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
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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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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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PrecedentTwo
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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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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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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Precedent Five
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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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. Noticably, 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 unkown, 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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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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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 represets 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 oportunity 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 Seousi 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 maintaing a high level of complexity. However, as it stands, the pavillion 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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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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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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Precedent One
Trial One
Trial Two
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