Mahadik ketki 831165 finaljournal by Ketki Mahadik

Studio AIR

Ketki Mahadik 831165

Table of Contents 4 INTRODUCTION 4 Ketki Mahadik 6 Conceptulisation 6 A.1 Design Futuring 8

Precedent 01

10 Precedent 02 12 Algorithim task 01 14 A.2 Design Computation 16 Precedent 01 18 Precedent 02 20 Algorithim excercises 21 Algorithm task 02 24 A.3 Composition/Generation 26 A.4 Conclusion

INTRODUCTION My name is Ketki Mahadik and I am a third-year architecture student. I have been exposed to digital design in forms creating 3D models of rhinoceros, AutoCAD and Adobe suite. I have also used 3D site analysis tools like sun-path. I have only used rhinoceros to create 3D models of my designs and never learned any plugins like grasshopper or Vray. I have learned through a subject. another algorithm software called MAX which is a patch-based program for interactive art, music visuals etc (see FIG.2). Similar to grasshopper it uses inputs and creates outputs with algorithm tools to create unique patches. I think digital design is practicing a new form of design approach that lets one imagine beyond the impossible. It enables one to see every single possibility of one idea. I have yet to experiment with the parametric of digital design or 3D modelling in form of grasshopper and look forward to studio air to learn about it.

CONCEPTUALISATION

FIG.1: 3D MODEL IN RHINO

FIG.2: PATCH MADE IN MAX CONCEPTUALISATION 5

CONCEPTULISATION A.1 DESIGN FUTURING

Design can create, imitate and recreate. These abilities would seem very conflicting of each other, and it is. The discourse of designers, technology, innovation and people are the very essence of design. In the readings it is argued the future of design can only be furthered if we use these abilities to recognize and solve the world issues1 . There is a unsustainable and unreliable future ahead of us and thus this new technology and innovation should further us. But this also leads to a design democracy that focuses on aesthetics and physicality 2. Instead we should use design intelligence to explore an in-depth environment around us3. Peter Eisenmanâ&#x20AC;&#x2122;s, city of culture tries to integrate the past, present and future using 3D modelling to create a true cultural space. And the three lessons architecture present us with a perspective on the act of design as machines, which explores design intelligence for pure design.

1 Tony Fry, Sustainability, Ethics And New Practice, 1st edn (Oxford: Berg Publishers Ltd, 2008), pp. 21-29. 2 Tony Fry,1st edn, pp. 10 3 Tony Fry,1st edn, pp. 10 6

CONCEPTUALISATION

FIG.3: PROJECT: FUTURE FLOWERS BY DANIEL LIBESKIND, A SUSTAINABLE DESIGN THAT CHALLENGES SOCIAL AND ENVIRONMENTAL SYSTEMS.

CONCEPTUALISATION 7

THE CITY OF CULTURE PETER EISENMAN

PRECEDENT

FIG.4: CITY OF CULTURE BUILIDNG BY PETER EISENMAN

Peter Eisenman’s city of culture is a design that merges futuristic tectonics and democratic design using a arbitrary systems. The city of culture superimposes three tectonics: the medieval plan of the city of Santiago, topographic map of the site and a Cartesian grid. Using 3-D modelling these geometries are distorted and created a topography that is made from the matrix of old and new.1 This is revolutionary because it creates a possibility of something that does not exist and could be created through modelling software. Creating a new topology that narrates the people, history and future is a way of democratic design. Using a arbitrary system that informs and distinguishes the dysfunctional binary of the site and is produced through the disharmony.

FIG.5: CITY OF CULTURE BUILDINGS FROM FAR AWAY, WHERE THE DIFFERENT TOPOGRAPHIES OF THE SITE CAN BE SEEN.

This opens possibilities of creating cities, buildings and spaces that don’t rely on a planar site but developed through different matrixes of culture that can be inputted by people to sustain design and the future2. Eisenman says that People like the strangeness of the ground surface that they walk on because it distances them from the obvious reality of being. People value eh This cultural centre in Spain, Galicia look beyond the act of designing but the impact of design on people in a rich cultural community. Creates imagination and discussion which is used as a cultural centre that helps people become harmonious with their surroundings and the past and future. space as a possible reality, it and the power of design to merge past and future. 1“The City Of Culture / Eisenman Architects”, Archdaily, 2018 <https://www.archdaily.com/141238/the-city-of-culture-eisenman-architects> [Accessed 10 March 2018]. 2Anthony Dunne and Fiona Raby, Speculative Everything ([S.l.]: MIT, 2014), pp. 2-5 8

CONCEPTUALISATION

FIG.7: SECTIONS OF THE FUTURISTIC LANDSCAPE THAT WAS CREATED.

FIG.6: THE DIFFERENT TOPOGRAPHICAL MAPS THAT WERE LAYERED AND USED AS A INPUT FOR THE PARAMERTIC MODELLING

CONCEPTUALISATION 9

PRECEDENT

THREE LESSONS OF ARCHITECTURE BY DANIEL LIBESKIND Three lessons in architecture was an exhibit in the 1985 Venice biennale. It about three machines, made for reading, writing and memory. It uses motifs, symbols and texts from architectural texts to create a unstable machinery system that is stabilized by the programmed mechanics of the machines1. It was the first-time process and conception of architecture was made into these physical functioning machines. It was considered revolutionary as instead of creating with machines, the machines itself were the creators. They were not buildings or spaces people could experience but I think it says a lot about design futuring. Looking as design as a operation and moving makes u realize how design can be interpreted and not replaced by innovation, technology and the future. In the reading it talked about design intelligence and how design tended to be a reductive focus, although Libeskind has reduced the act of reading, writing and memory I don’t think it reduces to a act, but to a qualitative system of the design context and environment 2. I think the purpose of this, like other works of Libeskind, were to create an observation of design separated from the acts of design, which makes you question how design as a thinking process should work or not work. which is relevant to value of computational approach to design that makes us more focused on the design as a language to explore rather than create.

1“Three Lessons In Architecture: The Machines - Libeskind”, Libeskind, 2018 <https:// libeskind.com/work/cranbrook-machines/> [Accessed 7 March 2018]. 2Tony Fry,1st edn, pp. 12 10

CONCEPTUALISATION

FIG.8: THE MEMORY MACHINE

FIG.9: THE WRITING MACHINE

FIG.10: THE READING MACHINE

CONCEPTUALISATION 11

ALGORITHM TASK 01

The task was to listen to a piece of music â&#x20AC;&#x2DC;Arrival of the platform humletâ&#x20AC;&#x2122; by Percy Grainger. I created a set of points in rhino that I though represented the highs and lows of the music. Then i ran curves through them which were lofted. I tried to use circles to create an end and start of the loft which resulted in this algorithm.

A.2 DESIGN COMPUTATION Computers have the ability to frame complex, impossible and the simplest problems to create solutions that are feasible and explored in ways the human mind would not or could not be able to explore1. It enables architects to go beyond just dimensional planes, geometries and repetitive architectural elements. It has become so sophisticated that It can be used through the design process to form, production and fabrication. It has become an integrated part of my architecture study and process like other students. Architecture students years before us would not approve of this as the physical act of drawing, rendering and constructing might seem the true nature of architecture for them. But computers take away the limitation, difficulties and time consuming tasks to focus more on the design, the whole and the theology of architecture. Drawing a cube by hand or a computer would be the same, but with computation u can transform and manipulate geometrical points and planes that would not able to be produced or realized by a human hand. Sometimes computation can be seen as an easy design generating machine, that lacks the depth of human design process. But computation allows one to see beyond the 3-demisonal geometry and into untapped realms of consciousness that ghosts our environment. With computation, one can defy physical capability with 4-d printed materials by Skylar tibbis and exploring a bigger sense of totality like the ICD pavilion.

1 Yehuda E Kalay, Architectureâ&#x20AC;&#x2122;s New Media (Cambridge Mass: The MIT Press, 2004), pp. 1-25. 14

CONCEPTUALISATION

FIG.11: THE GRANULATED GEOMETRIC FORMS THAT WERE USED FOR THE ICD PAVILION.

CONCEPTUALISATION 15

FIG.12: THE STRAW MATERIAL SELF MOVES AND SELF FORM SHAPES USING WATER AS A ACTIVATOR.

CONCEPTUALISATION

MIT: SELF BUILD STRAW BY SKYLAR TIBBIS

PRECEDENT

Skylar tibbis an MIT, director if the self assembly lab, produced a self shaping material, printed din in 4-D. A strand of material that uses water to transform in 2D or 3D shapes or surfaces1. It can be used to program specific characteristics or decision making that could transform how materials could interact with the design, the environment and people. Rather than a rigid stricture, one could experience a living, breathing space. This could change the design process, as one wouldn’t need to restrict themselves to a realm of practicality and geometric limitations. One also has material creativity, with new ways of manipulating and creating new materials. Like alchemy, using different materials to crate magical and fascination materials. It needs complex science and maths that can only be fabricated through computation as it is physically non-existential. With computation you could explore, analyse problems, ideas and solutions into new dimensions that wouldn’t be able to exist without the help of computation.

1“4D Printing: Multi-Material Shape-Change | Additive Manufacturing (AM)”, Additivemanufacturing.Com, 2018 <http://additivemanufacturing.com/2013/04/07/4d-printing-multi-material-shape-change/> [Accessed 9 March 2018].

CONCEPTUALISATION 17

PRECEDENT

Computation allows going beyond geometrical planes and sometimes beyond geometric states. When you break down mass, you get molecules and atoms, the basis for life. Computation can visualise and analyse multiple characteristics and parametric in a singular matrix. Like the ICD pavilion by Karola Dierichs and Achim Menges. The ICD pavilion by Karola Dierichs and Achim Menges is an example of using computation to create a granular system that has to ability to self built1. Computation can lead to materials that are structurally build like nature itself. The ICD pavilion uses these spikes that behave like a liquefied material when put together. It can program its form by interacting with other spikes. The freedom of behaviour and manipulation of material is very hard to create, and not only is this unique aesthetically but it is unique because we can see a material behave very true to itself. Computation and the innovation of fabrication can recreate very organic and natural materials like how the spikes are given a vertical structure and angles like sand. Another project by architect Kyle von Hasseln shows the immense opportunity that design can explore through multidisciplinary concepts. Hasseln through experimentation for a thesis, used Zprinter (3D printer) a additive manufacturing tool to print a rigid crystallized matrix structure of sugar. Hasseln added sugar for its translucency and economic availability, this led to discovering a crystal matrix that had already been previously used by pastry chefs to make sugar structures2. He did not discover something new, but the journey and process of discovery was very experimental and freeform. Due to this technology he found out the ability of sugar to create geometries and programmed structures and surfaces like the CMYK colour model. Postmodern architecture was used as a reaction to modularity and formality. Computation is similar as it is exploring paths and disciplines that have never been explored to create something new, original and unexplored. 1 Karola Dierichs and Achim Menges, “Granular Construction: Designed Particles For Macro-Scale Architectural Structures”, Architectural Design, 87.4 (2017), 88-93 <https://doi.org/10.1002/ad.2200>.

2 Kyle von Hasseln, “Crystalline Tectonics: An Architect’s Guide To 3D-Printing Sugar Or Anything Else”, Architectural Design, 87.6 (2017), 98-105 <https://doi.org/10.1002/ad.2244>. 18

CONCEPTUALISATION

FIG.13: THE MODULAR SPIKES ARE FORMED INTO A WALL TAHT SELF SUPPORT EACH OTHER WITHOUT ANY RIENFORCEMENT

FIG.14: THESE ARE SOME PARAMETRIC MODELS FROM THE MODULAR SPIKES THAT SHOW HOW TEH SPIKES CAN FIT TOGTHER IN DIFFERENT WAYS.

CONCEPTUALISATION 19

ALGORITHM EXCERCISES FIG.15: ALGORITHM MODELS THAT WERE MADE USING GRID MESHES AND WERE SMOOTHED. SHOWS THE STARTING GEOMETRY TO THE FINISHED MESH.

FIG.14: ALGORITHM MODELS I CR6ATED USING PLANAR TOOLS AND CIRCLES

FIG.17: ALGORITHM MODELS I CREATED USING PLANAR TOOLS AND RECTANGULAR MESH

CONCEPTUALISATION

ALGORITHM TASK 02

The task in week 2 was a groupwork task. We were told to pick an artwork from Richard Mosseâ&#x20AC;&#x2122;s art series enclave. We analysed the artworks and choose the quality of movement, landscape and organic elements in the images. Then we individually created conceptual models that were then merged together. I used the contours of the landscape in the image to create these vertical curves and my teammate used the organic elements like the river, people and trees as inspiration for her model. FIG.18: CONCEPTUAL DIAGRAM FOR THE TASK. CONCEPTUALISATION 21

FIG.19: 3D MODEL OF THE DESIGN TASK.

CONCEPTUALISATION

Then we played around with the elements to create a more non-structural and un realistic space like how the images were seen by us. We offset the contour curves to create a more puzzling and in-depth form. We set the program as a pavilion, but I could also be used as a outdoor sculpture that is interactive. The final outcome was surprising and unpredictable thus we feel it represented the duality and surprising element of the war and the colourful images.

CONCEPTUALISATION 23

A.3 COMPOSITION/GENERATION In the 1960’s architecture was criticised for relying on an architect’s biases to create a autocratic design. At the same time, the introduction of cybernetics to introduce matrixes and systems that used numbers and information to create space and form. These two concepts are quite similar as architecture could be explored unbiased and in a information built environment. This is composition and it was used to create algorithms in relation to form and urban environment. It wasn’t creating something new, but rearranging information and points in a cyber space to compose structures and environments. Paul Coates, a student at Architecture association was influenced by vernacular architecture publications and cybernetics to explore urban compositional forms. He created analogue algorithms that were generated by a random generator. This was one of the first algorithms that was compositional but also combined with a generated information1. Composition was for function, as form follows function. It was not to create a new function or just pure experimentation of an infinite matrix of numbers. 1Paul Coates and Christian Derix, “The Deep Structure Of The Picturesque”, Architectural Design, 84.5 (2014), 32-36 <https://doi.org/10.1002/ad.1805>.

FIG.20: THE IMAGE SHOWS A COLLECTION OF CAMERA VIEWS FROM WITHIN THE OFF-GRID ‘ALPHA SYNTAX’ MODELS THAT COATES DEVELOPED FOR BILL HILLIER IN 1979.

CONCEPTUALISATION

FIG.21: PAUL COATES, FIRST MANUAL SETTLEMENT ALGORITHM, 1968. BEFORE HIS FI RST COMPUTER-WRITTEN ALGORITHMS, COATES EXPERIMENTED WITH ANALOGUE ALGORITHMS USING ANALOGUE RANDOM NUMBER GENERATORS AND LUMINOUS STICKERS FOR STREET AND BUILDING SPACES, PLACING THEM ON A MANUALLY DRAWN GRID.

Parametric models such as the game of life by john Conway, used a set of rules which are life-like, nonlinear and unpredictable1. Thus resulting in scripts that are complex and inconceivable like life. My understanding of generation is basic like the structure of DNA or a tree. I can see it as the growth and formation of groups, species and worlds through regenerating patterns that follow rules or rules that are illogical. The game of life seems to not be as generating, because the rules are scripted and there are finite rules. But the amount of rules and the complexity of rules can be deemed infinite to a human mind to go through. Due to the nature of this program, there are scripts that can be conceived like DNA, making each script unique and different. As I have been using grasshopper, I have created scripts that take a input and manipulate that input, this can be considered compositional. If I created points or vectors and I made them follow certain limits, averages or series and then added transformation or interpolation it would seem generating. But I could consider creating points or vectors as a input that is controlled rather than arbitrary. This relates to our definition of true architecture, as computation can be a mere tool rather than a process. It is difficult to comprehend the ability of computation, but can only be understood by experimentation, learning and realizing by oneself. 1Philip Ball, “Pattern Formation In Nature: Physical Constraints And Self-Organising Characteristics”, Architectural Design, 82.2 (2012), 22-27 <https://doi.org/10.1002/ad.1375>.

CONCEPTUALISATION 25

A.4 CONCLUSION

Design can be a successful process trough computation, as rather than design being a reductive focus, it can be expanded through computation which can analyse, explore and realize multiple ideas and concepts which open possibilities that could be generated easily. Design should focus on observation of material creativity and organic abilities. Trying to create a sense of true form and space. Designing in a computational method not only creates unique solutions, it can frame problems differently. Which could create different solutions, it is a infinite loop that can never be explored totally. Thus taking one concept in a infinite matric of information is significant to understand conceptualization of a singular site, issue or problem. I think computation can benefit student like me who lack an extensive understand of what a site, matrix, system or environment could interact and express. Having the ability to experiment with the site details such as contours or curves or p0ints can result in a deeper understanding of a site or problem.

CONCEPTUALISATION

A.5 REFLECTION

I have never studied design theories in relation to futures, computers or pure mathematical generation. I have always seen design approach and process as a very personal and intrusive. I have realized that there is a very large expansion of geometry, composition, form and planes that are unexplored and invisible to me. I used to think of computation modelling in a aesthetical and representational way, to do project presentations. I realize that is not true design and is merely a drawing tool. I can imagine the possibilities that when ventured into I can realize and understand. I plan to experiment individually and to use them in my future design process. As I have been doing my algorithm tasks I have realized that theory is very important is the lawless world of computation. That even the most arbitrary and ugly model can be purposeful and conceptual. I hope to explore more of rhino and grasshopper to conceptualize a free design not restricted with limitations of reality.

CONCEPTUALISATION 27

A.6 APPENDIX BIBLIOGRAPHY

IMAGES

FIG.1: Mahadik, Ketki, Rhino model for studio water. 2017 FIG.2: Mahadik, Ketki, Interactive art patch model. 2017 FIG.3: Inhabitat, Libeskind’s Future Flowers Project, 2017 <https://inhabitat.com/daniel-libeskinds-strikinggeometric-future-flowers-pavilion-brings-a-burstof-color-to-milan-design-week-2015/future-flowersBall, Philip, “Pattern Formation In Nature: Physical Constraints by-daniel-libeskind-2/> [Accessed 6 March 2018] FIG.4: Malagamba, Duccio, The City Of Culture And Self-Organising Characteristics”, Architectural Design, By Peter Eisenman, 2018 <https://www.archdaily. 82 (2012), 22-27 <https://doi.org/10.1002/ad.1375> com/141238/the-city-of-culture-eisenmanarchitects> [Accessed 8 March 2018] FIG.5: Malagamba, Duccio, 2018 [Accessed 8 March 2018] Coates, Paul, and Christian Derix, “The Deep Structure FIG.6: Malagamba, Duccio, 2018 [Accessed 8 March 2018] Of The Picturesque”, Architectural Design, 84 (2014), FIG.7: Malagamba, Duccio, 2018 [Accessed 8 March 2018] 32-36 <https://doi.org/10.1002/ad.1805> FIG.8: Studio Libeskind, THREE LESSONS IN ARCHITECTURE: THE MACHINES, 2018 <https://libeskind.com/work/ Dierichs, Karola, and Achim Menges, “Granular cranbrook-machines/> [Accessed 11 March 2018] Construction: Designed Particles For Macro-Scale FIG.9: Studio Libeskind, 2018 [Accessed 11 March 2018] Architectural Structures”, Architectural Design, 87 FIG.10: Studio Libeskind, 2018 [Accessed 11 March 2018] (2017), 88-93 <https://doi.org/10.1002/ad.2200> FIG.11: DIERICHS, KAROLA, ICD Pavilion, 2018 <http:// www.karoladierichs.net/> [Accessed 13 March 2018] FIG.12: Skylar Tibbits & Stratays, Self Shaping Straw From Dunne, Anthony, and Fiona Raby, Speculative MIT, 2018 <http://www.wired.co.uk/article/biologyEverything ([S.l.]: MIT, 2014), pp. 1-26 is-the-new-software> [Accessed 14 March 2018] FIG.13: ICD Universität Stuttgart, 2015 <http://www. detail.de/artikel/verbinden-ohne-verbindungsmittel-icdFry, Tony, Sustainability, Ethics And New Practice, 1st pavilion-aus-granulat-26435/> [Accessed 14 March 2018] edn (Oxford: Berg Publishers Ltd, 2008), pp. 21-29 FIG.14: ICD Universität Stuttgart, 2015 [Accessed 14 March 2018] Kalay, Yehuda E, Architecture’s New Media FIG.15: Mahadik, Ketki, grasshopper (Cambridge Mass: The MIT Press, 2004), pp. 1-25 exercises for algorithm task, 2018 FIG.16: Mahadik, Ketki, grasshopper exercises for algorithm task, 2018 “The City Of Culture / Eisenman Architects”, Archdaily, FIG.17: Mahadik, Ketki, grasshopper 2018 <https://www.archdaily.com/141238/the-city-ofexercises for algorithm task, 2018 culture-eisenman-architects> [Accessed 10 March 2018] FIG.18: Mahadik, Ketki, grasshopper 3D model for algorithm task, 2018 FIG.19: Mahadik, Ketki, grasshopper 3D “Three Lessons In Architecture: The Machines model for algorithm task, 2018 Libeskind”, Libeskind, 2018 <https://libeskind.com/work/ FIG.20: Paul Coates and Christian Derix, “The Deep cranbrook-machines/> [Accessed 7 March 2018] Structure Of The Picturesque”, Architectural Design, 84.5 (2014), 32-36 <https://doi.org/10.1002/ad.1805>. von Hasseln, Kyle, “Crystalline Tectonics: An Architect’s FIG.21: Paul Coates and Christian Derix, “The Deep Structure Of The Picturesque”, Architectural Design, Guide To 3D-Printing Sugar Or Anything Else”, Architectural 84.5 (2014), 32-36 <https://doi.org/10.1002/ad.1805>. Design, 87 (2017), 98-105 <https://doi.org/10.1002/ad.2244> “4D Printing: Multi-Material Shape-Change | Additive Manufacturing (AM)”, Additivemanufacturing.Com, 2018 <http://additivemanufacturing.com/2013/04/07/4d-printingmulti-material-shape-change/> [Accessed 9 March 2018]

CONCEPTUALISATION

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]

Studio AIR

Ketki Mahadik 831165

Journal C

C.1 4 Design Concept 4 For our mid semester presentation we proposed a attraction for ants. 4 Changes 7 rain station became an important center to our site. 7 Thoughts 7 Week 10 Iterations 8 Week 11: Rationalising the crazy 9 Week 12: Final Iterations 11 Form Finding 16 Stack them up 19 Testing the waters. 21 Template for angles 24 C.3 29 C.4 32 Learning Objectives and Outcomes 32 Bibliography 34

C For our mid semester presentation we proposed a for ants. 1 Designattraction Concept

It started with me choosing tramp ants as our precedent, from there with my groupmate we researched about ramp ants. We gathered information that detailed how tramp ants work and how they behave. One interesting behavior of ants was the ‘pheromone walk’. The way an ant travels from home to food is a process, of creating lines using pheromones that travel between food and home, and as more ants travel this route they rework the route to find the fastest path. The way we decided to model was using the travelling salesman algorithm in grasshopper, which finds the closest point in a cluster of data. The closest point and polyline creates these extensive networks. The using Octree we created these dense, populated cubes. We through it was a good representation of a rationalized ant colony network. When we situated in our site, we through it could become a pavilion. While thinking of materiality we negotiated on what the ‘food’ could be and the ‘home could be . We considered our site as the home, using the park as a centre for the colony. Since ants would explore most of the site, an open space could become a center. For our fabrication, we came across an architect who 3D printed sugar geodesic forms. We thought we could use sugar as the material that acts as the pheromone to the park.

Figure 1: The exploration of the travelling salesman

Figure 2: The mid-term geometry

The feedback 1. Scale: The critics expected the structure to be small, but when showed with the human figures, they though the scale was too big and needs to be thought about. 2. From: They asked why did we end up with cuboid forms in our design, was there a reason behind it 3. Materiality: they though sugar was too gimmicky, and if we were serious they needs to be tested to see if it works. 4. Site: Why is it situated in the park? What does it do for the iste? What do ants do there? 5. Concept: too vague, be specific about ant, its behaviour

Thoughts From the feedback, i found a checklist in my notebook.

Looking at feedback the one thing that was consistent was that we were not being specific, and it was too vague and disconnected with the concepts we were talking about and the visual geotries we were presenting. We realized that we weren’t creating real spaces, we were just stating grasshopper scripts and saying these were through concepts.

Changes

• • • • • •

Changes

Sugar (??) Site visit//ants Research chosen ant Research site Research program. Changes to concept

Changes

The first thing we did after the mid semester was chose a specific species of tramp ants.The species I wanted to select was the argentine ant because it was the only species that were spotted in the whole of Australia. And were the worst invasive species of ants. We decide to stick with the argentine ant and look at specific behaviour that can only be found in the argentine ants. There was a video explaining how argentine ants became the most powerful super colony fo nats. This video depicts 3 argentine ants taking down a different species who was 2x bigger in size. We were amazed at its way to dominate and win against anything through the sheer different of quantity. We decide to focus on the ants ability to be a collective, the fact that they can only survive by being a collective force. We didn’t take in the site, beauce an ants awareness is quite impartial to ist site, since it can travel and expand underground. Another issue was our program, I found it very difficult to think about program, because I always tend to think something is too ridiculous or too simple. I defneltylack knowledge in how to thik about concepts not in justa abstracted way but in a realistic and holistic way. The feedback from the ctris for us and other groups was definitely that the answer lay in what we knew (the site). The argentine ant is attracted to food and moisture. Thus can potentially be discovered across the site. We decided to focus on the moisture, In particular the river line. We visited the site again to see if we could potentially see some nats, but we choose a pretty wet dn gloomy day to explore. Thus we decided to just walk around and instead we realized something about the site, the station and its function for the site. The train station works as a collective hub for the users, we wait as individuals then travel as a collective. The train station became an important center to our site.

Week 10 Iterations

Week 11: Rationalising the crazy

Figure 3: Geomtry in relation to site To let go of the bias we had in our intern presentation, we decide to start from the site. Using a site model, we pinpointed locations in our iste that we considered important, the station, the creek, the park, the houses. The main infrastructure. Then we maxed the amount of points, to try to visualize a network of ants, that are hidden to us in daily life. We used 100-1000 kms as a variable for our pints, to create a real life measurement of these super colonies. Then suing the algorithm we joined the points up, to create liens between the closet points. Then through various iteration and additions we resulted in a massive flux of lines. From there we decide to orient it to oru site. UsIng projection and eventually array to organize these line sto fit into the context of our site. We used variables based of genetic variation of the argentine ants and the distance between colonies based in Victoria, Australia. We were trying to create a sense of a geometry that was one entity that could be basically made on a million pieces, like the pheromone networks ants use. Figure 4: To think about fabrication, we decide to create surfaces based n our geometry, using lofting techniques. But we thought it was going to away from our design thus we decided to not pursue it.

The first prototype we tested was through creating volume between lines, we 3D printed this to think about it in terms of a surface that could potentially become hollow. And to also see the ways in which our lines interact with each other when given volume

Figure 5: 3D printed section of geometry We realized that we needed to organize, our geometry, we used array, with projection to align our lines in relation to our sites. So During week 11-12 we did numerous iterations to figure out how we could organize these lines.

“ Unfinished business”

Week 12: Final Iterations

The train station became a intresting percpetion for us in terms of how transortaion was a collective activty of humans, like teh colletcive behavior we were trying to scrpit in grasshopper

Arentien ants are attracted to moisture, the creek is a very attractive point.

While looking at the animal atlas, i serached fro teh loctaion (sightings0 of argentien ants in teh merri creek valley, and there was a siting of argentien ants along teh creek.

Figure 6: Argentine ant sightings in Greater Melbourne region

Merri creek catchment area

Figure 7: Distance between Argentine ant colonies in Victoria

Like our ants that exist idden to our eyes, we wanted to search for programs that could merge into out geometry, where it could become a place of ambiguous space that was built for a specific program. We were looking at r site and the kind of activities that can be found, we also researched about merri creek, there was a lot interesting history about the merri creek we came across. The creek itself is a very long and dominant feature of the surrounding suburbs, bt it is very neglected. We came across the Meriis creek committee, and they had some issues and some solutions to these problems. The Merri creek committee tries to facilitate this through community and volunteering engagement, allowing residents in the locality to have ownership and do take care of their waterways. There was one issue in particular regarding the merri creek, was residential and industrial developments near the creek. There was a increase in development and the committee was concerned with protecting the creek from waste, people and maybe the depletion of the creek. This as interesting as i was also reading about set back laws in new york, and how they maximize a small footprint to enable the maximum floor area. This got me thinking about the merri creek in terms of a boundary and a space for the merri creek to create awareness of these issues. And especially our site beauce there is literal barrier between the creek and the station. There is a interrupted and non-existent awareness of the creek.

‘The

entire process’

A: Lines, from final iteration that have been reduced and cenetred in teh water. B: Polyline, Using end points C: Diagrid, connecting every end point of the lines

Form Finding The nature of our geometric was quite free form, we decided to think of our geometry a space frame, the lines could be related to each other using a frame. Using a additive fabrcitaion of connection to formulate a unique space. The fist fabrictaion technique i tried was to pipe the lines, to cretae a netwwokr of pipes taht could be coneted toe ach other. But It creted such a complex gemoetry hen we tridto 3D print a scetion, a 3D consuant said or geometry as too comples and 3D printing was no appropirtae. for it. So we nend to resolve our deisgn for fabrictaion. I was pretty stuck in idead and so was my groupmate. I wanted to rethink the definitions of our dgemoerty, think thinking of as a space frame was limiting us from exloring its capabilites. Thus we scaled it doewn and thorugh about an orgnaization method we coudl adpot form ants. Going back to all those videos we watched, especially from the ant man they were quite memorable. I remember the ants piling up and creating a self supporting bridge using themselves. I remembered a precedent i had done for journal A, where they used a self supporting components, that were stacked to create a wall.I was interested in how granular components can self construct, making the definition of a plan exponential, since it can be extended continuously in terms of demand and need1. It created a space supporting entirely itself. I was fascinated by this, and very curious how one could do this without connections. As i was researching this project, one thing that they talked about was a using computer simulation test material qualities, which helped configure components. I did not know how to use this, thus i found a pattern in the geometry, junctions that repeated itself, i looked from one point to another point when our geometry was created as diagrid. We created a multidimensional component that could encompass our designs.

1 Karola Dierichs and Achim Menges, â&#x20AC;&#x153;Granular Construction: Designed Particles For Macro-Scale Architectural Structuresâ&#x20AC;?, Architectural Design, 87.4 (2017), 88-93 <https://doi.org/10.1002/ ad.2200>.

A pattern i noticed in the geometry was a ‘X’ shape. Escpialy in teh diagrid. ‘X’ is shape taht can be explored

A unique pattern i saw was the a ‘V’ tessllation. The pattern will also be tested.

After breaking down our geometry to a smaller scale, a very refined space frame is found. To fabricate in a manner that would still be able to represent the complex grid and create a sense of adaptability and collectivism. So using the concept of granulated architecture, The core element of our construction would component that can stack be considered a singular geometry.

Figure 8: Section near teh station in geomtery

Using a component to create a stacking technique, that would be further secured with soldering. Using a minimum variation model would create a sense of a granulated arhitect. To construct we through of using soldering iron. With a soldering iron one would be able to get a seamless connection, to assemble one unit.

C Stack them up 2

Welding bracket

To support itself on the ground, the system would be drilled down into a concrete footings system. A concrete footings system would allow the unit to become larger in scale as well. Pre-drilled holes

Steel pipe to construct the unit. Would be welded to create unit.

To test if we can weld things we tried using vinyl tube and metal tread to create a prototype, we also used vinyl tubing to think about transparency in water.

We also made some visual models, to help analyse the relation within each other, although it didnâ&#x20AC;&#x2122;t help in the end.

Testing the waters. Before we started welidng we used basal nwood to test, if this stahcing effect does in fact work. We started with 2 lines, and tehn added oenmore lien to our units to see if having a denser unit is better.

Figure 9: Basal wood prototype 1.

The 2 test was much better and much denser, we creted a stronger joint in tension.

Figure 10: Basal wood prototype 2.

Figre 11: Basal wood unit configuration 1. Figre 12: Basal wood unit configuration 2.

As we felt it was feasible to prototype using soldering. To prototype we used pattern 2. Using a scale of 1:10. To fabricate our prototype we cut our pipes and then we soldered it. We made units first and then we further assembled the units. To create a more diverse component.

Our prototype was stacking, but one issue we found was that the unit itself was not balanced. It kept on tilling on its mass by itself. So we decide to change our component.

Figure 13: Prototype of stacking pattern1 .

For our angles, we used a flattened junction in our geometry to utilize a template to alight our â&#x20AC;&#x2DC;xâ&#x20AC;&#x2122;s.

Figure 17: Soldering setup. Template for angles

Figure 14: Pre-organizin our ‘x’ forms.

With our previous prototype we felt the scale was too small, to get the detail so we scaled this to 1:2. The We first marked the mid points of our lines , then we created the ‘X’. Then we started soldering each component. It took us much faster in this scale to solder. Figure 16: The component as a whole

Figure 15: marking the mid points of our lines.

The joints provide, rigidity, the unit itself is very rigid and can support itself. The only issue is The Fabrication model needs to be tested in grasshopper, because creating a stacking. I am not able to test the whole structure efficiency. Also the ability to be rigid.Put the soleirng can break, as we are beginners in soldering we can not get perfect soldering connections. Were using 1:50 as a scale for our prototype and its seem that the stack effect cna work, but itâ&#x20AC;&#x2122;s hard to be volumetric, thus we need to use connection to expand. So we have to create connections in our stacking to make it expansible. These connections could be a form of tie or it could be soldering. For soldering we have to soldering wire, as a metal it seems to be very rigid. We cans use metal, because itâ&#x20AC;&#x2122;s good in tension and compression, but we might need surface coatings such as waterproofing and we need a base as well. For the units that hit the ground, there can be tension rod footing in the ground. By hand soldering takes a long time, with an expert it might take faster. Researching ways in which soldering had been integrated in digital fabrication, there has been autonomous fabrication integrated. Using robots to hold the material adn to solder. The next issue we came across that caused a lot of annoyance, was our ability to hold the next iron piece to join, One could make a jig or a robotic jig that could hold the next piece in the angle needed, so one person can assemble the unit faster. The cost of the soldering iron and the wire itself is not expensive, for prototyping purposes it is feasible.

For fabrication, I think pre-fabricated units can be welded and prepared for site with finishes for waterproofing as there will be some pipes that will be in water. For leverage there could b more holes added in addition to welding to make it secure. The material will be stainless steel pipes.

C 3

Final detail Model.

S T A C K

2 components

Density in the centre

4 components

Density farther away

6 components

Density farther away

S S S TTT AAA CCC KK K

S ST AT CS AS S K TCT T AKAA CCC KK K

C 4

Learning Objectives and Outcomes The final presentation we gave, is very different from our final design. The feedback we got from our final was that we did not develop our project yet. We had not considered fabrication, but just a concept that was unfinished. Since We havenâ&#x20AC;&#x2122;t finished the project, we started C.2 from our final presentation. Looking at our final design, there are many things that could have improved in terms of efficiency and accuracy. Using soldering as our technique, could be made using a robotic jig. Using a robot hand to rotate and hold the new piece for soldering would make the fabrication a lot faster and accurate. There is also one program of the merri creek we did not explore but through about was water testing. The merri creek does regular water pH level testing with volunteers to test the healthiness of the river. As some our pipes are situated in the water, we through about having a ph meter, that is attached to LED program in the tubes, changing colour according teh the ph levels in the water.

Objective 1. “interrogat[ing] a brief” by considering the process of brief formation in the age of optioneering enabled by digital technologies As we had to construct our own briefs, in relation to our precedents, we used our site and our ants as our clients. The precedent itself had a lot of explorative information and i think i managed to explore and extract usable data that could inform the design process. I did think that we were focused too much on our geometry and would have been better to check in with our brief or keep updating our brief as we created new designs , or have it in the back of our minds to keep engaging with the brief at all times.

Objective 2. developing “an ability to generate a variety of design possibilities for a given situation” by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive design-space exploration I was quite explorative with grasshopper definitions. I do think i should have focused on a one definition rather than using different definitions that are very different to each other, i think it would have been easier for fabrication purposes to resolve and evolve our design in a linear fashion. In relation to parametric modelling, we used real data as variables, but I think i was not purposeful in my use, rather i was used the same variables in different definitions rather than creating new sets of data with each iteration.

Objective 3. developing “skills in various three dimensional media” and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication; i think i have developed skills in computational geometry and parametric modelling. I did not know grasshopper at all at the start of the subject, and in 12 weeks i have only scratched the surface, but i have learned a lot. Although i think i need to improve my digital fabrication skills. I think i did not utilize a fabrication that could benefit from digital fabrication. It took time and didn’t take full advantage of digital fabrication. I think there was also the issue of time management and resolving things at the last minute , that the fabrication was not able to create a accurate model. Objective 4. developing “an understanding of relationships between architecture and air” through interrogation of design proposal as physical models in atmosphere During fabrication, these ‘crazy’ designs we had, were a pain in the arse. I realized that however crazy we can be, it can be very limiting in terms of fabrication due our lack of knowledge, expertise and experience in digital fabrication. When we had a consultation for our designs with Fablab, the consultant mentioned our design was not appropriate for certain fabrication methods. We were not able to explore our design due to our lack of understanding how the computer and the physical world can collaborate.

Objective 5. developing “the ability to make a case for proposals” by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourse. I think the background we learned through the lectures in the studio were quite hard to apply to our projects, but it did help in researching similar projects that could aid in decision and explorative options. Making a case for a proposal was difficult because, we were quite free from constraints, but i think we learned to be specific. We do not if we were successful but, i have learned that i need to constantly look for a reason, for a ‘why?’ to understand the tectonic relationships in any design i do in the future.

Bibliography Dierichs, Karola, and Achim Menges, â&#x20AC;&#x153;Granular Construction: Designed Particles For Macro-Scale Architectural Structuresâ&#x20AC;?, Architectural Design, 87 (2017), 88-93 <https://doi.org/10.1002/ad.2200>