Goldberg_Jasmin_699085_Journal by jasmin_goldberg

Studio Air Jasmin Goldberg, 2017 Tutor: Finnian Warnock

Table of Contents // Background 5

Part A // Conceptualisation 6 A1 // Design Futuring 8 Case Study 01 // Strandparken 10 Case Study 02 // Oslo Opera House 12

A2 // Design Computation 14 Case Study 03 //NYMPHA Cultural Centre 17 Case Study 04 // Centennial Chromagraph 18

A3 // Composition/Generation 20 Case Study 05 //Silk pavilion 22 Case Study 06 //subdivided columns 25

A4 // Conlcusion 26 A5 // Learning Outcomes 27 A6 // Algorithmic Sketches 28 // list of figures 34 // Bibliography 35

Part B // Criteria design 37 b1 // research fields 38 B2// Case Study 1.0 Iterations 40 Successful Species 43

b3 // Case Study 2.0 44 Reverse engineering the pavilion 46

// Selection Criteria 52 b4 // technique development 54 Combined matrix of useful iterations 60

b5 // Technique:  Prototyping 63 Material Choice 64 Connections 66 Figure 1 [cover] - close up of 1:10 final detailed model

prototype 1 68 Prototype 2 72 Prototype 3 76 Fabrication defects 77

B6 // Technique: Proposal 79 B7 // Learning Objectives & Outcomes 80 B8 // Appendix - Algorithmic Sketches 83 // list of figures 92 // Bibliography 93

Part c // Detailed Design  95 c1 // Design Concept 96 site analysis 101

c2 // techtonic elements and Prototype 102 Prototype 4 105 Refining the algorithm 107 pseudo algorithm 108 prototype 5 110 Iteration Matrix 1 114 Iteration Matrix 2 116 Site placement 118 connection refinement 120 Site Effects 123

c3 // Final Detail Model 124 1:10 Scale model 126 1:3 scale model 131 Hanging Method 133 Fabrication +  134 Construction Process 134

c4 // Learning objectives and outcomes 138 alternative  functions 140

// list of figures 148

Figure 2 - Place for secrets rendered perspective, Architecture Studio: Earth, 2015

Figure 3 - Place for secrets model, Architecture Studio: earth, 2015

Figure 4 - Final scale model, Designing Environments, 2014

Figure 5 - Final rendered persepctive, Designing Environments, 2014

// Background My name is Jasmin Goldberg and I am in my final semester of studying Civil Engineering through the Bachelor of Environments. It therefore may seem strange that I have found myself in Architecture Studio: Air, however, I am looking at embarking on the double masters of Architecture Engineering in the new year. I have always had a passion for mathematics, hence the choice of major, however my love of architecture and all things design has been slowly blossoming since year 10. I chose, on a whim, to do Visual Communication and Design as an elective and I have not looked back since. I love the ability of architecture, and design in a greater sense, to broaden our scope and create innovative and wonderful solutions to the worlds problems, be it through architecture, design or products. I love the idea that architecture and design has the ability to shape and change peoples behaviour, be it altering pedestrian flow, encouraging social interaction or simply evoking an atmosphere or deep feeling within the users of the space. This passion for architecture has only grown further with more concentrated exposure to architecture and design throughout my university career. I loved Architecture Studio: Earth and its

heavily conceptual focus, it giving me the tools and the platform to explore a personal architectural language and develop a sense of style and expression which I hope to further within my explorations in Architecture Studio: Air. I am also looking forward to see how this architectural expression will change and expand with the new computer technologies learnt throughout this subject.

Figure 6

Part A // Conceptualisation

A1 // Design Futuring With the knowledge of our mortality growing ever more unavoidable, architecture as an industry has to move away from the anthropocentric fulfilment of excess and power towards a more sustainable future. We need to engage with design as a “world shaping force”, as it is quite possible that design has a big role to play in determining whether or not we have a future1. In order to maximise the possibility of a future for human kind we need to change our thinking, and consequently, how and what we design. Fry suggests design should be seen as a redirective force, utilising the energy and momentum of a force and redirecting it for positive change1. We need to move away from our current path of destruction, and redirect it towards a future of sustainability. Dune and Raby suggest the use of design speculation and critical design to “act as a catalyst for collectively redefining our relationship to reality”2. Rather than predicting the future, designers should use the idea of possible futures to help unpack the present and determine what is wanted (and unwanted) for the future. Through speculative design we can explore these possible, plausible or preferable future and through critical design we can challenge the narrow assumptions and preconceptions about our future to jolt ourselves out of the complacency of our continued existence. However, both speculative and critical design run the risk of not being taken seriously, the fear mongering or satirical tactics being shrugged-off as fantastical. Rather than risk thought provoking design becoming dismissed, using architecture to embrace and enhance nature may assist in increasing awareness and thus care for our planet. Therefore architecture that cares for or actively acknowledges and praises nature may be a more viable alternative to speculative or critical design due to its relative practicality and applicability.

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Fry, Tony. Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p. 1-16 Dunne, Anthony & Raby, Fiona. Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013), p. 1-9, 33-45.

Figure 7 [previous page]: Column Division - Michael Hansmeyer; Figure 8 [right]: Exterior of the Strandparken Building 8

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Figure 9 - Wooden shingles of the Strandparken apartment building; Figure 10 [right] - Building’s proximity to natural elements

Case Study 01 // Strandparken Architecture is moving away from expressions of excess and power and towards a complicated relationship between creation and destruction. Tony Fry expresses in Design Futuring this relationship is not problematic when the resource is renewable1, however, current design and building trends see the dominance of concrete and other non-renewable resources in the realisation of architect’s visions. This is what makes the Wingardhs’ Stranfparken apartment building so innovative. The Swedish architecture office wished to explore the potential of sustainable multi-occupancy housing made entirely of wood2, simultaneously tackling two of our biggest problems in securing a future; our ever expanding population which is increasing demand on our limited natural resources, and our over reliance on non-renewable resources1. Attempting to evoke the nature of an archetypal house with the pitched roof and gable ends, the Stranfparken project attempts to create a slow attitudinal shift within its users, redirecting their ideas in small steps rather than a giant leap. In it’s simplicity the design moves away from the post-industrial design habits of excess and consumption

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to create a new model of urban awareness, produced with natural resources and located within nature to emphasise the reciprical relationship. Finally it further assists with sustainability, through the low maintenance of the building. A problem with working with wood is it ages differently, cleverly overcome in this design with the use of shingles, whose variation with age will not affect the aesthetic of the housing. It is the thinking beyond merely the present which is at the core of design futuring, and while consideration of the aging of the building is on a much smaller scale than envisioned by Dune and Raby, it is the beginning of a discourse and way of thinking about our possible futures3. This attention to the idiosyncrasies of the material, its capability and its limitations, is something I want to strive for in my work in Studio: Air. We need to develop new methods for design that are possible in both the present and the probable, possible or preferable futures3, and I believe that Wingardhs project does that, providing new and innovative construction methods that are comfortable, affordable and previously through unattainable at this scale.

Fry, Tony. Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p. 1-16 Griffiths, Alyn. “Wingårdhs Designs Prefabricated Housing Made Entirely From Wood”. Dezeen (July 2014) . <https://www.dezeen.com/2014/07/03/wingardhs-strandparken-wooden-prefabricated-housing-stockholm/> [ accessed March 2017] Dunne, Anthony & Raby, Fiona. Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013), p. 1-9, 33-45. CONCEPTUALISATION

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Case Study 02 // Oslo Opera House Enhancing the importance and power of nature, rather than facilitating human dominance above it, Oslo’s new Opera House forces the user to rethink humans’ relationship and co-existance with the natural world. Norwegian architects, Snohetta’s, design is as much an expression of architecture as it is of landscape. It fosters a public awareness of the building but also its relationship with its surroundings, engaging users not only with the arts but with nature1. The sloping roof, acts as a promenade and walkway, the shape evoking an iceberg piercing the water’s surface. This assists in blurring the line between public and private, built and natural environments, reshaping and redefining the goals of traditional buildings. The roof aims to evoke the Norwegian nature, free for everyone to walk in2, and thus relates the built with the natural and reminds the user of respect to nature. The building attempts to “alter [the] city’s relationship to itself”3 and thus could be considered redirective in its intensions4. It also cleverly redirects users flow through the use of ha-has. These are sunken walkways that function as a

barrier to the dangerous edges of the roof’s piazza and thus demonstrates how architecture can be used to alter behaviour. This sort of innovative thinking, in this case inspired by zoos, could be used on a larger scale to change human behaviour and exploitation of the land to create ourselves a possible future. Through clever geometric design and choice of materials the users perspective of the building changes as they make their way around it5. The perforated cladding of the bathrooms changing over time and space through the manipulation of geometry. Likewise, the metal cladding with punched spherical pattern provides a constantly changing affect depending on the intensity, colour and angle of the light on them. Finally, the non-uniform texture of the oak “wave wall” creates an ever changing spectacle created from natural material, further evoking that relationship and cooperation between the built and the natural environments. These three examples demonstrate the flexibility of materials and how light, shape and shadow can be used to create wondrous effects with some of the simplest of materials, something I hope to emulate in my Architecture

Figure 11 - Oslo Opera House by Snohetta architects

“Norwegian National Opera And Ballet”, Snohetta <http://snohetta.com/project/42-norwegian-national-opera-and-ballet> [accessed March

2017]

“Please Walk On The Roof - Visit Norway”, Visitnorway <https://www.visitnorway.com/places-to-go/eastern-norway/oslo/oslo-opera-house/> [accessed March 2017]. 3 David Owen, “The Psychology Of Space”, Annals Of Architecture, 2013 <http://www.newyorker.com/magazine/2013/01/21/the-psychology-ofspace> [accessed March 2017]. 4 Fry, Tony. Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p. 1-16 5 “Oslo Opera House - Snøhetta”, Arcspace, 2008 <http://www.arcspace.com/features/snoehetta/oslo-opera-house/> [accessed March 2017] 12

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Figure 12 - Oak “wave wall”

Figure 13 - Geometrical cladding of the bathrooms

Figure 14 - Punctured steel exterior wall

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A2 // Design Computation With advancements in modern technology, computers have evolved from being instrumental contributors to the design process to a medium which supports the very logic of design thinking and making. A symbiotic relationship has now been forged between the designer and the computer, the developing technologies enhancing rather than merely fulfilling the formulation of design. Parametric design “enables the creation and modulation of the differentiation of the elements of a design”1 focusing on the dependency and associative logic between objects and form. These technologies have influenced a shift away from compositional and representational theorising towards more research based experimental design2. The ability to model the inherent tectonic properties of a material, and their capacity to withstand certain manipulations, has redefined architecture as a material-centric practice. It has reignited the role of the architect as the ‘master builder’ with the power and understanding to manipulate materials to their desire. This modelling of inherent properties allows for the production of architectural form that is responsive to an environmental context.

municate their vision to the builders - thus closing the feed-back loop between design and construction3. However, digital technologies have facilitated a collaboration between architects and engineers4, expanding access to information and thus opening up the design process to all that are involved5. What will be interesting in explorations during Architecture Design Studio: Air, is how far we can take this technology. While we can make computational design a material driven process, through using the idiosyncrasies of the material to influence the structure and form, as with the 2010 ICD/ITKE Research pavilion, I want to see what else we can use to drive this research based method to design. It will be interesting to explore what sort of design would emerge from something driven by historical data or information from living organisms; to expand the current horizons of research driven design and see what else can influence computational design.

Furthermore, the addition of computers to the design process has created a continuum between design and production. There has been a separation between the role of the architect and the builder since the Renaissance period - with the invention of the scale drawing allowing architects to com-

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Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 3 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 4-9 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 7-8 4 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 4 5 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 13 Figure 15 [right]: ICD/ITKE 2010 Research Pavilion 14

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Case Study 03 //NYMPHA Cultural The NYMPHA Cultural Centre is a conceptual project by Upgrade studio architects in Bucharest, Romania. Using parametric design techniques they designed the centre based on spatial analysis related to the unique urban fabric of the site1. As Oxman describes, computational design technologies allow for a research based approach to design that is responsive to an environmental context2, a prime goal of Upgrade Studio. They are concerned that with the constant expansion of cities to accommodate for our ever growing planet, attempts at integrating new projects into a city can be harmful to the existing cultural identity and authentic urban tissue1. They believe there is danger in designing buildings with no reference to the fact that each city emerges uniquely, with individual characteristics engrained within their fabric, almost like DNA3. The creation of generic, more compositional focused designs, with no research and reference to the context, can be harmful to the unique cultural expression of a cityscape. Through measuring the natural environmental elements of the site, including wind, sunlight, temperature and pedestrian circulation1, the data was collated into a series of mathematical models and algorithms which were

than analysed for opportunities for reanimation of the urban environment3, thus making the building and its expressed form a direct expression of its context. The building is also inspired by biological life, with the a smart protective skin, like that of a chrysalis, that protects what is inside. The NYMPHA Culture centre is reactive to a changing urban context through a network of veins encapsulating the exterior, the space distribution modelled from a mathematical algorithm. Not only do these veins add a sustainable element to the building - controlling heating and cooling, filtration of light and harnessing of solar energy and storing of water - linking back to last week’s readings, but they also further add to the computational design process. Even after production, sensors monitor the inside and outside environment to further the research aspect of parametric design3. Thus the building emulates the characteristics of an organism, and can be responsive to its context after the designer has stepped back. This responsive nature is particularly relavent in our ever changing world where we need to adapt and respond to environmental changes to ensure our continued existance.

Figure 16 - Algorithmic spatial distribution of strucutral system; Figure 17 [left]: NYMPHA Cultural Centre

Arch2O.com. (2017). NYMPHA Cultural Center | Upgrade Studio - Arch2O.com. [online] Available at: http://www.arch2o.com/ nympha-cultural-center-upgrade-studio/ [Accessed Mar. 2017]. 2 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1-10. 3 Archello.com. (2013). Upgrade Studio - Project - NYMPHA Cultural Center. [online] Available at: http://www.archello.com/en/project/nympha-cultural-center [Accessed Mar. 2017].

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Case Study 04 // Centennial Chromagraph Beyond merely materially driven computational designs, data spatialization is a new form of researchbased design that can inform generation through large data sets. An example of this is the Centennial Chromograph produced for the Minnesota School of Architecture by Adam Marcus and Daniel Raznick in 2013. Data spatialization is the practise of taking large sets of data, simulating and visualising them through computational software, and then transporting it into the physical world and displaying the data artistically or architecturally1. Initially the School’s alumni archives were analysed with relation to class size, degree type and geographic location and then visualised spatially and chromatically through the use of computational design software2. This synthesised information then manifests itself in the sculpture/installation in two ways. The curved form of the design represents the tenures of the leadership , the colleges it has belonged to and the buildings its has occupied, organised chronologically to drive the overall form of the project. The distribution of colour, on the other hand, is driven by the degrees rewarded by the school, allowing the viewer to chromatically read the evolution of the degree programs through time3. This project also explores another shift in the design process with the introduction of computers, which is

the continuum between generation and production4. The curvature of the installation was informed by the historical data computationally, and then this information was relayed from the computational design software to the laser cutter, allowing the plywood ribs to be produced directly from the architects design and thus involving the architect in the fabrication stage of the design2. This project demonstrates how computational design techniques can be taken further, and how designs can be informed by things other than materiality, and rather be data driven. However, the synthesis of data in this example is rather arbitrary, only readable within the context of the project and even then only informing form for forms sake. Architecture in its purest form should be legible and so if you are going to tap into data for a project you want to have real life implications for the datas output, such as the filtration of light or air. The danger with computational design tools, as is evident in this example, is that they can be used for complexity’s sake and not for an actual purpose or goal beyond the aesthetic. As dicussed in the next section, the benefits of algorithmic and computational design is the ability to bring forth complexity from a simple process, however, misuse of these tecniques for frivilous reasons, such as this one, can belittle the benefits of these techoologies so that they just become complex for complexity sake.

Thilmany, J. (2015). Architectural Design Trends: Turning Data Into Art. [online] Redshift. Available at: https://redshift.autodesk. com/architectural-design-trends-adam-marcus/ [Accessed Mar. 2017]. 2 Raznick, D. (2013). Centennial Chromagraph | Daniel Raznick | Archinect. [online] Archinect. Available at: http://archinect.com/ danielraznick/project/centennial-chromagrapH [Accessed Mar. 2017]. 3 Raznick, D. (2014). Daniel Raznick Full Portfolio. [online] issuu. Available at: https://issuu.com/danielraznick/docs/daniel_raznick_ full_portfolio [Accessed Mar. 2017]. 4 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 3 18

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Figure 18- Centennial Chromograph installation

Figure 19 - Process of data synthesis CONCEPTUALISATION 19

A3 // Composition/Generation Computation has expanded the capacities of design and transferred it into a digital age, however, it is not yet engrained within the practice. “When we no longer need to discuss the digital as something different, then computation can become a true method of design for architecture,”1 but until then, the benefits and limits of algorithmic and computational design are being pushed by innovators in the field.

exploration of a huge number of cohesive options to find the optimal solution3.

The age of computerisation has given rise to a method of algorithmic design, capturing and creating design through adherence to a simple set of rules2. This in turn has caused a shift from compositional design, in which the concept expression is abstractly derived from the designers imagination, to generative design, in which the form is grown out of a rule set. This new approach to form generation opens up many exciting opportunities for the future of design, architects taking inspiration from the evolutionary design structures within nature, living organisms or historical patterns to generate form. It allows data manifest itself in the architectural form and then create innumerable variations of this form following the same set of rules. It is this ability to create endless permutations of a singular design that is possibly the most exciting opportunity brought forth by algorithmic design as it allows high-level goals and constraints to be met through

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Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 12 Wilson, Robert A and Frank Keil, The MIT Encyclopedia Of Cognitive Sciences, 1st edn ([Cambridge, Mass.]: Massachusetts Institute of Technology, 1999), pp. 11-12 3 Keskeys, Paul, “How Generative Design Will Change Architecture Forever”, Architizer, 2016 <http://architizer.com/blog/howgenerative-design-will-change-architecture-forever/> [accessed March 2017] Figure 20 [right] - Subdivided column, Michael Hansmeyer 20

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Case Study 05 //Silk pavilion MIT’s research into bio-fabricated design1 demonstrates how algorithmic design forms can be generated both in the digital and analogue worlds. The initial panels of the silk pavilion structure were formed by an algorithm driven robotic arm that deposited 1km of silk thread onto the 26 panels that were used to form the dome of the pavilion. The algorithm guiding the arm was an imitation of silk worm cocoon behaviour2. 6500 live silk worms were then placed on the structure to increase the density of thread and complete the design2. This second phase of the fabrication process, while analogue, is still algorithmic design. It strips back the concept of algorithmic design back to its core principles which is the following of a simple, finite set of rules to the fruition of an outcome. It perfectly demonstrates too, how algorithms are not confined to an action by computers with numbers3. I believe that this example is particularly pertinent to Architecture Design Studio: Air and our conceptualisation readings as it expands the design process as well as the fabrication process beyond that of traditional architecture, with the pavilion still growing after the architect has stepped back. Furthermore, it is a physical representation of how we can gain insight from nature and its ingrained mathematical rules to create new architectural opportunities and explorations. It expands the field of data driven design to not merely the happened but the happening, with patterns and algorithms being written and carried out by the present actions of living organisms and not merely the past behavioural data. This is particularly relevant if this sort of continual design generation and fabrication could be harnessed to help us move towards a sustainable design future through adaption and response to present behaviour.

eBree Web Design, Cambridge MA, “Silk Pavillion Environment | CNC Deposited Silk Fiber & Silkworm Construction | MIT Media Lab”, Matter.Media.Mit.Edu, 2017 <http://matter.media.mit.edu/environments/details/silk-pavillion> [accessed March 2017] 2 Howarth, Dan, “Silkworms And Robot Work Together To Weave Silk Pavilion”, Dezeen, 2013 <https://www.dezeen.com/2013/06/03/ silkworms-and-robot-work-together-to-weave-silk-pavilion/> [accessed March 2017] 3 Wilson, Robert A and Frank Keil, The MIT Encyclopedia Of Cognitive Sciences, 1st edn ([Cambridge, Mass.]: Massachusetts Institute of Technology, 1999), pp. 11-12

Figure 21 - Final suspended pavilion

Figure 22 - Algorithmically woven silk

Figure 23 - Silk worms spinning on pavilion

Figure 24- Three column variations

Figure 25 - Columns at Sixth Order installation

Case Study 06 // subdivided columns Michael Hansmeyer’s project, Subdivided Columns, perfectly illustrates the difference between compositional and generative design. In the case of compositional design, the architect would design a column, but in the case of generative design the architect designs a process for producing a column. This process, guided by an algorithm (or set of algorithms) can then produce an endless number of permutations 1. In this particular example, a subdivision process was used to create the numerous iterations of the column. This process generates form at all scales, be it the proportion, the curvature or the local surface formations, and does so without resorting to repetition. This creates a series of columns with a general coherency and continuity, provided by the rules guiding the design, but that have highly specific and differentiated local conditions2. The complexity in the design of these columns was grown out of relative simplicity through the beauty of mathematics. This increases the focus to a family of generatively designed objects, rather than a single compositionally designed object. I think the most beneficial outcome of this exploration, is the fact that design by algorithm can create individual forms which are all still coherent due to their shared process of creation3.

Wax, Roxana, “Michael Hansmeyer – Subdivided Columns | Graphicine”, Graphicine.Com, 2014 <http://www.graphicine.com/ michael-hansmeyer-subdivided-columns/> [accessed March 2017] 2 “Michael Hansmeyer - Computational Architecture: Gwangju Design Biennale 2011”, Michael-Hansmeyer.Com, 2010 <http://www.michael-hansmeyer.com/projects/columns_info4.html? screenSize=1&color=1#undefined> [accessed March 2017] 3 “ETHZ | D-ARCH | CAAD | Events / Gwangjudesignbiennale”, Caad.Arch.Ethz.Ch, 2011 <http://www.caad.arch.ethz.ch/wiki/ Events/GwangjuDesignBiennale> [accessed March 2017]

A4 // Conlcusion In an uncertain world, with our mortality ever more in the forefront of discussion, computational design is our greatest hope for the innovation required to secure us a future. While speculative and critical design are suggested as a means to make people question their current behaviour, there are risks of these fear mongering or utopian/dystopian tactics could be considered too fantastical to be taken seriously. Alternatively, the ability to generate innumerable variations on a design through computational and algorithmic design, based on research and targeted towards a specific goal, may present the more concrete, physically manifestable solution to sustainability that we require.

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What has particularly interested me in our conceptualisation readings, as well as my own further research, is the potential to architecturally and physically represent data through computational design. If we can harness the data from sustainable organisations, be it in nature or experimentation, it may provide us with a way of creating sustainable solutions through genuine research that is then adaptable to ever changing goals and contexts. If we are able to programme computers to design according to the principles of nature, or whatever other external inspiration, towards a goal of sustainability and longevity, that might just be the sort of innovation we need in this uncertain world.

A5 // Learning Outcomes My knowledge and understanding of computational design tools and their impact has completely changed thus far in this subject. Having come from the civil engineering major I have not had much exposure to the use of computers in design in general, however, in the past I have used computers merely to realise drawn or modelled architectural concepts and never to generate them intially. I never really understood the benefit of starting on a computer, feeling as though my limited technological skills have always inhibited my creative flow more than anything. However, it is now clear that once you have learnt to use computer and coding technology to your advantage it greatly expands your ability to design and to create more innovative and far reaching outcomes than would ever be possible with pen and paper alone. Computational design techniques would have been particularly helpful in my Architecture Design Studio: Earth final project. My final concept was a steel ribbon â&#x20AC;&#x153;wrappedâ&#x20AC;? pavilion and the final form was determined by how I decided to manipulate the wire in my final model. However, if I had used computational and algorithmic techniques to create the wrapping structure I would have been able to make dozens, if not hundreds, of variations on my pavilion, all exhibiting the same design concept coherency, and could then have chosen the optimal design.

Figure 27 - Place for secrets, Architecture Studio: Earth, 2015

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A6 // Algorithmic Sketches

My first algorthmic sketch experimentation was this attractor point exercise. It was particularly useful as it allowed me to cover several of the basics in Grasshopper through the one exercise, namely lofting, dividing surfaces and using an attractor point. 28

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This particular Grasshopper exercise was an exploration of creating my own mathematical function and Phyllotaxis. This was also the first exercise in which the benefits and ease of algorithmic design was clear to me. Having set up a relatively simple Grasshopper pathway I was able to then generate a large variety of different geometric patterns and layouts through small changes in the parameters, such as the radius of the voronoi, which points in the pattern were to be â&#x20AC;&#x153;culledâ&#x20AC;? or the number of points generated in the sequence. CONCEPTUALISATION 29

This was my first experience with manipulating data trees, and again demonstrated the incredible number of permutations possible simply by changing how the points join together in a polyline.

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This was week 2’s algorithmic sketch exercise and was an attempt at emulating Heatherwick’s Seed Cathedral. I found this one the most challenging of the sketching tasks as I was struggling to get the “spines” to respond to the geometry set out in Rhino, however, through the use of distances and attractor points I was able to get my desired outcome. I was also able to make the spines “bend” through transformations in the Z-vector direction, admittedly after tutorial assistance.

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While the â&#x20AC;&#x153;image samplerâ&#x20AC;? task was probably the simplest of our algorithmic sketch tasks to date, I think I had the most fun playing around with the different options. I enjoyed experimenting how the density of the grid or the radius of the circles altered the clarity of the image, as well as how the legibility changed depending if I sampled the negative or positive of the image. I also attempted to recreate the affect used in the William Barack Tower on Swanston Street, by isolating points on each circle and then drawing polylines between them. While incredibly abstract it does provide the image of the rotated face when you look hard enough.

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// list of figures 1. https://www.google.com.au/search?q=parametric+design&espv=2&source=lnms&tbm=isch&sa=X&ved=0ah UKEwiB9p-fldrSAhVPOrwKHVRQAh0Q_AUIBigB&biw=1280&bih=695#tbs=isz:l&tbm=isch&q=parametric+design+ar chitecture&*&imgrc=veHucLjDfH2WLM: 2. Personally sourced 3. Personally sourced 4. Personally sourced 5. Personally sourced 6. Personally sourced 7. https://au.pinterest.com/pin/82894449363493226/ 8. https://divisare.com/projects/264352/images/4580845/zoom 9. https://www.dezeen.com/2014/07/03/wingardhs-strandparken-wooden-prefabricated-housing-stockholm/ 10. https://www.dezeen.com/2014/07/03/wingardhs-strandparken-wooden-prefabricated-housing-stockholm/ 11. http://snohetta.com/project/42-norwegian-national-opera-and-ballet 12. http://snohetta.com/project/42-norwegian-national-opera-and-ballet 13. http://snohetta.com/project/42-norwegian-national-opera-and-ballet 14. http://www.arcspace.com/features/snoehetta/oslo-opera-house/ 15. https://simonschleicher.wordpress.com/2010/07/24/research-pavilion-iceitke-opening/ 16. http://www.arch2o.com/nympha-cultural-center-upgrade-studio/ 17. http://www.arch2o.com/nympha-cultural-center-upgrade-studio/ 18. http://www.designboom.com/art/8080-colored-pencils-chronicle-the-university-of-minnesotas-history-11-24-2013/ 19. http://archinect.com/danielraznick/project/centennial-chromagrapH 20. http://www.michael-hansmeyer.com/projects/columns_ifno4.html?screenSize=1&colour=1#undefined 21. http://www.archdaily.com/384271/silk-pavilion-mit-media-lab 22. http://www.archdaily.com/384271/silk-pavilion-mit-media-lab 23. http://www.archdaily.com/384271/silk-pavilion-mit-media-lab 24. http://www.michael-hansmeyer.com/projects/columns_ifno4.html?screenSize=1&colour=1#undefined 25. http://www.michael-hansmeyer.com/projects/columns_ifno4.html?screenSize=1&colour=1#undefined 26. http://www.michael-hansmeyer.com/projects/columns_ifno4.html?screenSize=1&colour=1#undefined 27. Personally sourced

CONCEPTUALISATION

// Bibliography 1. Dunne, Anthony & Raby, Fiona. Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013), p. 1-9, 33-45. 2. Fry, Tony. Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p. 1-16 3. eBree Web Design, Cambridge MA, “Silk Pavillion Environment | CNC Deposited Silk Fiber & Silkworm Construction | MIT Media Lab”, Matter.Media.Mit.Edu, 2017 4. “ETHZ | D-ARCH | CAAD | Events / Gwangjudesignbiennale”, Caad.Arch.Ethz.Ch, 2011 <http://www.caad.arch.ethz. ch/wiki/Events/GwangjuDesignBiennale> [accessed March 2017]<http://matter.media.mit.edu/environments/details/silk-pavillion> [accessed March 2017] 5. Griffiths, Alyn. “Wingårdhs Designs Prefabricated Housing Made Entirely From Wood”. Dezeen (July 2014) .<https:// www.dezeen.com/2014/07/03/wingardhs-strandparken-wooden-prefabricated-housing-stockholm/> [ accessed March 2017] 6. Howarth, Dan, “Silkworms And Robot Work Together To Weave Silk Pavilion”, Dezeen, 2013 <https://www.dezeen. com/2013/06/03/silkworms-and-robot-work-together-to-weave-silk-pavilion/> [accessed March 2017] 7. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 8. Keskeys, Paul, “How Generative Design Will Change Architecture Forever”, Architizer, 2016 <http://architizer.com/ blog/how-generative-design-will-change-architecture-forever/> [accessed March 2017] 9. “Michael Hansmeyer - Computational Architecture: Gwangju Design Biennale 2011”, Michael-Hansmeyer.Com, 2010 <http://www.michael-hansmeyer.com/projects/columns_info4.html?screenSize=1&color=1#undefined> [accessed March 2017] 10. “Norwegian National Opera And Ballet”, Snohetta <http://snohetta.com/project/42-norwegian-national-opera-andballet> [accessed March 2017] 11. “Oslo Opera House - Snøhetta”, Arcspace, 2008 <http://www.arcspace.com/features/snoehetta/oslo-opera-house/> [accessed March 2017] 12. Owen, David, “The Psychology Of Space”, Annals Of Architecture, 2013 <http://www.newyorker.com/magazine/2013/01/21/the-psychology-of-space> [accessed March 2017]. 13. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1-10 14. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 12 15. “Please Walk On The Roof - Visit Norway”, Visitnorway <https://www.visitnorway.com/places-to-go/eastern-norway/ oslo/oslo-opera-house/> [accessed March 2017]. 16. Raznick, D. (2013). Centennial Chromagraph | Daniel Raznick | Archinect. [online] Archinect. Available at: http://archinect.com/danielraznick/project/centennial-chromagrapH [Accessed Mar. 2017]. 17. Raznick, D. (2014). Daniel Raznick Full Portfolio. [online] issuu. Available at: https://issuu.com/danielraznick/docs/ daniel_raznick_full_portfolio [Accessed Mar. 2017]. 18. Thilmany, J. (2015). Architectural Design Trends: Turning Data Into Art. [online] Redshift. Available at: https://redshift. autodesk.com/architectural-design-trends-adam-marcus/ [Accessed Mar. 2017]. 19. Variable Projects. (2013). Centennial Chromagraph. [online] Available at: http://www.variableprojects.com/centennial-chromagraph/ [Accessed Mar. 2017]. 20. Wax, Roxana, “Michael Hansmeyer – Subdivided Columns | Graphicine”, Graphicine.Com, 2014 <http://www.graphicine.com/michael-hansmeyer-subdivided-columns/> [accessed March 2017] 21. Wilson, Robert A and Frank Keil, The MIT Encyclopedia Of Cognitive Sciences, 1st edn ([Cambridge, Mass.]: Massachusetts Institute of Technology, 1999), pp. 11-12

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CRITERIA DESIGN

Part B // Criteria design CRITERIA DESIGN

b1 // research fields ImawotoScott’s Voussoir Cloud is an example of form derived through material performance driven algorithms. The site specific geometry was created through the assembly of 2,300 petals to form columned vaults. It is a derivative of Frei Otto and Antonia Gaudi’s hanging chain methods to find efficient form. Created through the use of a computational hanging model, form finding programs were used to create the purely compressive vault shapes, utilizing the inherent properties of the material1. This compressional structure forms a paradigm with the ultra-light material system used, with the traditional idea of a “voussoir,” a wedge shaped masonry block, recreated with a paper thin material1. The petals were created by folding thin wood laminate along curved seams, the surface tension of the wood and the folded geometry of the flanges relied upon for the petals to maintain their given form2. These flanges bulge out, so when the petals are packed together they press upon each other as compressive elements, naturally creating the curved forms that drove the design. This compressive petal relationship was first prototyped in the physical world through experimentation, before being modelled on a computer to create four different types of cells, all which perform slightly differently, but combine to

create the overall vaulted finish. The form is thus reliant on the geometric performance of the individual units and their relation to the gallery walls3. This example, is a good demonstration of how the idea of computational and algorithmic design is not confined to the form finding stage of the process. Due to the unique geometry of each petal, and the physics of its structural integrity, the position of each petal within the system is crucial to the installation performing as a whole. Therefore the construction of this installation, with each piece needing to be placed in a specific spot in a specific order, can be likened to an algorithm. Algorithms are defined by Belinski as “a finite procedure, written in a fixed symbolic vocabulary, governed by precise instructions, moving in discrete steps, 1,2,3,..., whose execution …comes to an end”4 and that is exactly what was required in the construction of this piece. It would be interesting to take this idea of juxtaposing the weight of the material and its strucutral properties in my own explorations in Studio: Air, however maybe looking at the contradiction between a soft material and a rigid structure rather than a light weight material and a compressive structure.

Figure 1 [section cover] - Canopy, United Visual Artists ; Figure 2 - Individual designed geometry of the petals; Figure 3 [right] - Voussoir Cloud Installation

1 “’Voussoir Cloud’ By Iwamotoscott With Buro Happold - Archivenue”, Archivenue.Com, 2009 <http://www.archivenue.com/voussoir-cloud-byiwamotoscott-with-buro-happold/> [accessed March 2017] 2 “VOUSSOIR CLOUD - Iwamotoscott”, Iwamotoscott.Com, 2008 <http://www.iwamotoscott.com/VOUSSOIR-CLOUD> [accessed March 2017] 3 Ong, Rob, “Voussoir Cloud By Iwamotoscott | Dezeen”, Dezeen, 2008 <https://www.dezeen.com/2008/08/08/voussoir-cloud-by-iwamotoscott/> [accessed March 2017] 4 Woodbury, Robert F. (2014). ‘How Designers Use Parameters’, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge), pp. 163 38

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B2// Case Study 1.0 Iterations 1

Iterations 1-6 are playing with the base geometry, which acts as the input to the to the Kangaroo simulation. This is the original and the most simple, just a voronoi with multiplle points.

Experiemntation with the number of input points to the voronoi and then staggering them through the use of an attractor point.

Playing with alternate input geometry, using circles as the cells which were scaled accordning to an attractor point.

Tests withs only the “footings” archored to the Kangaroo physics model. Altered the multiplier of the unary force to change the way they bend and shape.

Simulations 13-18 are playing with mirroring the original base geometry of iteration 1.

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Slight variation on #13 with the central “anchor” scaled differently according to an attractor point.

Kangaroo simulation with original voronoi cells and footings anchored.

Using hexagonal input geometry.

More grid like experimentatin with scaling and moving attractor points. Unfortunately I was not able to make iterations 3-6 to work in the Kangaroo simulation.

Kangaroo simulation with original voronoi cells and footing anchored.

Effect when Kangaroo simulation was allowed to run for significantly longer than the other iterations.

Decreasing the stiffness from 1000 to 100 provides a draping effect.

Iterations 15-17 were created through scaling and lofting multiple copies of the original voronoi cell structures at different heights.

The only successful Kangaroo simulation of the mirrored base geometry.

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Kangaroo simulations created with a negative unary force, creating almost a topogrpahical form.

While not particularly practical, iterations 21-24 are interesting conceptual pieces using the Kangaroo simulation with sinlge anchor points for each column creating an almost sticky aesthetic.

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Successful Species I like this iteration as it is both constructable and has some sort of aesthetic interest. I love how the form appears that it is almost pouring itself into the columns and footings. This would have to be constructed with some sort of framing system and then a light weight fabric, or drapable material and the fabrication challenge would be to create the upward undulations that are competing against gravity. Alternatively it could maybe be constructured with a straw weave or similar material, juxtaposing the rigidity of the material and the dynamic form.

15 While this one is slightly less involved on the grasshopper front, it creates some really interesting shapes. I particularly like this iteration as it was relatively simple to create these shapes and many alternate iteration of this single outcome are possible. Again, considering my chosen material, I can see this be constructed from several frames, with the scaled and moved vornoi cells being made out of piano wire or a like material and the lofted form being created through streching a material over said frame.

18 While this iteration is definitely the least constrcutable I find the forms created intriguing. I created this iteration much in the same way as the one above, however I used a mirrored base geometry to create the cellular forms. What I particularly like about this one is the twisting of the loft and I would like to explore how different materials behave when twisted in such a manner.

22 I really like this iteration, as I feel like it is interesting to view from any angle. It appears as though it is almost sticking to something above and I can see it being suspended from a ceiling, utilising high tension members as anchor points and a heavily weighted fabric to create the undulating lofted form. What would be interesting would be to add further iterest to this iteration, be it add a patterning to the material chosen, through cutting holes in them and see how they stretch differently due to the tensile anchoring, or utilise the form to a purpose, such a shading or acoustics. CRITERIA DESIGN

b3 // Case Study 2.0 The “weaving carbon fiber pavilion” (2015) was an exploration into grid shell structures by the T_ADS team from the University of Tokyo. Grid shell structures are very commonly used in many different buildings so this project proposed a new type of grid structure which is pre-tensioned by a stretchable membrane1. The stretchable membrane material was attached to the grid structure with the use of zip ties to pull the membrane taut. The membrane measured just under 60% of the total grid structure size, thus naturally causing deformations in the structure and creating the dome like form of the pavilion2. The grid has slight variation in cell size, cell area increasing from the center of the grid, and thus the size of the deformations increase significantly from the center to the periphery of the dome. This wavy shape is therefore purely created due to the tensile nature of the membrane material and how it is stretched over, and attached to, the carbon fiber grid.

This waviness is essential in allowing the structure to be self-supporting, with each surface acting as a structural rib in the larger whole so that loads are distributed evenly throughout the structure. The end rods are attached to anchors to allow for the pavilion to be suspended. This structure while simple, utilised the inherent properties of the two materials used to create a rather complex and intriguing form. What would be interesting to extract from the project, is exploration in how tensile materials can alter not just the form of the entire grid but possibly the individual grid cells themselves. Additionally, it would be nice to consider a more elegant solution to attaching the tensile material to the structural frame, to avoid any dimples or ripples in the surface. Alternatively, an interesting innovation on this project would be to remove the frame entirely and try and make a self-supporting structure with bulges created due to connection between the material and itself.

Figure 4 -Inside of the carbon-fibre weaving pavilion; Figure 5 [right] - Close up of pavilion connection details and material affects 1 Taichi Kuma, “Taichi Kuma”, Taichikuma.Tumblr.Com, 2017 <http://taichikuma.tumblr.com/> [accessed April 2017]. 2 Taichi Kuma, “Weaving Carbon Fiber Pavilion By Uni. Of Tokyo’s T_Ads Team”, Designboom | Architecture & Design Magazine, 2015 <http://www. designboom.com/architecture/weaving-carbon-fiber-pavilion-university-of-tokyo-t-ads-team-08-07-2015/> [accessed April 2017]. 44

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Reverse engineering the pavilion

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The base geometry for the reversed engineered pavilion was inputted into Rhino as a series of curves, which were in turn referenced into Grasshopper. A loft was then created between these curves to create the surface geometry for the pavilion. While this is not reflective of the actual form generation of the pavilion, whose form was dictated by the tension of the membrane, it is as close as we were able to emulate the project.

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The lofted surface was then divided into diamonds using the Lunchbox plug-in. The edges of the diamonds were extracted through the “brep edges” command so that each edge could be isolated for manipulation in the simulation. Each edge was isolated using the “list item” component.

The mid-point of two of th es was found through the This then allowed an add through the centre of eac “line 2pt” component. Th dividing line was also fou on line” command so that panel could b

he opposite diamond edg“point on line” command. ditional line to be drawn ch diamond panel with the he mid-point of the centre und with the same “point t the exact centre of each be extracted.

To create the “sagging” affect of the buckled fabric of the case study, the centre point of each panel had to be moved and a new loft be created. The centre point of the panel was moved using the “move” command, and they were moved in the direction of the normal for each panel. To extract these normals the “face normals” command was plugged into the diamond surfaces and the first face normal for each panel extracted with the “list item” command. Once each centre point had been moved by their respective normals, an “arc 3pt” could be created between the three extracted points in the simulation.

In order to create new lofts that incorporated the sag of each panel, the three curves that made up each panel had to be collected through a “merge” component. Once the curves had been collected into groups of three, each group representing a new panel, they could be “lofted” to create the final reverseengineered project.

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Alternative outcomes Due to my limited skills with parametric drawing technologies, my final (pictured right) was as close as I was able to get to reverse engineering the â&#x20AC;&#x153;weaving carbon fiber pavilionâ&#x20AC;?. While I am satisfied with the final result, it is not as responsive to the overall pavillion shape as I was hoping and is more jaggered that I would like. Rather, I would like each panel to buckle and almost twist in accordance to the angled geometry of the surface and the tensile nature of the material. So above are a few other variations, which are attempts at creating such an effect, but to no advail. Number 1â&#x20AC;&#x2122;s panels bend and twist independently, scaled according to

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their angle on the surface, the shortcoming here being that each panel does not connect to its neighbours on all 4 sides. That is where number 2 is possibly better however there is still too much uniformity in the way the edges move, which could possibly be changed with the use of an attractor point or randomised scaling factors. Ideally a Kangaroo simulation would be the most effective at simulating the original, as it would be more reflective of a tensile materials behaviour, however my skills with the Kangaroo plug-in at this stage of the semester are incredibly limited.

chosen outcome The final reverse engineered outcome, while not reflective of how the pavilion was actually made, has opened up some interesting possibilities for exploration. It would be interesting to look into different ways of dividing a surface and creating these bulges, including the use of fields or graph mapping.

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// Selection Criteria Innovation The area of innovation we wish to investigate through the design of this installation is a modern take on the traditional wall tapestry, using the techniques of strips and folding as well as inherent material properties. Wanting to meet somewhere in the middle between a traditional tapestry wall hanging and the ostentatious draping and curtaining of many ballrooms we want to bring these concepts into the 21st century. We want our installation to provide a tactile and textured environment for guests while also serving an acoustic function. We are also interested in the contradiction between creating a rigid structure through a soft, material like fabric.

06 San Remo Ballroom, Melbourne, 1963

Context The installation will be for a ballroom in a the new W Hotel being built in Melbourne between Flinders and Collins Street. It is a 5 star hotel being marketed to a younger audience and thus the installation needs to reflect this.

Constraints The ballroom has two opaque walls and two glassed windows. Our installation will therefore have to consider its relationship to the wider ballroom geometry, and how it may affect the filtration of natural lighting through the windows or the lighting affects of the ballroom. Furthermore, the installation needs to be affixed to the space in some way, be it from the walls or the 7m high ceiling, and thus some sort of minimalistic hanging system will have to be considered.

07 Queluz Palace Ballroom, Lisbon, !8th century

Atmosphere The aim is to induce the feeling and decorum of a traditional ballroom but bring it into the modern age. While our installation should not just be a copy of classic ballroom drapery and finery it should still suggest to the user how one should behave in a ballroom. Therefore we want it to induce an atmosphere of grandeur and luxury while also being innovative, contemporary and reflective of up and coming Melbourne. It should be elegant and refined, both in reference to the atmosphere it conveys and the sophistication of its execution.

08 W Hotel, Singapore, 2012

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Acoustics A primary issue in any ballroom or large function space

is sound, the chatter of a large volume of guests plus the music often making the sound uncontrollable and unbearable. We therefore thought that our installation could serve an acoustic property in the space, replacing classic acoustic drapery with a far more modern and innovative installation which serves not only as an acoustic shield but also an interesting and dynamic parametric installation. For a wall hanging to be acoustically affective it requires the following properties: > Thickness or weight (32 oz ~ 907.2g) > Porosity: the gaps in the fabric capturing the sound energy and converting it into heat.

09 From Us With Loveâ&#x20AC;&#x2122;s pixel acoustic tiles for Baux

> Pleating: this increases the effective thickness and increase the area of sound absorbing surface that is exposed. > Spacing from surface: the further it is from the wall or surface, the lower the frequency of sound it will block. In researching acoustic examples, we found that they are either small innovations of the classic acoustic wall panel as with the Baux range of pixel acoustic panels by From Us With Love, or that patterning or sectioning techniques are used to generate the surface area and porosity required for sound absorption. We therefore want to meet somewhere in the middle, not reverting to a simple acoustic wall panel but using a like material to replicate the required acoustic functionality from a strips and folding perspective.

10 Resonant Chamber, rvtr, 2012

11 Wexlerâ&#x20AC;&#x2122;s BBQ Restaurant, Aidlin Darling

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b4 // technique development 1

original B3 iteration

polyline in replace of arc

attractor point affecting movement

lofting 3 arcs one arc repeated

graph mapper power curve

graph mapper bezier curve

u=8, v=8 graph mapper = purlin curve x 15 fixture points = 0.5, 0.5

graph mapper = purlin curve x 12 lofted 3 interpolated curves - u=15, v=15

graph mapper = linear curve x36

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lofting 3 arcs move = -3, -2, -3

lofting 3 curves move = -3, -2, 3

lofting 3 arcs one arc unflipped

graph mapper power + bezier curve

u=6, v=13 graph mapper = sinc curve x 43 fixture points = 0.2, 0.7

graph mapper = sine summation x 27 fixture points = 0.1, 0.9

graph mapper - purlin curve lofted 3 interpolated curves - u=11, v=2

division = random quad centre move = 5

graph mapper = linear curve x 36 knot style 0

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division = random quad curve unflipped

division = random quad fixture points = 0.75, 1

u = 20, v=18 fixture points = 0.5, 0.5

fixture points = 0, 0.66 move = graph mapper, bezier curve

fixture points = 0, 0.75 move = graph mapper, sine curve

division = random quad closed iterpolated curve

lofted closed interpolate curves scaling by attractor point

scaling by attractor point move by attractor point

base scaling = 0.7-0.9 upper scaling = 0.2-0.5 new interpolated curve

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23 22

fixture points = 0, 0.75 move = distance between fixture points

input geometry = lofted curves move = distance between fixture points

fixture points = 0.5, 0.5 move = graph mapper, purlin curve

closed iterpolated curve move = graph mapper, linear

division = diamond lofted open interpolated curves

division = diamond lofted overlapping interpolated curves

move factor = 4.0-7.5

upper scale factor = 0.7-2.5 move factor = 1.0-3.6

upper scaling factor = 1-2 lower scaling factor = 0.2-0.7

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attractor points moved u = 10, v=10

upper scaling factor = 0.14-0.64 new interpolated curve

extruded panels extended according to bezier graph mapper

extruded panels with â&#x20AC;&#x153;starâ&#x20AC;? input geometry

lofted panels between extruded arcs and divided surface - consider applying to curvey geometry

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lofted curve input geometry upper scale factor = 0.5-1.4 lower scale = 0.15-0.55

u=1 attra

15, v=15 actor point moved

divisions = diamond brep edges extruded by attractor point within range 1-17

brep edges extruded by the sum of two attractor point distances within range 1-28

lofted panels between grafted ectruded arcs and divided surface move according to attractor point

divide surface = random quad, u=5, v=42 centre of panel used for â&#x20AC;&#x153;star loftsâ&#x20AC;?

lofted clusters rotated in the y-plane by pi and offset

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From discussion with my team partner and the final decision to use a felt-like acoustic material, these are the few iterations from both our technique: development matricies that are the most useful considering our chosen direction and selection criteria.

Iteration 11 is particuarlly useful as it probably imulated our chosen materialâ&#x20AC;&#x2122;s properties the closest. In using a thick acoustic felt we have the ability to create bulged, interesting shapes depending on how we choose to connect each strip of material to the next. Iteration 11 explores a possible outcome of this, with each strip being fastened to a slightly off set point on the adjacent strip, thus causing a natural twist and bulge in the â&#x20AC;&#x153;ribbonsâ&#x20AC;?. This twisted billowing affect created nods back to the drapery of classic, ostentatious ballrooms but with a more controlled and contemporary take. Furthermore, the natural bulging of the fabric would provide air behind the installation, thus increasing the acoustic effectiveness and surface area for sound absorption.

Iteration 25 is also an intersting one as while it has a similar concept to iteration 11 with the billowing and bulging there is more differentiation between the bulges. The extent to which each section of panel bulges was determined by the distance between the fastening points, with the greatest bulge occuring in the longest strips. This

23A

28A

Combined matrix of useful iterations 60

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iteration therefore alludes to the affect that non-uniform length strips would have, providing a textural interest and variation beyond a repetitive pattern and texture. What would be interesting to explore further is a guiding principle to this variation, be it governed by fields or image sampling or graph mapping, which is why my parenterâ&#x20AC;&#x2122;s iteration 28A is of importance. The variation in 25 should not merely be arbritrary, and a combination between 25 and 28A provides the opportunity to parametrically guide the variation with the opportunity to change these sort of bulges with regards to the density of bulges, their height and their width. What could be interesting is to apply this same principle but use an image sample which either hints to the uniquely Melbourne atmosphere of the context or to the traditional functions of a ballroom. Finally iteration 23A is a good demonstration of the fact that it does not all need to be textured, but rather having some areas dense with bulges while others are relatively flat can create more interest in the piece and provide a more interesting tactile environment than one that is simply bumpy all over. This limited affect also suggests a refinement and sophistication which is relevant to the space and has the potential to make the installation more readable as a whole.

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b5 // Technique: Prototyping The purpose of prototyping is to determine the constructability of what we had created in the digital world with computational technologies. Having chosen a selection criteria and a material, acoustic felt, we have used prototypes to see how our algorithmic designs translate into the physical world. We found that the main issues to be overcome in the translation of design from digital to physical were: > How to create connection which did not impede the design but were in-fact works of art in their own right, > How to maintain the form of the fabric along the entire installation > How to create a structure which holds its own weight rather than needing to be pinned to the wall > How to reduce the appearance of unwanted kinks and bulges Having determined the limits at which we can bend, bulge, push and fold our chosen material, we can now go back to our computational design tools and build these inherent material properties into our design. In this way, we are actually designing in a way that is similar to Herzog & De Meuron, with the architectural idea informing the computational design tools and design algorithm1. While our initial idea was born out of computational design techniques used in our technique development iteration matrices, the limitations of the material, surprising aesthetic outcomes, and how it acts in a real world system, has shifted and altered that architectural idea so that new algorithms need to be designed to accommodate these findings. In this way there is a feedback loop created between computational tools and prototyping, with one technique informing the other until a medium ground is found where the creations from algorithmic design can be realized and constructed in the real world.

Peters, Brady. (2013) â&#x20AC;&#x2DC;Realising the Architectural Intent: Computation at Herzog & De Meuronâ&#x20AC;&#x2122;. Architectural Design, 83, 2, pp. 56-61 CRITERIA DESIGN

Material Choice The initial decision to be made was between two different types of acoustic felts: 1mm thickness and 3mm. Both were tested to explore our breadth of options, however it was quickly clear that the 3mm fabric would be most suitable. Firstly, the thicker the material, the better its acoustic properties so that was automatically more desirable to meet that particular selection criteria. Secondly, the 1mm fabric was much softer. While this did mean that the bulges created in the fabric were smoother, the bulges themselves were not able to hold their structure as they got larger and the connections between panels were a lot less sturdy (Figures 1 & 2). Finally, the thinner fabric had more of a crafty feel to it, which does not fit with the sophistication and class expected of a ballroom.

connection with 1mm fabric

connection with 3mm fabric

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Connections In order to meet our selection criteria of a sleek, modern, contemporary and sophisticated take on an acoustic wall tapestry we decided that we wanted the least obtrusive connections possible. We tested several different connection options, however it was clear that the “male and female” connection option was the best. While the sewn petal connection created a very interesting pattern and provided opportunities of changing the filtration of light depending on the size of the “petals” it is an incredibly labor intensive option and the sewn connections are quite visible if not done correctly, making it more of a “crafty” solution than an architectural one. Furthermore, while the aesthetic affect created is interesting it is not appropriate at the scale of a ballroom. The other option we tried was threading strips of the fabric through holes. While this has the potential to change the size and frequency of the loops, and provides the bulges required for acoustic functionality, it is also quite a crude solution, and the kinks in the material are incredibly visible making it appear quite sharp and stilted rather than soft, grand and elegant as is desired.

01 threaded strip connection, showing variation in pull through method

sewn petal connection method

threaded strip connection method, kinks are very prominent

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The “male and female” connection solution is actually an incredibly simple one, with the “female” connection being the cut slot in the material while the “male” connection is inserted inside it and holds due to the semi-circle at the end. We found this the least labor intensive of the options and it produces a very interesting bulging affect which simulates the pleating of traditional acoustic curtaining in a more contemporary and controllable manner. The biggest benefit of this connection option is the internal nature of it. The fact that each panel inserts itself into the next without the need for a frame or alternate fixture method such as sewing or eyelets creates a level of sophistication and sleekness that comes from the simplicity of the solution. It also presents an innovation within the field seeing as it is rarely thought that soft, felt like materials can connect to each other without an additional fixture. This matches our desire to create a contradiction between a soft mateiral and a structured installation. Finally, the fact that the fixture points are affectively hidden adds a level of elegance due to the reduced readability of the construction.

04 fabrication diagram of flat geometry to be assembled

05 fabrication diagram of assembly

CRITERIA DESIGN

prototype 1 We tested both a horizontal and vertical arrangement of panels to see which one we preferred. While we were initially visualising the installation with vertical panels, as to more directly emulate the function of curtains, we actually found in the prototype stage that the horizontal one is more affective. The differentiation in bulging between panels is lost a little bit on the vertical option (Figure 01) while the shadows created due to the horizontal hanging (Figure 02) emphasise the bulges and create a more dramatic effect, which aligns with the grandeur and importance of a ballroom.

vertical arrangement of panels

horizontal arrangement of panels

CRITERIA DESIGN

03 visible kinks in some of the bulges as well as two way bulging

04 accumulated affect of full panel bulging

05 kink and folding defect due to large difference in fixture point

We tried every possible combination of panel arrangement of our first protoype to maximise our findings. Our main findings were as follows: > Depending on the relative distances between the female and male connections, there was often two way bulging in the panels (Figure 03). This made it curve far away from the wall (Figure 04) and create ugly folds in on itself. For prototype 2 we would want all the female distances to be shorter than the corresponding male distance so that only the male side bulges, creating a far more elegant and controlled effect. > If the bulges were too big or severe the material â&#x20AC;&#x153;kinkedâ&#x20AC;? or folded (Figure 05). This added a severity to the aesthetic that is not fitting with the sophistication and luxury desired for the ballroom. We need to determine at which point these kinks occur and add these properties to our algorithm. > If the bulge was too large, the other side of the panel also bulged, making connections to adjacent panels difficult and it also caused the installation to curve off the wall (Figure 04). We also want to determine at which point this occurs so that each panel more seamlessly connects to the next. > The connections were too large. For protoype 1, 20mm male connections were used and while these connections proved very efficient and sophisticated in their simplicity, they could be less obtrusive to the overall aesthetic. > Finally, it would be good to determine a way to hang the installation rather than pinning it to a wall. It holds the shape provided due to pinning but hanging it will be much cleaner and provide a more textural environment.

CRITERIA DESIGN

01-05 testing the threshold at which the opposite side rises

In our first prototype we realised that the fabric was only able to bend so much before the bulges started to morph and become “kinked”. These kinks became embedded within the fabric so that the strips would have folds or kinks in them even once they were laid flat again. We therefore, determined at what new fixture distance this “kink” occurred for a range of different strip lengths and therefore the greatest percentage change that could occur between the distance of male fixtures and the distance of female fixtures (Figures 06-12). From our testing it was found that the female distance could be up to 80% of the original male distance before kinking occuring in the fabric and this limit was written into our algorithm.

06-11

= female distance at which “kink” occured

testing the threshold at which the panel kinks

= percentage of original male distance

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graoh detailing findings from kink experiment

We also found that the panels would begin to rise on the other side at a certain sized bulge, thus making it difficult to affix one panel to the next. We therefore ran the same test (Figures 01-05), determining what percentage of the original male distance the female fixtures could be before the other side of the panel rose up. While this differed depending on the width of the panel being tested, we ran this test with 3 different panel thicknesses, 75, 150 and 260mm, and the percentage allowable was all around 90% and thus an average of these results has been displayed in Figure 13.

13 = female distance at which opposite side rises

graoh detailing findings from panel lifting experiment

= percentage of original male distance

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Prototype 2 For prototype 2 our main aim was to remove the possibility of â&#x20AC;&#x153;kinksâ&#x20AC;? from the panels, reduce the amount the opposite side of the panel rose up, remove the possibility of two way bulging and to see what affect longer panels would have on the overall installation behaviour. We also had an experiment with patterning, to see if cutting patterns in the panels would have any affect on the way that the bulges behaved. As with prototype 1 we tried many different panel arrangements, more curious about what effects we could get out of it rather than any one particular arrangement. As an improvement, panel numbers were etched onto each panel as to better keep track of arrangements. To increase the possibilities, we decided that we would have female fixtures every 20mm on every panel so that the male fixtures had several possible inputs each time. An unexpected side effect to this method was having some unpaired male fixtures. While this made the installation more legible, and reflects the tassels on traditional curtains, it does disrupt the smoothness of the curvature, reducing the sophistication and making it slightly more childish and unpolished.

01 leftover male connections due to alternate fixture arrangement

CRITERIA DESIGN

Possibly the most interesting finding from prototype 2 is the tendency for the panels to curl and bulge as a wider installation. Because prototype 1 was made of relatively short panels and was pinned to the wall, the wider behaviour of the installation was not made apparent. However, in prototype 2 when hung from the wall rather than pinned, it was clear that the installation as a whole actually bulges and curls due to an accumulated effect as you go along the panels. It was discovered that this wider installation behaviour accumulates towards the female connections, and thus could possibly be manipulated if we had panels with double male connections and double female connections as transition points, something for exploration in prototype 3.

02 accumulated curve as viewed from below

We tested this accumulated affect on both the horizontal and vertical hanging structures but it was found that for the vertical panels it causes a rather monotonous diagonal migration of the panels (Figure 04), which looks more like a deisgn defect than a design choice. The horizontal panel arrangement on the other hand gets overall bulging accumulating vertically (Figure 02 & 03). If this overall bulging is controlled to a point where it is above the guests heads, it would add more depth to a room without impeding on useable space. Furthermore it would add interest to the installation so that it is not merely a wall covering.

03 accumulated curve as viewed from the side

04 diagonal migration due to vertical panel arrangement CRITERIA DESIGN

05 kinked curve and folds due to vertical cutting pattern

The patterning, while a necessary experiment, did not work at all. While horizontal cuts did allow for a slightly greater bulge before kinking occurred, it caused the wider panel to act in a disjointed fashion, thus removing the smoothness and elegance from the curved form and did not create any holes or potential for light filtration. The vertical cuts were even less successful, creating a stilted affect in the bulge and also causing folds and kinks to occur in line with each cut (Figures 05 & 07). Finally, in terms of fabrication, the patterned cuts actually caused the panels to rise up from the laser cutter, meaning that some of our male or female fixtures did not end up where they were meant to because of fabric movement, or that double cuts were made because the material curled over during the cutting process (Figure 06 & 08).

06 double cutting of pattern due to fabrication defect

07 kinked curve due to vertical cutting pattern

08 cutting defects and burning due to fabrication error

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It was also found that due to the accumulation of the buldges, while the panels were all initially the same length, the amount of usable panel gradually reduces so that there is â&#x20AC;&#x153;excessâ&#x20AC;? panel on the end that is not connected (Figure 08). While this is not necessarily a bad thing, the affect sometimes adding interest and a certain dynamicism to the installation, it should be controlled. Thus in prototype 3 we aim to find a way of either controlling the excess towards a desired effect, such as emulating the tassels of traditional tapestries/curtains, or removing the excess so that the installation remains the intended shape. What could also be an interesting exploration is controlling the excesses instead of merely following the room geometry, thus creating more interest in our installation.

08 leftover male connections due to alternate fixture arrangement

The connections points were reduced in size in this prototype from 20mm wide to 10mm wide and it was found that this size was still sufficient in fixing the panels to one another, and the weight of the panels was not so much that the fixtures slipped out. This size is much less obtrusive, creating a sleeker, smoother curve between panels, however any smaller and there would be risk that the weight of the panels would cause them to slip out of their fixtures.

08 optimization of connection size between prototypes

CRITERIA DESIGN

Prototype 3 Prototype 3 aimed to investigate wider, large scale installation behaviour according to the site geometry at a 1:20 scale, as well as aimed to control the excess panel fringes and the accumulation of bumps in the installation. Having double female and double male panels at particular intervals in the installation succeeded in controlling the accumulation of bulging throughout the hanging. Double male connections ended up being the peak of the bulges while double female panels indicated the “end” of a receeding bulge. This element of control adds an elegance to the installation as it means the wider accumulation of bulges can be controlled towards a purpose. It was found that the most desirable affects were created when the double male panels were slightly smaller in width and the double female slightly bigger, thus smoothing the transition point as much as possible. An intersting side effect of this changes in overall bulges is differing shadows, with there being more shadows when the female connections are on top and less shadow when there are males on top. We also managed to expell the excess panels and maintain our desired overall geometry by accounting for additional length required in our grasshopper algorithm. This additional length was controlled with an attractor point so that the closer the panel was to the top of the installation (the attractor point) the more additional panel was added. However, the “holes” cut out of the doors make it feel more like a wall paper than an installation and so a more innovative solution to dealing with the doors will have to explored, such as a pull back curtain instead. What was found in investigating at this large scale is that the elegant and visually intruging effects formed in prototypes and 2 are lost, creating an almost random and messy collection of bulges and undulation. If the panel scale is increased significantly, and the bulges more carefully controlled to a purpose, the intended effects will be more readable and elegant.

01 prototype 3

02 close up of prototype 3 showing the interpanel bulging and accumulated curves

CRITERIA DESIGN

Fabrication defects The material cut surprisingly well considering it is not a typical material used for laser cutting, however there were a few issues that arose in our laser cutting attempts that we need to be wary of moving on. > As previously mentioned, patterning caused the material to rise up off the laser cutting bed at times, causing double cuts or missing cuts in certain areas. > The material does have a slight tendency to burn at the edges, however it only happened in a few isolated insodences.

> Etching numbers in each panel to assist in ordering the panles was surprisngly effective, however sometimes areas near the numbering was also etched by accident. This would have no overall affect on the aesthetic though seeing as the numbering would be on the underside of the panelling in any case. > As the material tends to melt a little bit at the edges, sometimes the female connections were not cut all the way through because they fused back together. This was easily solved by just cutting back through the holes with a stanley knife or box cuter.

melting of material near etching

double cutting of pattern due to fabrication defect

fusing of female connections

burning of material

CRITERIA DESIGN

01 installation proposal as viewed from up close

02 wider view of installation proposal

CRITERIA DESIGN

B6 // Technique: Proposal For Part C we are interested in controlling the buges and thus the control points towards more of a purpose, possibly using an image sampler for a context specific image such as the movement of dancers or sound waves. We also want to consider more possibilities for the wider geometry of our installation and panels. One of the things to be resolved in Part C is the hanging method. While we know we want it to be unobtrusive and that we do want it to be hung rather than fixed to the wall, thus allowing it to assume its natural accumulative curve. What also needs to be considered is the overall installation geometry. Our current explorations have all been with the installation roughly imitating the ballroom geometry, however this is limiting and unimaginative, breaking the elegance and material affect created in our installation by cutting holes in it. For more interest, a more interactive tactile environment could be created if we have hanging sections of different lengths and elevations, almost emulating the dripping crystals of classic chandeliers as well as having it hang differently from each wall or maybe even the ceiling. Furthermore, there is no reason why the panel geometry has to be linear and creating non-linear patterns opens up many possibilities with how it interacts with the room as well as how the wider effect is translated to the viewer. Finally, we wish to look towards manipulating the bulges and connection points in a more concentrated and tailored way. By using an image mapper we could manipulate the bulges to reflect movement, dancing or music thus bringing through the traditional function and atmosphere of ballrooms in a subtle, contemporary and parametric way. However as evident in our rendered prposal, which does use an image sample to influence the bulges, the overall affect of the image sample is lost in the installation at this scale, resulting in a random and rather messy texture.

If we were to increase the scale of the panels and change the resolution of the image sample, as well as remove the holes for the doors, the parametric design will be legible to the viewer and thus more readable and elegant, controlled and purposeful rather than random and messy. As found in prototypes 1 and 2 in particular, our material when combined with our simple but effective connection method has some quite beautiful and interesting outcomes however these are lost at a full scale. The challenge for Part C will be to make these properties apparent and clear on the larger scale. The main benefit to this method of image mapping is that it creates a variation in the bulges which is not arbitrary. The main aesthetic appeal of our installation comes from this variation, with a consistently bulgy pattern appearing unplanned, monotonous and dull instead of the innovative, sophisticated sleek design that we wish to present. The main technical achievement of our technique is the self-connection of the material. Not only does it reduce the need of framing and any other sort of supporting system, thus increasing the simplicity and sophistication of the design, but it is surprising for the viewer, with a soft material generally not expected to be self connecting and supporting. Furthermore, it is the connection and the material properties that influence the bending and behaviour of the material, similar to the principles of the 2010 ICD/ITKE Research Pavilion. Finally there is innovation in creating a controlled and structured hanging installation. Fabric-like, soft materials are generally hung or draped however we are using a soft material in a highly architectural manner, which in itself is innovative. Finally we are innovative in our approach to acoustics, not reverting to a simple acoustic felt wall panel but also not imitating curtaining. We have provided the pleats, porosity and surface area required for sound absorption through our research area of strips and folding rather than the normal approach of patterning or sectioning.

CRITERIA DESIGN

B7 // Learning Objectives + Outcomes At the conclusion of Part B I feel endlessly more confident in using parametric design techniques. At the commencement of Studio Air I could not imagine myself being able to reverse engineer a building and then have enough confidence or knowledge with grasshopper and its plug-ins to creating interesting and numerable iterations of it. There is still definitely room for improvement with my ability to create iterations however, where I still struggle to come up with enough iterations that are significantly different while still adhering or originating from the original script. While my ability to manipulate a design in grasshopper have improved I do still feel slightly limited in my knowledge of the capacity of grasshopper to perform certain functions and similarly what the limits of these functions are. Research within this subject has exponentially expanded my knowledge of parametric design and its possibilities. Personally, as an engineering student, the material property concept is the most interesting to me, finding the capacity and inbuilt properties of a material to govern the form of the architecture. While this is something I was in some way aware of through my engineering degree I did not know the capacity of Grasshopper to store, recreate or synthesise this information. This function of grasshopper has been particularly useful in our prototyping, so that the limits of the material could be taken into account for the successive prototypes, however I am still not fully confident in inputting all of this information, and guaranteeing it is met.

CRITERIA DESIGN

B8 // Appendix - Algorithmic Sketches These L-Systems were quite simply made with the use of the Hoopsnake plug-in to grasshopper. This was a much more efficient way of creating a recursive algorithm than simply copying the necessary components or creating a cluster as you can step through each successive recursion and it is much neater in the grasshopper panel space. The variation in each tree was created by using different reference vectors, different original branch geometry and adding a third dimension, or additional branches or iterations. However, while the hoopsnake method made it a lot easier to step through the branching process I actually found the cluster method more useful in making iterations as it allows you to view the changes to the points or vectors live, rather than having to replay the simulation each time.

CRITERIA DESIGN

Utilising a recursive algorithm the flow of points along a surface was modelled in grasshopper. For the most simple iteration each “step” was simply a run down the surface, modelled by using the “move” component and the “closest point” component. A loop was then created between the original point on the surface and the moved point using the anenome plug-in and each successive “run” was recorded to trace the flow. For the more interesting iterations point fields, spin forces and repusion forces were used to create the vectors used in the “move” component.

CRITERIA DESIGN

This algorithmic sketch was particuarly useful as it introduced me to several different drawing techniques in grasshopper as well as introduced a new way to vary geometry, other than using an attractor point. In this particuar sketch, the tiles were scaled and coloured according to their angle relative to the y-vector. This is a new breakthrough as it provides a way to alter a facade according to its base geometry, which would be benefitical for applications such as light filtration. Finally, I coloured the tiles accoridng to the way the were scaled using the gradient tool. This makes it visually easier to track how each tile was scaled, with the largest tiles being the darkest blue and then gradually turning white at the smallest tiles. Finally the ability to â&#x20AC;&#x153;tileâ&#x20AC;? this geometry through the use of the orient component is a useful application as it allows us to panel a surface with a shape drawn on our own rather than the pre-set division shapes provided by grasshopper or Lunchbox. The orient tool was also used on different geometries with different shaped tiles, different shapes and different sclaing rules.

CRITERIA DESIGN

This algorithmic sketch was an attempt at reverse engineering the SAHMRI (pinecone) building in Adelaide. The extent of the “shading” was varied according to an attractor point. The original geometry was than varied by changing the degree by which the “point” of the shade was moved or the input geometry.

CRITERIA DESIGN

// list of figures 1. https://vimeo.com/16993767 2. https://embodiedpotentials.wordpress.com/2013/04/22/coussoir-cloud-case-study/ 3. http://architizer.com/projects/voussoir-cloud/ 4. http://www.designboom.com/architecture/weaving-carbon-fiber-pavilion-university-of-tokyo-t-adsteam-08-07-2015/ 5. http://www.designboom.com/architecture/weaving-carbon-fiber-pavilion-university-of-tokyo-t-adsteam-08-07-2015/= 6. http://www.wedding-venues-melbourne.com.au/san-remo-ballroom/ 7. http://classical-iconoclast.blogspot.com.au/2012_12_01_archive.html 8. https://au.pinterest.com/pin/41587996533850188/ 9. https://www.dezeen.com/2015/12/17/form-us-with-love-acoustic-tiles-baux-pixellated-patterns/ 10. http://rvtr.com/research/resonant-chamber/ 11. http://www.formakers.eu/project-716-aidlin-darling-design-wexlers-bbq-restaurant

CRITERIA DESIGN

// Bibliography 1. Ong, Rob, “Voussoir Cloud By Iwamotoscott | Dezeen”, Dezeen, 2008 <https://www.dezeen.com/2008/08/08/ voussoir-cloud-by-iwamotoscott/> [accessed March 2017] 2. Peters, Brady. (2013) ‘Realising the Architectural Intent: Computation at Herzog & De Meuron’. Architectural Design, 83, 2, pp. 56-61 3. Taichi Kuma, “Taichi Kuma”, Taichikuma.Tumblr.Com, 2017 <http://taichikuma.tumblr.com/> [accessed April 2017]. 4. Taichi Kuma, “Weaving Carbon Fiber Pavilion By Uni. Of Tokyo’s T_Ads Team”, Designboom | Architecture & Design Magazine, 2015 <http://www.designboom.com/architecture/weaving-carbon-fiber-pavilion-university-of-tokyot-ads-team-08-07-2015/> [accessed April 2017]. 5. “’Voussoir Cloud’ By Iwamotoscott With Buro Happold - Archivenue”, Archivenue.Com, 2009 <http://www.archivenue.com/voussoir-cloud-by-iwamotoscott-with-buro-happold/> [accessed March 2017]. 6. “VOUSSOIR CLOUD - Iwamotoscott”, Iwamotoscott.Com, 2008 <http://www.iwamotoscott.com/VOUSSOIRCLOUD> [accessed March 2017]. 7. Woodbury, Robert F. (2014). ‘How Designers Use Parameters’, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge), pp. 163

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PROJECT PROPOSAL

Part c // Detailed Design PROJECT PROPOSAL

Design Concept

The feedback from our interim submission focused on the control of the material effects extracted throughout the criteria design exercises and prototypes. While our material is incredibly interesting, with a unique grain and aesthetic behavior that can be manipulated and controlled through parametric design techniques, this control needs to be harnessed at the scale of the ballroom. While explorations in Part B focused on the relationship between the placement of fixture points and then the corresponding bulge in the material, in Part C we want to try and work in reverse to increase our control over our installation and re-frame our thinking. What makes our design proposal interesting and innovative is its contradictions and its unique functionality. Similar to projects by SIFT studio, we have extracted an inherent messiness and intriguing material property to then be manipulated through parametric design, juxtaposing the high level of control and precision characteristic of algorithmic design with the organic aesthetic of materiality. The challenge now is to maintain this innovative contradiction and increase the level of control without compromising on the aesthetic.

At the conclusion of Part B, while these interesting material properties had been harnessed, they had not been controlled to the point where they were legible for the viewer and thus lost some of their beauty in their unwanted randomness. From here on in, rather than trying to control the strip widths, fixture placement and bulges as separate entities we want to think of our design as a flow with interrelated steps. Firstly we want to create an interesting aesthetic with non-linear strips whose thicknesses vary along their length. We then want to create bulges in direct relation to the strip thickness. Not only does this simplify our algorithm, but it adds a legibility to the viewer, with bigger bulges occurring in the thicker portions of the strips so there is a direct and readable correlation between strip thickness and bulge amount. This is significantly more useful than using an image mapper as while an image mapper creates difference, it is not clear to the viewer thus creating a messiness which compromises the elegance and sophistication of the installation. Finally, connection points are to be determined with regards to the location of bulges.

The Material Fringe I , SIFT Studio, 2011

Thick-It, SIFT Studio, 2011

Hover, SIFT Studio, 2012

PROJECT PROPOSAL

The couture fashion of Iris van Herpen was our main aesthetic precedent moving on in Part C. We particularly liked her contradictions between control and messiness. It is clearly organised however this linearity is softened by the natural organic behaviour of the materials used and the edginess and wildness of the overall geometry.

04 Capriole Courture, Iris van Herpen, 2011-12

We therefore aim in Part C to organise our bulges and connections in a more concentrated fashion but then disguise this with the soft texture of our material and the sleekness of the bulges.

PROJECT PROPOSAL

Photograph of dancersâ&#x20AC;&#x2122; movement

Image sample bulge simulation from photograph 5

Photograph of dancerâ&#x20AC;&#x2122;s movement

Image sample bulge simulation from photograph 7

Our previous attempt at organisation in Part B was predominantly through the use of an image mapper. We had the idea of controlling the bulges according to an image of dancers, thus having our design reflect their dynamism and movement, a nod back to the ballroom context and the traditional function of a ballroom to host dances. However, as is evident in our initial attempts at creating bulges from connection points determined by an image map, the result is incredibly messy rather than organised and legible as 98

PROJECT PROPOSAL

we were hoping. While the bulge density and placement is varied to a degree by the photographs, there is no obvious connection between the two so that rather than reflecting the movement of the images the resulting bulges look messy, uncontrolled and unrefined. We therefore need to come up with a less literal way of organising the bulges and have this organisation method at a resolution that will be legible at the intended installation scale.

05 Close up photograph of Prototype 5

PROJECT PROPOSAL

Ballroomâ&#x20AC;&#x2122;s least interrupted surfaces

Predicted guest movement from entrances

Available views

Possible installation placement around columns

Possible installation placement on solid walls

Possible installat

100

PROJECT PROPOSAL

tion placement on glazed surfaces

04 Predicted sound sources and culmination

site analysis As one of our main criticisms from the interim submission was our choice of placement, we felt a more thorough site analysis would be prudent moving into Part C. The fact that we had previously cut holes for the different room functions made our final design quite choppy, and crude in its solution, with the fluidity and sophistication being interrupted by the holes. We therefore did an analysis of the least interrupted spaces in the ballroom so that our installation can be viewed in a more wholistic way and found that the glazing or the columns were the least interrupted surfaces. We also assessed the movement of guests from the main entrances as well as the views available from the ballroom and the concentration of sounds. Since our installation aims to be both beautiful and functional, with its acoustic properties, if we are tackling the placement problem from an acoustic functionality perspective, the centre of the glazing would be the optimum spot for functionality. We predict the sound from the guests and the speakers to culminate in the centre of the room. Alternatively there are possibilities to place the installation around the columns, on the wall as in Part B or across any one of the windows as the bottom 3 diagrams illustrate.

PROJECT PROPOSAL

101

tectonic elements c2 and Prototype Through the construction and exploration of several prototypes we have managed to reduce our installation to interconnected strips as our main tectonic element. Part Bâ&#x20AC;&#x2122;s explorations focused purely on linear strips with the interest coming from varied thickness between strips and the bulges created. In streamlining our approach and finalising our design in Part C, this has shifted to a focus on creating interesting non-linear strips with varying thickness within each individual strip. This changing strip thickness will then inform the bulging amount. This shifts the interest of our design from being merely about the bulges created to a more over-arching aesthetic appreciation in which the material properties, the strip design and the bulging of these strips are all interrelated and governed by a single parameter â&#x20AC;&#x201C; the strip thickness at any given point. A matrix of potential non-linear strip layouts was created and our favourite was fabricated into a prototype to assess the feasibility of having non-linear panels and to determine what affect it will have on the overall installation behaviour. We found that our favourite iterations had vertical variation, with adjacent strips being thin or fat at that point compared to their neighbours, thus providing more variation which is still presented in an orderly fashion due to the graph maps that governed the strip division. We also found that there were many iterations that would not be possible to fabricate, with the resulting strips either being too thin or overlapping, so that is something to consider for the final fabrication and strip geometry choice.

our favourites not fabricatable 102

PROJECT PROPOSAL

103

01 Strip geometry iteration selected for fabrication

02 Strips to be laser cut, clear that connection geometry is perpendicular to edges

104

PROJECT PROPOSAL

Bulges clearly visible and in line despite nonlinearity of panels

Twisting of the prototype due to the stiffness of the cardboard

Prototype 4 Since we were moving away from linear strips into curved strips we did a very quick cardboard prototype of our favourite strip division iteration just to confirm that our “male and female” connection method would still work. As is clear from the photographs of our prototype, cardboard was a very poor choice of material, not reflecting the behaviour of our material closely due to its greater stiffness. While the bulges still formed, the inherent stiffness of the cardboard caused it to twist in on itself, as influenced by the curves, and thus it was next to impossible to make it emulate the shape we were wanting.

However, the basic aim of this prototype, which was to test the validity of our “male and female” connection method on non-linear panels was successful. It demonstrated that the connections still held up and that the “neck” of the male connection had to be perpendicular to the male edge of the strip while the female slot had to be parallel to the female edge for the connection to work and for adjacent panels to sit relatively flush with each other.

05 Annabelle connecting adjacent panels

PROJECT PROPOSAL

105

Strip division geometry creates clunky aesthetic.

More delicate bulges and more subtle base geometry however alternation of bulges makes it look messy and unorganised.

Bulges line up making it a lot cleaner but still monotonous, bulges are too evenly spaced.

Bulge height determined by strip thickness, to create an elegant variation and flow across the design.

106

Slightly more appropriate base geometry but bulges are too stilted.

PROJECT PROPOSAL

Gaps refined by introducing the multiplication of the â&#x20AC;&#x153;maleâ&#x20AC;? edge of the panel so as to increase the gap created.

Bulges too tight together, crea than a delicate flow.

Bezier spline used to govern th so bulges are not so evenly spa monotonous.

Final revision of remap so bulg appropriate to the real world sc

ating a crinkled aesthetic rather

he placement of connections aced. Bulge height still rather

ges are slightly larger and more cale for fabrication.

Refining the algorithm It took us a while to pin down our algorithm so that it would portray our aesthetic aspirations - as defined from our Part B prototypes and selection criteria - as well as the new control that we wished to exhibit after the interim presentation feedback. While we were happy with having the strip division governed through specific input curves and then graph mappers, we had trouble figuring out how we wanted to govern how our connections were placed and how the bulges were formed. We experimented with different ways of using the “divide length” component in Grasshopper to determine our connection placement. This included the use of series and random number generation, however we found that the use of a graph mapper to divide the length into a certain number of segments was the most effective as it provided easily controllable variation while still maintaining a certain parametric order. Our next challenge was to make the strips act as individual strips and not have each adjacent strip directly in line with the next as occurs in iterations 01-03. This problem was solved by pairing curves so that the two lines that made up each strip were related. The “male” edge of the strip has a multiplier on its bulge so that it does not sit in line with the “female” edge, however the adjacent strip still fits in due to a shared edge curve. Finally, we experimented with different ways of governing the bulge amount but settled with a direct relationship between the strip thickness at that point and the bulge height, achieved through the relative item and length components. A remap was used to make this height legible and appropriate to the intended scale. Having pinned down our algorithm a prototype was made of our favourite iteration, number 09, to ensure that the unroll function worked appropriately and that the parametrically determined connection points would translate to the fabrication stage.

PROJECT PROPOSAL

107

pseudo algorithm

cull index

eval length

cull cull

curve series

eval length graph mapper

merge

interpolate

series

graph mapper

x6 cull cull index

define strip geometry

108

PROJECT PROPOSAL

eval length

define location of connection points for bulging

cull

define height of bulge

remap

relative item

line

length

mul

ltiply

make points into strip surfaces

sort along curve

eval surface

surface closest point

interpolate

orient

connection geom

move

remap

loft

laying strips onto laser bed

unroll brep

move sort along curve

interpolate

list item

point on curve

text tag

brep edges

relative item

cull pattern

extrude

eval length

series line

brep edges

tree stat

relative item make points into strip surfaces line

orient

line 2pt eval length

intersection line 2pt

end

loft move

design hanging connection - bake

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prototype 5 As can be seen from the photographs, this prototype was successful in translating our digital model into the physical world. As this was a 1:20 scale model, we were not able to use our male and female connection method however we still determined the connections parametrically through laser cut holes where the female and male connections would be. Each pair of holes was then pinned together to create our algorithmic bulges. This heightened parametric control compared to our Part B prototypes has created a far more elegant and neat rippling effect across our installation. While there is a relatively visible linearity to our bulge and connection placement, this linearity is softened to an extent by the organic material properties causing not every bulge to be symmetrical around its centre. We would however, like to further disguise this linearity in future iterations, through the use of different graph maps and strip divisions so that there are areas of relatively flat strips growing into areas of big bulges.

01 Horizontally hung prototype

Close up of parametrically controlled bulges

Sag visible in the longer strips

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Furthermore, in future iterations we would like to increase the variation in bulge height and size, as well as panel thickness, and also alter the horizontal distribution of bulges. In this particular prototype, the bulges are dense on one end and then in an almost linear gradient fashion get longer and more infrequent towards the opposite end. It would be interesting to have variation in bulge density both vertically and horizontally and in a less linear fashion. Finally, we found in this prototype that when the bulges got too long the material began to sag, looking limp and messy rather than the sleek and structured bulges that we are aiming for. This would be mostly due to the choice of fabric, us using the soft 1mm thick felt for this particular prototype, thus we may not have the same issue with the thicker felt. However, for our smaller scale final model we will realistically be using the soft felt and thus will need to reduce the size of bulges, so as to avoid this droopy aesthetic, and/or find a solution to stiffen the material and remove the sag, possibly through the use of hairspray.

Vertically hung as viewed with bulges and shadows visible

Vertically hung as viewed with bulge gaps hidden

Having changed our basic installation design, now with non-linear panels and a non-rectangular base shape, we reconsidered different orientations. Once again we tried a vertical hanging method and while we really liked the â&#x20AC;&#x153;flowâ&#x20AC;? aesthetic created, with the installation appearing to flow down the wall like a fluid or a traditional billowing drapery, similar to our criticism of vertical hanging from Part B, we found that the effect of the bulges, and the shadows created, were lost through the vertical hanging. While it looked beautiful from one perspective, with the dark gaps contrasting with the light bulges of the fabric, from the other side it looks incredibly flat, bland and monotonous due to the gaps between panels being hidden. We therefore were able to once again rule out the idea of hanging our installation vertically.

06 Vertically hung prototype

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Another possible placement option were the many columns around the ballroom. While this particular prototype was not designed to wrap around the columns efficiently we thought it was worth testing to see if it were an option to explore further. While the linearity of the connection placement is disguised a little bit through the twisting around the column, and some really beautiful, delicate gaps are created due to the added strain on the installation in trying to wrap around the column, the variation and effect of the bulges is almost completely lost. What makes our installation proposal interesting and innovative is the parametric control of a soft material into rigid and organised bulges that create a striking, sophisticated and elegant aesthetic. While the aesthetic aspirations are met through this placement option, the innovation and interest in our parametric control of the installation is lost. Rather than looking like something that had been actively controlled it looks more like uniform strips that have simply been wrapped around the column. Furthermore, the top half of the column looks quite beautiful with the “fanned” edges however the bottom half looks very limp and forgotten. If we were to pursue this direction, we would have to consider a way of fixing the installation at both the top and the bottom so it twists relatively tightly around the columns.

07 Full view of the prototype wrapping around the “column”

08 “Fanned” effect created

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Close up of gaps created due to twisting of prototype

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Iteration Matrix 1 Having pinned downed our algorithm we decided to make an iteration matrix of possible installation outcomes. In each iteration we changed the input curves, the graphs guiding the strip geometry and connection placement, and the number of strips and connections. We found that the ones we liked the most were those that had a nice balance between short and large bulges and no areas with too great a density of bulges as that is when it begins to look messy rather than parametrically controlled. We also experimented between how we governed the height of the bulges. We wanted it to be in direct relation to the width of the strips, however we played with both a direct and inverse relationship between the height of the bulges and the width of the strips. We found that we liked the inverse relationship the best as it provided us with long, thin strips with taller bulges that created a beautiful, long sleek curves and also created nice gaps between strips.

These were my least favourite iterations as they had an unappealing distribution of bulge density. They have sections of far too dense bulges, causing the installation to look like crinkled fabric and creating a messiness that causes the loss of the parametric origins to the design. Furthermore the bulges are all too regular in size so that the pattern becomes monotonous rather than refined and nuanced. 114

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These are the two iterations that we chose for further exploration and refinement. We liked these in particular as we felt they had a good balance between fat flat strips and thin tall strips and the linearity of the connection arrangement was less obvious due to the variations in bulge density.

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Iteration Matrix 2 Having chosen our two favourites from the initial matrix, we further refined them, changing bulge height, panel division and number of connections to confirm that it could be fabricated. In our prototype 5 we found that the thinnest the strips could get before the material would break was 8mm, and back in Part B we had determined that the female distance could be no less than 80% of the relative male distance before kinks appeared in the fabric, therefore we had to ensure that our model was within these parameters. While we only made very minimal changes to our two favourite iterations from Matrix 1, we did manage to finesse the algorithm as well as the input curve geometry and the balance between the height of the tallest and shortest bulge to come up with our favourite iteration which will be fabricated as our final detailed model. We chose this particular iteration as it has no insanely high or insanely flat bulges unlike some of the refined iterations and thus the material would be able to hold, both in the small scale model when we use the soft, thin material and in a larger scale model. Furthermore, there are no sudden change between flat and bulged but rather a nice gradient between the two which was a level of control we wanted to gain over the material so that we could force it to transition between bulged and flat in a sophisticated manner through our connections.

our favourite to be fabricated as our final model

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03 Plan view of chosen installation placement

Site placement In considering the numerous site placement options through our site analysis, as well as the findings of our prototypes and outcome of our iteration matrices, we decided to place our installation between the two centre columns on the window side of the room. This is the area where our installation would have the greatest acoustic functionality, due to the sound from the guests and the speakers culminating in the centre of the room, plus it provides the opportunity of creating some interesting lighting effects due to the

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filtration of natural light through the gaps in our bulges. Most importantly however it is the most logical placement of our installation if we wish for it to act as one cohesive and wholistic piece. In Part B the chosen site placement was quite stilted and clunky due to the holes cut out of our design, therefore we wanted to revise the placement to somewhere where the installation would not be forced to conform to a particular shape but rather could adopt the organic, sleek and sophisticated flow which we had designed for it parametrically.

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connection refinement Due to the choice of placement in front of the glazing, our connection method from Part B had to be refined as the installation now had to be artistically presentable from both the front and the back. While the basic concept of the Part B connection type could be maintained, with a male and female connection part, the male connection part now had to be thought of as a designed and visible element. We tried many different possible connection geometries including tassels, “icicle” like shapes and straight lines with “balls” on the ends. While I actually liked the tassel option, with the geometry suggestive of curtain tassels in a traditional ballroom, there were some issues with the laser cutting of them, as the thinner tassels caused the material to melt and fuse together. While a thicker tolerance worked, we decided that the juxtaposition between the clean curvy lines of our larger installation and the straight geometry

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of the tassel like-connection was too jarring and we don’t want the connection method to detract from the overall installation or to look too much like a separate element. We therefore ended up going with the curvy icicle geometry for our connection as it was the least obtrusive, was still effective as a connection method and maintained the elegance and sophistication we were hoping to achieve. This prototype was also useful as it was our first attempt at non-linear strips with our actual 3mm thick material. We therefore found that with non-linear strips a greater margin was required between the edge of the strips and the female connection slots as too thin a margin prevented the strips from laying flat on top of one another.

01 Connection test strip

Possible “icicle” connections

Failed fringe connection, tolerance caused connection to melt together

More possible “icicle” connections

Successful fringe connection and line and “ball” connection option

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Photograph of final model demonstrating the light filtration

Site Effects Due to our decision to place the installation in front of the glazing, some interesting site effects are generated, most notably, the filtration of natural light. The structured bulges of our installation create gaps of varying size between adjacent panels, thus allowing light of varying intensities to filter through the installation. This filtration of light adds interest to our installation while highlighting particular aspects of the design, particularly the structure of the bulges and their relationship to panel thickness. The long thin strips have the tallest bulges, and thus let in the most light in while some of the fatter strips are relatively flat and therefore let in very little or no light through. The other effect created by our installation is its intended acoustic function. For something to have sound absorbing qualities it must provide air between it and the solid surface, it must be porous and it should maximise its surface area. Our chosen material is porous by nature, while our parametrically structured bulges increase the surface area available for sound absorption and provide a space between it and the glazing. This is quite innovative in the field of acoustic architecture as sound absorption is generally achieved through simple nonparametric curtains, or if parametrically designed, acoustic installations generally use sectioning or patterning to achieve the necessary surface area and porosity. In contrast we have created a parametrically controlled and designed acoustic curtain from the research perspective of strips and folding.

02 Diagram of expected light filtration through the different gaps

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Final Detail Model

01 Final detailed model (1:10) 124

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1:10 Scale model Our final detailed model was made at a scale of 1:10 using the softer 1mm thick material. We chose the thinner material for our small scale model as the thicker material would have been clunky to work with at this small scale. As this scale was so small, we were unable to use our â&#x20AC;&#x153;male and femaleâ&#x20AC;? connection method therefore a supplimentary model of the upper left corner of the installation has been made at a 1:3 scale to showcase the connection method and the material effects with our actual material. In order to emulate the thicker materialâ&#x20AC;&#x2122;s properties, the thinner fabric was treated with hairspray in order to stiffen the bulges appropriately. I believe that our final model has been very successful in illustrating the aesthetic interest of our installation with the sleek, clean and sophisticated bulges created through a partnership between the parametric control and the organic material properties. While the bulges appear clearly ordered and controlled there is variation amongst the design with areas of thick, flat bulges and long, tall, thin bulges, as well as pockets of realitve density, which creates a certain dynamicism. Furthermore, there is a clear correlation between the strip thickness and the bulge amount, making the installation legible to the viewer and appear beauitful, detailed and intricate rather than a lumpy, messy, random assortment of bulges as was the limitation in our Part B proposal. We liked the undulation of our design as it emulates the undulation of traditional, ostentatious ballroom curtains and drapery brought into a contemporary and modern sense through the controlled parametric design of said undulation. It also reflects the movement of dancers and guests in a ballroom because you imagine gliding and interaction, reflected in our smooth curves and interconnection between strips. Our installation aims to be innovative in its many contradictions. Using a soft material we have made a structured installation, and we have maintained an organic softness and irregularity, provided by material behaviour and the geometry of the bulges, which contradicts its parametric origins.

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02 Final detailed model at a 1:10 scale PROJECT PROPOSAL

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03 Final detailed model at a 1:10 scale, pictured with hanging method and copper frame PROJECT PROPOSAL

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01 Chosen connection method

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Bulging effect in the thick fabric

1:3 scale model To supplement our 1:10 final model we also made a 1:3 model of a small section of the installation using our selected material (the 3mm thick polyester felt) and our intended connection method. As can be shown in the two photographs, the newly revised connection method is secure and makes the installation artistically presentable from both the front and the back. We ended up settling on the symmetrical â&#x20AC;&#x153;icicleâ&#x20AC;? connection geometry as it is the most in keeping with the curved aesthetic of the installation without detracting from the main focus, the bulges. It is also clear that the bulges created with the thicker material are more structured and hold their own weight a lot better without the need of any additional treatment, thus reflecting the organic material properties as controlled by parametric design as was our aim. PROJECT PROPOSAL

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Hanging Method Due to the relative stiffness and weight of our chosen material, it is able to hold its own shape and maintain the structure of the bulges due to the security of the connections. Therefore, we did not require a hanging method that fixed the installation in shape or pulled it taut in any way but rather wanted the least obtrusive hanging method possible. We therefore settled for a series of incredibly thin steel wires, that would appear like threads from a distance but still have the necessary tensile strength to hold the weight of our design. The length of wire required to suspend the design was calculated using Grasshopper so that the wires are the exact length that allowed the installation to take its designed form. We considered an uneven spacing of wires however settled for evenly spaced threads in the end as we didnâ&#x20AC;&#x2122;t want the hanging method to overpower the main installation and wanted to keep it as simple and sophisticated as possible. Furthermore, due to the curved shape of the top strip, as dictated by the bulges, the threads do not sit directly next to each other but rather move and dance with the curves and undulations of the installation, thus making the threads quite beautiful as viewed from the side as they mimic the movement of the installation and then carry that movement upwards towards the rod at which it is fixed.

01 Vector diagram of intended hanging method as viewed from the side

As it wasnâ&#x20AC;&#x2122;t economical or efficient to use steel thread for our scale model instead we cut acetate into very thin strips of the length dictated by our algorithm and then attached these to the top strip of our installation to give an indication of the placement and aesthetic of the actual hanging method. PROJECT PROPOSAL

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Fabrication + Construction Process 1010.00

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1. Laser cut unrolled strips from 3mm felt. Strips are numbered according to their position within the installation.

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2. Slot male connection into female connection on adjacent panel to create bulging effect.

3. Cut steel wire to length rithm for our hanging me

(X )

hs as determined by algoethod.

4. Connect steel wire to rod and top panel of installation, crimping to secure in place.

6. Fix rod to columns, raising the installation at the same time to the desired height.

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01 Final detailed model at a 1:10 scale, backlit PROJECT PROPOSAL

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Learning objectives c4 and outcomes In our final presentation the main constructive criticism we received was related to the functionality and the scale of our installation. While the nuance and delicate nature of our controlled bulges is well presented and shown off in our 1:10 model this is almost completely negated at the scale we intended. As can be seen from our renders, blown up to a 1:1 scale the model loses its delicate aesthetic and rather appears as a giant wall carpet rather than an intricate art piece. Therefore if it were to remain in the specific site context we had specified it would either have to get significantly more strips and connection placements so the bulges remain small and elegant, and/or the size needs to be reduced significantly. Alternatively, and more appropriately the context should be reconsidered. As was pointed out to us, while the light filtering behind the installation piece creates some beautiful effects and highlights the control of our bulges, it blocks the view out of the ballroom which is often the most expensive and biggest key point of a ballroomâ&#x20AC;&#x2122;s design. Some possible suggestions for another context would be as a fringe to a curtain that would be movable, thus allowing the view to be hidden and revealed at will. This would also help solve the problem of scale as it would allow us to reduce the scale of the installation so that it can remain graceful while still filling the scale of a ballroom and being functional.

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01 Close up render of installation

02 Wide view render of installation

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alternative functions In considering the feedback from our final presentation we have come up with some other ideas for the function of our installation so that it is slightly more appropriate to the scale of the ballroom. Our first option was to keep our current overall scale but to refine the design so that the bulges were closer to the scale of our 1:10 detailed model. The feedback from the presentation was that the delicacy and intricacy in our 1:10 model was effective and beautiful however when transferred to the scale of the glazing wall it became clunky and unrefined. We therefore altered the number of strips in our installation from 14 to 44 so that the refined scale of our 1:10 model is transferred to the actual context and the design maintains the intricate and artful bulges that it has on the smaller scale. While this does solve the scale issue there is still the criticism that placing it in front of the glazing spoils the views from the ballroom and defeats the purpose of having floor to ceiling windows. We therefore propose, as an alternative function, to have our installation as a â&#x20AC;&#x153;fringeâ&#x20AC;? to a moveable curtain. This has been directly inspired by our hanging method and not only does this allow the installation to be moved to the side in order to see the views but it also allows it to remain at a smaller, more delicate scale so that softness and elegance of our small scale model remains in the actual installation realisation but still has a functionality in the large ballroom. The only possible concern with this function would be that our choice of material would have to be revised. Our current material is too structured to be able to gather as the curtain was drawn away therefore we would have to consider making the curtain fringe out of the thin felt instead and possibly treat it so that the bulges remained structured as per their parametric design. Possible placements for this curtain could be in front of the glazed walls or over the screen that is above the stage. 140

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01 Revised installation for window placement

02 Potential curtain “fringe” function PROJECT PROPOSAL

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Column wrapping option #1

Column wrapping option #2

In considering alternative options for the placement and function of our installation we revisited the idea of having the installation wrap around the columns and managed to come up with some quite interesting possible iterations. We increased the number of strips in the installation so that the intricacy of the bulges when applied to the column would match the delicate and detailed nature of our 1:10 scaled model. We considered several possible wrapping geometries, attempting to emulate ball gowns and the movement of dancers so to create a dynamic and fluid aesthetic that nodded back to the traditional ballroom. We also tried merely covering the columns as to not intrude on the space in the ballroom however there is risk of this 142

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outcome looking rather phallic or at the very least like yarn bombing and just a little too crafty rather than innovative, sleek and parametric. The movement and dancing iterations turned out a lot better, however if we were to pursue this idea further what would be the most important challenge would be to find a unobtrusive way to fix the installation at the relevant points so that it holds the designed shape. Due to the weight and structured nature of the material only minimal fixing should be required. What would be interesting to experiment with if we had more time would be wrapping the columns with our strips laid out diagonally as we experimented with in our Prototype 5.

Column wrapping option #3

Column wrapping option #4

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01 1:10 final detailed model 144

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01 1:10 final detailed model 146

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I have really enjoyed my experience in Architecture Design Studio: Air. Having come into this subject with little, to no, computer based design skills, let alone any knowledge of parametric design tools, I have felt I have grown unimaginably in this subject. Comparing my proficiency with Grasshopper now to the beginning of the semester when I had to follow the tutorial videos very, very slowly with any hope of producing an outcome, is quite incredible. I now feel confident that if approached with a problem related to parametric design I could formulate an algorithm that would in some way achieve my aspirations and provide a solution to the problem. Of course this knowledge is limited to the very specific research topic that was related to the direction our project took, so I would really love to look into parametric modelling further, both in my own time as well as in my further architectural studies, so as to broaden my skill base. What I also particularly liked about this subject, and found especially rewarding, was the close correlation between design and fabrication. My past architecture design studios I found to be heavily conceptual with no real world grounding, something that is quite frustrating for me as an engineering student. I therefore really enjoyed that we had to design and then make our project in this studio as I believe that the interrelation between design and construction is incredibly important and something that needs to be considered from the beginning of the design process. I believe my partner Annabelle and I did a very good job at achieving the learning outcomes and goals of this subject. As can be seen from our iteration matrices and how our design has diverged from our precedent projects and reverse engineering exercises, we have exhibited an ability to generate a variety of design options to a given situation. Even beyond that, we were able to come up with an incredibly innovative concept which is not only different from our precedent projects but also very different from many of the things emerging the in field of parametric design at the moment. PROJECT PROPOSAL

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// list of figures 1. 2. 3. 4. 5. 6.

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http://siftstudio.com/project/the-material-fringe-ii http://siftstudio.com/project/thick-it http://siftstudio.com/project/hover www.irisvanherpen.com http://molempire.com/2012/08/27/manuel-cafini-beautifully-captures-motion-in-photography-interview/ http://molempire.com/2012/08/27/manuel-cafini-beautifully-captures-motion-in-photography-interview/

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Jasmin Goldberg jasmin.goldberg88@gmail.com