Design Studio Air: Final Journal by George Rowlands-Myers

STUDIO AIR GEORGE ROWLANDS-MYERS

2017 SEMESTER 1

Cover Photo: Crystal Mesh facade, Realities United, Soureced from: http://4.bp.blogspot.com AyctzTn2Jqw/UMI4JuftfCI/AAAAAAAAJ6Q/2c9kbOVp2ic/s1600/pic_detail-8.jpeg

/CONTENTS

INTRODUCTION

PART A: CONCEPTUALISATION _A.1 DESIGN FUTURING _A.2 DESIGN COMPUTATION _A.3 COMPOSITION / GENERATION _A.4 CONCLUSION _A.5 LEARNING OUTCOMES _A.6 APPENDIX - ALGORITHMIC SKETCHES A/ PART

B: CRITERIA DESIGN _B.1 RESEARCH FIELD _B.2 CASE STUDY 1.0 _B.3 CASE STUDY 2.0 _B.4 TECHNIQUE DEVELOPMENT _B.5 TECHNIQUE PROTOTYPES _B.6 TECHNIQUE PROPOSAL _B.7 LEARNING OBJECTIVES & OUTCOMES _B.8 APPENDIX - ALGORITHMIC SKETCHES

B/ PART

BIBLIOGRAPHY

C: DETAILED DESIGN _C.1 DESIGN CONCEPT _C.2 TECTONIC ELEMENTS & PROTOTYPES _C.3 FINAL DETAIL MODEL _C.4 LEARNING OBJECTIVES & OUTCOMES

BIBLIOGRAPHY

/INTRODUCTION

Hi, Iâ&#x20AC;&#x2122;m George, and I am a third year student undertaking the Bachelor of Environments at The University of Melbourne, majoring in architecture. From a young age I was interested in how the world worked: how things were built, how they fit together, and how they came apart. Throughout my early years I spent much of my time analysing both the urban and natural world around me - why did it look the way it did? Growing up I pursued hobbies such as drawing and graphic design, building models and photography, with many of these being practised into High School. This passion for the creative arts in conjunction with an

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analytical eye for problem solving has lead me to pursue a career in architecture. Studying architecture at University has been a challenging, yet rewarding experience. As field of study, architecture is one that is multi- faceted, and thus requires a varied skill set, which has tested me immensely. My technical knowledge of digital programs could be considered reasonably experienced in some areas whilst limited in others. I have used Adobe Photoshop, InDesign and Illustrator quite extensively, whilst others such as Rhino and AutoCAD I have learnt fairly recently. These tools have been used in order to both facilitate designs and enhance them.

Fig.1: Second skin design for digital design & fabrication - Looking at ways to cover the user’s face

One subject in particular that greatly evolved my skill set was Digital Design & Fabrication, taken in year 2. It explored how utilising digital tools allowed us to greatly expand the possibilities available to us, and how this would affect how our designs were translated from the computer to the physical world. This subject challenged me to completely rethink my design process, and yet enabled vastly different results to be created. Digital modelling, 3D printing, and laser cutting were all used in order to design and build a wearable sleeping pod or ‘second skin’ to be used by students.

Fig.2: Digital design for 3D printed ‘jigs’ used to filter threads of cane through intersecting spheres.

possibilities these tools are able to bring. The future of the profession is turning more and more towards digital design to create things that would have been impossible only decades ago. Architects are using these digital design tools to continually push the boundaries of what is achievable. Personally, I am excited to see the possibilities.

Although my experience with digital architecture is considerably small I am excited to uncover the

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/PART A

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/A.1

Design Futuring

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CASE STUDY 1:

FALLING WATER

FRANK LLOYD WRIGHT 1936-39

Similar to the current design futuring occurring today, the early modernists were comparatively searching for an architectural style suitable for the future. Frank Lloyd Wright’s Falling Water is one such case that contributed to the disciplinary discourse and culture at large. Wright’s work was once self described as an attempt at creating ‘organic architecture’, and this may be taken both in a literal and a more abstract sense. The house implemented largely natural materials which allowed it to blend into its surroundings and create a greater harmony with its site. In addition to this Wright utilised an open-plan and a hierarchy of usable spaces that remain staples of design to this day. It was Wright’s view that the building should emerge organically from the site, and both the architecture and its surroundings should both coexist and grow as one of the same existence. With the building being considered one big organism, it was designed from every scale - from the smallest chair to the largest beam- the whole building should grow as part of one entity. Previously the Arts & crafts movement advocated a return to hand crafting against the automation of the industrial revolution. Whilst this obviously had a large impact on Wright, it did not however mean he disregarded automation. In an essay for the Architectural Record of 1908 Wright wrote that we should embrace the machine, as he could see its potential to create things humans alone could not. He stated that we should ‘utilise to the best advantage the work of the machine’1 and use it to create something new. Today, the house has been discontinued for use as a home, but instead offers tours for those who wish to experience the unique interiors. Falling Water remains a revolutionary case in that it pioneered the idea that architecture should not remain as a separate entity to nature and its environment. It is the combination of these two elements that enable an ecologically sustainable relationship to be maintained for the future.

Frank, Lloyd Wright, “In the Cause of Architecture”, Robert McCarter, On and By Frank Lloyd Wright: A Primer of Architectural Principles, London: Phaidon, 2005. First published in The Architectural Record, March 1908.

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Fig.1 Top: The Living Room, Sourced from: http://www.metalocus. es/sites/default/files/styles/sin_estilo/public/file-images/ metalocus_fallingwater_fllw_11.jpg?itok=FXOuZgXj Fig.2 Above: Bespoke furniture, Sourced from: https://s-media-cache-ak0. pinimg.com/originals/72/4d/57/724d57d9799a43bc9b70eed673b81418.jpg

Fig.4 Opposite: House exterior, sourced from https:// amandaelsewhere.files.wordpress.com/2011/11/house5.jpg

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CASE STUDY 2:

DIGITAL GROTESQUE

BENJAMIN DILLENBURGER MICHAEL HANSMEYER

The ‘Digital Grotesque’ project stands out as a definitive example of what computering can do for the future of design. Developed in 2013 by computational architects Benjamin Dillenburger and Michael Hansmeyer, the aim was to create an architecture that ‘defies classification and visual reductionism’2. Utilising the latest in algorithmic design and 3d printing technology, the result is somewhere between ‘Synthetic and organic’, ‘chaos and order’.

‘Neither foreign nor familiar’

The forms that are created ‘contain information at multiple scales’, and ‘the closer one gets to the form, the more features one discovers.’3 Not unlike Wright’s ‘organic architecture’ and his determination to design all parts of the building, from the smallest element to the largest. The designer sets certain parameters into an algorithm which essentially generates the form itself. This type of algorithmic fabrication uses a kind of pseudo-random logic; letting the program define the degree of randomness, whilst still adhering to the architect’s set parameters. Using the most cutting-edge additive manufacturing, computers are able to replicate these digital forms in the physical world down to the nearest millimetre. In a sense, this is pure creation, with the architecture - to a certain extent- building itself. It represents a massive contribution to the field of ideas and ways of thinking. No longer is architecture bound by the split between what we can imagine and what we can create. It allows a level of detail and complexity that is unprecedented to what has come before, and that no single person would be able to draw. Initially public reactions were that it was quite shocking, and whilst this project remains a small-scale experiment, the potential applications are enormous. The concept that architecture could is generate its own forms is certainly revolutionary, and with the addition of robotic construction, the possibilities are endless - today there are experiments in entire 3d printed houses and villages1.

Fig.1 Opposite: Prototype column mockups, sourced from: https:// tedconfblog.files.wordpress.com/2012/07/2_prototypes.jpg

Fig.2 Below: Assembling after fabrication, Sourced from: https://benjamin-dillenburger.com/WordPress/ wp-content/uploads/fabrication6.jpg Fig.3 Bottom left: Completed physical Installation, sourced from: http://www.caad.arch.ethz.ch/blog/ wp-content/uploads/2011/10/gwangju.jpg

2 “Digital Grotesque,” Benjamin Dillenburger, 2017, https://benjamin-dillen burger.com/digital-grotesque2/

3 “Using 3d printers to Generate Villages of Houses,” IflScience, http:// www.iflscience.com/technology/using-3d-printers-generate-villages-houses/ CONCEPTUALISATION 13

/A.2

Design Computation There are two main digital design processes: Computerisation is the conventional method of design- a top to bottom process - which involves replicating an analogue method. This means the architect already has conceived an image of the building in analogue, and simply uses computers to document how the building will be built. Computation on the other hand is unconventional in that it is a bottom to top process, which means the architect does not have an image of what the building will look like before hand, and uses the computers to generate its form - essentially working backwards to achieve something unique.

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Today, digital tools have become an essential part of the design process, and one that enables a significant advantage over what was possible without them. Computation, a relatively new technique, certainly has the potential to re-define the practice, with immensely complex and innovative structures already being built. Architecture as a profession is one that is multi- faceted, and as such requires constant re-invention in order to consistently solve the design problems of a complex world. Certainly, computing has the ability to re-define the practice. Computation allows the unique opportunity to provide ‘performance feedback at various stages of an architectural project, creating new design opportunities. 4’ A computational model of a building now has the opportunity to remain useful as a simulative tool throughout the building’s life span, enabling performancebased changes to be made in response to user feedback. Computation not only provides a near-infinite source of wildly different geometries, but also presents a unique innovation in the process of design. Designing no longer remains a linear sequence of events - instead the entire lifespan of a building must be considered in the design stage in order to adhere to the complexities of the modern world. This not only refers to the construction stage but the completed stage as well - in which other daily stresses such as extreme weather are placed upon the building. Computing now has the ability to address these issues, in order to build better as we move forward. 4

Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design

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CASE STUDY 2:

GUGGENHEIM PROPOSAL /GILLES

RETSIN

Gilles Retsin Architect’s Guggenheim proposal represents computational design’s ability to optimise structure as well as sustainability. In 2014 a design competition was held for a Guggenheim museum to be constructed in Helsinki, Finland. The design set to turn conventional architecture inside out, with clearly visible structure and a complete lack of cladding. Retsin set about creating the form through the use of computational design techniques. The designers utilised a customised algorithm to generate the shape of the roof, which is made of ‘thousands of low-grade timber strands and posts, which would normally not be used in construction 5’ The algorithm distributes the pieces of timber across each other in perpendicular directions to create stability, and also recognises where thicker elements are needed in order to support the loads of the roof. 16

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Fig.1 Page Spread, Sourced from: https://flyingarchitecture.com/images/cache/original/39_2014-08-Retsin-Guggenheim_Sunsetrain.jpg

As the majority of the elements used are recycled materials that would otherwise be thrown out out, the complex is described as being ‘carbon-negative’1, ensuring a less strenuous impact is placed on the environment. The use of computation in the proposal created a geometry that would not have been both conceivable nor achievable without it. The sheer size of the structure means that it would be near impossible for a person to calculate and determine where each element would need to be placed, and which elements to use in each given situation-in the many thousands of instances this occurs in the building. 5

“Guggenheim Helsinki”, Giles Retsin, Accessed 13 March 2017, http://www.retsin.org/Guggenheim-Helsinki

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CONCEPTUALISATION

CASE STUDY 2:

C3A BUILDING /REALITIES

UNITED

The C3A building facade represents computation’s ability to create architecture that is dynamic. The facade, designed by Realities United Architects and completed in 2012, won a competition in which the brief entailed incorporating some sort of light and media facade onto the building’s surface. Appearing solid during the day, when night falls the surface is illuminated is form a dynamic image, which computational processes allow. This presents a unique opportunity for architecture - buildings that are time-sensitive, and react to the environment around them. The surface is made of concrete with thousands of tessellated polygons of varying sizes and shape, all recessed into the building in differing directions. Within these prefabricated concrete ‘bowls’ are using computational design and robotic fabrication, and house numerous lamps of differing intensities and diffusing, which can all be individually controlled. In some areas the lamps are dimmed to create a ‘softer’ section and brightened to create a more lively one in others. This means the facade is constantly changing, with images being able to be presented. The use of the impressions as pixels to form an image essentially ‘turns the architectural scheme itself into a digital information carrier’6. 6

“C3A (PREVIOUSLY C4)”, Realities United, Accessed

16 March 2017, http://realities-united.de/#PROJECT,77,1

Fig.1 Top Right: Tesselated ‘bowls’ diagram, sourced from: https://i0.wp.com/www10.aeccafe.com/blogs/arch-showcase/files/2016/12/718.jpg Fig.2 Above right: Exterior, Sourced from: http://img.archilovers.com/projects/27470765-69be-47d4-bd2f-c4ca386b1581.jpg Fig.3 Opposite Top: Daytime view, Sourced from: http://img.archilovers.com/projects/b997bcf3-33b4-4b1d-8e69-e1497351cb16.jpg Fig.4 Opposite bottom: Nightime lightshow, Sourced from: http://www.balloonproject.it/wpcontent/uploads/2017/01/realities-united-C4-Software-Testing-2012.jpg CONCEPTUALISATION 19

/A.3

Composition /Generation

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The architectural industry is currently experiencing a shift in design processes; from the conventional top-to-bottom method, to generative bottom-up design. As with the transfer from analogue to digital, the adjustment from composition to generation has been slow, and the reactions varied. The original computerisation of the industry was also not met without opposition. By around 2004 ‘most architects had begrudgingly replaced their drawing boards with personal computers’7. Slowly but surely over the next decade the computer’s significant advantages were acknowledged, and it became the essential tool it is today. Generative based design is currently demonstrating its ability to analyse and solve complex design challenges. Yet despite this, there remains hesitance, as there is sure to be when change occurs. A common argument aimed at generative architecture is that it takes too much control away from the designer, and many are simply not enthusiastic about moving away from analogue techniques. Many practices however, such as Studio Roland Snooks in Melbourne, are pioneering the move, focussing on ‘new computational design processes...to rethink what architecture might be’8. This use of computation has produced an alternative mind set ‘algorithmic thinking’, which, while not really a new concept in the scientific or mathematical worlds, has steadily been applied to architecture over recent years. It can thus be seen that ‘Architecture is currently experiencing a shift from the drawing to the algorithm as the method of capturing and communicating designs’9. There are also those few young architects who are actively engaging in the scripting culture, creating their own design software to push what is possible further. Grasshopper, created by David Rutten, has made parametric modelling a visual and highly assessable mode of design, with notable results. With this growing knowledge, skill set, and abundancy of tools, the structure of firms is ‘changing in response to the work of computational designers’9. - Changing to incorporate them as integral to their practice. 7 8 9

“A History of Parametric,” Daniel Davis, 6th August 2013, http://www.danieldavis.com/a-history-of-parametric/ “Studio (About)”, Studio Roland Snooks,Accessed 16 March 2017, http://www.rolandsnooks.com/studio/ Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15

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CONCEPTUALISATION

CASE STUDY 1:

FIBROUS TOWER

/KOKKUGIA Kokkugia, led by Roland Snooks, is committed to exploring experimental architecture through the use of generative design methodologies. Fibrous tower is a conceptual, unbuilt model that explores the idea of an organic structural membrane applied to a conventual high-rise. The form is generated through the use of a custommade algorithm, and not only provides the building with a ‘skin’ but also acts as the structure - there are no internal columns that support the floors. The tower is part of an ‘ongoing study into fibrous tower skeletons which explore the generation of ornamental, structural and spatial order through an agent based algorithmic design methodology10’ Though it may appear to the contrary, there is an insistence that generative design and swarm intelligence is not an attempt to make architecture organic - it is simply to design a small set of rules to let the architecture grow. It is the interrelationships between these rules that allows for some ambiguity, resulting in an emergent architecture. To a certain

extent, generative authorship.

design

about

delaying

Traditionally, form-finding during the design process commences with conceptual sketches, which are then analysed, rearranged and eventually composed into a three-dimensional design solution. Yet computation and generative design ‘augment the intellect of the designer and increases their capability to solve complex problems11’ While computation and generative approaches to design are certainly beneficial, they are, like any design process, not without their shortcomings. Many of Kokkugia’s designs, like the fibrous tower, remain as mere concepts. Their unconventional nature means there is a hesitance to accept them, by both the construction industry and those that select the winners of architectural competitions. Nevertheless, the potential of generative design should not be understated. 10

“About”, Kokkugia, accessed 16 March 2017,

http://www.kokkugia.com/about 11 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15

Fig.1 Opposite Top: Tower View, sourced from: http://architizer-prod.imgix.net/mediadata/projects/472009/a408f14b.jpg?q=60&auto=format,compress&cs=strip&w=1680 Fig.2 Opposite bottom: closeup, sourced from: http://architizer-prod.imgix.net/mediadata/projects/472009/07c43cd2.jpg?q=60&auto=format,compress&cs=strip&w=1680 Fig.3 Above: Interior section, sourced from: http://architizer-prod.imgix.net/mediadata/projects/472009/84f64ba9.jpg?q=60&auto=format,compress&cs=strip&w=1680

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CASE STUDY 2:

/NEW

TERRITORIES

‘MMYST’ is a kickstarter conceptual project developed by New Territories that aims to shift who and what architecture is for. The project was designed as a an architectural habitat for Swiftlets, a bird native to Thailand12.

MMYST

In addition to the bird dwellings, there is the potential for human inhabitants too, representing a hybrid building that has the potential to re-define the meaning of architecture. A concept of co-operation and co-habitation with nature. The project is designed as a series of habitable spaces wrapped in a vertical tower of foam fabricated to blend in with the surrounding volcanic rock of the site. MMYST is set to use the latest robotic fabrication techniques to construct the form. A steel frame structure is utilised, that is to be covered in the textured foam. Plans have been designed by New Territories that will allow almost complete robotic fabrication of the form using additive manufacturing technologies. The use of generative methodologies in the formation of the project has enabled an organic composition that will attract the birds, as it is modelled after the caves in which they dwell. The concept is innovation in that it redefines what architecture can be used for, and whether it can be used to fix the ecological problems of our world. Yet despite this, a critical viewpoint should be maintained - as of yet, only small-scale experiments have been undertaken, and the project remains as a concept. Nonetheless, generation in design has certainly allowed New Territories to challenge the concept of architecture.

12 “Kickstarter by New-Territories M4 Addresses New Forms of Ownership in Architecture”, Archdaily, 11th October 2015, http://www.archdaily. com/774827/kickstarter-by-new-territories-m4-addresses-new-forms-of-ownership-in-architecture Fig 1, Opposite: sourced from: https://s-media-cache-ak0.pinimg.com/originals/b3/53/fa/b353faa3bbebf72fbb4ffa04e5a46bdf.jpg Fig 2, Top, sourced from: http://images.adsttc.com/media/images/5614/2d10/e58e/ce24/f300/00c8/original/Morpho-Anthropocene.gif?1444162829 Fig 1, Bottom, sourced from: http://images.adsttc.com/media/images/5614/2d10/e58e/ce24/f300/00c8/original/Morpho-Anthropocene.gif?1444162829

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/A.4

Conclusion

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Studio Airâ&#x20AC;&#x2122;s beginnings lay with the concept of design futuring, in which we were to engage in a forward-thinking design process. It was in this stage that we were to set the objective as designers to build an architecture that not only benefited humankind but nature as well, and thus create a greater chance at a sustainable future. A.1 made the discussion about architecture that significantly contributed to culture and the future of the profession at large. A.2 depicted the evolution of design in conjunction with computing. Finally A.3 sought to look at the use of generation in the design process. I plan to utilise the knowledge I have gained during part A in my approach to the design problems proposed during the next module. This, in conjunction with a range of precedent projects of varying styles, design processes and outcomes should form a solid basis on which to attempt the next stages of the studio. I intend to formulate a parametric design response that meets the requirements of the brief, and is hopefully somewhere between the style of the Guggenheim proposal by Gilles Retsin and the fibrous tower by Kokkugia. Of course, these are only two possible courses, and the nature of the design process and particularly compuational design is that unpredictably is a welcome certainty. It is significant to design this way as the potentials, highlighted by the case studies, have enormous application, and demonstrates that it is not only humans can benefit from good architecture.

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/A.5

Learning Outcomes

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Since the start of the semester I have learned a range of digital design skills and theory relating to the practice of architectural computing. My understanding of the theory has been steady, with an attempt made to re-organise my interpretation of what I consider architecture to be, and what it could be in the future. This extends to my understanding of who architecture has to be for - mankindâ&#x20AC;&#x2122;s impact on the environment is now an integral part of designing, with our architecture being looked to as a possible solution to various ecological problems - many of which we caused in the first place. In that sense there is a certain responsibility. My experience with parametric modelling in Grasshopper has been challenging, yet rewarding in many ways. Though, it is still early days my skills are developing, and I am confident that they will continue to progress throughout the remainder of the studio. It is an almost certainty that this knowledge could have been used to improve past projects. For instance, an understanding of grasshopper during Digital Design & Fabrication would have made the sleeping pod design far easier to build in Rhino, rather than individually editing and moving each element into place, as was done. In saying that, I remain content with my achievements up to this point, and equally remain excited to face the challenges of the next module.

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/A.6

Appendix

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Algorithmic Sketches

Through the use of an algorithmic sketchbook, i began to detail my learning experiences with grasshopper. These represent the best of what I have learnt in grasshopper up to this stage. Although the forms would be possible to sculpt and draw by hand, it would take far longer to do so than with computing in design. These have been selected as they represent the best of my work so far.

The use of parametric modelling software in the creation of these sketches represents the innovative opportunities the software provides. The sketches clearly show a relationship between each other, due to being iterations of the same Top, white: sketches from our first task in grasshopper - to create a model. This is one of the great advantages of vase using lofted surfaces. parametric design software - multiple iterations of the same design are easily created and manipulated.

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/Bibliography

1. Frank, Lloyd Wright, “In the Cause of Architecture”, Robert McCarter, On and By Frank Lloyd Wright: A Primer of Architectural Principles, London: Phaidon, 2005. First published in The Architectural Record, March 1908. 2. “Digital Grotesque,” Benjamin Dillenburger, 2017, https://benjamin-dillenburger.com/digital-grotesque2/ 3. “Using 3d printers to Generate Villages of Houses,” IflScience, http://www.iflscience.com/technology/using-3d-printers- generate-villages-houses/ 4.

Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design

5. “Guggenheim Helsinki”, Giles Retsin, Accessed 13 March 2017, http://www.retsin.org/Guggenheim-Helsinki 6. “C3A (PREVIOUSLY C4)”, Realities United, Accessed 16 March 2017, http://realities-united. de/#PROJECT,77,1 7. “A History of Parametric,” Daniel Davis, 6th August 2013, http://www.danieldavis.com/a-history-ofparametric/ 8. “Studio (About)”, Studio Roland Snooks,Accessed 16 March 2017, http://www.rolandsnooks.com/ studio/ 9. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 10.

“About”, Kokkugia, accessed 16 March 2017, http://www.kokkugia.com/about

11. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 12. “Kickstarter by New-Territories M4 Addresses New Forms of Ownership in Architecture”, Archdaily, 11th October 2015, http://www.archdaily.com/774827/kickstarter-by-new-territories-m4-addresses-new-forms-of-ownership-in-architecture

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/PART B

CRITERIA

CRITERIA DESIGN

DESIGN

CRITERIA DESIGN

/B.1

Research Field:

CONCEPTUALISATION

TESSELLATION

CRITERIA DESIGN

B1. Research Field

Previously, architecture has been extremely grounded in a static state - With the rise of computer aided design, architecture is facing a redefining of its boundaries. Progression has occurred through new material and compositional systems, with the ability to create complex geometries that use ornament as an integral component in the expression of a building. Tessellation has become one such field of parametric design that has allowed for this exploration. Described as being ‘a geometric system that is able to create specific organizations/patterns through repetition of a simple set of parts against a boundary or whole’1.

Tessellation in architecture allows majorly complex surfaces to be created, by separating and breaking them up into smaller, simpler, repetitive geometries. The use of repetitive elements at a small scale grows to define the whole surface, much like the organic architecture discussed in part a. This simplicity allows for a reduction in fabrication time while still providing a significant aesthetic and technical complexity to the forms.

The ‘Hyposurface’ is a prototype developed by dECOI. Through the use of digital technology, ‘Information and form are linked to give a radical new media technology’2, that uses tessellation to physically move and transform the flat surface into a moving, contoured one. This serves as a leap forward, not just visually, but physically, in architectural design. This ability to create dynamic surfaces is significant, with the possibility to essentially allow the architecture to be react to its surroundings, much like a natural organism would. 1 ‘Tesselation in Architecture’, Harvard University Graduate School of Design, http://www.gsd.harvard.edu/course/tessellationin- architecture-spring-2007/ 2 ‘Hyposurface’, dECOI, 2011, http://www.decoi-architects. org/2011/10/hyposurface/

Top: Tesselation in Architecture, Sourced from: https://s-media-cache-ak0.pinimg.com/736x/da/40/d5/da40d5db13fd95ef72869aaf38f4662b.jpg Middle: Softlab Installation, Sourced from: http://designplaygrounds.com/wp-content/uploads/2011/05/softlab-installatin05.jpg Bottm: Hyposurface, Sourced from: https://s-media-cache-ak0.pinimg.com/originals/f4/87/75/f48775bd75ab653a738b3e4c37ebc52f.jpg 38

CRITERIA DESIGN

The EXOtique, seen to the right, allows tessellation to be paired with light to create a surface that is dynamic in a different way to The Hyposurface. The tessellation here is used in two ways. Firstly, in the combinations of the hexagonally based geometries that create the overall surface, and secondly , a smaller use of holes cut through the surface. The use of tessellation here is used in conjunction with light. The surface has the ability to light up, due to its semi-transparent acrylic material. The actual connections between the hexagonal panels act as the carriers of the electricity that creates the lights.

Voltadom is a project that incorporates a dynamic display of vaulted forms. Seen below, the vaults ‘provide a thickened surface articulation and a spectrum of oculi that penetrate the hallway and surrounding area with views and light.’13 The tessellation comes from the design method. A number of cones are generated from a tessellated pattern that is extruded and then trimmed to create the holes. This technique is then applied to a vaulted surface to create the form. In this example the tessellation is what allows the surfaces to be created and wrapped around them.

‘VoltaDom’, SJET, 2011, http://sjet.us/MIT_VOLTADOM.html

Top Right: FERMID Sourced from: http://designplaygrounds.com/wp-content/uploads/2011/05/kinetic-sculpture-fermid-inide01.jpg Middle Right: Projectione - EXOtique, Sourced from: http://www.arch2o.com/wp-content/uploads/2014/06/Arch2o-Exotique-PROJECTiONE-2.jpg Bottom: VoltaDom, Sourced from: http://arts.mit.edu/wp-content/uploads/2015/01/10859397635_525cf49aca_o.jpg CRITERIA DESIGN

B2. Case Study 1.0:

Supplied Definition

VOUSSOIR CLOUD /IWAMOTO

SCOTT

The Voussouir Cloud was the focus of a pre - made definition that was provided. This was utilised in order to gain a basic understanding of how a tessellated form might be created.

Overlay: Petal Formation, sourced from: http://www.demagazine.co.uk/wp-content/uploads/2011/08/VC-Petal-Formation.jpg Opposite: Voussouir Cloud, sourced from: https://s-media-cache-ak0.pinimg.com/originals/70/1c/2a/701c2a4686324e90f8bccbf5602d38c7.jpg 40

CRITERIA DESIGN

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B2. Iteration

Species 1: Original Voussoir Cloud Formation

Ordered point placement

Manipulation of point numbering - random point population Assessment: Randomised positioning of points makes surface more dynamic - a desired development.

Variance of Cone Height, movement of loft direction Assessment: Interesting development with vaults crossing over. - More movement than previous iterations

One of the initial attempts to completely change the definition by deleting and swapping out components. Assessment: Creates some interesting changes to the original form aesthetically, yet fails to technically

Species 2: Increased density of points, ordered formation of points using triangulation grid. Rotation introduced to offset uniformity. Assessment: Triangulation grid produces cones that are too uniform and lack movement - even with the use of the rotation component. 42

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Matrix

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B2. Iteration

Hexagonal grid Assessment: Increased density of point position continues positive development. However, static hexagonal ordering lacks movement, too stable

Hexagonal Increased Oculus diameter and cone height Change of loft direction through point surface movement Assessment: Crossing cones produced a good effect. Creates desired movement.

Species 3: Radial grid Reducing the distance between the concentric grid loops in the radial grid Rotation due to placement on edge of boundary curve. Assessment: Radial grid in conjunction with the overlapping cones produces a very successful formation

Radial - manipulation of oculus shape and radius, number of points Assessment: Straighter cone shapes again produces an interesting formation, slightly less successful than the previous iteration

Radial - manipulation of oculus shape and radius of grid formation Assessment: Ordering again fairly interesting

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Matrix

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B2. Iteration

Species 4: Initial radial grid attempt - second point starts to rotate due to its placement on the edge of the boundary curve. Assessment: Promising early radial test - alike to a rock formation. Curved radial produces a better effect that uniform one.

Pentagonal grid Assessment: Ordering lacks movement, Decreasing the number of points loses a certain complexity - an undesirable development.

Triangular Grid - rotation component utilised Assessment: Interesting combination of triangulation grid, rotation and crossing over cones.

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Matrix

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B2. Iteration

Matrix

SELECTION CRITERIA & EVALUATION

Initial changes to the script were based entirely within the scope of the original definition. This mainly consisted of manipulating the number of points, changing the cone heights and radius. Eventually I started to swap out components in order to completely change the script. This meant that with each iteration and species the form gradually grew further and further away from the original, to the point of being almost unrecognisable. The original voronoi system was replaced with a number of different shaped 2 dimensional grids that acted as a starting point for the cones to be extruded from. For some of the iterations a fourth image was shown. This additional view was of the underside of the model, as i felt these particular iterations grew to be visually interesting in both up and down directions. Successful species included those that moved away from the uniformity of the initial grid shape. This ensured a level of dynamism that was desired.

The four that have been chosen as the most successful iterations of the matrix encapsulate this desired level of dynamism as well as movement. Each also incorporates the oculi as an essential part. Of the four species that were produced, I believe the third to be the most successful at producing something that was the most promising for further development, both visually and mechanically. Of these four there are more iterations from species 3 than any other, highlighting its potential. None were also picked from species 1, highlighting the fact that there was a desire to push away from the original form. Light is an interesting element that I wish to explore further in the upcoming modules, with the oculi playing an integral role. Light and tessellation both play together really well, as can be seen in many of the previous case studies. Therefore under this assumption, I attempted to pick iterations that not only displayed an exciting form but would also allow light to stream through them.

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Species 3

Species 4

Species 3

Species 2

Manipulation of the Voussouir cloud script provided a number of promising results, that deviated successfully from the original form. When choosing a selection criteria, I found that I found results more interesting when they displayed a level of movement and dynamism. This, in conjunction with a certain level of complexity, came to define what I choose to be further developed. Complexity in this sense, however, was not simply for complexityâ&#x20AC;&#x2122;s sake. I found that the best iterations utilised a simple premise that was extrapolated in a basic way - such as rotation or overlapping. This basic

DESIGN POTENTIAL method was what produced the desired complexity. More static grid shapes proved to be fairly unsuccessful, such as the triangular, rectangular and square grids. More successful iterations took use of hexagonal and radial grids. The latter of which in particular produced some reasonably interesting geometry, of which seem to be promising for further development. I can see the potential for these elements to be utilised in an advantageous manner during the upcoming modules. Particularly I am interested in further developing the varying shapes of oculi from each these. The possibilities for practical use are promising.

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B3. Case

Study

/LEAD

DRAGON SKIN PAVILION The Dragon Skin pavilion is a project developed Emmi Keskisarja, Pekka Tynkkynen and Kristof Crolla, Sebastien Delagrange of LEAD. The pavilion was created as an experimental art installation, created through the use of computational design and digital fabrication techniques. Fabricated in just 7 days, the skin is said by the designers to be ‘highly expressive’ and ‘questions the notion of boundary: as light and views are filtered, softened and dampened towards the interior, the interior is slowly and more hesitantly revealed outwards’.1 The curvature of the volume is suggestive of dragon 1 ‘Dragon Skin Pavilion, Arch Daily, 10 March 2012, sourced from: http://www.archdaily.com/215249/dragon-skin-pavilion-emmi-keskisarjapekka-tynkkynen-lead

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scales, contributing to the organic quality the pavilion emits. The emergent form’s use of these plain scales creates something that challenges what can be ornament and what can be structure, in an attempt to blur the boundaries between the two. Each scale interlocks in a fashion that constantly keeps each element in line, allowing the structure to support itself. The ornament comes from the tessellation of this simple element whose uniformity is offset by the gradually more and more irregular connections as the scales arch over.

The materiality of the pavilion is also an important factor in its design. Every element is composed of â&#x20AC;&#x2DC;post-formable Grade Plywoodâ&#x20AC;&#x2122;, a relatively new material in bent plywood construction. A 3D computational model generated the form, and allowed every intersecting connection to be calculated exactly - allowing fabrication to occur through laser cutting techniques. The obvious advantage of using this tessellation system is that a fairly complex form can be created by using only one, regular element (the scale), repeated in an irregular fashion (the array).

Fig.1 Opposite: http://images.adsttc.com/media/images/5005/ e790/28ba/0d07/7900/21d6/large_jpg/stringio.jpg?1414042759 Fig.2 Right: https://s-media-cache-ak0.pinimg.com/originals/61/ a7/25/61a725c7265ed0637a62ea35deb9c9d4.jpg Fig.3 Below: https://digitalceramics2014.files.wordpress. com/2014/09/tumblr_m27g1atdx21rpdp2bo1_1280.jpg

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B3. Case

/Reverse Engineer The Dragon Skin pavilion proved to be a particularly difficult project to reverse engineer. At first glance, it appears to be quite a simple construction: a basic tessellation of a singular piece of geometry. Yet upon close analysis, the complexity of the form emerges. Initial attempts to recreate the pavilion began with the construction of the original scale, used for the template. This involved trimming a coned surface into the desired triangular shape. Secondly, a number of arched curves were arranged for the array component. A starting scale was linked to a starting scale that was replicated across the remainder of the curves.. This allowed the scales to be oriented along curves in an array - as if they slowly opened up like dragon scales.

Right: Diagram, Sourced from: http://images.adsttc.com/media/images/5005/ e790/28ba/0d07/7900/21d6/large_jpg/stringio.jpg?1414042759

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Study

Version 1

The curves were arranged horizontally in an oval shape, to allow the middle of the pavilion to be larger than the two sides, which tapered inwards slightly. Vertically, the curves were also varied slightly. This was in order to give the scales more of an â&#x20AC;&#x2DC;interlockingâ&#x20AC;&#x2122; geometry, rather than the original, more uniform fashion.

Looking at the recreation critically, it could be improved in a few ways. Firstly, the original scale was not entirely accurate to the shape of the physical pavilion, and was also made entirely in rhino, leaving little room for customisation. Secondly, the array curve component also heavily relied on rhino, rather than being generated in grasshopper. Aesthetic wise it appears quite similar, yet mechanics wise it falls short due to these outlined reasons.

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B3. Case

/Reverse Engineer A second version was attempted in order to create a more accurate representation of the Dragon Skin Pavilion, and also to allow more customisation within grasshopper. In this instance, the initial scale was created entirely within grasshopper, using a triangular polygon that was bent and filleted, and then a smaller version of the same geometry subtracted from within, to create a hollow inside. For the overall form, an arched surface was created and then divided into a certain number of points. The surface was then evaluated at each of these points, and finally the orient component was used to array each scale across the arch. Lastly, the resulting form was trimmed using a brep that represented the ground. This enabled the model to accurately represent its real world equivalent in its intersection with the floor.

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Study

Version 2

The scale itself differed to its first version in that it was created as a solid, and then another solid was subtracted from within it. This gave the scale a thickness that the first iteration did not have. This also allowed the scales to more accurately interlock, akin to the real pavilion.

From a critical viewpoint the second iteration of the pavilion was a more successful attempt, yet it still was not with out its faults. Firstly, though the scales did have a thickness due to being created as solids, they still were open along the bottom edge facing downwards, a problem I couldnâ&#x20AC;&#x2122;t rectify. Secondly, the intersections between each of the scales would ideally be trimmed in some way, to allow light to better stream inside akin to the real pavilion. If a third iteration was to be made these problems would be attempted to be resolved.

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/B.4

Technique: Development

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CONCEPTUALISATION 57

B4. Iteration Species

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Matrix

Species

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B4. Iteration

Species

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Matrix

Species

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B4. Technique: Development

Species 4

Species 5

DESIGN POTENTIAL

Manipulation of the reverse engineered script for the dragon pavilion provided a number of promising results. Those that fit the initial selection criteria still managed to deviated adequately from the original form.

The chosen scale geometry in these two are more solid shapes. This provides the potential for the inside to be hollowed out to create â&#x20AC;&#x2DC;bowlâ&#x20AC;&#x2122;-like spaces, that could be filled with light sources or something else.

The four chosen iterations incorporate certain aspects I wish to develop further in the upcoming modules. Firstly, the gradual openings between each tessellated panel is proving to be quite promising in its potential for light to stream though. Both of the lower iterations incorporate this idea , whilst the top two adhere to another.

In the next module I hope to decide upon which idea I think is better suited , or perhaps marry the two in some way.

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In either case I am interested in developing these possibilities further.

SELECTION CRITERIA & EVALUATION

For this second iteration matrix I attempted to utilise the same set of criteria for selection of the best iterations to take further. That included a level of movement and dynamism, as well as an attention paid to how light would play a role in the structure. Initially, the scale geometry was focussed on to be manipulated. This included altering the number of polygon sides and/or additional filleting and varying the height and depth of the arc. Secondly a smooth mesh component was used that when factored down produced an interesting approximation of the shape. This was then applied to a spherical surface to create the radial, urchin-like display of species 3. This species proved to be the least useful for meeting the selection criteria.

For the next three series a return was made to the original surface. Species 2 made use of cones courtesy of the Voltadom exercise, and manipulation of plane vectors allowed for some moderately successful surface patterns. With the last three iterations being the most successful for meeting the criteria - using hexagonal cones akin to oculi. Species 4 and 5 produced the most impressive results however, by returning to a triangular formation for the oriented object. Many of these fit the selection criteria adequately, with four notable standouts. These four iterations best display promise for further development.

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B5. Technique:

Prototypes

Following on from the technique development, I continued further into prototyping, using the chosen final four species as a starting point. For this first prototype, I started to think about how the overall composition was defined through this idea of one and many. It was this relationship between the singular and the whole that the field of tessellation bases itself upon. Additionally, it seemed to fit into some of the ideas discussed in the initial case studies of Part A. - That of architecture â&#x20AC;&#x2DC;growingâ&#x20AC;&#x2122; organically at all scales - the micro and macro - as part of one organism. From this the challenge for this module began with finding an appropriate geometry for the micro scale, and then this would influence how the macro scale was to appear.

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PROTOTYPE 1

With the first prototype I decided to try and create a shape that addressed the possibilities I had brought up in the technique developmentâ&#x20AC;&#x2122;s design potential reflection. This talked about using trimmed solid shapes to create hollows that could not only create a more interesting tessellation and varying oculus, but also provided an opportunity to place things inside them. This first prototype geometry tries to make use of these ideas, yet keeping the form as a simple polygon, so as to not overly complicate the macro scale tessellation.

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B5. Technique:

When this geometry was then tessellated it produced some varied results success wise. By the nature of the shape, at tighter points on the surface the geometry would bunch up quite a bit. Widening the gaps between them did not rectify this, as at the looser points on the surface the geometry would merely float away from each other, with no point of contact for fabrication without making some sort of wire system.

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Prototypes

For this module, purely digital prototyping was required, yet an effort was made to think about the materiality of the system and how it might fit together. As they are triangular in shape, when the polygons are placed together, their 3 sides naturally intersect. So I decided to take advantage of this by using slots of varying size as connection points. This system will also be quite achievable to fabricate physically, and provide a solid base system for the tessellation, as their interlocking and overlapping should firmly hold each other together reciprocally.

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B5. Technique:

Prototypes

REVIEW & ASSESSMENT

Prototype 1 allowed me to move forward with the design by making me think about its shortcomings and how to fix them. When viewed at the macro scale, the surface to me appeared to complex due to the form of the original polygon. There were some positives however. The tessellation worked well in the sense that it gave differing perspectives. From one view the surface looked closed off while from another, quite open. This additionally could play into the light streaming through the form.

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B5. Technique:

Prototypes

In prototype 2, I attempted to rectify the problems of prototype 1 by using a far more simpler geometry, to allow the tessellation of that geometry to create the complexity. When tessellated, it produced far more promising results that better satisfied the selection criteria maintained and developed throughout this module. What was produced was a more interesting macro form, that created a more dynamic effect, and the impression of movement - that the object was in-flux.

Additionally, from differing perspectives the tessellation worked much better. With prototype 1 only the top tessellated side fit well together, whereas the bottom side all the pieces intersected in various undesirable ways. In prototype 2 this was resolved, with the underside looking quite smooth, and the outside raised and open.

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PROTOTYPE 2

With this second prototype the micro geometry was scaled down in complexity to create a very simple form. In creating this form I decided a needed a shape that fit well with the tessellation system - in that it was angular, to produce differing angles and an overall surface impression of being open and closed at differing places. In solving this issue, I looked to the animal I was to be designing for in the brief for the next module. The Golden sun Mothâ&#x20AC;&#x2122;s wingspan became the inspiration for this shape, albeit in a very pared back, abstract way.

Top Right: Golden Sun Moth, Sourced from: http://ethanmiller.net/photoblog/wp-content/2013/08/_em_6919-26.jpg CRITERIA DESIGN

B5. Technique:

I also began to look at how this might be implemented into a scene, rather than being a purely speculative design. This was an experiment to see how the form would interact was placed inside a particular bounding constraint, such as a wall. This in particular seemed quite interesting how you could constrain your design , and how this completely transforms the way the user would it experience it.

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Prototypes

Connection Points

I decided to continue with the connection system used in prototype 1, as I believe it to remain appropriate with this new geometry. Each element should lock into place and essentially hold everything up. In further development some sort of wiring system may have to be used to cantilever a surface, or to suspend it across a span.

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B5. Technique:

Prototypes

REVIEW & ASSESSMENT

Prototype 2 produced more successful results than prototype 1 that will be pursued further. When moving on from this there are a number of aspects I will consider: When transforming the geometry to something more simple in shape, i did however loose that ability to have hollowed out places to place objects in, or possibly as refuge for the golden sun moth. In addition I believe whilst pairing back the geometry had a positive impact on the complexity , it did however make the surface quite plain. In the next prototype I hope to rectify these problems, yet moved forward with the positives taken from this one.

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B5. Technique:

Prototypes

Prototype 3 essentially took prototype 2 and expanded upon it. To solve the plainness problem, a second, smaller level of tessellation was proposed. This resulted in tiny perforations pushed through each object, to create a better use of light streaming through the surface. In addition the perforated side is also slightly recessed, in order to allow for that hollowed out space idea to continue in some sense.

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PROTOTYPE 3

Material wise I decided to base the model in the realm of possibility, by creating each shape out of plywood. This would enable a lightweight structure and extremely fast construction.

Top Right: Golden Sun Moth, Sourced from: http://ethanmiller.net/photoblog/wp-content/2013/08/_em_6919-26.jpg CRITERIA DESIGN

B6. Technique:

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Prototypes

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/B.6

Technique: Proposal

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CONCEPTUALISATION 83

HABITAT: GRASSLANDS AND GRASSY WOODLANDS WHERE WALLABY GRASSES GROW.

LIFE SPAN: 1-5 DAYS AFTER HATCHING

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DEMOGRAPHIC

NESTING: UNDERNEATH WALLABY GRASS ROOTS

THREATS: HUMANS . 99% OF POPULATION DESTROYED BY HUMAN INTERFERENCE LISTED AS CRITICALLY ENDANGERED

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PRECEDENT

One project I looked at for influence was the aggregated porosity canopy, that used tessellation to not just create a wall and roof installation but also to function as a seat. Itâ&#x20AC;&#x2122;s secondary use of holes punched through some of the surfaces influenced me to do the same in some sense with my project.

Left: Sourced from: https://s-media-cache-ak0.pinimg.com/originals/13/4c/13/134c1324929da6d6cc8721eec64b3e88.jpg Top: Sourced from: https://jodie1990.files.wordpress.com/2013/03/aggregated-porosity-canopy.jpg Bottom: Sourced from: http://www.designboom.com/weblog/images/images_2/2011/jenny/dal/dal02.jpg CRITERIA DESIGN

B6. Technique:

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Proposal

DETAILS The proposal I decided on was to design some sort of refuge for the golden sun moth. As we have contributed wholly to 99% of their population being destroyed, my proposal is for a re-population device that allows them to have a dedicated site to repopulate their species. Following from this idea of hollowed out places to put objects in, I decided that the mothâ&#x20AC;&#x2122;s one source of food - the wallaby grass should be able to grow in these. Additionally, the idea of light should still be used, as the structure can also attract moths at night by means of this. Originally the overall formation was to be some sort of suspend structure, but I decided against this, instead attempting to emulate the life cycle of the moth: It begins in the ground and then transforms to live its brief life skyward. Taking this idea, that pavilion starts growing out of the Earth and then transforms into a large wingspan shape, to be cantilevered over itself. Additionally, this creates the idea that it literally elevates the habitation out of human reach. The shape also harkened back to the ideas explored in the previous modules, that of the relationship of the singular to the whole. This fit in well with the Golden Sun Moth, as due to its very limited life span of only a few days, it presented this challenge of designing for many rather than one. On the spectrum of human co-habitation, this was to sit more towards putting the non-human over the human.

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WALLABY GRASSES GROW UP AND OVER STRUCTURE

FACILITATING A POSITIVE RELATIONSHIP WITH LOCAL FLORA & FAUNA 92

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AND A PLEASANT EXPERIENCE FOR NONMOTH VISITORS

PROVIDING A SAFE REPOPULATION HABITATION FOR THE MOTH

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B6. Technique: DIAGRAMS Prototypes

Gradually evolving intersection points a Each panel locks into the other, keeping tension. Each panel is made of a natura Also maintaining a lightweight structure

Micro & Macro

The form aimed to adhere to the idea of micro and macro scales, and the relationship between them. The tessellation system lends itself to this, as its singular geometry comes to define the whole through repetition.

The One

Each scale has one dow perforated. This creates but was devised for a pr light transferring from ou 94

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DETAILS

are created across the surface. g the entire pavilion on in al material - timber plywood. e.

The scale arrays across a curvature to produce the pavilion. The scale itself has been reduced to a simple folded triangular shape - allowing the complexity to come from orientation and arrangement.

and Many

wnward facing side that is texture and ornamentation, ractical purpose.-That of utside to in and vice versa. CRITERIA DESIGN

B6. Technique:

Prototypes

ISOMETRIC The form appears to bend and grow out of the earth itself, and then bends upwards to hang in the sky. This deliberate cycle from ground to sky was chosen to mimic the life cycle of the golden sun moth.

Wallaby grasses are to grow over the structure into the tessellated cavities to create an artificial habitation area for the golden sun moth to repopulate.

There is desired level of movement created by the

Again the whole retains its relationship with the singular, with the overall composition being a cur and enlarged version of the original folded scale.

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This relationship between the singular and the whole is again reminiscent of the moth due to its limited life cycle - designing for many over time rather than one.

e array.

ved .

At night, the structure is to be lit up from within, to emit light through its perforations and tessellations and attract the moths.

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Storyboard

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B7. Learning Objectives & Outcomes

Over module B I belive I have developed a good range of skills in relation to computational design and other digital techniques. I believe I have adequately been able to produce a number of designs, and my skill set has vastly increased. With that being said, there is still great room for improvement, and I will continue to attempt this so that my designs can produce more complexity and variance. I believe I have been able to adequately respond to a brief and find an interpretation from it, yet I found this highly challenging due to my chosen species inherent features and problems. I also think I developed a moderately well-done variety of design possibilities for a given situation, yet again here there is a room for improvement. With additional skills developed in grasshopper, the number of varied solutions could expand exponentially. In developing the ability to make a case for a proposal, I looked at the brief and the clientâ&#x20AC;&#x2122;s needs, and tried to rectify these. Additionally, I found it difficult to push each design step to further it away from the last iteration. This was particularly evident with the last proposal, where I struggled to add composite elements

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into a two element system. I developed a good skill set in additional digital programs that I havenâ&#x20AC;&#x2122;t used much (or at all). This included vector imaging in illustrator and formation of a fly through video in Unity. Research into various precedents vastly improved my knowledge of computational design techniques and outcomes, and allowed me to formulate my own in the last module. Overall I think that my progress over the module has been quite vast, yet I know there is still quite a way to go. With the feedback gained from the interim presentation i want to better my design so that it adequately responds to the brief in an interesting way. The number 1 thing I wish to address is this idea of adding more to the system to increase the complexity of the form. Secondly I am thinking of completely moving the design into an urban context in relation to feedback about the presence of wallaby grasses in the wild. I believe this is an interesting idea, as it actually makes the design necessary to the species survival in that environmental context.

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101

102

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B8. Appendix

Algorithmic Sketches

Bibliography

1 ‘Tesselation in Architecture’, Harvard University Graduate School of Design, http://www.gsd.harvard.edu/course/tessellation-in- a r c h i t e c t u r e spring-2007/ 2 ‘Hyposurface’, hyposurface/ 3

dECOI,

2011,

http://www.decoi-architects.org/2011/10/

‘VoltaDom’, SJET, 2011, http://sjet.us/MIT_VOLTADOM.html

4 ‘Dragon Skin Pavilion, Arch Daily, 10 March 2012, sourced from: http://www. archdaily.com/215249/dragon-skin-pavilion-emmi-keskisarja-pekka-tynkkynenlead

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PROJECT PROPOSAL

/PART C

DETAILED

DESIGN

PROJECT PROPOSAL

105

C1.

DESIGN CONCEPT

106

PROJECT PROPOSAL

107

C1. Design Concept

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PROJECT PROPOSAL

/ADDRESSING

FEEDBACK

Following on from the feedback that was received during part B, we were tasked with re-designing our projects in groups. We were arranged into a group of three; consisting of Brian, Sherry and myself. We then looked critically at each other’s projects for Part B and assessed which had the most room to further its development, according to the provided feedback. Interestingly, we all had designs facilitating relationships between humans and a flying species; Brian’s design was for a butterfly, Sherry’s, a bird, and mine a moth. The feedback each of us received was basically quite similar: the proposal was too simplistic, and required another few layers of complexity to get it to a successful level. We initially decided that the Golden Sun Moth remained the most promising design-wise, as

it had a few notable characteristics to be built upon. Yet we subsequently re-assessed this , and unanimously decided that the moth, as well as the other two species, had gone as far as they could go regarding design opportunities. Though the Golden Sun Moth was an interesting client to work with, it ‘s inherent minimal attributes prompted this decision to move on, as we foresaw we would eventually end up designing another re-populating device for it. From this decision we looked at starting again with another species of the Merri Creek as our client. In keeping with each group member’s history with a flying species, The Sacred Kingfisher emerged as the most promising oaf these choices.

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C1. Design Concept

/CLIENT

ATTRIBUTE

STUDY

The Sacred Kingfisher is a species native to Australia that resides in the Merri Creek area.

additionally has a relationship with water, making it unique to other birds we could have chosen.

An attribute of the Kingfisherâ&#x20AC;&#x2122;s that drew us to selecting it included its reliance on multiple systems to survive;

This connection between earth, water and of course air seemed interesting to us to push forward.

Being a bird, the kingfisher already has this unique relationship between land and sky, but the Kingfisher

NATURE: TERRITORIAL & AGGRESSIVE

HABITAT: TREE HOLLOWS COMMONLY USED FOR NESTING PREY: ACQUIRES ITS ENTIRE SOURCE OF FOOD FROM AQUATIC RESOURCES.

FISH, YABBIES & VARIOUS AQUATIC INSECTS

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HABITAT: HUNTS FROM PERCHES, USES KEEN EYESIGHT TO CATCH PREY

The Kingfisher commonly uses hollowed out trees for habitation, fitting families of birds within these hollows depending on their size. Due to it being a rather small bird it can be quite aggressive and territorial to non-kingfisher species, such as humans. When threatened, the Fisher will use loud repeated calls and expand the striking colours of its wingspan to warn predators to stay away.

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C1. Design Concept

/IMPLEMENTING

THE

CO-DESIGN

AIM:

To provide a multipurpose habitat for the Sacred Kingfisher, providing habitable spaces, as well as adequate height and vantage over the Merri Creek.

CAGE:

The concept of a bird cage will be inverted in the design to limit human interaction. Rather than keeping the birds in the isolated area it will be to keep Humans out.

HUMAN

INTERACTION:

The design aims to limit human interaction with The Sacred Kingfisher to ensure a safe and disturbance-free habitat.

HUNTING

HABITS:

The design aims to give the Kingfisher adequate vantage points that will allow it to hunt prey over the Merri Creek.

HOLLOWS:

To provide nesting areas that are separated from the exterior environment. Red Gum and Eucalyptus hollows are a valuable commodity in nature, and are known to take over 100 years to form naturally. The Design negates waiting for this to occur, and ensures a secure habitat free from human interference.

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C1. Design Concept

‘MMYST’ Kickstarter, New Territories

‘Slf’ Studio Roland Snooks

Above Top: New Territories kickstarter project, Sourced from: http://static.gooood.hk/2015/10/002-MMYST-3-960x960.jpg Above Middle: Studio Roland Snooks, Sourced from: http://www.rolandsnooks.com/slf/ Opposite: Studio Roland Snooks, Sourced from: http://www.rolandsnooks.com/slf/ 114

PROJECT PROPOSAL

/PRECEDENT

STUDY

In our attempts to find an appropriate design response to the Sacred Kingfisher’s needs we looked at a number of precedent cases for inspiration. Firstly was the New Territories conceptual Kickstarter ‘MMYST’, which I looked at as a precedent back in Part A. The project was an architectural habitat for Swiftlets, a bird native to Thailand1, that seemed to resemble qualities we desired for the Kingfisher. In particular were the series of habitable spaces for the birds, which are wrapped in a vertical tower of foam fabricated to blend in with the surrounding volcanic rock. The organic composition aimed to attract the birds, as it is modelled after the caves in which they dwell.

We envisioned a tower of sorts that could incorporate this idea, yet instead of closing off these spaces they would be hollowed out for the kingfisher to gain access to an inner sanctum. Our second precedent, ‘Slf’ by Studio Roland Snooks, gave us inspiration in using interlocking components to create a wingspan-inspired formation. The project utilised robotic fabrication techniques to cut each unit out of foam blocks, that would easily fit together using predetermined connection points. The result is a formation that invokes a sense of bird-like qualities, resembling a sort of great architectural nest.

1 “Kickstarter by New-Territories M4 Addresses New Forms of Ownership in Architecture”, Archdaily, 11th October 2015, http://www. archdaily.com/774827/kickstarter-by-new-territories-m4-addresses-newforms-of-ownership-in-architecture

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C1. Design Concept

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PROPOSAL

From looking at precedents, we were recommended a new plug-in for Grasshopper named ‘Fox’, that allowed us to create a formation that utilised simple, repeated elements that automatically fit together according to pre-set connection points. In addition to this, the components were easily transferable to physical artefacts, in that Fox only utilised planar elements that could be quickly lasercut to pinpoint accuracy. This enabled us to quickly move into fabrication, after several instances of starting our design again, and a great bulk of time spent understanding how to use fox. Our design decidedly incorporated many of the elements previously discussed in our concept. Fox’s use of isosurfacing and charge points allowed us to create an interior volume protected by an exterior shell, with the space between these being where the units would be tiled. In the diagram opposite, some units have been taken away at the base of the structure to allow a view inside. The overall form sought to create a shape reminiscent of a bird’s wing, harkening back to the Kingfisher’s use of its wingspan to ward away predators.

In keeping with this idea of a wingspan, the tiling units initially came from looking at bird feathers, yet through feedback eventually evolved to be somewhat more knife-like and threatening. An additional scale of parametric design was implemented to make patches of sharper units at the base of the structure, with more units becoming gradually blunter towards the top. This, while adding layers of complexity, also served a practical purpose in keeping humans (at ground level) away from the design, and negating their access to the interior space, of which the two entrances are located several metres above. When looking for ways to add layers of complexity to our design we formulated this idea of the bird cage, which we would invert to keep humans out. This manifested itself in a wire frame that also created a good framing device for the wing form, without detracting too much from the central construction element of the feather unit. Lastly, the form aimed to arch itself over the Merri Creek, allowing significant height and vantage over the water for the Kingfisher to hunt its prey.

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C1. Design Concept

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DIVIDE

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BOX

2. CHARGE POINTS

3. ISOSURFACE FROM POINTS

/TECHNIQUE

4. REDUCE RESOLUTION

DIAGRAM

5. EXTRACT EDGES & PIPE

6. TILE UNITS USING CONNECTION EDGES & CHARGE POINTS

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C1. Design Concept

/CONSTRUCTION DIAGRAM

At a 1:1 scale the cage is to use a basic steel system welded at connections. The structure should support itself due to the triangulation of the isosurface panelling.

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Fox allowed customisation of each unit where we could chose where connection points would be placed. This meant a fairly easy construction phase: each element would simply slot together, supporting itself and others.

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/PHOTO MONTAGE

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C2.

TECTONIC ELEMENTS & PROTOTYPES

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Once we had finalised our preliminary design we entered into the fabrication stage.

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st Form

C2. Prototyping

nd Form

Unit Design

Our core construction element was the tiled unit, which we focussed our initial efforts on refining through the process of prototyping. The unit was to be repeated with dimensional variation across the design, slotting into each other by way of predetermined connection points. Initial prototyping began with fabricating the feather units in various sketch materials, mainly to see how they would fit together but also simply to look at the objects critically from a physical, tangible perspective. When selecting a material, care was taken in choosing something that was lightweight, but also able to have a correct amount of thickness needed to ensure the junctions fit together. The original design featured a very abstract, almost cartoon-like representation of a feather. We asked a number of people outside the class what they thought the shape resembled, and the majority said they thought it was actually a leaf. This prompted a redesign into something that better resembled a feather form.

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Materiality

The first sketch models were cut out manually from balsawood, using a printed outline as a template. These proved however to not be suited to the intricacies of the shape and merely crumbled, so we moved on to using boxboard.\ These proved to be more successful in accurately representing the design physically, so we used these moving forward.

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C2. Prototyping

Silicon Moulds

From the sketch models we started to look at legitimate options to use when making the final model. From this came an experiment into using silicon moulds that we could make resin objects from. The boxboard cutouts were used as a starting point.

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Fabrication Process

Cut unit shape out of boxboard Seal the boxboard with water-based sealant and allow to dry Squeeze desired amount of 100% silicone in a bath consisting of water and dish soap Knead silicone in bath until it becomes more firm Take silicone out of bath and flatten Press unit into the flatten silicone and allow to cure for 24 hours After silicone is cured, remove cardboard unit and pour in mixed resin Allow resin to cure before de-moulding and repeat process if required

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C2. Prototyping

Silicon Moulds

The finished resin units slotted together. We realised after making these how unfeasible it was using moulds, as although the resin was advertised as curing within 24 hours it took over 4 days to reach the rigid nature we required for them to fit together in a stable manner. Before this amount of time they remained undesirably flexible , to the point where they didnâ&#x20AC;&#x2122;t quite fit together clean enough.

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C2. Prototyping

Perspex

Following the experimentation with moulds we decided on lasercutting as our best option to create a vast number of units quickly and cleanly. Originally we aimed to use MDF boards, as this was the material used by the authors of Fox in their promotional models. Yet we were given the suggestion of perspex, which would produce a much cleaner cut and a better look. As with the silicon prototypes we settled on using transparency in the material, which would create a far more unique model, and provide a good contrast to the solidity of the wireframe. We found perspex to be the ideal material for us to use moving forward. The joints provided sufficient structure and rigidity, and the fabrication time was feasible, unlike the silicon moulds.

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PROJECT PROPOSAL

We also thought about how these objects would stand up, and lasercut some stands for them, which you can see in some of these prototype photos. We eventually did not use these however as we found the units to be stable enough on their own, and would angle themselves in a manner that more closely resembled the digital model, rather than making them stand up straight. Additionally, we found that the units needed to be glued together to work satisfactorily. Though they slotted together well, we found simply for practical reasons that they needed a permanent fixing between the joints for when transporting the model. This also allowed us to make formations that didnâ&#x20AC;&#x2122;t simply rely on gravity to stand up - which Fox made.

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C2. Prototyping

Wireframe

In attempting to fabricate the wireframe, we first attempted to use black irrigation pipe, which came with small junction connectors. These however proved to be too heavy and hard to cut to size, and the junctions could only be used in very specific ‘T’ or ‘elbow’ intersections. Subsequently we opted for using plastic piping, which solved all of these problems. For each connection we came up with a method shown on opposite.

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1 2 3 4 5 6 7

Fabrication Process

Cut piping into sections Feed wire into junction point Bend wire into desired connection shape Use hot glue gun to seal together Apply air drying clay to smooth over junction Leave to solidify overnight Spray paint black to create seamless surface

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C2. Prototyping

Following initial prototype fabrication we decided to redesign the feather unit according to feedback we received. As the unit was our core construction element this is what we divided most of our time to, as well as making sure it worked in Fox. The aim was to create a more dynamic shape that not only tiled better aesthetically but also served to fit our conceptual purposes in a more accurate manner. Our original abstract â&#x20AC;&#x2DC;featherâ&#x20AC;&#x2122; shape was completely re-designed to create a more knife-like shape. This gave the tiled form a much more wild appearance rather than the static state of before. Secondly we were advised to try and add another layer of parametric variation to the units so that there would be multiple scales of information and detail. Initially this was

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deemed unable to be done using Fox and we simply varied the units using grasshopper for fabrication only. Yet a solution was eventually worked and the multiple variations were implemented into the digital model as well. Each unit gradually was varied to become sharper over four total levels, with the first being quite blunt and the last quite menacing. Conceptually, this worked to our advantage. The sharper objects were tiled around the base of the design, with gradual decrease in sharpness towards the spire. The rationale being that humans, being a ground basedspecies and predators of the Kingfisher, would naturally be warded away. In addition to this, humans would be discouraged from climbing the structure to gain access to the two entrances of the inner sanctum, and in fact it would hurt them if they attempted to do so.

st Variation

2nd Variation

rd Variation

th Variation

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C3.

FINAL DETAIL MODEL

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After refining our design and the last prototypes proving successful, we set to making the final model.

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C3. Final Model

We decided that for the final model we would only be doing a section of the design, as this would convey a better level of detail than could be made if we fabricated the whole design. The section we chose to make was the top quarter of the design - the pointed roof the sanctum encased by the larger, top spire of the aviary, between which the units would be tiled.

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After prototyping the wireframe proved to be successful, we used the same process in creating the final model. Each section was measured directly from the digital model, so as to create an accurate representation. This can be seen in the images opposite, comparing the physical model to the digital one on the computer.

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C3. Final Model

Each junction was hot glued and then covered with the air dry clay, and left to set overnight.

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The entire structure was then spray painted a matte black colour to give a solid contrast to the transparent units.

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C3. Final Model

The units were lasercut in clear perspex and placed in piles according to their level of sharpness. We then tiled each of the together, making sure the sharper utilised around the bottom of the model and the blunter ones used near the top. Each element was glued together to ensure strong joints between each piece.

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A base was then cut out of black foam core according to the shape of the section slice. Black foam core was chosen so as to blend in with the black of the wireframe, and to give the impression that it was rising up out of it - that it was only a part of a larger structure, and the remainder continued below.

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/Presentation /Presentation Model Model

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C3. Final Model

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C4. Learning Objectives & Outcomes

Presentation Feedback During the final presentation critiques we received feedback on how to improve our design proposals. The majority of the feedback centred on our physical model and how we had translated it into the real world from the digital one. Conceptually our proposal seemed to be fairly accepted, as well as design-wise, with the biggest positive being our development of skills using Fox, and using it to create a moderately successful project. The biggest critique was that there was a discrepancy in the density of the tiling between

I believe I have adequately been able to produce a number of designs, and my skill set has vastly increased. With that being said, there is still great room for improvement, and I will continue to attempt this so that my designs can produce more complexity and variance. In response to the brief I believe that I produced a satisfactory interpretation and end result. I personally think that this second project has been far more successful and a vast improvement than the first in part B. This was mainly I think due to the pooling of resources that came with doing a group project, particularly with group members that had similar thought processes and design approaches. Being able to brainstorm and

PROJECT PROPOSAL

Following on from the final presentations we were able to rectify these issues for the final journal. In response to this particular critique we decided to lasercut another set of perspex units with which to fill these spaces. Images of the final model can be seen at the end of the journal.

Learning Objectives

Since the start of the studio I have learned a range of digital design skills and theory relating to the practice of architectural computing.

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the physical model and Fox. Clearly the clusters were quite a lot denser in grasshopper than we had made them in the model, with a few notable patches of blank space where there shouldnâ&#x20AC;&#x2122;t have been. This gave the model a bit of an empty appearance in places.

discuss with each other what worked and what needed improvement was absolutely invaluable and an integral part of the projectâ&#x20AC;&#x2122;s success. Additionally, I found the client species that we chose this time to have many more design possibilities than my previous one, which enabled the project to evolve further than Part B did. Research into various precedents vastly improved my knowledge of computational design techniques and outcomes, and allowed me to formulate my own in the last module and this one. My experience with parametric modelling in Grasshopper has been challenging, yet rewarding in many ways. Importantly I found that by focussing on improving my skill set in grasshopper the design completely broke new territory and opened up more possibilities than I had in Part B. Which added the levels of complexity my designs needed.

Over the course of this semester I have had to shift my thinking about not only what architecture is but also who it can be for. Initially this was quite challenging, yet gradually over the course of the studio it became more natural, I found the idea that architecture didnâ&#x20AC;&#x2122;t have to be restricted for human use incredibly enticing, and it is one I believe I have found a good amount of engagement and enjoyment in. The project also affected my understanding of the role of computational techniques in the design process. I admit Initially I was sceptical about its importance or even its relevance in the world of design today,preferring more traditional forms of architecture. (This was most likely exacerbated by the frustrations of learning an entirely new design program). However once I achieved a good grasp of grasshopper it really did become clear the enormous possibilities that could be produced. Computational design has completely changed not only the outcomes produced by the design process, but the actual entire process itself. The bottom-

to-top way of design has completely redefined design, allowing the designer control over incredible amounts of detail whilst still providing a degree of psuedorandomness in variation. With that being said,I have still remained critical of the role of computation in the design process. Though its advantages cannot be understated, I believe it is not suited to all projects. For this project I found the brief to be well suited to the parametric tools we were required to use. I believe they however should not be used on every project simply because they can, lest architecture be reduced to very generic abstract forms for the sake of it. I believe with the skills I have developed over Studio Air that I can adequately utilise computational methods to create,design and manipulate an architectural project. I remain aware though that it is still early days and my skills are developing, yet I am confident the skills I have learned will continue to progress and be useful in my future architectural endeavours.

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/Revised /Revised Model Model

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Revised Model

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/Bibliography

1. “Kickstarter by New-Territories M4 Addresses New Forms of Ownership in Architecture”, Archdaily, 11th October 2015, http://www.archdaily.com/774827/kickstarter-by-new-territories-m4-addresses-new-forms-of-ownership-in-architecture

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