STUDIO AIR 2018, SEMESTER 1, MATT DWYNER JUN DA LING
Table of Contents 3 About me 3 Introduction
1.0 42 B3: Case Study 2.0 50 B4: Technique: Development
4 Previous works 6 A: CONCEPTUALISATION
60 B5: Technique: Prototyping
7 A1: Design Futuring
64 B6: Technique: Proposal
13 A2: Design Computation
71 B7: Learning Outcomes
20 A3: Composition/ Generation
73 B8: Appendix - Algorithmic Sketches
24 A4: Conclusion 76 Bibliography 25 A5: Learning outcomes 26 A6: Algorithmic Sketches 27 A7: Site Study & Chosen Insect 29 A8: Bibliography 30 B: CRITERIA DESIGN 31 B1: Research Field 34 B2: Case Study
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INTRODUCTION
Introduction
About me
M
y name is Jun Da, I’m a third year architecture major student in the University of Melbourne. Aside from being interested in architecture I enjoy drawing, whether it be still life or some fanart of shows I enjoy developing my skill of drawing and ocassionally some painting. I also probably enjoy gaming way too much. It was only when I entered studio AIR that I realised how little I knew about digital design in relation to architecture. From what I understand, digital tools in the field of architecture allows a person to create something that may not even need to exists physically in this world. There are many examples of purely conceptual and digital designs that can influence and make a mark on this
world without the need of a built form. My skills in digital softward started with Rhino as most students in my university do. I recall learning how to use rhino and the plugin paneling tools for a subject. Prior to this subject I have only experimented with a couple of features in Grasshopper for previous subjects. Never really learnt it extensively. Other software I use include the Adobe Creative Suite, the essentials for documentation and presentation. AutoCAD is also part of my arsenal of digital programs because I use it a lot in my subjects for drafting and other drawing purposes.
INTRODUCTION 3
Previous works
ARCHITECTURAL STUDIO: WATER CONCEPTUAL RENDER
These are the projects that I’ve worked on in my first two years in the Architecture major. It’s quite evident from my work that geometry is probably my most used element when designing a building. Incorporating simple shapes and a very simple style is what I enjoy to do.
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INTRODUCTION
DIGITAL DESIGN AND FABRICATION FINAL MODEL
INTRODUCTION 5
A: CONCEPTUALISATION A1: DESIGN FUTURING A2: DESIGN COMPUTATION A3: COMPOSITION/GENERATION A4: CONCLUSION A5: LEARNING OUTCOMES A6: APPENDIX - ALGORITHMIC SKETCHBOOK
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CONCEPTUALISATION
A1: Design Futuring
FIG 1: THE PROLOGUE AND THE PROMISE BY ROBERT MCCALL
D
esigners play an important role on the advancement of their items in the future. However, as we advance in technology and in industrialization, we start to experience what Fry calls defuturing meaning a threat of unsustainability. 1 Is this due to the design intent of our ancestors not for a sustainable future? Rather to just advance us forward without thinking about the consequences that these advancements might hold. Design futuring is the perfect solution to the stated defuturing. Because it’s motive is to slow down the rate of the unsustainability caused by defuturing. To also change the course in which humanity will have a more sustainable habitation on Earth. This means to design for a change for all forms of mediums that require design to follow a single goal and that is to increase sustainability in the environment.2
The act of designing a future with sustainability in mind can sound easy. Design has always been very optimistic 3 when it comes to dire situations because some of the bigger problems are normally put aside to improve the concept. The end product is a future that removes all threat of defuturing. I would describe it as a utopia, simply because achieving it is near impossible. However there is another way of looking at designing for the future. It is not a means to an end, the problem will always exist and hinder us from an utopia. It is to help us aid our imaginative thoughts and to better understand the present.4 There are many scenarios of the future people design and are often debated amongst one another. This is the path that will actually inch us closer to a future that we actually desire.
1 FRY, TONY (2008). DESIGN FUTURING: SUSTAINABILITY, ETHICS AND NEW PRACTICE (OXFORD: BERG), PP. 1–16 2 FRY, TONY (2008). DESIGN FUTURING: SUSTAINABILITY, ETHICS AND NEW PRACTICE (OXFORD: BERG), PP. 1–16 3 ANTHONY & RABY, FIONA (2013) SPECULATIVE EVERYTHING: DESIGN FICTION, AND SOCIAL DREAMING (MIT PRESS) PP. 1-9, 33-45 4 ANTHONY & RABY, FIONA (2013) SPECULATIVE EVERYTHING: DESIGN FICTION, AND SOCIAL DREAMING (MIT PRESS) PP. 1-9, 33-45
CONCEPTUALISATION 7
Precedent works Eden Project | Cornwall | Nicholas Grimshaw | 2003
FIG 2: THE EDEN PROJECT IN CORNWALL, ENGLAND
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he Eden project is one of Cornwall’s most visited attractions. It boasts two very distinct biome areas. The domes that cover these biomes consist of many pentagon and hexagon shapes to provide structure to the domes. What acts as the membrane that sits on the patterns are plastic cells. The Eden Project is one scenario of a built form that succeeds in creating a platform to slow down defuturing. The mixture of different plant types from all
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CONCEPTUALISATION
around the world are being held within these two biomes. Furthermore, they are in close proximity of local plant types as well. Right outside these domes is a botanical garden filled with Cornwall and UK’s very own plant types. This project manages to combine different plant types together with the help of technology providing a simulation of the climate which the foreign plants can survive within these domes.
The Eden Project has since it’s opening not only became a tourist attraction further improving the economical status of Cornwall. It has also become a hub of entertainment and media. People from across the globe would travel exclusively to Cornwall just for the Eden Project. Specifically the Eden sessions, which are musical performances that the management hosts to further utilize the space and venue of the Eden Project.
FIG 3: INSIDE THE TROPICAL BIOME
Personally, I think the Eden Project is a good example of an utopian design for the future. Not only in application but in appearance as well. The juxtaposition of the domes with nature is seen to be very pleasing to the eye as well as pentagons, hexagons and geometrics are normally associated with modern design as well.
FIG 4: THE BOTANICAL GARDEN AND THE BEE
CONCEPTUALISATION 9
The New Babylon | Concept | Constant Nieuwenhuys | 1959
FIG 5: VIEW OF NEW BABYLON’S SECTORS
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he New Babylon is a utopian concept conceived by Constant Nieuwenhuys. Inspired from a book called Homo Ludens by Johan Huizinga, he is trying to shape society to become a place where everything is ‘automated’. This concept also challenges where art fits in enhancing daily experiences, so Constant actually removed forms of creativity and art to further ponder on this thought. The form of this concept is to create a vertical approach to living. It’s seen to be a quite radical change from the
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CONCEPTUALISATION
norm as seen in the image above. The full concept is to have these flexible structures supported by concrete columns to span accross Europe. Constant added that the climate, light and air would be controlled artificially. Below the buildings would be a pure vehicle access zone whereas the roof would be a pedestrian zone only. This project actually seems to be against capitalism where all other variables are controlled very specifically.
The New Babylon is a very interesting approach to a utopia. I understand how some aspects of this concept can somewhat classify this as an utopia. However, the lack of creativity and freedom makes me see this more of a dystopia. The inability to create art and the climate assumably controlled by the government just paints a dystopian future for me. This actually makes me think of design for a dark future mentioned in the speculative everything reading. This concept plays around with challenges the norm and extracts our complacency from us. It excites and makes us ponder on a desirable future that we actually want.1 That is what goes through my mind when I study more on this concept.
FIG 6: MODEL OF SECTOR IN NEW BABYLON
FIG 7: CONCEPT ART BY CONSTANT
1 ANTHONY & RABY, FIONA (2013) SPECULATIVE EVERYTHING: DESIGN FICTION, AND SOCIAL DREAMING (MIT PRESS) PP. 1-9, 33-45 CONCEPTUALISATION 11
Analysis of both precedents Both the Eden Project and The New Babylon were very interesting precedents to look at in the topic of design futuring. Both of these precedents had the same goal, which was to decrease the rate of defuturing. To create a sustainable future for everyone to live in. However the approaches each precedents took is quite different from one another.
FIG 8: EDEN PROJECT SECTION
The Eden Project sought to decrease defuturing by creating and combining natural environments from foreign lands with local ones as well. They also sustain these biomes with programs that utilize the space of the area to fund other items that may improve the sustainability of this project. However, The New Babylon concept seems to have completely ignored natural habitats within this built environment. The New Babylon is seen to completely reform the structure of society from the norm. To create a future where humans do not have to resort to manual labour. This concept achieves this by creating specific sectors of an urban environment and emphasising on a more vertical approach to living. Visually these two contrast one another. The Eden Project is symmetrical and pleasing to the eye. The New Babylon appears to be in discord and dark colours, it is pleasing to the eye in some way but not imposing a positive feeling.
FIG 9: NEW BABYLON LINEWORK
Something interesting that both of these precedents have in common is the desire to control the climate of the area. The biomes serve as an artificial climate zone and The New Babylon concept had the idea of controlling the whole climate artifically. Perhaps both of these precedents wanted to create an ideal future where climate wouldn’t be a problem at all. The limitations of tropical or temperate wouldn’t matter with these implications.
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CONCEPTUALISATION
A2: Design Computation
FIG 10: WALT DISNEY CONCERT HALL BY FRANK GEHRY
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he design process within architecture is something that has been developing ever since it’s discovery of the field. The introduction of computers had evolved the design process of architecture because humans never could achieve analytical power that this new form of technology could provide. Architects can now create accurate models and drawings of a building without it existing physically anymore. This puts architectural design at a larger emphasis of planning rather than constructing. Furthermore, we have already seen the great minds of architects such as Frank Gehry that utilize computation to create his works. Curvillinear and organic forms became easier to produce through computation with the ability to input desired designs by the architect.
of dynanism and the many ways a design can change within the design process. It is also a method of form finding where a set of parameters are set up for a geometry within which elements can be manipulated to create many different outcomes. This is a form of algorithmic design.1 Computerisation, not to be confused with computation also brings improvements to communication between architects and anyone who will be involved in the design process. (structural engineers, lawyers, contractors, etc.) These information can now be easily transfered between one another through computers.2 The design process can be further developed because it is now open to everyone because this information can now be shared through computers through advancements such as the internet.
Parametric design is the embracing 1 OXMAN, RIVKA AND ROBERT OXMAN, EDS (2014). THEORIES OF THE DIGITAL IN ARCHITECTURE (LONDON; NEW YORK: ROUTLEDGE), PP. 1–10 2 KALAY, YEHUDA E. (2004). ARCHITECTURE’S NEW MEDIA: PRINCIPLES, THEORIES, AND METHODS OF COMPUTER-AIDED DESIGN (CAMBRIDGE, MA: MIT PRESS), PP. 5-25 CONCEPTUALISATION 13
Precedent works Serpentine Pavilion | London | Toyo Ito | 2002
FIG.1: SERPENTINE PAVILION EXTERIOR
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oyo Ito and Cecil Balmond’s design for the 2002 Serpentine Pavilion in London was driven by an computation that would shape the building.
main aspect that drives the form. This changes the way architecture is planned because buildings can obtain it’s form purely from computation instead of traditional methods.
Despite having geometries that seem random and out of place, there was an algorithm of a rotating cube that would expand. These would cause intersecting lines that create dynamic geometries.
The geometries present in the pavilion is something unique to only computation. Therefore it is something only computation seems to be able to create.
The Pavilion’s design here puts a large emphasis on computation being the
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CONCEPTUALISATION
FIG.12: BLOWN UP AXO OF SERPENTINE PAVILION, 2002
CONCEPTUALISATION 15
Galaxy Soho | Beijing | Zaha Hadid | 2012
A
nother good example of how computation has affect the architectural design process is the Galaxy Soho by Zaha Hadid in Beijing. Despite the design being largely based off Beijing’s status. You can see the influence of parametric design just by looking at the form of the building. This precedent is unique in that it has no corners at all. This helps to retain fluidity of the design and also giving it a 360 degree view from inside the building. Not only can computation produce geometrical and dynamic shapes. But curvilinear and organic forms as well. As long as the parameters are logical and grouped well most forms can be created through parametric design. The Galaxy Soho serves as a landmark in Beijing, an architectural feat created through parametric design and produced on such a large scale is rarely seen as well.
FIG.13: GALAXY SOHO BY ZAHA HADID
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CONCEPTUALISATION
CONCEPTUALISATION 17
Analysis of bo
Original Forms
FIG.14: ELLIPTICAL FORMS
FIG.15: POST SECTIONING
FIG.16: RECTANGULAR FORM
FIG.17: POST SECTIONING
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hrough the analysis of both precedents. It has come to mind that these two buildings utilize parametric design to achieve their final built form.
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Product of Sectioning
are then made through the building to create a seamless connection.
In the graph above, it explains how these two projects are actually very similar in the application of parametric design.
Then the Serpentine Pavilion, starts off with a simple cuboid form. It then uses the algorithm of rotation and enlarging of rectangles to obtain triangular shapes. These shapes are then used to section the original rectangular form.
For the Galaxy Soho, it started off as a simple ellipsoid shape. Then horizontal sectioning was added as a parameter to create the form you see in the building today. The connections
These two precedents have almost a similar method in creating it’s final built form. But it is still amazing to see that parametric design has so much potential in designing for architecture.
CONCEPTUALISATION
oth Precedents
FIG.18: SERPENTINE PAVILION FORM EMPHASIS
FIG.19: GALAXY SOHO FORM EMPHASIS
CONCEPTUALISATION 19
A3: Composition/Generation
T
he introduction of computation has brought a complete new field or style in architecture. Some architects dedicate themselves to this field and even start to learn how to engineer software. Computation in architecture is a celebration of technology, that architects have evolved from the pen into the digital realm which they can further evolve architecture to something unprecedented. The process of engineering a software is completely different to architectural practices. Being you have to learn machine languages to translate the desired digital tool creation in a way that computers can understand it. Computation allows designers to extend their abilities to handle highly complex situations. It augments their abilities by handing them a platform in which they can create or solve intricate problems. Architects that create digital tools design it specifically to tackle certain problems in architecture. However, modifications can be created to further extend the capabilities of a software to suit other problems as well. Think Grasshopper, a plugin for the software Rhino3D. It turns an ordinary 3D modelling tool into a platform in which architects can practice parametric design. Knowing this, computation can constantly be improved through the effort of wanting to explore options within digital design. Computation in this era of architecture has been fully integrated into
the practice and even the design process itself. Computational technique is combined with the design intent, therefore it is used very naturally to design a building. With the further improvement of software, architects can now receive feedback regarding building performance through computation. This is possible through the translation of data of materials, tectonics and parameters of production machinery being translated into the program allowing for calculations to be made by the computer. This allows architects to accurately plan a project before construction. Computational designers translate the logic of architecture and create new opportunities to explore and simulate designs. Architecture at this rate will shift from drawing to algorithm as a method of communicating designs.1 Peters through this reading has given a very bias standpoint on computation in architecture. However, I can’t help but think of negative implications this method might give. Should we allow computation to fully take over our conventional practices in architecture? Is computation the design? Or is it a tool we can use to help with our designs. What if the algorithms generated replace the need of architects?
1 PETERS, BRADY. (2013) ‘COMPUTATION WORKS: THE BUILDING OF ALGORITHMIC THOUGHT’, ARCHITECTURAL DESIGN, 83, 2, PP. 08-15
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CONCEPTUALISATION
Precedent works Arabesque Wall| Toronto | Benjamin Dillenburger & Michael Hansmeyer | 2015
T
he Arabesque wall is a 3 metre tall 3D printed sculpture that is inspired by arabesques from Islamic culture. It is a sculpture that boasts over 200 million surfaces at a resolution of 0.2 millimeters. The creators explained that this shifts the design process to an abstract level. Without the technology from computation it would be impossible for a designer to specify or even create. This project has shown some limitations of computation as it took four days from a 4GB file to print. But just like any other building or sculpture it would of course take days to build. But this has the combination of computation and computerisation, the designing through parametric and the printing through 3D printers. It is truely a remarkable example of what we can achieve through algorithmic design.
FIG.20: THE ARABESQUE SCULPTURE FULL SCALE
CONCEPTUALISATION 21
Elbphilharmonie Auditorium| Hamburg | Herzog & de Meuron | 2017
FIG.21: ELBPHILHARMONIE AUDITORIUM
A
nother grand example of how computation and algorithmic design has intergrated within architecture is specifically the auditorium within the Elphilharmonie. Being a venue of music and philharmonics, it has to impress with a grand central auditorium. This one is built with 10,000 unique acoustic panels that exists in the ceiling, walls and balustrades. The form appears to be very organic and resembles rippling waves or the seaside. However, the creation of these forms were computational. Parametric design was used to create these patterns. They used algoritms to create a unique shape
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CONCEPTUALISATION
for each of the 10,000 panels. By working closely with a professional on acoustics. They managed to obtain the parameters needed for these panels to function as needed. To absorb sound. Architectural preferences had been implemented despite the restrictions as well, such as the consistency of the form throughout the auditorium. Benjamin Koren, from One to One studio helped with generating the design of the panels through parametrics. Once again parametric design has helped to create not just an aesthetically pleasing design. But a functional item as well.
FIG.22: CLOSEUP DETAIL OF THE PATTERN
FIG.23: PARAMETERS FOR THE PANELS
“That’s the power of parametric design. Once all of that is in place, I hit play and it creates a million cells, all different and based on these parameters. I have 100 percent control over setting up the algorithm, and then I have no more control.” - Benjamin Koren FIG.24: PANELS IN AN ANGLE
CONCEPTUALISATION 23
A A4: Conclusion
The introduction of design futuring had defined what it means to design for the future. To design for sustainability and to learn from it as well. Radical or not these scenarios we create for the future exists to help turn the gears for our imagination. Through the debate of all these scenarios we can start to imagine a desirable future based on society’s response. This section also introduces technology within architecture and how it has evolved the practice. Specifically through computation, it is evident that this is a new platform where architects can choose to express their design through inputing parameters for a desired product and creating dynamic responses from these parameters. Not to be confused with computerisation, which is the act of having the aid of the computer to help us perform better. Such as drafting tools, 3D printers and etc. Lastly, we end this part with the affirmation of computation as a design practice. It has integrated within architectural firms and is now seamlessly used in the design process as well. Through the precedents we can see that amazing and highly complex forms can only be conceived through computation. It has some constraints in time and file sizes but the merits outweigh the problems here. However, I do think there is a lack of freedom in creativity if we as architects choose to dive deeper into parametric design.
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CONCEPTUALISATION
A5: Learning outcomes
S
tarting out this semester doing three core subjects has been tough on me. Throughout the weeks I found myself become more tired. That wasn’t the case for this studio. I found myself enjoying the topics of each week. Learning about the future and how to approach it. This studio has given me a fresh perception on how to design for the future through its readings and discussions through tutorials. I also had little to no experience using grasshopper for Rhino3D prior to starting this subject. After watching
the provided video tutorials and attending the lectures it became more of an enjoyment rather than a chore because of the immersive environment. So I have improved in my grasshopper skills as well. My tutor also gave us an early idea of the brief for the project we will be doing later on in the semester. I find it quite exciting to have received it slightly early. Preliminary research has already begun. Through this I learned how to do extensive research on a brief in regards to site and chosen items.
CONCEPTUALISATION 25
A6: Algorithmic Sketches
FIG.25: ANT SHELL STUDY
I
n my algorithmic sketchbook I tried to create a form which resembles my chosen insect which will be covered in the following page. The shell form of an ant is what I want to be experimenting on by maybe adding patterns on it as well.
FIG.27: OPPOSITE VIEW FIG.26: FRONT VIEW
FIG.28: BUS STOP DESIGN TASK EXERCISE
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CONCEPTUALISATION
A7: Site Study & Chosen Insect
FIG.29: AERIAL MAP OF LINCOLN SQUARE
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he site of choice for me would be Lincoln Square. It is largely because that it is more urban than other sites as well as conforming to the brief that it is next to a tram stop. I also chose it because I think the urban heat island effect of this area can be decreased. The adjacent parks nearby can act as a connection point to this park and decrease the urban heat island effect in a larger scale. If there is a larger need, the tram line runs all the way north to Princes Park as well, which is one of the larger parks that can improve the natural environment.
LINCOLN SQUARE
NEARBY PARKS
Another reason why I chose it is also because the insect life there is quite diverse. Being primarily mid storey, like all the other insects. This park has everything ranging from the grass, lawns, trees and midstorey. 1 The existing water feature for Lincoln Square could be of use as well when thinking about the hanging gardens brief. 1 MATA L, IVES CD, MORÁN-ORDÓÑEZ A, GARRARD GE, GORDON A, CRANNEY K, SMITH TR, BACKSTROM A, BICKEL DJ, HAHS AK, MALIPATIL M, MOIR ML, PLEIN M, PORCH N, SEMERARO L, WALKER K, VESK PA, PARRIS KM, BEKESSY SA (2016). THE LITTLE THINGS THAT RUN THE CITY – INSECT ECOLOGY, BIODIVERSITY AND CONSERVATION IN THE CITY OF MELBOURNE, REPORT PREPARED FOR THE CITY OF MELBOURNE.
CONCEPTUALISATION 27
The insect of choice here is the Iridomyrmex Sp. One of the most plentiful and important species in Victoria. This species of ant is local to Australia and it is very important to the ecology around it. They are known to distribute seeds through both dispersal and pollination making them quite versatile. These ants are preyed upon by beetles and spiders. This will help to sustain or even increase the amount of biodiversity of insects within the park itself.
FIG.30: IRIDOMYRMEX ANT
These ants are however, in conflict with themselves and another ant. The also known as Rainbow Ant are very territorial even with one another. Clear boundaries are specified when the ants move to scavenge. When another Iridomyrmex crosses this boundary, they engage in what is call a traditional conflict. 1 Another threat to them is the Argentine Ant, a highly aggresive species of ant that will hinder the Iridomyrmex’s lifestyle. The Argentine Ant is foreign and therefore should be removed from the park as it is a known pest as well. Through chemical substances we can remove the argentine ant however I would like to search for an alternative other than resorting to chemical usage.
FIG.31: IRIDOMYRMEX ANT AND EGGS
Lastly, the Iridomyrmex exists in the most plant types within Lincoln Square. Making them the most versatile to exist in many common plant forms. That makes it less troublesome to find specific plants they might choose to nest near.
1 MATA L, IVES CD, MORÁN-ORDÓÑEZ A, GARRARD GE, GORDON A, CRANNEY K, SMITH TR, BACKSTROM A, BICKEL DJ, HAHS AK, MALIPATIL M, MOIR ML, PLEIN M, PORCH N, SEMERARO L, WALKER K, VESK PA, PARRIS KM, BEKESSY SA (2016). THE LITTLE THINGS THAT RUN THE CITY – INSECT ECOLOGY, BIODIVERSITY AND CONSERVATION IN THE CITY OF MELBOURNE, REPORT PREPARED FOR THE CITY OF MELBOURNE. 28
CONCEPTUALISATION
A8: Bibliography
CONCEPTUALISATION 29
B: CRITERIA DESIGN B1: RESEARCH FIELD B2: CASE STUDY 1.0 B3: CASE STUDY 2.0 B4: TECHNIQUE: DEVELOPMENT B5: TECHNIQUE: PROTOTYPES B6: TECHNIQUE: PROPOSAL B7: LEARNING OBJECTIVES AND OUTCOMES B8: APPENDIX - ALGORITHMIC SKETCHES
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CRITERIA DESIGN
B1: Research Field
T
SECTIONING
hrough part A, it is evident that there is a need to design for a sustainable future. One where it is necessary to reflect on the intent on a design and how it can impact the environment and its ability to sustain. At the same time, technologies have advanced and allowed us to create new forms of architecture. With the advancements in computation, parametric design had been seen to be developed direct method to the design process within architecture. This project plans to cover the concept of sectioning, which is the act of recreating a surface or structure through obtaining multiple cross sections to project an existing form.1 This concept would be impossible without the aid of computation. The act of obtaining a section from a form is easier now than because of this technology. Thus, creating a new method of design called sectioning. Despite sectioning being heavily
influenced by computation today. It actually started in the field of construction, where this method was used to construct the hull of a ship or the wings of a plane.2 However, the reason we do it today is different that it was before. Sectioning is used as a design technique for intricate and complex geometries that would best be expressed through this method. With compliance to the brief and previous concepts introduced. Sectioning is seen something that lies in the domain of technology while sustainability looks more towards the environment. This project will aim to use this concept of sectioning as the foundation of the design, creating forms based on the chosen insect and ultimately combining this advanced method of architecture design with the intent of sustainability. The chosen site, Lincoln Square will be an excellent starting point to determine the form and further develop this project.
1 SPLUS, (2017). SECTIONING IN PARAMETRIC ARCHITECTURE (STEEMIT), HTTPS:// STEEMIT.COM/ART/@SPLUS/SECTIONING-IN-PARAMETRIC-ARCHITECTURE 2 LISA, IWAMOTO, (2009). DIGITAL FABRICATIONS. ARCHITECTURAL AND MATERIAL TECHNIQUES (PRINCETON ARCHITECTURAL PRESS), SECTIONING, PP.10
CRITERIA DESIGN
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Precedent works ICD/ITKE Research Pavilion| Stuttgart, Germany | Achim Menges and Jan Knippers | 2010
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he ICD/ITKE Research Pavilion in 2010 was constructed with the idea of material computation. This pavilion explores the relationship between the form and force of an architectural structure, both of which are different elements when compared in the digital and the physical world. It also utilizes sectioning as its main method of design. The structure is based on the bending charateristics of birch plywood strips that have been robotically cut. The bending of each strip and the stored forces are maintained through subsequent strips that hold each other in place and transfer these forces to the ground. To prevent overloading a particular joint with forces, different connections had to be made resulting in 80 different strip patterns erected from more than 500 different geometrical parts.
FIG.32: PAVLION INTERIOR
This was only made possible through parametric design. With technology, material behavioral features can now be input into parameters within a software to generate unique results with physical world elements involved. Tests for bending were made physically, the data pulled from those tests were then embedded into the parameters. FEM simulation was used to do a structural analysis of the pavilion. With this in mind combined with the method of parametric design and the input of real world data made planning of the pavilion to be done purely through digital methods. Once the planning and simulations were complete, all that’s left is to manufacture the plywood pieces and construct the pavilion. This precedent explores real time physics and its relation to the digital realm. With plugins such as kangaroo, we can simulate physics within a model to further improve the planning process of architecture. 32
CRITERIA DESIGN
FIG.33 : PAVILION EXTERIOR AND LIGHTING PROFILE
One Main | Cambridge, MA, USA | dECOi Architects | 2009
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his project was done for a investment group in green building and clean energy technologies (CChange). Once again, sectioning seems to be the main design profile. This design drew from the architects prior sculptuer, In the Shadow of Ledoux, 1993 and the Galerie Miran, 2003. This inspired the material choices and resources used. Which were sustainably-forested spruce plywood which was milled using numeric command machines. The information in which can carve renewable carbon-absorbing resource.
FIG.34: OFFICE INTERIOR
The design intent here was to reduce the carbon footprint of the existing office at the same time celebrating the advancements in technology that allow this type of interior to be fabricated. The floor and ceiling were intended to be articulated as one form through curvilinear means. Many of the building’s elements were customised for this project to challenge the extent in which an architect could control building systems. Even details such as a ventilation grille for computer being inflected to provide access to it was considered. Door handles were carved as customized elements, providing cheaper material alternatives as well. An automated algorithm was developed to generate milling files for the plywood. Creating a seamless pass between design and fabrication with low percentages of mistakes. The entire project was then nested onto 1200 1.2m x 3.6m plywood sheets and milled using cnc routers through the miling files supplied by the algorithm.
FIG.35: CURVILINEAR CONNECTION OF FLOOR AND CEILING
This precedent while seems similar to the first, explores a very different approach to sectioning as it is heavily reliant on its form to produce.
CRITERIA DESIGN
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B2: Case Study 1.0 BanQ | Boston, MA, USA | Office dA | 2008
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his project involves a restaurant named BanQ, it focuses on concealing the building systems that lie on the ceiling and in the walls. The project is divided into two areas, one as a bar and one as a dining area. The design of the space was conceived through another division, which is the z-axis between the ceiling and the ground. The geometry of each wood section adheres to the equipment that it is attached to, to create a seamless 1
The functioning areas of the dining space are fabricated with warm woods and relaminated bamboo. This project had restrictions regarding the heritage of the site. Which led the structure to be suspended from the ceiling because it could not touch the interior walls. Each section of the project fits perfectly on a specific unit.
ARCHDAILY, 2009. BANQ/OFFICEDA, ARCHDAILY. HTTPS://WWW.ARCHDAILY.COM/42581/BANQ-OFFICE-DA
Aesthetics
Is this iteration pleasing to the eye? How would users react to the sight of it?
Structure
Can the iteration stand on its own? What materials can be used to fabricate it?
Spatial Profile Environmental Implementation
34
landscape. A wine storage in the middle of the hall is partitioned through multiple sections that give the illusion of flight.1
CONCEPTUALISATION
Does the iteration allow a tram to pass through it? What about insects, users and other vehicles? Will this interfere with solar and light passage? What about rain water collection?
FIG.36: SEPARATION OF SECTIONS IN DETAIL
FIG.37: SIDE VIEW IN RESTAURANT
CONCEPTUALISATION 35
Iterat Species
No. of Sections
Grid Manupulation
Variable = Slider (N)
Variable = Slider for direction (U)
Iteration
U=1 N=10
U=4
N=20
U=7
N=35
U=10
N=70
36
CRITERIA DESIGN
tions Image Variable = Image Sampler
Expression in Unit Z Variable = Positive or negative axis (x)
-x
x
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Species
Location of Curve
Rotation of Curve
Variable = (x,y)
Variable = Angle of curve (degree)
Iteration
(0,0)
(0,7)
30 degrees clockwise
50 degrees clockwise
(10,7) 90 degrees clockwise
(17,4)
120 degrees clockwise 38
CONCEPTUALISATION
Manipulation of Vector Variable = Number slider (x,y,z)
Usage of Different Surfaces Variable = Surfaces
(0,0,2)
(0,0,4)
(0,5,2)
(5,0,2)
CONCEPTUALISATION 39
Successful Location of Curve
Grid Manupulation
Aesthetics Aesthetics
Structure
Structure
Spatial Profile
Spatial Profile
Environmental implementation
Environmental implementation
This iteration is meant to explore how the curve within the definition can be manipulated. It was mostly experimentation on how much ground could be manipulated through moving the curve. Further experimentation through this field made realisations that the curve plays a major role in where the sections will be generated throughout the surface. This does not fulfill the structural criteria due to the iteration being two-dimensional. However it helped with the understanding of the definition.
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CONCEPTUALISATION
Next, the grid points generated through dividing points from the surface is manipulated. As different points and decreased throughout a direction, the form changes as well. This could be useful in changing the form of the sections to serve a particular purpose such as creating more space or less of it.
l Iterations Image
Usage of Different Surfaces
Aesthetics
Aesthetics
Structure
Structure
Spatial Profile
Spatial Profile
Environmental implementation
Environmental implementation
After this point, the basis in which the sections were based on were being experimented on. A simple surface that was created in a shape of shelter was used in the definition and it achieved good results that could be used in the project. Different surfaces could be explored to further create forms that fit the design intent. This can be used in conjuction with the first successful iteration to further increase accuracy of a desired parameter.
The last iteration is a play with the image sampler within the definition. Multiple greyscale images were experimented to see which form would best adhere to the brief. This image used here has a high emphasis on a concave space, which could be useful when thinking of vehical access by trams or cars when creating the project. This interation however lacks expression on the exterior with the absence of curves.
CONCEPTUALISATION 41
B3: Case Study 2.0 BURST house | Sydney, Australia | SYSTEMarchitects | 2006 This is the BURST*003 house aka the Parish House by SYSTEMarchitects. They explore the concept of sectioning by creating a structured house that can completely be prefabricated and merely assembled on site. These particular sections are created with many factors in mind. Particularly environmental changes such as solar profile and climate changes. There are two areas that are intentionally separated to create a relationship between the exterior environment and interior. The creation of this house is unique as well in that it celebrates modern day planning of architecture. The planning
of architecture can now simply be done digitally with the implementation of physics simulation to create a model that represents its form as well as being structurally stable. The BURSThouse was designed exactly like this. The form was then unrolled and nested upon plywood sheets to be cut by robot-controlled laser. These cut pieces are then transported to the site to begin assembly. Steel members are used to connect each piece to form the structure. In this case study I'll closely be studying the roof and how it is sectioned.
FIG.38: BURSTHOUSE PLAN WITH PATTERN
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FIG.39: BURSTHOUSE CONCEPT
FIG.40: BURSTHOUSE ELEVATION
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DESIGN: Conc Concept Inspiration
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•
Information given by brief
•
Relationship between exterior environment and interior
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Structure designed based on the climate
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Manipulation by weather
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Prefabrication assembly
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Parametric Planning
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Inputing parameters that would serve as the basis of the design and fabrication
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Sectioning applied through obtaining sections from the form created
•
Simulate joints that would complete the structure, making sure it holds together
cept to reality Reality Fabrication
Assembly
•
Plywood is cut by computercontrolled laser.
•
Cut sections are assembled and the structure is formed
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Delivered to site with sheets numbered and labeled
•
•
Stainless steel clips secure each of these pieces to one another to form the structure.
Process can be repeated to create more houses that can be easily fabricated and simply assembled on site.
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Reverse Engineering th
1. Starter surface and curve
2. Extrusion of curves
The surface is in the shape of the roof is modeled within rhino. The sectioning curves is then taken from the plan of the building as well.
The curves extracted from the plan shown in the previous page is extruded to cut the form underneath
Intended form and plan curve
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Extrusion of curve
Intersection of sections obtained
3. Obtaining intersection curves The curves of the sections from the extrusion surfaces are then obtained
Convert to curves
he roof of Burst House
4. Boundary Surfaces are created The base surfaces are created from the curves
Boundary Surfaces
5. Extrusion of surfaces
6. Unifying the extrusions
Following up from the previous step, the surfaces are then extruded to create a realistic representation of the roof structure.
A solid union is created to trim away the intersecting elements to create one roof structure.
Extrude
Convert to brep
Solid Union
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Outcome Reverse engineering the burst house (parish house) was proven to be quite tricky as I had to understand a few key concepts before being able to proceed with creating the definition to create the end product. The final outcome of this reengineering is quite satisfying. Methods for sectioning have now been more tightly grasped as I am able to recreate these sections in grasshopper myself.
FIG.41: REVERSE ENGINEER PLAN VIEW
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The freedom of this method gives is very exciting as well. Sectioning can be done to almost any form and curve given, with the manipulation of form a different section will emerge. The next section will be manipulating this definition to its fullest extent in which we can control the parameters or even add and subtract.
FIG.42: REVERSE ENGINEER PERSPECTIVE VIEW
FIG.43: REVERSE ENGINEER ALTERNATE PERSPECTIVE
FIG.44: REVERSE ENGINEER ELEVATION
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B4: Technique: Development
In this section, the exploration of sectioning is taken even further. From the previous reverse engineering, I will be manipulating specific parameters that correspond to the change of the outcome even if it is miniscule or completely altering it. The exploration of multiple elements from the structure will undertaken as I look at manipulating the form, starting curve and much more.
The selectiong criteria does not change much from the first case study as it heavily implements the brief's constraints and requirements. The interations will be categorized specifically to create a clear boundary for exploration.
Aesthetics
Is this iteration pleasing to the eye? How would users react to the sight of it?
Structure
Can the iteration stand on its own? What materials can be used to fabricate it?
Spatial Profile Environmental Implementation
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Below serves as the criteria for extrapolating chosen iterations to further analyze whether they are suited for the brief.
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Does the iteration allow a tram to pass through it? What about insects, users and other vehicles? Will this interfere with solar and light passage? What about rain water collection?
Exploration of the Interations 1. Curves 2. Form 3. Sections and Direction
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Iterat
Cur Species
Straight Lines Variable = curves used
Iteration
Original BURST house curves
Straight lines
Grid lines
Diagonal lines
Mirror Diagonal lines
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Curvilinear Lines Variable = curves used
tions
rves Closed Curves Variable = curves used
Circle offset
While testing the iterations specifically for curves. There was an error with generating boundary surfaces from curved sections. This led to the development of implementing a new technique to allow curved sections to be obtained. The surfaces are split and boundary boxes are put around those surfaces. The points are then extracted and deconstructed to trim off the excess extrusion by culling it with the given parameter. This is done twice with the trimming being done on top of the surfaces and below the surfaces.
Square offset
Triangle offset
Hexagon offset
Ellipse offset
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For Species
Simple Geometries Variable = brep, Curves = Grid
Iteration
Sphere
Torus
Cuboid
Piped Curve
Cone
Hexagonal Pyramid
Ramp
Cylinder
Extruded Octagon Boolean Union of Circle, Pyramid and Square
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Form G
Boo
rm
Experimenting with the form for sectioning as proven to be very exciting because the combinationing of the manipulation in curves and form can be combined to create some complex results.
Complex geometries Variable = brep, Curves = Varied
Here in the iterations, different methods of curves from previous iterations have been used as well.
Generated through mathematical equations
Morphed Sphere
Voronoi structures traced on a curve
Concave Dodecahedron
AA Driftwood Pavilion form
Polar Zonohedron
Curved Surface Extrusion
olean difference with complex surface
Morphed Torus
Morphed Torus
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Sections an Species
Vector X
Vector Y
Variable = Number Slider
Variable = Number Slider
X=0
Y=0
X = 17
Y = 13
X = 33
Y = 40
X = 77
Y = 70
X = 100
Y = 100
Iteration
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nd Direction Number of Sections Variable = Number Slider
The experimentation in this part for the definition is playing with the parameters that manipulate the direction and number of sections of the extrusions. A simpler form is used to show more distinctive changes when changing the parameters. However, these parameters would apply to any other form that would be inputed as the started brep.
Step count on series = 0.550
Step count on series = 1.227
Step count on series = 2.205
Step count on series = 4.414
Step count on series = 7.724
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Successful
Surface Extrusion
Voronoi Structure
Aesthetics Structure Spatial Profile
Aesthetics
Environmental implementation
Structure Spatial Profile
This iteration suceeded at showing me the freedom in creating a structure that would be sturdy to hold itself up. It is easily manipulated through rebuilding and moving the points of a surface as well. This allows the implementation of sheltered walkways and space for trams or vehicles to pass through this structure.
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Environmental implementation
The exploration of grasshopper definition led to the knowledge of creating voronoi structures that would trace a curve within a populated box. This created unique, organic structures that seem extruded from a ground plane. Not only producing something that is aesthetically pleasing, but also allowing for trams, vehicles and people to pass through.
l Iterations
Piped Curve
Intersecting Radial Curves
Aesthetics Structure Spatial Profile Environmental implementation Aesthetics Structure Spatial Profile Environmental implementation
This method mostly focuses on the curves used. The intersections of the radial curves allow for a unique grid pattern that show elements of organic and is pleasing to the eye. This grid system would definately be looked upon when creating the sectioning for my project.
The piped curve allows for more controlled variable when it comes to creating a structure that fits the brief. It can be manipulated to become anything from and arc to a bench. The consistency allows for more experimentation and accurate structures to satisfy the brief.
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B5: Technique: Prototyping Taking the valuable information from the iterations created by experimenting with the definition, prototyping was then considered for how the information gathered through digital means will apply in physical conditions. This will give me the opportunity to test the structural properties of sectioned forms before proceeding into a final model. I've chosen to create a few prototypes to experiment with the extent in which a form can be sectioned from my definition. From tutorials and scripting it is possible to unroll these sectioned pieces into the software, extending the capabilities of the definition to be able to create a laser cut file. I will primarily be working with a laser cutter to cut each section generated from the definition. Proceeded by a very satisfactory assembly of each piece to create the overall sectioned form.
FIG.45: NESTED PLYWOOD SHEET 60
CRITERIA DESIGN
Other tools such as CNC router and 3D printing do not serve much purpose because it cannot achieve the same results as laser cutting individual pieces. The main material used will be plywood to relate to the brief more. Since plywood is a sustainable material and will not add to the urban heat island effect, it is natural that this material would be used for the constraints of the brief. Waffle grid sectioning will be the primary method of sectioning here due to the constraints that curved, unrolled surfaces give. The grid appearance of waffle grids provide a more sturdy structure to the form as well. The nature of the grid system is that the connection requires precise joinery rather than an extra connection joint.
Morphed Pipe The first prototype failed due to the lack of organizing the pieces to assemble together. Many components will appear from sectioning a form and thus requires clear organising to be able to construct it. Future prototypes has been labled with X and Y followed by their respective numbers. X represents pieces extruded on the X axis and the same foes for the Y axis. Regardless of failing to assemble the structure properly, the outcome was still stabled and
FIG.46: FAILED PIPE SECTIONED STRUCTURE
FIG.47: NUMBERED SECTIONS CRITERIA DESIGN
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Sectioned Pyramid The reason for sectioning a pyramid was to experiment and test the capabilities of sectioning a solid geometry. It has proven to be quite effective with the different compositions the sectioning forms as each side of the pyramid is shown. Furthermore, it creates a sturdy structure that can support itself due to its large base area as well as being aesthetically pleasing.
FIG.48: PYRAMID DETAIL
FIG.49: PYRAMID PLAN
FIG.50: 3 SIDES OF THE PYRAMID
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Sectioned Surface Extrusion The surface extrusion created was created to test how far this structure can span. It proves to be very structurally strong as well as being able to hold itself up without any need of columns or structural joints. It will provide much solar access as well as shade according to the position. All prototypes contain the space inbetween sections as potential things can be filled to cater to the brief.
FIG.51: PYRAMID PLAN
FIG.52: PYRAMID PLAN
FIG.53: PYRAMID PLAN
FIG.55: PYRAMID PLAN
FIG.54: PYRAMID PLAN
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B6: Technique: Proposal This proposal is highly inspired off the formation of ant tunnels within their colonies. These randomly dug tunnels that connect to one another. I wanted to invert the positive and negative space of these tunnels and translate them towards a scale that would be suited for humans. Using the voronoi3D structure that is traced over a curve, I am able to create a randomly generated structure that is similar to the tunnels created by ants. The curve is adjusted to allow vehicle and human access as well. Sectioning is then applied to this structure by the script created previously and an over arching structure is created for the tram stop. This structure aims to decrease the urban island effect as well as increase biodiversity by embedding
FIG.56: SECTION FILLED WITH SOIL AND GRASS
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CRITERIA DESIGN
soil in between the sections of certain areas. Not completely covering the whole structure as it will prevent solar access but enough to cause growth for the surface. Spruce plywood will be used as the main material of the structure to reduce its carbon footprint as well as being a sustainable material. Finally, biodiversity is increased by embedding a few colony of ants into certain sections of the structure that contains soil and grass. The nature of ant colony growth is that they will take the opportunity to expand territory when the colony is too big. Thus, being able to chew through plywood will be beneficial for them as well.
FIG.57: PROPOSAL PLAN ON SITE
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FIG.58: PROPOSAL ELEVATION
FIG.59: PROPOSAL PLAN
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CONCEPTUALISATION
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FIG.60: PERSPECTIVE ON SITE
FIG.61: ALTERNATE ANGLE PERSPECTIVE
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DESIGN: Conc Concept Inspiration
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Parametric Planning
•
Information given by brief
•
Tracing voronoi3D structures on a curve
•
Relationship between the underground ant tunnels and the above ground physical world
•
Sectioning applied to the voronoi3D structure
•
Positive and negative space inverted
•
Unroll each sectioned piece and nest for lasercutting through a script
•
Client of human and insect
•
Solar shade and water collection
CRITERIA DESIGN
The design diagram from case study 2.0 is reused here to analyse and clarify the design intent of this proposal and how it will translate towards the transition from digital realm to the physical.
cept to reality
Reality Fabrication
•
Input files created from planning phase to be laser cut by a computer-controlled laser.
•
Preparation of soil and seeds as well as ants to plant.
Assembly
•
Sections and pieces are assembled according to number.
•
Soil is placed into the gaps between the sections.
•
Small colony of ants are embedded into certain parts of the soil to allow them to grow.
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B7: Learning
Objective 1 Interrogating a brief by considering the process of brief formation in the age of optioneering enabled by digital technologies The brief was given to us fairly early on by our tutor. It started with a concept of increasing biodiversity and decreasing the urban heat island effect by creating an architectural tram stop that would do just that but would soon develop into connecting adjacent parks as well. This brief is challenging due to its many constraits and its large scale approach but it is very interesting to see where my project will lead. Objective 2 Developing an ability to generate a variety of design possibilities for a given situation by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive design-space exploration The iterations produced from my definition was very fun to do for both case studies. Simply because the act of sectioning is seen as a celebration of technology to allow forms to be sectioned and created through digital means itself. Working with different forms and seeing them becoming sectioned was very satisfying as well as visualizing each iteration on how they will perform under the constraints of the brief.
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Objective 3 Developing skills in various threedimensional media and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication Working with grasshopper as definitely been the toughest aspect of the subject this semester. However, the slow start then escalated into understanding the concept of parametric design. The application of tutorials has lead to the development of creating my own definition to apply for my brief. I've always been quite good at rhino which was a slight advantage I had when creating forms. Scripting was applied to unroll my prototypes as well which was proven to be quite tricky to work with as I have no prior knowledge of scripting. Previous subjects had taught me how to laser cut files as well, but not on the scale of the prototypes created in part B. Objective 4 Developing an understanding of relationships between architecture and air through interrogation of design proposal as physical models in atmosphere The design process of this studio differs from others in that it removes us from the physical site and brings everything to a digital state. Visiting the site given and providing context as well as analysis is crucial in understanding the requirements that our design needs to cater towards.
g Outcomes
Objective 5 Developing the ability to make a case for proposals by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourse. Making a proposal was hard because my bounds thinking tend to go outside the limitations of the world sometimes, having worked with more conceptual designs in the past. However, this brief requires me to do much more research and allows myself to create a concept design that will actually be physically possible given the information researched on as well. Further research and development will be put into the concept to ensure the best outcome for the project. Objective 6 Develop capabilities for conceptual, technical and design analyses of contemporary architectural projects The burst house reverse engineer was all done through design speculation and careful analysis of the conceptual diagrams provided by the architects. But not only was the form and sectioning taken into consideration, but the design intent was speculated as well. Thinking about how the design process of the project would occur. Both case studies were gone through with thorough analysis of its conceptuallity, technicality as well as its design. This is a valuable skill that will push me towards a more mature thinking towards contemporary architecture.
Objective 7 Develop foundational understandings of computational geometry, data structures and types of programming The weekly tutorials provided has improved my computational skills. It was intimidating at first learning a new software, however it allowed me to see the neverending possibilities of digital design. I have also extended my growth in exploring tutorials outside of the subject as well as learning to use plugins such as exoskeleton, kangaroo, pufferfish and python scripting. Objective 8 Begin developing a personalised repetoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application The development of my computational techniques can be seen in my algorithmic sketchbook. It serves as a useful tool to show in my portfolio for the future. The sketchbook will further be developed as my skills are honed towards computational design.
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B8: Appendix - Alg
Voronoi S
FIG.62: VORONOI STRUCTURE ITERATIONS
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gorithmic Sketches
Structure
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Form created by Mathematical equation
FIG.63: KLEIN CURVE PERSPECTIVE
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FIG.64: KLEIN CURVE ELEVATION
FIG.65: KLEIN CURVE PLAN
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Bibliography
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Archdaily, 2009. banq/officeda, Archdaily. https://www.archdaily.com/42581/banq-office-da
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Lisa, Iwamoto, (2009). Digital fabrications. Architectural and Material Techniques (Princeton Architectural Press), Sectioning, pp.10
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SPLUS, (2017). Sectioning in Parametric Architecture (steemit), https:// steemit.com/art/@splus/sectioning-in-parametric-architecture
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