George Avraam 833800 Journal

$TUDIO AIR

LONG.LIVE.LECOURVOI$IER

FEAT. GEORGE R.H AVRAAM,

Executive Producer/Tutor Jack Man$field-Hung , Tutorial 7

CONTENTS B.1. RESEARCH FIELD_________________________________________________________4-11 B.2. CASE STUDY 1___________________________________________________________12-19 B.3. CASE STUDY 2___________________________________________________________20-27 B.4. TECHNIQUE:DEVELOPMENT_______________________________________________28-35 B.5 . TECHNIQUE:PROTOTYPE_________________________________________________36-47 B.6. TECHNIQUE: PROPOSAL__________________________________________________48-57 B.7. LEARNING OUTCOMES & OBJECTIVES______________________________________58-59 B.8. SKETCH BOOK___________________________________________________________60-61

B.1.

RESEARCH FIELD

SECTION

NING Sectioning provides great opportunities in terms of designing and fabricating complex forms through dividing these forms into linear panels for assemblage. Often this style of fabrication is undertaken through milling using CNC routing where the architect can provide machining file to manufacturers allowing a streamlined design process.

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AA SUMMER PAVILION 2009

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Know as ‘Diffwood’ the pavilion is entirely constructed through plywood and represents a sculptural installation. The sectioning allows for such a complex form to be achieved through the layering of individual pieces. The way that this form has been sectioned provides design implications especially in terms of construction and connection of the pavilion as a whole. Rather than being sectioned in straight linear panels like the other two projects (See next pages), this project is sectioned in a curved manner. The implications of this design decision are that more flexible panels need to be used in order to achieve the bending and curving of the contours or addition techniques need to be used possibly steam bending. Aside from this a more complex connection logic which holds each of the sectioned pieces into place needs to be created. Although these are some fabrication concerns and additional complexity within the fabrication process, there is opportunities that arise from sectioning curved panel sections. This technique allows for a more detailed and accurate form to be achieved, where the curved sectioned panels creates a form which is more indicative of an overall smooth form.

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DECOI ONEMAIN STREET

4 This project design by dECOI was a used in a suit of penthouse offices. It embodies sectioning in a way that provides great opportunities especially in terms of streamlining the design process for fabrication and the ability to encapsulate complex forms through segments.

The greatest opportunity for this design is the connection between the architect and fabrication reducing cost, time and increasing efficiency. The use of parametric tools throughout this project allowed the architect to change the complex form and adjust particular elements but also automate the nesting process. Using parametric tools to achieve an automated nesting process on to large plywood sheets allowed the design to process from the architect directly to manufacturing. This process combined with the accuracy of CNC routing fabrication allowed for a seamless design of a very complex curved form and smooth connections between individual ply panels.

Design implications include the need to consider the functionality of the space as a whole. Given the context of the project being used as an office space element such services and amenities can be difficult to integrate within the parametric design process especially because it was an addition to an existing building. Another design implication is that join logic between elements needs to be considered. These need to be accurate in order to create seamless curved surfaces. This join logic would have most likely been automated within the parametric design process allowing for changes in the smooth contoured form and the join logic together as one entity.

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BANQ RESTAURANT 6

Similarly, Office dA has designed the ‘Banq Restaurant’ interior which is located in an old bank within Boston. This project uses sectioning and striations to create a curved interior cladding which engulfs the roof and columns of the restaurant. Plywood had been cut by CNC routers to create the sectioned form and streamlined the overall design process.

Both the above designs can be seen as ornamental features which have no primary objective appart from expressing an aesthetic. Adolf Loos in ‘Ornament and Crime’ (1908) makes a significant point that ornament should be abolished because of the oppression created in the labour of ornamentation and extravagant architecture. His perspective was that ornamentation was cruel and it should be an ethical decision to abolish its creation. This moral implication that is associated with the creation of ornament within architecture is no longer applicable within modern society. The above projects emphases that parametracism can release the moral implication which comes with the creation of ornament. The opportunities within these designs is that ornament is designed quickly and also fabricated in a streamlined process from architect to manufacturing directly.

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B.2.

CASE STUDY 1.0

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BANQ OFFICE ALGORITHM

SPE

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ECIES 1.0 image Sampler

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AA_DRIFTWOOD PAVILION ALGORITHM

vec z

voronoi pop num 3

voronoi pop num 20

influ radi Grid Space Circle Radi

Multiply Graph

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SPECIES 2.0 vector Z Translation

SPECIES 3.0 offset voronoi as cutting plane for brep

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SPECIES 4.0 offset voronoi as cutting plane for brep, z vec = 3.25

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SPECIES 5.0 attractor point studies,

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grid of circles as cutting plane

SPECIES 6.0 cutting plane using circles which offset given the graph mapper

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B.2. CANDIDATE$ These candidates were selected due to their interesting patterns and forms. When we think of sectioning it isnt nessarily a linear section.

The examples highlight different ways in which the same object can be sectioned and in doing so due to the overlapping sectioned elements creates patterns through the solid brep.

Although there maybe fabrication concerns with such complex sectioning, patterning can be extremly useful within the context of our design brief where a lot our inspiration from pop culture is inspired by highly ornamental products. These are a few sectioning tools which have patterning effects because it can be applied to solid breps

19 These three image sampled sectioning forms were selected because of their smooth progression from a flat surface to one that is wavy. These surfaces have great variations in curve height but each curve flows smoothly into the next. This in the future will beneficial when needing to fabricate complex geomentry.

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B.3.

CASE STUDY 2.0

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WEBB BRIDGE INTRODUCTION The Webb Bridge by Denton Corker Marshall was a collaboration with artist Robert Owen which was to create a new pedestrian and cycle bridge over the Yarra river in Melbourne’s Docklands area.

The design intent of the project was to connect Docklands to South Bank. It is about providing a connection between the existing remnant Webb Dock Rail Bridge and its new connection to the South Bank. This creates a unified sculptural form that connects the existing 145m long structure to the new curved 80m long link.10 The architects concept behind the bridge form was to symbolically connect the new and old parts of Docklands through a knot. The intent was to bridge past and future, in terms of form the curved kink within the design assists in representing this knot along with the web structure which intertwines to form the pattern within the rings. The bridge has been successful in its intent of creating a connection between the areas of Docklands. It provides opportunity for users to appreciate the surrounding Yarra River through its sectioned structure.

The artist Robert Owen envisioned the bridge as a Koori eel trap. This is appropriated from traditional aboriginal culture, whether this is culturally appropriate to do such an appropriation or if it is misinterpretation is one question to ask. Overall in terms of aesthetic form itself strongly resemble that of the eel trap, where the visitor is encapsulated in the series of rings and web structure as they transcend across the bridg. The series of spines and web patterning was interpreted by the engineering but still remains strong in representing the artist’s intentions, but was also ensured it was buildable and affordable.11

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Aboriginal Eel Trap

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REVERSE ENGINEERING WEBB BRIDGE

Start with base Curves

Achieve hoops based on curves

Isolate end points, use a line component to join them. Loft curve to make surface.

Create arc railsweep along base curves

Dead End 1 - Orignally I started with arcs and was having trouble orientating them the right direction

Dead End 2 - Difficulty in connecting arcs to graph mapper to allow for changes in height of circles, also the arcs didnt accurately represent the physical bridge

Polylines interse

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ect the hoops

Ziggzagged pattern based on polyline sections

Pipe to add volume

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SIMILARITIES AND DIFFERENCES There are many similarities between my parametric Webb Bridge model and the physical bridge. The differentiation in curvature of the ring throughout the bridge structure I feel was successfully achieved through using the graph mapper to achieve different circle heights and radius, this gave an overall fairly accurate shape as to the bridge. Another aspect which was modelled accurately was the lofted arc which forms the metal underside of the bridge and the surface used as the walking track. Other similarities include the shape of the bridge in terms of curvature.

There are also many differences some of these include the patterning of strips which run between the different rings on the outside of the bridge. These were achieved through a series of list item component which allowed me to isolate individual points along the rings and therefore connect them with a polyline. Although I would have liked to effectively implement the same pattern through a cull pattern component.

The pattern itself runs vertically in a zigzag motion on the parametric model where as in the actual bridge they run horizontally between the rings. Another difference is within the parametric model I used piping to give the curves within the structure some volume, this is a different to the structure where metal strips are used as the main structural members.

I want to take this definition further by allowing more control over the curvature of the main form structure allowing manipulation of the base curves. I also want to look into effectively patterning the surface as I think this could provide some interesting outcomes especially though box morphing. In terms of using sectioning techniques, I want to create a waffle style grid and explore these options as this will allow for fabrication.

27 Draw base curves in Rhino

Divide Curves, using a divide length component Use a pull point component on each curve so they group where the curve gets tighter Use a move component to move a series of point in the Z direction Connect these points and the pulled points to a Circle 3point component. Connect to a NU scale and graph mapper for variations in height of circles Divide the Circles up, run a polyline through the divided points Use divide length to divide the polylines into points. Move some of these points and connect these point with a series of line compoennts Pipe all geometry

Find endpoints of base curve join these with line Railsweep line across base curve

Isolate endpoints then use point on a curve 3 point arc

Railsweep 2 along curves

B.4.

Technique:Dev

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WEBB BRIDGE ALGORITHM ALTERS

Graph

Graph Outer Rad Inner Rad Height Num Perf Max Perf Min

Graph

U V Height Rad Poly Segments

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SPECIES 1.0 graph mapper alterations

SPECIES 2.0 addition of patterning algorithm

SPECIES 3.0 box morph x webb bridge

+ Cull Pat

+ Cull Pat

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X Scale Y Scale Z Scale X Move Y Move Z Move

Graph X Scale Y Scale Z Scale X Move Y Move Z Move

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SPECIES 4.0 wire frame, point attractor determine circle rad

SPECIES 5.0 loft, trimming through brep offset + base line adjust

SPECIES 6.0 contouring through base line adjustment + graph

SPECIES 7.0 contouring through base line adjustment + trimming

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B.4. CANDIDATE$ This outcome utilized a patterning algorithm which projected a series of lofted circles on a surface. Given our brief where we are looking at appropriating from high end and outrageous products this technique could be beneficial in producing the qualities such as a studded surface or lend its self to pimping out a particular surface. Fabricability of such small complex pieces will be difficult but possibly this is a route to explore and an opportunity to try new processes.

This candidate takes on a similar role to the previous one except what is of great opportunity in particular is the way the algorithm was created. Each of the studs were created from scratch within grass hopper rather than box morphing a already predetermined brep. This allows for greater flexibility in terms of the outcomes, where the type of polygon, size of the polygon and the height of each of the studs can be changed independently, this allowing for quick testing of ideas. This will be beneficial if I am looking at ‘pimping’ out products in a given style.

35 I selected this candidate due to its smooth curve. The way this was contoured in a linear fashion makes fabricability more streamline and give me the ability to fabricate complex curve geometry. I also like the freedom within this algorithm where I can adjust the base curve for this surface allowing easy adjustments and also experiment with height though the graph mapper. The form lends itself to a modern seating arrangement, where the smooth curves provide a comfortable surface to sit on and the sectioned nature of the surface creates pattern as well.

These final two outcomes were created through offsetting an object and trimming the objects with each other. Although the form might appear fragmented, this lends its self to a unique opportunity to create indented shapes within a sectioned surface.

This could be useful for creating functional areas,. For example, the top iteration has a curved indent which could create a seating arrangement. Whereas the bottom iteration is a waffle grid which has been trimmed which provides easy fabricability and also flexibility to create complex.

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B.5.

Technique:ProtoType

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CONCEPT Sectioning lends it self well to fabrication, especially through techniques such as laser cutting and CNC routing which were explored within the Research Fields B.1. We wanted to achieve materialization in terms of fabrication through algorithmic means to increase efficiency of production like those precedents within B.1.

Rather than the fabrication of our Proposal our design brief was to construct prototypes which will act as a packaging extension to the product itself. Its aim is to contain the same characteristics, qualities and experience as the object inside it. It must play to the desires of individuals, conceal and reveal the product.

Given our product ICE BOX Grillz, we wanted to embedded the same qualities as these product. We had the concept to create a performance based prototype packaging where it is about revealing the contents inside slowly which provides an exciting experience as you peel away each segment to reveal the flat packed proposal on the inside, the slower unveiling process builds anticipation as to what is below.

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USING ALGORITHMS TO ACHIEVE CONCEPT Given our objectives, I set out to utilize algorithms which can section different breps or create sections from other input data. The image sampling algorithm seen in B.2. provides this as well as my contouring exercises undertaken within B.4.

We wanted to create something that was a novelty, different and surprising to the user. These include qualities of remaining flashy and demanding attention similar to the Grillz. The idea to achieve this was to create a performance based box where there connection logic allows for the prototype to be opened within stages and be unique from standard packaging design. The join logic had to be meticulously considered so that the entire box as a whole acts as a performance but also is structurally sound and fucntional.

When testing different algorithms it was found that the B.2. sectioning algorithm from an image sample was effective in achieving an easily fabircatable form. Despite the B.4. contouring algorithm allowing more complex breps or surfaces to be fabricated, for the purposes of initial prototypes a smooth based surface created by an image was effective in achieving our desired outcomes. In the future I would like to consider fabricating more complex sectioned forms using the algorithms I created in B.4.

The sectioning algorithm needed to be altered significantly to provided the desired join logic and to be prepared for fabrication. The first objective was to ensure we have a wave like surface for each segment rather than a curve projected directly to the ground plane. This was achieved through isolating the surfaces from the sectioned form and the offsetting them and then projecting them to the ground plane. In turn this creates two surfaces which could then be used together with a surface difference component to achieve the final curved form (Figure on right)

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T Image Sampling Tests to decide of the form of the top of the box

Final Image Sampled Box Form, sectioned using the B.2 Algorithm

Surface 1

Surface 2 Taking the difference between the surfaces

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USING ALGORITHMS TO ACHIEVE CONCEPT Other changes to the algorithm need to occur especially in terms of join logic and how the box will open. Since we wanted to achieve a performance based box which opened slowly it was decided that having the sections pivot at a single point will be effective in allowing the sections to be peeled away.

The first step to creating the join logic was to orient all the piece upon a flat plane allowing them to be easily nested upon the MDF sheets for fabrication. Using a short list, square grid and orient component allowed for this to occur. From here the join logic was created by orienting circles on to these planes which will act as pivoting points. We then needed to create a cut within the curve to allow the pieces to open. This was simply done through a point on a curve component connected through two lines.

The box itself was created manually in rhino but incorporated slots for the metal rod to sit in allowing the segments to pivot around this point on either side.

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CONSTRUCTION SEQUENCE

The construction of the model gave us an ideas to change many aspects of the algorithm that produced it. Although as a whole the algorithm and join logic worked quite effectively to achieve our desired effects. Some changes would be the support slat within the middle. This slat didn’t follow the exact contour of the pivoting sections therefore causing some miss alignments of pieces. Extracting this curve from the Grasshopper model to be fabricated will be important in aligning each segment. Another aspect that will need to be changed is how each segment is split, just a straight line doesn’t make each segment fit exactly in place so looking at creating a more complex join logic between the split segments.

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PROTOTYPE CONCLUSIONS The prototype box that was created was effective in achieving what was set out, which was playing towards peoples desires. It uses packaging as a form of ornament creating something that deviates from what is normal. We achieved in creating a box that is interactive in an exciting way through the pivoting point and the layering of multiple segments. Its about revealing the contents of the inside slowly which provides an exciting experience of building anticipation as to what is below. In terms of sustainability it requires far more material than what is needed, promoting an unsustainable way. But in terms of sustaining a culture and attracting our given target audience, through an experience.

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B.6.

Technique:Proposal

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The agenda of the studio surrounds the idea of us as architects not being in control of the design as a whole, where the influences of others factors such a celebrities and outrageous products and brands feed into the architecture.

The product line that we have design is a lounge series, know as Le Lounge. It is placed externally to the Cabanon and is attached to the Cabanon through a series of strips which acts as a connection point.

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FINE TUNING THE TECHNIQUES B.4. Sectioning Algorithm Contours

B.2. Sectioning Algorithm Image Sampler

B.2. Sectioning Algorithm Image Sampler

B.4. Strips Folding and Weaving Algorithm

Base Cabanon

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In the creation of our final product line we combined a variety of different techniques to form ‘Le Lounge’. This included elements of stripping and folding and sectioning/contouring algorithms.

The fine tuning of sectioning technique was about using the experimental algorithms from B.4. and turning these into something practical, usable and which achieves our desired effects relating to our product ICE BOX Grillz and playing on peoples desires.

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QUALITIES FOR ICE BOX GRILLZ -Shows personality and the style of the users -Flashy Shiny, attention grabbing because of the materiality of grills, through gold and Dimond studs -Gives the user a sense of power, feeling associated with a certain group who are know to be powerful -Intimate through being close to the individual’s body, attached to the individual. You can feel it on the personal level because it is in your mouth and physically attached

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THE EXPERIENCE Throughout the design we wanted to encapsulate the attributes of the Grillz and aim towards a clientele that wants to have feel a sense of power over others and be associated with a certain group.

In terms of form we have done this through using our style of sectioning in creating individual sections which layer to form the chair as a whole. The chair is consists of thin sharp edges, yet the layering of these individual sections creates an overall smooth surface which someone can use functionally. This idea was adapted from the IceBox Grillz where they form a smooth surface over top of the teeth but it is he studs and patterning which make the external layer remains sharp.

The primary experience that we want to provide the users of the lounge range is power. Our standard product of ‘The Throne’ has physical properties which embeds the experience of power. This includes the chair being raised above standard heights, this is emphasised further through the sectioned curves which lead up to the chair providing a sense of prominence and importance to the individual upon ‘The Throne’. The shiny attention grabbing backdrop also highlights the individual.

Another quality that we want to be prominent within our design is the sense of intimacy and how the chair has a strong physical relationship with those using the product line. Within ‘The Throne’ the custom designed raised arms within the chair and curvature of the seat molds to the individual, providing the quality the person is one with the chair itself, heightening the individual’s importance. In the ‘Business LUX’ intimacy is created through the cordoned off section providing separation from the surroundings and how there are two chairs facing one another allowing people to conduct business within the space.

‘The Crew’ is creating a series of same level seating which provides the experience of power for a whole group. All the members of this group has the same status. On the other hand ‘The Side Chick’ version puts the owner of the space in a position of power which is higher than the other two seats which makes the main user superior others.

FEEDBACK

The mid-semester presentation provided us as a group with valuable constructive criticism, especially as to how others perceive our product. There were some draw backs which would could continue to develop within the future. It was highlighted that we should take the design further by isolating the idea of ‘Power’ and really doing some heavy research into what makes an individual or product powerful. It was also suggested as to how we could use site better to emphasis the idea of power, how can we command the site more effectively possibly through a squence and procession.

We also need to relate the prototype to the design and start looking into how we can include our own agendas within the design process rather than losing all agency over the design.

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B.7.

Learning Objetives & Outcomes

59 As I have progressed throughout Part B I feel as though I have been able to better engage with algorithmic construction and better explores the possibilities that comes with this. B.2. was engaging through being able to adjust parameters to create different outcomes but also it was an opportunity to developed our algorithmic style thinking where we have to consider what algorithm is in front of us and how each component works together in order to add to the algorithm and create something new.

Within B.2. especially in my later species where I explored the AA_Pavilion algorithm I was really able to test my thinking in coming up with different ways to create a series of offsetting curves and how I could incorporate theses new algorithms within the original.

This process overall gave me a better understanding of how different components can work together and expanding my repertoire of problem solving tools and form finding techniques.

B.3 was probably one of my favorite aspects of Part B because of the way it related to a real-world project. It was also one of the more challenging elements where you had to incorporate all your knowledge to achieve a specific outcome. Despite being challenging it was an entirely self-driven learning process where you would go back and forth trying different solutions until an effective outcome was achieved. The Webb Bridge algorithm was challenging to construct from scratch but this was very beneficial to my own learning as it really made me consider which approach I would take to achieve the desired outcome and fall back on the online learning tutorials studies.

I feel like B.3. helped my develop my understanding of a computational process and data structures within Rhino. In saying this better understanding how to organize complex

data is something I want to improve in as through Part B it was my organization of the data which caused difficulty in what I wanted to achieve.

B.4 gave me great freedom to incorporate different algorithms together and create experimental outcomes. In B.4 I tried to create everything within the grasshopper environment, connecting long chains of algorithms which overall gave me flexibility and countless different parameters that I could change. In this sense it provided me with extensive options of design solutions, different versions of the same species and even the creation of new species through pushing the parameters to the limit.

B.5. and the fabrication of prototypes was also a test whether I could translate what I have learnt algorithmically into a physical model. This area needed extensive consideration especially given the complexity of the model that we wanted to created. This task allowed me to investigate the complexity of fabrication, where our model had to not consider physical forces but also play a performative role where elements would pivot. One of the most challenging aspects was writing an algorithm that considers join logic, movement and structural stability all at the same time. Given the complexity of the model I feel as if I have greatly improved my fabrication techniques. I also feel like I have improved in streamlining my process of fabrication, where a lot of the algorithms created to form the box, will be very beneficial in the future especially when creating final design models for Part C. Overall, I look forward to expanding my repertoire of computational skills within the future to better my design outcomes, improve efficiency and create a streamlined fabrication process.

B.8 SKETCHBOOK

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REFERENCES

1.Legno Architettura Design ‘Summer Wood Design Pavillion’ <https://woodarchitecture.wordpress.com/woo pavillion/> 2.Legno Architettura Design ‘Summer Wood Design Pavillion’ <https://woodarchitecture.wordpress.com/woo pavillion/> 3.DeTnk, ‘Driftwood: AA Summer Pavilion 2009’ <http://www.detnk.com/node/4091> 4. Decoi, ‘One Main <http://www.decoi-architects.org/2011/10/onemain/> 5.Decoi, ‘One Main <http://www.decoi-architects.org/2011/10/onemain/> 6.Freshome, ‘Banq Resterant Boston’. http://freshome.com/2009/11/30/amazing-restaurant-interior-designboston/#ixzz4sbhz4ssN 7. Freshome, ‘Banq Resterant Boston’. http://freshome.com/2009/11/30/amazing-restaurant-interior-design boston/#ixzz4sbhz4ssN 8. Freshome, ‘Banq Resterant Boston’. http://freshome.com/2009/11/30/amazing-restaurant-interior-design boston/#ixzz4sbhz4ssN 9.Denton Corker Marshall ‘Webb Bridge’ <http://www.dentoncorkermarshall.com/projects/webb-bridge/> {Ac 10. Denton Corker Marshall ‘Webb Bridge’ <http://www.dentoncorkermarshall.com/projects/webb-bridge/> {A 11. Denton Corker Marshall ‘Webb Bridge’ <http://www.dentoncorkermarshall.com/projects/webb-bridge/> {A 12. http://www.zonein.com.au/history/australian_aborigines/images/eel.JPG 13.The Age, ‘Webb Bridge’ < http://www.theage.com.au/articles/2004/03/26/1079939835363.html> {Access 14. ‘TJ Jewerly and Co’ <http://www.tjjewelryaustin.com/grills> {Accessed 15 September 2017}

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