James Douglas Air Final Journal by James Douglas

S TU D I O AI R J O U R NAL

JAMES DOUGLAS 329725 SEMESTER 2 2017 TUTOR: JACK MANSFIELD-HUNG

TABLE OF CONTENTS INTRODUCTION

B.4. Technical Development

PART A. CONCEPTUALISATION

B.5.Technique: Prototypes

A.1. Design Futuring

B.6. Technique: Proposal

A.2. Design Computation

B.7. Learning Objectives & Outcomes

A.3. Composition/Generation

B.8. Algorithmic Sketches

A.4. Conclusion

Bibliography

A.5. Learning Outcomes

PART C. DETAILED DESIGN

A.6. Algorithmic Sketches

C.1. Design Concept

Bibliography

C.2. Tectonic Elements & Prototypes

124

PART B. CRITERIA DESIGN

C.3. Final Detail Model

142

B.1. Research Fields

C.4. Learning Objectives & Outcomes

166

B.2. Case Study 1.0

B.3.Case Study 2.0

INTRODUCTION

My name is James Douglas and I am in my 3rd year of a Bachelor of Environment, in Architecture at the University of Melbourne. I have always had an interest in architecture since I was very young. An ability to visualise 3 dimensional objects in space drew me to not only architecture but to visual mediums in general. Outside of this, Iâ&#x20AC;&#x2122;ve also always had a strong interest in music, in performance, production and technology. Before commencing this course I completed a Bachelor of Applied Music, in Audio Production. This course first exposed me to a number of computer technologies which aided the recording and production process.

Iâ&#x20AC;&#x2122;ve always been interested in new technologies and computer aided design. Throughout the course so far, I have been exposed briefly to Rhino3D, but have mostly relied on Sketch Up and the Adobe Suite of Applications for presentation purposes. I am constantly improving the way I use these programs, becoming more efficient and finding new ways of expressing forms and ideas. Most of my work so far though has come from hand drawing or modelling techniques which have often left me feeling rather restricted in my design choices. I am therefore excited to learn Grasshopper3D in conjunction with Rhino3D to expand and enrich my repertoire for designing and discover new ways of thinking about form and ideas in the field.

VARIOUS WORKS BY JAMES DOUGLAS

DIAPHANOUS ARCHITECTURE/PARAMETIC PAVILION, SOURCE: HTTPS://ANNAZEZULA.WORDPRESS.COM/2013/10/27/ARCHITECTURE-PAVILION-PARAMETRIC-MODELING/

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PART A: CONCEPT UALIS TION C O N C E P T U A L I S A T I O N

A.1.1 DESIGN FUTURING FR-EE/FERNANDO ROMERO ENTERPRISE, Museo Soumaya, Mexico City, 2011

EXTERNAL RENDER. IMAGE SOURCE: HTTP://WWW.ARCHDAILY.COM/452226/MUSEO-SOUMAYA-FR-EE-FERNANDO-ROMERO-ENTERPRISE

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INTERNAL VIEW. IMAGE SOURCE: HTTP://WWW.ARCHDAILY.COM/452226/MUSEO-SOUMAYA-FR-EE-FERNANDO-ROMERO-ENTERPRISE

The Museo Soumaya by Fernando Romero EnterprisE (FR-EE) sits apart from the old industrial area which surrounds it. The 2011 project marked a revolutionary change in design thinking, particularly in the local area and acted as a built example of optimised computational work-flow techniques. These various techniques allowed the firm to create something which is strikingly different and advanced in form, structure and spacial management.1 Although the double curved form was realised early in the process through study models, the final result was digitally scanned using laser scanning techniques. The panelling system, structure and internal spacial relationships created for the building were only

possible due to the use of advanced algorithmic techniques. 2 The aim for the project was to produce a hexagonally panelled facade where the gaps between are as constant as possible. Gaussian analyses identified variation in curvature on the surface allowing the design of varying sized â&#x20AC;&#x2DC;familiesâ&#x20AC;&#x2122; for the hexagonal segments. The use of parametric algorithmic techniques allowed the design to be completed not only with a greater amount of accuracy but with the most optimised and flexible outcomes for both aesthetics, structure, fabrication and costs.3

Fernando Romero & Armando Ramos, 'Bridging a Culture: The Design of Museo Soumaya', Architectural Design, 83(2), 66-69 (p.67).

Fernando Romero & Armando Ramos, 'Bridging a Culture: The Design of Museo Soumaya', Architectural Design, 83(2), 66-69 (p.68).

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STRUCTURE (LEFT) INTERNAL CIRCULATION (RIGHT). IMAGE SOURCE: HTTP://HOUSEVARIETY.BLOGSPOT.COM.AU/2011/07/MUSEO-SOUMAYA-MUSEUMBY-FREE-FERNANDO.HTML#.WMPDTRKGNMAMUSEO-SOUMAYA-FR-EE-FERNANDO-ROMERO-ENTERPRISE

Using these computational techniques in this project allowed for new design processes where many parts of the building could be worked on simultaneously and mechanical systems and structure could be designed and detailed along side the 3-D model.4 This advanced technique resulted in an optimised workflow which could be adjusted quickly

and in real-time. This process is influencing a change in the design thinking and how design processes and technical work-flows are changing and can be made more efficient.5 Due to the structures complex form, it would not have been possible to design the interior element such as ramps and structure without the use of computational design.

Fernando Romero & Armando Ramos, 'Bridging a Culture: The Design of Museo Soumaya', Architectural Design, 83(2), 66-69 (p.69)

Kolarevic, Branko and Kevin R. Klinger, eds (2008). Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge), pp. 6â&#x20AC;&#x201C;24 (p.7)

PANELING DETAIL. IMAGE SOURCE: HTTP://WWW.ARCHDAILY.COM/452226/MUSEO-SOUMAYA-FR-EE-FERNANDO-ROMERO-ENTERPRISE

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"'COMPUTATION' ... ALLOWS ARCHITECTS TO EXTEND THEIR ABILITIES TO DEAL WITH HIGHLY COMPLEX SITUATIONS" PETERS (2013, P. 10) Implementing these advanced computational techniques has resulted in a building and internal spaces which reflect the nature of modern architecture as an advanced art form. This was the aim of the art museum and its optimised complex structure and form will forever act as a beacon for what can be achieved through the use of parametric computational techniques into the future, validating their artistic and design possibilities.6 This building stands as an example of designing for what could be in the future, allowing the removal of limitations we put on ourselves when designing purely for the present. Dunne & Raby (2013)7 discuss this idea of designing for what could be and posing certain "what if" questions. This is necessary if we are to find a future in which we want and can strive for. Although this structural system is somewhat forward thinking and only made possible with the use of computational design techniques, it still represents one which may not be quite as refined as some other examples. It's limited somewhat by the scale of the building itself, but as we will see with the next example, there is much more room to speculate on what structural systems could be like. While this example is complex and only possible due to computation, it still represents a largely traditional technique of heavy framing covered by cladding material. As we will see through the next few pages, some (although mostly on a smaller scale) are speculating much more about what structural efficiency and complexity might look like in the future. 6

Fernando Romero & Armando Ramos, 'Bridging a Culture: The

Design of Museo Soumaya', Architectural Design, 83(2), 66-69 (p.68) 7

Dunne, Anthony & Raby, Fiona (2013) Speculative Everything:

Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45 (p.5) EXTERNAL RENDER. IMAGE SOURCE: HTTP://WWW.ARCHDAILY.COM/452226/ MUSEO-SOUMAYA-FR-EE-FERNANDO-ROMERO-ENTERPRISE

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A.1.2 DESIGN FUTURING MARC FORNES/THEVERYMANY, Situation Room, Storefront for Art and Architecture, New York, 2014

PANELING DETAIL. IMAGE SOURCE: HTTP://WWW.FORMAKERS.EU/SEARCHP.PHP?CAT=177

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The work of Marc Fornes and THEVERYMANY represent a space between research and experimentation, and architectural realisation. â&#x20AC;&#x2DC;Situation roomâ&#x20AC;&#x2122; was a temporary interior installation funded largely by art but represents explorations in a more scalable and permanent architectural structure. For THEVERYMANY this involves the exploration of structural morphologies and their physical productions.8 In this, they are using algorithmic and computational techniques to produce custom protocols of tessellation and double curvature geometries which hold inherent structural potentials. That is, these hyper-thin structures are self supporting, and endeavour to even take certain loads. 8

Mark Fornes, 'The Art of the Prototypical', Architectural Design, 83(2), 60-67 (p.61)

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COMPUTATION DETAIL. IMAGE SOURCE: HTTP://WWW.FORMAKERS.EU/SEARCHP.PHP?CAT=177

The firm is contributing ground breaking prototypes of potential future architectural design where structure and form are one and the same. Of course, scalability is problematic; if scaled to the size of a building the curves lose the same structural strength and would require thickening or reinforcing.9 Still, these experiments are important explorations in the optimisation of a structure while being not necessarily separated from form finding. The ability to use computational techniques has meant a change in the development of the project where it grows from the scale of a unit, to a system of units, to the entire project - a method which tests all parts and fabrication of such parts 9

at a 1:1 scale. The computational design technique also allows for great precision in execution of fabrication and structure. These explorations in performative self-supportive structures are important for the future of architecture for a number of reasons. These are radically different concepts of architecturally built forms which we have seen in the past. THEVERYMANY, possibly more so than the previous example, are looking at what is possible and what is desirable in our future of architectural design and practice. In this instance this is being achieved in the form of efficient and optimised tectonic generation and construction techniques.

Mark Fornes, 'The Art of the Prototypical', Architectural Design, 83(2), 60-67 (p.62)

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The relationship between form/aesthetics and structure is being questioned, but more importantly they are attempting to optimise building structure so that it is less complex and far more cost efficient.10 The structure is designed to have a specific architectural concern, like structure, enclosure or porosity and the intention of having a pleasurable spacial experience. The testing of these structures in spaces such as this is therefore of importance not only because of its artistic merit but also for structural and spacial experience within the space. Although the structure was only temporary, the beauty of computational design is that it can be easily replicated (and adjusted through parametric algorithms, creating thousands of potential varieties), fabricated and constructed. In addition, with further explorations it may be possible to design something which has potential for more scalability and freedom of adjustability without compromising its self supporting nature. This has the potential to change our concepts of what buildings can be and how they can be produced and constructed. Projects such as this allow us to image what future ingenuity may be able to create through the implementation of a true human-computer symbiosis. By pushing the boundaries of what is possible and what an architectural future could look like, we are no longer just hoping for a better future, but speculating what kind of future we can make for ourselves. 10

Mark Fornes, 'The Art of the Prototypical', Architectural Design, 83(2), 60-67 (p.61)

VARIOUS EXTERNAL/INTERNAL VIEWS. IMAGE SOURCE: HTTP://WWW.FORMAKERS.EU/SEARCHP.PHP?CAT=177

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A.2 DESIGN COMPUTATION Contemporary computational design techniques are allowing designers, architects and engineers to formulate new designs which respond to a number of different design problems unlike they ever have before. Unlike computerisation, where designs are primarily completed in the analogue world and then translated and/or manipulated in the digital world, designers are beginning to implement computational design methods, where by the entire design process is completed and solutions found using computational techniques. These methods are allowing us to more closely integrate various processes and areas in the design world, making them more productive and efficient.11 Through this process we

should be able to arrive at unexpected results which could not have been imagined without the use of these tools. The link between the architect and the engineer is becoming closer as seen in the previous examples as well as the ones here.12 The computational experiments and research through the design processes have enabled the production of extremely light-weight, self supporting structures which require no framing or supports. In the instance of the ICD-IDKE Research Pavilion 2015-16 seen here, the designers have developed a pavilion which requires no metal joining or framing techniques. The elements which

Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1â&#x20AC;&#x201C;10 (p.3)

Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1â&#x20AC;&#x201C;10 (p.5)

ICD/IDKE, Research Pavilion 2015-16, Stuttgart

EXTERNAL VIEW (TOP) SURFACE DETAIL (LEFT) CONSTRUCTION ELEMENTS (RIGHT). IMAGE SOURCE: HTTP://WWW.ARCHDAILY.COM/786874/ICD-ITKE-RESEARCH-PAVILION-2015-16-ICD-ITKE-UNIVERSITY-OF-STUTTGART

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are design and fabricated in the digital world have been done so to produce a light-weight, strong structure who assembly simply requires the putting together of parts.13 This kind of design would only be possible with computational design processes, allowing us to create something which is much more efficient, cost effective and which inhabits the aesthetic benefit of the technique, which has been coined as “parametricism” by Patrik Schumacher.14 It is changing the design process, and in many ways returning us to an early manifestation of the role of an Architect, one where they are considered the “master builder”. The craftsmanship of tectonics and materiality is coming back to architectural design through the use of computational design.15 The ease of fabrication and hence constant testing and production of the parts changes the design process somewhat, allowing easier manipulation and adjustment of design solutions. In the ICD-IDKE pavilion, nature as a source of inspiration is of key importance. This biomimicry is becoming a common trend in parametric design. Nature provides thousands of complex methods on the production of self supporting structures. In this instance, Sea Urchins and Sand Dollars were scanned 13

digitally to analyse their biological construction. This, in combination with the testing of certain structural properties of wood and other materials, enabled the biological principle to be translated, with the aid of computer and fabrication techniques, into an equally efficient architectural structure.16 This aligns itself greatly with the concepts of computation, where material properties and principles from nature are used as the driving forces (through the help of algorithmic modelling) in the design process and as a form finding technique. Here for example, the form is not thought of in advance but is found by the use of close studies and computational techniques. In this way, these outcomes would be impossible to come by were it not for computational capabilities. Using nature as a guide and being able to produce structures such as this will hopefully allow our architectural designs to advance to a point where our buildings are no longer so disconnected from the natural environment, and rather become a "second nature" which not only provides structural, aesthetic, tectonic and creative benefits but also impacts our natural environment to a much lesser degree.17

"ICD-ITKE Research Pavilion 2015-16 / ICD-ITKE University Of Stuttgart", Archdaily, 2017 <http://www.archdaily.com/786874/icd-itke-research-pavilion-2015-16-icd-itke-university-of-stuttgart> [accessed 6 March 2017]

Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 (p.5)

Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 (p.7)

Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 (p.8)

EXTERNAL VIEW (LEFT) SAND DOLLAR SECTION (TOP) MATERIAL TESTING (MIDDLE) STRUCTURAL ANALYSIS (BOTTOM). IMAGE SOURCE: HTTP://WWW.ARCHDAILY.COM/786874/ICD-ITKE-RESEARCH-PAVILION-2015-16-ICD-ITKE-UNIVERSITY-OF-STUTTGART

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In a similar way, Zaha Hadid Architects looked towards nature as inspiration in the design of the Guangzhou Opera House, engaging with the principles of erosion, geology and topography, something which engages strongly with the site.18 The nature of the parametric design of this building allowed the designers to produce a hugely complex form, one which is fairly symbolic and many would say aesthetically beautiful, and translate that into a building. The computational methods allowed for the analysis of surface and production of a complex polygonal cladding system. The design process meant that the boundaries could be stretched as far as possible to produce a powerful statement of human capability when we adopt contemporary tools.19 One could argue that the design process used here is in some degree that of computerisation; that is, although being developed with the aid of computers, may not have used computational techniques to fully dictate a complex and unexpected design outcome. It could also be argued, however, that the form, structure and spacial design of the building would not have been remotely possible without computational design techniques. If the form was found and could only have been found through the use of computation, does that make it at least in part a work of computation? Through studying the concept briefly and looking at examples, I believe that the concept of computation vs computerisation is one which lies on a spectrum. Although some believe it to be the case, I don't believe the difference it clear cut. For computation to be a truly symbiotic relationship, surely there are fluctuating inputs required from both parties.

"Guangzhou Opera House / Zaha Hadid Architects", Archdaily, 2017 <http://www.archdaily.com/115949/guangzhou-opera-house-zaha-hadid-architects> [accessed 6 March 2017]

Adam Mayer and Adam Mayer, "The Guangzhou Opera House: An Architectural Review", China Urban Development Blog, 2017 <http://

www.chinaurbandevelopment.com/the-guangzhou-opera-house-an-architectural-review/> [accessed 6 March 2017].

Zaha Hadid Architects, Guangzhou Opera House, China

EXTERNAL VIEW. IMAGE SOURCE: (HTTP://WWW.ARCHDAILY.COM/115949/GUANGZHOU-OPERA-HOUSE-ZAHA-HADID-ARCHITECTS)

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EXTERNAL VIEW (TOP) INTERNAL VIEW (LEFT) UNFOLDED STRUCTURE (RIGHT). IMAGE SOURCE: (HTTP://WWW.ARCHDAILY.COM/115949/GUANGZHOU-OPERA-HOUSE-ZAHA-HADID-ARCHITECTS)

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ICD/IDKE, Research Pavilion 2013-14, Stuttgart

A.3 COMPOSITION/ GENERATION

"Computation augments the intillect of the designer and increases capability to solve complex problems." (PETERS)

EXTERNAL VIEW. IMAGE SOURCE: HTTP://WWW.ARCHDAILY.COM/522408/ICD-ITKE-RESEARCH-PAVILION-2015-ICD-ITKE-UNIVERSITY-OF-STUTTGART

The implementation of computation in architectural design is beginning to redefine the design process itself. 20 The process has shifted from a more traditional design process (compositional) to one of generation. This is for example were the form of the building is generated through the use of a specific and unambiguous set of rules - a concept which has been discussed in the previous section. There are both advantages and disadvantages to this method, but largely it can be argued that generative design in architecture can produce extremely complex structures which are structurally, environmentally and spatially optimised in a way which could not be done through traditional design methods. 21

The ICD/ITKE Research Pavilion 2013-2014, seen here, displays many of the qualities that generative design can produce. This particular project is based largely on biomimicry, where the inspiration for the design of the lightweight, self supporting structure come from deep investigations into certain beetle shells. 22 This produced a bottom-up design process which allows the team to look at a single system and abstractly generate a complex and highly optimised design through the implementation of computational techniques. 23 The generative design process allows for a much more responsive design outcomes through the generation of form and structure through the setting of algorithms and rules. 24

Peters, Brady. (2013) â&#x20AC;&#x2DC;Computation Works: The Building of Algorithmic Thoughtâ&#x20AC;&#x2122;, Architectural Design, 83(2) 08-15 (p.10)

Yasha Grobman, Abraham Yezioro and Isaac Capeluto, "Computer-Based Form Generation In Architectural Design - A Critical Review", International Journal Of Architectural Computing, 7.4 (2009), 535-554 (p.553)

"ICD-ITKE Research Pavilion 2013-14 / ICD-ITKE University Of Stuttgart", Archdaily, 2017 <http://www.archdaily.com/522408/icd-itke-research-pavilion-2015-icd-itke-university-of-stuttgart> [accessed 12 March 2017].

Mania Aghaei Meibodi, Generative Design Exploration, 1st edn (Stockholm: KTH Royal Institute of Technology, 2016), pp. 16-32. (p.16)

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The design options are able to be tested, analysed and explored both easily and quickly. 25 This can be seen put into effect in these pavilions where the design of the elements had a direct relationship with the structure, fabrication possibilities, user experience and ease of construction. Through the whole generative process these aspects of the project were able to be simultaneously resolved, furthering the design outcome. This makes for a much more efficient design process and building/structure. 26 Looking to mimic the structures which exist and are indeed successful in nature is in a sense an attempt at "naturally" generating a structure/space through a bottom-up approach. 25

Therefore, through this kind of design process the project can literally "grow" naturally, considering all parts and relationships of the design throughout. This is in stark difference with traditional design methods where a function is placed within an often symmetrical facade which may only be representation of some ideal. This process lacks the interrelationship between the parts and can often produce buildings with little variation. Because generative design techniques generally provides a non-linear design process allowing many possible variation, the complexity and variation in form is almost endless. 27 Additionally as mentioned previously, the generative design process enables the creation unexpected and unimaginable outcomes.

Peters, Brady. (2013) â&#x20AC;&#x2DC;Computation Works: The Building of Algorithmic Thoughtâ&#x20AC;&#x2122;, Architectural Design, 83(2) 08-15 (p.10)

Mania Aghaei Meibodi, Generative Design Exploration, 1st edn (Stockholm: KTH Royal Institute of Technology, 2016), pp. 16-32. (p.16)

EXTERNAL VIEW. IMAGE SOURCE: HTTP://WWW.ARCHDAILY.COM/522408/ICD-ITKE-RESEARCH-PAVILION-2015-ICD-ITKE-UNIVERSITY-OF-STUTTGART

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Antoni Gaudi, La Segrada Familia, Barcelona

LA SEGRADA FAMILIA INTERNAL CEILING. IMAGE SOURCE: HTTP://WWW.WALLPAPERAWESOME.COM/WALLPAPERS-AWESOME/WALLPAPERS-CITIES-METROPOLISMONUMENTS-PALACES-ARCHITECTURE-CHURCHES-AWESOME/WALLPAPER-LA-SAGRADA-FAMILIA-INTERIOR-CEILING.JPG

LA SEGRADA FAMILIA. IMAGE SOURCE: HTTPS://MOCO-CHOCO.COM/2012/09/03/BARCELONA-PART1-LA-SAGRADA-FAMILIA/

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La Segrada Familia is an example of this kind of design process, although it was achieved long before the availability of computational techniques. Antoni Gaudi achieved this through the use of his hanging chain model where he would derive the perfect form for his arcs and structures by hanging chains and allowing gravity to depict the curvature. This was a design process which allowed him to visualise and explore alternate forms which would otherwise not be possible. 28 When we compare this type of design process with more traditional means, we can see a drastic shift in design potential. The Fagus Shoe factory designed by the great Walter Gropius, while a wonderful building in its own right which was very forward thinking at the time, provides us with an example of a traditional compositional design processes. Certain technological advancements did allow for large glass curtain walls and reduced structural elements, but over all the design process taken by Gropius consisted of "composing" elements a into a formal building structure. This has certain implications on the design, namely that the design potential and building complexity and efficiency is somewhat limited. This is by no means to take away from the success of traditional designs, especially those from before the existence of computational technologies. It is merely saying that generative design processes have great potential for optimising the design of a building structure in its form, complexity, usability, experience, structure, fabrication and construction. Fundamentally this equates to a huge increase in efficiency; a pertinent issue of today. Through the process and with the help of computational design all of these elements can be optimised through the great variability that parametric and generative design provides, as the examples shown here and previously, have displayed.

Mania Aghaei Meibodi, Generative Design Exploration, 1st edn (Stockholm: KTH Royal Institute of Technology, 2016), pp. 16-32. (p.16)

Walter Gropius, Fagus Factory, Alfeld

FAGUS FACTORY EXTERNAL VIEW. IMAGE SOURCE: HTTP://WWW.CURBED.COM/2014/5/19/10098442/FOR-HIS-BIRTHDAY-10-WORKS-BY-BAUHAUS-FOUNDER-WALTER-GROPIUS

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ALGORITHMIC SKETCH, JAMES DOUGLAS

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A.4 CONCLUSION

The use of computational, algorithmic and parametric design method has been shown through the use of the examples above to be one which has the potential for rich outcomes. It can not only produce unique and varied aesthetic designs but can also (when used in the right way) produce far more complex and optimised structures than can be produced via traditional design methods or even "computerisation" techniques. More and more we are seeing examples of computational design being implemented in a successful manner. The negative stigma which is prevalent in the design through the aid of computers is beginning to lift as these new designs are growing in popularity. In my own design this semester, I plan to implement these tools and

use them to implement a generative design process. This will rely solely on creating form and structure though the use of parametric algorithms. This bottom-up generative method of designing is significant to the area as it marks a change in Architectural thinking and design. It is proving to be an effective way to produce far more complex, variable and unique structures. Using these tools and designing through this process will hopefully enable me to produce a design which is more efficient and has as little impact on the environment as possible. This can be achieved by using computational methods to optimise the buildings performance, and ease of fabrication and construction.

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A.5 LEARNING OUTCOMES Since the beginning of the semester my understanding of computational design techniques has changed dramatically. I didn't quite understand the power of computational design and I certainly didn't think of the technique as a legitimate design method. After using Grasshopper for a few weeks, I am beginning to see the complexity, accuracy and variability that can be achieved with relative ease. Looking back to past subjects, I feel although this would have been a useful tool for form finding possibilities. It goes far beyond the capabilities of pen and paper or model making. The actual process of design is also no different from the actual documentation and

eventual fabrication. This is something which I believe now will make my design process much more efficient. I certainly will be taking these skills with me into future design ventures. I am interested now in the techniques in implementing these parametric designs/sketches into the real world where fabrication and construction is possible. At the moment, for me they are merely at a sketch phase and I am excited to see the potential for its translation into the real world.

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ALGORITHMIC SKETCH, JAMES DOUGLAS

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A.6 ALGORITHMIC SKETCHES

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Much of what I have done is purely experimental, using the studio design concepts of pop culture and "dopeness". Part of this is simply learning how to control and get the most out of Grasshopper. I have been trying though to critically analyse the outcomes for what values and qualities they may have. That way, the process is not just the learning of a tool but also analysing the way in which these experiments are benefiting my design process and allowing me to slowly build a catalogue of potential valuable design algorithms.

Since the start of the semester I have been experimenting with both existing algorithms and attempting to build my own. Although it has taken me time to get a grasp on the functionalities of Grasshopper, I believe I have been able to begin to manipulate the program and use it as the sole design tool, with minimal to no use in Rhino itself. Many of these outcomes are still somewhat expected and although being beyond the capabilities of pen a paper, don't fall under the banner of computation. I am hoping that through more work and better understanding the tool will allow me to implement it in a more generative manner.

C O N C E P T U A L I S A T I O N

BIBLIOGRAPHY Aghaei Meibodi, Mania, Generative Design Exploration, 1st edn (Stockholm: KTH Royal Institute of Technology, 2016), pp. 16-32 Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45 Fornes Marc, 'The Art of the Prototypical', Architectural Design, 83(2), 60-67. Grobman, Yasha, Abraham Yezioro, and Isaac Capeluto, "Computer-Based Form Generation In Architectural Design - A Critical Review", International Journal Of Architectural Computing, 7 (2009), 535-554 <https://doi.org/10.1260/1478-0771.7.4.535> "Guangzhou Opera House / Zaha Hadid Architects", Archdaily, 2017 <http://www.archdaily. com/115949/guangzhou-opera-house-zaha-hadid-architects> [accessed 6 March 2017] "ICD-ITKE Research Pavilion 2013-14 / ICD-ITKE University Of Stuttgart", Archdaily, 2017 <http://www.archdaily. com/522408/icd-itke-research-pavilion-2015-icd-itke-university-of-stuttgart> [accessed 12 March 2017] "ICD-ITKE Research Pavilion 2015-16 / ICD-ITKE University Of Stuttgart", Archdaily, 2017 <http://www.archdaily. com/786874/icd-itke-research-pavilion-2015-16-icd-itke-university-of-stuttgart> [accessed 6 March 2017] Kolarevic, Branko and Kevin R. Klinger, eds (2008). Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge), pp. 6–24 Mayer, Adam and Adam Mayer, "The Guangzhou Opera House: An Architectural Review", China Urban Development Blog, 2017 <http://www.chinaurbandevelopment.com/the-guangzhou-opera-house-an-architectural-review/> [accessed 6 March 2017] Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 Romero, Fernando and Ramos, Armando, 'Bridging a Culture: The Design of Museo Soumaya', Architectural Design, 83(2), 66-69.

C O N C E P T U A L I S A T I O N

PART B: CRITERIA DESIGN

B.1 RESEARCH FIELDS dECOi Architects, One Main, Cambridge, MA, USA, 2009

The advances made in both computational design and digital fabrication techniques have made possible new design ingenuities and allowed the implementation of unimaginable complexity of form.1 Although there are many, one technique of design and fabrication which has enabled this advancement is that of ‘sectioning’. Sectioning techniques have been used in the past in varying fields. The structure of aeroplanes and ships is made possible by using structural sections to define the form which can then be clad, for example. 2 This is a process, which uses repeating sections to define the surface, a process which represents an analogue equivalent of a digital surfacing tool called lofting.3 An architectural example of sectioning can be found in the roof of Le Corbusier' s Ronchamp.4 Here, a series of sections which are then clad allows for the creation of complex three-dimensional forms through the use of two-dimensional materials. Although the technique is not necessarily a new one, with the advancements in digital design and fabrication methods it has become one of even greater efficiency and creativity, employed by designers to create complex three-dimensional forms.5 1

“Digital Fabrications: Architectural and Material Techniques / Lisa Iwamoto", Archdaily, 2010 <http://www.archdaily.com/41364/digital-fabrications-architectural-and-material-techniques-lisa-iwamoto> [accessed 17 August 2017]

Dunn, Nick. (2012). Digital Fabrication in Architecture (London: Laurence King Publishing Ltd), pp. 327-341

Iwamoto, Lisa. (2009). Digital Fabrications: Architectural and Material Techniques (New York: Princeton Architectural Press), pp. 1-27

Dunn, Nick. (2012). Digital Fabrication in Architecture (London: Laurence King Publishing Ltd), pp. 327-341 ONE MAIN OFFICE RENOVATION. IMAGE SOURCE: HTTP://WWW.ARCHDAILY.COM/778976/ONE-MAIN-OFFICE-RENOVATION-DECOI-ARCHITECTS

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One Main Street, designed by dECOi architects, serves as an excellent example of the geometric and performative potential and capabilities of the technique. While the digitally designed form of the new office installation was extremely complex and doubly curved, by sectioning the form the architects were able to easily have the form realised though the milling of recycled timber using a 3-axis CNC router.6 This process meant that the design could be sent straight the routing machine allowing for a streamlined and extremely accurate fabrication process. The sections could then be constructed into blocks with relative ease and simply put into place on site.7 Through the digital design process and the accuracy of the fabrication technique, the minor details such as lighting and ventilation grilles were able to be finessed with great care and precision.8 This allowed for an added continuity in the project and meant for a much more cost efficient process. In addition to all this, the recycled materials used as well as the ability to accurately ‘nest’ each component onto the plywood sheets also meant minimal wastage was achieved.9 For this project, a continuity of form, structure and overall design intent was able to achieved by essentially ‘printing’ all components and putting them together. With these tools, the designers no longer had to rely on preconceived structural or design components but could manipulate and fabricate their own. In the project, furniture, shelving and even the door handles were produced using sectional fabrication techniques.10 In contrast with the examples given on the previous page, the sectioning technique here is far more dense. That is, the sections are more frequent and themselves begin to define the curvaceous form. By creating a denser sectioning of the form, the fidelity of that form is increased. Additionally, the sections themselves start become the centrepiece. No longer are they simply used to provide the structure for some kind of covering or cladding, but provide their own aesthetic qualities and style. 6

"One Main", dECOi Architects, 2016 <http://www.decoi-architects.org/2011/10/onemain/> [accessed 17 August 2017]

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Digital Weave created by Lisa Iwamoto and students at the University of California, Berkeley, implements the same strategy of design and construction but demonstrates the potential diversity of the technique. While the technique was used in the previous example to make the complex geometric surface possible, Digital Weave uses the technique in informing the actual design and performance criteria. The project used 2D fabricated ‘ribs’ which would ‘weave’ together to form the structural system. Since the design was to be installed for only one night, the constructability and ease of transport was a major concern. The ribs which are riveted together were designed in way in which the parts could be compressed and expanded much like an accordion.11 The structural interpretation of sectioning here is shown to be diverse from other examples and allows us to realise the potential for the technique. Rather than adding together to create a geometric form, the sections become a dynamic method of wall construction. Of crucial importance to this process is the ability to prototype the form and structure easily at varying scales using the same fabrication technique. The nature of sectioning and its fabrication method has meant that in many of these projects a scale prototype was able to be easily and quickly manufactured and tested. In many instances the same file used for final fabrication can also be used to produce a scaled down version.12 11

Iwamoto, Lisa. (2009). Digital Fabrications: Architectural and Material Techniques (New York: Princeton Architectural Press), pp. 1-27

University of California, Berkeley / Lisa Iwamoto, Digital Weave, 2004 DIGITAL WEAVE. IMAGE SOURCE: HTTPS://AMBROSECKLO.WORDPRESS.COM/BRIEF-SYNOPSIS/

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by Martti Kalliala, Esa Ruskeep채채 with Martin Lukasczyk, Mafoombey, 2005

As opposed to the examples of aeroplanes, ships, the construction method is highly expressed through the design. An important element of the process in the frequency of the sectioning in approximating varied surface geometries.13 In the above example, although the frequency in fairly high, the individual sections are still for the most part easily identifiable and some transparency is achieved. In contrast to this, projects such as Mafoombey by Martti Kalliala, Esa Ruskeep채채 with Martin Lukasczyk use consecutive sectioning to create a much more solid structure. Again though, the 720 sheets of corrugated cardboard were cut using a computer controlled cutter and simply stacked on top of one another in order. No structural or construction systems were required for the built realisation.

MAFOOMBEY. IMAGE SOURCE: HTTP://1.BP.BLOGSPOT.COM/ _ HWZLXBILFO0/ TKYM9H1KGTI/AAAAAAAAAEA/4-5ROBVUSNU/S1600/REF3.JPG

Sectioning as a design and fabrication strategy has shown to be a useful one in creating complex forms both easily, efficiently and creatively. In its essence one can rely solely of planar material to create complex curvilinear forms.14

Iwamoto, Lisa. (2009). Digital Fabrications: Architectural and

Material Techniques (New York: Princeton Architectural Press), pp. 1-27 14

"One Main", dECOi Architects, 2016 <http://www.

decoi-architects.org/2011/10/onemain/> [accessed 17 August 2017]

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BanQ by Office dA reflects a similar tectonic design ideology as One Main by dECOi architects. A notable difference however being the thick this has meant for a lower resolution of represented curvature and more transparency through the sectioning, dependant on viewing angl

The grasshopper file which was given for the development of the form and the technique of sectioning included two different example. were taken with a surface. These lines were then extruded from the surface in the x,y and/or z direction. For this definition, the form relied second example provided a more complex technique where a surface was divided and point moved in the z direction based on a sampled of form. Sections could then be created along the surface and lofted between original and moved points.

The following species and iterations were created using these techniques, both individually and in combination with each other. The defini curves and surfaces and adding to and taking away from the definitions. The definitions were somewhat restricted to create sections whic the other. One notable adjustment to these definitions was the addition of algorithms which enabled curvilinear forms on both sides of th

Input Surface:

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B.2 CASE STUDY 1.0 Office dA, BanQ, Boston, 2009

kness of the materiality used and the density of sectioning. In this example, le.

In the first, intersections between perpendicular frames created on a line d solely on the input surface, which was not controlled by grasshopper. The image. This meant both input surface and image sampling were in control

BANQ. IMAGE SOURCE: HTTP://WWW.ARCHDAILY.COM/42581/BANQ-OFFICE-DA

itions were pushed to their limits, by adjusting parameters, changing input ch were planar on one side and followed the created form of the surface on he sections (as seen in Species C, D & E)

Image Sampler Input:

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Species A:

Constants: Input Crv: Input Srf:

Default Default

Section count (0-100): x,y,z extrusion (0-10):

Species B:

Constants Img Sampler Input: Input Srf: Srf Division (u,v):

1 1

Section count (0-100): Amplitude / Height (0-10):

Species C:

Constants Srf Division (u,v):

Section count (0-100): Amplitude / Height (0-10): Input surface: Image sampler input:

1 1

1 2

2 2

2 3

Section count (0-100): Amplitude / Height (0-10): x,y,z extrusion (0-100): Image sampler input:

4 2

Species D: Constants Input Srf: Srf Division (u,v):

Species E:

Constants Img Sampler Input: Input Srf: x,y,z extrusion:

1 1

Section count (0-100): Amplitude / Height (0-10): Surface division (0-100):

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3 3

3 4

4 4

4 5

5 5

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SUCCESSFUL ITERATIONS

Section count (0-100): Amplitude / Height (0-10): Input surface: Fabricatability: Complexity: Image sampler input: 3 Novelty:

1 1

Although this iteration came primarily from the initial definition, with alterations made to the parameters, it yields a fairly interesting result. With the extrusion tilted further in the x/y direction rather than the z, the elements begin to change from sections to strips. Perhaps this has potential for a far more solid surface which allows glimpses through where the strips start to lift up or dip down. They could also potentially be implemented as a facade sun shading device which can change in angle depending on the angle of the sun.

Due to the lower frequency of section in this iteration, there is not much contribution to the creation of a continuous surface geometry. Rather, each section has its own identity and could be seen as separate entities rather than one of many. Because of this, it has the potential to stray away from the typical uses of sectioning. Architecturally, they could be used as shading devices on a building which could from a larger, overall shape or image. From afar for instance an image (from sampling) could be seen but be lost as you get closer.

3 4

1 1

This outcome is in op one. Here, the section continuous form. In th shows the potential for fully developable, comp With the added ability both sides of the sect over any existing surfa be manipulated to b almost any item, from

D: 6

Section count (0-100): Amplitude / Height (0-10): x,y,z extrusion (0-100): Image sampler input: C R I 42

4 2

pposition to the previous ns are clearly describing a his instance, the definition r the technique to produce plex, doubly curved forms. to adjust the curvature on tions, it could be mapped aces. This could therefore become an accessory for buildings to clothing.

4 44 This

4 54 I think in the context of the brief, this outcome

outcome starts to remove itself further from the original definition. The iteration has a much more harsh aesthetic. It's success not only lies in its difference with other outcomes but also in its potential ability to initiate a affect on people. With this harsh aesthetic a darkness exudes from the form, perhaps signalling to the evil side of consumerism.

has value as a slightly more abstracted form of sectioning which no longer describes an obvious shape despite its high concentration of sections. This iteration starts to become somewhat more individual and "designed"; something which is ever present in todayâ&#x20AC;&#x2122;s pop culture. However, this iteration begins to lose its ability to be fabricated easily somewhat.

Although the initial definitions produced some interesting results, it was not until the algorithm was developed, added to and adjusted that more interesting outcomes were achieved. In general, the most interesting outcomes were the ones which took parameters to the edge and pushed the potential of the algorithm. By doing this, the outcomes become less expected, and I began to see glimpses of a shift from computerisation to computation. In relation to the brief and the idea of mass produced, flat-packed consumer items, the concept of sectioning fits rather well. The algorithm showed in many instances how easy it could be to manipulate form and have it produced into flat sections which could be constructed with great ease. The technique therefore has great potential in the context of the brief as a form of self-service, flat packed consumer system. Design democracy in the design of such an "accessory" in the context of the brief is a possible area of exploration. Perhaps an algorithm could be designed which would enable users to design their own accessory and have it delivered in the form of a flat pack, build-it-yourself item.

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Denton Corker Marshall with Robert Owen,Webb

B.3 CASE STUDY 2.0

WEBB BRIDGE. IMAGE SOURCE: HTTPS://MEL365.COM/WEBB-BRIDGE-MELBOURNE-DOCKLANDS/

EEL TRAP. IMAGE SOURCE: HTTPS://CV.VIC.GOV.AU/STORIES/ABORIGINALCULTURE/MEERREENG-AN-HERE-IS-MY-COUNTRY/EEL-TRAP/

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Bridge Melbourne, 2003

The Webb Bridge was a competition winning design as part of a public art project in the city of Melbourne's Docklands area. It was designed largely as a piece of sculptural art by artist Robert Owen in collaboration with Denton Corker Marshall to form a functional bridge.1 The concept for the design came from Koori fishing/eel traps. The bridge was to connect with an existing decommissioned rail bridge which extended 145m across the Yarra river. The symbolic representation of the indigenous eel trap and its connection to the rail bridge, itself a symbol of European culture, represents a connection between the past and the future. 2 In this sense, the project addresses several historical and cultural issues and successfully connects the existing bridge to the residential areas on the south side.3 The design manages to re-purpose an old rail bridge into a sculptural walking bridge which activates and links one of Melbourne's fastest growing regions. The structure was also able to be prefabricated off site, assembled on a barge and floated in at high tide.4 The main sculptural part of the bridge is made up of metal sections of varying dimensions, interconnected by a series of metal straps. Much like we have seen in the previous sectioning examples, this design method meant for a far more efficient fabrication of individual components which would then describe the sinuous form. 1

"Webb Bridge", Australian Institute of Architects, 2005 <https://dynamic.architecture.com.au/gallery/

cgi-bin/awardssearch?option=showaward&entryno=20053006> [accessed 28 August 2017] 2

"Webb Bridge", Robert Owen, 2003 < https://www.robertowen.com.au/webb-bridge-1/> [accessed 29 August 2017]

"Webb Bridge", Australian Institute of Architects, 2005 <https://dynamic.architecture.com.au/gallery/

cgi-bin/awardssearch?option=showaward&entryno=20053006> [accessed 28 August 2017]

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REVERSE ENGINEERING - PROCESS

The process of reverse engineering the project had many phases of experimentation, some of which were successful and others which failed. Here you can see the varying stages the process took. A large portion of the process was taken by the reverse engineering of the straps which interconnect the sections. This proved to be a more difficult task than the sectioning itself. Through persistence, though a satisfactory outcome was achieved.

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REVERSE ENGINEERING - FINAL PROCESS 1

An input curve is used to define the path that the bridge takes. This is the only part of the process that takes place in Rhino and not in grasshopper. Creating an input curve like this which will control the following algorithm allows the design to be manipulated down the track in its shape and flow. Additionally it allows for flexibility in the connection point to the existing portion of the bridge and the new connection point on the south side. It also allows continuous control of the height changes the bridge would take along the path. Theoretically this would allow the design to be implemented on any scale and in any required path geometry.

Each section is then split into two, a bottom half and a top half. This is to ensure that the bottom half remains consistently circular while the top is stretched in the z direction to form ovoid shapes. Point attractors are once again used to vary the intensity of the scaling in the z direction on the top arc. These points, as with the last step, are fully adjustable to change various parameters of the scaling.

The input curve can then be divided and pe point. These will find the plane at each poi geometry placed at these points will be in t easily be place at each frame with control o sections can then be manipulated paramet

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The two arcs can now be joined back togethe which would be fabricated from metal. The connection points for the straps which run is able to shift each of these point around some variation in the division lengths.

erpendicular frames placed at each division int, perpendicular to the line. This way, any the correct orientation. Circles can then be over circle radius. The amount of divisions or trically.

er and extruded to create the planar surface e sections can also be divided to create the n between each section. An algorithm then d the ovoids to different degrees, providing

Using point attractors, the scaling of each section can be manipulated. The parameters of the scale can then be manipulated in a variety of ways, providing many potential iterations of form. The input points for the attracting can also be manipulated to varying points to change where the scaling has more or less effect over the shapes.

Each of the straps are part of a larger continuous poly-line which runs the length of the structure. Poly-lines are created by connecting equal amount of points on each section. The parameter of each evenly spaced points can be manipulated and shifted randomly within a specified domain. This will allow for the seemingly random spacings of the connection points in the project but will restrict the movements so that the points do not become overly random, producing highly compressed and stretched sections.

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REVERSE ENGINEERING - ALGORITHM 1 Referenced Curve

2 Perp Frames

Circle

Scale

Tree Statistics

Graph Mapper

Closest Point

Split w/ Brep

Referenced Points Point Attractor - Circle Radius

Plane Surface

5 Construct Domain

Evaluate Cr

Divide Addition Random

List Length

Series

The final algorithm follows the pattern as outlined on the previous page (process stages marked). While achieving the first part of the algo simple enough but the problem was finding an effective way to adjust these point so that their spacings are seemingly random but without 'Relative Item', 'Path Mapper', 'Shift List', 'Cull Pattern' and 'Random Reduce'. Most of these techniques required fairly complex data manage the a technique which implemented the 'Random Reduce' component provided the correctly ordered points for polylines but because there elegant one which provided ordered points which were much more accurately (and highly adjustably) spaced as compared to the original pr

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Point Attractor - Upper Arc ‘Z’ Scale Referenced Points

Sort Curves Along Crv

Tree Item

Scale NU Closest Point

Graph Mapper

Join Curves

Tree Item

Extrude Planar

Interpolate Crv End Points

Amplitude Final Section Strips

Ruled Srf Interpolate Crv

Bridge Path

6 Flip Matrix

Polyline

Explode

Flip Matrix

Ruled Surface Oﬀset on Surface

Loft (straight)

Deconstruct Brep Final Interconnecting Strips

Interconnecting Polylines

rithm (top) was relatively straight forward, the second part was considerably more difficult. Connecting polylines through divided points is t straying to far from their initial position. Many different techniques were attempted including the implementation of components such as ement strategies which proved to be beyond my capabilities. Even when these techniques did work, the outcome was not ideal. For instance, e was no limit on the randomness, the lines would vary too greatly across each ring. The final solution was, as expected, a much simpler and roject.

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OUTCOME

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The final outcome is, rather pleasingly, very similar to the original project. The algorithm behind the final outcome provides variability in numerous ways. For example: section radius/scale (individually and in total), degree of scaling of rings in the z direction (degree of ovoid shape), curvature of the form/path, the degree at which the points are randomly shifted in both directions on each ring, and the width of sections and interconnecting straps. I believe that with these adjustable parameters, an extremely close replication of the Webb Bridge is possible. The spacing of the points on each ring proved fairly difficult as mentioned previously but was finally achieved to a satisfactory degree. In the actual project though, some of the connecting straps cross over one another between the rings. Each polyline then remains on that side unless they cross over once again. There is fairly minimal crossing over - perhaps once or twice per polyline. This is a feature of the original that I could not replicate. Although when the degree of shifted points was increased some straps begin to cross over, it still did not achieve the same result and lacked control. Because in this instance the point movements are created randomly, there was nothing keeping the lines on that side of each other after crossing. Generally this would produce far to many areas of crossing over. Additionally, the actual belly of the bridge was not reverse engineered as part of the project, although the path through the shape was. This was mostly done for better visualisation of the bridge.

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Species A:

B.4 TECHNICAL DEVELOPMENT

DIVIDE CURVE COUNT:

POLYLINE COUNT:

POLYLINE SPREAD LIMIT:

-1.88 / 0.21

-2.00 / 0.55

0.07 / -1.22

-1.19 / 2.00

DIVIDE CURVE COUNT:

POLYLINE COUNT:

POLYLINE SPREAD LIMIT:

-0.38 / 0.26

-0.42 / -0.18

-0.77 / 0.34

-0.80 / 0.48

Taking the algorithm that was defined for part B.3 and pushing it to its limits proved to be an invaluable process. It firstly reaffirmed the flexibility and strength of the algorithm which was written. By writing and finding additional algorithms to combine, the potential for the design outcomes became far more varied and unique. Species A and B are using the original definition and finding its capabilities. The initial input curve was changed to a simple, straight line which allowed for the adjustment of other parameters to speak for themselves. The complexity of these outcomes could all easily be applied to practical examples by defining the required curvature, length and changes in height in the initial input curve. Generally, as the iterations progressed, the fabricatability decreased. However, the examples where line count becomes high and complexity is increased, some interesting outcomes are produced which deviate greatly from the initial iteration. The iterations start to lose their sectioning qualities and become a form which might be woven or interconnected much like the precedent example seen in part A.3. Here we start to see a shift from one type of material fabrication to the potential for another, purely through the manipulation of various parameters.

Species B:

0.55 / 0.55

2.00 / -0.19

2.88 / 1.22

100

2.00 / -2.00

0.46 / -2.00

2.00 / -2.00

-0.53 / -0.01

-0.62 / 0.16

-0.73 / 0.25

-0.80 / 0.48

-1.00 / 0.69

-1.00 / 1.00

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Species C:

SURFACE DIVISION COUNT:

PERP FRAME COUNT:

MESH SMOOTH:

0.11 / 10

0.237 / 2

0.17 / 1

0.75 / 8

0.20 / 8

PERP FRAME COUNT:

3/2

2/5

5/5

8/7

4 / 10

Species D:

Species E:

LINE CHARGE RADIUS:

4.4

2.5

LINE CHARGE STRENGTH:

0.68, 0.73 ,0.85, 0.44, 1.75

1.7, 2.00, 0.44, 0.7, 0.47

0.05, 0.62, 1.27, 0.77, 1.47

1.8, 0.8, 0.78, 1.4, 1.63

INPUT CURVE:

STRAIGHT

ONE BEND

Species F:

POLYLINE CHARGES

RADIUS:

1.5

STRENGTH:

1.78, 0.06, 1.19, 1.29, 0.65

1.86, 0.2, 0.13, 1.74, 0.27

0, 1.41, -1.63, -1.92, -1.31

SECTION CHARGES

RADIUS:

3.5

6.5

STRENGTH:

0.17, 0.55, 1.89, 0.7, 1.99

0.03, 0.33, 1.53, 1.57, 0.79

0.24, 0.18, 1.65, 1.41, 0.70

1.52, 0.32, 0.30, 0.56, 1.14

0.48, -0.98, 1.97, 1.09, -0.72

INPUT CURVE CHARGE

RADIUS:

6.53, 6.05, 1.32, 1.53, 5.58

5.59, 1.24, 3.93, 3, 4.12

7.30, 3.97, 1.32, 3.42, 3.45

3.88

STRENGTH:

-0.5

-0.7

-0.5

-0.6

In order to enhance the complexity and variety of the outcomes, the algorithm was then taken and combined with others. Species C and D technique, but now in these species we see the same fabrication technique expressed in a much different way. The sections are now forming m or potentially something which could be implemented as a facade treatment. By manipulating certain parameters in these definitions some i started to behave and thread between each other in interesting ways.

The discovery of a Grasshopper plug-in called Cocoon, led me to experiment with creating charges around the lines which were created with th This technique started to provide a flexible form finding technique where positive or negative charges could be created around lines, point or apart into various shards. 56

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11 / 11

15 / 11

19 / 10

7 / 16

26 / 12

1.00 / 2

0.00 / 8

0.01 / 8

0.19 / 4

1.66 / 10

10 / 10

16 / 13

7 / 16

0.17, 0.01, 0.99, 0.53, 0.73

1.58, 0.13, 0.88, 1.4, 1.38

0.96, 0.76, 0.59, 0.05, 0.13

0.18, 0.66, 1.98, 1.9, 0.05

ONE BEND

TWO BEND

TWO BENDS

1.5

0.5

-1.22, 1.29, -0.78, 0.69, -0.91

-0.53, -2.85, -2.22, -0.67, -0.88

0.59, 0.89, 2.52, 2.26, 2.95

-1.32, 0.72, 1.28, 0.78, 0.4

0.76, 1.52, 1.73, 1.54, 1.4

0.76, 1.52, 1.73, 1.53, 1.4

-0.62, -1.16, -0.29, -0.32, -0.88

1.5

0.5

4.1, 4.94, 4.93, 3.95, 2.54

-0.72, -0.46, -0.46, -0.77, -1.21

-0.56, -1.8, -0.92, -0.75, -0.9

-1.01, -0.35, -0.6, -1.25, 0.27

SECTION DIVISION: 3

take the initial definition and apply some of the definitions and rules from part B.2. The original project was demonstrating sectioning as a more of a structural rationalisation of the geometry. Rather than the sections creating an internal space, they now create an external solid form interesting curvatures started to emerge in the sections. Species C includes plan and elevation view as these helped express how these strips

he Webb Bridge algorithm. This suddenly created some interesting mesh forms which totally remove themselves from the sectioning concept. even breps in the model. The outcomes provided some pretty unique and novel forms, some of which began almost disintegrating , breaking

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Species G:

POLYLINE CHARGES

RADIUS:

1.5

STRENGTH:

1.78, 0.06, 1.19, 1.29, 0.65

0, 1.41, -1.63, -1.92, -1.31

SECTION CHARGES

RADIUS:

3.5

6.5

STRENGTH:

0.17, 0.55, 1.89, 0.7, 1.99

0.24, 0.18, 1.65, 1.41, 0.70

1.52, 0.32, 0.30, 0.56, 1.14

INPUT CURVE CHARGE

RADIUS:

6.53, 6.05, 1.32, 1.53, 5.58

5.59, 1.24, 3.93, 3, 4.12

7.30, 3.97, 1.32, 3.42, 3.45

STRENGTH:

-0.5

-0.6

1.86, 0.2, 0.13, 1.74, 0.27

0, 1.41, -1.63, -1.92, -1.31

6.5

0.03, 0.33, 1.53, 1.57, 0.79

0.24, 0.18, 1.65, 1.41, 0.70

1.52, 0.32, 0.30, 0.56, 1.14

5.59, 1.24, 3.93, 3, 4.12

7.30, 3.97, 1.32, 3.42, 3.45

-0.7

-0.5

-0.6

Species H:

PERP FRAMES NUMBER OF INPUT CURVES:

COUNT:

25 / 20

30 / 20 / 20

50 / 10

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1.5

0, 1.41, -1.63, -1.92, -1.31

-1.22, 1.29, -0.78, 0.69, -0.91

0.48, -0.98, 1.97, 1.09, -0.72

-1.32, 0.72, 1.28, 0.78, 0.4

3.88

1.5

-0.6

4.1, 4.94, 4.93, 3.95, 2.54

1.5

0, 1.41, -1.63, -1.92, -1.31

-1.22, 1.29, -0.78, 0.69, -0.91

0.48, -0.98, 1.97, 1.09, -0.72

-1.32, 0.72, 1.28, 0.78, 0.4

3.88

1.5

-0.6

4.1, 4.94, 4.93, 3.95, 2.54

Species G continue the experimentation of the Cocoon plug-in but with more variation of the input geometry. The mesh geometry produced begins to resemble something which could define an architectural form. Just by adjusting charge strength and radius as well as input geometry, one is able to create forms which vary greatly from one another. The type of geometry (point, curve, brep) has a huge impact on the charge surrounding it and can be used strategically to gain some functional control over the form while adding novel fluidity. The use of negative charges can be used to great effect in creating voids or internal spaces, puncturing the form, cutting/sculpting away at the form and even to start to disintegrate the form. These iterations begin to present as potential forms which could be manipulated and implemented into the design proposal.

Species H takes one of the forms created using Cocoon and starts to apply the sectioning techniques seen previously, attempting to rationalise the complex blob like geometry. Perpendicular frames on one, two or even three input curves were used at varying angles to create section cuts through the form. As seen previously, the density of the sectioning has a direct effect on the fidelity of the form. As the density reduces, the form begins to become lost and the sections are the focal point. Using two or more input curves for the sectioning starts to create waffling structures which present the potential for highly fabricatable structures.

15 / 10

50 / 40 / 20

60 / 50 / 100

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SUCCESSFUL ITERATIONS

FABRICABILITY: BUILDABILITY: NOVELTY: DOPENESS: POTENTIAL FUNCTION/USE:

MATERIAL WEAVING

Each of the species provided certain successes in their outcomes, whether practical or conceptual (in relation to brief). Although the iterations above are not necessarily highly fabricatable, the density of polylines running between the sections create and interesting effect. They have more potential to become some kind of material weaving for facade or tensile structural purposes. This could have an interesting and novel effect on atmospheric and aesthetic qualities of design.

FABRICABILITY: BUILDABILITY: NOVELTY: DOPENESS: POTENTIAL FUNCTION/USE:

FACADE / STRUCTURE

By re-sectioning the forms which were generated in different ways, more interesting and complex sections were able to be created. What was particularly interesting was when the strips began to twist and bend around on themselves. The fabricatablity of these iterations is increased greatly although the curved nature of the strips reduces this somewhat. It would be hard to recreate this accurately in reality and would require careful consideration of fabrication material.

FABRICABILITY: BUILDABILITY: NOVELTY: DOPENESS: POTENTIAL FUNCTION/USE:

FORM / FURNITURE

The experimentation with various meshing techniques provides some really unique, varying and novel outcomes. The algorithm began to become a form finding tool and produced many different forms which have the potential for many uses. These iterations were the most successful in creating both an interesting form and as well as creating something which could have a potential function. The left iteration created flat sections which look perfectly suited to some kind of bench/couch. Although this is not so practical in terms of fabricatability, it could easily be rationalised using a technique such as sectioning. The mesh could also be implimented as a triangulation technique for some kind of skin or cladding. 60

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FABRICABILITY: BUILDABILITY: NOVELTY: DOPENESS: POTENTIAL FUNCTION/USE:

FORM / SPACE

The experimentation with the form finding ability of Cocoon was rather successful in its ability to provide a potential architectural form or spacial qualities which could be seen to have functionality. Again, as previously, the fabricatability is not necessarily high but the form potential is novel, interesting and highly variable. The fabrication may again be achieved by rationalising the geometry with a particular technique.

The most successful iterations come in the form of the combination of many of the previous techniques. Here, Cocoon is used to manipulate and create a unique and interesting form. These outcomes are then rationalised using a sectioning technique which would make the forms highly fabricatable. The examples below were chosen as being the most fabricatable and buildable while remaining novel and interesting in form and aesthetic. These models immediately appear to have the potential for something like a piece of furniture. A prototype should be able to produced easily though material later cutting of sections, a technique which could then potentially be taken to the final fabrication of the product.

FABRICABILITY: BUILDABILITY: NOVELTY: DOPENESS: POTENTIAL FUNCTION/USE:

FORM RATIONALISATION / STRUCTURE

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B.5 TECHNIQUE: PROTOTYPES

Many of the concepts developed the previous a box which could hold our potential final des developed so as to attain the maximum qualit technique was used. This allowed us to simp fabrication process was without issue, but som due to the complexity of the form. This had a b above), gave us the most difficulty in the asse hole before being slotted up or down. This me to be dealt with at the beginning of the proces pieces could be manipulated.

Additionally, some pieces were sectioned in a fragile. This can be seen in some of the exampl managed and proofed before the parts would b and sturdy form. It is worth mentioning that th

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PROBLEM AREAS

section are taken and testing in reality though the following prototypes. As part of the studio, the prototyping task was to create sign product. The form was developed and manipulated by primarily using the Cocoon plug-in for Grasshopper. The technique was ties desired from the design technique. In order to rationalise the geometry and create a fabricatable product, a waffling sectioning ply have the material (1mm Mount-board) laser cut and then assemble by slotting the sections together. For the most part the me difficulties did arise. Firstly, it became clear that the order in which the model would be assembled would be of great importance big effect on the ease at which it was put together. The addition of punctures into the design, creating holes in through sections (seen embly of the model. It meant that certain sections had to slot into the gap in two directions and many parts had to go through the eant the not all the pieces could simply be slotted into one another from one direction. These more difficult parts of the model had ss as it became impossible to deal with once much of the structure around it was assembled and reducing the tolerance at which the

a way where the distance between slots created and the edge of the material was too little. This made some connections rather les above, one of which has slots coming from both directions leaving only a thread of material between them. This would need to be be sent to be fabricated. Overall however, the waffle sectioning technique proved to be a relatively successful in creating a complex his technique meant that no glue or fixtures were required.

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As part of our design concept, a prototype panelling system was attempted to sit on top of the waffle structure. This technique had some success but was far less successful than the waffling. For starters, the material used was too thick and not 'fold-able' enough to create accurate final triangulated strips. The strips were not able to be easily glued together and the layering of the material began to separate under the stress. Still, the triangulated panelling was able to be produced albeit with difficulty. The waffling prototype was taken and "pimped out" in accordance with the brief and concept of the studio. Gold spray paint and black velvet-like material was applied to the box to give it a sense of material luxury and over indulgence.

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The final model prototype provided a mix of successes and failures. Overall, the prototypes worked, in particular the waffle sectioned structure. The triangular panelling was both difficult to build and does not sit or connect to the waffle as was desired. In reality, the flat sections of each triangular piece should sit flush with a planar part of the structure. This is not happening primarily due the material choice for the panelling which decreased the tolerance for it to fit greatly. The join logic behind the panels was also not adequate. The tabs which were used to connect the strips would get in the way of the panels connecting properly with the waffle. More experimentation in the connection between these two components is necessary, including an alternative joining logic, perhaps one which adds to the qualities of the design.

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Through further experimentation of fabrication techniques, we decided to try vacuum forming. Here, the waffle grid would be used as the mould for the plastic which we thought could produce interesting results. The process proved to be rather successful and indeed did produce very interesting results. The model still had the aesthetic of sectioning/waffling as a technique but no longer needed the actual sections. This idea of fake-ness and the fake being better than the real thing aligns itself quite well with the concept of the studio. The success of this technique has provided us with the motivation to explore it further in the future. In particular, we are interested in the way the form in partially defined by the fabrication technique. That is, where vacuum forming would usually replicate a mould, by using the waffle, new forms between the sections are created. The vacuum-ing and sucking of the material though the apertures had a surprisingly novel effect. Perhaps sectioning as a fabrication technique can be implemented purely as a means to create a 'mould' which would then use a separate material and fabrication technique.

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B.6 TECHNIQUE: PROPOSAL

As part of the studio concept and brief, we are imagining a world of pure superficiality; one where the trends are ruled by the celebrity and are considered to represent true culture. Through this, we are hoping to speculate on popular culture and architectural conditions today and provide a penitential cautionary tale for a potential future where these factors are accentuated. The brief calls for an accessory which can be sold with Le Corbusier's Cabanon. We were to use a popular product which aligned itself with the concepts of the studio as inspiration. Three qualities would be distilled from the product and would form qualities which would be represented in the final design.

The product chosen is the Louis Vuitton x Jeff Koons bags seen to the left. The product takes the classic Louis Vuitton bag and on it places imagery from famous works of art. Through the analysis of these products, three key qualities were distilled and have been implemented in the design of the accessory. These qualities are: appropriation of imagery, rich materiality and utility. The images are blatantly taken and applied to the bag to enhance the 'style' of the product and provide a sense of culture in the user. The bag is made from lavish, tactile and expensive material, evoking feelings of exclusivity in the users. The bag also has utility to allow the user to carry goods with them. Each of these qualities have also been considered in a darker light, attempting to speculate about the potential negatives of such qualities. For example, the utility and the convenience of the bag can easily develop into a necessity, where the bag starts to become an extension of the person; something they cannot ever leave behind. These are potential qualities which we would like to play with in the design of the accessory. 70

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The design project therefore has tried to take these qualities and insert them into an accessory for the Cabanon, while implementing the techniques which were developed in the previous sections. The design proposes a product for the young and affluent person who loves the idea of getting away in a rustic cabin but due to their addiction to luxury material goods and fast fashion trends, some relief from the plain, rough, stripped back nature of the Cabanon is required. The 'Relief Chamber' provides the solution in a lavish, comforting space, lined with luxurious materials which will sooth the users irrational desire for indulgence. We hope to play not only on this irrational desire of wanting luxurious materials, but also that of using style in the most superficial way as the Vuitton x Koons bag does.

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LE COURVOISIER

LOUIS V

R E L I E F

The Relief Chamber is the new accessory for our best-selling can add some luxury to their trip. Enter the space for a deca off-the-grid living. The chamber comes in a range of architec suit your taste. Add some ‘culture’ to

UITTON

C H A M B E R

g product – the Cabanon. With this attachment, guests adent tactile experience that provides relief from harsh, ctural styles – Classical, Gothic, Baroque, Modern – to o your Cabanon experience.

In the same way that the bag possible, so does our design. the point where they are mer applying it to the facade of a bu culturally relevant.

Here, four models are present and the ability to apply differe

In this world of fast moving t these changes. The project c sustainability, commenting o ideas of environment and a h this world, the definition of su with the irrational desires of subconscious urges and desire

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gs appropriate art and style in the most surface level and superficial way Here we are proposing that the role of the architect has diminished to rely accommodating styles and trends driven by the celebrity and simply uilding. Architects simply use this imagery as a tool to make their structures

ted, each with varying sizing, able to accommodate varying number of users ent appropriated architectural styles: Gothic, Modern, Classical or Baroque.

trends, this adaptable facade means the design is able to endure though considers sustain-ability in this way and disregards any environmental on current discussions of sustainability in particular the juxtaposition of highly consumerist materialistic world which we live in. In other words, in ustainability no longer refers to the environment but to the ability to adapt the human race. This is commenting on the power of the subversive and es which exist in the human race.

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The design connects directly to the Cabanon and provides an extremely contrasting space available to sooth the users materialistic and irrational desires. The product is proposed to have a number of models such that fit a varying number of users. We have for instance an model or one person, a couple and an XL version for the whole family. For a cosier more intimate experience we even have a 'foetal' model.

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The location of the Cabanon and its accessory on the site was considered with two factors in mind. Firstly, the relief chamber was to frame a particular view to the outside, viewed though the angled waffle structure. We chose this view to be that of the waterfall at Dights Falls, since it is the most photographed view based on Instagram hash tags. The bags and their owners demand a certain attention. They provide a means to look special, exclusive and cultured. All of these things combine to create certain attention seeking qualities in the users. We wanted to place the Cabanon in a location that would do the same. The bags are often seen on marble pedestals when photographed, and we found a pedestal on site in the viewing platform of Dights Falls. This location achieves both maximum attention and pride of place as well as satisfying the criteria for framing a view.

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FREEWAY

MERRI CREEK JUNCTION S OLD MILL RUIN

YARRA RIVER

DIGHTS FALLS

MID SEMESTER PRESENTATION CONTENT: This is the Masters Collection, a collaboration between Louis Vuitton and artist Jeff Koons. We chose this product as a starting point for investigating qualities of desire – hoping to tap into the irrational side of human psychology. The first quality of desire we identified in the bags is that of luxury. The use of luxurious materials such as leather, velvet and gold appeals to a sense of decadence. It provides a rich tactile experience. The second quality is that of culture. By using imagery of famous artworks, the bag aligns itself with a historical lineage of style. The artist appropriates existing styles for the benefit of the product. The final quality revolves around utility. The bags allow users to carry their life with them. It fosters their attachment to their possessions. This quality conveniences users and allows them to endure for longer out ‘in the field’. We incorporated these qualities into a piece of architecture – an accessory – that aims to improve the Cabanon and give it greater longevity. Due to the rise of social media pages such as Cabin Porn, the romantic idea of off-the- grid, natural living has become appealing to young people. The Cabanon is already one of Le Courvoisier’s most popular products, however it has some qualities that are deterring potential guests. The Cabanon is made of rough, stripped back materials. The interior is stark and plain - lacking in material luxury. The aesthetic of the Cabanon is austere. It is completely lacking in style. Its aesthetic is also static, meaning that it cannot adapt to ever-changing tastes. Learning lessons from the Koons x Vuitton bag, to combat these problems with the Cabanon – we propose the Relief Chamber. The Relief Chamber is an optional accessory available for the Cabanon, aimed at those guests who cannot handle the rawness of the cabin alone. Guests spend time in this space to gain relief from the material harshness of the Cabanon and its natural surroundings. The external appearance of the chamber also serves to transform the external aesthetic of the Cabanon - giving it ‘style’. The chamber appeals to the user’s sense of luxury by creating a rich, tactile interior space. The chamber is available in different sizes in order to accommodate one person, a couple – we even have an extra large chamber, big enough to fit the whole family. For a more intimate experience, we provide a ‘foetal’ model. The space, lined with velvet, embraces the users and provides relief and contrast from the stripped back timber of the Cabanon. By having the option of this space, guests will be able to endure the rawness of the Cabanon for longer durations, thus making the Cabanon accessible to a larger audience. The chamber takes lessons from Le Corbusier’s use of the Golden Ratio and Modular to create the space. In this way, the chamber is in proportional harmony with both the existing structure and the human body. Computational techniques allowed us to mould the space exactly to these proportions and shapes. Use of sectioning and waffling as a fabrication technique has allowed us to then rationalise this geometry to create a fabricatable structure. In this way, the sectioning method becomes recognisable as a style itself, characterised by use of complex forms rationalised using profiling. 80

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In this world, the term sustainability is redefined. Environmental sustainability is subordinate to whether a product will sell, and continue to sell through changing trends. Stylistic resilience is paramount. Patterning as an architectural device deals predominantly with the surface - with the superficial, façade-level appearance of the object. This can be seen in many architectural projects where image sampling is used to generate surface patterning. However the image is often abstracted and unrecognisable. We have taken a lesson from the Koons bag and decided to directly represent images on the façade of the chamber to attain instant recognition. Images of famous pieces of architecture are literally printed on the façade panels to give the chamber a desired style. These panels are replaceable and therefore the Cabanon can move with whichever architectural or aesthetic style is popular at the time. This gives it resilience to changing fashions. Style is used as a tool to make the architecture relevant. Past styles are appropriated and applied superficially. In this world, the role of the architect is diminished on two fronts. Architects are no longer responsible for the creation of styles, as buildings simply appropriate previous styles and apply them to the façade. The choice of aesthetic is dictated by celebrities who drive trends in different directions. The role of the architect as a generator of form and space is also diminished. Computers can now design optimal spaces based on such rules as the Golden Ratio and Human proportions. Perhaps the architect is reduced to simply an interior designer, responsible for choosing the type of velvet for the interior. There were two factors involved in choosing the site for the Cabanon and Relief Chamber. Firstly we looked for a view that the waffle grid could frame. The user can look out of the chamber onto a picturesque scene. The waterfall is the most photographed scene of the site, based on Instagram hashtags. We have therefore sited the Cabanon and Relief chamber to gain maximum view of this natural landmark. The second factor focused more on the marketing of the Koons Vuitton Bag. When displayed, these products are usually placed on a pedestal. We found a pedestal on the site – the platform overlooking the waterfall, and have therefore sited our design there – to achieve maximum attention and pride of place. An act of exhibition. Finally, we return to the Louis Vuitton bag and its quality of convenient utility. The Relief Chamber acts much in the same way – it allows the user to endure for longer. But in the same way that a handbag shifts from a convenient accessory to a necessity – perhaps the relief chamber will do the same. Will it get to a point where users will spend their whole holiday inside the relief chamber?

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R E T R E AT Y

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B.7 LEARNING OBJECTIVES & OUTCOMES The process through which I have progressed throughout this section has provided great discoveries and learning outcomes in terms of both technical algorithmic skills and principles surrounding fabrications and build-ability. Being able to take a principle to research and experiment with meant I could discover the potential of the technique, even beyond what you might usually expect. The reverse engineering portion of the section provided considerable challenge as there were certain aspects which were hard to accurately replicate. However, through continual learning and persistence, a good outcome was able to be achieved. I now feel more confident in using the tool (Grasshopper) in designing and manipulating algorithms. These techniques were tested thoroughly through the fabrication and prototyping stages as well as the design proposal stage. This again furthered my learning of the tool which is rapidly becoming less restrictive and ever increasingly freeing.

has the potential to nurture lazy design which is not very individualistic. The design task proved to be challenging in combining the conceptual ideas of the studio with the technical skills involved in grasshopper. This was done successfully only to a certain extent. Although I think the concept in our design idea is relatively strong, this has not been completely translated into the design of the product architecturally. The technique which was developed during the technical development phase of part B led directly into the design of this product and quite possibly drove that form finding process too heavily. Since that happened prior to the design process it was not given the relevance in terms of the design concept. In this way, the design needs some consideration in the next section in terms of the brief of the studio. In particular, the physical qualities of the design in relation to the qualities of the Vuitton x Koons bag need to be reconsidered. How can the form (generated in Grasshopper) reflect the design concept better? In addition to this, the connection the product has with the Cabanon needs more consideration. The connection was not considered closely enough meaning the product could be placed on any building and has no direct connection to the Cabanon.

In taking an in depth look at sectioning as a fabrication technique, I have discovered both the great potential of the technique and the ways in which it is slightly limited. The technique does a good job at rationalising complex forms, making them easily fabricatable. However, the technique also has the potential to create designs which lack some individuality. There are always the exceptions such as the Digital Weave project, but using this technique result in a certain aesthetic and style when applied to geometric forms. For instance, two of the examples used in this section (the BanQ and the One Main projects) do share many similarities and some could argue are not that different from each other. I think the technique does have the potential to instil creativity, variety and unexpected results, but also

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Overall however, this section proved to be rather successful in developing ideas about computational design, techniques and concepts for a design proposal which could implement the use of these techniques. The next phase should aim to take these new skills and ideas and develop and refine them, creating a polished final design proposal.

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B.8 ALGORITHMIC SKETCHES

For the most part, the algorith I experimented with numerous panelling components of which once again and put these to pra

Many of the outcomes have inte which could act as sun shading

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hmic sketches which were done during the progress of this section were about going deeper into Grasshopper and various plug-ins for it. s different plug-ins such as Kangaroo, Cocoon, Mesh+, Weaverbird and more. Mostly I experimented with mesh tools including complex h you can see many at work in these sketches. I'm hoping to take these new skills into the refined design for Part C and further my knowledge actical use.

eresting results. The mesh tools provide lots of opportunities for surface panelling as and changes in apertures and three dimensional forms devices on a face for example.

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Below are sketches as part of the studio algorithmic task where we were to design a porch for the Cabanon which would turn into some kind of furniture and be fabricatable through a stripping technique. The iterations shown attempt to create a porch structure which curvilinear form folds into a lounge which faces outward.

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BIBLIOGRAPHY

â&#x20AC;&#x153;Digital Fabrications: Architectural and Material Techniques / Lisa Iwamoto", Archdaily, 2010 <http://www.archdaily. com/41364/digital-fabrications-architectural-and-material-techniques-lisa-iwamoto> [accessed 17 August 2017] Dunn, Nick. (2012). Digital Fabrication in Architecture (London: Laurence King Publishing Ltd), pp. 327-341 Iwamoto, Lisa. (2009). Digital Fabrications: Architectural and Material Techniques (New York: Princeton Architectural Press), pp. 1-27 "One Main", dECOi Architects, 2016 <http://www.decoi-architects.org/2011/10/onemain/> [accessed 17 August 2017] "Webb Bridge", Australian Institute of Architects, 2005 <https://dynamic.architecture.com.au/gallery/ cgi-bin/awardssearch?option=showaward&entryno=20053006> [accessed 28 August 2017] "Webb Bridge", Robert Owen, 2003 < https://www.robertowen.com.au/webb-bridge-1/> [accessed 29 August 2017]

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PART C: 92

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DETAILED DESIGN D

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C.1 DESIGN CONCEPT

After presenting our design at the mid semester critique, our group spent a good amount of time reflecting on the feedback and where to take the design so that it can be strengthened. As previously reflected on, the design needed to be implemented better architecturally. Our concept of a 'Relief chamber' which would appeal to the more affluent demographic is strong, but our qualities which were taken from the bag and put into the design were not done convincingly. We decided to look back at the brief, the Louis Vuitton x Jeff Koons bag and concepts such as style. The connection to the host itself also needs development. So far, the chamber is just attached to the side without much consideration of why it is there, why on that side of the Cabanon and what relationship it has with the interior space. All of these aspects in the design need to be re analysed and re considered. Hopefully then we will be able to progress the design concept and make it far stronger.

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Certain formal aspects to our design were also more successful than others. The use of basic waffling and tessellated panelling was not very successful or particularly interesting. The experiment that we did with vac-forming as a fabrication technique however was far more interesting. The aesthetic /style of the waffling is somewhat retained when vac-formed, while the primary structural function is no longer required. This fabrication technique, rather than purely being a means to rationalise a complex form has the capabilities to dictate new and less controllable/predictable form. Therefore we would greatly like to push this technique further in combination with waffling/sectioning.

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JEFF KOONS X LOUIS VUITTON BAG 1

While revisiting the bag we wanted to distil the three distinctive qualities which set it apart and make it more appealing to a certain demographic. These qualities will be what we will use as inspiration for the accessory to the Cabanon. It is important that we distil these qualities thoroughly as they will form the basis of our design and its potential ability to appeal to a similar demographic.

1. LUXURIOUS MATERIALITY

One of the most obvious qualities that these bags have is their luxurious materiality and tactile experience. The bags are made from leather which appear to be extremely fine quality. In addition to this, all of the badges and trinkets are made of gold or silver. All of these features are also finished to the highest quality.

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3. SURFACE LEVEL ORNAMENT

An important quality of these bags, especially when compared to other Louis Vuitton bags, is that the only different is the 'surface level ornament' which is applied. The actual bags themselves are no different in function or form to its Louis Vuitton predecessors. Ornament (in this case merely applied to the surface) is the only thing that set is apart.

3. BORROWED IMAGERY Lastly, the type of 'surface level ornament' and imagery which is used on the bags is an important quality. The well known imagery is borrowed or even appropriated onto the surface of the bag. By borrowing the imagery of famous pieces of art, the bag gains certain values from the known image.

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DIY BAG. IMAGE SOURCE: HTTPS://I1.WP.COM/WWW.PRETTYCRIP

UPLOADS/2017/04/DIY-MONA-LISA-VUITTON-TOTE

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E.JPG?RESIZE=676%2C886

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LE CABANON

CABANON EXTERIOR. IMAGE SOURCE: HTTPS://WWW.GOOGLE.COM.AU/URL?SA=I&RCT=J&Q=&ESRC=S&SOURCE=IMAGES&CD=&VED=0A

When looking back to the host for our design, Le Corbusier's Cabanon, we saw some stark differences to the qualities of the Louis Vuitton x Jeff Koons bag collection.

CABANON INTERIOR. IMAGE SOURCE: HTTP://WWW.FONDATIONLECORBUSIER. FR/CORBUCACHE/900X720 _ 2049 _ 225.JPG?R=0

It became obvious for instance that while the bags are made from the most luxurious materials, Cabanon is made from far more sober ones. The exterior is made from rough cut wooden logs and, while the finish of the interior space is less crude, the wooden surfaces are still plain and hard.

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The bags exudes luxury and extravagance however the function of the bag is not of much importance. In contrast, Cabanon is all about function, designed around the dimensions of the human body using Le Corbusier's Modulor Man. In addition to this, Cabanon is design orthogonal and exclusively uses straight lines and 90 degree angles.

Cabanon is also designed around the bare essentials. The cabin does not include any creature comforts in its small plan. It is divided into functional areas ruled by a series of golden rectangles. These sections include the entrance, sleeping, eating and cleaning zones. We noticed however that the upper right module seemed not to include a particularly prescribed function. We therefore propose using this corner of Cabanon and adding a new function to appeal to our target demographic - The Luxury Module.

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THE BAROQUE In order to explore the concepts of style and in the case of the bag the surface level application of style, in a more architectural sense, we wanted to choose an architectural typology to source inspiration. For us, the bag is very much a Baroque item in its ornamentation, extravagance and luxury. We therefore wanted to explore the Baroque more superficially and surface level as is done by the bags. We want, however, to explore these concepts more architecturally. To do this, we looked towards Baroque architecture, finding key points which could be implemented into the formal design and user experience of the Relief Chamber.

One of the most important aspects to Baroque architecture is the way in which it took the classical rules from the Renaissance and twisted, bent and augmented them to create something completely new. For example, above to the left is an example of a Renaissance church, based on extremely rectilinear and rational forms. The example to the right from the baroque however takes these orthogonal rational rules and de-rationalises them by turning the 90 degree into 60 and 30 degrees, stretching geometries, and intersection multiple geometries to create something more interesting and complex. For a more legitimate implementation of the the style architecturally, we potentially can take the rational rules of Le Corbusier's modulor and bend and twist them much like the Baroque does to the Renaissance.

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SAN CARLO ALLE QUATRO FONTANE INTERIOR. IMAGE SOURCE: HTTPS:// C1.STATICFLICKR.COM/5/4060/4644717146 _ A101495528 _ B.JPG

Another feature of Baroque architecture is the way in which it creates plasticity, movement and dynamism in its wall surfaces. The walls are scalloped and pushed in and out to create areas of tension and release. In this, we wish to create a plasticised form which creates moments of tension and release and organic dynamism which will be in contrast to the strictness of the Cabanon. This can potentially be achieved through a combination of computational devices as well as fabrication techniques such as vac-forming.

ANDREA POZZO - ALLEGORY OF THE JESUITS' MISSIONARY WORK. IMAGE SOURCE: HTTPS://UPLOAD.WIKIMEDIA.ORG/WIKIPEDIA/COMMONS/THUMB/F/F9/ANDREA _ POZZO _ - _ ALLEGORY _ OF _ THE _ JESUITS%27 _ MISSIONARY _ WORK _ - _ WGA18353.JPG/640PX-ANDREA _ POZZO _ - _ ALLEGORY _ OF _ THE _ JESUITS%27 _ MISSIONARY _ WORK _ - _ WGA18353.JPG

The last important feature of Baroque architecture that we wish to implement is that of theatricallity. While it is true that the Baroque uses imagery on a surface level much like the bag does, it also adds another dimension. The imagery used in Baroque architecture such as in the ceiling fresco seen above is used with great theatrical effect. Rather than an existing image being placed onto a form in the way the bag does, the imagery is designed to work with the architecture to blend the line between the two , creating the illusion and theatre of the ceiling opening up to the heavens. This is another way in which, while applying surface level imagery to our design, we may also be able to inject various levels of theatricality through the design of such imagery. D

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THE ALGORITHM Formal Rules taken from Modulor Man and Le Cabanon and used as input

Rules are broken down and plasticise

Exterior Form Array

Array rectange in 60 degree increments

Join

Extrude

Join (boolean union) the rectangles and convert to mesh

Extrude rectangles individually in the Z-direction based on Modulor Man dimensions

Clean/Reduce

Clean and reduce MESH while preserving maximum accuracy

Golden Rectangle

Create rectangle based on golden ratio proportions

Input Form Extract Points

Extract diagonal points from rectange and shift in the Z-direction based the Modulor Man dimensions

Line/Divide

Variable Pipe

Join moved points with a line and divide into x number of points

Apply variable pipe to the line and further apply noise for added plastisiity

Divide Srf/Move

Divide surface into points and variably move each along their normal using graph mapper

Interior Form

The final developed algorithm is based around all of the concepts laid out on the previous pages. For instances, the algorithm starts by takin modular of the cabanon is combined with modulor man dimensions. The geometries are then taken, rotated from 90 degrees to 60 degrees expressed in a more dynamic way. Once the desired form is reached through parameter manipulation, the internal and external forms are joine is flexible in both the number and direction of sections.

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ed through a series of meshing tools

Reﬁne

Reﬁne Mesh faces so that faces are relatively regular

Noise

Add noise to mesh to plasticise

Diﬀerence

Trim

Boolean internal space from external form to create solid form

Trim mesh at ground plane and cap to create ﬁnal solid form

Section/Fabricate

Create x number of sections from the solid form and create necessary additions for join logic

Final Form Surface from Points recreate surface from moved points

Reﬁne

reﬁne mesh triangulation and cap naked edges

ng the rational and regular rules of the Cabanon and breaks them down just like the Baroque does. The golden rectangle which is used as the s, intersected with each other and joined. Through a series of meshing proceses the forms, both internally and externally, are plasticised and ed to create a solid with an internal void which can then we rationalised using the sectioning fabrication technique. At this stage the algorithm

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FABRICABILITY: BUILDABILITY: NOVELTY: DOPENESS:

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The diagram above is a graphic representation of the process algorithm which was shown on the previously. novel, dynamic and complex.

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Here, one can see how the Cabanons' set of rules are taken and twisted to produce something which is quite

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The Cabanon is strict in its orthogonality, predominantly based on 90 degree angles. The Relief chamber aims to disrupt this with its more curvaceous, sculptural form. The hard, orthogonal space of the Cabanon is broken down into a more curvaceous and luxurious space. This is to represent the differences which are embedded in the bare essentials of the Cabanon versus the extravagant and non essential qualities of the Relief Chamber.

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In order to plasticise the form of the Relief Chamber, we have used a combination two separate techniques. Firstly as seen previously, computational techniques are used to take the regular geometries and warp them into a plastic form. The form must then be rationalised for fabrication, in this case using sectioning. The rationalised sectioning can then however be 'de-rationalised' using vac-forming as a fabrication technique over the structural sections. By vac-forming the structure, the style of the sections are contained somewhat in a new more curvaceous and scalloping form. This seems to be a successful method in the replication the plasticity and scalloping as seen in Baroque architecture.

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In order to represent the qualities of theatricality in the design though the use of imagery, we took inspiration from the Baroque fresco and composed a Baroque image which would wrap around the form (via vac-forming). This would then allow for strategically placed elements which can interact with the architecture. The final image seen above was composed from various Baroque imagery. These include 'The Triumph of the Immaculate' by Paolo de Matteis (Fig. 1), Ornamental detail from the Palace of Versailles (Fig.2) and a combination of two Baroque architectural domes (Fig. 3 & 4). A method was devised to predict the warping that the vac-forming may produce on the plastic and hence the image. By doing this, we hope to be able to predict where the imagery will land on the form through the vac-forming process, enabling our theatrical design to be successful.

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FIG. 1 'THE TRIUMPH OF THE IMMACULATE' BY PAOLO DE MATTEIS. IMAGE SOURCE:

FIG. 2 ORNAMENTAL DETAIL FROM PALACE OF VERSAILLES. IMAGE SOURCE: HTTPS://PREVIEWS.123RF.COM/

HTTPS://UPLOAD.WIKIMEDIA.ORG/WIKIPEDIA/COMMONS/2/27/1710-15 _ DE _

IMAGES/STUDIOWALTER/STUDIOWALTER1503/STUDIOWALTER150300039/37715044-VERSAILLES-FRANCE-

MATTEIS _ TRIUMPH _ OF _ THE _ IMMACULATE _ ANAGORIA.JPG

10-AUGUST-2014-GOLD-ORNAMENT-AT-VERSAILLES-PALACE-CHATEAU-DE-VERSAILLES--STOCK-PHOTO.JPG

FIG. 3 SAN CARLO ALLE QUATTRO FONTANE CEILING. IMAGE SOURCE: HTTP://

FIG. 4 SANT'ANDREA AL QUIRINALE. IMAGE SOURCE: HTTP://WWW.AMBRAZAS.NET/MAIN.

ELLENBCUTLER.COM/WP-CONTENT/UPLOADS/2014/04/S-CARLO _ 020 _ EDIT.JPG

PHP?G2 _ VIEW=CORE.DOWNLOADITEM&G2 _ ITEMID=6212&G2 _ SERIALNUMBER=10

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FINAL ALGORITHMIC OUTCOME

While the final design still represents the superficial qualities taken from the bags it is also able to exude some more meaningful architectural features. Through re-visiting and re-evaluating the design we have managed to impliment some more interesting and meaningful architectural qualities inspired by the same 'style' which is used as the surface level decoration on the exterior of the chamber. The dynamic and plastic form stands in opposition to the rigid and strict cabanon, marking the difference between utility and luxury. We hope that this addition will 'bring people back to the church', so to speak. That is, it aims to attract the kind of demographic to the Cabanon that would not otherwise be able to cope with such an ascetic environment.

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Architecturally we are exploring a number of ideas from surface level ornament to more authentic formal design. In addition to this however, we are making a particular comment on the bag and the lifestyle it entails. For us, our design is likened to a groteque tumor-like form, representing the dark or negative side of this over extravagant and non essential addition to the Cabanon. As architects we realise and appreciate the value of a design such as that of the Cabanon, but in today's society we see people valuing the superficial more and more, as it is represented in the Louis Vuitton x Jeff Koons bag. The chamber appears to begin to immerse and take over the Cabanon, something which we would never wish for in reality but which is speculating on what kind of cultural future we might have based on current hyper celebrity, fake and superficial society.

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The design was aimed to connect to the Cabanon intimately, engulfing one ofthe modular zones with a new 'luxury zone'. In doing this it is designed so that its architectural qualities are in opposition to those of the Cabanon. The rigid, orthogonal and flat nature of the Cabanon is disrupted by a doubly curved, 'lumpy' form which represents the opposite to rationalism.

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BuďŹ&#x20AC;er sleeve pieces to separate the sections (variable)

Sections deďŹ ning form

Structural rods running between sections

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We envisage the construction technique to be one which is simple and build-able by anyone. The use of sectioning means that all pieces can be flat-packed and transported with ease. The system we propose to connect the sections with each other involve sliding rods through holes which pre exist in the sections. A buffer sleeve would slide over the rods between each section to separate them to the required width. These sleeves could potentially then be highly adjustable and theoretically one could change the rhythm of the sections or increase/decrease the overall size of the structure. At the end of each rod, a stopper would then hold all the sections in to each other. This system would provide something which could be easily assembled requiring absolutely no tools or specialist knowledge.

Stopper placed at end of rods to hold structure together

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C.2 TECTONIC ELEMENTS & PROTOTYPES

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In addition to the fabrication technique of sectioning, we wanted to explore vac-forming as a method of form finding and experimentation. Therefore this section continues the design process somewhat in addition to resolving tectonic elements through prototyping. These experiments represent the beginning of seeing what kind of qualities and effects can be produced through vac-forming various arrangements of waffling. Waffle structures with varying rhythm, angles and size were used to experiment with different effects. While these produced relatively interesting results, the smaller size of the waffle apertures meant that the plastic couldn't form as deeply as desired. In many of them, a more two dimensional pattern was created as opposed to a plasticised three dimensional form. Still, the interior form developed (below), created some interesting 'cushioning' effects which may be worth exploring further. While these are interesting results, the real potential for this technique comes from its form finding ability. Purely vac-forming a pre-existing form for replication is not what we are intending. Therefore, these experiments need to be taken further and pushed to their limits.

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While these experiments implemented the same waffle 'moulds' as previous vac-forming, it wielded much more interesting results. The waffle structures were turned upside-down to see what different effect this could have. With the structures oriented in this direction, the weaker and less supported parts of the sections were exposed and were deformed by the vac-forming process. This was an unexpected result, and one which adds a potential layer of interest. Here, we begin to lose some control to the process somewhat. These failures could potentially be analysed and used to create controlled failures in the design. In addition to these deformations, some quite interesting forms were created between the structures. For instance, a tendon like web often forms, bridging the gap between the two structures. This webbing is quite interesting and forms an area of tension which is less predictable or controllable. Presumably, these are caused by the proximity and height difference of two objects. This might be something to experiment with further, though it is hard to imagine how this could be implemented into the design practically.

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In order to expand on this outcome we decided to use the moulds to cast a form. Perhaps these casts could act as an ornamental 'brick' in the design. The process of removing the waffle from the plastic, however was extremely difficult. This was because the vacforming was wrapped around and clamping down on many of the pieces. In some cases, not all sections could be fully removed. While the moulds look fairly interesting themselves, the removal of them from the plastic would also be rather hard if not impossible. This, therefore didn't prove to be a very efficient design method, although the outcomes could have been interesting.

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Structure:

So far, we have tested the qualities that vac-forming can produce on waffle structures. Here, we are testing the different qualities which might be produced through sectioning. A few crude structural section models were made with emphasis on varying shape and height between the sections. In some the variation is minor and in others it is much more. The distance between each section is also varied to test what effect this might have. The last model is also testing the effects on thicker material and more angular sections. The results from this series of vac-forming were very valuable. The aesthetic effect of the smooth fabric like form is strong and represents our concepts of plasticity and movement. The once rather static and rigid sections are now much more dynamic.

Positive condition:

The changes in height and spacing also produced interesting effects. The greater height changes and gaps between sections produced a form with greater articulation of the sections, creating a rather harsh , angular aesthetic. The sections with less change and smaller gaps however created a much more fabric- like effect where the sections are almost ghosted underneath the plastic. With the vac-forming done on sections as opposed to a waffle structure, the potential for linear panels which could be applied in sections in a real world scenario is fairly plausible.

Negative condition:

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After testing the vac-forming process on a series of sectioning and discovering some success, we wanted to prototype our potential construction technique for the sections which could then potentially be vac-formed. Wooden dowels were used as the connecting rods between the sections and clear rubber pipe used as the buffer sleeves spacing them apart. The model was put together with relative ease, although at times became slightly fiddly. For the most part the structure was very solid. Some of the sections however were not able to resist rotation around the rod because it was connected to the next section through just one rod. This was an important finding in the process which was somewhat overlooked in the design. That is, all section need to be connected to the next by a MINIMUM of 2 rods. Otherwise, the sections would freely spin around not properly align itself with the other sections. In addition to this, the materials used were not ideal. While wooden dowels could act as a realistic material which could be implemented at a 1:1 scale, the rubber pipes were not. This pipe was difficult to cut accurately to size, creating less accuracy in the model. In fact, the model was elongated through the process because of this. Therefore, a more accurate spacing material is required. Overall though, the connection logic seems to be successful both in terms of manufacturing ease and strength of structure.

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Through research into industrial vacuum forming, we realised that it would in-fact be feasible to vacuum form our entire structure and have it transported with not much difficulty to the site. We wanted, therefore, to test this idea and vac-form the entire chamber prototype as a whole. This produced some pretty interesting effects and achieves a certain 'de-rationalisation' of the sectioning technique. The form is still somewhat incomplete and lacks the novelty and unpredictability of the qualities seen where deformation occur and we begin to see artefacts of the process itself. In addition to this, because this structure had no variability in its spacing of sections, a rather static form is created. The dynamic nature of the form is achieved only to a certain degree. The rhythm of the sections is still very rational. It would be interesting to experiment more this rhythm, potentially creating more tightly compressed areas of tension. As seen in the sectioning experiments before, there could be areas where the sectioning comes through and expresses itself and other times when it become more hidden through the process.

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Precedents for image transfer onto a vac-forming plastic are fair;y hard to come by. Although it has been done using specialised printers, it is still a technique with is extremely novel. We however, do not have access to such machines so we needed to explore other means of transferring imagery to surfaces such as plastic. Luckily, a very special water-slide image transfer paper was found. This paper could be printed on using a regular ink-jet printer. Once the ink dries, the paper can be immersed in water and the film slid off onto the surface (as seen to the left). After 24hours of drying the image would now be transferred to the plastic. This technique proved to be quite successful up until this point, but it was still questionable how it would react under the heat of the vac-former and the stretching of the plastic.

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An important aspect to our design is the use of borrowed imagery on the surface of the chamber. Previously, we tried tessellation which was less successful in its connectedness to the structure. Our ultimate aim would be to have the imagery printed onto the vac-forming plastic itself before it would be wrapped around the structure. Despite the lack of precedent for this technique working with the vac-forming process, we had great success. The image successfully stretched around the object when vac-formed. Where the image was stretched too far, it begins to split and crack. Although this is technically a defect, the unexpected effect appealed to us greatly. As seen in the images to the right, the defects only add to the quality of the image and if anything create a more authentic effect of an ancient fresco painting which is beginning to deteriorate. The way in which the image stretched across the object is also of interest. Because of the nature of the vac-forming method, the image appears to be relatively un-warped when viewed directly from above. From other more three dimensional aspects, however, one can see that it is being warped depending on how far the plastic has had to stretch.

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The interior condition of the chamber had to also be resolved. Previously, the inte weak and therefore needed development.

The very first vac-forming experiment and the internal 'puffing' effect it had was the interior condition of the Relief Chamber of the luxury and comfort. Therefore without the need for a waffle structure.

The vac-former has the ability to pre-stress the hot plastic, blowing air out and position. This technique has helped us to develop a cushion module which could po

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erior was to be lined with luxurious tactile materials. This idea was

of interest to us. The puffy, cushion like form has the potential for e the following experiments are done to try and replicate this effect

inflating the it. This means that the plastic can be cooled in that otentially be repeated internally with great ease.

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600.00

C.3 FINAL DETAIL MODEL

The final 1:10 model represents the culmination of all these ideas, both computational and fabrication. The tectonic and aesthetic learnings have been taken to produce a strong, extravagant final model. The section pieces were first sent to a Laser Cutter to be cut out of 3mm MDF. These sections include the necessary holes for structural rods to be put through. A much more accurate copper pipe was used for the spacing buffer pieces between the sections. These were able to be cut with ease in varying lengths using a pipe cutter. The rods running the length of the model are threaded steel, making it easy to fasten the sections together using nuts. This proved to be a great construction technique, one which was easy and produced an incredibly strong structure

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James Douglas 329

900.00

Sheet 01 of 02

600.00

9275

Sheet 01 of 02

James Douglas 329725

900.00

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Sheet 02 of 02

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As shown previously, a water-slide image transfer method was used to put the designed imagery onto the vac-forming plastic. across four separate sheets. This is not ideal as we predict that the seems will become more obvious once the vac-forming is co

Due to the lack of time at this point though, it was our only option which we had to proceed with. If more time were available it

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. Due to the scale of the project and the unavailability of larger sized sheets as well as capable printers, the image had to be split omplete.

t would have been ideal to find the appropriate tools to create one continuous image across the plastic.

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As shown above, the image transfer and vac-forming process was a success. As mentio process but we are considering this as only a minor failure.

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oned previously, the seams between the sections are accentuated after the vac-forming

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FINAL 1:10 MODEL

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After trimming he plastic along the edge of the image, the dynamic vacuum form over the sections creates a fabric like, scalloping plastic form. It resembles a piece of fabric which is thrown over the structure, something which reminds us of Baroque sculptures which depict very dynamic fabrics and garments. The image placement and prediction mentioned previously has some success, though not perfect. The use, however, of the imagery on clear plastic and locating the dome and sky above the main chamber space has successfully created the illusionist and atmospheric condition that we desired.

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FINAL 1:1 DETAIL MODEL

In order to detail the connection logic of both the cushions and vac-formed plastic onto the sections, as well as the connection between the sections, we decided to make a 1:1 model of how this will work, implementing the materials which could be used to build it in reality. The sections were made from 25mm MDF which was CNC milled. This is a fabrication technique which would make it extremely easy to fabricate the entire structure in real life. The connection between the sections is made from PVC piping, painted gold. The buffer sections made also from PVC but of a slightly larger diameter. This is an easy, cheap and strong material which can be cut to required lengths with ease. A rubber gasket-like ring is then used to hold the sections together. This part proved to be rather successful. This piece not only is easy to assemble, but also structurally sounds and aesthetically pleasing. The cushion is fabricated from the vac-formed plastic and covered in velvet material. Although this isn't quite what it would be like in reality, we proposed that the connection logic would not differ. In reality, the cushion would have a wooden base which could be covered with the fabric and stuffed with soft material. The wooden piece could then be bolted to the sections in the same way that the vac-forming plastic is in this prototype.

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FINAL 1:20 MASS MODEL

In order to represent the connection of the chamber with the Cabanon, we wanted to produce a 1:20 mass model which could attach to the plywood model of the Cabanon we produced earlier in the semester. This was most easily and accurately done by 3D printing the form. By slicing it in half, we also wanted to represent the 'poche' of the chamber, a Baroque concept of representing wall space.

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One of the more important aspects of the design is the internal condition extravagant, luxurious, tactile space to immerse oneself in and get away f showing these more experiential qualities. The interior, lined with plush vel with theatrical imagery and atmosphere. It represents everything that the

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n of the Relief Chamber. The major concept of the accessory is to have an from the rawness of the Cabanon. Through these rendered images, we are lvet cushion allows the user to lounge below an extravagant gold structure Cabanon is not.

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Retreat Yourself.

RELIEF CHAMBER Sold exclusively in Louis Vuitton stores. 866-VUITTON louisvuitton.com

A CURATED SERIES OF ARTWORK IN COLLABORATION WITH LOUIS VUITTON

LE COURVOISIER

Retreat Yourself.

RELIEF CHAMBER Sold exclusively in Louis Vuitton stores. 866-VUITTON louisvuitton.com

A CURATED SERIES OF ARTWORK IN COLLABORATION WITH LOUIS VUITTON

LE COURVOISIER

Provides decadent tactility Connects with architectural style Creates theatrical effects Flows in sumptuous curves Breaks the rules Adds new luxury zone

For us, the main site for the Relief Chamber was the Cabanon it place the chamber where it can gain maximum attention to itself a pedestal and put on exhibition, we wanted to do that same for deck in the centre of the site was perfect.

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tself. However, in relation to the Dights Falls site, we wanted to f, much like the bags do. Since the bags are often represented on the Cabanon and its new accessory. Therefore, the main viewing

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C.4 LEARNING OBJECTIVES AND OUTCOMES

This design subject has marked a massive step in my architectural thinking and learning. Being introduced to such concepts as 'parametricism' and computation design has enabled me to see what future potentials there are in the field. The brief of the studio forced me to place these concepts over a framework of current and potential future social conditions. It asked question of the potential future role of Architects in the context of a hyper celebrity driven future. This type of future is not so unbelievable and I believe that our design proposal has been relatively successful in exploring these potential ideas.

speculate on what this type of future might be like and what it might mean for architecture. The design to us is in reality a burden to the host. The architectural design process allowed us to get a result which embodies a more negative, grotesque, tumour-like form which begins to engulf the Cabanon. While a certain demographic, one which is a part of this celebrity culture, might see this chamber as a refreshing addition of style and luxury, others would see it as a far less positive 'growth' on Le Corbusier's holiday shack; in many ways destroying the very conceptual nature of what it is. In this way, this project although spoken of throughout the process in a fairly serious manner, is meant to be satirical. It is after all a design in which we would never really want to apply to such a building. It might however get people talking about the irrational desires of luxury consumerist goods that we seem to obsess over more and more.

It was an interesting task to take a piece of architecture from possibly the worlds most well revered Architects of the 20th century and to 'pimp' it out with something much more superficial and mainstream. Though the Cabanon appears to be simple and crude in some ways, many people are aware of its immense credits. In this day and age and particularly in the future are people going to recognise or appreciate these as readily? It seems in this age of 'fake' news, social media, and trends / styles which are driven by the celebrity, we are loosing touch with more meaningful ideas. Is architecture in danger of losing its authenticity and meaningfulness and rather become a tool for changing trends and fads? I believe the project has explored these concepts through the dissection of existing popular products which for many of us represent a particular extravagance and superficiality but for others represent our irrational desires.

The conceptual ideas explained here were able to be explored in a way which arguably represents the future of architectural design processes. That is, algorithmically and computationally designed both digitally and analogously through various modern fabrication techniques. This process proved to be quite a valuable one in both the exploration of form in our design and in the conceptual learnings of these tools and their potential agency on the design. The algorithmic/parametric design process allowed us to set up a set of rules based on our architectural design concepts with relative ease that would generate complex form. The parameters controlling these rules could then be manipulated to find the best outcome. Being able to go back to the very start of the 'design process' algorithmically and adjust parameters became an extremely valuable tool.

While implementing many of these qualities which we found in these popular items, we also wanted to explore architectural ideas. We believe that this superficial treatment of style is not enough and propose that the successes of the design lie in reality in its formal architectural design ideas and explorations.

If the definition of parametricism is about more than just a 'aesthetic style' and more about the algorithm having agency

As mentioned previously, the aim of the project was to

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over the design, producing the unexpected and unimaginable, then I think our project still falls short. Digitally we implemented some tools which did dictate the form finding somewhat, but not to the extent of a purely generative design process. Our use and exploration into the analogue fabrication technique of vacforming, however did bring us somewhat closer to this goal. Although this was not a digital tool, it helped us to understand the interest and novel-ness of using a tool to create unexpected outcomes. Because of the limited amount of time toward the end of the process however, much of this potential exploration in the context of the final design was not able to be achieved. The final design still holds strong qualities of the sectioning technique which after-all is in many ways becoming clichĂŠd. To further the design to the next level, the sectioning technique needs to be broken down further or even removed. The vacforming technique has the potential of representing the ghost of the 'style' or technique without implementing its typical aesthetic. In this sense sectioning would be used as a technique for form finding rather than fabrication. During the design process, the deformation experiments which were conducted towards the end were worthy of exploring further. The restriction of time and the necessity of the production of a resolved design did not allow us to explore this in great depth. However, the elements could be explored at various scales, perhaps as a 'brick' or some kind of recursive element in the project. This is potentially something that we could explore in the time between final presentation and journal submission.

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FURTHER EXPLORATION

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After completing the final presentation of our project we wanted to explore the potentials for the technique of vacforming to gain more agency and interesting qualities. We started by removing the casts from the deformed vacformed moulds seen previously. Previously this was not done because we thought it would not even be possible. Here we have sacrificed the mould to get them out. Although it was not possible to remove them in one piece, the outcome was still extremely pleasing. Instantly, the Plaster of Paris casts reminded us of a dynamic sculptural ruin from the baroque era, bringing in qualities of the sublime. Perhaps this is the modern Baroque sculptural ornamentation? It would have been really interesting to be able to explore these forms on this kind of scale as a recurring brick or tile. The potential of this would take the project in a rather different direction and would require thought on how it might work tectonically. This however is where the project could have gone and is a place which is far more interesting than the sections wrapped in plastic. Here, you see that the form has come from sectioning and the breaking down of that technique through stages of de-rationalisation. The techniques of sectioning and vac-forming now become a method of generation of novel form instead of just being able to realise complex form. This to me is quite interesting.

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Addition studies in the deformation of the section technique needed to be done. Here, we took the same definition used to c By doing this, the sectioning would produce much weaker sections which we predicted would deform under the pressure cre sections. Both of these factors contributed to a section model which was considerably hard to build. In this way, this techniqu interesting moments. Again, the potential of this method in a design outcome could be in a smaller scale such as brick or tile

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reate the final design. The parameters of the algorithm were increased so that the form would produce far more complexity. eated by vac-forming. The sectioning was also increased in complexity. For instance, more complex angles were used in the ue is not very practice. Still, through the process of vac-forming, most of the sections successfully deformed and created some e, but possibly not on a larger scale such as that which was used in the final design outcome.

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In an attempt to take the vac-forming deformation proc sectioning, we used cut foam in the hope that it would the plastic. The results were interesting. The foam did d which made the form particularly more interesting than formed plastic, especially with the imagery created som someone trying to break through an elastic material. Th

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cess a step further and less related to melt and deform under the heat of deform somewhat, but not in a way n it was before. Nevertheless, the me interesting forms reminiscent of his has a fascinating groteque quality.

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Continuing what was shown on the previous page, these examples are taking the combination of sectioning an bottom outcome did not produce any particularly interesting result, the one seen above is the most interestin without destroying the mould itself. This is a problem which seems to be hard to solve in this technique. If these p Perhaps in a future iteration of the design, the structural parts could be designed to collapse once the vac-formi

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d cut foam, mashing them together in a composition to be put through the vac-former. Although the ng outcome of the two. Unfortunately it seemed as though those elements would be hard to remove pieces were easier to remove, the mould could be used more effectively as recursive element in a design. ing has occurred.

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