Architecture Design Studio: Air ABPL30048
Eliza Materia 539 632 Studio 2
contents 02 introduction
03 part A: expression of interest case for innovation 04. A.1. architecture as a discourse 07. A.2. computational architecture 12. A.3. parametric modelling 15. A.4. algorithmic explorations 18. A.5. conclusion 18. A.6. learning outcomes 19. A.7. Bibliography 22 part B: expression of interest design approach 23. B.1. design focus 25. B.2. case study 1.0 27. B.3. case study 2.0 31. B.4. technique: development 33. B.5. technique: prototypes 37. B.6. technique proposal 41. B.7. algorithmic sketches 41. B.8. learning objectives 42. B.9. Bibliography 00 part C: gateway design project project proposal C.1. gateway project: design concept C.2. gateway project: tectonic elements C.3. gateway project: final model C.4. algorithmic sketches
virtual environments During first year University I studied the subject Virtual Environments, which introduced me to the concept of digital design. This subject enabled me to experiment with the program Rhino, and use its skills to aid and enhance the design process, in order to produce a wearable lantern. I began with an initial natural and involuntary process of blinking, and focused my attention upon the change in shape of the eye through time. This concept lead me to an array of differing oval forms, that would increase and decrease dynamically with ease. This inspiration, along with the help of Rhino, lead me to produce a four piece wearable lantern (below), that extruded from behind the head, to hang in front of the eyes. This piece could be seen through by the person wearing it, and the separate spheres hanging from string created constant movement which replicated the original process of blinking.
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part A expression of interest case for innovation
architecture as a discourse Architecture is moving into a technology driven world, where new, unique and complex designs are established via the aid of advances in programs and the use of materials. Due to this new way of thinking, architecture can easily become more separate from the surrounding natural world, and instead of utilising it sufficiently, in many cases trees etc. are removed because of the apparent inconvenience they cause. However, what isn’t always obvious is the extreme impact nature has upon design; whether it be harvesting particular views of the landscape by manipulating the locations of windows in a building, or physically changing materials to fit into the natural surroundings. As a result, I personally view the discourse of architecture, as something that constantly responds to the natural world, either purposely or in some cases accidently. Regardless, this idea is crucial in creating a successful and pleasing design that will remain present, in the ever fast moving world of architecture. 4.
nature as a building block In this surreal design interpretation by Atkin’s Architecture Group1, it portrays nature as the complete idea and force that shapes the actual design itself. As a result the constraints and abilities of the project are set by the landscape and site that it’s set in. This concept results in the natural world becoming the focal point of the architecture, rather than it being manipulated to fit certain design decisions, simply for convenience. Not only is the design physically shaped and limited to the country side in China, but the actual rock face and grass filled landscape aids the design. This is done by using the natural materials with ease, and harvesting the advantages of the site itself, instead of using completely foreign and sterile materials that will detract from the beauty of the surroundings. The overall design accentuates and truly encompasses the world of nature as a vital and influential part of architecture.
1 ‘What is Next Nature,’ Next Nature, 2007, <http:// www.nextnature.net/2007/04/waterworld-china/> [accessed 25 March 2013]
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the driving force of nature This futuristic home purposely focuses upon angular, and modular shapes2 and geometry, which seemingly oppose all concepts of the natural and free form flow of nature, and itâ&#x20AC;&#x2122;s natural processes. However, this somewhat sterile design works in juxtaposition with the beautiful landscape surrounding it, which therefore accentuates both aspects of the home and site. The house, which some may see as neglecting nature, is actually harvesting and emphasising the amazing views that can be obtained from a site such as this. Therefore, this design uses the beauty and natural forms of its surroundings as a driving force for the design itself, which creates a holistic feel between a technology driven future, and the appreciation of the natural world. 2 Gruber, Bryce, â&#x20AC;&#x2DC;Decor Spotting: The Home of the Future,â&#x20AC;&#x2122; The Luxury Spot, 2012, <http://www. theluxuryspot.com/decor-spotting-the-home-ofthe-future/> [accessed 25 March 2013]
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computational architecture Computational design within architecture can be undertaken with a variety of different approaches, which affect whether or not computation is viewed postively or negitvely within the design process. In some instances computation becomes the primary driver of the design, which in many instances eliminates creativity and unique design. It can also be quite limiting and extremely affect the design outcome. However, if computation simply acts to aid the actual design itself, and accelerate the design process, then this technique is an assett to the future of architecture. As a result, imaginations and norms will be stretched; allowing new and dynamic architecture to be created at a faster rate.
The sculptural glass facade of the MyZeil Shopping Mall, by Studio Fuksas. Image from: Vinnitskaya, Irina, â&#x20AC;&#x2DC;MyZeil Shopping Mall/Studio Fuksas, Archdaily, 2013, <http://www.archdaily.com/243128/ myzeil-shopping-mall-studio-fuksas/> [accessed March 30 2013]
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informed computation The MyZeil Shopping Mall by Studio Fuksas in Germany, represents a dynamic and unique design,3 which is achieved by the knowledge and use of the new technologies of computational design. However, the original design and the overall concept stems from nature and its geography and topography. This enables an original form and flow to be established, through the inspiration of the earth, rather than one completely subjected to the limitations and possibilities of a certain technological program. As a result the process of design becomes informed from an original area, which can then be further manipulated and trialled within the computer. Finally, the Mall is also purposely orientated to optimise sunlight, through the glass panels upon the facade, which further highlights the dependance the computational design has upon the surrounding natural environment and architecture as a spatial experience4. 3. Vinnitskaya, Irina, â&#x20AC;&#x2DC;MyZeil Shopping Mall/Studio Fuksas, Archdaily, 2013, <http://www.archdaily. com/243128/myzeil-shopping-mall-studio-fuksas/> [accessed March 30 2013] 4. Richard Williams, â&#x20AC;&#x2DC;Architecture and Visual Cultureâ&#x20AC;&#x2122;, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh 9. University Press, 2005), p. 102
focused computation Luke Novotny and Peter Ung were awarded the AIA 2009 Partridge Partners Award for their project below, within the Computational Media course.5 This piece of architecture displays the unique geometry that can be developed when focusing upon computational techniques and programs. The complexity of the panels/skin upon the facade demonstrates the refinement skills, and endless possiblities that stem from using an efficient technology, which enables original forms, patterns and joining techniques to be established with ease. Itâ&#x20AC;&#x2122;s unknown whether the original concept for the design began on the computer or by initial sketches, yet, the effortless relation between the complex structural form and the architecture itself, displays a well thought out and trialled solution to the design problem. 5 â&#x20AC;&#x2DC;Awards/Publications/Exhibition,â&#x20AC;&#x2122; Technicart, <http://technicart.org/?page_id=195>
[accessed March 30 2013]
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FabPod project at RMIT Image sourced from: Burry, Mark, ‘Ageing Design Challenge 2012,’ RMIT University, 2009 <http://www.designresearch.
rmit.edu.au> [accessed April 2 2013]
parametric modelling Parametric modelling relies upon equations of explicit functions, which are used with inputs and outputs to produce a final outcome, (in terms of architectural design), of something exceptionally complex, and reliant upon individual and unique parameters and equations. This way of modelling allows immediate potential designs to be visualisd and intepreted with ease, however, it can be limiting in some respects and cause setbacks in particular areas. Using complex formulas within programs, such as Grasshopper, may make sense to the individual whom created it, but to someone else the equation may not make sense. Therefore, limiting the people who can work on certain areas, and alter particular things. This complexity of the parameters can also make it exceptionally difficult to make significant changes on the project, since it can break the model and create something unsolvable. Regardless, this new form of modelling enables unique projects to be created with ease, through the simplest equations.
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parametric from the beginning
of pattern. This initial unknown outcome
The Dermoid project above,
original idea or design intent that the
began with the simple formation
technology is doing all the work, but
of patterns via the use of
without complete knowledge of specific
parametric modelling. As a result,
parameters and equations that will
there was no known form that
actually work, it’s impossible to come up
these patterns would undertake
with a solution.
from the beginning, it was purely based on the concept
enabled no preconceptions to be made about the final form, which allowed a variety of ideas to be trialled with the parametric modelling tools. However, some may argue that since there’s no
Images sourced from: Burry, Mark, ‘Design Research Institute,’ RMIT University, 2013, <http://www.designhub.rmit.edu. au/design-research/box2.html> [accessed April 4 2014]
13.
not only architecture Parametric modelling is not only efficiently used within the field of architecture, but also amongst other design areas, where a varierty of different conditions, limitations and parameters need to be taken into consideration. This form of design allows Rhino and Grasshopper to be utilised to generate surfaces that respond to particular instances and circumstances. Below is a set of points that come together to create a surface, which displays the pressure field of wind for the design of a sail.6 This allows not only the actual form to be optimised and enhance performance, but also makes it possible to analyse the ranging stresses and strains across the entire sail. Therefore, parametric modelling is able to advance, not only the area of architecture, but also a range of different regions within design that result in fluid and successful representations. 6. â&#x20AC;&#x2DC;Laser Cutting Folded Textiles,â&#x20AC;&#x2122; Paper Rabbits, 2011, <http://alymai.wordpress.com/author/
alymai/page/2/> [accessed April 4 2013]
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algorithmic explorations
Trial amateur image above, sourced from: Balogh, Brett, â&#x20AC;&#x2DC;Normal Flipping in Grasshopper, Grasshopper, 2009, <http:// www.grasshopper3d.com/ forum/topics/normal-flippingin-grasshopper> [accessed April 4 2013]
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algorithmic trials When
first
using
Rhino
be displayed immediately. However, it became apparent that certain parameters didnâ&#x20AC;&#x2122;t and
Grasshopper I tried the curve tools and functions with three simple curves that i drew in Rhino. This technique allowed me to use trial and error to see the different affects
have any visible affect or changes upon the form. This was either due to inexperience or inefficient connections to both inputs and outputs. The unique Rhino form below was created from the
Grasshopper that certain parameters had upon underneath. the lofted curves. The connection to
algorithm
trialled
Grasshopper also allowed quick and easy dramatic changes to be made to the curves, and the results of this to
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algorithmic trials Once I had used the curve tools, I moved towards 3D forms and attempted to play with the traditional cuboid form that was generated from a grid. I decided to bake the basic form, which enabled me to delete and remove certain elements to create a unique shape. This shape seemed to replicate a natural rock form, which is the reoccuring theme within my journal and itâ&#x20AC;&#x2122;s something I want to investigate within this technology, to see how computational design and nature can work hand-in-hand to create an informed and new design, which responds to its surroundings and keeps up with new parametric modelling.
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conclusion
My design approach throughout the journal has focused upon nature and its relevance within architectural design today, and how it’s moving towards digital and technological driven design techniques. This concept forces people to initiate nature within design and its importance, and whether or not the design intent or the limitations of nature come first. Depending on what’s preferred by certain people and the initial program being used, nature can influence the design dramatically, and doesn’t necessarily become less relevant due to new parametric modelling techniques. In fact, in some cases the specific new technology will allow more environmental and natural limitations and factors to be taken into consideration , and as a result, directly affect and manipulate the actual design.
learning outcomes
My original thoughts on the practice of architectural computing was initially quite negative, since the generalised opinion that comes from most people is that the programs are doing the designs for you. However, after my own use of Grasshopper and Rhino, along with the extended knowledge from the readings, it’s clear that a design cannot completely be stemmed from a computational program. Without knowing how to actually use the programs, and how certain parameters will affect the outcome, an actual design cannot be achieved. 18.
bibliography Awards/Publications/Exhibition,’ Technicart, <http://technicart. org/?page_id=195> [accessed March 30 2013] Balogh, Brett, ‘Normal Flipping in Grasshopper, Grasshopper, 2009, <http://www.grasshopper3d.com/forum/topics/normalflipping-in-grasshopper> [accessed April 4 2013] Burry, Mark, ‘Ageing Design Challenge 2012,’ RMIT University, 2009 <http://www.designresearch.rmit.edu.au> [accessed April 2 2013] Burry, Mark, ‘Design Research Institute,’ RMIT University, 2013, <http://www.designhub.rmit.edu.au/design-research/box2.html> [accessed April 4 2014] Gruber, Bryce, ‘Decor Spotting: The Home of the Future,’ The Luxury Spot, 2012, <http://www.theluxuryspot.com/decorspotting-the-home-of-the-future/> [accessed 25 March 2013]
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‘Laser Cutting Folded Textiles,’ Paper Rabbits, 2011, <http://alymai. wordpress.com/author/alymai/page/2/> [accessed April 4 2013] Richard Williams, ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), p. 102 Vinnitskaya, Irina, ‘MyZeil Shopping Mall/Studio Fuksas, Archdaily, 2013, <http://www.archdaily.com/243128/myzeil-shopping-mallstudio-fuksas/> [accessed March 30 2013] ‘What is Next Nature,’ Next Nature, 2007, <http://www.nextnature. net/2007/04/waterworld-china/> [accessed 25 March 2013]
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Image sourced from: Jorge Mahauad, ‘Shark success: It’s All In The Scales,’ Underwatertimes, (2010) <http://www. advancedgalapagosdiving. com/2010/11/shark-successits-all-in-scales.html> [accessed 18 May 2013]
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EOI: ll design approach
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design focus biomimicry As a design focus we have chosen to This unique surface has been used already take our inspiration from the area within the field of biomimicry design, of Biomimicry, and how this can be since, “The architectural pattern of the translated architecturally, into successful, Galapagos shark’s skin keeps bacteria innovative and environmentally friendly from landing and adhering,”2 which is designs. This topic has a close relationship perfect for surfaces within hospitals, and with the Wyndham district, since they other bacteria prone places/areas. With have a strong connection with the natural this in mind, we thought of ways to link environment, and are striving to increase this specific function of the surface to our this bond as the region is developing. Gateway Project and the key messages This “...new methodology of engineering Wyndham would like to send to the wider design, Biomimicry Design, introduces a community. We have re-interpreted this completely logical and intriguing way of by using the impermeable barrier to thinking,”1 which we’re aiming to apply keep in and magnify the pollutants from to our Gateway Project.
cars on the underside of the Gateway,
The particular area we’re using to inform however
the
exterior
will
remain
our design is the skin of the Galapagos pristine. This will force drivers to take Shark. This system consists of individual note of the affect their cars have on the rigid scales that overlap, to create an environment, and will represent the key impervious surface, which aids and allows connections with the environment and for the sharks to make dynamic, and growing community that Wyndham is flowing movements through the water. striving to achieve. 1 Jillian Du, ‘Biomimicry: sustainable design guided by nature,’ Click Rally Magazine, (2011) <http://www. clickrally.com/biomimicry-sustainable-design/> [accessed 16 May 2013]
2 Jillian Du, ‘Biomimicry: sustainable design guided by nature,’ Click Rally Magazine, (2011) <http://www. clickrally.com/biomimicry-sustainable-design/> [accessed 16 May 2013]
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The image above displays the translation between the unique shark scales and the antibacterial surfaces it’s been used to inspire. Image sourced from: ‘Tactivex: Nature’s Bacterial Protection,’ Aseptik LLC, (2013) <http://www.aseptikllc.com/ home/tactivex-natures-bacterialprotection/> [accessed 15 May 2013]
Galapagos Shark skin
Below: Initial interpretive sketches of the shark skin scales.
These Rhino sketches we used to investigate the scales on the shark’s skin at a closer scale, and analyse the connections they have with one another. 24.
case study 1.0 matrix The design project i chose to manipulate and transform into a variety of new and exciting
Above: Slider A = 4 faces Slider B = 0.363
structures was Aranda Lasch’s ‘The Morning Line.’ This was done by simply changing the parameters of the specified algorithm within Grasshoppper. I first approached the task by changing the various number sliders, and viewing the affects those particular systems
Above: Slider A = 4 Slider B = 0.533
had upon the overall form. The first slider (A) defined the polygon size and number of sides, while the second (B) modified the scale to create tetrahedrons at vertices and truncate initial tetrahedron in iterations. The final (C) drew a pattern on each face via
Above: Slider A = 3 Slider B = 0.674
analysing the geometry and drawing curves, which seemed to have minimal affects on the overall form when altered. Due to this, I left slider C the same, so the affects of the other 2 sliders would be consistent and easy to see. Above: Slider A = 3 Slider B = 0.194 Image left sourced from: Matthew Ritchie, ‘The Morning Line,’ Yahoo, (2013) <http://www.flickr.com/photos/arandalasch/ sets/72157612286717885/> [accessed 15 May 2013]
Above: Slider A = 4 Slider B = 0.076
Above: Slider A = 4 Slider B = 0.271
Above: Slider A = 4 Slider B = 0.609
Above: Slider A = 3 faces Slider B = 0.434
Above: Slider A = 4 Slider B = 0.476
Above: Slider A = 3 Slider B = 0.577
26.
26.
case study 2.0
Image sourced from: â&#x20AC;&#x2DC;The worlds first Dynamic Architecture Building,â&#x20AC;&#x2122; IClickfun, (2013) <http://www. iclickfun.com/the-worlds-first-dynamicarchitecture-building/> [accessed 16 May 2013]
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dynamic tower
David Fisher’s ‘Dynamic Tower’ is a moving skyscraper, yet to be built in the cutting edge city of Dubai. The concept of the design is to incorporate both residential and commercial sectors, within an 80 story building, that’s capable of completely rotating 360 degrees in only 90minutes.3 A tubular concrete core constructually allows each floor to rotate independently, while maintaining it’s structural integrity. This revolutionary building is powered by solar and wind generators, and therefore having
1. Began with a polygon on an X-Y plane.
2. Manipulated the size of the polygon to fit the Dynamic Tower, with a final rectangle ratio of 3:2
a decreased impact upon the surrounding natural environment. We replicated the form of the skyscraper in Rhino and Grasshopper, by beginning with the simple rectangular form split into levels, and then applying rotation to the entire structure. Eventually, after a few trials we were able to rotate each level independently. 3 ‘Dubai Travel Guide,’ DubaiShortStory, (2010) <http://www.dubaishortstay.com/blog/dubaitours/5-amazing-facts-of-dynamic-tower-dubai/> [accessed 18 May 2013]
3. Once the base was proportioned we built up the polygon to a relevant height to the original Dynamic Tower.
4. After the basic shape was formed we began to vary the level of twist by changing the ‘PI number slider’ to 0.85.
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5. The number slider was then changed to 1.5, which increased the twist in tower.
6.
We further increased the number slider to 2.5, which dramatically increased the visible twist in the tower.
7. Once we had finished assessing the twisting limits we rotated each floor individually.
30.
Image sourced from: Asymptote Architecture, (2013), <http:// www.asymptote.net/buildings/yas-hotel/> 41. [accessed June 5 2013]
The Yas Hotel The Yas Hotel in Abu Dhabi, United Arab Emirates displayed a surface and skin technique that we found to be quite intriguing and relatable to a potential design that we would like to pursue for the Gateway Project for Wyndham. The hotel uses a combination of steel and glass to create a structurally sound system, which is not only fit for its purpose, but also has a lasting affect visually; in itâ&#x20AC;&#x2122;s unique design and its ability to create different lighting affects from the translucent panels that cover a large area of the facade.
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the yas hotel We
chose
to
attempt
to
reproduce the panelling system utilised by The Yas Hotel, to see if our computational skills have grown enough, so weâ&#x20AC;&#x2122;re able to being with a simple form and apply a surface to this based on prior knowledge and other characteristics. The final column of images displays a diamond like panel that donâ&#x20AC;&#x2122;t overlap, which is what The Yas Hotel has. This reverse engineering techniques we believed to be successful and has therefore influences our new potential design concept for the Wyndham Gateway.
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From using the particular definition initially produced from David Fisher’s ‘Dynamic Tower,’ we changed certain areas within the algorithm to gather information on which parameters controlled certain areas.
1. The original rectangular base has been changed to an ellipse.
SLIDER 1: 5 10 20 20 10 10 SLIDER 2: 5 20 5 5 45 45 SLIDER 3: 10 10 5 5 10 30 SLIDER 4: 50 50 50 50 50 50 SLIDER 5: 1 1 1 2 3 10 SLIDER 6: 2 2 2 2 5 3
tech develo
hnique opment
SLIDER 1 controls the size of the ellipse in the x-direction SLIDER 2 controls the size of the ellipse in the y-direction SLIDER 3 and 4 controls the height of the model through the connection to the series component. SLIDER 5 controls the twist in the model through the connection to the pi component SLIDER 6 controls the scale.
2. The original rectangular base has been changed to a polygon with 3 sides.
SLIDER 1: 5 20 30 50 SLIDER 2: 1 4 1 0 SLIDER 3: 5 15 15 30 SLIDER 4: 40 40 50 50 SLIDER 5: 5 10 10 5 SLIDER 6: 3 3 6 6
36.
3. The rectangular base has been changed to a polygon with 8 sides.
SLIDER 1: 5 20 30 50 SLIDER 2: 1 4 1 0 SLIDER 3: 5 15 15 30 SLIDER 4: 40 40 50 50 SLIDER 5: 5 10 10 5 SLIDER 6: 3 3 6 6
4. The rectangular base has been changed to a polygon with 5 sides.
SLIDER 1: 5 20 30 50 SLIDER 2: 1 4 1 0 SLIDER 3: 5 15 15 30 SLIDER 4: 40 40 50 50 SLIDER 5: 5 10 10 5 SLIDER 6: 3 3 6 6
38.
technique development The
rotating
tower
concept often result in curved shapes, with
interpreted by David Fisher in the an elegant and natural appearance.”4 ‘Dynamic Tower,’ as well as our focus However, we wanted our form to on the Galapagos Shark skin and represent flexibility, yet rigidity, its flexibility enabled us to produce which is encapsulated within the a spiral-like form. The concept skin of the Galapagos shark, rather was for this form to rotate on an then something too curvaceous and axis or bottom plate to create an elegant. illusion that the form was moving With this new take on the design up and down. This shape enabled and our original concept being movement in circular and vertical unsuccessful, we began to reanalyse directions, in order to maintain a the key aspects that make the fresh and vibrant feel, similar to the Galapagos Shark skin unique, and growth and development taking the ways in which its elements work place in Wyndham. We also had to together. consider the view drivers would have when passing by the Gateway and the affect it would have on them. It soon became apparent that, “Formfinding and physics-based-modeling
4 Daniel Under, ‘Space Symmetry Structure,’ (2012) <http://spacesymmetrystructure.wordpress. com> [accessed 18 May 2013]
Above: Grasshopper algorithm used to create our original Rhino form below/ left.
40.
Image sourced from: Themethodcase, ‘Strandbeest by Theo Jansen,’ The Method Case, (2013) <http://www. themethodcase.com/strandbeest-by-theojansen/> [accessed 16 May 2013]
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technique
prototypes
42.
theo jansen precedent
Theo Jansen designed a series of would be suitable for our design to also ‘Strandbeests,’ which consist of unique respond to the wind, so it’s position can forms capable of walking in response change and alter over time, to keep the to the wind and other environmental gateway feeling fresh and new. Ideally, attributes.5 In order for this design to be the spiral form we have produced would successful various trials of the form and provide enough extruded surface area the connections between all components to catch the wind, and allow it move. needed to be considered. This form of However, we require some form of axis, movement and flexibility between the or rotating base for this to occur. skin and structure, are elements we wish to focus upon and analyse within our design for Wyndham. We think it
5 ‘Theo Jansen’s Strandbeest,’ BBC One, <http:// www.strandbeest.com/beests_storage.php> [accessed 16 May 2013]
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model of gears With this movement in mind, we dynamic movements, which would gained inspiration from gears that be similar to that of the skin on the can be placed below the structure, Galapagos Shark; where weâ&#x20AC;&#x2122;ve taken while maintaining the integrity of the our biomimical inspiration from. It also designed shape. We produced a sketch became apparent that the movement model (below) to analyse how the two from the wind and cars could cause gears will interact with one another, the gears to move opposing ways, and and whether or not the movement therefore prevent any rotation from will flow or be staggered. Upon occurring. With this in mind, we began analysis of the gears, it became clear to review the ways in which our form that these would only allow circular could move in response to the site, as movement, rather than a variety of well as our overall form.
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technique proposal technique proposal frank gehry precedent
Frank Gehry designed and produced a shapes to create a form, which range of Fish Lamps in 1984, out of a penetrates light into different shades, “...new laminate product ColorCore.”6 is an area we wish to investigate and The scales were produced when translate into something applicable to the
material
accidently
fractured the site of Wyndham, and our interest
into shards replicating this unique of biomimicry. This application of shape. This material was then able elements and structural composition to translate the fish imagery, due to we decided to use and transfer to the the assembly method, and its ability to create a curved structure. This technique of overlapping diamond
6 Nicholas Tamarin, ‘Frank Gehry’s Fish Lamps,’ Designwire Daily, (2010) <http://designwire. interiordesign.net/products/lighting/2051/frankgehry’s-fish-lamps-on-view-at-new-york’s-jewish museum> [accessed 18 May 2013] 45.
Nicholas Tamarin, ‘Frank Gehry’s Fish Lamps,’ Designwire Daily, (2010) <http://designwire. interiordesign.net/products/lighting/2051/frankgehry’s-fish-lamps-on-view-at-new-york’s-jewish museum> [accessed 18 May 2013]
concept of the Galapagos Shark skin, rigidity and flexibility within the form and it’s specific flexibility, yet rigidity. we looked at ways in which these two With this in mind we began to analyse aspects could collaborate to produce a the relationship between a structurally form that would change over time, to sound form, that can be influenced keep interest for drivers, but also work and dependent upon the wind, while uniformly to display a pleasing and creating
an
impermeable
surface, unique skin for the Gateway.
which is one of the key attributes of the Galapagos shark skin. To maintain 46.
furt develo
new panellin
With a new take on our design and inspiration from Gehry, we began to investigate a new panelling system that would permit movement, while displaying rigidity (key concepts from our inspiration for the Galapagos shark skin). Beginning with simple triangles on Rhino and Grasshopper, we were able to create a variety of panel options that did in some way replicate scales on a shark, but also overlap in the right way to produce an impervious surface. These then morphed into a range of shapes with 3 to sides. The standout system that best fit our concept and overlapped efficiently were the diamond panels.
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ther opment
ng technique
Once the diamond shaped panels were decided on we began to sketch the best possible materiality to display this. We decided on using three different shades of the one material to create interest and increase the lighting effects that could be created at night with car headlights, but also simply through shadow and the position of the sun. These three panel types were; transparent, opaque and 50% opacity. The composition of these panels (left) were chosen to vary by alternating the opaque and 50% opacity, with the transparent ones filling the gaps behind.
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technique development Panel development on Rhino and Grasshopper is displayed in the matrix (left). Began with a simple 2D planar surface with a variety of different panel shapes and techniques. These were then simply developed into 3D panels onto the surface, just to visual the panel affect more clearly, and in an act to attempt new strategies within these computational programs.
50.
prototype new design Through analysing new precedents and revising the key aspects of Wyndham and our original inspiration of the Galapagos Shark skin, we were able to create a new paneling system. This system portrayed diamond/square pieces compiled and overlapped to create a skin that was connected at various pin points. By joining the elements together in this way, it enabled ease of movement, and particularly a flexible skin, which could be manipulated and changed, based on its surroundings, the wind conditions and the overall ideal structural system put into place to contain this. Three different materials were used; one completely transparent, another with approximately 50% opacity, and the final that was solid and unable to be penetrated by light. This not only created different lighting affects, but also had panels that were different in weight, so the response they had to the light and wind wasnâ&#x20AC;&#x2122;t uniform. As a result, the new paneling system enabled a dynamic, changing and biomimical reflection to be made, which doesnâ&#x20AC;&#x2122;t require a set or limited form to be assembled. With this in mind, we are now able to investigate the limitations this type of fabric has, which will allow us to narrow down an overall ideal structure that will encompass the skin and maintain its flexible and malleable integrity. For this particular prototype the base panels were overlapped and connected with tape on the underside, to create a base surface that was impermeable. Then extra scored panels were added to this with a pin connection at one point to allow 360 degree movement.
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algorithmic sketches 1.1.
Based on the physical prototype we made, and the original panel concepts in Grasshopper and Rhino, we began to see how these could be translated into computation and become and application of not just architectural design, but also physics.7 We figured out the ways in which each diamond form reacted with one another, and the amount of each panel that was overlapping with the neighbouring diamonds. We were then able to create multiple sketches in Rhino that displayed the overall panel, which we can then apply to varying forms and structures to create and decide upon an actual shape for the Gateway into Wyndham. 7 Daniel Under, â&#x20AC;&#x2DC;Space Symmetry Structure,â&#x20AC;&#x2122; (2012) <http://spacesymmetrystructure.wordpress.com> [accessed 18 May 2013]
1.
Sketch 1.1 consisted of testing, manipulating and assessing just the actual diamond panels, rather than worrying about form. We decided that once we had come up with a suitable and reliable algorithm it could be tested on varying forms, and then slightly altered depending upon that. So at this stage we just altered the amount of overlap between each neighbouring panel, and how this would affect the construction of the model. 53.
In the algorithmic trial 2.1 we used the Grasshopper definition (right) to assess the affects different forms, and potential gateway shapes had on the diamond panel system. In some areas gaps were produced, rather than the ideal overlapping, which helped us eliminate certain shapes, and also encouraged us to change the algorithm where appropriate, in an attempt to prevent this from occurring. 2.1.
2.
2.2.
54.
3.1.
At this stage we had established an algorithm (image 3) that could be applied to a variety of forms and maintain the required overlap of the diamond panels. This was crucial since it was ideal that each panel was attached to the neighbouring panel via a corner, which would create a surface with no gaps. This encapsulated our key element that we took from the Galapagos shark skin and its ability to prevent any bacteria from getting in; an impermeable surface. 3.2.
3.
55.
algorithmic sketches
3.3.
When we applied this particular algorithm to a variety of forms it became apparent that it was slightly altering each diamond panel so it could mould correctly to the particular shape. We decided this was the only way to ensure our form would be unique and cause each slight curve to be portrayed correctly. However, this type of algorithm would make it more difficult to construct the model, since each individual diamond has been specifically designed to be placed in a very particular position. Despite, this we decide to continue with this algorithm, and just use appropriate numbering when it comes time to make the model.
56.
learning objectives By making the gear prototype as well as the paneling prototype, it enabled us to visual and physically see how our elements would interact with each other, and whether or not our designs would work. This then gave us the oppportunity to put the design on Rhino and Grasshopper to aid and speed up the design process, rather than continually producing new models, with slightly different features, which would be a very time consuming process. Now weâ&#x20AC;&#x2122;re able to investigate forms and the most effective way to model our final design.
57.
bibliography Asymptote Architecture, (2013), <http://www.asymptote.net/buildings/yas-hotel/> [accessed June 5 2013] Daniel Under, ‘Space Symmetry Structure,’ (2012) <http://spacesymmetrystructure. wordpress.com> [accessed 18 May 2013]
‘Dubai Travel Guide,’ DubaiShortStory, (2010) <http://www.dubaishortstay.com/blog/dubaitours/5-amazing-facts-of-dynamic-tower-dubai/> [accessed 18 May 2013] Jillian Du, ‘Biomimicry: sustainable design guided by nature,’ Click Rally Magazine, (2011) <http:// www.clickrally.com/biomimicry-sustainable-design/> [accessed 16 May 2013] Jorge Mahauad, ‘Shark success: It’s All In The Scales,’ Underwatertimes, (2010) <http://www. advancedgalapagosdiving.com/2010/11/shark-success-its-all-in-scales.html> [accessed 18 May 2013] Matthew Ritchie, ‘The Morning Line,’ Yahoo, (2013) <http://www.flickr.com/photos/arandalasch/ sets/72157612286717885/> [accessed 15 May 2013]
Nicholas Tamarin, ‘Frank Gehry’s Fish Lamps,’ Designwire Daily, (2010) <http://designwire.interiordesign.net/products/lighting/2051/frank-gehry’s-fish-lamps-on-view-at-new-york’s-jewishmuseum> [accessed 18 May 2013] ‘Tactivex: Nature’s Bacterial Protection,’ Aseptik LLC, (2013) <http://www.aseptikllc.com/home/ tactivex-natures-bacterial-protection/> [accessed 15 May 2013]
Themethodcase, ‘Strandbeest by Theo Jansen,’ The Method Case, (2013) <http://www.themethodcase.com/strandbeest-by-theo-jansen/> [accessed 16 May 2013] ‘Theo Jansen’s Strandbeest,’ BBC One, <http://www.strandbeest.com/beests_storage.php> [accessed 16 May 2013] ‘The worlds first Dynamic Architecture Building,’ IClickfun, (2013) <http://www.iclickfun.com/ the-worlds-first-dynamic-architecture-building/> [accessed 16 May 2013]
58.
41.
gateway design project: proposal
42.
1. Straight overlapping panels
2. Slightly curved panels
3. Curvature and incline increases
4. Panels slightly distort, bend and flex
5. Panels create arch-like form 61.
Sketch model shows the affects of deformation into a curved form.
During the last proposal stages we had upon the skin, and whether or not each to come up with a suitable form that panel could be bent or moulded in a could be applied to the new panelling particular way, without breaking, but method previously created. We began by also producing minimal gaps. We by making a small 1:50 scale model also attempted this type of research in of our panels and photographing the Rhino and Grasshopper, however it was reaction the panels had to the various difficult to see the affects it had upon levels of bending. We then used a one line of panels, and our particular series of sketches to replicate how algorithm also caused the shape and each panel would interact and work size of the panel to change depending with the neighbouring panels, and upon the transformations that were how it would enable this system to be made to it, rather than keeping the placed upon a flexible surface without original form and layout we preferred. breaking or compromising the integrity It was a more suitable and reliable of the original concept of the panels. method to trial the deformation of the This technique allowed us to visualise panels with an actual model. the affects different forms would have
form investigation
62.
further form investigation 1.
1. We began with a basic arch form that could be easily applied to the site, and span over the road to have an inclusive affect for the drivers. However, this was too basic and only permitted the top of the panelling system to be seen as approaching, affecting our overall idea of having two contradictory sides (one clean and one that holds pollutants). 2. We then created one curve that began with an arch
2.
and flowed downwards, which we replicated and flipped to create a second curve that worked well in response to the first. It also gave the form an overall symmetrical feel on both sides, and produced an illusion that the two lines crossed over in the middle. 3. The collaboration of these two lines enabled both the top and underside of the form to be seen by
3.
drivers approaching, and gave a unique affect when passing underneath and out of the bridge-like form. 4. With this form in mind, we translated these basic 2-dimensional lines and front elevations into 3-dimensional views, to gather more information about the overall look and experience,
4.
63.
5m 10m In order for this form to work it needed to be The design also had to be able to span over the a particular height and width for it to be site road, with enough distance on either side to appropriate. Vic Roads gave us the required prevent trucks etc from hitting the lower sides information on the height that will permit of the gateway. Based on the potential locations all trucks and vehicles to pass through with of the gateway, we chose the single lane road ease, which gave us a minimum height of 5m.1 into Wyndham (displayed on site map below), Therefore, the lowest point is 5m and the because we wanted the focus of our design to overall highest point reaches 10m, so the height be Wyndham, and have a lasting affect on the differentiation can be easily seen by drivers. people living, staying, visiting or leaving this 1
http://www.vicroads.vic.gov.au/Home/ Moreinfoandservices/HeavyVehicles/RouteInformation/HeightClearanceOnRoads.htm
community. Based on this, the overall width needs to be 10m.
64.
front view
side view
final form Once
the
ideal
form,
panels
and
computational algorithm had be designed and tested, we were able to come up with a final for our design. The final front view (top left) displays the basic algorithm within Rhino without the addition of materialisation; simply the basic form. This allowed us to focus on the form, so the design highlights the overlapping panel form, while creating an illusion of a central cross over, and permitting both the top and underside of the gateway to be seen from oncoming vehicles. The side view (bottom left) displays how the gateway flows out of the ground towards the central arch, and then has dips on either side, which will all emphasise and contribute to the sail-like movement of the entire gateway.
66.
final design perspective
42.
68.
north east elevation
41.
70.
north west elevation
72.
plan
41.
74.
design concept
feedback
After presenting our final model and design solution to the critique jury, we received feedback that covered these areas... 1. Size/Length: It became clear that the length of our gateway wasnâ&#x20AC;&#x2122;t enough to create an impact for a car travelling at 100km/hr. As a result it would be difficult for the driver to not only see the varying panels, but also the movement, and the concept of a pristine top and pollutant ridden underside. 2. Experience: the intended experience for the drivers wasnâ&#x20AC;&#x2122;t as clear as we had intended. The may also be a reflection of the size, since it would be hard to gain the ideal experience we were after if the driver is only in the gateway for small period of time. 3. Movement: The overall testing of the connection system we used to create movement, was something not clear or properly demonstrated through our design. We believe this was due to the 1:50 using different materials to what the actual gateway would be made out of. Therefore, it was hard to prove that our design made from paper would be able to move in response to the wind. However, we did attempt to show this with a joinery detail of the connection between the panels, which did actual move with ease. 4. Site specific: Our specific relationship to Wyndham was through the environmentally friendly outlook of the panel system; with the top of the gateway being clean, and the underside displaying a tarnished, dirty and pollutant ridden surface. This was aimed at Wyndhamâ&#x20AC;&#x2122;s desire for increasing environmental awareness and the relationship the community has with nature. We also attributed the movement of the gateway with the increasingly growing population within Wyndham.
potential technique development Based on the feedback given it is the clear that the first improvement that could be made to the gateway would be the length. This would not only increase the time each driver spends passing through the gateway and their experience, but also enable the drivers to gain a proper understanding of the intended design strategies at behind the finish product, and its relationship with Wyndham. Once the overall size is address, we could also focus on the movement element within the form. This could be solved by changing to a fabric for the panelling system rather than the PVC, even though it is lightweight. This fabric finish could cause the movement to be more fluid and have more of an affect on passing drivers. It would also increase the likelihood of the entire form shifting with time due to the wind, which would cause itâ&#x20AC;&#x2122;s appearance to change, and increase interest from drivers; regardless of the number of times they have viewed it. The final diamond shaped panel could possibly have been more refined to something that maybe replicated the shark skin form more, however, from the previous research and a range of panel experimentation on Rhino and Grasshopper, it did become apparent that the diamond panels worked the best, and could be applied to the intended surface more easily.
76.
1.
2.
Cut PVC to certain size
Drill 14mm hole on all
and shape to replicate
4 corners of each PVC
each individual piece.
panel
3. Transport individual numbered panels to site
4. Lock steel members in place with strip footing
design concept construction process
5. Assemble
panels
by
overlaping and fixing bolt through hole, and securing with nuts and washers (with gaps to allow movement) onto the steel members.
78.
1.
tectonic exploration In order for our panels to connect with one another we new we would require some type of pin system that goes through each panel and is then capped off at the end to hold it together (image 1). We then began investigating bolts (image 2) and how theyâ&#x20AC;&#x2122;re able to connect
2.
various elements sufficiently together. This led us to explore various dimensions of a bolt system, and the relationship between the thread and the head (image 3). From this we were able to transfer this to a bolt, nut and washer system, which would stop the panels from falling apart, while allowing a safe distance between each
3.
element for the required movement to take place, (image 4). We then looked at how this bolt could be placed through the PVC panel, and realised that the hole on the panel needs to be wider than the thread on the bolt to allow movement, (image 5).
4.
5.
bolt research Once our basic construction system had been decided upon, we began to research a variety of different bolts and the properties they possess. Due to the design of our Gateway requiring movement, and the ability to flex, we chose the bolt with the highest tensile strength (highlighted in the table below), which would aid slight movements, rather than work against them. The actual bolt we used was determined by the length of the thread, since it needs to be able to pass through 4 PVC panels, leaving enough room for gaps between them, as well as the nut and two washers. Therefore, we chose the bolt circled below with the cross in the top for central balance and fastening.
METRIC
MARKS ON HEAD
MATERIAL
TENSILE STRENGTH YIELD STRENGTH
8.8
8.8
STEEL
800
116,000
640
93,000
10.9
10.9
STEEL
1040
151,000
940
136,000
12.9
12.9
ALLOY STEEL 1220
177,000
1100
160,000
A2.70
A2.70
304 STAINLESS
700
102,000
450
66,000
A4.80
A4.80
316 STAINLESS
800
116,000
600
87,000
80.
1. Image below: Dimensions of the bolt, nut and washers used in our actual 1:1 scale model.
2. Image below: Section through PVC panels and bolt system within our 1:1 scale model.
tectonic elements From our research of the construction elements through all four panels, and the nut and washers within the final design we decided to go ahead securing it in place. There is also a visible 3.5mm with the bolt system previously derived. It then gap between the bolt thread the panel, as well became necessary to finalise the dimensions of as between each panel, to allow sufficient each element to ensure it would all fit perfectly, movement to occur with ease. Image 3 shows particularly within the hole on the PVC panel. the relationship between the steel members Image 1 displays the bolt type chosen for our used to support the entire gateway, and the final gateway and the exact dimensions of the connection these have with the strip footing bolt, nut and washer. Image 2 is a section through below. A strip footing was chosen due to its the bolt and PVC panels, so the final connection ability to support a uniformly distributed load, and collaboration of the final elements can be which is what the gateway would be producing. properly understood. This consists of the bolt 3. Image below: Section through the steel members and strip footing of the final gateway design.
82.
final model
41.
42.
41.
42.
final model construction process 1.
We sent our final off to the FabLab to be laser cut, which made it easier to cut each piece out of the larger material. We then laid the numbered pieces out in order, and checked they were facing the correct way and hadnâ&#x20AC;&#x2122;t accidently been flipped.
2.
3.
Once we new where each piece was located, we attached panels together in strips. Therefore, we were able to connect strip by strip, rather than attempting to attach each small panel to the growing model.
We began to assemble the strips of panels to one another as we went, to ensure the form was taking shape properly and how we wanted. Due to the length of the pins we used, these required chopping, however, we didnâ&#x20AC;&#x2122;t do this at this stage to allow room for error.
4.
5.
Once the white and 50% opacity panels were all connected to one another, we then began to add the transparent panels underneath. These were slid down the pins from the underside, and then capped off with the rubber stops to prevent the panel from coming off. Once all the transparent panels were attached, we were able to cut the pins with pliers to diminish the impact the had on the overall look of the gateway.
After all the panels had been connected, with stoppers applied and pins trimmed, we were able to connect the three wires to the underside, to act as a support frame. This was done by sandwiching the wire between two strips of panels, and also the help of super glue, (since the small size made it very intricate and difficult to hold in place). 88.
model v
Unfortunately our final model was unable to properly represent our design in the intended
manner, which made it difficult to present our concept to the council of Wyndham. This was purely due to the limitations of the materials that could be used at the appropriate 1:50 scale.
PINS
-head not big enough to stop pin falling through larger hole that allows movement. -too long and needed ends to be cut off, so overall look isnâ&#x20AC;&#x2122;t tarnished.
RUBBER STOPPER
-easily split by the pins, since only rubber. -integrity of the pins failed once all panels were connected i.e not strong enough.
PAPER, PVC TABLECLOTH & POLYPROPYLENE
-paper was unstable, easily ripped and folded, creating points of fatigue and weakness. -PVC table cloth was stronger and heavier than the paper, which put pressure on the pin joints and in many cases caused pins to pop out. -polypropylene
was
quite
rigid,
making it difficult to flex to the required form.
WIRE
-extremely malleable making it hard to mould to the ideal shape without smalls bumps, or creating weak points along the wire.
vs. actual
BOLTS
-large enough head to allow wider dole to be drilled, enabling movement. -correct length to hold 4 PVC panels at once.
NUT & WASHER
-nut screws onto thread for stability and can stop at various points along the thread of the bolt. -washer increases surface area for maximal strength, and is used as a spacer.
3MM PVC PANELS
-the panels are consistently the same width and weight, causng all of them to act the same, and not affect the integrity of the other panels. -stronger than paper, polypropylene and the PVC tablecloth material.
STEEL
-the steel is significantly stronger than wire and maintains its own shape, therefore structurally more sound than simple wire.
90.
algori sketc
Final Rhino and Grasshopper computation of the final Gateway design, with the diamond panel skin, and shadows.
ithmic ches
92.
learning objectives & outcomes After completion of the final design in became apparent that our Gateway has potential to be taken a lot further and be changed; through size, materiality and overall structural integrity. This originally may have come from our Rhino and Grasshopper ability, which wasnâ&#x20AC;&#x2122;t at a very high standard to begin with. However, we were able to gain enough knowledge quickly, we gave us the tools to produce our design in Rhino to test different forms that could be applied. Yet, we did find it easier to design via sketches and models to see the results quickly, and the fact that those forms of media enable the design to be put down easily how you pictured it, which can then be put into computation with sufficient ease. Despite, what may seem to be an unfinished or unsuccessful design, i believe that there are potential developments that could be made to the design, but due insufficient materials being available at such a small scale our overall design was not shown in the ideal light, which did let us down. Overall, this design has given me new critical and computational sills that i will b able to to extend and use in other subjects and field of design.
94.