air
22015 015sem sem22 wwith ithtuto tutor r sonya sonyapa par ton r ton by byjack jackson sonhal hall l
“
this is an age in which
digitally informed design
can actually produce a
second nature -oxman & oxman p. 8
�
4 introduction
PART A CONCEPTUALISATION 6
A.1. design futuring
A.2. design computation
A.3. composition vs generation
A.4. conclusion
A.5. outcomes
A.6. algorithmic sketches
PART B CRITERIA DESIGN
B.1. research field
B.2. case study 1.0
B.3. case study 2.0
B.4. technique: development
B.5. technique: prototypes
B.6. technique: proposal
B.7. outcomes
B.8. algorithmic sketches
PART C DETAILED DESIGN
C.1. design concept
C.2. tectonic elements
C.3. final model
C.4. model
C.5. outcomes
Introduction My name is Jackson and when I grow up I want to be an architect. My main interests lie in projects that do cool things with materiality, preferably with these materials responsibly sourced. I think this is better not just ecologically but for the project as a whole as locally sourced, reclaimed, etc materials will lead to a more interesting, unique, and contextually responsive design. My experience with digital design mostly stems from Virtual Environments, where we modelled naturalprocess-inspired forms in Rhino and then fabricated them (Fig. 2). I’ve also dabbled in a little Revit and similarly spent time building houses in the Sims. Beyond that my technical capabilities remain pretty limited. I’m not going to lie: from my perspective, most architecture that relies heavily on computation during the design process is quite terrible. Computer generated forms to me seem cold and unnatural. Despite this, I realise that this field is rapidly growing making it necessary to get on board. Plus the fact remains computation can be used for good or evil in the design process, depending on the way it is implemented.
“...composition is essential ly meani ng less...” - b ra d e l i a s 2 015
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(Left) FIG 1: jackson (right) fig 2: virtual environments project progression from scribble to fabricated paper blob, in and out the computer. (behind) FIG 3: studio 2 project, meaninglessly composed in revit.
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A1 Design Futuring
FIG 4: context response = pebble shape; //there’s a river and riv
guangzhou opera h
FIG 7: materiality = WHITE; //just like in rhino. photosho before upload to official website for extra whiteness
vers have pebbles.
FIG 5: social responsibility = ?? //can’t deal with this in the computer. is there a rhino plugin?
house, guangzhou
opped
FIG 6:
longetivity = it’s still looking gr8 in the renderings; details & construction = pixel perfect;
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Whether the result of a computational approach to design is a good or bad thing depends on the way it’s implemented in the process. This I think can go to too ends of a sort of designer-computer relationship spectrum: one in which the designer has complete control of the computer as a tool, and uses it intelligently to help address a design problem, the other in which the designer uses computation to generate a funky looking design but has little agency over the process, ignoring the actual contextual reality of the project. At the forefront of bringing heavily parametrically designed architecture into the actual world is Zaha Hadid. Her work is a particularly convenient example of what I think can go wrong with using computation as a design principle. I feel these projects have a distinct lack of humanity and contextual sensitivity, as they are born not out of the site but out of a computer and out of the (st)architect’s own signature “syle”, as with her Guangzhou Opera House (Fig. 1). They then become objects inserted into the environment rather than part of it. The construction of Hadid’s projects further highlights her disconnect from reality. Poorly detailed (Fig. 3) to being built in highly dubious socio-political contexts (eg. her Qatar stadium for the FIFA world cup (Quirk 2014)), indicates that Hadid doesn’t much care for the impacts of her work on the real world. Designers need to take an active role in social issues, both as
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professionals and simply as humans, if there is going to be any sort of integrated progress toward bettering the world (as highlighted by . Her statement “Not my duty as an architect” in response to worker safety in Qatar illustrates Dunne and Raby’s (2013, pp.37-38) comments that perhaps we can have more impact being citizens than being designers. I feel like architecture, being such a slow moving field, is still in the infancy stage of computer relations. A bit like 90s web design, there’s going to be a period of discovering the enormous amount of what computers can do for design before we can manage to adapt all these capabilities holistically, tastefully and in a way where the designer remains in control. That is to say, there is not yet an established “good taste” with regards to extreme parametricism. Therefore in mild defence of Hadid, and any other starchitect who feels the need to insert their own signature style into any location that will accept it: most these designs are quite radical and they are getting people talking about architecture and the new things that can be achieved with computers. In this way they are the first (failed) experiments in a new building process that will lead the way to a more refined, human, contextual parametric future. Although then Hadid’s architecture might be a sort of experimentation, can we really afford such grand, empty
fig 8: force analysis in rhino BLOcke research group: Free-form Catalan Thin-tile vault� Zurich. Force analysis in rhino, form finding, and built.
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(left) fig 9: Peter rich architects Mapungubwe Interpretation Centre , Mapungubwe National Park (right) fig 10: the humans strength testing onsite at the m.i.c
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and ultimately wasteful endeavours when as designers we need more of an emphasis on social and ecological responsibility? Conversely to Hadid, some people like to consider somewhat less grandiose matters in their designs, such as materials, context, and humans. Phillippe Block has been doing some quality research into actual real world applications to parametric modelling. By keeping the focus on reality, and using computation as a tool to address it, the resultant architecture is much more fundamentally linked to site and to culture, is much more human. These Catalan Vaults (Fig. 7) can be optimised in rhino using a plugin he’s developed, which allows for simple building, and reduces necessary materials to the bare minimum. These concepts may have significant impacts in
creating affordable, low environmental-impact housing. Using similar principles is Peter Rich’s Mapungubwe Interpretation Centre (Fig. 8). By computationally solving the structure first up and producing a simple yet sophisticated design, the project could employ locals to build it after a brief training program. The process also allowed for the use of locally sourced materials in order to make the tiles, which were made on site again by locals, making the entire project both community and eco friendly. By considering fundamentals of the problem, developing a contextually appropriate solution, and then using computation as a tool to implement this, , Rich has created a building that is both eco-socially responsible and integrated. He’s done something to positively impact the people and the site.
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A2 Design Computation
The most interesting and useful contributions computing makes to the design process are to do with the ease of optimising complex structural forms, and being able to predetermine a particular design sequence. Regardless of the appeal of frank Gehry’s buildings (or lack thereof) themselves, his efforts in integrating building process with design is pretty inspirational. Kolarevic (2003, p. 60) describes this process as “eliminating the many layers that exist between the architect and the act of building”. By being able to interact with building process, materials, etc in this way, a massive new variety of creative options is opened up for the architect. This allows for a “paperless” design process, and 3D models can be passed on to contractors who then need not produce their own shop drawings, allowing for a much more efficient, accurate design to build translation, and allows for the construction of Gehry’s complicated designs. Such a process was implemented in the Walt Disney Concert Hall (fig 10). On the other hand, the process also reveals Gehry’s egotistical starchitect approach “the old image of the architect as the master builder” (Kolarevic p. 60). While it’s a good thing for sure that the architect can get closer involved with construction process, Gehry uses it to take complete control of his projects. In this way they become all about Gehry himself. This
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individual owning of entire projects I think is as a whole detrimental to architecture, and would like to see more democratic approaches used. More consultation with actual builders, material experts, craftsmen, etc during this digital design phase would I feel allow for the democratic integration of everyone’s expertise and produce a much more unified, socially integrated, contextually appropriate place, successful place. Kalay (2004, pp. 9-10) discusses how post renaissance separation of building planning and construction has given rise to a host of problems in how well the abstract representation created by designer actually translates to reality. With computational modelling techniques, designers come to believe that their models are completely accurate depictions of reality, and consequently neglected the “communication” aspect of the design process (return to Fig. 5 to see how well computer modelling may translate to reality), in the arrogant belief them self combined with the computer have all the answers. However the process could go the other way and improve communication and democracy if it is implemented well. In terms of structural forms the best work is that which uses computerisation to create interesting structural arrangements which are clearly expressed by the building for the viewer.
fig 11: transferral of the walt disney concert hall into the human plane
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by means of computation in the in the design and construction achieved a high level of personal c
he is able to literally translate his scribbly lines into ac
via these processes architectural pretension can be lifted
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n process, daddy gehry has control over his projects.
ctualised self-referential structures.
d to exciting new heights.
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fig 12: GRIMSHAW ARCHITECTS International Terminal Waterloo london fig 13: Gridshell and CMMKM Architettura e Design Masseria Ospitale Canopy Lecce italy
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Grimshaw’s International Terminal Waterloo (Fig .11) I think is a perfect example of computationally optimising a structure to fit the site requirements. In response to the shape of the underlying tracks, the building structure has been optimised to match, producing an elegant, efficient design solution. It is very much form following function. In a similar manner this canopy by (imaginatively named) architects Gridshell and CMMKM Architectural e Design is an example of how interesting structural ideas and materiality can be brought together using parametricism to create a structure that creates a nice space. By structurally modelling with timber (which is nice structurally and aesthetically), the form both supports itself, and gives quality and ambience to the dining space within. Hence I think this technology has enormous potential for creating materially and structurally interesting and complex designs.
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A3 COMPOSITION / GENERATION
(TOP) fig 14: the sturcture incoorperates the penrose tiling of the also (ARM designed) adjacent building, therefore logic dictates this is a successful contextually appropriate design. (BELOW) FIG 15: many human inhabitants of the city choose to dislike the aesthetic but they do not possess high capacity logic processing facilities nor architectural education and consequently their opinions are invalid. such persons need only consult the relevant design development documentation to appreciate the mathematical elegance.
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ADVANTAGES OF GENERATIONAL DESIGN
DISADVANTAGES OF GENERATIONAL DESIGN
-Generational design allows for the human element to be removed from the design process up to unprecedented levels, lifting architecture to new heights of mathematical perfection. Sentimentality, taste, emotion and other logically impure factores no longer taint the design process.
-Trivialities that pertain merely to the human world such as context, society, materiality etc can be ignored, streamlining design processes within the computer.
-Natural processes may be mathematically approximated and appropriated where fit such that the computational output may serve as a second natural environment, ideally rendering the original obsolete.
-Logically sound mathematical processes precisely dictate whether a design is successful or not, removing the need for the computer operator second guess, nor to seek input from other humans.
The argument that generation as a design principle lies on follows that composition, as a social construct, is inherently meaningless (Elias, 2015) Instead, generation takes a hyper rationalist approach to the design process, generating forms out of algorithms which are supposedly logically relevant to the project. In this way it is apparently a more fundamental way to go about designing. The simple appropriating of self developed algorithms gives the designer self justified rein to output anything they wish, needing only to construct their own little piece of self-supporting logic to base their design off. The green blob ARM have bestowed upon Melbourne represents “dogged intellectual inquiry� (Johnson p. 69). It represents ARM themselves and their interest in Penrose tiles, responding to an earlier building of their own (Storey Hall next door). The result then is design born out of abstraction and built upon its own system of logic. Furthermore this natural world computer simulation I feel land brings designs such as RMIT in uncanny valley territory,. A machined attempt at recreating the natural world sort of takes it into some creepy, severely inhuman territory. This is made worse when combined with synthetic, ambiguous materials (in this 19
case fibreglass). Oxman and Oxman (2014, p. 1) discuss architecture’s supposed shift away from representational forms. Generative design then tries to appropriate this design philosophy by rejecting human created symbolism and composition and instead relies on pure mathematically generated forms. Then it is up to the computer operator to decide exactly how appropriate an algorithm is to a design problem. For this reason the result of the process is that the resultant “generation” is still a symbolic representation of the thing that inspired the algorithm in the first place. For example NEX in this pavilion have used “computer algorithms that mimic natural growth” to create a contextual response to the surrounding gardens. But the fact remains that the form is just an appropriated recreation of cellular structures. in this way the form is of no more direct relation to the natural inspiration than any symbolic interpretations of nature in architecture.- in process perhaps but not in realisation. The cellular structure of the pavilion is only related back to its natural algorithmic inspirations in a purely symbolic manner via human interpretation. In this way it’s as every bit a crude and literal copy of plant cells as this building is of an elephant. I would add that the structural reasoning behind designing in an optimised way like this makes little sense also: a building
is not built like a plant grows and therefore it makes little sense to lift forms so plainly from nature in an attempt to “optimise” a building. What it is is just another artificial representation, however with the human creator element removed. The difference then between composition and generation then is a composition is a human creation, generation a computer creation. Generation is another layer of artificial abstraction between designer and designed. Composition is a way in which people can communicate with each other. By relying on computer generation, we’re removing this human element. My concern with generative design is that it is fundamentally inhuman. As to the question of where and why we place our value, I don’t have a rational explanation for this. If someone chooses to place equal (or more) value in computers as in people, I can’t argue with that.
fig 17: approximating plant cells with maths
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fig 16: an elephant FIG 18: plant cells
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“.....the creative phase of the design p rocess, whe re the a rchitect fo r ms ideas and possible sol utions that m ight add ress the goal s, const ra i nts, and oppo r tunities establ i shed du r i ng the p roblem analysis phase of the p rocess.” - Kalay p. 11
we should strive to improve the creative process by
it to pure rationalisation. freedom to express illo and arbitrary human mind processes should be remov
“Thi s i s somethi ng we a re t r y i ng to i mp rove upon by mak i ng it wel l a rgued rathe r than a r bit ra r y” -The annotato r
“ who’s to say a d raw i ng by a compute r isn’t as val uable as a d raw i ng
i drawed you more pictures 22
y reducing
ogical ed.
by a human� b rad el ias 2 015
menial tasks such as art may be relegated to computers. such systems have the advantage over humans of complete rational procedural compliance
they’re very algorithmic
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A4 CONCLUSION Part A has taught us that computers are good at performing laborious tasks. They have consequently been revolutionary in the architecture industry (as with every other industry) serving as a sophisticated documentation tool allowing for highly complex building projects to be designed and built. They have allowed for the simulation and consequent optimisation of these designs. Furthermore a new architectural use is emerging(!), in which the computer is used to actually generate designs itself via algorithmic scripting. To explore this issue I intend to use the design task to create some sort of emergent structure which illustrates how using a hyper rationalised interpretation of reality may produce unexpected, and highly inhuman design solutions. I guess it remains to be seen how we continue to differentiate the increasingly blurred lines between the human and digital worlds, and between artificial and real intelligence. 2deep4me.
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A5 OUTCOMES So far this unit I’ve learned about the deductive rationalistic justifications of computer generation and challenges of composition which have undertones of a somewhat existentialist philosophy which can be turned back around on all forms of design (generational, compositional, or otherwise). So if we’re going down that road and keep in mind that “existence precedes essence” we can ascribe meaning where we wish. Then it’s up to the individual if they like their art/architecture humancomposed or computer-generated. On the other hand I’ve learned some cool grasshopper tricks like how to box-morph a 3D pattern onto a surface. Lessons: -Computers are useful for performing large amounts of calculations and optimising things. -Optimisation will be useful for “sustain-ability” -Computer generated biomimicry is alienesque and creepy. -Computers can’t make things with love. Yet.
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A6 Algorithmic Sketches
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References Chang, L 2015 “The Software Behind Frank Gehry’s Geometrically Complex Architecture”, Pricenomics, < http://priceonomics.com/thesoftware-behind-frank-gehrys-geometrically/> Dino G,2012 “Creative Design Exploration By Parametric Generative Systems in Architecture”, METU Journal of the Faculty of Architecture, vol. 29, no. 1, pp. 207-224. Dunne, A & Raby, F 2013 , Speculative Everything: Design, Fiction and Social Dreaming, MIT Press, Cambridge, Massachusetts. Fry, T 2009, Design Futuring: Sustainabilty, Ethics and New Practice, Berg Publishers, Oxford, UK. Johnson, A, 2011. “Green brain” Architecture Australia., Vol. 100 No. 2, pp. 68-73. Kalay, Y E, 2004. Architecture’s new media: principles, theories, and methods of computer-aided design, MIT Press, Cambridge, Massachusetts. Kolarevic, B (Ed.) 2004 Architecture in the digital age: design and manufacturing. Taylor & Francis. Oxman, R & Oxman, R 2014, Theories of the Digital in Architecture, Routledge, London, UK. Peters, B, 2013, Computation works: the building of algorithmic thought. Architectural design, 83(2), 8-1 Rampage, M, Ochsendorf, J, Rich, P, Bellamy, J & Block, P 2010, ‘Design and Construction of the Mapungubwe National Park Interpretive Centre, South Africa’, ATDF Journal, vol. 7, no1, pp. 14-24. Quirk, V “Zaha Hadid on Worker Deaths in Qatar: “It’s Not My Duty As an Architect”” 2014. ArchDaily. Accessed 3 Aug 2015. <http://www.archdaily. com/480990/zaha-hadid-on-worker-deathsin-qatar-it-s-not-my-duty-as-an-architect/>
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Images Fig 4: Langur 2011, F117 stealth fighter, photograph, viewed 9 August 2015, < http://www.skyscrapercity. com/showthread.php?t=335477&page=50>.
Fig 18: NEX Architecture, 2011, Times Eureka Pavilion, < http://www.archdaily.com/142509/ times-eureka-pavilion-nex-architecture>
Fig 6: Speck, L 2012, Guangzhou Opera House 3, viewed 9 August 2015, < http://larryspeck. com/2012/08/16/top-architectural-recordaward-for-guangzhou-opera-house-really/>. Fig 7: guangzhou_ interior, nd, photograph, viewed 9 August 2015, < http://www.zaha-hadid.com/ architecture/guangzhou-opera-house/>. Fig 8: Breitfuss, K, 2011, eettv_vault_picture_ perspective, viewed 9 August 2015, < http:// www.block.arch.ethz.ch/brg/project/ free-form-catalan-thin-tile-vault>. Fig 9: Tall, JC, 2013, Mapungubwe Interpretation Centre 2013 On Site Review Report, photograph, p. 41. Fig 10: Ramage, M, Ochsendorf, J, Rich, P, Bellamy, J & Block, P 2010, ‘Design and Construction of the Mapungubwe National Park Interpretive Centre, South Africa’, ATDF Journal, vol. 7, no1, p. 20. Fig 11: Disney construction < http://www.flickriver. com/photos/39527581@N07/4857726346/> Fig 12: International Terminal Waterloo < http:// grimshaw-architects.com/media/cache/d1/6a/ d16a7e4d50e08c7b821291390fd826f8.jpg> Fig 13: Gridshell < http://www.cmmkm.com/ progetti/gridshell/3/gridshell_03_01.jpg> Fig 14: Johnson, A, 2011. “Green brain” Architecture Australia., Vol. 100 No. 2, pp. 68-73. FIg 15: Unknowm, n.d, <nfo Corner <https://www. rmit.edu.au/contact/visit-us/info-corner/> Fig 16: Mledaner 2006 The biggest elephant I have ever seen, < https://www.flickr. com/photos/eam/113665800> Fig 17: NEX Architecture, 2011, Times Eureka Pavilion, < http://www.archdaily.com/142509/ times-eureka-pavilion-nex-architecture>
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â&#x20AC;&#x153; whi le unequivocal ly bonded to a human - i ntitiated act, design takes on a dete r m i nate l ife of its own - designed thi ngs go on designi ngâ&#x20AC;? f r y p. 3
your new biocell has been optimally optimised for optimal optimisation
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ssshhhhh time for sleep
technology will soon be able to optimise all architectural decision making for people.
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p art crite DESIG
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t b erIA G N
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B1 RESEARCH FIELD Upon profound examination of the “intellectual context surrounding” the field of material performance in relation to the to the intellectual dominion of cybernated parametric design methodology, we discover a not insignificant conglomeration of intellectually fascinating explorations being undertaken by an array of dedicated intellectuals. IwamotoScott have decided to make a structure which consists purely of a timber veneer. Their Voussoir Cloud uses this laminate folded into little panels which then act in compression like the stones in a vault, or petals as IwamatoScott refer to them as. This project is interesting in that it relies on the complicated interrelations between the little petals, and the vaulted form as a whole. The petals were designed such that they bow slightly and are curved on certain edges, giving the the piece a certain rigidity. (figure). This had to be incorporated with the catalan vault structure, which was engineered by Buro Happold. The 2300 panels were then laser cut and put together by uni students. This is an example of a functionally integrated structures (Reichart et al. p. 29. 2014). Natural world material efficiency relies on this, as opposed to the usually discrete structural components architecturally employed by humans. Computational systems allow us to analyse materials to such extents that we can employ them more liberally. This shows how computation can allow for the design of structures which use materials in new creative ways. The implications of this are that perhaps it may lead to the use of more “sustain-able” products in construction, and more efficiently. This efficiency may then have positive
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the voussoi
fig 1: ir cloud fig 2: panel detail
fig 3: veneer folding process
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implications for creating affordable housing and the like, and therefore good for society as a whole. The structure takes advantage of the attributes of the timber veneer. Being a micro layer of wood covering paper, the material can be scored and folded relying on the paper to support the flappy bits. Happily, the installation also responds to the timber part of the veneer: in creating the bows of the panels, the direction of the grain had to be considered. This results in an interesting, light, structure which is a creative and integrated use of an ordinarily dull, “decorative” product Compare this to laterIwamotoScott project, the Gwanggju Rest Box (fig. 4). Here the same veneer is used, but is formed into solid-looking polygons which negates the inherent lightness of the material. It furthermore seems to try and recreate the solidity of the timber from whence the veneer originated. This all makes the piece seem somewhat insincere and confused. However the generalisability of the work undertaken by IwamotoScott is a little on the weak side considering the laminate in question is a “customised material for Voissir Cloud by Lenderink Technologies consisting of wood laminate on three layers of long-fibre paper” (ACSA, 2009, p. 28) . That is to say, this is not a project which uses a common, or even natural, material in a new way but a project which has had a product specifically manufactured for it. For this reason the process of creating the structure itself is not so much a response to it’s materials as it is a response to the designers abstract ideal: “to defamiliarize both structure and the wood material to create to create conflicted readings of normative architectural typologies” (iwamotoscott, 2008). While then I agree that they’ve “defamiliarize”d the structure, the “wood material” was unfamiliar to begin with. It was also secondary to the structural form through the design process. Then the design remains as a sort of self contained project, successful in its own right but without a lot of real world relevance. Baerlecken and Blair Wright (2014) discuss how materials themselves can lead to design outcomes through the “textility of making” (p. 341). In this way the
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forces acting upon the materials are used to generate designs., in contrast to the “hylomorphic approach”, where the design focus is on a preconceived form of the end product. This, I think, is a way in which design computation can be used appropriately in that it is immediately responding to the conditions of the project in a visible meaningful way. That is, if it’s done right. The computer operator still needs to make sure their in dialogue with the materials (as Louis Kahn would tell you) because a computer might be insensitive to their needs, but done right it can lead to the best result for all. I don’t think this is necessarily a binary distinction, the Voussoir Cloud would fall somewhere between the two. The structure does respond to it’s materiality, but it is first and foremost an exploration toward a preconceived idea, with materiality customised for this purpose. Then there’s a sort of dialogue between materiality and form, each influencing the other, with the designer (or computer) ultimately deciding which should have more weight in the argument. Fortunately, computers have the advantage of being able to adapt to pretty much any material in order to test it’s structural capabilities. Alquist et al. (2015) have done intensive modelling and structural simulation on banana leaf stalks in order to demonstrate the capabilities to run these simulations explicitly on highly specific cases. By then, they’ve been able to extract new structural principles from their experiments, gaining insights into both morphology and materiality. The extreme of this form-serving-the-materials can be found at fig. 5 where a form is generated out of various existing objects which have been computationally defined. They then are linked to each other with various geometric definitions such that “the form is ultimately defined by its material conditions” (Beorkrem, Scott & Buzzell, 2012, p.6). Therefore there is a sort of spectrum on how forms come about, form the materials through to from abstract concepts. I guess in reality it’s entirely up to subjective opinion whereabouts projects should actually sit.
fig 4: gwannggju rest box
fig 5: â&#x20AC;&#x153;quilt of palettesâ&#x20AC;?
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B2 CASE STUDY 1.0
This definition works by using the kangaroo physics simulation plugin to apply an upwards force to all points on a set of planar surfaces, which respond by then â&#x20AC;&#x153;relaxingâ&#x20AC;?. In this way the effect is the same as hanging some cloth or something upside down. This process results in a canary form which is structurally optimised to deal with compressive forces.
voussoir cloud reversed engineer
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red initial definition
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iteration matrix
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Whilst none of these outcomes are particularly good in their own right, some have their own individual elements which may be useful in the final design process. The things that Iâ&#x20AC;&#x2122;m looking for is a structure that will be entirely heavily structurally interconnected, and a sort of geometry that can scale from seating sized to canopy sized, to create a continuous, cohesive interconnected thing. In this way the form should be able to provide comfort. Iteration 1A uses a forced point to simulate an inflating effect on the surface. This inflationary idea seems like it could make for an interesting and comfortable seating experience. Being able to parametrically control different inflation pressures and flexibility of surfaces could allow for some interesting arrangements. Likewise 5C looks pretty comfy. In this case it is just a bunch of spheres generated to form the structure, but could be advanced to produce a series of inflated objects as in 1A. 6A resembles what could be a nice cushion type situation and suggests a way these could hold their form when inflated. 8C and 8D give some interesting structural suggestions: 8Câ&#x20AC;&#x2122;s rod elements formally imply a sort of tensile force acting on them, and 8D has a materially efficient compressional member form. These
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could be combined and utilised where appropriate within a design which includes members handling both these forces to produce an overall efficient, visually interesting, and easy-to-read-the-forces-travellingthrough structure.
Another interesting lesson from this exercise is the sort of forms that can be generated by thinking about a tensile structure as enclosing a 3D space rather than as a surface. This may be especially cool when combined with surfaces made from woven meshes (physically, not computer meshes) which can then create geometries that can intersect with each- other and themselves. By using attractor points to generate forces acting on a tensile structure, you should be able to create geometries which can then be approximates by adding tensional elements: (diagram (draw a diagram for this)). This may allow for a cool structure where the inflated seating cushion parts have the same outwards force type of situation as the overall tensile structure.
comparison of inflationary and tensile forces
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I’ve chosen this project “Minimal Relaxation” by SDA to reverse engineer and use as a sort of starting point for further explorations. The net structure seems like a fairly flexible base to work with, in creating interesting forms and can then be pushed further my adding new material elements. The main focus of the study is to look at how different forces can be used to create interesting forms.
fig 6: minimal relaxation
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a: b: c: d: e: f: g:
made a simple mesh and applied some gravity. made multiple meshes based on voronoi cells. using the top edges for t tried to pin the edges with anchor points. adjusted the meshes so they would weld properly by adjusting the inner removed anchor points from inner edges and used lines to support them added more lines to support the strings. added more lines to anchor the bottom inner edges.
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the anchor points.
r hole geometry. m instead.
minimal relaxation reverse engirneer
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boundary cells support points grasshopper definition
final outcome
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scale for inner edges
create surfaces
extract lines
springs
create lines for support elements
simulate anchor points
extract edge points
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a
These first iterations are just playing around with using attractor points/fields to affect the positions of the anchor points of the structure, exploring what variation of forms can be generated by simply adjusting the control points.
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3D shows the sort of inflationary effect possible by applying tensile forces, which I think is pretty cool. 4E has the cool effect of the surfaces created by the mesh intersecting with each other. This could be explored further to create some pretty cool geometry.
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Species 5 removes the anchor points from the boundary and uses singulalr control points obly. points and using singualar
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5E has the sort of complicated aesthetic I;m after. 7D has nodal variations that look liike they could generate comfortable seating bits, while fitting in with the whole continuity theme,
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a
10C has a sort of nodal system that will make construction easier - measuring lengths of string while trying to account for the amount taken up by tying knots is highly inconvenient).
11E has an interesting relationship between the solid and tensile elements where the structure transitions slowly entirel from one to the other. This could give some interesting visual and structural effects.
b
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12E has the same tensily expressive form as explored in the previous iterative exercise.
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14E likewise has an interesting tectonic effect of horizontal solid members and vertical tensile members, which suggest how seating could work in a sort of ropey deckchair like manner.
b
15 and 16 expand on the compressive/tensile element interplay by creating vertical free standing structures in this manner.
c Going into the design stages I think it would be good to combine these elements of comfort, continuity, complexity, constructibility and structural expression.
d
e
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on the topic of matrices, agent smith shares his own interpretation of why computer programs are important in helping sustain-ability
â&#x20AC;&#x153;You move to an area and you multiply and multiply until every natural resource is consumed and the only way you can survive is to spread to another area. There is another organism on this planet that follows the same pattern. Do you know what it is? A virus. Human beings are a disease, a cancer of this planet. Youâ&#x20AC;&#x2122;re a plague and we are the cure.â&#x20AC;?
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B5 PROTOTYPING This line of experimentation uses a flexible element (cardboard in the case of this model) which is given form by a series of tensional elements. I think this results in a nice sort of reactive-to forces type of overall structure but would most likely be difficult to scale up in terms of materiality.
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top: connection details bottom: diffenernt forms achireved through applying different tensions
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Here Iâ&#x20AC;&#x2122;m going for the more discrete linear element as in the case study iterations. I think this is a more scalable and more adaptable approach, and has more capability for the intertwining sort of structure that Iâ&#x20AC;&#x2122;m looking for. The structure within it can contain varying sizes of struts which can be scaled up and down for the canopy and seating structures, in a way which everything connects with each other.
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different configurations of string and struts
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more string and strut configurations
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Issues: -The connections between the timber elements, which arenâ&#x20AC;&#x2122;t suitable for withholding compressive forces. -Attempting to attatch the string to the structure with knots whils preserving their proper length is pretty much impossible (especially at small scales).
-This linear strut type structure doesnâ&#x20AC;&#x2122;t visually convey forces quite as well as the first prototypical example.
string/timber connection details
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Prototype of a ball joint. This will fix the problem of the weak hinge ring things in initial prototypes and also the problem of trying to tie string to elements while keeping their proper length - string/cable/rope can be cut to length and simply inserted and fastened. The form of the node will be modified in future design stages into a more curvilinear sort of form which conveys a sort of stretching action in response to the cables attached to it: Iâ&#x20AC;&#x2122;m thinking of adding some sort of flexible covering which attaches to the cables and then has a inflationary kind of effect in response to this outward pull. This same material and inflated form can then be carried to the seating, and floating object things on the creek.
ball joint diagram 68
generating nodes with grasshopper
3d printed ball joint prototype 69
Pratitya-samutpada (interdependent arising) -â&#x20AC;?phenomena arise together in a mutually in
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The proposal is to create a sort of “interconnected web” of structural elements which forms the seating and canopy. The idea here is to make people think about how their actions have effects on their environment (and the universe as a whole) in that the structure will respond to their interactions with it in complex and possibly unforeseen ways, just like reality.
) nterdependent web of cause and effect”
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fig 7: neurons
fig 8: victorian roads
fig 9: the universe
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With regards to feedback from the interim presentation the brief willmost likely be altered somewhat, mainly in regard to scale. Instead of conceptualising the project as it’s own standalone, not-impossible-to-imagine-beingbuilt innstallation type piece, it will intsead be a more ambitious, conceptual sort of all encopassing biomass of cellular things. Then the whole thing will exhibt a recursive sort of geometry, with the individual notes and tension members resembling the individual structures and linking bits. In this way it’ll have the sort of visual effect of neurons or the univerese, all interwoven in a complex. For this reason the end form will be different from the sketch on the previous page: as I’ll want the entire project to have this recursive continuity and cohesion. I’ll go back and investicate the more inflationary looking structures and sort of combine this wil the interwoven structural complexity i was thinking about. Using these as the node form as well as scaling them up to create inflated floating node points on the creek shall increase connectivity with the water, while preserving the sort of tensile structural expression.
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B7 LEARNING OBJECTIVES AND OUT Objective 1. “interrogat[ing] a brief” by considering the process of brief formation in the age of optioneering
i think this implies that the design process should influence the simplified (psuedo?)eastern philosophy.
Objective 2. developing “an ability to generate a variety of design possibilities for a given situation” by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive design-space exploration;
i generated like a hundred “design possibilities”. quantity over q
Objective 3. developing “skills in various threedimensional media” and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication;
“that’s mad modelling skills” - my housemate
Objective 4. developing “an understanding of relationships between architecture and air” through interrogation of design proposal as physical models in atmosphere;
i’ve ensured all models were constructed within the appropriate
Objective 5. developing “the ability to make a case for proposals” by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourse.
i have been working on improving critical-thinking and argument
Objective 6. develop capabilities for conceptual, technical and design analyses of contemporary architectural projects;
i did analysis on some projects in the sections where project an
Objective 7. develop foundational understandings of computational geometry, data structures and types of programming;
i computated at least several geometries, and structured some
Objective 8. begin developing a personalised repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application.
nothing impresses people quite so much as having basic knowled dimensional nurbs modelling environment in your own personal re
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TCOMES
e brief, which seems backwards. though i think i managed to post-rationalise the parametric design process with some
quality.
e airy confines of the troposphere.
tativeness throughout the subject.
nalysis was required
datas.
dge of the kangaroo physics simulation plugin for the grassopper parametric modelling plugin for the rhinoceros three epertoire
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B8 ALGORITHMIC SKETCHES
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References ACSA, 2009, Publication of the Association of Collegiate Schools of Architecture, vol. 38, no. 5.
Ahlquist, S., Kampowski, T., Torghabehi, O. O., Menges, A., & Speck, T. (2015). Development of a digital framework for the computation of complex material and morphological behavior of biological and technological systems. Computer-Aided Design, 60, 84-104. Baerlecken, D., & Wright, K. (2014). Nominalized Matter: Agency of Material. International Journal of Architectural Computing, 12(3), 339-356.
Beorkrem, C., Scott, J., & Buzzell, W. (2012). Material Ecologies in Parametric Design Software. In Reston, VA: ASCEProceedings of the 2011 International Conference on Sustainable Design and Construction| d 20120000. American Society of Civil Engineers.
Borden, G P & Meredith, M (Eds.) 2012 “Matter: material processes in architectural production” Routledge. chapter 2 Iwamoto L, Scott, C, pp. 62-76. iwamattoscott 2008 “Voussoir Cloud” <http:// www.iwamotoscott.com/VOUSSOIR-CLOUD> iwamattoscott 2009 “Gwangju Rest Box” <http:// www.iwamotoscott.com/GWANGJU-REST-BOX> Reichert, S., Schwinn, T., La Magna, R., Waimer, F., Knippers, J., & Menges, A. (2014). Fibrous structures: an integrative approach to design computation, simulation and fabrication for lightweight, glass and carbon fibre composite structures in architecture based on biomimetic design principles. Computer-Aided Design, 52, 27-39.
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Images Figs 1-3: Terry 2008 Voussoir CLcoud <http://www. archdaily.com.br/br/01-54024/voussoir-cloudiwamotoscott-architecture-mais-buro-happold>
Fig 4 imawattoscott 2009 Gwangju Rest Box <http://www.iwamotoscott.com/following/ iwamotoscott.com/GWANGJU-REST-BOX> Fig 5: Beorkrem, C., Scott, J., & Buzzell, W. (2012). Material Ecologies in Parametric Design Software. In Reston, VA: ASCEProceedings of the 2011 International Conference on Sustainable Design and Construction| d 20120000. American Society of Civil Engineers.
Fig 6: SDA Minimal Relaxation <http://synthesisdna.com/projects/minimal-relaxation>
Fig 7: HEMA Victoria <http://www.coastshop. com.au/maps/road/Vic-Map-A4.jpg>
Fig 8: Max-Planck-Institut fur Astrophysik 2005 Millenium Simulation Project < http://wwwmpa. mpa-garching.mpg.de/galform/virgo/millennium/>
Fig 9: Unkown Visualisation of clustering in a neuron culture of rat hippocampal neurons. <http:// www.urbagram.net/v1/show/Microplexes>
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