Journal Final Fraser Moy by Fraser Moy

J O U R N A L

STUDIO

JOURNAL

INDEX PART A

CONCEPTUALISATION

A.0. DESIGN FUTURING A.1. DESIGN COMPUTATION A.2. COMPOSITION AND GENERATION A.3. CONCLUSION A.4. LEARNING OUTCOMES A.5 APPENDIX-ALGORITHMIC SKETCHBOOK A.A. REFERENCES

PART B

CRITERIA DESIGN

B.1. RESEARCH FIELD B.2. CASE STUDY 1.0 B.3. CASE STUDY 2.0 B.4. TECHNIQUE: DEVELOPMENT B.5. TECHNIQUE: PROTOTYPE B.6. TECHNIQUE: PROPOSAL B.7. LEARNING OBJECTIVES AND OUTCOMES B.B. REFERENCES

PART C

DETAILED DESIGN

C.1. DESIGN CONCEPT C.2. TECTONIC ELEMENTS C.3. FINAL MODEL C.4. LEARNING OBJECTIVES AND OUTCOMES C.C. REFERENCES

INTRODUCTION

My name is Fraser. I am a third year student at the University of Melbourne.

Currently I am undertaking an Environments degree, majoring in Architecture. Born in Hobart, but raised in Melbourne, I have personally bore witness to the modernisation of Melbourne from the mid to late 1990s until now and into the future. My general interests involve going for a bike ride and spending time in the company of my friends, as well as a rich interest in historical studies. My interest in architecture was never clear-cut growing up. Although I have continually harboured a design interest, with all manner of design based tasks and subjects being highly stimulating and enjoyable, architecture never appeared as my definitive or natural career path. Originally contemplating with the possibility of animation (purely out of interest), it was my father whom suggested that I consider architecture as it was he who had seen my keen eye for detail and design, as well as my fascination for the built environment. Within the field itself I am unclear as to which field of pursuit I wish to undertake. I continue to shift sides between residential and commercial purely on an interest basis, whether it appeals to my design or aesthetic sense.

Computational modelling has never been a key design tool within my design

projects. However, I am aware and acknowledge the need for its use due to itâ&#x20AC;&#x2122;s highly illustrative purposes and adaptability. In previous projects I utilised AutoCAD to ease with the construction of plans, as well as the use of the AdobeSuite to generate 2-Dimensional renderings, however I have never attempted to computer generate a 3-Dimensional model, using such tools as Rhinocerus. The reason for the lack of 3-Dimensional computational use is based on two, linked, reasons. First being that I was unaware of how to use the systems and found the systems, overall, confronting due to their dramatically foreign nature in terms of the way I had designed previously. Secondly, as stemming from the first, it was easier and more expressive of myself to utilise systems that I was well atuned to use, such as hand drawing and the AdobeSuite. The utilisation of what was comfortable to me wasnâ&#x20AC;&#x2122;t holistically restrictive in my design approach, more control allowed my designs to take on a specific and honed approach that would not otherwise be achieved digitally. However, I still felt like my overall impact was lacking in comparison to students who had highly rendered models of their finish or concept designs. I intend to push and delve as far into computational modelling as possible in order to best explore the full capabilities and benefits inherent with using such as approach.

Adobe Illustrator Elevation, Studio Water.

CONCEPTUALISATION 09

A.0. DESIGN FUTURING The earth is a limited entity, that we seize to support our lives, without

respect for the fact that that same world which supports us is a finite resource, if it ceases to exist, we cease to exist. Humans as a species have displayed a tendency which Tony Fry describes as “innate”, unsustainability. Until now, design and human life has had very little consideration for the world upon which it is intertwinded, cities have replaced forests and buildings have been constructed from materials borne of the earth. In his article ‘Design Futuring: Sustainability, Ethics and New Practice’, Tony Fry correlates the idea of design with the concept of sustainability and it’s ability to curb the current autodestructive nature on display, currently. Design is a manmade concept with a world-shaping force. Everything that serves for the betterment of mankind is as a result of design, and as such we have become overly reliant upon the artificial world of our creation, we have ‘displaced the invisible hand of God’. The key to shifting away from the destructive nature of constitutional design, as espoused by Fry is ‘designfuturing’ whereby design in and of itself becomes its own salvation. Design-futuring as a concept is two-pronged; whereby it first must prevent the current discourse associated with design, or de-futuring’, reaching a finite point; as well as shifting design solely towards sustainability. However, the problem with design in the contemporary is that it has become massconsumerable, wherein computational design software has allowed all societal stakeholders to have a voice in the world of design. In order to emphasise the role of designers within a design based world, the concept of ‘design democracy’ is theorised, whereby all of society has an equal influence over design, but it is realm of the professional designer to push public opinion in a more sustainably desirable direction. If the power remained in the hands of the people, defuturing will likely occur due to desire and need of the uninformed being conflicted with sustainability. This is then the ultimate role of the designer in the contemporary world, to redirect design and societal sentiment and guide it away from the envitable disaster inherent within unsustainabiltity, and towards considered and sustainable design.

A.0.

â&#x20AC;&#x153;Problems cannot be solved unless they are confronted and if they are to be solved it will not be by chance...but by design.â&#x20AC;? -Tony Fry[1]

[1]

SHEIKH KHALIFA MEDICAL CITY SKIDMORE, OWINGS AND MERRILL (SOM) ADU DHABI, UNITED ARAD EMIRATES 2018

Currently under construction and due for completion in 2018, the Sheikh Khalifa Medical City will work to replace the former complex of the same name. The design is highly innovative in its homogeneity between worldleading medical centre and research, alongside public amentities such as trees and internal gardens to provide a distinctive calming atmosphere for patrons.

The difficulty for SOM was maintaining a delicate balance between innovative and highly contemporary design whilst being informed by historical regional precedents. This was solved through depictive architecture, whereby a large rock plinth, symbolic of the surrounding architecture, forms the basis of a first floor central courtyard which houses an indoor network of gardens. Careful consideration with regard to the geographical demands associated with the United Arab Emirates context has informed a wide variety of design 12

A.0.

features which has attributed to the rewarding of a 2 Pearl Estidama rating. Estidama awards a rating based on a variety of factors such as relevance to the cultural and natural context, as well as material readiness. SOM utilised a strong facade treatment on the structure to reduce solar loads, whilst allowing the passage of daylight into the core of the structure, as well as the utilisation of natural materials where possible. Although modern innovations in steel and glass has lead to the vision of the complex, the issue of sustainability arises around its geographical context. Abu Dhabi is in the heart of the desert with little to no natural resources of any benefit to construction, which therefore determines the importation of structural materials. Although materials may and could have derived from sustainable sources, the fact of the matter is that to be 100% sustainable means to utilise that which is borne in a region. Although the architects have attempted to maintain the most sustainable line possible, with gardens and solar radiation protection, the problem with the design is the purpose for the design. New developments such as this in the Gulf region are vastly unsustainble on many fronts. It is a region rife with bold ideas clashing with constructional feasibility. Rather than designing for the future on a clean slate, designers in the region should instead be looking at what can be done with what is there now, total refurbishment, not total reconstruction.

[2] [3]

LONDON BRIDGE TOWER RENZO PIANO BUILDING WORKSHOP LONDON, BRITAIN 2012

Central London in contemporary times has

become a highly centralised world trading hub which has resulted in a dramatic need for both residential and commerical spaces in the already high-density region. Renzo Piano architects acknowledged these requirements during the designing phase and what has resulted is an harmonious balance between residential and commercial sectors, within the walls of a sleak, modern building. The use of the surrounding historical context, of looking back to history in order to establish a concept as well as to solve a problem, allowed for the creation of the tapered shape of the tower. As design has proven throughout history, it has a tendency to repeat as well as teach itself. Renzo Piano translated the surrounding spires and historical masts of boats gone by on the River Thames to serve as a pretense for a tapered, sharp design. Innovations in glass and steel technologies have allowed for the construction of a radically new design. Although the natural tendency of towers past was to taper towards the top in an effort to increase stability, the steel frame allowed a free glass facade to envelop the tower, acting to allow a subtle disapperance into the London skyline. The difficulty for a tower of 240m lies in the need to be aesthically pleasing, due to its imposing presense in the skyline, as well as ensuring patron comfort. In contemporary times, a third category has had a growing influence over design, sustainability. As the structure is covered entirely in glass, a highly inefficient material in itself, it would serve as a indirect form of sustainable design as it controls light and heat conditions within the spaces of the design. The balance between aesthetics, comfort and sustainability combine in this one key materiality. To put shutters on the external facade of the building would reduce the solar impact, however it would jeopardise the aesthetic appearance of the structure, add to this the inability to adequately install shutters on a tall structure. 14 A.0.

Due to a variety of health and safety, and meteorological issues, natural ventilation as a means of providing cheap, efficient, is often unattainble. However, through innovative thought and in accompaniment with modern design techniques allowed for natural ventilation to be provided for much of the 240m structure. Problems and issues which arise for a highly public structure, such as a tower, as exacerbated more greatly than a private structure. When designing a public structure, much consideration has to be made of not just how it appears, but how it will function with the ensuing waves of different occupants and changing societal sentiment over time. The London Bridge Tower is part of a wider scheme for a new development in the London Bridge Quarter, an attempt to gentrify forgotten or derelict regions of London so as to maximise land usage. Although the total reconstruction of a region is against the idea type of sustainability, redevelopment through existing architecture, in cases attuned to London Bridge, it is far more efficient and beneficial to reconstruction anew in order to maximise the regional potential for the future. If London wishes to expand its total occupancy, it is misuse of space to develop a 5-storey structure, where a 110-storey structure can quite easily sit in it’s place. Further factors justifying the contentious use of reconstructional is whether there are pre-existing transportational options and amenities (that can’t be provided by the structure), which can cater for a sudden, high influx of population. Sustainable design, or designvfuturing, doesn’t have to be about a buildings relation to it’s surrounding environment, it can also be about how a building can most efficiently meet the needs ot the people using a building.

[4] [5] [6]

A.1. DESIGN COMPUTATION The natural transgression and evolution of the way we, as designers,

design, has developed into a computer-centric medium. With each development in the technological realm an equal development is felt in the design realm, such is the relationship between techonology and design in the 21st century. Although computational systems for design and modelling have wider ranging benefits on the field of design as a whole, there are a inherent underlying issues which stem from a wholistic focus and dependence on artificial intelligence. Digital software has changed design indefinitely. Design as a field is a process where problems are set forth, and solutions are devised based upon how these problems can be interlinked and solved as a collective whole to create a physical structure. Experimentation is key to unlocking many inherent solutions to a wide range of problems, however where once before that would take time and solutions not fully considered or realised to the finest degree, computation modelling has allowed solution synthesis to become an engaging and efficient process. A start and end point can be defined by the designer and the computer fills in the solutions in between. However, this efficiency in brings about serious issues inherent in design. Who is actually doing the designing? This is the crux of the issue surrounding computational design; on the one hand it eases the designing process and can create a wide range of solutions not possible in the timeframe of many projects, whereas on the other, the solution that is found and utilised was not actually created by anyone person, therefore is it then justifiable for a designer to claim responsilibity for a work, when a computer completed the task which is fundamental to design, problem solving. Computational design, although problematic in aspects, has overbeaing positives to the field of construction design. Digital formats are inherently user friendly and strive to create a common language for all users, thus multidisciplinary research and input is a key element for which computers aid. Whereas throughout history, design understanding was stagnant and disjointed, digitial mediums allow all stakeholders in a project to visualise, understand and refine a design without having to have specific design understanding.

A.1.

The 21st century is rapidly becoming the age of organics, defined by natural designs. Intelligence of computation has allowed for more experimentational designs, due to the boundless testing abilities of virtual systems. This has allowed for design to become a format to imitate nature. Although design had previously used nature as its primary precedent, it was moreso used as inspiration to then create a form, such as Frank Llyod Wright drawing inspiration from the Praries of Illinois and translating it into long sweeping eaves and low pitched roofs. However, the imitation of nature is a different concept altogether, is it learning from nature and how best to employ these principles on different design contexts. It is using nature to solve problems. This form of thinking has only been fully realised in the digital age through rapid prototyping and tha parametric abilities inbuilt into computational software. The digital age of design computation has changed the field of design, and will only continue to develop into the future.

“[The] new paradigm of design thinking...‘scripting as the driving force for the 21st century architectural thinking’.” -Rivka Oxman and Robert Oxman[7]

[7]

DONGDAEMUN DESIGN PLAZA Zaha Hadid Architects SEOUL, SOUTH KOREAN 2013

As design has become

more organic and expressive with the advent of design computation, the role of the architect and the engineer has become blurred. The use of parametric modelling has created a rift between designability and contructability. The role of constructability and the physical design of a structure has now shifted into the realm of the engineer, spatial communication has been singled out as the realm of the architect. This is as a sole result of computational design. Systems such as Rhinoceros has allowed the Architect to model a wide variety of parametric and geometric designs, however, whilst on the screen it is no more than a 3-Dimensional object on a 2-Dimensional screen. This is the importance and shift in an engineer’s role thanks to the advent of digital design, taking a virtual object and digital physics and translating it into the physical. The multidisciplinary nature of computational design becomes apparent through the shift in the stakeholders of design. Zaha Hadid’s ‘Dongdaemun Design Plaza’ is a modern representation of the modern age of design. Even when compared to the structures surrounding the plaza, the sweeping curves and monolithic appearance is unlike any building historical architectural styles. Although modern innovations in materiality have aided such radical construction, however, computational design has been the key factor in differentiation 21st century architecture, from all other historical styles. The exploration of a wide variety of forms determined by the lofting of the primary curves in the structure is only achievable via digital design software which can explore a variety of design solutions, without having to reconstruct the model with each movement.

A.1.

Design computation allows of the construction of a variety of unalike geometrics to form a coherent and sound form. Often what results is a complex in form, yet simplistic in appearance, structure that appears to defy gravity and comprehension. This the point at which computation has aided the design field, whereby a computer can solve a problem that is too difficult or time consuming in a coherent, and simplistic means. However, where Zaha Hadid Architects have used computational modeling in their design, raises doubts whether the designers can claim responsibility for the design. The basic structural principles would have had to have been determined by the designers, such as the basic structural components or lines, and it is the role of the computer to create a design solution based off of those design parametres. However the solution created, the structural form, is the creation of the computer. As well as creating the form of the structure, design computation delves further into the modern designing process. The aluminium facade of the Dongdaemun Design Plaza has been logically solved by a computer in order to ensure constructability. The facade has followed a specific script, such as the algorithmic modelling of Grasshopper, to convert the smooth facade into a tessellated facade of geometric shapes that, when combined, form a coherent curve.

[8] [9]

‘SLIPSTREAM’ Richard WIlson LONDON, BRITAIN 2012

Heathrow Airport is

currently undergoing a modern facelift in order to house the 20 million people, alone, that will pass through the new Terminal 2. A modern building demands an equally modern installation piece to help emphasise the modern techniques at the disposal of designers during conception and construction of the building. Architects have long been inspired by motion, through curvilinear geometries. However, the adequate means of depicting fluid motions which inspired the early-20th century Futurist movement, was lost to both technology in a constructability and designability sense. It wasn’t until the 21st century that technology caught up to imagination. Richard Wilson’s ‘Slipstream’ installation is highly indicative of the means and abilities that designers have at their disposal, for without computational design, Wilson’s vision for a sculpture would be left in the realm of the imagation as had the case with his designer forefathers. Inspired by a plane’s flight path as it tumbles through the sky during aerobatic maneouvers, ‘Slipstream’ was the culmination of a highly mathematical and digital set of models and wireframe depictions. The difficulty of modelling a complex shape, formed by a single object, is the creation of a coherent, simplistic, understandable design; which may come in a variety of different forms. Computational modelling is critical in all fascets of the fluid design due to the inherent complexitiies embedded within. A further complexity arises in the issue of who has actually designed the finished design. Computer programs alone cannot design a building, or a sculpture, and it is here the a designer is still necessary in the modern world, Wilson initially translated the captured tumbling plane into a semi-coherent design, without a proper geometric form. It is here that an issue arises of who designed the structure. 50 iterations, as was the case, was generated by a computer in order to further hone and create the final movement which both accurately represented the design intention alongside it’s constructability. Computational modelling has brought the imagination into the material world, and it is through structure such as ‘Splistream’ that stand testament to the abilities of this new field of design. 20

A.1.

[10] [11]

A.2. COMPOSITION/GENERATION A transition from compositional architecture to generational architecture

has occured wholitistically during th 21st with the driving force being computational design. Due to the radical shift in architectural design, the entire sphere of architectural practice has shifted dramatically. No longer are architects limited to a handful of potential solutions to problems, the computation of design has opened up a entirely new pathway of design approach. The architectural world is becoming less about physical drafting, and moreso about algorithms inherent within computational design systems. Algorithmic thinking, as it has come to be known, is dictating the new design approach. The architect is now not having to be caught up in determining the inherent design problems within a design, it is through the use of software, that algorithms can be used to put a finite set of rules onto a problem and create an, unambiguous, output. The software is doing the problem solving, however it is still up to the designer to determine the parametres from which the algorithim forms the design solution. The benefit for a firm utilising parametric modelling as it increases firm efficiency through the ease of structural manipulation to create new structural forms. With the innovations in materiality, the parametric models being created are now being able to be passed into reality. However, the manner in which computational designers are utilised within firms varies, emphasising the different emphasis firms place on the important of computational generation. Computational designers are either points of reference for a team of designers; working in direct tandem with the design team; or creating a design of their own volition. In a rapidly modernising world, with a dramatic increase in construction techniques, the primary tool that is adaptable to change is the use of parametric modelling tools. Design computation enables new ways of thinking, with designs being more responsive to change throughout the designing process. However, it is when all designers become familiar with computational design that it becomes the new true method of architectural design. Just as pen and paper has constructed the world pre-dating the 21st century, a society working in tandem for the betterment of a system, allows further innovations to grow within the, computational, field. 22

A.2.

â&#x20AC;&#x153;When architects have a sufficient understanding of algorithmic concepts... then computation can become a true method of design for architecture..â&#x20AC;? -Brady Peterst[12]

[12]

‘MANY SMALL CUBES’ Sou Fujimoto PARIS, FRANCE 2014

Computational design

generation has the capacity to create forms that were inconceivable or kept within the realm of the imagination. Sou Fujimoto’s installation in Paris serves to highlight the advantages gained through computing. The structure itself is composed of a series of stacked boxes which connect either on one corner, or one edge, with the aid of foliage helping to counterbalance sections of the structure. Encased within (depicted on next page) is a small inhabitable space, which adds to the overall geometric complexity of the design, one which is already minimal in structural contact and has to support a form at the centre of it’s mass. The design problem and overall success lies within an inherent use upon computational software to guide a form. Rather than being a random arrangement of cubes in space, or located randomly on a steel frame cased within, Fujimoto emphasises that the structure is “one unified element whose balance and stability are carefully designed; the position of each cube and each tree participates to the overall stability.”[13] This complexity emphasises the measure and highly calculated approach to each individual entity which constructs the whole, and is only achievable through a complex set of algorithms which have the capability to solve the issue of stability whilst maintaining the design aesthetic of simplicity and lightness in form. It is too easy to disregard a complex form, such as ‘Many Small Cubes’ as just a random arrangement of shapes placed onto a surface by a computer. However, a computer still requires an input in order to comprehend an output. Yes parametric modelling tools can create forms similar to this, however it is still the role of Fujimoto as a designer to inform the program what are the specfic parametres (his ideas of lightness and the central void) from which a solution can be formed around and manipulated.

A.2.

[13] [14]

HANNAM-DONG HANDS COPORATION HEADQUARTERS THE_SYSTEM LAB SEOUL, SOUTH KOREA 2014

Parametric modelling tools have

changed the face of architecture, at once such a tool for design becomes common place, the norm, the true capacity and capabilities of the format will emerge. THE_SYSTEM LAB is leading the way in parametric modelling tools in the use of a curvilinear facade cast across the face of the HANDS Coporation Headquarters building. The intention for the design was to reflect the sites relationship to the site surrounding it, which meant creating a visual connection between the users of the structure and the cars whom are passing by, through the drawing of the eye. Key featural advantages of computational design generation are represented through the use of instantenous performance feedback of the facade compenents. It is fine if a design can be highly evocative of a concept, but whether that idea can be formed into a physical structural concept is another issue. Algorithmic models (such as the one above) allows the fields of architectural and engineering design to become blurred, such is the beauty of computational modelling. Through the use of a simple red-green colour palette, even an untrained architect can be visually aware of key stress points and weakness in a structure, for which further manipulation and algorithmic modelling can be used to provide a solution to the problem. 26

A.2.

However, for me personally, parametric modelling and the overall encompassing umbrella of design generation is focussed on the concepts of the curvilinear. This can be assumed that the field is intoxicated with the form due to it allowing it to be expressed, the ideas which architects had continually overlooked or stopped exploring due to the complexities inherent with designing the curvilinear. Why would a field which is opening up new design opportunities take a backward step and further hone a craft of geometric and humanely (on the premise that humans could create it from their own knowledge) rational components? This is the key, I believe, that the field of computational design is rife with the over-dramatic, highly-evocative design. We want to explore the previously unexplorable, delve into the domain of the new and unknown, and sap of the knowledge and forms which can come from within it. Yet, the issue remains for computational design that much of the remaining structure is overlooked. THE_SYSTEM LAB seemed so keenly focussed on the concept of creating a facade to evoke the connection between the users and the onlookers, that part of the exploration of a buildings function is lost. As depicted in the image (below), a severe disconnect occurs between the external facade and the internal facade. Much attention was paid to the highly computerised external facade and exploring the possiblities of modelling beyond what is capable of engineering, that the function of the building, which drives itâ&#x20AC;&#x2122;s form, became less important. Yes computational design has opened up a new, unexplored world of possibility, yet the function of a building cannot be overlooked to create the idealised form.

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A.3.

A.3. CONCLUSION The world of computational design is dramatically altering the field of

design in ways previously unknown. Designers are no longer using the tools at their disposal simply to convey what was previously known into a drawing, rather architects are using computational tools to extrapolate more accurately their exact design ideas. Computers are no longer a surface to aid with design, they have become a surface to create design, in this way, computational modelling is not just changing the way we design, is is changing the designs themselves. Until the 21st century, concepts and key ideas some architects in the ideological field of â&#x20AC;&#x2DC;futurismâ&#x20AC;&#x2122; would remain just that, an ideology. However with the aid of mass computational software, anything and everything is possible, given that an original strand of an idea is set forward. Although computational design is becoming highly beneficial to the field of design, what dictactes that field, and whom is the (or a) designer is becoming plagued by that which is supposed to aid design. As computational parametrical modelling tools is a software, it has become widely avaliable to the public, and now a non-trained person can set forth a set of parametres into a programme such as Rhino, and a solution is created based of the algorithmic properties inherent within the software. Everybody is now capable of becoming a designer. Therefore it is even more necessary in the 21st century that a hierarchy of design be maintained. Although a amatuer designer can create a form, it is left up to the professionally trained to determine the fascets of a concept which are feasible and constructable. A model on a screen, which isnâ&#x20AC;&#x2122;t bound by the parametres of reality, must at some stage, in order to be deemed a feasible design, must ultimately stand up to the parametres of the material world. Design thinking has taken a boost as a result of the digital. No longer are designers bound by a humanistic computational system (the brain), a computer can be used to create a rapid set of solutions to a problem. Designers are the ultimate winners from computational design. A solution for a problem can be attained in a matter of seconds with feedback being provided alongside, which allows futher manipulations and refinements to occur to create the ideal form to best solve a problem. It is due to the tandem wotk that computer systems have with designers to solve problems, that designers are no longer bound by a known reality, they are bound instead by their imagination. 29

A.4.

A.4. LEARNING OUTCOMES At the beginning of the semester I was merely only aware that

computational tools were avaliable, and chose not to utilise them on the premise that they were designing aids, and not tools for designing, themselves. Designing has come a long way in a short amount of time and has a long, if not infinite, way to go, such is the beauty of the computational system. Just as a piece of paper can be drawn on an infinite amount of way and the tools to be used on the paper are numerous, the tools avalibable on systems such as Rhino can be used to create a wide variety of designs. I believe I was initially apprehensive in opening up towards parametric modelling on the basis that my instinctive attractive to architecture comes in the form of simplistic geometric shapes to create a form, whereas, rather naive of me, I was under the assumption that parametric modelling was wholicially the realm of curvilinear, evocative design, a blanket to be overlaid onto a form. However through even the early stages of the course I have become aware of the capacity and the benefits of using the new softwares avaliable to express my ideas. Yes they can be highly curvilinear parametric models, but even geometric forms can be aided dramatically through the inherent design solutions inbuilt into software systems. Buildings such as Sou Fujimotoâ&#x20AC;&#x2122;s â&#x20AC;&#x2DC;Many Small Cubesâ&#x20AC;&#x2122; which are geometric in form, utilised algorithmic software in order to create a hightened sense of simplicity. It would be naive of a designer now, with all the tools at their disposal, to think that a design create purely from their own mind and hand would be naturally the best form to solve a problem. If the software is built waiting for a probem to be inputted to output a solution, it must be used. Even if I continue to dislike parametric modelling, it is only by delving into that which you dislike and unlocking its complexities and forming a greater understanding of it, that a more rounded and informed dislike can (or resultantly not) emerge.

A.5. ALGORITHMIC SKETCHBOOK The ability to utilise algorithmic modelling software allows rapid iterations of a model to be produced, alongside the increased capability to explore different techniques to both construct and de-construct an element.

Fig.1. Shows the ability to use the populate tool in order to deconstruct an element into random geometry. I liked the transgression depicted in this sequence of images as it is clear how the element has evolved from the initial shape, into itâ&#x20AC;&#x2122;s final form. Fig.2. The use of arcs allows two lines to be connected in a uniform manner and lofted into a shape. This highlights the capability for software to create a 3-Dimensional model rapidly, whilst the creation of nodal points along the curves allows for further manipulation of geometry, and eventual depiction of a fabrication technique. Fig.3. I chose these two images to be stand as representatives of my understanding, and the ability to create a grid across a surface. This was initially confusing for me as I struggled to understand how to create and translate a grid across a surface in a uniform fashion. However, the ability to manipulate the protrusion, concentration and warping of the grid allows for diverse and complex grids to be translated across a surface. The use of parametric modelling tools and exploration through algorithmic software highlights an entirely new form of design that I was previously unwilling to delve into due to the complexities inherent within it. However, upon having undertaken just a minor aspect of the capabilities of computational software, I have become aware of the great benefit into itâ&#x20AC;&#x2122;s use in aiding and helping to explore the design process. However, the downfall of algorithmic software is that direction was required in creating such designs, which caused much of the understanding of the components to become lost.

A.5.

Fig.1.

Fig.2.

Fig.3.

A.A. REFERENCES 1.

Fry, Tony, Design Futuring (Oxford: Berg, 2009)

2. Cooke, Robert, ‘Urban And Architectural Sustainability In The Gulf’, Architectural Design, 85 (2015), 106-113 <http://dx.doi.org/10.1002/ad.1860> 3. Rosenfield, Karissa, ‘Sheikh Khalifa Medical City In Abu Dhabi / SOM’, ArchDaily, 2012 <http://www.archdaily.com/225153/sheikh-khalifa-medical-city-in-abu-dhabi-som/> [accessed 8 March 2015] 4. Renzo Piano Building Workshop, ‘London Bridge Tower’, 2015 <http://www.rpbw.com/project/58/london-bridge-tower/> [accessed 9 March 2015] 5. Ibid. 6. Cilento, Karen, ‘The Shard / Renzo Piano’, ArchDaily, 2009 <http://www.archdaily. com/33494/the-shard-renzo-piano/> [accessed 9 March 2015] 7. Oxman, Rivka, and Robert Oxman, Theories Of The Digital In Architecture (London: Routledge, 2014), p. 7 8. Garcia, Mark, ‘Future Landscapes Of Spatial Details: An Interview With Philippe Rahm’, Architectural Design, 84 (2014), 78-85 <http://dx.doi.org/10.1002/ad.1784> 9. Zaha-hadid.com, ‘Dongdaemun Design Plaza - Architecture - Zaha Hadid Architects’, 2015 <http://www.zaha-hadid.com/architecture/dongdaemun-design-park-plaza/> [accessed 14 March 2015] 10. Parker, Ralph, and Tim Lucas, ‘High Definition: Zero Tolerance In Design And Production’, Architectural Design, 84 (2014), 74-81 <http://dx.doi.org/10.1002/ad.1697> 11. Db, Leigha, ‘Richard Wilson: Slipstream At Heathrow International Airport’, designboom | architecture & design magazine, 2012 <http://www.designboom.com/art/richard-wilson-slipstream-atheathrow-international-airport/> [accessed 20 March 2015] 12. Peters, Brady, ‘Computation Works: The Building Of Algorithmic Thought’, Architectural Design, 83 (2013), 8-15 <http://dx.doi.org/10.1002/ad.1545> 13. Rosenfield, Karissa, ‘Sou Fujimoto Constructs Inhabitable Nomadic Structure For Parisian Art Fair’, ArchDaily, 2014 <http://www.archdaily.com/561811/sou-fujimoto-constructs-inhabitablenomadic-structure-for-parisian-art-fair/> [accessed 20 March 2015] 34

A.A.

14. Ibid. 15. ArchDaily, ‘Hannam-Dong HANDS Corporation Headquarters / THE_SYSTEM LAB’, 2015 <http://www. archdaily.com/610002/hannam-dong-hands-corporation-headquarters-the_system-lab/> [accessed 20 March 2015]

CRITERIA DESIGN 37

B.1. RESEARCH FIELD The advent of digital design has allowed for the creation

and further exploration of different design ideas and concepts. Tessellation is an aspect of design that has been able to be explored and effectively implemented into contemporary parametric design. Tessellation at its purest form is the panelling, or tiling, geometries across a single surface, without gaps of overlaps, with a single panel of geometries being replicated across the surface. In this way tessellation both creates a surface unbroken by the geometry held within, as well as solving an important design question; how to create a visually pleasing ornamental surface of any size needed. However, with the advent of algorithmic modelling tools, which has separated the designer from the direct bulk of design problem solving, that tessellation can be perceived from a contemporary perspective as something more tangible, and encompassing.[1] Architecture, before parametric modelling, saw the employment of tessellation more attuned to the strict definition of tiling upon a planar surface. This faรงade treatment saw the employment of irregular geometries, aside from rectangular building blocks, to create an overall form that contradicted the overall geometry of the faรงade as a whole. The original intention was to create an interesting textural quality of the building, instead of the stark regulated faรงade if left unadorned. This preoccupation with geometric ornament is deeply entrenched within the Islamic world, which explored the capabilities of inter-locked geometries across surfaces within Mosques. The Shia Mosque in Iran emphasises the complexity of design that can be attained through the simple replication of 3 to 4 geometric forms, serving to portray the simple mathematical understanding needed in order to allow for the creation of such a form.[2] [3] As tessellation is a holistically mathematical endeavour, the obvious increase in mathematical understanding and capabilities, will translate into more complex, and engaging forms of design. 38

B.1.

With parametric modelling tools being mathematical tools for design, it is evident that contemporary modelling tools will only serve to increase the potential of the tessellation. Federation Square, although a contemporary precedent using computational techniques, emphasises the transitionary stage of tessellation from interlocking geometries towards highly expressive, yet regulated architectural forms. The reason it can be considered as a transitionary stage in tessellation is its relation to the core concept of translating a regular, interlocking design onto the planar surface. As complex a surface may appear, the inherent idea of geometrical replication reigns true. Five single triangles are fused in a modular system to make a larger panel, from which multiple panels are joined to make a faรงade.[4] The project Tessellated Manifolds by students from Washington University, emphasises the potential of parametric modelling in the creation of complex, engaging pieces of design which responds more knowingly to both the site conditions and the users. Much research was made of Islamic Mosques and their use of pattern, using in conjunction to this was parametric modelling tools in order to create a coherent, visual base form which to form a more complex model on the basis of the mathematics attained. The project was complete through both physical experimentation and parametric modelling in order to create the final solution. The use of parametric modelling tools allowed a complex, 3-Dimensional mathematical form to materialise that was specific in its response to site.[5] Herein lies the crux of tessellation in a contemporary sense. The beauty of tessellation is that it is a mathematical form of design, with interlocking geometries binding together to form a coherent whole. Parametric modelling tools are a mathematical form of design that utilises algorithms to solve design problems in a coherent manner, through mathematical equations. As

[1] [2] [3] [4] [5]

B.1.

artificial intelligence is an endless source of knowledge and understanding, the ability to create highly articulate architectural forms is exponential. So long as the base geometries form a coherent and replicable module, which requires human input to understand the basis of such a module, computational software can translate the modules into any shape or form, however dictated by the malleability of the original module around different junction points. As computational modelling becomes more intelligent, more highly sophisticated forms are created which have the tendency to distort the line between surface replication and an irregular arrangement of geometries on a surface, which do not have a unified bond. The surface mesh is the clearest indication of a replicated geometry onto a surface, however as that mesh is translated across the curves inherent within the particular form, aspects of the original base mesh can become distorted and irregular to their bounding meshes. This complexity is alluded to within the thesis Fibre Composite Adaptive Systems whereby a base mesh of hexagons has been extruded and replicated across a surface. The inherent difficulty to determine it as a true tessellation lies in the fact that the base mesh is distorted in sections. However, the fact that the mesh, although irregular in appearance, still follows a regulated pattern in order to form a coherent, complete structure, highlights the true test of a tessellation and its justification of a solid, interrelated surface of differing geometries.[6] I believe that the benefits of using tessellation within a design is the ability for it to create a more visually appealing surface onto an otherwise stark plane, with the more complex the base set of geometries are, the more the visual effect will envelop the design. Along with this is the ability for tessellation to contort to any form, be it geometric or curvilinear, thanks to the capacity of parametric modelling systems. Due to its replicated modules, the fabrication of tessellations is relatively simple as only one single part must be created (over and over) in order to create a coherent whole.

[6]

B.2. CASE STUDY 1.0 VOLTADOM

Located at the Massachusetts Institute of Technology (MIT)

SKYLAR TIBBITS BOSTON, UNITED STATES 2011

in celebration of MIT’s 150th Anniversary alonside the FAST Arts Festival, VoltaDom is an installation created by Skylar Tibbits alongside his firm SJET’s which encompasses a corridor within the MIT campus. The project team drew inspiration from the historic ceilings of cathedrals which are bounded by repetitious ceiling vaults along their entirety. The vault is a simple curved arch of four bounding points, and it was this concept which was replicated over the surface to create a coherent arched structure.

FAST Arts Festival’s intention is to demonstrate how ‘the tools of technology, invention and fantasy can transform the physical environment into thought-provoking, breathtaking ways’, and it was from this brief that SJET created its articulation of form.The use of the vault inherently gives further 3-Dimensional articulation to an otherwise 2-Dimensional surface form of an arch. By penetrating each surface vault, streams of light and framed views are created both internally and externally to the structural composition, adding to an overall sense of visual play and pleasure for the user. Another consideration for the design team was the to push the architectural concept of the ‘surface panel’ to its extreme whilst maintaining relative ease of construction, a balance which is difficult to achieve whilst maintaining the integrity of both interests. The individual double-vaulted sections protrude individually outward in a sporatic manner, which further alludes to heightened 3-Dimensionality. However, by maintaining a cohesive four-points of contact, the means of transferring a complex form of curved vaults into developable strips, which can be rolled into the conical form.[7] [8] VoltaDom is a higly complex installation of design, which, I believe, exhibits the characterists of tessellation in a contemporary form. The use of repetitive conical forms to create a coherent whole emphasises the use of pattern in order to create such a form. However, it is apparent that computational modelling is crucial to such a design in order to solve the geometric complexities of combining vaulted cones. The pattern itself (being constructed of cones) allows for a vast level of experimentation through the means in which curves of different sizes, heights and orientations can combine into a comprehensive whole. [7] [8]

B.2.

HEIGHT MANIPULATION

RADIUS MANIPULATION

SEED MANIPULATION

POINT MANIPULATION

P12 P16

S2 P15 S2 P29

R0.51 R0.76

H1.83

P28

P35

S5 P15

S5 P33

S10 P18

R0.51

R1.00

R0.75

H1.41

H2.00

H1.48

DOMAIN SURFACE 2D VORONOI 46

B.2.

V0 0.8 V1 0.5

V0 0.7 V1 0.6

LB 1.0 UP 0.5

LB 2.2 UP 0.6

LB 1.2 UP 3.3

LB 2.3 UP 1.1

GEOSURFACE

B.2.

GEOSURFACE ITERATION 2

GEOSURFACE ITERATION 5

GEOSURFACE ITERATION 7 50

B.2.

In Geosurface Iteration 2, my intention was to push the bounding surface in

order to extrapolate the potential geometry that can be achieved. The use of this tool allows for dramatic manipulation of form across the Z-axis in order to create a more evocative, surface which appears to inspire movement in its form. Although the form created is not as comprehensive and solid as the initial VoltaDom project, the ability to trim surfaces together could allow vaulted walkways to be created under this surface.

Iteration 5 was a basic manipulation of the bounding surface away from

the rectangular form provided and beginning to explore different forms. I decided to populate a triangle in order to establish how the conical form can manipulate to different geometric forms. This creation emphasises the capacity for the tessellated form to be transfered across any geometric surface, highlighting the potential of a tessellation.

Geosurface Iteration 7 was the furtherest form from the original structure

which I achieved. It appears difficult to visualise how this form is a tessellation of pattern due to the free-form style following an irregular bouding curve. However, this created form highlights how any geometric form, through the use of computational experimentation, can be trimmed into a cohesive structure and form complex, and highly manipulative structural forms.

B.3. CASE STUDY 2.0 VORONOI MORPHOLOGIES

Voronoi Morphologies is a set of cellular aggregate structures

ANDREW KUDLESS COLUMBUS, UNITED STATES 2006

developed by Andrew Kudless. During his exploration, Kudless uses the voronoi algorithm in order to explore the capablities of such an algorithmic component which is currently being used in animal habitat mapping, satellite navigation, and urban planning. Kudless states that the tool allows for the â&#x20AC;&#x2DC;translation and materialization of data from particle-simulations and other point-based data into volumetric form. The allowance of voronoi algorithms is the ability to create highly differentiated and irregular geometric forms through the simple manipulation and randomising of points within 2-Dimensional and 3-Dimensional space. In the case of the Voronoi Morphology (left), the 3D voronoi component has been used in order to populate the geometry with points, and thus a random set of geometries are created around these points to create cells. The edges of the cells are then created into a skeletal mesh.

The Voronoi Morphology project serves as testament to the ability of the voronoi tool in the ease of creation of interesting and appealing tesellated surfaces. The ability to feed a series of seeds, as well as increasing and decreasing the point count within, or on, a geometry, is highly beneficial in increasing design output. However, the inability of an apparent control of the geometries makes itâ&#x20AC;&#x2122;s employment for a specific design solution, limited. Yet, the ability to morph the voronoi to differing geometries, such as walls or curves, is an added design solution.

[9]

B.2.

Creation of a geometric rectangle to form the basis of the Voronoi.

B.2.

Using the Populate 3D tool creates a set

of random points within the geometry which will form the basis of the Voronoi 3D tool which creates a random set of geometry cells within the geometry.

Re-referencing of the geometry as a brep

component and Deconstructing Brep in order to reference each cell into the algorithm, which are then Culled in order to remove segments of the geometric cells.

The resultant Brep Component meshes

are then fed into a Pipe component which creates a skeletal mesh along the edges of the Brep Components.

Attempt to create an irregular geometric

component similar to the C-Wall Voronoi Morphologies, to determine the maleablility of the Populate 3D and Voronoi 3D components.

This resulatant geometry stands testament

to the limited ability of the algorithm created. Instead of creating a Voronoi within the geometry (above), the Voronoi component instead translates a rectangle around the original geometry. 56

B.2.

GEOMETRY

DECONSTRUCT BREP

Setting the object boundary form.

Breaking up brep into defining components (vertices / edges).

POPULATE 3D

CULL

Creates point grid within geometry.

Eliminating components within the brep.

VORONOI 3D

PIPE

Creation of tessellated components within restraints of points.

Encompasses brep components with a pipe form.

BREP Conversion of resultant geometry into a brep component for mesh manipulation.

RADIUS SLIDER Changes the pipe size (effecting overl object form).

B.2.

My attempt at reverse engineering the

Voronoi Morphology by Andrew Kudless was a reasonable success due to my ability to turn a voronoi element into a subsequent skeletal mesh, which somewhat resembles Kudlessâ&#x20AC;&#x2122; creation. However, there are a distinct level of algorithmic elements which have caused my construction to be unlike the original, The major difference lies in the fact that Kudlessâ&#x20AC;&#x2122; skeletal mesh appears to have soft, curved edge around the cells, instead of the harsh piping around mine. This caused the overall effect to be vastly dissimlar if, for example, lighting is put into the skulpture. The soft edges will, in effect, soften the light, dispersing it. Whilst mine will have a similar outcome, the sharp hard edges of piping with not have a softening effect due to the inability for piping to have the corner effect experience in a curved skeletal mesh. This voronoi skeletal mesh system, with a further exploration as to how to fit it within more complex geometries, will allow the design capabilities for such a system to be expansive. I would like to further explore different skeletal mesh techniques which can have a dramatic effect in altering the overall tesellation of the design.

B.4. TECHNIQUE: DEVELOPMENT

To begin the manipulation of my reverse-engineer, I decided to experiment

with the pipe tool and how this can be used across multiple geometries. I first created geometries or lofted curves to create the base brep/ geometry from which to populate with the voronoi component. However, as I began experimenting with the voronoi tool, I realised that the voronoi was populating to the inviside 3-Dimensional box from which the voronoi would populate within. I then decided to play with cell counts, alongside pipe radius widths in order to best determine the limits in which the resulant geometry does not become convoluted and too complex, losing the intention of the wireframe type aesthetic. As I began to explore more, I uncovered a way in order to populate the geometry with softened curves, more attune to the Voronoi Morphologies (by Andrew Kudless), and thus began a process of exploring with these parametres. The difficultly that arose was that the individual voronoi cells, which were populated with softened edges, did not create coherent, succent segments which would allow for ease of construction.

B.4.

GEOMETRY

B.4.

LOW CELL COUNT

HIGH CELL COUNT

INCREASE PIPE RADIUS + LOW RADIUS CELL COUNT

SCALE

ORIGINAL GEOMETRY

CURVED MESH

THIN CURVED MESH

INCREASE CELL CENTRES

SELECTION 1

The use of a wire grid contorting

around a solid curve alludes to the electricity pylons which are situated around Merri Creek. This voronoi effect is also similar to the many bridge steel constructions which cross Merria Creek up its length. The solid structural core creates an inhabilitable space at the centre, in an otherwise exposed strucutral form

SELECTION 2

Although simple in construction,

and an accident in parametric modelling (as the loft component between the curves created a twiset, rather than a curve), this split geometry offers unique design potential. The tesselation of the voronoi breaks up the otherwise curved surface, in an industrial, mechanised form. The fragmentation into three components, whilst alluding to a coherent whole (through the relation across a curve) highlights how objects within a context can related without direct cohesion.

B.4.

SELECTION 3

The use of the wire frame is of particular importance

to my interpretation of both the brief and the site surrounding CERES and Merri Creek. The brief asks the designer â&#x20AC;&#x2DC;What roles do they (the user) play and how can your project change them?â&#x20AC;&#x2122;, from which I, through this iteration, have made an attempt to influence user experience. Surrounding the site is a heavy influence of industrial elements (bridges/ powerlines), which combat against nature. The curved wire frame is an attempt to create a form which alludes to the industrial elements and brings it into a personal scale (that of the human scale). The ability for the wireframe to contort to any geometry, highlights the potential for its use as the basis for further design and construction exploration. However, the question must be raised over the ability and ease of the fabrication of wire frame constructions.

B.5. TECHNIQUE: PROTOTYPES PROTOTYPE 1 STEEL WIRE HOT GLUE 75 GSM PAPER CARD

SHADOW MOVEMENT

Wire frame modelling creates my desired effect of

replicating the tessellated pattern associated with electricity pylons. Used in the above way, the partial covering creates both a structural (supporting the covered arch) and a sculptural piece. A voronoi wire mesh is higly malleable and be manipulated into a high amount of structural forms which can be contorted to fit site conditions. Onto this, being an algorithmic creation, certain elements can be added onto the algorithm in order to create a more complex form which is highly attuned to the site. I also like the shadows cast from the form due to their appearance as is they are part of the form themself, and as the day goes on, the longer shadows elongate the form. 66

B.5.

WIRE CONNECTION TYPES

PROTOTYPE 2 STEEL WIRE HOT GLUE TWINE CARD

SHADOW MOVEMENT

This form was created through the experimentation of

the arched form (found in the prototype left), alongside the experimentation with materiality. The use of string is not as rigid as a wire form, and can be malleable once installed, becoming a playful piece on site, with the vast amounts of students, and passers-by, being able to slightly shift and experiment with form. A slight narrowing at the centre of the arch has been used to determin the potential channelling effect to direct the users eye and have an effect of forced movement, moving them away form confined spaces, into open spaces.

PROTOTYPE 3 PAPER

SHADOW MOVEMENT

Paper has been used here, alongside a cutting blade,

in order to replicate the effect of a voronoi surface. I am particularly interested in the effect created by overlapped voronoi shells as the surface becomes more complex and is given an added dimension, whilst creating more higly complex shadowing. The voronoi surfaces are an abstraction of the eletricity pylon, and are a potential way of depicting the concept of the pylon without overloading, and being higly direct of the concept onto the user. As the voronoi is onto a surface, it allows for a high malleability in resultant forms. Potential construction methods may include small panelled sections of the overall form combined together to create the whole. 68

B.5.

PROTOTYPE 4 PAPER

SHADOW MOVEMENT

This prototype highlights the malleability and subsequent potential use of the voronoi surface for the design problem, The reason for the overlapped section in the middle, rather than butting the two panels up to eachother, creates a more highly complex form in the middle, emphasising the join rather than attempting to hide it. The different tessellation types (right) are potential surface solutions in order to convey different meaning or affect the over aesthetic of the design. The diagonal relates directly to the electricity pylon motif; the half cover allows certain sections of the arch to be covered areas, catering for user protection from weather; the diamonds structure creates an aesthetic element within the grid, which may both create further surface interest and could rotate in the wind.

TESSELATION TYPES

B.6.

B.6. TECHNIQUE: PROPOSAL

Tto hecoverintention of my design will be to further enhance the existing site by creating a shell in order the existing bridge. I will attempt to impact upon the users through the use of the design,

by making an illusion to the electricty pylons and cables, and highlight their ever presence on site, alongside the impact potential of electrical radiation. The structural shell will both act to address the conditional exposure experienced within the site, alongside its sculptural ability to both highlight and divert particular view points.

B.6.

“Can the project create new possibilities for life that improve on what was possible before intervention?”

“What roles do the stakeholders play and how can your project change them?”

“What is the relationship of the to the place?”

-Project Brief ‘CERES is a community project concerned with exploring possbilities for alternative work demonstrating ways to conserve energy, produce food and convert waste land into an attractive useful resource.’

-CERES Mission Statement

TESSELLATION In my opinion, the advent of digital design has allowed for the creation and further exploration of different design ideas and concepts. Tessellation is an aspect of design that has been able to be explored and effectively implemented into contemporary parametric design. Tessellation at its purest form is the panelling, or tiling, geometries across a single surface, without gaps of overlaps, with a single panel of geometries being replicated across the surface. In this way tessellation both creates a surface unbroken by the geometry held within, as well as solving an important design question; how to create a visually pleasing ornamental surface of any size needed.

ELECTRICTY PYLONS and OVERHEAD CABLES Due to their ever presence on site, alonsige CERESâ&#x20AC;&#x2122; serious concern with the nearby and overhead electricty sources, a relationship and use of the structural form can be a way to allude to site users to the concept surrounding these structures. The steel mesh, tessellated form up the structure, whilst uniform, can be abstracted and contorted to fit any geometrical form.

VORONOI MORPHOLOGIES The ability to populate a geometry, and convert it into a voronoi highlights the design potential of wire-frame forms. Softerned curves, alongside the ability to cull certain brep geometries within highlights the ability for both a voronoi to act as an abstraction upon a tesselation component, and contort and populate a geometry in a highly complex and controlled manner. The use of parametric modelling is made aware in its ability to aid the desiging process, creaing a coherent form from a complex set of algorithms.

FEDERATION SQUARE

This project in Melbourne is the combination of the voronoi tool, alongside a pipe wire-frame. The project serves to emphasise the ability to manipulate the overall aesthetic of a 3-Dimensional voronoi. The use of straight edges (rather than softened curves) associates itself towards the geometry of electricity pylons and offers a solution to the design problem. However, a level of control must be maintained in order to associate the voronoi with the site context, rather than being a random set of geometries place on site. 76

B.6. [10] [11]

DESIGN EXPERIMENTATION OUTCOMES - Wire-mesh can be used to to define a form and is highly malleable. - It can act as a part structure (sculpture) or whole structure (shell). - Shadow and light direction add further structural element. - Wire-mesh can act as a framing tool. - Movement channelling effect from confined spaces to open spaces.

B.6.

SITE LOCATION / ANALYSIS Located 100m south of CERES is the given site chosen. Located on the Merri Creek Trail, the route

experiences high pedestrian and cycling traffic. The site has a pre-existing, newly constructed footbridge which straddles the creek bank and scraps under the road bridge. CERES is highly concerned with the electricity power station located 300m south of CERES, and the resultant radiation emitted by the overhead power lines which dominate and juxtapose the natural landscape. The intention of my design will be to further enhance the existing site by creating a shell in order to cover the existing bridge,. In conjuction with this, I will attempt to impact upon the users by making an illusion to the electricty pylons and cables, and highlight their ever presence on site, but in a sculptural and abstracted manner.

jor

Site

rri

Me Minor Site Movemen t

e vem

e Cre

SITE LOCATION

OVERALL SITE PLAN East Brunswick

1. SPECIFIED SITE PLAN East Brunswick

Artificial

Sound D istributio

Dis

tribu

tion

lS oun d

Nat

ura

Dominant site features, which will influence design solutions:

B.6.

Focal Points Structural Use Hiding Features Imposing Elements

The exsisting site bounds the river and is highly

exposed to weather conditions. The bridge overhead dictates the footbridges path and causes sound pollution. At either end of the bridge, two large power pylons are framed. A small sitting area provides views up/down the creek, and is currently utilised by CERES as an ecological teaching space.

Key Site Points

Road Bridge

Natural

Artificial

View Point Downstream

View Point Upstream

MESH FORM OPTIONS

PROPOSAL TYPE 1 OFFSET DUAL MESHES

B.6.

CONNECTION DETAILING

PROPOSAL TYPE 2 OFFSET VORONOI

B.7.

B.7. LEARNING OUTCOMES The brief is the most integral part of any design process. It defines, guide

and informs how a project can move forward. Briefs have the capability to both solve and create problems. This is where computational modelling, through the use of this subject, has aided my ability to design. Whereas before, I was confined to what I could draw, computational modelling has broadened my design spectrum. I can now determine what form I want to eventutate and with an ever expanding understanding of the digitial systems, I am able to create new, highly complex design systems. However, whereas in physical drawing I am limited to my ability to draw and extrapolate information on a page, I am now restricted, given the condensed course period, of what information I have gathered and are capable of putting into practice. In the case of my design, I have attempted to not make this a limiting factor, per se. I have attempted to keep my design both true to the brief and my design intention, whilst maintaining that the design is within the constraints of my computational understanding. Whilst researching my chosen field of tessellation, which was chosen on the basis that is allows of form, which may be highly complex, to be broken down into simplistic repetitive parts, allowing me to understand a form further, I became aware of the design oppurtunities presented by computational modelling, however, tessellation as a discourse, is not limited to being informed purely by the digital. As emphasised in my research of the field, Islamic Mosques have been exploring the capabilities of tessellation far beyond the advent of the computer, and as such has become a case study in itself for understanding and informing how computational modelling can create and replicate highly complex forms across a surface. Tessellation is highly complex in form, but simplistic in formation. A surface may appear complex and intricate, however, as each panel is replicated across the surface, or form, the structure is thus comprehensable. As I have explored throughout the B Module (namely B3- 5), a tesselation is a highly malleable, manipulative speculative piece. Whereas the surface may never change, the imposition of a tessellation across the surface or geometry can have vastly different implications of the structure towards the users and site. However, this capability is made more simple and speculative as a result of computational modelling.

B.8. ALGORITHMIC SKETCHBOOK Throughout the B Module of the course, my computational skill and

understanding has been hightened, which my resultant algorithmic forms stand testament. I have become more aware of the ability and capabilities of computational modelling, despite my initial apprehensions at the beginning of the course. The populate and voronoi tools have become of particular interest to me due to the nature in which I design. I inititial chose tessellation as my primary subject field due to its incorporation of the straight, and geometric, due to my interest and high understanding of the aesthetic potential of such a system. The voronoi compotenent as allowed me to both explore computational design solutions, whilst incorporating my desired design field. Although an apparent abstraction of this concept in form, the two examples (right) highlight the complexity of form, which can be broken down into a series of straight, constituent parts. The three lofted forms (top-right), highlight the exploratory nature of ocmputational modelling and ease of design problem solving. Initially starting from one consistant form, a series of offset, bound, replicated lines, the ability to contort each line along XYZ, allows an wholly different form to materialise from a consistant base source. The two balls (middle-right), emphasise the ability to create intricate surface forms and patterns on an otherwise flat facial surface. On the farright, the ball appaears to have a tessellated form, which is wholistically and aesthicially differnt from the ball on the left. This again represents the design potentially inherent within surface tessellation. You can begin with a single design input geometry, and through the use of tessellation, which can be determined by the designer, can convey new meanings to the user. On the bottom-right, a proximity data tool has been used to populate geometries along a curve, The nature of the tool creates a higher concentration of geometries at high cross-over regions. Such an effect highlights the abilitty to incorporate concentration, or attraction centres, which correlate to the initial path, within the design itself. Thus the building becomes highly centred and relative to the site it sits within.

B.8.

MANIPULATION OF REPLICATED CURVES, WHILST MAINTAINING CONTROL OF EACH SUBSEQUENT CURVE.

POPULATING A GEOMETRY SURFACE WITH POINTS, THEN USING LIST TO DETERMINE OFFSET POINTS

PROXIMITY DATA TO POPULATE AROUND REFERENCED LINES. THE LARGER THE BOX, THE HIGHER THE CONCENTRATION, THE SMALLER THE BOX, THE LOWER THE CONCENTRATION. HIGHLIGHTS THE ABILITY FOR COMPUTATIONAL MODELLING TO GO BEYOND DESIGN AND CAN BE USED TO INFLUENCE DESIGN BY UNDERSTANDING DATA, SUCH AS SITE USAGE.

B.B. REFERENCES 1. Goodman-Strauss, Chaim, ‘Tessellations’, MathfactorUK, 2015, 1-33 <http://mathfactor. uark.edu/downloads/tessellations.pdf> [accessed 31 March 2015] 2. Flickr, ‘Iran, Shiraz, Masjed-E Nasir-Al-Mulk (Nasir Al-Mulk Mosque), Islamic Architecture’, 2015 <https://www.flickr.com/photos/mayhlen/8094764245/> [accessed 31 March 2015] 3. Math.nus.edu.sg, ‘GEM1518K - Mathematics In Art & Architecture - Project Submission’, 2015 <http://www.math.nus.edu.sg/aslaksen/gem-projects/maa/0203-2-03-Escher/main5.html> [accessed 31 March 2015] 4. Fedsquare.com, ‘History + Design - Federation Square’, 2015 <http://www.fedsquare.com/ about/history-design> [accessed 31 March 2015] 5. Archinect.com, ‘Student Works: Stalactile, Tessellated Manifolds | Features | Archinect’, 2015 <http://archinect.com/features/article/100296/student-works-stalactile-tessellated-manifolds> [accessed 31 March 2015] 6. Furuto, Alison, ‘Fibre Composite Adaptive Systems / Architectural Association’, ArchDaily, 2011 <http://www.archdaily.com/105431/fibre-composite-adaptive-systems-architectural-association/> [accessed 31 March 2015] 7. Minner, Kelly, ‘FAST Light At MIT’, ArchDaily, 2011 <http://www.archdaily.com/121276/ fast-light-at-mit/> [accessed 31 March 2015] 8.

Sjet.us, ‘SJET’, 2015 <http://sjet.us/MIT_VOLTADOM.html> [accessed 31 March 2015]

9. Matsysdesign.com, ‘Voronoi Morphologies « MATSYS’. 2009 <http://matsysdesign.com/category/projects/voronoi-morphologies/> [accessed 13 April 2015] 10. Ibid 11.

B.B.

Fedsquare.com, ‘History + Design - Federation Square’ [accessed 28 April 2015]

DETAILED DESIGN 91

C.1. DESIGN CONCEPT The interim submission was highly beneficial for me to better understand

my approach that I will undertake throughout the detailed design segment of the project. It became aware of both the limitations of my design, alongside the design potentials from that which succeeded. That which I believe and was highlighted as a downfall of my design was the constructability. As the design is holistically (as depicted in my renderings and prototyping) is wire-form, a coherent structure which is based off of the modelling will be diffifult to achieve, as, until now, the wire-forms have been random and lacked coherent control. I will attempt to reign in that fascet of the design by limiting the point count and bringing in the influence of external site elements as points of influence to direct my design. Creating a covering over the bike path was considered a good design proposal based on the feedback I received as it was acknowledged that this area of the site was left lacking with only a basically handrail bounding the footpath. The manner in which I have related my design to the tessellated pattern of the electricity pylons remained strong and was noted that protoype 1 (double diagonal grids) more so alluded to this intention in the design. The voronoi component, which was the original tool I intended to use, has been surpassed by the desire to further explore and the clarity in design achieved by the lofted curves over the surface. This is due to my design to keep my design simplified, and within the my grasp of the grasshopper components, whilst still remainin true to my design intention. As for my design proposal which called for: to further enhance the existing site by creating a shell

in order to cover the existing bridge; impact upon the users through the use of the design, by making an illusion to the electricty pylons and cables; structural shell will both act to address the conditional exposure experienced within the site

in most fascets I will remain true to my design proposal, due itâ&#x20AC;&#x2122;s clarity in directing design thinking, however, I believe I have to consider user experience within the structure (namely around the seating area), as the structure is not just to be passed through by path users, but a place to experience the river. 93

The proposed site is located 50-100m south of CERES, in Brunswick East.

Straddling underneath of road bridge and the western bank of Merri Creek, the intended site area is situated on a relatively new footbridge construction on the frequented Merri Creek Trail. Situated within walking distance to CERES, which is emphasised in the space being used as an ecological education space for CERES staff for students, any potential construction must be made with consideration for both the direct surround landscape influences, alongside any potential grievances expressed by CERES. Therefore, any design should in some form (physical or metaphysical) relate to the CERES mission statement which advoates a community based ideology with an emphasis on conversion of waste land into a useful resource. Pre-existing features on site will play a seminal role in the resultant design approach and final design. The direct impacting features will be the overhead road bridge and Merri Creek, as the design will have to be restricted and contorted between these so as to not impact upon these elements. Onto to this, features will also play an indirect role upon my design, due to both the current failings of the site and my extrapolation of the design brief concept of impacting the users. Therefore, the overhead electricity pylons/cables and the conflict between natural and artificial elements will indirectly influence the structural form. The primary reason for site selection was due to the current high exposure of the site and the minimal emphasis placed on surrounding site influences and features during the construction of the existing bridge. Upon visitation to the site, I acknowledged the design potential of the site associated with itâ&#x20AC;&#x2122;s current under-use. The site was merely passed through by users, due to itâ&#x20AC;&#x2122;s exposure, despite the surrounding natural beauty of the site. Users play a key role more so in the influence of the structural form, rather than the structure responding to user usage. The site itself is a balance between high inactive usage, and low active usage. What is meant by this is that cyclists and pedestrians, whom are the majority of site users, merely pass through the site on route along the Merri Creek trail, whereas the bench and extended platform space is minimally frequented during the day except for CERES educational classes, and a quick stop along the trail route. Therefore, the structure must not impact key site usage, allowing for rapid passage, whilst catering for users whom decided to remain within the site. Onto this, the users, as stated, have influenced the structural form, whereby a connection between the concept of the structure impacting the users and a depiction of electricity pylons, through the use of tessellated form. 94

USERS

Cyclists

Cyclists pass quickly through the site travelling along the trail, for which the current site is used as a thoroughfare. Despite the seating, cyclists donâ&#x20AC;&#x2122;t opt to dismount. electing to continue to CERES.

Students/Staff

The seating location is used as an informal teaching space by the CERES staff educate students on Merri Creek ecology.

Pedestrians

Predominating the site are various walkers whom are using the site as either a passage under the road bridge or following the Merri Creek Trail north or south. 96

[1] [2] [3] [4]

Features pre-existing on the site set FEATURAL ANALYSIS the context, and structural influence for the site.

The electricity pylons, with cables, frame either end of the selected site, with the opposing buildings on the opposite bank being framed by the existing bridge. When connected, it emphasises a continuity and relationship between the three elements.

Movement through the site is highly

centreed through the specific site itself. Due to the site being located on the Merri Creek trail, the majority of users pass through the specific site itself. However, due do the road above, some users move away from the site to access the road, which, due to the nature of this movement, is incapable to altering through structural attraction.

MOVEMENT ANALYSIS

Sound on site creates very different SOUND ANALYSIS experiences of site depending on location. The artificial sound is primarily restricted to the road bridge, however when moving away from the bridge on the bike path, the noise becomes more apparent, due to the height angle of sound.

Whereas, due to the high amount of natural foliage surrounding the river, the natural sounds of the site predominate over the artificial sounds, both the closer you get to the river and the closer underneath you come to the bridge.

Artificial

The angle of sound cast down onto the site below influences the noise experience on site.

Natural

Sound projection from bridge

Elemental experience is key on site ELEMENTAL ANALYSIS due to its location at a key junction and juxtaposition of natural and artificial.

Artificial is the sub-element on site, but is, paradoxically, overbearing and everpresent. The powerlines lie over the natural site, and the bridge and surrounding structures are constantly in the eyeline of the site.

Artificial Natural

The natural elements are predominant in the site, due to the site being situtated completely within the natural. The river is the primary natural element, with the park and river banks extending the natural site outwards. 99

My initial structural form of offset, overlapping mesh grids,

was both agreed upon by both myself and founded within the critique to be the form which most actively addresses the design proposal whilst remaining the most aesthically sound. However, the issue raised was the constructability of such an element. Considerations such as removing the piping around the polylines and offsetting them to create panels, which can be projected to the ground plane for laser cutting, was espoused. However, I believe that such a method of flat planing the surface would cause an abstraction away from the rigiidity and thickness defined by electricity pylons.

The waffle grid solves the cons

the pipe grid. By using a waffle (tongue and groove), the issue prototyping, that of the inability t form of the wire mesh, potential to become messy and inaccurate tessellation. The waffle grid, thro

â&#x20AC;&#x2DC;Xâ&#x20AC;&#x2122; tessellation due its inherent Therefore, by using the waffle g constructability whilst maintaining defined in the design proposal, that is also aesthetically pleasing

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structability issues raised with e grid form of construction es discovered during initial to actively control the structural lly causing the finished form e in itâ&#x20AC;&#x2122;s depiction of the â&#x20AC;&#x2DC;Xâ&#x20AC;&#x2122; ough its very nature, create an

crossing of X and Y planes. grid, the issues founded around structural formal language as are solved in one component, g through its simplicity.

When laid onto the the arcing curves, the extruded surface of

a waffle grid appears to create a visual coherence of the form, whereby the structural form can be better comprehended by the user. The decision has been made to remove the offset layer, as in an extuded form, the the visually blanketting achieved in the initial form, is subsequently lost. Onto this, a double lay of waffle grids will become overly thick, as well as intersecting grids inhibiting views through the structure.

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My initial structural form of offset, overlapping mesh grids,

The Gridshell is a further step

and fabricaton. Whereas the Wa curved and cut sections, the Gri be cut into straight sections whic structure. This inherent ability (b the rather complex form to be m

sraight sections simply being bol This minimal connection method malleable and able to adjust to site. An ability not available to t grid form.

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[5]

in the ease of transportability affle Grid system requires preidshell allows the materials to ch are then bent around the bent around a structure) allows made with relative ease due to

lted together at junction points. means the overall structure is any unforeseen occurances on the highly preconstructed waffle

When extruded across the x-axis, the Gridshell form both

contorts to the tessellated pattern desired, whilst also inputting upon the view direction associated with the site. By widening the extrusions, the structure becomes more solid. By slimming the extrusions, the structure becomes more open. Therefore it will be through a series of experimentation and relation to the brief in order to determine which level of extrusion best solves the issues on site.

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POINT COUNT ANALYSIS

12 Point Top View Z-axis Extrusion

36 Point Top View Z-axis Extrusion

56 Point Top View Z-axis Extrusion

12 Point Top View Z X -axis Extrusion

36 Point Top View Z X -axis Extrusion

56 Point Top View Z X -axis Extrusion

Here I began to

experiment with the effect that altering the point count along the lines has on the overall structure and aesthetic appeal of the structure itself.

12 Point Top View Z X -axis Extrusion

36 Point Top View Z X -axis Extrusion

56 Point Top View Z X -axis Extrusion

I have come to the conclusion that too minimal lines (12) causes the structure to become open the the ‘X’ tessellation design pattern intention to become too abstracted and construde. A structure with a point count of medium density (30-39) becomes closer to the density I desire, do to the ‘X’ tessellation becoming more pronounced. However, spread across the structure as a whole (in reality, which is 30m) will cause the spacing to be 1m which is too far appart. 50-60 point count creates the desired spacing to adequately fill the structure, highlight the design tessellation and can be sufficiently contorted to a point in further refinement. 105

POINT X-EXTRUSION

50 POINT

20 POINT

36 POINT

SHIFT 1

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SHIFT 2

SHIFT 3

SHIFT 4

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POINT ATTRACTION ANALYSIS

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VIEW PROJECTION ANALYSIS

As the attention is to eliminate the view of artificial structures whilst on the footbridge, the structural form can have a vast impact upon this.

By bringing down the structure to the base of the path where the seat is located causes a diffusal of the artificial view across the creek. It also causes a framing of the views from either direction down the foot bridge.

Opening up the seating area allows the pre-

existing seating area to have an uninhibited view of the river. Although the causes the structure to appear more open and in touch with the natural elements, it is not desireable in the design to have the opposing bank exposed. 109

CONSTRUCTIONAL FORM ANALYSIS 110

[6] [7] [8]

The Gridshell form creates a highly regulated pattern which is key to both the overall brief and response to the surrounding form of the electricity pylons. It has the ability to create a softened structural form due to the high interconnectiveity of the structural elements.

The Gridshell solves many structural issues I have with the final overall construction, as each strip has highly regulated directions with each axis (Y-X) having nogging cut into them to allow for rapid and ease of construction. However, there arises two issues of using such a technique. The first being the slenderness of the elements primarily in the Z-axis. The nogging calls for the elements to have

a large height in order to cater for the overlapping, however, this causes the structure to become overly exposed to the surrounding site, which is not the overall intention of the structure. The second such problem is the fact that elements have to contort to a strict X-Y direction, whereby to nog curved elements becomes difficult and ruins the overl aesthic of the coherence of the grid formation

111

CONSTRUCTIONAL FORM ANALYSIS 112

[9] [10] [11]

Diagrid form is the primary structural

form of the surrounding electrical towers, highlighting the success of the employment of such a technique. Diagrids allow for the employment of multiple materiality, provided it can be rolled out into a plate shape and is malleable enough to be bent. The nature of the diagrid is to highlight flexibility in design whilst maintaing a strict coherence to a grid form. Due to the nature of each individual junction point being codependent, the form can more accurately contort to the bounds of the site, whereas a high level of pre measurement planning must be adhered to, to ensure that a gridshell fite first time. The overall aesthetic of the diagrid responds highly to me as the overall form can be highly contorted in multiple ways in order to achieve dramatically different effects. Thus the diagrid is highly flexible to specific design features. The grid can be shifted across the grid in order to achieve different levels of overlap; or different strip width parameters can be altered to respond to distinct elements on site. However, the primary element which alludes to itâ&#x20AC;&#x2122;s use in the final structure is the fact that it had a pronounced surface width, which is a design element which can be manipulated to create a more enclosed, or open structure depending on how the design is desired to be altered.

[12] [13]

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MATERIALITY

RUSTED ST

CERES advocates t steel and steels in the site. Rusted ste blend into the enviro interesting and dyna this it is it structura and hold itself in an

GALVANISED STEEL:

Inspired from the materiality of the electricity pylons, galvanised steel is a visually stark material. However, when manipulated into sculptural forms, the material itself loses prominance to the overall effect. Being steel, the material is highly durable and strong, ideal for the site location.

TIMBER:

A higly aesthetic material, timer in and of itself adds a level of softness and structural appeal to the sculptural form itself. Timber, in this way, becomes equal to the structure, enhancing it. The benefit of timber is it is highly malleable, however, due to the frequency of the site and the snapping quality of timber under stress, timber is not an ideal material in terms of structural integrity.

114

TEEL:

the reuse of materials and as such, rusted other forms are present on and around eel has a certain aesthetic that causes it to onment from afar, whilst being a visually amic material when view from close. Onto ally durable and able to take the shape n arch.

[14] [15] [16]

115

GRASSHOPPER CONSTRUCTIONAL PROCESS ARC 1 COMPONENTS

ARC 2 COMPONENTS

EXTRUSION POINT ATTRACTOR 116

117

GRASSHOPPER VECTOR DIAGRAM

LIST ITEM

MOVE

Selecting arcs in the list to allow for separate manipulation.

Moves base curves to avoid arc intersects.

CURVE

DIVIDE

EXPLODE TREE

Setting three base curves to initiate function.

Segments curves with equal points.

Breaking up divided curves into separate lines.

POINT Referenced point to manipulate geometry.

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DISTANCE Determines the distance between two points.

SHIFT Shifting arc between differing points on opposite curves,

GEODESIC

EXTRUSION

Creation of arcs between base curves between defined points.

Extrudes curves or surfaces along a given vector (provides solidarity to curves).

DIVISION

MULTIPLY

Equation to divide the distance of the curve points to attractor point.

Enlarging the effect of the division.

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120

TECHTONIC ELEMENTS & PROTYPES

121

Diagrid Forms Simple overlapped form at

member ends causes to much disconnect between members / appears to be to â&#x20AC;&#x2DC;stop-startâ&#x20AC;&#x2122; leaving large gaps in the form.

Complex form, created by two

inter-twining members (which are shifted 2 points causes a structural coherence whilst adding a high level complexing in structural design. I particulary like the level of simplicity whilst appear complex. Creates a coherent surface cover, creating diamonds, rather than higly geometric rectangular grids

Breaking up the 2 shifted pattern with straight members. Although this creates a highly geometric tessellation, the form is becoming too convoluted and the relation to the electricity tower is becoming lost.

Single side overlap is an attempt

to increase the complexity whilst remaining consistant on the overall diagonal form. The double lines would create intricate shadows on the ground, however, by being placed on one set of arches, the structure becomes too visually heavy on one side. 122

Different arch shifts. By shifting

one set of arches 3 points, and the other by 2, the design causes a more comcentrated grid to form, however, the grid is becoming too askew and losing of reference to the strict diamond form of the towers.

A rectangular grid across the

surface causes the structure to becoming to lineally motivated, whereby the structure becomes too elongated and would appear to naturall force uses (visually) through and out of the site quickly.

An chevron pattern across the

structure would cause a balance between structural solidarity (straight sections) and artistict delicacy (diagonals) to be created. However, as the chevrons point one way, the effect of direction will be lost to users travelling in a direction against the arrows.

Diagrid broken by concentrated

straight sections. The straigh sections help to define each individual cross over, howerver the effect causes the delicacy of the overlapped sections (which by themselves are structural sound) to be lost. They appear as reinforcing members, not sculptural elements. 123

Prototype 1: Gridshell The gridshell, during prototyping both confirmed structural capabilities and disadvantages. The

structural capabilities determined were that construction was rapid and created a coherent, even arch (provided that each member was the same height). The pattern was able to be manipulated into the 2 shift form that the design requires. The structural nature of the gridshell was fully released during this phases, whereby the junction points where cleandue to the nogging causing the elements to sit flush, and somewhat disguised the connection method, thus causing the structura to appear as one whole and not a series of individual members. However, the issue in prototyping discovered was that level changes are impossible to achieve whilst maintaining continuity of elemental depths. As the structure is intended to contort under the bridge, the only manner in which to achieve this is the consequential change in elemental widths to cater for sufficient nogging overlap.

124

125

Prototype 2: Gridshell Further exploration of the gridshell was undertaken in order to ascertain how the difference in point shift would alter the overall structure. The effect was dramatic. Just a single point shift (as highlighted right) causes the structure to become constructed of a series of individual overlapping elements. This effect causes the structure to become disconnected and a high level of exposure within the structure to be caused. Although it is possible to compress the points, allowing for more individual overlapped elements, the issue of discontinuity will never be solved. Onto this, the nature of level changed is still a pronouced issue in the use of a gridshell pattern to construct the final, solved structure.

126

127

Prototype 3: Diagrids A high level of exploration went into the experimentation and discovery of the diagrids

potential in the construction and formalisation of structure, as it was becoming evident that this form was the best method to construct the design. The 2 point shift of the arc was determined to be the ideal level between structural coherence and relation to the electricity pylon, whilst allowing for the maximal visual and structural skewing of this concept, yet still remaining true to the original concept. The benefit discovered through exploration was that the diagrid had the inherent capability to create different visual aspects depending upon the angle in which the strips are viewed. Due to their nature being large is width, and thin in depth, the farther one travels around from being perpendicular to the surface, the more the structure itself disappears. This element of playing with visual openings and the natural inherent quality of the pattern will be highly beneficial to increasing the conplexity of the experience of the design, without having to create a more complex design. The diagrid also allows for the ability to bunch up elements (top left / right) in create different structural qualities whilst maintaining the consistancy of the diagrid more bunched up the element, the more enclosure the structure appears to take, a rough roof structure over the space, a design consideration which can be used the enclosure of the seating area.

order to pattern. The thus creating to resolved

As the members are laid across the surface, a high level of surface width manipulation is allowed to occur (bottom left / right), which had the high potential to both frame and inhibit views. This is a capability which is uniquely inherent in the diagrid, as each connection is codepent from the others, allowing a highly level of malleablity and alteration about the joints. The high level of malleablility inherent within the diagrid form causes it to be deemed most suitable to both relating to site features, whilst responding to design issues. The diagrid also has the capacity to contort to the overhanging bridge, without sacrificing continuity, which is pivtol to structural form selection.

128

129

130

131

CONNECTION DETAIL The manner in which the individual plates connect to the bridge itself is key in both design

structural stability, as well as visual aesthetics. Through the exploration of both prototyping and rough experimental drawing, is appears that the two overlapped members will cause a doubling up of elements at the base connection, therefore a connection method that allows overlapping must be ascertained. The initial method (1) requires members to be bolted on a base plate, however the appearance of a series of protruding elements ruins the visual delicacy of the elements to become lost. The second method (2) requires a single bolt to be driven through the two member. This method uses an exposed fixing, which may inhibit the slenderless ratio of the structure, however, the butting up of the elements against the base causes a succint, flush finish to be achieved. The third method (3) sees members being set down within grooves within the bridge deck. This effect causes the structural shell to appear to grow out of the bridge, due to the nature of concealed fixings. The forth (4) method uses a vertical base plate to divide the two overlapping elements which an exposed bolt detail is used to connect the elements. However, due to the need to have access to both sides of the base plate, the plate itself will be required to protrude from the base of the bridge, above the path, and the effect of a seamless bridge deck is sacrificed.

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133

CONNECTION DETAIL

The single side overlap was opted for in the design as it allowed for maximum structural

stability (provided by two stabilising bolts) / butting upon flush against the bridge deck (aided by two recessed end notches) / connection hangs below the bridge deck, which despite being exposed, is crucially hidden from the direct users of the bridge

Stabiliser Bolt Primary Bolt 134

135

STRUCTURAL CONSTRUCTION

1 Rolled steel member contorted to final form.

2 Rolled steel member lowered to base plate.

3 End of steel member tri-bolted into place.

136

3 1

137

MODEL CONSTRUCTION

1. Unrolling the individual strips into two different arc groups (those onto and those below), and nesting for laser cutting.

2. Sanding back any burns and cross-referencing

with digital model in readiness for physical fabrication.

3. Cutting the scored ends out of the laser cut sheet. I assembled them strip-by-strip along the base to ensure correct sequencial assembly.

4. I connected the base of the strips to the base

plate with pins (to simulate bolts) whilst using glue to ensure pins have a firm hold (may simulate welding). 138

5. After completing one set of arcs (the lower

arcs), I then went back and assembled the upper arcs to complete the form.

6. Tracing the contours for the base onto card to

be cut out in stages to act as a template for each sequential contour level.

7. Gluing to contours together to form the base.

The model itself (now complete) will sit onto this.

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140

SITE DRAWINGS

141

142

OVERALL SITE PLAN

143

1:200

144

25m

145

EASTERN ELEVATION

EASTERN SECTION

WESTERN ELEVATION

ELEVATION

147

SOUTHERN ELEVATION

SOUTHERN SECTION

148

NORTHERN ELEVATION

MOVEMENT PATHS

149

LIGHT PATHS

150

151

152

153

154

155

156

FINAL MODEL

157

C.4. LEARNING OUTCOMES

The Final Presentation feedback was a lot more positive than I had anticipated. I was

fearing that my final design was too simplistic for what the subject had intended up to create. However, both during and after the presentation I was made aware that my design intention and the elements that influenced my design (both on and off site) had aided and influenced my design in a very specific way which had caused my design to appear as it did. The crits highlighted how my overall design continually made reference and cross checking with the site itself, which was pointed out as direct correlation to my linear approach to design. Although this may inhibit my ability to create wildly bizarre and ‘non-linear’ design approaches, I feel as though this causes my design to become highly individual, whereby the more a structure responds to a site, the more it become a part of that site, it help shape and enrich it. It also therefore means that the structure is not a ‘white cube’ which can be picked up and placed into different environments and fit it. The two elements which the crits made note of was the opening on the side to allow inhibited views of the creek from the seating area about how the ‘gash’ opened up in the side protruded up outwards, as it being torn away from the structure, rather than just opening up a gap in the structure. The second element was the way in which the structure contorted under the bridge. This had been a design element all along, and they particularly made note of how the structure itself appeared to be compressed by the bridge, but wished that this allusion was made far more dramatic by extending the ends of the bridge upwards to create a higher level of tension between the high and low. A particular point of interest was how one crit made mention of the level of detail I had gone into in creating the connection detail. Although, they said, that this was a good and necessary exploration, detailing should not be left to an exacting science. By detailing, it has the ability to inhibit the manner in which the structure can take, as the detail inhibits such a form, therefore a constant level of bias as a designer should be based upon the form itself, form which a connection detail is then derived. As for the subject itself, I initially despised the forced use of computational modelling as I had never used it so extensively before and wished to remain in my comfort zone of exploration through pen + paper. However, as the semester has progressed I was presented (internally) as to how naive I had been. I became aware as to why the subject is necessary in an architectural degree; not just because computational design is becoming a necessary tool in an architect’s repertoire, but because of the opportunities it presents and allows. As has been 158

proven throughout this journal, computational designing allows for greater design flexibility, and opens up opportunities that pen + paper would otherwise not present. An error on a computer can create a design oppurtunity from which to build off, whereas an error on a page becomes an intangible scribble which is rapidly rubbed out or ignored. Computational modelling has broadened my design sense and capabilities. I am now able to explore design solutions and forms that I would not have been able to or accurately draw and reproduce. The shifted, contorted, and widening arches in the final design stand testament to this. However, as I began to discover in these final stages of the subject, during part c, I can still remain true to the designer that I am, and using computational tools to further explore this design sense. This is the underlying nature of digital design. The intial design must come from within the designers head, the computer only offers up solutions to best resolve the design issue, the computer is not capable to create its own designs. It is up to me, the designer, to mould and tweak the computer to produce the best form of my design that is physically possible, And it is from this that I now recognise the need and possiblities inherent within computational design.

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C.C. REFERENCES 1. HeraldSun,. ‘Car-Free Housing Plan Great, But We Still Need Safe Cycle Lanes’. N.p., 2015. Web. 21 May 2015. 2. Victoria, Walkabouters. ‘Walkabouters Club Of Victoria Inc: Merri Creek Trail, 30Th April, 2011’. Walkaboutersvic.blogspot.com.au. N.p., 2011. Web. 20 May 2015. 3. The Esperance Express,. ‘MEGA GALLERY: WA News In Pictures’. N.p., 2014. Web. 21 May 2015. 4. Ibid 5. Karamba3d.com,. ‘Gridshell Digital Tectonics - SG2012 | KARAMBA3D’. N.p., 2015. Web. 18 May 2015. 6. designboom | architecture & design magazine,. ‘J. Mayer H. Architects: Metropol Parasol Now Complete’. N.p., 2011. Web. 24 May 2015. 7.

S3.amazonaws.com,. N.p., 2015. Web. 24 May 2015.

8. Archinect.com,. ‘Metropol Parasol, Seville By Jürgen Mayer H – Review | Gallery | Archinect’. N.p., 2015. Web. 24 May 2015. 9.

Cparquitectura.com,. ‘CPA | Gridshell’. N.p., 2015. Web. 24 May 2015.

10. Melcher, Henry, and ANNA MILLER. ‘August | 2014 | Ridge Landscape Architects’. Ridgela. wordpress.com. N.p., 2014. Web. 24 May 2015. 11. ‘Mild Steel Sheet & Treadplate - Fabrication Service | Alco Engineering’. Alcoeng.co.uk. N.p., 2015. Web. 24 May 2015. 12. Sheets, Corrugated. ‘Corrugated Curving Cladding Sheets — Buy Corrugated Curving Cladding Sheets, Price , Photo Corrugated Curving Cladding Sheets, From Hayes Cladding Systems, Ltd.. Roofing Materials Plastic On All.Biz Cardiff United Kingdom’. All-Biz Ltd. N.p., 2015. Web. 24 May 2015. 13. Skyscrapercity.com,. ‘Best Lattice Shell Structures - Skyscrapercity’. N.p., 2015. Web. 24 May 2015. 14. Karamba3d.com,. ‘Gridshell Digital Tectonics - SG2012 | KARAMBA3D’. N.p., 2015. Web. 18 May 2015. 15.

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ArchiTravel,. ‘Denton Corker Marshall | Architravel’. N.p., 2015. Web. 23 May 2015.

16. Etsy,. ‘Large Croquet Wickets Rusty Metal Garden Stake Arch Things’. N.p., 2015. Web. 23 May 2015.

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FRASER MOY 641531 STUDIO AIR SEMESTER 1 2015

ACKNOWLEDGEMENT: CAITLYN PARRY

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