Journal B Air by Ketki Mahadik

STUDIO AIR 2 018 , S EM EST ER 1, JULIUS EAGAN KETKI MAHADIK

Contents B.1: Patterning B.2: Case study 1.0 B.3: Case study 2.0 Week 4 Algorith Task B.4: Technique development Week 5 Algorithm task B.5: Prototype Week 7 Algorith Task B.6: Proposal B.7 : Reflection B.8: Bibliography

B.1

Patterning

Patterning as a research field is quite a big umbrella, as I was researching I found aspect of biomimicry and tessellation to be a part of patterning or pattering when applied to design. When I was researching a historical context on patterning. I came across many theories which were all associated with ornament. I do not think the patterning could be a synonym of ornament, but it goes to show that the only form of patterning was a physical branding of a style or pattern on buildings was available in those times. The time period I am referencing is around Gottfried Semper’s and Adof Loos’s theories. Gottfried semper’s theory is similar to me questioning ornament as patterning because he does not think ornament and adoration of a building with a pattern is good ornament, he wants to see mass, direction and movement1. Semper is looking towards a possibility of design as ornamentation where loos rejects ornament and is interested in pure geometry2. Although these two theories are different, together they define the interest in patterning in the 21st century. Patterning today is about systems, structural systems that exist all round us and in us3. Commonality of pattern rather than facade or an interior decoration, needs to be explored in a experiential way4. A stimulation of a collective parts that create tectonics. Loos and semper both wanted ornament to be a not a cladding but a mathematical system of volume. From there till the 1900s there has been an exploration of expression and complex patterns. In the modern and postmodern world, I think a new exploration of ‘functionalist ornamentation’ has occurred5. With architects like Herzog & de Meuron who use patterns as a mean of functional program such as the de Young Museum. Walter crane states “law governing extension of design over surface” is built upon “emphatic structural lines”6.I think this modernism of using functional and structural basis for patterns has begun to think of patterns as real life tessellation rather than mathematical expression. But most patterning projects in the 21st century has stuck to a aesthetical and cladding basis, which was the criticism of Loos7. Which undermine the possibilities of programs like grasshopper where real life stimulation can be done to represent a dynamic system of pattern. I think in my design exploration I have an opportunity to explore patterns in a grid, without a gird, periodic and non-periodic patterns. I wanted to explore traditional patterns and also look at a deconstructed pattern. Through the iterations I hope to find how in a similar parameter, how different a pattern can be or be manipulated. The iteration itself is a pattern and will be interesting to look at in sense of a big picture. There has been a long history of fabricating patterns from Islamic to Christian cultures8. The most common way to create tiles out of the individual cell in a pattern and put them together using a frame, structure or joinery. There is also space frames with infill. The common method is to create separate panels, or break down he full structure into components and then built it up. I think this is a very efficient and economical way of fabricating and with using digital fabrication I am curious how it would apply.

1 Farshid Moussavi and Michael Kubo, The Function Of Ornament (Barcelona: Actar, 2008), pp. 7. 2 Farshid Moussavi and Michael Kubo, (2008), pp. 7 3 Brady Peters, “Realising The Architectural Idea: Computational Design At Herzog & De Meuron”, Architectural Design, 83.2 (2013), 58-187 <https://doi.org/10.1002/ad.1554>. 4 Farshid Moussavi and Michael Kubo, (2008), pp. 6-10. 5 Brady Peters, Architectural Design, 83.2 (2013), 58-187 <https://doi.org/10.1002/ad.1554>. 6 Brady Peters, Architectural Design, 83.2 (2013), 58-187 <https://doi.org/10.1002/ad.1554>. 7 Brady Peters, Architectural Design, 83.2 (2013), 58-187 <https://doi.org/10.1002/ad.1554>. 8 Brady Peters, Architectural Design, 83.2 (2013), 58-187 <https://doi.org/10.1002/ad.1554>.

Figure 1: De young Museum. Unknown, Francis De Young Museum, 2018 <http://brooklyncool.wordpress.com> [Accessed 15 April 2018].

Figure 2: Walter Craneâ&#x20AC;&#x2122;s designs. Steven Brower, How The Oxford Rule Led To Rolling Stone, 2018 <http://www.printmag.com/publication-design/how-the-oxford-rule-led-to-rolling-stone/> [Accessed 17 April 2018].

Figure 3: Adolf loosâ&#x20AC;&#x2122;s house. dam Jakubowski, Adolf Loos - Ornament And Crime, 2008 <http://prattspring08.blogspot.com.au/2008/01/ adolf-loos-ornament-and-crime.html> [Accessed 17 April 2018].

B.2

Case study 1.0 Spanish Pavilion by FOA

The Spanish pavilion made in the world exposition in Ichi,2005 by the foreign office of architects is an example of patterning. The design brief for the project was to create a facade for a box . The tessellation of the faĂ§ade comes from Jewish-Christian and Islamic cultures. Well known for using periodic patters to compose geometries which were easy to construct using tiles . The FOA have used a hexagonal grid to create a dynamic grid of voids and solids. There is sense of transparency and interconnectedness with using both a periodic and non-periodic pattern.The algorithm definition is based on a hexagon grid that has individualized each cell and has parametric definitions on the cells and the grid itself. The algorithm file was sub grouped into three smaller definitions. The first definition was the composition of the hexagonal grid. The second was the compositional array for the grid and the third was the planar composition. The algorithm is very structured and has defined itself using a parametric grid. Similar to water Craneâ&#x20AC;&#x2122;s pattern rule of using structural lines over surfaces to develop design. Although there is a fixed shape of the grid, I think rather than changing the line of the grid, I am interested in exploring how generative can my exploration get where one cannot even define a hexagon or a tile.

Figure 1: Spanish Pavilion. Satoru Mishima, FOA Spanish Pavilion, 2005 <https://divisare.com/projects/272168-foa-alejandro-zaera-polo-farshid-moussavi-spanish-pavilion> [Accessed 17 April 2018].

Species A: Cell Number XY

Species B: Vector Interval points change

Species C: Data change Graft Flatten Reverse

Species D: Planar change YZ XZ Z

1 Species E: Vector change Radians Angle

Species F: Data tree Merge Pshift Split tree

Species G: Data tree Branch Move Replace

Species H: Vector data Reverse Simplify Unitize

Species I: Deconstruct vector

Species J: Deconstructing points

Species K: Polyline Smooth collapse

Species L: Expression X,Y Multiplication Division

1 Species M: Data series

Species N: Vector manipulation

Species O: Transform Mirror Move

Species P: Offset Distance Smooth Sharp

Species Q: Image Sampling

Species R : Planar

Selection Criteria

My Selection criteria is based on the discourse of pattern amoung historical and present context. on the deconstruction of a grid. Patterns are systems and like the original algorithm there is structure and an emphasis on interconnectivity. I am interested in how unconnected and non-pattern like can be created from a definite pattern. Factors: Dissimilarity: How dissimilar or how different a hexagonal grid can be iterating through parametric modelling. Original Patterning: I am interested in how one structural grid can be iterated into another grid, a grid that is original in shape and form. Exploration of 3D space: Since the algorithm starts with a 2D grid I wanted to explore the expansion of the grid and cells into a space grid and how they would connect to each other.

Successful outcomes 1

Cell + Vector data This iteration stood out to me because it took a 2D grid and made an expanded 3D grid where each cell has become a floating component and they look like individual components put in an array. The geometry reminds me of the Islamic cultural periodic patterns in a very abstract from. There is also this confusion of structure, there are no interconnecting lines or structural lines. There is an exploration of space rather than a grid. Dissimilarity: Very dissimilar but still has a very geometric shape in the components. Very spread out and disorientated. Original Patterning: Very original in shape and from. Exploration of 3D space: Expansion in all directions and through repetition of components creates a 3d grid.

Vector + Data tree The pattern can be seen as a decaying being generated into this abstract line, the generative and parametric results can be seen in one iteration displayed into a grid. There is a sense of uniformity in the distribution but each cell is different to one another creating a transforming grid. Dissimilarity: There is similarity in shape but there is a transformation in shape that show the infinite values of a hexagon. Original Patterning: There are some know and unknown shapes which create an interesting tectonic. Exploration of 3D space: Expansion of cells in plane Y and is creating a linear and extruded grid.

Offset + Move The concentration of the grid is very different to other iterations and shows how a hexagonal grid can be turned into a system. The system has different moment in different direction, a uniformity of periodic and non-periodic patterns creates a dynamic grid. Dissimilarity: Very dissimilar and has become a shape in itself Original Patterning: There is still a hint f hexagonal grid bit it has been deconstructed and exaggerated, thus making it original. Exploration of 3D space:: There is an exploration of density and depth in a grid and highlights the interconnectivity of a system.

Planar + Image sampling The shape has been deconstructed and has become very simple. It has lost a sense of repetition but there is a pattern of hexagons and there is a non-linear way in which it creates this morphed grid. Dissimilarity: The pattern is very different and the composition of the grid is very different to the original Original Patterning: There are similarity in iterations and has been explored in different species. Exploration of 3D space:: There is an exploration of moving beyond a grid and transforming of moivngbe0yodn the grid and becoming simple lines. Showing how a grid become an individual line when extrapolated.

Final Outcome + Reflection Through this parametric modelling I wanted to create a 3d grid that had a pattern that was not suitable or appropriate to the grid, because I wanted to see how crazy a pattern could be when using a structural grid. I think I achieved that with my iteration, for further development I would explore the cells individually and then try to put the cells back together in a grid.

The successful iterations could be used as a singular component that could be structural rationale w=tho8ugh digital fabrication through additive method like 3D printing or subtractive methods like CNC milling. I think the iterations could also become panels that can be layered or joined to create geometries. it could be also used as structural liens for space frames. It has the quality of transparency and uniformity in a unique way

week 5

Algorithm task

For week 5 We were given a scene from Westside story as a precedent. The musical scene was filled with movement and a dance of violence and fluidity of chaos. We decided to use a linear line and break it apart and deconstruct it into a dynamic line and then using attractor points we created swirls of spatial movement. Acting as an exoskeleton we debated functions such as Shopping mall and resting station for passengers.

B.3

Case Study 2.0 Dior Ginza by Kumiko Inui The Dior store in Ginza by Kumiko Inui is a retail store covered with a perforated skin that mimics the signature Dior pattern. I found this project interesting because it seems like a 2 dimensional faรงade that acts as ornamentation. But when I was researching I found that there were 2 skins on the faรงade. The first skin is the perforated material with the pattern and then there is a skin underneath that has been reduced perforations and is illuminated. The intent was to create different perceived depth of the skin from different lengths or view of the faรงade from the street. I think the skin is trying to create a sense of texture, a texture that is a signature of Dior. If I saw this pattern from far away I would immediately know I was Dior, creates a sense of identity through pattern and texture for the building. Pattern and textiles has become very important in the retail street of japan such as the Louis Vuitton store in Ginza and Prada boutique in Tokyo by Herzog & de Meuron. The theme of representing a signature pattern to showcase the functionary program of the building is quite symbolic. I think the faรงade definitely creates a 3-demsional texture of the Dior pattern. It gives the building identity but I think in trying to create a pattern it has become too ornamented, it has become detached from the building and has become the bag for the products. And that can be intentional to relate with the consumers and invite consumers in to the store. But, I dislike that the pattern has become a aesthetical decision and not a system to interpret.

Figure 2: Christian Dior store in Ginza. Wikimedia Commons, Christian Dior Store In Ginza. Jpg, 2007 <https://commons.wikimedia.org/wiki/ File:Christian_Dior_Store_in_Ginza.jpg> [Accessed 17 April 2018].

Figure 3: Christian Dior GInza Waymarinc., CHRISTIAN DIOR GINZA, 2007 <http://waymarinc. com/images/christian-dior-ginza> [Accessed 16 April 2018].

To reverse engineer this project I started with a surface. I choose a long rectangle to recreate the faรงade of the building.

To duplicate the Dior pattern, I used image sampling. I found a Dior patter sample online and I inverted it in Photoshop to have a colour domain of black and white.

Then I used the expre this expression: (x*y) sampler into the expre the radius of the circle

Then I divided the surface, setting the x and y coordinated to a point where the whole surface is covered with points. Then using a XY plane, I inputted those points into a circle output

I iterated a lot of values for y into the expression to come up with a suitable radius of the circles. I ended up with the final expression as (x*y) +0.2

ession input and formatted + 0.01. I inputted the image ession and this determined e.

YZ PLANE

XY PLANE

Reverse engineering results

The reverse engineering wasnâ&#x20AC;&#x2122;t able to create a very uniform and structured pattern from the image sampling compared to the original design. I think the lack of understanding of what the image sampling component can do could be the reason. Also to create the pattern the pot division of the surface was not exact as the design because there was no data on the original. The points might have been too much or too little which also depends on the surface which was created by me. The double skin intent of the architect wasnâ&#x20AC;&#x2122;t exploring in iterations, I think if I had experimented with a reverse smaller skin and large skin on the inside I could have understood the detail of the two skins better. There is similarity in the overall pattern and the vision of the design intent.

week6

Algorithm task

B.4

Technique Development

Starting algorithm for development

Through Case study 2 i was critical of the ornamental application of the pattern, I wanted to explore the ability of the Dior pattern to become more of a tectonic rather than a texture. I wanted to experiment with the ability of a pattern to become a sporadic and multidimensional pattern (a pattern within a pattern). I think from case study 1 I was interested in the grid but I think the pattern rather than the grid is what creates the grid itself. I will use the same selection criteria as case study 1 to see how my developments have changed.

D-2

Dissimilarity: Pattern is similar but is compositional in a non-uniform way making it dissimilar. Original Patterning: It is an original pattern and can be explored even further. Exploration of 3D space: There is exploration of 3D in one singular plane which is interesting and is creating an interconnected system.

G-4

Dissimilarity: The pattern is dissimilar and very different from the original but it still uses circle but it does not work as a system. It works as individual systems together. Original Patterning: It is an original pattern and can be explored even further. Exploration of 3D space: There are no biases of grid it has become complete freeform.

I think patterning is a very simple field but I have realized it can become so much more complex and how patterns can become section, biomimicry or structure. Pattern is like an atom that makes the molecules and the human. I think the design exploration did just that. It took the atom and started building on it by plane, array and distribution. I am going pick G-4 as my final design because I think it challenges the notion of patterning as a faรงade or skin application and think about pattern as systems that can be then integrated with other patterned system to create structural geometry.

B.5

Prototype

For prototyping the design, I was very puzzled about how to approach my deign. But when I though of the design as components and different system, I thought about panelling each substructure which could be connected using different ways. It would be easier to just 3D prints one arm and one panel a stick it together but think the dynamism of patterning is that there is an ability for users to explore thus I wanted to use sections of connection such as wood panels or textiles such as thread or fabric to join them. To prototype I flatten a component using grasshopper and then I made it 2D so It can be laser cut. To join them together I cut the panels that could be inserted with the component to join them together. I think I was not able to properly create a 2D geometry for the laser cutter to print thus failed, but I think I should maybe create a mesh and them flatten the mesh to get a uniform and laser cutting work geometry.

Candy Crus

week 7

Algorithm task

We had Tramp ants as a precedent. From the behaviours and qualities of the ant, the one we found most fascinating was how an ant uses pheromones to map a path between food and home and eventually they find the closest points path from the food to home. Using the travelling salesman we came

up with iteratiosn stimuulating those behaviours Iterations

B.6

Design Proposal

Patterns can be symbolic, expressive and become expansive systems. It can also be applied to facades and grids. My proposal stems from the issue of patterns as an ornament which can expand overtime according to systematically or structural needs. Rushal station Is a very unconnected site to its functions and programs. The Station has a lack of system and interconnections. It also has beautiful site conditions such as a river and park. It has become a very unknown and unexplored region. The key words in my proposal is exploration and system. I want my design to engage in an exploration of site and pattern. My deign could become a component that could evolve into nay structure or need that the site, users or even nature have. I hope to create system within systems that brings back people to the details of the site and details of the pattern. I think my technique enables me to let go of my bias a s a joined grid and welcome a new way of thinking about pattern and grid systems.

I think exploring the grid in 3D has enabled me to explore space and see how patterns would recta to change in the X director of Z direction. I think my technique focuses more on creating a system rather than a pattern, which I feel can be infinite. But a system can be related to anything, a universal way of life, structure and nature. In some iterations there is a tendency for the parametric to become repetitive and not be very different, I think I would have to explore more on how simple patterns can be turned into free form points to create a very dynamic parametric.

B.7

Reflection

I learned that patterns can be anything I want them to be, hey can be very vertical but can also be very rigid. And the limitation of patterns is what I explored in my journal. I was interest in this historical discourse of what a pattern should be and shouldnâ&#x20AC;&#x2122;t be. The rules and definitions of patterns have bene very interesting and helpful in making judgment in my own iterations. I realized how historical context can be helpful in understanding the present. I hope to learn more in parametric modelling, I felt that I was creating too simplified iteration relying on simple command to create my designs. I felt that there was a lot of unexplored commands. And although I tried to integrate, my misunderstanding on what a command can do kept crashing my rhino. I think I need to go back and learn more basics about grasshopper to avoid crashing rhino and also to understand the more complex commands. I also learned how to think about deign proposal and how it can be very useful in your own design and often dictate your own design. I realised I can disagree with how a proposal was done and that has enabled me to criticize my own design proposals.

B . 8 Bibliography Brower, Steven, How The Oxford Rule Led To Rolling Stone, 2018 <http://www.printmag.com/publication-design/how-the-oxford-rule-led-to-rolling-stone/> [Accessed 17 April 2018] Jakubowski, Adam, Adolf Loos - Ornament And Crime, 2008 <http://prattspring08.blogspot.com. au/2008/01/adolf-loos-ornament-and-crime.html> [Accessed 17 April 2018] Mishima, Satoru, FOA Spanish Pavilion, 2005 <https://divisare.com/projects/272168-foa-alejandro-zaera-polo-farshid-moussavi-spanish-pavilion> [Accessed 17 April 2018] Moussavi, Farshid, and Michael Kubo, The Function Of Ornament (Barcelona: Actar, 2008), pp. 6-10 Peters, Brady, “Realising The Architectural Idea: Computational Design At Herzog & De Meuron”, Architectural Design, 83 (2013), 58-187 <https://doi.org/10.1002/ad.1554> Unknown, Francis De Young Museum, 2018 <http://brooklyncool.wordpress.com> [Accessed 15 April 2018] V. IOVINE, JULIE, Building A Bad Reputation: Sloppy American Construction, 2004 <http://www. wirednewyork.com/forum/showthread.php?t=5194> [Accessed 17 April 2018] Waymarinc., CHRISTIAN DIOR GINZA, 2007 <http://waymarinc.com/images/christian-dior-ginza> [Accessed 16 April 2018] Wikimedia Commons, Christian Dior Store In Ginza.Jpg, 2007 <https://commons.wikimedia.org/wiki/ File:Christian_Dior_Store_in_Ginza.jpg> [Accessed 17 April 2018]