. STUDIO AIR .. .. .. .. DANIELLE EBEYAN 698494 SEMESTER ONE, 2017
Danielle Ebeyan 698494 Studio Air, Sem 1, 2017 Wednesday 6.15-9.15, Finnian Warnock
CONTENTS PART A // CONCEPTUALISATION a.0 Introduction a.1 Design Futuring a.2 Design Computation a.3 Composition/Generation a.4 Conclusion a.5 Learning Outcomes a.6 Appendix: Algorithmic Sketches
5 6..9 10..13 14..17 18 19 18..21
PART B // CRITERIA DESIGN b.1 Research Field b.2 Case Study 1.0 b.3 Case Study 2.0 b.4 Technique: Development b.5 Technique: Prototypes b.6 Technique: Proposal b.7 Learning Outcomes + Objectives b.8 Appendix: Algorithmic Sketches
24..25 26..30 31..33 34..35 36..37 38..39 40..41 40..41
PART C // DETAILED DESIGN c.1 Design Concept c.2 Tectonic Elements + Prototypes c.3 Final Detail Model c.4 Learning Objectives + Outcomes
49..51 52..57 58..65 66..67
Introduction/ about DANI EBEYAN My name is Danielle (Dani) Ebeyan, and this is my fourth year at The University of Melbourne, and I am currently completing my third year of the Bachelor of Environments, majoring in Architecture. As a design student, I have undertaken 2 design studios before Studio Air, and my experience lies mostly in Adobe Illustrator and Photoshop. I have experience in applying finishes and renders to floor/site plans and photographs, along with creating 2D illustrations using these programs. This semester, I am beginning to explore the design potentials of AutoCAD, Rhinoceros and Grasshopper as 3D digital modelling tools. I have understood that in today’s world, design consultants utilise digital modelling software and algorithmic design in every project, as it has enabled them to work quicker, more efficiently, create more accurate drawings and 3D representations of their projects, along with being able to represent these in a number of ways and perspectives to their clients. Ultimately, parametric design has enabled a whole new style of design, whereby mathematical and algorithmic relationships are the basis on which such advanced and complex building forms and technologies can be fabricated.
A.1 DESIGN FUTURING PRECEDENT 01 // WALT DISNEY CONCERT THEATRE Frank Gehry, 2003 Downtown Los Angeles Los Angeles, California, USA
The Walt Disney Concert Hall, designed by Gehry Partners, was opened in 2003.1 The general form of the concert hall, with its huge twisted metallic forms, was a defining feature in Gehry’s architectural language.2 In 1987, Lilian Disney donated 50 million dollars towards the construction of the hall3, and therefore a sophisticated, innovative and unique design was facilitated by this large budget. It’s complex forms were not only a design conceptacle developed by Gehry, but they were a construction and design innovation made possible by the softwares adopted by Gehry Technologies. The first generation of architectural software was developed in the late 1970s, which allowed consultants to draw ideas and documentation digitally, instead of manually by hand; ultimately the results were still line drawings with no engineering capacity.4
In the 1990s, Frank Gehry established a second generation of digital design in architecture, by using computer software previously used by aero-engineers, to enhance architectural designs and allow for their direct fabrication and construction.5 This advancement in technology created a whole new method for design in the built world, as the ideas that designers conceptualised in their minds could be translated into a digital language, and hence constructed into real structures. A design barrier had been broken, and today we utilise the possibility of three dimensional digital modelling, and its transference into the built world that surrounds today. This movement from design inception to real life creation was a radical technological improvement, and it has furthered the boundaries that defined how and what designers can produce in the future.
Fig 1 + 2. Street view and Auditorium view of the Walt Disney Concert Hall, designed by Frank Gehry. FOOTNOTES 1 Rennie Jones, “AD Classics: Walt Disney Concert Hall / Frank Gehry”, Archdaily, 2013 <http://www.archdaily.com/441358/adclassics-walt-disney-concert-hall-frank-gehry> [accessed 6 March 2017]. 2 Jones, “AD Classics”, ArchDaily. 3 Jones, “AD Classics”, Arch Daily. 4 Lian Chang, “The Software Behind Frank Gehry’s Geometrically Complex Architecture”, Priceonomics, 2015 <https:// priceonomics.com/the-software-behind-frank-gehrys-geometrically/> [accessed 6 March 2017]. 5 Chang, “The Software Behind Frank Gehry’s Geometrically Complex Architecture”, Priceonomics.
PRECEDENT 02 // OUT OF MEMORY Tighe Architects, 2011 Southern California Institute of Architecture Los Angeles, California, USA
In 2011, Patrick Tighe and his firm, Tighe The ideas that were explored in this installation Architects, worked to create this installation in define and celebrate sensory stimulation the Southern California Institute of Architecture. through design; Tighe Architects were able to combine all of sound, light and materiality In collaboration with composer Ken Ueno, and a to create a technologically innovative space robot from Machineous, the exhibit was created.6 where students, staff and the public could The installation, named Out of Memory, is a spend time and absorb their surroundings. sensory collision of sound, material, light, and technology to create a multi-sensory cave This project displays an innovation to explore the within the architecture school’s gallery space.7 senses, and how they are experienced in space, by breaking them down to their most simple and raw The three dimensional installation was created properties; the architectural form of the project using a spectrogram of Ueno’s musical represents each individual wave; there have composition, “translating the frequency map into been many architectural agendas that attempt points and vectors, which ultimately provided to encapsulate the notion of music, yet are a basis for the digitally modeled 3-D surface.” 8 often something more conceptual and abstract. After an assembly of forms and plastic sheeting was arranged, layers of closed-cell foam (for structural support) and open-cell foam (for acoustic value) were sprayed onto the wall.9 “Provided by insulation manufacturer Demilec, the vegetable and soy oil-based foams created a selfsupporting parabolic structure as they expanded.” 10
The Out of Memory installation focuses more on the technologies involved in its creation, and in turn represents the sound wave in its physical form. These kinds of ideas and their development allow for designers to interpret briefs with a different approach, and use the raw concepts and themes provided to explore new ways to create aesthetic installations.
Fig 3 + 4 . Internal view of the ‘Out Of Memory” sensory exhibit, designed by Tighe Architects. Retrieved from The Architects Newsaper. FOOTNOTES 6 Jennifer Krichels, “Out Of Memory: Patrick Tighe Architecture With Machineous”, The Architects Newspaper, 2011 <https://archpaper. com/2011/02/lenticularis-roof/> [accessed 7 March 2017]. 7 Krichels, “Out Of Memory”, The Architects Newspaper. 8 Lindsey Mather, “7 Innovative Architecture Projects”, Architectural Digest, 2016 <http://www.architecturaldigest.com/gallery/ innovative-architecture-design-projects#7> [accessed 8 March 2017]. 9 Krichels, “Out Of Memory”, The Architects Newspaper. 10 “Tighe Architecture”, Tighe Architecture, 2017 <http://www.tighearchitecture.com/out-of-memory-c20we> [accessed 7 March 2017].
A.2 DESIGN COMPUTATION The notion of design computation, now a commonly used and almost necessary process involved in design, allows for designers/consultants to not only experiment with their ideas, but also find ways in which to represent them visually to others using digital software. The altering of a design is a more accessible option, as changing one aspect of the algorithmic definition can modify the design to suit the designer’s needs. The benefit in this, is that “parametric systems enable the writing of rules, or algorithmic procedures, for the creation of variations. Thus parametric design in architecture develops as a new form of design logic.”11 Forms that include abstract geometry, that involve a complex fabrication process, or that challenge the materials that we have available to us12, require design computation to understand the feasibility of their creation.
Furthermore, parametric design and digital modelling enables designers to visually represent their ideas to clients, and others who are not engaged in this discipline; “ For example, the brief that architects are given by their clients is much too vague, in most cases, to form a complete statement of goals,”13 and therefore the use of advanced modelling softwares and digital design allows for designers to experiment with the inception of ideas, and engage the clients with these visually. This allows for an interactive design process whereby both the designers and clients may refer to the same visual representation as a basis for development. Ultimately, design computation has opened new doors to the field of architecture and engineering, as the possibilities and limits of design can be tested through digital modelling, specifically through the use of parametric design and algorithmic definitions.
PRECEDENT 01 // WATER CUBE PTW Architects, 2003 Beijing, China The Water Cube project was constructed for the Olympic games in Beijing, China 2008.14 The swimming pool complex utilises parametric design through its external façade, consisting of a pattern and repetition of abstract polygons, with varying numbers of sides and vertices.
To create a system of shapes that fit together manually would be a more complicated task, and would need to be performed over again each time one dimension or parameter was changed, therefore the accessibility of softwares that enable this type of patterning has contributed to its popularity.
The complex is a typical example of the utilisation of parametric design, and how algorithmic definitions can be used to create a geometric building façade. This notion of geometric repitition is something that is now more commonly used (such as our local Federation square), as its outcome can be more readily achieved, and further altered if just one small element of its parameters is changed.
The ‘cushion’ like geometries that complete the cube shaped building are also solar panels that work to power the complex;14 another example of how design computation allows designers to combine aesthetic and sustainability into their projects.
Fig 5 + 6. External view of the ‘Water Cube’ olympic swimming pool, and magnification of ‘Cushion Shape’. Retrieved from PTW Architects. FOOTNOTES 11 Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), 3. 12 Oxman, Theories of the Ditial in Architecture, 5. 13 Yehuda Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design. Cambridge, MIT Press, 15. 14 “Watercube – National Swimming Centre”, PTW Architects, 2017 <http://www.ptw.com.au/ptw_project/watercube-nationalswimming-centre/> [accessed 14 March 2017]. 15 Watercube, National Swimming Centre,.
PRECEDENT 02 // BMW WELT COOP HIMMELBLAU, 2007 Munich, Germany
The BMW Welt was designed as a sales and museum complex for BMW cars.16 The building has a sweeping exterior, with a glazing feature that merges seamlessly with steel, and twists and changes shape in and around the building.
they can be fabricated with a small change between each element to create one entire sweeping entity. It would be near impossible, or require extensive mathematics and sketch modelling to make these kinds of minor differences “We translated the geometry of a constantly between hundreds of elements possible. changing cloud into architecture,” says Wolf D. Prix.17 This exemplifies how parametric Similar to the ‘Blobwall’ by Greg Lynn (as design allows for the computation of individual discussed in Week 2’s lecture), parametric elements into one whole system: each element modelling allows for us to transform a given of the glazing is an independent entity, and geometry into many altering forms so that through the use of algorithmic patterning, they may fit together seamlessly, like a puzzle.
Fig 7 + 8. External view of the BMW Welt. olympic swimming pool. Retrieved from COOP HIMMELBLAU FOOTNOTES 16 Adel Zakout, “Top 10 Buildings: Parametric Design”, Huffington Post, 2013 <http://www.huffingtonpost.com/ adel-zakout/top-10-buildings-parametr_b_838268.html?slideshow=true#gallery/18610/9> [accessed 14 March 2017].
A.3 COMPOSITION + GENERATION “Computation is redefining the practice of architecture. Architects are developing digital tools that create opportunities in design process, fabrication and construction”.18 Using a more traditional approach, design was always something that was sketched, developed and finessed before it were drawn and modelled in its final form; the process was essentially linear, from the design inception, to its development, and final outcome. Since the introduction of parametric design and computation, the design process can be modified at any stage, and this idea of ‘linear design’ and permanence has been deteriorated.
Using this more modernised approach, the design outcome can be narrowed down by the use of parameters;19 by understanding the needs of the brief and converting this to numerical data, programs like Grasshopper can work to channel the design, and each component can be modified or altered within the program (rather than completely rewriting the design). Ultimately, the design outcome can be easily defined, and it is after this that it can be modified, tweaked and altered by changing one or two parameters at a time.
PRECEDENT 01 // ICD/ITKE Research Pavilion A. Menges & J. Knippers, 2014-15 Stuttgart University Stuttgart, Germany
As an example of design generation/ composition through computation, the ICD/ ITKE Research Pavilion 2014-15 demonstrates an innovative building method inspired by the underwater nest construction of water spiders.20
being a highly material-efficient structure.”21 These exemplars of design and construction explore application capacities of novel computational design and its relevant fabrication methods in modern architecture.
By utilising a robotic fabrication process, an inflatable form is progressively reinforced with carbon fibres from the inside of the structure. The resulting form, is a lightweight fibre structure, and “forms a pavilion with unique architectural qualities, while at the same time
The notion of mimicking a process evident already in nature (the oceanic biome), and understanding the algorithmic process that would define how the water spider constructs its nest, encapsulates how a certain composition can be generated through the understanding and use of nature’s predefined parameters.
Fig 9+10. Internal and External views of the ICD/ITKE Research pavilion. Retrieved from Stuttgart University. FOOTNOTES 18 Brady Peters, Computation Works: The Building of Algorithmic Thought, Architectural Design (2013), 10. 19 Peters, Computation Works, 13.. 20 A. Menges and J. Knipper, “ICD/ITKE Research Pavilion 2013-14 | Achimmenges.Net”, Achimmenges.Net, 2017 <http://www. achimmenges.net/?p=5713> [accessed 16 March 2017]. 21 Menges and Knipper, ICD/ITKE Research Pavilion
PRECEDENT 02 // GALAXY SOHO Complex A. Menges & J. Knippers, 2014-15 Stuttgart University, Stuttgart, Germany
The Galaxy Soho project was a retail centre, office space and entertainment complex built in Beijing, China; its form was a circular based, comprised of four volumes with long sweeping walls that came together to create a continuum of open space, which is ultimately devoid of corners.22 The continuous spaces are linked with long spread bridges across the higher levels, which further emphasises this circular relationship in the plan, with no beginning and no end. The use of circular plans and an abundance
of curvature require the use of computational generation in order to create a seamless composition. Circular geometry, containing all reoccurring numbers, requires computational accuracy to be able to draft its form, understand the spaces that are created, and be able to firstly generate, and then later modify the radii and curves to experiment with different spatial arrangements (something that would not be feasible without parametric modelling systems).23
Fig 11 + 12. External views of the Galaxy Soho complex. Retrieved from Zara Hadid Architects. FOOTNOTES 22 “Galaxy SOHO - Architecture - Zaha Hadid Architects”, Zaha-Hadid.Com, 2017 <http://www.zaha-hadid.com/architecture/ galaxy-soho/> [accessed 17 March 2017]. 23 “Galaxy Soho / Zaha Hadid Architects”, Archdaily, 2012 <http://www.archdaily.com/287571/galaxy-soho-zaha-hadidarchitects> [accessed 17 March 2017].
A.4 CONCLUSION Using a more traditional approach, design was always something that was sketched, developed and finessed before it were drawn and modelled in its final form; the process was essentially linear, from the design inception, to its development, and final outcome. Since the introduction of parametric design and computation, the design process can be modified at any stage, and this idea of ‘linear design’ and permanence has been deteriorated. Using this more modernised approach,
the design outcome can be narrowed down by the use of parameters; by understanding the needs of the brief and converting this to numerical data, programs like Grasshopper can work to channel the design, and each component can be modified or altered within the program (rather than completely rewriting the design). Ultimately, the design outcome can be easily defined, and it is after this that it can be modified, tweaked and altered by changing one or two parameters at a time.
A.6 ALGORITHMIC SKETCHES In researching and learning about algorithmic patterns, digital computation and parametric design, it was also important to experiment with the programs Rhino and Grasshopper in order to understand the kinds of parameters you can apply to an object, how you can create relationships between multiple objects/ commands, and how these may be translated into the design project that we will be completing by the end of semester. In Week 01, the principle of a ‘reference point’ was introduced, and how applying certain parameters to each of these points and linking them together can alter the form of a given object. We surface divided a lofted set of curves, and transformed each divided point into a sphere. The radii of the spheres were determined by their distance from the provided reference point.
This relationship could be applicable in situations whereby a single geometry is repeated, but changing shape throughout its course; an example of this was the BMW Welt in section A.2. In Week 02, we explored the notion of spiralling, and how to apply a ‘series’ to a command, whether that be move, rotate, etc. By applying it to both move and rotate simultaneously, a spiral effect can be created. This can further be lofted, surface divided, and have the intersection points of the surface be translated into lines/pipes. In Week 03, we explored the ‘Image Sample’ command; by understanding that the component translates the darkest and lightest points of an image into geometries, we could add volume to the geometries to turn a 2D texture into a 3D one. This parameter could be applied not only to imagery, but also to patterns and textures that can be projected onto surfaces of built structures.
A.5 LEARNING OUTCOMES Throughout the course of the last 3 weeks, my understanding of design computation has developed so that I am now familiar with more and different ways in which design generation and composition can be manipulated; to accept that computation holds many possibilities in a designâ&#x20AC;&#x2122;s outcome is the starting point, but to begin to understand what these possibilities are and how different computational processes can lead to achieving these is what allows the mind to visualise these graphically and begin to create them parametrically. Some of my past designs have not been developed to my desired extent, purely because I was unaware of
how to define their compositions using parametric design; to create these geometrically and conceptually complex designs involved the piecing together of an extremely complicated puzzle; something that seemed impossible, or much too time consuming. Often the design that I was able to create would have been very close to the final outcome, as there was either little time or viability to create different ones. To have been able to understand how to build these forms using programs like Grasshopper would have allowed for me to have created more accurately represented forms, and be able to alter them easily through experimentation through the program.
PART B
criteria design
B.1 RESEARCH FIELD In looking further into the techniques provided, both sectioning and stirps/folding were ones that drew my interest, as the creation of form through patterning appeals to me, yet the fabrication of these forms and modelling their dimension would be possible via the technique of sectioning. Strips and folding involves the use of fields, movement graphs and the movement of points from their original location using either attractor points, or an algorithmic relationship to plot this. Sectioning is the process by where a surface or three dimensional form can be layered so that it may be constructed by arranging the â&#x20AC;&#x2DC;layersâ&#x20AC;&#x2122; together. This serves useful in situations where the design materiality does not allow for bending or shaping (such as in strips/folding), or if it cannot be modelled in a way that satisfies the design critera. For this reason, sectioning allows for us to use more rigid materials to create forms that present a certain curvature.
SECTIONING / BANQ RESTAURANT by OFFICEdA The use of sectioning allows for designers to translate a 3D form into a series of 2D sections, that when assembled together, create the illusion of the same form; essentially creating interesting iterations of a standard 3D form. The interior installation in the Banq restaurant works to connect the columns and the ceiling through a 3D wave form, that has ultimately been sectioned into 2D cross sections. It gives a sense of continuity throughout the space, with the cross sections having a wave-like design. The benefits of this are that the volume of material used decreases, and the complexity of fabrication is also decreased; rather than using a whole block of material (full or hollowed), and having to 3D print/fabricate it, a more feasible option of laser cutting the various 2D contours can be used to achieve the design. FIGURE 1. Sectioning of the roof in the Banq Restaurant
STRIPS AND FOLDING / SEROUSSI PAVILION by BIOTHING The Seroussi Pavilion by Biothing is an example of a design outcome using the technique of â&#x20AC;&#x2DC;Strips/Folding.â&#x20AC;&#x2122; Essentially, the definition utilises field lines, and the displacement of the divided points on these lines to create a three dimensional outcome. The use of the definition allows for controlled movement, rather than an unpredictable material behaviour or bending, as the movement is graphed through Grasshopper and the points on the field lines are displaced through this. Some of the design potentials of this technique is the control over the nature in which each element bends, how long each element is, how dense or spaced out each of the field lines are, and how the starting points can be controlled through a series of base curves. Some fabrication concerns, however, include the actual manufacture of the model; either the elements must be 3D printed, or the model must be a lofted surface to be sturdy enough to maintain its shape; malleable materials such as paper, wire and mesh may not be able to be moulded to complete accuracy, and due to their plasticity may not retain the shape permanently. A certain framing system would need to be applied, however this may defeat the purpose as if the framing system can be fabricated, the entirety of the model may be fabricated in this way also.
FIGURE 2. Seroussi Pavilion by Biothing
B.2 CASE STUDY 1.0 I chose to explore the Seroussi Pavilion by Biothing, as I would like to explore its form and understand the possibilities of designing and fabricating parametric models that involve curvature in its form. I ultimately would like to focus more on sectioning, however the Seroussi pavilion will introduce ideas of density, bending, and how these forms can be fabricated. Sectioning as a technique is something that I feel I can apply to most algorithmic designs, and I am therefore exploring a definition that works with strips, folding and bending. In Figure 4, I have exported the original form of the Seroussi Pavilion as a basis for the changes that I have made to its grasshopper definition. Through the image above, a comparison can be made between it and the iterations in the matrices to the right.
FIGURE 3. Photograph of the Seroussi Pavilion
ITERATIONS / SEROUSSI PAVILION SPECIES 1 // Changing value of ‘curve divide’ of base curves, which results in n+1, with larger numbers resulting in ‘bunching’ due to fields. Changed to 1, 2, 8, 15, and 30 respectively.
SPECIES 2 // Changing value of ‘curve divide’ of the ‘nucleus’ (circle from which the field lines stem from). Changed to 5, 10, 40, 70, and last thumbnail shows results when curve divide changed to 100, & diameter of base circle is changed from 0.1 to 0.75.
SPECIES 3 // Changing value of length of produced field lines, original length 100 units. Changed to 30, 160, 250 and n respectively. Interesting how the origin points of the field lines began to repel and â&#x20AC;&#x2DC;bunchâ&#x20AC;&#x2122; as the lengths of the field lines increased.
SPECIES 4 // Changing the base curve that defines the points from which the field lines are produced. The base curves also alter the fields produced, and how each field repels and attracts based on the distance between them.
SPECIES 5 // Transforming the field lines with applied geometries, or transforming the points created along the field lines using the ‘curve divide’ components. Each alteration is denoted below the iteration.
5.1 ‘Pipe’ component is applied to each of the field lines.
5.2 Field line is divided into points via ‘curve divide’, and then each point is transformed into a sphere.
5.3 A small tear drop shaped ‘brep’ has been referenced from rhino, and then through the ‘orient’ component, is placed on each point.
5.4 Field lines are curve divided, then ‘Perp Frames’ at each point, then an SDL line drawn in the ‘Y’ direction at 3 units.
5.5 Same as 5.4, however field lines are hidden, and the SDL lines drawn have the ‘pipe’ component applied.
5.6 Field line is divided into 1 (which results in a point at each end), and then a sphere is located at each point. Field lines are kept same.
SPECIES 6// The displacement of the flat field lines in the negative Z direction is prescribed by a graph. Species 6 is the alteration of the graph that determines the shape of the pavilion.
ITERATIONS / 4 MOST SUCCESSFUL
a)
b)
c)
d)
I chose the above 4 iterations as the most successful, based on their aesthetic balance, possibility for real-life fabrication, and architectural context (how they may be used in future projects). a) This iteration provides a new output of geometry (the extruding pipes) based on the planes and angles created by the normals of each point on the field lines. It is an example of how grasshopper can take one geometry, and produce a whole new form based on the geometric properties and qualities of the first. Ultimately these extrusions are dependent on the ‘graph’ component used in the definition, which tracks the movement of each point in the Z direction; this also is a testament to how carefully each displacement of each point can be calculated, whic can serve to be extremely useful when designing with a given accuracy. b) This iteration shows a different curvature to the field lines produced, which may serve as an interesting roof or ceiling feature, due to its abundance of vertices at the top. I found this species of iterations interesting as it was surprising to see how carefully each point could unfold into many curves, and to the accuracy that they do this with. c) The alteration in the density of the field lines, and also the radius of the circle that is primarly subdivided to create the field lines, allows for a denser space with considered openings at each ‘nucleus.’ I believe this could serve to be an interesting space in itself, as the density in the field lines create closure, and the openings of the circles could form light fixtures, air holes, etc. d) I found this specific iteration one of the most practical, as the slight union between the spheres closest to the ground place could be fabricated as one unity, creating a stable frame upon which the field lines are supported. There is an apparent difficulty in fabrication with some of the other iterations due to some of the elements being suspended in space, which in reality may be a tough assembly.
B.3 CASE STUDY 2.0 I have chosen to reverse engineer the OneMain Street by deCOI Architects, which is a project that aligns with the technique of sectioning. â&#x20AC;&#x153;The project emphasises the two planes, the floor and the ceiling; and it works to create a smooth transition between them through a streamline design. â&#x20AC;&#x153;The curvilinearity expresses both the digital genesis and the seamless fabrication logic, with the architect providing actual machining files to the fabricator. â&#x20AC;&#x153;1 As far as possible, the aim of the project was to replace typical industrial elements (such as vents, door handles, etc) with carefully crafted timber, offering an aesthetic and functionality of a highly considered space.
I believe that the space definitely posseses a seamless aesthetic, however I would argue that the floor and the ceiling are not streamlined, however the ceiling and the supporting columns/walls perhaps are. The consideration of materiality, in regards to only using timber from sustainably forested suppliers, works to be a great design agenda and the presence of the ply-lam timber throughout not only the ceiling, but also in the desks, benches are storage units supports this agenda. In reverse engineering the ceiling, I was not able to fabricate the form of the ceiling accurately, and therefore have created a simple lofted shape that resembles some curvature of the ceiling, and also includes the main column onto which the ceiling is swept.
PROCESS / 5 STEPS
1)
4)
2)
5)
3) 1. Create a lofted surface that includes the column, and a curvature to its surface. 2. Offset a curve above the referenced brep so that it covers its entireity. 3. Extrude the offset curves so that they cover the entireity of the brep. 4. Use the Brep intersecting Brep component to formulate curves in the intersections of the extruded surfaces and original brep. 5. Using the intersected curves, use the Split Surface component between these curves and the original extruded surfaces from step 3.
RENDERED IMAGES / PHOTOGRAPHS OF PROJ
Above is my reverse-engineered version of the OneMain office by Decoi Architects on the left, accompanied by ph actual project to the right. Similarities include the overall form of the structure, however I was unable to create the most accurate represent provided with a floor plan or the representation of the ceilingâ&#x20AC;&#x2122;s curvature. The sectioning detail of the actual project also appears to be much thinner, whereas my panels are more spaced a the resolution of the rhino model, and the purpose of showing the the sections graphically. Differences include the transition from the column structure to the ceiling itself, as the texture of the wood does entire column, but fades in and out near the stem; I was unable to create this kind of effect.
JECT
hotographs of the
tation due to not being
apart; this is due to not follow through the
FIGURE 4+5. Photographs of OneMain office by deCOI Architects.
B.4 TECHNIQUE:DEVELOPMENT Changing size of panel; as sections increase, the spacing decreases
Offsetting the curves created through the Brep/Brep intersection.
changing offset line to a closed curve, such as circles, squares and trapezoids.
Changing the direction of the section lines, so that it is done horizontally and diagonally (instead of vertical).
Dividing the curves and applying geometeries at points, also applied a reference point.
Sectioning from both horizontal and vertical directions, then layering to create a double section.
surface dividing the panels and orienting breps, geometries, and potential fixings onto them as a form of assembly.
offsetting a a central extruding both X and
circle from point, and panels in Y direction.
4 MOST SUCCESSFUL /
POSSIBILITY FOR FABRICATION / SUCCESSFUL
If using wood, the best outcomes to pursue for fabrication would be those with straight sided depths, as these can be laser cut and fabricated without having to panel the panel/section the section. Here, a double section has been applied, which would be useful in providing a self sufficient bracing.
If using plastics or metals (materials that can be easily bent or moulded, the circular depth section offers an interesting view from below. The â&#x20AC;&#x2DC;floatingâ&#x20AC;&#x2122; pieces could be suspended from the ceiling, as unlike the iteration to the left, they are floating in the atmosphere without any fixing.
B.5 TECHNIQUE:PROTOTYPES In my reverse engineering exercise, I created the base loft quite spontaneously; my aim was that it aesthetically represented the same shape as the real life project. The original form, however, may have been derived from a more meaningful source or shape. The prototype we created below was derived from a test image, however in future development we would like to develop the form from a curve/shape/diagram that relates specifically to the ballroom. The process of patterning (image sampling) and sectioning were however applied respectively to this prototype. Our prototype was developed through the process of sampling the image of a wave onto a surface, and having the lightest points of the image extrude most, and the darkest not extrude at all. The surface was then sectioned, and assembled onto a base, whereby the extrusions may slot into the designed gaps. The image chosen was not specific to our design intent, and was moreso to provide a basis on which we could experiment with materiality, aesthetic, size; it was important to see the impact of the extrusions from different angles not just digitally, but also in real life. To test the material, we applied tints and glosses to the lumen plywood, however it caused the base to buckle, bend and expand. Ideally, we will aim to find a material that already has the colour and finish that is desired. We would like to incorporate a considered acrylic member to be able to introduce lighting from behind the surface. In part C, we will be finalising and exploring more into the use of LED/Fibre optic lighting. In doing so, troughs, and
we concluded that the extrusions needed to have more contrasts in their crests and that we needed to find a material that did not need to be altered/tinted/glossed.
a) clear acrylic
c) hybrid assembly b) lumen plywood
Adding multiple slots for the ‘waves’ weakened it structurally and caused for it to buckle, and therefore the need for a backing plate or a perpendicular bracing has become apparently. To the right, an example of this is shown, where the extrusions are pushed further through the slot and then attached onto an additional bracing support. Additionally, we could reference each ‘wave’ as a surface, and use the ‘orient’ component to place a small block/foam between each of the contours to provide a sort of fixing between each element. Alternatively, each wave could be suspended to a beam on the ceiling, rather than using a backing plate at all.
PROTOTYPE CONSTRUCTION / MATERIAL + ASSEMBLY
B.6 TECHNIQUE:PROPOSAL A ballroom, being a dynamic place that represents liveliness, movement and dance, has inspired a design that works to represent this notion of movement. We aim to design a ceiling installation that mimics this movement, through modelling the simulation of fluid. The ballroom ceiling will be treated like an inverted â&#x20AC;&#x2DC;basin,â&#x20AC;&#x2122; where water is being released into and the waves and movement is recorded. We aim to release it at an angle where there will be some fragments of splashback (droplets), and these can be converted into lighting features or chandeleir elements. Another lighting option was to use LED strips along the acrylic elements (travelling at the edge of the wave), and therefore a repeated strip lighting at every 4 intervals. The prototype is not modelled off a fluid simulation, but rather just an image sampled wave to understand how we would suspend/fix the feature to the roof. In having created the prototype, it has become apparent that we will need to break apart each of the elements, or the spans will be too great. Otherwise, we can use lighter, thinner material and rather than having them fixed, suspend them like a chandeleir. A mock fluid simulation has been completed (to the right) to begin to visualise the patterns that the water will make, and how we will begin to model and section this in Rhino and Grasshopper. The intended floor plan is shown below, along with a render model of the prototype in context to the right.
FLOOR PLAN / INSTALLATION LOCATION
FLUID SIMULATION MODEL / FLOW DIAGRAM
PROTOTYPE CONTEXUALISED / BALLROOM SETTING
B.7 LEARNING OBJECTIVES Through the design process of part B, the relationship between the digital and the tangible has been enforced heavily. Often times we design in a way that can be digitally represented, and that looks extraordinary; however this is because it usually is not possible to fabricate, hence its driving interest. Studio Air has enabled me to not only research and understand different design techniques, learn how to manipulate these and design with them using my own design agendas (via Grasshopper/Rhino) (Objective 3), but also understand and appreciate the fabrication process that is linked to these; this process stems as far as materiality, cost, weight, suspension, fixings, sealants, light passage, electrical services, etc. The important of the brief, and its possibilities/ restrictions (Objective 1) has enormous importance, as understanding and appreciate the context with all of its parameters is key to a functional design.
The ‘need’ to design, or designing with known restrictions and parameters is apparent in many situations, and is ultimately enabled through algorithmic design. In using Grasshopper, I now appreciate the convenience of being able to design parametrically, as it proves to be more efficient, allows me to make adjustments and alterations to my design in mathematical and considered ways, and also offers such a high accuracy when designing with specific numeric values or geometric restrictions. (Objective 2). Objective 4 was one of the most crucial to my learning process, as it worked to divert my attention to HOW things are built, rather than just the end project viewed through digital software. There is such a large extent to the possibilities of creating interesting forms and structures using Grasshopper, yet the
B.8 ALGORITHMIC SKETCHES
week05 - using ‘orient’ component
week04 - diam
consideration of how these things are suspended, or propped, or joined together, with what framing, etc. has completely shifted my view on parametric design. It has instilled an awareness of the practicality in design, and allowed for me and my studio partner to reassess our design choices following these criterias. The process of forming opinions and creating arguments about predecents, and substantiating these (Objective 5) was a necessary exercise to learn how to be critical about design, and further understand how to deconstruct a brief. Case study 1.0 was an avenue through which I was able to understand the design logic and process of others, and interpret it in my own way (Objective 6). Often I would experience difficulty in understanding the way other peopleâ&#x20AC;&#x2122;s design logic worked, and how they formed their ideas from their own interpretation, however this exercise allowed for me to start to deconstruct the process.
mond panel using lunchbox
The notion of actually understanding how to use Rhino and Grasshopper was another concept that I found difficult, as I had not yet ventured into the process of digital design and fabrication until this semester. Studio Air was an avenue for me to push my boundaries and start learning the fundamental processes of Rhino, and how to enhance and control these through Grasshopper (Objective 7). A new type of design, using data structures, programming and computational geometry was explored and it has allowed for me to develop my design skills much further. Ultimately, the different techniques learned and tested in this studio have served as ways of problem-solving when designing. Often there are specific design outcomes desired, yet the process of achieving them seems skewed and perhaps unachievable. Grasshopper has ultimately enabled this, and Iâ&#x20AC;&#x2122;ve been able to practise this notion of problem solving in design. (Objective 8).
reverse engineering of AA Pavilion, following ExLab tutorials
PART B / BIBLIOGRAPHY FOOTNOTES 1. “Decoi Architects » One Main”, Decoi-Architects.Org, 2017 <https:// www.decoi-architects.org/2011/10/onemain/> [accessed 1 May 2017].
BIBLIOGRAPHY “Decoi Architects » One Main”, Decoi-Architects.Org, 2017 <https:// www.decoi-architects.org/2011/10/onemain/> [accessed 1 May 2017]
LIST OF FIGURES Figure 1: Photograph of Banq Restaurant. Retrieved from Archdaily: http://www.archdaily.com/42581/banq-office-da Figure 2: Digital representation of the Seroussi Pavilion by Biothing. Retrieved from Ezio Blasetti: http://portfolio.ezioblasetti.net/Seroussi-Pavillion Figure 3: Photograph of Seroussi Pavilion. Retrieved from Daily Tonic. http://www.dailytonic.com/biothing-a-transdisciplinary-lobratoryfounded-by-alisa-andrasek/ Figure 4: Photograph of OneMain office by deCOI Architects. Retrieved from deCoi. https://www.decoi-architects.org/2011/10/onemain/ Figure 5: Photograph of OneMain office by deCOI Architects. Retrieved from deCoi. https://www.decoi-architects.org/2011/10/onemain/
PART C
detailed design
C.1 DESIGN CONCEPT FEEDBACK
Following the interim presentations, the feedback that was received reflected upon the algorithm and construction process, and its consequencial complexity. The scale of the project also neede to be reconsidered, as there was the concern that each timber element may look too bulk
Essentially our interim progress was noted as interesting, however it needed to be further developed in terms its algorithmic process and materiality to evoke a more suitable reaction. The materiality needed futher testin and the introduction of the acrylic elements needed to be considered, and a suitable alternation configure
FINAL DESIGN INTENT “to design a dynamic installation that mimics the natural motion of fluid... to manipuate the diffusion of light to complement the ambience of the ballroom.” As discussed in the interim presentation (and as roughly modelled), the intent for this project is to create a ceiling installation that follows the form of fluid, generated through a fluid simulation; as a direct response to the site, the ballroom will be modelled and inverted, and used as the ‘basin’ in which the fluid may travel. This simulation will be completed through the use of Blender.
We have decided that the alternation in materiali will respond to a ballroom dancing sequence, wi the pattern moving both in the ‘x’ and ‘y’ directio furthering a sense of movement in the structur
Furthermore, using another wave form, these panels can be sectioned into smaller elements, which validate its possibility for fabrication (with the use of smaller timber members), and allows for some variation in materiality and void.
Despite us wanting to respond to fluidity and movement, o design offers a more modern and edgy approach to desig when in the context of a ballroom, rather than respondin in a very traditional and predictable mode of eleganc
The material schedule will involve primarily timber, wi occasional acrylic, and void to separate these. The acry elements will ultimately be used as a tranmittance The simulation will provide us with the 3dm. file which lighting, whereby the acrylic will be used like a fibre opt may be imported into Rhino; with its contours, we can create a black/white contour map to import into the Ultimately, our design aims to add interest to th Grasshopper ‘Image Sampler’ command. With reference ballroom by engaging directly with its structur to precedents (Aqua Tower - Studio Gang), the data and mimic the notion of fluidity within it. Throug produced from the sampler can be used to move the the use of acrylic, an artificial lighting solution h curves outwards, and create a series of waves/fins. been provided when the space is used after dar
mic ed ky.
FLUID SIMULATION // BLENDER As a direct response to the site, the ‘basin’ that is used in Blender is a 3dm. model of the W Hotel Ballroom. An emphasis has been placed on the columns (as structural elements that the installation must work around), the screen (as the entry point of the fluid), and the extruded ridges in the ceiling. It was important to us that the motion of the fluid was complete relevance to the spatial organisation of the ballroom.
BLENDER // SCREENGRABS
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As seen in Image.6, the resulting lofted surface derived from Blender, when viewed from birdseye view, gave us the means to photoshop it into a black/white/grey scale contour map. This is the source image for the ‘Image Sampler’ component in Grasshopper, which provided us with the data to create curves. (CONTOUR MAP ON NEXT PAGE ->)
PHOTOSHOPPED CONTOUR MAPS // MAP 1 // Attempt one didn’t give enough variance between the types of data, due to there being a large amount of grey and a small difference between the balances. As the image sampler depends on a greater constrast to create a comprehensive set of data, we opted to photoshop the image to create more variance between the shades, which would result in a more dynamic wave.
RESULTING ALGORITHMIC PROCESS // a) IMAGE SAMPLING Create a base surface (plan of roof) for ‘image sampler’ plane.
Divide surface so that it has a series of points (grid); Flip data.
Input the contour map acquired from fluid simulation) into image sampler component.
Move each point on grid at its normal, at amplitude determined by data from image sampler.
Interpolate a curve through the resulting points and their new positions.
Loft curves and original surface to create individual ‘waves.’
b) SECTIONING Set up reference curve, and offset this enough times, at correct spacing until entire shape is covered. Move each point on grid at its normal, at amplitude determined by data from image sampler.
Extrude each curve so that it acquires an aesthetic width. This creates the ‘void.’
Extrude this brep longways, so that it covers the height of the main shape.
Interpolate a curve through the resulting points and their new positions.
Loft curves and original surface to create individual ‘waves.’
MAP 2 // FINAL IMAGE for IMAGE SAMPLER This amount of variance produced an appropriate amount of variance in the data; in our interim presentations, we were advised to consider the scale of the project, and understand that when constructed at a large scale, each panel may look bulky. For this reason, we were happy with a slightly greater amount of variance, however it didnâ&#x20AC;&#x2122;t extrude each curve so much that it became too deep or chunky.
CONSTRUCTION PROCESS Flat lay each 2D wave onto a laser cut template, both for the ply and acrylic materials. *etch number for each element*
Creating backing board for each slot,
+ with the thickness corresponding to each material.
Submit files for laser cutting/ large scale trim.
Assemble each fin into its given slot. This organisation is labelled with tiny etchings into each cut.
SMALL SCALE MODEL Due to each slot being quite tight, push each fin into its place then glue into place for extra hold.
FULL SCALE INTALLATION Place each fin into its slot, and it will sit in due to the overhanging eaves (discussed in C.2).
MATERIALITY + ORGANISATION // In our interim presentation, we produced a completely wooden prototype, where we experimented with different stains and glosses. After testing these, it was clear that due to the material being natural and porous, it was beginning to expand and buckle which made the assembly into the prefabricated slots a lot harder. For this reason, we decided to choose a timber that already posessed the colour qualities that we liked, so that this warping could be avoided. For our final, it was decided to use a variance of materials and textures; these included timber, acrylic and void. Through a patterned variance between these, we will aim to create a kind of texture to the final installation. Upon the proposal for the introduction of acrylic, we further developed this in our final; and the acrylic members will be responsible for the transmission and diffusal of light. Through testing the material, we have noted that it works interestingly as a fibre optic. The ‘void’ component has been created by introducing another wave shape, and using this in Grasshopper as a ‘solid to solid difference.’ Through this we have introduced 3 types of texture. The organisation of the materials has been designated through a ballroom dance sequence pattern. The pattern is as follows: 1, 2, 3, down. Our interpretation of this has been 4 columns to represent each step of movement, and a diagonal direction for each material.
SHAPE + SECTIONING
APPLIED MATERIALITY
ACRYLIC ISOLATION
TIMBER ISOLATION
PLAN VIEW OF MATERIAL SHIFT
FLOOR PLAN / INSTALLATION LOCATION
C.2 TECTONIC ELEMENTS + PROTOTY
Given the scale of our project, each individual element of the installation would be at quite a large scale Given this, my partner and I were advised to create a smaller scale model that encapsulated the enti of the project. This way, the notion of materiality, movement, and the â&#x20AC;&#x2DC;wave-likeâ&#x20AC;&#x2122; shapes could be better identified, as a 1:1 scale it would simply be a panel of each material; the project makes its impact with all of the eleme together as a whole.
In our prototype, we focused on the overall appearance, materiality, and the tendency for it to buckle a bend given our last prototype. The aim was to make sure that it would provide an appropriate resolut where the pattern was identifiable, but where the model would not be too clustered and heavy. Digitally, we also explored how we would overcome the problems that we faced through this prototyp process.
LASER CUT PROCESS + APPROACH //
As laser cutting is costed both by the amount of material used AND the running time of the machine was imperative that we minimised both of these as much as we could for our prototype model. A sim approach should be taken when fabricating the full size version with the sawing/cutting of materi
As seen below on the laser cut layouts, the individual wave elements are placed together alongside their strai edge, as this means that the machine will only have to run over that line once, as opposed to twice if they w placed spread apart; ultimately this is a time and material saving strategy that will benefit the costs of the proje
YPES
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ight were ect.
As expected, the slots became narrower as we placed more elements in, and it became increasingly difficult to place them in. On a small scale, this worked well as it meant that the compression acted as a joint. On a larger scale however, an ‘eave’ or ‘overhang’ type of joint should be used, as we will discuss.
TECTONIC SYSTEM // JOINTS The design intent for our project included having joints that were not visible from the outside, but rather internally fixed, as the overall form depends on a sleek, well constructed structure in order to achieve a more elegant effect. The defining factors about which of these would be most appropriate included structural stability, inclusion of lighting fixtures, and safety/longjevity of the joints.
TYPES OF JOINTS/ MICRO JOINTS
IMPACT JOINT The impact joint is designed with 1mm holes on either side of the given piece, so that when it is slotted into the backing plate, it may lock into place via compressional forces. The disadvantage of this is that it will work well on a small scale model, but is not reliable on a 1:1 project, especially when each member becomes progressively heavier. Given the specific needs of the brief, a MACRO joint will be most effective in creating a more structurally stable, safer installation.
MACRO JOINTS
â&#x20AC;&#x2DC;EAVEâ&#x20AC;&#x2122; SYSTEM These macro joints are designed to be slotted into a backing plate (as used in our prototypes), and resist falling due to the overhang on its sides. With the overhang being placed directly above the intended visible edges of the fin, a seamless system can be achieved where the joints are kept completely hidden from the ballroom. BACKING PLATE SYSTEM Here there is a plate that works as a suspended ceiling, with slots placed that allow the visibilityof each fin. The slots are made slightly wider than the width of the underhang so that no buckling occurs; the eaves will hold up the member, and therefore compressional forces are not necessary.
TECTONIC SYSTEM // JOINTS // CHOSEN The chosen type of fixture is the one shown below; this design uses an â&#x20AC;&#x2DC;eaveâ&#x20AC;&#x2122; system, where the fins that are intended to be visible extrude from a base structure. These are placed into the slots of the backing plate, and the base structure of each element (see annotations below) acts as a stopper. There would
are hollows be fixed
at each section where for artificial lighting
the acrylic (highlighted
material yellow).
This bulk is the base structure. It acts as a stopper when placed into the plate with measured slots for each fin. This section may be made up of either timber, or steel depending on which will be a lighter, more fire rated material (as there are nearby lighting fixtures)
Highlighted hollow for w fixture (fl will be p acrylic m the transl arcylic, th diffused li
N SYSTEM
d in yellow is the where the lighting fluorescent tube) placed above the member. Through luscency of the his light will be ike a fibre optic.
Highlighted in pink is the arcylic section of this system. Of 4 fins total for each structural system, 1 is arcylic and the other 3 are timber. Through the arcylic member is where the light will be transmitted.
Highlighted in white are the timber sections of this system. Of 4 fins total for each structural system, 3 are timber and the other 1 is acrylic. These members are the main geometry that make up the wave form.
C.3 FINAL DETAIL MODEL / PHOTOGR
RAPHS
C.3 FINAL DETAIL MODEL / RHINO RE
ENDERS
Included below are the laser cut templates used for the final model; these are not to 1:1 scale, and are labelled at the scale of the final model. Included are the templates for the backing plate, the plywood fins and the acrylic fins.
C.4 LEARNING OBJECTIVES + OUTCO PRESENTATION FEEDBACK //
After the final presentation, our feedback was that we had a clear and concise presentation, t chronological order with lots of content to achieve our final; however our final did not display a h make all of these efforts clear. Upon improving our model, the necessary improvement would be to extrusions in the ‘Image Sampler’ process, which would give further dimension to our project, a) IMAGE SAMPLING Create a base surface (plan of roof) for ‘image sampler’ plane.
Divide surface so that it has a series of points (grid); Flip data.
Input the contour map acquired from fluid simulation) into image sampler component.
Move each point on grid at its normal, at amplitude determined by data from image sampler.
Interpolate a curve through the resulting points and their new positions.
Loft curves and original surface to create individual ‘waves.’
The text in red highlig step where we would alter the resolution a of the image sampler
LEARNING OBJECTIVES // The response to the learning objectives that I gave in B.7 (page 40-41) still remains fairly similar. Below further developments to particular learning objectives throughout the course of Part C.
OBJECTIVE 4 /
OBJECTIVE 8 /
Objective 4 speaks on the understanding of the relationship between architecture and air; it is imperative that designers understand that the digital design space and the real world will behave completely differently, as you can create floating objects in space digitally, but the notion of fixing, suspending, reinforcing, joining and above all fabricating these are components that need to be considered to complement the material, defy/work with gravity, maintain an objects form, etc.
Objective 8 refers to the comp computational techniques, and deve within these; although it is importan of design and becoming unique in application, it is crucial that there within your style, as these document handled by others that are not familia and design language. A certain orga must be maintained throughout the the understanding of others, but a and modify certain elements wit
Throughout Part C, it was the finessing of these concepts that evolved a design idea into a model that could be fabricated, and installed with no structural issues. Especially when at such a large scale, it is crucial that these elements are considered as not to have any failure in fabrication and installation.
OMES
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petency in engaging with eloping a personal repertoire nt to develop your own mode your computational design is a maintained universality ts and files may be used and ar with your own organisation anisation and comprehension e design process, not only for also for the ease to change thin the design definition.