Lewis_Gabrielle_584893_FinalJournal by Gabrielle Lewis

ARCHITECTURE DESIGN STUDIO: AIR

GABRIELLE LEWIS SEMESTER 1, 2015

ARCHITECTURE DESIGN STUDIO: AIR GABRIELLE LEWIS SEMESTER 1, 2015 TUTOR: ALESSANDRO LIUTI

CONTENTS 7 Introduction

PART A: CONCEPTUALISATION

11 A1 Design Futuring 17 A2 Design Computation 23 A3 Composition/Generation 28 A4 Conclusion 29 A5 Learning Outcomes 30 A6 Appendix - Algorithmic Sketches

PART B: CRITERIA DESIGN

35 41 47 52 61 65 73 74

B1 B2 B3 B4 B5 B6 B7 B8

PART C: DETAILED DESIGN

79 95 99 105

C1 C2 C3 C4

106

REFERENCES

Research Fields Case Study 1.0 Case Study 2.0 Technique: Development Technique: Prototypes Technique: Proposal Learning Objectives & Outcomes Appendix - Algorithmic Sketches

Design Concept Tectonic Elements & Prototypes Final Detail Model Learning Objectives & Outcomes

INTRODUCTION

Melbourne born and bred, I have been an aspiring architect from nine years of age. Since starting my bachelorâ&#x20AC;&#x2122;s degree at The University of Melbourne in 2013, I have gained an interest in various aspects of design both related to and branching off from architectural design. I have an increasing interest in computer aided design and digital fabrication techniques and thus I am rather excited to explore this in Studio Air. I have previous experience in Rhino (as well as very basic experience of Grasshopper) through the first year subject Virtual Environments in which we were tasked with creating a wearable lantern. This involved using digital methods from design generation through to prototyping and production. I also used computational design methods to a minimal degree in my second year studios Earth and Water. I think that the openness of the brief for Merri Creek given to us in this studio will pair well with the methods we are learning. The randomness and ability to quickly change up a design in Grasshopper allows each student to experiment in disparate ways and a more closed brief does not lend itself to variation as much, in my opinion. In my first year of university, I became heavily involved in the university theatre scene, and in particular, working as a set designer. This is something I have pursued and would like to continue to do so in the future alongside my architectural career. I feel like theatrical design could learn a lot from parametric and computer modelling, moving away from traditional set building techniques involving flats and rostra staging. New advances in technology can impact design on a small temporary scale as much as a large permanent one.

Gabrielle Lewis Bachelor of Environments Third Year Architecture Major The University of Melbourne

Therefore, it is my intention in this subject to fulfil the brief by creating something on a smaller, human scale that has the potential for being a both temporary strucutre or even one that is able to be transported from site to site, as well as being able to express permanence in its landscape in some manner.

INTRODUCTION

PART A: CONCEPTUALISATION

â&#x20AC;&#x153;Traditionally, architectural discourse has been largely a discourse of form.â&#x20AC;?

DESIGN FUTURING

Futuring is considered by some as a method of providing time for human existence. That is to say, to make obsolete the actions that reduce time for living. Architecture with the intent of better integrating the world’s natural systems and man made systems should be on the forefront of this concept. Improving this aspect of architectural design, will lend itself to an improved and more fulfilling human existence. Arguably, architecture, more than any other form of design, shapes every moment of our lives and lifestyles. Architects are no longer merely the creators of shelter, they have the ability to influence how everyday activities are performed and completed through the manipulation of space.

Whilst for the majority of human history, “architectural discourse has been largely a discourse of form”1 as well as the style of the architecture, in the 21st century we must look to a discourse based on the process of the design itself. The outcomes of this process should not be the only goal. The architectural design process will not always end with a building. Often the process will inform the designer of alternatives, new ways to go about their ideas and allow for personal critique and growth.

________________________ 1 Neil Leach, ed. Rethinking Architecture: A Reader in Cultural Theory (London: Routledge, 1997), p. xiii.

CONCEPTUALISATION

PRECEDENT: Heatherwick Studio Garden Bridge, London (Planned) The Garden Bridge, designed by Thomas Heatherwick is a planned thoroughfare across London’s River Thames linking Temple Station on the north bank to the thriving cultural Southbank precinct. The concept for this bridge - the idea of an elevated garden, challenges the traditional defiinition of green space. The bridge, with its changing width along its span, intends for pedestrians to not only feel safe and comfortable whilst crossing the river but also will provide a place for Londoners and tourists alike to relax and enjoy the view of the city’s skyline.2 As seen in Figure 1, the natural elements of the bridge can be thought of in several ways. Obviously, it introduces greenery into the concrete of London, with its beds hidden within the slices of the bridge’s piers3, but one can also interpret the bridge’s piers as the roots of these plants growing from the Thames itself. Whilst this concept is not entirely new, with projects such as New York City’s Highline and various roof garden designs in cities around the world, the Garden Bridge brings about different ideas on how we should construct public space exploring scale and the enclosure of natural elements simultaneously. Whilst there is support for this project, in particular with the Garden Bridge Trust, many people have voiced their concerns about it. With the Southbank landing being located at Bernie Spain Gardens, in order to build new green space, old gree space will be lost. The issues of overcrowding and expendature are also brought up given the project has been approved by Mayor Boris Johnson and will by run by Transport for London.4

CONCEPTUALISATION

FIGURE 1: View from the Garden Bridge 2

Given this is currently only a planned project, it is difficult to judge whether the design will bring about change for this type of construction, but some of these concepts are already being explored globally due to the limited land available in large, highly populated locations. A question to pose may be, “How can one reclaim space for use, or even non-space?” ________________________ 2 Heatherwick Studio, Garden Bridge, <http://www. heatherwick.com/garden-bridge/>, [accessed 12 March 2015] 3 Hattie Hartman, The Garden Bridge is not London’s answer to the New York High Line, (Architects Journal, 1 December 2014), <http://www.architectsjournal.co.uk/footprint/the-garden-bridge-isnot-londons-answer-to-the-new-york-high-line/8673289.article>, [accessed 12 March 2015] 4 Tom Edwards, Opposition to River Thames garden bridge plan grows, (BBC News, 16 October 2014), <http://www.bbc.com/ news/uk-england-london-29627906>, [accessed 13 March 2015]

FIGURE 2: Garden Bridge 2

CONCEPTUALISATION

PRECEDENT: Bernard Tschumi Architects Limoges Concert Hall (2003-2007)

be seen in many contemporary venues including the Melbourne Recital Centre. Tschumi himself used a similar technique involving a double envelope for another venue in Rouen. He has discussed this, saying: “If, as we have suggested, architecture is the materialization of a concept, what if the concept remains the same, but the material changes? We decided to explore the implications of such a transformation with a new variation on a familiar program”.6 This works with the notion that a large amount of architecture, both historical and contemporary is borrowed from somewhere.

FIGURE 3: Concert Hall interior 5

Limoges Concert Hall, situated in central France, consists of a double envelope structure, allowing for movement between the two. This ensures acoustic and thermal quality within the building, which is highly important given its purpose. Arguably sporting the world’s vastest polycarbonate facade, the building juxtaposes this modern product with a frame constructed from one of the earliest used building materials - timber. The polycarbonate’s qualities allow the interior spaces to be subtly lit during the day, saving energy.5 Although Limoges is not unique in this, the majority of 21st century public buildings are concerned with energy conservation and sustainability. Design computation can without a doubt help architects invent new ways of achieving this. With digital programming, one can discover methods of incorporating natural ventiliation and light into the design as Tschumi has done here. Timber panelling on the interior of the concert hall are vital for high acoustic quality and similar designs can

CONCEPTUALISATION

FIGURE 4: Concert Hall exterior 5

Curved planes are becoming more accessible through modern technology and the ability to digitally model forms and 3D print in advance is allowing creative ideas to flow more freely. ________________________

5 Bernard Tschumi Architects, Limoges Concert Hall, <http:// www.tschumi.com/projects/10/#>, [accessed 13 March 2015] 6 Bernard Tschumi Architects - Concert Hall in Limoges, France, (Archinnovations, 24 November 2008), <http://www. archinnovations.com/featured-projects/performance-arts/bernardtschumi-architects-limoges-concert-hall/>, [accessed 13 March 2015]

FIGURE 5: Concert Hall Exploded Axonometric 6

CONCEPTUALISATION

“Parametric design is a new form of the logic of digital design thinking.”

CONCEPTUALISATION

DESIGN COMPUTATION

Design computation is extremely topical in the 21st century design industry. Computational methods such as parametric design (as explored in Studio Air) allow for more interesting and varied forms within architecture. Parametric design allows for a “new form of the logic of digital design thinking”.7 By thinking about the relationships between variable parameters chosen by a the designer, the design itself is open to a plethora of alternate forms. This provides the designer with more choice in their final design and perhaps with concepts they may not have concieved prior to this technology. Design through computation moves architecture into the future with the ability to not only model complex three dimensional forms but to simulate structural and energy calculations for a building concept.8 Such technology embraces sustainability and the concern for human impact on the natural environment.

Computational design provides the opportunity for direct “file to factory” production. 3D printing and CNC routing technologies can cut down the resources needed for a final product and create it more efficiently.9 Design is considered to be an activity with a purpose, where its aim is to meet previously stated and well defined goals.10 Computer aided design programs can help us achieve these goals more efficiently and accurately than ever before. Computation also aids collaborative work, with easier communication.11 ________________________ 7 Rivka and Robert Oxman, eds. Theories of the Digital in Architecture (London; New York: Routledge, 2014), p. 3. 8

R. & R. Oxman, p. 4.

R. & R. Oxman, p. 5.

10 Yehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), p. 5. 11

Y. E. Kalay, p. 13.

CONCEPTUALISATION

PRECEDENT: Zaha Hadid Architects Aqua at Dover Street Market, London (2012) Architect Zahid Hadid is known for her extensive use of parametric modelling in her designs. The Aqua installation which was in place for the duration of the 2012 London Olympic Games explores the idea of layered two dimensional shapes strategically placed to create a three dimensional form.12 This installation proves the simplicity with which one can create seemingly complex curvilinear forms. By modelling a solid form

such as this in either Rhino or Grasshopper, this final product merely comes down to the fabrication technique employed. It is clear that this particular example utilises the â&#x20AC;&#x153;sectioningâ&#x20AC;? style. The processes of computation often let us reverse engineer a design and thus understand a concept better. ________________________ 12 Zaha Hadid Architects, Aqua at Dover Street Market, <http://www.zahahadid.com/design/aqua-at-dover-streetmarket/>, [accessed 16 March 2015]

FIGURE 6: Aqua at Dover Street Market - Shop Front 12

CONCEPTUALISATION

FIGURE 7: Aqua at Dover Street Market 12

CONCEPTUALISATION

PRECEDENT: Zaha Hadid Architects Burnham Pavilion, Chicago (2009) This installation uses a similar idea to Aqua with layered shapes to create a three dimensional form that is this time â&#x20AC;&#x153;loftedâ&#x20AC;? together. Using a base shape and subsequently extruding it, is a simple idea within digital design. A design such as this could be easily achieved through a program such as Grasshopper by

testing variable sizes for each shape. This sort of design method was not possible to the same degree before the use of digital methods. ________________________ 13 Zaha Hadid Architects, Burnham Pavilion, <http://www.zaha-hadid.com/ architecture/burnham-pavillion/>, [accessed 16 March 2015] FIGURE 8: Burnham Pavilion exterior 13

CONCEPTUALISATION

FIGURE 9: Burnham Pavilion interior 13

CONCEPTUALISATION

“‘Computation’ ... allows designers to extend their abilities to deal with highly complex situations.”

CONCEPTUALISATION

COMPOSITION/GENERATION

The conversation between architectural composition and architectural generation is rampant in the industry and may be for some time yet. Architectural generation, through computation and algorithmic design “allow[s] designers to extend their abilities to deal with highly complex situations.”14 Thus, it is through experimenting with these new design concepts that we can begin to accept the shift between traditional composition design and algorithmic generation, in order to be architects for the 21st century.15 Generation is able to sit within a new framework for design - one of interconnectedness and system interdependence. A new worldview and outlook allows us as designers and innovators to solve those

problems that were caused by an old mechanistic worldview. This can be related back to the concept of “futuring”. Humans and nature must be seen as one system given that we must share the same planet. Adaptation is an important factor in this; natural manifestations adapt to their environment. If one designs for adaptation, one is designing for interconnectedness. Not only does the environment change, but the site and users of a building do as well so building for adaptability is now imperative. ________________________ 14 Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2 (2013), p. 10. 15

B. Peters, p. 15.

CONCEPTUALISATION

PRECEDENT: Foster + Partners The Sage Gateshead, Newcastle (1997-2004) The Sage Gateshead is a performance venue for NorthEast England designed by Norman Foster’s practice Foster + Partners. Foster + Partners are an excellent example of the idea of architectural generation and computer modelling with many of their projects within the past decade utilising these options for design. As pictured in Figures 10 and 11, the building uses abstracted spherical forms joined together. The roof is an envelope that is “shrink-wrapped” around the internal structure.16 Such a design may not have been possible without parametric design - undoubtedly with several versions of this being tested around the structure before one was ultimately chosen. This could be said to be an advantage in design development, the ability to create variations on a certain algorithm to decide the best option. A downfall of this method however may be a diminishing need for creativity on the part of the architects. Perhaps creative problem solving is no longer as necessary in architecture if computers are able to find alternatives for us, but then again, one must truly understand how algorithms work for them to work in our favour. In 2012 I was fortunate enough to visit this building. Inside, the expansive foyer is light and spacious and it is clear that it would function well for its purpose. ________________________ 16 Foster + Partners, The Sage Gateshead, <http://www. fosterandpartners.com/projects/the-sage-gateshead/>, [accessed 18 March 2015]

CONCEPTUALISATION

FIGURE 11: The Sage Gateshead exterior 16

FIGURE 10: The Sage Gateshead computer model 16

CONCEPTUALISATION

PRECEDENT: Universität Stuttgart ICD/ITKE Research Pavilion (2010) For several years now, on a yearly basis, a team at Universität Stuttgart’s Institute for Computational Design and the Institute of Building Structures and Structural Design have designed and built a temporary structure with the purpose of experimentation in computational design. In 2010, the pavilion was created out of thin plywood strips. The computational generation of this structure was influenced by the material’s behaviour. Each strip is a planar surface connected together strategically for maximum strength. 80 strip patterns were constructed from over 500 uniquely shaped parts.

Physical experimentation occurred first and then were defined parametrically. This could be considered a shortcoming of this particular project in that the software was not capable of a complete structural design, but then again, perhaps the combination of traditional composition in architecture can be married with newer computational methods for the perfect balance.17

FIGURE 12: ICD/ITKE Research Pavilion unfolded strips 17

________________________ 17 Institute for Computational Design, ICD/ITKE Research Pavilion 2010, <http://icd.uni-stuttgart.de/?p=4458>,, [accessed 19 March 2015] FIGURE 13: ICD/ITKE Research Pavilion exterior 17

CONCEPTUALISATION

FIGURE 14: ICD/ITKE Research Pavilion exterior 17

CONCEPTUALISATION

CONCLUSION

As discussed in this past section titled Conceptualisation, computational design techniques are at the forefront of architectural innovation in the 21st century. Whilst there is still standing debate about whether traditional composition methodology or computational generation is the best for the industry, it is clear that moving forward, it is necessary for all budding designers to understand computation, the possiblities for design variation and its place in sustainable building. My intended design approach for Archiecture Design Studio: Air is to create a temporary and moveable structure for the Merri Creek site. So much of architecture, both historically and presently, concerns itself with permanence.

CONCEPTUALISATION

In my mind, especially for this brief and site, it seems logical to build a gathering place for the moment, where â&#x20AC;&#x153;the momentâ&#x20AC;? is not a lasting period of time. I think there is significance in this design approach in that, we can begin to understand our own lack of permanence. Leaving a footprint to not always the best way to be remembered. Computation lends itself to this school of thought spectacularly. With digital design we can understand the site we are designing for better and how our response can work with and improve the existing space. We should design thinking about culture, nature and technology simultaneously. Collectively, we need to begin by

seeing our place on Earth as interconnected with, and interdependent on the natural environment. Humans must act as one system with nature, that will benefit both humanity and nature itself. If the project has the ability to adapt dynamically to its surroundings, mental and physical wellbeing will be at a high standard.

LEARNING OUTCOMES

Prior to this studio, my knowledge of architectural computing was mostly limited to the study guide of Virtual Environments. The difference between how much I was able to explore the Grasshopper software over the course of that whole semester and the first three weeks of Studio Air is drastic. Even merely working independently through online tutorials and experimenting with commands myself has been immensely productive. I have found also that so far, this studio has been fairly collaborative. Although we are not working in groups or even partners, I have spent some time working through activities with my peers and understood the task better for it. Whilst there is a long way to go before I will have the knowledge to achieve a design for the brief, I now understand an ever

expanding amount of software commands and their functions as well as the need for computational design in todayâ&#x20AC;&#x2122;s industry. I would say that my new found knowledge could have assisted in creating a more interesting and better suited pavilion for Studio Earth this time last year. At the time my simple geometric response was fairly clever and had a strong concept behind it, however if I were to redo it using computational techniques, a more fitting and site responsive design would have been possible.

CONCEPTUALISATION

APPENDIX - ALGORITHMIC SKETCHES

Expanding on the “installation using an attractor” exercise we worked on in class, I created this form using circles to create section profiles which were then lofted together. The “driftwood” material technique was then applied to the surface. These sketches are amongst my first experimentations with the Grasshopper software and thus I feel they are an important representation of my learning experience. By following along with the Ex-Lab tutorials, I feel I am slowly but surely picking up techniques for computation I can use in the subsequent parts of this studio. Even these rather basic algorithmic sketches show that using computational design techniques can aid in the creation of varied and interesting forms with ease and speed.

CONCEPTUALISATION

PART B: CRITERIA DESIGN

â&#x20AC;&#x153;From now on, we are no longer designing the form that will ultimately be produced, but the production process itself.â&#x20AC;?

CRITERIA DESIGN

RESEARCH FIELDS

It is becoming increasingly common that architects are designing the tools and systems that will allow them achieve their design goals rather than immediately designing the object itself.18 Although parametric design in itself is not inherently new, its accessibility to the public is. Instead of working purely with old primitives of design such as geometric figures and shapes, we must add to our design vocubulary new primitives such as splines, blobs, NURBS, particles and scripts. Several of these parametric techniques will be developed in Part B for both educational and concept futhering purposes.

TECHNIQUE: Strips/Folding

TECHNIQUE: Inflation

The strip and fold parametric technique is a relatively simple concept that can produce rather complex results, and thus, I find this to be an idea I might pursue in my design for Merri Creek. A structure using this method may often rely on the behaviours of the materials it is built from as well as their connections to one another. All these components of the design must be experimented and then clarified early on in the protyping process in order to create a successful built form.

Although inflation is not a prescribed technique of this course, it may be interesting to at least study it and broaden my knowledge of what is capable within the Grasshopper software (and in particular, the Kangaroo functions), if not applying it to my design concept.

Prototyping in various materials is likely to be possible with the strip and fold method in order to find the ideal product for a specific design, whereas with some parametric techniques, specific materials are potentially needed from the get go or the structure may fail. As with building anything for human usage, understanding the structural behaviour of the built form is drastically important. Parametric modelling allows designers to test the behaviours of the intended materials before committing to them in construction, and therefore one is able to adjust the design accordinginly and find the best variation for both aesthetic and structural competency.

Inflatable architecture is indeed an architecture of flexibility and a fair amount of freedom. The nature of this building type allows for the structures to be placed in almost any context and removed just as easily without impact on the site and its natural environment. Site locations could include on land, on water and raised above the ground without much difference in structure and compromise in the design outcome. This relates strongly to my interest in a temporary architectural solution to this brief. A degree of interactivity is introduced into the space with the ability to bounce across the surface or perhaps having participants aid how the space is shaped by allowing them to inflate the form themselves. ________________________ 18 Fabio Gramazio and Matthias Kohler, Digital Materiality in Architecture, (Baden: Lars M端ller Publishers, 2008).

CRITERIA DESIGN

PRECEDENT: Chalmers University of Technology & RĂśhsska Museum of Design Archipelago Pavilion, Gothenburg (2012) The Archipelago Pavilion was designed and constructed by a team of 33 architecture students from Chalmers University of Technology in Sweden. The pavilion itself acts as a shaded seating space within the museumâ&#x20AC;&#x2122;s courtyard.

FIGURE 15: Archipelago Pavilion piece connections 19

CRITERIA DESIGN

Designed using parametric techniques in Grasshopper and Rhino, the structure consists of over 100 pieces of two millimetre thick steel sheets. There are over 1000 joint connections and over 3000 bolts in the structure.19 In order to build such an intricate design at full human scale, many hours of labour are required even when pre-fabricating each panel occurs. However, having said this, by pre-fabricating the pieces required, some time is saved, and more importantly, wastage of materials is minimised. This is a very important factor in 21st century architecture and design and parametric modelling allows us to understand 100% of the materials needed before construction and how we can cut and prepare them in the most efficient way possible.

The pavilionâ&#x20AC;&#x2122;s considered use of steel for its entirity, allows users to stay cool when in the shaded, covered zones.19 Material performance is a separate parametric technique for the purpose of this assessment, however, I am inclined to believe that this factor is imperative to all parametric and even traditional design practice. Steel performs well in this instance, both as a cooling device as well providing the tensile strength needed for the curved structure of the pavilion. The pavilion takes its name from the way the spaces link similarly to small islands within an archipelago. The design includes patterning with the perforation on the roof forming organic shapes and shadows imitating those of a forest canopy.19

FIGURE 16: Archipelago Pavilion 19

________________________ 19 Lidija Grozdanic, Archipelago Parametrically Designed Pavilion, (eVolo Architecture Magazine, 22 October 2012), <http://www.evolo.us/architecture/ archipelago-parametrically-designedpavilion/>, [accessed 26 March 2015]

FIGURE 17: Archipelago Pavilion 19

CRITERIA DESIGN

PRECEDENT: Moon Ji Bang Shinseon Play, Seoul (2014) This temporary installation was a part of collaborative design initiative for MoMA’s Young Architects Program put together by Korean architects Choi Jangwon, Park Cheonkang, and Kwon Kyungmin in the courtyard of the National Museum of Modern and Contemporary Art in Seoul, South Korea.20 The mushroom shaped inflatable forms are inspired by a Korean fairytale and are meant to represent the landscape, as can be seen by their undulating heights simulating some form of topography. According to the story, the Shinseons, after whom the installation is

named, are believed to be creatures that live amongst the clouds.20 There are over 50 of these balloons present in the installation, sitting on tall pillars (Figure 18). These are in fact steel pipes that provide the air for each inflatable. Programming of the air pressure moving through the pipes provides the opportunity for interactivity with each “mushroom” swaying as one touches it. A timber bridge moving through the length of the space permits visitors to view the installation from above as well as below.20 In the case of this design, inflation is an excellent technique given that it assists with the several types of imagery the architects are communicating to the public. The soft, tactile material used can clearly be intrepeted as clouds floating above our plane. FIGURE 18: Shinseon Play 20

CRITERIA DESIGN

Material choice is exeedingly important when designing a form and the wrong material can alter the designerâ&#x20AC;&#x2122;s intention dramatically. Inflation is a technique with vast options and could definitely be explored more by architects and smaller scale designers alike. Although inflatable architecture may not be the most suitable format for permanent structure, it cannot be denied that it has a place in temporary artistic and event constructions. ________________________ 20 Moon Ji Bang installs a field of mushroom-shaped balloons outside a Seoul museum, (Dezeen Magazine, 11 September 2014), <http://www.dezeen.com/2014/09/11/moon-ji-bang-yap-balloonsmuseum-seoul-korea/>, [accessed 27 March 2015]

FIGURE 19: Shinseon Play lit up at night 20

FIGURE 20: Shinseon Play piping 20

CRITERIA DESIGN

FIGURE 21: Seroussi Pavilion model 21

CRITERIA DESIGN

CASE STUDY 1.0

Biothing Seroussi Pavilion, Paris (2007) Ornament can be seen as a given in natural growth and patternation. Although this has always been the case, in recent times, ornament in architecture has fallen by the wayside. Minimalist design called for plain facades and simple geometries. Ornament doesnâ&#x20AC;&#x2122;t have to be merely decoration on a facade, however. Ornament may come in the form of reflections, views or even the built form itself. Rather than adding decoration to a geometric form, the form itself can mimic natural formations, often called biomimicry. For Case Study 1.0 inspiration will be taken from Biothingâ&#x20AC;&#x2122;s Seroussi Pavilion.

Seroussi Pavilion is created from vectors attracted by electromagnetic fields. The attracted and repulsed lines are first created in plan then lifted on the z-axis to form a three dimensional object.21 The following pages will showcase several versions of this idea and their iterations.

________________________ 21 Biothing, Seroussi Pavilion, < h t t p : / / w w w. b i o t h i n g . o r g / ? c a t = 5 > , [accessed 5 April 2015]

CRITERIA DESIGN

SPECIES 4 - MATERIALITY

SPECIES 3 - GRAPH TYPES

SPECIES 2 - SPIN FORCE

SPECIES 1 - BEZIER GRAPH

ITERATION 1 ITERATION 2 ITERATION 3 ITERATION 4

increased field lines increased steps

changed graph flipped z-axis increased no of points

decreased field lines

increased field lines

decreased field lines flipped z-axis changed graph

changed graph changed circle radius

flipped z-axis

gaussian

changed graph

perlin

changed graph flipped z-axis

pipe radius 0.4

decreased no of points changed field lines changed graph

ruled surface between two sets

changed circle radius chnaged field lines

CRITERIA DESIGN

ITERATION 5 ITERATION 6 ITERATION 7 ITERATION 8

changed graph

increased field lines

increased field lines flipped z-axis changed graph

flipped z-axis

decreased field lines

changed graph changed z-axis

increased field lines changed graph

increased spin force

sine simulation increased no of points

conic changed z-axis

increased field lines changed z-axis decreased no of points

power graph increased no of points

changed graph

construct mesh

offset curve decreased no of points

ruled surface between offset curves

CRITERIA DESIGN

SPECIES 1.7

SPECIES 2.4

SPECIES 4.1

SPECIES 3.4

CRITERIA DESIGN

HIGHLIGHTED OUTCOMES The selection criteria for these four highlighted outcomes is their ability to provide shelter. Most iterations that had positive z-axis values were inverted and would not fulfil this. These four iterations provided interesting and varied results from each other (given they are each from a different species) and from their peers. Although it may seem fairly obvious, providing some form of shelter is imperative to my interpretation of the design brief and thus exploring this idea now is important. When creating the varying geometries there was no particular goal in mind. Up until this point, I just wanted to experiment with and push the boundaries of the Grasshopper example definitions

to familiarise myself with an array of concepts. Upon reflection, these results apply to the way I would like to look forward in the following Part B chapters.

playground type space. Each point seems to create a vaulted dome structure, which could aid in the building of underground spaces. Species 3.4 again forms tunnelesque spaces. In this iteration however, they form loops around the space and thus it lends itself to a maze type object. If I am to create a playground type pavilion, this could be a concept to pursue.

All of these geometries could be used in the foundations of a pavilion design seeing as they are capable of providing cover. They could also be incorporated into the design of a roofing system, especially Species 1.7 with the points along the circles forming columns. It could be made from tensile cables and have some fabric wrapping them to create the threedimensional form.

Species 4.1 takes the interpolated curves and pipes them to give a sense of an actual threedimensional form. Metal or even plastic piping could achieve this in a real life context. Clear surfaces might provide interesting lighting and reflection effects.

Species 2.7 appears to create tunnels which could form part of a

CRITERIA DESIGN

FIGURE 22: Aggregated Porosity 22

FIGURE 23: Aggregated Porosity Detail 22

CRITERIA DESIGN

CASE STUDY 2.0

DAL WKSHP, Hunan University Aggregated Porosity, Changsha (2011) Aggregated Porosity was produced as part of an intensive architecture workshop in the “Digital Architecture Laboratory” (DAL) at China’s Hunan University with the goal of teaching the participants about digital fabrication methods. The brief called for a structure that provides shade, can fit in a volume of 3 x 3 x 6 metres and met the theme of varying material densities and intersections of solid and skeletal forms.22 The intent of the project was to build a waiting area

for the exterior of an existing building starting from a right-angled form similar to that of a bus shelter as demonstrated in Figure 23.

panels. The variation in panel size and shape give the impression of variation in material and hence meet that aspect. Given that the aim of the workshop was the experimentation of digital fabrication techniques, ease of fabrication is a rather important aspect and the final photographic results resemble the digital drawings perfectly.

The process of turning minimal planar surfaces into complex curvilinear ones as done in this design project allowed for the result to go beyond the brief and create a seat as well as shelter, therefore showing the success of the concept. The construction of the bench and canopy was made simple by the surface’s hexagonal

I have reverse engineered the project on the following pages.

________________________ 22 Design Boom, Digital Architecture Laboratory: Aggregated Porosity, <http:// w w w. d e s i g n b o o m . c o m / a rc h i t e c t u re / digital-architecture-laboratory-aggregatedporosity/>, [accessed 7 April 2015] 23 A/N Blog, Aggregated Porosity Canopy: Digital Architecture Laboratory, <http://blog.archpaper.com/2011/09/ a g g re g a t e d - p o ro s i t y - c a n o p y - d i g i t a l architecture-laboratory/>, [accessed 8 April 2015]

FIGURE 24: Aggregated Porosity Process 22

CRITERIA DESIGN

STEP 1 Starting with two planar surfaces connected at a right angle, they fit into the assigned volume of 3 x 3 x 6 metres. SET MULTIPLE SURFACES

STEP 2 The form then needed to be altered to resemble the curvilinear one used in the original project. The surface was divided into control points which could then be manipulated into shape in Rhino. SURFACE SURFACE

DIVIDE SURFACE

STEP 3 The surfaces had a grid applied to them in order for panelling to occur.

SURFACE SURFACE

DIVIDE SURFACE

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STEP 4 With a grid now created, a panelling command was applied to the surfaces. However this automatically creates rectangular panels. SURFACE SURFACE

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STEP 5 In order to create the varying sizes of the panels used, the original grid was fed into an attractor grid command with several points referenced in. SURFACE SURFACE

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STEP 6 The resulting grid was used as a base for the hexagonal panelling.

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FIGURE 25: Aggregated Porosity Reverse Engineered Result

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OUTCOME

The outcome of the reverse engineering experimentation was fairly successful (as seen in Figure 23 to the left). Although the result was not 100% accurate to the original case study, a clear resemblance can be seen.

In the original, each hexagon is pinned in only three places, although this could be achieved in the outcome also in the fabrication stage. Some of the panels are perforated also, which has not been achieved here.

Similarities include the structure shape (using the images as reference, the form was recreated), the hexagonal panelling was applied and their varying sizes were imitated by using attractor points. There are however, many differences between the outcome of experimentation and the actual design produced by the DAL. The original design utilises hexagons for the whole surface whereas this outcome has diamonds intersecting them. The orientation of the hexagons are not the same, in Aggregated Porosity the pointed sections face up and down as opposed the them facing left and right in the reverse engineered version.

Panelling Tools seems like an interesting way to proceed in my experimentation. Applying the components to different, more complex and intriguing forms could be a something to explore. Perhaps the way these panels are fabricated should be considered in this next stage of development. With this case study, I have attempted to create the beginnings of a transportable algorithm, that is, one that I can apply to any number of forms. The variation in their results will be informative and perhaps even exciting. FIGURE 26: Aggregated Porosity / Reverse Engineer comparison

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TECHNIQUE: DEVELOPMENT

The following iterations from this development section continued the trend of providing a form of shelter for their users. Similarly to the Aggregated Porosity design brief, alongside this criteria for shelter, I believe a type of seating will be important to my response to the brief. Although not all of these iterations deliver this, many of them can easily be developed even further to do so.

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The panelisation technique through the Panelling Tools plug in for Grasshopper could also create interesting lighting effects for the interior space of the final structure. The space within my design for the Merri Creek site is as imperitive to me as the structure itself. The experiential factor of the users should always be high priority in an architectâ&#x20AC;&#x2122;s mind. How can the design be consider a good piece of

architecture if the targeted audience does not enjoy or get anything out of spending time in the designed space. In the following sections, if I explore other ways in which the spatial experience can be enhanced through various Grasshopper tools, I believe I will be on the way to producing a solid, favourable solution to the brief.

1: ORIGINAL FORM

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2: NEW FORM 54

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3: RULED SURFACE

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4: LUNCHBOX PLUG-IN 56

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5: EXTRUSION / WEAVERBIRD

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HIGHLIGHTED OUTCOMES

Of the fifty iterations developed from Case Study 2 Aggregated Porosity, the three to the left provide a fair amount of interest. My previously stated Selection Criteria consisting of a form providing both shelter and seating is still at the forefront of my mind although the second and third iterations highlighted here only express a type of shelter. Several of the fifty iterations derived in part B4 used the component â&#x20AC;&#x153;polar arrayâ&#x20AC;? after establishing some form of materiality. This is a concept to be explored, perhaps to be done to create the original form before fabrication techniques are applied to it for a more consistent

design and for ease of fabrication.

would like to achieve, however they are a good starting point for the experiementaton of certain Grasshopper components. None of the three are easily constructable so further development will be necessary before I am able to create prototypes and a design proposal.

The waffle grid fabrication technique is a flexible one, allowing for curvilinear forms to be manufactured using flat panels, as is the same with sectioning as well as strips and folding. These methods seem to me to be the most appropriate for the direction that I am heading in. As discussed earlier, panellisation may be benefical also. This has been explored through the use of both the Panelling Tools and the Lunchbox plug-ins.

I am certain nonetheless, that said proposal will come from a combination of the above techniques even if they are executed slightly differently.

The geometry of these selected iterations are not particularly suitable for the type of structure I

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TECHNIQUE: PROTOTYPES

Thinking about the materialisation of a concept before having any solid ideas is always a bit difficult. However, having said this, the direction of my design progress would seemingly be leading to a structure fabricated from some kind of timber. Thus, several of the following prototypes are made from laser cut 3mm MDF to test this idea out. I have attempted a couple of different fabrication techniques in this prototyping stage as partially discussed in the Part B4 Technique: Development section.

Before sending a file to the FabLab I tested the waffle grid fabrication method by printing my unrolled surfaces on 120GSM paper (Figure 25). These elements slot into each other with alternating notches of a particular width, although given the thinness of the material, only a cut with scissors was needed to achieve this. By using a lightweight material, the prototype is not as structurally sound as wood based products. The paper allows for bending and stretching in the structure which is not what I am particularly after.

Whilst this may be better tested through the next prototypes, this fabrication system allows for filtering of light through the structure and can create interesting shadow patterns. Something to explore is differing sizes of the waffle openings, perhaps as a gradient along the surface going from larger to smaller or vice versa. I am not yet entirely sure how to achieve this through Grasshopper but it is definitely worth experimenting with in later design stages, where relevant to my design proposal. Whilst a waffle grid may not provide complete shelter (as per my often stated Selection Criteria) it most certainly can create shading for users and a tight, compact design could act as a form of seating, however there may be other techniques more appropriate to this aspect.

FIGURE 27: Waffle grid paper prototype

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After prototyping in paper, exploration was made using MDF to represent the rigid sturcture I am hoping to achieve in my final design. The first prototype as seen in Figure 26 uses the sectioning fabrication method to replicate a curved sloping surface. Whilst this looks fairly nice, the simplicity of this method doesnâ&#x20AC;&#x2122;t add much interest to a design

concept. The tiered edges are also inconvenient if a smooth surface is required. Sectioning may still be utilised in some capacity but ruling it out as a primary method is a good idea. The second prototyping method continues on from the first paper one. Using a waffled grid, this time actual rigidity is achieved through the material. By creating notches in Grasshopper that are the

width of the material sheets, construction is made fairly simple and an adhesive is not necessary. Once again, this is a fairly simple fabrication process from the components in Grasshopper through to the construction itself, but as a prototype I am able to understand how these notch connections work before applying it to a more complex form. I would like to do some form finding

using Kangaroo or perhaps a mixture of plug-ins in order to design something more complex but I like the structure and rigidity of the waffle grid fabrication technique. Another way I can add complexity would be to combine several fabrication techniques to the already complex form of the design.

FIGURE 28: MDF sectioning prototype

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FIGURE 29: MDF waffle grid prototype construction process

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TECHNIQUE: PROPOSAL

THE BRIEF: Merri Creek Merri Creek branches off the Yarra River in the Melbourne inner north eastern suburb of Abbotsford. This junction of river and creek is the particular site I have chosen for my design proposal. Whilst the brief is fairly open, it calls for â&#x20AC;&#x153;Living Architectureâ&#x20AC;? to intervene and improve on the technical, cultural

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and natural systems of the place. Upon visiting the site, a major issue that I picked up on is the relation between cyclists and pedestrians sharing the trail path. The current arrangement does not feel particularly safe as a pedestrian with bicycles speeding along beside as one is strolling, just as cyclists do not know who may be around the corner given the bends in the path following first curves of the Yarra River and then onto Merri Creek. In this instance, an intervention is

needed in the human use of the site. Although the identified issue may not involve the natural systems of the location, perhaps they can be utilised in the solution. A design that is able to incorporate this train of throught into my existing Selection Criteria of a shelter and seating place is ideal. How may I be able to create a safer path, provide a pavilion type space and create some interest at the location? This is to be explored through my proposal and then in Part C: Detailed Design.

u, 05 Feb 2015

Notes:

FIGURE 30: Merri Creek selected site

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PRECEDENT: Hopkins Architects London 2012 Velodrome, London (2011) Although The London 2012 Velodrome for Olympic Park is in all senses a traditional arena type venue, there are a few things of note in this project for reference. The use of wooden panelling strips on the exterior faรงade of the building is a potential solution for surface fabrication that could be combined with waffle structures and further methods as well. The reduced panel sizes at various levels allow light to filter into the building and thie idea of filtering and dispering light is also integral to my initial thought process. Given that a main issue I have identified at the site is the shared bicycle and pedestrian track, looking at designing for cycling is important to the brief in my opinion. The natural progression of built form related to cycling leads to velodrome architecture. How can this idea be incorporated into my design proposal and fulfil the Selection Criteria of Part B: Criteria Design?

________________________ 24 Hopkins Architects, London 2012 Velodrome, <http://www. hopkins.co.uk/projects/3/131/ >, [accessed 29 April 2015]

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FIGURE 31: London 2012 Velodrome Exterior24

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DESIGN PROPOSAL: Velodrome inspired structure

In order to combat the observed issue of the safety of both pedestrians and cyclists on the shared Main Yarra and Merri Creek Trails my design proposal to create a parametric structure taking inspiration from velodromes as architecture for cycling. Care must be taken however in how the form will not create more danger than there is presently and for it to follow the curve of the creek. By providing a raked curving surface in lieu of the bicycle and walking path, more space is created for both activities whilst also adding an element of interest to a typical bike ride. The sloping structure is intended to have a double purpose, acting as a sheltered pavilion with seating on the underside. This has the potential to additionally create a bridging surface/path for pedestrians to the other side of the trail as well as provining bike lock facilities.

te: Thu, 05 Feb 2015

Notes:

With Brunswick Cycling Clubâ&#x20AC;&#x2122;s velodrome situated just north of CERES Community Environment Park, the construction of a velodrome inspired structure has the potential to cover the length of the Merri Creek Trail, replacing the existing track and building a better connection from the northern suburbs to the inner city. Figure 31 shows there could be various ways of achieving the fabrication of this kind of structure. From my prototyping exploration, sectioning is obviously unviable for the smooth surface required for cycling. This part could be built using a panellisation method as discussed in Part B4 or even moving back to my Case Study 1 technique, strips and folding. The waffle grid technique will not work as the velodrome proper, however I am keen to use this as an extension to the surface, providing shading for the seating below. To make this dispersal of form more complex, attractor points could be applied to a grid, as I have experimented with in earlier stages.

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FIGURE 32: Proposed idea (initial form) in situ

FIGURE 33: Intial idea renders form to be developed extensively

FIGURE 34: Intial idea linework form to be developed extensively

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FIGURE 35: Proposed initial idea in context. Form finding to occur in order for form to fit site accurately.

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LEARNING OBJECTIVES & OUTCOMES

In concluding Part B, I think it is important to address my progress in Studio Air by looking at the listed learning objectives from the course reader. Objective 1 - “Interrogating a brief”: I feel like I have successfully addressed an important issue at the Merri Creek site with the mixed use of the trail by pedestrians and cyclists. The use of digital design technologies should help me improve the situation there through the use of site specific form finding amongst other things. Objective 2 - “Developing an ability to generate a variety of design possibilities for a given situation”: Through the use of both Case Study 1 & 2, I have learnt to create parametric forms that allow for extensive iterations. Just by experimenting with parameters through number sliders and changing small components, many design options can be explored quickly and effectively. This has exposed me to ideas that I never thought possible or I personally would never have come up with in previous design studios.

specific, this idea is fulfilled. Objective 5 - “Developing the ability to make a case for proposals”: by finding an important issue with the site and finding a concept that would solve this problem, I feel I was able to make a strong design proposal. Whilst the form itself is not developed properly an extensively for the particular site, the concept is strong and allowd me to approach the form in a critial way. Objective 6 - “Developing capabilities for conceptual, technical and design analyses of contemporary architectural projects”: By analysing various precedents and attempting to replicate case study designs, learning the technical skills of Grasshopper definitely occurred faster than if we tried to learn completely independantly. It is also very important to understand the sort architectural work that is happening contemporaneously to our own and how we can learn and understand things from these projects.

Objective 3 - “Developing skills in various threedimensional media”: Just by experimenting with the Grasshopper interface, following video tutorials and self-exploration, my knowledge has vastly improved. By trying a method once, one is able to replicate it and apply it in new ways. In the prototyping stage, I familiarised myself more with the Fabrication Laboratory process.

Objective 7 “Developing foundational understandings of computational geometry, data structures and types of programming”: I definitely have a good understanding of basic computational methods at this point in semester. However, given the nature of this sort of designing, there is always more one can learn and this could even happen by stumbling across a random component at a given point in time.

Objective 4 - “Developing an understanding of relationships between architecture and air”: This objective hasn’t been looked at intentionally however through the site and design proposal I believe that by understanding the concept and how it can be made site

Objective 8 - “Begin developing a personalised repertoire”: By creating extensive iterations I was able to understand a multitude of computation techniques and the protyping stage mostly definitely helped me work out which ideas would and would not work.

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APPENDIX - ALGORITHMIC SKETCHES

Part B Grasshopper exploration became more complex expanding on the knowledge from Part A learning. I experimented with interesting components including those part of the Kangaroo Physics add-on. I used this to create tensile structures with Voronoi patterns to represent spiderweb formations as seen on the opposite page. Fabrication techniques for a bench were looked at (top of page) starting from a simple irregular geometric form and applying waffle grids and inflatable properties to it. Complex patterning was also studied using various mathematical expressions to form spirals as seen in natural systems.

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PART C: DETAILED DESIGN

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DESIGN CONCEPT

After feedback from the interim design presentation and journal submission, there are several things that need to be considered in relation to my design proposal. It was not my intention to split up the interaction between cyclists and pedestrians using the Merri Creek Trail, in fact it was the opposite. It seems to me that they are separated currently and there is some rivalry between the two that needs to be negated.

I think my experimental technique of using waffle grids and combining it with panelling tools can work quite nicely, it mostly requires some form finding first which is dependant on the site. This is the next step I need to take. In terms of the technique evolving - there is always the potential for similar forms and spaces to be implemented at several spots along the six kilometre stretch and beyond.

The final form I desire to produce should allow cyclists and pedestrians to meet together for social activities as well as providing a safer thoroughfare on the trail.

Perhaps the technique can be considered in how it can blend in with the site more efficiently, rather than sitting on top of it. However, given the nature of the concept, as long as it fits the trail and doesn’t feel too disjointed from the track I think the form should work nicely for current users and attract new users as well. As per discussed during my interim presentation, something that needs to be considered is who the design will attract to the site. Trouble makers are the main concern, who may attempt to use the track for dangerous activities if not designed efficiently.

Part B6 did not present a fully realised form yet, this is to be explored and finalised now in Part C. The form will follow the topography of the trail and the creek where it joins the Yarra River on my selected site. Therefore, my design concept for Merri Creek must address the following points: • • •

Improved cycling/pedestrian trail (for safety and aesthetics) Shared gathering space for cyclists and pedestrians with both seating and shelter Integration into site (follow the form of the creek/river)

Originally in Part A I discussed an interest in temporary architecture. My design development so far seems to be moving away from this concept, however the gathering space branching off the track provides for the idea of gathering for the moment where “the moment” is a brief point of time.

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FIGURE 36: Land Tiles25

P-A-T-T-E-R-N-S Land.Tiles, Los Angeles (2003) A good example of panelising curved strips and their integration with the topography of the site. Staggering several strips of varying lengths could help me achieve the desired raking surface needed for the potential velodrome part of the structure.

INSPIRATION

________________________ 25 P-A-T-T-E-R-N-S, Land.Tiles, <http://www.p-a-t-t-e-r-n-s.net/landtiles/>, [accessed 11 May 2015]

Plasma Studio Crumple Zone, London (2004) Triangulation in panelling could assist in constructing abstract shapes more easily as well as providing stability in the structure.

________________________

FIGURE 37: Crumple Zone26

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26 Plasma Studio, Crumple Zone, <http://www.plasmastudio.com/work/ Crumple_Zone.html>, [accessed 11 May 2015]

PLOT = BIG + JDS Maritime Youth House, Copenhagen (2004)

FIGURE 38: Maritime Youth House27

Timber strips connected to a structural base is not quite what I’m after, the result should be self supporting. The curved surfaces however are interesting although perhaps a tad uniform, there could be some more variation in the cladding and structure. ________________________

INSPIRATION

27 ArchDaily, Maritime Youth House / PLOT, <http://www.archdaily. com/11232/maritime-youth-house-plot/>, [accessed 11 May 2015]

24° Studio Crater Lake, Kobe (2011) This timber panelling is a bit more interesting with varying spacing between planks and intriguing differing surface height and form. The slight slope of this design is close to what I am looking for in my design exploration for this project brief.

________________________ 28 24° Studio, Crater Lake, <http://www.24d-studio.com/crater-lake. html>, [accessed 11 May 2015]

FIGURE 39: Crater Lake28

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PLANS PERSPECTIVES 82

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My concept for Merri Creek is titled Velopath. The matrix to the left shows the development of the final design form. By extending the bicycle track and creating a sloping section that doubles as a shelter on the underside, I intend for the Merri Creek track to be a more interesting place for locals and visitors to both ride and walk and gather. Beginning with a form following the existing bike track on the site and the river beside it, a shelter was created by offsetting the curve of the path. The second version uses a similar idea but it set into the topography of the site. Wooden panels were then staggered gradually along curved rails. The third version was designed post final review and the concept was drastically scaled down from the original. The staggered panels also became along the path rather than along rails and each staggered panel was rotated until they lined up with the main part of the sloping path.

FIGURE 40: Design development

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RENDERS FOR FINAL REVIEW These are the renders I made for the final critique in Week 12 using the V-ray plug-in for Rhino and Photoshop. The idea of the staggered panels can be clearly seen, however, the design has developed further from this as shown in the remainder of the design journal.

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PLAN The final plan for Velopath can be seen in this spread. In scaling down the size of the project, a more plausible design has been created. Rotating panels indicate the beginning of the path and provide shelter for a shared seating space. As opposed to the design for the final crit, having the timber planks horizontally across the track will assist in slowing down the cyclists in the space. A grade separation between a cycling path and a pedestrian path, although only raising the levels slightly, provides an extra measure of safety for both groups of people.

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NORTH ELEVATION

SOUTH ELEVATION

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PERSPECTIVES

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SPLIT CURVE INTO SEGMENTS OF 0.5

END POINTS AS BASE OF BEZIER CURVE

CURVES ROTATED ON AXIS IN INCREMENTS OF 5 DEGREES

FIRST 25 POINTS STAGGERED ALONG CURVE

EXTRUDED INTO SIZE OF PLANKS (500 x 200mm)

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FINAL RENDERS

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TECTONIC ELEMENTS & PROTOTYPES

A potential connection detail can be seen here. In the original design, each timber panel is connceted to the rail beams in a staggered fashion to allow light to filter through to the underside of the Velopath.

FIGURE 41: Initial construction detail

In the final design, this is unnecessary give that each panel is connected straight to the ground. If built in reality it is likely that the base of the panels would be cemented into the ground to allow for the cantilevered design intent.

DETAILED DESIGN

INITIAL PROTOTYPE PROGRESS PHOTOGRAPHS

DETAILED DESIGN

To the left are progress photos of building my initial prototype. The prototyping stage for my original final design involved laser cutting pieces on 1mm thick boxboard. Given the vast scale of my design, this was the only material appropriate to represent the model at a 1:50 scale. The prototype is intended to represent one of the four bays of the sloping section of the Velopath. Each of the staggered panels were attached to the rails (made from two layers of boxboard for a 2mm thickness) using dressmakers pins. These were to represent screws or bolts in reality but were the most accurate representation for the 1:50 scale model. They had to be trimmed down using pliers because they stuck out from the length of the rails. I hand cut some pieces to stick at the bottom of the rails also for a smoother safer edge to ensure no pins were still sticking and creating a hazard. In making this prototype, some flaws in the initial design were made obvious. In staggering upwards along the rails, although they become quite steep at the top, there is the potential that people would cycle up there and the presence of gaps means that there is the potential for people to fall through and injure themselves. The new design hopefully avoids this problem by having the gaps on the ground plane providing entrances to the understand instead of gaps at an accessible point in the air with some distance to fall.

FIGURE 42: Initial prototype progress photographs

DETAILED DESIGN

FINAL DETAIL MODEL

The final detail model is a representation of approximately 3.5 metres of the track. This incorporates five timber planks on the ground (both for cyclists and the slightly raised section for pedestrians) and four staggered curved panels.

In order to make each panel the correct width, I stacked several pieces of laser cut 3mm plywood together. The use of plywood was to represent the timber planks that would be used for the Velopath when built at full scale. The entire model is stuck on a foam core base.

Due to the fact that in reality the curved panels would have ground connections, it was difficult to attach the curved panels to the base and in the end the solution was to make some triangular bracing out of card at an angle appropriate for the rotated panels.

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100

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PHOTOGRAPHS

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104

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LEARNING OBJECTIVES & OUTCOMES

Post final review, I decided to address the comments from the critics present and adapt my design and technique to better solve the problems I was hoping to improve at the site. Although, ideally, I should have reached this stage prior to the final presentation, given the time lapse between presentation and submission I deemed it worth improving. As seen through this chapter there is some progress between what I presented and my final design, even if not drastically different, it is more resolved.

I found Architectural Design Studio: Air very challenging given the amount of content that is packed into a twelve week semester. I would have like to developed my skills and my resolution to the brief over a longer period of time, because I feel like I only grasped the concepts and understanding needed to get the most out of the Grasshopper platform in the last week or so of the course.

a whole architecture. Having said this however, as I have discovered throughout the course, there are elements that the software is exceedingly useful in and hopefully I can use these to their full potential in assisting with design in the near future and further into my architectural career.

I personally feel that Grasshopper is not always suitable for creating

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REFERENCES A/N Blog, Aggregated Porosity Canopy: Digital Architecture Laboratory, <http://blog.archpaper.com/2011/09/ aggregated-porosity-canopy-digital-architecture-laboratory/>, [accessed 8 April 2015] ArchDaily, Maritime Youth House / PLOT, <http://www.archdaily.com/11232/maritime-youth-house-plot/>, [accessed 11 May 2015] Bernard Tschumi Architects - Concert Hall in Limoges, France, (Archinnovations, 24 November 2008), <http:// www.archinnovations.com/featured-projects/performance-arts/bernard-tschumi-architects-limoges-concert-hall/>, [accessed 13 March 2015] Bernard Tschumi Architects, Limoges Concert Hall, <http://www.tschumi.com/projects/10/#>, [accessed 13 March 2015] Biothing, Seroussi Pavilion, <http://www.biothing.org/?cat=5>, [accessed 5 April 2015] Design Boom, Digital Architecture Laboratory: Aggregated Porosity, <http://www.designboom.com/architecture/digitalarchitecture-laboratory-aggregated-porosity/>, [accessed 7 April 2015] Edwards, Tom, Opposition to River Thames garden bridge plan grows, (BBC News, 16 October 2014), <http://www. bbc.com/news/uk-england-london-29627906>, [accessed 13 March 2015] Foster + Partners, The Sage Gateshead, <http://www.fosterandpartners.com/projects/the-sage-gateshead/>, [accessed 18 March 2015] Gramazio, Fabio and Matthias Kohler, Digital Materiality in Architecture, (Baden: Lars MĂźller Publishers, 2008). Grozdanic, Lidija, Archipelago Parametrically Designed Pavilion, (eVolo Architecture Magazine, 22 October 2012) <http://www.evolo.us/architecture/archipelago-parametrically-designed-pavilion/>, [accessed 26 March 2015] Hartman, Hattie, The Garden Bridge is not Londonâ&#x20AC;&#x2122;s answer to the New York High Line, (Architects Journal, 1 December 2014), <http://www.architectsjournal.co.uk/footprint/the-garden-bridge-is-not-londons-answer-to-the-new-york-highline/8673289.article>, [accessed 12 March 2015] Heatherwick Studio, Garden Bridge, <http://www.heatherwick.com/garden-bridge/>, [accessed 12 March 2015]

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Hopkins Architects, London 2012 Velodrome, <http://www.hopkins.co.uk/projects/3/131/ >, [accessed 29 April 2015] Institute for Computational Design, ICD/ITKE Research Pavilion 2010, <http://icd.uni-stuttgart.de/?p=4458>, [accessed 19 March 2015] Kalay, Yehuda E., Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), pp. 5–25. Leach, Neil, ed. Rethinking Architecture: A Reader in Cultural Theory (London: Routledge, 1997), p. xiii. Moon Ji Bang installs a field of mushroom-shaped balloons outside a Seoul museum, (Dezeen Magazine, 11 September 2014), <http://www.dezeen.com/2014/09/11/moon-ji-bang-yap-balloons-museum-seoul-korea/>, [accessed 27 March 2015] Oxman, Rivka and Robert, eds. Theories of the Digital in Architecture (London; New York: Routledge, 2014), pp. 1–10. P-A-T-T-E-R-N-S, Land.Tiles, <http://www.p-a-t-t-e-r-n-s.net/land-tiles/>, [accessed 11 May 2015] Peters, Brady, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2 (2013), pp. 8-15 Plasma Studio, Crumple Zone, <http://www.plasmastudio.com/work/Crumple_Zone.html>, [accessed 11 May 2015] Zaha Hadid Architects, Aqua at Dover Street Market, <http://www.zaha-hadid.com/design/aqua-at-dover-streetmarket/>, [accessed 16 March 2015] Zaha Hadid Architects, Burnham Pavilion, <http://www.zaha-hadid.com/architecture/burnham-pavillion/>, [accessed 16 March 2015] 24° Studio, Crater Lake, <http://www.24d-studio.com/crater-lake.html>, [accessed 11 May 2015]

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