ARCHITECTURE DESIGN STUDIO: AIR ABPL30048 2013
Ivan Tang Tutors: Chris, Rosie -1-
CONTENTS 00
INTRODUCTION
01
CASE FOR INNOVATION
A.1 Architecture as a Discourse A.2 Computational Architecture A.3 Parametric Modelling a.4 Algorithmic Explorations a.5 conclusion a.6 learning outcomes
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design approach
b.1 design focus b.2 case study 1.0 b.3 case study 2.0 b.4 technique: development b.5 technique: prototypes b.6 technique proposal b.7 algorithmic sketches b.8 leaning objectives and outcomes -2-
03
project proposal c.1 gateway project: design concept c.2 gateway project: tectonic elements c.3 gateway project: final model c.4 Algorithmic sketches c.5 Learning objectives and outcomes
References
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| ABPL30048 ADS: AIR
| PART 00
| INTRODUCTION
INTRODUCTION ABOUT ME My full name is Ivan Ho- Lun Tang but I prefer to be referred to as Ivan. I am currently a third year student studying Bachelor of Environments and majoring in Architecture at Melbourne University. I am par cularly interested in the virtual side of designing due to the greater poten al and flexibility it offers compared to its physical counterparts and the prac cal uses it offers for modern society.
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I have had an eclec c, yet not extensive, experience handling computer- aided design so ware. I studied at Deakin University where the course has introduced me to AutoCAD and ArchiCAD which I both found useful in designing 2D and 3D structures while elimina ng the human error factor.
1 IVAN HO- LUN TANG
The Melbourne couse introduced me to RHINO and Indesign where I found the former allowed me to design more freeform and natural shapes compared to the more geometrically fixated shapes in ArchiCAD I learnt. I understand the value of Digital Architecture and that its gaining momentum in the modern world, and am eager to learn and contribute what it has to offer.
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| PART 00
| INTRODUCTION
| PREVIOUS WORKS
PREVIOUS WORKS
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Virtual Environments (2011) The design criteria involved crea ng a 3D model using RHINO to be worn over a part of the body; using a natural process or pa ern as the ini al inspira on. My model was derived from water pa erns, par cularly the light manipula on passing through rippling water and the results the bending light creates.
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It was from designing that I found the poten al of parametric design to design and fabricate complex forms eďŹƒciently and accurately. 1 INSIDE OF VIRTUAL ENVIRONMENTS LANTERN MODEL, 2011 2+3 ILLUMINATED LANTERN MODEL
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| ABPL30048 ADS: AIR
| PART 01
| CASE FOR INNOVATION
Part 1 case for innovation
01 A.1. architecture as a discourse
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| PART 01
| CASE FOR INNOVATION
ARCHITECTURE AS A DISCOURSE
“...architecture is as much a philosophical, social or professional realm as it is a material one, and it is through the consideraƟon of architecture as discourse that one can engage with it as visual culture.” (Williams 2005)1
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| A.1. ARCHITECTURE AS A DISCOURSE
Architecture as an en ty is very ambiguous discipline too narrow to be understood through the scope of a singular discipline, but one which requires a collec on of in- depth prac ces.
In its social and urban environment, architecture has the power to influence its public domain, where “[it] is as much a philosophical, social or professional realm... and it is through the consideraƟon of architecture as discourse that one can engage with it as visual culture” (Williams 2005). It is also able to reflect the space it inhabits, but also one to invoke local feedback as a social mediator to engage and interact with the social masses. As an ar orm, one may not see beyond the discipline’s sterotypes, and overlook the double standards that places architecture that differen ates itself from buildings. Williams (2005) outlines the high expecta ons imposed on what architecture should be- permanent, expressions/ statements of me peroids; superhuman standards that society expect from them. As men oned above, urban spaces are a product of social spaces; with Henri Lefebvre describing architecture being the culmina on of experiences of the urban environment. Experiences where architectural elements are to be viewed through what role they play in the social system, and what the concequen al reac ons are from local society. Just as architecture are more than just fancy buildings designed for others to occupy, architecture can be seen as a social experiment; a discipline covering the network of debates, prac ses and philosophies about the built environment.
Williams, R. 2005 ‘Architecture and Visual Culture’, in Exploring Visual Culture: Defini ons, Concepts, Contexts ed. (Edinburgh, Edinburgh University Press)
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| A.1. ARCHITECTURE AS A DISCOURSE
| TOYO ITO
Sendai Mediatheque
| SENDAI MEDIATHEQUE
1995-2001 Toyo Ito
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The Sendai Mediatheque has been an interest of mine because of it’s styled to ressemble a series of trees as the “trunk” of the structure. What had a racted me was not only the simplicity of the design, but the characteris c of being the “roots” of a technological resource building.
Just as a modern architectural structure can represent elements of the modern world, the Sendai Mediatheque represents, at least to me, how extensive the informa ve or technolical reality has become apart of the modern world. Yet I find that this building isn’t solely u litarian, but it also serves to have a natural, aesthe c purpose.
Ito, T. 1995-2001, Sendai Mediatheque, photograph, viewed 16 Mar. 2013, <h p://3.bp.blogspot.com/_ Ien3q8fUKFQ/TD65YksgrwI/AAAAAAAABk8/nY4HW2COLZ4/s1600/Sendai+Mediatheque+2.jpg>
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| ludwig mies van der rohe | farnsworth house
Farnsworth House
1945-51 Ludwig Mies van der Rohe
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The Farnsworth House has been an interest to me because it focuses on the connec ons between the individual and society. The inhabitant should be able to coexist with the present culture, but by adhering to a structured framework in order to coexist. Just as a building can be an extension of its user’s personality, I believe the Farnsworth House enables the ability for people to reconnect with the natural surroundings; an issue that has become increasingly apparent in today’s society.
While some buildings can be built purely for u litarian purposes, I view the Farnsworth House as living alongside its inhabitant. Physical elements such as the ligh ng and switches are concealed to provide subtle ligh ng, an aspect I find appealing as it bathes its surroundings in a glow than as harsh ligh ng. 1 SENDAI MEDIATHEQUE 2 FARNSWORTH HOUSE, PHOTOGRAPH
Mies Van Der Rohe, L. 1945-51, ‘Farnsworth House’, photograph, viewed 16 Mar. 2013, <h p://www. designinforma onalliance.org/sites/default/files/visits-discoveries-images/farnsworth_house_gmad06_3_0.jpg>
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| ABPL30048 ADS: AIR
| PART 01
| CASE FOR INNOVATION
Part 1 case for innovation
01 A.2. computational architecture
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| PART 01
| CASE FOR INNOVATION
| A.2. COMPUTATIONAL ARCHITECTURE
“In a radical departure from centuries old radiƟons and norms of architectural design, digitallygenerated forms are not designed or drawn as a convenƟonal understanding of these terms would have it, but they are calculated by the chosen generaƟve computaƟonal method.” (Kolarevic, B. 2003)1
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Kolarevic, B. ‘Architecture in the Digital Age: Design and Manufacturing’, (New York, London, Spon Press, 2003)
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| A.2. COMPUTATIONAL ARCHITECTURE
| COMPUTATIONAL ARCHITECTURE
introduction to computational architecture The role that computers play in design processes are not intended to formulate ideas for the architect, but to supplement and aid them by crea ng virtual replicas of ideas to test its desired effect coincides with those intended by the architect. As well as to generate virtual designs, CAD programs conforms to ra onal forms that are restricted to a series of parameters to reflect the refi nement process based on the final product’s feasibility and ability to meet the design’s criteria. As a major issue for designers is to create 3D designs, computers subs tutes much of the physical dra ing or sketching to reduce me and effort spent by designers on a process. Two paradigms of the architectural design process involves the trasi ons Puzzle Making and Problem Solving to produce goals and solu ons to suit problems as well as to a ain goals to fulfi l expecta ons. As computers follows mul ple parameters pre- programmed, their generated designs are ra onal and rule based to constrain to the limita ons of the project.
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| A.2. COMPUTATIONAL ARCHITECTURE
| COMPUTATIONAL ARCHITECTURE
computational architecture
The role that contemporary computa onal designs play in the design process should, as Yehuda Kalay argues, be one that assists its designer by taking care of the minor specifica ons and detailings while the designer focuses on fulfiling the goals set to develop the project’s expecta ons. This ensures CAD systems to bolster the designer’s toolkit by making changes to the design when the designer changes the specifica ons to save me and effort otherwise consumed when dealing with a hand-drawn equivalent. Computer so ware can also help visualise complex forms and aid in the fabrica on process by fabrica ng the desired components to be assembled. Addi onally, such techniques also eliminated the factor of human error during the dra ing phase, where minor discrepancies can have detrimental concequences in the final product. The computa on method allows the poten al of architectural designs not to be limited by the designer’s visualisa on and the fabricator’s abili es. As the developed design is refined by way of ra onalisa on, the refinement process works to iden fy problems and solve them by imposing constraints that makes the final outcome possible to fabricate.
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| A.1. ARCHITECTURE AS A DISCOURSE
| vittorio giorgini
| liberty centre
vittorio giorgini liberty centre (1962)
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Due to the computa onal architecture, various design methods have evolved. One of the intriguing computa onal architectural discourse is topology. Topology allows the designer to focus upon the intrinsic, qualita ve geometric forms unaffected by changes in size or shape; allowing them to focus more on the rela onal structure between an object’s edges and ver ces rather than its geometry outline.
As the topological transforma ons affect the rela onal structure, this can in turn change the object’s resul ng form. A par cularly interes ng element of topology is its dominance over the forms of the rela onal structure.
Giorgini V. 1962, ‘Liberty Centre’, photograph, viewed 23 Mar. 2013, < h p://archpaper.com/uploads/Giorgini_ LibertyAerial.jpg>
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| A.1. ARCHITECTURE AS A DISCOURSE
| vittorio giorgini
| liberty centre
1 BIRD’S EYE VIEW OF LIBERTY CENTRE 2 LIBERTY CENTRE, PHOTOGRAPH
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An interes ng example of topological architecture was Vi orio Giorgini’s wire- mesh construc on Liberty Centre constructed in upstate New York, designed to be a community centre for the town of Parksville. The structure is comprised of mul ple curvatures similar to those found in a mobius strip.
This structure was constructed in 1976 by students of the Pra Ins tute under Giorgini’s supervision, and was intended to be concreted yet was eventually demolished due to a lack of funding. As such, the topology has the effect to “blur” the dis nc ons between the exterior and interior spaceso to avoid the dis nc ve quali es between “inside” and “outside”.
Giorgini V. 1962, ‘Liberty Centre’, photograph, viewed 23 Mar. 2013, < h p://cdnimg.visualizeus.com/thumbs/d3/5b/ architecture,rebar,reinforced, concrete,under,construc on-d35b013ac109d0 4ca5cca79e8dab-5d1_h.jpg>
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| ABPL30048 ADS: AIR
| PART 01
| CASE FOR INNOVATION
Part 1 case for innovation
01 A.3. parametric modelling
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| PART 01
| CASE FOR INNOVATION
| A.3. PARAMETRIC MODELLING
At first glance, Parametricism seems to allow designers to access a new dimension of designing possibili es. I find that the act of simply defining the design’s parameters allows a wider freedom to fabricate ideas, and that much of the workload is removed and taken care of by the so ware. It would seem like the ideal answer, with Patrik Schumacher hailing parametricism as a “creditable, sustainable answer to the crisis of modernism that resulted in 25 years of stylisƟc searching” (Schumacher 2010).1 An excep onal element in the realm of parametrics is also its defini on as a program where the style or design can be researched. However its key feature also seems to be the limita on of the stylewhere the created form may only exist in a laptop or computer so ware. Preceeding styles, including modernism and deconstruc vism, share dis nguishing features that are defined as a style. Parametricism, on the other hand, relies more on the rela onships between the nodes within a system for the form’s aesthe c value. Would architecture reach a point where designing becomes less from the human factor, but a product of algorithms and mathema cs? I believe that parametric architects need to consider more about the nodes and how they relate to each other to con nue thinking crea vely. Just as pens, erasers and rulers can aid the designer, the computer is also a tool to bolster the individual’s work. But they should be careful that their designs are not reduced to computerised limita ons and parameters, but control these tools to support the designer, rather than replace them. 1
Schumacher, P. 2010, ‘Patrick Schumacher on Parametricism- “Let the style wars begin”’, Architect’s Journal, Greater London House, Hampstead Road, London, viewed 30 Mar. 2013, < h p://www.architectsjournal.co.uk/the-cri cs/ patrik-schumacher-on-parametricism-let-the-style-wars-begin/5217211.ar cle>
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| A.3. PARAMETRIC MODELLING | VARIOUS ARTISTS
Various artists yorkshire diamond (2009)
| YORKSHIRE DIAMOND
The Yorkshire Diamond consists of a diamond la ce structure made up of inflatable tubes with an excavated interior. The la ce structure is arranged to the atomic structure of a diamond and the tubing pa erned geometrically. Each tube has been precision cut by a computer controlled cu ng machine to ensure each component and shape is uniform when it’s inflated. I find that using computer so ware has allowed this design to be possible, even with scale models it would be virtually impossible to fabricate the individual piece, much less determine without virtual simula on whether it its possible to build.
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3 1 1 DIGITAL PHOTO OF YORKSHIRE DIAMOND 2 PROPOSED MODEL OF CAFE- LOUNGE INTERIOR
Various Architects 2009, ‘Yorkshire Diamond’ (Cafe- Lounge Interior), viewed 01 Apr. 2013, <h p://ad009cdnb. archdaily.net/wp-content/uploads/2009/02/1264202964_cafeloungeinterior.jpg>
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3+4 NATURAL VENTILATION AND DOUBLE- LAYERED SKIN OF THE LATTICE STRUCTURE’S TUBING
The la ce structure incorporates established inflatable technology to create a stable 3D structure; adding stability to a mul ple domed units made up of a triangulated network of tubing with double layered cushions. Due to the pressurisa on system and the closely monitored fans installed, the structure will remain structurally rigid; even when the surface has been pierced or damaged. Various Architects 2009, ‘Yorkshire Diamond/ Yorkshire Renaissance Pavilion’, viewed 31 Mar. 2013, <h p:// www.archicentral.com/wp-content/images/1125720871_ diagram-ligh ng.jpg>
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The structure weighs seven tonnes , consists of 98 seperate towers and made up of over two thousand unique pieces. The design is based on a triangular grid, with each of the towers 3.8 meters high each built from about 600 wooden parts intersec ng the sculpture at a precise angle of 25 degrees whilst immita ng the tower’s founda on pa ern. 2
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Libeskind, D. 2005, ‘Futuropolis’, photograph, viewed 01 Apr. 2013, <http://www. designtoproduction.ch/content/view/12/41/> Libeskind, D. 2005, ‘Futuropolis’, photograph, viewed 01 Apr. 2013, <http://www. designtoproduction.ch/content/view/12/41/>
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Daniel Libeskind Futuropolis (2005)
5 1+5 FUTUROPOLIS, PHOTOGRAPH 2 ASSEMBLY PROCESS OF FUTUROPOLIS SCULPTURE- INDIVIDUAL PIECES ARE ASSEMBLED TOGETHER IN GROUPS 3 VIRTUAL OUTLINE OF MODEL, ENLARGED SECTION OF ONE ELEMENT SHOWS HOW THE PIECES CAN FIT TOGETHER 4 TECHNICAL SPECIFICATION OF CONNECTION
One benefit of parametric design, such as Vectorscript, allows designers to model their parametric model digitally. The Futuropolis design is a seemingly complex structure based on simple parameters and defini ons set out by the designers that the computer obeys to digi se the proposed form.
The structure incorporates simple virtual parameters to create principles and limita ons for the Vectorscript so ware to use to digi se the sculpture. The design is based on an algorithm to restrict the design to manufacture and construct the sculpture to serve as the basis for manufacturing and construc ng the structure.
With the help of parametric design so ware, Daniel Libeskind has been able to fabricate the Futuropolis sculpture within two weeks and saving over 70% of produc on costs.
Libeskind, D. 2005, ‘Futuropolis’, viewed 01 Apr. 2013, <http://dinofracchia.photoshelter.com/image/ I00008CkvgIjpi1w>
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| ABPL30048 ADS: AIR
| PART 01 | CASE FOR INNOVATION
Part 1 case for innovation
01 A.4. algorithmic explorations
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| PART 01
| CASE FOR INNOVATION
| A.4. ALGORITHMIC EXPLORATIONS
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Iâ&#x20AC;&#x2122;ve extended on the grasshopper commands covered in the weekly tutorial videos, with my first a empt created by combining a few of the commands to experiment with the result. 3
4 1-4 DELAUNAY EDGES COMMAND CREATED FROM LOFTED SURFACE USED 5-6 SUBTRACTING ELEMENTS FROM VORONOI 3D COMMAND
As I understand the parametric so ware processes the inputs via the command, I have experimented with the poten al models by feeding suceeding commands with respec ve inputs. Compared to crea ng from RHINO or physical dra ing, parametric modelling reduces much of the workload I would have undertaken. This research, I believe, has worked to further expand on the poten al of the used commands, and to explore the extent that the parametric design can be taken. On the le are a sequence of stages to develop the form using poten al Grasshopper commands, though much of the work came through trial and error. While most of the designing workload was gone, it was replaced with compu ng inputs and outputs to reach the final outcome. -23-
| ABPL30048 ADS: AIR
| PART 01 | CASE FOR INNOVATION
Part 1 case for innovation
01 A.5. conclusion A.6. Learning outcomes
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| 01 CASE FOR INNOVATION
| A.5. CONCLUSION
| A.6. LEARNING OUTCOMES
a.5. conclusion The introduc on of parametric so ware has created new poten als and possibili es in Architectural design. The use of parametric modelling has allowed the crea on of new architectal structures to be possible. Such building structures allows the form to become more organic and fluid, allowing more freedom to designer’s poten al. As the form responds to its immediate environment to affect the audience’s experience, a well- designed form will create discourse in the local popula on to encourage social discussions and debates. Just as architecture can be seen as a social experiment; parametric modelling is the design medium where the network of architectural conversa on can exist and thrive in the built environment.
a.6. learning outcomes From my experiences with parametric modelling over the past few weeks, I realise this new discipline requires a new way of thinking. Unlike the RHINO so ware during Virtual Environments, parametric modelling requires understanding of how elements of the nodes relates to one another. Ini ally, my opinions was that architectural compu ng aids the designer but feared it removed the human input from the design process. While the algorithms control the resul ng form, it is humans who designed the algorithms, and the human element will be ever- present in architectural prac se. If I had this knowledge during Virtual Environments, the final product would be very different as a new dimension of poten al ideas would be availible to explore. Addi onally, the algorithmic codes would reduce the workload to give freedom to discover new designs.
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| ABPL30048 ADS: AIR
| PART 02
| DESIGN APPROACH
Part 2 DESIGN APPROACH
02 B.1. DESIGN APPROACH
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| PART 02
| DESIGN APPROACH | B.1. DESIGN FOCUS
DESIGN FOCUS
“Instead of classical and modern reliance on rigid geometrical figures – rectangles, cubes, cylinders, pyramids and spheres – the new primiƟves of parametricism are animate geometrical enƟƟes – splines, nurbs and subdivs.” (Schumacher, P. 2010)1
Following discussions with the group members, the parametric approach was decided to be Geometry as the project’s main design principle. The principles of ordered and geodesic shapes created means the model would be ra onalised and harking towards the computa onal approach to parametricism, yet promises complex and intricate forms whose buildability is only possible by the poten al of Parametricism. As a parametric approach, Geometry is believed to support Parametricism as the style uses ra onal logic computa onal design as key defini ons for the generated form, while Geometry relies on logical reasoning and quan fiable parameters as its forms’ style. But Geometry isn’t restricted within the confines of conven onal geometrical shapes, instead uses “animate geometrical enƟƟes- splines, nurbs and subdivs”, as argued by Patrick Schumacher as elements in a system (Schumacher, P. 2010)1. Yet while such argument only sees Geometry as building elements, it leaves li le for the design approach alone to make up the overall form; and may rely on other approaches to enhance the form for a more complex result.
The SG2012 Gridshell incorporates geometry and structure for the mber’s self- standing framework. Pa ern is present by the arrangement of straight wooden beams along geodesic lines and material performances by researching and exploi ng the mber in an effec ve and natural manner (Smart Geometry, 2012)2. Geometric designing can focus on the construc on of the form, and may rely on simple rules for the so ware to follow. Such rules may include minimising the surface tension, as demonstrated in the Green Void’s freely stretched surface within its space to produce a naturally flowing form. This can also ensure a minimal maintenance required and a rapid installa on peroid (Pohl, E. B. 2008)3. 1
Schumacher, P. 2010, ‘Patrik Schumacher on parametricism - ‘Let the style wars begin’, Architect’s Journal, Greater London House, Hampstead Road, London, viewed 09 Apr. 2013, <h p://www.architectsjournal.co.uk/the-cri cs/ patrik-schumacher-on-parametricism-let-the-style-wars-begin/5217211.ar cle> 2 Smart Geometry, 2012, ‘Gridshell, Smart Geometry’, MATSYS, 4881 Sha uck Ave. Oakland, CA, viewed 10 Apr. 2013, <h p://matsysdesign.com/category/projects/sg2012-gridshell/> 3 Pohl, E. B. 2008, ‘Green Void/ LAVA’, Archdaily, viewed 10 Apr. 2013, <http://www.archdaily.com/10233>
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| PART 02
| DESIGN APPROACH | B.2. CASE STUDY 1.0
SPARSE
Case Study 1.0: Geometry DISPERSED
AMPLE Using the Case Study VoltDam as the basis, the variables of the number of elements (# Points) present and the organisa on of them (Seeds #) were used to experiment different possible outcomes. These selected variables were found to have a profound change on the form’s overall result. -28-
The inten on of this process was to find what effects the dispersal and quan ty of the elements can have on a given space, with a crowded space being ideal for enclosing and lanke ng while a par al space would divide the no on of internal and external spaces- with large generated gaps producing viewports to the other side.
| PART 02
| DESIGN APPROACH | B.2. CASE STUDY 1.0
ORGANIZED
Understanding what effect changing one variable can have can help develop the model’s poten al, or by selec ng the most effec ve elements for their overall result. Experimen ng with variables like the number of points created within a 2D space or dispersion of elements (in this case, the cones) doesn’t result in a linearly fixed change. -29-
Instead, the varia on as the inputs are slightly altered would dras cally change the organisa on of the shapes, while introducing more cones disperses the other cones in the space. However other variables may only slightly change elements, such as the cone’s height, radius and open hole size.
| ABPL30048 ADS: AIR
| PART 02
| DESIGN APPROACH
B.3. CASE STUDY 2.0 REVERSE ENGINEERING THE CANTON TOWER
Information Based Architecture, 2010, ‘Canton Tower’, viewed 13 Apr. 2013, < http://ad009cdnb.archdaily.net/wpcontent/uploads/2010/11/1290020723-img-6813amedlogo-528x352.jpg>
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| PART 02
| DESIGN APPROACH | B.3. CASE STUDY 2.0
Reference curves (5) intro Grasshopper, lo curves into surface Ver cal Geodesics: - Divide Surface, Simplify Points data - U= 10, V= 18
Diagonal Geodesics: - Divide Surface - Simplify Points data - Graph Points data - U= 10, V= 18
Flip Matrix: data tree inverted, data branches designates columns of points.
Rela ve Item: - Lines created by rela ce oďŹ&#x20AC;set input - Rela ve OďŹ&#x20AC;set Item Combo= {0;0}, {1;1}, {0,0}
Polyline: - Line created through series of points
Fit Line: - Create lines through series of points
Merge: - Data from Ver cal and Diagonal Geodesics combined
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| PART 02
| DESIGN APPROACH
| B.4. TECHNIQUE DEVELOPMENT
Technique Development
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| B.4. TECHNIQUE DEVELOPMENT
| TECHNIQUE EXPLORATION- ITERATIONS
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| PART 02
| DESIGN APPROACH
| B.4. TECHNIQUE DEVELOPMENT
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| B.4. TECHNIQUE DEVELOPMENT
| TECHNIQUE EXPLORATION- ITERATIONS
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B. 5. Technique prototypes
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| B.5. TECHNIQUE PROTOTYPES
| Prototype Sections and Jointing
Exploring basic materials that have different rigidity, and joints used can change the flexibility between the joined members. Rigid materials like balsa wood have li le flex while bri le whereas cardboard allows for greater movement. Fixed joints will anchor members to inhibit movement while overlapping joints allow more freedom.
Experimen ng with the idea of ‘joint and structure’ in sec on models and the versi lity and aesthe c affects of forces by distor ng a form with varying flexibility based on the materials used.
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| B.5. TECHNIQUE PROTOTYPES
| FLEXIBILITY OF THE ELEMENTS
A er having a clearer understanding of the design inten on and a poten al direc on within the group for the desired form, prototyping models was the next stage. As a main focus was towards a structure with rigid and flexible components, understanding the materials to use and the degree of freedom it fosters can achieve unexpected and interes ng ideas and concepts.
Another important focus is crea ng form from geodesic shapes, and would have much poten al to serve as a public sculpture project. The no on was from manipula ng the original form by applying forces, new contours and forms can be endlessly generated. It is important to note that the modelâ&#x20AC;&#x2122;s materiality can determine the resul ng form. For instance, using flexible materials widens the freedom the model is allowed to move, but sacrafices a structural support to resist warping into irregular forms. A model used to explore this phenomenon consists of a simple geodesic form made of pipecleaners. While movement is uninhibited, the structure is prone to buckling; distor ng into irregular forms from forces applied. I believe this would have severe visual impacts if the model distorts beyond recogni on.
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| PART 02
| DESIGN APPROACH
| B.5. TECHNIQUE PROTOTYPES
It is intriguing to note that distor ons have rela onal effects. Forces applied on one sec on would affect other connected sec ons, and behave structurally as a whole. This effect of change in the structure has created further development of the poten al design for the Western Gateway project. Firstly, a series of pipecleaners threaded through straw segments are fixed on a rigid surface. A second layer of pipe cleaners added; connected at intervals between the straws to create a basic grid-like form. Pieces of twine was then a ached at the intersec ons, as a result, the model becomes a network of rigid members and flexible joints. And by applying forces from the twine the form changes greatly, causing the model to “a ract” towards the force.
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I have discovered that fixing points would anchor them to keep them sta c. While the unaffected members are free to move within the “plane” created, applying forces on the twine causes the model’s sculptural structure to distort into new and interes ng forms. This lends itself to the no on of an ever- changing percep on of design that leaves different impressions on its audience.
| B.5. TECHNIQUE PROTOTYPES
| Flexibility of the Elements
Another area to experiment was the flexibility of models with rigid sec ons and members allowed to flex and move freely. In other words, exploring the affects created when whole sec ons are en rely rigid and the rest is subjected to external forces.
The rigid sec ons have greatly restricted the model’s flexibility, thus reducing its capability to respond to forces. In such models where sec ons are made of mountboard and pipe cleaners, its composi on becomes too controlled and resul ng movements become predictable and s ff. This applica on of rigid sec ons would prove useful for controlling parts of the model, but would need to be used judiciously to suceed.
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| B.5. TECHNIQUE PROTOTYPES
| FLEXIBLE ELEMENTS
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| B.5. TECHNIQUE PROTOTYPES
| EXTIRELY FLEXIBLE STRUCTURE
Above: Experimenta on of “invisible” or unseen suspension of the form and the result of forces applied to manipulate the aesthe c form of a malleable sculpture. Photos courtesy of Jus n Milesi and Hanna Morgan.
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| B.5. TECHNIQUE PROTOTYPES
| FLEXING STRUCTURE
An explored direc on undertaken by group members Jus n Milesi and Hanna Morgan was a model created using four pipe cleaners twisted together and fishing string a ached to the halfway points of each members. It was discovered that by the form appears to be suspended in midair , while applied forces via the wires evoked much poten al ideas of applying this as a public sculpture. The manipula on of the wires by unseen forces (eg. wind, temperature, light etc.), the form could endlessly change; contor ng into new and unpredicted shapes. A poten al applica on would be to suspend the form next to the road and allow itself to distort over me by said forces; allowing them to be translated by their involvement itowards the formâ&#x20AC;&#x2122;s â&#x20AC;&#x153;evolvu on.
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B. 6. Technique proposal The inves ga on of an installa on with expansive and manipula ve members has been been expanded upon and new, poten ally innova ve ideas have been discovered to be used as techniques. For a refined and more flexible solu on, it is clear that that the unique propoer es of moving elements within the sculpture and dynamic mo on due to pivo ng and bendable joints are worth exploring in depth. Another proposal originated from focusing the flexible movements using more compa ble materials including elas c, wire and tubing. In contrast to the previous models, with flexible longitudinal members and rigid sec ons, the roles were reversed and the sec ons might consist of elas c circular tubing; allowing the sec ons of the sculpture to “inhale and exhale” like a pair of lungs via the manipula on of the elas c elements. The construc on and “breathing mo ons” of such idea may seem innova ve and challenges to redefine the tradi onal nature of sta c sculptures, though using elas c materials in real scale would be unrealis c and would be vulnerable to the elements.
Photos courtesy of Jus n Milesi and Hanna Morgan. -44-
| B.6. TECHNIQUE PROPOSAL
| DYNAMIC ELEMENTS AND COMPONENTS
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| B.6. TECHNIQUE PROPOSAL
| DYNAMIC ELEMENTS AND COMPONENTS
In response to the site, the sculpture may respond to the site’s environmental elements to “breathe” for an otherwise sta c landscape, and while geodesic forms would appear too man- made and less natural, a dynamic form can become more integrated with its surroundings. Proposals of dynamic movement including intelligent engineering of pump- and- hydraulic systems can be adopted to cause the sculptural form to “breathe” in reality. An idea discussed was to install a pumping device containing a one- way valve designed to “contract” when compressed; expelling the contained gas/ liquid into the connected circular sec ons causing it to inflate based on the forces applied, much like a balloon infla ng within the structure; expanding the overall form. Another proposal discussed was to run a compressive tubing filled with gas underneath the road (between sites A and B) and connected to hydraulic jacks, so that when cars drive over the pump the piping is compressed; forcing the stored gas to move the hydraulics that move in different direc ons that manipulates the sculpture’s form.
Photos courtesy of Elise Weavers.
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| B.6. TECHNIQUE PROPOSAL
| DYNAMIC ELEMENTS AND COMPONENTS
Thirdly, instead of using gases, water can be used, and plants might be designed to grow upon the structure as a no on of its “connec on” with nature. When the tubing is compressed, the water may be secreted from the structure’s surface to “water” the growing plants. With the growing plants, increasing rigidity of the sculpture may have a long- term transi on where the growing plants causes the form to lose its rigidity and obtain a monumental form to the point that over a peroid of 10- 20 years, the structure would be en rely reclaimed by the natural surroundings and become integrated with its environment.
Photos courtesy of Elise Weavers. However, the drawbacks for this proposal would be the development and produc on of the form via parametric so ware, as parametric programming are easier to use when the geometry is not yet defined. As a result, so ware programs including RHINO and Grasshopper needs to be considered for the resul ng aesthe cs, while addi onal Grasshopper plug- ins including Kangaroo would be used to consider the physical, structural andenvironmental (wind, temperature etc.) forces that would contort the sculpture, and Heliotrope to consider the sunpath and ligh ng when viewed by its passing audience.
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| B.6. TECHNIQUE PROPOSAL
| WORMING INNOVATION
Con nuing from the Canton Tower as a tubular, structurally fundamental form, we were interested in exploring a worm- like form from the beginning as the basis of our design. The ini al design was to have a “worm” burrowing and emerging through the site; crea ng the illusion of a massive being underneath the earth. But to connect the idea to the site, further research was required.
An unrealised project, The Urban Earth Worm by Lee Seungsoo, was found by Elise Weavers, a similar worm’ like design but integrates a waste management system within the structure. In a sense, just like earthworms in reality, would integrate itself with its immediate environment and support its surrounding’s wellbeing.
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The earthworm as a structure incorporates a similar la ce- like structure explored in preceeding designs, with diďŹ&#x20AC;erent altera ons depending upon the earthwormâ&#x20AC;&#x2122;s internal systems. As like our explored model, the earthwormâ&#x20AC;&#x2122;s structure undulates and distorts in order to move; lending further argument towards basing future explora on on a wormlike design as a dynamic form. -49-
| PART 2
| DESIGN APPROACH
| B.7. ALGORITHMIC SKETCHES
B. 8. ALGORITHMIC SKETCHES
The generated algorithmic sketches defines the skeletal structure of the sculpture and an exhibited structural effiency of its framework. By minimalising the structure to its basic forma on bestows an honesty of materiality via the exposure of the sculpture’s elements and the truthfullness of exposing the structure. Parametric designing has allowed us to achieve the op mal structurally efficient form with great ease. Further altera ons of the form including twis ng and altering the parameters can be achieved for a desired aesthe c. However the presented sketches represents a sta c sculpture; devoid of actual dynamic movement. Altering the resul ng model’s control points can affect the form to some degree, but falls short in terms of accuracy. Grasshopper plug-ins such as Kangaroo can be used to impliment the disired distor ons and forces by movement to the framework.
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| DESIGN APPROACH
| B.8. LEARNING OBJECTIVES AND OUTCOMES
B. 9. LEARNING OBJECTIVES AND OUTCOMES The feedback provided during the midsemester presenta on was very informa ve and useful. One objec ve to be addressed was how the form would be affected by natural processes, and what kinds of forces they are. Further development proposed that forces such as hydraulic piping can be used to manipulate the form , or other forces including wind/ rain and heat can influence the form.
Considering social and cultural influences was also discussed. For example, we need to know what impact this sculpture would have to its society. As it was suggested that we consider the sculptural installa on to be unique and unusual in its approach.
Further research and development has discovered the micro organism concept discussed earlier, that such organisms have been known to process wastewater to To relate towards nature and the atmosphere, break them down into their components, but instead consumes oxygen and the comsump on of carbon dioxide and generates biogas. Such biogas are currently expulsion of oxygen can be used,. This can used to power gas turbines in green power be implemented through integra ng the plants. And given that Wyndham has been structure with microorganisms as used in adver sed for its Green and Sustainable exis ng wastewater treatment devices, environments and way of life, it is possible and be done passively with only an annual that such an explora on can further maintenance to sustain its func on. This Wyndham’s ambi ons and further reflect rela onship would not only be beneficial and adver se this innova on what places for the environment, but also contribute Wyndham on the map. towards the no on of “breathing space” as an innova ve idea- a pair of lungs that breathes in carbon dioxide and breathes out oxygen. However this development is far from completed and required further research to discover poten al shortcomings. By openly discussing the limita ons of our presented design we were able to convey a strong proposal for our Wyndham project. Our case for proposals were supported with detailed prototypes that simulate a desired affect. Past research including that of the Canton Tower, Gridshell and the Urban Earth Worm have allowed us to deconstruct the data within Grasshopper and use them for our advantage. A wealth of poten al outcomes stems from a dynamic sculpture and a developed explora on towards environmental rela onships with its surroundings gives promise to further reflect the city of Wyndham and its environmental virtus through the possibilites of parametric modelling. -51-