Leong jenna 609357 finaljournal by Jenna Leong

ARCHITECTURE DESIGN studio air

jenna leong | semester 1 2015

architecture design studio air abpl30048 | semester 1 2015 jenna leong | 609357 studio 08 | bradley elias

CONTENTS introduction 008 about me and previous works part a. conceptualisation 012 022 032 042 043 044

a.1. design futuring a.2. deign computation a.3. composition and generation a.4. conclusion a.5. learning objectievs and outcomes a.6. appendix - algorithmic sketches part b. criteria design

048 054 066 072 082 088 090 092 096 112 126 140

b.1. research field b.2. case study 1.0 b.3. case study 2.0 b.4. technique: development b.5. technique: prototypes b.6. technique: proposal b.7. learning objectives and outcomes b.8. appendix - algorithmic sketches part c. detailed design c.1. design concept c.2. tectonic elements and prototypes c.3. final detail model c.4. learning objectives and outcomes references

144 bibliography 145 image references

INTRODUCTION

INTRODUCTION | ABOUT ME AND PREVIOUS WORK

introduction

PROFILE AND PREVIOUS WORK Hi, I’m Jenna Leong. I am Chinese, by blood, and South African, by nationality, and was born and raised in the sunny city Johannesburg, South Africa. I am currently completing my final year of a Bachelor of Environments undergraduate degree with a major in architecture at the University of Melbourne.

Subsequently, my design philosophy has thus far been based on anthropocentric ideals where the final product is designed closely around its relationship with the end-user. This is demonstrated in my final design project for Virtual Environments - a digital design based module in first year where the materiality, form and function of a ‘second-skin’ product was based entirely on the desired experience of Growing up in South Africa – a country attempting to the user. The design process of this project was based on a establish its identity as a ‘Rainbow Nation’ whilst emerging section and profiling methodology applied in the digital from its harrowing journey to the end of apartheid – modelling program Rhinoceros. exposed me to an exceptionally diverse range of cultures as well as the rapid development of a new nation. From a I currently have a basic understanding and technical young age I was particularly intrigued and inspired by the knowledge of Rhinoceros and no experience in on-going construction of new buildings and infrastructure Grasshopper. I look forward to broadening my understanding that was needed to facilitate an emerging nation and of digital modelling tools and its role in architecture as it how this development revealed the impact of the built is a reasonably new topic to me and I am interested in its environment on communities involved and the potential capabilities and potential to optimise and enhance the of the build environment to influence the social, economic design process as well as the impact that it will have for and political state of society. the future of designing environments.

PART A. CONCEPTUALISATION

DESIGN FUTURING | CONCEPTUALISATION

A.1. DESIGN FUTURING ‘HOW CAN A FUTURE ACTUALLY BE SECURED BY DESIGN?’1

1. Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2009), 3.

CONCEPTUALISATION | DESIGN FUTURING

DESIGN FUTURING | CONCEPTUALISATION

precedent i

BARCLAYS CENTER | BROOKLYN, NEW YORK | SHoP ARCHITECTS | COMPLETED 2012 Barclays Center is an indoor multi-purpose arena based in Brooklyn, New York, and home to the NBA basketball team, the Brooklyn Nets. The building is a redesign of the Bankers Life Fieldhouse indoor arena, in Indianapolis, where the pre-ordered steel parts of this existing design, due to time and monetary constraints, required SHoP Architects to generate an entirely new design based on these existing components.2 SHoP Architects redesigned the existing project by cutting panels into the existing precut steel parts in order to form an entirely different structure that was able to achieve “a striking balance between iconic form and performative engagement”3 with its surrounding environment.

2. Gregg Pasquarelli, “Out of Practice,” Lecture, Dean’s Lecture Series from The University of Melbourne, Melbourne, 2013 3. “Barclays Center,”Unknown Author, ShoP Architects, n.d., http://www.shoparc.com/project/Barclays-Center.

CONCEPTUALISATION | DESIGN FUTURING

DESIGN FUTURING | CONCEPTUALISATION

The usersâ&#x20AC;&#x2122; experience throughout the arena and its reaction to its surrounding residential community form the basis of its ability to have a performative engagement with its surrounding environment. This user experience is executed in the consideration of views outside and into the stadium with ribbons of glass windows wrapped around the face of the building, forming a conservatory effect, as well as a large oculus cantilevered from the front of the building, allowing those entering from the street and subway to look into the stadium and straight onto the scoreboard. The external screens of the stadium are placed along the internal ring of the oculus so that they do not impose on the residential setting of the stadium. The design further enhances the user experience by fitting the interior with a black box theatre theme creating a dramatic atmosphere that calls for performance.4

4. Pasquarelli, â&#x20AC;&#x153;Out of Practiceâ&#x20AC;?. 5. Ibid.

It is the consideration of the context, function and experience of the building in relation to its users and surrounding environment that make this design consider the idea of Design Futuring. This is because its function as an engaging design allows it to become sustainable to its users and its ability to thrive as an original design despite its initial limitations has additionally resulted in the avoidance of copious amounts of wasted steel allowing it to contribute to environmental sustainability. Furthermore, the intentional exclusion of parking allocations pemits Barclays Center to become a place that prioritises those who come by public transport and consequently encourages a society that supports the ethics of environmental sustainability.5

CONCEPTUALISATION | DESIGN FUTURING

Finally, the most fundamental factor of the design contributing to its sustainability is the design and construction process of the building, which allowed the design and fabrication of the arena to be as optimal and efficient as possible. This was the most fundamental factor of the design contributing to its sustainability is the design and considered from the very start where the design was digitally modelled and then reverse engineered into smaller components - panels that were digitally modelled, cut and labelled in order to optimize the production process. The labelling of all the design components were additionally able to be scanned by software developed by SHoP Architects in order to give all the parties involved the ability to identify each component in the design and access its corresponding location, 3D model, position in the design, fabrication and construction process as well as assembly instructions. A cloud scan was additionally used in order to align pieces to the digital model so as to ensure they were placed in their exact position and completely eavoid any misalignment that would result in many setbacks.6 This design and fabrication process was extremely innovative and made best use of the technology available that would allow the erection of this arena to be efficient and optimal.

I believe that it is the designâ&#x20AC;&#x2122;s ability to be sustainable to its community as well as its surrounding built and unbuilt environments that allow it to consider design futuring - a practice that considers the ethics of a design and its context. Additionally, this type of thinking that places emphasis on the process and techniques of how something is built rather than the final product itself instigates a Design Futuring practice as it gives us the opportunity to design buildings that consider sustainability from start to finish where the use of digital tools allow us to optimize as well as explore this process whilst expanding future possibilities.

6. Pasquarelli, â&#x20AC;&#x153;Out of Practiceâ&#x20AC;?.

DESIGN FUTURING | CONCEPTUALISATION

CONCEPTUALISATION | DESIGN FUTURING

precedent ii

HIGH LINE PARK | MANHATTAN, NEW YORK | DILLER SCOFIFIO + RENFRO | COMPLETED 2014 The HIgh Line is a 2.3km long linear park on on an abandoned elevated railway, called the West Side Line, based in Manhattan, New York City. The design is the winning proposal of landscape architects James Corner Field Operations and Architects Diller Scofidio + Renfro for a competition in 2004 that required the redevelopment of an abandoned, elevated freight-railway that spans 22 blocks through Manhattan’s west side. 7 The architects were able to refit this industrial conveyance into a melancholic post-industrial place of leisure by introducing a system that combines paving and planting, which allows “various ratios of hard to soft surface that transition from high use areas (100% hard) to richly vegetated biotypes (100% soft)with a variety of experiential gradients in between”. 8 7. “The Highline by James Corner Field Operations and and Diller Scofidio + Renfro ,”Brad Turner, Dezeen Magazine, 2009, http://www.dezeen.com/2009/06/15/ the-high-line-by-james-corner-field-operations-and-diller-scofidio-renfro/ 8. Ibid.

DESIGN FUTURING | CONCEPTUALISATION

The High Line redevelops what was once a harsh and heavy abandoned raill line into a green uban park, which is considered a place of refuge and an urban oasis amid the large city’s sea of concrete and steel. The architects transformed the previously abandoned relic, consisting of wasted space that was either completely dilapidated or used as dumping grounds, into one of the most innovative and inviting public spaces in New York City. 9 The elevated park consists of a promenade, town square and botanical garden that creates a get away experience for those who walk along it. The design, which ultimately brings users to what was a previously useless space; places vegetation on what would have been deteriorated impervious surfaces and exposes users to the views and architecture of the surrounding city, is able to have performative engagement with its users and surrounding natural and built environment. . Eventually, supporters

Similar to the design of the Barclays Center, it is the design’s consideration of the context, function and expereince of the park in relation to its users and surrounding environment that make this design consider the idea of Design Future. This is because its function to restore life in an abandoned and dilapidated location, engage users with their surroundings and promote vegetation growth allows it to become sustainable to its users and the city as a whole. Furthermore the avoidance of the demolition of the abandoned relic has resulted in the design contributing to environmental sustainability through the conservation of a major historic site of the city in addition to the preservation of copious amounts of industrial steel which would otherwise require excessive amounts of energy to remove and be eventually be wasted.

9. “Miracle Above Manhattan,” Paul Goldberger, National Geographic, 2011, http://ngm.nationalgeographic.com/2011/04/ny-high-line/goldberger-text.

CONCEPTUALISATION | DESIGN FUTURING

The design seeks to change the relationship between plant life and pedestrians with a strategy of ‘agrtecture’ that combines organic and building materials into a variety of changing ratios that accomodates ‘the wild, the cultivated, the intimate, and teh hyper-social.’10 This is deiplayed in the design features of ‘peel-up’ typologies which provide leisure facilities to the users of the park whilst they interact with the design of the park, its exposure to the surrounding environment and the vegetation it provides. This undefined and unobtrusive environment allows the public to use and experience the park as they wish, further allowing the park to become sustainable to its users as it is adaptable to different users and uses which are a constantly changing factor. The highline is described as “an extraordinary gift to the city’s future” further reinforcing its consideration of Design Futuring.11

This is evident in the effect that the development had on its surrounding environments where it has initiated more than 30 new projects in the nearby neighbourhood; iincreased the prices of property within close proximity of the development and encouraged the realisation of the surrounding environment along with introducing green opportunities.12 The effect of this design has attracted a significant amounf of more users to the site and its surrounding region, reviving an unsustainable space into one that is sustainable by creating use from dead space. This effect has additionally allowed the space to become sustainable to its environment and its users by carefully considering their respective futures and how it can adapt to and provide for their ever-changing demands and needs.

10. “The High Line by James Corner Field Operations and Diller Scofidio + Renfro,” Brad Turner, Dezeen, 2009, http://www.dezeen.com/2009/06/15/the-highline-by-james-corner-field-operations-and-diller-scofidio-renfro/. 11. “The New York High Line is Officially Open,” Karen Cilento, ArchDaily, 2009, http://www.archdaily.com/24362/the-new-york-high-line-officially-open/ 12. “Miracle of Manhattan”, Goldberger. 21

COMPUTATION | CONCEPTUALISATION

CONCEPTUALISATION | COMPUTATION

A.2. COMPUTATION

COMPUTATION | CONCEPTUALISATION

precedent i ‘SMART MASONRY’ | DIA HOCHSCHULE ANHALT | ZAARCHITECTS | MASTER THESIS PROJECT 2015 ‘Smart Masonry’ is a research proposal developed by designers Dmytro Zhuikov and Arina Agieieva of ZAArchitects as a part of a masters thesis project. The concept proposes to revolutionise masonry construction, as we know it, and create oppotunities for digital fabrication techniques to be applied to heavy and massive materials such as stone and other previously antiquated materials. 13 The research proposal is both a structural design and construction method, based on traditional masonry techniques. The proposal exploits the digital optimization of a structure in order to minimize the ‘dead-weight’ of the skeleton and adopts robotic construction techniques in order to assemble the complex geomerty.14

13. “Digitized Stone: ZAarchitects Develop ‘Smart Masonry’,” Evan Rawn, ArchDaily 2015, http://www.archdaily.com/609108/digitized-bricks-zaarchitects-develop-smart-masonry/. 14. “Smart Masonry,” No Author, ZAArchitects, 2015, http://www.zaarchitects.com/en/public/125-smart-masonry.html.

CONCEPTUALISATION | COMPUTATION

Above: Barclays Center Exterior and Oculus, Scott Norsworthy,

COMPUTATION | CONCEPTUALISATION

Masonry is a construction method with roots deeply embedded in ancient history where the abundance of masonry building precedents offer contemporary architects a vast wealth of information to draw upon. Masonry structures provide great passive systems thermal and acoustic insulation in addition to the abiity to support great structural loads. However, challenges face this costruction method when configuring the minimization of building mass to encourage the flow of light and air whilst ensuring structural loading abilities. The designers utilize digital software technologies to optimize and minimize dead-weight of the structure in order to achieve an incredibly light structural skeleton. Conventional building methodologies and digital fabrication technologies have previously limited the fabrication of this skeleton, up until the development of this construction technique.15 The basis of this method is linked to the program and location of the Building-Makers Center in Berlin, where 15. “Digitized Stone”, Rawn. 16. “Smart Masonry,” ZAArchitects. 17. Ibid. 18. Ibid.

the machinery that will be used to construct the building will later be preserved at its core, symbolizing the origin of the building and its present functions. 16 The structural concept represents on seamless mesh in the place of separate structural elements such as walls, columns, beams, etc. The design’s minimal surface consists of a stress-pattern that is optimized and materialized to be load-bearing. 17 This optimization of a structural skeleton illustrates how the use of digital computation in design can result in the generation of form that is unique, functional and efficient and can additionally fulfill its parametric and assimilated requirements with precision and accuracy. The construction method combines the advantages of 3D printing and large prefabricated methods where a robotic construction station with robotic arm manipulators are able to build a complex geometry floor-by-floor. 18

CONCEPTUALISATION | COMPUTATION

This combination of construction methods seeks to maximize construction efficiency, further reducing cost and enhancing precision. In compairson to traditional methods, the robotic construction station is more compact and reduces labour costs throughout the entirity of the construction process. This process is additionally significantly faster than 3D printing.19 The advantages of this hybrid construction method further demonstrate how the involvement of computation methods in design processes as well as construction methods can optimize the costs, accuracy and efficiency of the process as well as produce unique and interesting forms unique to computational approaches.

The structural design’s overall form is generated from the manipulation of an initial basic mesh geometries to support points on Grasshopper. The mesh is then relaxed with Kangaroo and the stresses are anlaysed with the aid of Milipede. The form is then tesselated on Grasshopper and the thickness of the structure is analysied again with the aid of Milipede. Finally, the thickness and offset of the final form is applied. This technique is called “positive casting” conserve resources, produce the design’s unique elements and geometries and achieve structural efficiency. 20 This shows the involvement of computational software in the design process of the design and its role in achieving the final form of the design.

19. “Digitized Stone”, Rawn. 20. “Smart Masonry,” ZAArchitects.

COMPUTATION | CONCEPTUALISATION

CONCEPTUALISATION | COMPUTATION

precedent ii

MuCEM | MARSEILLE, FRANCE | RUDY RICCIOTTI | COMPLETED 2013 MuCEM is the Museum of European and Mediterranean Civilisations situated on the waterfront of Marseille in France. The museum is a civic building which is dedicated to the history and cultures of the Mediterranean region. 21 The design consists of a layer of ornamental concrete which cloaks the glazed facade of the museum, diffusing and directing the infiltration of natural light towards the building’s two exhibition floors. 22 An inclined walkway “bridges out from the roof of the building to meet Fort Saint-Jean, a seventeenth-century stronghold that will also house museum exhibitions, before continuing on towards the Eglise Saint-Laurent church nearby.” 23 The building is described as a “vertical casbah” by the architect where the arrangement of the design on the harbour as “Open to the sea, it draws a horizon where the two shores of the Mediterranean can meet”. 24

21. “MuCEM by Rudy Ricciotti photographed by Edmund Sumner”, Amy Frearson, Dezeen, 2013, http://www.dezeen.com/2013/05/23/mucem-by-rudy-ricciottiphotographed-by-edmund-sumner/. 22. Ibid. 23. Ibid. 24. Ibid. 29

COMPUTATION | CONCEPTUALISATION

The design considers the tectonics of an ‘exceptional concrete’ developed from the latest research by French Industry. This material system reduces the dimensions of the concrete structure to a minimal skin and bone system that will be supported by steel structural members. 25 The high-performance concrete is developed from a system of parametric molds, composed of unique and complex patterns that maintain particular fixed connection points that allow for reversability and interchangeability. This unique and highly refined design practice produces a monolithic facade with different configurations in order to avoid a completely repetitive and uniform pattern. This step in production is fundamental to the design process as the concrete that is poured into eight different molds creates a cellular patterned mantilla that forms the exterior facade. 26

Advancements in material technology and parametric design have allowed for the complex and unique lattice facade to be constructed. This notion demonstrates how compution in design and production can allow for the optimization of masonry materials such as concrete and brick to take the form of ornamental facades of buildings. Rudy Ricciotti, the architect, defines his design as a composite sytem that is both ornamental and structural: “There is nothing purely decorative in the product. Everything is structural, in the style of a fish’s skeleton. We move forward to a dematerialization of the concrete structure, which becomes delicate, spidly, fibrous like a coral rock cut. We don’t know how far this material will carry us. We can reinvent the world.” 27

25. “MuCEM/Rudy Ricciotti”, No Author, ArchDaily, 2013, http://www.archdaily.com/400727/mucem-rudy-ricciotti/ 26. “The MuCEM Skin”, No Author, Joran Briand, n.d., http://joranbriand.com/en/canape-tribune/ 27. “Why Lattice Facade?”, Yenetsky, Facadetic, 2014, http://www.facadetic.com/2014/11/16/why-lattice-facade/

CONCEPTUALISATION | COMPUTATION

Furthermore, the facade and roof structure of the building consists of 384 high-performance planes that additionally aid in the diffusion and redirection of light and allow air to prevade the space. This mechanized system requires the aid of digital computations that not only generate the form of the design but control the performative funtion of the design. 28 As depicted above, computation and digital design has simplified the generation of architectural design and consequently the production of architectural and structural drawings. The formulation of design ideas in a computational context, results in the consideration of the fabrication and assembly of the building within the design process. This demonstrates the ability of computation in design to simplify and optimize the design, fabrication and assembly of the design.

28. â&#x20AC;&#x153;MuCEM by rudy riccioti sports a delicate concrete filigreeâ&#x20AC;?, Cat Garcia Menocal, Design Boom, 2013, http://www.designboom.com/architecture/mucem-byrudy-riccioti-sports-a-delicate-concrete-filigree/ricciotti/

COMPOSITION AND GENERATION | CONCEPTUALISATION

A.3. COMPOSITION AND GENERATION

CONCEPTUALISATION | COMPOSITION AND GENERATION

COMPOSITION AND GENERATION | CONCEPTUALISATION

precedent i FONDATION LOUIS VUITTON | BOIS DE BOULOGNE PARIS | GEHRY PARTNERS | 2014 The Fondation Louis Vuitton building is an art museum and cultural center based in Bois de Boulogne, Paris. The design is characterized by its use of glazing that employs a method that allows the material to be curved according to milimeter specific requirements. 29 The design is influenced by the lightness and fluidity of 19th century glass and garden architecture. “I dream of designing, in Paris, a magnificent vessel symbolizing the cultural calling of France” - Frank Gehry 30

Tha above quote encapsulates the design intention behind the complex composition of the building’s for which resembles the sails and structure of a vessel.

29. “Fondation Louis Vuitton By Frank Gehry Takes Shape In Paris”, Philip Stevens, Design Boom, 2014, http://www.designboom.com/architecture/frank-gehryfondation-louis-vuitton-paris-05-09-2014/ 30. Ibid.

CONCEPTUALISATION | COMPOSITION AND GENERATION

COMPOSITION AND GENERATION | CONCEPTUALISATION

Composition:

Not only is the design successful in expressing its design intent but it also has been the catalyst for global The twelve expansive ‘sails’ of the design are composed innovation in digital design and construction, setting a new of 3600 glass panes which provide a bright, transparent standard for the use of advanced digital and fabrication quality and are supported by wooden beams. The technologies. supporting structure below these glass panes is composed of an assemblage of white blocks, known as The composition of the design required a large team of ‘icebergs’ and are cladded in panels of fiber-reinforced 400 people to provide design models, engineering rules concrete. 31 The design of the ‘sails’ create a transparent and assembly constraints to a central web-hosted 3D composition that evokes a sense of movement while digital model. This is an intelligent digital model that is able allowing the building to reflect the water, woods and to adapt to design requirements. 33 garden that surround the building in addition to continually change with the light. The 3600 glass panels and 19000 concrete panels that form the composition of the building’s facade were The consideration of user experience in the design simulated using matematical techniques and then molded is further reflected in its composition. The notion of using advanced industrial robots. This generation of integrating the landscape into the experience of the design form and construction process was automated museum is produced by thelarge expanses of glass within from the central digital model. Furthermore, the firm the building provide picturesque views of the gardens, 32 developed new software for sharing and collaborative working with the complex design. 34 31. “Fondation Louis Vuitton/Frank Gehry”, No Author ArchDaily, 2014, http://www.archdaily.com/555694/fondation-louis-vuitton-gehry-partners/ 32. Ibid. 33. Ibid. 34. Ibid.

CONCEPTUALISATION | COMPOSITION AND GENERATION

The unique composition of the design which was initially The advancement of digital technology has resulted in the visualised through a napkin drawing was further refined complete revolution in the composition and generation of to be the complex form that it is through the use of digital architectural design. generative design. Gehry Technologies, a computer programming company under the direction of Gehry Partners has provided the digital means for architecture to realise irregular structural shapes (known as blob architecture) which were once only attainable through laborious skilled craftmanship. 35 This software has subsequently made the creation of eccentric buildings eonomically feasible. Furthermore, this has resulted in the transformative contribution to digital design in architecture which has now become an intrinsic part of present-day practice. 35. â&#x20AC;&#x153;Architect Frank Gehry refines his art with the Fondation Louis Vuitton gallery in Parisâ&#x20AC;?, Martin Filler, The Australian Financial Review, 2015, http://www.afr. com/lifestyle/architect-frank-gehry-refines-his-art-with-the-fondation-louis-vuitton-gallery-in-paris-20150312-13m1gm

COMPOSITION AND GENERATION | CONCEPTUALISATION

CONCEPTUALISATION | COMPOSITION AND GENERATION

precedent ii

HEYDAR ALIYEV CENTER | BAKU, AZERBAIJAN | ZAHA HADID ARCHITECTS | COMPLETED 2013 The Heydar Aliyev Center is designed to become the primary building for Azerbiaijan’s cultural programs, diverting from the characteristically rigid and monumental architecture of the Soviet Union that is prevalent in Baku. The design aspires to express the sensibilities of the national culture and emphasize the optimism of a nation that looks to the future.36 The design of the center comprises of a continuous and fluid relationship between the interior of the building and its surrounding plaza. The composition of the design consists of the ground surface of the plaza, rising to envelop a public interior space as well as elaborate formations, sych as undulations, bifurcations, folds and inflections. These elements allow the plaza surface to take the form of an architectural landscape that performs a multitude of functions. 37 36. “Heydar Aliyev Center / Zaha Hadid Architects”, No Author, ArchDaily, 2013, http://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadid-architects/ 37. Ibid.

COMPOSITION AND GENERATION | CONCEPTUALISATION

The functions of the architectural landscape include the notions of welcoming, embracing and directing users through the different levels of the in building’s interior. This notion allows the composition of the building to blur the conventional differentiation between “architectural object and urban landscape; building envelope and urban plaza; figure and ground; interior and exterior.” 38 The composition of the form is informed by the concept of fluidity, which is common to the region’s historical Islamic architecture. The design intention was to relate to the historical architecture context of the nation but not through the use of mimicry or iconography of the past, but rather through the development of a contermporary interpretation. 39

explores alternative connections and routes between the public plaza, building and underground parking. This solution, not only contributes to the compositional form of the design but is able to resolve the variance in topography that would otherwise require additional excavation and land fill. 40 The fundamental compositional component consisted of a surface that was so continuoust that it appears homogenous. This complex composition required a wide range of techinical systems, construction logics and different functions that are integrated into the form of the design. The use of advanced computing allowed for the continuous control and communication of these complexities by developing a central digiital models to be contributed to by numerous project participants.

Furthermore, the composition of the design is based on the response to the topography of the site which exhibits a The composition of design was visualised and generated sheer drop that formerly split the site in two. This resulted through the use of digital technologies, which further in an accurately terraced landscape which demonstrate the ability of digital design to greatly 38. Heydar Aliyev Center, ArchDaily, 39. Ibid. 40. Ibid.

CONCEPTUALISATION | COMPOSITION AND GENERATION

inform the composition of the design.

Similar approaches were taken when creating the interiors of the building, where folded forms expressed in a fluid The simplistic looking yet complex in construction style additionally exploit generative design to achieve surface geometry required an extensive reationalization these complex compositions. of the panels while maintaining continuity throughout the building and the landscape. The fluidity of the geometry of this landscape offered a pragmatic solution to practical construction issues including manufcaturing, handling, transportation and assembly. With the aid of digial modelling tools the composition of the design can be generated in order to consider these issues and allow the building to become constructable. 41 The unique and interesting composition of the design was able to be realised through a process of generative design and rationalization in order to construct a building the would evoke the original intensions of the design in the final form of the building. 41. Heydar Aliyev Center, ArchDaily,

CONCLUSIONS | DESIGN CRITERIA

A.4. CONCLUSION The consideration of designing in order to be sustainable to its users, environment, amenities and technological processes encapsulates the fundamental principles of design futuring. It is this consideration that allows us conceive architectural designs that will encourage performative engagement between all stakeholders involved resulting in a design that can contribute to and sustain the everchanging state of all systems that interact with the design.

These explored concepts look to optimize a design and its construction processes in order to produce the most efficient and best outcome that will be advantageous to the industry of architectural design. I intend to adopt this critical type of design thinking in order to produce a design that is high-performance and can efficiently be designed and fabricated whilst challenging the compositional and generative form of conventional design. This approach questions the limitations of present-day design making it innovative, which is significant in the advancement of Compositonal and generative design in architecture architecture and the art of building. further facilitates the incoporation of technological advancements in architectural design in order to realize and produce forms that are intricate and complex, which would be difficult to visualize or construct without the aid of digital tools. The incorporation of this software can further aid the construction process by incorporating the actualization of the form in the design process so that there is a simple transition from conception to construction without any discrepencies between design ideas and design form.

DESIGN CRITERIA | LEARNING OBJECTIVES

A.5. LEARNING OBJECTIVES The consideration of these notions in many of past designs would improve the sustainability of the design to its impacted stakeholders as well as refine and further develop its form. Furthermore, the adaption of the techniques and methods studied to my designs could result in the optimisation of the design and fabrication of my projects as well as produce work of a higher calibre in The investigation of computational design additionally terms of both presentation and critical thinking. broadened my knowledge base on the capabilities of digital and robotic systems in the design and fabrication of architecture. It is discovered that the use of digital technologies can optimise these processes and further increase the efficiency of design conceptualization, fabrication and construction. The exploration of design conceptualization through means of design futuring, computation and compositional and generative design has exposed me to an innovative and critical approach to design thinking, which considers the most advanced concepts of present-day architectural design.

It has also introduced me to design thinking, forms and methodologies that I was previously unaware of. The exposure to these ideas will inform my design thinking and how I will approach architectural design in order to further explore and experiment with these notions.

APPENDIX | CONCEPTUALISATION

A.6. APPENDIX

CONCEPTUALISATION | APPENDIX

PART B. CRITERIA DESIGN

RESEARCH FIELD | DESIGN CRITERIA

B.1. RESEARCH FIELD SECTIONING AND INTERSECTION

The focus research field for the development for the will be explored in the development of the design project design project is sectioning and intersection. where specific aesthetic and structural effects can be achieved by intersecting multiple objects. The latter is a Intersection is the act of traversing two or more objects method that can be explored in order to realise how the along a particular path. This is achieved by intersecting design project can be deconstructed into parts, fabricated the two objects, a set of points that are common to the and assembled into its final structural and aesthetic form. intersecting geometric configurartions. These points divide the objects into multiple parts or sections. Rhinoceros is able to perform actions that section objects in a planar approach as well as manually intersect Sectioning is the slicing or cutting of a three dimensional multiple objects by overlaying or overlapping them and object along a plane into multiple parts or sections. As subesequently performing a â&#x20AC;&#x2DC;splitâ&#x20AC;&#x2122; command in order a type of intersection, this is achieved by intersecting to divide the objects along common intersecting paths. the object with a plane, producing divided sections of Furthermore, Grasshopper is able to apply intersection the original object that are able to represent the internal and section commands to algorithms that are able to structure of the object. This is a common method used produce these outcomes onto multiple input geometries in the practice of architecture in order to represent the and parameters. interior components of a building in architectural drawings. These drawings are referred to as plans or sections. The case studies and technique developments that follow will explore the visual and structural effect that sectioning These methods are adopted in parametric design where and intersection in parametric modelling can produce as three dimensional objects are intersected into multiple well as the different ways they can be actualised through parts for a number of purposes. These purposes include the fabrication process which will additionally have an intersecting objects in order to achieve specific outcomes effect on the visual and structural aspects of the physical that will express a desired structural or aesthetic effect or design. deconstructing the object in order to separate it into

DESIGN CRITERIA | RESEARCH FIELD

RESEARCH FIELD | DESIGN CRITERIA

driftwood pavilion aa school of architecture

twenty-eight layers of plywood which concealed the internal structural system that connects and supports the individual components of the design.

The design process of the pavilion was adapted to be reengineered in Rhinoceros and Grasshopper. The process explored the field of intersection by intersecting a closed curve - that was offset in a radial direction and extruded in the z plane - with the form’s basic geometery in order to The Driftwood Pavilion is the winning design of Danecia produce the split surfaces that form the design. Sibingo for the 2009 AA School of Architecture Summer Pavilion. The concept for the pavilion was manifested These split surfaces were further unrolled into flat through a computer-generated script which “manipulated surfaces that would be supported by a concealed the movement of lines in a continuous parallel fashion, internal framework. This framework was generated from creating line drawings which formed the basis of a plan.” the intersection curves create by intersecting the split 42 The form of the pavilion was influenced by the notions surfaces with additionaly surfaces arrayed along the of carving, eroding and layering. 42 overall path of the geometry. This produced curves that were used to create an accurate stepped framework that The design was further informed by the fabrication could support the structure whilst being concealed by its and construction of the pavilion in order to ensure that layers. In this case sectioning and intersection commands creativity was expressed to remain within the bounds set were used in an algorithm in order to produce the form by feasibility and today’s cost effective and eco-friendly of the design as well as the structural components which pre-requisities. 43 The final design was constructed from were both fabricated and assembled into the final form. 42. “Driftwood AA Summer Pavilion, London”,AJ Welsh, E-Architect, 2012, http://www.e-architect.co.uk/london/driftwood-pavilion-design 43. Ibid

DESIGN CRITERIA | RESEARCH FIELD

RESEARCH FIELD | DESIGN CRITERIA

DESIGN CRITERIA | RESEARCH FIELD

banq restaurant dECOi architects

The fabrication of the interior required plywood components to be milled by a single three-axis milling machine from CAD-CAM (computer aided design computer aided manufacture). 45 The assembly of the ceiling design that hovers away from all interior surfaces required support in suspension from above. This resulted in the continous plywood components to be fastened to the main structural ribs running perpendicular to a lattice that traces the overall ceiling topography and steel The Banq Restaurant by dECOi Architects is located at the suports of the base building. The spacing between the base of the old banking hall of Penny Savings Bank. The ribs vary in order to produce visual densities of the overall design of the project was established from the following surface as seen from different angles. 46 three executions: “[1] the combination of the properties of both solid and liquid to articulate a new substance that This form was explored by re-engineering the design in is hard, viscous, organic and inorganic; [2] the application Rhinoceros and Grasshopper with the use of a planar of the material to the plane of both the floor and ceiling to sectioning method that sectioned the geometry of the disguise gravity itself - this additionally forms a subjective design on a linear axis with the output geometric of metaphysical space between the two planes by crafing planar surfaces. This produced uniformly distanced an intuition of influence by a unique and invisible force; planar surfaces that would create the illusion of a solid and finally [3] the fragmentation of the ceiling plane into and fluid single form yet exist as multiple panels that are a series of sectional cuts, forming slats that delineate the equally spaced apart in order to create a visual effect of ceiling further from the nature of fluidity and wood.” 44 interference from different angles. 44. “Meta-Material fabrication | dECOI Architects”, Geoff Eberle, Archi20, n.d., http://www.arch2o.com/meta-material-fabrication-decoi-architects/ 45. Ibid 46. “BanQ/ Office dA” No Author, ArchDaily, 2009, http://www.archdaily.com/42581/banq-office-da

CASE STUDY 1.0 | DESIGN CRITERIA

B.2. CASE STUDY 01 SECTIONING AND INTERSECTION The forms produced in this case study are a result of Finally the algorithms produced section and intersection sectioning and intersection algorithms performed on curves which were expressed as the following particular geometries in Grasshopper. geometries: [1] open or closed curves; [2] extruded open or closed curves; and [3] lofted planar surfaces. The algorithms were applied to three input geometries: [1]a simple surface modelled in Rhinoceros; [2] a The exploration of how these algorithms can be adapted to simple solid modelled in in Rhinoceros to replicate the produce different forms and subsequent different effects basic form of the AA Driftwood Pavilion; and [3] a mesh was fully exploited in case study 1.0. The outcomes of this relaxation produced by applying a physics simulation run case study, performed on relatively simple geometries, in Kangaroo that applied the forces of spring components will later be explored in a technique development process to a basic mesh form, that was modelled in Rhinceros. that will apply these methods to a geometry appropriate to the design brief, site and a general form that expresses The parameter of the algorithms were further altered the design intent of the form. The outcomes of this case to include intersecting the geometry with the following study will further be analysed according to its potential to geometries: [1] XY, XZ and YZ planes; [2] extruded offset create an expressive form and effect that can be used in or arrayed curves along the Z axis; and [3] a hybrid of the final design project. two of the outcomes produced from the intersections of geometries [1] and [2].

DESIGN CRITERIA | CASE STUDY 1.0

CASE STUDY 1.0 | DESIGN CRITERIA Input Geometry Surface

Input Geometry Surface

Intersection Geometry XY Planes

Intersection Geometry XZ Planes

Intersection Geometry YZ Planes

Offset/Array Direction Z

Offset/Array Direction Y

Offset/Array Direction X

Ouput Geometry Curves

Input Geometry Surface

Input Geometry Surface Intersection Geometry XY + YZ Planes Offset/Array Direction Z+X Ouput Geometry Curves

Input Geometry Surface

Intersection Geometry XY Plane + Extruded Open Curve

Intersection Geometry XZ + YZ Planes

Extrusion Direction Z

Offset/Array Direction Y+X

Offset/Array Direction Linear

Ouput Geometry Curves

Input Geometry Surface

Intersection Geometry XY Planes

Intersection Geometry XZ Planes

Offset/Array Direction Z

Offset/Array Direction Y

Ouput Geometry Extruded Curves

Input Geometry Surface Intersection Geometry YZ Planes Offset/Array Direction X Ouput Geometry Extruded Curves

Input Geometry Surface

Intersection Geometry XY Plane + Extruded Open Curve

Intersection Geometry XY + YZ Planes

Intersection Geometry XZ + YZ Planes

Extrusion Direction Z

Offset/Array Direction Z+X

Offset/Array Direction Y+X

Offset/Array Direction Linear

Ouput Geometry Extruded Curves

Ouput Geometry Curves

Input Geometry Solid

Intersection Geometry XY Planes

Intersection Geometry XZ Planes

Intersection Geometry YZ Planes

Offset/Array Direction Z

Offset/Array Direction Y

Offset/Array Direction X

Ouput Geometry Curves

Input Geometry Solid

Intersection Geometry XY Plane + Extruded Closed Curve

Intersection Geometry XY + YZ Planes

Intersection Geometry XZ + YZ Planes

Extrusion Direction Z

Offset/Array Direction Z+X

Offset/Array Direction Y+X

Offset/Array Direction Radial

Ouput Geometry Curves

DESIGN CRITERIA | CASE STUDY 1.0 Input Geometry Surface Intersection Geometry Extruded Open Curve Extrusion Direction Z Offset/Array Direction Linear Ouput Geometry Curves

Input Geometry Surface Intersection Geometry XY + XZ Planes Offset/Array Direction Z+Y Ouput Geometry Curves

Input Geometry Surface

Intersection Geometry XZ Plane + Extruded Open Curve

Intersection Geometry YZ Plane + Extruded Open Curve

Extrusion Direction Z Offset/Array Direction Y + Linear

Extrusion Direction Z Offset/Array Direction X + Linear Ouput Geometry Curves

Input Geometry Surface Intersection Geometry Extruded Open Curve

Input Geometry Surface

Extrusion Direction Z

Intersection Geometry XY + XZ Planes

Offset/Array Direction Linear

Offset/Array Direction Z+Y

Ouput Geometry Extruded Curves

Input Geometry Surface

Intersection Geometry XZ Plane + Extruded Open Curve

Intersection Geometry YZ Plane + Extruded Open Curve

Extrusion Direction Z

Offset/Array Direction Y + Linear

Offset/Array Direction X + Linear

Ouput Geometry Extruded Curves

Input Geometry Solid Intersection Geometry Extruded Closed Curve

Input Geometry Solid

Extrusion Direction Z

Intersection Geometry XY + XZ Planes

Offset/Array Direction Radial

Offset/Array Direction Z+Y

Ouput Geometry Curves

Input Geometry Solid

Intersection Geometry XZ Plane + Extruded Closed Curve

Intersection Geometry YZ Plane + Extruded Closed Curve

Extrusion Direction Z

Offset/Array Direction Y + Radial

Offset/Array Direction X + Radial

Ouput Geometry Curves

CASE STUDY 1.0 | DESIGN CRITERIA Input Geometry Solid

Input Geometry Solid

Intersection Geometry XY Planes

Intersection Geometry XZ Planes

Intersection Geometry YZ Planes

Offset/Array Direction Z

Offset/Array Direction Y

Offset/Array Direction X

Ouput Geometry Extruded Curves

Input Geometry Solid Input Geometry Solid

Input Geometry Solid

Intersection Geometry XY Plane + Extruded Closed Curve

Intersection Geometry XY + YZ Planes

Intersection Geometry XZ + YZ Planes

Extrusion Direction Z

Offset/Array Direction Z+X

Offset/Array Direction Y+X

Offset/Array Direction Radial

Ouput Geometry Extruded Curves

Input Geometry Solid

Intersection Geometry XY Planes

Intersection Geometry XZ Planes

Intersection Geometry YZ Planes

Offset/Array Direction Z

Offset/Array Direction Y

Offset/Array Direction X

Ouput Geometry Surfaces

Input Geometry Solid Input Geometry Solid

Input Geometry Solid

Intersection Geometry XY Plane + Extruded Closed Curve

Intersection Geometry XY + YZ Planes

Intersection Geometry XZ + YZ Planes

Extrusion Direction Z

Offset/Array Direction Z+X

Offset/Array Direction Y+X

Offset/Array Direction Radial

Ouput Geometry Surfaces

Input Geometry Mesh

Intersection Geometry XY Planes

Intersection Geometry XZ Planes

Intersection Geometry YZ Planes

Offset/Array Direction Z

Offset/Array Direction Y

Offset/Array Direction X

Ouput Geometry Curves

Ouput Geometry Curves Input Geometry Mesh

Input Geometry Mesh

Intersection Geometry XY Plane + Extruded Open Curve

Intersection Geometry XY + YZ Planes

Intersection Geometry XZ + YZ Planes

Extrusion Direction Z

Offset/Array Direction Z+X

Offset/Array Direction Y+X

Offset/Array Direction Linear

Ouput Geometry Curves

DESIGN CRITERIA | CASE STUDY 1.0 Input Geometry Solid Intersection Geometry Extruded Closed Curve

Input Geometry Solid

Extrusion Direction Z

Intersection Geometry XY + XZ Planes

Offset/Array Direction Radial

Offset/Array Direction Z+Y

Ouput Geometry Extruded Curves

Input Geometry Solid Intersection Geometry XZ Plane + Extruded Closed Curve Extrusion Direction Z Offset/Array Direction Y + Radial Ouput Geometry Extruded Curves

Input Geometry Solid Intersection Geometry YZ Plane + Extruded Closed Curve Extrusion Direction Z Offset/Array Direction X + Radial Ouput Geometry Extruded Curves

Input Geometry Solid Intersection Geometry Extruded Closed Curve Extrusion Direction Z Offset/Array Direction Radial Ouput Geometry Surfaces

Input Geometry Solid Intersection Geometry XZ Plane + Extruded Closed Curve Extrusion Direction Z Offset/Array Direction Y + Radial Ouput Geometry Surfaces

Input Geometry Solid Intersection Geometry XY + XZ Planes Offset/Array Direction Z+Y Ouput Geometry Surfaces

Input Geometry Solid Intersection Geometry YZ Plane + Extruded Closed Curve Extrusion Direction Z Offset/Array Direction X + Radial Ouput Geometry Surfaces

Input Geometry Mesh Intersection Geometry Extruded Open Curve

Input Geometry Mesh

Extrusion Direction Z

Intersection Geometry XY + XZ Planes

Offset/Array Direction Linear

Offset/Array Direction Z+Y

Ouput Geometry Curves

Input Geometry Mesh Intersection Geometry XZ Plane + Extruded Open Curve Extrusion Direction Z Offset/Array Direction Y + Linear Ouput Geometry Curves

Input Geometry Mesh Intersection Geometry YZ Plane + Extruded Open Curve Extrusion Direction Z Offset/Array Direction X + Linear Ouput Geometry Curves

CASE STUDY 1.0 | DESIGN CRITERIA

Input Geometry Mesh Intersection Geometry XY Planes Offset/Array Direction Z Ouput Geometry Extruded Curves

Input Geometry Mesh

Intersection Geometry XZ Planes

Intersection Geometry YZ Planes

Offset/Array Direction Y

Offset/Array Direction X

Ouput Geometry Extruded Curves

Ouput Geometry Extruded Curves Input Geometry Mesh

Input Geometry Mesh Intersection Geometry XY + YZ Planes Offset/Array Direction Z+X Ouput Geometry Extruded Curves

Input Geometry Mesh

Intersection Geometry XY Plane + Extruded Open Curve

Intersection Geometry XZ + YZ Planes

Extrusion Direction Z

Offset/Array Direction Y+X

Offset/Array Direction Linear

Ouput Geometry Extruded Curves

Input Geometry Mesh

Intersection Geometry XY Planes

Intersection Geometry XZ Planes

Intersection Geometry YZ Planes

Offset/Array Direction Z

Offset/Array Direction Y

Offset/Array Direction X

Ouput Geometry Surfaces

Input Geometry Mesh

Input Geometry Mesh Input Geometry Mesh

Input Geometry Mesh

Intersection Geometry XY Plane + Extruded Open Curve

Intersection Geometry XY + YZ Planes

Intersection Geometry XZ + YZ Planes

Extrusion Direction Z

Offset/Array Direction Z+X

Offset/Array Direction Y+X

Offset/Array Direction Linear

Ouput Geometry Surfaces

DESIGN CRITERIA | CASE STUDY 1.0

Input Geometry Mesh Intersection Geometry Extruded Open Curve

Input Geometry Mesh

Extrusion Direction Z

Intersection Geometry XY + XZ Planes

Offset/Array Direction Linear

Offset/Array Direction Z+Y

Ouput Geometry Extruded Curves

Input Geometry Mesh Intersection Geometry XZ Plane + Extruded Open Curve

Input Geometry Mesh Intersection Geometry YZ Plane + Extruded Open Curve

Extrusion Direction Z

Offset/Array Direction Y + Linear

Offset/Array Direction X + Linear

Ouput Geometry Extruded Curves

Input Geometry Mesh Intersection Geometry Extruded Open Curve

Input Geometry Mesh

Extrusion Direction Z

Intersection Geometry XY + XZ Planes

Offset/Array Direction Linear

Offset/Array Direction Z+Y

Ouput Geometry Surfaces

Input Geometry Mesh

Intersection Geometry XZ Plane + Extruded Open Curve

Intersection Geometry YZ Plane + Extruded Open Curve

Extrusion Direction Z

Offset/Array Direction Y + Linear

Offset/Array Direction X + Linear

Ouput Geometry Surfaces

CASE STUDY 1.0 | DESIGN CRITERIA

DESIGN CRITERIA | CASE STUDY 1.0

selection criteria CASE STUDY 1.0

Six of the most successful outcomes selected from the iteration produced in case study 1.0 were selected based on a selection criteria that was based on the overall physical form of the geometry, the compositional generation of the geometry and the requirements of the brief. The selection criteria considers the success of the following: 1. the form of the output geometry; 2. the fluidity created by the sectioned components; 3. the visual effect or interference pattern produced by the sectioned components; 4. the relation of the form to the brief; 5. the complexity of the algorithm and; 6. the potential of the technique to further be developed. The successful iterations are extrapolated on the following page.

CASE STUDY 1.0 | DESIGN CRITERIA

1. iteration 12

2. iteration 37

3. iteration 45

This iteration was generated by intersecting a surface with multiple XZ planes that were offset on the Y axis. The sectioned curves were then extruded to produce the final outcome of this iteration.

This iteration is a hybrid of curves that were generated by intersecting a solid with multiple XZ and YZ planes that were offset in the Y and Z axes, respectively. The sectioned curves were then extruded to produce the final outcome of this iteration.

This iteration was generated by intersecting a surface with an extruded closed curve that was offset, from the hole in the centre of the solid, outwards in a radial direction. The intersecting surfaces were then split from the form to produce the final outcome of this iteration.

This is a successful outcome, according to the selection criteria, where the form of each individual section is completely unique and the form of the sectioned components as a collective whole is fluid and forms, almost, the appearance of a single, flowing homogenous surface. Additionally the visual effect created by the spacings and the thickness of the components creates an interesting interference effect that changes according to the perspective angle. The form additionally fulfills brief requirements as it can be adapted to form a hamock form that can be suspended, where its fluid and organic geometry relate well to the notion of an organic and â&#x20AC;&#x2DC;living architectureâ&#x20AC;&#x2122; that is required by the brief. Furthermore, the algorithm is relatively simple to follow and can be applied to almost any input geometry where the technique can further be developed on multiple input geometries and a range of varied parameters.

This is a successful outcome as it fulfills most of the selection criteria. The form of each individual section forms a closed curve that successfully depicts the gradient of the surface of the original form. This creates a sloping effect with the path of the curves seem to cascade into the centre of the form, creating a sense of movement and fluidity. The intersecting extrusions create an interesting visual effect where the junctions are formed by curved angles which create an interesting range of varied geometries in the negative spaces of this form. This results in a varied interference effect, even from only one angle. The unique visual effect created by the shadows that this form would produce would be similary to the shadows of a well-covered tree top, relating the well vegetated site, defined by the brief. Although the algorithm is more complex than the previous iteration it can similarly be adapted to any polysurface geometry allowing it to be a technique that can be developed with a range of inputs and parameters.

This is a successful outcome, according to the selecion criteria where the curved forms create an interesting layering effect. The fluidity of this layering effect is further enhanced by the curved forms of these surfaces. The sectioned components and the spacing between them are able to create an interesting visual effect where the visibility of the subastance concealed behind some of the layers are affected by the angle of perspective. Additionally, the layered components evoke a sense of movement, similar to that of the ripple effect of water, where the form is able to relate to the water of the Merri Creek, relating the form of the design to the ecosystem, as requried by the brief. The algorithm is quite different to conventional techniques of section and intersection and requires a form with a hole in a centre to be effective, however these limitations could generate interesting forms that can be explored through technique development.

DESIGN CRITERIA | CASE STUDY 1.0

4. iteration 63

5. iteration 68

6. iteration 71

This iteration was generated by intersecting a relaxed mesh with multiple YZ planes that were offset on the X axis. The sectioned curves were then extruded to produce the final outcome of this iteration.

This iteration was generated by intersecting a relaxed mesh with multiple XY planes that were offset on the Z axis hybridized with an extruded open curve that was offset in a linear direction. The sectioned curves were then extruded to produce the final outcome of this iteration.

This iteration was generated by intersecting a relaxed mesh with multiple XY planes that were offset in the X axis. The sectioned curves were then lofted to produce the planar surfaces in the final outcome of this iteration.

This is a successful outcome, according to the selection criteria, where the fluid forms of the sectioned geometry evoke a sense of movement that is easy for the eye to follow. Additionally the extruded curves all travel in the same direction, with uniform distances between them, allowing the individually sectioned components to take the form of a unified form. The direction and spacing of these extruded curves further creates an interesting visual effect where an intereference effect is created when looking into the form from multiple angles and light can be diffused, into the interior of the structure, in a linear fashion. The overall form of the iteration resembles that of an organism or substance that would exist in freshwater ecosystems, relating the form to the “living architecture” brief. The algorithm used to generate this form involves a mesh relaxation in addition to section and extrusion components, limiting the input geometry to meshes. However, this technique development could be explored to create unrecognizable and interesting final forms.

This outcome proved to be one of the most successful iterations as the form of the sectioned geometry as a collective whole has a strong aesthetic impact where the combination of two sets of intersection extrusions intersect to create a unified and solid form. The visual effect created by these intersecting extrusions additionally creates an interesting visual effect, similar to that of a lattice where the negative space between the extrusions form unique shapes that are organic and fluid. Similar to iteration 63, the form’s resemblance of a living organism can be further developed to suit the “living architecture” brief. This technique is able to generate interesting forms that could result in an unconventional design for the final project. The algorithm for this technique can be applied to an input mesh that is the basis of the form of the final design that can be manipulated with different parameter to produce interesting final forms.

This iteration was successful in a completely different way to the other iterations where the overall form of the collective whole was fluid and unified as result of the surfaces being planar and parallel. However, the individual components have a less fluid effect where the ‘levelled’ surfaces create a stepped and jagged effect that could be further explored in the design process to produce interesting outcomes with a range of functions. The visual effect is less impactful than those of the previous iterations, however the transparency and opaqueness of the planes in combination with the spaces between the planes can be manipulated to create an interesting visual effect. The form has the potential to provide a space for habitat, responding to the concept of the brief and the algorithm can be adjusted to suit any geometry in the case where mesh geometries do not want to be used. The development of this technique could produce interesting results that could introduce more possibilities for the design’s function. 65

CASE STUDY 2.0 | DESIGN CRITERIA

B.3. CASE STUDY 02 MATTHIAS PLIESSNIG SINIO BENCH

The Sinio Bench by Matthias Pliessnig is a work that is exemplary of Pliessnig’s designs, which include an extensive range of seating and sculpture formed from strips of bent white oak. Pliessnig explains that his “first influence is process, then human and space interaction. The outcomes are forms that meander through space, keeping in mind aerodynamics and hydrodynamics.” 47 These influences are evident in the form, function and physics of Pliessnig’s designs which dictate the aesthetic of the piece and more importantly reveal the artistry of how the form was designed and constructed.

The construction of the bench consists of white oak vertical components that are fabricated from the digitally generated vertical sections in addition to strips of white oak that are bent to form the horizontal sections that curve along the suface of the bench. The bending process employs a labour intensive coopering that involves steam bending the thin, air-dried strips of wood to form the curvaceous form of the bench. 48

The final work straddles the concepts of art, craft and deisgn reflecting the craftmanship skills, time-honoured techniques and modern digital technologies adopted to The form of the design adopts an anthropocentric design bring this form to life. where its peaks and valleys wrap loosely around the body of its user and the flowing form changes to provide The following case study seeks to re-engineer the form its user with the opportunity to face multiple directions. of this design by, similarly, sectioning a lofted surface The design, originating from Pliessnig’s original sketches, with planes that are arrayed along the main curve of the was developed through modern digital technology that form and then dividing the sectioned curves into points generated a final form consisting of vertical sections that can be interpolated in order to create the horizontal running along the main axis of the curved form and sections that wrap along the surface of the form. Finally, horizontal section components that wrap around the the material structure of the form is realised by sweeping curved surface of the final form. the sectioned curves with a rectangular polygon section. 47. “Matthias Pliessnig - Form, Function and Physics”, Angelina Sciolla, SOMA MAgazine, 2011., http://www.somamagazine.com/matthias-pliessnig/ 48. Ibid.

DESIGN CRITERIA | CASE STUDY 2.0

CASE STUDY 2.0 | DESIGN CRITERIA

DESIGN CRITERIA | CASE STUDY 2.0

sinio bench APPLICATION OF ALGORITHMIC TECHNIQUES IN ORDER TO SIMULATE THE CASE STUDY FORM

CASE STUDY 2.0 | DESIGN CRITERIA

DESIGN CRITERIA | CASE STUDY 2.0

TECHNIQUE DEVELOPMENT | DESIGN CRITERIA

B.4. TECHNIQUE DEVELOPMENT

DESIGN CRITERIA | TECHNIQUE DEVELOPMENT

TECHNIQUE DEVELOPMENT | DESIGN CRITERIA

Input Geometry Polysurface

Intersection Geometry XY Planes

Intersection Geometry XZ Planes

Intersection Geometry YZ Planes

Offset/Array Direction Z

Offset/Array Direction Y

Offset/Array Direction X

Ouput Geometry Curves

Input Geometry Polysurface

Intersection Geometry XY + XZ Planes

Intersection Geometry XY + YZ Planes

Intersection Geometry XZ + YZ Planes

Offset/Array Direction Z+Y

Offset/Array Direction Z+X

Offset/Array Direction Y+X

Ouput Geometry Curves

Input Geometry Surface

Intersection Geometry YZ Plane + Extruded Open Curve

Intersection Geometry XY Plan + Extruded Open Curve

Intersection Geometry XZ Plan + Extruded Open Curve

Extrusion Direction Z

Offset/Array Direction X + Linear

Offset/Array Direction Z + Along Curve

Offset/Array Direction Y + Along Curve

Ouput Geometry Curves

Input Geometry Polysurface

Intersection Geometry XY Planes

Intersection Geometry XZ Planes

Intersection Geometry YZ Planes

Offset/Array Direction Z

Offset/Array Direction Y

Offset/Array Direction X

Ouput Geometry Extruded Curves

Input Geometry Polysurface

Intersection Geometry XY + XZ Planes

Intersection Geometry XY + YZ Planes

Intersection Geometry XZ + YZ Planes

Offset/Array Direction Z+Y

Offset/Array Direction Z+X

Offset/Array Direction Y+X

Ouput Geometry Extruded Curves

Input Geometry Surface

Intersection Geometry YZ Plane + Extruded Open Curve

Intersection Geometry XY Plan + Extruded Open Curve

Intersection Geometry XZ Plan + Extruded Open Curve

Extrusion Direction Z

Offset/Array Direction X + Linear

Offset/Array Direction Z + Along Curve

Offset/Array Direction Y + Along Curve

Ouput Geometry Extruded Curves

Input Geometry Polysurface

Intersection Geometry XY Planes

Intersection Geometry XZ Planes

Intersection Geometry YZ Planes

Offset/Array Direction Z

Offset/Array Direction Y

Offset/Array Direction X

Ouput Geometry Planes

Input Geometry Polysurface

Intersection Geometry XY + XZ Planes

Intersection Geometry XY + YZ Planes

Intersection Geometry XZ + YZ Planes

Offset/Array Direction Z+Y

Offset/Array Direction Z+X

Offset/Array Direction Y+X

Ouput Geometry Planes

DESIGN CRITERIA | TECHNIQUE DEVELOPMENT Input Geometry Polysurface Intersection Geometry Extruded Open Curve

Input Geometry Polysurface

Extrusion Direction Z

Intersection Geometry Extruded Open Curve

Offset/Array Direction Linear

Offset/Array Direction Along Curve

Ouput Geometry Curves

Input Geometry Surface

Intersection Geometry XY + Extruded Open Curve

Intersection Geometry XZ Plane + Extruded Open Curve

Extrusion Direction Linear

Extrusion Direction Z

Offset/Array Direction Z + Linear

Offset/Array Direction Y + Linear

Ouput Geometry Curves

Input Geometry Surface Intersection Geometry YZ Plan + Extruded Open Curve

Input Geometry Surface Intersection Geometry Extruded Open Curves

Extrusion Direction Z

Offset/Array Direction X + Along Curve

Offset/Array Direction Linear + Along Curve

Ouput Geometry Curves

Input Geometry Polysurface Intersection Geometry Extruded Open Curve

Input Geometry Polysurface

Extrusion Direction Z

Intersection Geometry Extruded Open Curve

Offset/Array Direction Linear

Offset/Array Direction Along Curve

Ouput Geometry Extruded Curves

Input Geometry Surface

Intersection Geometry XY + Extruded Open Curve

Intersection Geometry XZ Plane + Extruded Open Curve

Extrusion Direction Linear

Extrusion Direction Z

Offset/Array Direction Z + Linear

Offset/Array Direction Y + Linear

Ouput Geometry Extruded Curves

Input Geometry Surface Intersection Geometry YZ Plan + Extruded Open Curve

Input Geometry Surface Intersection Geometry Extruded Open Curves

Extrusion Direction Z

Offset/Array Direction X + Along Curve

Offset/Array Direction Linear + Along Curve

Ouput Geometry Extruded Curves

Input Geometry Polysurface Intersection Geometry Extruded Open Curve

Input Geometry Polysurface

Extrusion Direction Z

Intersection Geometry Extruded Open Curve

Offset/Array Direction Linear

Offset/Array Direction Along Curve

Ouput Geometry Planes

Input Geometry Surface

Intersection Geometry XY + Extruded Open Curve

Intersection Geometry XZ Plane + Extruded Open Curve

Extrusion Direction Linear

Extrusion Direction Z

Offset/Array Direction Z + Linear

Offset/Array Direction Y + Linear

Ouput Geometry Planes

TECHNIQUE DEVELOPMENT | DESIGN CRITERIA

Input Geometry Surface

Intersection Geometry YZ Plane + Extruded Open Curve

Intersection Geometry XY Plan + Extruded Open Curve

Intersection Geometry XZ Plan + Extruded Open Curve

Extrusion Direction Z

Offset/Array Direction X + Linear

Offset/Array Direction Z + Along Curve

Offset/Array Direction Y + Along Curve

Ouput Geometry Planes

Input Geometry XY Section Curves

Input Geometry XZ Section Curves

Input Geometry YZ Section Curves

Divided Points 10

Interpolate Direction Along Curve

Ouput Geometry Curves

Input Geometry XY Section Curves

Input Geometry XZ Section Curves

Input Geometry YZ Section Curves

Divided Points 10

Interpolate Direction Flip Matrix

Ouput Geometry Curves

DESIGN CRITERIA | TECHNIQUE DEVELOPMENT

Input Geometry Surface Intersection Geometry YZ Plan + Extruded Open Curve

Input Geometry Surface Intersection Geometry Extruded Open Curves

Extrusion Direction Z

Offset/Array Direction X + Along Curve

Offset/Array Direction Linear + Along Curve

Ouput Geometry Planes

Input Geometry Linear Array Section Curves

Input Geometry Curve Array Section Curves

Divided Points 10

Interpolate Direction Along Curve

Ouput Geometry Curves

Input Geometry Linear Array Section Curves

Input Geometry Curve Array Section Curves

Divided Points 10

Interpolate Direction Flip Matrix

Ouput Geometry Curves

TECHNIQUE DEVELOPMENT | DESIGN CRITERIA

DESIGN CRITERIA | TECHNIQUE DEVELOPMENT

selection criteria TECHNIQUE DEVELOPMENT

Four of the most successful outcomes selected from the iteration produced in case study 1.0 were selected based on a selection criteria that was based on the requirements of the brief, nature of the site, capabilities of the algorithm, potential constructability of the geometry and the design intent at this stage of the design project. The selection criteria states that: 1. the form is able to perform as a hammock, net, cocoon, web or canopy 2. the form is able to be suspended 3. the form is able to create a visual effect 4. the form has the potential to be constructed 5. the form is evokes fludity through its sectioned components 6. the form is able to relate to the site in either an organic or inorganic nature 7. the algorithm of the design is able to be applied to a variety of geometries 8. the form is able to evoke a sense of the design intent - which is to create a space that can be inobtrusively, integrated with the natural settings of the site.

TECHNIQUE DEVELOPMENT | DESIGN CRITERIA

1. iteration 4

2. iteration 23

This iteration was generated by intersecting a solid with an extruded open curve that was offset in a linear direction. The sectioned curves for a variety of open and closed curves that are spaced uniformly apart.

This iteration was generated by intersecting a solid with a hybrid of XZ and YZ planes that were offset in a linear direction. The sectioned curves were then extruded in order to produce the final form of this iteration.

This is a successful outcome as in an inelastic state, the form is able to function as a cocoon and in an elastic state the form is able to function as a web, net or a hammock. There is additionally a potential to extend linear components of the form to allow it to be suspended or to suspend the form from the linear components themselves however these methods both require the addition of connection components to unify the form. The form can further be developed in order to fabricate its sectioned components for construction or the use of a â&#x20AC;&#x2DC;lineâ&#x20AC;&#x2122;-type materials, such as string, can be held into position to form this position. The sectioned components additionally create fluidity and dynamism as the curves run in the same direction. The overall form is based on a basic geometry that weaves in between the trees that it will be suspended from, in order to relate to the vegetation of the site through the organic lines that will run in between the negative space of the trees. The algorithm is able to applied to any form so that the form can be developed so that it can further suit the design intent to create a space that integrates with its natural surroundings.

This is a successful outcome as its intersecting extrusions enclose a space that is able to perform as a cocoon that can be suspended by elongating the extrusions or connecting suspension members to the lattice form created by the intersecting extrusions. This lattice form is additionally able to create an interesting interference pattern that changes according to the angle of perspective and creates interesting and unique forms in its negative spaces. Furthermore, the intersections of these extrusions allow the sectioned components to be connected and form one single form that can easily be constructed into a structurally sound form that evokes fluidity. Likewise, to iteration 4, the original form is modelled to weave in between its natural surroundings allowing it to relate to the context of its site through its organice forms. The algorithm is additionally able to be applied to all forms, allowing the original form to develop into a more interesting shape so that it can meet the requirements of the design intent.

DESIGN CRITERIA | TECHNIQUE DEVELOPMENT

3. iteration 31 This iteration was generated by intersecting a solid with XY planes that were offset in a linear direction along the Z axis. The section curves were then lofted in order to produce the planar surfaces that form the final form of this iteration. This iteration is a successful outcome as it suits the tutorial specific design brief in its ability to perform as a cocoon, where the form could be further developed to create a hollow, enclosing space. Although the form does not consist of intersections or â&#x20AC;&#x2DC;stripâ&#x20AC;? elements that it can be suspended from, further investigation or the hybridization of this iteration with another technique will allow for the structure to be suspended. The visual effect created is an interesting concept where the notions of public vs. private spaces can be explored through the angles of perspectives that either provide a full view or completely blockthe spaces concealed behind they layers. Similar to the structure of the AA Driftwood Pavilion, this form has the potential to be constructed with the aid of an internal framework structure to connect and support the elements. The form is additionally based off an organic shaped input geometry that relates to the natural context of the site. Furthermore, the algorithm can be applied to any polysurface which can be adapted to create a space that is able to integrate well in its natural context without being obtrusive to the vegetation around it.

4. iteration 55 This iteration was generated by interpolating curves through a set amount of points generated by dividing sectioned curves. These sectioned curves were generated by arraying an extruded linear curve along a curvilinear axis that follows the predominant path of the original geometry. This is the most successful outcome as it resembles the simplistic yet evocative curves of the original form, which can collectively function as a cocoon. The curves which run along the surface of the form, in the direction its path travels allow the form to easily be suspended by elongating these curves. Furthermore, these curves create a dynamic and soft visual effect that reflects the shape of the original form and the movement of the eye through this form. This visual effect and the form itself can be constructed with the aid of a supporting structure which can be developed from the sectioning curves that these curves were originally interpolated through. The combination of these components will collectively evoke the movement and fluidity of the form creating organic forms that will be able to reflect the organic and natural setting of the site. The algorithm is also adaptable to any form, allowing this technique to be even further developed to best suit the design intent and create a form that is potentially unrecognizable and interesting whilst still having an inobtrusive integration with its surroundings.

TECHNIQUE: PROTOTYPES | DESIGN CRITERIA

B.5. TECHNIQUE: PROTOTYPES

The prototyping process will explore the sectioning method of simple geometries, similar to that of case study 1.0, in addition to materiality and the visual effects produced by constructing the prototypes according to these methods. The prototypes were created by sectionsing simple ellipsoid forms in X and Y directions and then preparing the file for fabrication by unrolling the sectioned surfaces and detailing notches in them. The prototypes had a simple assembly process of slotting the horizontal vertical components into one another and successfully explored materiality. This exploration revealed the interference effect created by intersecting section planes and how this affects the visibility through the design and creates a pattern with the form of the design. Howerver, it must be noted that these prototypes lack sufficient suspension methods in addition to the exploration of interesting forms.

DESIGN CRITERIA | TECHNIQUE: PROTOTYPES

TECHNIQUE: PROTOTYPES | DESIGN CRITERIA

prototypes MODELLING AND PREPARATION FOR FABRICATION

DESIGN CRITERIA | TECHNIQUE: PROTOTYPES

prototypes FABRICATION LAYOUT

TECHNIQUE: PROTOTYPES | DESIGN CRITERIA

prototypes i-iv TESTING MATERIALITY

DESIGN CRITERIA | TECHNIQUE: PROTOTYPES

prototype v

TESTING VISUAL EFFECTS AND INTERFERENCE

TECHNIQUE PROPOSAL | DESIGN CRITERIA

B.6. TECHNIQUE: PROPOSAL The notion of technique development and prototyping allowed me explore different methods of sectioning and intersection and how these can be actualised into a physical form. The variety outcomes from the technique development offer many possibilities for the project in addition to the exploration of materiality, fabrication and assembly through prototyping. This has provided me with a guage of how I will apply sectioning and intersection to my design however, I still have not selected a definite form. The sectioning and intersecting technique will be used for the design, in order to generate a shell structure of the original geometry, which will resemble to form of a cocoon. This shell structure will be able to encase/ house its users and will additionally be suspended by nearby trees. This will create a design that allows people to interact with it and further allow its form to become an amenity to its users.

The target location of the site is directly adjacent to Merri Creek Primary school and slightly north of Georgeâ&#x20AC;&#x2122;s Road Bridge. The location was chosen as it is a serene setting just off the juncture of major entrances, pathways and a school. This creates the opportunity to embrace high level of traffic as well as the target audience of school children that would be frequent in this area. The design intent is to create a space that will encourage bystanders, users of this section of the Merri Creek and/or children to explore the form of the design in addition to the surrounding site. The design will express natureâ&#x20AC;&#x2122;s continuous relationship with culture by integrating the two and developing a space that will explore the environment and promote interaction with it. The design form will offer this space an enclosure/ shelter by the means of a shell structure produced by sectioned curves.

DESIGN CRITERIA | TECHNIQUE PROPOSAL

LEARNING OUTCOMES | DESIGN CRITERIA

B.7. LEARNING OBJECTIVES

DESIGN CRITERIA | LEARNING OUTCOMES

APPENDIX | DESIGN CRITERIA

B. 8. APPENDIX

DESIGN CRITERIA | APPENDIX

PART C. DETAILED DESIGN

DESIGN CONCEPT| DETAILED DESIGN

C.1. DESIGN CONCEPT COLLABORATIVE WORK WITH JENNIFER PAYETTE

The presentation of the technique developments and proposals of part b revealed that Jennifer and I had not only selected the same site location and technique methodology, but also produced similar forms and similar design intentions. However, dispite the similarity of our design ideas, our approaches to sectioning and intersecting algorithms differed and it was decided that it would be beneficial for us to collaborate. This resulted in a more resolved design, which was able to develop a simple algorithmic method into a complex and interesting form with the ability to respond to the design brief. Furthermore, the collaboration allowed Jennifer and I to investigate and develop the intensions of our design with the aid of two different perspectives allowing us to produce a design that was able to respond to many issues of the brief in addition to the context of our site. The integration of our designs allowed for the incorporation of Jenniferâ&#x20AC;&#x2122;s sectioning methods - which intersected linear arrayed extrusions with a geometry and my sectioning methods - which intersected linear

and curvilinear arrayed extrusions with a geometry in addition to the exploration of sections along a surface through interpolated curves. This resulted in our final design adopting both our sectioning and intersection methodologies in addition to the integration of our design ideas informing the form, structure and intentions of our design. My feedback received is based on what I have presented in weekly studios. The main recommendations and guidances encouraged further exploration and development of the the design form and technique, as both were simple and needed to be further developed and resolved.

DETAILED DESIGN | DESIGN CONCEPT

DESIGN CONCEPT | DETAILED DESIGN

DETAILED DESIGN | DESIGN CONCEPT

design brief RESPONSE TO THE DESIGN BRIEF | LIVING ARCHITECTURE | HAMMOCK NET COCOON WEB CANOPY The design brief of the course called for the intervention of living systems that would express, support, amplify or question the continuous relationships between technical, cultural and living systems. This intervention should avoid harmful impact and consider graceful degredation or repurposing

activities and performances: learning, exercising, playing, observing and exploring

The brief further encourages speculative design where the project should exploit all avenues of critical thinking, research and learning.

In addition to the course brief, our studio specific brief required our design to take the form of mandatory suspended hammock, net, cocoon, web or canopy. Our design took the form of a suspended cocoon that features a net.

The brief additionally required the response to and consideration of particular systems involved:

form: playground, treehouse, suspended bridge materiality: recycled timber

site within Merri Creek and linked eco systems: embankment adjacent to Merri Creek Primary School[refer to site map above and image on left] agents stakeholders: children (user) and surrounding trees (amenity)

DESIGN CONCEPT | DETAILED DESIGN

design proposal DESIGN AGENDA

In accordance with our response to the design brief, our design proposal seeks to provide a suspended place of learning, play and exploration for children, presumably from nearby Merri Creek Primary School. This would take the form of a suspended playground emerging from the pathways of the creek embankments into the trees of the opposite embankment.

[1] Exploration of the natural environment by emerging children into nature allowing them to experience the: climate, topography, network of trees, creek.

The design agenda, in full response to the design breef seeks to provide an interactive space that will: [1] allow children to freely explore the surrounding natural environment; [2] encourage experiential learning and; [3] is in harmony with the natural landscape.

climate – where a non enclosed form achieved by spaced vertical sections allow for exposure to climate conditions such as breezes, sunlight, rain etc;

The design proposes to respond to this design agenda through the following notions:

We wanted our design to completely emerge children into nature through play, where they are able to experience nature through:

natural Setting – where the slope of the design brings awareness to the varying heights in ground level by following the topography of the site; trees – where the net and varying levels of each of the parts of the design forces children to climb the trees and; water – where the viewing deck suspended over the embankment exposes the children to the views of the water as well as the continuation of the creek showing them the flow of the river and the ecosystem within it.

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DETAILED DESIGN | DESIGN CONCEPT

[2] Experiential learning through the exploration of the design which encourages: building relationships, independent thinking and a sense of achievement.

[3] Connects to the natural landscape where the form, arrangement and structure of the design are informed by its natural surroundings.

We wanted our design to inform a learning process through exploration, where the completion of the course would encourage them to:

We wanted our design to be harmonious with the landscape of the site where the form was design based on the positioning of certain elements on the site:

develop relationships by learning to help one another;

the overall form was achieved by approximating the distance of a desired pathway between trees and giving the pathway an access point;

be exposed to a small degree of danger in order to promote decision making and problem solving through the exploration of the â&#x20AC;&#x153;real worldâ&#x20AC;? and; develop a sense of accomplishment and triumph.

the pathway of the design wraps around/weaves in and out of the trees following the topography; mirroring the major features of the site and; the suspension cables of the design intertwines with the trees and almost reaches out towards them, creating a connection that is composite to the form of the design, rather than being completely separate.

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DESIGN CONCEPT | DETAILED DESIGN

design proposal ADDRESSING THE DESIGN AGENDA

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DESIGN CONCEPT | DETAILED DESIGN

design proposal ADDRESSING THE DESIGN AGENDA

1. suspension

2. entrance

3. inclined planes

4. change in heig

components: suspension cables

components: starting point of the structure

components: horizontal planes

components: two separate pa

form: unifies the sectioned components and create fluidity throughout the design

form: requires children to climb up hill to access entrance and is positioned away from footpath to avoid disruptions

form: incline reflects the topography of the site and creates a variance in form for children to play on and explore

form: the two se are placered at to create an obs children must cl continue the cou

structure: threaded through the vertical sections in order to suspend the design from nearby trees

structure: structure: the first vertical section serves as horizontal planes are staggered the entry way to the playground to form steps

computation: generated as curves interpolated through holes equilly distributed along the surface of the vertical scetions

computation: designated as the input â&#x20AC;&#x153;accessâ&#x20AC;? point in the form finding algorithm in order to generate a lofted form based on the access point

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computation: generated as planar sections of the lofted form

structure: two separate pa which act indep according to the system

computation: each part is gen with their own re

DETAILED DESIGN | DESIGN CONCEPT

ght

5. net

6. levelled planes

7. viewing deck

arts

components: net connected to adjacent parts

components: horizontal planes

components: angled vertical sections

eparate parts different heights stacle where limb tree to urse

form: net situated central of the design and connected to all parts creates an obstacle where children must cross net to continue the course

form: flat plane reflects the topography of the site and creates a flat bridge or platform for children to explore

form: the vertical sections are angled so that the form opens up to views of the river for children to explore

structure: single horizontal plane

structure: verticle sections angled so that their end points facing the desired views diverge

arts of the design pendently but e same structural

nerated separately espective inputs

structure: net placed central to three load bearing trees and connected to all adjacent parts of the design. computation: none

computation: generated as the common horizontal plane to the vertical sections

computation: generated as an intersection between a curvilinear array of an extruded curve and the form

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DESIGN CONCEPT | DETAILED DESIGN

computation FORM FINDING, INTERSECTION AND DESIGN ACTUALISATION TECHNIQUES The final algorithmic technique generates: a lofted form based on the access point, desired pathway and tree locations - jennifer part b intersection curves through by intersecting the lofted form with one of the following sectioning surfaces: 1. planar offset offsets XY, XZ or YZ planes in a specified direction - jenna part b 2. extruded curves arrays an extruded curve in a specified linear direction - jennifer part b 3. extruded curves arrays an extruded curve in a specified curvilinear direction (along a referenced curve) - jenna part b offset curves by offsetting the original vertical section curves in two directions to find edges of a surface surfaces by lofting the offset curves and closed curves extruded surfaces that represent material thickness by extruding the surfaces interpolated curves that represent the cables of the structure by interpolating a curve through a set number points that divide the vertical section curves - jenna part b

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final outcome APPLICTION OF ALGORITHM TO DESIRED FORMS ACCORDING TO SITE MODEL

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DESIGN CONCEPT | DETAILED DESIGN

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TECTONIC ELEMENTS AND PROTOTYPES | DETAILED DESIGN

C.2. TECTONIC ELEMENTS AND PROTOTYPES REALISING FORM STRUCTURAL INTEGRITY

The exploration of different constuction and assembly processes helped us determine the most efficient and viable methods to fabricate and build our structure on a 1:50 and 1:10 scale. The prototypes we produced explored the resolution of the form of the design as well as its structural integrity.

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TECTONIC ELEMENTS AND PROTOTYPES | DETAILED DESIGN

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DETAILED DESIGN | TECTONIC ELEMENTS AND PROTOTYPES

prototype i EXPLORING FORM AND SUSPENSION This prototype is a development of Jenniferâ&#x20AC;&#x2122;s part b prototype, which consisted of vertical sections generated from lofted offset curves and horizontal sections generated from planar surfaced curves. The prototype sets to explore the form, structure and suspension of the design by resolving how the sectioned components would come together. In order to create the gradient of the lofted form, which reflects the topography of the site, the horizontal components are staggered at uniform increments, with the use of supporting beams. This not only creates an increase in height but also provides necessary structural support that holds the vertical and horizontal elements in place and allows them to support additional weight. The design is suspended by connecting each vertical component to a cable that hangs of a spanning, tensile cable.

Although the design can successfully be suspended, this method is neither efficient nor aesthetically pleasing. This method additionally raises the question whether the structure of the design performs under suspension or the support of it own weight. This prototype lacks the consideration of incorporating suspension elements in the actual form of the design where the suspension technique is composite to the form of the design. In addition to an improvement in suspension methods, this prototype requires a change in materiality where the cardboard used lacked strength and is prone to bending and breaking. It must be noted that the structural beams that support the horizontal components and hold the elements in place was successful in its ability to elevate the components as well as support and connect them.

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TECTONIC ELEMENTS AND PROTOTYPES | DETAILED DESIGN

prototype ii DEVELOPING FORM AND SUSPENSION This prototype is a development of protype i and the methods researched in Jennaâ&#x20AC;&#x2122;s part b technique development. The first issue addressed is the materiality of the prototype where 3mm plywood is used as it is a stronger and more rigid material with a pleasing aesthetic quality. The suspension system is additionally further explored where an adaptation of an interpolated curve method is applied to the vertical section components. Dividing these elements with a set amount of points along their surface allows for the threading of string through them, just as a curve is interpolated through points. This results in a more unified aesthetic which more closely resembles the original lofted form, as well as increases the structural strength of the prototype where the string provides an additional means of connectiom and support of the horizontal components, increasing the collective strength of the design. The suspension method of the threaded string additionally proves to be successful where the form can be suspended from one or two

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points on either end, where the suspension is merely a continuation of the interpolated curves of the form instead of a separate system. This prototype is successful in encapsulating the desired form, structure and suspension method that we will use in our final detail model and in the real life structure. However, the section components of the design need to be refined in order to represent a more unified form that is structurally sound. In replacement of the supporting beams used in prototype i, a notching system is used in order to explore further options. This method is inefficient and difficult to assemble as the rigidity of the material makes slotting the components into place problematic. Furthermore, the elastic and limber material qualities of string pose the risk of an unstable structure which will move erratically when force is applied to it as well as has the potential to stretch, therefore alternative suspension materials must be consisdered.

DETAILED DESIGN | TECTONIC ELEMENTS AND PROTOTYPES

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TECTONIC ELEMENTS AND PROTOTYPES | DETAILED DESIGN

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DETAILED DESIGN | TECTONIC ELEMENTS AND PROTOTYPES

structural prototype EXPLORING TECTONICS - â&#x20AC;&#x153;THE SCIENCE OR ART OF CONSTRUCTION, BOTH IN RELATION TO USE AND ARTISTIC DESIGN.â&#x20AC;? The structural prototype resolves the final form and structure of the design in addition to the problems of the previous protypes. The scale is at a large scale (1:10) and is assembled according to how the design would be constructed in reality. The structure of the design makes use of the same supporting beam system as in prototype i where the beams are bolted to the vertical components in order to support the horizontal components above, hold them in place and connect them to the vertical components. The suspension members of string used in prototype ii are replaced with galvanised steel cable, which is a stronger and more ductile material that works well in tension and can be used in the actual structure. The pliable yet rigid nature of the cable additionally strengthens the design as it secures the members in place.

The suspension systems of the previous two prototypes both require further resolution. This is resolved in the structural prototype which explores a non-intrusive way of attaching the suspension cables to the tree, without the use of permanent bolting or nailing. This was done by connecting the cables that are to be attached to the same tree, by the means of a u-bolt, and wrapping them through the notches of timber supports that are compressed against the trunk of the tree. The wires are securely fastened back onto themselves where the tension of the cables holds the timber supports in place which in return attaches the structure to the supporting tree. The structural protoype successfully demonstrates the structural integrity of our design and how it would be constructed in reality.

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TECTONIC ELEMENTS AND PROTOTYPES | DETAILED DESIGN

structural prototype

FABRICATION AND ASSEMBLY

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structural prototype FINAL FORM

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TECTONIC ELEMENTS AND PROTOTYPES | DETAILED DESIGN

structural prototype

STRUCTURAL SUSPENSION DETAILS

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DETAILED DESIGN | TECTONIC ELEMENTS AND PROTOTYPES

structural prototype

STRUCTURAL CONNECTION AND SUPPORT DETAILS

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TECTONIC ELEMENTS AND PROTOTYPES | DETAILED DESIGN

structural prototype

CONSTRUCTION PROCESS

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structural prototype

STRUCTURAL SUSPENSION, CONNECTION AND SUPPORT DETAILS

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FINAL DETAIL MODEL | DETAILED DESIGN

C.3. FINAL DETAIL MODEL REALISING FORM STRUCTURAL INTEGRITY The exploration of different constuction and assembly processes helped us determine the most efficient and viable methods to fabricate and build our structure on a 1:50 and 1:10 scale. The prototypes we produced explored the resolution of the form of the design as well as its structural integrity.

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DETAILED DESIGN | FINAL DETAIL MODEL

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FINAL DETAIL MODEL | DETAILED DESIGN

construction FABRICATION AND ASSEMBLY OF SITE AND MODEL

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FINAL DETAIL MODEL | DETAILED DESIGN

construction FABRICATION TEMPLATE

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FINAL DETAIL MODEL | DETAILED DESIGN

final detail model PHYSICAL MODEL

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FINAL DETAIL MODEL | DETAILED DESIGN

final detail model RENDERS

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LEARNING OBJECTIVES | DETAILED DESIGN

C.4. LEARNING OBJECTIVES

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REFERENCING

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BIBLIOGRAPHY | REFERENCES

bibliography Fry, Tony, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2009), 3. Pasquarelli, Gregg,“Out of Practice,” Lecture, Dean’s Lecture Series from The University of Melbourne, Melbourne, 2013 “Architect Frank Gehry refines his art with the Fondation Louis Vuitton gallery in Paris”, Martin Filler, The Australian Financial Review, 2015, http://www.afr.com/lifestyle/architect-frank-gehry-refines-his-art-with-the-fondation-louisvuitton-gallery-in-paris-20150312-13m1gm “BanQ/ Office dA” No Author, ArchDaily, 2009, http://www.archdaily.com/42581/banq-office-da “Barclays Center,”Unknown Author, ShoP Architects, n.d., http://www.shoparc.com/project/Barclays-Center. “Digitized Stone: ZAarchitects Develop ‘Smart Masonry’,” Evan Rawn, ArchDaily 2015, http://www.archdaily. com/609108/digitized-bricks-zaarchitects-develop-smart-masonry/. “Driftwood AA Summer Pavilion, London”,AJ Welsh, E-Architect, 2012, http://www.e-architect.co.uk/london/driftwood-pavilion-design “Fondation Louis Vuitton By Frank Gehry Takes Shape In Paris”, Philip Stevens, Design Boom, 2014, http://www. designboom.com/architecture/frank-gehry-fondation-louis-vuitton-paris-05-09-2014/ “Fondation Louis Vuitton/Frank Gehry”, No Author ArchDaily, 2014, http://www.archdaily.com/555694/fondationlouis-vuitton-gehry-partners/ “Heydar Aliyev Center / Zaha Hadid Architects”, No Author, ArchDaily, 2013, http://www.archdaily.com/448774/ heydar-aliyev-center-zaha-hadid-architects/ “Matthias Pliessnig - Form, Function and Physics”, Angelina Sciolla, SOMA MAgazine, 2011., http://www.somamagazine.com/matthias-pliessnig/ “Meta-Material fabrication | dECOI Architects”, Geoff Eberle, Archi20, n.d., http://www.arch2o.com/meta-materialfabrication-decoi-architects/ “Miracle Above Manhattan,” Paul Goldberger, National Geographic, 2011, http://ngm.nationalgeographic.com/2011/04/ ny-high-line/goldberger-text. “MuCEM by rudy riccioti sports a delicate concrete filigree”, Cat Garcia Menocal, Design Boom, 2013, http://www. designboom.com/architecture/mucem-by-rudy-riccioti-sports-a-delicate-concrete-filigree/ricciotti/ “MuCEM by Rudy Ricciotti photographed by Edmund Sumner”, Amy Frearson, Dezeen, 2013, http://www.dezeen. com/2013/05/23/mucem-by-rudy-ricciotti-photographed-by-edmund-sumner/. “MuCEM/Rudy Ricciotti”, No Author, ArchDaily, 2013, http://www.archdaily.com/400727/mucem-rudy-ricciotti/ “Smart Masonry,” No Author, ZAArchitects, 2015, http://www.zaarchitects.com/en/public/125-smart-masonry.html.

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REFERENCES | BIBLIOGRAPHY

“The Highline by James Corner Field Operations and and Diller Scofidio + Renfro ,”Brad Turner, Dezeen Magazine, 2009, http://www.dezeen.com/2009/06/15/the-highline-by-james-corner-field-operations-and-diller-scofidiorenfro/ “The MuCEM Skin”, No Author, Joran Briand, n.d., http://joranbriand.com/en/canape-tribune/ “The New York High Line is Officially Open,” Karen Cilento, ArchDaily, 2009, http://www.archdaily.com/24362/thenew-york-high-line-officially-open/ “Why Lattice Facade?”, Yenetsky, Facadetic, 2014, http://www.facadetic.com/2014/11/16/why-lattice-facade/

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IMAGE CITATIONS | REFERENCES

image citations

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