BairdClinton_759953_ ABPL30048_Journal by Clinton Baird

A | R

Clinton Baird | Semester 1, 2016 | Finnian Warnock

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Table of Contents

......... Part A: 4. 10. 14. 18. 18. 20.

A.01 A.02 A.03 A.04 A.05 A.06

B.01 B.02 B.03 B.04 B.05 B.06 B.07

c.01 c.02 C.03 C.04

| Design Concept | Tectonic Elements and Prototype | Final Design | Learnign Outcomes

......... Part B: 23. 24. 32. 36. 48. 50. 52.

......... Part C: 54. 56. 72. 214.

A.01

Introduction

......... I decided to study architecture because I like the idea of designing places in which people’s lives and stories would take place. Like a form of theatre set and stage design, where the ‘drama’ was people’s everyday lives, playing out in private and public buildings. I liked the idea of being part of that process - shaping and influencing both the built and natural world, promoting an increasing need for sustainability and contemplating approaches to work and play. In addition the discipline also seemed to take advantage of the subjects I thrived the most at - art, physics, math and English.

like to work within one that will not only motivates my passion for architecture but also empowers me to grow personally and professionally. With this is mind I aspire to work across both the public and private sector on projects including residential, commercial and community/recreational projects; working with clients and understanding their needs in-order to develop solutions for real world concerns and future needs.

Architecture school has only but peaked my interest of the discipline. Within the set tasks of the curriculum I have also find ways to broaden my scope of the field and gain a wider understanding of the current state both local and globally, attending numerous lecture series and participating in discussions with peers and tutors. This has informed and influenced the career path I currently find myself walking towards as a developing architect. Within the broader sense of the discipline I have also taken to other areas of professional interest including professional writing and photography. Upon graduating from a Bachelor of Environment (Architectural Studies); I hope to find work within a architectural practice. I would

A.01

DESIGN FUTURING Clinton Baird

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With respect to the present and a mindfulness of the future, humans have a great duty of care to give in the means in which we move ourselves sustainably towards the future. This means a challenge to designers and design thinkers about how we move forward. As Tony Fry phrases â&#x20AC;&#x153;the state of the world and the state of design need to be brought togetherâ&#x20AC;? (Fry, T. 2008). Fry proposes that change has to be by design rather than chance and that design is the forefront of transformative action. If we ruly recognise and accept the scope of climate change and climate needs then we can re-align our values for action to take place. The following two precedents are examples of design intelligence which is defined by Fry as a mode of thinking in which solutions for the future and envisioned by means of design. They are precedents that contribute to the field of ideas, technical workflows, patterns of living and ways of thinking.

House R128 by German architect and structural engineer Werner Sobec, is the first building in which diametrical views and outlooks through the building are possible across four storeys and whose Lightweight structure minimises the use of materials to create fully recyclable building palate. Werner Sobek is internationally renowned for his expertise in lightweight structures. Sobek explains how his practice has extended a highly specialised focus on ultra-lightweight facades to that of building structures, facade planning, and sustainable and low-energy solu-

tions, interweaving research and innovation with design and consultancy work (Sobek, Werner. 2010). The house is described as a development of its architectural concepts and underpins these with engineering advances. Beyond precedents of Mies van der Rohe and Philip Johnson, It is the first building in which interpenetrating sight lines are possible across four storeys, achieved possible by its lightweight structure which minimizes of material use and wastage and is fully recyclable.

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HOUSE R128 STUTTGART, GERMANY 5

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BEYOND PRECEDENTS OF MIES VAN DER ROHE AND PHILIP JOHNSON, IT IS THE FIRST BUILDING IN WHICH INTERPENETRATING SIGHT LINES ARE POSSIBLE ACROSS FOUR STOREYS, ACHIEVED POSSIBLE BY ITS LIGHTWEIGHT STRUCTURE WHICH MINIMIZES OF MATERIAL USE AND WASTAGE AND IS FULLY RECYCLABLE.

The research and design of House R128 led to the development of Sobecâ&#x20AC;&#x2122;s Triple Zero Principle which requires zero energy consumption, zero wastage and and zero emissions. What was so import for this precedent to be built was that it acted as a research tool which enacted designers now necessarily take a holistic view of building and design processes, considering the entire life cycle and beyond (Sobek, W. 2010). The technology used in the development of House R128 likely expanded possible large scale building projects such as Kraanspoor / OTH

Architecten which engages with the same light-weight structural technology.

A.01

Another precedent project, Süd Service Station is an example of the shell structure work of Heinz Isler whose legacy spans from

his extraordinary and innovative work of thin membrane structures. Isler used model making as a preferred method of form finding, The shells that led to Isler being described as a structural artist are primarily, but not exclusively, those derived from the hanging cloth reversed.The Süd Service Station is an example of this experiment. However, the method for Isler’s Shell Structures was incredibly difficult to achieve, precision was key in the development and construction and due to these incurrences ergo the forms have rarely been copied. University research however inspired by Islers work, has been using tensile membranes as formwork for efficient free- form structural elements as diverse as beams, columns, floor panels and cladding panels. More recently, the Mapungubwe Interpretation Centre in South Africa, by Peter Rich Architects, the World Architecture Festival’s Building of the Year 2009, incorporates masonry vaults highly reminiscent of Isler’s tennis halls (Chilton, John. 2010).

HEINZ ISLER 1926-2009

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SHELL STRUCTURES

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DESIGN COMPUTATION

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SPANISH PAVILLION, SHANGHAI, 2010

The recent addition of computers to the repertoire of designers, a means of communication has expanded access to information and opened up the design process for more people to become involvedâ&#x20AC;? (Kalay, Yehuda E. (2004). The resulting structures of the digital-led design synthesize material culture and technologies within the expanding relationship between the computer and architecture and in turn interpolates new ideas to the pool of research and design by providing an evidential process of how computation can be used to facilitate complex design. Upon examining a pre-history of architectural practice and theory one would identify the roots of architec-

tural practice diverged in representation (Oxman, R.2014). Following the publication of Greg Lynnâ&#x20AC;&#x2122;s Folding In Architecture in 1993, at a time of crucial change and on the eve of the digital revolution, the publication brought together a series of essays that many believe created the favourable environment in which computer-based design could thrive. The resulting cultural-shift led to grounds in which architectural design phenomena would slowly begin to emerge in a complex digital realm. For example; a project in recent years which has had digital design vitally interpret how designers have defined the process of the built-form is the Spanish Pavilion in Shanghai, 2010; in which architecture firm EMBT (Enric Miralles and

Benedetta Tagliabue) and structural engineers MC2 wanted to engage in an open dialogue which would thoughtfully construct new explorations of craft using advanced digital design technologies. What is now comprehensible in the realm of digital design in fabrication, high level generative, variability, there is simultaneously emerging a generation of integrated simulation software for energy and structural calculations. For the architectural and engineering team of the Spanish Pavillion project, the geometry was shaped by abstracting NURB surfaces in Rhino 3D modeling software and splicing curvatures from generated forms on both a horizontal and vertical axis. Once an overall

A.02

STUTTGART, 2010 RESEARCH PAVILLION

structural form had been achieved the information was passed onto the engineering team who specifically developed new structural analysis software to test size strength and geometry (MartĂnez C. 2010). This allowed the versatile procedure to reach an optimised solution that satisfied both the structural and architectural requirements. What digital technology has provided is the grounds for a renewed a strengthened collaborative design relationship between the architectural and engineer as united in the practice of research by design The ability to connect architectural digital design software and marriage it with new structural technology has opened up an expansive realm for computation to impact on the range of conceivable and achievable geometries. With the integration of digital materiality and performative analysis now theoretically enables potential for contemporary tectonic expression(Oxman, R.2014). For example the 2010, Research Pavillion in Stuttgart computational design, simulation, and production processes in architecture. The result is a bending-active structure made entirely of extremely thin, elastically-bent plywood strips. The research pavilion demonstrates an alternative approach to computational design: here, the computational generation of form is directly driven and informed by physical behavior and material characteristics. The structure is entirely based on the elastic bending behavior of birch plywood strips (Planning, Institute for Computational Design Faculty of Architecture and Urban. 2010).

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A.03 COMPOSITION/GENERATION Clinton Baird

759953 The history of architectural practice and theory is diverged in representation through drawing as a means of communication of ideas. Following the publication of Greg Lynnâ&#x20AC;&#x2122;s Folding In Architecture in 1993, at a time of crucial change and on the eve of the digital revolution, the publication brought together a series of essays that many believe created the favourable environment in which computer-based design could thrive (Oxman, R. 2014). The resulting cultural-shift led to grounds in which architectural design phenomena would slowly begin to emerge in a complex digital realm. The progression which entailed in the profession with the introduction of Computer Aided Drawing (CAD) ensued a new form of representation which ultimate left manual drafting abandoned. The ability to quickly generate architectural drawings with a click of the mouse was leading for the architectural industry and now with tools such as algorithmic thinking, parametric modeling and scripting there are even further methods of generating geometry and the means by which it is represented in the architectural language. The following will look at how how architectural literature and practice reacted to the shift from composition to generation.

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A.03

KNOWLEDGE CENTRE FOR THE MASDAR INSTITUTE FOSTER + PARTNERS

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THE HISTORY OF ARCHITECTURAL PRACTICE AND THEORY IS DIVERGED IN REPRESENTATION THROUGH DRAWING AS A MEANS OF COMMUNICATION OF IDEAS.

The structure of architectural firms is changing in response to the work of computational designers.

An example of this in practice can be identified in Foster + Partners who structure computational designers work in internal specialist groups largely separate from design teams (Peters, B. 2013). Drawing as a means of architectural representation has had a long history, however the computer now allows the architect to simulate the encounter between architecture and public. The Knowledge Centre for the Masdar Institute is one such example of the link between digital design and fabrication and how the the computer is used to simulate design. The buildingâ&#x20AC;&#x2122;s main feature is a large roof structure that shades the interior and integrates an array of energygenerating photovoltaic panels. The roof â&#x20AC;&#x2122;s primary structure is formed of curved Glulam beams. What however

is required in a deep technical understanding a relationship with the fabricator says Foster + Partners(Peters, B. 2013). The architecture industry is continuingly experimenting with simulating building performance and we arent at a stage yet where 3Darchitecture modeling software is capable of determing material strengths and structural advantages and disadvantages. For the National Bank of Kuwait Headquarters by Foster and Partners, Specialist Modeling Group (SMG) developed the architectural model that was capable of both measuring the buildings performances whilst continuing to investigate geometric solutions (De Kestelier, Xavier. 2013). Iterations were sent back an forth to the design team until the design intent had been fulfilled.

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KUWAIT NATIONAL BANK HQ, FOSTER + PARTNERS

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A.04 Conclusion Humans have a great duty of care to give in the means in which we move ourselves sustainably towards the future. This means a challenge to designers and design thinkers about how we move forward. Radical design thinkers have exemplified the possibility of change with respect to moving forward. The recent addition of computers to the repertoire of designers, a means of communication has expanded access to information and opened up the design process for more people to become involved. The resulting structures of the digital-led design synthesize material culture and technologies within the expanding relationship between the computer and architecture and in turn interpolates new ideas to the pool of research and design by providing an evidential process of how computation can be used to facilitate complex design. Whilst the the history of architectural practice and theory is diverged in representation through drawing as a means of communication of ideas, the structure of architectural firms is changing in response to the work of computational designers. It is arguable that the computer is taking much of the design process and outcome from the designer, however I believe it is the designer who has made the concious decision to command the computer and the fundamental differences lies in the concious decisions of the individual making those commands.

A.05 Leaning Outcomes Through the investigation of Design Futuring, Design Computation and Design Composition Iâ&#x20AC;&#x2122;ve developed capabilities for conceptual, technical and design analyses of contemporary architectural projects. This has led me to consider the process of formation in the age of digital technology and fabrication. Iâ&#x20AC;&#x2122;ve also developed skills in various three-dimensional media specifically in computational geometry, parametric modelling, analytic diagramming; through the use of Rhino3D and Grasshopper modelling software. The analysis and process work has fundamentally changed the way in which I consider representation of architecture through means of digital technology and fabrication. I now have a developed understanding and skill-set to explore new and interesting complex geometry which I will continue to investigate within the following sections.

A.04 & 5

References Chilton, John. 2010. ‘Heinz Isler’s Infinite Spectrum: Form-Finding in Design’, Architectural Design, 80: 64-71 De Kestelier, Xavier. 2013. ‘Recent Developments at Foster + Partners’ Specialist Modelling Group’, Architectural Design, 83: 22-27 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 Martínez Calzón, Julio, and Carlos Castañón Jiménez. 2010. ‘Weaving Architecture: Structuring the Spanish Pavilion Expo 2010, Shanghai’, Architectural Design, 80: 52-59. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 Sobek, Werner. 2010. ‘Radical Sources of Design Engineering’, Architectural Design, 80: 24-33.

A.06

ALGORITHMIC SKETCHES

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B.01 RESEARCH FIELDS M AT E R IA L S & P E R F O R M A N C E

Any material construct can be considered as resulting from a system of internal and external pressures and constraints. Its physical form is determined by these pressures. However, in architecture, digital design processes are rarely able to reflect these intricate relations. Whereas in the physical world material form is always inseparably connected to external forces, in the virtual processes of computational design form and force are usually treated as separate entities, as they are divided into processes of geometric form generation and subsequent simulation based on specific material properties. The decision which made me decide on the research field of Materials and Performance were by large based on the possible benefits of learning from these systems to support the design outcome of Part C. The project will be based on testing materials to design a ceiling installation for a small scale architectural-conference room. By investigating this research field a greater depth of understanding in relation to the way the material/s may perform in the space will be highly developed.

B.01

B.02 CASE STUDY 01

IWAMOTO SCOTT | VOUSSOIR CLOUD

......... Designed by IwamotoScott with structural engineering collaboration by Buro Happold, produced for the SCIArc Gallery series of invited installations, fabricated and installed with the help of a group of SCIArc students. Voussoir Cloud explores spatial, material and experiential implications of questions of perception, weight and structure. The design approach resists placing an object in the gallery, and instead aims to fill the gallery space with an immersive experience.

typological heavyness and material lightness, utilizing a micro-laminated wood that itself shifts between opaque and translucent depending on the light fo day. Voussoir Cloud has been widely published and recognized with numerous design awards and honors.

The form of Voussoir Cloud is the result of an interest in the possibilities of computational origamy to produce curved folds, tested through both hands-on material prototyping and computationally optimized geometries. The project investigates a lightweight minimum surface solution balancing structural forces and material aggregation through its vaulted geometry and gradient module porosity. The resulting space shifts the viewers perception between

B.02

B.02 CASE STUDY 01

IWAMOTO SCOTT | VOUSSOIR CLOUD

Species | 01

Species | 02

Cull Patterns (Removing Anchor Points)

Scale of Holes Variable = Number Slider (F)

Species | 03

Species | 04

Displacement Depth Variable = Number Slider (Z)

Number of Punctures Increased.

Culling (1)

F = 0.075

Z = 0.28

Culling (2)

F = 0.305

Z = 2.07

Culling (3)

F = 0.560

Z = 3.0

Culling (4)

F = 0.780

Z = 6.0

Punctures = 8

Punctures = 10

Punctures = 12

Punctures = 20

Species | 05

Species | 06

Species | 07

Species | 08

U-Force (X,Y,Z).

Frame Selection (Sequence) Variable = Panel (F)

Release Anchor Points

Weaverbird Mesh Edges

B.02

SELECTION

CRITERIA

Criteria 01| Light & Shadow Flexible lighting planning is specially needed for conferance and meeting rooms in order to fulfill the diverse requirements of amnience and functionality. Whether for pre-sentations, business discussions or creative workshops. Light and colours and direct and indirect light in various combinations enable illumination according to needs. Lighting would maximise the meetings by creating an environment that aids concentration and well being.

Criteria 02 | Acoustic Simulation

In an office conference room, it is important to conatin sound within the room while preventing the outside-intrusion. A suspended ceiling will block intruding noise and absorb sound within the room-minimising reverberation. Good acoustics within a coference room setting will delivery clarity to speech, quality to audio visual presentations and privacy from outside the meeting room.

Criteria 03 | Fabrication / Buildability Managing the difficulties in building and assembling of any installation is important. This means that along with the other criteria it has to satisfy the structural quality within the appearance. It is hard to build free form shapes mainly because most fabrication machines are meant to process flat material and the compkexity increase exponentially as soon as we move from 2D to 3D. Cost is also a big issue. Bending active structues exploit the large deformation of materials to achieve shape and stiffness.

Criteria 04 | Material Performance

Choosing the right material is an essential part of a successful design. Understanding the material properties and reactions to the envornment to accomodate the functions is the key issue of every proposal, especially in parametric design. The focus of the project is to design a ceiling with timber (or any proposed material) that would embody the potential of parametric design and digital fabrication.

B.02

SELECTION

CRITERIA

Criteria 01| Light & Shadow

Criteria 03 | Fabrication / Buildability

Criteria 02 | Acoustic Simulation

Criteria 04 | Material Performance

B.02

B.03

CASE STUDY 02 Clinton Baird

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Project: Hoshakuji Station Architect: Kengo Kuma Date: 2009 Location: Takanezawa-machi, in the Tochigi Prefecture, 80 miles north of Tokyo.

In order to reduce the weight lauan-made plywood was used for the structure instead of Oya stone. By using wood Kuma revived the warm atmosphere station buildings used to have and, at the same time, connected the station building to the landscape of paddy fields and wooden houses in the town of Takanezawa.

where as the ceiling drops at the edges and base of the stairs to create an enclosure.

The timber soffit, suspended on steel hangers, creates a varied spatial experience. The ceiling depth is shallow on the upper concourse, which creates a lofty space,

B.03

Reverse Engineering

Surface

Surface (Planar Surface) Rhino.

Rebuild command | Generate points on surface.

Manipulate Surface with Point Selection. Surface Component: Select Surface.

Surface: Diamond Grid (Lunchbox)

Surface Component: Select Surface.

Input Diamond Grid (Lunchbox) Component. Manipulate U and V with Number Slider.

B.03

Deconstruct Brep

Deconstruct Brep Surface. List Item | Create Edge Surface from Deconstruct. Merge Surface and Join Edges.

Surface: Diamond Grid (Lunchbox)

From Merge Loft Surfaces together. Offset Edges. Extrude Component with Number Slider variable.

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B.04 TECHNIQUE DEVELOPMENT REVERSE ENGINEERING ITERATIONS

B.04

SELECTION CRITERIA (re-adressed)

Criteria 02 | Acoustic SImulation

Criteria 03 | Fabrication / Buildability

Managing the difficulties in building and assembling of any installation is important. This means that along with the other criteria it has to satisfy the structural quality within the appearance. It is hard to build free form shapes mainly because most fabrication machines are meant to process flat material and the compkexity increase exponentially as soon as we move from 2D to 3D. Cost is also a big issue. Bending active structues exploit the large deformation of materials to achieve shape and stiffness.

Criteria 04 | Material Performance Choosing the right material is an essential part of a successful design. Understanding the material properties and reactions to the envornment to accomodate the functions is the key issue of every proposal, especially in parametric design. The focus of the project is to design a ceiling with timber (or any proposed material) that would embody the potential of parametric design and digital fabrication.

Criteria 05 | Biomimicry / Morphology

Along with satisfying the other criteria the main focus is designing a ceiling for conference room based on a research field or a combination of two or more which in this project biomimetric priniciples have been selected as key to the design.

B.04

#33

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Hexigone Grid Changing surface points PopGeo Delaunay mesh

#37

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Hexigone Grid Changing surface points WbFrame WbcatmullClark

#34

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Surface #2 > Hexigone Grid Surface #1 > Quad Grid Construct Domain A#0.1 Construct Domain B#0.2 WbLoop

#38

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Surface #1 > Hexigone Grid Surface #2 > Quad Grid Construct Domain A#0.00 Construct Domain B#0.00

#35

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Quad Grid 20*20 Delaunay mesh Construct Domain A#0 Construct Domain B#0

#36

_ Hexigone Grid _ Changing points

_#39 Hexigone Grid _ Changing surface points _ PopGeo _ Delaunay mesh _ Wbtriangles _ WebFrame

#40 _ Surface #1 > Hexigone Grid _ Surface #2 > Quad Grid _ Construct Domain A#0.7 _ Construct Domain B#0.1

#41

#42

#43

#44

#45

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Surface #2 > Hexigone Grid Surface #1 > Quad Grid Construct Domain A#1.00 Construct Domain B#1.00 Cull Nth

Hexigone Grid Changing surface points PopGeo Delaunay mesh Wbtriangles

#46

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Hexigone Grid Changing surface points WbFrame WbcatmullClark

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Surface #2 > Hexigone Grid Surface #1 > Quad Grid Construct Domain A#1.00 Construct Domain B#1.00 Cull Nth

#47

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Surface #2 > Hexigone Grid Surface #1 > Quad Grid Construct Domain A#0.1 Construct Domain B#0.2 Flipped Surfaces

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Surface #1 > Hexigone Grid Surface #2 > Quad Grid Construct Domain A#1.00 Construct Domain B#1.00 Cull Nth

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Hexigone Grid Changing surface points WbFrame WbTicken WbLoop

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Surface #1 > Hexigone Grid Surface #2 > Quad Grid Construct Domain A#0.00 Construct Domain B#1.00

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#48

TOP VIEW 152

#33

#37

#34

#38

#35

#39

#36

#40

#41

153

#45

#42

#46

#43

#47

#44

#48

Interim Presentation Group Work ( Criteria

160

)

VIEW TOP

#42

#37

TOP

VIEW

ITERATIONS

PERSPECTIVE

SUCCESSFUL

#42

#37

PERSPECTIVE

B B.4.3 .3.5

Selection

Meeting the Design Criteria

M E E T I N G T H E C R I T E R I A // LIGHT ACOUSTIC FABRICABLE MATERIAL PERFORMANCE DESIGN

DESIGN

POTENTIAL

OVERALL

36 / 50

Comments:

COMMENT

// [ lower score than #15 ] Different sizes of opening and closure built in two different skins [layers] of the design block the sound wave and do not let the noise to reflect from ceiling.

// [ lower score than #15 ] Conference room requires or at least it is better to have in-direct light which can be positioned inside the cells. Also, the effect of the in-direct and dis-order lighting would be pleasant for both clients and employees.

Meeting the Design Criteria

M E E T I N G T H E C R I T E R I A // LIGHT ACOUSTIC FABRICABLE MATERIAL PERFORMANCE DESIGN

OVERALL

DESIGN 8

POTENTIAL

8 8

39 / 50

Comments:

COMMENT // [ lower score than #15 ] Different sizes of opening and closure built in two different skins [layers] of the design block the sound wave and do not let the noise to reflect from ceiling. // [ lower score than #15 ] Conference room requires or at least it is better to have in-direct light which can be positioned inside the cells. Also, the effect of the in-direct and dis-order lighting would be pleasant for both clients and employees.

161

162 TOP

#48

#39

TOP

VIEW

PERSPECTIVE

SUCCESSFUL

VIEW

PERSPECTIVE

#48

B B.4.3 .3.5 ITERATIONS

Meeting the Design Criteria

M E E T I N G T H E C R I T E R I A // LIGHT ACOUSTIC FABRICABLE MATERIAL PERFORMANCE DESIGN

Comments:

DESIGN

POTENTIAL

OVERALL

37 / 50

COMMENT

// The voronoi one-skin-surface is not a good design for ceiling installation unless the lack of sound isolation would be considered. This design is similar to the #15 with this difference that the first (bottom) layer is taken which will decrease the score for acoustic and the overall score.

Meeting the Design Criteria

M E E T I N G T H E C R I T E R I A // LIGHT ACOUSTIC FABRICABLE MATERIAL PERFORMANCE DESIGN

OVERALL

DESIGN 8

POTENTIAL

8 9

39 / 50

Comments: COMMENT

// The comments is similar to #15 with thsi difference that in this instance, the cells are Decreased which directly influence the acoustic and lighting score. But overall it is capable of being chosen as one of the design proposals.

163

B.05

TECHNIQUE PROTOTYPES

B.05

......... Fabricating prototypes proved to be the most difficult selection of the Interim Presentation. Although we sucessfully created roll-out models of the voroni components, some shapes had upwards of 18 faces and were proving difficult to fabricate. We first experimented by drawing tabs onto the faces of rolled-out voroni components and then printed them simply onto paper to test light and shadow, buildability and material performance.

purpose as a built ceiling installation would require. 3D prining coudl be effective in achieveing the desired shape however canbe un-economical in terms of cost and time. Veneer in th emost desired material. In moving forward we will focus on using timber veneer products and continue to tweak the design proposition whilst experimenting with different connections.

We discuessed potential approaches for a sucessful fabrication outcome with the Melbourne School of Design Fabrication Staff. Suggestions included 200 GSM card with rastered edges for tabs (lasercut; Timber Veneer with click connections; and 3D printed components of Voroni Cells. Whilst 200GSM card would be the easiest method to fabricate with laser-cutting the issue comes into play when we consider the design in terms of a ceiling instalation. Whilst the matieral is effective as an architecture model it doesnâ&#x20AC;&#x2122;t serve the

B.05

B.06 PROPOSAL

VORONI | CEILING INSTALLATION

......... The interim propoal is a representation of the voroni algorithm selected from varoius design interations which met our selection criteria; lighting and shadow, acoustic simulation, fabrication/buildability, material performance and biomimicry. The aim was to present a design that reponded accurately to these requirements. The design was to create ambient lighting scheme that did not over exagerate the room but nestled comfortably in its space. The desgin proved difficult to fabricate due to limited to materials which would alow the skin to fold into each individual component. However the materials available proved unsuitable for the environment. Voroni Ceiling Instalation whilst may have no been successful in terms of meeting the requirements of the site, the design pathways as an evident iteration of how we can continue to explore biomimicry through recurrsive expressions to develop a more final and refined response to the brief.

B.06

B.07 Learning Objectives and Outcomes Through the development of Part B Iâ&#x20AC;&#x2122;ve been developing an ability to generate a variety of design possibilities for a given situation by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive design-space exploration; this is visually exemplified through the work of case study 01 and 02, using digital programming to explore givin design possibiility by producing a matrix of iterations.In addition I have been developing skills in various three dimensional media and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication; proven through the work carried out in the part b section of this journal. In final I have been developing the ability to make a case for proposals by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourse; once again exemplified in the interim work completed in part b section of this journal.

B.07

References

Kolarevic, Branko and Kevin R. Klinger, eds (2008). Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge), pp. 6–24 Kolarevic, Branko (2014). ‘Computing the Performative’, ed. by Rivka Oxman and Robert Oxman, pp. 103–111 Peters, Brady. (2013) ‘Realising the Architectural Intent: Computation at Herzog & De Meuron’. Architectural Design, 83, 2, pp. 56-61 Moussavi, Farshid and Michael Kubo, eds (2006). The Function of Ornament (Barcelona: Actar), pp. 5-14 Woodbury, Robert F. (2014). ‘How Designers Use Parameters’, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge), pp. 153–170

C.01

DESIGN CONCEPT Clinton Baird

759953 The direction we drove the Part B Interim design through was discovered based on a process of research, and iteration development. Governed by (5) selection criteria; Light and Shadow; Acoustic Simulation, Fabrication and Buildability, Material Performance and Biomimicry, the voroni algorithm became the intuitive component that would interpret the project. Whilst our project may not have successfully developed into a workable fabrication, our project offered a highly complex geometry that speaks not only on a planar surface level but within the 3D volume of the room. In addressing the comments and suggestions of the project we would be further considering the fabrication process (exploring new 3D components) and further addressing the site constraints of the space.

In moving forward towards Project C the studio will be working as a whole with groups split into (4) task forces; Grasshopper Definition (Geometry), Patterning, Jointing and Fabrication. With the purpose of working as a whole to develop one final design concept. This design concept will borrow elements from two interim design proposals and work together with individual knowledge and exploration to successfully fabricate and generate a proposal.

The project will be a excellent chance to work closely in collaboration with my peers as preparation for the work-place. Over the next 3 weeks I will be specializing in connections. To be determined further as the geometry is developed to a final and workable form.

C.01

C01

C.02

TECTONIC ELEMENTS AND PROTOTYPES After extensive iterations of geometry development the class decided on a final geomtry which fit the specifications of the room and would have enough complexity to work togehter in the (4) designated groups over the next 3 weeks. The final geometry the the class concluded to decided on (pictured left) contained large, and quite bulbous perforations. It was clearly going to be a challengeing geometry to fabricate and material testing would be crucial in achieveing both the desired geometry itself and the desired aesthetic.

It would be too simple to simply connect the bulbous gemotry with simple line strips; After extensive consideration the design development led to a point in which instead of developing the gemetry to be shaped by simple straight strips connected to a circular rib / instead the strips would connect together them selves using a weaving pattern. Develop-

ing this into a workable grasshopper defintion would prove difficult inititally and there were many challenges which would be overcome through trial and error. By the time the grasshopper defiintion was ready to be unrolled for fabrication new challenges would arrive that would require the definition to be consequently tweaked.

C.02

BASE GEOMETRY

STRIP DEVELOPMENT

FINAL GEMOETRY W/ WEAVING PATTERN

C.02

C.02 STRIP DEVELOPMENT BASE GEOMETRY

STRIPS APPLIED TO BREP

WEAVING STRIPS TO INTERSECT

FINDING THE MID POINT OF INTERSECTIONS TO CREATE POINTS FOR FABRICATION.

C.02

Engineering Strip Development.

Contour Brep

Divide Surface Brep

Fit Circle / Calculate Area of Brep

Calculate Area Perpendicular Frames.

Loft Brep Surface

Brep Plane | Solve Intersection Events for Brep Surface

Connect to Loft Surface Command. .

C.02

Strip Measure

Series | Create a Series of Numbers Construct Domain Extract Isoparametric Subset of Surface.

Divide Contour Length

List Item into two measurements. Divide Length of Curves. Number Slider | Determine amount by which curve is divided.

Weave

Shift List of Divide Curve Compondent. Cull List. Connect Weave Component.

C.02

Interpolate Curve

Interpolate curve through weaving pattern. Data inside parameter is graphed.

Lofted Surface_Final

Merge Interpolated Components. Loft Surfaces together. Extrude Component with Number Slider variable.

Explode Brep

Partition lofted surface. Explode Data Tree. List Brep Surfaces.

C.02

Divide Brep Intersection

Solve Interstion Events for two Breps. Divide Curve. Determine Number of segments to divide.

Evaluate Surface

List item | Divided Curve points. Find Closest Point on the Surface. Evaluate the surface properties at UV coordinates.

Circle Centre Point (CNR)

Create Circle Defined by Centre Point. Create numeric slider for Radius Size.

C.02

Joint Connection

C.02

C.02 STRIP DEVELOPMENT FABRICATION Initial Prototype: Polypropyleme | Tabs

C.02

Week 10: Fabrication: Polypropyleme

Once the Grashopper Definition was in a stage of development ready for test prototypes we began investigating materials. For the purposes of a cost effective and minimal labour material polypropyleme was sourced to fit these purposes. The goal of the fabricated prototype was to determine if the weaving pattern would be substantial in acting on its own without the inclusion of any kind of interior support. What we learned from the polypropyleme prototype model was first and foremost that the number of weaves generated in the

form would have to be immensely scaled back. We intially had a prototype that over-blew the number of connections that were logically required. Upon fabrication the individual strips together and attaching the weaves at this calibre it was found to be far too rigid and labour intensive. In moving forward we would scale back the number of weaving patterns determing the overlapping breps.

C.02

Prototype: Timber Veneer Laminate Back

T o w a r d sTIMBER F i nVENEER a l : LLAMINATE a m i nBACK a t e v . P a p e r bTIMBER a c VENEER k PAPER BACK

BREAKING POINT

C.02

Week 11: Fabrication: Timber Veneer Laminate Back

Timber Veneer was the desired material to output in the lead-up to the final presentation. It was therefore becomming crucial that we investigate and source the material as soon as possible. Members of the fabrication team sourced the material over the week and produced TImber Veneer with a Laminate Back. The major concern upon receiveing the material was that it was very rigid and may not satisfy the curvature bend of the final geometry. The material also was fairly heavy. The model was subsequently unrolled and sent of

for a lasercut prototype. Placing the model together proved somewhar expected results. The material was too rigid and snapped easily when joining together with rivets. In moving forward it was vital that we employ Paperbacked Veneer in the final design as there would be little concern for any kind of material breaking point due to the flexible nature of the material.

C.02

C.03 FINAL DETAIL MODEL

FLOW T H E C R E AT I V E S TAT E 73

C.03

FLOW /flō TO MOVE OR RUN SMOOTHLY WITH UNBROKEN CONTINUITY, AS IN THE MANNER CHARACTERISTIC OF A FLUID.

C.03

BIOM PA N AT U R A L

Research Pavilion 2013-14, ICD/ITKE

La Sagrada Familia, Gaudi

MIMICRY + ARAMETRIC DESIGN F LO W V S . T H E D I G I TA L W O R L D

HygroScope, Achim Menges 77

C.03

SYSTEMIC GROWTH AG E N T- B A S E D D E S I G N S T U DY 1 79

C.03

SYSTEMIC MOTION AG E N T- B A S E D D E S I G N S T U DY 2

C.03

GEOMETRY

C.03

PRECEDEN

SERO

BIOTH

NT 1

OUSSI PAVILION 2007

HING

PRECEDE

RESE

ICD/IT

ENT 3

EARCH PAVILION 2010

TKE

ITERAT

TIONS

C.03

SELECTION

CRITERIA

#1 [ LIGHT DISTRUBATION // EFFECT // SHADOW ]

[ FABRICABLE // BUILDINGABILITY ]

C.03

[ MATERIAL PERFORMANCE ]

[ BIOMMICRY

MORPHOLOGY // DESIGNWISE ]

C.03

GRID SPREADING

FORM

GRID PINCH

DEVELOPMENT

GRID SPREADING+ TWO SETS OF ATTRACTORS TO CHANGE THE RAIUS OF THE CIRCLS AND THE INTERFERENCE EFFECT+ CIRCLES SIT ON THE POINTS ON THE LINES

GRID PINCH+ ONLY ONE FACTORS CHANGE THE RADIUS OF THE CIRCLS AND THE INTERFERENCE EFFECT+ CIRCLES SIT BETWEEN THE CURVES

DESIGN

DEVELOPM

B.4.1 I T E R A T I O N

CASE STUD

M E N T // I T E R A T I O N S

N MATRIX

D Y 2.0

#01

#05

#02

#06

#03

#07

#04

#08

106

C.03

#09

#13

#10

#14

#11

#15

#12

#16

107

C.03

#17

#21

#18

#22

#19

#23

#20

#24

108

C.03

#25

#29

#26

#30

#27

#31

#28

#32

109

C.03

#33

#37

#34

#38

#35

#39

#36

#40

110

C.03

#41

#42

#43

#44

111

C.03

SUCCESSFUL

ITERATION

B.4.1 I T E R A T I O N

CASE STUD

N S // F O R M

N MATRIX

D Y 2.0

DEVELOPMENT

114

C.03

115

C.03

FINAL

B.4.1 I T E R A T I O CASE ST

GEOMETRY

ON MATRIX U D Y 2.0

118

C.03

119

C.03

STRIPS + CONNECTIONS

121

C.03

STRIP CONNECTIONS P R OTOT Y P E M O D E L I N G

BASE GEOMETRY

STRIPS APPLIED TO BREP

WEAVING STRIPS TO INTERSECT

FINDING THE MID POINT OF INTERSECTIONS TO CREATE POINTS FOR FABRICATION.

123

C.03

STRIP CONNECTIONS P R OTOT Y P E FA B R I C AT I O N

Initial Prototype: Polypropyleme | Tabs

Prototype: Timber Veneer Laminate Back | Rivets

S Press Studs

Rivets

TIMBER VENEER LAMINATE BACK

TIMBER VENEER PAPER BACK

BREAKING POINT

125

C.03

FINAL MODEL

PERSPECTIVE #1

BASE GEOMETRY

Final Model:

STRIP DEVELOPMENT

FINAL GEMOETRY W/ WEAVING PATTERN

PERSPECTIVE #2

: Timber Veneer Paper Back | String

127

C.03

RIBS STRUCTURAL INTERIOR

South Pond Pavilion, Chicago 2010 by Studio Gang Architects

129

C.03

TH DE

HE FORM S I G N I N G W I T H I N PA R A M E T E R S 131

C.03

PROTOYPES

133

C.03

PATTERNING

PATTERNING T H R O U G H M AT E R I A L E X P R E S S I O N

137

C.03

rat[LAB] Cellular Morphology Facade prototype

138

C.03

ENVIRONMENTAL FACTORS I N F LU E N C I N G F O R M + PAT T E R N D I S T R I B U T I O N

139

C.03

CONTEXT DEPENDANT PARAMETERS E S TA B L I S H I N G A F R A M E W O R K

140

C.03

141

C.03

L E

E VA

142

C.03

LIGHT EXPOSURE

A LUAT I O N W I T H I N T H E M E E T I N G R O O M

143

C.03

144

C.03

SITE SPECIFIC F E E D B AC K LO O P

145

C.03

WEAVING INITIAL IDEA

146

C.03

INITIAL IDEA

LINEAR PATTERNS DIRECTION CHANGE #1

149

C.03

PATTERNING ON STRIPS DIRECTION CHANGE #2

151

C.03

PATTERNING ON STRIPS DIRECTION CHANGE #2

153

C.03

PARAMETRIC TEST PAT T E R N I N G O N S T R I P S 155

C.03

FINAL P CURVED STRIPS

PATTERN

157

C.03

JOINTS

EXISTING GEOMETRY

161

C.03

MATERIAL + PRECEDENT

162

C.03

163

C.03

165

C.03

JOINTS

166

C.03

171

C.03

RIB JOINTS

P R OTOT Y P E 1

P R OTOT Y P E 2

P R OTOT Y P E 3

P R OTOT Y P E 1

RIB JOINTS

P R OTOT Y P E 1

P R OTOT Y P E 2

P R OTOT Y P E 3

P R OTOT Y P E 1

R JO

RIB-CANE OINTS 177

C.03

C E I L I N G

C O N N E C T I O N S :

J O I

N T S

C E I L I N G

C O N N E C T I O N S :

J O I N T S

181

C.03

C E I L I N G

C O N N E C T I O N S :

J O I N T

T S

183

C.03

C E I L I N G

C O N N E C T I O N S :

J O I N

N T S

185

C.03

FABRICATION

187

C.03

FABRICATION SEQUENCE F R O M R H I N O TO R E A L I T Y

189

C.03

190

C.03

191

C.03

FABRICATION: CONNECTIONS Making the concept concrete

Pro t o t y p e 1

Pro t o t y p e 2

196

C.03

FA B R I C AT I O N P R O C E S S DA M AG E

DIFFUSED TENSILE PRESSURE

STRIP/STRIP CONNECTION

HOMOGENEITY

SEWN RIB/STRIP CO N N E C T I O N

O F MAT E R I A L EMPHASIZED

RIB/STRIP CONNECTION

Pro t o t y p e 1

200

C.03

Pr o t o t y p e 2

STRIP/ROD CONNECTION

DIGITAL FABRICATION CARD CUT TER 1:10 SCALE

203

C.03

DIGITAL FABRICATION PROCESS

204

C.03

RIB SUPPORT

205

C.03

206

C.03

PROCESS MESH

A S S E M B LY

207

C.03

LIMITATIONS Q UA L I T Y

H A R D WA R E

208

C.03

209

C.03

210

C.03

211

C.03

213

C.03

C.04 Learning Objectives and Outcomes Part C of ABPL30048_Architectural Design Studio: Air has engaged me with a space to develop my abilities to make a case for proposalsâ&#x20AC;? by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourse, develop capabilities for conceptual, technical and design analyses of contemporary architectural projects, develop foundational understandings of computational geometry, data structures and types of programming; and develop a personalised repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application,

214

B.07