STUDIO AIR JAKE BOURKE SEMESTER 1, 2017
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STUDIO AIR JAKE BOURKE | 761273 | MEHRNOUSH SEMESTER 1, 2017
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TABLE OF CONTENTS PART A: CONCEPTUALISING
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A.O: INTRODUCTION
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A.1: DESIGN FUTURING
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A.2: DESIGN COMPUTATION
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A.3: COMPOSITION GENERATION
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A.4: CONCLUSION
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A.5: LEARNING OUTCOMES
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A.6: APPENDIX—ALGORITHMIC SKETCHES
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PART B: CRITERIA DESIGN
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B.1: RESEARCH FIELD
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B.2: CASE STUDY 1.0
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B.3: CASE STUDY 2.0
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B.4: TECHNIQUE—DEVELOPMENT B.5: TECHNIQUE—PROTOTYPES B.6: TECHNIQUE—PROPOSAL B.7: LEARNING OBJECTIVES & OUTCOMES B.8: APPENDIX—ALGORITHMIC SKETCHES
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PART A:
CONCEPTUALISING
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A.0: INTRODUCTION JAKE A. BOURKE 20 Y/O
Currently, I’m completing my third year of the Bachelor of Environments, majoring in Architecture & Property, with an aim to start a property development firm with a strong focus on sustainable design.
Although, my experiences in rural Victoria were not all limiting, the school I attended ran a terrific technical program, allowing me to study a certificate II in engineering as part of my VCE. In this subject I received a perfect score of 50, and the Premiers award for excellence. The skills learnt about fabrication in this program have been invaluable for architecture, allowing me to excel in the construction subjects of my degree.
My history with design began early on, from as early as age 11 I would draw nothing but floor plans, eventually designing large, intricate buildings using early versions of SketchUp. At age 15, I submitted a proposal to the local council for a new Skate park, complete with elevations, renders and a 3D model. This design was later used as a main point of reference in the construction of the new Skate Park.
Since beginning University, I have focused mostly on using physical models and hand drawing to communicate my ideas, so Rhino and Grasshopper are very new to me. My knowledge of digital architecture is very low, and I aim to expand this over the duration of this semester.
From this point onward, I tailored my studies to focus on achieving my goal of studying architecture. The main hurdle was overcoming the social and economic boundaries set by my rural public school to achieve a score which would grant me entry into Architecture at Melbourne University.
I am interested in the use of programming to achieve mathematically logical outcomes in architecture, and look forward to establishing a new and exciting skillset in this subject. I believe this is the future of architecture.
Project Example 1: Designing Environments - S1 2015 / SketchUp + Indigo Render 8
PROJECT EXAMPLE 2 STUDIO EARTH - S1 2016 PHYSICAL MODEL
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A.1: DESIGN FUTURING
NAGAKIN CAPSULE TOWER
Kurokawa’s Metabolist tower is a key example of how architecture can be considerate of the future. It achieved this by utilising replaceable capsules, which could be removed and refurbished over time.1 This concept was extremely groundbreaking at the time, for the architect considered a life cycle system for the building, rather than the conventional buildand-leave approach. This revolutionary tower is extremely popular in architectural history discourse for its considerate approach to life cycle. In this week’s lecture, life cycle is a point of focus when considering how buildings can be sustainable. This project has likely influenced many Metabolists to consider the life cycle of their designs, and will do so into the future. Being built in 1972, the tower is now at a point where the pods should be replaced. This has not taken place and as a result the tower has fallen into a state of disrepair.2 This brings forth conversation about how it could have been designed to make the replacement of the capsules feasible. Tony fry discusses the issue of human responsibility for “sustainable modes of planetary habitation” and to reduce the speed of ‘defuturing’.3 Kurokawa’s design was perhaps one of the first to consider the future impacts of their design. This design not only considers the future, but uses prefabrication as a construction technique, allowing the building to be constructed quickly and with less energy than a conventional tower. These aspects make the Nagakin Capsule Tower an important contribution to sustainable architectural design. 1
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"AD Classics: Nakagin Capsule Tower / Kisho Kurokawa", Archdaily, 2011 <http://www.archdaily.com/110745/ad-classics-nakagincapsule-tower-kisho-kurokawa> [accessed 2 March 2017]. 2
“ “ Archdaily, 2011.
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Tony Fry, Design Futuring: Sustainability, Ethics, And New Practice., 1st edn (London: Oxford, Berg, 2009), p. 6.
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PROJECT: NAGAKIN CAPSULE TOWER LOCATION: TOKYO ARCHITECT: KISHO KUROKAWA YEAR BUILT: 1972 SOURCE: ARCHDAILY
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A.1: DESIGN FUTURING
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MICHAEL
SCHUMACHER
TOWER
This project is the unbuilt Michael Schumacher Tower, which utilises the benefits of grasshopper to generate space optimised snowflake-like floorplans, and a climate responsive smart façade. The team at LAVA utilised new technology to create a smarter building than the industry standard, which, if effective in practice could be many times more energy efficient and liveable than a standard cost approach development.1 This is achieved by utilising grasshopper’s extensions and optimising the smart façade to react to the environment.2 The design of this skyscraper caters to the modern taste for high rise living whilst utilising new technology to optimise the building. Although not particularly visionary in terms or building typology, this design can be regarded as sustainable. In reference to the lecture content, this building fulfils the need for greater urban density to counteract unsustainable urban sprawl. Perhaps computer optimised skyscrapers have the capacity to achieve greater sustainability than other building types due to the lower carbon footprint of those who live there. The use of a full length smart façade and optimised snowflake floorplan is aligned with Dunne and Raby’s idea of “Radical Design”. This design looks to fully utilise and experiment with materials and design technology to achieve the four P’s mentioned in “Speculative Everything”. Plausible, Possible, Probable, and Preferable.3 1
"MSWCT Snowflake Tower » LAVA", L-A-V-A.Net, 2008 <http://www.l-a-v-a.net/projects/mswct-snowflake-tower-2/> [accessed 2 March 2017].
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"Laboratory For Visionary Architecture Snowflake Tower", Grasshopper3d.Com, 2009 <http://www.grasshopper3d.com/photo/albums/laboratory-for-visionary> [accessed 2 March 2017]. 3
Anthony Dunne and Fiona Raby, Speculative Everything: Design, Fiction, And Social Dreaming, 1st edn (MA: MIT Press, 2013), pp. 3-5.
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PROJECT: MICHAEL SCHUMACHER TOWER LOCATION: ABU DHABI ARCHITECT: L.A.V.A YEAR BUILT: UNBUILT SOURCE: L.A.V.A
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A.2: DESIGN COMPUTATION SPANISH PAVILION, AICHI The Spanish Pavilion utilises the computational aspects of grasshopper to create a building which has a unique façade, and an interior space which is organic in nature, to contrast the rectangular silhouette of the exterior. The pattern shown on the exterior would have taken far longer to generate using traditional methods. Although this method has been used to optimise the façade and generate interlocking sections (pictured at left), the computations used to treat the façade are limited, and by no means could they not be achieved without computational programming. The facade of this building is a result of computerisation rather than computation, as it very hardly varies from the imaginable in terms of form. It is stated that these patterns are inspired by the hexagonal patterns present in Islamic art,1 therefore it can be deduced that the designer had a preconceived notion of how the façade should look, and simply used grasshopper and rhino to model it. This representational approach to design is in contrast with the ideas presented by Oxman & Oxman, who state that the “digital in architecture resides in the roots of architectural culture's attempt to divest itself of the representational”2. This statement is a theory well represented by the next precedent presented. 1"FOA · Spanish Pavilion", Divisare, 2006 <https://divisare.com/projects/272168foa-spanish-pavilion> [accessed 10 March 2017].
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2 Rivka Oxman and Robert Oxman, Theories Of The Digital In Architecture, 1st edn (Routledge, 2014).
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PROJECT: SPANISH PAVILION LOCATION: AICHI, JAPAN ARCHITECT: FOREIGN OFFICE ARCHITECTS YEAR BUILT: 2005 SOURCE: FARSHIDMOUSSAVI 15
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A.2: DESIGN COMPUTATION
VULCAN
PAVILION, BEIJING
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The Vulcan pavilion is an example of computational design, which utilised the most efficient processes to create something that would be near impossible using conventional techniques. This pavilion not only utilises modern design techniques, but construction techniques also, as it is constructed using only 3D printing. 1 This practice re-defining construction technique has only become prevalent recently, alongside the advance of computational design, as traditional methods are far too labour-intensive to produce many computergenerated forms. By using a computational approach, the structure could be optimised along a set of parameters such as weight, light diffusion, air flow, etc., to achieve a more efficient product than previously possible. The architectural stage of “solution synthesis” mentioned in Kalay’s “Architecture’s New Media”2 is nearly completely outsourced to the computation in a design like this, which allows multiple iterations provided by the code to be evaluated by the designer to determine the best fit for the brief. This provides the ability to create hundreds of iterations of a design in a day, all reaching a complexity to the likes of which could years to draft by hand. The benefits in efficiency and form generation presented by computation are plain to see, and like mentioned in the lecture, are not any more “false creativity” than traditional methods of drafting. 1
"VULCAN: The World's Largest 3D-Printed Architectural Pavilion", Designboom | Architecture & Design Magazine, 2015 <http:// www.designboom.com/architecture/vulcan-beijing-design-week-bjdw-largest-3d-printed-architectural-pavilion-parkview-green-10-07-2015/> [accessed 10 March 2017]. 2 Yehuda E Kalay, Architecture's New Nedia, 1st edn (Cambridge, Mass.: MIT Press, 2004), p. 11.
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PROJECT: VULCAN PAVILION LOCATION: BEIJING, CHINA ARCHITECT: LABORATORY FOR CREATIVE DESIGN YEAR BUILT: 2015 SOURCE: 17
A.3: COMPOSITION/GENERATION
VOUSSOIR CLOUD, [09]
LOS ANGELES
The Voussoir Cloud installation utilises generative processes to achieve a cloud-like form, composed of only four shapes.1 Some literature mentioned in the lecture claims that generative architecture is a sign of the gradual reduction of “true creativity” in architecture. This claim may be supported by certain members of society, but one could argue that because a form such as the Voussoir Cloud is impractical to design without the aid of computation, that the architect’s creativity is expanded rather than limited. This comes without reducing the ability for an architect to design just as would have been the norm 300 years ago. By utilising algorithmic thinking processes, architects can simplify complex forms so that they can be “sketched” easily with the aid of programs such as Grasshopper. These thought processes are generative in nature; for example, an architect might think of a plane, a line and a point as separate components, but algorithmic thinking shows the plane as a product of the line, the line as an extension of the point, and the point as a product of co-ordinates. This likens architecture to a recipe, which can be followed using a “finite set of rules”.2 Although generative or computational architecture can be used to create unique forms, its limited in its architectural drafting capabilities. For many processes, traditional architectural software is much faster and less complicated. Using algorithmic thinking, it’s easy to imagine generative architecture progressing to the point where specific parameters will be input and a complete building will be generated based on these parameters. 1
Amy Frearson, "BIG's Bjarke Ingels Completes Serpentine Gallery Pavilion 2016", Dezeen, 2016 <https://www.dezeen.com/2016/06/07/bjarkeingels-big-serpentine-gallery-pavilion-london-translucent-blocks-unzipped-wall/> [accessed 15 March 2017]. 2 Robert A Wilson and Frank Keil, The MIT Encyclopedia Of Cognitive Sciences, 1st edn ([Cambridge, Mass.]: Massachusetts Institute of Technology, 1999), pp. 11-12.
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PROJECT: VOUSSOIR CLOUD LOCATION: LOS ANGELES ARCHITECT: IWAMOTOSCOTT YEAR BUILT: 2008 SOURCE: IWAMOTOSCOTT
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A.3: COMPOSITION/GENERATION
SERPENTINE PAVILION, LONDON
The Serpentine Pavilion is an example of a complex structure which communicates clear algorithmic processes through its appearance. This structure uses fibreglass blocks in the shape of a brick wall, which is then pulled apart to create space. The theory of this building is juxtaposition, with the open blocks creating a seemingly light and transparent square form as the view from the side, and a solid, free-flowing view from the end.1
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This design concept is simple yet beautiful, and is an example of how computational architecture can be utilised in a way which inspires creativity. This design utilises digital tools to create design opportunities.2 Although this design relies on simplicity as a point of interest, itâ&#x20AC;&#x2122;s the very simplicity that continuously arises in built computational architecture. The constraints imposed by the software used to generate computational architecture mean that very little complex computational architecture is built. Most completely computational architecture is limited to concepts or temporary pavilions.
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"BIG | Bjarke Ingels Group", Big.Dk, 2016 <https://www.big.dk/#projects -serp> [accessed 15 March 2017]. 2
Brady Peters and Xavier De Kestelier, Computation Works: The Building Of Algorithmic Thought, 1st edn (Academy Press, 2013), pp. 8-13.
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PROJECT: SERPENTINE PAVILION LOCATION: LONDON ARCHITECT: BJARKE INGELS GROUP YEAR BUILT: 2016 SOURCE: DEZEEN
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A.4: CONCLUSION
[14] Frank Gehry’s sketch for the Guggenheim Museum, Bilbao — Analogue form-finding
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Part A explores the rise of generative architecture and parametric modelling, and how this allows architects to create forms never-before possible in mere minutes. These models are arguably the future of architecture, and can be a useful tool for form-finding and patternmaking. Part A also explored the effects computation has on design thought and practice. This advance in prominence of computational architecture has removed boundaries which we never even knew existed, and for this reason modern architectural literature has a strong focus on this subject.
Also noted is the possibility of utilising computation to achieve sustainability through structural and environmental optimisation plugins and programs, and through increasing prefabrication and utilisation of new technology such as large scale 3D printing. This exciting new skillset will soon be an integral aspect of all architectural practice, and can be seen emerging in specialist architectural firms worldwide, many of which have been referenced in this section of the journal.
Considering this, my design approach will attempt to expand the uses of computational architecture to provide design solutions for housing birds and fish in unison. This approach aims to increase biodiversity in the site, and create a computational design installation which not only is beautiful in form for enjoyment by humans, but is designed to solve a real issue. .
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A.5: LEARNING OUTCOMES
Throughout the first 3 weeks of Architecture Studio: Air, I have become far more interested in the theories of sustainability as applied through computational architecture, and how complex issues can be solved or partially solved using codes and programming. The first lecture, in addition to the â&#x20AC;&#x153;Design Futuringâ&#x20AC;? reading, was particularly inspiring and informative. This focus on sustainability and computerisation is important to the field of architecture now and will continue to be important into the future.
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Exploring modelling using Grasshopper has also been an interesting exercise, and I feel as if I have picked it up quite well considering my limited background in computer modelling and parametricism. The benefits of computing are clear when comparing the time taken to create iterations in grasshopper versus my previously preferred method, sketching by hand. The complexity achieved in these quick iterations are unmatched by any conventional modelling method in a similar timeframe, which helps for creating a larger pool of choices and ultimately, correctly refining the form of a design.
Iâ&#x20AC;&#x2122;ve also realised that computational architecture has suitable and unsuitable applications, just like any other architectural method. The built precedents studied in Part A show a clear pattern in forms and achievable designs, with focuses on preconstruction and using a small number of identical components to achieve complex forms. By the end of this subject, I hope to be able to model forms such as my digital artwork using Rhinoceros and Grasshopper.
Authors own digital sketch for a complex architectural form â&#x20AC;&#x201D; Analogue form-finding
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A.6: APPENDIXâ&#x20AC;&#x201D;ALGORITHMIC SKETCH
The examples exhibited here are the 3D patterns created by extruding and altering a complex pattern created earlier in week 2, these were included because I feel that they best exhibit the generational nature of Grasshopper, more so than pervious exercises. I feel that these developments could be improved greatly with more knowledge of the program, and projecting such patterns onto a curved surface could create beautiful forms. These sketch-like patterns exhibit the ease of generating unique patterns in short periods of time, a great strength of computation. 1111
Iteration 1 â&#x20AC;&#x201C; altering the size of the origin grid and the number of lines
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HES
Iteration 2 â&#x20AC;&#x201C; lengthening the size of the origin grid and the adding much more connections
Iteration 3 â&#x20AC;&#x201C; shortening the length of the origin grid and altering the points visible in the base pattern
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IMAGE REFERENCES
01 - Nagakin Capsule Tower, 2016 <http://media3.architecturemedia.net/site_media/media/ cache/91/53/915344f26618d1b1396f3546740b11ac.jpg> [accessed 8 March 2017]
02 - Nakagin Capsule Tower, 2011 <https://architizer-prod.imgix.net/media/1470286864930stringio.jpg? q=60&auto=format,compress&cs=strip&w=1080> [accessed 8 March 2017] 03 - Michael Schumacher Tower, 2008 <http://images.adsttc.com/media/images/55f6/fccc/adbc/01b8/7c00/03d5/ slideshow/080926_concept-of-the-tower.jpg?1442249906> [accessed 8 March 2017] 04 - Michael Schumacher Tower, 2008 <http://www.e-architect.co.uk/images/jpgs/dubai/ michael_schumacher_tower_lava041208_2.jpg> [accessed 2 March 2017] 05 - Spanish Pavilion, 2017 <http://spanish-pavilion-expo-2005-haiki-aichi.html> [accessed 8 March 2017] 06 - Spanish Pavilion, 2017 <http://spanish-pavilion-expo-2005-haiki-aichi.html> [accessed 8 March 2017] 07 - Vulcan Pavilion, 2015 <https://s-media-cache-ak0.pinimg.com/originals/c5/4f/61/ c54f61d2d31530c9aed7dbbc3aa0f7da.jpg> [accessed 8 March 2017]
08 - Vulcan Pavilion, 2016 <https://cdn0.vox-cdn.com/ thumbor/5U1wcxCpPgxIiAwEs_k2GJIHMgE=/0x3:670x506/1400x1050/cdn0.vox-cdn.com/uploads/chorus_image/ image/47871145/VULCAN-largest-3D-printed-architectural-pavilion-BJDW-beijing-design-week-designboom-101.0.jpg> [accessed 8 March 2017] 09 - iwamotoscott, 22/24, 2008 <http://www.iwamotoscott.com/VOUSSOIR-CLOUD> [accessed 14 March 2017] 10 - iwamotoscott, 1/24, 2008 <http://www.iwamotoscott.com/VOUSSOIR-CLOUD> [accessed 14 March 2017] 11 - London | Serpentine Pavilion 2016 By BIG, 2016 <https://b6c18f286245704fe3e905e2055f4cd9122af02914269431c9f6.ssl.cf1.rackcdn.com/8143680_london--serpentine-pavilion-2016-bybig_tc3d40d5.jpg> [accessed 14 March 2017] 12 - London | Serpentine Pavilion 2016 By BIG, 2016 <https://b6c18f286245704fe3e9-
05e2055f4cd9122af02914269431c9f6.ssl.cf1.rackcdn.com/8143680_london--serpentine-pavilion-2016-bybig_tc3d40d5.jpg> [accessed 14 March 2017] 13 - Serpentine Pavilion, 2016 <http://www.metalocus.es/sites/default/files/metalocus_big_serpentine_pavilions_05.jpg> [accessed 14 March 2017] 14 - Gehry, Frank, Sketch Of Guggenheim Museum, Bilbao, 2017 <https:// moreaedesign.files.wordpress.com/2010/09/2006_sketches_of_frank_gehry_014.jpg?w=700> [accessed 15 March 2017]
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TEXT BIBLIOGRAPHY
"AD Classics: Nakagin Capsule Tower / Kisho Kurokawa", Archdaily, 2011 <http://www.archdaily.com/110745/ad-classicsnakagin-capsule-tower-kisho-kurokawa> [accessed 2 March 2017]
"BIG | Bjarke Ingels Group", Big.Dk, 2016 <https://www.big.dk/#projects-serp> [accessed 15 March 2017] Dunne, Anthony and Fiona Raby, Speculative Everything: Design, Fiction, And Social Dreaming, 1st edn (MA: MIT Press, 2013), pp. 3-5
"FOA · Spanish Pavilion", Divisare, 2006 <https://divisare.com/projects/272168-foa-spanish-pavilion> [accessed 10 March 2017]
Frearson, Amy, "BIG's Bjarke Ingels Completes Serpentine Gallery Pavilion 2016", Dezeen, 2016 <https:// www.dezeen.com/2016/06/07/bjarke-ingels-big-serpentine-gallery-pavilion-london-translucent-blocks-unzipped-wall/> [accessed 15 March 2017]
Fry, Tony, Design Futuring: Sustainability, Ethics, And New Practice., 1st edn (London: Oxford, Berg, 2009), p. 6
Kalay, Yehuda E, Architecture's New Nedia, 1st edn (Cambridge, Mass.: MIT Press, 2004), p. 11 "Laboratory For Visionary Architecture Snowflake Tower", Grasshopper3d.Com, 2009 <http://www.grasshopper3d.com/ photo/albums/laboratory-for-visionary> [accessed 2 March 2017]
"MSWCT Snowflake Tower » LAVA", L-A-V-A.Net, 2008 <http://www.l-a-v-a.net/projects/mswct-snowflake-tower-2/> [accessed 2 March 2017]
Oxman, Rivka and Robert Oxman, Theories Of The Digital In Architecture, 1st edn (Routledge, 2014) Peters, Brady and Xavier De Kestelier, Computation Works: The Building Of Algorithmic Thought, 1st edn (Academy Press, 2013), pp. 8-13
Wilson, Robert A and Frank Keil, The MIT Encyclopedia Of Cognitive Sciences, 1st edn ([Cambridge, Mass.]: Massachusetts
Institute of Technology, 1999), pp. 11-12
"VULCAN: The World's Largest 3D-Printed Architectural Pavilion", Designboom | Architecture & Design Magazine, 2015 <http://www.designboom.com/architecture/vulcan-beijing-design-week-bjdw-largest-3d-printed-architectural-pavilionparkview-green-10-07-2015/> [accessed 10 March 2017]
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PART B:
CRITERIA DESIGN
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B.1: RESEARCH FIELD
PATTERNING
The research field I have chosen to research further is patterning. This technique is strongly represented in nature, and I believe it works well with the other techniques in this subject. I would also like to experiment with biomimicry and performance based design. The technique of patterning can involve repeating a single object in an ordered manner to achieve a new form. This is often achieved by creating an array based on one form or a group of forms. These forms can be arranged in such a way that they link together to create a surface, or arrayed to create a striking composition. These forms can be altered in scale and arrangement to produce differing iterations. Ultimately though, a pattern must be able to be discerned as uniform in some way by the viewer.
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Figure 01: Brendan Munroe, Black And Night, 2014.
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B.2: CASE STUDY 1.0
DE YOUNG MUSEUM
The pattern on the faรงade of the de Young Museum in San Francisco uses a series of dimples to create a pattern over the surface, followed by a series of holes. The Grasshopper algorithm creates only these dimples and holes. The final parts are added using Rhinoceros, as shown below. The built faรงade of the building uses a much larger version of this algorithm to create the pattern implemented.
STEP 1: GRASSHOPPER CREATES BAKED HOLES AND DIMPLES ONLY
STEP 2: EXTRUDE HOLES & CREATE FLAT SURFACE BETWEEN DIMPLES
STEP 3: SUBTRACT INTERSECTIONS OF EXTRUDED HOLES TO CREATE FINAL SURFACE 34
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PROJECT: DE YOUNG MUSEUM LOCATION: SAN FRANCISCO, USA ARCHITECT: HERZOG DE MEURON YEAR BUILT: 2005 SOURCE: ARCHDAILY 35
B.2: CASE STUDY 1.0
SPECIES 1 This species uses the original algorithm and focuses on altering parameters to achieve basic changes. As I altered these parameters I slowly began to understand how the algorithms components interacted.
ITERATION 1 ORIGINAL DIMENSIONS
ITERATION 2: HEIGHT OF DIMPLES EXTENDED FROM 0.2 TO 0.5
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ITERATION 3: DIMPLE OPENING RADIUSINCREASED FROM 0.2 TO 0.4
ITERATION 4 INCREASE DIMPLE OUTER RADIUS FROM 0.5 TO 0.7
ITERATION 5: MINIMUM SIZE OF HOLES CHANGED FROM 0.02 TO 0.1, MAX SIZE FROM 0.04 TO 0.3
ITERATION 6: DIMPLE INNER AND OUTER RADIUS REVERSED IN SIZE
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B.2: CASE STUDY 1.0
SPECIES 2 This species doubles the amount of spaces in each direction on the grid. Then using this dense grid, more drastic parameter alterations are experimented with larger changes in the form. During this experimentation species, I built upon the previous iteration to increase the diversity from the original form.
ITERATION 1 DOUBLE AMOUNT OF SPACES IN EACH DIRECTION ON GRID, EQUALISE DIAMETERS OF DIMPLES
ITERATION 2: DOUBLE HEIGHT OF DIMPLES, REDUCE INNER RADIUS TO 0.01 TO CREATE CONE SHAPES.
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ITERATION 3: INCREASE HEIGHT OF CONE FROM 0.4 TO 1.0, INCREASE RADIUS TO 0.4
ITERATION 4 REDUCE HEIGHT OF CONE FROM 1.0 TO 0.2
ITERATION 5: INCREASE CONE DIAMETER FROM 0.5 TO 0.7 AND INCREASE HEIGHT TO 0.4
ITERATION 6: INCREASE HOLE SIZE BOUNDS FROM 0.02-0.04 TO 0.7-1.0
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B.2: CASE STUDY 1.0
SPECIES 3 In this species, I saw the holes as underutilised, so I replaced the circle component with a line, and based the length of the line on a new image. I then used the end points of the lines as points for a surface using the SRFGRID component to create an undulating surface. Finally, I used this surface as the base surface for the separate dimple algorithm, and replaced the image in the dimple algorithm with the same image as used for the lines algorithm. Also changed bounds of dimples from (â&#x20AC;&#x201C;1 to 1) to (0.5 to 1.0) to make all dimples appear on top of surface.
ITERATION 1 BASE SURFACE WITH LENGTH PARAMETERS BETWEEN 0 & 1 TO CREATE RISES IN WHITE SPACE OF SAMPLED IMAGE
ITERATION 2: DOUBLE HEIGHT OF DIMPLES, REVERSE POLARITY OF LENGTH IN BASE TO CREATE DIPS BETWEEN 0.5 & 0 40
ITERATION 3: INCREASE FLUCTUATIONS IN BASE SURFACE, CREATE CONE SHAPES FROM DIMPLE ALGORITHM
ITERATION 4 CHANGE PARAMETERS OF DIMPLE SO BASE AND TOP ARE EQUAL TO CREATE CYLINDERS, REDUCE SURFACE VOLITILITY
ITERATION 5: INCREASE TOP DIAMETER OF DIMPLE ALGORITHM TO CREATE INVERSE CONES, CONES IN DIPS = 0.6, ALL OTHERS = 0.3
ITERATION 6: MAKE CONES TALL AND SKINNY, TOP DIAMETER IS LESS THAN BASE. FURTHER REDUCED SURFACE VOLITILITY 41
B.2: CASE STUDY 1.0
SPECIES 4 In this species, I replaced the dimple algorithm with the original holes algorithm, in which I replaced the circle component with the polygon component, and extruded the polygon along the z vector to an altering degree. I think this had a successful result, although iteration number 3 had an unknown error in which the extrusions appeared mostly below the base surface.
ITERATION 1 BASE SURFACE WITH 0.2 EXTRUDED HEXAGONS ON RISES IN SURFACE WITH WIDTH BOUNDS BETWEEN 0 AND 0.15
ITERATION 2: REVERSE POLARITY OF BASE, LONGER EXTRUSIONS NOW IN DIPS OF SURFACE, WIDTH BOUNDS BETWEEN 0.01 AND 0.2 42
ITERATION 3: REVERSE POLARITY OF HEXAGONAL EXTRUSIONS SO MORE SPARSE IN DIPS AND THICKER ON RISES
ITERATION 4 REVERSE BOTH SURFACE AND EXTRUSIONS BACK, LENGTHEN AND THIN EXTRUSIONS
ITERATION 5: INCREASE MAX DIAMETER OF POLYGONS (NOW TRIANGLULAR) TO 1, MINIMUM REMAINS AT 0
ITERATION 6: INCREASE FLUCTUATION OF BASE BEYOND ORIGINAL BOUNDS TO 2, REDUCE MAX DIAMETER OF POLYGONS TO 0.1 43
B.2: CASE STUDY 1.0
SPECIES 5 This species is identical to the previous speciesâ&#x20AC;&#x2122; iteration number 6, the only change is the input images used to dictate the form of the algorithm. This was mostly experimented with to find pleasing forms, but after the completion of this species, I realised that by using an image or grid of images that are repeatable in all directions, this could be used to prefabricate panels that mesh together perfectly. I like how this algorithm mimics the form of hot climate gorges, with the hexagons representing trees, which grow only in the shelter of depressions.
ITERATION 1 IMAGE SAMPLED IS AN EXPRESSIVE LINE DRAWING OF A FACE IN BLACK AND WHITE
ITERATION 2: IMAGE SAMPLED IS A MODERN COMPUTER GENERATED ARTWORK IN BLACK AND WHITE
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ITERATION 3: IMAGE SAMPLED IS A HAND DRAWN PATTERN WITH MULTIPLE LINE WEIGHTS
ITERATION 4 IMAGE SAMPLED IS AN EXPRESSIONIST PAINTING OF A WOMAN DANCING
ITERATION 5: IMAGE SAMPLED IS A DRAWING OF A LOTUS FLOWER WITH A SMALL BORDER
ITERATION 6: IMAGE SAMPLED IS A LANDSCAPE OF TREES AND A MOONRISE
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B.2: CASE STUDY 1.0
SPECIES 6 This species samples the image from iteration 1 of species 5. On top of this, the height of the extruded polygon is related to the diameter of said polygon, so the wider a polygon is, the taller it is. This is achieved by linking the output of the image sampler, and multiplying it by means of a (1<3<6) slider to achieve a set of values to plug into the height of the extrusion. This creates an increasingly complex form.
ITERATION 1 HEIGHT OF POLYGON MULTIPLIED BY 3, DIAMETER BOUNDS 0—0.34, VOLITILITY OF BASE SURFACE BETWEEN 0-1.28
ITERATION 2: POLYGON CHANGED TO TRIANGLE, EXTRUSION THINNER AND TALLER, BASE VOLITILITY BETWEEN 0—1.58 46
ITERATION 3: REPLACE Z VECTOR EXTRUSION WITH Y VECTOR EXTRUSION, REDUCE VOLITARITY OF BASE SURFACE TO 0—0.3
ITERATION 4 REVERSE POLARITY OF BASE SURFACE, INCREASE VOLITARITY TO 0—1, CHANGE POLYGONS BACK TO HEXAGONAL SHAPE.
ITERATION 5: REPLACED Y VECTOR WITH CUSTOM DIAGONAL VECTOR., REVERSED POLARITY OF BASE SURFACE, THINNER POLYGIONS.
ITERATION 6: EXTREME VOLITARITY IN BASE, MUCH LARGER POLYGONS WITH 4X MULTIPLIER ON EXTRUSION LENGTH. 47
B.2: CASE STUDY 1.0 CRITERIA FOR SUCCESS SELECTION CRITERIA [01] SITE & USE
ARGUMENT FOR CRITERIA
This design is situated in a park such as Alexandra Gardens, and is used as a public art space
[02] SITE USERS The users of this space will be pedestrians
[03] AESTHETIC The aesthetic of the site should relate to nature, and should be easily read from a distance, and should use a pattern that can be discerned by the average site user without knowledge of parametric design.
[04] EXPERIENCE FOR USER The user should be able to move through the site, and experience the pattern from angles at which they do not make sense. Only to move away from the site and make sense of the sites’ patterns once more. This means the depressions in the base surface must be 2 meters deep at most to fully envelop the average person.
[05] CONSTRUCTABILITY The site must be able to be built by moving soil and placing man made structures around the site. These must be able to stand easily without heavy reinforcement, and transport to the site. 48
The selection criteria I’ve used are outlined at left, I’ve chosen the iterations which best suit these 5 points. The iterations I’ve chosen are the most aesthetically pleasing, would create the most interesting experience for the user, and would be relatively simple to construct. My experimentation is based on creating an aesthetically pleasing and perhaps surprising result by means of altering connections and components, as well as values and inputs to components. These iterations were chosen for their satisfaction of the brief.
POSSIBLE USES / CONTRAST These iterations obviously stray heavily from the original design, and may be likened to a different use. The use I’ve proposed for the brief is a walkable landscape, which heavily contrasts the scale of the original, which could have fit into 1m3 , with these iterations perhaps needing a constraining box of up to 3000m3. The qualities of these designs are heavily different from each other, and the original.
REFLECTIONS ON CASE STUDY 1.0 This case study explored the benefits of grasshopper when used for generating ideas, and shows how easily a multitude of iterations can be generated from a base algorithm. These algorithms can become quite complex, and could take months with traditional methods.
SPECIES 5, ITERATION 1: AESTHETICALLY REPLICATES NATURE USING DEPRESSIONS AS GORGES AND EXTRUSIONS AS TREE-LIKE FORMS
SPECIES 4, ITERATION 1: OPTIMUM PATTERN READABILITY FOR USERS, EASE OF CONSTRUCTION AND AESTHETICALLY PLEASING.
SPECIES 6, ITERATION 5: INTERESTING PATTERN FROM A DISTANCE, INTERESTING EXPERIENCE FOR SITE USERS IN SURFACE DEPRESSIONS
SPECIES 3, ITERATION 3: EASE OF FABRICATION AS ONLY TWO SIZES OF APPLIED FORM IN USE, ALTHOUGH RATHER LARGE. 49
B.3: CASE STUDY 2.0
MIDDLE
FORK
The Middle Fork art installation by John Grade creates complex parametric forms through use of relatively uniform wooden components. These components are glued together in the shape of a tree. This is achieved by positioning the wood around a plaster cast of a 140 yearold Western Hemlock tree.1 These components are smoothed and sanded to highlight the natural curvature of the surface. The gaps in the wood both simplify construction, and create a sense of texture and lightness normally not associated with trees. This entire process is achieved without the aid of computerisation or computation, but, like trees themselves, can be accurately described using generative techniques. This project was exhibited in many cities, and in each city it was added to in size by the community of that city. 2 Encouraging community members to devote their time to help build such a project was designed to bring the community together and create bonds, figuratively and literally. The success of a project with no formal use is determined by its form, as well as the processes of generation. In both areas I believe this project succeeds. 1
"Middle Fork - A Parametric Tree Sculpture By John Grade", Urukia Magazine, 2016 <http:// www.urukia.com/middle-fork-parametric-tree-sculpture-john-grade/> [accessed 2 April 2017]. 2
Middle Fork - John Grade Studio, 2015 <https://vimeo.com/117766008> [accessed 2 April 2017].
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[03]
PROJECT: MIDDLE FORK LOCATION: WASHINGTON DC, USA ARCHITECT: JOHN GRADE YEAR BUILT: 2015 SOURCE: JOHN GRADE STUDIO 51
B.3: CASE STUDY 2.0 PROCESSES UNDERTAKEN Prior to modelling this form, I visualised the process of creating this tree using generative techniques. I would begin with creating a trunk in similar form to that of the sculpture, then add the angular branches. After creating these surfaces, I would populate them with a grid of points (somewhat distorted), and create a series of lines extending from said points at a length determined by the dark areas on an image of tree-bark. I would find the end points of these lines and create a surface from points with increasing variation towards the base of the tree as seen in the middle fork example. Now with what resembles a tree, I could intersect discs through the tree to section in in its length, and finally add a pattern similar to the case study.
MODELLING THE TRUNK [1] There were very little hiccups in this process. I created a line the height of the tree, and created a point charge below it. I then associated the point charge with a series of concentric circles on the line by means of remapping the values, and lofted these to create a surface which mimics that of the middle fork project.
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BRANCH GENERATION [2] The branches of this tree hold the bulk of the issues. To generate these branches in a similar fashion to the case study, with more branches towards the top of the tree, I divided the trunk of the tree into sections using a set of planes, then populated those areas with random points limiting the amount of points in relation to the point charge below the trunk. With a max of 4 points in areas with low charge, and 0 points in areas with high charge.
BRANCH GENERATION [3] I created point charges at 5 points inside the tree, using these charges as vector generation tools to create seemingly random, yet ordered angles for the branches to sprout from the outside of the trunk. The first branch extends out, and at its endpoint another branch is generated, once again using the point charges as vectors. This creates a growth-like structure, similar to that of the case study.
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B.3: CASE STUDY 2.0 ADDING VOLUME TO BRANCHES [4] To add volume to these branches, I used a similar system to the trunk. I created a line charge in the centre of the tree, and linked it to a series of concentric circles that run along the lines of the branches. To create smoother branches, I filleted the connection of the first and second section of the branch line. The main issue I ran into at this point was creating a solid link between the branches and the trunk, as the lofted circles intersected at angles to the trunk.
CREATING A LINK TO THE TRUNK [5] To link the trunk with the branches, I originally envisioned creating a shrink-wrap type surface around the structure, but after many hours of research and experimenting, I could not figure out how to do this. Eventually, I decided to extend the origins of the branches lines by a factor of â&#x20AC;&#x201C;2 and create pipes around them, I then joined the 3d branch and the pipes, and intersected them with the trunk to create solid intersections.
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REâ&#x20AC;&#x201D;SECTIONING [6] Now that the form of this tree had been created, I decided to resection the final product once more to create a form similar to that of the case study. This iteration soon became my final, after realising that projecting an image onto such a complex set of surfaces as a whole was near impossible.
CONCLUSIONS What I visualised would take place was much harder to achieve in practice, being limited by coding difficulties and data trees, as well as my relative unfamiliarity with the programming environment. As well as needing the use of components that do not exist. Over time forms such as this will become more achievable, with increases in technology and new components and codes available for use. This final form looks similar to the case study, and could be potentially used as a basic mould for such a construction if 3D printed. If unconstrained by the original form, I would investigate creating an algorithm which can be made into a tree looping component with few inputs, so as to quickly generate unique trees.
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B.3: CASE STUDY 2.0
GENERATIVE DIAGRAM
[
CIRCLES LINE
[width of tree]
[height of tree]
SURFACE [faces of tree]
CIRCLES
POINTS [origin of branches]
[width of branches]
LINES [length of branches]
MODIFY
SURFACE
[texturize surface]
[faces of branches]
SECTIONS [further divide sections]
SPLIT [tree into sections]
BUILD GENERATE [wooden blocks]
FINAL PRODUCT
RECOMPOSE
[middle fork tree]
[sections into whole]
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[create sections from blocks]
]
PROJECT: MIDDLE FORK RECONSTRUCTION SOFTWARE: GRASSHOPPER 57
B.3: CASE STUDY 2.0 SIMILARITIES DIFFERENCES
The intricacies of this project were much more difficult to replicate than first imagined, one of the largest issues I found stemmed from the naturalâ&#x20AC;&#x201D;sweeping curves of the shell. As this was crafted by hand without the use of computers, much more intricate algorithms may be necessary to remodel it using generative techniques. The main differences are the curvatures applied to the surface and the patterning which stems from the construction process. The benefits of my model as opposed to the original project relate to the modification potentialâ&#x20AC;Ś The original model was extended through laborious hand construction for each larger exhibition space, my grasshopper model can be extended in seconds by simply altering inputs to the components. Once refined to include the exterior fluctuations and pattern, the level of efficiency of my technique would far surpass the original, albeit losing nearly all of its heart in the process.
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[04]
PROJECT: MIDDLE FORK LOCATION: WASHINGTON DC, USA ARCHITECT: JOHN GRADE YEAR BUILT: 2015 SOURCE: JOHN GRADE STUDIO 59
IMAGE REFERENCES
01 - Munroe, Brendan, Black And Night, 2014 02 - Herzog & de Mueron, De Young Museum, 2008 <https://farm1.staticflickr.com/40/79604239_c931b08a9c_o.jpg>
[accessed 25 March 2017] 03 - Blunt, Ron, Middle Fork - John Grade, 2015 <http://americanart.si.edu/exhibitions/online/wonder/grade.cfm> [accessed 2 April 2017] 04 - Blunt, Ron, Middle Fork - John Grade, 2015 <http://americanart.si.edu/exhibitions/online/wonder/grade.cfm> [accessed 2 April 2017]
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BIBLIOGRAPHY
"Middle Fork - A Parametric Tree Sculpture By John Grade", Urukia Magazine, 2016 <http://www.urukia.com/middle-forkparametric-tree-sculpture-john-grade/> [accessed 2 April 2017] Middle Fork - John Grade Studio, 2015 <https://vimeo.com/117766008> [accessed 2 April 2017]
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