brunch out into multiple branches at a random angle and distance.
This model has a direction correlation with reverse engineering paviliion. It was inspired by on of the iteration made during exploration of the grasshopper defination. Instead of using hexagons this model uses the same triangluar extruded grid system similar to the iterations. The above pictures are playing around with the panels and seeing if it was possible to acheive a different structure using the triangular panels. However, most the model seemed too similar due to the same component being used in replication. The spatial qualities of this models does not appeal to me as does the geometric beauty as it is too simple. More alteration or prototype may need to be done achieve a similar but more pleasing form. Maybe in a large scale the true geometric beauty can be acheive similar to what was in the grasshopper model. A change in model material may also acheive such an outcome as the model in grasshopper used a thinner and had a white reflective quality to it.
these model was laser cut to product two geometric sqaures. This was a small experiment to test if square extruded forms could simulate beehives. However, this design was too simplistic in nature and isnt what is considered geometrically beautiful. If an actual model is made, the cells would be replicated many more times to form a large bee hive structure.
CONCEPT SKETCHES
Concept Sketches proved to be helpful in elimnating undesired outcomes before going in depth into researching and exlporation. However, the best shape which suited the prototype still lie in the iteration of the reverse engineering due to its distinct shape and geometery. Biomimicry can be hard to acheive while prototyping as one could get lose is try to acheive some realistic rather than following the design plan. Thus concept sketchs are good to main the flow of the design. It retains the design intentions as it is free from the bounds of reality and what is possible. However, one must bridge the gap in concept sketchs and an actual model. Prototyping also enable me to test out small sections of the actual model to test it feasiblity and acheive a spatial awareness of the model. An actual model allows the designer to see past the lines and out come and picture a more realist context. While making the prototypes i wondered if form generation and form finding can be interlink to form a more aware design process that took in to account a more dynamic and hands on way for finding interesting shapes.
PROPOSAL
PROPOSAL ABBOTTSFORD CONVENT
B.6. TECNIQUE: PROPOSAL SITE ANALYSIS LOCAL - 0.25 KM
land first belonged to the WurundHISTORY The jeri people. The tribes steel gather near
the junction of the creek and Yarra river. The land was divided and acquired for ‘gentlemen farmlets’ Four Nuns from the order of the good shepherd to established the convent for women. By 1900 it had become the largest charitable institution in the southern hemisphere and housed over 1000 women and children. In 1975, it was purchased by the Australian government for 5.5 million dollars. It soon housed several educational institution which included La Trobe university. In 2004, the government of Victoria gave the gifted the site to public and began the restoration of its heritage buildings.
The site is located within Abbots convent. Currently, it houses several cafes, a children parks and several art studios. Most of the site is undergoing restoration. The site is rich with vegetation with several planted gardens within the convent and the children farm which also contains an animal farm. During the visit the site seemed to be able to draw a crowd of families. However, this could be due to the date of the visit which falls on a public holiday after Easter. The cafes and the children’s farm seem to have the highest engagement with the public. Transport to site is well verse, with a large car park and a bike shed located near the exits of the convent, public transport by train is also possible.
VICINITY - 2.5 KM
IN the vicinity was the merry creek trail. Occupancy of the trail is high during public holiday with most users being cyclist. The trail also had clear views of the creek which had several kayaks in use. Currents in the river seemed strong with some erosion along the banks. The trail leads under the eastern freeway which had a high usage of cars. The trail seemed well maintained with vegetation trimmed and cared for. Along the creek was a small dam in which the trail loops back. A higher population of birds was also observed near the dam. Residential housing began near the vicinity, with several apartment blocks overlooking the creek.
SURROUNDINGS -5 KM The convent is flank by residential buildings and recreational parks with a diverse range of flora and fauna. Further up the merri creek trail The environmental impact was a key theme throughout the surroundings of the Covent with a big recycling facilities which provided free munch for the local residence. The recycling facility also accepted many recyclable materials from local residence. Trial along Merri creek continues with a trail which connects connect quarries park which used to be a quarry in the past. Quarries park offered a great view the Melbourne city skyline with a skate park which was utilised by several local skaters. Ceres park which was located further up creek also had bike shed. Cycling among residence was also common and many seemed to indulge in recreational activities along merri creek trail. The rive forks further upstream reducing the flow rate.
MAJOR TRAFFIC ROUTES YARRA RIVER
DESIGN BRIEF
The idea was to build a place to accomade music making in abbots convent. The place should be future proof and suit the site and events to be hosted there. The stake holders are local musicians and local residents who are interested in the music scene. Shadow electric working inconjunction to form part of the music stage. Though the area will also seek to serve multiple purposes.
BIOMIMICRY
Biomimicry seemed to interest me the most and with the strong sense of envrionment responsilbity the resident had from the recycling center and the childrens farm, a form which was inspired by natural process would give strong mean and enegage the public the most. I would like to produce a model which in regards would be in the form of the roads around the site. the exploration of a expanding form will be explored for the area with the project seeking to recreat a roof which will be link with the ground, changing the ground plane in the process. The integration of sound and form may be included in the final form of a music pavilion
MANUFACTURE AND ASSEMBLY
Automated production of individual panels is recommended for faster and more accurate results. With automation, parts can labelled and assembly will be completed more easily.
MATERIALS
Wood panelling seems to be the best option for rigidty and strength after being laser cut and for its versility. If enough recycled wood can be obtained from the vicnity it should be considered and used.
LEARNING OUTCOMES REVERSE ENGINEERING GRASSHOPPER DEFINATION
Having used grasshopper for multiple form generation, I have concluded that iteration and screen capture have been very useful thus far. They have enable to easily document multiple iteration and the parameters that form these algorithms. Thus, allowing for the design process to be uninterrupted as thought process can be form later when looking back at these screen captures. Minor tweaks and adjustment can also be made to these models. While reverse engineering, I learnt that a simple tweak in the parameters can lead to large changes in the model. With different algorithms in place, models could take into account parameters which im-
possible in the physical realm such as magnetic fields or gravitational forces. Kangaroo, the plugin for grass hopper has easily put in place modules which allow the model to interact with these forces seamlessly. With grass hopper and rhino, it allowed me to pick specific panels or areas of the model to review. Experiencing the ability to flatten panels for manufacturing and labelling components is also a great advantage of grasshopper. In my opinion, time and effort used for complex parametric design is the strongest assets of grasshopper. However, the duration of the design process can vary, with a group project based design, grasshopper can be slower as only one person
can produce a specific part of the model and sharing up to date information may consume more time. Joints in grass hopper must also be well thought out and clearly design in grasshopper. Personally, joints and accuracy in replication are difficult. However, I have also encounter several set back when using grass hopper as a parametric tool. Firstly, the learning curve is steep and require a good understanding of the functions limitations of grasshopper modules. I have also experienced Setbacks where these parametric tools were unable to achieve the intend design outcome either due to a lack of experience or through the
limitations of grasshopper. With these problems, I found some difficulty with expressing intended designs in grasshopper. With physical models, any alterations can be made without having computational errors. Substitution in grasshopper when a design is not possible is also problematic as there are little work arounds compared the physical models where different techniques can be used to achieve the design outcome.
While working on the iterations in grasshopper, I learnt models can take on different forms to be appreciated in different ways, from 3 dimensional models to line weights these models must clearly
expressed what the design is intent for. Line weight models are usually cleaner and allows for clarity in the design process while 3 dimensional models attempt to simulate reality. Without a physical limitation, it was also difficult to determine the speciality and materiality of these models a computerized model does not do the design justice and may differ from the physical manifestation of the model. The feel and experience of the model also be hard to experience through the virtual model. Thus, a good design process after finalizing several designs is prototypes. Prototypes enable us to physically feel the
model. Grasshopper allows for a quicker and more accurate prototype to made either through 3d Printing, laser cutting or CNC machining. These prototypes can be the entirety of the model, important areas or several replicated cells of the design.
APPENDIX 1. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 2. Kibert, C. J. (2016). Sustainable construction: green building design and delivery. John Wiley & Sons 3. Anastas, P. T., & Zimmerman, J. B. (2003). Design through the 12 principles of green engineering. Environmental science & technology, 37(5).2. 4. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 5. Groover, M. P. (2007). Automation, production systems, and computer-integrated manufacturing. Prentice Hall Press. 6. http://www.archdaily.com/787943/elytra-filament-pavilion-explores-biomimicry-in-london 7. http://www.archdaily.com/293386/tedx-metal-that-breathes-doris-kim-sung 8. http://www.biomimetic-architecture.com/2013/vertebrae-staircase-andrew-lee-mcconnell/ 9. Image from: http://www.archdaily.com/147948/za11-pavilion-dimitrie-stefanescu-patrick-bedarf-bogdan-hambasan
ALGORITHMIC SKETCHBOOK
ALGORITHMIC SKETCHBOOK
ALGORITHMIC SKETCHBOOK
PART C FINAL DESIGN
CONTENT PART C DETAILED DESIGN C.1. DESIGN CONCEPT -SITE ANALYSIS -CONCEPTION
C.2. TECTONIC ELEMENTS & PROTOTYPES -ITERATIONS -GRASSHOPPER DEFINATIONS -SITE PLAN AND SECTION -PROTOTYPING
C.3. FINAL DETAIL MODEL -RENDERS -FINAL MODEL ASSEMBLY -FINAL MODEL
C.4. LEARNING OBJECTIVE
SITE ANALYSIS SURROUNDING BUILDINGS - mostly residential - close proximity to convent - users mostly families
YARRA RIVER - next to convent - heavy usage of Main Yarra Trail for sports
SITE TOPOGRAPHY - convent sited on higher grounds
CONVENT - previously used as the Magdalen Asylum - rich in history - growing in arts & culture
TRANSPORT ROUTES - various transport routes available - only one road access
GREEN DENSITY - surrouded by variety of flora & fauna
SITE ANALYSIS Good Sheperd Chapel
Cafes, Food & Beverage; Art galleries; Wellbeing studio
Potential access points Rosina Auditorium, Studio spaces
Heritage gardens
PLAN OF ABBOTS
SFORD CONVENT
Main Yarra Trail
St. Helier’s Street Carpark
Existing access points
Hub/studios for creative disciplines
Sophia Mundi Steiner School
PRECEDENT #1 | LATLONG , VISUAL DEPICTIONS San Francisco, California by Refik Anadol with Kilroy Realty Corporation / John Kilroy and Skidmore, Owings & Merrill LLP Architects
IMAGE FROM: https://vimeo.com/153140698
PUBLIC ART INSTALLATION TWITTER ACTIVITY REAL-TIME DATA VISUALISATION POINT CLOUD
The LATLONG , VISUAL DEPICTIONS shows the visualisation of data. These numerical values are tagged with geo technical data is represented in a visual format which is easily identifiable. This form can be physical realised through visual means. The project was centered around the representation twitter activity in a public art installation which is easily comprehended. Twitter data which is presented using orange colour peaks and sparks which represents twitter. On an overall scale, the volume and location of twitter post can be taken from these depictions. These dramatic peaks and colours create a form which depicts data yet emotionally engages audiences by providing a form which they can see. This idea can be taken a step further by engaging more human sensory where these forms can be seen, touch and felt giving more emotional depth. The idea that numerical data can be translated to forms in a strong process concept that can be further expanded. This concept is relevant to the project, where numerical sound data can be visually and physically represented. Sound as a numerical data can be created into visual form and physically created.
PRECEDENT #2 | SOUNDWAVE ARCHITECTURE San Francisco Bay, California by MEDIATE Art Group + 50 different artists SOUND WAVE ARCHITECTURE sonic focus on connections to our built environment which shape our lives as humans. Each season, they commission 30 new performances and works from over 50 dynamic artists to examine the rapidly transforming landscape of the San Francisco Bay Area and the world-at-large while considering the physical and phenomenological aspects of constructing, designing and inhabiting our built environments through sound. Daring artists will present projects that explore spatial acoustics, biological architecture, personal and communal site histories, urban somatic/acoustic fields, psychosomatic effects from architectural designs, ambisonics, architectural drawings as musical scores, and more. These works hope to inspire audiences to to listen beyond the surface, connect with each other and find innovative ways to see, hear, and interact with the environment around us1. These ideas on how sound can create spaital environments which inspired the creation of music can be explored in the shadow electric project. Soundwave architecture has a close resemblence to shadow electric and the values and qualites can be forwarded for a musical housing for shadow electric . These environments must not only be create by sound but must be a condusive vessel for music by having good acoustic qualities such as low reveberation leading to a higher quality of music. The idea of housing a music performance and music creation using a sound inspired environment to influence users was also brought forward.
IMAGE FROM: http://soundwavesf.com/7/about/ 1 http://soundwavesf.com/7/about/
CONCEPTION OF IDEAS
WALKING THROUGH SOUND
CONCEPTION WALKING THROUGH SOUND was the main inspiration for our project. The site was target for music creation and music performance thus the exploration of soundto our project was done.
The concept of walking through sound is one that engages the major sense of the human experience such as sight, touch feel, and hearing. These human sensory experiences allow for a truly engage audience who can touch ‘sound’. To turn this concept in to realty, we wanted users of touch sound while being in an environment which reflected these unique qualities. To bring these ideas we sought out sound waves which took on a physical form through the linear space of the site where users can directly touch these sound waves. The linear nature of the site had further encouraged the movement of people through these soundwaves giving a truly memorizing experience of walking through sound. The further development of these ideas can be explored in the final concept. We wanted a space which incorporate sound in this conception where the idea of being enveloped in sound was realised. More design iterations and functionality of the concept has to be developed.
C.2. TECTONIC ELEMENTS & PROTOTYPES DESIGN PROCESS
DESIGN GENERATION
SOUND COLLECTION
BASE SURFACE
GENERATION OF SOUNDWAVES
COMBINATION OF SOUNDWAVES
- FIREFLY PLUGIN - FREQUENCY - RECORDING
- CULL PATTERN - LIST ITEM
LOFT
SCALE
TRIM AGAINST BUILDINGS
EXPLORATION 1
DESIGN EXPLORATION PANELLING
EXPLORATION 2
CONTOUR + EXTRUDE
FINAL DESIGN
FLIP CONTOUR + EXTRUDE + CULL PATTERN
PERFORATIONS
SOUND SOURCES NATURE
CONVENT
COMMUNITY
CONVENT
SHADOW ELECTRIC NATURE
COMMUNITY
SOUNDWAVE COLLECTION | FIREFLY PLUGIN DATA RECORDER
MASS ADDITION
LIST
SERIES
DATA DAM
FREQUENCY SPECTRUM
EXPLICIT SOUNDS
SOUNDS FROM SHADOWELECTRIC
SOUND GENERATION
CONSTRUCT POINT
NURBS CURVE
DATA RECORDER
Data represented as curves in Rhino
- Construct Nurbs curve from control points
IMPLICIT SOUNDS
FROM NATURE YARRA RIVER
CURVE
FROM THE CONVENT CAFES, STALLS, GENERAL ATMOSPHERE
Various soundwaves were created from sound data from 3 Shadow electric tracks and 3 key areas of thesite. To attain the specific soundwaves within rhinoceros, a grass hopper definition had to be created to turn sound into curves. Using the plugin firefly, recorded sound data from three different tracks from shadow electric and three different areas of the site was recorded. The plugin firefly enables the capture of sound data, a data recorder records sound data at specific intervals and periods to define a fixed set of variables for the curves, points are then constructed for each individual soundwave at a particular interval and a curve is interpolated through these point to form the sound waves.
FROM THE COMMUNITY COLLINGWOOD’S CHILDREN FARM
CULLING PATTERN
COMPOSIT SOUND Initially, the sound waves were taken as individual sound generated curves. These sound waves consisted of sounds from shadow electric, and sounds from the surrounding region such as the convent, the Merri Creek trail and Collingwood children farm. These different sets of sound wave curves were recorded using an interval of half a second for a specific duration of time. This lead to a consistent number of curves used for the generation of the soundwave surface. The exploration of 3 different sets of sound waves from shadow electric yield interesting shapes and surfaces. However, diving deeper into the project we wanted the project designed around the main client, shadow electric yet use site relevant data as part of the design process. Thus, the project incoroporate a deeper meaning inrelation to the site by incorporatiing sound generated from the surrounding regions. A resultant wave had to be obtained from these sounds and the from shadow electric. Hence, different culling patterns was created to obtained a trimmed down version of the sound. These culled curves were combined into a composite set of sound waves which was made up of the site specific and client specific sounds.
SHADOW ELECTRIC
NATURE
CONVENT
COMMUNITY
CULLED CURVES
COMBINATION OF SOUNDWAVES
SELECTION CRITERIA AESTHETICS
COMPOSIT SOUNDWAVE CURVE
Aesthetics is fundamental in the selection citeria as the design must be appealing before consideration. However, the defination of Aesthetics must lie deep than a face value of what is visually appealing. Some form of beauty in geometric logic must be seen and how it can influence the users in abbotts convent.
MANUFACTURING AND ASSEMBLY
The model have to be automated and assemble. Thus when evolving the structures, complexity must not go beyond a throshold which is not feasible in constructability.
PERFORMANCE OF MATERIAL
Materials used may vary, however, all materials have limits and boundaries of what they are capable of. It is important to start thinking of the materils to be used at this stage. This will prevent road blocks and delays in manufacturing and asembly of the prototypes and models.
IDEA EXPRESSION
The form must not dictate the meaning rather the intention of design must create the form. A form must push the logic too more extremes yet retain some the original design intent
ITERATIONS | PANELLING
ITERATIONS | PERFORATIONS
DESIGN PROCESS
ATTRACTOR POINTS
PANELLING VS LOFTED SURFACE
DESIGN AIM
To enclose the area, a surface had to be created. Panelling was an exploration done to create the surface. The composite sound wave was lofted into surface and a retaining surface was created to give the surface more curves and bound it to a specific shape. The average Z unit was taken by addition and division. The resultant surface was then panelled using different shapes panels and tools. Panelling and frame was also explored as the frame structure would be a secondary support structure to the panels. However, after several iterations, we felt that the design intent of using sound was being lost in the complexity of the planar panels which made the surfaces lose its peaks and troughs. This made it hard to visualise the sound waves and user experience was compromised. Users would not feel enveloped by sound as the surface did not have the physical properties to be associated with sound. Thus, we headed back to the design intent and decided to use initial lofted surface from the composite sound wave curve.
LOFTED SURFACE |PERFORATIONS PERFORATIONS in the surface was created to give more aesthetic detail and functionality to the lofted surface. In the iterations, we used attractor points and curves to vary radius for circles in populated geometry and in surface divide. However, we felt that this deviated from the design intent of using sound and relating it to the site. We used image sampling with picture of the site and shadow electric. However, the selected outcome used the sound wave as an attractor curve for variation in perforation radius.
ITERATIONS | PERFORATIONS SOUND WAVE AS ATTRACTOR CURVE
IMAGE SAMPLING
ATTRACTOR POINTS
SURFACE DIVIDE
SACRED HEART
SHADOW ELECTRIC
ITERATIONS | SECTIONING
EXTRUSIONS | PERPENDICULAR FRAMES
SELECTED OUTCOME
EXTRUSIONS | PERPENDICULAR FRAMES
DESIGN PROCESS The sectioning process was one which was vital to the concept and design. It formed the main aspects of walking through sound. As these were the elements that represented the feeling of walking through sound we felt that users must be able to touch and feel the sound wave and pass through them. Thus, these sound waves had to intersect with the ground plane which still maintain a canopy. This was achieved by flipping the sound waves and scaling the curves so further emphasize the sectioning. The sweep command was then applied to these curves to give the section a variable radius. The section had to be thicker towards the end as it was the main structural joint connected with the pre-existing buildings. The middle portion of each curves was given a smaller radius to reduce the impact its impact on the line of sight. Towards the stage area, these sound waves were scaled less to prevent intersection with the ground plane and they are also raised. This allowed for an open and unobtrusive view from the seating to the stage. With these ideas, the design intent of walking and experiencing sound was fulfilled.
FINAL DESIGN PROCESS BASE SURFACE
PERFORATING PROCESS
POPULATE GEOM. (FLATTEN)
PULL
CIRCLE + PROJECT
SECTIONING PROCESS
FLIP
CULL ITEM
SWEEP 1
SCALE
LIST ITEM (3) + RECTANGLE (DIFF SIZES)
TRIM
PERP. FRAME
FINAL DESIGN
PERFORATIONS
The PERFORATIONS was created through the use of 300 random populate geometery points and using a sound wave as an attractor curve as determine radius size. These perforations act as a asethetic to the base surface by giving further detail. The perforations also act as a functional acoustic detail by increase sound quality by reducing echos and reverberations. The perforations also act as a form of ventilation for for heated air within the site which was similar to the precendent case study of biomimicry where a surface can breathes and regulates temperature simulating skin.
BASE SURFACE
The BASE SURFACE was created through the use of the firefly plugin which turned sound data into curves. The curves undergo a culling pattern to form a composite set of curves incoporating sound waves from different elements. This set of curves was then lofted to create the surface.
SECTIONING
The composit set of curves was then rotated against the surface and scale down wards to intersect the ground plane. The curve underwent a sweep command for variable rectangular thicknesses. The thickness at ends of the sectioning was increase while reducing the middle. The sectioning in the end was scaled less and brouught further up to create a open space and unobtrusive views.
SEATING
The set of the original curves from the base surface was culled and brought down to the ground plane. on end of the sound was scale further up to provide a walkway through the seating for great functionality for users.
FINAL DESIGN OUTCOME
FINAL DESIGN
Constructability Design intent Sensory experience Functionality Material limitations The FINAL DESIGN OUTCOME has revolved around the topic of sound. It has clearly stuck with the design intent with a clear design intention of using sound has medium for expriences. However, with the selected outcomes, constructability suffers due to the arcylic panel being diffcult to manufacture. Ideally, it could be manufactured in a singular large piece, however the lack of equipment and cost prohibits it. An alternative to this was a frame sturcture below to hold up these aryclic panels after heat forming. However, a secondary frame structure below would reduce visbility and distort the design intent of designing around sound. Thus the smaller arcylic panels could be made using heat forming and fused togeather using melt arcylic of resin to give a seamless boundary between the panels. This would in turn lead to a much more visually appealing design.
SECTION 1
1:200 @ A2
SECTION 2
1:200 @ A2
SECTION 3
FUNCTION & USE SECTIONING - Visualisation of sound - Tangible sound
MUSIC STUDIO - Open space studio - Promote music creation - Provide space for public to make music & share musical interests
MAIN PERFORMANCE + SEATING - Stage area for theatre - Seating for performances
BACKSTAGE + TECHNICAL AREA - Technical area for theatre, sound quality and lighting - Storage for equipment - Backstage space for performers
PERFORATED ROOF - Increase quality of sound in space - Prevent reverberation of sound
MAIN ACCESS - Open new access from carpark - Creates linear entry and view into site - Strengthen idea of walking through soundwaves in a linear
CATERING + BAR - Area for food stalls - Bar for drinks & food - Kitchen area for food delivery & services - Hosting food services during events
GALLERY SPACE - Gallery for exhibition - Multi-function studios
SECTION JOINTS / ASSEMBLY 150
LAMINATED LASE CUT WOOD FROM SUSTAINABLE SOURCES
150MM GALVANISED STEEL
B
CORE WIRES IN CABLE ANCHOR
WIRE TRUNK
BULB HOLDER SCREWED TO
WIRE TRUNK LOW ENERGY LED BULB
LIGHT DIFFUSER
SECTION ASSEMBLY PROCESS
MM STEEL CORE SECTIONS
WELDED SECTIONS
BOLTED WOOD PANELS
INTERLOCKING JOINTS
ARRIVAL OF STEEL 150 MM STEEL CORE SECTIONS SECTIONS ARE MACHINE TO AND LABEL IN AUTOMATED PRODUCTION IN FACTORY. STEEL TO BE GALVANISED FOR CORROSION RESISTANCE
STEEL 150 MM STEEL CORE SECTIONS SECTIONS ARE WELDED ON SITE TO GIVE CONTINOUS SPAN AND FOR LOAD TRANSFERANCE TO GROUND AND BUILDING JOINTS
LASER CUT WOOD PANELS ARE LAMINATED TOGEATHER TO GIVE THICKNESS OF 75MM. LAMINATED PIECES ARE SCREWED TO STEEL CORE SECTIONS. SCREWS ARE CONCEALED USING BROWN PLASTER
INTERLOCKING WOOD SECTIONS ALLOW FOR WOOD PANELS TO JOIN TOGEATHER GIVING UNINTERRUPTED WOOD SURFACE.
JOINTS- SECTION TO WALL/ SECTION TO GROUND
75MM LASER CUT TIMBER PANEL 150MM GALVANISED STEELCORE
DETAILING With larger sectioning and the use of heavier materials, the sectioning must be able to handle its own weight yet act as supporting member to support the roof structure. Thus it needs to effectively transfer load from the peforated roof the buildings and ground. To ensure that these connections are strong, the use of high strength bolts would be needed to give a rigid connection point between sectioning and building or the ground. The galvanised steel core within the sec-
20x HIGH STRENGTH STEEL BOLTS
tioning is the main structural component of the load system. It acts as a load path. The timber panels are non structural. Thus, it cannot stand
150MM GALVANISED STEELCORE
much loading. The sectioning would be connected to the building at each window interval. this
LASER CUT TIMBER PANEL
reduces the amount of alteration needed so as to not damage the heritage of the site. However, in certain case where the sectioning may inster-
10x CAST IN BOLTS TO STEEL CORE
ect the windows,the preexisting buildings may be modified for the installations. The structure would bring new uses to the heritage site and aim to create one of its own, we encapsulate the history yet create one of our own, creating a interweave between new and old.
TAB JOINT SELECTED OUTCOME
BOLTED ROD JOINT
S
SURFACE TO SECTION JOINTS
SELECTED JOINT
SOUND GENERATION VARIOUS SOUNDS JOINT WAS RECORDBOLTED ROD ED FROM SHADOW ELETRIC AND THE 0000000000000000000000000000 The bolt rod joint consisted of metal piece which require 4 bolts to the section and surface. The bolted joint would give a smaller visual impact to the users below yet give a strong and sturdy joint to support the frame. The bolts would run through the sectioning to secure it the rod joint to the section. The joint was chosen due to minimal impact it has on the surface canopy. As the surface is transparent minimal visual impact is preferred to give the illusion of the structure being light and almost floating.
TABSOUND JOINT GENERATION
ARCYLIC TAB JOINT
VARIOUS SOUNDS WAS RECORDThe tab joint is a joint which uses bent maED FROM SHADOW ELETRIC AND THE terial to securely fasten the surface to the 0000000000000000000000000000 section with use of 4 high strength steel bolts which ran through the sectioning and the arcylic surface. The visual impact of the tab joint is much larger due to the size and the set of two tabs for the joints. This could be minimised by the use of different transparent of transluccentmaterials. One of the front running materials was arcylic. using a acrylic joint which was heat formed, the joint would have minimal visual impact due to the transparency of the material and it being of the same material of the surface. However, the complexity of creating a heat form joint and the loading capacity of arcylic joint under heat is one which could not be ignored.
MATERIALITY
One of the given during the interim presentation was that we could consider using only timber as the main material for the sections.Following this, we did some research regarding the use of timber and how it could be bent. After researching, we considered the use of steam bent timber. Benefits of this method include maintaining the strength of timber due to cross grain and its economic value. The typical process of steam bending: 1. Selection of timber - preferably hardwood with high moisture content 2. Steaming/ soaking process - cuts of timber are steamed in boxes under controlled temperature (commonly 100 degrees Celcius) / soaked in water to make them more pliable 3. Bending - timber shaped into desired form with clamps & straps. 4. Post-bending - shaped timber is left to cool & set, typically for couple of days. The most significant limitation of this method is the chord length of the beam should increase according to the curve radius. This means that it might not be possible to fabricate a narrow / steeply curved timber apparent in some sections in our design. Thus, if this method was to be adopted, our design would have to be tweaked to satisfy the minimum requirements of the specific manufacturer/ fabricator. For example, Figure x shows the minimum beam size as well as chord length required by Hyne & Son Pty Ltd operating in Maryborough, Queensland. Examples of companies which offer bespoke timber steam bending in Victoria include: - Australian Architectural Hardwoods-http://www.aahardwoods.com.au/ - Vicbeam - http://vicbeam.com.au/ - Dale-glass industries -http://www.dgi.com.au/ - The Timber Benders - http://timberbenders.com.au/ Suitable timber for bending include Blackwood, Celery-top, WA Karri, NZ Kahikatea and Spotted Gum, preferably air-dried rather than kiln dried as lower moisture content will increase the difficulty of it being bent. 2 Nonetheless, there has been multiple examples of bent Glulam timber used in Australia, thus proving this method feasible at a large architectural scale such as our design. IMAGE FROM: http://www.aahardwoods.com.au/productsfabricated-products/steam-bent-timber 1. http://www.internationaltimber.com/news/timber/steam-bending-wood--how-does-it-work- 2 http://timberbenders.com.au/timbers-bent-and-shaped-to-order/suitable-timber/
SECTION MATERIAL SELECTION Curved Glulam Timber
Steel & Timber
ADVANTAGES
ADVANTAGES
- Environmental - can be recycled timber/ timber sourced from sustainably managed forests & plantations - very adaptable to offsite manufacturing - generally cheaper than steel & timber composites - lightweight & offers simpler handling processes
DISADVANTAGES
- have to source specialised fabricators for bending timber (eg. steam bent timber) - External exposure to rain and weathering might cause decay -Must be chemically treated - Durability - surface checking & discolouration might occur due to retention of increasing amounts of moisture - design might change due to constraints of mateiral property
- High strength to weight ratio - Longer spans can be achieved - Durability
DISADVANTAGES
- more expensive - requires skilled labour & fabricator to weld members together on site, increases labour costs - site welding creates safety issues for workers on site - might involve heavy lifting including cranes, props and riggers
IMAGE FROM: http://inhabitat.com/students-construct-a-dramatic-10-meter-high-steam-bent-lookout-tower-at-helsinki-zoo/avanto-architects-steam-bent-wooden-zoo-tower-6
PROTOTYPING
VACCUM FORMING
ATTEMPT 1 - without cloth protection
ATTEMPT 2 - with cloth protection
MOULD WAFFLE GRID MATERIAL: 3mm Boxboard - modelled in grasshopper -laser cut
CUT TO SHAPE TOOLS & TECHNIQUES I. BAND SAW - cut to remove excess plastice piece II. SANDPAPER - used to smoothen the edges III. BUFFER MACHINE - wax edges for smoother finish
VACCUM FORMING PROCESS
Vacuum forming Vacuum forming was done to High impact polystyrene of 2mm. Firstly, we needed to create the mould. The mould was created by using a grass hopper definition which created a waffle grid of the surface with interlocking notches of about half the height. The waffle grid was then disassembled on a 2d plane for laser cutting. After assembling the laser cut pieces, the mould was placed in the vacuum machine. These the high impact polystyrene was heat till malleable and vacuumed into position. Compressed air was blown onto the mould to quicken the harden process. The mould was then extracted from the vacuum form. Finishing touches such sanding and band sawing to remove excess material was done.
SECTIONING PROTOYPE
PROTOTYPE 1
PROTOTYPE 2
HEAT FORMING ATTEMPT 1 -Larger perforations -More bumpy
ATTEMPT 2 -Smaller perforations -Less Bumpy
MOULD POLYSTRENE MATERIAL: POLYSTRENE - modelled in grasshopper -CNC
CUT TO SHAPE TOOLS & TECHNIQUES I. BAND SAW - cut to remove excess plastice II. SANDPAPER - used to smoothen the edges III. BUFFER MACHINE - wax edges to clean edge
VACCUM FORMING VS HEAT FORMING
Vaccum forming was presented with several challenges. To attain a perforated surface which was moulded to a paricular shape vaccumm forming could not be done. As there would be a lack of vaccum due to the perforations. Another limitation of vaccum forming was the mechanical limitations, namely the materials avialiable for vaccum forming, the thickness and size of the materials was also dependent on the vaccum machine. With heat forming, the limitations of materials was only dependent on its malleability when heated. The size of material was also much larger and only limited to the size of the cnc mould. Heat forming also enabled perforated materials to be heat formed as vaccum was no longer required. Thus, the arcylic panel was laser cut to give precise perforations on the surface before heat forming. As the laser cutting machine could not take 3 dimensional material, the reverse process of vacuum forming and then proceeding to laser cutting would not work, thus heat forming was the best alternative During heating forming, we were given more reliability with material shape and size. The main purpose for heat forming was to heat form a perforated surface. The reverse process was not possible where a 3dimensiensional heat formed surface cannot be laser cut due to mechanical limitations Heat forming also had several disadvantages, mainly being the acrylic panel not taking on the shape of the mould well, thus peaks and trough did not show as well as the mould. However, to account for this we made the mould more exaggerated through scaling. Another method to overcome this is to have a press mould or use a thinner more malleable material.
HEAT FORMING PROCESS 2
3
4
5
6
7
8
9
1
The process of heat forming was similar to that of vacuum forming. A mould and overlaying materials must be used. We first initially, we laser cut specific perforations in to an acrylic panel. We then proceed to manufacture the heat forming mould out of polystyrene through as CNC method. Next, we overlay the mould with baking paper for protection and to prevent the acrylic from sticking when I became malleable. Again, heating the acrylic panel before placing it on the mould. Once placed on the mould we increased the heating to make the acrylic more malleable. We need use heat protect gear such as heat proof gloves and pads to press the acrylic panel into place. We then proceeded used a hair dryer to cool the panel to speed up cooling.
PROTOTYPE 1
ATTEMPT 1 Larger perforations More Bumpy
PROTOTYPE 2
ATTEMPT 2 Smaller perforations Less bumpy
FINAL MODEL RENDERS
MUSIC STUDIO
NIGHT VIEW STAGE
FINAL MODEL ASSEMBLY
1
Assembly process Firstly, we identified the prototypes which were outstanding and selected the methods and models. We laser cut the buildings to give an accurate representation of the site. The sections and seats were also laser cut. The acrylic panel was also laser cut to give the perforations. The heat forming mould was cnc out of foam. Next, we heat formed the acrylic panel. After two prototypes of heat forming we identified the best outcome and did some finishing touches, this included Band sawing it to
2
remove excess material, buffing and sanding down the edges. Next, we got a foam core base and made two layers for stability and began assembling the site buildings. Due to laser cutting the buildings has scorched marks. To remove these marks, we spray painted the assembled structures. We then installed the seating and sectioning. Lastly, we placed the acrylic panel above. The north end of the courtyard building was removed to give a clear representation of the model and performance area.
3
4
CNC MOULD FABRICATION HEAT FORMING SURFACE FINSIHING ASSEMBLY OF SITE BUILDINGS SPRAY PAINTING LASER CUTTING OF MODEL INSTALLATION OF SEATING INSTALLATION OF SECTIONING INSTALLATION OF SURFACE DOCUMENTATION AND PHOTOGRAPHY
5
6
7
8
9
10
FINAL MODEL
FINAL MODEL
FINAL MODEL
FINAL MODEL
LEARNING OUTCOMES
PROGRESSIVE TIMELINE
IDEA SYNTHESIS
GRASSHOPPER DEFINATIONS ITERATIONS
PROTOTYPING
FINAL MODEL
LEARNING OUTCOMES FINAL MODEL GRASSHOPPER DEFINATION
FEEDBACK
STUDIO AIR
PARAMETRIC DESIGN
The feedback received during the presentation assisted us in furthering the design. The design was praised for its depth and its aim to incorporate sound data into every aspect of its design and sticking to the design intent of walking through sound. However, the design could have been improved by further exploration on construstability and materaility. Thus, after the presentation was completed further work was done on material exploration and selection. Steam bending for timber and more joint details were added to push construtability. Additional section plans were also added to give a better view of the project.
Through this semester with design studio air, i have progress by design strategies and increase my capabilities in parametric modelling. Through the design studio I was exposed to grasshopper and its myriad of plugin. These parametric tools have widen my scope in designing. What I found most interesting was the data can be used as a variable to design. These design incorporated a deeper sense of meaning. In Part C, I found the extraction of data to be the most interesting. We used sound data to generate forms. This use of data further reiterates the use of data in design.
Grasshopper had also made complex actions in rhinoceros much more simpler and less time consuming. The sharing of grasshopper definitions among team ates also proved useful. I was surprised to see how easily the definitions can be altered to suit the design intent. However, as the definition grew more complex, an alteration got progressively harder to make due to the computation requirements. Especially, in our design where we used large amount of sound data, the definition hanged multiple times. However, even with these ramifications to complex design, it would still be more time consuming and tedious to make these calculation manually without the aid of
parametric tools. With the extensive use of grasshopper in the form generation, my use of grasshopper became more fluid and extensive. The use of different plugins also gave me more confidence in the use of unknown plugins. These plugins are no doubt useful in using and compiling data. Fire fly was a good plugin for sound data input into grasshopper. Only with parametric tools can these data be translated efficiently.
AUTOMATED MANUFACTURING With these design, not much road blocks were encountered. Part C allowed us to have a good taste of automated design
such as laser cutting and new fabrication techniques such as vacuum and heat forming. With these new techniques more unique shapes and forms can be manufactured. These first-hand experiences, gave us insight in to the disadvantages and advantages of vacuum and heat forming. The Design and manufacturing processes was a learning point. We learnt to plan ahead and to make smaller sample prototypes before actual manufacturing to resolve kinks and problems in the processes. Constructability was also a key point in this project as we wanted a project that would be feasible and readily constructed. Thus, joints and supports was a crucial aspect which we attempted to modify.
DESIGNING EXPRIENCE Through the design process, my confidence in complex design grew. I began to appreciate the accuracy in computational design. With these new confidence , the project took on a more abstract role by using sound data as a parameter for form generations. Before the use of grasshopper i would not see how it would be possible to draw inspiration and to use sound data as a foundation for designing. However, some set backs were encountered with these computational designs. The design intent of our project began to lose focus due to its own complexity. Ini-
tailly, we wanted to use panelling as a form of detailing and construction technique. However, with panelling the two dimensional panels had brought visual attention away from the design intent of visualising sound. Thus, with the improper use of grasshopper for detailing, the design intent could be lost. To combat this, we took a step back to see our design from a visual perspective and how it communicates the design intent. With that, we simplified our design in a way which communicates our design effectively and clearly. However, a complex parametric design can still communicate it idea through visual means or as a general perspective.
Often, parametric tools tend to favour complex geometric designs due to ease of form generation and detail made possible these computational tools. However, complexity for the sake of complexity is not beneficial for the design or user exprience. Complexity should not aim to mask design intent rather it should strive to make it more visually outstanding and for constructablity.
FUTURE DESIGNING In the future, I would want to incorporate parameteric designing in the deisgn process. I believe that the future of architecture is one that relies heavily on computational tools to quicken and covinence to designers. These parameteric tools
would also communicate my design intent much more clearly with the use algothrims. I would also like to explore more diverse plugins for grasshopper to expand my knwoledge in parameteric design. Karamba was a plugin which really intriguided me. Constructability and new construction techniques are areas which should further be explored. The use of different data for parameters can also be explored. With these parameteric tools I believe that architecture can be at the forefront of designing. Some within the industry of architecture have already adopted parametric designing in their practise such as Zaha Hadid architects. Another aspect parameteric tools and algothrimic designing can play a role
is in furniture design. As these tools are diverse and have a myraid of uses, it is determinent on the craftsman to apply it effectively and efficiently.
APPENDIX 1. IMAGE FROM: https://vimeo.com/153140698 2. http://soundwavesf.com/7/about/ 3. IMAGE FROM: http://www.aahardwoods.com.au/productsfabricated-products/steam-bent-timber 4. http://www.internationaltimber.com/news/timber/steam-bending-wood--how-does-it-work- 5. http://timberbenders.com.au/timbers-bent-and-shaped-to-order/suitable-timber/ 6. IMAGE FROM: http://inhabitat.com/students-construct-a-dramatic-10-meter-high-steam-bent-lookout-tower-at-helsinki-zoo/avanto-architects-steam-bent-wooden-zoo-tower-6 7. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 8. Kibert, C. J. (2016). Sustainable construction: green building design and delivery. John Wiley & Sons 9. Anastas, P. T., & Zimmerman, J. B. (2003). Design through the 12 principles of green engineering. Environmental science & technology, 37(5).2. 10. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 11. Groover, M. P. (2007). Automation, production systems, and computer-integrated manufacturing. Prentice Hall Press. 12. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 13. Pearson, M. P., & Richards, C. (Eds.). (2003). Architecture and order: approaches to social space. Routledge. 14. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 15. Anastas, P. T., & Zimmerman, J. B. (2003). Design through the 12 principles of green engineering. Environmental science & technology, 37(5). 16. Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) Suggested start with pp. 3-62 17. Issa, Rajaa ‘Essential Mathematics for Computational Design’, Second Edition, Robert McNeel and associates, pp 1 - 42 18. Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) Suggested start with pp. 3-62 19. Schumacher, Patrik (2011). The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley), pp. 1-28 20. Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12 21. Mathews, Freya (2005). Reinhabiting Reality: Towards a Recovery of Culture (UNSW Press), ch.7 - Merri Creek