STUDIO AIR APBL30048
2016 Tutor: Manuel Muehlbauer
ELISABETH VAN ROOSENDAEL 297 498
front cover image: https://sweetartt.wordpress.com/tag/dance/
CONTENTS Introduction
p.5
Part A A.1 Design Futuring A.2 Design Computation A.3 Composition/ Generation Conclusion
Part B B.1 B.2 B.3 B.4 B.5 B.6 B.7
Research Field Case Study 1.0 Case Study 2.0 Technique Development Technique Prototypes Technique: Proposal Learning objectives and Outcomes B.8 Appendix - Algorithmic sketches
Part C
C.1 Design Concept C.2 Tectonic Elements & Prototypes C.3 Final Detail Model C.4 Learning Objectives and Outcomes C.5 Appendix - Algorithmic sketches
p.6-9 p.10-13 p.14-15 p.16-17 p. 19 p. 21 p. 25 p. 29 p. 31 p. 33 p. 35 p. 36
p. 38 p. 60 p. 73 p. 89 p. 90 p. 91
INTRODUCTION A life long fascination with science and a continued interest in art has always morphed into a natural affinity for design. Currently I am in the final year phase of the Bachelor of Environments architecture major. I approach design from a haptic point of view knowing that sight is not the primary sense. Initially I thought that it was just my artistic intuition that informed such a design approach. However, through research I have come to understand that sight is scientifically proven to not be the primary human sense. It is difficult to describe then what my design process actually is if it’s not a consciously visual driven process. The idea of what type of consciousness is that is informing the designs I've created thus far I find fascinating. However, the impact on the consciousness of the users of my designs I find just as intriguing. Thus, in order to further develop the initial haptic formulated design I have been interested in I have chosen to look towards environmental psychology to develop interestingly appropriate, to site and use, architecture. Recently, I undertook a beginner course in Revit to help translate my architectural ideas into a documented format that would be highly readable in order to construct such designs. I felt that the medium was restrictive for conveying the haptic DNA of my designs but I appreciate the interdisciplinary collaborative potential of the workable models it can create. Hence, in light of the creative restriction of dynamic form Revit generates I am interested to gain insight as to how the expansively dynamic algorithmic designs created through Grasshopper can inform the consciousness of designers and the users of such architectural space.
DESIGN FUTURING Architecture has always evolved with the philosophy of the times. It took on a reductionist approach with the enlightenment. A utilitarian functionalist mantra of form following function mutated through the tectonic cultural shift of the Industrial Revolution. Furthermore, a plethora of different socio-cultural paradigms exploded with different senses of materiality and form in the post modern era. The issues of sustainability in contemporary times highlights the impact and influence architecture has on the global balance of resources and social justice, which has brought about a new consciousness of the impact architecture has on the environment. However, whilst architecture experiences the limitations of society on a global scale it is an academic discipline focussed on improving it’s intellectual pursuit. It appears that this is where it can become unstuck in moving forward with the real socio-cultural needs of the people it is supposed to be creating spaces for. Patrick Schumacher outlined in 2011 that architecture is a system of communications that naturally improves upon itself1. He was predicting that drawing would shift into the discipline of scripting. If architecture was simply just an insular self evolving discipline this would be true. The mechanics of the system would just simply improve. However, what we experience as architecture is not the mechanics of it’s generation it’s what it actually generates. The materiality of the composition is always experienced on an environmental psychological level whereby the entire evolutionary sensorial system of human being absorbs information and decides on wether it is to the benefit of a person or not. Technically it could be said that the environment is merely communicating with a person and this is not far from Schumacher referring to architecture as a system of communications. However, there is no reference to the drawing process moving into a more psychologically conscious process that forms a space that communicates appropriately to the sensorial system of human beings, the actual users of architectural space. Perhaps because not all architecture gets built ad thus it doesn’t appear dramatically important as to the actual real life impact architecture will have. A most notable post modern case of this disengagement from the totality of reality is the work of Archigram and the plug in city. For whilst the design incorporated the notion of architecture being a flexible system it did not think of the negative impact it would have on the health of the physical environment or it’s users. It was simply paper architecture that prompted the idea that space should not be static like classical forms that it should have throw away components. Furthermore, the concept of Archigram did not consider wether 1
Patrik Schumacher, The Autopoiesis of Architecture - A New Framework for Architecture, Chichester: Wiley, 2011 p.1
or not the idea of continual change and a structure designed to not maintain but only change spatial identity would have on it’s users. The impact of structural material aesthetics and the throw away components were not thought of for such realities are not necessary to the lines of communication within the discipline of architecture at that point in time. Thus whilst the Archigram paradigm appeared like a futuristic apparition it faded into the future like an intellectual relic from a historical era, Archigram was design for the future as it communicated a framework that improved upon the present mechanics of static architectural forms just like scripting proposes an improved method of designing from drawing. However, the future is just like the present and the past for human beings. Our sensorial issues of how we experience environments are only improved through desirable environmental factors beings harnessed through designed spaces. This is the real communication architecture generates; it is not the self-improving system of architectural practice that is the testament of architectural growth is the improved sensorial communication architecture has with it’s spatial users. Thus there is a call for the future of design to incorporate all types of education to utilise all human knowledge in the design process in order to expand upon and create functional design intelligence2.
Archigram Plug in City3 2 3
Tony Fry, Design Futuring: Sustainability, Ethics and New Practice, Oxford: Berg, 2008
http://www.archdaily.com/399329/ad-classics-the-plug-in-city-peter-cook-archigram/ 51d71b74e8e44ed538000023-ad-classics-the-plug-in-city-peter-cook-archigram-image
Interestingly, a founder of the modern movement in architecture Frank Lloyd Wright understood the gravitas of the spatial communication architecture has with it’s users and took inspiration from external fields of knowledge and perspectives like evolutionary biology. Thus he perceived that human space should be an organic formulation that resides within the landscape in order to enable the users experience to be a positive sense of life through the evolutionary communication space has with human beings. The open and compressive spaces and framing of views in the Falling Water House 1937 can be likened to the natural preference people have for such spaces as defined by Jay Appleton through prospect-refuge theory4 developed in the field of environmental psychology. Henceforth, as architecture seeks to improves it’s capacity of communication it can only move into the future like it has done in the past through effectively communicating with the human sensorial system in a way that is supportive of our natural spatial preferences created through evolutionary processes. It would seem unwise and lacking in foresight to think that design moving into the future is simply a mechanical evolution. The future is not shaped like Descartes mechanistic universe. We are not seperate egos. The fabric of societies environments and the sensorial systems of the people that inhabit them are inextricably linked. This link cannot be denied and cut off from a communication system that forms spaces for people. The future of design in architecture should aim at generating and working with the consciousness of human reality that we communicate with all we come into contact with, and acknowledge that our systems of communication never exist in a seperate reality. Architecture technically has never been about drawing a space it has always aimed at forming a space for human existence. Thus the future of architectural design, no matter the design tools used to achieve the outline of space, would be to build and improve upon our understanding of how best to form desirable space for human existence. For it has been noted that speculative design has the ability to redefine our relationship with reality5. However, if the relationship with reality is to evolve into a positive change of communications the language of communications, the very nature as to how energies between human beings and their environment interact, should be the guiding and negating force that expresses how these designs will exist. It has been asserted that through digital design organic designs can be generated through interpreting site and 4 5
Jay Appleton, The Experience of Landscape, London: John Wiley, 1975
Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45
conditions in a natural way to create a natural form in architectural designs6. However, Frank Lloyd Wright without the aid of digital design was able to realise organic designs. Thus what appears to emerge for the future of design is going beyond what Wright was able to achieve and being able to create designs knowing how they interact not just with the ecological environment but with the people that inhabit spatially conscious designs.
Frank Lloyd Wright, Falling Water7
6
Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture, London; New York: Routledge, 2014, p.8 7
http://archiinside.com/fallingwater/
DESIGN COMPUTATION It has been suggested that digital design in architecture will dramatically change practice through producing highly complex detailed software models as noted by Kolarevic8. Architecture has gone through information revolutions before but they have not altered the consciousness of architecture. For through the second world war design documentation in architecture required more than plans sections and elevations by the US army and so post war detailed documentation became standard practice. However, this could be perceived merely as a growth of an already established behaviour to visually document designs in detail to enable an ease of construction. For whilst Frank Gehry’s Guggenheim Museum in Bilbao utilised digital design tools in order to realise a complex and abstract curve form there was nothing in the design process that was a breakaway behaviour. The design was documented for construction just like all architectural designs previous had been documented. There was nothing new in terms of scope of practice in this situation. Furthermore, whilst this behaviour is not a digression in the architectural trajectory it is an addition to the culture of architecture. The level and range of new forms that can be incorporated into the visual language of architecture to a great leap of growth through the uptake of digital design tools was phenomenal.
Frank Gehry, Guggenheim Museum Bilbao9
8
Branko Kolarevic, Architecture in the Digital Age: Design and Manufacturing, London: Spon Press, 2003 9
http://www.archdaily.com/author/samuel-medina
Sketches of Frank Gehry For the Guggenheim Museum Bilbao10
“the computer is a tool, not a partner – an instrument for catching the curve, not for inventing it” 11 Frank Gehry For whilst the digital design tools document the hand drawn concept it enabled a complex design to be comprehended and constructed. The computation was the catalyst for the “experimental”12 design to be incorporated into normal architectural practice. 10http://hyperallergic.com/74228/frank-gehry-appreciates-the-patronage-of-benevolent-dictators/ 11http://hyperallergic.com/74228/frank-gehry-appreciates-the-patronage-of-benevolent-dictators/ 12Rivka
Oxman and Robert Oxman, p.2
However, methods of finding structurally sound forms for abstract designs is not a new experience through digital design tools. For in Gaudis design of his masterpiece of the Colònia Gßel church he utilised the reverse hanging of chains for form finding. He did not use preconceived architectural elements for structures he developed an external method that delivered the structure of his design for him. The reverse hanging of chains was like an analogue computer. The behaviour of employing an external method to compute an appropriate structural form for design is in line with Gehry utilising digital technologies to help fabricate his architectural model for Bilbao. The only real difference between the two is that the digital design model could produce greater digital representations of details for the use of construction. The analogue reverse hanging method may have produced the form of the structural component of the architecture but drawings still had to be drafted for the communication of design for the buildings construction process. Furthermore, the digitisation computing models, unlike the analogue method of Gaudis form finding, opens up a pandoras box of new types of forms that can be produced and generated as architecture. A plethora of various forms and materials can be designed through the various form generation methods in digitisations methods. Additionally, the digital models are capable of informing the manufacturing of construction materials unlike analogue methods of form computation. This changes the design process of architecture whereby the architect becomes capable of taking on a master builder type role that is not passive to external methods of construction available. On the other hand, the model enables for a communicative process between designers and consultants to help refine design solutions to create the initial design intent in light of construction and materiality and spatial issues. The model is capable of being more than a one stroke wonder - it is a dynamic layered model that embodies the interactive and refinement of communicative expression between and within designers. An issue with such a process is that whilst architects can become master builders in the management of the model they can also become obsolete in the sense that an engineer through the use of digital design technologies can take over a process and merely incorporate an architect as a designer consultant.
However, the change of the design process in practice through computation digital or analogue does not change the scope of practice of architecture. For the conscious awareness of what is being formulated and knowing how that will likely effect the experience of human beings remains out of scope. Brady 2013 suggests that computation in design enables a sharing of knowledge - of
consciousness13. However, whilst computation of design enables a more dynamic design process it does not generate a more consciously aware and informed design practice in terms of what effect architecture actually infuses into the consciousness of it’s users. It is the role of the architect to involve expertise that can interpret information about an architectural design to generate a desirable exchange of information in a design. The computation of design enables more people to be involved in informing the design process14. Thus it seems computation of architecture has the potential to realise the evolution of consciousness in spatial design.
“1/15-sized reproduction of Gaudí’s hanging model for the Colònia Güell church found in the Museum of the cathedral”15
“The hyperboloid is just one of the ruled structures Gaudí used in his structure”16
13Brady
Peters, Computation Works: The Building of Algorithmic Thought. Architectural Design, 83, 2, pp. 08-15, 2013 14
Yehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of ComputerAided Design, Cambridge, MA: MIT Press, 2004, p13 15https://formfindinglab.wordpress.com/tag/hanging-chain/ 16ibid
COMPOSITION/GENERATION Architecture through the Vitruvian lens seeks to visualise symmetry. It designs to literally represent the paradigm in architecture plan. The shift in architecture in modern times sought to express that form could follow function not just replicate and impose the qualities of the design philosophy. However, if design is about communication then there have to be communicative tools incorporated into the design process in order for the architectural idea and it’s language to be comprehended. Interestingly, in contemporary times there are polar opposite architectural compositions generated by digital design methods. For prepackaged construction elements in design software programs can generate restrictive expressions that are not formed by design paradigms but through the ease of design tools. The architectural communication in such designs is almost not apparent as they only reflect the ability of digital technologies to generates constructed space with ease. Such creations in the digital realm are not an evolved future for architecture for it would be like thinking literature could grow if it could just choose between pre packaged sentences of basic expressions. Such a thought of digression is just not in line with what is though of as progression for the future. Thus in the field of architecture whilst there are digital design tools that can create such restrictive expression there are also means through which elaborate expressions of design approaches can be realise. Interestingly, this does not mean that restrictive design rules cannot be incorporated to generate complex expressions. However, the restrictive rules incorporated into the mediums capable of complex expressions are more like the linguistic rules of grammar that govern the expression of a language rather than prepackaged sentences of expression. An example of how design restrictions like rules of grammar can create complex expression is embodies in the design of Hadid and Schumacher algorithmic interpretations of Palladios design rubric. The design highlights that digital generation in architecture still relies upon design rules but these rules are mediums for complex aesthetics to express themselves. The rules are like the veins that enable the creative blood to pump through. Thus in digital generation there still exists a conscious formula like driven approach in order to develop a design. However, whilst this means that the architectural design process has not entirely mutated from it’s fundamental design DNA that drives formula driven spatial formations it highlights that it is rules that can be the foundations of creative forms. For without a set of rules to apply to the design medium of parametric design no design could be created as commands are necessary to instruct the design generation medium to produce form.
An interesting contrast example of how a lack of rules in the use of digital design tools can impede creation is indicative in the potential use of Revit software. For the Software provides the designer with prepackaged architectural elements. An architectural configuration can be structurally sound but mindlessly composed without any design paradigm applied. No concept is required to produce an architectural composition. As a result the digital generative process through software like Revit can generate bleached spatial designs devoid of creativity.
Zaha Hadid and Patrik Schumacher generative design of Palladian rules17
International style promoted by Revit to improve “work flow�18 17https://www.yatzer.com/andrea-palladio-and-zaha-hadid-architects 18https://www.omniplan.me/wp-content/uploads/2013/12/revit-arch-design.jpg
CONCLUSION The digitisation of architectural generation leaves room for highly expressive communications of spatial design and forms that are devoid of architectural communication. However, in this space of expressive freedom the meaning of the language been spoken is still not completely understood. For whilst aspects of a designs impact on the physical environment and it’s building performance can be measured and tested to the site, the ability to predict the type of use the impact of spatial aesthetics and configurations has human beings is still not incorporated into the design process. What this means is whilst the design tools of architecture is expanded upon through the digitisation of the design process the level of self awareness in architecture is still in part dwelling in the abyss of the unknown. For when new forms are generated and no scientific analysis exists to predict how it will impact on human behaviour. It is difficult to state that the proliferation of architectural expression embodied in the potential of digital composition, especially through parametric design, is an evolution in the consciousness of architecture. Even though the computation of designs in the digital realm creates models that change the design and construction process it does not engender a new understanding of how architecture actually effects human behaviour and consciousness. There are steps forward in the realm of environmental psychology to help architecture realise consciousness of the impact they have on human behaviour. However, digitisation of design, in the context of economic influences desiring greater work efficiency, appears to promote a focus on improving the mechanics of how architectural forms are designed and constructed based on user function and site impact rather than the overall interaction and impact it has on users in the context of site. Henceforth, there is a blind spot in the digital realm of architecture generations as there’s a lack of consciousness and communicative skills in architecture itself. In order to move forward in reality and build upon the importance of good architectural design the digital generation of architecture has to incorporate the knowledge of it’s impact on human behaviour in it’s models and know how to generate conscious architectural expressions. Architectural language has to acknowledge and work with the natural biological language human beings experience in an environment. For tactile experiences in space deeply influence biological survival instincts in human behaviour19. Thus if human beings already have a biological language that creates a behavioural response to it’s surrounding environment surely this inescapable language should be deciphered and incorporated as a means of communication in architecture. 19
Christopher N. Henry http://www.archdaily.com/186499/tactile-architecture-does-it-matter 2011
Conversely, whilst contemporary architecture touches on this reality of harnessing the inherent biological language of human beings and thus environmental preferences of people in biophilic design it does not seek to completely incorporate the biological language generated through the evolutionary heritage of environmental interactions of human beings. Historically the Russian school of Constructivism believed that experience of space generated knowledge. However, such philosophies in architecture have been set aside for what appears to be the more important objective of construction efficiency and expressive designs. But if a design does not have consciousness of the effect of the impact it’s aesthetic expressions will have on it’s spatial user is it truly expressive or just simply imbued with expressive intent? For open plans in modern designs assumed that they would foster a greater sense of productivity in workplaces, however research has proved that this design does not have it’s desired effect on human behaviour20. Additionally, the minimalist surfaces of modern designs could impede the intelligence of it’s uses as it fails to incorporate organised complexity that fosters human brain growth and health21. Henceforth, architecture should seek to harness consciousness of all aspects its design has on user and site through the computation process in the digital realm if it is to improve upon its communicative expressions of the architectural language.
20Nikos 21
Salingaros http://www.archdaily.com/450972/is-the-open-plan-bad-for-us 2015
Michael Mehaffy and Nikos A. Salingaros http://www.metropolismag.com/Point-of-View/ February-2012/Science-for-Designers-Intelligence-and-the-Information-Environment/ 2012
Part B Studio Air ABPL30048_2016_SM2
Manuel Muehlbauer
Elisabeth van Roosendael 297498
B.01 Research Field: Biomimicry
Figure 1: The Eden Project1
Biomimicry is stated by Janine Benyus to be the act of
“taking the design principles, the genius of the natural world, and learning something from it�2 1http://www.e-architect.co.uk/images/jpgs/england/eden_project_g240209_sealand.jpg 2
Janine Benyus, Biomimicry's surprising lessons from nature's engineers, https://www.ted.com/talks/janine_benyus_shares_nature_s_designs#t-180680, 2005
Through such a process of looking into nature, innovation in architectural design can arise from the conception of design right through to how design materials are produced and the structure is assembled. Furthermore, as biological processes have values that are conditional to environmental variables and morph state accordingly, biomimetic design can create architecture that can respond to their environment3. Additionally, as architecture is space designed for the human organism, in order to make sure the abstracted natural ideas are supportive of human well being biomimetic design should also be negated by Biophilic principles. The theory of Biophilia outlines the “instinctive preference we have for certain natural geometries, forms, and characteristics within our environment”4. Thus, Biophilia implies the inescapable impact architectural design can have on human well being5. So it would follow, that in abstracting the natural aesthetics preferred by people in biomimetic designs that human well being would be supported. However, it has been found that the success of biophilic design relies in it’s ability to generate a sense of “intimacy and communion”6. Hence, as biomimicry does not denote such parameters in it’s application, it would seem that such variables in the form of biophilic principles should be incorporated into biomimetic architecture if it’s to support human well being. Interestingly, before natural patterns desired in Biophlic design could be employed in digital designs the “programming and geometry - the practical manifestations of algorithms and mathematics”7 must be considered to help generate biomimicry forms that express Biophilic compositions. Through programming and generating dynamic interactive models for biomimetic architecture the design can respond and adapt to changing conditions such as site. An example of such an occurrence in the design process is evident in the Eden Project by Nicholas Grimshaw & Partners. For in the final stages of the biomimetic design the site was not finalised, however when such variables of the design were known the parametric model was able to adapt to the known conditions8. This is because the design was based on soap bubbles and their structurally adaptive behaviour9. Furthermore the use of sustainable materials and systems were used to help generate and run the building10. However, the impact on the well being the design creates is not apart of the architectural formulation. The absence of understanding how well the design will affect people is perhaps indicative of the limitations of how biomimetic design is practiced to just achieve structural building performance. However, as the blueprint for biomimetic designs are in line with biophilic preferences for natural patterns and shapes the implications for architecture is that architectural language can generate adaptive structures that encompass building performance, ecological sustainability, and human well being.
3
Marc Weissburg, The Bio-Inspired Design Landscape, http://bioinspired.sinet.ca/content/bio-inspired-design-landscape, 2010
4Michael
Mehaffy and Nikos A. Salingaros, Frontiers of Design Science: Biophilia http://www.metropolismag.com/Point-of-View/November-2011/Frontiers-of-Design-Science-Biophilia/ 5
Ibid
6
Ibid
7
Robert F Woodbury,’How Designers Use Parameters’, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge, 2014, p.170
8
Robert F Woodbury p. 168
9
http://www.edenproject.com/eden-story/behind-the-scenes/architecture-at-eden
10
https://www.edenproject.com/eden-story/behind-the-scenes/sustainable-construction-at-eden
B.02 Aranda Lasch - The Morning Line
Figure 2: The Morning Line by Matthew Ritchie with Aranda\Lasch and Arup AGU11 The Morning Line project emulates the biomimetic inspiration of how biological systems create a “variety of possibilities to create abstract forms�12. The project demonstrates how a simplistic finite form can mutate into a seemingly infinite metamorphosis that generates structural forms.
11http://thecreatorsproject.vice.com/blog/making-the-mundane-cosmic-meet-modular-designers-arandalasch 12
Kevin Holmes, Making The Mundane Cosmic: Meet Modular Designers Aranda\Lasch, http://thecreatorsproject.vice.com/blog/making-the-mundanecosmic-meet-modular-designers-arandalasch, 2013
Mass
Dynamic Planes
Rigid Planes
Frame
Membranes
Meshes
Dynamic Meshes
The iterations of Arand Lasch - The Morning Line generated forms that were simplistic mass like structures, to folded planes, morphing into static frames, and then evolving into dynamic membranes and meshes.
The recurring theme is in line with the interest in the infinite that Arand Lasch is focussed on in their designs. However, the infinite does not necessarily have to be a value that is unbounded. The iterations express the reality that there are infinite variations within finite forms. In terms of biomimicry, in nature through a finite series of biological processes infinite organism and ecologies can evolve as a result of infinite environmental variables. Thus, considering the nature of architecture and it’s restrictions to bounded sites this would appear to be a relief for those like Arand Lasch who seek the experiential qualities of the infinite in architectural expressions.
B.03 Reverse Engineering: Times Eureka Pavilion - NEX
Figure 3: Times Eureka Pavilion - NEX Architecture13 The Pavilion derives it’s design from looking into the concept of the garden through the micro lens of the cellular structure of plants14. The design was furthered through incorporating the biomimicry of leaf capillaries into the wall and roof structures so they 13
http://www.nex-architecture.com/projects/times-eureka-pavilion/
14
http://www.archdaily.com/142509/times-eureka-pavilion-nex-architecture
could divert the course of water into the garden and realised through computer algorithms, that enabled digital fabrication, that grow like a natural system15. The computer algorithms used, as seen in figure four, are voronoi patterns. Points have to be made in a bounded rectangular space to connect and bound the voronoi pattern. The main structure is formulated with a primary voronoi pattern. Then those cells within that primary pattern are populated with a seperate set of points to generate a secondary structure with a voronoi pattern. It is crucial that the structures are similar and connect not overlap in order for forces to be distributed appropriately and water directed accordingly to the structures design. Furthermore, the complex yet coherent aesthetics in the design that create a sense of mystery and prospect in the environment can be interpreted as contributing to the well being of people who experience the Eureka Pavilion according to biophilic design parameters16.
Figure 4: Times Eureka Pavilion Biomimetic Pattern Design Process17 15
http://www.archdaily.com/142509/times-eureka-pavilion-nex-architecture
16C.O.
Ryan, W.D. Browning, J.O. Clancy, S.L. Andrews, N.B. Kallianpurkar, Biophilic Design Patterns: Emerging Nature-Based Parameters for Health and Well-Being in the Built Environment, International Journal of Architectural Research Vol. 8 Issue 2, 2014, http://archnet.org/system/publications/contents/9767/original/DTP102153.pdf?1405433094 17http://www.nex-architecture.com/wp-content/uploads/2011/12/process-1-1024x851.jpg
Eureka Pavilion reverse engineering in Grasshopper
1.) Rectangle to bound space
6.) Pattern Cells isolated as breps
2.) Pop 2D to populate space with points
7.) Cell brep outlines into points
3.) Voroni 2D to join points
8.) Points inside brep
4.) Offset Voroni pattern
9.) Points joined into Voroni 2D pattern
11.) Offset secondary Voroni pattern in cells is extruded to the same degree as the primary fractal pattern so the biomimetic design can be fabricated as a 3D structure
5.) Offset pattern extruded
10.) Cell Voroni pattern Offset
Figure 5: The leaf fractal cellular configuration is the biomimetic inspiration for the Times Eureka Pavilion structure18 The Times Eureka Pavilion is generated through modular panels. Therefore, only one panel was required to reverse engineer the project. The Voroni component in Grasshopper was integral to mimicking the fractal leaf structure the Pavilion derived it’s design DNA from. Extruding the primary and secondary fractal patterns in the reverse engineering was crucial to generating a parametric model that could digitally fabricate a structurally appropriate form for the Pavilion. Furthermore, the individual patterns and extrusions, of the primary and secondary fractals, enable the parametric model to adapt to information derived from engineering values based on material performance for the structure after the design template is created.
18
http://www.evolo.us/wp-content/uploads/2011/05/Eureka-Pavilion-6.jpg
B.04 Times Eureka Pavilion Iterations Dynamic Patterned Surface
Rigid Patterned Surface
Extruded Pattern
Extended Extruded Pattern
The patterned surfaces and their extrusions outline the possibilities for the biomimetic blueprint of the leaf to generate complex yet coherent surfaces and spaces. The iterations demonstrate the possibility for the biomimetic approach to be incorporated into small to large scale architectural structures. Furthermore, the iterations of single cell structures that generate static solid spaces and dynamic open frames also express the ability for the biomimetic blueprint to create various spatial experiences. However, through the lens of biophilic design and it’s parameters it appears that not all design iterations based on the natural leaf form express the aesthetics from nature that human beings generally prefer. Henceforth, in order to develop biomimetic designs for architectural space, the parameters of Biophilic design should be incorporated into the parametric generation of biomimetic designs if the architecture is to support human well being.
Extruded Cell Static Solid
Extruded Cell Dynamic Frame
B.04 Technique: Prototypes In order to develop an inviting space through biomimetic design, the choice of materials is crucial to welcoming the haptic senses into the architectural composition. For even if the parameters of complexity and coherence of biophilic design are met in a design, the inability to generate a comforting atmosphere could see the design fail to support human well being. Thus the initial trials of material for the design technique was cork. For cork is a soft mouldable texture that is also durable to the outdoor elements.
The cork is good in compression and was thus laminated together with glue. It was too brittle to shape into the internal fractal patterns of a cell. However, the material can be manufactured into a specific mould.
In order to generate a structure that could be both complex and coherent, offer mystery and surprise as well as comfort and access to greenery and air flow an extruded cell prototype was made out of looped laminated paper. The internal fractal pattern when extruded creates a dynamic structure that is reasonable in compression and tension forces. The relaxed dynamic nature of the prototype is welcoming in its organic form and generates a possible lounge type experience through resting on its lower branches. Also the sense of mystery and prospect generated through shadows and obscured vistas promotes engagement with site. The site being a natural setting, like along the Merri Creek area where greenery and water with their refreshing qualities are abundant. However, the use of paper on a large scale is not a long term design proposal due to the inability to hold structure when exposed to all of natures elements. Interestingly though, a mesh like membrane or a rubber plane could be looped and folded into a form like the laminated paper model.
B.06 Technique: Proposal In order to welcome those that dwell in the nature deprived environments of the urban fabric that surrounds the Merri Creek area in the inner Melbourne suburbs an outdoor lounge type area will be created. It will be generated through the biomimetic blueprint of fractals from a leaf form, and an understanding of passive design and environmental systems and processes of self-assembly, in order to physically optimise the buildings structure in it’s immediate ecology. Most dramatically the design will be determined by the parameters of biophilic design in order to facilitate a comfortably tactile environment that brings the relaxation and security of an indoor lounge room environment into the refreshing and revitalising outdoor space along the inner Melbourne banks of the Merri Creek. The Biophlic design parameters, which help support human biological health and well being, to be employed are19: Nature in the Space Patterns 1. Visual Connection with nature 2. Non-visual Connection with nature 3. Non-Rhythmic Sensory Stimuli 4. Thermal & Airflow variability 5. Presence of Water 6. Dynamic & Diffuse Light 7. Connection with natural Systems Natural Analogues Patterns 8. Biomorphic Forms & Patterns 9. Material Connection with nature 10. Complexity & Order Nature of the Space Patterns 11. Prospect 12. Refuge 13. Mystery 14. Risk/Peril Most parameters can be easily satisfied in the context of a setting nearby to the creek with views of the water. The concept of risk/peril means that if something feels threatening in the environment the biophilic design has to offer security. Considering that being caught in the rain or burnt by the sun the design intent of shade would counter the fear of natural elements. Furthmore, in the context of contemporary technologically fuelled life the idea of being without access to power for charging of devices could also prove a risk that urban dwellers are unable to handle. Thus a solar powered power point in the design can help create the lounger room type comfort experienced indoors into the outdoors. Additionally, the tactile experience of the design has to create a sense of place that inspires restorative experiences for site visitors.
19
Browning, W.D., Ryan, C.O., Clancy, J.O. (2014). 14 Patterns of Biophilic Design. new York: Terrapin Bright Green, LLC, http:// www.architectureanddesign.com.au/getmedia/2d832853-778b-41dd-af42-f93f7488e21b/14-Patterns-of-Biophilic-Design-Terrapin-2014e_1.aspx
Figure 6: The Merri Creek water frontage satisfies many biophilic design parameters20 20
http://nixpages.blogspot.com.au/2011/07/merri-creek-coburg-lake.html
B.07 Learning Objectives and Outcomes At the beginning of this course I had no experience with Rhino and no understanding of the implications on the architectural design process that Grasshopper generates. Now, after a couple of months being exposed to the theoretical and practical implications of parametric design through grasshopper on architecture I have a reasonable understanding of this shift in the design paradigm. I have also gained the foundational tools for being able to partake in this new design community. The ability to engage in such a dynamic design process is opening up new opportunities for design ideas and expressions. The exploration into a single design definition and discovering how many iterations and dramatically different species can be generated from one definition is an inspiring design exploration. The experience also generates knowledge of how parametric models can be configured to suit different conditions, of which is invaluable in terms of the ability to generate dynamic architectural models it helps create. However, my ability to digitally fabricate parametric models is yet to be reasonably well developed. Additionally, the ability to work fabricated materials into dynamic and detailed models that express connections that would form a functional design is something that is gained through research, computational testing, and trial and error model making experience - all areas I believe I need to keep on working on.
B.08 Appendix - Algorithmic Sketches
1
C.1 Design Concept Human well-being is conditional to a connection with nature
Human Nature: A Collaboration by Erica Simone and Jaci Berkopec, 2015 http://www.huffingtonpost.com/erica-simone/fine-art-photography-huma_b_7868892.html\
We
feel better, live longer productive
and are more
when we experience
nature1 Browning, W.D., Ryan, C.O., Clancy, J.O. (2014). 14 Patterns of Biophilic Design. new York: Terrapin Bright Green, LLC, http:// www.architectureanddesign.com.au/getmedia/2d832853-778b-41dd-af42-f93f7488e21b/14-Patterns-of-Biophilic-Design-Terrapin-2014e_1.aspx
2
It’s the environment that gives structure to our existence
Human Nature: A Collaboration by Erica Simone and Jaci Berkopec, 2015 http://www.huffingtonpost.com/erica-simone/fine-art-photography-huma_b_7868892.html
Human well being
is depleted when we don’t experience the natural
environment Browning, W.D., Ryan, C.O., Clancy, J.O. (2014). 14 Patterns of Biophilic Design. new York: Terrapin Bright Green, LLC, http://
2
An urban environment with no nature creates a viscous cycle that depletes human well-being
Nature in the built environment like the Merri Creek in inner city Melbourne breaks the viscous cycle
www.architectureanddesign.com.au/getmedia/2d832853-778b-41dd-af42-f93f7488e21b/14-Patterns-of-Biophilic-Design-Terrapin-2014e_1.aspx
For human beings evolved through
connecting to nature’s information.
http://www.mediaeducationcentre.eu/eng/?p=2206
3
http://www.istockphoto.com/au/illustrations/clip-art-of-a-tree-with-roots? sort=best&excludenudity=true&mediatype=illustration&phrase=clip%20art%20of%20a%20tree%20with%20roots
The information that we have come to prefer through survival is coherent complexity in the
environment
3
Such aesthetic information can be appropriated into architectural design to consider how to design that we feel best
environments
supports our existence
Michael Mehaffy and Nikos A. Salingaros http://www.metropolismag.com/Point-of-View/
February-2012/Science-for-Designers-Intelligence-and-the-Information-Environment/ 2012
Concept diagram for nature in the built environment:
urban environment
cycle of nature in urban environment
urban environment with nature
unrolled uniformed brain surface
intersection between unrolled brain surface and cycle of nature in urban environment
Concept diagram for no nature in the built environment:
nature deprived urban environment
unrolled uniformed brain surface
cycle of nature deprived urban environment
moment of intersection through addition
uniformed brain surface
Sarah Haque, 2016
The sensory deprivation experience in a nature deprived hyper built environment suppresses a person to dream of living an enlivened life rather than living one -
the vision is to be awakened in a space sheltered by renewel
Experiencing nature in the built environment, on a scale that recalibrates human senses to be in tuned with life, realises the vision to be sheltered by renewal
Concept for nature in the built environment in grasshopper:
rectangle
points in rectangle
offset voronoi cells
voronoi pattern to structure
voronoi into voronoi
pattern bent with arc
intersect surface and pattern cycle
points into voronoi
cells populated with points
surface
pattern created through moment of intersection
Turning pattern into surface:
original surface
original pattern edited
pattern surface spilt
(primary vornoi veins omitted)
area geometry to split
list item
sort list
reverse list
pattern surface
4
“The brain controls our behavior. Genes control the blueprint for the design and structure of the brain. The environment can modulate the function of genes, and Ultimately the structure of our brains. Changes in the environment change the brain, and therefore The change our behavior.
Consequently architectural design changes our brain and our behavior.�4 John Paul Eberhard, Mind in Architecture: Neuroscience, Embodiment and the Future of Design, The MIT Press: Cambridge, 2015, p.135
The pattern surface contemplates what the neurologial and behavioural impacts it would create in referencing elements from nature known to be beneficial for human well being
Construction considerations
Considering the dynamic nature of the pattern it was first thought that the pattern would benefit from a strucutral system to assit with handling forces and regulating connections. However, upon further research it was under stood that the pattern was extruded and constructed in a particular way it could act as structural system.
5
Precedent for extruded dynamic pattern being structural:
http://www.rolandsnooks.com/compositewing/
Composite Wing, Roland Snooks The larger extrusions of the abstract pattern are CNC milled strydor foam and are attached to a 1mm fibreglass surface and thereby decreasing the bending moment of the fibreglass surface from meters to centimeters5. http://www.rolandsnooks.com/compositewing/
Testing the theory with plastic sheet Vs. Plastic sheet and foam board
Large bending moment on the plastic sheet
Bending moment decreased with abstract foam pattern
Fibreglass Production:
http://maybach300c.blogspot.com.au/2012/08/manufacturing-processes.html
Considering the nature of the design is an algorithmic model it would be remiss not to utilise digital modes of fabrication to generate the mool for the production of the fibreglass surface.
Sketch diagram of initial construction process:
CNC surface mould
structural foam for pattern
place fibreglass onto surface
CNC pattern
place pattern onto surface
remove fiberglass surface
coat pattern
C.2 Tectonic elements and Prototypes Prototyping construction process – CNC modelling, 3D printing and vacuum forming: Vacuum forming requires a model. Available vacuum forming in the FabLab determined that the model would be a small size.
Initial 3D printed model made possible through putting pattern into Meshmixer.
Upon further inquiry into the details of vacuum forming on a small scale it was made clear that the sharp points and intricate extrusions would be difficult to be produce. Additionally, it was made clear that CNC milling a model of the surface on a small scale would not work. Thus, it was it was decided that
a revised basic
version of the pattern, would be required for the prototyping process.
Simplified pattern for prototyping vacuum forming
The shape of the pattern is also changed by the edited surface as the surface is a part of the process that generates the pattern
Points that lifted up look towards the ground – anchoring the line of the structure
Additionally, an edited version of the vacuum formed digital and thus physical model would be required. Due to the ability of 3D printing to handle the geometry of the model with a small scale better the CNC the surface model was printed in plastic. The 3D print generated a slight texture on the surface.
3D printed model to be used for vacuum forming plastic moulded surface
3D printing in progress
The pattern has to be placed on supports for printing
The pattern has to be placed on supports for printing
Vacuum form opening
model on vacuum forming plate
Plastic being heated and then mold lifted up to then take form
The model has to be cut out of the newly formed plastic mold
3D printing a model for then vacuum form an architectural prototype utilises algorithmic
information and heat and
pressure processes like what is utilised to generate
organic forms in nature
The foam extrusions worked well for the composite Wing project, however considering the natural forces and what could be experienced by a pavilion in the outdoors the extruded pattern structure should be reconsidered for something stronger and more durable.
Revising construction method:
1. ) CNC pattern onto surface mould
2.) make a mould – fibre reinforced concrete formwork
5.) cast fibre reinforced concrete, add structure to 6.) non patterned fibre glass surface
7.) Fibre glass surface supported by fibre reinforced concrete extruded pattern
The idea of using fibre reinforced concrete may increase strength, however it’s heavy
Thus, once again the construction method needs to be revised for the extruded pattern.
6
Revising constructing method for extruded pattern structure (Based on boat building technology)6:
1. CNC pattern onto surface mould
2. make a fibre glass mould and wax
3. Cast hollow layer carbon reinforced polymer
4. CNC extruded foam pattern
5. connect carbon reinforced polymer to foam
6. Prepare fibre glass surface
Fibre glass surface supported by hollow carbon reinforced polymer extruded pattern infilled with foam Fishing boat construction http://www.fao.org/docrep/003/t0530e/T0530E08.htm accessed 28.10.16
C.3 Final Detail Model
A 6 mm drill bit was used to drill the holes for the 12mm bolts
Through research and finally trial and error a connection system was developed and refined
Detail 1:2 -
The detail shows: The foam core of the extrusion demonstrates how it enables it to form a lightweight beam on the surface The outter plastic of the extrusion represents carbon fibre reinforced polymer to help reinforce the extrusion so it can perform well as a structural beam The flat frosted plastic surface represents the fibreglass structure The bolts are buffered by EPDM rubber washers, on both the top curved side and the extruded under side, so that they can move with the contouring of the fibreglass surface. This enables there to be a greater distribution of forces from the fibreglass surface to the carbon fibre reinforced polymer and foam composite structural beams as surface area is enlarge and contact is maintained.
As a result the bending moment of the frosted plastic surface, that represents the 1:1 fibreglass proposed surface, is significantly reduced due to the structural reinforcement of the extrusion.
There prototypes appear like itterations for the most part, and then due to scale the tectonis appear almost like a new species
The fibre glass pavilion resides in Yarra Bend Park, Fairfield in the inner north of Melbourne
Plan 1:100
It resides next to ‘Earthwork Heron’ (1997), an artwork made of scoria in trenches on the ground by Ivan Cindric
The artwork looks towards the mountain to point towards the source of water for the Merri Creek, the pavilion engenders a perspective to sky to contemplate
the source of water and how it’s connected to global environmental processes and elements just like human well-being, in particular brain health
East Elevation
What impact the pavilion would have on well being, particularly brain health, is unknown but what can be seen is that the form moves within the natural environment like it has been formed by natural processes
The structure also appears at home in other natural settings, outlining it as a naturally morphing form
Sarah Haque, 2016
C.4 Learning Objectives and Outcomes The initial task of producing digital algorithmic sketches was a task that initially appeared detached from the natural world and only able to connect to the virtual aspects of reality. However, through researching precedents especially in the field of biomimicry it became apparent that algorithmic designs go hand in hand with producing naturally adaptive designs. Furthermore, this revelation of the inherently natural way of thinking programmed into the algorithmic approach to design made it apparent that the digital modes of fabrication were not these cold entities of generation but rather a means to creating designs that could be in harmony with the natural world. Additionally, and most poignantly the combination of algorithmic sketches and digital modes of fabrication opens up a realm of opportunities to create bespoke designs previously perceived as not belonging to the world of architecture. Considering that architecture deeply informs our health and behaviour the ability to unveil a means to creating new ways of being has been a truly rewarding experience. For at the beginning of this subject I had a preference for organic expressionistic abstract designs but had a severe allergic reaction to technology. Through persevering with exploring algorithmic formulas I found various ways of creating designs that both fulfilled my aesthetic interests and surprised me with a plethora of options to generate structural prototypes. The initial hurdle of learning how to connect the algorithmic information to digital modes of fabrication like a 3D printer appeared like quite a steep learning curve. However, once that hurdle had been cleared it was made clear that the process is reasonably straight forward it’s just a matter of understanding limitations and expectations of these modes of production that remain reasonable constant once they’re learnt. On a similar note, utilising complimentary modes of production like vacuum forming was an insight into how the digital modes of fabrication can be incorporated into progressing existing manufacturing technologies to realise digital algorithmic designs. I have to note though that navigating a path of understanding that leads to production of objectives is only made possible through the help and guiding support of others that are mentors or peers. It was not an easy task coordinating the learning and production process of digitally produced algorithmic designs. Advice on what precedents to look at from going to the technical help sessions and consultations with FabLab were critical in finding a potential starting point for the prototyping process for the final design. Additionally, the ongoing exposure to the work of other students in my class and their progress and algorithmic design production was both motivation and inspiration as to how to go about generating digital algorithmic designs. Most notably is my project partner Sarah who was willing to work with my ideas and I with hers from the initial design phase right through to the final detailed phase. For similarities and differences in design and constructions approaches helped critically generate an understanding of how I was proceeding with the objectives and outcomes of the design process. Additionally, the guiding assistance of my tutor Manuel was integral to generating means of connecting algorithmic language with architectural design.
References: Arians, G.H. and Heerwagen, J. (1992) Environmental Aesthetics. In J.H. Barlow, L. Cosmoses, Tooby, J. (Eds) The Adapted Mind: Evolutionary Psychology and the Generation of Culture. New York, MY: Oxford University Press Browning, W.D., Ryan, C.O., Clancy, J.O. (2014). 14 Patterns of Biophilic Design. new York: Terrapin Bright Green, LLC, http:// www.architectureanddesign.com.au/getmedia/2d832853-778b-41dd-af42-f93f7488e21b/14-Patterns-of-Biophilic-Design-Terrapin-2014e_1.aspx
Christopher N. Henry http://www.archdaily.com/186499/tactile-architecture-does-it-matter 2011 Cone, J.D. and Hayes, S.C. (1980) Environmental Problems Behavioural Solutions. Cambridge: Cambridge University Press Grahn, P. & Stigsdotter, U.K. (2010). The relation between perceived sensory dimensions of urban green space and stress restoration. Landscape and Urban Planning. www.elsevier.com/locate/landurbanplan Janine Benyus, Biomimicry's surprising lessons from nature's engineers, https://www.ted.com/talks/janine_benyus_shares_nature_s_designs#t-180680, 2005 John Paul Eberhard, Mind in Architecture: Neuroscience, Embodiment and the Future of Design, The MIT Press: Cambridge, 2015 Kaplan, R., Kaplan, S., et al (1998). With People In Mind: Designing and Management of everyday Nature. Washington, DC: Island Press Marc Weissburg, The Bio-Inspired Design Landscape, http://bioinspired.sinet.ca/content/bio-inspired-design-landscape, 2010 Michael Mehaffy and Nikos A. Salingaros http://www.metropolismag.com/Point-of-View/February-2012/Science-forDesigners-Intelligence-and-the-Information-Environment/ 2012 Nikos Salingaros http://www.archdaily.com/450972/is-the-open-plan-bad-for-us 2015 Robert F Woodbury,’How Designers Use Parameters’, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge, 2014, Browning, W.D., Ryan, C.O., Clancy, J.O. (2014). 14 Patterns of Biophilic Design. New York: Terrapin Bright Green, LLC, http:// www.architectureanddesign.com.au/getmedia/2d832853-778b-41dd-af42-f93f7488e21b/14-Patterns-ofBiophilic-Design-Terrapin-2014e_1.aspx
ALGORITHMIC SKETCHES