Architecture Design Studio: Air | Journal Semester One, 2015 Jaime Lee Bradley Elias Tutorial 02
CONTENTS
PART A CONCEPTUALISATION INTRODUCTION
04.
DESIGN FUTURING
06.
DESIGN COMPUTATION
08.
COMPOSITION/GENERATION
10.
CONCLUSION/OUTCOMES
12.
REFERENCES
14.
PART B | CRITERIA DESIGN RESEARCH FIELD
16.
CASE STUDY 1.0
20.
CASE STUDY 2.0
24.
TECHNIQUE | DEVELOPMENT
28.
TECHNIQUE | PROTOTYPE
32.
DESIGN PROPOSAL
36.
CONCEPT
38.
SITE
40.
PRECEDENT
42.
44.
FABRICATION AND CONNECTIONS
LEARNING OUTCOMES
46.
ALGORITHMIC SKETCHES
47.
REFERENCES
48.
INTRODUCTION I’m Jaime, studying architecture at the university of melbourne. My interest in arts and design began at a very young age, probably due to the influence of my dad, who’s an arts teacher/ part-time lecturer, I was introduced to all forms of arts like painting, sketching, photography etc. although I enjoyed my time doing arts and crafts, I never really considered them as a possible future career.I had dreams of becoming a fashion designer, a pilot,
04.
professional protographer... careers that could take me to different places around the world, to see things in differnt perspectives, to experience unique cultures and traditions...architect was not in my mind at all until the last year of high school when I was introduced by a friend to an architect who kindly offered working experience at his firm during the summer break. I could onfidently say without doubt that that summer, changed my life. I was fascinated by how buildings work, how something so real standing tall and majestic on the ground could initially be just a ‘thought’ in an architect’s mind. I then on realised that this career is a perfect one for me, being able to see something you’re a part of creating and people benefiting from it is truly rewarding. The journey of studying architecture, apart from the countless consequtive late nights, has thoroughly been enjoyable. I was introduced to architectural dr softwares during that summer work experience and I’ve since been using them frequently in design subjects and my own design work outside uni, however digital modelling was never my forte, hence I am quite anxious about this studio as we not only need to model digitally but also further derive designs using softwares. Although I am somewhat scared but I also feel excited about learning new techniques and softwares that could further extend my design options.
A1. DESIGN FUTURING
TITLE: Heydar Aliyar Center ARCHITECT: Zaha Hadid Architects LOCATION: Baku, Azerkaijan Year\\ 2013
This example of Hadad’s work, I think represents a ‘future thinking’ in the design industry. In architecture history, buildings have almost always been quite rigid in shape, perhaps technology hasn’t been that advanced in allowing people to work with much flexibility. But this design of Hada’s has really triggered my feelings towards the evolution of forms in architecture. Although this might not be a computer generated design, but the boldness of this work is truly fascinating, the flexible, elegant curves extend to the interior of the building, creating an even stronger emotional impact to the occupants. This project reminds us that architectural design is always moving forward, what would be considered as ‘impossible’ and ‘unsafe’ in the past can be made ‘possible’ and ‘comfortable’ in the future. The curved mass of the entire design is what shows the futuring in design.
06.
NAME: One Central Park ARCHITECTS: Ateliers Jean Nouvel LOCATION: NSW, Australia YEAR: 2014
Design futuring doesn’t only mean the futuring in shapes and forms, but also about how well it can harmonise the relationship between human and the environment. Sustainability is a big issue in today’s society, since human behaviour contributes enourmously to the effect of such, architecture plans an even bigger and influential role in assisting and controlling the consequences of human behaviours, limiting the negative outcomes that would be produced, eg. pollution. One Central Park’s architectural
design portrays exactly the ultimate harmonization and peacefulness between human and nature by inserting plantations of all sorts into every detail of the building, making it seem like the structure is being wrapped by nature. I think this design demonstrates a sense of futurisation because it’s very open to new ideas and concepts, the architects were not afraid of showcasing the need of society to protect plantations by maybe only designing a roof garden or a tranquil vegetated lounge, but to fill up the entire
frame of the structure with plantations, creating emphasis in the design purpose and accurately convey the strong message of sustainability. On top of the plantation elements, this building features an incredibly impressive cantilevered structure, hovering to the penthouse of the tower next to it, this definitely is another wow factor of this building, not only its rarely seen in architectures these days but also suggests that there are unending possibilities in this industry.
07.
A2. DESIGN COMPUTATION As computers become more competent in handling human needs in all sorts of perspectives, designers also began to rely more heavily on the aid of computers, whether it’s structural calculations or form generation, it is also extremely common for communication processes to be relied on computers. Computers are basically something not to live without!
How it affects design process? Computor softwares provides aid in research. Architecture and design are inclined to be human-oriented nowadays. The big picture or purpose is always about benefitting human and the environment. Satisfying human needs or even providing more than expected in doing things that we might never think would be possible.
Computer softwares previde great assistance in all stages of a design process. Beginning from the research stage, seeking out for what potential users need and want in a building. Design development is where usually using the outcomes of the research in finding the most desirable deisgn form, then using softwares to accuratle document the design for construction.
Computer aided design softwares affected designs in ways that they are seen to be more... /organ ic /h u man -or ien ted /free for m /su stain able /u n ex pected This advancement redefined the practice from being simply a space FOR human activities to having human activities DEFINING a space. Needs come before design, affecting the features within the structure.
08.
re s ea rc h d e s i g n d e v e l o p me nt d o c ume nt at i o n
NAME: Spiratomic Space DESIGNERS: Loop.ph (spatial laboratory) LOCATION: Petersburg Russia YEAR: 2010
This is a genearative, emergent light and sound environ a luminuous and responsive growth which is dependent participation. The concept of this project is emergence. Ho systems and patterns would emerge to create a spatia it needs for it to generate these patterns are simple in
nment with on users’ ow complex al effect.All nteractions.
NAME: Urban Lobby ARCHITECTS: MRGD Architects LOCATIONS: London, England Urban lobby is a speculative development of the Central Point office tower in London. It depicts a contested transcient space. Designers investigated the creative and critical speculations on how one addresses contemporary mdoes of urbanity and interfacing. These spaces include board rooms, private open spaces eg. business lounge. The form is generated from the image of strands of hair.
09.
A3. COMPOSITION GENERATION
NAME: Smart Masonary ARCHITECTS: Zaarchitects
This project Zaarchitect has taken to embark on is to change the concept of masonary as we know them and incorporate digital fabrication techniques. Modern technologies allow dead-weight to be optimised and minimised, in another words, ensuring structural loading requirements while also minimising the mass of the building. The complex geometries generated can also be replicated in great precision thanks to generative computational softwares. This assists the production of the accurate seamless effect between each component that traditional masonry might not be able to achieve. 10.
The soon-to-be-built new modern mosque designed by Henning Larsen in Copenhagen is an example of computational design contributing changes to the architecutral discourse, through improving and modifying traditional monumental designs and structures, people can observe and experience the transition of architecture moving into a more advanced, digital age. The application of computational design is not merely for the aesthetics, I believe it takes advantage of this digitalise advancement in creating more comfortable spaces and experiences for users., through lighting and other accessities. This modification of a traditional mosque would also create a more approachable and welcmoing feeling for any non-islamic believers. It has been mentioned in the proposal that this new mosque aims to bring younger generations in contact with the monument while also keeping elements of the tradition in respect to the older generation. It’s clearly seen that the computarised generation is more attracted by the younger generations of society, symbolising the futuring in design .
11.
CONCLUSION Design is a tool to reflect society’s values, needs and desires. It’s not something you can follow a manual on but of experience, trial and error. Today’s society is moving towards cyber-based, communication, leisure, research...you can never escape from being in contact with the internet or any kind of digital devices. The design industry also is relying much heavier on digital softwares, they assist designers in not only in documentation and research but also design generations and developments. In the field of architecture, effects of such can be seen through the rising works of parametric, computer-generated designs. These gnerated designs have stregths and weaknesses but most importantly, I personally think they show an evolution
12.
of societal change and advancement. My intension for this design project would be, relating to my definition of design, a reflection of societal values, with a focus on human needs and desires, mainly surrounding the topic of sustainability and environmental protection which I think is appropriate given the nature of the project site. I think it is important to have a design in this approach because human are lacking quiality interactive experience with nature, I hope my design would arouse people’s curiosity and their desires to make a change to the environment. The target user groups would be families, working class around the area and school students. This design is intended to benefit, in the big picture, the environment and consequently the users and the ecology in the site.
LEARNING OUTCOMES I walked into the first studio feeling nervous and had no expectations of what’s going to happen. The terms ‘computation’ and ‘grasshopper’ gave me chills as they are never things that I am fully confident in. After understanding the structure of the course and our tasks for the week, knowing that there are resources and guides for us, I immediately felt much more at ease. The first three weeks of the course have been very informative and useful in terms of getting the basic touch of what we have to do for our design project, while watching tutorials and getting a grasp of grasshopper, the readings are incredibly helpful, especially the precedents we were to research relating to the readings, they provided a fuller picture of what’s to be expected from the course and along what lines we have to base our designs on.
I now have more knowledge and understanding in the field of computational design, which I used to have practically none given I was ‘scared’ of it, and I find it very interesting as the forms generated are indefinte, it’s a practice of not having full control of a design, letting the rules and mathematics lead you to a generative form. My previous designs are sll pretty linear and performance-based, I didn’t put much attention in creating fancy shapes and forms, I only expressed my concepts and ideas in forms that are direct, easily formulated and simple. Looking back to these projects, I think I can definitely improve my designs using computational designs to generate more interesitng forms wvhich can possibly convey a stronger message that fits into my design concept.
13.
REFERENCE A1. DESIGN FUTURING cover photo https://www.etsy.com/market/sage_leaves precedent 1 all photos from http://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadid-architects/ precedent 2 all photos from One Central Park: http://www.archdaily.com/551329/one-central-park-jean-nouvel-patrick-blanc/ A2. DESIGN COMPUTATION cover photo https://www.youtube.com/watch?v=SMnvNAlz3Xo precedent 1 all photos from http://loop.ph/portfolio/spiratomic-space/ precedent 2 all photos from http://www.dezeen.com/2007/11/01/urban-lobby-by-mrgd-architects/ A3. COMPOSITION AND GENERATION cover photo http://people.ece.cornell.edu/land/courses/ece5760/FinalProjects/f2009/nic4_sck76/nic4_sck76/ precedent 1 Rawn, Evan. “Digitized Stone: ZAarchitects Develop “Smart Masonry”” 13 Mar 2015. ArchDaily. Accessed 13 Mar 2015. <http://www.archdaily.com/?p=609108> all photos taken from the above website, courtest of Zaarchitects. precedent 2 Rosenfield, Karissa. “Henning Larsen Receives Planning for Danish Mosque” 19 Mar 2015. ArchDaily. Accessed 19 Mar 2015. <http://www.archdaily.com/?p=611429> Wanande Christian, ‘Copenhagen to Get New ‘Designer’ Mosque’ 17 Mar 2015. The Copenhagen Post. Accessed 19 Mar 2015 <http://cphpost.dk/news/copenhagen-to-get-newdesigner-mosque.13042.html>
14.
CRITERIA DESIGN
B.
Material Performance
Iwamoto Scott Architecture, Voussoir Cloud (2015) <http://www.iwamotoscott.com/ VOUSSOIR-CLOUD> [accessed 10 April 2015].
B1. RESEARCH FIELD
Departing from the research-based exercises completed in part A, it has come to a stage where things are put into practice and it’s the initial process for finding a form for the main design project in part C. A research field was required to be chosen to focus on for the design and since there were quite a few availble for picking, I personally have kep an open mind about each field and am flexible for any change of minds later on in the process. The research field I chose for this sectiion is material performance, this form of algorithm has been featured in one of the weekly tutorial videos and it was more appropriate and comfortable for myself to start off the section with something relatively more familiar while still getting the hang of manouvering in Grasshopper. Material performance puts focus on the outcome of forms under the influence of forces such as gravity and lateral forces, using computational designing softwares like Grasshopper is particularly beneficial in producing such forms as more precision to the outcome can be obtained, while also giving more control to the designer in choosing how the forces could act, exploring unexplored
possibilities at a distinctively more efficient time frame. The case study chosen to explore this scope of technique is the installation art, Voussior Cloud designed by Iwamoto Scott. The geometry and form of this installation is generated through computational techniques as the arcs , which are the main outstanding features of this artwork are generated through inputting the base geometry and anchor points then inserting gravitational forces to observe the effects it’s influenced what would have been a rigid and planar form. This introductory exercise reinforced the conclusion summed up in the research based part A of how computational designing softwares should act as a tool to push architectural forms and structures, to use ‘the greater mind’ to assist designers in achieving unpredictable yet utterly controllable outputs. Another up side of such that have not been thought of before this case study is the ability to check if a form is actually practical and would perform the way designers expected them to perform, this takes out a lot of guess work or extra research in a design process .
17.
Gridshells. A technique that bypasses the need of frequent structural supports from the ground, it creates spaces of openess and complete exposure. Tensility is another word to describe a gridshell structure, one is constantly in tension state, requiring precise calculations or the assistance of computational softwares in order to consummate. Fascinations towards this area of design grew during the initial process in criteria design, a leap from material performance to gridshells has been made to further broaden the possibilities of the outcome of my final design form. The brief requires a suspended structure andit is to my interest that a suspended canopy wouldbe my design destination. Gridshells allow a surface of a large span to be constructed with minimal vertical supports, having a brief of suspending systems would challenge the definition of gridshells, as no vertical supports are even allowed to exist in the final design. However gridshells are actually a form of diagrid, which are supports from diagonal beams. It provides greater support to a structure but requires less amount of material, this would hopefully guide me to achieve a gridshell like-suspended structure. 18.
B1. RESEARCH FIELD
Csiby Zsolt, Gridshell 00 (2012) <http://www.grasshopper3d.com/photo/gridshell-00> [accessed 27 April 2015].
Gridshells
Varying Column Sizes
scale-base factor mvmt
Varying Point Positions
# of points scale-base factor mvmt
Mesh Bending
Mesh Thickening
6 arcs
distance offset type
1 arc
2 arcs + Mesh Blur
20.
B2. CASE STUDY 1.0 Case study 1.0 is a foundational exercise in producing unexpected outcomes of a definition using Grasshopper. The project chosen is the Voussoir Cloud by Iwawmoto Scott, the forces applied through Kangaroo physics in the process of generating a form created very smooth and expressive outcomes and in this exercise I would like to generate something that is unrecognisable in a way that the emotions projected by these forms are more rigid and ‘dangerous’. The first two species generated are variations using the mesh produced Patching
before Kangaroo Phyiscs was applied, the changing of points, sizes of the base and their cooresponding movements on the Z axis have achieved a series of forms that look different yet hints of the original form can still be seen. These two species of generations allowed a clear observation in what the definitions in this algorithm are doing, hence being able to push the forms further choosing other definitions to input such as, mesh bending and thickening and weaverbird etc.
span flexibility
Weaverbird’s Sierpinski Carpet
distance inset type
21.
SUCCESSFUL ITERATIVE SAMPLES Selection Criteria 1) Aesthetically appealing 2) Grant designers control over the form 3) Flexibility 4) Practicality The four selection criterias are general guidelines when deciding when to settle on a final outcome and what, to me, defines a ‘successful’ output. Aesthetically appealling should be in all selection criterias of designers as design is all about visual communication and what’s pleasing to the eyes. Granting designers control over form is equally important especially in the world of computational design. Outputs can usually go all over the place when too much information is inputted and sometimes designers lose the control they are suppose to have in order to alter, reproduce and improve their designs. Flexibility is somewhat similar to the control the form gives to its designer, having more control means more flexibility, the lack of development in a form would result in possibly a not-too-interesting design. The last criteria is the practicality of it. This architecture studio requires a physical fabrication of a generated form, converting something digital to physical, allowing actual experience and touch can be quite a challenge, hence it is crucial in selecting forms that potentially is fabricatable.
22.
Outcome of the mesh bending definition. Different locations of arcs and amount of arcs have been inputted and put into trial for a successful form production. A ‘successful’ outcome is deemed to be controllable and practical in a sense that it can be potentially fabricated. The above output form, to me is a very sleek and simple with a twist. This is also the first time for myself in using this definition and the ability for it to generate unexpected forms is quite high and therefore I find this iteration successful.
The mesh thickening definit series of inputs and this is th terms of it’s versatility while of its original form. This outp fabricatable and that more d done. The factors affecting distances, the offset type an form shows the output of a explains it’s recognability
tion has been added to the he most outstanding one in e still holding some traces put can be seen potentially developments on it can be this series of outcome the nd also the mesh itself, this small offset distance which of the pre-derived form.
This is another successful iteration using mesh thickening, however showing contrasting effect to the other similarly generated forms. Although it is safe to say this cannot be fabricated to the utmost precision but it is considered successful before of how different this result is from it’s primitive form
The above form is produced using the Weaverbird’s Sierpinski Carpet definition, which is derived from the formula haveing a square divided into nine smaller squares and having the central one removed and repeating such process indefinitely. Thisformula can be a starting point to the fabrication process while the form also allowed further conceptualisation in development it into a suspended structure having the base of the ‘columns’ as anchor points and strings could be pulled in tension to achieve such form.
23.
B3. CASE STUDY 2.0
ArchitectureandArts,JapanPavilion(2012)<http://architectureandarts.tumblr.com/post/5579921450/japan-pavilion
top: interior of the pavilion left: close-up perspective of the connection method used to tie two intersecting paper tubes together right: PVC membrane covers the paper tubing structure for fire safety protocols
Canadian Architect, Environmental Mediation (2015) <http://www.canadianarchitect.com/asf/ principles_of_enclosure/environmental_mediation/ environmental_mediation.htm> [accessed 14 April 2015].
Architecture and Arts, Japan Pavilion post/5579921450/japan-pavilion-hanover-expo-20
n-hanover-expo-2000-designed-by>[accessed14April2015].
n (2012) <http://architectureandarts.tumblr.com/ 000-designed-by> [accessed 14 April 2015].
ARCHITECT: SHIGERU BAN LOCATION: HANNOVER, GERMANY CONSULTANT: FREI OTTO YEAR: 2000
The Japan Pavilion is designed for the Hannover Expo where Shigeru Ban showcased once again his skillful incorporation of recycable materials in architecture. The pavilion features a gridshell structure constructed simply by tying paper tubes together and layering the entire structure with PVC membrance for fire safety reasons. The backbone of this design would be the arches positioned at an even spacing across the structure, they also assist in forming the overall triple hemispherical shape. Secondarily, there are ribs intersecting diagonally to provide rigidity and strength to the entire gridshell structure, the intersection points are where ties are used in order to secure the two coinsiding components.
25.
B3. REVERSE ENGINEERING
plot points using vector to create a set of lines
point 1 point 2
line
divide lines in segments, set up a series of arcs
count
loft surface
divided arc
point 3 point 4
line
count
divided
vector curve
point 5 point 6 point 7 point 8
26.
line
count
divided arc
line
count
divided
vector
move
list items
loft
subsurface
2. 1.
3.
4.
divide surface into panels
draw lines between 1 and 3, 2 and 4, draw curves on lofted surface
The reverse engineering exercise aims to strengthen studentsâ&#x20AC;&#x2122; ability to produce a managable and controllable algorithm through studying a particular precedent of our choice. This stage is particularly crucial as the later design development would most likely be based of take off from what is produced in this section. The exercise, personally involved a long process of trial and error, from analysing how the gridshell structure would be originally based from, to trying to write algorithms that match the given outcome. The resulted algorithm was successfully completed with no dependence on Rhino at all, producing points, that create the series of lines that later on create the arcs of the gridshell structure by defining point locations through vector. The independent use of grasshopper allowed more form variations and to have the flexibility to push definitions to the max by having full control of it at the same time.
cull curve1 cull divide subsurface
pipe cull curve2
radius
cull
pipe surface alone curves
27.
varying widths
Arc Heights
Division on arc
subsurface division
28.
B4. TECHNIQUE DEVELOPMENT
Point variation
Lunchbox Plug-in
pipe radius
Kangaroo Physics
29.
weaverbird bevel edges
weaverbird offset mesh
patching
weaverbird thicken mesh
weaverbird stellate/cumulation
B4. TECHNIQUE 30.
Gridshells are about long spans with less support from the ground, and in our design brief, we are required to design suspended forms with zero ground support, therefore in my selection process, I will choose iterations that will ultimately have less anchor points required to suspend the whole form, while being aesthetically pleasing and practical to fabricate. The sample from the top is an outcome from patching a mesh, I was able to control the points, span and the flexibility of the patching, which I think would be a commendable definition to intergrate for my suspended canopy. The sample on the left is a result of thickening mesh, it resembles the appearance of a cocoon but I find it intriguing that in between the wrapped space, the intricate intersecting lineworks are exposed, showing how the structure actually formulates, showing traces of a cocoon and a network. The oucome on the left is one of the initial species of iterations Iâ&#x20AC;&#x2122;ve generated by simply changing the width of the arcs, placing points on different position would affect the form very differently, this form was also chosen to produce further variations, in fact, the sample on the top was initiated by the form on the right. The last sample, also the one on the bottom express a different emotion from the other forms, itâ&#x20AC;&#x2122;s constructed with squares, having rigid sides that make it appear to be more blunt than other generated outcomes.
E DEVELOPMENT 31.
B5. TECHNIQUE:PROTOTYPE In this section, I explored the materialisation and fabrication of some of the generated outcomes I’ve produced in previous parts of the journal. Apart from only testing out the forms, it is also to my concern that the foundation of the fabricated method is practical and will allow optimisation of further development, hence not only aim to create the ‘form’ but to create a sub-form that builds the form. The objective of this fabrication process is to achieve versatile surfaces which they correspond to external fores acting upon and the various anchor points that could be connected with. The brief requires the end product to be a suspended form and hence the anchor points and forces mentioned above is a crucial element to consider when prototyping. However at this initial process of experiementation with fabrication, it is my focus in seeking the most appropriate technique in achieving the form explored throughout the design development stage. Therefore the prototypes I produced at this stage are of covering as big of a scope of materials and connection techniques as possible. The prototype on the right is an initial fabrication inspired by the case study on Shigeru Ban’s Japan Pavilion, using pin to secure the two coninsiding components. A collapsable structure has been produced, where force is applied to one side, the other side would have similar reaction. In progressing with the development of this sketch model, it would be challanging to produce a similar but suspended prototype that involves interactions with forces.
32.
cable ties | tension Cable ties are used for one of the technical fabrication prototypes, the loops are interconnected letting potential forces to be transferred across, producing a similar effect like in the balsa wood model where the reaction of force can be visualised through the movement of different components of the structure. Cable ties are looped together in tension, being a desirable material to be used in a suspended system. However during the process of fabrication, the loops would get somewhat messy that increases the difficulty in producing an accurate model in a larger scale.
33.
strings | network A prototype is dedicated to strings, using a particular knitting technique to knit a net that could be of whatever shape and form, with optimised opportinity and potential embeded in it. For the purpose of prototyping, I only tested the knitting techniques which would allow the most variation of form to be done. The method I used basically is what produces common fishing nets or baskets which the planar surface of a network is knitted together to form a fishing net, the fabrication process is relatively simple yet the resulted form could potentially be endless, suspension could easily be attached within one of the loops, responding to controlability of a form I wish to put some focus on.
34.
mesh | versatility With intentions in constructing a sketch model of the more successful outcome from the iterations generated in part B4, I explored the geometry and the behaviours of such form using a simple piece of mesh (cut out from a laundry bag). The columns are not acting as columns in this scenario but temporary proppings that would allow me to investigate first-hand the form I have generated digitally physically. The result of this sketch model has made me realise that the mesh is not just one single component but is composed of the small cells and one alteration of such cells will affect the behaviour and appearance of the entire form. Through this fabricative process, I see the opportunity in not letting the force and natural performance of materiality but to take control over these factors to create a new form, generating a form that explains why it behaves that way in particular, and why control it to perform in this way. This concept is intriguing to me and I plan to continue pursuing in this direction for the next part of the design process.
35.
B6. DESIGN PROPOSAL
CONCEPT Ecology encompasses social relations and human subjectivity as well as environmental concerns. Felix Guattari
The concept for my design is all about exploiting the complex relatioships between technology, culture and nature, how they all contribute in affecting local ecosystems. Although in the recent years, societies have started to inject ideas that the environment weâ&#x20AC;&#x2122;re living in is decaying, human behaviours are causing serious damage to nature and to sum it up, we are responsible for pollution, over the top energy consumptions that the nature, the living organisms around it are largely affected so we need to make a move, to make a change. But behind all these advertorial messages, do we, one of 7 billion earthlings around the globe really know
38.
and understand what we are facing? Do we really get the idea that every little thing we do can affect organisms living around us, changing local ecosystems completely? My area of interest is in the personal interactive realisation of this issue, although the scale of influence is small, but I stand by that a small change is still a change. I hope to create a utopian, if not close to, and constrained environment for potential users to slow down at one point on the site and to feel the constrasting environments of the good and the bad. The site chosen for my project is under the Eastern Freeway bridge, which is highly
polluted compared to other areas of the Merri Creek, the plants and vegetation there are at a dreadful state where dead trees are seen to be lying on the river. With so little water flowing along the creek most days of the year, not many wildlife choose to make that location their home, but some every now and then would stop by for resting or a drink of water. I see this as a perfect opportunity to create something conflicting in this location, through the form and the interactive features of my design. Terrariums have an impeccably self efficient ecosystem that is easily maintained while being pleasing
to appreciate. A simi be featured in the d users to slow down acknowledged to t The use of parametr a metaphorical rep connection between showing the unpred Outcomes of para are usually considere this could assist in of that the environ the design is a plac something for people and to have faith in wh
ilar idea of such can design to encourage and be emotionally the subject matter. ric design would be presentation of the systems while also dictability of form. ametric generations ed more ‘futuristic’, the representation nment wrapped by ce that’s speculated, e to look forward to hat can be achieved.
39.
SITE The site chosen is approximately around the intersection of the Yarra river and the Merri Creek, just under the East Freeway bridge. There are a few factors as to why I chose this site. The relationships between technology, nature and culture is diverse in this particular site. Technological systems present are automobiles, infrastructures like the freeway bridge itself; natural systems covers the plantations and local ecosystems; cultural systems are defined in this case as what stereotypical meaning human in the society, espeically the Australian society has inserted into things. For example, the site located under the bridge would usually give out the feel of unsafe and filthy, the graffiti sprayed onto both sides of the under bridge would also make people link to the idea that filthy things might happen in this area at night, reinforcing the unpleasurable feeling they already have. My design concept is all about experiencing the good while youâ&#x20AC;&#x2122;re actually in the bad, this grants the site a more developable potential in itâ&#x20AC;&#x2122;s speculative design.
40.
As mentioned previously, the site chosen is one of the more polluted one along the Merri Creek, the diagram on the left explains some of the human traces left on the site. Firstly thereâ&#x20AC;&#x2122;s two road traffic of different densities, one high (Eastern Freeway), one medium (road next to the walking trail). Secondly, foot traffic. The site is not only the intersection of the Yarra river and Merri Creek, but is also the intersection of three walking trails, making it a location of high visibility. On the west side of the creek at the start of the site is a large drainage pipe that constantly has sewage water flowing out, this would not be a pleasing moment but would definitely help promote my design concept. Overall, I think the site Iâ&#x20AC;&#x2122;ve chosen has a good mix of the different systems Iâ&#x20AC;&#x2122;d like to explore, and placing my designing potentially under the bridge as a suspended canopy would not only act as an extra layer of coverage for users but to reinforce the sense of stepping into a small contrained world of perfect systems.
41.
I personally came across this piece of installation art in Brisbane while visiting their state gallery of arts. The installation features intertwinning lines and networks, representing the complex yet interconnected relationship the systems have in our natural environment. Although this is not a fully suspended example but the concept and the way Saraceno executed this design is very precise. The scale of this installation, being hung up in the air, people will need to look up, walk around or across, indirectly empowering these spheres. The fabrication method can potentially be investigated at a later stage when the appropriate form is produced.
PRECED
Title: Biosphere Designer: Tomas Saraceno Year: 2000 left: biosphere. Main sphere filled with small plants connected to bubbled sitting on the ground inflated with water middle: close up image on the network of curves right: close up image on the main sphere All photographs: Queensland Arts Gallery of Modern Art , Highlight: Tomas Saraceno â&#x20AC;&#x2DC;Biosphereâ&#x20AC;&#x2122; (2014) <http://blog.qag.qld.gov.au/highlight-tomas-saraceno-biosphere-2009/> [accessed 24 April 2015].
42.
The High Line Project by Diller Scofidio is an architectural approach to the similar concept that I want to pursue in. Using the elevated site of an obsolete train station where rail tracks are still in place, Scofidio recreated this area into a small utopian city , aiming to provide a green getaway in the midst of the concrete jungle of New York City.
DENTS
Title: New York City High Line Architect: Diller Scofidio Year: 2004-2009 top: aerial view of the entire high line project left: pavement merge in with remains of railway and garden top right: benches look like peel off of pavements, making features link with the site. top left: A glimpse of the view from the high line
All Photographs: Cilento, Karen, The New York High Line officially open (2009). ArchDaily. <http://www.archdaily.com/?p=24362> [accessed 01 May 2015].
43.
FABRICATION & CONNECTIONS With a more detailed concept of what I want to achieve in mind, there are two fabricative methods that can be considered at this stage of design development: Joints and networks.
JOINTS The final design form can be divided into segments so to be represented by tubings, joints can be used to connect these parts to create a larger linked product. Using joints will increase the weight of the entire structure therefore using hollow tubings rathoer than solid parts will make the structure relatively more light weight. For suspension, steel cables would be used to ensure the structure is securely elevated, the potential anchor points of such cables would be the steel barriers that run along the Eastern Freeway. U-shaoped steel plates can be bolted around one of these barriers and metal hook connecting the suspension cables can than be installed. This option can be considered if the final form requires more structural support in terms of carrying a large load and for a long-term installation purpose. This way the steel would be much more desirable undergoing harsh weathers, which would ensure the safety of users.
U-Shape Steel Plate
Metal Hooks
Steel Wire Cables Primary tubing Coupling Joint Secondary tubing-terrarium
44.
NETWORK Towards the end of the 5 weeks in design development, I have looked into Frei Ottoâ&#x20AC;&#x2122;s work for some structural inspriation as he is prolific in tensile structures. I came across the Diplomatic Club Heart Tent which used steel strings for the tensile roofing. I tried incorporating this into my design, making it one of the possibilities in fabricating my final design form. But since I wish to integrate terrarium tubes in my design I could not just suspend strings and connect them together to form my product, I need to think of a way to put these glass tubes within the string network. I have then done some research to find a way of knitting nets that would allow me to have the opportunity to insert other objects within the network. The net I chose to work with has been fabricated as one of the prototypes and the glass tubes can be incorported with the following parts and joints. The way of suspending the entire form is still pending on more research, it would potentially be a connection point where the bunch of strings would have to attach to in order to form the final network. The Diplomatic Heart Tent, Frei Otto, 1980. Architect Magazine, Diplomatic Blub Heart Tent ([n.p.]: , 2015)
strings
plastic end caps
terrarium tube
45.
B7. LEARNING OUTCOMES
The objectives of the studios and this section of the design profress is to depart from the research and text based work that we did in part A, and to get fully hands-on and interact with Grasshipper, experience the power and limitations of computational design first-hand. These five weeks have also been very helpful in pushing students to develop the computational design skills of their own, skills of not only altering a pre-defined algorithm, but also creating a complete and successful algorithm of our own. Personally, I spent the most time on reverse engineering becaue it was the first time for me to have to generate a digitial model merely using softwares, that feeling of creating something without using pen and paper or fiddlearound with objects is really strange to me, but the sense of reward and success after the algorithm is generated is truly overwhelming. This is the point in time when I actually started to enjoy the process of generating a form. Through this exercise, it made me see architectural projects in a different perspective, I now would look at a weirdly-shaped building and think â&#x20AC;&#x2DC;hmm, how would they generated that in Grasshopper...â&#x20AC;&#x2122;. This transformation opened the door of parametric wonders that I would never have opened before and have allowed me to explore things in a broader context.
B8. ALGORITHMIC SKETCHES
47.
REFERENCE 1. Architecture and Arts, Japan Pavilion (2012) <http://architectureandarts.tumblr.com/post/5579921450/japan-pavilion-hanover-expo-2000-designed-by> [accessed 14 April 2015]. 2. Architect Magazine, Diplomatic Blub Heart Tent ([n.p.]: , 2015) 3. Canadian Architect, Environmental Mediation (2015) <http://www.canadianarchitect.com/asf/principles_of_enclosure/environmental_mediation/environmental_mediation.htm> [accessed 14 April 2015]. 4. Cilento, Karen, The New York High Line officially open (2009). ArchDaily. <http://www.archdaily.com/?p=24362> [accessed 01 May 2015]. 5. Csiby Zsolt, Gridshell 00 (2012) <http://www.grasshopper3d.com/photo/gridshell-00> [accessed 27 April 2015]. 6. Iwamoto Scott Architecture, Voussoir Cloud (2015) <http://www.iwamotoscott.com/VOUSSOIR-CLOUD> [accessed 10 April 2015]. 7. Queensland Arts Gallery of Modern Art , Highlight: Tomas Saraceno â&#x20AC;&#x2DC;Biosphereâ&#x20AC;&#x2122; (2014) <http://blog.qag.qld. gov.au/highlight-tomas-saraceno-biosphere-2009/> [accessed 24 April 2015].
48.