Aagenaes_Ingrid_StudioAIR_FINALJournal

STUDIO AIR

INGRID AAGENAES SEMESTER 1, 2015

STUDIO AIR PART A

INGRID AAGENAES 618713 SEMESTER 1

INTRODUCTION

I am a 22 year old girl originally from Norway.

After studying fashion management in New York for half a year I decided to use my creative side in a different way and go over to study architecture in Melbourne.

In year 1 and 2 of my architecture degree I have been using Rhino as my main modelling tool. For enhancing the quality of rendering in Rhino I find that V-ray is what gives the best result. To create presentations and make my sections, elevations and perspectives more “lively� I have used Photoshop. Other than that I have used AutoCad 2D for some floorplans.

Figure 1: Studio Earth. Master - Louis Kahn.

As this semester introduces Grasshopper, a program I have never used before, it will allow me to enhance my skills and hopefully come up with some interesting designs that I have not been able to model before. In my earlier design studios all my final designs have been simple geometric forms based on cubes and rectangles. I am excited to take my design this semester to another level with Grasshopper.

As the architecture industry is changing and more and more projects is based on parametric design, I know I can go out in the workforce and be confident that I have the skills needed and required.

Figure 2: Virtual Environments. Second skin .

A.1 - DESIGN FUTURING

PETER ZUMTHOR - THERMAL VALS

Therme Vals is a hotel and Spa in the Swiss Alps. It opened in 1996 and Peter Zumthor, soon after its opening, became recognised as a contemporary architect (1).

Zumthor develops concepts that are rooted in ideas of making space and construction. His work lies in his ability to find abstraction through construction (2). He comes up with solutions that are both sensual and abstract (2). The Baths are built to meet all our senses.

Zumthor stated: “You can have a lot of sexy things with stone, stone and naked skin; the feel of it when you walk barefoot, and how it feels if you go over it with your hands.

Pleasant for the body comes first”

Figure 3: “Light” Peter Zumthour

References: 1.

Back Matter, Design Issues, The MIT Press, Vol. 23, No. 4 (Autumn, 2007) P. 12 2.

Chipperfield, David, Architectural Association School of Architecture, Thermal Bath at Vals by Peter Zumthor: AA EXHIBITION GALLERY, 16 FEB RUARY – 22 MARCH 1996. AA Files. No. 32 (Autumn 1996), pp. 72-75 3.

Murphy, Orla. “Zumthor’s Baths — a sensual guide”, Architectural Association of Ireland, Building Material, No. 12, morality and architecture (autumn 2004), pp. 44-47

Zumthor has a craftsman’s knowledge of construction and uses this to find new ways to work through technical problems. In the Building he uses the roof as a series of “tables”, expressing the roof as a constrictive idea (2). This also creates “light lines” along the roof and allows natural light into the building in a different way. The concrete building has is in one way a heavy, mass feel but Zumthor breaks this feel by adding the openings in the roof and creates a more light and open space.

The use of carving as a concept throughout the building gives it a natural feel.

Hence insertion of “roof tables” and “the block structure” introduces construction to the carved form(2). Zumthor overlaps ideas and makes every system work together as system. The baths have a rare ambiguity between carving and construction, space and element, mass and light (2).

Figure 4:Therme. Peter Zumthor. http://www.therme-vals.ch/en

A.1 - DESIGN FUTURING

SNØHETTA - NORWEGIAN WILD REINDEER CENTER PAVILION

Snohetta is one of the leading architecture firms in Norway and are recognized all over the world. The firms name comes from the Norwegian mountain “Snøhetta”. The Pavillion is overlooking this mountain and is located in Dovrefjell National Park (2). This Pavillion is a representation of not only Norway and its nature but also the architect firm.

Frank Lloyd Wright wrote, in 1908 about Organic architecture; how a building should be a representation and fit in with nature (1). In his opinion everything from forms, colours and shapes should be organic (1). Today, over 100 years later, this concept is very much still used by architects.

The Norwegian Wild Reindeer Centre Pavilion is in one way a very organic building as the shapes are rounded and organic, the materials inside is a representation of the outside and it opens up to the surrounding and views so you get a feel of being in nature when you are inside. Snohetta designed the building intentionally to promote this feel and aesthetic.

The building is based on a contrast between ideas: rigid outer shell and soft, organic inner core (2). The inside is made of wood and the organic forms were achieved by using the latest 3D computer programming.

References: 1.

Franl Lloyd Wright, ‘ In the Cause of Architecture”, Robert McCarter, ed, On an By Fran Lloyd Wright: A Primer of Architectural Principles, London: Phaidon, 2005. First published in The Architectural Record, March 1908 2.

Snohetta. “Norwegian Raindeer Pavillion”. 2015. Snohetta, Opened 12.03.2015 at http://snohetta.com/pro ject/2-tverrfjellhytta-norwegian-wild-reindeer-pavilion

Figure 5: Norwegian Reindeer Pavillion. Snohetta

A.2 - DESIGN COMPUTATION

ZAHA HADID - HEYDAR ALIYEV CULTURAL CENTRE

Architectural and engineering design is becoming more and more computerized practice, that has led to more distributed activities within and across disciplines and involves embedding intelligence in the formulation and actualisation of spaces(2). Zaha Hadid promoted in 2008 “parametricism” as a new stylistic term (2).

Parametric design allows for curved and organic surfaces especially. This practice is especially used to build the Heyday Cultural Centre.

The building has smooth curves and a shell-like form both internally and externally. The structural part is hidden and the surfaces are clean curved lines. It is a complex two layer space frame beneath a fiberglass-reinforced polyester sheeting (1). Zaha Hadid stated:

As mentioned the building interior is also made up of curves and organic shapes.

The auditorium fits 1000 people and repeats the curvaceous exterior (1). Backlit oak panelling immerses the room with a warm feel and is a contrast to the white walls used mainly throughout the building (1).

Even though this building is not the first to be using parametric design tools, it pushing the limits to extreme engineering (1), and this is why it has become one of Hadid’s most recognised buildings. It has become a monument and a symbol for the city Baku and promotes an emergent national culture of a newly liberated country (3).

“We wanted to take the plaza and shape it into an architectural environment, to create a continuous flow between inside and outside, to create a certain infinity,” (3)

Recourses: 1.

“Britannica Book of the Year 2014”, Encyclopaedia Britannica, Inc. Encyclopedia Britannica, Inc., 1 Mar 2014 - Juvenile Nonfiction – p. 197 2.

Distributed Intelligence In Design (Google eBook)Tuba Kocatürk, Benachir Medjdoub. John Wiley & Sons, 14 Jan 2011 Technology & Engineering – p. 65 3.

Joseph Giovannini. Heydar Aliyev Cultural Center 17.Sept.2013. Found 12/03/15 at: http://www.architectmagazine.com/ government-projects/heydar-aliyev-cultural-center.aspx

Figure 6: “Heydar Aliyev” http://www.architectmagazine.com/government-projects/heydar-aliyev-cultural-center.aspx

A.2 - DESIGN COMPUTATION

ReD M-CITY EXHIBITION @ THE KUNSTHAUS IN GRAZ

This project is highly affected by computer tools. They used computer programs and analyses to drive the design project. The exhibition centre does not have any permanent walls so that each exhibition is set up differently. For this exhibition ReD’s first intervention was to interact with the building as much as possible (1).

A test was done on how they could control the ceiling light and create different circulation paths to create an interface between the exhibition content and the building (1). So instead of coming up with a design by drawing and exploring different geometries etc., they used a computer program to analyse something relevant to the site and the computer came up with the best response. So computing can be used to re-define practise as it focuses upon a logic of associative and dependency relationships between objects and their parts-and-whole relationships (2).

Figure 7: RED RESEARCH + DESIGN, MARTA MALÉ-ALEMANY, JOSÉ PEDRO SOUSA HTTP://DIVISARE.COM/AUTHORS/55886-RED-RESEARCH-DESIGN 1.

2.

Branko and Klinger. Manufacturing material Effects, Rethinking Design and Making in Architecture. Routledge, 2010, 270 Madison Avenue, New York, NY10016. Page 140-144.

Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp.

1–10

The outcome came out differently for 1st and 2nd floor. On the first floor a light grid with attached soft covers of various lengths to each light, creating a ceiling topography. In order to control this topography they had to make their own “design tool”. The geometries created in this projects would be difficult to create 20 years ago, or it would take a very long time.

Computing in architecture have created flexibility, opportunity and effectivity for the architecture industry. Despite the complex geometry of the final topography in this project, the flexibility of the design process allowed changes to be incorporated right up to the fabrication process(1).

The second floor installation entailed the creation of six cones creating enclosures in order to get the best possible light for the exhibition.

The cones were extracted and created by a three-dimensional model and made of double sided stretchable Lycra layers (1). The use of data from the digital models controlled the CNC fabrication which gave highly precise production at a very short time (1).

Figure 9: “Lights” RED RESEARCH + DESIGN, MARTA MALÉ-ALEMANY, JOSÉ PEDRO SOUSA. HTTP://DIVISARE.COM/AUTHORS/55886-RED-RESEARCH-DESIGN

Figure 9: RED RESEARCH + DESIGN, MARTA MALÉ-ALEMANY, JOSÉ PEDRO SOUSA HTTP://DIVISARE.COM/AUTHORS/55886-RED-RESEARCH-DESIGN

A.3 - COMPOSITION / GENERATION

THE BLOBWALL BY GREG LYNN

Architectural practise have gone from conveying information through pen and pencil to draw a design in a 3D modelling program and today we make a computer program respond to a set of complex situations and create the best design regards to what the computer have given us(1). We are also facing climate change and are in highly need to find new sustainable solutions when it comes to infrastructure and building techniques. Computation, as it is called, allows designers to extend their abilities to deal with highly complex situations. It augments the intellect of the designer and increases capability to solve complex problems (1). As early as 1990s, the architect Greg Lynn observed that each pure element of quantity- like a binary algorithm, was determined in qualitative form by neighbouring forces (2).

An algorithm is a set of instructions given by codes and used in computer programs to form an outcome (1). Greg Lynn used computation as an attempt to redefine architectures most basic building unit– the brick (3). The wall consists of several “blob” units made of low-density, recyclable, impact-resistant polymer. The design of the wall was created with help of computer numerical control technology (3). This allowed each individual blob to intersect and create a freestanding wall.

Computation let architects think outside the box and design in respond to datasets of information so we can create new environments Computational abstraction surpasses the representation or simulation of space in which to explore designs and simulate performance, both physical and experiential (1). The Blobwall is just a

Resources: 1.

Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 2.

Luciana Parisi. Contagious Architecture: Computation, Aesthetics, and Space. MIT Press, 2013 - Computers. Page 99 3.

Blaine Brownell. Transmaterial 2: A Catalog of Materials That Redefine Our Physical Environment. Princeton Architectural Press, 2008 - Architecture.

Page 91

Figure 10: Greg Lynn. Blobwall. 2008. http://www.glform.com/blobwall.pdf

Figure 11: Greg Lynn. Blobwall. 2008. http://www.glform.com/blobwall.pdf

A.3 - COMPOSITION / GENERATION

GANTENBEIN VINERY FAÇADE

The main difference between parametric design and not parametric design is how the design process is driven and what the design is based upon. A project can be driven by a thought of a shape and modelled in a 3D program, but it does not make it a parametric design because the design project was not driven by a response using a tool to investigate the best outcome.

The Gantenbein Vinery in Switzerland has a façade that looks like a basket filled with grapes (1). The architects behind the design created an information generation process that produced an impression of a precisely controlled result (1).

Using the buildings concrete frame structure as a massive basket, and filled it with balls (1). The digital elevation image of the basket was then used to design a 3D brick wall pattern (1). The result was a dynamic surface that processes a sensual, textile softness (1). As this project was designed by using digital design tools throughout the process it is a good example of parametric design.

“We are moving from an area where architects use software to one where they create software.”(2) No project will be the same, so the ability to create a software for each individual design project is highly needed. Algorithmic thinking the key to parametric design as it is recognised as a role to understand the result of the generating code and being able to modify it and turn it into new design thinking (2)

Recourses: 1.

Branko and Klinger. Manufacturing material Effects, Rethinking Design and Making in Architecture. Routledge, 2010, 270 Madison Avenue, New York, NY10016. Page 108-109.

2.

Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15

Figure 12: V”inary”Thomas Schröpfer. Material Design: Informing Architecture by Materiality Walter de Gruyter, 1 Jan 2011 - Architecture – Page 56

Figure 13: “Composición de esferas – “Gantenbein” winery”. Judit Bellostes. http://blog.bellostes.com/?p=2392

A.4 - CONCLUSION

This part have introduced us to computation and how it works. It have changed architecture and design tremendously from what it used to be. It is more effective, accurate and it allows geometric forms. Not only has computation changed architecture, but also material fabrication and engineering, so architects and their entities have to work closer together and collaborate in another way than what they used to. Algorithmic thinking is giving us the opportunity to work and think on another level by responding to the environment.

As Peters ( 1) states:

‘“The processing of information and interactions between elements which constitute a specific environment; it provides a framework for negotiating and influencing the interrelation of datasets of information, with the capacity to generate complex order, form, and structure.”(1)

1.

Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15

A.5 - LEARNING OUTCOMES

All of the previous design studios I have done have been based upon what I will call the “traditional” or “old” way of designing. This subject have so far opened up a new way of thinking about design. I now understand the difference between computation and computerization. Not only have we been introduced to how to use grasshopper but understanding how algorithmic thinking can be used to form a project. It is no longer about creating random forms and put them together to a pretty building, but hopefully be able to respond to the environment in the best way possible with the help of computational tools. Today we are in an area facing many challenges due to global warming and overpopulation. It is our job as architects to be creative and find new solutions and create possibilities and hopefully we can be a part of making a difference.

RECOURCES :

Back Matter, Design Issues, The MIT Press, Vol. 23, No. 4 (Autumn, 2007) P. 12 Blaine Brownell. Transmaterial 2: A Catalog of Materials That Redefine Our Physical Environment. Princeton Architectural Press, 2008 - Architecture.

Page 91 Branko and Klinger. Manufacturing material Effects, Rethinking Design and Making in Architecture. Routledge, 2010, 270 Madison Avenue, New York, NY10016. Page 108-109.

Chipperfield, David, Architectural Association School of Architecture, Thermal Bath at Vals by Peter Zumthor: AA EXHIBITION GALLERY, 16 FEBRUARY – 22 MARCH 1996. AA Files. No. 32 (Autumn 1996), pp. 72-75 Frank Lloyd Wright, ‘ In the Cause of Architecture”, Robert McCarter, ed, On an By Fran Lloyd Wright: A Primer of Architectural Principles, London: Phaidon, 2005. First published in The Architectural Record, March 1908 Luciana Parisi. Contagious Architecture: Computation, Aesthetics, and Space. MIT Press, 2013 - Computers. Page 99 Murphy, Orla. “Zumthor’s Baths — a sensual guide”, Architectural Association of Ireland, Building Material, No. 12, morality and architecture (autumn 2004), pp. 44-47 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp.1–10 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 Snohetta. “Norwegian Raindeer Pavillion”. 2015. Snohetta, Opened 12.03.2015 at http://snohetta.com/project/2-tverrfjellhytta-norwegian-wild-reindeer-pavilion

ALGORITHMIC SKETCHBOOK

INGRID AAGENAES 618713 SEMESTER 1

A.6 - ALGORITHMIC SKETCHBOOK

WEEK 1

Lofting and state Capture - DeBrep - Triangulation Algorithms

A.6 - ALGORITHMIC SKETCHBOOK

WEEK 2

Curve Menu, Mesh and Transform

A.6 - ALGORITHMIC SKETCHBOOK

WEEK 3

Gridshell and Patterning

STUDIO AIR PART B

INGRID AAGENAES 618713 SEMESTER 1

B.1 - RESEARCH FIELD

“FABPOD” - RMIT DESIGN HUB

BY MARK BURRY, JANE BURRY, NICK WILLIAMS, JOHN CHERREY, DANIEL DAVIS,

ALEX PENA DE LEON

The Fab Pod is a meeting room designed with the intention to provide optimal acoustic. The geometry originates from a research done a few years earlier; “The responsive acoustic surface” workshop(1). This workshop was inspired by Gaudi`s use of hyperboloids in “Sagrada Familia”. The geometrical form reduces echo without creating an acoustic dead space(1).

The geometric rules, established by Daniel Davis, guaranteed planar intersections between the hyperboloids. All the hyperboloids are then distributed on a sphere pointing towards the spheres center(1). Several spheres that are intersected is the foundation for the final form of the project. Where the mid sphere is left and the others trimmed away. The shape is panelized using a spherical algorithm created by Davis.

Figure 1. FabPod construction. FabPod. Davis, Daniel. June 2013. Found at http://www.danieldavis. com/fabpod/

References: 1. Davis, Daniel. FabPod. June 2013. Found at http://www.danieldavis.com/fabpod/

Figure 2. FabPod. Davis, Daniel. June 2013. Found at http://www.danieldavis.com/fabpod/

Figure 3. FabPod working area. FabPod. Davis, Daniel. June 2013. Found at http://www.danieldavis.com/fabpod/

B.1 - RESEARCH FIELD

TESSELATION “VAOUSSOIR CLOUD” BY IWAMOTO SCOTT “Can we create objects that assemble themselves - that zip together like a strand of DNA or that have the ability for transformation embedded into them?”

Skylar Tibbitis (1)

Self-assembly designs have been related to parametric modelling. With only a few sets of instructions a form can be shaped (2). The Voltadom was an installation created for MIT’s 50th Anniversary Celebration (3). The installation is a creation containing hundreds of vaults, together forming a thickened surface articulation and a range of oculi that penetrate the hallway providing views and light (3).

The curved vaulted surface acts as a surface panel that is created by transforming the vaults into trips (3). This makes it feasible and quite easy to fabricate. The project also shows how a simple algorithm can be used to create a range of different outcomes.

References: 1.

Skylar Tibbitis. Ted Talks. https://www.ted.com/speakers/skylar_tibbits 2.

Achim Menges. Material Computation: Higher Integration in Morphogenetic Design. John Wiley & Sons, 2 Apr 2012 - Architecture – Page 144 3.

VoltaDom: MIT 2011. SJET. Found at http://sjet.us/MIT_VOLTADOM.html

Figure 4. VoltaDom: MIT 2011. SJET. Found at http://sjet.us/MIT_VOLTADOM.html

B.2 - CASE STUDY 1

TESSELATION “SKYBAR TIBBITIS” BY VOLTADOM SPECIES

PATTERN TYPE: HEXAGON

PATTERN ON SURFACE: TRIANGLES

PATTERN ON SURFACE: CIRCLES

PATTERN ON SURFACE: RECTANGLE

HIGH AMPLITUDE

PATTERN TYPE: TRIANGLES PANEL C

HIGH DENSITY

B.3 - REVERSED ENGENEERING

“FABPOD” - RMIT DESIGN HUB

BY MARK BURRY, JANE BURRY, NICK WILLIAMS, JOHN CHERREY, DANIEL DAVIS,

ALEX PENA DE LEON

Figure 5. FabPod. FabPod. Davis, Daniel. June 2013. Found at http://www. danieldavis.com/fabpod/

For the reversed engineering I chose FabPod because it works with geometric rules in a way that it guarantees planar surfaces, something that is important for fabrication. The use of hyperboloids have created the ability to optimize the function of the space.

Figure 6+7. Hyperboloids and Spheres. FabPod. Davis, Daniel.

June 2013. Found at http://www. danieldavis.com/fabpod/

I had to start of with creating 7 points in order to create intersecting

All of these points became the center of spheres, where the middle sphere is the one to be the cutting component.

All surfaces outside the middle sphere is trimmed, leaving this shape.

Two bounding boxes on top and on the bottom of the middle sphere is used to trim away, leaving 8 surfaces together as one shape.

B.3 - REVERSED ENGENEERING

The edges of the surfaces have to be created

Each of the eight surfaces have to be dealt with separately.

The points on the surface is related back to the shpere centre.

A vornoid pattern is created on each single surface.

This process is repeated in all the surfaces, creating a 3D model.

Cones are created from the vornoid pattern and circles are created and trimmed away in order to create the openings.

Figure 8. Parametric modeling. FabPod. Davis, Daniel. June 2013. Found at http://www.danieldavis.com/fabpod/

SHAPE VARIATIONS

CIRCLE -CONE RATIO

SIZE DIFFERENTIATION

POINT DISTRIBUTION

CIRCLE -CONE RATIO

DESIGN POTENTIAL

POINT DISTRIBUTION The surface gets an interesting look when the points are distributed in lines on one part on the surface and randomly on other parts of the surface. It can encourage different usage of the points.

CIRCLE OPENINGS The circle / cone opening have to be big enough in orger to be used for something (put something in it), but not bigger than the cone.

SIZE DIFFRENTIATION If the circles have different sizes they can easily be u different things. When designing the wall the ratio b smallest and biggest circle have to be carefully selec get a smooth surface.

used used for between the cted in order to

OPEN VS ENCLOSED SPACE The shpere trim method allows for a lot of interesting shapes that can create shelter and openings in an interesting way.

B.5 - TECHNIQUE: PROTOTYPE

PROTOTYPE

I decided to create a prototype showing the cells of the design and how they connect together. As I have been using the same “sphere trimming� technique to develop shapes as the FabPod project, I know that all the surfaces are planar.

This is very important because all surfaces have to be planar in order for them to be feasible to fabricate. I chose 5 cells and unrolled and numbered them in grasshopper.

One thing I did not recognize when unrolling the pieces in grasshopper was that two of the circle connections were cutting one of the smallest pieces in half. The numbering system ended up not matching with the actual model. I figured this out after I had sent it off to fabrication, and had to go back and match up all pieces all over again. As I won`t be using the same connections for the final project this won`t be a problem.

CONNECTIONS The connections I used in the prototype is a circle that slots into each piece. The idea was to avoid using glue as I made the slut size the same as the material thickness so they would fit perfectly together. I found out after building it that the connections are not very strong.

The bottom pieces, especially, started sagging as they are carrying too much load. I had to use glue for the bottom pieces in order for it to stand up. I think a fixed or welded connection would be a lot stronger and more suitable for this design.

B.5 - TECHNIQUE: PROTOTYPE

FRONT

MATERIAL I used boxboard for my prototype, but for the final design the idea is to use some kind of wood. This will reflect back to nature compared to a plastic material.

BACK

TESTING WITH LIGHT

B.6 - TECHNIQUE: PROPOSAL

SITE AND BRIEF

MERRI CREEK OBSERVATIONS Along the path next to Merri Creek, not far from the eastern freeway, there is a wall, only about a meter high. This wall explains the history of the Merri Creek with pictures and writing. This site has a rich Aboriginal past (1). The Wurundjeri Tribe was one of the first aboriginal tribes in in Melbourne and settled along the Merri Creek (1). This importance of the site has not been highlighted in a very significant way as the wall itself is not very attention drawing.

One of the main activities along the trail is walking, running and bicycling. As the trail is highly used along the day, at night it is quiet and dark. There is nothing lighting up the trial and is therefore not being used a lot at night. In Norway, the country I am from, where hiking, walking and cross country skiing is a big part of peoples lives, a lot of trails are lightened up at night, much because the sun goes down so early and rises late, especially in winter. In Melbourne it is the same, especially in winter. Will lights along the trial encourage people to use the trail more at night?

References: 1.

Park notes – Yarra Bend Park. Parkweb. Found 31.04.15 at http://parkweb.vic.gov.au/__data/assets/pdf_ file/0004/315625/Park-note-Yarra-Bend-Park-Aboriginal-History.pdf

PROPOSED SITE MEMORIAL WALL

DESIGN LOCATION I have chosen to put the design along the path, close to the Eastern Freeway. This is an active area for walking and bicycling. There is also a little park next to the path and it looked like they are about to build a viewing platform at the site. The design will be easy to see from the paths around and also an attractive place to relax and spend time.

B.6 - TECHNIQUE: PROPOSAL

DESIGN PROPOSAL

The “FabPod� project used cells within a wall to optimize the acoustic within the design. By exploring with using the same kind of cells and by the use of tessellation I came up with a lot of interesting shapes and forms that can be used on the site. The intent with my design is to create a mini museum in or-

der to highlight the aboriginal history. This will be an enclosed space where some of the cells contains a glass tube with a little item in it, and some of the cells contains writing and quotes. The design will go from

enclosed to open and continue along the path. At the same time the design will provide some lighting to the site where the cones here

will contain lights.

B.7 - LEARNING OBJECTIVES AND OUTCOMES

LEARNING OBJECTIVES For Part B of this subject I have spent most of my time understanding and learning grasshopper; how to use it and a how to get design ideas from digital outcomes. As the brief given is very diffuse and open I tried to get an idea early of what direction I want to take my design. The age of digital tools have the given us the ability to take design to a new level something I have tried to think about during the process. It have taken a long time to understand how to generate a variety of different designs, but I feel like I leart a lot from the reversed engineered exercise. As I have spent a lot of time learning and understanding grasshopper the next step would be to use the different algorithms and specify each part of my script in order to make it fit perfectly into the site. I also want to start bringing the environment in to my design by using wind and sun to generate a specific form and shape for the design. As part B have mainly been exploring and learning grasshopper I am excited to actually bring the design part into the project.

B.8 ALGORITHMIC SKETCHBOOK I tried many times to do the reversed engineering of the FabPod Project and I want to highlight this here in the algorithmic sketchbook because it was such a good learning experiment for me and this is what have helped me the most in terms of learning grasshopper.

First I created all 3 layers of the structure (walls, columns and back) as a half sphere. Then I intersected several parts of this structure and tried to trim it. This did not work as grasshopper is not working in that way.

I also tried to create the surfaces in Rhino and from there applying cones on to the surface. In this way I lost the planarity of the shape, and they did not connect together.

REFERENCES

ACHIM MENGES. MATERIAL COMPUTATION: HIGHER INTEGRATION IN MORPHOGENETIC DESIGN. JOHN WILEY & SONS, 2 APR 2012 - ARCHITECTURE – PAGE 144 DAVIS, DANIEL. FABPOD. JUNE 2013. FOUND AT HTTP://WWW.DANIELDAVIS.COM/FABPOD/ SKYLAR TIBBITIS. TED TALKS. HTTPS://WWW.TED.COM/SPEAKERS/SKYLAR_ TIBBITS VOLTADOM: MIT 2011. SJET. FOUND AT HTTP://SJET.US/MIT_VOLTADOM. HTML

STUDIO AIR - PART B

ALGORITHMIC SKETCHBOOK

INGRID AAGENAES 618713 SEMESTER 1

I tried many times to do the reversed engineering of the FabPod Project and I want to highlight this here in the algorithmic sketchbook because it was such a good learning experiment for me and this is what have helped me the most in terms of learning grasshopper.

First I created all 3 layers of the structure (walls, columns and back) as a half sphere. Then I intersected several parts of this structure and tried to trim it. This did not work as grasshopper is not working in that way.

I also tried to create the surfaces in Rhino and from there applying cones on to the surface. In this way I lost the planarity of the shape, and they did not connect together.

I spent a lot of time trying to apply the cones on to the shapes I had created using the shape trimming method. As each surface have different relation point, the script becomes very large and it takes ages trying to explore with distribution, length and radius. I figued out that I had todo the exploration for the matrix on only one surface at the time.

STUDIO AIR OBSERVATORY AIR - PART C INGRID AAGENAES SEMESTER 1, 2015

CONTENTS

C.1 DESIGN CONCEPT C.2 TECTONIC ELEMENTS & PROTOTYPES C.3 FINAL DETAIL MODEL C.4

LEARNING OBJECTIVES & OUTCOMES

SITE ANALYSIS

10 POTENIAL LOCATIONS ON SITE

The site analysis was divided into two primary criterias which determined ten potential zones on site: 1.

2.

Human activity in relation to the bicycle path Tree and vegetation density

The concentration of activity on site determined where we proposed to place the observatory installations on site, primarily the installations require a moderate to high amount of activity to achieve a successful rate of interaction with pedestrians, however the installations are also designed to create connectivity between active and inactive zones on site, thus supporting the design in responding to issues such as fragmentation in relation to human activity on site. In order to satisfy both aspects of -human activity and interaction, a moderate tree density bracket was selected. By placing the installations’ in moderate tree density zone, a fusion of both objectives can be achieved: the re-connection of inactive zones without discouragement caused by dense vegetation and tree lines.

Tree and vegetation density furthermore influences how the installations can be placed on site as the design shall be hung or attached to/or from an object such as trees or existing structures (walls). Tree density affects where we could place our location zones as the density cannot discourage the approach to the installations – as this shall compromise the success of interaction between users and site.

FOOT TRAFFIC

TREE DENSITY

FABPOD

INGRID From Ingrid's precedent project, the Fabpod algorithm was adaopted to drive Part C. This was the most developed grasshopper script. We shall continue this throughout our new design proposal as this also best represented the aesthetic and structural qualities of the Fabpod algorithm.

ANNA

PART B

Anna's project feedback primarily supported her response to on site issues such as litter pollution - By taking this example we have researched into social onsite issues: Connectivity, fragmentation and human interaction on site appears only within certain spots along Merri Creek, moreover transitional activities such as running and cycling are the most common actions on site.

OLIVIA Context sensitivity, green surfaces (incorporating vegetation) and creating a relationship based on the significance of site and user was positively pointed out from Olivia's precedent project, which we shall continue throughout the new design development for part C.

C.1 DESIGN CONCEPT

The initial design start of Part C began from reflecting upon the key feedback points from the Part B interim presentation: The new project focuses upon context sensitivity in regards to making users aware about the existence and significance of the ecological components that essentially create Merri Creek. By capturing a selection of ecological elements that users can physically observe up close, an interactive relationship between site and user is formed and the ecological system of Merri Creek can be publically valued and appreciated.

Currently on site there appears to be a lack of interaction with the natural

system of Merri Creek, and we feel that this social issue shall be addressed with the new observatory design installation.

The design installation is designed to encourage engaging interaction as opposed to others observed such as transitional interaction: cycling or running. Recycled plastic bottles shall be used to facilitate how ecological elements shall be placed within the design and furthermore adopting a material re-using system, supporting sustainability in regards to material life. The project shall be proposed as a head-height installation, which allows users to enter the enclosed space and observe contents within the head space.

The project shall be designed so that plastic bottles will sit within each panel.

Nine panels shall create the complete model. Within our design the largest panel contains thirteen openings, created to hold thirteen recycled bottles and therefore, hosting thirteen different varieties of Merri Creek’ s ecological system. The project overall shall feature bottles and natural elements. The value of the project shall be that the installation can exist independently or with a collection of other installations. The purpose for this is so that the model can customize its quantity according to a space.

The installation can be observed from the external and internal side,

from the external side each bottle shall feature a bio-focal lens within the neck of each bottle, allowing users to observe the ecological elements at a macro scale.

However from the internal side, the base of each bottle shall feature as a coffered like ceiling feature – show casing each element from the eye.

The observatory targets any user on site, without limitation to language, gender or age. As a spot for observation, each ecological bottle can provide a form of engagement between children, teenagers, adults and the elderly which fundamentally provides a wide audience and likewise suggests how important the installations can be on site.

OVERALL SHAPE: SELECTION As we wanted the design to be a mini museum that could hang from the trees we explored three different ways it could be used related to the overall shape.

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1. A design that for multiple people used as a hanging tent.

2. As a second skin that covers the whole body.

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3. As a headpiece. A mini-museum for one person.

Best related to our design was the headpiece for one person. As we wanted our design to be ap-proaching and self-explanatory number two would be difficult to get into and with number one people not want to get into the design if a stranger is already there.

The third is easy to get into something that makes it approaching.

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PROCESS: GRASSHOPPER

The geometric rules used in the FabPod project, established by Daniel Davis, guarantees planar intersections between the hyperboloids(1).

All the hyperboloids are then distributed on a sphere pointing towards the spheres center. Several spheres that are intersected is the foundation for the final form of the project. Where the mid sphere is left and the others trimmed away. The shape is panelized using a spherical algorithm(1).

By using the same trimming method as the FabPod when creating the overall shape it ensured us planar surfaces.

To start off with, we created 9 points to be the center of 9 intersecting spheres.

Reference: 1. Davis, Daniel. FabPod. June 2013. Found at http://www.danieldavis.com/fabpod/

The middle sp a cutting objec surfaces of the

phere worked as ct leaving all the e other spheres.

The bottom part of the geometry left is then timed away by a bounding box, leaving the geometry with the right size. As the design is a headpiece the height we set for the geometry was just under a meter.

Each of the nine surfaces have to be dealt with separately. To be able to create a vornoi pattern we referred back to the sphere center. Drawing lines on to the surface from the center point.

A vornoi pattern is created using the lines as a “ guide� .

This pattern is determining the cone location and density.

Two Layers of cones is created. First from the vornoi pattern and then offset to another layer.

In order to create op cylinders are creat ameter to use as a

pening in the cones, ted with chosen dia trimming object.

The finalized surface: two set of cones with different size openings responding to a bottle.

All nine gether to

surfaces put tothe final design.

GRASSHOPPER:

CUSTOMIZING THE MODEL TO BOTTLE DIMENSIONS

Radius = 36.62mm

Length / Dis tween cone

stance bees = 18.5mm

Radius = 14.5mm

EXPLODED DIAGRAM

BUTTER

BOTTLED ECOSYSTEM

LEAF M

MAPLE

MORNIN

GRASSE

LONG W

MOSS

kk FENNEL 13

12 9

8 5

4 2

10 11 7

6

NETTLE

EARTH

3 1

ALGAE

PLANKT HIERACHY OF THE ECOSYSTEM 1-13

GROWL

13

RFLY

MIX

TREE PODS

NG VINE

ES

WATER REEDS

L

ES

7

5

WORM SYSTEM

TON

LING GRASSIFROG SPORN

2

C.2 TECTONIC ELEMENTS & PROTOTYPES

MATERIAL AND CONNECTIONS MATERIALITY

WHITE POLYPROPELENE (0.6 MM)

BALSA WOOD (3.0 MM)

CONNECTION POINTS

SIMPLE TABS

INTERLOCKING TABS

BUTTERFLY PINS

PROTOTYPE: CONE STRUCTURE

BUTTERFLY PINS

SIMPLE TABS

INTERLOCKING TABS

END RESULT: CONE TEMPLATE FOR MODEL FABRICATION

CONNECTIONS:

DISC CONNECTIONS AND TABS

SIMPLE TABS X 3 PER EDGE BUTTERFLY PIN CONNECTIONS

FABRICATION PROCESS: FABRICATION PROCESS: PRIMARY ELEMENTS OF THE MODEL PRIMARY ELEMENTS OF THE MODEL

Three elements of the model consist of MDF, Polypropelene and recycled plastic.

The MDF framework and disk connections create the structural shell of the model - A sturdy, non-brittle material that successfully works in compressive and tensile forced was required to hold the structure and cone system in place.

Polypropelene was required due to its flexible nature and light weight - Two material characteristics are required to successfully hold the concave and convex shape of each cone system without failure from material characteristics such as brittleness or elasticity. Polypropelene in this case is the most appropriate material choice for the model after prototype experimentation.

Recycled plastic make up the bottle system in which facilitates the concept of material recycling and furthermore holding fragments of the local ecological system at Merri Creek.

MDF DISK CONNECTIONS

MDF DISK CONNECTIONS

MDF FRAMEWORK

MDF FRAMEWORK

WHITE POLYPROPELENE CONES

REYCLEDPLASTIC PLASTICBOTTLES BOTTLES REYCLED

CONNECTION POINTS

MDF DISK CONNECTIONS

PIN & TAB CONNECTIONS

BOTTLE FIXING & CONE CONNECTIONS ON FINAL MODEL

MODEL NO.1 THE ASSEMBLY PROCESS INVOLVED THREE PRIMARY CONNECTION COMPONENTS WHICH COLLECTIVELY, MADE THE COMPLETE MODEL:

FRAMING SYSTEM

CONCAVE / CONVEX CONE SYSTEM

CONE TO FRAME SYSTEM

3D POWDER PRINT

The purpose of the 3D print was to depict the complete model (all nine panels) as a head piece.

Scale in relation to a user and the model is further depicted.

C.3 FINAL DETAIL MODEL

ON SITE AT MERRI CREEK

C.4 RESPONSE: FINAL CRIT PANEL

After reflecting on the final presentaton two main forms of criticism to the project were appointed: the vulnarability of the installation to public vandalism and long term materiality.

In response to this, the future development of the project would focus upon solutions to these concerns.

Firstly, negative social behaviours such as grafiti can be resolved with the addition of a transparent graffiti proof vinyl or lacre (1) to the external and internal skins of the installations. By doing so this shall entirely eliminate the problem without compromising the clean, minimalistic nature of the design.

Furthermore additional infrastructure such as lockable fencing could be placed around the installations to discourage acitivity during

night hours for example.

Long term materiality of the design required deeper thought as this shall essentially influence the aesthetic impression to the public.

Two materials were chosen to repond to this issue: laminated wood and opaque fibreglass. The two materials provide better performance against long term problems such as weathering and furthermore can easily adapt to the geometrical nature of the observatory.

Two materials were chosen to repond to this issue: laminated wood and opaque fibreglass. The two materials provide better performance against long term problems such as weathering and furthermore can easily adapt to the geometrical nature of the observatory.

Reference: 1. Spec-Net, Graffiti Proof Vinyl. June 2013. Found at http://www.spec-net.com.au/press/0714/vip_300714.htm

LEARNING OBJECTIVES & OUTCOMES

This subject have made me look at a design process in a different way, or at least expanded the possibilities when designing.

In relation to other studios I have had earlier where the design is shaped by a picture in my head, the design process have now started with a response to an issue or an opportunity and from there the design have developed in order to optimize the design to its function.

The main thing I have learned from this subject is using grasshopper and algorithmic design. It has been interesting to see how much my skills have developed in only 12weeks. It’ s a very different way of using a design program but I believe it will be more and more used by architects in the future.

The brief was very vague and in the first half of the semester I spent most of my time trying to learn grasshopper. My design proposal for Part B was therefore not well developed. On the other hand I had a solid understanding of parametric modelling and a script that I could use for the Part C.

The one thing that hav that by using algorithm generate a variety of d same scrip. The “ obse be re-design. If for exa put glass tubes in the plastic bottles, this cou changing 4 componen script.

Before I started this su derstand what air had studio. This is one of t for this subject and I n this implies. I believe is a step towards a ne We can use environme wind direction and plug and use the informatio design that responds t way that the design is

ve surprised me is mic design I can now designs using the ervatory� can easily ample we were to openings instead of uld be done by only nts in the grasshopper

ubject I did not unto do with the design the learning objectives now understand what parametric modeling ew era in architecture. ental factors such as g it into a program on given to create a to this information in a optimized.

REFERENCES Davis, Daniel. FabPod. June 2013.

Found at http://www.danieldavis. com/fabpod/ Spec-Net, Graffiti Proof Vinyl. June 2013. Found at http://www.spec-net. com.au/press/0714/vip_300714.htm