STUDIO AIR - The Design Journal

AIR JOURNAL

A B P L 3 0 0 4 8 T U T O R I A L 9

KATERINA K A R A D I M A S 6

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TABLE OF CONTENTS PART A A.1 DESIGN FUTURING A.2 DESIGN COMPUTATION A.3 COMPOSITION/GENERATION A.4 CONCLUSIONS A.5 LEARNING OUTCOMES A.6 APPENDIX REFERENCES

1 3 13 23 33 35 36 37

PART B B.1 RESEARCH FIELD B.2 CASE STUDY 1.0 B.3 CASE STUDY 2.0 B.4 TECHNIQUE: DEVELOPMENT B.5 TECHNIQUE: PROTOTYPES B.6 TECHNIQUE: PROPOSAL B.7 LEARNING OBJECTIVES + OUTCOMES B.8 ALGOITHMIC SKETCHES REFERENCES

41 42 47 53 59 61 63 67

PART C C.1 DESIGN CONCEPT C.2 TECTONIC ELEMENTS + PROTOTYPES C.3 FINAL DETAIL MODEL C.4 LEARNING OBJECTIVES + OUTCOMES REFERENCES

75 76

69 71

104 114 124 126

A.0 INTRODUCTION

I’m a dynamic kind of person, often seen leaping from building to building along Melbourne’s magnificent skyline.

I’ve been known to remodel train stations during breakfast, achieving a 41 green star rating first time, every time. I write award winning piano concertos, I am organised and possess superior time management skills. Occasionally, I venture into the West Siberian Plain with nothing but a clutch-pencil and a photograph of Hugh Laurie to test my resolve.

I cook thirty-minute cake mix in ten. Le Corbusier is my uncle twice removed (and yes, I know the resemblance is uncanny).

When bored, I simulate advanced particle physics in my backyard. I only eat breakfast food. On Tuesdays, after class, I restore World War II Spitfires.

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I discovered the meaning of life yesterday whilst entering a taxi (pictured), but forgot to make a note. I once read War and Peace twice in one day; first to appreciate Tolstoy’s writing prowess, second to spellcheck. Everyone makes mistakes. My proficiency in floral arrangement has earnt me worldwide recognition amongst the highest botany circles. I’m the rightful heir to the Nigerian throne. Dogs love me.

THINK ABOUT THAT, YOU CREATE SOMETHING OUT OF NOTHING. YOU’RE LIKE GOD. THERE IS NO ONE HOTTER THAN GOD. - BARNEY, ARCHITECT

HOW I MET YOUR MOTHER

I had a brief and passionate affair

reflects both the designer and

with biomedicine and arts, but

the

found them to be poor lovers.

the time. My aim is to create

After a year spent spearfishing in

architecture that evokes emotion

the lakes of Patagonia I returned to

and facilitates experience so I can

conquer the infamous architecture

play god over the little people.

degree

to

ensure

that

sociocultural

climate

of

the

Jeanneret family legacy lives on.

I’ve glimpsed a Rhinoceros once or twice in MSD but have yet to lay

To me, architectural design is an

eyes on the elusive Grasshopper.

art form. Like interpretive dance,

I invented Photoshop, I’ve played

but precisely one hundred times

Hamlet and all my bills are paid.

more

useful.

Each

structure

2

A.1 DESIGN FUTURING

“ON THE WHOLE HUMAN BEINGS WANT TO BE GOOD, BUT NOT TOO GOOD, AND NOT QUITE ALL THE TIME.” - GEORGE ORWELL

In our carefully constructed anthropocentric world we have revelled, taking from our earthly playground for centuries without thinking of what consequences there might be. We’ve turned a blind eye, disregarding the finite nature of our resources: we are degrading our potential, defuturing ourselves.1 Buckminster

“Bucky” Fuller – architect,

inventor, designer and visionary – was of the firm opinion that we are all in fact born geniuses, and that in the process of growing up, we are subjected to an unfortunate process of de-genius-ing by our parents and teachers.2 Curiosity is quelled, enthusiasm is stifled. Much power lies within a question formed by an inquisitive mind. Through the process of speculation, we may explore many possibilities and alternative scenarios with the hope of creating a more malleable reality. It is impossible to change the future but perhaps it is possible to increase desired probabilities to reach a favourable outcome.

1

3

2

Tony Fry, Design Futuring (Oxford: Berg, 2009), p. 1.

Jason F McLennan, The Philosophy Of Sustainable Design (Kansas City, Mo.: Ecotone, 2004), p. xv.

Dunne and Raby emphasise the key role that creative minds hold in these changing times – using the imagination to speculatively design, tackling the wicked problems of our age.3

“EVERYONE DESIGNS WHO DEVISES COURSES OF ACTION AIMED AT CHANGING EXISTING SITUATIONS INTO PREFERRED ONES.”4 Radical design thinking and risk taking ensure that our society does not stagnate but continues to develop in the best possible manner. This kind of thinking is by no

By redefining the design process and

means unique to designers, but is within all

that of the designer title, positive change

who seek to question and innovate – that’s

is possible within our societies. But by

each and every one of us in Bucky’s eyes.

asking questions, proposing the radical,

The design process is inherently human, it

embracing risk, sustainability is possible

reflects the societal mindset of the time and

within our world. Design professions are

manifests it. It is with good reason that Fry

not solely responsible for this change, but

argues for a better educated populous with

it should be the accepted responsibility of

a focus on design intelligence; ensuring that

all creatives to seek design solutions which

future generations are equipped with the

aim to solve problems at all scales, from

cognitive tools to make crucial judgements

the user to the global. You never know, you

and increase futuring potential.

might exceed expectations.

5

Anthony Dunne and Fiona Raby, Speculative Everything (Massachusetts: MIT Press, 2013), p. 1 Herbert A. Simon, "The Science Of Design: Creating The Artificial", Design Issues, 4 (1988), 67.

5 Fry, Design Futuring, p. 12.

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DYMAXION HOUSE DRAWING, 2013

DYMAXION HOUSE

BUCKMINSTER FULLER

“WE ARE CALLED TO BE ARCHITECTS OF THE FUTURE, NOT ITS VICTIMS.” - R. BUCKMINSTER FULLER

BUCKMINSTER AND THE DYMAXION, 2012

A

master

of

many

professions,

modifiable and practically maintenance

Buckminster “Bucky” Fuller became well

free housing solution based on a novel,

known through the years as a futurist,

round plan, customisable at the owner’s

fervently seeking innovative solutions to

whim. Taking advantage of new methods

the problems of humanity; a pioneer of

of mass production, Dymaxion House was

sustainable design and an advocate of

not the sole aluminium building patented

renewable energy. One of his life-long

at the time, yet it was the only one to make

interests was the use of technology to

use of the material to such an extent. And in

revolutionise the construction process

spite of the American Insitute of Architects

and thereby also improve housing. His

resolutely claiming to be “[established]

design, the Dymaxion House, was so

on record as inherently opposed to any

named by combining the words ‘dynamic’,

peas-in-a-pod-like reproducible designs,”

‘maxiumum’, and ‘tension’. Following 1927,

Fuller stood his ground and argued the

the term came to be synonymous with

case for standardisation and repetition

his “doing more with less”

philosophy,

in the search of optimising function.7

highlighting his understanding of the fast

His intention was to ship the house

progressing, global technological climate.

parts worldwide – as one might receive

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furniture from IKEA – flat packed and The

iconic

Dymaxion

House

design

ready for construction. Mass production

came to fruition through Fuller’s desire

methods lowered costs and allowed the

to improve our patterns of life; a cheap,

home to be leased and paid off as one

mass produced, naturally heated/cooled,

would a Cadillac.

“R. Buckminster Fuller, 1895 - 1983”, The Buckminster Fuller Institute, 2016 <https://bfi.org/about-fuller/ biography> [accessed 9 March 2016].

7 J Baldwin, Buckyworks: Buckminster Fuller’s Ideas For Today (John Wiley & Sons, 1997), p. 21.

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This was an unprecedented and revolutionary approach to both living and design. It took years however for Fuller to realise his project; the necessary materials were not readily available or affordable which led to an increase in material development and production costs.

“WHETHER THIS IS THE PROPER SOLUTION OR NOT, SOMETHING OF ITS KIND WILL BE DEVELOPED.”8 Although never built, the Dymaxion House is an excellent case of revolutionary thinking and

significant

innovation

in

prefabricated

construction and self-sufficiency. The end of World War II brought with it a lack of housing and an influx of aluminium; a few prototypes were in fact formed but the project was never fully realised.

DYMAXION HOUSE ELEVATION, 2015

8

7

Baldwin, Buckyworks, p. 24.

DYMAXION HOUSE PLAN, 2013

DYMAXION HOUSE, 2012

Regardless, the Dymaxion showcased

recently

emerged.

Ultimately

the

Fuller’s readiness to challenge social

Dymaxion House revealed that radically

norms and seek answers to questions

different construction and living options

others had not dared or even considered

are indeed possible, ones that defy the

to ask. This pioneering new take on

environmentally detrimental way we

housing carved a path for sustainable

have lived for centuries. We come full

design and continues to be influential

circle, back to humanities’ wandering

today: his design aspirations are strikingly

ways, yet still we remain wholly within

evident in the ‘tiny house movement’

the modern era - a new utopia.

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THE PLUG-IN CITY, 2015 V

THE PLUG-IN CITY

PETER COOK/ARCHIGRAM

“BUT LIFE IS JUST A PARTY, AND PARTIES WEREN’T MEANT TO LAST.” - PRINCE Between the years of 1960 and created Peter

design

rebels

countless Cook’s

Archigram

drawings

Plug-In

City.

for This

radical project evokes imaginings of fantastical city structures that defy mainstream urban logic. Bearing

PLUG-IN CITY TYPICAL SECTION, 2010

1974,

a greater likeness to a perpetually evolving and shifting megastructure drawn straight from science fiction, the design logically functions to incorporate living spaces, transport and other essential services; every by giant, integrated crane.

At its heart, Plug-In represents the frintge of the early 60s avant-garde.

Peter Cook/Archigram succeed in

SECTION UNDER CONSTRUCTION, 2010

component is – of course – moveable

concocting an unmistakeably unique sense of intoxicating chaos, unlike anything that came before. These

“FLIED IN THE FACE OF THE SUPERFICIAL

FORMALISM

AND

DULL SUBURBAN TENDENCIES COMMON

TO

BRITISH

MODERNISM OF THE TIME.”9 “AD Classics: The Plug-In City / Peter Cook, Archigram”, ArchDaily, 2013 <http://www.archdaily.com/399329/ ad-classics-the-plug-in-city-peter-cook-archigram> [accessed 15 March 2016].

PLUG-IN OFFICE STACKS AND HOUSING FOR CHARING CROSS ROAD, 2010

alternative urban scenarios:

9

10

In embracing this disorder,

and the graphic conclusions

In

architectural

boundaries

are incredibly evocative still

stagnant

were not tamed, but pushed;

to this day. Any form of built

discovers liberation from

design was provoked to

work would undoubtedly

the modernist suburbia in

misbehave

lessen the impact of these

the form of a futuristic yet

graphical musings: realising

nomadic program.

in

order

to

change life.10` And

so,

century-old

interrogates urban

life

our and

such eccentricity would do

suddenly definition

the of

what constitutes a city is thrown into the air, the archaic and static conception is interrogated and prodded, 10

11

city

Cook/Archigram no favours for it is the ambiguity that lends

the

design

such

the

Plug-

influence.

Ultimately,

Simon Sadler, Archigram: Architecture Without Architecture (Cambridge, Mass.: MIT Press, 2005), p. 14.

Design

is

speculated

terms

of

paradox

in and

unprecedented

conclusions

are

Archigram’s

found.

significant influence is evident in the intricate exoskeletons and exposed services of hightech architecture – such as that of the Centre Pompidou PLUG-IN CITY MAX PRESSURE AREA, 2010

(Paris) – which still hold great relevance today.11

EXPENDABLE PLACE PADS, 2010 11

Nathaniel Coleman, Utopias and Architecture (Abingdon [England]: Routledge, 2005), p. 81.

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A.2 DESIGN COMPUTATION

Soon after the last millennial shift,

Computer aided design began as a

the

Architectures

technologically advanced means of

Exhibition at the Centre Pompidou

representation, simply creating a

in Paris established a new path for

new kind of drawing board. It has

design; one that dichotomised the

since developed into a dynamic

standard, normative and repetitive

framework for conceptualisation,

theory of the past to create the

form generation and fabrication.

phenomenon now recognised as

Responding

digital design.12

our

Non-Standard

The conception

modern

to

the

society,

this

of new

of this creative antithesis moved

architectural

architecture

the

integrates contextual factors and

accepted practice of paper-based

materiality, rationalising this data to

materialisation. In shunning the

come to the most suitable solution

static nature of typological design,

to a design problem. Through such

a

technological

methods, technical and structural

formulation and production has

performance can be calculated to

emerged: dynamic and complexly

ensure the integrity of the form; plug-

interconnected, forming previously

ins such as Ladybug and Kangaroo

incomprehensible

facilitate this performance-oriented

away

continuum

of

from

links

between

science and art to forever alter

practice

needs

holistically

design.

architectural practice.13

Rivka Oxman, â&#x20AC;&#x153;Theory And Design In The First Digital Ageâ&#x20AC;?, Design Studies, 27 (2006), 232 <http://dx.doi. org/10.1016/j.destud.2005.11.002>.

13 Mitchell, W (2005) Constructing complexity, in Proceedings of the Tenth International Conference on Computer Aided Architectural Design Futures, Vienna, Austria pp 41-50 12

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“A COMPUTER ONCE BEAT ME AT CHESS, BUT IT WAS NO MATCH FOR ME AT KICK BOXING.” - EMO PHILIPS

The

conception

of

parametric

modelling facilitated novel creative outcomes,

developing

into

a

platform which allows the input of new, non-standard data types while also responding to modern industry needs; whether that means responding to a certain aesthetic or

forming

new

architectural

types to deal with the resource restrictions of our age. Parametric modelling has also empowered the designer to discover and generate new forms through its iterative inclination; and

upholding

accuracy

structural

while

integrity

efficiency ensuring

without

the

need for complex calculations and testing on the designers’ behalf.

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CLIFF HOUSE DETAIL RENDER, 2012

CLIFF HOUSE

KOKKUGIA/ROLAND SNOOKS + MITCHELL LAB

“AN EXPERIMENT IN COMPOSITE FIBER ARCHITECTURE OPERATING IN EXTREME CONDITIONS. . . “ CLIFF HOUSE PERSPECTIVE, 2012

- KOKKUGIA/ROLAND SNOOKS + MITCHELL LAB

The been

Cliff

has

emerges at the macro scale

through

from individual interactions

behavioural

at the micro scale. These

designed

agent-based

CLIFF HOUSE 3D MODEL, 2012

House

strategies;

combining

coordinated

behaviours

design intent with form,

generate both the structure

structure and material data

and ornament that shift

variables to create a kind of

throughout

order. Through parametric

with increasing intricacy.14

the

design

modelling, a complex order

This concept was tested against the proposed site – sheer cliff face – to study the ability of complex structural composite

fabrication

to

withstand

high winds and static loads. While Cliff House, for the most part, explores the use of composite material with a focus on ‘esoteric aesthetic, formal and tectonic intentions’, the potential for

structural

optimisation

through

design computation is highlighted.15 CLIFF HOUSE FROM ABOVE, 2012

“Cliff House”, Kokkugia, 2012 <http://www.kokkugia.com/cliff-house> [accessed 17 March 2016].

“Cliff House”, Suckerpunch Daily, 2016 <http://www.suckerpunchdaily.com/2014/02/19/cliffhouse/#more-35257> [accessed 16 March 2016].

14 15

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The translucent material serves to reveal the inner structural strands, which develop, morph and stretch towards the cliff face; these constructed limbs take hold in the rocky environment, supporting the structure whilst blurring the line between the built and the natural. It is unclear whether the cracks allowed the form to creep out, or whether they were created in the process of latching on. A strange sense of belonging is achieved: the foreign object exists in harmonious tension with its surrounds.

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This concept is somewhat biomimetic, yet it has not been

modelled

from

nature.

Rather,

algorithmic

rules are established and the structure has emerged, grown â&#x20AC;&#x201C; not too dissimilar from the rules that govern the growth of an embryo or a tree. Such a structure could not be conceived without digital and parametric without

the

input

of

the

designer.

CLIFF HOUSE PHYSICAL MODEL SEGMENT, 2012

nor

CLIFF HOUSE DETAIL RENDER, 2012

means,

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FABRICATED COLUMN CLOSEUP, 2010

SUBDIVIDED COLUMNS

A NEW ORDER MICHAEL HANSMEYER

“THE ARCHITECT ASSUMES THE ROLE OF THE ORCHESTRATOR OF THESE PROCESSES.” - MICAHAEL HANSMEYER

With this project, architectural process is examined through technology. A new column order is conceived and designed by abstracting a classical Doric

column

archetype)

(an

architectural

through

cumulative,

consistent subdivision. By tagging and distinguishing between components in the original column and varying SUBDIVIDED COLUMNS, 2010

the parametric process, the form is transmuted and imbued with new meaning whilst maintaining the old.16 This technologically derived process deviates from traditional methods to generate the form in all scales; both overall proportion/curves and small intricate formations, imbuing information

without

repetition.

ROOM OF COLUMNS, 2010

“Computational Architecture: Subdivided Columns”, Michael Hansmeyer, 2010 <http://www.michael-hansmeyer.com/projects/columns_info.html?screenSize=1&color=0> [accessed 15 March 2016].

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This process results in a series of cohesive

form variates arise, in parallel, and

designs, each unique, yet all continuous.

the designer cultivates them.17 Digital

The designs yielded juxtaposes the

design functions somewhat naturally

column complexity with the utter

through

simplicity of the generative process.

crossing and breeding to create form.

permutations,

generations,

The designer becomes the composer Herein emerges a new role for the

of a generative, algorithmic symphony.

architect through parametric design:

Michael Hansmeyer, “Transcript Of “Building Unimaginable Shapes””, Ted, 2012 <https://www.ted.com/ talks/michael_hansmeyer_building_unimaginable_shapes/transcript?language=en> [accessed 15 March 2016].

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COLUMN EXHIBITION, 2010

FOUR COLUMNS, 2010

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A.3 COMPOSITION/ GENERATION As

previously

discussed,

the

unreachable

by

even

the

most

integration of computation within

proficient of creatives. The iterative

the design process has opened

nature of this form of design allows

up a plethora of possibilities in

one to optimise a concept, regardless

architecture;

this

of how complex, simply by altering

advancement

has

technological facilitated

the

singular

algorithmic

formation of new complex geometries

Through

and allows us to explore information/

of the platform – be it Rhino,

data modelling in an entirely new way.

Grasshopper or other – all related

The implementation of algorithmic

parts of the form are instantaneously

modelling – and thinking – in the

adjusted too. Suddenly, the time

creative field has given rise to the

consuming and tedious procedure

practice of generative design:

of refining a complex assembly is

the

components.

interconnectedness

streamlined; days, weeks, months “…MODELLING

OF

CONDITIONS (ITS

OF

“GENETICS”)

AN

INITIAL OBJECT

INSTEAD

OF

MODELLING THE FINAL FORM.”18

become

seconds.

The

designer

may thus explore a vast array of options and iterations that were perhaps previously inconceivable or unattainable.

It soon becomes clear that these newfound

opportunities

are

Furthermore,

the

establishment

neither positive nor negative once

of generative design has allowed

implemented into the framework of

the

architectural practice.

mathematician.

architect

to

become

With

a

the base

understanding of what effect these The nature of generative design

discreet units of code will have on

speeds up the design process to

a digital form, one may bypass the

an unprecedented level, affective

tedious process of calculation to

at all stages; a level previously “What Is Generative Design?”, Generative Design, 2011 <https://generativedesign.wordpress. com/2011/01/29/what-is-generative-desing/> [accessed 16 March 2016].

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instead speculate on modification

of files and ideas; one may simply

options and design potentials. The

download

designer need not know how to

to

analyse NURBS; with this augmented

design. This exchange of intellectual

computational intellect they may

property blurs the lines of design

manipulate and problem solve to

concept ownership or authorship.

reach the desired form, safe in the

Furthermore, it is already evident that

knowledge that they are structurally

a recognisable curvilinear typology is

feasible.19

pervading the architectural world.

algorithmic

incorporate

into

definitions their

own

While eras of architectural style are It is important to note however

indeed differentiated by such visual

that these generative methods are

identifiers, one must take care to

in danger of falling into an isolated

avoid falling into the comfortable

niche in the world of design practice.

mainstream of prevalent design.

Hugh Whitehead (former head of Foster + Partners SMG) has noted

Generative design is a tool for creative

this pervasive long wolf mentality

exploration and development. It

amongst scripters. It is highly evident

must indeed be viewed thus to

that this new path for architecture

ensure that boundaries continue to

and design must be carved by the

be pushed and design innovation

design community at large to ensure

continues to bloom.

that computation in the field develops alongside traditional methods into an “integrated art form”, rather than falling into isolation.20 On the other hand, a wholly integrated and open approach may lead to some aesthetic and programmatic issues.

The

digital

domain

of

generative design is rife with both permitted and unpermitted sharing

“MAN IS A SLOW, SLOPPY, AND BRILLIANT THINKER; COMPUTERS ARE FAST, ACCURATE, AND STUPID.” - JOHN PFEIFFER

Brady Peters and Xavier De Kestelier, Computation Works: The Building Of Algorithmic Thought (Wiley, 2013), p. 10.

20 Peters, Computation Works, p. 15.

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24

SILK PAVILION, 2013

SILK PAVILION

MIT MEDIA LAB

“... THE FORMATION OF NON-WOVEN FIBER STRUCTURES... AS A COMPUTATIONAL SCHEMA...”

- MIT A poignant example of innovation through the use of generative design is the Silk Pavilion; an exemplary culmination of scientific research, digital design and biomimesis. Here, form is SILK PAVILION ON DISPLAY, 2013

found through computational strategies and is combined with biological fabrication. This project explores the application of generative methods within architectural practice (and product design).

The silk sphere consists of 26 polygonal panels

constructed

by

a

Computer-

Numerically Controlled (CNC) machine.

6,500 silkworms were released upon the primary structure, acting as biological printers, in order to reinforce the gaps between

the

human-constructed

silk

fibres to form a secondary mottled skin; however, the process depended wholly

SILKWORMS AT WORK, 2013

upon the use of computational form-finding and algorithmic modelling in the creation of initial structure of various density.21 Through this careful design process, the finished pavilion is representative of a midpoint

between

silkworm

cocoons

and functional space for human use.22 SILKWORM, 2013

“Silk Pavilion”, Massachusetts Institute of Technology, 2013 <http://matter.media.mit.edu/environments/details/silk-pavillion> [accessed 16 March 2016].

22 “Silk Pavilion / MIT Media Lab”, ArchDaily, 2013 <http://www.archdaily.com/384271/silk-pavilion-mit-medialab> [accessed 17 March 2016].

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The project, at its core, is a unique image

of the planned and the spontaneous, of

of generative design. Rigorous testing

digital order and natural disorder and

and research was undertaken into how

can be understood as a reaction by

silkworms interact with their surrounds;

MIT to the increasingly pervasive use

varying 3D spaces were investigated, with

of computational methods in design:

varying conditions, employing motion tracking technology to study the natural

“FORM

cocoon construction process.

MORPHOGENETIC,

23

This data

ultimately informed the computational

THE

design

TO

and

construction

processes,

BECOMES

FORMS

A

CHOSEN

INSTANTIATE

A PRIORI,

IN

ORDER

(INCARNER)

guiding the CNC machine in weaving

ARCHITECTURE

panels and also the density of thread used.

THE DEFINITION OF A STATE OF SINGULARITY

The Silk Pavilion explores the dichotomies

OF

ONLY IN

PERPETUAL

A

BEING

CONTINUUM EVOLUTION.”24

PRIMARY STRUCTURE, 2013

“Silk Pavilion / MIT Media Lab”, ArchDaily, 2013 <http://www.archdaily.com/384271/silk-pavilion-mit-medialab> [accessed 17 March 2016].

24 Andrew Benjamin, Writing Art And Architecture (Melbourne: re.press, 2016), p. 80.

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SILKWORM SPACE INTERACTION EXPERIMENT, 2013

It becomes clear that while generative design is indeed ingrained

in

the

modern

day and here to stay, it is by no means impossible to draw from methods of old in the search for innovation.

PAVILION SCHEMATICS, 2013

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HEYDAR ALIYEV CENTER INTERIOR , 2013

HEYDAR ALIYEV CENTER

ZAHA HADID ARCHITECTS

WE’RE THE ONES WHO PUSH THE BUTTONS, WE’RE THE ONES WHO PROVIDE THE DATA, WE’RE THE ONES WHO ACTUALLY DRIVE IT. - SAFFET KAYA BEKIROGLU OF ZAHA HADID ARCHITECTS

Zaha

Hadid’s

Haydar

Aliyev

Center in Azerbaijan, is upon observation clearly an example of computational design; yet the creative process underpinning its inception indicates that it is a wholly generative form.

HEYDAR ALIYEV CENTER, 2013

The

rhythmically

architectural a

fluid

undulating

landscape

relationship

establishes

between

the

built object and the urban landscape however this link is not simply visual.

Computational methods incorporate historical Islamic ideas of continuous patterning and calligraphy into the flowing form. Furthermore, quantitative site data was extracted from the original topography – a sheer drop splitting the site – to digitally design and optimise a HEYDAR ALIYEV CENTER INTERIOR 2, 2013

new and precisely terraced landscape.25

“Heydar Aliyev Centre - Information”, Zaha Hadid Architects, 2013 <http://www.zaha-hadid.com/architecture/heydar-aliyev-centre/> [accessed 18 March 2016].

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The

design

process

consisted

of

generative methods used in conjunction with the traditional mode of sketching and physically modelling. Computation was employed for ultra-precise numerical control in the development of the rational and efficient skin structure, thereby reducing any unknowns.26 In an interview with Dezeen, Zaha Hadid Architects made

“SOMETIMES I BELIEVE THAT THERE'S A CERTAIN RELATIONSHIP BETWEEN THE EYE AND THE HAND THAT IS IMPROVISED; THERE IS ENERGY THAT SKETCHES HAVE. IT'S NOT LIKE WE'RE RESTRICTING OURSELVES TO ONLY THE COMPUTER... IT'S MORE ABOUT THE THOUGHT AND INTENTION THAN THE TOOL FOR US.”27

it clear that their computational approach in creating the Heydar Aliyev Centre by no means overshadowed analog methods:

HEYDAR ALIYEV CENTER SITE PLAN AND SECTION, 2013

“Heydar Aliyev Centre - Information”, Zaha Hadid, 2013 “Heydar Aliyev Center”, Dezeen, 2014 <http://www.dezeen.com/2014/07/01/designs-of-the-year-2014-zahahadid-saffet-kaya-bekiroglu-interview-heydar-aliyev/> [accessed 17 March 2016].

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27

HEYDAR ALIYEV CENTER INTERIOR CURVE, 2013

There is of course, always a risk of

HEYDAR ALIYEV CENTER DRAWING, 2013

generating an indistinguishable architecture through the use of data drawn from site or from other contextual factors, such as population etc. However, Zaha Hadid did not solely depend upon computation and thereby created a parametric form that is utterly integrated with traditional architectural process.

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A.4 CONCLUSIONS

Through the explorations entailed in Part

Building upon this digital framework,

A, it becomes clear that design is a key

the discussion of generative design

agent in the positive future progression

raised a number of considerations in

of

respect to computation in the field.

our

global

professionals

community.

hold great

Creative

sway

over

Questions of creative control and idea

innovative development in the coming

ownership dominate this concept; is

days; this must be undertaken through a

such a parametric design really the

multidisciplinary approach, with a focus

work of the architect or is it simply the

on holistic design methods and context

result of a sophisticated program? It

from inception to completion.

becomes clear that the way generation is incorporated into the design process as a

The development of computational design

whole is the key factor in answering this

has allowed us to achieve previously

question. Nevertheless, this algorithmic

inconceivable

optimise

method of creating has, without a doubt,

them through the use of data analysis

streamlined method and allowed for

techniques. These forms are optimised

astonishingly rapid concept exploration

and their performance is tested to

and refinement; a pivotal change in

ensure structural integrity, useability and

architectural practice.

forms

and

efficiency. A new frontier of architecture has been reached, one that significantly decreases risk of performance failure.

We now design with an unprecedented likelihood of success.

33

Through

of

The integration of compositional

Grasshopper, I intend to explore

and parametric methods will allow

natural

me

â&#x20AC;&#x201C;

the systems

notions

of

platform and

processes

movement

to

simultaneously

optimise

and

form and function within my design.

productivity â&#x20AC;&#x201C; and optimise them to

For the users, this will result in

create a design that provokes and/or

maximised useability, comfort and

influences positive office function.

aesthetics to facilitate a positive work

The use of parametric modelling will

environment. Furthermore, efficient

ensure the integrity of the final form,

material use and constructability

however, my approach will not focus

will be ensured.

solely on digital methods. I believe it is key to explore and integrate a host of creative mediums in order to reach an effective final form; in this way, it is possible to avoid reproducing a preceding design and results singular and unique concept.

THE PROPER STUDY OF MANKIND IS THE SCIENCE OF DESIGN. - HERBERT SIMON

34

A.5 LEARNING OUTCOMES

Initially,

I

found

algorithmically

in

thinking

appeared from one another, whilst

design

being fairly identical at their core.

the

process a challenge. I noticed a significant change in the way I

Knowledge of such algorithmic

considered form and its inherent

methods

potential.

ideas

aided me in past design projects.

were bounded by an entirely

In Designing Environments and

new domain; understanding the

Studio

way

Grasshopper

definitions

implementation of contextually

work

and

separate

derived formulas and ratios and

Suddenly

how

components highlighted for

my

the

interrelate new

design

would

Earth,

I

have

greatly

explored

the

has

worked hard to optimise my

possibilities

form through sketch modelling

development.

â&#x20AC;&#x201C;

a

tedious

process

which

resulted in a final design that was

35

Once I was able to grasp these

representative of these ideas but

concepts

I

was

not necessarily the ideal. The use

surprised

at

my

pleasantly ability

to

of computational methods would

overcome initial challenges to

have undoubtedly have allowed me

create a multitude of iterations.

to explore my concept in greater

What struck me most was how

depth to ultimately reach a more

vastly different these iterations

efficient and unique outcome.

A.6 APPENDIX

36

REFERENCES BIBLIOGRAPHY

"AD Classics: The Plug-In City / Peter Cook, Archigram", ArchDaily, 2013 <http:// www.archdaily.com/399329/ad-classicsthe-plug-in-city-peter-cook-archigram> [accessed 15 March 2016] "Cliff House", Kokkugia, 2012 <http://www. kokkugia.com/cliff-house> [accessed 17 March 2016] “Cliff House”, Suckerpunch Daily, 2016 <http://www.suckerpunchdaily. com/2014/02/19/cliffhouse/#more-35257> [accessed 16 March 2016] “Computational Architecture: Subdivided Columns”, Michael Hansmeyer, 2010 <http://www.michael-hansmeyer. com/projects/columns_info. html?screenSize=1&color=0> [accessed 15 March 2016] Hansmeyer, Michael, “Transcript Of “Building Unimaginable Shapes””, Ted, 2012 <https://www.ted.com/talks/michael_ hansmeyer_building_unimaginable_ shapes/transcript?language=en> [accessed 15 March 2016] "Heydar Aliyev Center", Dezeen, 2014 <http://www.dezeen.com/2014/07/01/ designs-of-the-year-2014-zaha-hadidsaffet-kaya-bekiroglu-interview-heydaraliyev/> [accessed 17 March 2016] "Heydar Aliyev Centre - Information", Zaha Hadid Architects, 2013 <http://www.zahahadid.com/architecture/heydar-aliyevcentre/> [accessed 18 March 2016] "R. Buckminster Fuller, 1895 - 1983", The Buckminster Fuller Institute, 2016 <https:// bfi.org/about-fuller/biography> [accessed 9 March 2016]

37

"Silk Pavilion / MIT Media Lab", ArchDaily, 2013 <http://www.archdaily.com/384271/

silk-pavilion-mit-media-lab> [accessed 17 March 2016] "Silk Pavilion", Massachusetts Institute of Technology, 2013 <http://matter.media.mit. edu/environments/details/silk-pavillion> [accessed 16 March 2016] "Subdivided Columns", Michael Hansmeyer, 2010 <http://www.michaelhansmeyer.com/projects/columns_info. html?screenSize=1&color=0> [accessed 15 March 2016] "What Is Generative Design ?", Generative Design, 2011 <https://generativedesign. wordpress.com/2011/01/29/what-isgenerative-desing/> [accessed 16 March 2016] Baldwin, J, Buckyworks: Buckminster Fuller's Ideas For Today (John Wiley & Sons, 1997), pp. 18-24 Benjamin, Andrew, Writing Art And Architecture (Melbourne: re.press, 2016), p. 80 Coleman, Nathaniel, Utopias And Architecture (Abingdon [England]: Routledge, 2005) Dunne, Anthony, and Fiona Raby, Speculative Everything (Massachusetts: MIT Press, 2013) Fry, Tony, Design Futuring (Oxford: Berg, 2009) McLennan, Jason F, The Philosophy Of Sustainable Design (Kansas City, Mo.: Ecotone, 2004) Oxman, Rivka, "Theory And Design In The First Digital Age", Design Studies, 27 (2006), 229-265 <http://dx.doi.org/10.1016/j. destud.2005.11.002>

REFERENCES IMAGES

Buckminster and The Dymaxion, 2012 <https://placesjournal.org/assets/lega cy/media/images/massey-dymaxion_525. jpg> [accessed 9 March 2016] Cliff House 3D Model, 2012 <http://3.bp.blogspot.com/PMyiPETAWS8/UjaMf1lRP7I/ AAAAAAAAIxc/TvKFakhgUF4/s1600/iso_ Final.jpg> [accessed 17 March 2016] Cliff House Detail Render, 2012 <http://4.bp.blogspot.com/-J8z_5xL6lAI/ UjaMDltXXBI/AAAAAAAAIw8/ S5BFTmWRelQ/s1600/_f06_Final.jpg> [accessed 17 March 2016] Cliff House From Above, 2012 <http://2.bp.blogspot.com/pOvQzMtxljg/UjaMIGznX2I/ AAAAAAAAIxE/6GSPl0vLXSA/s1600/_ n02a.jpg> [accessed 17 March 2016] Cliff House Perspective, 2012 <http://1.bp.blogspot.com/tkwAwBNUlFc/UjaL131DeVI/ AAAAAAAAIwk/Vn_tcKRPxEQ/s1600/_f01_ Final.jpg> [accessed 17 March 2016] Column Exhibition, 2010 <http://www.michael-hansmeyer.com/ images/columns/gwangju_design_ biennale14.jpg> [accessed 15 March 2016].

Cover Art, 2014 <http://api.ning.com/files/dnCWvahr*Cq 9PvYw9fRTT5uaQiJlDl3nzI8f0UL*AoTw-h5 O*0IFU3wr1LElrOoAuNPxdOZE0KFKJ5mf 3sK1zdTuxqsTayyF/tutesa.jpg> [accessed 17 March 2016] Dymaxion House, 2012 <https://mfareview.files.wordpress.

com/2011/12/fuller2-dymaxion.jpg> [accessed 9 March 2016] Dymaxion House Drawing, 2013 <https://alastairgordonwalltowall.files. wordpress.com/2014/04/dymaxion-4plans.jpg> [accessed 9 March 2016] Dymaxion House Elevation, 2015 <http://afflictor.com/wp-content/ uploads/2015/03/dymaxion-house.jpg> [accessed 9 March 2016] Dymaxion House Plan, 2013 <http://images.adsttc.com/ media/images/51df/2d1b/ e8e4/4e68/7300/0034/large_jpg/ dymaxion_house2.jpg?1417704300> [accessed 9 March 2016] Dymaxion House Section, 2013 <http://images.adsttc.com/ media/images/51df/2d19/ e8e4/4e68/7300/0033/large_jpg/ dymaxion_house1.jpg?1417704297> [accessed 9 March 2016] Expendable Place Pads, 2010 <http://images.adsttc.com/ media/images/51d7/1c2b/ e8e4/4ed5/3800/0024/large_jpg/201_ medium.jpg?1373051945> [accessed 10 March 2016] Fabricated Column Closeup, 2010 <http://www.michael-hansmeyer.com/ images/columns/fabricated_columns7. jpg> [accessed 15 March 2016] Four Columns, 2010 <http://www.michael-hansmeyer. com/images/columns/columns1.jpg> [accessed 15 March 2016]

38

Heydar Aliyev Cente Auditorium, 2013 <http://images.adsttc.com/media/ images/5285/20aa/e8e4/4e22/2500/0148/ large_jpg/HAC_photo_by_Helene_Binet_08. jpg?1384456244> [accessed 17 March 2016] Heydar Aliyev Center, 2013 <http://images.adsttc.com/media/ images/5285/1f2b/e8e4/4e52/4b00/01ab/ large_jpg/HAC_photo_by_Iwan_Baan_(2). jpg?1384455904> [accessed 17 March 2016] Heydar Aliyev Center Drawing, 2013 <https://s-media-cache-ak0.pinimg. com/736x/7a/f3/6b/7af36ba74665e8b362328 cb811cf1352.jpg> [accessed 17 March 2016] Heydar Aliyev Center Interior, 2013 <http://images.adsttc.com/media/ images/5285/24b4/e8e4/4e52/4b00/01b7/ large_jpg/HAC_Interior_photo_by_Hufton_ Crow_(1).jpg?1384457341> [accessed 17 March 2016] Heydar Aliyev Center Interior 2, 2013 <http://images.adsttc.com/media/ images/5285/21cf/e8e4/4e52/4b00/01b0/ large_jpg/HAC_photo_by_Helene_Binet_10. jpg?1384456501> [accessed 17 March 2016] Heydar Aliyev Center Interior Curve, 2013 <http://images.adsttc.com/media/ images/5285/2393/e8e4/4e52/4b00/01b4/ large_jpg/HAC_Interior_photo_by_ Hufton_Crow_(2).jpg?1384457032> [accessed 17 March 2016] Heydar Aliyev Center Site Plan And Section, 2013 <http://images.adsttc.com/media/ images/5285/282a/e8e4/4e22/2500/015a/ large_jpg/01_Site_Plan_and_Section. jpg?1384458261> [accessed 17 March 2016] Pavilion Construction, 2013 <http://images.adsttc.com/media/ images/51b0/f8b6/b3fc/4bbb/7a00/0252/ large_jpg/Markus_Kayser.jpg?1370552500> [accessed 17 March 2016]

39

Plug-In City Max Pressure Area, 2010 <http://archigram.westminster.ac.uk/img/ prj_thumbs/736_medium.jpg> [accessed 10 March 2016] Plug-In City Typical Section, 2010 <http://archigram.westminster.ac.uk/img/ prj_thumbs/726_medium.jpg> [accessed 10 March 2016] Plug-In Office Stacks And Housing For Charing Cross Road, 2010 <http://archigram.westminster.ac.uk/img/ prj_thumbs/749_medium.jpg> [accessed 10 March 2016] Room Of Columns, 2010 <http://www.michael-hansmeyer.com/ images/columns/columns6.jpg> [accessed 15 March 2016] Schematics For Human Constructed Portion, 2013 <http://images.adsttc.com/media/ images/51b0/f8b6/b3fc/4b22/5b00/0238/ large_jpg/Jorge_Duro-Royo_1. jpg?1370552499> [accessed 17 March 2016] Section Under Construction, 2010 <http://archigram.westminster.ac.uk/img/ prj_thumbs/747_medium.jpg> [accessed 10 March 2016] Silk Pavilion, 2013 <http://matter.media.mit.edu/assets/images/ made/assets/projects/CNSilk-01_1200_798. jpg> [accessed 17 March 2016] Silk Pavilion On Display, 2013 <http://www.3ders.org/images/mit-silkwormbio-3d-printer-5.jpg> [accessed 17 March 2016] Silk Worm, 2013 <http://images.adsttc.com/media/ images/51b0/f8c9/b3fc/4bf3/fc00/0209/ large_jpg/open-uri20130606-30444-377idi. jpg?1370552519> [accessed 17 March 2016]

Silkwork Space Interaction Experiment, 2013 <http://images.adsttc.com/media/ images/51b0/f8ae/b3fc/4b22/5b00/0237/ large_jpg/Carlos_David_Gonzalez_Uribe_2. jpg?1370552491> [accessed 17 March 2016] Silkworms At Work, 2013 <http://images.adsttc.com/media/ images/51b0/f8a9/b3fc/4bbb/7a00/0251/ large_jpg/Steven_Keating_3. jpg?1370552486> [accessed 17 March 2016] The Plug-In City, 2015 <http://megaestructuras.tumblr.com/ image/128198848209> [accessed 10 March 2016]

40

CRITERIA DESIGN

PART B

ERNST HAECKEL’S ‘FORMS IN NATURE’, 1904

B.1 RESEARCH FIELD BIOMIMICRY Looking

to

nature

for

design

simplistic level of organic imitation,

inspiration is by no means a new

instead focusing on the systems and

concept; from the ancient Greeks’

logic that underpin these naturally

floral corinthian columns, to the

derived forms. By studying the

scrolling, interlacing foliage of the

formation and functioning of these

Islamic arabesque, and on, to the

responses to ecosystem pressures

organic motifs that defined the Art

- evolutionary design problems if

Deco and Art Nouveau movements.

1

you will - then we can apply these

Our earthly realm has never ceased

same solutions to the architectural

to feed our creative endeavours.

design problems we face in the built environment. Herein lies the

The emergence of biomimicry takes

innovation.

this notion one step further. We are shifting from our mode of extracting from the environment (as initiated by the Industrial Revolution) to one of learning from it.2 What separates the biomimetic architecture of today from it’s forebearers is that it goes past the

“NOTHING IS ART IF IT DOES NOT COME FROM NATURE.” - ANTONI GAUDI Alois Riegl and David Castriota, Problems Of Style: Foundations For A History Of Ornament (Princeton, N.J.: Princeton University Press, 1992), p. 270.

2 Janine M Benyus, Biomimicry (New York: Morrow, 1997), p. 2.

1

42

La

Sagrada

Familia

cathedral

(pictured right) designed by Antoni Gaudi (1882) is a prime example of early biomimetic architecture; by branching columns into a tree-like canopy Gaudi was able to solve the problem of supporting his vaulted structure.3 These columns serve as more than mere ornament unlike unlike their greco-roman precedents.

Hygroscope

by

Achim

Menges

(2012) (pictured top) and Fallen Star

by AA DLAB (2012) (pictured bottom) both

represent

contemporary

biomimetic understanding.

43

3

George R. Collins, â&#x20AC;&#x153;Antonio Gaudi: Structure And Formâ&#x20AC;?, Perspecta, 8 (1963), 63.

HYGROSCOPE - ACHIM MENGES, 2015

FALLEN STAR - AA DLAB, 2012

LA SAGRADA FAMILIA CEILING - GAUDI, 2012

44

“WE MUST ADMIT THAT THERE IS SOMETHING IN THE ORDER OF BEING WHICH EVIDENTLY EXCEEDS ALL OUR COMPETENCE..”

- VACLAV HAVEL

This concept of biomimicry within the architectural realm is defined by three levels of application:

This encapsulates a more complex understanding

of

biomimicry

and

[1] THE ORGANISM LEVEL

allows for the design of buildings

The architecture mimics the physicality

that

and/or the form of the natural system.

environment.

This stream is often insufficient as it

[3] THE ECOSYSTEM LEVEL

does not take the wider ecosystem

The architecture draws from the

context into account and thus may not

functioning and interrelations of the

function efficiently when translated

ecosystem as a whole.

work

with

their

immediate

into the built environment.

This most complex level is often

45

[2] THE BEHAVIOUR LEVEL

difficult to achieve within a single

The architecture adopts the way the

building. It is best adapted to urban

natural form functions or belongs

design or within large-scale structures

within its wider context.

with many elements.4

4

Luisa Calabrese, The Architecture Annual (Rotterdam: 010 Publishers, 2009), p. 54.

I WAS DRAWN TO BIOMIMICRY AS MY RESEARCH FIELD AS I STRONGLY BELIEVE THAT WE, AS MEMBERS OF THE EARTH’S ECOSYSTEM,

SHOULD

LEARN

FROM

THE NATURAL FORMS AND PROCESSES AROUND US THAT TOOK AEONS TO DEVELOP. FURTHERMORE, EMPLOYING BIOMIMICRY

IN

DESIGN

EMBEDS

MEANING AND LOGIC INTO THE FORM; A PRINCIPLE THAT I’VE ALWAYS CONSIDERED HIGHLY SIGNIFICANT. ARCHITECTURE IS MEANINGFUL AT ITS CORE.

46

THE MORNING LINE , 2011

THE MORNING LINE

ARANDA LASCH

B.2 CASE STUDY 1.0 The Morning Line is an innovative project, dubbed a so-called “anti-pavilion”. It is both a ruin and a monument, existing within a cycle of deconstruction and reconfiguration accross various countries and landscapes.5 THE MORNING LINE RENDERING, 2009

THE MORNING LINE ISTANBUL, 2011

The

base

geometry

-

a

truncated

while also representing growth systems

icosahedron - is derived from fractal

that define our universe. In this way,

subdivision of a tetrahedron. These initial

the cellular form exists in space and

forms at various scales are then mirrored

simultaneously defines it.

onto the their faces to create an aggregate growth structure. This logic is drawn from

Through

the

investigation

of

the

various fields including mathematics,

underlying growth system of this design,

cosmology and sonic theory.

it is hoped that the findings may guide my design in terms of meaningful

The design was conceived as a platform

development and orientation of an initial

for

form.

music

first

and

foremost.

It’s

everchanging form mimics that of sound

”The Morning Line”, E-flux, 2008 <http://www.e-flux.com/announcements/the-morning-line/> [accessed 9 April 2016].

5

48

B.2 CASE STUDY 1.0 ITERATIONS

PLAN

PERSPECTIVE

RESEARCH PAVILION 2013-14

ICD/ITKE

ICD/ITKE RESEARCH PAVILION 2013-14 DETAIL, 2014

B.3 CASE STUDY 2.0 Research Pavilion 2013-14 is an exemplary biomimetic

structure.

Conceived

by

a

multidisciplinary team of architects, engineers, biologists and paleontologists; the form arose through research into natural fibre composite shells using novel robotic fabrication methods.6

GROUND BEETLE AND ITS INTERNAL ELYTRON ARCHITECURE, 2014

ICD/ITKE RESEARCH PAVILION 2013-14, 2014

The aim of the project was to use the logic derived from natural systems to develop a polymer winding technique which minimised formwork

whilst

facilitating

significant

geometric freedom.

Through

the

analysis

of

the

functional

principals governing lightweight structures in

3D MODELS OF BEETLE ELYTRA, 2014

beetle species, the team was able to develop a custom fabrication method (see right for individual module form) in conjunction with evolutionary, ecological and paleobiological university

specialists.

construction

process

This

novel

allowed

robotic for

the

translation of these biological principles into the modular pavilion design.7 â&#x20AC;?ICD/ITKE Research Pavilion 2013-14â&#x20AC;?, Universitat Stuttgart, 2014 <http://icd.uni-stuttgart.de/?p=11187> [accessed 13 April 2016].

7 Ibid.

FIBRE LAYOUT FOR ONE COMPONENT, 2014

6

54

Through

extensive

investigation

pavilion

form.8

Fiber

reinforced

and imaging of beetle elytra (see

polymers are experimented with in

previous page) the team was able to

creating the complex geometries and

solve the design problem of creating

organisations; this fabrication method

an incredibly strong yet lightweight

is utilised alongside the researched

structure.

logic to generate this performative

The

differentiated

trabeculae morphology of the beetle

structural morphology.9

shell is utilised as the logic system which governs the double skin, modular

Marco Rinaldi, “Research Pavilion 2013-14 By ICD-ITKE”, A As Architecture, 2014 <http://aasarchitecture. com/2014/07/research-pavilion-2013-14-icd-itke.html> [accessed 13 April 2016].

9 Moritz Doerstelmann and others, “ICD/ITKE Research Pavilion 2013-14: Modular Coreless Filament Winding Based On Beetle Elytra”, Archit. Design, 85 (2015), 58 <http://dx.doi.org/10.1002/ad.1954>.

8

55

ICD/ITKE PAVILION 2013-14 INTERIOR PANORAMA, 2014

The 2013-14 Research Pavilion has

natural systems in expanding tectonic

given rise to new fabrication and

possibilities.10

construction methods and effectively uses biomimetic strategies to create

This design has been chosen as a case

unique spacial qualities. This design

study for this reason, with the aim

holds

within

of understanding how to translate

architectural and design practice;

natural logic into an architectural

highlighting

much

research

10

significance the

and

importance

of

form without simply mimicing the

comprehension

of

aesthetics of the source.

Rinaldi, â&#x20AC;&#x153;Research Pavilion 2013-14â&#x20AC;?, 2014

56

B.3 CASE STUDY 2.0 REVERSE ENGINEER

[2]

[3]

PLAN

PERSPECTIVE

[1]

Approximate pavilion geometry in Rhino

57

Create a network surface

Voronoi 3D to create cells, BBX to select cells which intersect with surface (this ensures the geometry is mapped accross the entire doubly curved surface

Corne and o the

[4]

er points found offset to create e double skin

[5]

Both layers divided, bottom layer list shifted and lines connected between the lists

[6]

Process repeated for second level of wire density/aperture size

[7]

Repeated again to create the final wire level

58

B.3 CASE STUDY 2.0 FINAL OUTCOME

The reverse engineering of this pavilion certainly challenged my algorithmic thinking. In approaching this task I found it most useful to assume a bottom up approach; firstly deconstructing the logic of a singular panel and then applying that to the surface form of the pavilion itself.

In order to decode this process, I began with a hexagonal grid projected to a predominantly flat, yet subtly curved surface. Through this I was able to make sense of the layered wire geometry with three levels of decreasing density and apperture size.

Once that portion of the algorithm was refined, I went backwards to create the overall morpholoy upon which to project the wire panels.

The

doubly

curved

surface

created

some

difficulties, distorting the individual cells too much to adequately view the inner wires. It became clear that the hexagonal grid was not the correct method of surface subdivision. The more organic voronoi arrangement was then selected; the use of the Voronoi 3D component solved the lingering problem of cell distortion by selecting the cell lines which intersected with the pavilion surface rather than attempting to map a 2D pattern upon it.

59

OVERALL, it was interesting to discover the interplay between the biomimeticly derived form and the subsequent surface division and patterning. Patterning itself may even be considered a biomimetic process as it follows a system of rules; in this case, that was the process of subdivision and reconstruction.

PLAN

PERSPECTIVE

60

B.4 TECHNIQUE DEVELOPMENT

SELECTION

CRITERIA

61

ORGANIC AESTHETIC

Does the iteration recall biological syste up whilst retaining a sense of the archite

FABRICATION CAPACITY

Is the iteration translatable and buildab veneer or similar?

ems in its make ectural?

CONTEXT ADAPTATION

Can the iteration be adapted to function as a ceiling installation?

ble using timber

SERVICES INTEGRATION

Is it possible to effectively integrate a lighting system and acoustic treatment into the form?

62

B.4 TECHNIQUE DEVELOPMENT SUCCESSFUL OUTCOMES ORGANIC AESTHETIC

ORGANIC AESTHETIC

FABRICATION CAPACITY

FABRICATION CAPACITY

CONTEXT ADAPTATION

CONTEXT ADAPTATION

SERVICES INTEGRATION

SERVICES INTEGRATION

This form recalls natural

by the transperancy.

structures in itâ&#x20AC;&#x2122;s cellular

system

makeup yet the fan-like

extrapolated

elements coupled with the

ceiling space. Lights may

teardrop openings take the

be installed through the

form

openings

would

further. be

Fabrication

modular

to

while

easily cover

be a

acoustic

but

elements could be more

jointing could be difficult.

challenging to integrate if

Also, the opacity of timber

the transparency is lost.

veneer would take away from 63

could

The

the

effect

created

This iteration is most successful regarding organic aesthetics; the random growth of the original form recalls the subdivision of cells or the patterning of tree branches yet

overall

looks

distinctly

architectural. Fabrication would be very difficult however due to the central nodes from which the wires stem. In order to be possible the radiating section would have to

ITERATIONS WERE SELECTED UPON THEIR VISUAL EFFECT AND THEN TESTED AGAINST THE SELECTION CRITERIA IN ORDER TO FIND A FORM WHICH IS EVOCATIVE YET ALSO HOLDS MERIT.

C

ORGANIC AESTHETIC

Y

FABRICATION CAPACITY

N

CONTEXT ADAPTATION

N

SERVICES INTEGRATION

be panelised but the overall effect would be lost with timber veneer.

The form is quite voluminous and would have to be ‘flattened’ in a way to suit a ceiling as to not intrude too far into the usable room space.

The dense, opaque regions could easily facilitate acoustic treatment while lights would need to be strategically placed to avoid casting shadows due to fanned members.

Again cellular in its make up,

wires.

Modules

this iteration recalls natural

would be simple to adapt

systems found in micro and

into a suspended ceiling and

macro scales (e.g. cells or

lights could be installed in the

lillypads). In a design sense

centres or the gaps between

however, the form is not

components.

aesthetically

innovative.

however it would not be

The components could not

possible to include integration

be fabricated solely out of

into

timber but would be possible

form.

a

largely

like

these

Acoustically

transparent

if integrated with strings or 64

B.5 TECHNIQUE PROTOTYPES

No. 1 Our

first

prototype

to

acheive

varied

effects.

considered the performance

direction of the grain is crucial

of timber veneer regarding

The form organically flows

strips

and

of

my

(the

research

team

field

members).

evident that considering the

invokes

undulating

ideas

natural

when deforming the wood.

of

forms.

We believe that by designing strips

65

unroll

for

When twisted and bent, the

Unfortunately,

a

arrangement upon a doubly

laser cut strips created an

certain level of bending was

curved surface the overall

interesting surface of curves.

performed the timber veneer

geometry

The simple arrangement of

snapped at points where the

better under these stresses.

regular lines may lead into

strips reached their maximum

more complex strip patterning

tension

load.

once

which

It

became

would

perform

No. 2 Here we explored a slit jointing system but

glue to fix them within the slit; a rudimentary

found that the rigid circle form and the slits

technique which should not be implemented

themselves did not facilitate the soft curves of

on a large and complex scale. Further

the design. Furthermore, the strips required

explorations are needed here.

In order to test our form without the limitation of the veneerâ&#x20AC;&#x2122;s

It is clear that the timber

tendency to crack we laser cut

veneer is unable to perform

the same regular strip pattern

when the strip members reach

onto a sheet of polypropaline.

this same level of bending.

An alternative material weâ&#x20AC;&#x2122;ve

We found that this increased

researched is called PLI-Flex

level

veneer; a laminated veneer

of

material

flexibility

facilitated the generation of an

with

a

cross-grain

backer

appealing fluid form, bearing

possesses increased stability

a high resemblance to the

and flexibility. We postulate that

aesthetic we had set out to

this material will be much more

achieve. The organic curves

suitable for our double curved

essentially support their shape

design and endeavour to test

if the edge connections (rings)

this in future prototyping.

retain their distance from one

No. 3

another.

66

FLOWING TREE DETAIL, 2009

CHANGE +

FLOW OF IDEAS AND CREATIVITY

B.6 DESIGN PROPOSAL “THE DESIGNS WE SEE IN NATURE ARE NOT THE RESULT OF CHANCE. THEY RISE NATURALLY, SPONTANEOUSLY, BECAUSE THEY ENHANCE ACCESS TO FLOW…” - ADRIAN BEJAN

All

natural

systems

have

considered

biomimicry.

As

evolved and function in a

such, our design explores the

manner that facilitates ideal

physical expression of the flow

flow. The way birds fly in

of ideas and creativity present

In this way, we aim to design

groups, the way rivers and

within the architectural office

a ceiling installation which is

trees fork, the way people

site.

derived from its context while

move within a crowd: all these

being evocative in its aesthetic;

occurences subscribe to this

Strips and folding is the

such a form will have a strong

concept.

perfect medium with which to

sense

present this while biomimetic

shall inspire creativity in the

My group members focused

theory provides the base

users of the space through

on the research field of strips

logic that determines the

its intricate and undulating

and folding whilst I have

underlying design system.

treatment.

of

belonging

and

68

69

70

GRID SPREADING

GRID PINCHING

71

Parametric grid spreading was explored

we attempted a similar technique of grid

initially. While the forms derived do convey

pinching which allowed us to produce

our design intention, we found that it was

tube-like members which better flow and

difficult to progress the form past the

integrate with one another to create a

rigidity it naturally possessed from the

cohesive ceiling structure.

algorithm we created. To combat this,

71

B.7 LEARNING OUTCOMES + OBJECTIVES

OBJECTIVE 1 Digital design wholly lends itself to â&#x20AC;&#x2DC;optioneeringâ&#x20AC;&#x2122;. Through completing the Part B tasks it has become quite clear that, in the current age, both the creation and the response to a brief lie within a realm of almost infinite possibilities.

OBJECTIVE 2 The process of producing matrices of iterations allowed me to understand how parametric design lends itself to interrogating a brief; by arraying a large number of forms it allowed me to explore options I could not have considered without the use of grasshopper. Furthermore this increased number of options led me down design paths that were inconceivable if I was sketching by hand, while simultaneously making it quite clear which forms are applicable to the brief and which are not.

OBJECTIVE 3 I found completing the case study iteration and reverse engineering 72

processes incredibly helpful in developing both my parametric thinking and modeling skills. I was surprised to notice my approach change; from one of considering how to create a digital version of a physical drawing, to one of systemic generation. The reverse engineering particularly aided this. Prototyping also led me to comprehend the relationship between digital and real forms. Initially I found it difficult to see how intricate and complex geometries could be translated to ordinary construction materials. Through fabrication I learned to compartmentalise and translate a design from one form to another.

OBJECTIVE 4 While I have gone through the process of creating design proposals in previous design studio units, doing so within Air followed an entirely different process. Both stemmed from an initial concept or idea that I wanted to explore in response to the brief. Yet within this studio my design proposal arose through an integration

of a concept couple methods explored design proposal w process; merging d a real-world applic generated form co of its digital bound different set criteri of lines and geome materials and, in tur comprehend or inte pivotal in forming th

OBJECTIVE 5

I found that makin proposal followed as it has in the considering the architecture to e intangible ideas I fe proposal held mo exciting to suggest a f an abstract feeling using parametric r bolster this. To me, way provided a bet more persuasive pr

ed with algorithmic d. Interogating this was a fascinating digital theory within cation. Suddenly a ould exist outside ds, answering to a ia. Conceiving sets etries as corporeal rn, how a user might eract with them was he proposal.

ng a case for the the same process past, however, by ability of digital express previously eel that the design ore weight. It was form that expressed g and system, and representations to , working in such a tter considered and roposal.

OBJECTIVE 6 Through the case study analyses, I found a new method for comprehending contemporary architecture. I was well versed in tackling an architectural analyses as I would a painting or a sculpture.

By deconstructing these forms and manipulating the algorithmic definitions I came to critically understand these modern designs with a newfound complexity.

Finding the underlying logic of a form highlighted new meanings previously hidden when considering the final, built form.

OBJECTIVE 7 Throughout much of the unit I thought that I understood data structure theory. However, in attempting to manipulate data structures to my own ends I was incredibly challenged; most notable was my effort to recreate the twisted wire components of the ICD/ ITKE Research Pavilion 2013-4. After many failed attempts I managed to achieve what I needed to through data management and was then able to

apply this to create a host of successful iterations.

OBJECTIVE 8 From my initial introduction to parametric design in Part A, through to the end of Part B, I have always been intrigued by the idea of understanding and utlising systems; systems that define form yet are not often considered. I have attempted this, albeit unsuccessfully, in past studios.

The algorithmic understanding I have gained from Part B has taught me how to deconstruct such abstract notions and extract this logic to inform design.

Furthermore, while I had previously intended to use such systemic concepts to add meaning to a design, I was surprised to find that a parametric application also allows for optimisation.

Instead of extracting ideas I now see the exciting ability for digital architecture to function at an unforeseen level; using less materials to create a stronger structure for example, a key step in our age of depleting resources.

73

REFERENCES 3D Models Of Beetle Elytra, 2014 <http://icd.unistuttgart.de/wp-content/gallery/rp2013-14-process/ icd-itke_rp13-14_process05_b.jpg> [accessed 12 April 2016] Benyus, Janine M, Biomimicry (New York: Morrow, 1997), p. 2 Calabrese, Luisa, The Architecture Annual (Rotterdam: 010 Publishers, 2009), p. 54 Collins, George R., “Antonio Gaudi: Structure And Form”, Perspecta, 8 (1963), 63 Doerstelmann, Moritz, Jan Knippers, Achim Menges, Stefana Parascho, Marshall Prado, and Tobias Schwinn, “ICD/ITKE Research Pavilion 2013-14: Modular Coreless Filament Winding Based On Beetle Elytra”, Archit. Design, 85 (2015), 54-59 <http://dx.doi. org/10.1002/ad.1954> Ernst Haeckel’S ‘Forms In Nature’, 1904 <https:// commons.wikimedia.org/wiki/File:Haeckel_Cyrtoidea.jpg> [accessed 5 April 2016] Fallen Star - AA DLAB, 2012 <http://images.adsttc.com/media/images/55e8/9681/ e258/463f/1b00/0062/large_jpg/dlab_phase02_04. jpg?1441306205> [accessed 5 April 2016] Fibre Layout For One Component, 2014 <http:// images.adsttc.com/media/images/53b2/152d/ c07a/8079/0f00/01d5/large_jpg/ICD-ITKE_RP1314_Process12.jpg?1404179740> [accessed 12 April 2016] Ground Beetle And Its Internal Elytron Architecure, 2014 <http://icd.uni-stuttgart.de/wp-content/gallery/rp2013-14-process/icd-itke_rp13-14_process01. jpg> [accessed 12 April 2016] Hedeen, Charles, Flowing Tree Detail, 2009 <http:// runamuckchucks.com/image/46328311410> [accessed 14 April 2016] Hygroscope - Achim Menges, 2015 <http://images. cdn.baunetz.de/img/1/8/3/6/0/4/7/HygroScope_02_ DSC7751.jpg-ba8c28a90b4f6e9b.jpeg> [accessed 6 April 2016] ICD/ITKE Pavilion 2013-14 Interior Panorama, 2014 <http://icd.uni-stuttgart.de/wp-content/gallery/ rp2013-14-icd-itke/folie24.jpg> [accessed 12 April 2016]

74

“ICD/ITKE Research Pavilion 2013-14”, Universitat Stuttgart, 2014 <http://icd.uni-stuttgart. de/?p=11187> [accessed 13 April 2016] ICD/ITKE Research Pavilion 2013-14 Detail, 2014 <https://c1.staticflickr.com/3/2945/15175552069_5 a2e774991_b.jpg> [accessed 12 April 2016] ICD/ITKE Research Pavilion 2013-14 Panels, 2014 <https://s-media-cache-ak0.pinimg.com/736x/87/ 60/39/8760391dd611f9d47acfe2a7fc884458.jpg> [accessed 12 April 2016] ICD/ITKE Research Pavilion 2013/14, 2014 <http:// aasarchitecture.com/wp-content/uploads/ Research-Pavilion-2013-14-by-ICD-ITKE-06.jpg> [accessed 12 April 2016] La Sagrada Familia Ceiling - Gaudi, 2012 <http://40. media.tumblr.com/tumblr_lpmt3wn5lS1qa9fjuo1_1280.jpg> [accessed 5 April 2016] Riegl, Alois and David Castriota, Problems Of Style: Foundations For A History Of Ornament (Princeton, N.J.: Princeton University Press, 1992), pp. 266-300 Rinaldi, Marco, “Research Pavilion 2013-14 By ICDITKE”, A As Architecture, 2014 <http://aasarchitecture.com/2014/07/research-pavilion-2013-14-icditke.html> [accessed 13 April 2016] The Morning Line, 2011 <https://wieesseinkoennte. files.wordpress.com/2011/06/10a_the_morning_ line.jpg> [accessed 8 April 2016] “The Morning Line”, E-flux, 2008 <http://www.e-flux. com/announcements/the-morning-line/> [accessed 9 April 2016] The Morning Line Istanbul, 2011 <https://farm6. staticflickr.com/5263/5884844084_2a1435da22_b. jpg> [accessed 8 April 2016] The Morning Line Rendering, 2009 <https:// c7.staticflickr.com/4/3098/3191703998_315e2450e 9_z.jpg> [accessed 8 April 2016]

FLOW

T H E C R E AT I V E S TAT E

PART C

DETAILED DESIGN

75

C.1 DESIGN PROPOSAL ADDRESSING FEEDBACK FROM THE INTERIM PRESENTATION

The

overarching

feedback

received

thus far was underdeveloped in that it

following the interim design presentation

appeared rigid and contrived rather than

was that while the concept of flow was

exhibiting these sinuous ideals. Following

contextually apt for the space and

the interim presentation, the design

adequately addressed the brief, the form

proposal

itself did not adequately translate this

retained while the technique was further

notion into a physical form. The design

76

and

conceptual

idea

were

developed; our design team looked

structure might be developed in a more

towards deriving the formal arrangement

organic manner. The team was divided

of the ceiling installation from BOIDS

into smaller groups with distinct focuses

algorithms (directly drawing from the

(such as the previous two mentioned) in

natural laws governing earthly systems)

order to ensure a considered and resolved

while also considering further ways that

final design proposal.

the strips and joints constituting the

77

FLOW /flō TO MOVE OR RUN SMOOTHLY WITH UNBROKEN CONTINUITY, AS IN THE MANNER CHARACTERISTIC OF A FLUID.

Every natural system has formed and developed according to the best possible flow. Defined

by Adrian Bejan (1997) as the Constructal Law, stating that: ‘FOR A FINITE-SIZE SYSTEM TO PERSIST IN TIME (TO LIVE), IT MUST EVOLVE IN SUCH A WAY THAT IT PROVIDES EASIER ACCESS TO THE IMPOSED (GLOBAL) CURRENTS THAT FLOW THROUGH IT.’1

This law governs the deve

lighting bolts flash across t systems functions via this

As discussed previously in

floral Corinthian columns

nature for creative inspira

from our environment, we

understanding of paramet method it is also possible

in meaning and distinctly r

1

78

I

2

La Sagrada Familia, Gaudi

Research Pavilion 2013-14, ICD/ITKE

elopment of all design and evolution in the natural world. Rain drops coalesce to form mighty river basins;

the sky in a tree-like formation; lungs expand, hearts beat, legs run and wings flap.2 Each and every one of these phenomenon, forming through the ages to utilise inherent physical properties as efficiently as possible.

n Part B, looking to nature for design inspiration is by no means a new concept; from the ancient Greeks’

s, to the organic motifs that defined the Art Deco and Art Nouveau movements. We have always looked to

ation. Our contemporary take on this concept pushes biomimicry one step further; instead of drawing directly

e are learning from it to solve modern design problems. Integrating this systemic knowledge into our current

tric design is undoubtedly a valuable exercise: it not only allows us to find complex formal solutions, through this to interrogate the proposed structure and develop its complexity to come to a final design that is entrenched

relevant to its context.

Adrian Bejan, “Constructal-Theory Network Of Conducting Paths For Cooling A Heat Generating Volume”, International Journal of Heat and Mass Transfer, 40 (1997), 799.

2 A. Heitor Reis, “Design in Nature And The Laws Of Physics”, Physics of Life Reviews, 8 (2011), 255-256.

1

79

AGENT BASED DESIGN BOIDS + L-SYSTEMS

In order to examine the concept of biomimetic

I found that by subtly altering the various

flow through a parametric medium, I conducted

parameters integrated into the algorithms, vastly

a study of boids and l-systems. Both of these

varied forms arose in a mesmerising process.

algorithmic rule sets were developed through

The first study focused on two-dimensional

research into natural systems (namely, the

systemic growth with the factors varied including

flocking of birds and the growth of algae),

the spawn location and count of the agents, their

3

producing strangely compelling visualisations.

behaviour (strength, speed, multiplier and shift

The

such

parameters) and their bounding geometry. A

computationally derived forms are still in their

series of organic, swirling forms were produced,

infancy; many designers of our current age

reminiscent of the movement of water, of

are investigating this process â&#x20AC;&#x201C; Roland Snooks,

shifting smoke, of draped feathers.

architectural

applications

for

Kokkugia and Michael Hansmeyer most notably â&#x20AC;&#x201C; yet there is much to be understood in the field.

80

3

Sherry Turkle, Life On The Screen (London: Weidenfeld & Nicolson, 1996), p. 308.`

SYSTEMIC GROWTH

81

SYSTEMIC MOTION 1 The second study was also conducted two-dimensionally, this time considering systemic motion. Through the integration of vector fields and varied decay rates a fascinating set of delicately complex arrangements was found. This time the line work seemed to capture the sense of weaving tree roots, of fine capillary networks, of paint meandering down a canvas and intricate neural connections.

82

83

SYSTEMIC MOTION 2 The third and final study followed the same laws as the previous, while this time functioning in three dimensions.

Surprising variations came to being from the same parameters as previous.

The design team deemed the second set of iterations to be most relevant to the tube-like form in development.

Unfortunately, due to the nature of the 84

original ceiling installation algorithm and time constraints, this agent-based definition was not able to be integrated into the final design. This by no means undermines its relevance however, with this parametric flowing imagery serving as a visual and conceptual guide for the refinements to come.

85

SYSTEMIC GROWTH W/ CULEBRA PLUGIN POINT SPAWN (RANDOM)

INITIAL SETTINGS DIMENSION 2D/3D BOOLEAN TRUE

NOISE BEHAVIOUR SETTINGS

TRAIL AGENT OUTPUT

STRENGTH JUMP

SCALE

SHIFT

SPEED MULTIPLIER

SHIFT AXIS XY

VISUAL SETTINGS TRAIL TRAIL TYPE TRAIL RESOLUTION

SYSTEMIC MOTION W/ ANEMONE PLUGIN POINT SPAWN (RANDOM)

BOUNDING BOX

DIMENSION 2D

RECURS E

RECURSIVE LOOP START

CIRCLE DIVIDE POINT CHARGE

86

ME

ALGORITHM SUMMARY A SIMPLIFICATION AND EXPLANATION OF PROCESS

This algorithm made use of the Culebra plugin for Grasshopper; by altering the data values for each settings component vastly varied outputs were obtained. This algorithm made it possible to explore this agent-derived growth imagery in two and three dimensional space - both producing surprisingly different outcomes. This method is purely an exercise in imbuing the agents with certain characteristics in order to come to different resulting formations.

SIVE LOOP END

ERGE

The second algorithm was created in a more manual manner. The random points acted INTERPOLATE CURVE

as the agents and their path was influenced by the point charges assigned to points on the circles arranged along the pathway. By alternating the point charges between positive and negative values, the agents were drawn to or repulsed by these fields, creating the final imagery.

87

FORMAL PARAMETRIC DEVELOPMENT PUSHING THE LIMITS OF THE ORIGINAL ALGORITHM

The interim design algorithm was further developed by Hugh Goad to provide a series of tube-based iterations on the way to finding the final form. The boundaries of the initial algorithm were pushed to uncover any latent compositional potential. An array of interesting flowing networked structures are presented; while these iterations retain a certain sense of the angular rigidity seen in the interim design proposal the focus here is on the formal arrangement rather than the organic quality of flow.

88

89

90

DESIGN THE DEVELOPMENT EXPLORING POSSIBILITIES IN CONTEXT

Following the previous theoretical studies and

compositional

investigation,

Ed

Mastoori and Chen Lin took these factors into consideration in creating a matrix of design possibilities. Here the focus was on considering the potential of the flowing design within the context of the meeting room (denoted by the box outline). The outcomes deemed successful have been circled as possible directions for design development

due

to

their

undulating

qualities and perceived embodiment of natural flowing systems.

91

92

#01

#05

#02

#06

#03

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#04

#08

#09

#13

#10

#14

#11

#15

#12

#16

90 93

94

#17

#21

#18

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#24

#25

#29

#26

#30

#27

#31

#28

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DESIGN OPTIONS SELECTING OUR CREATIVE PATH

These four iterations were selected by the design team as the forms that best expressed all aforementioned musings of flow. While each has its merits, some were considered too erratical in their bending, others too linear or not lacking in complexity. The final geometry (bottom right) was selected as the best form to continue developing as it expressed flow while showing a desirable level of variation in its members (without harsh angles).

96

97

DESIGN OPTIMISATION After deciding on an arrangement that the design team deemed most successful in representing the concept and fulfilling the requirements of the brief, the focus turned to developing the complexity and articulation of the form.

This was done by considering an analysis of light exposure through the ladybug plugin in addition to developing the strips and patterning constituting the overall, tube-like forms.

LADYBUG

98

Ladybug functions as a parametric environmental

the best location for light integration. Through

analysis tool; itâ&#x20AC;&#x2122;s main role lies within the realm

the use of the Radiation Analysis component,

of real-world analysis (sun, wind, radiation etc.),

Nick defined four attractor points from the data

allowing one to integrate quantitative data

and used these fields to alter the strip thickness

to create a refined physical form that better

of certain geometric regions in response. This

responds to its surrounds.

Nicholas Dean

served to create delicate regions of willowy

appropriated the program to consider artificial

timber members which functioned cohesively

lighting rather than that of the sun to map out

with the planned light fixtures.

99

PATTERNING STRIP ARTICULATION

100

Nick drew from these ideas in his patterning

complexity. At this stage, constructability was

explorations, creating a series of strip

a key factor when considering the patterning

arrangements which were diverse in form

options â&#x20AC;&#x201C; ruling out forms that were not

and density to create a flowing and varied

feasible.

STRIP PATTERNING Further options were created by Windy Feng:

was deemed to be slightly too contrived

the first featured perforated cut outs within

and the proposed light/shadow effect to

the larger stripped segments, hypothesised

be somewhat visually overpowering within

to create a dappled lighting effect within

a workspace. The second was thus chosen

the room; the second was also defined by

due to its distinctly architectural yet organic

perforations, this time simpler, running

aesthetic, still playing with light effects yet

parallel to the strips themselves. While both

retaining an importance sense of practicality

design concepts had their merits, the first

within its context.

101

GE

102

FINAL EOMETRY The selected geometry was altered to eliminate member intersections to facilitate fabrication. Furthermore, the strip patterns previously designed were integrated into the form and the members were arranged to account for the planned lighting locations. We arrive at a design that grows and develops, reaching and extending accross the ceiling space elegantly as a stream might span the landscape.

103

C.2 TECTONIC ELEMENTS + PROTOTYPES CORE CONSTRUCTION ELEMENTS

104

STRIPS The final geometry discussed in C.1 is evidently a structure comprised of strip elements. These core design units expressed the qualities of organic, systematic flow. Yet, unfortunately without the use of a 3D printer, it is incredibly difficult to translate this complexly undulating parametric form into a corporeal object of timber veneer. As such, the members were modelled, tested and refined in evaluating the structural system to ensure acceptable performance in a realm where forces acting upon the form are vastly different from that within a limitless digital space.

105

STRIP PROTOTYPE 1 An alternate strip pattern was devised by

members themselves were too complexly curved

Clinton Baird in conjunction with that conceived

in comparison to the span, losing the sense

by Windy. This form was tested first in order

of elegance envisioned; and that the strips â&#x20AC;&#x201C;

to understand how a volumetric, curved form

regardless of the weaving algorithm â&#x20AC;&#x201C; did not

defined by its negative space might be fabricated.

hold the predetermined shape, lacking stiffness.

As with previous patterning options, the strips ran axially along the entire form (enhancing the sense

This prototype was fabricated using laser cut

of flow), overlapping at specific points to create

polypropylene. It was assumed that the timber

the curvilinear frame. A weaving algorithm was

veneer may fare better due to its more rigid

integrated in order to achieve this.

properties yet it became clear that some kind of rib structure may be necessary in order to ensure

106

The two key resulting factors that became evident

the structural integrity of such an open structure

to the design team were that the oscillating

defined by negative space.

STRIP PROTOTYPE 2 The second prototype drew predominantly from

arose from the need to facilitate the doubly

Windyâ&#x20AC;&#x2122;s pattern and responded to the elements of

curved nature of the design, a manipulation that

the previous that did not function as hoped, both

regular timber veneer is unable to achieve without

physically and aesthetically. This time the curves

elements failing and cracking along the grain.

were drawn out to lead the eye smoothly across

Visually

the meandering structure. Holes for rivet fixings

successful.

were also integrated, alongside the incorporation

evident however, with the rivet hole placement

of Jacob Komarzynskiâ&#x20AC;&#x2122;s unrolling definition, both

and number requiring further development

working towards an established constructible

following rivet failure (and subsequent unrolling

installation.

of the prototype). Evidently, the rigidity perceived

Material choice too was reconsidered, opting for

as desirable perhaps imbued too much stiffness,

a laminate-backed timber veneer. This selection

countering the required curves.

this

form

Structural

was

significantly

inadequacies

more

became

107

RIBS As previously mentioned, the conception of a rib element was required to enable the parametric form to function in the real-world. While a simple ring of sorts would function acceptably, having such a vast design team allowed us to considerately design all elements, large and small.

Brydie Singleton drew from studies of the â&#x20AC;&#x2DC;South Pond Pavilionâ&#x20AC;&#x2122; by Studio Gang in her search for a structural yet delicately articulated form. Drawing from the repeated weaving eyelet shape, she designed an undulating rib characterised by its negative spaces in a similar manner to that of the overall geometry.

108

1 RIB PROTOTYPES Through trial and error in the exploration of four rib prototypes, an acceptable curve amplitude was deduced by Brydie in order to create the ribboned ring without too much stress being placed on any individual rivet fixing.

These designed ribs were then resized and repeated throughout the major volumes of the

2

design; a large at the widest cross-sectional point with two smaller in the regions where the strips converged to support the open bulb form. Due to their strength, these elements also allowed for suspension wires/fixings to support the overall design from the roof space.

3

4

109

CANE

coiled curvature imbued before purchase did

JOINT PROTOTYPE

suggested through these joints. Density too

While the major geometric regions of the design had been resolved in depth, the secondary individual stripped elements were yet to be considered. Creating these thin, strand-like members from the same flat timber veneer material seemed inadequate in expressing these serpentine regions. Brendan Pearce and Hugh Goad sought to resolve this problem through the use of a different wood product â&#x20AC;&#x201C; cane.

While it is difficult to organise and orient such a material exactly as the corresponding elements within the parametric design, Brendan and Hugh prototyped a 3D printed joint featuring holes for the cane to be fed through, guiding the members towards an organised arrangement.

Theoretically,

these

joints

would

function

sufficiently to emulate the digitally flowing pipes.

Unfortunately, the materialâ&#x20AC;&#x2122;s predisposition to retain some of the

110

not respond sufficiently to the orientation was an issue, with the central region of the joint neglected, missing an opportunity to vary the concentration of these smaller members.

These 3D printed modules appeared to respond to the digital design. Again we note the propensity for this design type to function differently (and often unexpectedly) when translated into the physical. It becomes clear that a successful parametric design cannot exist and develop solely in cyberspace. It is a back and forth process between the keyboard and the drawing board to resolve and refine a successful design of this nature.

111

CEILING CONNECTIONS

RIB-TO-CEILING JOINT PROTOTYPES As the brief called for a ceiling installation, it is only necessary that we considered a joint type to connect the design itself to the ceiling structure. Jia Hao explored various possibilities here, opting for a simple hook form to develop. Various iterations were produced, all focusing on hanging the entire structure from the maximum point of the rib members.

These design options were 3D printed and tested. It was found that all functioned similarly enough so choice was purely put down to aesthetics. The most successful iteration was deemed so due to its elegant, streamline proportions. The teardrop shape mimics the undulations of the overall geometry while the hole at the top allows for the integration of wires so that the whole system functions somewhat like a traditional suspended ceiling.

112

RIB-TO-RIB JOINT PROTOTYPES 1

3

2

P R O TO T Y P E 1

OTHER CONNECTIONS

CANE-T0-CANE-JOINT PROTOTYPES 1

2

Jintao Huo worked in parallel with Jia, exploring rib-to-rib and cane-to-cane connections that

might

structural

improve

integrity

of

the the

overall design. While instances of this formation do not appear in the final geometry, it is nevertheless a useful study in form optimisation.

113

C.3 FINAL DETAIL MODEL 1:3 CONSTRUCTION METHOD + ANALYSIS

In producing the final detailed design model

What’s most fascinating about this adaptation

a similar process was followed as that of the

is that instead of turning to technology to

second prototype. This time, the rigid laminate-

parametrically design a variant jointing system

backed veneer was replaced by the more

it was the act of going back to basics, to simple

malleable, paper-backed veneer alternative.

and archaic means, which allowed us to create our form. Digital design has a host of merits,

This time, following the tutor’s advice, we

yet it is clear we cannot ignore the construction

altered the rivet joints, opting for a traditional

and design methods of old in this new age.

needle and thread method. By moving away from compression towards a tensile jointing system we were able to alleviate the accumulation of forces which led to the prototype failing previously. This allowed the strip members to curve and flow together rather than buckling at the seams to create the fluid volume we had envisioned.

“WHEN KNOWLEDGE BECOMES OVERWHELMING, GO BACK TO THE BASICS.” - ABDULKADIR MIRRE

114

PROCESS Two of the major volumes were chosen for construction.

The

unrolling definition created by Jacob

(previously

mentioned)

was employed in order to laser cut and number the strips. From there it was a simple process of sewing together the strips into a flat surface, connecting the rib structures before sewing the remaining rib ends together to create the form.

115

116

117

118

119

120

121

122

123

C.4 LEARNING OBJECTIVES + OUTCOMES

RESPONDING TO PRESENTATION FEEDBACK

STUDIO AIR LEARNING OUTCOMES

Overall, the feedback we gained following the final

the completion of this unit is that while

design presentation was positive. While it was

parametric design is an immensely valuable tool

stated that our concept itself was well-considered

within every creative field in our modern age,

and contextually apt in responding to the design

it must be viewed as just that; a tool. It is by no

brief, some of the outcomes were questioned.

means the new and only method for design. In

Namely, the possibility that our final form was

fact, treating it as such would indubitably hinder

somewhat ‘over-designed’. This was evident to

our creative progression. Instead, digital design

me, with some components of the geometry

may be considered as a new approach, one that

lacking the simplicity that was desired. However,

performs best when integrated with our learnings

it is clear that having such a large team working

from centuries past. Computers may facilitate

to develop every aspect of the design meant

the creation of forms our organic minds may

that this conclusion was somewhat inevitable.

never have considered, but we must treat these

To me, having a multitude of formal options is

outcomes with a critical eye and develop them

always beneficial if these ideas are treated with

with reference to manual methods and analog

a critical eye. Unfortunately, with each member

thinking. We have a new and shiny platform

requiring to exhibit a minimum amount of work,

with which to play, yet the trusty drawing board

the design gained some unnecessary complexity.

remains and should not be forgotten.

What has been highlighted to me most through

With more time I don’t doubt that these frivolities

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could have been minimalised to create a better

I found that I was able to appropriately respond

developed response. Regardless, I view our final

to the detailed design brief, working with the

design as a success, incorporating all conceptual

material and contextual boundaries provided

elements whilst showcasing our learnings of

to conceive a successful response alongside my

parametric design.

classmates. Through studies of natural systems

“THAT’S ALL THERE IS, THERE ISN’T ANY MORE.” - MADELEINE

and biomimetic theory, I gained an understanding

that could not be developed by a lone designer.

of one design facet previously unconsidered.

I found this collaborative process very beneficial

This will no doubt aid me in my future creative

to my own method and ideas.

endeavours, adding a layer of complexity.

Overall I’m surprised and pleased with the Prototyping was a valuable tool in testing the

knowledge I have gained through the completion

possibilities of our concept. By working to

of Studio Air. I have found that my outlook and

fabricate elements of the overall design, the

problem solving abilities in regards to design have

inherent properties of the material selected

developed far more than expected. I had a decent

(timber veneer) became apparent. Through a

mathematic background prior to commencing

cyclic process of trial and error, it was possible

this unit which was a valuable initial tool, yet I was

to alter the geometry in order to work alongside

still somewhat overwhelmed by the Grasshopper

with the material from which it would be

workflow. Through the prescribed tasks and

constructed; further to that, this also allowed

my own learnings, I’m surprised to say that I

the form to incorporate and express the positive

have vastly developed my understanding and

material qualities.

my abilities regarding digital design. Further to simple form creation, the programs utilised have

Working in such a large team environment

highlighted the possibility of information analysis

was invaluable in developing critical thinking

and integration; something I had attempted in

and teamwork skills. Through group meetings

past studios without the same degree of success.

we were able to include new ideas and alter

I aspire to continue increasing my knowledge of

the design to address any perceived negative/

parametric methods in my future endeavours,

underdeveloped elements. Working in this

using them as a tool to improve and develop my

manner not only gave me an insight into the

designing overall.

workings of the creative field in practice, but also highlighted the potential for creative outcomes 125

REFERENCES Bejan, Adrian, “Constructal-Theory Network Of Conducting Paths For Cooling A Heat Generating Volume”, International Journal of Heat and Mass Transfer, 40 (1997), 799-816 Reis, A. Heitor, “Design In Nature And The Laws Of Physics”, Physics of Life Reviews, 8 (2011), 255256 Turkle, Sherry, Life On The Screen (London: Weidenfeld & Nicolson, 1996), p. 308

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