Studio Air
Emma Pattenden 538386 2013
Tuturs Alex Wilson David Lister
“architecture needs to be thought of less as a set of special material products and rather more as a range of social and proffesional practices that sometimes, but by no means always, lead to buildings.�2
Contents A Letter From Me Part A
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Case for Innovation Architecture as a Discourse Computational Design Nature Boardwalk at Lincoln Park Zoo
Parametric Design Olafur Eliasson
5 11 15
17 23
Algorithmic Exploration
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Conclusion
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Part B
Design Approach Design Focus
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Case Study 1.0
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Case Study 2.0
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Technique: Development
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Technique: Prototypes
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Technique: Proposal
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Form Explorations
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Algorithmic Sketches
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Learning Outcomes and Objectives
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References
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A Letter From Me My name is Emma Pattenden and I am currently studing in my third year of environments, majoring in architecture. After finishing high school I moved down to Melbourne from the Blue Mountains near Sydney. Before starting my studies as an architect I explored a variety of different study areas trying to find where my passion lied and what path I wanted to take. Firstly I undertook a year of fashion design at TAFE, where I discovered a passion for design and the applied arts. After realizing I loved the concept of design, but not in the clothing industry, I undertook a year of engineering to assist me in getting into architecture.
I enjoyed the mathematical side of engineering but found it too restricting on my artistic side. Throughout these years of study I also did a lot of travelling( I think I may have an addiction). In my travels I have mainly returned to Europe over and over again. Traveling back to there has strengthened my love for architecture. Throughout my life I have always had a strong interest in Architecture, but it was not until I had experienced other study areas and seen more of the world that I realized that architecture was where my passion is, and it is what I want to follow as my career.
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During my studies at the University of Melbourne I have had a basic introduction to the use of computers as a design tool. This was primarily through studying Virtual Design in my first semester, where we began to explore parametric designs through the use of rhino. I used this programming to have create an organic form that grew out from the neck, using barnacles as my precedents. I found the use of computers quite challenging and I personally enjoy designing with a pencil more, so I have mainly steered clear of continuing with parametric designs. Additionally
for me, I find developing designs with a pencil creates a more personal and intimate relationship with your project. Although in saying this, I am looking forward to learning grasshopper and designing with it as I believe it will assist in broadening my concepts and how I visualize architectural forms. I am hoping by the end of the course I will take away confident skills in the program and a strong digital project to add to my portfolio.
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Part A
Case for Innovation
Architecture as a Discourse
In recent years architectural disrecent discourseInhas beenyears led architectural by the develcourse has been led by the developopments of computational design, ments of computational design. Using enabling our design parameters to computers more strongly within the broaden abilities to develop processour broadens our abilities to deandvelop construct formsforms andand spaces and construct spaces previously unattainable due duetotocost cost previously unattainable and design restrictions. Architectural and design restrictions. Architecdiscourse has also started to revolve tural discourse has also started to around the impression and emotions revolve around impression and evoked in the the public and community emotions evoked in athe public and when experiencing space. It has begun to consider the way each individucommunity. Considering the way experience will and activate a space. eachal will individual experience This has led to developing and conandstructing activatespaces a space. This has led due to the way people to interact developing andother constructing with each and an area, spaces due to defining the waya space people rather than or inarea due to its functionality. Architecture teract with each other and an area,is in thethan publicdefining realm anda therefore has rather space or social implications through the way it areaframes due toour its lives, functionality. Archideveloping a visual tecture is 3in the public realm and culture. therefore has social implications The the Studio intoour the through wayAirit looks frames way architecture creates discourse 3 lives, developing a visual culture.by
provoking thinking and motivation within the audience through formal The Studio Air looks the intoway thean gestures. It contextualizes wayaudience architecture creates experiences art,discourse the way in which each person seesand different signs by provoking thinking motivaand symbols and how they evoke varytion within the audience through ing reactions across the public due to formal gestures. It contextualizes their life experiences. Developing an the aesthetic way anexperience audiencethat experiences will continue art,tothe way inand which eachus,person challenge surprise and not allowing us to become desensitized sees different signs and symbols the experience we encounter andtohow they evokeas varying reac-it more and more.3 It is not about maktions across the public due to their ing a ‘building’, but about using ideas life and experiences. Developing an a concepts to shape and transpire aesthetic form. experience that will con-
tinue to challenge and surprise us, The developments and ideologies and not allowing us to become dein architecture are stepping away from sensitized to the experience as movwe the traditional typology and are 3 encounter moretheand more. It and is ing awayitfrom monumental notinstitutionalized about makingconcepts. a ‘building’ , butof Instead having a building timing, about using ideas represent and concepts space and the intentions of the creato shape and transpire a form.
tor, the architectural form now has the ability to change and reform through The developments and ideolotime, adjusting to new environments, gieseither in architecture are orstepping through movement by
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A responsive surface structure. The top image responsive surface strucshow the closed off form duringA higher levels of ture. The top image shows the humidity. As the air dries the wood changes its levels closed form during higher composition causing it to curl and create windows of humidity. As the air dries the wood changes its composition, through the form.4 causing it to curl and create windows.4
changes within the surrounding environment. The architectural discourse in computational and parametric design is the reason behind choosing it as a tool to create the installation/sculptural work for the Wyndam City gateway design project. Wyndam city is looking for a project that will constantly encourage interaction between the artwork and the audience, not having it become stagnant. It will enrich the area with a strong visual and cultural design. The use of the computational design process will enable an extended period of time in which the designer will be able to play with the patterning and shape of the model, giving it time to develop to an appropriate shape and form for the site. This is seen in the passive design FAZ Pavillion, Frankfurt (2010). This is a nurb surface that is entirely climate responsive, it allows one to experience an architectural space through the convergence of the man-made and the natural environment.4 It shows how the combination of research and computer design has enabled such a space to exist. The combination of wood and computers sees the converging of one of the oldest building materials with computational design. The moisture in the air changes the dynamics within the wood causing a change in its dimension, having the geometric surface go from a straight panel to a curved.4 This effect will constantly change the surface of the form and enable a new experience for the audience, almost as if it is a living organism. The finite element analysis (FEA) of the 2010 pavillion in Stuttgart. The computational design model is run through the computer program to work out it’s exact postitioning on the site, and how this will efect the forces applied to the materials.5
Parametric design allows one to make a free flowing form. It configures a shape that ultimately makes one feel comfortable as it is not a disjunction of objects, lines and shapes. In the ICD/ ITKE Research Pavilion 2010, it explores the materiality of the wood, and the way in which we can apply it.
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Evolving a new experience of how we normally visualize and use these materials. It tests and displays the performance of the materials, which is done with ‘rapid prototyping’ within the digital world before being brought out for physical construction.6 This process enables the fabrication of a form that previously was not possible to construct. This allows for further developments in future designs process as the combination of computers and humans continues to break down design barriers.
changing experience of architecture as the forms interact with the audience and the environmental changes in the location due to light, shadow, air, temperature and the views it creates. . The success of the way in which they have being developed, constructed, and then used, displays the way in which architecture is moving towards a design process with a stronger influence and usage of computational design.
Both of the pavilions discussed allow the audience to experience an ever A responsive surface structure fabricated for the instalation project : HygroScopeMeteorosensitive Morphology, in the Centre Pompidou, Paris, 2012. 7
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Part A
Case for Innovation
Computational Design
The development of computational design in architecture has shifted the creative process in which one would traditionally design an architectural form. It has driven the focus of design to the experimentation of the structural relationships and interconnections of shapes and symbols rather than the appealing form.8 Computational design is an exploration of the design process involving computers. Through an interdisciplinary design approach it assists in defining parameters to develop an outcome. This interconnection of skill sets proceeds to formulate an array of potential design outcomes. The architectural design field has re used technology and methods from other industries and applied it to the generative design process to stretch the abilities of humans, and to enable the growth and fabrication of the complex form. The borrowing of technologies from other industries supports these creative designs, and ideas.9 Computational design has the designers put in the parameters of the external factors, focusing on its final performance value( a paradigm of problem solving).11 By inputting parameters, it amplifies the goals of the project by strengthening complex aspects of the form. The complex forms continue throughout the design, fabrication and construction processes, giving it fluid connectivity. Within a design space all solutions are available. It is a reality where you have the opportunity to explore and develop anything you desire, a vast amount of outcomes are available to you.9 External constraints and parameters begin to direct you towards possible solutions. The use of computers allows you to apply logical and algorithmic parameters and forces to the problem solving process within this space.
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An installation that uses this process is the VoltaDom by Skylar Tibbits. The Installation is a tessellation of shapes that populate a corridor on the MIT campus. The assembly of forms gives a new spatial experience to the corridor, and challenges the way in which we experience the transitional space between rooms. The complex form puts a new twist on how we normalize a room, and gets one to question how we can manipulate these forms away from traditional concepts and into a more fluid intricate form. The computational design enables Skylar Tibbit’s to design a double curved surface panel and then have it fabricated for installation. The combination of computers and humans involves the internal inspiration and creativity from us, and a logical, analytical conclusion from the computers to break down the externally imposed constraints.11 This is where architectural design comes from, constraints and inspiration. Now the development in computers allows architects to engage and communicate with the models as the design becomes more abstract,11 by expanding access to information within the process of discovery. It has allowed the exploration of alternative design conclusions by the representation of an array of ideas by using this design process to
capture complex aspects of design. This has resulted in seeing a growth in organic geometric forms in architecture, returning to the representation of the natural form.8 It has opened up a gateway to complex forms which were originally “difficult to conceive, develop and represent.� 8 But this is not our final solution to the design process in the architectural realm. Looking through history you see how the process is constantly changing. It is not stagnant. It is an ongoing search for a solution. Pushing to explore further options, which have us testing our abilities to develop new conceptual representations of space and how we perceive it. The design process through computational design exceeds our abilities and enables us to become more dynamic with our solutions the problems we explore through the design space.11
Inside the VoltaDom by Skylar Tibbits.10
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Nature Boardwalk at Lincoln Park Zoo 15
The South Pond Pavilion by the Studio Gang Architects is an example of a structural and a tessalation computational design. This project interested me as it uses a repetition of one shape to make a complex and intricate spatial experience. The structure is made from a lattice of bent wood with fiber glass shells along the top. This provides the audience with the view of the parklands, while being protected from the sun and the rain during the day and the night. The transition of the pavilions visual impact from day to night is quite exciting. As the night comes on, the
pavilion begins to glow, as if it is coming alive. I find the imagery of it during the night quite moving and more aesthetically pleasing as it illuminates the fluid shape and the lighting changes the form through the shadowing along the curves. Throughout the weeks leading up to Studio Air I have taken an interest in having a pattern that uses light and shadowing to change and manipulate my project, having the gateway become an active system of parametric design. The use of lighting is a design outcome I will be considering to implement in my work once I begin to work within my group.
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Part A
Case for Innovation
Parametric Design
Parametric modelling offers designers a new medium to model. Facilitating a new way to explore design, which is generated through an explicit connection between parameters and their geometry. This new way of design expression brings fresh ideas and new ways of exploring concepts in the architectural field. It also has the designer rework the way in which they develop their designs; this is due to the deferral. The deferral is the way in which the final outcome (form) and placement of a model is put on hold till a later point in the design process. This is because parametric design is in relation to the graphing between nodes and how they network with each other. The data given to the nodes via functions and algorithms allows the manipulation to the coordinates to be much more rapid and easy.14 This gives the parametric model a dynamic form, allowing one to explore how the models can rapidly change, seeing the different methods of representation. This design process gives the architect more time to find a contemporary expression to a design brief.14 This development has led to a non-static design environment, as the architect is able to manipulate and change the conditions of the project at
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different stages. When designing, the parameters have to still be flexible to enable this play with the form. These components of the parametric design allows for adjustments to the model so it can adapt and mould to the environment it will be placed in.15 An example of where this has being applied is in the installation work ‘Dermoid’ by the Center for Information Technology and Architecture (CITA) and Spatial Information Architecture Laboratory (SIAL). This group workshop was a research project into how computation can bring new material practices into architecture. The group of researchers and students used both computers and physical testing to probe the possibilities of the material. The use of computers in the parametric design enabled the final shape of the model not to be completely finalized to a few days before the construction, showing the flexibility given to architects with this new way of design development.16 As the use of parametric model programs is like a language, communication between the computer and the designer needs to be clear and concise, otherwise steps can be ‘lost in translation’. Configuring parametric models
The finished result of the Dermoid workshop 2011. 17
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A detail of one of the connections in the 2011 Dermoid. 18
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involves mathematical thinking, as the programs are set off mathematical propositions. Math’s has been a part of architecture throughout history; from the geometric proportions in the gothic churches to the golden ratio in Le Corbusiers designs. Computational design programs such as grasshopper are just a new medium in which the designer can use mathematics to formulate their design intent.14 An issue with this is that designers do not necessarily think mathematically, they generally use computational programs to the extent of their skill set. Also the way in which they
organize and layout there algorithms can be more complex and harder to read by others, which again takes us back to the need for communication, as it can become difficult for others to work on the same project. It is important to take on a mathematical mindset as it enables the designers to organize the algorithms in the right hierarchy.14 The mathematical mindset has led to architects starting to formulate their own plug-ins for computational programs. They have seen the potential and outcomes of the parametric design process and it has resulted in further exploration in this design dominion. 15
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Olafur Eliasson is an artist that uses parametric and computational design methods to produce his artworks. His installation works play with the audience’s perception of space and have them experience and view the world with a new and different perspective. His works evoke ideas and inspire creativity. His works create a sense of excitement through his manipulation of light and forms, challenging our traditional views of how we interact and experience the world. Some of his works almost induce a meditative state when physically experiencing his works. One work in particular that comes
Olafur Eliasson 23
to mind is One-way colour tunnel, 2007, from the exhibition Take your time. This installation is a passageway of colour structured by a tessellation of geometric forms. Depending on the direction approaching the tunnel, the colours will change, delivering an unpredictable ever-changing experience to the audience. I believe this project optimizes the use of parametric design as it is a smaller project so doesn’t become overwhelming. The installation takes us back to the discourse and the basis of the air studio by stimulating and motivating the audience, building a spatial experience that motivates action and ideas.
nel.
One-way Colour Tun-
19. http : / / w w w. i n teractivearchitecture.org/ olafur-eliasson-mca-sydney. html/screen-shot-2009-1230-at-19-43-34
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I have chosen these algorithmic explorations as I think the methods used to get these shapes could be applicable when I am looking into my tessellation design for the gateway. The second image with the attracter points could be used to have the tessellation change shape and size across the surface, giving a sense of movement to the sculpture. The third image is a solid form that has become more relaxed and less ridged which could be used as a surface to work on (in a different shape of course). With my extended research I started to combine techniques from different tutorials to make shapes and patterns, which is seen in the corkscrew shape I made in the first image. These images shown will provide me with a base for further research in the design space within rhino and grasshopper to develop a parametric model for the Wyndam City gateway design project.
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Part A
Case for Innovation
Algorithmic Explorations 26
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Parametric design is an exciting field in architecture that has provided architects a chance to explore design mathematically through a new medium. It allows for a development of free form unrigged sculptural spaces that inspire and challenge the audience’s perspective and opinion of architecture. The modelling breaks down the barrier between art and architecture as the architects are able to explore the patterning and connections of their model before forming it into an interactive space. Computational and parametric design enables the functionality of spaces and the way people use them to define the shape and form of a structure taking us back to the idea of Richard Williams definition of architecture: “architecture needs to be thought of less as a set of special material products and rather more as range of social and professional practices that sometimes, but by no means always, lead to buildings.� Through my research I have seen the use of parametric designs within architecture and other fields that provide outcomes to design briefs that challenge ideas of formation and structure.
Part A
Using grasshopper, I find the logic of it understandable and something I will know, as I am mathematically minded, but I still need to train myself to reach that clicking point. The arrangement of functions in the hierarchies is logical to me. I still prefer the use of the traditional design process and using the pen and paper to develop my ideas, but it is a useful medium that will enable further exploration and experimentations in my works when I find the paper cannot satisfy what I want to show. Specifically when exploring the tessellation concept for the Wyndam City gateway design project. With the use of Grasshopper it will enable a sculptural form to be modeled for the site that can be explored in depth. Using tessellation in the design will display an intrinsic patterned formation that changes due to the perspective you view it at and due to the natural lighting falling over the area. The design approach used for the gateway will enable a form to be designed for the site via a reaction to the location, from natural formations, wind, light, movements and other elements affecting the area.
Case for Innovation
Conclusion
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Part B Design Approach
Design Focus
Tessellation The intention for the Wydnham City Gateway design proposal is to use parametric design to sculpt a form using tessellation. Tessellation has been chosen as the focal point for further exploration due to the evocative imagery it produces and how it engenders movement through its non-static patterned configuration. The exploration in tessellation will enable our team to develop an expressive envelope for our final form through the sophisticated patterning tools within the
Grasshopper plug-in for Rhino19. The new technologies enable the movement away from the generic form, going beyond the decorative. Moving towards a complex pattern that is able to deform and vary due to external information, which will be informing both the functional and aesthetic makeup of the tessallated form.
The Voussoir Cloud by IwamotoScott Architecture and La Vo没te de LeFevre by Matter Designs. These two case studies will be explored over the next part of the journal to develop a strong algorithmic script, presenting how parametric design is used within the architectural design feild, and how it will be applied to resolve our design intent to develop a tessalated gateway model.
Two precedents that are comparable to our intended goal in the gateways design project are;
Tessallation exploration using length evaluaters, image sampling and poly forms
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Part B Design Approach
Case Study 1.0
Voussoir Cloud IwamotoScott Archtecture Year: 2008 Location: Southern California Institute of Architecture Material: Laminated thin timber Voussoir cloud is an installation that uses light weight wooden ‘petals’ that are assembled together to make a tessellated vaulted structure. It was developed by IwamotoScott Architecture. An architectural practice that is involved in architecture as a research medium.21 Using creativity and research to develop projects that have strong innovative outcomes affecting our spatial experiences on a range of scales. In Voussoir Cloud the compressive form relies on each individual ‘petal’ working in compression. Transferring the loadings effectively throughout the vaulted form.21
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The tessellation is based on the Delaunay triangle, becoming denser as it gets closer to connection at the ground, physically reflecting how the compressive force become stronger at these points. Each petal has a different proportional geometry that is determined through a script developed within Rhino.21 During development there were many model fabrications to ensure it worked both virtually and physically. During individual algorithmic exploration the vaulted form of the Voussoir Cloud was used as a base surface to apply tessalation to a 3D form. This
case study aims to find an interesting and unexpected result with a focus on using polygon shapes. During initial explorations there was difficulty in applying the patterning to the planes as the vector output was running along the x and y plane. Once the vector plane was adjusted it allowed the tessellations to be distributed across the surface within the varying xyz planes, allowing the explorations to lead to a patterning effect closer to the Voussoir Cloud and a tessalation pattern to be taken into account in later explorations.
Tessalation on the Zoussoir Cloud before the vector plane is changed
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By dividing the surface with points it enabled the use of the polygon function resulting in a range of patterned forms. Readjusting the inputs into the polygon function, enables modifications of the radius, vertices and filleted edges. The slightest change in inputs can considerably effect the visual output within the parametric model. By offsetting the patterns along the surface the offset it gave more intricate variations to the patterning, The offset command was also changeable with filleting to vary
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the geometries distributed across the surface. The pattern along the surface was further developed with the use of the planar command. This gave the model a more solid effect. The planar panelling of the geometries could be used in later explorations to have more buildable panels in the physical form.
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Along the smaller surfaces in the vaulted form the patterning became denser outcome due to the way in which it was divided. This could be used later in the gateway design as the pattern changes in density, becoming more intricate and changeable as your perspective changes, reinforcing the aim to develop an un-static form. Although the explorations led to some interesting tessellated effects, none of them led to an un-rollable polysurface. Nevertheless the tools and skills learnt through the patterning effects and formations led to some ideas to be brought into later developments.
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Part B Design Approach
Case Study 2.0
La Voûte de LeFevre Matter Design Year: 2012 Location: Banvard Gallery Material: Baltic Birch Plywood
La Voûte de LeFevre is an installation work developed in 2012 by Matter Designs in the Banvard Gallery, Columbus, Ohio. The installation work aimed “to innovate and transform the future of architecture” 22 by re-imagining the way in which the individual interprets architecture. The blending of different mediums and visual experiences redevelops and challenges the way society interprets the role of architecture in society. Matter design’s innovative approach through ‘drawing and making’ takes architecture away from the role as building design and turns it into
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an innovative art form. It sees an advancement and growth in our spatial experiences. In La Voûte de LeFevre, Matter Designs aimed at assembling a vaulted structure through computation and fabrication.21 This was achieved by accessing information in past exercises of stone carving and formation, and the employment of parametric design to inform and control the dimensions of the geometric members. The hexagon members used to form the vaulted structure are fixed together through compressive forces,
while the apertures within them are reconfigured, reacting to the amount of compression applied by neighboring members. This results in a tessellated form that changes due to physical conditions. 22
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To reverse engineer the La Vo没te de LeFevre installation, algorithmic exploration began with developing a way to apply a hexagon geometry across a 3D form similar to that of the Voussoir Cloud. This lead to some interesting visual outcomes. but still not the hexagon pattern originally set out to achieve. The explorations led to the realization that a Voronoi or hexagon pattern is very challenging to get across a mesh or 3D surface, especially when your only beginning to learn and be comfortable with the program. In order to get closer to the outcome of the reverse engineering process, the explorations re started with the use of simpler surface. By following many tutorials and looking into the different paneling algorythms, it led to many varying tools for paneling a surface with a more complex geometry. This was achieved through using commands such as box morph, and projecting 2D patterns onto the form. Box morph gave a close visual representation of La Vo没te de LeFevre, but was restrictive as it was unable to be manipulated to give the varying apertures on the surface, t is also difficult to unroll due to double curves. As the struggle continued with finding an algorythm for hexagon pattern and due to time restraints it was decided to reevaluate the algorithmic approach to achieve an outcome closest to the La Vo没te de LeFevre that our technical abilities could allow.
Left: Projecting a Voronoi pattern on a 3D mesh Right: Box morph tessalations and offseting a Voronoi pattern
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This led to the formation of a complex geometry. The geometry developed is capable of manipulating the pattern across the surface through the use of line and distance evaluators. This geometry was achieved by using grasshopper to input a rectangular surface that was then exploded to extract individual elements to reconfigure it. Points are placed along the vertices to then have lines cross through the surface, to make a representation of a hexagon shape. The aperture of the geometry is then given more depth by using the move command, bringing it into the 3D. The line and distance evaluation between the projected panels on the surface and a point offset from the lofted form allows for manipulation of the patterning. Giving it the ability to have the apertures grow in size closer to the top of the form, similar to that of the installation La Vo没te de LeFevre.
Different results of using the geomtries made in grasshopper that were tessalated across a lofted surface
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The reverse engineering process saw the success of thorough and in depth exploration in grasshopper algorithms. These explorations will be taken into the design and thought process when developing the final tessellation pattern for the Wyndham City Gateway. One component that will defiantly be explored further is the geometry formed for the final outcome of the reverse engineering process. This geometry enables the ma-
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nipulation of the surface, giving it a sense of movement and adaption. As the final tessellation pattern for the Wyndham City Gateway project will have an interchangeable and reactive surface reflecting the densities of the community, this geometry enables a base for further explorations in this area, which is a quality we hope to project in our parametric design.
As the densities in Wyndham shift and change over time the use of the parametric design will enable the projection of this data into the design field. It will reinforce the concept of having the gateway being an intervention point between the community of Wyndham and the highway commuters.
Different results of 3D paneleling explorations with piping, projections, and box morph, leading to our final form to represent the result of our reverse engineering of the La Vo没te de LeFevre
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Part B Design Approach
Technique: Development
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A matrix representing the potential of the geometry found in Case Study 2.0, leading to the model below which was sent for fabrication
After the developments in parametric design from case study 2.0 it led to further developments with the forms found. The main factor that was taken away from the case study was the final geometry developed. Due to the length evaluators in the geometry, it enables morphing of the surface into many different shapes. After testing the geometry individualy, it was tessallated across lofted surfaces to see it’s potential within a group dynamic.
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Once the tessalated surface was in a pattern that satisfied our goal intentions for the design focus it was brought out of the design space into reality through a cardboard model. Allowing the chance to have a more physical and visual effect of the form discovered. Seeing how it interacts physically through its structural form, build ability and it’s lighting and shadow effects.
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Part B Design Approach
Technique: Prototypes
As the design development is getting closer to physical fabrication and the algorithmic exploration is developing towards a compelling tessellated form, thought needs to go towards the materialisation and the joint relationship of each component. For the gateway the key focal material is wood, most likely plywood. As the construction process will involve the community, the pieces will have to be simple in fabrication and use a simple sequence of set instructions for assemblage of the tessellated components. Having smarter parts to the construction, not more complex construction machinery.23 As the form is built, each part will interconnect and correspond with each other. To avoid structural fluctuations there could be a need for additional tiebacks23, or the even distribution of panels dispersing the weight similar to that of the vaulted tessellated forms looked at in the case study 1.0 and 2.0.
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For the purpose of the joint and materialisation prototyping their has been an in depth exploration into a range of possible connections. Grasshopper has not been used as the key computational design tool as this component is in regard to the physical testing of material capabilities and their connective abilities. The information gathered from the prototypes will then be put into grasshopper to develop a more complex algorithm, to develop a more buildable form.
An array of joints fabricated to test the physical properties and workability of the joints systems.
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Most fabrications were successful, but led to putting more consideration into the angling of the joint connections, and considering the stress different materials can undertake i.e. the boxboard could take more torque force than the plywood. When connecting some wooden joints the material was under strain and splintering occurred. Two joints that stood out as the most successful for applying to our design was the hexagon structural skeleton and the cones made with
pin joints. Now that they are in physical form it is easier to understand and assess the structural properties of the designs. To use the structural skeleton possible offsets off the vertices of the tessellated panels could create this structure in grasshopper. The prototyping has resulted in going back to grasshopper to further develop algorithmic explorations in using the hexagon pattern on a 3D surface.
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Part B Design Approach
Technique: Proposal
Woiworung
The three Koori tribes bordering the Werribee River within the Wyndham City Council, in relation to the current density populations
Wathaurong
The design of the new Sculpture along the freeway in south Werribee seeks to communicate the relationship between historical and present cultures. It is an embodiment of the openended concept time and population. It expresses the physical conglomerations of people in Wyndham by using quantitative information of current population densities to restrain and manipulate a tessellated surface.
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Boonerwrung
and growth. The gateway intends to be a response to the historical layers of Wyndham City and having the ability to further develop. Reacting to the changes in population densities now and in the future.
Wyndham has a unique and individual cultural fabric, with its own identity due to its position, history
The two factors influencing our form are guided by the geography of the Werribee River and how changes and formations within the landscape will guide the flow of a river, and secondly by the location of the three Koori (Woiworung, Bunurong/Boonerwrung and Wathaurong) language
Werribee River
Koori tribes
tribes that lived within the Wyndham city perimeter. The tessellated surface treatment is then imbedded as a reaction to the population densities of Wyndham, showing a variance patterns across the surfaces form. As the cities density and character changes due to migration into, out and within the council boundaries the gateway will have the ability to reform physically, displaying the changes to the locals and highway commuters. The changes allow the gateway to have the potential to grow into a diverse range of outcomes.
Current and future population densities
A 3D graph representing the varying levels in population densities within the Wyndham City Council
As Wyndham grows, it’s society and community will become more complex. The gateway aims to have the community physically identify with the sculpture, having it become apart of the cultural makeup of their local community.
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A matrix of the varying shapes made with the new polygon geometry. Changing due to the distance evaluater points moving around the design space within Rhino
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By using grasshopper as parametric design tool it gives the designer a medium in which external information can be embedded into the design. Increasing the design capabilities and the complexity of the structural makeup of models. We hope to build a structure that has the ability to be adaptable due to the changes in external information.
Further research in using similar algorithms from Technique: Development in grasshopper led to a hexagon form. With the same application as applied before, but using a different surface, resulted in a tessellated pattern close to the intended goal for the design focus. Through rhinos 3D imagery it showed the effects of the movement created by the interchanging panels producing the un-static form.
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The use of parametric design to develop the tessellation across the surface of our final form will enable adaptability within our design outcome. The gateway will be able to react to external information and developments of the community of Wyndham. The gateway will become an intervention point between the communities of Wyndham, with the everyday commuters along the highway. The tessellation will repre-
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sent the chains and interconnections between societies, and how these social connections can alter and change depending on different factors. The structure of the tessellation will also enable exploration into the construction and joints systems in the design, looking into the ease of build ability of the components to have the possibility to actively involve the community and have them physically engage with the gateway to give them a sense of pride.
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Form Explorations 72
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Part B Design Approach
Algorithmic Sketches 74
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During Part B of Studio Air I have taken my grasshopper explorations a lot deeper. It has led to a more thorough understanding of how algorithmic functions work within the program, and the hierarchy in which they need to be ordered. This has resulted in a higher quality of bake outs. The learning process is very challenging but I find it is very rewarding in return. It has proved to me how grasshopper uses a more mathematically structured design process, which reminded me of when Robert Woodbury in ‘Elements of Parametric Design’ said you would need mathematical thinking when producing algorithms, rather than the design thinking we have being trained to use over our years of studying architecture.14 I still feel that using drawings and diagrams is more suited to my design style, and still gives a more intimant relationship with your design. I also feel more comfortable and confident in our design concepts when using sketches and diagrams, but in saying this I do see myself using grasshopper as a
tool in future studios and design projects. I am interseted in learning the program fluently. The past weeks have resulted in a deeper understanding of why there is a different design process when computational design is used. Exhibiting the a model is able to react to external information through its structural make up, or the way in which external information can be embedded into the model causing physical changes within its structure. This component of our studio has shown me how the application of computational design can be successful in design and architecture. Especially in ornamental effects, specifically when ornamentation results from the structural make up of a design, which was discussed in Case Study 1.0 and Case Study 2.0
would satisfy both parties. I think group work in studios is an important part of our studies, as we will be experiencing these dynamics in our future careers, whatever path we choose to take. The Air Studio has pushed me to look beyond the conceptual component of the design and more towards the architectural discourse through the research involved in compiling the journal and reading reviews, specifically in Part A. The architectural discourse of computational design has even resulted within our University, from engaging students with the design space of parametric design, and using it as the key focus and tool for our Western Gateway Design Project.
The group work has also being challenging and satisfying through the discussions of design development and dividing the work load to our strengths. It saw two people with different ideas pushing each other to find an outcome that
Part B Design Approach
Learning Outcomes and Objectives 76
sarily will ional r skill des to they ndset which re alx and which ed for come n and withof the ke on enae the chy.14
o forcomhave mes of s and oring on.15
References 1. Julian Leinhard, Research Pavilion ICD/ITKE 2010 Interior view, from Interview with Julian Lienhard, Digital Crafting 5 Seminar, 2010, http://www.digitalcrafting.dk/?p=2204 2. Richard Williams. ‘Architecture and Visual Culture’, in Exploring Visual Culture: Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), pp. 102-116, p. 108 3. Richard Williams, ‘Architecture and Visual Culture’, Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), pp. 102 - 116 4. Achim Menges and Steffen Reichert, ‘Material Capacity, Embedded Responsiveness’, Architectural Design, vol. 82, no. 2, 2012, pp. 52-59 5. Julian Lienhard, Illustration, from Teaching by Doing: A Research Pavilion in Stuttgart, 2010, http://www.detail-online.com/architecture/topics/teaching-by-doing-a-research-pavilion-in-stuttgart-007367.html 6. Achim Menges, ‘Material Computation, Higher Integration in Morphogenetic Design’, Architectural Design, vol. 82, no. 2, 2012, pp.14-21 7. Achim Menges, HygroScope: Meteorosensitive Morphology, 2012, http://www.looksfeelsworks. com/category/sciene/
References
8. Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 3 – 28 9. Woodbury, Robert F. and Andrew L. Burrow (2006). ‘Whither design space?’, Artificial Intelligence for Engineering Design, Analysis and Manufacturing, 20 , 2, pp. 63-82 10.
http://architecture.mit.edu/architectural-design/project/voltadom-fast
11. Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), pp. 5 – 25 http://www.studiogang.net/work/2005/lincolnparkzoo_urbandesign References
12.
13. Florence & Lavender, Olafur Eliasson, Inverted Berlin Sphere, 2005, mixed media, 2011, http:// florenceandlavender.wordpress.com/2012/01/13/art-basel-miami-beach-2011/ 14.
Robert Woodbury, Elements of Parametric Design, (London: Routledge, 2010) pp. 7-48
15. Daniel Davis & Brady Peters, Design Ecosystems, From Architectural Design, vol 83, issue 2, 2013, pp 124-131 16. CITA, Dermoid Workshops, from Center for Information Technology and Architecture, viewed: 26/3/11, http://cita.karch.dk/Menu/Courses/2010-11+Dermoid+Workshops/Dermoid+Workshops 17. Martin Tamke, CF035741, 2011, viewed 26/3/13, http://www.flickr.com/photos/89102692@ N00/5690745323/ 18. Martin Tamke, CF035942, 2011, viewed 26/3/13, http://www.flickr.com/photos/89102692@ N00/5690745323/
The South Pond Pavilion during the evening with the city of Chicago in the background. 12
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19.
Alejandro Zaero, ‘Polo, Patterns, Fabrics, Prototypes, Tessellations’, Architectural Design, 2009, vol: 79,
pp 18-27 20.
Judson Terry, No title, IwamotoScott Architecture, 2008, http://www.iwamotoscott.com/
21.
IwamotoScott, ‘Voussoir Cloud’, IwamotoScott Architecture, 2008, http://www.iwamotoscott.com/
22.
Miguel Rus, la_voute_de_lefevre_matter_design_06, 2012, http://6289-9021.zippykid.netdna-cdn.com/wp-
content/uploads/2012/10/la_voûte_de_lefevre_matter_design_06.jpg 22. Matter Design, ‘La Voûte de LeFevre’, Matter Designs Studio, 2012, viewed: 4/4/12, http://www.matterdesignstudio.com/projects/la-voute-de-lefevre/ 23.
Part A
Skylar Tibbits, ‘Design to Self-Assembly’, Architectural Design, 2012, Vol: 82, Iss: 2, pp 68-73
Case for Innovation
References
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