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Introduction
My name is Elise Weavers and am currently a 3rd year Architecture student at the University of Melbourne. Design Studio Air will be my 6th design studio and my 3rd studio that will make use of the design program Rhino. Before Air I have complete Virtual Environments, 2nd semester, 1st year and taken the Rhino workshop that was made available in Visual Communications, 1st semester 2nd year. However, I would describe my Rhino skills as still quite basic and this deTJHO TUVEJP XJMM CF NZ mSTU
Case for Innovation:
A1 Architecture as a Discourse
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A2 Computational Architecture
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A3 Parametric Modelling
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A4 Parametric Exploration
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Conclusion
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introduction of the Grasshopper software. Although I have found working with Rhino quite challenging to say the least, I found Virtual Environments to be one of the most rewarding subjects, in terms of learning and satisfaction with my work, in the course to date. I look forward to another challenging semester of Rhino that hopefully will see my skills improve and result in an equally suprising and satisfying outcome as I found with Virtual.
Expression of Interest: B1 Design Focus B2 Case Study 1.0 B3 Case Study 2.0 B4 Technique: Developement B5 Technique: Prototypes B6: Technique: Proposal B7 Algorthmic Sketches 2
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01. ‘Relatively unseen forms or structures’ a design by Greg Lynn- The European Central Bank competition. 2003. source: http://glform.com/buildings/european-centralbank-competition
$UFKLWHFWXUH DV D 'LVFRXUVH Richard Williams’ ‘Architecture and Visual Culture’ (2005) introduces what I believe to be a very interesting discussion about the societal implications and power architecture has to shape and JOnVFODF UIF QVCMJD SFBMN "T BSDIJtecture is often viewed as an exclusive mFME JO XIJDI BO JO EFQUI VOEFSTUBOEing and formal training are compulsory prerequisites which without, do not RVBMJGZ POF UP QBSUJDJQBUF 5IF mFME JT so exclusive, that just as other social ‘cliques’, it is not uncommon to come across double standards. Take the point raised by Williams; not all buildings can be considered architecture, 4
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however not all architecture must a building. Williams (2005) discusses XIBU IF EFmOFT BT AUISFF SFMBUFE CVU distinct, approaches to architecture: architecture as a form of art; architecture as a symbolic realm; and architecture as spatial experience. The main conclusion of the article as reinforced by Stanislav in the lecture; ‘Architecture ought to be seen as a discourse.’ Architecture in it’s built form are just one element of UIF PWFSBMM mFME PG BSDIJUFDUVSF B mFME which is better regarded as a network of practices and debates about the built environment.’ (Williams, R., 2005).
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02. De Stijl Cover, September, 1921. Source: Willis, J., 2013 Elise Weavers
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‘An immense amount of spectacular new architecture has been built in the past two decades, a product of the desire on the part of social and political authority to update the public realm in the context of unprecedented prosperity.’ (Williams, R., 2005) This new architecture, with relatively unseen or imagined GPSNT BOE TUSVDUVSFT TFF mHVSF sometimes described as “blobs�. This is discussed in Lynn’s ‘Blob Tectonics, or why Tectonics is square and Topology is Groovy’ (1998) challenges the preconceived idea a building, like a human must stand upwards and discusses that understanding these new forms requires a ‘reconsideration of identity as neither reducing toward primitives nor emerging toward wholes’. In other words, from what I understand, a completely new way of thinking about architecture cannot be related back to a pre-existing theory. This brings me to my precedents of discussion that I believe, although approximately 100 years old, are existing examples of what Williams and Lynn discuss- the coming of new ideas and developments in architecture. These QSFDFEFOU NBLF FYBNQMF PG UIF JOnVence and importance architecture, as a discourse rather than a built form, can have on the understanding or imagining of what architecture might be and the social impact this can have. I believe the De Stijl movement is a prime example of the successful and JOnVFOUJBM SFJNBHJOJOH PG BSDIJUFDUVSF through a discourse predominantly in the unbuilt form. I would particularly like to focus on the De Stijl journal published by the Dutch painter, designer, writer, and DSJUJD 5IFP WBO %PFTCVSH TFF mHVSF 02.) Figure 2. Pier and Ocean, Piet Mondrian, 1914 Source: Willis, J., 2013
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The abstract imagining and analyisis of shape, form and composition unlike anything seen before is a strong example of the power designing in this way can have on creativity and the buildings that were actually built were direct developments of the thought processes and artworks that preceded them. mHVSF
Figure 3. Schroder house, Utretch, 1924. Gerrit Rietveld Source: Willis, J., 2013
The group’s principal members were the painters Piet Mondrian, Vilmos HuszĂĄr, and Bart van der Leck, and the architects Gerrit Rietveld, Robert van ‘t Hoff, and J.J.P. Oud. (Wilis, J., Dutch Opposites: de Stijl and the Phantasts, 2013). Van Doesburg was heavily JOnVFODFE CZ 'SBOL -MPZE Wright’s philosophy on organic architecture and used this as the basis for the works produced in this era. During this time Doesburg and his associates took to analysing and reimagining; 8
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of space and movement. 4PNF PG UIF NPTU JOnVFOUJBM examples of this analyisis are the artworks. For example Modrian’s Pier and 0DFBO mHVSF " CJSE T eye view of the movements of the ocean into horizontal and vertical lines. This BOBMZTJT CFJOH SFmOFE BOE represented as horizontal and vertical forms was a key development and motif of the reimagining of architecture done by De Stijl members. This work was abstract and unlike any of the architecture that preceded it. Expression of Interest
It is important to note this movement occurred during the period of world war one, which heavily reduced architect’s and client’s capacity to build, leaving a lot of the innovation and experimentation of De Stijl un-built (Wilis, J., 2013). As discussed in the lecture a new level of creativity can be reached when the preconceived ideas and constraints of what a built object or building should be are lifted from the design process.
Elise Weavers
Designs saw buildings with no gravitational BODIPSBHF OP EFmOFE UPQ or bottom, visual clues as to what something was (ie. The entrance) were removed. For example Gerrit Rietveld Schroeder House, Utrecht, mHVSF Another important development that occurred during the De Stijl movement, and my second precedent, was a new form of architectural representation. This new form being Axonometric drawings to represent forms JO UIF % mHVSF 1PQVMBSity in axonometric representation grew after Doesburg published his drawing illustrating his ideas on fundamental building planes (Wilis, J., 2013). The way in which something is represented DBO CF WFSZ JOnVFOUJBM PO UIF way we understand something, the way we envisage something and the way in which we conceptualize what some thing can be. The growing popularity of using 541738
axonometric representation could be seen, subtly perhaps, as the changing discourse and ideas of architecture during this period of experimentation. I believe this is a relevant precedent to discuss from the perspective of what we may learn in this course. For many of the students parametric design may be something relatively new to us. Using this new tool and knowledge we gain throughout the semester learning how to use rhino and grasshopper, will bring with it a new understanding and perception of what design and creativity is and how it may be represented or created through 3D modeling and parametric design.
Figure 4. Above. Theo van Doesburg, Architectural Analysis. Figure 5. Below. Theo van Doesburg and Cornelius van Eersteren, House Design, 1923. Source: Willis, J., 2013
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Foster + Partners, Khan Shatyr Entertainment Centre, Astana, Kazakhstan, 2010: Computational design was used to make many itterations of the potential form of the cable-net structure.
&RPSXWDWLRQDO $UFKLWHFWXUH The use of computers has been seen in the architecture industry for quite a while, however, until recently computers in architecture were mainly used to digitise existing procedures, such as virtual drafting. Innovative thinkers such as Brady Peters and Xavier de Kestelier of the Specialist Modelling Group (SMG) have been at the forefront of developing the way in which computers are used within the industry. The QBJS IBWF CFFO WFSZ JOnVFOUJBM mHVSFT in the architectural industry shift from ‘computerisation’ (digitizing existing procedures) to ‘computation’. Computation is the utilization of the computer aided design to explore and innovate creative design potentials by combining the ability of computers
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where ours fall short and use our abilities where computers fall short.Computers will contribute rational and search abilities while we contribute the creativity and intuition needed to solve design problems (Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of ComputerAided Design (Cambridge, Mass.: MIT Press, 2004). Computation not only allows us as designers to extend our abilities to deal with highly complex situations is also provides us with the opportunity to go beyond out own intellectual capabilities and provide inspiration through generating unexpected results in the design process.
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Foster + Partners, Khan Shatyr Entertainment Centre, Astana, Kazakhstan, 2010. Source: plusmood.com. 541738
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FabPod, RMIT, 2013. Source: www.designresearch.rmit.edu.au
5.The use of computerization in the architecture industry JT SFEFmOJOH UIF EFmOJUJPO PG an architect. Architects using computation are now also become programmers. A designer can customize design environments by writing programs using visual programming language (rhino and grasshopper). Creating and Modifying the code to explore new options and speculating further design potentials. Computation not only works but has become necessary to build the largest projects in the world. Given the complexities of form and the compressed timescales of construction today, groups such as SMG have become essential aspects on the construction of many projects (Peters, B., 12
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& de Kestelier, Computation works: the building of algorithmic thought, 2013) Computation is closing the gap between the architects designing simply the form and aesthetics of a building and the separate manufacturing/structural design process. These tasks can now be done almost simultaneously through the use of computation. This drastically reduces the amount of time between initial design and the beginning of construction, making the entire QSPDFTT GBS NPSF FGmDJFOU As David Davis spoke about in the lecture, it also gives the designer much greater control over design changes for a far longer period of time in the development of the project and also reduces Expression of Interest
the impact these changes will have on the project until a later stage, making them much less costly than if a similar change were to be made if the project was being developed in a more traditional way. For example the Fabpod project David showed in the lecture which was still being designed up to 4 days before construction commenced. (Davis, D., Studio Air Lecture 3: Parametric Modeling, 2013). Or Foster and Partner’s Bejiing International Airport, one of the worlds largest buildings that was designed and built in 5 years. Without the utilization of computation neither of these projects could have been achieved in the time frame they were designed and built in. Elise Weavers
FabPod, RMIT, 2013. Source: Davis, D., Studio Air Lecture 3: Parametric Modeling, 2013 541738
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Foster + Partners, Beijing International Airport, Beijing, 2008, in Computation works: the building of algorithmic thought, 2013.
As mentioned above computation has the potential to provide inspiration and go beyond the intellect of the designer and increases their capability to solve complex problems. It is programs such a Rhino and Grasshopper that multiple iterations of a geometric form to be generated, analysed and FWBMVBUFE FGmDJFOUMZ 4NBMM changes are updated in a visual 3D model instantly where as if a small change were to be made in a design that was being drawn by hand or even using computation, it may take hours for 14
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the update to be redrawn. Also the use of experimentation through computation can lead to the discovery of unpredicted results that may not have been the designer’s intentions at all, but could provide a design solution that may never have been considered or imagined by the designer. Design can be an open-ended search for new possibilities, not only problem solving. As discussed in Woodbury’s ‘Whither design space� (Woodbury, R. and Burrow, A., ‘Whither design TQBDF "SUJmDJBM *OUFMMJHFODF Expression of Interest
For many problems including some phases of the architectural design process, knowledge of how to achieve a solution cannot exist prior to the search itself, since the sought-after solution is unique, and the process of mOEJOH JU JT DIBSBDUFSJTFE by missing information and uncertainty. (Kalay, Y., 2004). $PNQVUBUJPO QSPWJEFT BO FGmcient means of exploration to EFWFMPQ PS mOE UIJT JOGPSNBtion. In summary, computation has become an integral part of modern design solu-
tions. Computation provides BO FYUSFNFMZ FGmDJFOU XBZ PG exploring many variations of a design or solution and can be a source of inspiration itself, through the discovery of unexpected results. Computation is bridging the gap between the design and construction process of a project and drastically increasing UIF FGmDJFODZ BOE DPOUSPM XF have as designers over the QSPKFDU GPSN TUBSU UP mOJTI
for Engineering Design, Analysis and Manufacturing, 2006.) Discovering new possibilities and problem solving is aided by computation. Computer support has the potential to provide rapid access to both a breadth of alternatives and depth of exploration. When looking at design possibilities cognitively, one is normally sacSJmDFE GPS UIF PUIFS 6TVBMMZ many options are looked at CSJFnZ PS POMZ POF PQUJPO JT looked at in detail. Computation bridges this gap.
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Figure 1:
Figure 2:
“Design is change, parametric modelling represents change.�
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Woodbury, R., 2013
Parametric modeling is a highly EFCBUFE UPQJD JO UIF BSDIJUFDUVSF mFME Some strongly supporting it as the new way of designing, some strongly opposing it, seeing it as reducing the TJHOJmDBODF PG BHF PME UFDIOJRVFT TVDI as sketching and rendering. As with any process or technique parametric NPEFMJOH IBT TPNF TJHOJmDBOU BEWBOtages however it is not exempt from any downfalls either. Designers utilizing parametric design should be aware of its advantages and disadvantages to ensure they are designing in the most BQQSPQSJBUF BOE FGmDJFOU XBZ Advantages of Parametric Design Exploration: Provides a new medium for
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exploring, experimenting, representing and communicating forms. New processes of designing lead to new processes of thinking, which can be creatively releasing for the designer. Experimentation free of preconceived results or goals can be explored in a way that is different from traditional design techniques. Analysis: Computation provides a much stronger analytical tool than a person on their own (Peters, B., & de Kestelier, Computation works: the building of algorithmic thought, 2013) Explorations can be easily and clearly visually documented making evaluating different EFTJHO TPMVUJPOT FGmDJFOU
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Analytical capabilities of the program can be used to make the comparison and production of design options more FGmDJFOU TFF FGmDJFODZ (IĂ€FLHQF\ Designs can by updated and NBOJQVMBUFE FGmDJFOUMZ CZ DIBOHJOH parameters.(Woodbury, R., Elements of Parametric Design, 2010) New models do not have to be rebuilt or redrawn with every change. (Woodbury, R., 2010) Parameters can be set to ensure only relevant design solutions are produced, reducing time wasted exploring unviable options. Innovation: Similar to other techniques of designing, exploration can start or occur before a brief is provided. The
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TJHOJmDBOU BEWBOUBHF PG QBSBNFUSJD design is the control in which the designer has over making changes to the design once new/extra restrictions are placed on the project from the brief. 4FF mHVSFT %BWJT % 4UVEJP "JS Lecture 3: Parametric Modeling, 2013). Collaboration: Parametric design is pushing innovation in design and structural technologies and encouraging multidisciplinary collaboration. With new forms being produced by designers, a much closer collaboration between engineer, manufacturer and designer is required to make these new forms a reality. This could also be seen as a disadvantage. Monday 9-12
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Figure 3:
Disadvantages of Parametric Design: Computational parametric design requires an understanding of programming and think algorithmically, to use it as an effective design tool, making it an exclusive mFME UP UIPTF XIP DBO BOE those who cannot. â€œâ€Śone misplaced character means that an algorithm likely w ill not work. You must work in a domain of textual instructions ‌ algorithmic thinking differs from almost all other forms of thought. But the sheer distance between representations familiar to designers and those needed for algorithms exacerbates the gap.â€? (Woodbury, R., 2010) However it can be learnt. As a beginner parametric designer it is easy to see how the program may start to dictate my design due to my lack of skill and 18
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knowledge, reducing my own creative input. Designers are restricted to the tools of the programs they are using and their design demands may not always be met. However this may encourage further development of the software. (Woodbury, R., 2010) New, complex forms that push the structural and technological knowledge of manufacturers may be more costly than they are FGmDJFOU NBLJOH UIF BDUVBM construction of parametrically designed buildings unaffordable or impractical. Some forms may simply be too complex to be built. The way in which models are produced using parametric design is quite complex. The more elements or detail a design has to it, the more complex the programming behind it is. 5IJT DBO NBLJOH TQFDJmD Expression of Interest
changes in a model can be EJGmDVMU FWFO GPS UIF EFTJHOers themselves. Identifying the correct parameters to DIBOHF UP NBLF UIF TQFDJmD change can be near imposTJCMF 4FF mHVSF %BWJT D., 2013.) This is also a disadvantage if the design requires input from outsiders who come into the design process after the model has been made. The existing parameters and code would be extremely hard to understand. (Davis, D. 2013). Another disadvantage of modeling using parametrics and computation, due to it’s complexity, is that changes (sometimes critical or detrimental) can go unseen VOUJM JUT UPP MBUF 4FF mHVSF 4, Davis, D., 2013), as seen in Daniel Davis’ Responsive Acoustics Smart Geometry, 2010 example in the lecture (Davis, D. 2013). Elise Weavers
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“One of the earliest (and effective!) demonstrations of parametric modeling in architecture was the International Terminal Waterloo by Nicholas Grimshaw & Partners. Lars Hesselgrcn crafted the original model in the I EMS system. More than 15 years later Robert Aish used a similar model to demonstrate the CustomObjects system (which later became Generative- ComponentsTM). A salient site condition is that the train track curves through the station. A parametric model need not be initially DPOTUSBJOFE CZ UIJT DVSWF mUUJOH JU UP location can be deferred.� (Woodbury, R., 2010) The International Terminal Waterloo is an example of a successful built project that provides a strong starting point for the discussion of the advantages of parametric design and architecture. Grimshaw & Partners took advantage of parametric design’s ability to update and manipulate their design without having a huge impact on the end result through the increased control this technique of design allows until a later stage in the design. If a more traditional design process was adopted to produce this design, something like changing the width or the point in which the terminal curved any later than early design stages would have been detrimentally costly and time consuming. This strongly supports the points raised in the section outlining the advantages of parametric design. The increased adaptability and control parametric design provides as designer is a deliberate strategy to ensure design JT DPNQMFUFE JO BO FGmDJFOU XBZ
Grimshaw Architects, Internaional Terminal Waterloo, online, available: http://grimshaw-architects.com/project/ international-terminal-waterloo/, 2013.
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Grimshaw Architects, Internaional Terminal Waterloo, online, available: http://grimshaw-architects.com/project/international-terminal-waterloo/, 2013.
“Changing the order in which modeling and design decisions can be made is both a major feature of and deliberate strategy for parametric design.�Woodbury, R., 2013 However changing the order in which modeling and design decisions goes against almost all the studios we have undertaken in this degree. ‘The TJUF TIPVME JOnVFODF BOE JOGPSN ZPVS design’ has almost become a studio mantra. Some would argue designing parametrically completely disregards the site and designs could literally be placed anywhere and have the same effect. Although in the case of the International Terminal Waterloo was modeled to the site later in the design process, some may argue the design JT OPU TJUF TQFDJmD BT JU DPVME IBWF CFFO BEBQUFE UP mU BOZXIFSF 1FSIBQT UIJT QPJOU POMZ SFJOGPSDFT UIF nFYJCJMJUZ 22
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parametric design provides. However, does the ability to make updates or changes in the design until later in the design process leave more room for mishaps? There comes to a point in a project when the designer must stop designing and let the project progress. Making it possible to continue to make changes to a design until much later in the design process could potentially be detrimental. If changes are made while it is still possible, but perhaps there is not enough time to test or prototype the change before it is implemented, it could do more damage than good.
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Working up until close to deadlines is something that happens more often than not in architecture, often cutting UIJOHT mOF "T NFOUJPOFE JO UIF QSFWJPVT example, parametric design can essentially “extend the deadlineâ€? on some of the design decisions. Daniel Davis showed an example of where the advantage of parametric design’s ability to support rapid change late in the design process (Woodbury, R., 2010) actually MFE UP B NBTTJWF nBX CFJOH QSPEVDFE JO the joint alignment of sound resonating tiles. Responsive Acoustics project by SmartGeometry, 2010 used ‘emergentparametric tools to search for doubly ruled surfaced forms that accentuate DFSUBJO GSFRVFODJFT PG TPVOE BOE NVGnF others‌ The resulting designs will be prototyped at 1:5 using the hot-wire cutter, constraining the geometry to doubly ruled surfaces (the same vocabulary GaudĂ used in his later years) and allows for the analysis of the parametric models’ accuracy.’ (SmartGeometry 2012). Davis worked as a member on this project and in Lecture 03- Parametric Modelling, (2013) described how a small change to the parameters of the design another team member made to the EFTJHO UP TPMWF B TQFDJmD QSPCMFN BDUVally caused a small gap to form between the joints of all the tiles. The change was that of only a few millimetres and went unnoticed until it came to physically assembling the pieces of a prototype model together. The gaps meant the UJMFT EJE OPU mU UPHFUIFS BT JOUFOEFE BOE the structural integrity of the model was compromised to such a point it could not be completed. 24
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Responsive Acoustics, Smartgeometry, Source: Davis, D. 2013.
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Parametric design exploration of Responsive Acoustics, Smartgeometry, Source: smartgeometry.org
This example highlights the importance of physical prototyping.-Not everything can be left in the virtual world until manufacturing. This could be a critical downfall of parametric design. Allowing changes to the design to be made, with too little time to be properly prototyped DPVQMFE XJUI UIF EJGmDVMUZ JO PCTFSWJOH small changes in models can lead to a potentially costly and time consuming manufacturing process. Although a small update to one part of a design in non parametric design may be far more time consuming and tedious as the entire model may have to be manually updated, any effects the change has made to other elements of the model, will probably be highlighted to the designer during the updating. As
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parametric design updates the model automatically with the change of one parameter, without close inspection implications of the change are easily unnoticed, as seen in the Responsive Acoustics example.
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3DUDPHWULF ([SORUDWLRQV Week 1 Algorithmic Explorations:
Week 4 Algorithmic Explorations:
Disney Tower Lofts
Phyllotaxis cont’d
Week 2 Algorithmic Explorations:
Week 3 Algorithmic Explorations:
Dividing geometry into cells
Geodesics
Expressions
Field Fundamentals
Week 4 Algorithmic Explorations: Spiralling
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Phyllotaxis
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Helixes
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These algorithmic explorations were chosen for their informative qualities that informed my parametric design learning experience. The selection shows a variety of techniques that are concepts that I have not been exposed to before, therefore I found they challenged my computational skills and broadened my knowledge of the possibilities of the parametric design space. The new knowledge I have gained through experimenting with parametric design almost diagrammed in the explorations I have included. The explorations, similar to my knowledge, begin quite simple. As the weeks progress, the explorations gain more depth and complexity as my knowledge developed in the same way. The more in depth my understanding of the parametric design process became, I found the greater source of creative inspiration it became. As I experimented with different techniques, I found the forms to become far more dynamic and interesting. The most exciting and satisfying explorations for me were the ones in which I found most challenging to complete. I also was able to see how these dynamic forms could be used inform a design that would provide an innovative response to the parametric design discourse and the Wyndham City Council competition. The explorations enabled me to get a real grasp of the capabilities of QBSBNFUSJD EFTJHO BOE DPOmSNFE NZ argument proposing, that parametric design is a innovative design tool that allows a form to be generated efmDJFOUMZ VQEBUFE RVJDLMZ BOE DSFBUJWFMZ
In conclusion I would like to highlight the capability of parametric design to enrich the design process in UFSNT PG FGmDJFODZ BOE DSFBUJWJUZ * XJMM engage in computation and parametric modeling to explore a broad range of possible design outcomes in an FGmDJFOU BOE XFMM EPDVNFOUFE XBZ #Z experimenting with computational tools, rhino and grasshopper many expected and unexpected solutions will be explored. Considering unexpected results as valid design explorations provides opportunity for a design solution to be found that may have never been imagined if I were to limit myself to TJNQMZ NZ PXO JEFBT 5IF FGmDJFODZ and control in which parametric design provides during the design process makes it an innovative and exciting way to design. An exploration of form or structure can be explored before any real life parameters from a brief are placed on the design. The knowledge and outcomes from initial explorations of forms or possible structures or fabrication options can be adapted and updated to provide an appropriate solution to GVMmMM B CSJFG 6TJOH DPNQVUBUJPO BOE QBSBNFUSJD EFTJHO JT TJHOJmDBOU BT UIF design exploration process will not be limited by my own cognitive abilities and the rate at which the explorations and forms can be updated, explored and analysed makes it even more sigOJmDBOU *U EPFT OPU SFTUSJDU NF UP POMZ designing what I already can imagine, which is most likely something that has been seen before. Experimentation and exploration of parametric techniques
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experimented with and documented DMFBSMZ BMMPXJOH GPS BOBMZTJT BOE SFnFDtion by the designer. `
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will aid in producing a design solution that is unique, innovative and relevant to the aim of the gateway project.
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&DVH IRU ,QQRYDWLRQ 5HIOHFWLRQ My understanding of computation and parametric design has developed from what I thought I already knew about the mFME UP OPX B GBS HSFBUFS BQQSFDJBUJPO and informed understanding of the TJHOJmDBOU PQQPSUVOJUJFT UIBU DBO CF provided by using these techniques. Initially I thought parametric design was being taught as it was the way all architectural design was leading. However, it is clear the direction of architecture is a very debated topic. A topic which I now think should be debated. I see now, especially after reading many contrasting opinions in week 3’s readings, it is important to challenge new ideas and techniques as it can lead to change. Whether it is successful or not, a lesson will have been learnt or an observation can be made which could be used to inform decisions later on, and this is helpful. This is where I now see the most value in using parametric design. Not because it is the technique used to produce ‘new age’ architecture, but because it provides us with an opportunity to explore in a completely new way. This exploration will provide a result, whether it is successful or unsuccessful and we can make an observation or conclusion about why it resulted the way it did and learn from UIBU 0S XF NJHIU mOE UIF PVUDPNF JT TP unexpected we do not understand it, but it has given us a new perspective. At the beginning of the semester I also thought ‘blob’ architecture was simply a new style of architecture (which some controversially argue it is) however that view now seems a little uninformed. Parametric design is bridging the 32
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technological gap between engineering and manufacturing and design. Parametric design is making the designer a far more informed designer of the way forms and structures may perform, join together and be fabricated. ‘Blob’ architecture represents a OFX JOOPWBUJWF FGmDJFOU JOUFMMJHFOU XBZ of design resulting in the possibility to construct new forms that have previously been un-buildable. This new knowledge I have acquired GSPN UIF mSTU QBSU PG UIJT DPVSTF IBT BMlowed me to reevaluate how I may have approached my design development in the past and the way I may approach it now and into the future. I think the most useful knowledge and skills I have gained and will develop throughout the rest of this course is the importance of exploration. Exploring many options I believe will provide a more successful solution than following an initial idea loyally from beginning to end. Due to the nature of the projects in which we undertake as students I believe parametric design is a very logical choice. We are very restricted by time and exploring many different paths may be time consuming, however parametric EFTJHO BMMPXT GPS FGmDJFOU SFQSPEVDUJPO and adaption and iterations that can be documented easily and analysed in a much shorter period of time. I think this is something that can be easily overlooked, parametric design is not replacing the designer with a computer, it is providing a new medium and therefore opportunity for designers to experiment and explore design options BOE TPMVUJPOT JO B WFSZ FGmDJFOU XBZ
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01. ‘Relatively unseen forms or structures’ a design by Greg Lynn- The European Central Bank competition. 2003. source: http://glform.com/buildings/european-centralbank-competition
([SUHVVLRQ RI ,QWHUHVW % 'HVLJQ )RFXV *HRPHWU\ Geometry such as ruled surfaces, paraboloids, minimal surfaces, geodesics, SFMBYBUJPO BOE HFOFSBM GPSN mOEJOH BOE booleans provide a very interesting and valid starting point for parametric exploration. Exploration of geometry demonstrated with techniques such as geodesics and minimal surfaces provides an opportunity to optimise and realise FYUSFNF FGmDJFODZ DPNCJOFE XJUI NBYJNVN BFTUIFUJD RVBMJUJFT 0QUJNJTJOH FGmDJFODZ is an extremely relevant and important element of current architectural discourse as social values favour ‘environmentally friendly’ or ‘green’ architecture. Parametric modelling of geometry has led to the realisation of some of architecture’s most recent developments in design, 2
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performance, materiality and construction FGmDJFODZ " DPNNPO EFTJHO TUSBUFHZ JT UIF adaption/optimization of lessons learnt from nature. Natural forms can be deemed as KVTUJmFE FGmDJFOU TZTUFNT UFTUFE CZ OBUVSF itself through evolution and supported by research. One of the most interesting geometric explorations relevant to the architectural discourse for this project is the application of geodesics. Creating a form from geodesic elements is a very effective XBZ PG BDIJFWJOH PQUJNVN FGmDJFODZ BOE aesthetic beauty as it allows the opportunity to create a structure that not only performs structural qualities but creates eye catching aesthetic qualities too.
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)JHIMZ FGmDJFOU ZFU TUSJLJOHMZ CFBVUJGVM architecture such as LAVA’s Green Void, 2008 or Smart Geometry’s Gridshell installation and IBA’s Canton Tower provide established precedents supporting the success of the application of minimal surfaces, geodesics and HFPNFUSJD GPSN mOEJOH PO WBSZJOH TDBMFT in this way. All three examples have utilised parametric modelling to explore and realise the aesthetic and structural opportunities of their projects, resulting JO FGmDJFOU EFTJHO "MM UISFF FYBNQMF T JOUFOU BSF WFSZ TJNJMBS NBYJNJTF FGmDJFODZ and minimise waste in all aspects of the design while producing a strong aesthetic presence. The results are three very different projects however they all adopt similar strategies. The Green Void and Canton Tower projects, while completely different in scale and function, both look to nature BT UIFJS CBTJT GPS GPSN mOEJOH FYQMPSBUJPO structural principles in their architectural practice. “IBA strives towards coherence, the kind normally only found in nature� (http://www.iba-bv.com/). “LAVA explores frontiers that merge future technologies with the patterns of organisation found in nature and believes this will result in a smarter, friendlier, more socially and environmentally responsible future� (http://www.l-a-v-a.net/about-lava/) Similarly Smart Geometry uses the FYJTUJOH OBUVSBMMZ EFmOFE TUSFOHUI BOE bending parameters of the timber they DIPTF BT UIFJS NBUFSJBM UP EFmOF SFTUSJDU the form and structure of their design. These examples provide evidence that producing architecture using geometries formed from parametric modelling is a very viable and interesting approach to designing in such a way that meets contemporary social and environmental FGmDJFODZ BOE BFTUIFUJD SFRVJSFNFOUT 4
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The Green Void installation shows a new way PG EJHJUBM XPSLnPX FOBCMJOH UIF HFOFSBUJPO PG space out of a lightweight material that requires minimal adjustments onsite to achieve a complete installation in an extremely short time. 6
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The pavilion is easily transportable to any place in the world; can be quickly installed, and is fully reusable.� (http://www.archdaily.com/10233/ green-void-lava/ 16TH DEC 2008, ETHEL BAROAONA POHL)
Expression of Interest
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The dynamic and adaptable capabilities of the design make it a very important example in the architectural discourse, bringing up and making an example of the idea of reusable architecture. *G FGmDJFODZ JU UIF HPBM CFJOH TUSJWFE UPXBSET JO 541738
all aspects of the design and building process, XIBU JT NPSF FGmDJFOU BOE TVTUBJOBCMF UIBO reusable architecture.
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1. Original: Integers list 1: 10 list 2: 35 Shift list list 1: 5 list 3: -5
2. Integers list 1: 10 list 2: 65 Shift list 1: 10 list 3: -5
3. Integers list 1: -10 list 2: -35 Shift list list1: -20 list 3: -10
4. Integers list 1: -20 list 2: -9 Shift list list1: -20 list 3: -30
5. Integers list 1: -100 list 2: -50 Shift list list 1: -50 list 3: -5
6. Integers list 1: -100 list 2: -50 Shift list list 1: 50 list 3: -50
7. Integers list 1: -100 list 2: -50 Shift list list 1: -50 list 3: -25
8. -3rd Geodesic added -2nd curve list set as start of shift list -3rd curve list set as end of shift list. Integers list 1: -100 list 2: -50 Shift list: list 1: 50 list 2: -25 list 3: 20
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9. -3rd Geodesic added -2nd curve list set as start of shift list -3rd curve list set as end of shift list. Integers list 1: -100 list 2: -50 Shift list: list 1: 50 list 2: -5 list 3: 90
10. -3D grid populated on rebuilt curves PG UIF mSTU curve arcs -delaunay edges applied Integers All 10
11. -3D grid populated on rebuilt curves PG UIF mSTU curve arcs -delaunay edges applied Integers All 15
12. -3D grid populated on rebuilt curves Integer: 100 -delaunay edges -applied UP mSTU geodesic curve lists Curve Integers list 1: 15 list 2: 50 Shift list list 1: 50 list 2: -5
13. -3D grid populated on rebuilt curves Integer: 10 -delaunay edges -applied UP mSTU geodesic curve lists Curve Integers list 1: 15 list 2: -20 Shift list list 1: 10 list 2: -20
14. -3D grid populated on rebuilt curves Integer: 5 -delaunay edges -applied UP mSTU geodesic curve lists Curve Integers list 1: 10 list 2: -15 Shift list list 1: 10 list 2: -20
15. -3D grid populated on rebuilt curves Integer: 5 -delaunay edges -applied UP mSTU geodesic curve lists Curve Integers list 1: 10 list 2: 15 Shift list list 1: 20 list 2: -10
16. -3D grid populated on rebuilt curves Integer: 5 (for both) -delaunay edges -applied UP mSTU geodesic curve lists -applied to third geodesic curve list Curve Integers list 1: 10 list 2: 15 Shift list list 1: 1 list 2: -20 list 3: 10
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17. -3D grid populated on rebuilt curves Integer: 5 (for both) -delaunay edges nBUUFOFE -applied UP mSTU geodesic curve lists -applied to third geodesic curve list Curve Integers list 1: 10 list 2: 15 Shift list list 1: 1 list 2: -20 list 3: 10
18. -3D grid populated on rebuilt curves Integer: 10 -delaunay edges nBUUFOFE -applied to lofted surface of original list of rebuilt curves
21. -Brep mesh applied to original rebuilt and lofted curves -Mesh smoothed -Slider (to control degree of smoothing): 10
22. -Brep mesh applied to original rebuilt and lofted curves -Mesh smoothed -Slider (to control degree of smoothing): 5
Expression of Interest
19. -Brep mesh applied to original rebuilt and lofted curves -Mesh smoothed -Slider (to control degree of smoothing): 26
20. -Brep mesh applied to original rebuilt and lofted curves -Mesh smoothed -Slider (to control degree of smoothing): 15
&DVH 6WXG\ *ULGVKHOO ([SORUDWLRQV $QDO\VLV
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The explicit design space explored in case study 1.0 was geometry, TQFDJmDBMMZ UIF HFPEFTJD HSJETIFMM produced in SmartGeometry’s Matsys installation 2012. This technique was chosen due it’s successful application observed in precedent architectural projects. Geodesics are an interesting technique to explore as they provide an opportunity to create a form that gains aesthetic appeal from its structure, NBLJOH JU B WFSZ JOOPWBUJWF BOE FGmDJFOU design, relevant to current architectural discourse. Several strategies were used to extend the original algorithm to explore further design possibilities that could potentially be applied to a form that was suitable for the Wyndham City 541738
Council project. These strategies included changing parameter such as the number of integers, hence increasing the number of geodesic arcs created through the lofted surface to create a more complete and dense pattern. The second strategy was changing the parameters of the shift list, altering the distance the geodesic curves were shifted around the curves. The further list was shifted the more exaggerated overlapping/crossing pattern occurred. Adding a third set of geodesic curves and altering the integer and shift list parameters was the third strategy. This strategy added another level of density and complexity to the model. .
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The fourth strategy took a divergent path, keeping the original curves and integers they had initially been divided into, a 3D grid was populated and the Delaunay Edges function was applied. This strategy was explored through changing integer BOE TIJGU MJTU QBSBNFUFST BOE nBUUFOJOH UIF %FMBVOBZ &EHF GVODUJPO 5IF mOBM strategy used to extend the base geodesic model was the Brep Mesh command. The degree of smoothing applied to the model was used as the manipulated parameter The iterations selected to illustrate the exploration and experimentation of geodesics were the ones that created a suprising, VOFYQFDUFE SFTVMU B CFOFmDJBM EFTJHO element of parametic modelling) or one that informed the way in which geodesics could be manipulated that XBT EFFNFE FGmDJFOU BOE JOOPWBUJWF When creating the sequences of geometric variation the ultimate goal was to produce a dynamic, exciting geometry that could be applied to an original form that would provide a TUSVDUVSF UIBU XBT FGmDJFOU XIJMF BU UIF same time being aesthetically beautiful, that would provide an opportunity to create a design that was innovative and that would contribute to the parametric design discourse. Geodesics as seen in the precedents discussed in the previous section can be applied to architecture of a varying scale. Both SmartGeometry and IBA successfully apply the fundamental strategy to a small temporary architectural installation and a large scale permanent skyscraper/tower. These precedents show geodesics are suitable for use with varying materials with different 14
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properties (steel and timber). The organisation of the geodesic pattern allows the form to be self supporting. The geodesics are the structure. .FBOJOH UIF TUSVDUVSF TBUJTmFT UIF aesthetic needs of the design. From the manipulation of integers to control the density of the geodesic pattern it was immediately evident that there was opportunity to effect and control the light and views of the audience experiencing the architecture. By controlling the density and degree of overlap of the geodesics more or less light could be allowed to penetrate through the structure. The level of density throughout the structure could be varied to create different areas for the audience to experience light and shade. The same strategy could be used to control the degree of visibility of the surrounding landscape in a similar way to light. As the geodesic structure is self supporting it also presents the opportunity to span an elevated distance overhead. This provides the opportunity to create an immersive experience for the audience, being surrounded by a dynamic structure overhead and surrounding them. Another way geodesics could be used to create an important, but less aesthetic based, effect could CF UISPVHI FGmDJFODZ PG EFTJHO "T designing and building with geodesics JT WFSZ JOOPWBUJWF BOE FGmDJFOU JO UFSNT of structure and aesthetics it provides an opportunity to create a design that is a prototype/example of possible future design and construction methods.
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% &DVH 6WXG\ 5H HQJLQHHULQJ ,%$ V &DQWRQ 7RZHU
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The Canton Tower is the world’s tallest TV tower – reaching 600m in height. The result is a tower, very slender and tall, that bears similarities XJUI UIF mHVSF PG B GFNBMF UIF WFSZ reason that earned the nickname: ‘super-model‘.� The idea of the tower is simple. The form, volume and structure is generated by two ellipses, one at foundation level and the other at a horizontal plane at 450 metres. These two ellipses are rotated relative to another. The tightening caused by the rotation between the two ellipses forms B AXBJTU BOE B EFOTJmDBUJPO PG NBUFSJBM The structure consists of a open latticestructure, built up from 1100 nodes and the same amount of connecting ringand bracing pieces. Basically the tower can be seen as a giant 3 dimensional puzzle of which all 3300 pieces are 18
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totally unique. Architect Mark Hemel comments: “Recent State of the Art fabrication and computerized analysis techniques allow designers to create much more complex structures then ever before. Not only do IBA implement the use of parametric design in their architectural practice, but base their design philosophy on nature as well. “IBA strives towards coherence, the kind normally only found in nature�. This is interesting to note as computation and nature are not really two concepts that would be seen to go together. Using the parametric modelling technique, Geodesics, it is evident a similar aesthetic is easily created between the built Canton Tower and the parametrically re-engineered Canton Tower. Two sets of geodesic curves have been “shifted around� three DVSWFT EFmOJOH UIF HFPNFUSZ
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As the steel members curve around and intersecting through each other in IBA’s Canton Tower so too do the geodesics applied in the re-engineered model. However in IBA’s Tower the geodesics have a 3D element adding to the aesthetics of the design. One set of curves has a larger diameter than the other set. The re-engineered model is made up of curves that all have the same diameter and really no 3D element to them. The intersecting geodesics in the re-engineered model run continuously between integer control points. After analysing the structure of IBA’s Canton Tower, in terms of realistic construction methods, the structural members of the curves with a narrower diameter would probably only span the distance between the larger diameter curve it intersects with.
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If the form was unconstrained by the geometry of the Canton Tower it would be interesting to explore how geodesics can be applied to a form of geometry that is more dynamic, perhaps that curves over itself or spans across a distance as this could inform design ideas such as scale and location on site for the Wyndham City Council competition. It would also allow the idea of creating an effect by immersing the audience experiencing the architecture in the GPSN UP CF FYQMPSFE 5IJT XPVME GVMmM UIF PQQPSUVOJUJFT JEFOUJmFE JO UIF exploration process of B2 and further inform our design ideas for future development of the project.
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Reference curves (3) into grasshopper
Divide curves into a tree, N= 10
For second geodesics: -divide curves a 2nd time, N= 20
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Expression of Interest
Create arcs through points using 3 point arc
Explode tree- data matching
Explode tree- data matching
Shift list: -shift control points in 3rd curve -degree controlled by slider -shift by 8
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loft arcs together for geodesic curves: -rebuild curves with 10 control points -reloft -close loft
Connect geodesic to MPGU GPS mSTU HFPEFTJDT
Copy geodesic and connect to second set of curves Turn on wrapping: -boolean true
Shift list of control QPJOUT PO mSTU DVSWF by 2 541738
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3 curves divided into 10 points 10 arcs between Acs lofted Geodesic curves applied Curve Integers: list 1: 10 list 2: 10 Shift list: list 1: 1 list 2: 10
3 curves divided into 10 points 10 arcs between Acs lofted Geodesic curves applied Curve Integers: list 1: 10 list 2: 10 Shift list: list 1: 1 list 2: 10 Parameters above copied and applied to curves 1-6
3 curves divided into 10 points 10 arcs between Acs lofted Geodesic curves applied Curve Integers: list 1: 10 list 2: 10 Shift list: list 1: 1 list 2: 10 Parameters above copied and applied to curves 1-13
3 curves divided into 10 points 10 arcs between Acs lofted Geodesic curves applied Curve Integers: list 1: 10 list 2: 10 Shift list: list 1: 1 list 2: 10 Parameters above copied and applied to curves 1-15
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3 curves divided into 10 points 10 arcs between Acs lofted Geodesic curves applied Curve Integers: list 1: 10 list 2: 10 Shift list: list 1: 1 list 2: 10 Parameters above copied and applied to curves 1-8
3 curves divided into 10 points 10 arcs between Acs lofted Geodesic curves applied Curve Integers: list 1: 10 list 2: 10 Shift list: list 1: 1 list 2: 10 Parameters above copied and applied to curves 1-11
3 curves divided into 10 points 10 arcs between Acs lofted Geodesic curves applied Curve Integers: list 1: 10 list 2: 10 Shift list: list 1: 1 list 2: 10 Parameters above copied and applied to curves 1-5 and 10-15
3 curves divided into 10 points 10 arcs between Acs lofted Geodesic curves applied Curve Integers: list 1: 10 list 2: 10 Shift list: list 1: 1 list 2: 10 Parameters above copied and applied to curves 5-9
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3 curves divided into 10 points 10 arcs between Acs lofted Geodesic curves applied Curve Integers: list 1: 10 list 2: 10 Shift list: list 1: 1 list 2: 10 Parameters above copied and applied to 3 new curves in different formation
3 curves divided into 10 points 10 arcs between Acs lofted Geodesic curves applied Curve Integers: list 1: 10 list 2: 50 Shift list: list 1: 1 list 2: 10 Parameters above copied and applied to 3 new curves in different formation
9 curves divided into 10 points 10 arcs between Acs lofted Geodesic curves applied Curve Integers: list 1: 10 list 2: 10 Shift list: list 1: 1 list 2: 1
9 curves divided into 20 points 30 arcs between Acs lofted Geodesic curves applied Curve Integers: list 1: 10 list 2: 10 Shift list: list 1: 1 list 2: 10
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Elise Weavers
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3 curves divided into 10 points 10 arcs between Acs lofted Geodesic curves applied Curve Integers: list 1: 10 list 2: 50 Shift list: list 1: 10 list 2: 5 new curve formation
3 curves divided into 10 points 10 arcs between Acs lofted Geodesic curves applied Curve Integers: list 1: 10 list 2: 20 Shift list: list 1: 8 list 2: 2 new curve formation
9 curves divided into 20 points 30 arcs between Acs lofted Geodesic curves applied Curve Integers: list 1: 20 list 2: 10 Shift list: list 1: 1 list 2: 8
9 new curves divided into 8 points 8 arcs between Acs lofted Geodesic curves applied Curve Integers: list 1: 8 list 2: 10 Shift list: list 1: 1 list 2: 15
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9 new curves divided into 10 points 10 arcs between Acs lofted Geodesic curves applied Curve Integers: list 1: 10 list 2: 10 Shift list: list 1: 1 list 2: 10
9 new curves divided into 10 points 10 arcs between Acs lofted Geodesic curves applied Curve Integers: list 1: 10 list 2: 10 Shift list: list 1: 1 list 2: 10
9 new curves divided into 10 points 10 arcs between Acs lofted Rotated Geodesic curves applied Curve Integers: list 1: 10 list 2: 10 Shift list: list 1: 1 list 2: 10
6 new curves divided into 5 points 5 arcs between Acs lofted Geodesic curves applied Curve Integers: list 1: 5 list 2: 5 Shift list: list 1: 5 list 2: 5
9 new curves divided into 10 points 10 arcs between Acs lofted Geodesic curves applied Curve Integers: list 1: 10 list 2: 10 Shift list: list 1: 5 list 2: 5
9 new curves divided into 10 points 10 arcs between Acs lofted Geodesic curves applied Curve Integers: list 1: 20 list 2: 20 Shift list: list 1: 5 list 2: 5
9 curves divided into 15 points 15 arcs between Acs lofted Geodesic curves applied Curve Integers: list 1: 20 list 2: 20 Shift list: list 1: 10 list 2: 10
9 curves divided into 15 points 15 arcs between Rotated Acs lofted Geodesic curves applied Curve Integers: list 1: 20 list 2: 20 Shift list: list 1: 10 list 2: 10
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3 curves divided into 10 points. Tree data exploded, arc component and rebuild arc to create curves, geodesic curve applied to lofted surface, closed loft
3 curves divided into 10 points. Tree data exploded, arc component and rebuild arc to create curves, geodesic curve applied to lofted surface. parameters applied to 3 new curves SDivide (U=V=8), polyline and exoskeleton created (r=2)
3 curves divided into 10 points. tree data explode, arc component and rebuild arc to create curves. geodesic curves applied to lofted surface. curve Integers: List 1: 8 List 2: 10 SDivide Integer: U List: 7 V List: 15 Exoskeleton frame: R= 1.0
3 curves divided into 10 points. tree data explode, arc component and rebuild arc to create curves. geodesic curves applied to lofted surface. Parameters copied from 35. Curve Integers: List 1: 20 List 2: 25 SDivide Integer: U List: 7 V List: 15 Exoskeleton frame: R= 1.0
parameters from 33, copiedand applied to 3 new curves in different formation. Curve integers: list 1: 15 list 2: 20
3 curves divided into 20 points. tree data explode, arc component and rebuild arc to create curves. geodesic curves applied to lofted surface. Shift Integers: List 1: 8 List 2: 10 SDivide Integer: U List: 10 V List: 12 Exoskeleton frame: R= 1.5
Parameter from 37 copied and applied to 3 new curves. Curve Integers: List 1: 15 List 2: 40 Shift Integers: List 1: 5 List 2: 10 SDivide Integers: U: 10, V: 17, Exoskeleton: R:1.2
Parameter from 37 copied to 3 new curves. Curve integers: List 1: 20 List 2: 52 SDivide Integers: U=10, V= 17 Exoskeleton: R=1.2
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3 curve divided into 10 points, tree data explode, rebuild arc. geodesic curve applied to lofted surface of 3 new curves. Curve Integers: List 1: 20 List 2: 52 SDivide Integers: U= 10, V= 17 Exoskeleton: R=1,3
3 curve divided into 10 points, tree data explode, rebuild arc. geodesic curve applied to lofted surface of 3 new curves. Curve Integers: List 1: 20 List 2: 52 SDivide Integers: U= 7, V= 9 Exoskeleton: R=1.5
3 curve divided into 10 points, tree data explode, rebuild arc. geodesic curve applied to lofted surface of 3 new curves. Curve Integers: List 1: 20 List 2: 52 SDivide Integers: U= 7, V= 9 Exoskeleton: R=1.5
3 curve divided into 10 points, tree data explode, rebuild arc. geodesic curve applied to lofted surface of 3 new curves. Curve Integers: List 1: 20 List 2: 52 SDivide Integers: U= 7, V= 12 Exoskeleton: R=1.0
3 curve divided into 10 points, tree data explode, rebuild arc. geodesic curve applied to lofted surface of 3 new curves. Curve Integers: List 1: 20 List 2: 52 SDivide Integers: U= 12, V= 9 Exoskeleton: R=2.0
3 curve divided into 10 points, tree data explode, rebuild arc. geodesic curve applied to lofted surface of curves. Curve Integers: List 1: 7 List 2: 70 SDivide Integers: U= 7, V= 9 Exoskeleton: R=1.5
3 curve divided into 10 points, tree data explode, rebuild arc. geodesic curve applied to lofted surface of 3 new curves. Curve Integers: List 1: 20 List 2: 52 SDivide Integers: U= 7, V= 15 Exoskeleton: R=2.0
3 curve divided into 10 points, tree data explode, rebuild arc. geodesic curve applied to lofted surface of 3 new curves. Curve Integers: List 1: 20 List 2: 52 SDivide Integers: U= 20, V= 20 Exoskeleton: R=3.0
Expression of Interest
Elise Weavers
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3 curve divided into 10 points, tree data explode, rebuild arc. geodesic curve applied to lofted surface of 3 new curves. Curve Integers: List 1: 20 List 2: 52 SDivide Integers: U= 12, V= 9 Exoskeleton: R=2.0
3 curve divided into 10 points, tree data explode, rebuild arc. geodesic curve applied to lofted surface of curves. Curve Integers: List 1: 7 List 2: 70 SDivide Integers: U= 7, V= 9 Exoskeleton: R=1.5
3 curve divided into 10 points, tree data explode, rebuild arc. geodesic curve applied to lofted surface of 3 new curves. Curve Integers: List 1: 20 List 2: 52 SDivide Integers: U= 7, V= 15 Exoskeleton: R=2.0
3 curve divided into 10 points, tree data explode, rebuild arc. geodesic curve applied to lofted surface of 3 new curves. Curve Integers: List 1: 20 List 2: 52 SDivide Integers: U= 20, V= 20 Exoskeleton: R=3.0
3 curve divided into 10 points, tree data explode, rebuild arc. geodesic curve applied to lofted surface of 3 new curves. Curve Integers: List 1: 20 List 2: 52 SDivide Integers: U= 12, V= 9 Exoskeleton: R=2.0
3 curve divided into 10 points, tree data explode, rebuild arc. geodesic curve applied to lofted surface of curves. Curve Integers: List 1: 7 List 2: 70 SDivide Integers: U= 7, V= 9 Exoskeleton: R=1.5
3 curve divided into 10 points, tree data explode, rebuild arc. geodesic curve applied to lofted surface of 3 new curves. Curve Integers: List 1: 20 List 2: 52 SDivide Integers: U= 7, V= 15 Exoskeleton: R=2.0
3 curve divided into 10 points, tree data explode, rebuild arc. geodesic curve applied to lofted surface of 3 new curves. Curve Integers: List 1: 20 List 2: 52 SDivide Integers: U= 20, V= 20 Exoskeleton: R=3.0
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A
B
C
% 7HFKQLTXH 'HYHORSPHQW $QDO\VLV
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The exploration of the application of geodesic curves has reiterated the techniques advantages and opportunities discussed in the B1 section of the Expression of Interest Journal. From these explorations it is evident geodesics curves can be applied in many different variations. The application is not restricted to a particular form and has the capacity to be bent and twisted. The main argument, that it is possible to create a structure that allows a form to supports itself while also providing an aesthetic value, is supported by these parametric explorations. $POmSNJOH UIJT JT QPTTJCMF UISPVHI UIFTF QBSBNFUSJD JUFSBUJPOT DPOmSNT the argument that geodesic curves are BO FGmDJFOU XBZ UP EFTJHO JO UFSNT PG material and structural performance, construction and waste. The geodesic structure will provide a platform for further exploration as the project develops, with potential to extend the design through Design Studio Air
choice of material, the way the structure JT DPOTUSVDUFE mUT UPHFUIFS BOE UIF XBZ JU interacts with its environment/audience and the potential for it to change over time. The most successful iterations I believe are A,B and C. These models shows the successful application of geodesic curves to a model of varying forms that all have the potential to become a structure that could span a distance above the ground. They also show the ability geodesic curve have to adapt to different parameters for example, in A and C the twisted form gives a new element of dynamic movement to the model. B also emphasises the dynamic nature of the geodesic curves and the way in which density of curves could be manipulated throughout a model. In B a distinct aesthetic difference can be PCTFSWFE GSPN UIF CBTF XIFSF UIF EFmOJOH curve is larger than at the top where the EFmOJOH DVSWF JT TNBMMFS
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Elise Weavers
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The earthworm is used as an analogy for the design concept and process. *OTQJSBUJPO XBT EFSJWFE GSPN UIJT FGmDJFOU PQUJNJTFE PSHBOJTN FWPMWFE CZ OBUVSF Source: instruct.uwo.ca
% 7HFKQLTXH 3URWRW\SHV Initial experimentation with fabrication made it clear that although the model looked interesting and dynamic in the 3D design space, the physical model lacked the same effect. The current precedents we were using to inform our model were static forms, however for the intention of our design (to contribute to the architectural discourse), the possibility of adding a new element that promoted innovation had to be considered. Learning from IBA’s design philosophy, inspiration drawn from nature was used as the starting point for a new technique or concept to extend our current design. It was during this research, important questions were considered, what could our design contribute to architectural discourse, to 36
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inform and prompt a new discourse. In contemporary architectural discourse, simply a unique form is not enough to contribute. To actively contribute or begin a new conversation, innovation must be achieved that is relevant, interesting and exciting. Our further experimentation with fabrication and drawing inspiration began to inform the design in a new way. Our new design intent was to actively contribute to the architectural discourse by creating B EFTJHO UIBU XBT FGmDJFOU JO JUT TUSVDUVSF and the way in which it’s aesthetic impact was achieved through the application of geodesics and innovation would be created through the use of moveable joints, that allowed the structure to ‘breath’.
Expression of Interest
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The reverb chair by Brodie Niell informed ideas concerning fabrication/construction methods and potential materiality for design protoypes. Source: minimalissimo.com/2012/10/reverb-wire-chair/
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The idea of movement was informed by a new, precedent taken from nature, the earthworm. The earthworm was seen to be a relevant and informative precedent initially for its behaviour and contribution to its immediate environment. Through metabolic processes the XPSN JNQSPWFT TPJM RVBMJUZ CFOFmDJBMMZ contributing to the surrounding area. This XBT UIF mSTU TUSBJO PG JOTQJSBUJPO ESBXO from this precedent. If our design could BDUJWFMZ DPOUSJCVUF JO B CFOFmDJBM XBZ to the surrounding environment it would satisfy current social values concerning environmentally sustainable construction in an innovative way, more than simply FGmDJFOU VTF PG NBUFSJBM 5IF TFDPOE TUSBJO of inspiration the earthworm informed was the way in which movement could be applied to the structure of the design. The way in which a worm contracts and extends was analysed and used to inform further exploration of moveable joints which may allow this kind of movement. Taking these newly informed concepts and techniques back into the parametric modelling 3D space a new experimentation with the application of forces was explored. The manipulation of control points and curves to simulate a force the model may be subject to that could induce a movement and the effect it had on the form were analysed. The idea of expansion and compression explored in the fabrication process were also used to inform further parametric exploration.
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The unrealised, Urban Earthworm Skyscraper, project gave precedent to the way in which the worm had been used as an analogy for other architectural design. Source: http://www.evolo.us/featured urban-earth-worm-skyscraper-cleans-air-and-soil-pollution-in-cities/
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% 7HFKQLTXH 3URSRVDO The concept that is being proposed to the Wyndham City Council employs lessons learned from established precedents and our own parametric and fabrication explorations to optimize and SFmOF UIF EFTJHO UP JUT NPTU FGmDJFOU GPSN
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The design draws inspiration from nature using the earthworm BT B NPEFM PG FGmDJFODZ GPS its optimized movement and active contribution to it’s surrounding environment. Our design transcends standard static public sculpture by incorporating movement.
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Moveable joints will create scope for innovation as well as an engaging form. Potential to occupy the entire site and span the freeway itself is enabled through the application of geodesic curves that will create a self-supporting form. This potential will be designed in such a way it will create an immersive affect on the
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audience experiencing it that will create the feeling of being involved in/travelling through a living system/process, making the audience a part of the contribution to the environment. Our design will add to the current architectural discourse and create innovation in the mFME PG QVCMJD TDVMQUVSF UIBU JT relevant to current social values concerning sustainable design.
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Geodesic curves are a valid and interesting parametric exploration as they provide; FGmDJFODZ JO EFTJHO QFSGPSNBODF NBUFSJBMJUZ and construction. Geodesics allow; adaption/optimization of lessons learnt from nature. Lessons from nature are a relevant source of inspiration as naturally occurring TZTUFNT BSF KVTUJmFE SFTVMUT PG FWPMVUJPO UFTUFE BOE TVQQPSUFE CZ TDJFOUJmD SFTFBSDI The application of geodesics incorporated into our design in such a way that is informed by nature will allow an architecture UIBU JT FGmDJFOU EZOBNJD BOE JOOPWBUJWF that contributes to the current architecture discourse and meets social values concerning environmental sustainability. Exploration of geodesics has provided us with an opportunity to optimise and realise FYUSFNF FGmDJFODZ DPNCJOFE XJUI NBYJNVN BFTUIFUJD RVBMJUJFT 0QUJNJTJOH FGmDJFODZ JT an extremely important element of current architectural discourse as social values favour sustainable ‘environmentally friendly’ or ‘green’ designs. Social values are not something architecture can ignore, as we NVTU SFnFDU TPDJBM WBMVFT UP SFNBJO SFMFWBOU to our consumers. Parametric modelling of geometry/geodesics has led to the realisation of some of architecture’s most recent developments in design, performance, materiality and DPOTUSVDUJPO FGmDJFODZ Inspiration from nature is adapted by current QSBDUJDJOH JOOPWBUJWF BSDIJUFDUVSF mSNT that also utilise parametric design to create IJHIMZ FGmDJFOU JOOPWBUJWF BOE BFTUIFUJDBMMZ beautiful designs. These techniques/ strategies are supported by established precedents such as IBA’s Canton Tower and SmartGeometry’s Matsys Gridshell installation. )JHIMZ FGmDJFOU ZFU TUSJLJOHMZ CFBVUJGVM architecture such as Smart Geometry’s Gridshell installation and IBA’s Canton Tower provide established precedents supporting the success of the application of minimal, 48
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HFPEFTJDT BOE HFPNFUSJD GPSN mOEJOH UIBU take inspiration from nature on varying scales in this way. These precedents have utilised parametric modelling to explore and realise the aesthetic and structural opportunities of their QSPKFDUT SFTVMUJOH JO FGmDJFOU EFTJHO XIJDI meet todays environmentally friendly social values. Both precedent’s intent are very TJNJMBS NBYJNJTF FGmDJFODZ BOE NJOJNJTF waste in all aspects of the design while producing a strong aesthetic presence. Both MPPL UP OBUVSF BT UIFJS CBTJT GPS GPSN mOEJOH exploration structural principles in their architectural practice. “IBA strives towards coherence, the kind normally only found in nature.� Similarly Smart Geometry uses UIF FYJTUJOH OBUVSBMMZ EFmOFE TUSFOHUI BOE bending parameters of the timber they chose BT UIFJS NBUFSJBM UP EFmOF SFTUSJDU UIF GPSN and structure of their design. We have researched and taken inspiration from our own observation of natural systems. 5IF FBSUI XPSN B IJHIMZ FGmDJFOU PSHBOJTN UIBU BDUJWFMZ DPOUSJCVUFT BOE CFOFmUT JU T surrounding environment, and taken this as an analogy for our design. The combination of this with the lessons we have learned from the precedents we have studied and our own parametric design FYQFSJNFOUBUJPO IBT PQUJNJTFE BOE SFmOFE B UFDIOJRVF UIBU JT FGmDJFOU JO JUT TUSVDUVSF and aesthetic value. Unique innovative opportunities have been discovered through fabrication and modelling making experimentation. We have pushed our design and own abilities through combining parametric modelling and experimentation through fabrication to produce a technique inspired by a natural system that will actively contribute to the architectural discourse.
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% 3DUDPHWULF ([SORUDWLRQ For the expression of interest segment of the course I used the individual parametric explorations to apply the new techniques being investigated as experimentation that would inform the design process. 5IF mSTU TUSFBN PG FYQMPSBUJPOT BSF B EFmOJUJPO GPVOE GSPN UIF HSBTTIPQQFS forum that was experimented with to inform design ideas such as varying density and organisation of a mesh similar to that created by geodesics. The ability to increase of reduce the density in particular parts of the model was highly informative and inspired potential ideas about movement that may SFnFDU UIF OBUVSBM NPWFNFOU PG B XPSN compressing and extending. I further extended this idea with the second stream of explorations by creating my own curves and applying geodesic curves to them. I experimented with extending and compressing the curves to simulate forces that could be applied to the model that would create such a movement and the effect it had on geodesic curves. This is a TJNQMJmFE WFSTJPO PG TUSFBN " CVU GSPN models presented at the midsemester presentation and photographed in B6, it can be seen this idea was successfully fabricated into a model that could be compressed and extended when a force was applied. The third stream was also a EFmOJUJPO UVUPSJBM FYQMPSBUJPO PG B discussion on the Grasshopper forum concerning the intersecting of pipes. I found this a relevant exploration into the way in which a potential material (hollow steel members) may be modelled parametrically. 50
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% ([SUHVVLRQ RI ,QWHUHVW 5HIOHFWLRQ Theoretical research of precedents in the Expression of Interest section of the journal have enriched my knowledge in different ways in which parametric design has the potential to inform architecture and the way in which establish/historical/ natural precedents can be used to inform parametric design. An imaginable, or unimaginable form can be realised in the 3D virtual design space although for this form to be realised they must be informed, adapted and rationalised to meet the parameters of potential materials that could be used to construct them. For example SmartGeometry’s Matsys Gridshell design was restricted by the strength and bending properties of the timber they chose to construct the model out of. On the other hand, new forms being developed in the parametric design space are also encouraging innovative materiality and construction method development that is allowing these new designs to be realised. "GUFS SFnFDUJOH VQPO UIFTF UXP points, I have come to the conclusion, when designing parametrically there must be a form of ‘open communication’ or ‘open feedback’ system in place during the design process that allows the designer to take lessons and information from both the virtual and physical design spaces and let both JOGPSN BOE JOnVFODF POF BOPUIFS Although I have merely scratched the surface with my parametric modelling explorations, the design potential and creativity it enables is overwhelming. Unexpected results, as discussed in the case for innovation section of the journal have been one of the main sources of 52
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%LEOLRJUDSK\ Davis, D., Studio Air Lecture 3: Parametric Modeling, 2013. Foster + Partners, Beijing International Airport, online, available: fostersandpartners.com, 2013.
inspiration in the design process so far. Which is a very valid way of designing, as it has provided a greater spread of ideas/ paths explored. This conclusion, reiterates UIF QPJOU * SFnFDUFE VQPO JO UIF $BTF GPS Innovation section of the journal. In a design studio context parametric modelling can be an invaluable tool to students to quickly, but vastly explore and document a design technique that can be analysed and learnt from and communicated to an audience. The skills I have developed so far have allowed me to successfully create, manipulate, design, assess and critically analyse models in the parametric design space while collaborating with and learning from other students. As I developed technical skills the potential to take lessons from precedents and apply them to a 3D model was also realised. Being able to combine parametric modelling techniques in a virtual design space with concepts or techniques observed from a physical design space or a naturally evolved system has enriched the design process and extended the possibility for the design. I believe this is one of the most JNQPSUBOU MFTTPOT * IBWF MFBSOU JO SFnFDUJPO on the studio so far. No technique of designing should be considered the ultimate be all and end all. Parametric modelling or physical modelling or drawing inspiration from precedents applied in collaboration gives a much more vigorously explored and KVTUJmFE EFTJHO UFDIOJRVF SBUIFS UIBO VTJOH one of these techniques alone.
Expression of Interest
Foster + Partners, Khan Shatyr Entertainment Centre, online, available: plusmood.com, 2013 Grimshaw Architects, Internaional Terminal Waterloo, online, available: http:// grimshaw-architects.com/project/international-terminal-waterloo/, 2013. Kalay, Y., Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design, 2004. Kiernan, J., Nervous System of a Worm, online, available: instruct.uwo.ca, 2008. Lynn, G., Blob Tectonics, or why Tectonics is square and Topology is Groovy, .1998. Niell, B., Reverb Wire Chair, online, available: minimalissimo.com/2012/10/ reverb-wire-chair/, 2012. Peters, B., & de Kestelier, Computation works: the building of algorithmic thought, 2013 SmartGeometry, Responsive Acoustic Surfacing, online, available: http:// smartgeometry.org/index.php?option=com_content&view=article&id=59%3Ar esponsive-acoustic-surfacing&catid=37&Itemid=56, 2012 Suengsoo, L., Urban Earth Worm Skyscraper, online, available: http://www. evolo.us/featured urban-earth-worm-skyscraper-cleans-air-and-soil-pollutionin-cities/, 2013 Williams, R., Architecture and Visual Culture, 2005 Wilis, J., Momo to Pomo: Dutch Opposites: de Stijl and the Phantasts, 2013. Woodbury, R., Elements of Parametric Design, 2010 8PPECVSZ 3 BOE #VSSPX " A8IJUIFS EFTJHO TQBDF "SUJmDJBM *OUFMMJHFODF for Engineering Design, Analysis and Manufacturing, 2006.
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