Studio Air Journal

AIR

Journal

James Robert Gledhill 836594

Studio 13 Tutor: David Wegman

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CONTENTS A Conceptualisation A.1 Design Futuring A.2 Design Computation A.3 Composition/Generation A.4 Conclusion A.5 Learning Outcomes A.6 Appendix B Criteria Design

B.0 Fear B.1 Process B.2 Case Study 1.0 B.3 Case Study 2.0 B.4 Scripting the Process B.5 Proposal 1.0 B.6 Proposal 2.0 B.7 Learning Objectives & Outcomes B.8 Algorithmic Sketchbook C Conceptualisation A.1 Design Concept A.2 Prototype One A.3 Prototype Two A.5 Learning Outcomes

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INTRODUCTION Hello, my name is James. I am 20 years old and am currently in the second semester of my second year at The University of Melbourne and I am undertaking the Bachelor of Environments, majoring in Architecture.

I was born in Melbourne but spent 16 years in living in Singapore where I completed my High School education.

My interests include reading and writing, photography, watching sport, attempting to play sport, drinking coffee, watching movies and spending time with friends and family.

To me, architecture is a way of channelling my design capabilities into a medium that is complex and multidimensional. It is about creating form and through form creating experience.

Over the last two years I have began to learn about some of the many elements that make up the world of architecture.

I have been given the opportunity to collaborate with students in other disciplines and begin to explore how architecture sits within the scope of other fields.

Coming into Studio Air my knowledge of both digital design theory and practice was very limited. I have used Rhino before to produce models of my work but only ever as a way of presenting my final design and not generating designs with it.

Through the semester I aim to begin to grasp the Grasshopper software but more importantly i wish to be well versed in the theory behind it.

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Grafting

Point/Line/Plane Shown here are three examples of some of the work I have done in previous semesters. To this point the majority of my work has been rectalinear so I am interested in exploring more diverse form through this studio.

Studio Earth

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A

CONCEPTUALISATION

A.1 Design Futuring A.2 Design Computation A.3 Composition/Generation A.4 Conclusion A.5 Learning Outcomes A.6 Appendix

A1 / DESIGN FUTURING The world and humanity as we know it are at a crossroads. For the first time in human history we have no security that en masse the world and humanity has a future. Tony Fry suggests that ‘design futuring’ is the way forward, that we must use design to combat defuturing and reach a sustainable habitation of the earth1.

Design is both our downfall and our saviour.

It has led us down this path through advancements in technology leading to mass production and unsustainable consumption.

Yet advancements in digital design may be the tool that sets us back on track.

Through this semester, digital design and the ways it can aid design futuring will be explored with the goal of beginning to shift attitudes about design and its potential for our future.

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1. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16

“We in the West have come to be highly disciplined, organized, and rational. On the other hand, having allowed our unconscious personality to be suppressed, we are excluded from understanding primitive man’s civilization... The more successful we become in science and technology, the more diabolical are the uses to which we put our inventions and discoveries.�

-C.G Jung

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A1.1 / Precedent One

Knowledge Centre, Masdar Institute Foster+Partners / Abu Dhabi /2010

The Knowledge Centre of the Masdar Institute of Technology, Abu Dhabi, is a great example of how digital design can influence and enhance fabrication.

The project has demonstrated the importance of the control of geometry that is enabled through digital design.

The project is part of a larger complex and it complements this larger site with its use of geometric forms that can be seen throughout the rest of the structures. This continued theme is a result of programmatic design and helps to hint at its potential.

The project seeks to create the world’s first carbon neutral desert community2. The design is progressive and innovative as it uses geometry over the double curved to both shade the interior as well as house a series of photovoltaic cells. The roof is made up of a series of identical curves which means all the components could be manufactured with the same form-work3. This kind of modelling and fabrication would have not been feasible without the aid of digital design.

This project was built however the significance of this precedent lies in the capability of being able to produce such form and demonstrate how the tools can be used to create a form

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that is both complex and sits inside the requirements of the brief. The fact that this project was successfully built reinforces what the tools and technology are able to produce.

If the design can operate throughout its usable life cycle at carbon neutral then it will continually be drawn upon as a step forward in digital design. The future of sustainable design will have been changed, perhaps just a little, but enough to suggest this project will carry weight when discussing carbonneutral communities. Future designs will now have a context to refer to when considering how geometric forms can be used and fabricated in a way that is straight forward whilst achieving benefits for the building.

The contribution the design has made to its site extends beyond its carbon neutral nature. It is a progressive design that creates interesting spaces for the inhabitants.

Overall, this precedent supports the notion of Design Futuring in that it shows how design can be used positively to create an outcome that is not detrimental to its surroundings yet still be evocative and engaging as a space.

2. Marco Rinaldi and Marco Rinaldi, “MASDAR INSTITUTE BY FOSTER + PARTNERS”, A As Architecture, 2017 <http://aasarchitecture.com/2013/04/masdar-institute-by-foster-partners.html> [accessed 11 August 2017].

3. ”Masdar Institute | Foster + Partners”, Fosterandpartners.Com, 2017 <http://www. fosterandpartners.com/projects/masdar-institute/> [accessed 11 August 2017].

â&#x20AC;&#x153;Masdar Institute | Foster + Partnersâ&#x20AC;?, Fosterandpartners.Com, 2017 <http://www. fosterandpartners.com/projects/masdarinstitute/> [accessed 11 August 2017].

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â&#x20AC;&#x153;Perforated Deep Surface Prototype | Achimmenges.Netâ&#x20AC;?, Achimmenges.

Net, 2017 <http://www.achimmenges. net/?p=5193> [accessed 11 August 2017].

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A1.2 / Precedent Two

Deep Surface Sean Ahlquist and Achim Menges / Stuttgart /2012

The Deep Surface exploratory work from Sean Ahlquist and Achim Menges opens up a world of possibilities surrounding forcedriven material systems. Their research explores how material systems that have previously been difficult to employ can be developed into a framework that allows the systems to be utilised and experimented with by the larger design community.

The research offers a whole new take on from and formâ&#x20AC;&#x2122;s relationship as a system.

This progressive way of interacting with form opens up possibilities as from moves from something that is constrictive to something that can be played with in ways never done so before4.

ideas and concepts to be used by the wider community and the positives of force-driven material systems can be taken advantage of.

The research will continue to be relevant as it lays the groundwork for far more experimentation. Ahlquist and Menges have merely provided the framework for others to utilise so this is just the beginning of what can be achieved.

Coming back to Design Futuring, technology that enables such forms to be created begins to give design the opportunity to return to the right path and help shift the perception of what design can do.

The forms that are now able to be produced challenge the traditional notions of architecture and open up a far wider potential for architects to create structures that require control throughout the entire system. This is exciting for the progression of architecture as it is becoming possible for extremely complex designs to become feasible projects.

Whilst this project was purely one of research and does not offer a final completed piece of architecture, the results are no less significant.

There is now the possibility for these

4. Sean Ahlquist and Achim Menges, â&#x20AC;&#x153;Physical Drivers: Synthesis Of Evolutionary Developments And ForceDriven Designâ&#x20AC;?, Architectural Design, 82.2 (2012), 60-67 <https://doi.org/10.1002/ad.1380>.

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A2 / DESIGN COMPUTATION For digital design to truly be harnessed we must understand the relationship between designers and computers.

The relationship is fast moving from computerisation, where we use digital means to represent or construct representations of our designs, to computation whereby computers are used as a tool in the design process5.

Design computation is becoming increasingly powerful as we begin to understand how to harness its potential and see it as a tool through the entirety of the design process.

5. Kalay, Yehuda E. (2004). Architectureâ&#x20AC;&#x2122;s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25

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â&#x20AC;&#x153;Computers, by their nature, are superb analytical engines. If correctly programmed, they can follow a line of reasoning to its logical conclusion. They will never tire, never make silly arithmetical mistakes, and will gladly search through and correlate facts buried in the endless heaps of information they can store.â&#x20AC;?

-Yehuda E. Kalay

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A2.1 / Precedent Three

Spanish Pavilion EMBT/ Shanghai /2010 Through computation, a whole new world of form is beginning to take shape. EMBT’s Pavilion for Expo 2010 in Shanghai is a prime example of how computation can be used to enhance design and push the boundaries of workable form.

The Pavilion is an example of process design whereby the weaving is interpreted and algorithmically used to formulate new geometry. This means the design can be complex and unusual yet fully controlled by the designer6. This shows how ultimately digital design is a tool at the designers disposal not the designer itself as the individual designing the Pavilion had full control over the inputs and therefore the outputs.

Computation is an enabling tool that allows designers to meet complex problems with complex solutions and fully engage with possibilities that would have previously been impossible to conceptualise.

The Spanish Pavilion is both pushing perceptions of architecture as well as challenging traditional engineering. These two key components; the design and the fabrication would be incredibly far apart if not for the capabilities of digital design to realise a practical and workable form.

Overall, computation is a way for architecture to truly progress and meet the needs of a complex world.

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6. Julio Martínez Calzón and Carlos Castañón Jiménez, “Weaving Architecture: Structuring The Spanish Pavilion, Expo 2010, Shanghai”, Architectural Design, 80.4 (2010), 52-59 <https://doi.org/10.1002/ad.1106>.

Aided Design (Cambridge, MA: MIT Press), pp. 5-25

Julio Martínez Calzón and Carlos Castañón Jiménez, “Weaving Architecture: Structuring The Spanish Pavilion, Expo 2010, Shanghai”, Architectural Design, 80.4 (2010), 52-59 <https://doi.org/10.1002/ad.1106>.

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A2.2 / Precedent Four

Sudpark Herzog & De Meuron / Basel / 2012 Computational design can be used in many different ways to solve may different problems.

For the Sudpark project computation was not used to create some ridiculously complex form but rather to plot windows on a planar facade.

Herzog has said â&#x20AC;&#x153;We see a huge potential for the computer in the very hybrid and eclectic design processes we have developed over the last 20 years.â&#x20AC;? and this shows that computation can be used along side other tools as an aid to

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design. It does not have to generate the whole form but rather create components that can then be pieced together in a more traditional context7.

The scope for design computation is huge as just about any process can be digitally abstracted to create a usable outcome.

Whilst computation can quickly generate many designs the firm insists that each

http://s3.cf.events.ch/renderings/ venue/100926/39933/smartcrop/989,500jpg

building is its own and that there is no overriding style. Herzog & De Meuron have thus used computation in a playful way where the logic behind each tool is challenged and the outcome scrutinised to ensure each design is unique and, more importantly, each design makes sense.

7. Brady Peters, â&#x20AC;&#x153;Realising The Architectural Idea: Computational Design At Herzog & De Meuronâ&#x20AC;?, Architectural Design, 83.2 (2013), 5661 <https://doi.org/10.1002/ad.1554>.

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A3 / COMPOSITION/GENERATION The architectural paradigm is shifting.

There is a shift from compositional design to generation design and this shift is the basis of design futuring8.

The shift from composition to generation is the next step in architectural evolution as generation becomes more exciting and yields far higher rates of productivity.

Compositional design is design whereby each element is thought up by the architect and added to the design to create a whole.

The architect is the composer and the design is his score. This method may be considered traditional and is still the dominant method utilised today.

Generation design is where a designer takes advantage of computation and simply sets parameters and inputs and an outcome is generated.

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8. Peters, Brady. (2013) â&#x20AC;&#x2DC;Computation Works: The Building of Algorithmic Thoughtâ&#x20AC;&#x2122;, Architectural Design, 83, 2, pp. 08-15

â&#x20AC;&#x153;A virtual machine exists at some level higher than the machine on which the algorithm is implemented.â&#x20AC;?

-Eric Dietrich

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A3.1 / Precedent

Museo Soumaya Fernando Romero/ Mexico City / 2011

The Museo Soumaya is a prime example of how computation can generate form that would be too complex to arrive at through composition design9. The curves being formed into a workable surface with consistent geometry is far more complex than it appears.

The question this raises is, so what? Why is it necessary for us to produce such complex forms when equally aesthetic buildings can be imagined in a rectilinear form. The answer is complex and has many facets but the key is that generation design allows complex designs to be produced quickly and for building to be sculpted precisely into advantageous forms so as to introduce elements that may increase its sustainability or even the flow through the building’s spaces.

The use of generation design is allowing architecture to progress at a far quicker rate and as we hurtle towards defuturing the quicker new technologies can be achieved the better the design futuring.

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9. Fernando Romero and Armando Ramos, “Bridging A Culture: The Design Of Museo Soumaya”, Architectural Design, 83.2 (2013), 66-69 <https://doi.org/10.1002/ad.1556>.

“VIDEO: Time-Lapse Through FREE’s Museo Soumaya”, Archdaily, 2017 <http://www.archdaily.com/548366/ video-time-lapse-through-fr-ee-s-museosoumaya> [accessed 11 August 2017].

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A3.2 / Precedent Six

Glasgow Museum of Transport Zaha Hadid Architects with Buro Happold / Glasgow /2011

Generation design has many benefits but may also have shortcomings as a process.

In the case of the Glasgow Museum of Transport, the end result achieved through generation design is undeniably unique and quite visually stunning.

The positives of generation design is such forms can be achieved and replicated relatively easily. There is an overall flow

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through the entire structure as it is all algorithmically linked10. The cohesiveness of the design is incredible given there are so many different elements vying for attention.

Where generation design may cause problems is the lack of control a designer may have in deciding what elements should go where and the kinds of spaces the algorithm generates. Obviously parameters are set to

gain control but the reality is that the design follows a process so to really change the parameters the process must be changed.

10. Wolf Mangelsdorf, “Structuring Strategies For Complex Geometries”, Architectural Design, 80.4 (2010), 40-45 <https://doi.org/10.1002/ad.1104>.

Ultimately, the positives of generation design outweigh the negative elements but when designing, the limitations should always be considered.

“Glasgow Riverside Museum Of Transport - Architecture - Zaha Hadid Architects”, Zaha-Hadid.Com, 2017 <http://www.zaha-hadid.com/ architecture/glasgow-riverside-museum-

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A4 / CONCLUSION Part A, the conceptualisation stage, has brought together many different architectural theories, all with the focus on moving forward with design. The design futuring element introduced the school of thought and the computation stage introduced the tools to achieve it.

The next stage of the process will be creating a process by which I can generate design outcomes. Taking what I have learnt through this stage I will look to use effectively use computation at all stages of design to create an outcome that is both controlled and complex.

It is important to learn to design this way as the tools behind it are powerful and allow for outcomes that can not be composed be the human mind in a traditional sense.

A5 / LEARNING OUTCOMES In the first three weeks alone my perceptions of architecture and what architecture can be have already dramatically shifted. I am now excited for the future of architecture where before I was unsure of its place and how it would evolve. Looking back over previous projects, I can not help but think how much easier it would have been to have a grasp of grasshopper to produce forms quickly that are engaging and complex.

To be able to constantly change a designâ&#x20AC;&#x2122;s inputs and see that immediately affect the design is immense and will be a tool Iâ&#x20AC;&#x2122;ll no doubt take forward with me.

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A6 / APPENDIX

Re-imagining the vase

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Modelling Fear

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B CRITERIA DESIGN

B.0 Fear B.1 Process B.2 Case Study 1.0 B.3 Case Study 2.0 B.4 Scripting the Process B.5 Proposal 1.0 B.6 Proposal 2.0 B.7 Learning Objectives & Outcomes B.8 Appendix

B0 / FEAR With all the potential of computational design, we need to consider different forms of inspiration with which to derive form from. It is easy to get lost in parametric modelling as the inputs are limitless creating an infinite number of possibilities.

Process design is a way of taking an abstract idea and eventually creating an output that can be considered architecture. Through this project the notion of fear will be explored as a way into process design.

Along with this, Strip/Folding architecure will be researched as the forms that are created can be the most elegant solutions to design problems.

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B0.1 / Exploring Fear

What am I afraid of?

I think from a young age we’re told we can do anything or be anything and to an extent that’s true it puts so much pressure on us to do something worthwhile. Not knowing what you want to do because knowing that choosing one path will lead away from other paths scares me. Ultimately, I’m afraid of letting myself down and, in turn, the unknown.

I feel overwhelmed by opportunity and feeling the weight of expectation, predominantly self-inflicted, and worry I won’t reach that potential. I want to be set on one thing and I’m envious of those who know exactly what they want to do and will pursue it at all costs. I know that going down one path will without a doubt lead to others but how do I know which path will take me where I want to go?

Overall, my fear is one of the future and the uncertainty it holds.

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B0.2 / Fear of the Future

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B0.3 / Representing Fear

Fear The graphic is a visual representation of my fear. It shows the idea of being overwhelmed by scale and that we are all a universe of complexity within an infinitely larger universe.

The circle represents the self and every trinagle represents differant forays into the unknown or the future.

Where the fear really hides is in the black and white triangles. It is a fear of venturing out into this abyss, this unkown and gaining nothing from it.

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GRAP

PHIC

B1 / PROCESS My fear, that of the unknown future and whether it will have any meaning, is an incredibly abstract concept.

To generate a series of actions from which a script can be formed, a proccess has been selected to act as a physical representaion of the fear.

A rocket launch is the process that has been selected as it gives a clear set of steps and is a literal example of venturing into the unknown.

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B1.1 / Developing a Process

Fear to Process Launching Rockets Through B.0 Fear I graphically explored my fear and where the fear of the future takes me mentally and the kind of thoughts and feelings it produces. Noticeably, there is both light and dark. Neither can exist without one another, hope for the future and fear of the future go hand in hand, however what that creates is a feeling of being overwhelmed and inability to comprehend. To represent this fear I have looked at the process of launching a rocket into space. I have done this as a rocket is essentially launched into the unknown, there is hope for discovery but there are so many risks as we send a lone vehicle out into the void that is outer space.

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1

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3

The engine is turned on and there is a buildup of energy

There is an explosion of sorts as the energy is released

There is a movement with increasing acceleration

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6

The rocket breaks through the atmosphere

Parts of the rocket fall away as they are no longer needed

The rocket moves through space towards a predetermined destination

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The rocket touches down in an unknown place

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B1.2 / Diagramming the Process

Process to Design The process is an incredibly useful tool to articulate the fear. From the process stages, a diagram has been created that represents the process from start to finish in one visual.

This shows where the design might go as it represents what the process looks like to me. There is an element of chaos with purpose and direction evident as well.

This diagram will inform the generation of scripts and forms throughout the design process.

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B2 / CASE STUDY ONE Through Case Study One, the Seroussi Pavilion from Biothing will be explored.

The parameters of the design will be altered to explore the full potential of the script.

The pavilion offers a lot of opportunity to explore how strip/folding architecture can be used to create unique forms.

What I hope to gain from this is a deeper understanding of the power of generative design as well as develop my technical skills further.

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B2.1 / Understanding the Project

Seroussi Pavilion Biothing / 2013

Computational design means that complex forms can be generated that would have otherwise been near impossible to conceptualise. The Seroussi Pavilion is an example of this.

The design shows specifically how the point charge component in grasshopper can be used to generate form. The idea of the field means that there is a natural flow to the design whilst maintaining a high level of complexity.

However, as it stands, the pavilion lacks functionality and so through this process it will be interesting to see what forms can be created and how they may add to the potential of the script.

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B2.2 / Iterations

Family One Varying the Divide Curve component

Family Two

Using rectangles around the point charges

Family Three Varying the Charge of the field

Family Four

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Varying the Charge of the field dependent on the location within the field

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B2.2 / Iterations

Family Five

Family Six

Moving the points and fields along the z-axis dependant on location

Varying the factor by which the graph is multiplied

Family Seven Changing the Graph input

Family Eight Using the Spinning Force Component

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B2.3 / Selection Criteria

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Differentiation

2

Development

The first criteria to consider is how the iterations differ from the original form and how they further push the script.

The second criteria point is whether the iteration has potential for further development.

This is an important criteria as it justifies what the iterations can add to the potential of the script.

This is important as it allows iterations with clear potential for ongoing development into a potential family to be singled out from the rest.

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Use Arguably the most important criteria is whether or not an iteration has any potential uses.

This will derive whether an iteration is feasible for further investigation and whether it can be more than just a geometric composition.

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Aesthetic The aesthetic qualities of the iterations is also key in separating out successes.

Ultimately we are designing for something to be made physical so the aesthetic of the end product will play a large role in its perceived success.

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B2.4 / Successful Iterations

4.2

This iteration successfully meets three out of the four criteria. The only thing it struggles to meet is use. It could operate as a pavilion but more development would be needed for a more tactile purpose.

The range of shapes and scales makes it an engaging form with an interesting flow.

6.3

This is one of the more uniform iterations. The uniformity gives the opportunity for some form of vaulted structure.

The overall form is perhaps less engaging compared to others but ultimately it meets all four criteria quite successfully.

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7.4

The flowing wave-like iteration is one of the most aesthetic. The undulating form would make for an interesting terrain or ceiling pattern.

There is definitely room for development to take this iteration further and to push the script for more uses.

8.4

This iteration is one of the most interesting and unique forms created. It gives a sense of chaos while maintaining an apparent pattern.

The varying density means there is a lot of potential to further explore and develop this form.

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B3 / CASE STUDY TWO Case Study Two focuses on taking an existing project and attempting to recreate in Grasshopper by reverse engineering the steps.

The Double White Agent project

by TheVeryMany will be reverse engineered. This project was chosen as it creates a really interesting form while appearing reasonably simplistic.

From this process I aim to better my problem solving capabilities within Grasshopper as well as bginning to think logically and systimatically about how certain outcomes may be achieved.

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B3.1 / Understanding the Project

Double Agent White TheVeryMany / Sache / 2012

The forms that TheVeryMany have created through their Double Agent White project are engaging and complex yet there maintains a very natural flow. The use of varying sizes of the same shape and the way they had been joined is what drew me to this particular project.

This is an example of strip/folding architecture and the kinds of complex form it can create.

The generative aspect behind this design means that the spatial qualities could be trialed many times over before the final product was poduced.

Due to advanced manufacturing techniques, the different components can also be taken apart to creat new forms and new entrances to the structure.

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B3.2 / Thinking through the Process

Process for Reverse Engineering 1

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2

3

Generate nine points in space

Create spheres around the points

Vary the radii for the nine spheres in reference to their location

Pop 3D

Sphere

Evaluate

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5

Join the spheres

Join Mesh

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Trim away the interior parts of the spheres

Create a triangle mesh and cull to give the surface patterning

Split Mesh

Triangulate/Cull

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B3.2 / Process Outcomes

Outcomes Overall the attempt to reverse engineer the Double White Agent Project was successful. The one thing that could be improved upon is the final surface and the cut-out holes as the culling process produced geometry that was too linear.

From this Case Study I now have a far greater understanding of the logic behind creating a script in Grasshopper. Breaking down the process and understanding each stage was vital to this.

Perspective

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Plan

Elevation

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B4 / SCRIPTING THE PROCESS From developing my Fear, Process and Grasshopper skills the next stage is to combine these and develop a script.

To do this, I will take what I learnt through Case Study Two and break it down into a series of steps.

It is key that the Fear and in turn the process of launching rockets informs the creation of the script.

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B4.1 / Breaking Down the Process

Process

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Diagram

Components

The engine is turned on and there is a buildup of energy

Populate 3D Deconstruct Mesh Divide Surface

There is an explosion of sorts as the energy is released

Voronoi 3D Explode Tree Point Charge

There is a movement with increasing acceleration

Graph Equation Move

The rocket breaks through the atmosphere

Mesh Split Tringulate Voronoi

Parts of the rocket fall away as they are no longer needed

Decompose Cull Index Split

The rocket moves through space towards a predetermined destination

Vector Evaluate Line

The rocket touches down in an unknown place

Mesh List Index

Hunch

My gut feel is that this will produce a form that has a clear start and end. There will be an element of chaos yet a clear flow throughout.

I think the spaces created will be interesting and overwhelming and in this way relate back to my fear

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B4.2 / Species One

Family One

Family Two

Family Three

Family Four

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B4.3 / Species Two

Family One

Family Two

Family Three

Family Four

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B4.4 / Species Three

Family One

Family Two

Family Three

Family Four

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B4.5 / Species Four

Family One

Family Two

Family Three

Family Four

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B4.6 / Selection Criteria

1

Fear The first criteria to consider is whether the iteration relates back to my fear and whether it evokes some form of response.

This is an important criteria as it links the components of this design process and it allows me to offer a response to my fear and open a dialogue.

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2

Process The next important part of the criteria is that the iteration is true to the process.

This is crucial as the process is the metaphorical representation of fear and the design is the physical and therefore they need to be relevant to one another.

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Use

4

Development

Arguably the most important criteria is whether or not an iteration has any potential uses.

The last criteria point is whether the iteration has potential for further development.

This will derive whether an iteration is feasible for further investigation and whether it can be more than just a geometric composition.

This is important as it allows iterations with clear potential for ongoing development into a family, as per the brief, to be singled out from the rest.

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1.1.3

2.2.5

B4.7 / Successful Iterations

This iteration really encapsulates the overwhelmed feeling. The rectilinear structure means that there are many potential uses ranging from seating to even a climbing structure used for exercise.

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This iteration has a lot of potential. It is an evocative form with potential for great spatial qualities. It is complex and delivers an overwhelming feeling but will need to be used in the right context to really evoke this.

3.3.1

This iteration has a really interesting form. The spiralling snake gives it a claustrophobic feeling that could create a sense of fear. It also has a great potential for interesting spatial qualities.

4.3.2

To me, this iteration reminds me most of the process but lacks the qualities of the fear. The triangulated forms may have many uses but I feel that this will not be as easily developed as other iterations.

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B5 / PROPOSAL ONE The first proposal is a new take on the park bench. Building on Species 2, I have designed a seating system that insists sitting alone and therefore allows meditation or isolation. This is because I think there is an inherent loneliness at the heart of my fear as feeling overwhelmed in this universe is something we must all do alone.

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B5.1 / Render Proposal One Render

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B5.2 / Plan + Section

Plan

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Section

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B5.3 / Reasoning

Proposal One This particular proposal has been made because I feel it adequately encapsulates my fear. There is an intimidation to this form that leaves me feeling overwhelmed yet the flow has a beauty to it.

I feel as though it deviates from my initial hunch yet holds true to the process as it gives the feeling of a journey with no set destination.

The form, to me, felt as though it needed to be a chair of some description yet I can see potential spatial qualities that could allow it to develop into something more.

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B6 / PROPOSAL TWO The second proposal is at a larger scale as I look to implement a shading pavilion for park users. The consuming nature of the form will create an overwhelming sensation while the protectiveness of the structure will lead to a space for contemplation.

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B6.1 / Render

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Precedent B6.2 / Plan + One Section

Plan

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Section

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B6.3 / Reasoning

Proposal Two This form has been proposed as I think it delivers interesting spatial qualities not seen though other iterations.

The interconnected nature of the arcs speaks to the fear of the future and how overwhelming it can be. The circular patterning is also a reference to firstly the self and then the layers encapsulated within one person.

It has a more literal link to the journey element of the process yet does not fully encapsulate every stage.

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B7 / LEARNING OUTCOMES These last few weeks have been incredibly challenging. Grasping the concepts of process design and self exploration while simultaneously pumping out work to the best possible standard has been draining, but I have learned so much. From generic skills such time management and presentation to more subject specific ones. I now feel that I have an understanding on how to use Grasshopper yet, more importantly, I now know why and when to use parametric modelling as a design tool. I have learned the beauty in generative design and truly seen its capabilities and know that it is an exciting time to be involved with architecture. Overall the most important thing I have learned has been that the Inspiration, the Process and the Outcome are all important but what is even more important is how the reference and inform one another to create a holistic design.

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B8 / ALGORITHMIC SKETCHBOOK

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Trial One

Trial Two

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C DETAILED DESIGN

C.1 Design Concept C.2 Prototype One C.3 Prototype Two C.4 Learning Outcome

C1 / DESIGN CONCEPT Having presented Parts A and B and received extensive feedback, the next stage is to formalise the design concept.

In light of the feedback the focus will be on taking the script I have developed and pushing it in new direction in an attempt to produce and harvest useful iterations.

The aim will be to produce two proposals that are honest to my fear and process and look to heal my initial fear.

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C1.1 / Analysing Feedback

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Key Points From my Mid-Semester presentation feedback it was evident that Proposal One was the stronger concept and the one I will be taking on. The feedback identified four key points that need to be addressed moving forward.

1. Amplifying the Conditions

The proposals that I put forward were promising and had potential but they did not fully communicate the fear or the process behind them. Amplifying the conditions would be taking the idea behind the concepts and making them incredibly apparent through the spaces created.

2. Healing the Fear

At this stage, the fear is merely present within the designs yet the architecture does not interact with it. There is no conversation between the fear and how the architecture can address or heal it. Moving forward this relationship needs to be considered and made evident through the architecture.

3. Connection in Isolation

Working through the process, it became apparent that at the crux of my work was the notion of being alone in an infinite universe.

With this in mind my focus will be how to create connection in isolation. I will investigate how we can be comfortable being alone in the context of the world around us.

4. Realising the Potential

One of the biggest advantages of computational design is the ability to produce many iterations from the same script. Moving forward I will look at all the potential behind my script and what it can achieve.

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C1.2 / Developing Concept One

Concept 1

Concept One

As discussed above, the design concept needs to be modified to meet expectations outlined.

With this in mind, I have attempted to create a more encompassing design focussing specifically on amplifying the conditions.

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C1.3 / Final Concept One

Final Iteration This is the most successful iteration I have identified for proposal 1 as it best addressing the requirements discussed in my mid semester feedback. The design builds upon the original concept but turns up the effect an makes the desired feeling more pronounced. It addresses the fear by creating a situation in which people can essentially be alone, together.

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C1.4 / Developing Concept Two

Concept Two

For the second proposal, my focus was on developing a larger design with good spatial qualities that provided a sense of connection in isolation as well as honouring the sentiment behind the fear.

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C1.5 / Final Concept Two

Final Iteration The second proposal is more about creating a space that both conveys the fear but also aims to heal it. With this in mind, the iteration chosen was selected as it has the best spatial qualities. The different umbrella forms create arbitrarily defined spaces that are connected by a common thread, hence creating connection in isolation.

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C1.6 / Construction Technique

3D Printing Rationale

Successful Project

3D Printing is a new exciting form of manufacturing that has great potential to expand the way we fabricate. It allows an architect to take ownership of the whole design process, from concept to final product no third parties are required. Moving forward into the next generation of architecture this is an exciting concept as it empowers architects with a genuine sense of authorship and in turn control over their own work.

The Thallus Installation by Zaha Hadid Architects is an example of where 3D printing has been used to create new and untried form.

Advantages • • • • •

Minimises material waste as it’s not a subtractive process Can produce intricate and complex geometries Labour is automated so production is time effective Gives the designer full control over the fabrication Different iterations of a design can be rapidly reduced

Limitations • • •

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Pre- and Post-printing requires a lot of work to set up a file and finish the final product Printing costs can be relatively high It would be inefficient to produce large scale projects as it would take a lot of time

The design used computational methods to investigate the form and structure of plant life11.

This precedent shows how computational design can be used to expand the boundaries of form and in turn how 3D printing makes this possible. Through the entirety of this process the designer had complete control, from concept through to fabrication.

Ultimately, 3D printing opens up a range of opportunities that would otherwise not have been possible and is therefore an appropriate construction technique moving forward as I attempt to move into the unknown.

11. Zaha-hadid.com. (2017). Thallus Installation - Design - Zaha Hadid Architects. [online] Available at: http://www.zaha-hadid.com/design/ thallus-installation/ [Accessed 30 Oct. 2017].

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C1.7 / Construction Process

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Generate the form in Grasshopper

4 Submit the file to FabLab for printing

Finalise the structure in Rhino

5 Print the file using a Makerbot Replicator

3 Export the file and load it into the Makerbot software

6 Remove the support material and apply finishes

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Precedent One

Proposal One - Trial One

Proposal One - Trial Two

Prototype Testing This was my first time 3D printing so it was important to go through a trial and testing process to understand how the fabrication would work and also gauge the feasibility of my design proposals.

Proposal One - Trial One â&#x20AC;˘ â&#x20AC;˘ â&#x20AC;˘

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The design was too small and the components too thin.

The support material could not be removed without damaging the design.

The overall form could be seen but ultimately the structure was too weak

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Proposal Two - Trial One

Proposal One - Trial Two

Proposal Two - Trial One

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The structure was better with thicker components.

The print was still too small and removing support material was very difficult.

This iteration helped to finalise the overall form, it just showed that the scale needed to be increased for a successful outcome.

• •

This trial was printed without support material, which highlighted to me the importance of correctly setting up a file before submitting it.

The overall form appeared to be fine.

The scale was appropriate to accurately illustrate the design.

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Xenos is a Greek word meaning stranger or foreigner.

My proposal is titled Xenos as I feel it encapsulates the underlying sentiments behind my fear while introducing something that is engaging and stimulates curiosity.

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C2 / PROTOTYPE ONE Prototype One is a contemporary take on a park bench. The aim of the design is to create a seat on which many people can sit yet never face one another. This creates a comfort in sitting by oneself without feeling overwhelmed.

I have deliberately left an opening so individuals can stand in the middle and feel the full weight of the fear. Many people with their backs turned to you and standing at the centre of a complex structure creates the overwhelming sensation at the heart of my fear.

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C2.2 / Spatial Render

Here we can see the bench in use and how it can create a natural division between people. The gold has been chosen for two reasons. Firstly to amplify the overwhelmed feeling the bench creates and secondly it ties back to the concept of digital alchemy and through the process of exploring the unknown, I have come back with something of tangible use. In essence, the fact that there is an outcome, in a way, heals my fear.

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C2.3 / Experiential Render

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The intricacy of the design stems form the overwhelming number of possibilities the unknown holds. This complex form juxtaposed with the simplicity of use highlights the irrational nature of the fear as ultimately the future and all that is unknown is impossible to fathom and it is beyond us to comprehend so we must ultimately break it down into itâ&#x20AC;&#x2122;s simplicity.

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C2.4 / Prototype One Elevation

Elevation The design lends itself to being a seat with obvious surfaces on which people can sit.

The simple support structure connecting all the shell like components gives the impression the seats are almost floating which is meaningful as the design hangs in the balance between the fear and healing.

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C2.5 / Prototype One Plan

Plan As seen from the plan, the structure is circular in nature which allows for everyone to sit facing away from one another.

It can also be seen how someone can access the middle of the structure and interact with the overwhelming fear.

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C2.6 / Final Model

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Seeing the design completed and in physical form was a big step forward into knowing how it would interact with the world around it. The structure is solid and the form is interesting to investigate.

The complexity of it is incredibly present yet the form is organic and invites curiosity.

The shell like forms seem familiar and gives off elements of biomimicry.

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C3 / PROTOTYPE TWO Prototype Two is a pavilion design that aims to heal the fear by creating connection in isolation. It does this through creating arbitrary divides using the different shell like structures and then linking them using a common thread or bench.

Each space has varying qualities through the change in density of â&#x20AC;&#x153;armsâ&#x20AC;? that each shell has.

Whilst some spaces are completely enclosed and shaded, others are entirely open and offer no protection from the elements around them.

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C3.2 / Spatial Render

Here we can see how the structure would interact with the space around it as well as the varying spaces. It is evident how the common bench through the pavilion connects everyone even through the spatial divide created by the shells.

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C3.3 / Experiential Render

The gold creates a warmth in a potentially empty space and would attract people to the pavilion.

The weight of the structure above you can be felt and hence amplify the fear yet the communal space and connection between individuals looks to provide a healing element to the design.

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C3.4 / Prototype Two Elevation

Elevation

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The variation in density can clearly be seen through the elevation. Each has itâ&#x20AC;&#x2122;s own spatial quality yet the structure as a whole has a unique composition that would be interesting to navigate and experience.

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C3.5 / Prototype Two Plan

Plan The circular bench that connects all the spaces is prominent. It is the element that ties the spaces together and allows for the connection. The space in the middle of the pavilion is also important as it is where all the components meet one another. As opposed to Proposal One, where the centre amplifies the fear, the centre of this structure offers a space for healing where the fear is simplified and broken into an understandable form.

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C3.6 / Final Model

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The final model really showcases the variation in the different spaces. In the digital realm, it was difficult to fully conceptualise how the different forms would function and interact but having the physical representation makes it far easier.

It is also key to be able to see the shadows and how light will interact with the design. Orientation of the pavilion with the site is something that needs to be carefully considered as it will play a large part into how the design is used.

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C4 / LEARNING OUTCOMES Throughout the semester I have learned alot not only about architecture and the realm of design but also about myself and where I fit into the larger context.

In many ways, my exploration into the fear of the future and the unknown has been paralleled by my work through the subject. Stepping into a new form of design in process design and using a new tool in Grasshopper, without any guarantee of success was an embodiment of my fear.

Giving myself completely to the new form of design and trusting that it would produce a useful outcome was not easy but I now feel confident in knowing that I can use this as a form of design and that if you commit, outputs will come.

At many times through the semester I have felt genuinely challenged in grasping some of the concepts that have been put forward.

Wrapping my head around these and then applying them to the design process

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was difficult and time consuming yet the results showed the merit behind them.

The studio sessions have been incredibly useful in discussing and sharing new ideas and evaluating each others work to come to the best possible proposals.

Developing new skills in Grasshopper and 3D printing will be useful moving forward through my degree. Understanding the thinking behind parametricism and computational design means that I will be able to apply them to future projects.

Returning to the initial ideas of design futuring, I believe that my design and fabrication process corresponds with these ideas and was ultimately successful in meeting the design brief.

All I have learnt through Studio Air I will take forward and further develop to push what can be achieved through architecture.

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