Studio Air Journal by Danica Yee

AIR DANICA YEE 541737 SEMESTER 1 2013 STUDIO EIGHT TUTORS: GYWLL & ANGELA

ABOUT ME

i. I am Danica Yee and I am currently studying my third year of a Bachelor of Environments degree majoring in Architecture at the University of Melbourne. I have been interested in the field of art and design since I was fifteen, and my first taste of the design world was working at Tonya Hinde Interior Design as part of the work experience program in year ten. Tonya Hinde Interiors shared an office space with the architectural firm Billard Leece Partnership and thus, I was able to briefly explore an architectural practice. My love for design continued into VCE as I undertook Visual Communications and Design as part of my coursework. I was placed in the top 150 shortlist for the VCE Top Designs exhibit in the year 2011. Throughout my bachelorâ&#x20AC;&#x2122;s degree, I have been interested in designing unique projects, while still maintaining a fascination with historical architecture -in particular- modern architecture.

Thus far, I have been developing my skills in several computer modelling and drawing programs including Photoshop, InDesign and Illustrator from the Adobe Creative Suite; AutoCAD; Google Sketchup; REVIT; Rhinocerous, and more recently, the Grasshopper plug-in. During my university degree, I have also had the opportunity to intern at an architectural firm. Earlier this year, I went to Singapore for two months to intern with ID Architects. In the office, I became much more familiar with AutoCAD, REVIT and Google Sketchup. I was able to work on several projects, preparing renders, presentation layouts and doing some interior design. It was a great oppotunity that gave me a taste of what it was like to work in an architectual firm. I hope to continue my architectural studies into the Masterâ&#x20AC;&#x2122;s level. I am keen to continue to explore new and innovative approaches to design, and to continue to develop my skills in computational design.

INTRODUCTION

PAST EXPERIENCES

y first taste of architectural modelling through digital means was while undertaking the Virtual Environments course in 2011, in my first year at the University of Melbourne. Since then, I have sought to build my knowledge and skills in CAD and modelling softwares wherever possible, utilizing the opportunities given to me by other studios to develop these skills. Studio Air is an interesting and unique course in that we are able to explore parametric modelling, in a more abstract, theoretical sense, through exploring its place in architectural discourse, as well as in a practical way, through the design proposal for Wyndham city. I am keen to further develop my computer software skills through this course as well as furthering my understanding of past, current and possible future architectural discourse in the process.

INTRODUCTION

PART A

CASE FOR INNOVATION

CONTENTS A.1 Architecture as a Discourse ..............................6 A.2 Computation in Architecture ........................16 A.3 Parametric Modelling .........................................20 A.4 Algorithmic Explorations ..................................26 A.5 Conclusion ...............................................................28 A.6 Learning Outcomes ............................................29 A.7 References ................................................................30

A.1 ARCHITECTURE AS A DISCOURSE

A 6

rchitecture has been viewed through many lenses. Some view architecture as art [1], a three-dimensional medium through we express context or symbolism. Some view architecture as structure, simply a device that houses specific functions. This debate between the relationships of form and function is an age old one that seems to lean either way depending on shifting stylistic ideals of the time. Whilst Renaissance architects were focused on architecture more as an artform as they employed embellishments and decorative motifs to ornament their buildings, modernist architects returned to a strictly functional view of the building.

platform for one’s ideas and views on a subject to be put forward. [1] The field of architecture is currently a platform for many designers to explore and test their own ideas, as well as communicate these working ideas to those interested in participating in the discourse. Neri Oxman’s work focusing on biomimicry, for example, challenges the design approach of many in the field. Her discourse is that biomimetic architecture is the way forward if we are to use materials and resources in the most efficient ways possible in the architectural practice. [4] The Wyndham City brief calls for a piece of architecture that ‘...will have longevity in its appeal, encouraging ongoing interest in the Western Interchange by encouraging further reflection about the installation beyond a first glance.’ [5] This suggests that the piece of architecture is to present an idea to the public, in the hopes that a discussion is generated surrounding this discourse. Thus, this Wyndham Gateway project is a great opportunity to convey an idea or thought to engage the community of Wyndham, and the greater public.

Architecture cannot be reduced therefore to simply form or function. While indeed it does serve functional purposes and possess aesthetic qualities, architecture should be approached as a platform for discourse. [2] Discourse is the communication of thoughts or ideas. It is the formal discussion of a subject. [3] Architecture can therefore be viewed as a

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[1] MONOCOQUE 2 BY NERI OXMAN, 2007, MUSEUM OF MODERN ART, NY A.1

PENLEIGH AND ESSENDON GRAMMAR SCHOOL MCBRIDE CHARLES RYAN ARCHITECTS ESSENDON, VICTORIA, AUSTRALIA 2011

enleigh and Essendon Grammar’s Junior school for boys is a well-established school located in Essendon that has grown organically over the years, to include an eclectic mix of old and new buildings and facilities on its property. [6] The two-storey building designed by McBride Charles Ryan (MCR) houses years five and six boys in a new facility encouraging play, fascination and imagination. [6]

expelled through a thermal chimney [7]. This façade fits contextually within the Essendon neighbourhood as many of the surrounding houses are historical Edwardian style homes, however, its dark and abstracted nature also creates intrigue and contrast in a suburb of sameness. As these facades are very unusual, innovative and arguably even radical, the architects had to engage in lengthy discussions with the client in order to continue with this design concept. [6]

The facades are possibly the most striking features of the building, with all four facades possessing different characteristics; the silhouetted “haunted house”, the “Brutalist-esque” south façade, the Shinto Shrine-esque north façade and the “circus marquee meets Federation grandstand” façade facing west onto a sports area. The “silhouetted haunted house” façade facing Nicholson Street is created from a flattened abstraction of the wellknown Federation house designed by Beverley Ussher. [6] The idea was to create a “Harry Potter-esque” building, sparking intrigue, fantasy and imagination in students. [7] This flattened Edwardian façade is extruded horizontally, providing a very interesting form on the interior of the building. These extrusions equate to curvaceous and cloud-like ceiling shapes on the interior of the building that is not only aesthetically interesting but also functional as it allows for air to be drawn from the south façade and hot air

The final built design offers much to architectural discourse as it isn’t just an interesting form or innovative design in the realm of educational architecture, but it can be evaluated in terms of its current use and functionality in its everyday life as a school. The design of this building will continue to be appreciated due to its unusual approach in pedagogical design. Although the building remains quite ‘traditional’ in terms of containing distinct classrooms, the way in which MCR has approached this design is definitely with the childrens’ imagination and growth in mind. This building presents a shift in thinking about schools as serious places of education towards a more playful, creative space where the imaginations and fantasies of children are encouraged to run wild.

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[2] PENLEIGH AND ESSENDON GRAMMAR SCHOOL, NICHOLSON STREET FACADE

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[3] SOUTH FACADE

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[4] INTERIOR OF CLASSROOMS

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WINERY GANTENBEIN GRAMAZIO & KOHLER (+BEARTH & DEPLAZES) FLASCH, SWITZERLAND, 2006

T 12

his building was constructed for a small vineyard in Switzerland as a new service building, consisting of a large fermentation room for processing grapes, an underground cellar for storing wine barrels and a roof terrace for wine tastings and receptions. [8] Bearth & Deplazes Architects designed the building, but Gramazio & Kohler were asked to design the façade. The storage room had particularities that needed to be adhered to in order that the fermentation process of the wine would work well. The structure is of concrete, with brick infill, however, the bricks had to be offset so daylight could penetrate through the gaps. [9] This led to the development of a robotic production method to assist in precisely laying the bricks to programmed parameters to satisfy required angles and intervals for the fermentation process to be carried out. [9]

form a distinct image that plays with the viewer’s sense of depth, colour and plasticity to convey a ‘basket filled with grapes’. [8] Through the use of computation, Gramazio & Kohler were able to simulate grapes falling into a basket until they were closely packed. This was then transferred to the rotation of the individual bricks. [8] The design is not only appreciated by occupants and viewers of the space, it is also a precedent for many architects and engineers in the manufacturing process of the façade. Gramazio & Kohler designed a robotic system for brick laying as well as a unique automated process for applying the two-component bonding agent that was required as each brick had a different and unique overlap. [9] Thus, this building is functional as well as beautiful and interesting, conceptually and aesthetically, capturing the nature of the vineyard with the grape-like forms imprinted onto the façade of the design.

Due to the angles of the individual bricks, each brick takes on different degrees of lightness to

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[5] WINERY GANTENBEIN, PARAMETRICALLY MODELLED SIMULATION TO DETERMINE FACADE PATTERNING

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[6] WINERY GANTENBEIN FACADE

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[7] WINERY GANTENBEIN FACADE BRICKWORK

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A.2 COMPUTATIONAL ARCHITECTURE

omputational architecture is a relatively recent practice that allows designers to employ computing techniques in the design process. The design process is what we engage in when the current situation is different from the desired situation and the actions needed to transform the current to the desired are not immediately apparent. [10] Although computers alone cannot engage with the design process, computing, coupled with human creativity, exploration, dynamism and thought can work together to produce an effective design outcome. [10] Computing allows designers to bring to life their ideas, particularly aiding the realization of ideas that are beyond the scope of analogue processes to engage with designs that are more playful, more complex, more novel, more intelligent, and allowing designers to create many quick iterations and variations of the design. [10]

the modelling of the design. [10] The incoming changes and growth to computational design is the ability for computing to become less about manual inputs and typing and more about “accessible pictographic forms of automation” [10] Although computational design may be moving toward the more specific, design as a field is becoming more conglomerate as each field seeks to inhabit ‘transdisciplinary territory’ with other fields of design, allowing the flow of ideas, inspiration and techniques to affect an area of design that it previously may have remained separate from to produce a new ‘freshness’ in design. [11] In the past, engineers, architects and other consultants working on a single project worked in isolation. With the introduction of computer aided design (CAD), architects and engineers are able to ‘narrow the gap’ between their respective roles. [12] These digital tools allow for feedback and change in the design process, and allow each party to make consistent changes in the design. [10]

Computing has become more and more useful and applicable since it’s integration into the architectural world. With programs like Rhino and Grasshopper, computer modeling is accessible and will continue to become more accessible as designers further explore the realm of computational design. [10]In essence, the design process will become more interactive. Computational design will no longer be limited to firms that are ‘avant-garde’ or experimental but it will become a widely used tool due to its increased efficiency in creating performative iterations of a design and allowing for flexibility in

Computation allows design to become more precise and more complex. The mathematical background of the computational designer allows for designers to become more pedantic about the geometries that are created. Whether it is topology or specific forms of tessellations, geometries can be manipulated precisely to the designer’s specifications through computing. [10] New geometries with new parameters can now

A.2

be modeled through digital means, envisioning new structural forms such as Greg Lynn’s “blob” form [13], defined in relation to its parts through attraction and detraction points. [14] Computation is useful in allowing the designer to evaluate certain performance criteria of the design. This allows for further exploration into new construction materials, new construction technologies and new ways of using existing materials. This is evident for example, in the previously discussed Winery Gantenbein by Gramazio Kohler (see pages 12-15). Designers are able to close the gap between what is envisioned and what is possible in the material and geometric sense. UN studios were able to use concrete in an innovative twisting form due to the ability of computation to evaluate performance criteria. [15] They were able to simulate concrete properties in order to test the performance of this material in their intended application in several of their buildings, including the Centre for Virtual Engineering (ZVE) in Stuttgart, Germany. [15] Computation allows for designers to test out performative outcomes of their designs, and quickly produce several iterations of the same model. This increased efficiency and flexibility in design means that the creation of entirely new architectural forms, geometry and ways of constructing these new forms are able to emerge from the architectural field.

[8] CENTRE FOR VIRTUAL ENGINEERING (ZVE) PARAMETRICALLY MODELLED TO TEST PERFORMANCE OF CONCRETE

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[9], [10] BLOB WALL BY GREG LYNN, 2005, LOS ANGELES, USA

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[11], [12] CENTRE FOR VIRTUAL ENGINEERING (ZVE) BY UN STUDIO, 2006-2012, FRAUNHOFER INSTITUTE, STUTTGART, GERMANY,

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A.3 PARAMETRIC MODELLING

he demise of the modern age of machinedriven architectural design has led to architects and designers exploring new and innovative design processes and styles through which they are able to establish a new language for this era in architecture.

Other critiques about Schumacher’s ideas about parametric modeling is that it cannot be coined as a ‘style’ as it refers to one method of computing design, thus it is one of the many ways by which we are able to create a certain design, not an overriding ‘style’ with a set of rules that can be applied. [18]

In Patrik Schumacher’s 2008 Manifesto on Parametric Design, Schumacher presents parametricism as a new ‘style’ for the world of architectural design. [16]It is a new ‘designresearch effort’ and new paradigm for thinking about architecture. [16] Schumacher claims that parametricism is an epochal style that is the ‘solution’ to the demise of modernism and transitional styles of post-modernism and deconstructivism. [16] Parametricism, in essence, is about relationships. It is a language of splines, nurbs, subdivis, made into blobs, metaballs and other previously indefinable geometric entities. [16] These entities are put together or pulled apart by attractors as these geometric configurations resonate with each other via scripts. [16]

Through recent projects however, it can be seen that parametricism is not just an aesthetic style, but has the potential to create new ideas about functional spaces (as the modernist period did for the open plan layout) and change the way people view spaces. The Mercedes Benz Museum by UN Studio, for example, is able to challenge more ‘standard’ forms already present in the architectural realm to not only create a uniquely defined geometric space, but also enable the configuration of new functional spaces within the building. [19] Parametric design allows designers more control over what forms are produced. As new construction technologies are invented and designers are able to employ the use of scripting in order to create what they envision. [16]

Those who critique Schumacher’s views towards parametricism argue that the flaw in his view is that he views parametricism simply as a design style.[17] The modernist movement was driven by the ideologies of the ‘machine age’, where architects were interested in driving change not only in a stylistic sense, but also in a social way, changing the way people interacted with their surroundings Le Corbusier’s idea for the house as a “machine for living in” was an example of this ideology. [17]

As the Wyndham City brief calls for innovation in design, the approach of parametric modelling offers an opportunity to contribute to the discourse of parametricism and architecture at large. It provides new ways to construct and create architectural geometries, form and language. It also offers the opportunity for architects to work from a more interdisciplinary approach, creating designs, which are more true to their original intent. [10]

A.3

SCRIPT 1

21 SCRIPT 2

DIVERSITY DERIVED FROM A SINGLE SCRIPT

A.3

LA SAGRADA FAMILIA ANTONI GAUDI BARCELONA, SPAIN, 1882-

a Sagrada Familia is a project that has been under construction for more than a century and moved from traditional methods of design, construction and communication into parametric modeling in more recent years. [20]Computerization of models began in the late 1980’s and by 1995, during the design and construction of the columns in the triforium that parametric modeling was employed by the design team to aid with creating accurate geometric representations according to Gaudi’s original plaster scale models. [21] Parametric modeling was able to assist designers to create quick iterations in order to quickly create models and sketches that are the truest to Gaudi’s [22]. It also gave space for the design team to ‘collaborate’ with Gaudi posthumously, as Gaudi himself encouraged his predecessors to interact with his design process. [21] Parametric modeling allowed designers to define Gaudi’s complex geometric configurations, and to determine a spatial strategy for the columns, as well as work out inclinations for each column. [21] Parametric design was also used when designing the nave roof and rose window. The advantages of parametric modeling were the ability to blend traditional craft, while driving the design ‘numerically’ and efficiently. [23] This parametric modeling process allowed a more accessible collaboration between designers, stone masons, engineers etc. as models generated were understood by all and precise measurements and geometries were easily interpreted by each discipline, saving time, lowering costs and enabling the design to remain as true as possible to Gaudi’s original intents. [24]

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[13], [14], [15], [16] NAVE ROOF PARAMETRIC MODELS

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MERCEDES-BENZ MUSEUM UN STUDIOS STUTTGART, GERMANY, 2001-2006

T 24

he Mercedes Benz Museum by UN Studios was cutting-edge in its use of parametric modeling to assist with the design of its twisting form that defines large column-less spaces inside to house the vehicles on display. [25] As the form of the building was so unique, traditional 2D methods were not enough to fully analyze the design and buildability of the model, so parametric modeling was used to help design the twisting concrete work, and in particular, the steel reinforcements encased inside the buildingâ&#x20AC;&#x2122;s compound curves. [19] While the simpler elements could be developed through traditional 2D shop drawings, a team of experts modeled the compound curves parametrically. [25] The use of computerization also allowed a unique construction process. Spatial co-ordinates were used to place the individual formwork elements onto the construction site through the use of a Global Positioning Device (GPS). [19] The team that worked on this project was also very large, and thus, working parametrically again allowed for easy access and interpretation of the design across all disciplines. [26]

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[17] MERCEDES BENZ MUSEUM INTERIOR TWISTING CONCRETE A.3

A.4 ALGORITHMIC EXPLORATIONS

FIG 1A & B:

hese images represent the most interesting explorations in my parametric modelling learning so far:

FIG 1A + B: Demonstrates a pattern created with circles on a square grid of a referenced image. This algorithm is useful in creating patterns of different kinds, for example, being inspired by a certain natural process or biomimicry would be easy to abstract into a pattern using this modelling script as the reference image can be modelled directly into a pattern.

FIG 2: Many recent architectural projects are using parametric design to create gridshells; for example, the British Great Court by Foster + Partners and the Savill Gardens by Glen Howells architects. I was excited to learn to create this gridshell form as it is one exploration that is most directly applicable to architecture. FIG 3A + B: Demostrates different geometric outcomes of the voronoi algorithm. I have chosen to overlay different surfaces on top of each other, and intersecting each other on different planes and shown the resulting pattern here. This exploration demonstrates parametric modelling as defined by relationships.

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FIG 2:

FIG 3A & B:

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A.5 CONCLUSION

P 28

arametric design is innovative as it enables the creation of new geometries, the use of new structural systems and the implementation of new construction technologies. The result is an architectural language and style that is unique and fresh, steering clear of rigid, traditional forms. The parametric design approach employed for this project therefore will be cutting-edge design, highlighting the City of Wyndham as a forwardlooking, modern municipality. Parametric design is not defined by its aesthetic qualities, but also by its ability to test out new forms, new materials, new geometric configurations and new construction methods, thus placing the City of Wyndham at the centre stage of current architectural discourse. The sculptural installation will generate much dialogue and interaction, bringing economic, cultural and social change and growth to the area.

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A.6 LEARNING OUTCOMES

efore beginning this course, I had never distinguished the difference between computerization and computing methods. I have come to understand computing as a tool that helps manipulate and steer our design processes, and in a way even dictate to a certain extent, the final outcome of the design in terms of form, geometries, materiality, construction processes etc. In contrast, computerization is simply taking an analogue idea, sketch or design and mapping it out on a computer, without allowing the computerization process to affect much of the design outcome. I have learnt however, that these two processes may not be as distinctly different in practice as they are in theory, as some designers choose to employ both methods at different stages of the design process (for example, while some argue that Zaha Hadid’s firm designs parametrically through computing, others refute this saying that Hadid simply employs computerization techniques to map out already formulated ideas).

I have also come to understand parametric modeling and how it fits within the architectural discourse at large. It is interesting to see the various points of view on the issue, with some like Patrik Schumacher who believe that parametricism is new epochal style of architectural design of this age, while others believe that parametricism lacks the driving force of ideology and social change as seen in previous epochal styles such as modernism, and that it is simply one of the methods through which new architectural forms can be created and not a style that ‘defines’ the form necessarily. I have learnt about new forms such as ‘the blob’ as created by Greg Lynn, and the theory behind their design. I have also learnt some new skills with regard to parametric modeling in Rhinocerous and Grasshopper and see the ease through which new geometric configurations and patterning systems can be created. I believe that this studio is a learning curve and that I am simply at the beginning of understanding this new language that is parametricism.

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REFERENCES NOTES PART A

[1] Williams, R. ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), pp. 102 - 116. [2] Schumacher, P. ‘Introduction : Architecture as Autopoietic System’, in The Autopoiesis of Architecture (Chichester: J. Wiley, 2011), pp. 1 - 28. [3] Williams, ‘Architecture and Visual Culture’ [4] Oxman, N. “Designing Form” (2010). Available: [Online] http://www.youtube.com/watch?v=txl4QR0GDnU (accessed 8th April 2013)

[5] Wyndham City Western Gateway Design Project Document. Available: [Online] http://app.lms.unimelb. edu.au/bbcswebdav/pid-3815738-dt-content-rid-10327484_2/courses/ABPL30048_2012_SM1/Project/ Project%20Document%20-%20COMMENTED.pdf [6] Phillips, C. (2011) Black Magic, Architectural Review Australia 121: 46-53 [7] Mcbride Charles Ryan, [Online] Available: http://www.mcbridecharlesryan.com.au/#/projects/pegs-junior/ (Accessed: 21st March 2013) [8] ArchDaily, “Winery Gantenbein / Gramazio & Kohler + Bearth & Deplazes Architekten” 09 Aug 2012. ArchDaily. [Online] Available: http://www.archdaily.com/260612 (Accessed: 21st March 2013) [9] Gramazio & Kohler, “Winery Gantenbein” [Online] Available: http://www.gramaziokohler.com/web/e/ projekte/52.html (Accessed: 21st March 2013) [10] Burry, M. (2011) Scripting Cultures, West Sussex: John Wiley & Sons Ltd [11] Ednie-Brown, P. (2013), On a Fine Line: Greg Lynn and the Voice of Innovation. Archit Design, 83: 44–49. doi: 10.1002/ad.1523

REFERENCE

[12] Carpo, M. (2013), The Ebb and Flow of Digital Innovation: From Form Making to Form Finding - and Beyond. Archit Design, 83: 56–61. doi: 10.1002/ad.1525 [13] Lynn, G. (2007), Blobwall [Online] http://glform.com/environments/blobwall, (Accessed on 21st March 2013) [14] Massumi, B. (2013), Becoming Architectural: Affirmative Critique, Creative Incompletion. Archit Design, 83: 50–55. doi: 10.1002/ad.1524 [15] UN Studio, “Centre for Virtual Engineering (ZVE)” [Online] Available: http://www.unstudio.com/projects/ zve-fraunhofer-institute (Accessed: 24th May 2013) [16] Schumacher, P. (2010) ‘Patrik Schumacher on Parametricism: Let the style wars begin”, Architects Journal (accessed 30th March 2013) Available: [Online] http://www.architectsjournal.co.uk/the-critics/patrikschumacher-on-parametricism-let-the-style-wars-begin/5217211.article [17] Davis, D. (2010) ‘Patrik Schumacher-Parametricism’, Design Morphogenesis Blog (accessed 30th march 2013) Available: [Online] http://www.nzarchitecture.com/blog/index.php/2010/09/25/patrik-schumacherparametricism/ [18] Mayer, A.N (2010) ‘Style and the Pretense of “Parametric Architecture” (accessed 8th August 2012) Available: [Online] http://adamnathanielmayer.blogspot.com/2010/06/styleandpretenseofparametric.html. [19] UN Studio “Mercedes Benz Museum” Available: [Online] http://www.unstudio.com/projects/mercedesbenz-museum (Accessed 30 Mar 2013.) [20] Burry, M. (1998) “Gaudi, Teratology and Kinship”, Architectural Design: Hypersurface Architecture, WileyAcademy, Chicester: United Kingdom, pp 38-43 [21] RMIT University (2007) ‘Triforium’ Temple Sagrada Familia: Research into Antoni Gaudi’s unfinished design (accessed 30th March 2013) Available: [Online] http://sagradafamilia.sial.rmit.edu.au/Past_Work/Triformium.php

REFERENCE

REFERENCES NOTES PART A

[22] RMIT University (2007) ‘Clerestory Window’ Temple Sagrada Familia: Research into Antoni Gaudi’s unfinished design (accessed 30th March 2013) Available: [Online] http://sagradafamilia.sial.rmit.edu.au/Past_Work/Clerestory_Window.php [23] RMIT University (2007) ‘Nave Roof ’ Temple Sagrada Familia: Research into Antoni Gaudi’s unfinished design (accessed 30th March 2013) Available: [Online] http://sagradafamilia.sial.rmit.edu.au/Past_Work/Nave_Roof.php [24] RMIT University (2007) ‘Rose Window’ Temple Sagrada Familia: Research into Antoni Gaudi’s unfinished design, Available: [Online] http://sagradafamilia.sial.rmit.edu.au/Past_Work/Rose_Window.php (accessed 30th March 2013)

[25] Basulto , D. “Mercedes Benz Museum / UN Studio, photos by Michael Schnell” ( 2010) ArchDaily. Available: [Online] http://www.archdaily.com/72802 (accessed 30 Mar 2013.) [26] Gonchar, J. “Zoomy Mercedes-Benz Museum ties curvy structure with complex spatial configuration” Available: [Online] http://archrecord.construction.com/features/digital/archives/0611dignews-1.asp (accessed 30 Mar 2013.)

IMAGES PART A

[1] Monocoque II Oxman, Neri, 2007. Available : http://web.media.mit.edu/~neri/site/projects/monocoque2/files/smallimage_01. jpg (Accessed 11th May 2013) [2], [3], [4] Penleigh Essendon and Grammar School McBride, Charles, Ryan, 2011. Available: http://www.mcbridecharlesryan.com.au/#/projects/pegs-junior/ (Accessed 11th May 2013) [5], [6], [7] Winery Gantenbein Gramazio + Kohler, 2006. Available: http://www.gramaziokohler.com/web/e/projekte/52.html (Accessed 11th May 2013) [8] Centre for Virtual Engineering (ZVE) UN Studio, 2012 [Online] http://unstudiocdn3.hosting.kirra.nl//uploads/original/a377f9f1-9944-4625-bddf-6d65 3fb47b36/1308560761(accessed 30th March) [9], [10] Blobwall Lynn, G. 2007, Blobwall [Online] http://glform.com/environments/blobwall, (Accessed 21st March 2013) [11], [12] Centre for Virtual Engineering (ZVE) UN Studio, 2006-2012, “Centre for Virtual Engineering (ZVE)” [Online] Available: http://www.unstudio.com/ projects/zve-fraunhofer-institute (Accessed: 24th May 2013) [13], [14], [15], [16] La Sagrada Familia RMIT University (2007) ‘Nave Roof ’ Temple Sagrada Familia: Research into Antoni Gaudi’s unfinished design, Available: [Online] http://sagradafamilia.sial.rmit.edu.au/Past_Work/Nave_Roof.php (accessed 30th March 2013) [17] Mercedes Benz Museum Schnell, Michael (2010) “Mercedes Benz Museum / UN Studio” [Online] Available: http://ad009cdnb.archdaily. net/wp-content/uploads/2010/08/1281541644-foto-08.jpg (Accessed 24th May 2013)

PART B

DESIGN APPROACH

CONTENTS B.1 Design Focus ...........................................................36 B.2 Case Study 1.0 ........................................................40 B.3 Case Study 2.0 ........................................................44 B.4 Technique: Development ..................................48 B.5 Technique: Prototype............................................52 B.6 Technique: Proposal ..............................................58 B.7 Algorithmic Sketches ...........................................62 B.8 Learning Outcomes & Objectives ................64 References ..........................................................................66

B.1 DESIGN FOCUS

arametric modelling, as discussed in Part A of the journal, is a model for design that is determined based on relationships between components and elements. Choosing to focus on this fundamental aspect of parametric modelling, we have chosen biomimicry as our design focus, as elements in nature behave in a certain way due to its relationships with other elements.

Wyndham city is interested in the idea of movement and change and since biomimicry is about imitating ‘life’, this design approach also lends itself to creating a sense of movement, dynamism, change and life. As an intital exploration into biomimetic design, geometries inspired by the phyllotaxis pattern found in nature was created as a grasshopper definition using a voronoi patterning component. This particular definition is able to be varied in numerous ways, showing the diversity that the design approach of biomimcry possesses to create geometries that showcase a sense of movement, dynamism and change, while remaining incredibly efficient.

Biomimetic design is not a new concept. People have been taking a cue from natural processes and the way in which they interact with one another to inspire and influence their designs for many years now. Take for example, the airplane, that took inspiration from the form and structure of the bird in order to allow humans to participate in flying. However, parametric design has been a catylst for many designers to return to biomimicry as a design approach, as new digital technologies allow for greater accuracy in calculations, in detail, in generating geometry and in simulating relationships between elements.

Our biomimetically modelled design will incorporate an exploration into the field of interactive and responsive architecture. Through digital computation, information that may be unseen or unrealised can now be materialized and simulated. Interactive and responsive architecture has a great potential to create discourse as people are able to be apart of the generated output design.

Biomimicry is a design approach that places emphasis on form finding through first analyzing material qualities and environmental constraints. It is an efficient way to design as it’s inspired by design in nature that is often multifunctional in characteristic. [1]

Thus, our design approach through the field of biomimicry will explore aspects of geometry, structure and form in nature and furthermore, will explore responsive and interactive design to engage motorists, locals of Wyndham city, and the general public. This design will explore ideas and concepts that will place Wyndham city at the forefront of architectural discourse, attracting many people in Melbourne, in Australia and even worldwide to participate and engage with the City of Wyndham.

It is an approach that will be aligned with Wyndham’s values of the conservation of natural landscapes and resources. The ability to create abstracted forms inspired by nature is able to create efficiency in the design through combining aspects of function and form, while also provoking reflection and thought from observers.

B.1

PHYLLOTAXIS PATTERNS

B.1

FIBROUS TOWER KOKKUGIA 2008

This tower is inspired by an exoskeleton structure. It is an experimental design concept for a tower that is concerned with structural and tectonic qualities in a single shell and is multifunctioning as it combines both ‘performative’ (functional) and ‘ornamental’ (form) aspects in one structure. The tower form is generated algorithmically through cell division according to the geometry of the tower, and its form has structural properties in and of itself, thus there is no need for discrete structural elements such as columns within the building. This design ensures minimal wastage during the construction process and thus a smaller impact on the environment as it can be constructed through conventional formwork methods, using reinforced concrete as a primary material. [2]

[1]

CANOPY UNITED VISUAL ARTISTS TORONTO, CANADA, 2010 Canopy is inspired by the leaves atop tall trees in a forest, and the way that their arrangement allows dapples of light to filter through to the forest ground. It is a light sculpture spanning the front façade of a building and demonstrates abstraction of leaf geometries reflected in nature. The installation is made of thousands of modules, organized in a non-repeating growth pattern, which could be modeled parametrically through various algorithms, for example, the voronoi pattern. [3]

[2] B.1

HYLOZOIC SOIL PHILIP BEESLEY MONTREAL MUSEUM OF FINE ARTS, 2007 This is an example of interactive and performative architecture, as it is controlled and influenced by the surrounding conditions. This is a parametrically modelled installation fabricated digitally to resemble a forest-like system. The lightweight acrylic skin is fitted with Arduino sensors that gather information about the movements of people throughout the installation. This information is sent to actuators to control the movement of the pores to brush up against people participating in the exhibit. [4]

[3]

THEATRE OF LOST SPECIES FUTURE CITIES LAB SAN FRANCISCO, CALIFORNIA, 2013 This architectural piece is another interactive and performative piece of design. It is an installation fitted with viewing cones that invite participants to look through and see sea creatures that are now extinct. The movement and behaviour of these sea creatures are dictated by the movements of the people walking past the installation. This â&#x20AC;&#x2DC;theatreâ&#x20AC;&#x2122; uses Arduino sensors to collect the information. During the prototype and design process, Rhinocerous, the grasshopper plug-in, the Firefly plug-in and the kangaroo plug-in were all used to gather and manipulate the output data. [5]

[4] B.1

B.2 CASE STUDY 1.0 SPANISH PAVILION FOREIGN OFFICE ARCHITECTS EXPO, NAGOYA, JAPAN, 2005

he Spanish Pavilion designed by Foregin Office Architects for the 2005 Expo in Nagoya, Japan exhibits a building clad in a hexagonal pattern generated through algorithmic design.

with changing the black and white image provided to cull the points and also the extents to which the image was affecting the grid points. We also explored changing some of the mathematical definitions of the script. We then proceeded to graft or morph the 2D pattern onto a 3D lofted surface, and then further explore the pattern in a 3D space; for example, we were able to explore piped linework, offsets and lofting between certain hexagons as defined by the cull component. We were finally able to extrude the surfaces as well to create forms that could potentially be built as an architectural installation.

The hexagonal pattern is culled through algorithmic design, leaving certain hexagons extruded and hollow and others as flat hexagonal tiles. The culling is also able to assign colours to each individual tile, creating the desired overall effect of patterning.

This design is biomimetic as it exhibits growth and change in the patterning. The dynamism in the pattern derived from the culling of the pattern through scripting. This same method of pattern-making through culling can be used in the Wyndham City project in order to convey ideas of change, growth, and forward-thinking. This particular approach is diverse and allows for greater exploration, and in particular, the regular cuboid form employed by Foreign Office Architects can be challenged and re-designed to more appropriately address the Wyndham city brief.

These five basic explorations and their iterations were chosen because we felt they were able to show the diversity of what we explored in generating the pattern-work and to what extent each individual pattern affected the 3D forms. Some of the other â&#x20AC;&#x2DC;failedâ&#x20AC;&#x2122; patterns that were created with very irregular hexagons generated angular and overlapping shapes that did not lend it to being grafted onto a 3D surface. We were always keeping the idea of biomimicry in mind, in particular, to create patterns and forms that can be translated into an architectural installation for the Wyndham city project.

e understood the given grasshopper definition as a basic hexagonal 2D grid, that is flexible in the polygonal geometry of the hexagon, and the points of the grid are culled in order to determine the offset of certain hexagons within the grid to produce a pattern. Thus, we decided to firstly explore the 2D grid, and what sort of patterns could be produced by altering the existing grid. We experimented

Our final iterations presents 3D forms that take the original definition from being a 2D pattern to forms that could be translated into 3-dimensional reality, especially in this Wyndham project. This patterning system allows for interaction with the natural context including elements such as light and wind.

B.2

[5] SPANISH PAVILION, FOREIGN PFFOCE ARCHITECTS, JAPAN, 2005 EXTERIOR VIEW SHOWING THE EXTRUDED HEXAGONAL CULLED PATTERN

B.2

CASE STUDY 1.0 MATRIX 1

42 C

B.2

PATTERNING A. Supplied pattern (image sampling) B. Larger offset and different culling pattern C. Striped pattern applied to offsets D. Skewed grid with larger hexagons and different pattern applied to cull E. Skewed grid with smaller hexagons and different pattern applied to cull

APPLICATION 1. Modify original pattern 2. Apply pattern to a 3D surface 3. Pattern on surface is extruded 4. Pattern culled using image sampling 5. Larger hexagons piped and offset 6. Linework piped and extruded

B.2

B.3 CASE STUDY 2.0 FIBROUS TOWER II KOKKUGIA 2008

fter Case Study 1.0, focusing on patterning rather than structure, in looking at the Spanish Pavilion, we decided to choose a Case Study that would allow us to focus more on structure, while simultaneously allowing us to delve into patterning and applying the method of culling to create different patterning definitions. We chose Kokkugia’s Fibrous Tower II explorations in order to inform our explorations.

thus allowing greater control over the 2D voronoi pattern. Curves were fit into the voronoi cells in order to create a pattern that resembled cell division, much like Kokkugia’s Fibrous Tower. These organic shapes were then extruded and applied onto the 3D cylindrical lofted surface to resemble Kokkugia’s design. Although we were not able to completely match the structure of Kokkugia’s tower, we were able to explore varying patterning on the surface of the design that was very different to the patterning explored in Case Study 1.0. While the patterning in Case Study 1.0 was made primarily of hexagonal shapes, this one exhibited a more curvilinear shape as the ‘base shape’, that was able to be manipulated further. We explored condensing and also stretching the pattern in order to create a more complex, or more simplified skeletal structure. We also explored with forms that were not closed completely, but were either joined at a seam, or did not join at all and create a semicylindrical overall form.

Kokkugia’s Fibrous Tower II is an ongoing experiment into the skeletal form that provides not only structure but also acts as the skin for a possible building type. It provides ‘ornamental, structural and spatial order’ [6] and is generated through algorithmic design.

e employed reverse engineering techniques to attempt to reconstruct a definition that generates a model that is similar to Kokkugia’s Fibrous Tower II. We concluded that the Fibrous tower’s most important feature is it’s skeletal form that acts as both a structure and a shell cladding. The overall form of the design wasn’t so important, so a simple lofted cylindrical form was lofted, and from there, different patterning techniques were applied in order to recreate the Fibrous Tower II.

The most successful outcomes were those that exhibited Kokkugia’s cell-division shapes in its patterning as well as those that demonstrated more irregularity in its patterning in order to create more dynamic, changing forms that seem to model growth and movement, essential elements of the biomimetic approach we have chosen in the design of the Wyndham City Gateway.

The parametric modelling process began with a voronoi pattern that was created between points scattered on a 2D plane. The points were culled,

B.3

[6] FIBROUS TOWER II, KOKKUGIA 2008

B.3

CASE STUDY 2.0 MATRIX

B.3

COMPLEX IRREGULAR PATTERNING

47 COMPLEX IRREGULAR PATTERNING

CONDENSING + EXPANDING PATTERN

B.3

B.4 TECHNIQUE: DEVELOPMENT

s discussed earlier, our biomimetic approach to design consisted of two parts. The former, being the physical, structural element, taking inspiration from patterning and structural patterns found in nature.

would be impacted by after being mapped or morphed onto different 3D geometric configurations. Considering our design ideas and themes for the Wyndham gateway project, we have decided that the 3D forms that are more enclosed are most relavant to our project. The patterning systems we have chosen to pursue further will be the ones that exemplify biomimetic qualities in geometry, such as the curvilinear ones that give a sense of the structure as a living and growing organism.

Following on from the techniques and definitions produced in B.2 and B.3, we begun by generating a multitude of patterns through a base voronoi pattern. We were able to combine all our previous explorations in patterning including the phyllotaxis patterning (seen in B.1), the hexagonal patterning (seen in B.2) and the cellular division inspired patterning (seen in B.3) to produce a palatte of varied patterns to work with.

he second part of our biomimetic approach to this design is in the exploration of interactive and responsive architecture. As part of the technique development phase, we decided to work with Arduino sensors to discover the possibilities given to us in combining sensory technology with parametric design tools. We researched and learnt how this combination becomes possible, and found the additional software and hardware needed to develop this idea further. The diagram on the right shows our understanding of data flow from the external environment, as read by the sensors and into the various computer programs to be visualised.

We used cull techniques such as the ‘populate 2D’ component, image sampling and the ‘true/false’ culling method. Some of these patterns were then extruded with curves to create patterns inspired by cell-division, in keeping with the biomimetic approach to the design, while others were left angular patterns. We applied these patterns to different 3D forms that were themselves generally curvilinear, biomimetically inspired geometries, such as the sea urchin. We tested how the patterning

B.4

SENSOR

49 ARDUINO BOARD

BREADBOARD

ARDUINO PROGRAM

FIREFLY PLUG-IN

GRASSHOPPER

COMPUTER PROGRAMMING

B.4

RHINO

OTHER VORONOI PATTERNING

B.4

PHYLLOTAXIS PATTERNING

3D FORMS THAT ARE ENCLOSED

B.4

B.5 TECHNIQUE: PROTOTYPES

iomimetic architecture is not just about creating forms or structures that resemble existing structures in nature. It is also about the way in which relationships between components affect each other and cause each other to respond in certain ways.

information in their architecture (as seen in the precedents in B.1). We decided to test out the Arduino sensors and try to put together several working prototypes for this part of our design exploration. We obtained a Knock/Vibration sensor, a Sound sensor and a Light sensor, a breadboard, and an Arduino board as our hardware components. We were able to upload these into the Arduino program on the computer, that allowed us to then take the information into the Grasshopper interface through the Firefly plug-in. Once the information was in Grasshopper, we were able to visualize this data in Rhino (as seen in the diagram on page 58). We plugged the input data from the sensors to components in Grasshopper that controlled various properties of a group of spheres. These spheres would output information through growing /shrinking, moving around more frantically or changing colour depending on the input data.

During our research into performative and interactive architecture, we learnt about Arduino sensors and the ways in which sensors are able to obtain information as input and output them as visualized geometry or form. This generated a lot of interest for us as it was bringing together our design approach of biomimicry with the field of parametric modelling. Many firms and designers have pursued a similar method of using input data via sensors and representing this data in a different form. Both Philip Beesley and Future Cities Lab work through this technique of representing

B.5

BREADBOARD

LIGHT SENSOR LED LIGHT RESISTOR ARDUINO BOARD*

DIGITAL USB PORT

ANALOG INPUTS POWER

LIGHT SENSOR 53

ARDUINO LIGHT SKETCH

B.5

BREADBOARD

SOUND SENSOR

ARDUINO BOARD* DIGITAL USB PORT

ANALOG INPUTS POWER

SOUND PRESSURE SENSOR 54

ARDUINO SOUND SKETCH

B.5

BREADBOARD

VIBRATION/ KNOCKS SENSOR

ARDUINO BOARD* DIGITAL USB PORT

ANALOG INPUTS POWER

VIBRATION/KNOCKS SENSOR 55

ARDUINO VIBRATION SKETCH

B.5

ARDUINO PROTOTYPE VISUALISING EXTERNAL DATA IN RHINO

These red spheres were modelled in Rhino to aid us in our experiment. They visualised the data that was being measured by the Arduino sensors by either expanding in size, contractng in size or moving around frantically. The properties of these spheres were changing based on the data that was being fed to it via Firefly in Grasshopper.

B.5

This was the Grasshopper definition we used to transform data from the external environment as gathered through the Arduino sensors and fed into Firefly, a Grasshopper plugin. We were able to replace the sliders with the data from the sensors displayed in a panel.

B.5

B.6 TECHNIQUE: PROPOSAL

ur research into biomimicry combined with parametric modelling techniques has culminated in this initial design concept. We propose to engage the immediate public (motorists) as well as the wider public through imagining a fictitional story surrounding the City of Wyndham to generate interest and further discussion.

projected online onto the cage structure (see Fig A & B). We believe this approach is a way to generate discourse surrounding parametric modelling, biomimetic architecture and the City of Wyndham, that is light-hearted and engaging for people of all ages. It combines our exploration into biomimicry as a source of inspiration and abstraction for our cage structure as well as our research into interactive and performative architecture through the use of sensors that measure surrounding information and outputs that data through visualization online.

Our fictional story begins with the creation of a fictional character as the subject. These fictional characters, named â&#x20AC;&#x2DC;Biological Environmental Responsive Transientsâ&#x20AC;&#x2122;, affectionately as B.E.R.T. live everywhere in space, however, Wyndham City is a fictional testing laboratory within which the behaviour of this organism is monitored. Although these B.E.R.T. organisms exist everywhere in space, they are invisible, but a cage structure will be constructed on site at the Wyndham City gateway project site (Western Interchange) that supposedly is able to monitor the behaviour of these organisms and is able to translate this behaviour visually to an online site.

The key to this idea generating discourse is in engaging the public to check the online site and be continually checking back. We intend to capture the attention of the public through choosing factors that have a meaningful impact on them to be measured and communicated. It is also important that our cage structure on site looks intriguing enough that it would compel people to further investigate the website. Another idea was to project the website animation of the B.E.R.T. organisms onto a gallery space in Wyndham to draw the public into the Wyndham area.

Practically, the cage structure that is mentioned above will be a physical structure on the site, however, these B.E.R.T. organisms are only visible on a website online (see Fig C, D & E). The cage structure is fitted with arduino sensors that will measure certain factors; for example, wind speeds, lightness and sound intensity, that is present on site, or is contextually relevant to Wyndham City. These sensors will use similar technology as tested by us in the prototyping phase to transmit the input data to an external source that will employ computational methods to parametrically model the behaviour of these B.E.R.T. organisms to be

We believe that through this amusing and more light-hearted approach, many will see the value of parametric modelling and computational architecture at large as the design approach of the future. It will bring much interest to the city of Wyndham and generate discourse surrounding the issues faced by Wyndham City and Melbourne City in general.

B.6

STRUCTURAL CAGE OPTION

B.6

FIG A

FIG B

FLASH ANIMATED RENDERS FOR WEBPAGE (DAYTIME VIEWS)

B.6

DIFFERENT ANIMATIONS FOR DIFFERENT CONDITIONS

FIG C: NIGHT VIEW

ANIMATION SHOWS AUGMENTED REALITY

SHARING VIA SOCIAL MEDIA

B.6

B.7 ALGORITHMIC SKETCHES

FIG 1A, B, C, D, E

FIG 2A, B, C, D

62 FIG 3

B.7

hese images represent my algorithmic explorations from Week 5 onwards. In the second half of the semester, I have explored surface morphing and/or mapping 2D geometries to a 3D surface, manipulating grids, exploring the voronoi cell patterning system, working with attractor points, and exploring data trees.

FIG 2A, B, C, D: These show some of the earlier explorations from B1, taking the definition of the Spanish Pavilion by Foreign Office Architects given to us and developing this further. This was where we first discovered how to map 2D patterning onto 3D surfaces, a technique we have repeated since then as it is a good way to explore structural properties and forms from a biomimetic approach. Some of the explorations (FIG 2B) failed as we were changing the number of X and Y cells with sliders, skewing the grid too much so that the 2D geometry no longer morphs to the surface in a way that will be able to be fabricated.

FIG 1A, B, C, D, E: These show some of the earlier explorations from defining a cage structure for our Wyndham design proposal. I was learning to apply a 2D geometric pattern to a 3D surface, and then extruding this pattern to produce a 3-dimensional structural form that can perhaps be fabricated. I also decided to pull the 3D geometries very far out (FIG 1E) and seeing how the 2D geometry is affected by this. These explorations were key in helping us understand the way in which 2D geometries respond on a 3D surface, and also taught us about extrusion, and the extent of extrusion.

FIG 3: This shows an exploration with data trees, converting data from one format to another. This created a 3D grid of triangles that were repeated in the X, Y and Z directions. This exploration was useful in understanding data trees and data conversions from one format to another.

B.7

B.8 LEARNING OBJECTIVES AND OUTCOMES CRITIQUE FEEDBACK

LEARNING OBJECTIVES

T 64

he critique we have received on our project thus far is that it is a great ‘idea’, however, the details need to be developed further in order to turn the project from simply conceptual to becoming a reality. We believe (as did the critics) that our design proposal in response to the brief is indeed viable and realistic as there is definitely computational technology that can support this idea. However, we need to develop both the cage structure further, as well as placing more restrictions on the B.E.R.T. organisms so that they have more defined characteristics that respond to the factors being measured. We also need to select factors which are more relevant to the site context of Wyndham City, and in addition, factors that we think the public will have an ongoing interest. This will aid us in achieving our intention of generating discourse between those in the public. Further, we have been challenged to explore different techniques in the design of the cage structure. We will be exploring new Grasshopper definitions in the creation of a new cage structure for Part C.

his course has eight learning objectives, which cover the following:

1. ‘Interrogat[ing] a brief ’ 2. ‘an ability to generate a variety of design possibilities for a given situation through parametric modelling’ 3. ‘developing skills in various 3 dimensional media’ 4. ‘an understanding of relationships between architecture and air’ 5. ‘the ability to make a case for proposals’ 6. ‘develop capabilities for conceptual, technical and design analyses’ 7. ‘develop foundational understandings of computational geometry, data structures and types of programming’ 8. ‘begin developing a personalised repertoire of computational techniques’

B.8

believe that the Studio Air course thus far has allowed me to be exposed to each of these learning objectives. The learning objectives that I have been able to grasp and apply best are those on parametric modelling (points 2, 3, 7, 8). Through the online tutorials, and groupwork, I have been able to expand my knowledge in the field of parametric modelling and practically in gaining skills in using Grasshopper, Rhino, and the Firefly plug-in for our Arduino experiments. This is seen clearly in the matrices present in my journal that have been a collaboration between a few group members. It is evident too in my personal algorithmic exploration matrices.

I also think that being able to critically analyse my own work and our groupwork has developed over the course. This has helped us make design decisions more critically, providing us with opportunities to pursue certain pathways in our design work. This is most evident in our decision to pursue interactive and performative architecture as we explored the realm of biomimetic architecture and parametric design. Through our research and use of precedents, we have been able to argue the validity of our design approach and also learn about the interesting and innovative explorations of real-life designers in the field of architecture. We have been particularly influenced by the work of Neri Oxman, Kokkugia, Philip Beesley and Future Cities Lab. This has assisted us in making a case for proposals (point 5). It has been an interesting course that has led my group and me to realms of design we never knew existed.

B.8

REFERENCES NOTES B.1-B.8

[1] Oxman, N. “Designing Form” (2010) (accessed 8th April 2013). Available: [Online] http://www.youtube. com/watch?v=txl4QR0GDnU [2] Kokkugia. “Fibrous Tower II” (2008), (accessed 8th April 2013.) Available: [Online] http://www.kokkugia. com/ [3] United Visual Artists. “Canopy” (2010), (accessed 8th April 2013.) Available: [Online] http://www.uva.co.uk/ work/canopy [4] Beesley, P. “Hylozoic Ground” (2010) (accessed 8th April 2013). Available: [Online] http://www.youtube. com/watch?v=v86B9Nz_LVU

[5] Future Cities Lab. “Theatre of Lost Species” (2013) (accessed 12th may 2013). Availbale: [Online] http:// www.future-cities-lab.net/theater-of-lost-species/ [6] Kokkugia. “Fibrous Tower II” (2008), (accessed 8th April 2013.) Available: [Online] http://www.kokkugia. com/

REFERENCE

IMAGES B.1-B.8

[1] Fibrous Tower Kokkugia, 2008. Available: https://encrypted-tbn3.gstatic.com/images?q=tbn:ANd9GcR43-BTTwlZSBkhN6Ofthe 2cy0LMEExJI3MOUnU2AudFehNtwe_ (Accessed 12th May 2013) [2] Canopy United Visual Artists, 2010. Available: http://www.uva.co.uk/wp-content/gallery/canopy/uva_mls_1040. jpg(Accessed 11th May 2013) [3] Hylozoic Soil Beesley, P, 2010. Available: http://blog.lib.umn.edu/willow/bioart/hylozoic-soil.jpg (Accessed 11th May 2013) [4] Theatre of Lost Species Future Cities Lab, 2013. Available: http://www.future-cities-lab.net/picture/hero-01-31_edited_low.jpg?pictureId= 17754136&asGalleryImage=true (Accessed 11th May 2013) [5] Spanish Pavilion Mishima, S, 2005. Available: https://encrypted-tbn2.gstatic.com/images?q=tbn:ANd9GcTkXRqU71eQHqQiIcq4 TjMDMvL8-zf0opClHNbLPeqN5mRtW8dE5g (accessed 11th May 2013) [6] Fibrous Tower II Kokkugia, 2008. Available: http://arkinetblog.files.wordpress.com/2010/02/g.jpg?w=600&h=315 (Accessed 12th May 2013)

REFERENCE

PART C

PROJECT PROPOSAL

CONTENTS C.1 Cage Structure ......................................................70 C.2 Arduino Explorations .........................................88 C.3 Website ......................................................................90 C.4 Project Proposal ...................................................94 C.5 Algorithmic Sketches............................................96 C.6 Learning Outcomes & Objectives ...............98 References ........................................................................100

C.1 CAGE STRUCTURE

e decided to continue developing the cage structure in a different direction that allowed us to explore an alternate facet of biomimicry. We did this as we believed it would be a more interesting way to explore biomimicry apart from the application of patterns inspired by nature onto a surface which we were doing previously in Part B.

We chose to look into ‘field conditions’, which allowed us to come up with an entirely new cage structure that focused not so much on a patterning system, but moving the components from ‘individuals to collectives, from objects to fields’. [1] It is about interconnectivity between components, [1] as is the underlying factor behind parametric design and biomimicry, thus we felt ‘field conditions’ were a relevant design pathway for the cage structure. As Stan Allen writes, “Field conditions are a bottom-up phenomena: defined not by overarching geometrical schemas but by intricate local connections.” [1] We were also inspired by the work of Ezio Blasetti, Alisa Andresek and Kyle Steinfeld of Biothing, in their creation of Mesonic Fabrics in 2007. Mesonic Fabrics was generated through 3 different algorithms including; the Electro-magnetic field, the Resonating pattern and Cellular Automata. [2] These are all biomimetic algorithms that are based upon field conditions to produce a skeletal structure. We chose to be influenced by the Mesonic Fabrics in the way they have used attractor points and forces to dictate the form of the structure. Mesonic Fabrics was a project about ‘strong interactions’ [2], which also influenced our design strategy to be about interactions between components through the use of attractor points and spin forces.

C.1

[1] MESONIC FABRICS, BIOTHING, 2007

C.1

DESIGN EXPLORATION ‘FIELDS’ MATRIX

CHAOS + FOCUS

REGULARITY

C.1

SYMMETRY

INTERSECTION

C.1

CAGE STRUCTURE DESIGN EXPLORATION + PROCESS

n designing the cage structure, we decided to explore four different aspects of â&#x20AC;&#x153;field conditionsâ&#x20AC;? (as seen in the matrix on pages 7475);

rom these explorations, our design process as seen in the following pages (77-79) allowed us to further manipulate the geometry that was established through the creation of our fields Grasshopper definition. The steps we took were:

Chaos and Focus: This explored the use of a single attractor point that meant the ammalgamation of all the lines into a singular point. This created a tornado effect, with lines whipping upwards. We found this shape a bit arbitrary and uninteresting as that the lines all ended in a single point.

(1) Define Base Geometry: First, we came up with several intersecting lines to act as the base geometry. (2) Generate Field Lines: Next, we generated field lines that were based off the base geometry, in green are the field attractors that we used that played a role in determining the field lines.

Regularity: This explored a more regular patterning in the lines that form the cage structure, creating more of a nest form that is enclosed. We thought this form was perhaps a bit too regular and thus didnâ&#x20AC;&#x2122;t have the varied effect we wanted to create using fields.

(3) Introduce various forces: We then introduced various forces (including spin forces) to manipulate field lines and generate form, so that more of a structural form was created where before they were merely lines.

Symmetry: This explored the use of symmetrical base geometry lines in order to create forms that were symmetrical. Although the overlapping of the base geometry lines did create some interesting forms that fanned outwards, we still found this approach too regular and wanted to explore a more chaotic and randomised approach to the arrangement of the strands that form the structure.

(4) Materialise / Smooth: We materialised the lines, giving the geometry a 3-dimensional form and smoothened this through the use of tools in Rhino as well an additional program, 3D coat that helped us voxelize the form, ready for fabrication. (5) 3D Printed model: Then, we were able to send this 3D form to the Fabrication Lab for 3D printing into a scaled model.

Intersection: We found that this exploration of intersecting curvilinear base geometry lines led to more interesting forms that were able to emerge from the ground, form divergent strands and also converge to form surfaces at different points, making our final structure the most interesting, innovative and unique form. C.1

DESIGN PROCESS DIAGRAM

(1) DEFINE BASE GEOMETRY

75 (2) GENERATE FIELD LINES

C.1

(3) INTRODUCE VARIOUS FORCES

C.1

(4) MATERIALISE / SMOOTH

(5) 3D PRINTED MODEL

C.1

CAGE STRUCTURE ELEMENTS

RENDER OF FINAL CAGE STRUCTURE

C.1

EMERGENCE

Emergence of strands from the ground shows attention to the landscape and context.

DIVERGENCE

Divergence of strands as they split off from one strand to several

CONVERGENCE

Convergence of strands as they form a surface, showing the interconnectedness of the components, as emphasized by field conditions.

C.1

C.2 ARDUINO EXPLORATIONS

fter successfully conducting explorations using the Arduino sensors in linking up live data from the external environment received by the sensor and processed by the Arduino board to effect change in the Rhino model, we decided to further our experiments and knowledge of the Arduino sensor technology. In the first experiments, we managed to connect each sensor separately to the Breadboard to change the properties of the simple Rhino modelled spheres in real time. These sensors were the Light sensor, the Vibration/Knocks sensor and the Microphone sensor. These changed the spheres in Rhino space in making them expand or contract in size, making them move around frantically or slowly and populating the space with more or less spheres. We decided to try to connect multiple sensors rather than just one sensor to the Breadboard at any one time, in order to simulate a more realistic configuration of sensory technology that would be found on the cage structure to measure external variables on site. We were successful in this experiment, managing to connect all three sensors to change different factors in the Rhino model. We also managed to integrate our new cage structure and small spheres to represent the B.E.R.T. organisms and their activity along the cage structure that would be visualized online. This added another layer of complexity to our explorations as we had to write another Grasshopper and Firefly definition to work both with our cage structure in Rhino space as well as multiple sensors with multiple outputs in the Arduino sketch program.

C.2

LIGHT LEVEL SENSOR

VIBRATION/ KNOCKS SENSOR

SOUND PRESSURE/ MIC SENSOR

BREADBOARD

DIGITAL SOCKETS

JUMPER WIRES

ARDUINO BOARD

USB PORT

ANALOG INPUT SOCKET POWER SOCKETS

C.2

C.3 WEBSITE

e believe the use of the website in this project will further enhance the interactive nature of our design. Apart from the Arduino sensors interacting with the site’s environmental surroundings, the website allows for people to interact directly with the information present from the sensors as well as collate other local useful data.

levels). This website is a fun and alternate way to present real useful information in an abstracted way, through the visualisation of the B.E.R.T. organisms and their behaviour within the cage structure on the online reality. Future Cities Lab’s project Datagrove utilises sensory technology to dictate the behaviour of the installation:

In Part B, we decided to measure environmental factors of light, sound and wind, which would be calculated from the Arduino sensors. Upon further thought, we have decided to include other data from local sources, comparing useful data from Melbourne city with data from Wyndham city. We believe this will encourage a wider audience as those interested in data from Melbourne city will also be compelled to check the site. This ‘competition’ also becomes somewhat of a game that encourages people to check the status of their preferred city, thus creating more interest surrounding the design.

‘The Datagrove thrives on information from its urban environment. It renders invisible data and atmospheric phenomena into variable intensities of light and sound.’ [3] The installation uses Arduino ‘text to speech’ modules to read out live twitter feeds to those in close proximity of the installation. The intensity of light and sound is also controlled by the proximity of people to the installation. [3] This project demonstrates the effectiveness of interactive and responsive architecture in engaging its users with the design on site. We believe that using a similar method of visualising otherwise unseen or banal data in an abstracted and fun manner, we will be able to reach a wide audience with our project and encourage them to further engage with the City of Wyndham and connect the place of Wyndham to the City of Melbourne.

We believe it will also generate more discourse from a wider audience, as we measure factors we believe are useful and relevant to a great range of people. These additional factors are: traffic volume, rainfall and air pollution levels (carbon dioxide

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[2] DATAGROVE, FUTURE CITIES LAB, SAN JOSE, CALIFORNIA, 2012 PARTICIPANTS INTERACTING WITH THE INSTALLATION

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STILL FROM THE RAINFALL ANIMATION SHOWING B.E.R.T. AS POINT LIGHTS ACCESS WEBSITE AT HTTP://WWW,ONLINE-PRODUCT-REVIEWS.COM/AIR

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C.4 PROJECT PROPOSAL

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he concept that drove this design from the beginning was the idea of our fictional B.E.R.T. organisms that behave according to information received from several data sources. These B.E.R.T. organisms would present the data in an abstracted way within an online space that showed these organisms projected onto the physical cage structure found on site at Wyndham city. Thus, our project becomes multi-faceted in its two fold approach, the first being the physical aspect (cage structure) and the second being the virtual aspect (Arduino sensors + website visualisation).

however, our design approach is also accessible to the average person. The implementation of the website and way in which data is visualised and presented makes this design relevant and interesting for the general public, even around the world as people are able to interact and participate in this design via the online space. The cage structure has been designed with the site in mind, as the structure emerges from out of the ground. It is large enough that motorists will notice it from afar and receive changing views of the structure as they drive past. The Arduino sensors and the information they receive further shows the way this design engages with its specific site context.

These two approaches work together to create intrigue and generate discourse surrounding both the design approach and the City of Wyndham. We believe that the approach of parametric design and biomimetic architecture that is evident in our work along with the use of interactive and responsive architecture will generate discourse in the Architecture and Design academic world,

In conclusion, we believe this project is an interesting and innovative way to engage with the public as well as effective in generating discourse surrounding the field of design and the place of Wyndham City.

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TO MELBOURNE CBD PETROL STATION

TO GEELONG

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C.5 ALGORITHMIC EXPLORATIONS

n Part C, my algorithmic explorations mainly comprised of experimenting with fields and forces to design a new cage structure.

FIG 1A-D: These show line drawings made with the same Grasshopper definition that comprised of attractor points and spin forces that affected lines based off a base geometry curve. The differences in form are attributed to these things: the base geometry curve(s), the placement of the spin forces, and the strength of the spin forces, and the placement of attractor points and number of attractor points. We also explored the number of lines by how many segments the base curve is divided. We found more lines made the ‘fields’ more obvious and more closely resembled the fields found in nature, however, these would be harder to fabricate in reality, so we had to test what was the best option to satisfy both criteria. FIG 2A-D: These are of the same line drawings as Fig 1A-D but piped in order for the models to be fabricated. This process was done in Rhino, and later, we moved our final model from this part of the process to 3D coat, another program to help smoothen and voxelize the form further in preparation for fabrication. I experimented with the size of the piping, with Fig 2A + B showing thinner pipes and Fig C+D with thicker pipes. We found that the thinner pipes formed thinner members that made more elegant sweeping shapes that suited the model aesthetically and conveyed the idea of ‘fields’ more strongly.

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FIG 1A

FIG 2A

FIG 1B

FIG 2B

97 FIG 1C

FIG 2C

FIG 1D

FIG 2D

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C.6 LEARNING OBJECTIVES AND OUTCOMES CRITIQUE FEEDBACK

LEARNING OBJECTIVES

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he critique that we received was mostly on how our project translates into reality. It would seem that this project requires refinement in many areas including the use of Arduino sensory technology, the website animation layout and visualisation of the B.E.R.T. organisms. We believe that with more time to learn more about the use of Arduino technology and its capacity, we would be able to further this project to a more refined stage. The critics believed that our ideas were innovative and interesting as an approach to this brief, however, we perhaps needed to fine tune certain aspects of the visualisation techniques of the B.E.R.T. and resolve certain design problems such as the use sensory technology and data from other sources in order to make this project a realistic proposal that Wyndham City would approve. We believe however, that these aspects of our design were in fact outside of the course structure of Studio: Air, and thus, it was a steep learning curve for us that we had to largely approach on our own, and we are very happy with the results of our own explorations and experiments, although the design was not as resolved as it could’ve been otherwise.

his course has eight learning objectives, which cover the following:

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believe that I have been able to achieve all eight learning objectives of the coursework over the semester in these ways:

5. I believe that we were quite successful in presenting our design as a proposal (see pages 96-97), and in identifying the key factors that make our project unique and innovative in order to generate discussion and create interest surrounding the City of Wyndham.

1. We learnt skills in order to thoroughly investigate the City of Wyndham Gateway Project brief to pick out keywords and themes in the brief that needed to be emphasized throughout the design process. For us, these were themes such as ‘innovative design’, design that generates discussion, and the placemaking of Wyndham City to draw people to Wyndham.

6. The journal has been a great space for conducting ‘conceptual, technical and design analyses’, thus I believe that I have learnt to critically analyse the work by seeking out precedents as well as documenting our design process, it has allowed us as a group to thoroughly analyse our overall design approach for this brief.

2. We were able to explore parametric modelling throughout the semester, both engaging in the discourse surrounding parametric design intellectually and theoretically as well as practically designing through utilising parametric modelling tools.

7. The weekly ex-lab tutorials assisted in the development of my understanding of computational geometry, data structures and types of programming, and some of the capabilities of these in allowing me to design more efficiently. I now understand some of the parameters of this approach to design that is quite different to the more ‘traditional’ approaches to design that we have previously been exposed to whilst studying at the university.

3. We developed various skills in 3 dimensional media especially in the process of generating a design for our final model in 3D computer space (modelled in Rhino through Grasshopper) and onto exploring 3D printing as a process for fabricating a 3D model.

8. I was able to gain a larger repertoire of computational techniques as I explored Grasshopper and various other plug-ins in the design of our cage structure. These especially include our explorations of voronoi patterning laid over a 3D surface and our ‘fields explorations’.

4. I have always understood the ‘relationships between architecture and air’ as the way in which the architecture nteracts with the space around it. We believe that through our exploration of sensory technology, we were able to create a strong link between our piece of architecture (cage structure) and its environmental surroundings, visualising data from the surroundings to the online space.

Further, I was able to gain experience in Arduino sensory technology, and learn other plugins including Firefly.

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REFERENCES NOTES C.1-C.6

[1] Allen, S. “From Object to Field” (1997) AD Profile 127 (Architecture after Geometry) Architectural Design, vol.67 no.5/6 May/June 1997 / p.24-31 [2] Biothing. “Mesonic Fabrics” (2010), (accessed 6th June 2013) Available: [Online] http://www.biothing. org/?p=51 [3] Future Cities Lab. “Datagrove” (2012), (accessed 6th June 2013) Available: [Online] http://www.futurecities-lab.net/datagrove/

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IMAGES

[1] Mesonic Fabrics Biothing, 2010. Available: http://farm3.static.flickr.com/2475/3580588085_992e57dd35_b.jpg (Accessed 6th June 2013) [2] Datagrove Future Cities Lab, 2012. Available: http://www.future-cities-lab.net/picture/fcl_datagrove_11_20120912img_2122.jpg?pictureId=16457451&asGalleryImage=true (Accessed 6th June 2013)

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