STUDIO AIR 2017, SEMESTER 1, MANUEL CONNOR FORSYTH
Table of Contents A.1.0. Design Futuring
B.2.0. Case Study 1.0
A.1.1. IwamotoScott Architecture, Voussoir Cloud.
B.2.1. Aoba-Tei, Hitoshi Abe, Sendai, Japan, 2005
A.1.2 Changi International Airport, SOM Architecture
B.2.2. Reverse Engineering
B.2.3. Exploration
A.2.0. Design Computation B.3.0. Case Study 2.0
A.2.1. Bionic Experimental Building
A.2.2. Metropol Parasol, Seville, 2010
A.3.0. Composition/Generation
A.3.1. La Sagrada Familia - Antoni Gaudi
A.3.2. Smithsonian Institution
B.3.1. Serpentine Pavilion, Bjarke Ingels, England 2016
B.3.2. Deconstruction and Reverse Engineering
B.4.0. Technique Development
B.4.1. Image Mapper
B.4.2. Development Summation
A.4. Conclusion A.5. Learning Outcomes B.5.0. Prototyping A.6. Appendix - Algorithmic Sketches B.6.0. Proposal Ceres Global Village Sources
B.6.1. Site Analysis - Global Village
B.1.0. Research Fields B.7.0. Reflection
B.1.1. Exploration of Patterning
B.1.2 Meander, Ancient Greek
B.1.3. Super Trees, Singapore.
B.8.0. Algorithmic Sketches
Introduction It is important as designers to take leadership and make a positive contribution to this earth. Therefore in my opinion, I am far greater impressed with architectural designs which compliment both man and the earth in healthy proportions. Design initiatives need to step into a realm which focuses on modesty and efficiency, rather than that which in their function is to be marvelled by potential connotations which express achievements of concurring the earth. This may have seemed to stretch off onto a tangent, but I believe a great benefit of Studio Air and computational design is the process of optimisation. The ability to optimise spaces to maximise their ability to cooperate with the natural environment. While we are very early on in the course I can already see signs of which relate to this philosophy I am passionate about.
Hi There. My name is Connor Forsyth and I am currently a third year Architecture student, undertaking the Bachelor of Environments at The University of Melbourne. My experience and love of design started from a young age. I credit my pursuit to study architecture from simple childhood pastimes; such as sketching, designing structures with Lego, as well as going out into the forest and building ‘huts’ from any foliage I could find. The experience of doing this asserted a great sense of adventure and independence which I still thrive on today. My design style and perspective is attuned to admire creations which harness elements that maximise both efficiency and performance, without becoming imposing in its nature. For example, I would much rather spend my time teaching the world how to live efficiently, with minimal possessions and be happy. Than to be fuelled by the consumerist environment that the western world has developed into. This relates to architecture in itself.
4
CONCEPTUALISATION
Another strong passion of mine is music. My exploration and study into the physics of how music both physically and aurally also excites the design side of my brain. Mathematical connections such as the Golden Ratio is a proportion which appears within the natural world, is reflected in architectural design, yet proportionally in music theory, it also sounds good harmonically. Literally what sounds good, also looks good.
My history in computerisation is relatively proficient. I am familiar with the Adobe Creative Suite to an advanced level. However I am very new to the process of design computation through parametric design methods. Therefore, I am eager to dive deep into Rhino and Grasshopper
The realisation of this concept inspired me to incorporate the golden ratio into a wide array of my design works. Such as furniture design, set design, projection mapping, a place for secrets; a concept explored in studio Earth.
FIG.1: ‘A JOURNEY OF SECRETS’ - DESIGN STUDIO EARTH
CONCEPTUALISATION 5
DESIGN FUTURING A.1.0.
6
CONCEPTUALISATION
Discourse. It can be considered a strong belief that all culture, development and society has been a product of design and design practices. Society is both influenced by the environment around us, and in correlation, the environment is influenced by the human interaction and creation. Architecture through time has been determined from the social, political and technological ability of the period. Through the accelerated development of the 20th century; architects have been exposed to a plethora of contrasting design practices and design styles. The Future of design will largely be determined through the mentality and ethical moral of the designer and the world culture at large. Industrialisation sent the world through a major push to maximise production and conquer the earth plentiful environment. Tony Fry explores this concept in his book Design Futuring: Sustainability, Ethics and Politics. Late 20th century philosophy has influence a paradigm shift towards sustainability, regrowth and design for modesty. The method of computational design opens up new opportunity to maximise the efficient use of our resources. Educating humanity on the possibilities of design, with sustainability at the forefront of innovation.
CONCEPTUALISATION 7
8
CONCEPTUALISATION
FIG.2: IWAMOTOSCOTT ARCHITECTURE, VOUSSOIR CLOUD INSTALLATION,
CONCEPTUALISATION 9
FIG.3: ‘IWAMOTOSCOTT ARCHITECTURE, VOUSSOIR CLOUD INSTALLATION,
10
CONCEPTUALISATION
A.1.1. IwamotoScott Architecture, Voussoir Cloud. The Voussoir Cloud is a prime demonstration of how computational form finding can generate structures with an emphases on ‘material performance and ‘processes over representation’. This, structural display of compression is an example of a digitally defined form finding method similar to that of the reverse handing method. All elements converge to the pillar points on the ground plane. The synergy of material all working in united compression conveys a sense of purpose to all parts of the structure. There is an overwhelming sense of organic quality in this structure. This is on account of the form finding method which harnesses the physics of gravity to generate the compressive geometry.
CONCEPTUALISATION 11
FIG.4: CHHATRAPATI SHIVAJI INTERNATIONAL AIRPORT- SOM
12
CONCEPTUALISATION
CONCEPTUALISATION 13
FIG.5: CHHATRAPATI SHIVAJI INTERNATIONAL AIRPORT- SOM
14
CONCEPTUALISATION
A.1.2. Changi International Airport, SOM Architecture Parametricism is a big part of where the world is heading to today. Through innovative design mechanisms and practices parametrics are assisting the global environment in becoming more sustainable, more efficient and therefore greater economical yield. Coupled with airport design. Large scale transportation is a significant factor in what keeps our civilisation running. SOM Architecture is a leading firm which specialises in the development of these technologies which focus on innovation, sustainability and key eye for the human experience. In order for us to design for the future, we need to prioritise in what developments need to be made, and how we can use technology to make our environment more sustainable, more efficient and more effective.
CONCEPTUALISATION 15
DESIGN COMPUTATION A.2.0.
16
CONCEPTUALISATION
A.2. Design Computation
Designing with computational media is a phenomenon new to the 20th century. It is important to distinguish the difference between computation verses computerisation and what this means for architecture. The computer and mouse is the 20th centuries legacy method to allow architects a superior platform to communicate. However instead of translating the brain to paper, computation allows the architect to expand their creative capabilities through embedding computation within the design process. Computerisation is the translation of architects thoughts to a digital drafting table. The benefits of computerisation fall mainly towards the communicational side of the design process. Much the same as how the digital age has made for greater pathways and access to communication. The same has happened for design. Fabricators, contractors, architect and engineer all follow united design standards.
CONCEPTUALISATION 17
A.2.1 Bionic Experimental Building Computation allows us to design and create structures not previously foreseeable without our current technological methods in the design process. The University of Stuttgart within their institute of construction and design developed a structure which showcases the possibilities of computation within the creative and construction process. This specific process explores the structural principles of an organic subject; the sea urchin platelet skeleton, and applies the principles noted from this, into a pavilion through computer based media in order to simulate and generate unique geometry. Construction of this pavilion is also only made possible through computer based construction production methods. A particular feature of this pavilion is its innovative approach in construction. The development is constructed purely from an array of 6.5mm thick Burch plywood. This allows for an extremely light weight building structure with a highly efficient use of the material.
FIG.6: INSTITUTE FOR COMPUTATIONAL DESIGN UNIVERSITY OF STUTTGART
18
CONCEPTUALISATION
FIG.7: INSTITUTE FOR COMPUTATIONAL DESIGN UNIVERSITY OF STUTTGART
CONCEPTUALISATION 19
FIG.8: JÃœRGEN MAYER H, METROPOL PARASOL, SEVILLE, 2010
20
CONCEPTUALISATION
A.2.2. Metropol Parasol, Seville, 2010 The old quarter of Seville in Spain hosts a parametric structure on a site with a history connected to public habitation and exchange. The goal of the development was to enhance its role as a new contemporary urban centre. The structure is popularly referred as Las Setas de la Encarnación, or in translation; Incarnation’s Mushrooms, due to their structurally expressive natural form. This form is produced from intricate parametrics which identify two structural design techniques, honing in on deep decoration and subtle innovation. This holistic theory of design combined with the elements of natural, organic form are strong themes throughout the computational design movement. Years of change across the various movements in time such as the industrial era. Accumulate to the outcome of significant technological development and the advanced creative method of computation, has brought developments such as this, which bring us back to nature. Both in their structural form and visual prompted themes.
CONCEPTUALISATION 21
COMPOSITION/ GENERATION A.3.0.
22
CONCEPTUALISATION
A.3.0. Composition and Generation The process of parametricism has developed since its early conception. Traditional form finding methods such as the Reverse Hanging method are known first hand to be the culprit which accredit analogue parametricism to the likes of Atoni Gaudi. The evolution of the design process over the 20th century have seen major developments in the methods and media tools of creation. Computer aided design has not only increased the speed of the design making process, but also the quality and accuracy. Computer modelling allows architects to focus their energy on creation, rather than expending their time towards trialling and testing. Testing parametrics can now be a much faster process . Though computerisation, it is a simple process to optimise any built geometry so a set of defined parameters. Variations are a fundamental part of the design process. Finding and exploring the solutions allow for greater access to variation to be analysed in a quicker amount of time. While some mindsets towards computation follow the belief that generating geometry is not pure architecture, however it is vital that designers view from the perspective of development. The computer and mouse is the new design tool which will allow us to move forward into the future.
CONCEPTUALISATION 23
FIG.9: LA SAGRADA FAMILIA
24
CONCEPTUALISATION
A.3.1 La Sagrada Familia - Antoni Gaudi
Gaudi is a highly renowned architect of the late 19th century whom is known mainly for his expressive design work featured throughout the Catalan region of Spain. The Sagrada Familia showcases Gaudi’s famous form finding technique which is entitled the reverse hanging method. Pictured in Figure 10; we can see how Gaudi realised that tension elements hung upside down with a unique arrangement of weights is an accurate way of estimating compressive forces when orientated to the correct ground plane. While the process of Gaudi’s form finding method remains to be far more primitive than that of our modern day methods, the concept remains the same exactly as you would if you were to generate the geometry on computer aided software.
FIG.10: GAUDI’S FAMOUS REVERSE HANGING METHOD OF FORM FINDING.
CONCEPTUALISATION 25
FIG.11: SMITHSONIAN INSTITUTE - WASHINGTON DC
26
CONCEPTUALISATION
A.3.2 Smithsonian Institution Architects are continually exploring the capabilities of parametrics in design. Performance analytic are often undertaken to determine the performance of the material against the built form. Foster + Partners’ Specialist Modelling Group (SMG), generated the roof geometry of the Smithsonian Institute in Washington DC. The main parameters where set to optimise structural and acoustic performance. The brilliance of this architecture is the unique coupling of an incredibly modern creative technique up against the neo-classicism building of the original Smithsonian. These contrasting elements are appropriate as they reflect the purpose of the Smithsonian as a landmark of culture, past present and future.
CONCEPTUALISATION 27
A.4 Conclusion Through the study of various example of computation in the architectural world. We can see how the innovations of parametrics are impacting the physical environment, and how this in turn; impacts the civilisation.
CONCLUSION A.4.
It is clear that design moral and design philosophy have made a monumental shift towards an environmental concern. In order for civilisation to continue developing, it is vital that as leaders in shaping the built environment, designers must have a united front in their approach to the future. Fabrication and computerisation have allowed for an increased number of field members to focus their energy on innovation rather than the construction process at large. Roles in firms are inevitably going to change, the ability to generate then fabricate is a phenomenon only gaining traction in the 21st century. Through analysing this development, my approach to the coming design scenarios is to follow function, and design with an intent on sustainability and efficiency. This inspiration is a from experiences that seek to enhance social and cultural environments. Fulfilment is not found from being enclosed, fulfilment is found from experiencing the world around us and learning from others.
28
CONCEPTUALISATION
A.5 Learning Outcomes The learning content through the lectures and readings have given me a brief look into the world of computation. It is eye opening to view how architecture over time has morphed into this form of media. Algorithmic design is the our current phase in architectural development and it is one of the large contributes into the movement towards a more efficient, more environmentally stable future. As a designer, the connection between algorithms and nature are particularly inspiring. I admire the connection that we have gone through a highly industrial period of mankind and now, we have come full circle and are becoming mindful about humanities effects on the environment. Our difference now, is that our modern technologies give us greater knowledge, and greater efficiency at tackling various environmental issues.
LEARNING OUTCOMES A.5.
While algorithmic design may be a seem to be a foreign method of generating geometry, its benefits are clearly visible, and humanity will no doubt grow and develop immensely from its capabilities. As mentioned in the lectures, computation is architects new pencil, and it is essential for any architect to be able to communicate their ideas for the modern world of development.
CONCEPTUALISATION 29
30
CONCEPTUALISATION
A.6. Appendix - Algorithmic Sketches My parametric exploration honed in on applying my basic knowledge of algorithms and generating geometry which I found inspiring and moving.
ALGORITHMIC SKETCHES A.6.
Progression was a regular theme in my exploration. Much of my process revolved around connecting various nodes and replacing parameters to see how the overall structure would react. The more and more I repeat the processes the greater fluency I feel while navigating through the grasshopper environment.
CONCEPTUALISATION 31
32
CONCEPTUALISATION
Sources References: “Aviation + Transportation”, SOM, 2017 <http://www.som.com/expertise/markets/aviation__transportation> “Computerbasierte Planung Und Robotische Fertigung | STYLEPARK”, Stylepark, 2017 <https://www. stylepark.com/de/news/computerbasierte-planung-und-robotische-fertigung> [accessed 16 March 2017] “J. MAYER H. BUILDINGS METROPOL PARASOL”, Jmayerh.De, 2017 <http://www.jmayerh.de/19-0-metropol-parasol.html> Leach, N. (2009). “Digital Morphogenesis.” Architectural Design 79(1): 32-37. Menges, A. (2012). “Material Computation: Higher Integration in Morphogenetic Design.” Architectural Design 82(2): 14-21. Peters, B. (2013). “Computation Works: The Building of Algorithmic Thought.” Architectural Design 83(2): 8-15. Rappaport, N. (2010). “A Deeper Structural Theory.” Architectural Design 80(4): 122-129. Schumacher, P. (2016). “Parametricism 2.0: Gearing Up to Impact the Global Built Environment.” Architectural Design 86(2): 8-17. “Smithsonian Institution | Foster + Partners”, Fosterandpartners.Com, 2017 <http://www. fosterandpartners.com/projects/smithsonian-institution/> [accessed 18 March 2017]
CONCEPTUALISATION 33
B
CRITERIA DESIGN
B
B.1.1. RESEARCH FIELD
PATTERNING
Patterning in architecture has, throughout history always been a method of conveying intimate themes through architecture. “Pattern has always been the DNA of style.” Pattern as a style, detail or adornment, communicates the personality of a design, and the designs influence. Context plays a major role in determining the purpose ranging from religion, the geometries in play and how it will evoke the poetry of the building through the design’s complexity, expression, balance and creativity. The purpose of patterning has changed overtime however the uses and effects it has on a building continue to grow and expand through the capabilities of parametric. Parametrics have seen the return to pattern. 20th century modernists promoted a severe removal of all ornamentations features due to a strong vision of what architecture should be. Progressive society in the later 1900s saw new opportunities for pattern to take the stage. The new political stance and future technologies introduced new extensive forms of pattern with the capabilities of computation.
36
CONCEPTUALISATION
Computation gives a great new purposefulness to pattern in architecture. Developments in optimization explores intricate natural patterns and their benefits in construction principles as well as the dynamics of the environmental features of the site. Detailed patterns articulate the motives of the site, it can form the geometries connection to nature or the organic world. In addition to conveying atmospheric value, today’s architectural agendas hosts a fuller intent over the concept of pattern. Unprecedented solutions to problems can be found through exploring the capability of pattern and applying it to performance-oriented design. Pattern transcends throughout all forms of architecture as a discourse. Similarly as it spreads across all of human creation. Man made pattern commonly reflects repetitive, recurring events and form. Natures canvas certainly projections natural pattens which are most certainly not repetitive. Therefore it is unjust for pattern as a discourse, to provide any formal definitive boundary of function.
Todayâ&#x20AC;&#x2122;s spatial design pattern morphologies are mainly digital/parametric or Postmodern reworkings of ancient patterns or new ones found or simulated with new and emerging visualization and design technologies. MARC GARCIA, ARCHITECTURAL DESIGN 2009
EXAMPLE OF THE IMAGE SAMPLER PATTERN TOOL IN GRASSHOPPER.
CONCEPTUALISATION 37
B B.1.2. RESEARCH FIELD
MEANDER ANCIENT GREEK PATTERN The Meander or Meandros, is an iconic Greek Patterning style which traditionally is used for decorative purposes on building faces. Its elements host strong symmetry and uniformity on account of its interlocking nature. The shape is a repeated motif generated by a continuous line. A meander is found in nature through a sinuous watercourse or river. Meaning is curves back on itself in a meandering motion. It is also connected with the Cretan Labyrinth. Meander symbolizes unity, and the bond. Whether this be love, friendship or devotion. Seamless connection. The Meander represents a classical example of pattern in art and design. However it is still a common reoccurring motif even in todayâ&#x20AC;&#x2122;s design context. Its simplicity is a fine depiction of pattern through the ages. While todayâ&#x20AC;&#x2122;s distinction hosts patterns which are far more complex.
38
CONCEPTUALISATION
From the beginning the meander was not only an ornament; it was a symbol, a metaphor for water. MARIKA GIMBUTAS - THE ORIGIN OF THE MEANDER, 2012
CONCEPTUALISATION 39
40
CONCEPTUALISATION 40
B
B.1.3. RESEARCH FIELD
SUPER TREES MODERN PARAMETRIC PATTERN
Innovation in parametric design has encouraged new forms of patterns to arise which effect not only the experience of the architecture, but also have the ability to enhance the architectures function. The Supertrees of the ‘Gardens by the Bay’ are an example of how the benifits of computation have allowed designers to create form inspired by nature and biomimicary. The very goal behind the Gardens was to transform Singapore from a Garden City, to a City in a Garden. This includes raising the quality of life by enhancing greenery and flora in the city.
Taking inspiration from the form of the orchid, Grant Associates’ masterplan is a rich fusion of nature, technology and environmental management. GARDENS BY THE BAY / GRANT ASSOCIATES, ARCHDAILY 2012
The Gardens have become one of Singapores more sort after urban outdoor recreational space and it is among the cities most iconic national landscapes.
41
CONCEPTUALISATION
41
B B.2.0. CASE STUDY 1.0
AOBA-TEI
HITOSHI ABE SENDAI, JAPAN, 2005
Atelier Hitoshi Abe is an international design practice from Sendai Japan. The group is commonly known through their innovative approaches to complex spatial and structural systems. The Aoba-Tei Restaurant is an example of parametrics reflecting the soft, tonal aspects of the natural environment. The abstract expressive textures on the faces on the walls are achieved through an image sampling process in grasshopper. 42
Not only has Dr. Hitoshi Abe won a plethora of international design awards; the Miyagi Stadium competition for example, but he is also a highly documented lecturer and publisher of architectural research into spatially complex and structurally innovative design. Atelier Hitoshi Abe is currently the professor and chair of the UCLA Department of Architecture and Urban Design.
We are at a really interesting point in architecture. We need to look for change and seek out the new horizon. HITOSHI ABE
2015
43
B B.2.2. CASE STUDY 1.1
EXPLORATION
To achieve the desired image map technique, the grasshopper definition explores unrolling and remapping complex geometry. Hitoshi Abe uses this technique while mapping various provoking images which aim to inspire a certain experience within the restaurant.
For convenience, and to depict a clear representation of the uses of the image sampler, I will be sampling images in 2D then projecting onto various parametric surfaces in my exploration. For clear communication and to isolate the image samplers abilities, I explore my findings of the image sampler through various iterations. 44
GRASSHOPPER SEQUENCE 1. The first process when image sampling is to reference the surface you are to be mapping an image to. This does not need to be a flat surface however for ease of fabrication, particularly with laser cutting, it is better if the surface is flat. 2. Divide the surface. This divides a grid which make the resolution of the image.
1
3. Project the (uv) of the surface into the image sampler. Ensure the image sampler is set to the settings which are appropriate for the task at hand.
2
3
4
4. Through iterations and adjustments it is possible to generate highly complex, evocative imagery through the image mapper. The imagery on the left is an example of multiple images mapped to the one surface to create a layered effect. The resolutions of the two images are mapped differently which create a unique texture.
45
B
B.2.3. CASE STUDY 1.1
EXPLORATION
Hitoshi Abeâ&#x20AC;&#x2122;s explorations were made to seek out the experience evoked when one was exploring the wilderness of a forest at night. Through the layering of various image maps of natural environments he achieve a mapped image such as this.
ITERATION OF DUAL IMAGES MAPPED TO SQUARES AND CIRCLES
SQUARE SIZE SCALED HIGHER
46
ADAPTATION TO RESOLUTION OF SURFACE
SQUARE SIZE SCALED HIGHER
IMAGE LOWER SCALE. HIGHER RESOLUTION
SQUARE SIZE SCALED HIGHER
ITERATIONS
IMAGE OF CORRUGATED IRON MAPPED WITH IMAGE OF TREE
IMAGE MAPPED WITH SQUARES AND MULTIPLE CIRCULAR OUTPUTS
IMAGE OF CORRUGATED IRON MAPPED WITH IMAGE OF TREE - ADAPTATION RESOLUTION OF SURFACE
TREE MAPPED WITH MULTIPLE OUTPUT SHAPES
OUTPUT TO MULTIPLE CIRCLES AND HEXAGONS HIGHER RESOLUTION WITH SMALLER OUTPUT SURFACE.
RADIAL SHAPE MAPPED TO THE IMAGE SURFACE
47
B
B.2.3. CASE STUDY 1.1
EXPLORATION 1
Evoking image of trees mapped with a combination of square and circle shapes.
RADIAL SHAPE MAPPED TO A VERY SMALL DEGREE
48
BREP IMAGE REMAPPED WITH IMAGE MAPPER
IMAGE MAPPED TO OUTPUT CIRCLES
2
3
1. Randomize seed of points within a restricted domain.
4 5
2. Create delaunay mesh from the projected points. Deconstruct Mesh then deconstruct faces to then rebuild as a surface. 3. Divide surface then define resolution of the projected image. 4. Reparametise surface then connect the UV of the divided surface to an image mapper. Adjust the resolution and size of projected shape to acheieve desired effect. 5. Hide original shape to reveal the isolated projected image. This technique is usful when image mapping meshes. The mapped faces almost create a three dimensional tesselation illusion.
EXAMPLE OF MAPPED THREE DIMENSIONAL MESH USING THE ABOVE TECHNIQUE. 49
B
B.3.0. CASE STUDY 2.0
SERPENTINE PAVILION
BJARKE INGELS
50
LONDON, ENGLAND, 2005
This simple manipulation of the archetypal space-defining garden wall creates a presence in the Park that changes as you move around it and as you move through it. BJARKE INGLES - 2016
51
B
B.3.1. CASE STUDY 2.0
SERPENTINE PAVILION
BJARKE INGELS
52
LONDON, ENGLAND, 2016
The Serpentine Pavilion of 2016 was the design showcased by Bjarke Ingles Group. Ingles is a Danish architect whom is among one of the most well known parametric designers in the current era of architecture. The Pavilion is reflects an â&#x20AC;&#x2DC;unzipped wallâ&#x20AC;&#x2122; which transforms a relatively simple straight line into a complex form. Ingles refers to the building as being a structure which embodies united diverse themes. Such as a free form yet rigorous structure, with modular components yet it is still sculptural. One angle expresses the solid box form, the other reflexts the strong transprarency of the building.
The divided walls create a cave like canyon within the structure with immense natural light flowing in between the box structures. The site of the Serpentine Pavilion has become an international site for architectural exploration and experimentation. The great parametric architects of the 21st century have showcased innovative design here every year. Selection for the Serpentine site consistently credits architects whom push and extend the capabilities of design.
53
B
54
B.3.2. CASE STUDY 2.0
DECONSTRUCTION AND REVERSE ENGINEERING
Architects have to become designers of eco-systems. Not just designers of beautiful facades or beautiful sculptures, but systems of economy and ecology, where we channel the flow not only of people, but also the flow of resources through our cities and buildings. BJARKE INGLES - 2016
The pavilion itself is a highly buildable project as it consists of repeditive, modular elements which interlock between eachother. Construction can be errected within a number of days and all indervidual components are prefabricated and transported in a compact fashion. It is constructable and deconstructable. Modelling the Pavillion in Grasshopper includes referrencing a number of curves for the core geometry then lofting and creating a surface with them. Once this is done, it is a matter of projecting a rectangular grid along the plane of the surface.
55
B.3.2. CASE STUDY 2.0
B
DECONSTRUCTION AND REVERSE ENGINEERING SERPENTINE PAVILION
GRASSHOPPER SEQUENCE
1 1. The reverse engineering of the Serpentine Pavilion is a relatively simple procedure when approximating the end geometry. To begin, two surfaces are lofted from several curves. It is possible to vary this geometry to augment the form to any desired appearance.
56
2 2. The surfaces are then divided, then rectangular mesh is projected onto the surface. The size and increments of the boxes have the ability to change from this.
3 3. Though extensive shifting lists and culling, we can see the specific pattern start to form.
4 4. Once the combination of listings has been finalized, the geometry is extruded in relation to where the unique rectangle sits on the three dimensional surface. Therefore each individual surface is unique and holds its own extrusion value. Each units measurements are recorded individually then are sent for fabrication.
57
B B.4.0. TECHNIQUE
58
DEVELOPMENT ALGORITHMIC EXPRESSION + EXPLORATION
Parametric development is an important part of this design learning experience as it is developing the core fundamental building blocks which allow humans to communicate their design thinking through computation.
Pattern has the ability to emit emotion, which transcends into the greater environment. It is highly important that the sensations evoked from the generated pavilion structure are appropriate for the sites characteristics.
The movement towards parametric generative design is further influenced my overall design philosophy and augmented me to a point in which I believe through and thought that it is a necessity for designers to explore.
Merri Creek and the Ceres Environmental park are known for their modest, effective solutions for functional machines for agriculture and living. The entire site hosts a rustic, recycled, sustainable combination of form.
Patterns have been given a great chance to explore their potential through computation. Human error and inferior computing power within the human brain has been a set back in this design principle. Pattern has not developed in conjunction to architectural development.
To integrate and enhance the site, I aim to unite my pavilion with the precedent themes Ceres hosts.
Computation has brought a new light to pattern, computer generation allows for complex visual structures to be generated and fabricated with simple movements.
The Global Village is a locality which celebrates cultural diversity while educating the visitors of differences in living practices. This pavilion should be one which brings the nations together, host them and provide warmth.
The Ceres Community Environmental Parkâ&#x20AC;&#x2122;s Global Village is in need of a lightweight pavilion structure to be implemented into the area.
59
B
B.4.0. TECHNIQUE
DEVELOPMENT
ALGORITHMIC EXPRESSION + EXPLORATION In developing my algorithmic technique, I sort out method which best create evocative patterns and form which I believe beset represent the desired experience I wish to reflect in the light weight performance pavilion. Inspiring case studies which utilise pattern while also focusing on the intimate connection with the site and the user. My algorithmic exploration will dive into tesselation techniques, made possible with the weaverbird plug in, as well as complex form finding techniques which generate an optimum pavilion like structure. In order to achieve a lofted pavilion like structure which utilises pattern. I am going to go into extensive exploration into panelisation techniques which will provide a framing like structure to the form. Shading methods I would love to form from natural fauna, but to further utilise pattern. I will endevour to incorperate the image sampler into my design.
60
ITERATIONS
LOFTED GEOMETRY WITH WEAVERBIRD’S LOOP SUBDIVISION ITERATION 1
LOFTED GEOMETRY WITH WEAVERBIRD’S LOOP SUBDIVISION ITERATION 2
LOFTED GEOMETRY WITH WEAVERBIRD’S LOOP SUBDIVISION ITERATION 3
WEAVERBIRD INNER POLYGON SUBDIVISION
WEAVERBIRD INNER POLYGON SUBDIVISION DOUBLED
DOUBLED SUBDIVISION EXTRUDED AND MADE INTO A FRAME.
IMAGE OF RENDERED GEOMETRY TO THE LEFT
COMBINATION OF WEAVERBIRD MESHING SYSTEMS.
WEAVERBIRD MESH FROM LOFTED GEOMETRY.
61
62
RENDERED GEOMETRY’S ITERATIONS OF WEAVERBIRD ‘S MESH PYRAMID EXTRUDED IN VARIOUS LENGTHS 63
64
PIPE MESH The image below is achieved through meshing a plethora of lines which have been subjected to the pipe mesh tool. It is a simple way to create interesting geometry.
65
66
MESH FRAMED AND EXTRUDED IN THE DIRECTION OF THE MESH WHICH CREATED THE FRAMING FOR THE PAVILION
FRAME DIVIDED INTO GREATER SEGMENTS
IMAGE MAPPED SURFACES CULLED IN AN IMAGE MAPPED SURFACES CULLED IN AN ITERATION#1 ITERATION#2
IMAGE MAPPED SURFACES CULLED IN AN IMAGE MAPPED SURFACES CULLED IN AN ITERATION#4 ITERATION#5
LOFTED SURFACE GEOMETRY PROVIDED FOR IMAGE MAPPING
IMAGE MAPPED SURFACES CULLED IN AN ITERATION#3
LOFTED GEOMETRY WITH WEAVERBIRDâ&#x20AC;&#x2122;S LOOP SUBDIVISION ITERATION 1
67
B
B.4.1. TECHNIQUE - IMAGE MAPPER
DEVELOPMENT
ALGORITHMIC EXPRESSION + EXPLORATION
IMAGE MAPPER To achieve the desired experience I want to evoke, my time on the site led me to explore the various textures of note throughout the community park. One repetitive trend which echoed in my thoughts was that of the corrigated iron shelter structures scattered across the landscape. This displays natures errosion of the built form, yet it creates a rustic, seamless relationship between the built form and the natural landscape. I would be highly interested in creating this effect through the use of an image map of a surface.
68
69
70
B B.4.2. DEVELOPMENT
SUMMATION
ALGORITHMIC EXPRESSION + EXPLORATION
Exploring algorithmic expressions have enlightened my outlook on parametricism. The power in generating vivid, expressive geometry with simple gestures introduces a form finding technique for a plethora of uses. Form becomes natural, yet the process in creating this form is highly unatural. It is an inspiring process. One thing that I have gained through this exploration is extensive new experience into parametric modelling. My skills and knowledge of the process has increased significantly after exploring the various techniques aquainted through algorithmic study.
71
The new primitives are animate,
splines, nurbs, and subdividesâ&#x20AC;&#x201D; dynamic systems. PATRIK SCHUMACHER - 2010
72
, dynamic, and interactive entitiesâ&#x20AC;&#x201D;
â&#x20AC;&#x201D;that act as building blocks for
73
B
74
B.5.0. TECHNIQUE
PROTOTYPING PHYSICAL MODEL
A physical model is a set of objects which is generated from an array of materials which aim to approximate an aspect of the final proposed product. OTTO, 2001
Prototyping is an essential part of the process when it comes to parametric design. When design with computational methods, designs become near impossible to replicate with mere human production.
The level of detailed required for such algorithmic patterns can be approximated however the result will always be more precise when the chance for human error is still present. I focused my prototyping techniques into form finding methods and manual tesselation of a surface. My area of prototyping would be best suited to exploring the capabilities of a laser cutter as a big portion of my design is looking at image mapping a surface.
Unfortunately I was unable to move into computational prototyping with my proposal, however the design for my pavilion is a highly constructible structure therefore I have complete faith that it will indeed stand up and withhold stresses from natural elements.
75
B
76
B.6.0. TECHNIQUE
PROPOSAL CERES - MERRI CREEK RESERVE
77
B B.6.0. TECHNIQUE - PROPOSAL
GLOBAL VILLAGE CERES COMMUNITY ENVIRONMENTAL PARK
78
AN ARTISTIC RENDERING OF PROPOSED DESIGN.
This proposal is my vision of what I believe to be an appropriate addition and implementation to the Global Village at the Ceres Community Environment Park. To completely implement this project, the design would need to undergo thorough fabrication workings. However the geometry itself is relatively feasible as a constructible computation architectural piece. The inspiration of my design comes from the site itself, its history and values. The evoked experience from the site sent notions of passion, stainability, harmony and modesty. The people of the Environment Park appreciate what is appropriate, not what is elaborate. A pavilion structure such as this fulfills its purpose to a high degree. This light weight shell unites itself with the natural landscape while utilizing sustainable materials. Various lofting techniques equip the structure with several different surfaces with various textures which reflect the various textures experienced around Merri Creek. The image mapped laser cut panels allow for light to shine through into the shaded pavilion. These images are mapped directly from the rustic corrugated iron surfaces scattered throughout the environment park.
79
SITE ANALYSIS B B.6.1. CERES - GLOBAL VILLAGE INFORMATION SITE: LOCATION: ABOUT: BRIEF:
80
Global Village, Ceres Community Environment Park Stewart Street and Roberts Street, Brunswick East, Victoria 3057 The Ceres Community Environment Park is a non for profit community and organization whom provide insight and exploration into natural living practices and sustainable development projects. Design a lightweight performance pavilion/shelter structure which utilizes parametric form.
SALAMAT DATANG Indonesian/Malaysian Term for welcome, this creates an inviting impression to not only people from other nations but also Westerners as the provoking imagery is expressed in a comforting way.
AMPHITHEATRE The amphitheatre is a place in which the organization hosts educational lectures for school groups and various visitors. It is common that diverse cultural practices is a discussion which is explored often.
It is clear that the Merri Creek Ceres Environmental complex is a community which host a strong passion for environmental sustainability and efficient practices in agriculture and human commodity practices.
This area is often used to showcase different agricultural practices from the various cultures in focus. There is an amphitheater in which presentations and congregations often take place.
The site host rich history and culture from not only native Australian history, but also cultures from across the globe.
An obvious enhancement to this space would be the ability to provide shelter while also contributing the intimate character of the area.
The site I have chosen in specific to develop is situated toward the North end of the development. The location is entitled the Global Village. It is called this as it hosts an array of dwellings which represent cultures from across the globe. 81
TECHNIQUE - PROPOSAL B B.6.0. CERES - GLOBAL VILLAGE CREATIVE PROCESS
I was immediately drawn to the organic, vernacular nature of the site. All the pathways looked as though they were formed purely by repeated compression on the earths surface. Many of the constructed works were engulfed by the nature around them.
My goal was to create form which unites the simplistic, modest nature of the environment of Ceres while harnessing the capabilities of parametric expression. Everything has been very well used, and very well loved.
The plethora of experiences evoked from the site lead me to begin sketching out my ideas and the themes I was planning to incorporate into my design. The Site was particularly rich in various visual textures whether it be the light cast from the native gum trees, the footprints left by various chickens around. The eroded iron roofings or rammed earth walls.
Harmony. Nature. Journey. Unity. Diversity. Multiformity. History. Community. Poetry. Continuity. Passion. Spirituality. OFTEN WHEN I VISIT A SIGHT, I LIKE TO WRITE DOWN A LIST OF WORDS, A LIST OF EMOTION WHICH I EXPERIENCE THROUGHOUT MY EXPLORATION OF THE SITE. HERE IS AN EXCERPT FROM MY DOCUMENTATION.
82
83
ABORIGINAL GUNYAH
While I did not find a Gunyah at the Ceres Environmental Park, my experience there certainly inspired me to look back into Indigenous traditions of the Domus or Dwelling. The intimate connection to the land that the Ceres Environmental Park hosts, mirrors themes of which Indigenous tribes often were drawn towards.
84
85
Initial inspiration was drawn from the vernacular indigen Australian hut the Gunyah. While this is a highly adapted found through computation - it echoes the tradition arch from the area.
86
nous d form hitecture
87
88
Initial inspiration was drawn from the vernacular indigenous Australian hut the Gunyah. While this is a highly adapted form found through computation - it echoes the tradition architecture from the area.
89
B B.7.0. LEARNING OUTCOMES
REFLECTION 762078
90
While many areas of my parametric exploration may be further in depth than others, I highly believe that the light weight pavilion structure proposed is one which would carry forward into the environment of the Ceres Community and Environmental Park and reflect the very motifs which we experience in our first visit to the site.
Unfortunately my prototyping ability was not tested in relation to the parametric process, however I have had experience in generating surface which were to be laser cut. Therefore in relation to the image mapper, there wasnâ&#x20AC;&#x2122;t a great deal of experience to gain from prototyping the image mapped surface.
Situating in the educational center of the Global Village, the Light weight performance pavilion seeks out to unite guests and residents. Inspired by the Indigenous dwelling, the Gunyah, the Performance pavilion aims to provide comfort, while being a neutral addition to the natural environment around it. The sheltering acts in varying effects, however it will often morph and adapt as the seasons change.
The geometry and structure itself would likely be prototyped using interlocking panels which would be fabricated individually then assembled as a frame.
My own computational development within part B centered around furthering my abilities with Grasshopper. While it has been a process of much struggle, it certainly has been a empowering experience, as I now know fundamental skills which allow me to enhance my own generative skills through basic algorithmic relationships.
In summation, Part B has inspired me to research more into the possibilities of computational design. Whether it be the core geometric compostion of a design, or used purely as an inspiration for other form, the algorithmic software certainly is a gateway into a whole new realm of possibility. Architects have been given a very powerful new generative tool which is an absolute essential communication method in human development.
91
92
B B.8.0. ALGORITHMIC SKETCHES 93
94