AIR JOURNAL PART B

S TU D I O AI R J O U R NAL JAMES DOUGLAS 329725 SEMESTER 2 2017 TUTOR: JACK MANSFIELD-HUNG

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]

2

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

3

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

4

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

5

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]

7

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

8

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

9

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

10

"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

12

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

13

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 1

1 2

2 2

2 3

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

1

4 2

2

3

3

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

6

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

4

4

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SUCCESSFUL ITERATIONS

C:

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

1 1

3

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

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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]

3

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

4

"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

2

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.

4

5

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.

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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

3

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.

6

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

3

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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rv

4

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:

6

10

POLYLINE COUNT:

8

16

POLYLINE SPREAD LIMIT:

-1.88 / 0.21

-2.00 / 0.55

25

30

25

40

0.07 / -1.22

-1.19 / 2.00

DIVIDE CURVE COUNT:

4

10

POLYLINE COUNT:

10

16

POLYLINE SPREAD LIMIT:

-0.38 / 0.26

-0.42 / -0.18

30

30

35

20

-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.

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Species B:

15

20

20

16

20

20

0.55 / 0.55

2.00 / -0.19

2.88 / 1.22

35

35

35

40

50

100

2.00 / -2.00

0.46 / -2.00

2.00 / -2.00

16

20

25

20

25

30

-0.53 / -0.01

-0.62 / 0.16

-0.73 / 0.25

20

20

10

40

60

80

-0.80 / 0.48

-1.00 / 0.69

-1.00 / 1.00

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Species C:

SURFACE DIVISION COUNT:

43

13

29

91

91

PERP FRAME COUNT:

5

10

19

7

11

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

3

3

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

0.05, 0.62, 1.27, 0.77, 1.47

1.8, 0.8, 0.78, 1.4, 1.63

INPUT CURVE:

STRAIGHT

STRAIGHT

STRAIGHT

ONE BEND

ONE BEND

Species F:

POLYLINE CHARGES

RADIUS:

1.5

1

1

2

2

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

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

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

SECTION CHARGES

RADIUS:

3.5

3

3

6.5

2

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

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

-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.

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91

2

13

33

88

11 / 11

15 / 11

19 / 10

7 / 16

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0.17, 0.01, 0.99, 0.53, 0.73

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

TWO BENDS

TWO BENDS

1.5

1.5

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

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

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

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

0.59, 0.89, 2.52, 2.26, 2.95

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-1.32, 0.72, 1.28, 0.78, 0.4

-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

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4.1, 4.94, 4.93, 3.95, 2.54

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:

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1.78, 0.06, 1.19, 1.29, 0.65

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

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SECTION CHARGES

RADIUS:

3.5

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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:

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

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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

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:

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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.

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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.

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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.

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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

X

LOUIS V

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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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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 Koon 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.

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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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RELIEF CH

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B.7 LEARNING OBJECTIVES AND 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 APPENDIX

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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