C DE TAILED DESIGN
RE-ASSESSING DESIGN PROPOSAL
THE SITE
SIT
E (4
8S
QM
)
670
ANNUAL RAINFALL (MM/YEAR) (PRESTON/RESERVOIR WATER STATION)
26000 L
VOLUME OF RAIN WATER FALLING ONTO THE SITE PER YEAR
EQUIVALENT TO
59000
STUDENTS VISITING CERES FOR EXCURSIONS
2150 SHOWERS OR
>33%
PERCENTAGE OF VISITORS WHO ‘HAVE A LOOK AROUND’
74 DETAILED DESIGN
1950 CARROTS
CERES MISSION OBJECTIVES + GOALS
INTERVENTION EMERGING DIGITAL, TECHNOLOGICAL INNOVATIONS
DESIGN TO: WHILE PROVIDING IMMEDIATE, TANGIBLE BENEFITS SUCH AS SAVING WATER EQUIVALENT TO:
ENGAGE STUDENTS ENCOURAGE COMMUNITY ACTION ENCOURAGE SUSTAINABLE WATER PRACTICES
DETAILED DESIGN 75
PRECEDENT SELECTION: FORMAL QUALITIES
76 DETAILED DESIGN
Marc Fornes & TheVeryMany CHRYSALIS
Matsys Design Studio SHELLSTAR PAVILION
Rigid and grounded Fluid Open - large scale
Rigid and light Open/Enclosed
CM Design AUSTRALIAN WILDLIFE HEALTH CENTRE
LAVA GREEN VOID
Soft Monolithic but light
Tensile and floating Continuity Simple Unity inside/Separation outside
Zaha Hadid LILAS PAVILION
Ernesto Neto INSTALLATION 2001
Motion Fluid Open - soft carved forms
Tensile, hanging aesthetic Interactive Confusing but engaging Open/Enclosed Outside/Inside Unity of space
DETAILED DESIGN 77
REDEFINING AND REFINING DESIGN CONCEPT Taking architectural qualities of Ernesto Neto’s Installation 2001 and applying to site. Tensile, hanging aesthetic Interactive Confusing but engaging Open/Enclosed Outside/Inside Unity of space
78 DETAILED DESIGN
DETAILED DESIGN 79
PRECEDENT SELECTION: MATERIAL EXPRESSIONS
80 DETAILED DESIGN
Barkow Leibinger Architects LOOM HYPERBOLIC
Marc Fornes & TheVeryMany UNDER STRESS
Interesting light and shadow effects Degree of interaction - can stretch
Patterning can be expressive Metal sheets - added depth from reflectivity
Always requires tensile props Minimal reliance on fabrication
Not-planar - added fabrication complexity Simple to divide digital form into strips, complex to assemble post-fabrication No margin for human error
Achim Menges WORKSHOP INSTALLATION
Numen TAPE MELBOURNE
Degree of interaction - can stretch
Complex - no evidence of patterning Continuity Fluidity Light
Always requires tensile props
Doesn’t allow fabrication of templates Tape plastic - not durable Always requires tensile prop to hold structure up
Softlab NORTHGATE
Bruch, Talbot & Roudavski EXPERIMENTAL STRUCTURE
Simple patterning element - easy to fabricate Interesting light and shadow effects
Tensile but can be independent of props Allows degree of human error Simple elements that allow complex patterning Cable tie tails add extra complexity and expression Interesting light and shadow effects Degree of interaction - can stretch
Requires tensile props to hold form
DETAILED DESIGN 81
PROTOTYPE ONE: REALISING MESH AND MATERIALITY Realising the structure with cable ties offers a large opportunity for exploration - use of a simple object to create an extremely complex form Consequently, this allows the average person to participate in the construction and assembly process rather than specialists. Combined with the opportunity to use printable templates rather than custom-fabricated objects, this method can be extremely economical, efficient and applicable to the every day person.
82 DETAILED DESIGN
A11 A12 A10
B10 B09
A09
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A07
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A06
B05
A05
B04
A04 A03 A02 A01 A00
C10 C09 C08
B08
A08
C11
B11
B03 B02 B01 B00
C07 C06 C05 C04 C03 C02 C01 C00
D10
D11
F11
E11 E10
D09 D08
E08
D07 D06
D03 D02 D01 D00
F09 F08
E07 E06
F07 F06
E05
D05 D04
F10
E09
E04
F05 F04
E03 E02 E01 E00
F03 F02 F01 F00
Cable tie templates - triangular meshes indicate the spaces for cable ties. Small circles located at the mid-point of each triangular edge are guides for connection points between each cable tie.
DETAILED DESIGN 83
PROTOTYPE TWO: REALISING COMPLEX FORMS 14.0 14.0
1100 .0.0
Triangles offer a planar, tessellative mesh unit which lowers margin for human error during assembly. However, triangular meshes applied to complex forms often feature distorted triangles. These increase the chance of error during assembly as cable ties are naturally inclined to form round shapes rather than jagged. Without careful use of Kangaroo Physics’ Equalization Force, distorted triangles can reduce the readability of the form.
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A large challenge faced in the assembly of this form was the complexity of the strips. Rather than being maximally linear, some components curved around the form and connected one tunnel to the other, proving difficult to identify and connect.
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In following prototypes: - compartmentalise complex form into simpler forms before flattening to strips - ensure strips are labelled in an order synchronous to the form - i.e. clockwise
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84 DETAILED DESIGN
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DETAILED DESIGN 85
86 DETAILED DESIGN
PROTOTYPE THREE: REALISING MEMBRANE STEP 01
STEP 04 A
If sheeting membrane is not stretchy and fabrication is unavailable: Match template to sheeting material. This ensures the membrane fits to the form which is crucial to more complex geometries.
TRANSPARENT VINYL Clean aesthetic and joints Soldered together - allows flexibility in joints Maximum transparency allows views of entire cable tie expression and complex form Transparency offers design opportunity to incorporate natural and contextual elements into overall aesthetic Joining system independent of cable tie structure
STEP 02 Cut membrane accordingly.
STEP 04 B
NOTE: Allowing for a degree of overlap between membranes is recommended but not required given the sheets can be held in tension when fixed together.
BUBBLEWRAP
STEP 03
Provides a degree of interaction - an aspect crucial to design intent Durable Confusing aesthetic Interesting texture may remove attention from cable tie expression Less transparent - cable ties are less visible
Construct form for membrane fixing.
EXPLORING A LARGER RANGE OF MATERIAL OPPORTUNITIES AND JOINING SYSTEMS FOR MEMBRANES WOULD BE THE NEXT STEPS IN REFINING THE DESIGN PROJECT. THIS IS CRITICAL IN BOTH DESIGN FUNCTIONALITY AND ARCHITECTURAL EXPRESSION AND LEGIBILITY.
DETAILED DESIGN 87
88 DETAILED DESIGN
6 .0
Transparent membrane (perforated at connection points)
5 .0
8.0
7.0
Connector cable tie
Cable tie
Perforation point - existing connection points on edge of strips for connector cable ties to bind.
Given Prototype Three practised methods of joining one membrane to another, an aspect which was not resolved was the question of joining the membrane to the cable tie structure. After further speculation, a more optimal method has been created which improves upon the workflow of the construction of Prototype Three and the constructability of the entire model.
8. 0
Rather than printing the paper template as guidance tools, the unrolled strips could instead be fabricated as the plastic membrane strips. In addition to the general linework template, connection points at the edges of the strips can be perforated to allow for the new joining system figured above.
9 .0
9 .0
0
FURTHER SPECULATION: LEARNING FROM PROTOTYPE THREE
7.
5.0
0 6.0
This new method reduces construction and assembly time, integrates fabrication into the entire model building process and increases ease of construction. However, this proposal also sacrifices flexibility as the process would now require fabrication machines to mark and cut plastic membranes rather than ordinary printers to print on paper.
DETAILED DESIGN 89
4.0
FORM DEVELOPMENT
After the three prototyping stages, we have experimented and learnt the capabilities of both the digital and material parame outlined architectural qualities: simplicity/complexity of form, enclosed/open spatial experience, maximum/minimum fluidi
PLANAR FORM (SIMPLE)
ENCLOSED (DOWNWARDS SPOUTS)
INITIAL, BASIC, MESH-RELAXED FORM
MAXIMAL INSIDE/OUTSIDE + BRANCHING
UNIVERSAL FORM
90 DETAILED DESIGN
eters of this design. With this experience in mind, we began to formulate and craft a final outcome incorporating the ity and universal/site-specific outcomes.
PLANAR FORM (COMPLEX)
OPEN (UPWARDS SPOUTS)
MINIMAL INSIDE/OUTSIDE + BRANCHING
COMPROMISED, COMPLEX FORM
SITE-SPECIFIC FORM
DETAILED DESIGN 91
FINAL FORM CLEAR CABLE TIES + CLEAR MEMBRANE = TRANSPARENT AESTHETIC AND BLURRING OF SURFACE AND EXPRESSION
SPOUTS TO FACILITATE DIFFERENT FUNCTIONS: LIVE WATER SOURCE, TEMPORARY WATER STORAGE, & DIVERSION OF WATER TO NATURAL TREATMENT SOURCE
ED TER FF L I F -O LLY UN RA ER R U T NA NWAT I A R
92 DETAILED DESIGN
PLANAR FORM TO MATCH SITE SPATIAL CONDITIONS
DIFFERENT HEIGHT SPOUTS PROVIDING DIFFERENT LEVELS OF INTERACTIONS FOR DIFFERENT USERS
BRANCHING OF SPOUTS CREATES INTRIGUING SPATIAL AND SIGHT EFFECT
DETAILED DESIGN 93
FINAL: DIGITAL TO REALITY
The chosen iteration (Iteration 02) was a compromise between economic and time constraints (number of cable ties), phys Given the flexibility of the parametric script, altering the parameters to suit these requirements was a very time efficient pro This workflow was especially beneficial when we wanted to subdivided only the mesh faces which accommodated for cab
ITERATION 01 (MAXIMUM COMPLEXITY) SIZE 13200 X 10300 MESH TYPE ALL QUADS SUBDIVIDED INTO TRIANGLES CABLE TIES (CELLS) 4840 CABLE TIES (CONNECTORS) 14520 MIN. CABLE TIE LENGTH 319.5 MM MAX. CABLE TIE LENGTH 609.8 MM
94 DETAILED DESIGN
ITERATION 02 (BALANCED CO SIZE 3960 X 3090 MESH TYPE LARGE QUADS S CABLE TIES (CELLS) 2746 CABLE TIES (CONNECTORS) 4 MIN. CABLE TIE LENGTH 87.0 MAX. CABLE TIE LENGTH 279
sical constraints (available cable tie lengths) and legibility of architectural qualities (mesh type). ocess. ble tie lengths exceeding 280.0 mm.
OMPLEXITY)
SUBDIVIDED INTO TRIANGLES
4948 0 MM 9.9 MM
ITERATION 03 (MINIMAL COMPLEXITY) SIZE 3960 X 3090 MESH TYPE QUADS CABLE TIES (CELLS) 1210 CABLE TIES (CONNECTORS) 2478 MIN. CABLE TIE LENGTH 280.0 MM MAX. CABLE TIE LENGTH 1132.4 MM
DETAILED DESIGN 95
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PREPARATION (DIGITAL TO FABRICATION) Segment complex overall form into simple segments. Unroll segments in circular order for efficiency in assemblage of parts. Script to automatically sub-divide cells further when the predicted cable tie length exceeds that of physical constraints (280mm) DETAILED DESIGN 99
CUTTING TEMPLATE TO SIZE IMPROVES WORKFLOW DURING STRIP CONNECTION STAGE (STEP 06)
+
STEP 01: PRINT AND CUT TEMPLATE
STEP 02: OBTAIN CABLE TIE A
TAPING THE CABLE TIES TO THE TEMPLATE HELP SECURE THEM WHILE CONNECTING THE STRIP.
STEP 05: SECURE CABLE TIE B TO TEMPLATE 100 DETAILED DESIGN
STEP 06: JOIN TEMPLATES TO PRODUCE DESIRED FORM, THEN REMOVE TEMPLATE
SMALLER PERIMETER CIRCLES INDICATE CONNECTION POINTS (FOR CABLE TIE B) - AVOID CLOSING CABLE TIES NEAR THESE SECTIONS.
SHORTER CABLE TIE B REDUCES OBSTRUCTION DURING ASSEMBLY.
+
STEP 03: CLOSE CABLE TIE ACCORDING TO TEMPLATE
STEP 04: OBTAIN CABLE TIE B (CONNECTOR TIE)
ON FOLLOWING SPREAD:
STEP 03
STEPS 04 + 05
STEP 06
STEPS 01 + 02
STEP 06 DETAILED DESIGN 101
102 DETAILED DESIGN
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The philosophy behind this design reflects societal evolution there has been a significant shift from hierarchical processes to community-sourced projects. Inspired by CERES, the construction can be communitysourced and the water-storage and filtration provisions encourage community activity. Closing the gap between digital and reality, designer and outcome, and art and community through technology.
106 DETAILED DESIGN
DETAILED DESIGN 107
108 DETAILED DESIGN
DETAILED DESIGN 109
110 DETAILED DESIGN
REFLECTION Even though computation and parametricism lie in the digital realm, I found several key concepts in this course to relate directly to reality. Learning about how the two opposites connect allowed me to produce highly explorative and un-imagined outcomes. Exposing myself to new approaches, I was able to push the traditional boundaries and limits of conceptual and practical design. A large proportion of my subject experience, for example, explored formfinding concepts. The efficiency and rationale behind its use to sculpt the precedents I studied and my final project reflect what I have learnt as architecture’s next steps forward - simulating accurate experiential and uniquely expressive design intentions in an extremely efficient process. One of the major challenges I have began to overcome throughout the semester is understanding and taking advantage of thinking between 2-dimensional (traditional), 3-dimensional and data-based realms (new). Now having the ability to transition between these allowed me as the designer to dictate outcomes with ease and efficiency. My final design for example, was a result from my strong engagement in the digital morphogenetic processes. Finally linking these new conceptual understandings and applying them to a hypothetical brief equipped me with skills to push past the boundaries of my traditional approaches to designing.
DETAILED DESIGN 111