Sciessere_James_699068_FinalJournal

STUDIO AIR JOURNAL JAMES SCIESSERE 699068 Semester 1, 2017.

CONTENTS Part A - Conceptualisation Pages 4-21

Part B - Criteria Design Pages 22-40

Part C - Detailed Design Pages 41-65

STUDIO AIR JOURNAL Part A. Conceptualisation

CONTENTS A.0 - Introduction Pages 6-7

A.1 - Design Futuring Pages 8-11

A.2 - Design Computation Pages 12-15

A.3 - Generation/Composition Pages 16-19

A.4 - Conclusion Page 20

A.5 - Learning outcomes Page 20

A.6 - Algorithmic Drawings Page 21

A.0 INTRODUCTION

My name is James Sciessere, and I am a third year Architecture student, enrolled in the Bachelor of Environments course at the University of Melbourne.

I was born in Mlebourne, and have lived my entire life here - however my background is Italian and Macedonian, from my father and mother’s sides respectively.

The catalyst behind my intrest in architecture is family oriented, as the entire generation above me work in the building industry in some capacity. I was especially interested in the

design subjects offered to my while I was at high school, so it seemed like a natural progression to undertake this study - combining both my interest in working in building and design.

The aspect of this subject that I am most drawn to is the idea that we would be enabled, through the mediums offered, to turn our ideas into tangible realities. I am looking forward to exploring both my limits, and the limits of the programs and fabrication lab.

A.1 DESIGN FUTURING CASE STUDY 1: SHANGHAI LIBRARY (2016) Client : Pudong New Area Planning and Land Authority, Pudong New District Propaganda Department (Cultural Media Bureau), The Architectural Society of Shanghai China, “Time Architecture” magazine.

Project Location : Shanghai, China Area : 110,000 m2 Program : Library + information resource center

FOOTNOTES:

1 - “Shanghai Library East Hall | Narchitects”, Narchitects.Com, 2017 (Figs 1-3)

This concept was the receipient of the 2016 International Young Architects Design competition, beating over 200 entries in the process. The title of the project is labeled ‘Library at home’, and this idea serves to be the main crux when looking at what the designer is aiming to achieve.

In accordance with the reading Speculative Everything: Design Fiction, the reason I chose this concept was to further explore the notion of innovation not necessarily being dictated by apocolyptic scale events and needs, but also by smaller scale things. Applied to this specific instance, the designer can be said to be creating a space in which would attract people, as, currently, the main issue with libraries is that with the advancement of technology, they are becoming more and more obselete.

The concept ‘Library at home’ is the designers attempt in mending the gap between society and their library.

The means in which this is achieved is through the layout of the spaces and their interactions. Four open levels provide distinct library environments, each connected to exterior gardens at every level, as well as to each other, resulting in a continuous public interior.

The cylindrical space also maximises the surrounding spaces, as the footprint of the park level is small. This addresses the issue of a compacting urban environment, while still maintaining a degree of legibility regarding the overall scale of the surrounding city, in line with an increasingly modern line of thinking.

A.1 DESIGN FUTURING CASE STUDY 2: ROOFTOP REMODELING Architect: Coop Himmelblau Date: 1983 (Concept design), 1987 (Construction) Location: Vienna, Austria

FOOTNOTES:

1 - “Rooftop Remodeling Falkestrasse”, Coop Himmelb(L)Au, 2017 (Figs. 1-3) 2 - Kristin Feireiss and others, Say Himmelb(L)Au..

3 - Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice

Coop Himmelblau’s Rooftop remodeling was a deliberately provocative idea, with the aim to ‘break the mold’ of the contemporary style of design 3. The structure itself is parasitic in nature, as it looks ot be emanating from the surrounding building - due to the fact that it is an extention out from an existing roof.

The inovation from this project stems from the manner in which it was designed - leaning heavily on digital programming to facilitate the unbalenced and asymmetrical form that it takes.

The use of fragmentation is something that has been propegated throughout architecture since, with a notable example being our very own Federation square. This opened up a new scope in which forms could be designed in as, these new chotic forms took over from the refined and meaured style that had been developed over the years.

It is apparent through this form that design can act as a catalyst for forward thinking, as with new precendents out forth, the perception of normality continually changes.

A.2 DESIGN COMPUTATION CASE STUDY 1: ICD PAVILION Architect: Achim Menges Date: 2010 Location: Stuttgart, Germany.

FOOTNOTES:

1 - “ICD/ITKE Research Pavilion 2011 | Achimmenges.Net”, Achimmenges.Net (Figs 1-3) 2 - “ICD | ITKE Research Pavilion 2011 / ICD / ITKE University Of Stuttgart”, Archdaily, 2017 (Fig 4)

Newfound techniques continue to emerge, and one which seems to create a connection between the ever changing environment as our build world is computation. More and more does this allow designers to merge things like ecological processes and structure, as works are framed through logical relationships as formulae within a computer. Computation is a medium in which the formative thinking of any given designer is easily facilitated, as they are enabled in a plethora of ways.

Regarding complex designs, the algorithmic nature of this pavilion means that Menges was able to enhance the complexity of the project. The fine tooth joinery allowed each individual hexagonal cell to be assembled by hand, and then the overall work in a similar manner. His vision, to use recognised bionic principles as the basis of his geometries4, was made possible through the use of computational processes. The finger joints of each cell were cut via a robotic fabrication system, and the urchin-like form was found through a number of form finding processes. This way of thinking is a small scale example of a larger shift towards a logic and performance based shift in design, with computational processes serving as a foundation.

FOOTNOTES:

3 - “ICD/ITKE Research Pavilion 2011 | Institute For Computational Design And Construction�, Icd.Uni-Stuttgart.

De

A.2 DESIGN COMPUTATION CASE STUDY 1: HYPERMEMBRANE DEMO Architect: HYBRIDa Date: 2012 Location: Barcelona, Spain

FOOTNOTES:

1 - “HYPER MEMBRANE | Hibrida - Arch2o.Com”, Arch2o.Com, 2017 2 - “Hybrida”, Hybrida, 2017 <https://www.hybridarch.net/>

This demonstration serves to be a smaller piece of what would constitute a larger â&#x20AC;&#x2DC;Hypermembrane sports stadiumâ&#x20AC;&#x2122;, as it illustrates a response to dynamic structure. Through computation, the range of achievable geometries is widened, and more ideas can be applied to built form. This is illustrated through the overarching concept behind the Hypermembrane demo, as it adaptable form is something unseen on static buildings at this scale.

The dynamic beam detector within utilises radiation data collected on the surface panels as the main computational control over the form of the structure3. The functions provided are things like creating shaded areas in high heat conditions, using solar panels in order to capture energy, or creating cavities for ventilation or light diffusion. This demo serves to be an example of performative architecture made possible through computation, as it is defined by its highly adaptable nature.

The responsiveness to the environment through stimulation is also another instance of computational design.

FOOTNOTES:

3 - European Commission : CORDIS : Projects & Results Service : Demonstration Of An Adaptable Structure For Architecture Applicationsâ&#x20AC;?, Cordis.Europa.Eu, 2017

A.3 GENERATION/COMPOSITION CASE STUDY 1: LA SAGRADA FAMILIA Architect: Antoni Gaudi Date: 1882 Location: Barcelona, Spain

MISSION STATEMENT: Through algorithmic modelling, a huge amount of options has been opened up to designers to the point where it must be considered an integrated part of architectural design. The complexity in which some buildings are erected can no longer be fully fleshed out by simply drawing, and so generative design seems like it could be the main driving force behind design moving forward.

“When architects have a sufficient understanding of algorithmic concepts, when we no longer need to discuss the digital as something different, then computation can become a true method of design for architecture.” 1

FOOTNOTES:

1 - Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design 2 - Residential Design and others, “The Sagrada Familia”, Inspiredspaces.Com.Au 3 - “Antoni Gaudi’S Sagrada Familia | Architecture And Design”, Architecture And Design, 2017 (Fig 1)

An early example of parametric design was seen through the parametric, hanging string, model of La Sagrada Familia and serves to be a baseline understanding on which the more complex nature of Parametric Modelling was built upon. The structural capabilities of this building may have been far beyond the mathematical capabilities of its time, however through the novel process of using sandbags to create an inverse structure, Gaudi was able to create a very structurally sound building. The parameters contained within the model were rather straight forward, the string length, the weight and the anchor points all effected the output.

The generative nature of this building is especially telling when looking at the conception of the idea, compared to how it sits within the cityscape. While the building itself hasn’t yet been completed, the fact that construction began over 135 years ago, yet it does not exude the same simple characteristics prominent in the 19th century.

The in depth understanding of catenary curves, while perhaps extending the building process, creates a vastly complex shape.

FOOTNOTES: 4 - UNESCO Centre, “Works Of Antoni Gaudí”, Whc.Unesco.Org, 2017 (Fig 2)

A.3 GENERATION/COMPOSITION CASE STUDY 2: SEED CATHEDRAL Architect: Heatherwick Studio Date: 2010 Location: Shanghai, China

FOOTNOTES:

1 -”UK Pavilion For Shanghai World Expo 2010 / Heatherwick Studio”, Archdaily, 2017 (Figs 1-2) 2 - “Designing The Seed Cathedral”, Detail.De, 2017 (Figs. 2-4) 3 - “UK Pavilion | Heatherwick Studio”, Heatherwick.Com

A much more contemporary example of parametric design going above and beyond existing capabilities is illustrated through Heatherwick Studioâ&#x20AC;&#x2122;s Seed Cathedral. The accuracy and placement of the 60,000 rods containing plant seeds goes well above and beyond the accepted industry standards. There is an intense consideration of element placement, configuration and the relationship between each individual seed.

This also extends to the landscape of the concept too, as the wrapping-like ground is specifically designed to make it seem like the cathedral is a present sitting upon wrapping paper3.

An argument put forth criticising this method is that it creates a delineation between the maker and the object, as it loses a sense of creativity. However, in contrast to this way of thinking, I would propose that when looking at computation as a whole, the creativity aspect is a zero-sum concept. That is to say, while it undeniably casts away some classic characteristics regarding creativity in design, in other aspects it also opens up many avenues in which creativity could be expressed in different ways. Applied to this example, the seed cathedral is a measured attempt in showcasing a catalogue of seeds. Yet it is also a striking piece of architecture in its own right, and an extremely innovative way of means of showing something otherwise uninspired.

A.4 CONCLUSION As I was drawn to the idea of Achim Menges merging both computational design with ecological processes, I intend to try to explore this relationship even further. Regarding the innovative aspect of my approach, it is not what is being applied that is the source of innovation, but rather how it will be. As I do not believe that all of the interactions between the outside world and our inside world have been fully explored, especially in a mathematical sense, it is my intention to forge another bridge between these two ideals and make them one. This is something I do not believe could be achieved through drawing techniques that I am very familiar with. Therefore, I think that in order to satisfy the scope in which I intend to work in, the design will be very heavily computerised. The reason that I think it will be beneficial to work in this manner is that, whilst retaining the aesthetic elements prevalent in architecture, having an existing set of rules to work by would be very helpful in emphasising functionality.

A.5 LEARNING OUTCOMES In a general sense, I have designed under the ethos that â&#x20AC;&#x2DC;simplicity is bestâ&#x20AC;&#x2122;, and have valued simple and sleek designs over those with lots of visual noise. This is, in part, due to my propensity to design for functionality rather than form, with a shortcoming of this thought process being that it sometimes leads to uninspired designs. However, especially through our work in grasshopper, I have garnered an appreciation for the complex results generated through seemingly simple mathematical processes. Retrospectively, I think that from what we have already learnt this semester, I could have used one of the algorithms we have used in order to add a layer of depth or complexity to any of my previous projects. I tended to use alternate materials to create areas of focus, however, these spaces may be further enhanced through the use of texture. Moving forward, I think that I will endeavour to learn more to learn about the capabilities of algorithmic design, as design through mathematics is an especially attractive concept for me.

A.6 ALGORITHMIC DRAWINGS

The first algorithmic sketch I attempted was to create a from that interacted with a reference point. The interaction I chose as part of the algorithm was to alter the radius of each spehere depending on how far away it was from the point. The first image was not as successful as the distinction between the shapes was not as pronounced, but in changing the algorithm I was able to achieve the result I wanted in the second.

The second drawing was an effort to manipulate a singular shape and create a structure within the algorithm. This was done using an elipse as a starting point, and rotating it around itâ&#x20AC;&#x2122;s central axis.

The next step was to move each piece vertically in order to create the helix shape. Finally I chose to divide the surface, with a heavy emphasis on the U-value to create more horizontal nodes, and assign a circle to each point. The second image in this series is exploring the properties of baking the same algorithm with minor changes.

STUDIO AIR JOURNAL Part B. Criteria Design

CONTENTS B.1 - Research Field Pages 24-25

B.2 - Case Study 1.0 Pages 26-29

B.3 - Case Study 2.0 Pages 30-31

B.4 - Technique: Development Pages 32-34

B.5 - Technique: Prototype Page 35-36

B.6 - Technique: Proposal Page 37-38

B.7 - Learning Outcomes Pages 39

B.8 - Algorithmic Sketches Page 40

B.1 RESEARCH FIELD PATTERNING

Patterning is a technique which can be expressed in a multitude of ways, influenced by, but not limited to, many factors including culture, region and also temporal aspects. This technique has strong historical foundations as previous forms tended to be used in an ornamental manner on elements such as ceilings, columns and cornices.

Classical architectural styles are perhaps the strongest illustration of patterning, chiefly the renaissance and baroque periods. As the style of the aforementioned time periods was largely dictated by religiously themed buildings such as basilicas, patterning was used as an expression of spirituality. Recurring motifs are not only present in christianity, but also in many other religions too - generating a profound spiritual aesthetic, present in buddhism for instance. The allusion through the use of pattern was that it an an innate ability to instil an effect - whether that be spiritual or otherwise.

Adolf Loos, however, staunchly refuted the implementation of ornamentality during the post-modernist period. His proposed argument dictated that ‘ornament is crime’, essentially casting away the idea of beauty through effect. His view was that the beauty of ar-

chitectural form should be derived from structurally refined and resolved buildings. Whilst there is merit regarding this view, my proposal is that an effective middle ground between structure and sculpture offers the largest scope for architects to work within - enabling expression whilst informing the design through structural performance. ‘Ornament [being] necessary and inseparable from the object’ is a belief propagated post-Loos, and is a view that is inherently relevant to the use of patterning.

With the emergence of parametric design, the expression of patterning and ornamentality has made a resurgence of sorts as designers are able to have more agency over their ideas. Through computational mediums, data structures are able to be analysed in far greater depth and manipulated to create complex geometries. Through this, architects are able to design in a way that satisfies the need for ornamentality without designing for the sake of designing. The case study that will follow illustrates this concept effectively, as Jeanne Gang of Studio gang uses inputs from her surrounding environment in order to generate a very meaningful and contextual reasoning behind the aesthetic of the building.

B.2 CASE STUDY 1.0 PORTRAIT BUILDING - ASHTON RAGGART MC DOUGALL This project is a 32-storey residential tower located on the grounds of the former Carlton and United Brewery.

The facade of the tower features an image of a portrait of indigenous leader William Barak. The image of Barak will be created using a striated balcony design, with undulations in the shape of the balconies outlining the features of the portrait so that, from a distance, the full portrait becomes visible.

MANIPULATING THE IMAGE Whilst it would be later found that if the algorithm could be run backwards, all of the iterations of the original image could likely be produced, it was a helpful excercise at it immediately illustrated how color or brightness impacts the generated image.

DENSITY This is manipulating the way in which the original surface is divided. The higher density of division, the higher the resolution that the image will be displayed, however, going too high results in overlapping of elements.

ORIENTATION OF MOVEMENT WIthin the algorithm, the direction that the points are moved is able to be controlled - and this instance in particular (Y-axis), offers room to incorporate other elements into the design that werenâ&#x20AC;&#x2122;t able to be present previously, such as depth.

CONTROLLING THE MOVEMENT In this iteration, the movement of the points is not mirrored, as with the surface acting as a reference, the points infront and behind the surface are able to be manipulated serperately.

MINIMUM MOVEMENT This effectively brings all of the points forward to a fixed point, effectively redefining what the color black is within the algorithm. Could be useful to reduce deviation if that was an intended design path.

B.3 CASE STUDY 2.0 AQUA TOWER - STUDIO GANG Jeanne Gang’s Aqua tower combines 4 parameters in order to generate the ripple effect that runs down the facades of the tower. In principle, the topographic striations of limestone was a key feature that they

wishsed to replicate, present in the repeated concrete members that span up the tower, however the ‘rule’ for the length they protrude is derived from a topographic map.

REVERSE ENGINEERING STEP 1

STEP 2

STEP 3

Detailed here are the steps to achieve the ‘ripple effect’ seen in the Aqua tower: - Step 1 was to set the base surface as a reference point for the rest of the process - Step 2 was to divide the surface into a point grid - Step 3 was to input the contour used in the image sampler - Step 4 was to move each point from it’s original position depending on the brightness or white value of the image - Step 5 was to interpolate the curves, or to draw a line through each point - Step 6 was to create a loft between the original surface and the created curve

STEP 4

STEP 5

STEP 6

B.4 TECHNIQUE: DEVELOPMENT

SPECIES 3 - TRUNKS This species was actually only effective in one orientation, as it acts like a tree trunk. In order to get the subtractive effect, the direction that the points are moved is inverted, and then with a minimum movement added - it is essentially the algorithm running backwards. Conceptual now, however, could be interesting to try and impliment.

SPECIES 6 - BIO-THING This result was very unexpected, and in a sense uncovered some of the latent potential within the algorithm. In changing the surface, the spacing of the surface division would be less uniform. However, it wasnâ&#x20AC;&#x2122;t until I flipped the data tree that this effect truly came to life, as the strips seemed to radiate out from an origin point.

SPECIES 8 - EXTRUSIONS This series of iterations revolved around extruding the curves in different axes. The Z-axis was the most successful orientation, as it lead to a form which could be effectively made using the available tools - specifically laser cutting. The Y and X axes produced curves that wenâ&#x20AC;&#x2122;t back in on themselves, creating an un-fabricatable form, and were therfore less effective.

SPECIES 9 - SPHERES Achieved by placing a sphere at each point on the surface, and then designating the radius of the sphere to be the distance that the point is moved by the algorithm, it creates a very interesting effect. The main drawback of the spherical nature of this design is, with the tools available to me, there is not much possibility that I would apply this specifically to a real life design as it would be too difficult to fabricate.

B.5 TECHNIQUE: PROTOTYPE STRENGTHS AND WEAKNESSES

The process of making a prototype was an integral part of providing real-world context to the overall design. It allowed us to generate a greater understanding of how proposed materials affect the overall performance of the design as well as identifying shortcomings that the current iteration of the design has.

Some of these shortcomings were made clear through the material performance. The accuracy of the laser cut was lower than expected, as pieces were not cut clean through, compromising the faceplate that the curves were joining to. Also, manipulation of the material itself (the application of timber stain), further compromised the same piece. As a result, areas of deflection and flex were made apparent. The joins also showed some flaws in In hindsight, it should have been apparent that the repeated openings in one direction would make the material weak to bending. Therefore if this element remains present, some sort of lateral bracing will be required to ensure the installation remains straight.

The first concern was that the effect of having the wave run through the prototype could potentially be lost, as the effect was made apparent through the manipulation of the viewing angle on the 3D model.

However, at this scale and density, it translates effectively at this scale. It will definitely be a consideration when applied to the proposed ballroom, as it will most likely need to be altered to accommodate for the viewing distance and area of the ceiling.

Overall, the prototype was successful in illustrating the intended effect at this scale, as well as exhibiting general aesthetic properties. Through further refinement, there is definitely potential to meet design goals set out. The key takeaways from this stage of the design were to further explore the scale of the model as well as identifying a more suitable means of assembly, namely how the pieces join together. It also opened up the avenue of combining this technique with paneling in order to create a more complex, real world solution.

B.6 TECHNIQUE: PROPOSAL GENERATION THROUGH FLUID

One thing not present throughout the entire generative process thus far was a consideration for the image being sampled. Whilst the image of the wave creates a desired effect, it is not informed by any source. In order to address this, the proposal is to generate an image through the medium of fluid simulations - trying to preserve the effect of movement whilst giving agency to design within the context of the space.

a greater understanding will be achieved of how the existing infrastructure, such as the screen will affect the flow within the space.

One effect in particular I wish to pursue is the implementation of a lighting feature, potentially a form of contemporary chandelier. If the water hits the surface at a direct angle, it will splash back in a way that will create a central focal point where the ripple will radiate out of. It will be at this point where I believe there will be the most scope to explore an idea like this.

The depicted simulation is just a tentative attempt in trying to set of a series of parameters in order to get the simulation to work. Through further development of this technique, factors such as the ‘basin’, or how the water is caught, the flow and other external influences will be able to be controlled in a way relevant to the design. It is intended that in order to relate to the space more successfully, the ‘basin’ for further simulations will be the ballroom itself inverted. Therefore,

Finally, both the technique as well as the implementation may need to be reevaluated, as even though they create an interesting aesthetic, it is a concern that the technique may be too simple for the intent of the brief, while the implementation may not be entirely relevant on a grander scale.

  



 







 FFL 19701





FFL 19700



















 







FFL 19700



 













































 

   



  













 



 

 







 

  



 





 











The confines of this simulation are a catchment area, designated by an invisible cube, the basin and finally the angle and velocity of the water.

B.7 LEARNING OUTCOMES The learning outcomes throughout the studio thus have have had an undeniable correlation between computational design and architectural form. The specialisation within this assignment has created a focal point in order to create a sense of understanding of the greater idea of parametric design.

I believe that there was not a huge scope to illustrate understanding of the brief without straying too far from the conceptual nature that seemed to make up most of Part B. However, through considerations of scale and application I addressed key areas of it, expressing a base level of understanding. The physical prototype was the most successful instance where this occurred, as it was the part of the assignment that seemed to be an experimental process informing the overall form that could be implemented, rather than an overall form that could be designed without constraint. It also effectively identified both weaknesses as well as opportunities within the design.

I felt like we had a lot of agency to essentially do our own thing in this assignment - especially through the iterative manner in which we worked. Going into the assignment, the matrix task felt like it was going to be a matter of filling in the rest of the matrix without much thought after finding an initial path to go down.

However, it wasn’t until after redoing it that I realised

the broad range that it forced us to work in.

This assignment further developed me as a designer, as in having some sort of understanding about computational design, albeit an entry level, it has opened my eyes in a sense. Rather than just looking at new projects, I find myself wondering how the designer managed to get to that point - thinking especially about their workflow and if I could replicate it to a degree. Whilst there is still much to learn and to further refine, it feels like a more than solid foundation to begin with. The reverse engineering exercise was almost like a ‘eureka’ moment, whereby the realisation of ‘I can do this’ felt like all the work previously was justified, and that I had a new set of skills that I developed and could apply.

My design proposal at this juncture has left a lot of room to push it much further. This gives me an avenue to even further develop and refine my own skills in digital modelling, acting as an agent to further enhance and define my proposal in Part C. I feel like the next assignment will be heavily influenced by multiple prototypes, however, in my case it will also carry on the iterative design method at the very start too.

B.8 ALGORITHMIC SKETCHES

STUDIO AIR JOURNAL Part C. Detailed Design

CONTENTS C.1 - Design Concept Pages 43-49

C.2 - Tectonic Elements Pages 50-55

C.3 - FInal Detail Model Pages 56-65

C.4 - Learning Outcomes Page 66

C.1 DESIGN CONCEPT OVERVIEW OF FEEDBACK

Simple, yet, suitable: A piece of feedback which heavily influenced the design proposal from this point onwards was that the interim design was the overall proposal was a simple, yet potentially suitable response to the brief. The overarching response to this feedback was to break down the proposal, and carefully consider these elements - with a recurring emphasis on what informs the design. We also considered another precedent to build a further understanding on elements that we can explore further. Regarding the physical nature of the design, we wanted to further explore the materiality of the model as we felt that this was an element that was only shallowly explored in Part B. Also, a further exploration into the means of joining the model is needed, as the existing prototype had elements in which it could be improved. In conclusion, the aim for this part of the design process is to create a concept the illustrates a very measured and informed use of all the major elements that constitute the design, whilst also retaining the essence of the interim submission.

OVERVIEW OF FEEDBACK

 







 FFL 19701





 

FFL 19700

 











 



 FFL 19700

 

An uninformed design:   The design technique utilises image sampling in order to generate an overall shape. Up until this point, the image being sampled was a high-quality generic wave  evalu   image, sourced froma stock photo website.

In ating the design proposal thus far, we understood that this is not only an integral element, as it is the main driving force behind the design, but also an element that was largely unexplored. 













Relevance to the space: The feedback here was largely related to the previ ously mentioned feedback regarding informing the design. The criticism was that it did not effectively connect to the space. Previously, the scope of the developmental work did not extend to the plans for the space, and therefore it was not a consideration for the interim design. However, we believe that, due the the nature of our intended design method, that it would have been very adaptable to the planned ceiling space - however this proved to be an oversight, as when we finally did this, the realisation that interatctions within the space were not only unavoidable, but also opportunities meant designing within the space itself was a much more effective approach. 

   

  













 



 

Response: As an overall response to those criticisms, it is our endeavour to create meaningful connections to the proposed ballroom by utilising the planned geometry   of the space as the main source of information informing the design. In moving towards other digital design mediums, we believe we will be able to create an image of a waveform inside a digital model of the ballroom boundaries. In doing so, we believe that this will satisfy both aspects of the feedback, whilst also providing the design with another level of complexity. 





 









 

  



 







 



V&A AT DUNDEE - KENGO KUMA

This precendent was integral in the further development of our design. Whilst the Aqua Tower by Studio Gang provided context behind their design, this precedent was extremely helpful in providing us a guide to executing the design at a higher, more measured level.

One thing that was lacking in our design, and prevalent here, was the measured use of the material in question. The overall form of the facade is largely simple - repeated strips consisting of a combination of concrete or void, that is to say there either is material or there isnt.

It gave us the ability to classify materials as a means of working in multiple mediums. In doing so, you can accomplish a more finessed design by controlling the use of these elements. Regarding our design, the manner in which we decided to work in was in wood, light and void, something which we explored later in the design process.

FINAL IMAGE

FINAL IMAGE

The process behind generating the image spanned from Rhino to Blender then back to Rhino. In essence, we drew a â&#x20AC;&#x2DC;basinâ&#x20AC;&#x2122; of sorts, which consisted of exagerated geomotry from the 3D Rhino model we were given and then ran the simulated fluid through it. We then decided on a frame from the simulation that we felt consisted of a dynamic enough form, and exported that file into Rhino, where we contoured it and finally drew the contoured image in Illustrator from the plan view. The last step was to change the levels of the image in Photoshop, as more contrast would equate to more movement as per the definition we are using.

FINAL IMAGE

IMAGE SAMPLED ONTO ROOF

C.2 TECTONIC ELEMENTS JOINTS MICRO Keeping in line with our desire to have no visible join system from the viewing angle of the concept, we had to design both a micro system (at 1:50), and a macro system (1:1). The performance of our materials at these scales would be vastly different, as well as the scope for construction and assembly, so therefore a proposal for both of these scales is required.

This impact joint was the proposed system that we thought may have been an effective way of joining the pieces without any visible joining elements. A 1mm hole is cut on either side of the element, with a 1mm member also cut on the outside of the element. In doing so, when that member reaches the piece that we are joining it to, the hole with flex and eventually break, effectively locking the piece in place.

This was the system that we intend to use for the presentation model, as due to time constraints, we could not effectively laser cut the holes required. Therefore we instead opted to utilise the same technique used in the Part B prototype. In order to combat flexing, we changed material to a harder ply, as well as leaving slightly larger holes for the pieces to slot into.

The bottom image depicts the slight variation for the acryllic pieces as they were too thin to effectively lock in place, and therefore needed to be hung, much like the proposed system for full scale construction.

JOINTS MACRO (PROPOSED)

This system was proposed with the intention of the pieces locking in place, and therefore effectively hiding the structural elements of the concept. This was so that we could create a design that responds to the context of the ballroom itself. In creating a ubiquitous ceiling, we think that it echoes the elegant nature of the use of the space. These responses however were not utilised further as we felt that they were too theoretical and not practical enough for 1:1 construction.

This was another response we proposed, however there were still issues with the real life implementation of this system. With support only on one side, the piece would not be able to stay in place without external support.

Finally, on one axis this is a potentially reasonable proposal, however in actuality it is only effective once installed - which posed a major problem. As they angle, which presumably is the method of installation, the effective size of the opening is reduced to a scale smaller than the material that it will lock onto, and therefore would not be able to be installed in the first place. In conclusion, this was not a system that we wished to explore further, as we were unsure if this would be an effective application.

JOINTS MACRO This proposal was the manner in which we believed our design could be most effectively constructed. The reasoning behind having two variations is that the wooden elements (above) would be much heavier, and would therefore need two points to be fixed to. Whereas the acryllic members (below) would need to leave a cavity in order to run strip lighting above it to achieve the lighting effect. This manner of construction operates similar to a waffle grid where the wooden elements serve as the main structural element holding it together. We understand that further methods of fixing may be required at a 1:1 scale, and so the cavity between the visible parts of the pieces and the top of the ceiling creates a space to hide such things.

LIGHTING VISUALISATION

MATERIAL SCHEDULE This approach was too literal, however the ideaology of using a visualisation of a dance sequence was something that we wished to explore further. This particular attempt was discarded as we did not think that we would be able to achieve a suitable aesthetic through this medium.

This material schedule is a dual-purpose response to previous feedback, as well as helping meet design aims.

In order to create context, the pattern on the materials is an allusion to a dance step, while also fulfiling the aim of filtering light through the space (via means of refracting through the acryllic).

1

4

2

3

Dance sequence of the tango.

MATERIAL SCHEDULE VISUALISED

3D VISUALISATION OF SCHDULE

ISOLATED LIGHTING SCHEDULE

FINAL PROPOSED SCHEDULE

C.3 FINAL DETAIL MODEL LASER CUT TEMPLATES

PERSPECTIVE RENDER

ELEVATION

PERSPECTIVE RENDER

PERSPECTIVE RENDER

PROGRESS PICTURES

MODEL PHOTOS

LIGHTING EFFECT

C.4 LEARNING OBJECTIVES Objective 1. “interrogat[ing] a brief” by considering the process of brief formation in the age of optioneering Perhaps one of the only skills I was able to bring into the subject from previous experience, however, through the feedback in the critical reviews, I found it to be another skill that I had to develop further throughout the subject in order to formulate a well rounded and effective design.

Objective 2. developing “an ability to generate a variety of design possibilities for a given situation” by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive design-space exploration; This skill was perhaps most thoroughly developed in the matrices excercise in Part B, however, this iterative means of designing is something which I will definitely take forward in my studies. Synthesising many ideas, and being able to analyse them is a skill which, until now, I generally avoided.

Objective 3. developing “skills in various threedimensional media” and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication; This is an objective that I believe I addressed extensively throughout Parts B and C. In undertaking both this subject and DDF at the same time, initially I felt very pressured to learn as much as I could, however, I felt like this initial weakness early in the semester was non-existent by the end of the course, as I even extended further to use programs such as blender to accomplish a fluid physics simulation.

Objective 4. developing “an understanding of relationships between architecture and air” through interrogation of design proposal as physical models in atmosphere; This objective was one that I don’t believe was explored too much throughout my experience in this subject, and so the response is more anecdotal rather than experiential. I believe that this understanding was fostered to a degree, however, I perhaps could have extended further.

Objective 5. developing “the ability to make a case for proposals” by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourse.

Both the interim presentation and the final presentation undeniably helped me develop skills relevant to this objective. Whilst I felt this was a weakness in the interim presentation, as I was unable to effectively convey the ideas I envisaged throughout the proposal,

in working more effectively in Part C, I felt that I was able to speak in greater depth about my work in the final presentation.

Objective 6. develop capabilities for conceptual, technical and design analyses of contemporary architectural projects; A takeaway from this subject would have to be an interest I have when looking at parametric design in the environment around me. After formulating a base understanding of how general processes work, I am constantly wondering how a given architect arrived at their design, and specifically what computational processes they used to get there.

Objective 7. develop foundational understandings of computational geometry, data structures and types of programming; The subject definitely generated enough interest for me to want to understand the content at a higher level, and I think this interest helped formulate at least a strong basis of understanding regarding these elements. I believe that the mark I attained, being a positive outlier compared to my performance in other areas of the subject, is perhaps the best illustration of this understanding.

Objective 8. begin developing a personalised repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application.

This objective is one that I felt I both met, and didn’t meet. Whilst I understand that it is a personalised repertoire, I felt at times, that I made specific decisions do to the fact that I tunnelled too far in one direction and was unable to do anything else. However, the algorithmic sketchbook element of the subject was something that I felt was much more successful, as it broadened my scope and I was able to draw ideas from these tasks. So regarding intra-personally driven learning, I didn’t feel that I effectively met this objective as well as I could have.

References “Antoni Gaudi’S Sagrada Familia Has Been Using 3D Printing For 14 Years | Architecture And Design”, Architecture And Design, 2017 <http://www.architectureanddesign.com.au/ news/antoni-gaudi-s-sagrada-familia-hasbeen-using-3d-p> [accessed 17 March 2017]

ty-of-stuttgart> [accessed 17 March 2017]

Centre, UNESCO, “Works Of Antoni Gaudí”, Whc.Unesco.Org, 2017 <http://whc.unesco. org/en/list/320/> [accessed 17 March 2017]

“ICD/ITKE Research Pavilion 2011 | Institute For Computational Design And Construction”, Icd.Uni-Stuttgart.De, 2017 <http:// icd.uni-stuttgart.de/?p=6553> [accessed 17 March 2017]

Design, Residential, Commercial Ideas, DIY Styling, Colour Consultations, Dining Room, and Entry Foyers and others, “The Sagrada Familia”, Inspiredspaces.Com.Au, 2017 <http://www.inspiredspaces.com.au/the-sagrada-familia/> [accessed 17 March 2017] “Designing The Seed Cathedral”, Detail.De, 2017 <http://www.detail-online.com/article/ designing-the-seed-cathedral-14225/> [accessed 17 March 2017] “European Commission : CORDIS : Projects & Results Service : Demonstration Of An Adaptable Structure For Architecture Applications”, Cordis.Europa.Eu, 2017 <http:// cordis.europa.eu/project/rcn/111439_en.html> [accessed 17 March 2017]

“ICD/ITKE Research Pavilion 2011 | Achimmenges.Net”, Achimmenges.Net, 2017 <http://www.achimmenges.net/?p=5123> [accessed 17 March 2017]

“Rooftop Remodeling Falkestrasse”, Coop Himmelb(L)Au, 2017 <http://www.coop-himmelblau.at/architecture/projects/rooftop-remodeling-falkestrasse> [accessed 17 March 2017] “Shanghai Library East Hall | Narchitects”, Narchitects.Com, 2017 <http://narchitects. com/work/shanghai-library/> [accessed 16 March 2017] “UK Pavilion | Heatherwick Studio”, Heatherwick.Com, 2017 <http://www.heatherwick. com/uk-pavilion/> [accessed 17 March 2017]

“UK Pavilion For Shanghai World Expo 2010 / Heatherwick Studio”, Archdaily, 2017 <http:// Feireiss, Kristin, Hans Jürgen Commerell, Lisa www.archdaily.com/58591/uk-pavilion-forRosenblatt, and Wolf D Prix, Say Himmelb(L) shanghai-world-expo-2010-heatherwick-stuAu. dio> [accessed 17 March 2017] “Hybrida”, Hybrida, 2017 <https://www. hybridarch.net/> [accessed 17 March 2017] “HYPER MEMBRANE | Hibrida - Arch2o.Com”, Arch2o.Com, 2017 <http://www.arch2o.com/ hyper-membrane-hibrida/> [accessed 17 March 2017] “ICD | ITKE Research Pavilion 2011 / ICD / ITKE University Of Stuttgart”, Archdaily, 2017 <http://www.archdaily.com/200685/ icditke-research-pavilion-icd-itke-universi-