DESIGN STUDIO AIR: JOURNAL TUTOR: SONYA
SEMESTER: 2
KIMBERLY PAKSHONG - 639963
CONTENTS
PART . A
A1. DESIGN FUTURING
P. 7
A2. DESIGN COMPUTATION
P.12
A3. COMPOSITION VS. GENERATION
P.16
A4. CONCLUSION
P. 20
A5. LEARNING OUTCOMES
P. 21
A6. ALGORITHMIC SKETCHES
P. 22
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PART . B
4
B1. RESEACH FIELD
P. 26
B2. CASE STUDY 1.0
P.34
B3. CASE STUDY 2.0
P.46
B4. TECHNIQUE DEVELOPMENT
P. 56
B5. TECHNIQUE PROTOTYPES
P. 72
B6. TECHNIQUE PROPSAL
P. 86
B6. LEARNING OBJCTIVES
P. 96
B6. ALGORITHMIC SKETCHES
P. 98
PART . C
C1. DESIGN CONCEPT
P. 104
C2. TECHTONIC ELEMENT + PROTOTYPE
P.134
C3. FINAL DETAIL MODEL
P.140
C4. LEARNING OUTCOME
P. 152
C5. ALGORITHMIC SKETCHBOOK
P. 154
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ABOUT ME My name is Kimberly Pakshong and I am currently studying my 3rd and Final year of Bachelor of Environments Majoring in Architecture. I am South African born Chinese but have lived most of my life in Melbourne. I have always had a passion for doing something creative and constructive as a career path which led me towards Architecture. Now in my 3rd year of my degree, I have learnt a lot about what the world of Architecture and Design is really about. I have realized it is not something that is just pretty or functional, but embodies and reflects the multiple facets of society, such as how political standings and the economic environment, having the power to change the way we live and shape our world.
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KNOWLEDGE CAD programs are being used universally to create architecture and design either to represent through diagrams, digital modeling and rendering or through integrating data and research aided by CAD programs in the actual design itself such as famous contemporary pieces like the Disney Concert Hall in LA.
through playing with Photography as a hobby. Other programs that I am familiar with include Autocad and Indesign in which I have used within previous Earth and Water Design Studios but I would like to further my knowledge in Rhino and Grasshopper.
Throughout my degree I have had the opportunity to challenge myself and explore new technologies and ways of representing my work and I have realized that it is important to stay relevant within this era of technology and innovation. I have extensive knowledge of Photoshop
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A1.
DESIGN FUTURING
“Whenever we bring something into being we also destroy something the omelette at the cost of the egg, the table at the cost of the tree, through to fossil fuel generated energy at the cost of the planet’s atmosphere.” - TONY FRY
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Fig. 1. List of housing performance indicators for multi-family residential buildings.1 Fig. 1. The Beijing Aquatic Centre – PTW Architects, http://www.acp-conf.org/2013/ images/Tours/9-water%20cube.jpg. Fig. 2. Structure of the Beijing Aquatic Centre, http://mumagi.net/watercube/img/ wire8.png. Fig. 3. Individual cell structure of Beijing Aquatic Centre, http://files1. structurae.de/files/photos/f006382/ watercubemodels_04_m.jpg. Fig. 4. Cell structure prototype of Beijing Aquatic Centre, http://www.designbuildnetwork.com/projects/watercube/ images/10-watercube.jpg. Fig. 5. Elevation, http://c1038.r38.cf3. rackcdn.com/group1/building3570/media/ key%20section%20(2-2).jpg. (Left to right
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WATER CUBE PTW ARCHITECTS
The Beijing Aquatic Centre, also known as the Water Cube, was designed by PTW Architects for the 2008 Summer Olympics. This project was finally chosen and built for the Beijing Olympics and demonstrates it’s success not only in theory but in real life The Water Cube was a revolutionary design that demonstrates innovative uses of materials and the technological potential of Computer aided design while also meeting strict green specifications of the Chinese Government. One of the most interesting aspects of the Water Cube is the bubble appearance and structure that comprise the exterior facade of the stadium. While appearing random and free form, the geometries of the soap bubble structure in which the design is derived from, is very much regular intersecting at a 120 degree angle. The skeleton structure that accommodates this 120 degree axis allows the overall structure to be strong enough to withstand earthquakes. On the other hand these ‘bubbles’ are made out of a light plastic material derived from
Teflon named ETFE (Ethene-co-tetrafluoroethene), creating a lightweight, ‘transparent dual cushion envelope’. These plastic envelopes are not just for aesthetic appeal, but contribute to the functionality of the building through being a high insulator of heat and have a high transparency, allowing natural light and being a fire safe substance that puts out it’s own fires. The Water Cube has become a landmark structure in Beijing and a prized possession in the the architecture world, providing inspiration through the Innovative use of ETFE and natural algorithmic patterns within nature to create a dual functional and appealing facade. The Water Cube has illustrated to the world how much potential computer aided design currently has and by attmpting to be environmentally friendly does not mean we have to forsake style and technological advancements. The building now remains a Aquatic centre and is still visited and enjoyed by many.
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SELF BUILDING WALL XTU ARCHITECTS
A theoretical entry submitted to the Venice Biennalle as the Moroccan Pavilion for 2015, the Self Building Wall explores an innovative way of providing shelter from the harsh and dangerous desert climate. The core components of this design involve pocketed cells that form a wall with multiple alcoves that provide shade from the unforgiving sun. These cells would then be covered in a mix of sand, water and calcifying bacteria and hydrogel to provide a “habitable Oasis” that can grow vegetables, mushrooms and micro algae, leaving a hollow shell. These alcoves while very simple in form, facilitate a wandering lifestyle of one who maybe be travelling through
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a desert and in which this ‘wall’ is just a pit stop, providing shelter and shade. This design has never been built but never the less the it is a great example of a speculative architecture that is highlighted by it’s show casing in the Venice Bienalle. While it is not a revolutionary design that has changed the world, it reflects the present day concern of our changing environment and the need to adapt and overall, is an interesting piece of paper architecture that comments on the future of our planet and how we may be living as wanderer’s not permanent beings. Ultimately, the way that this project uses design promotes not only an environmentally considerate building structure, but one that contributes to
the environment through the creation of microclimates and growing plant life. While only theoretical, the Self Building Wall is a simple yet innovative proposal that brings a new typology catering for the rising concerns about the damaging human impact on the earth. This can be a design that is ‘plausible’ (Dunne, 2013), coming into existence if that’s want we wanted. While it might look a little odd, this design raises awareness of alternative living and providing back to the environment through existing, contributing to discussion towards changing the way we live to negate the terminal future many environmentalists and economists predict.
Fig. 6. Structure, Archdaily.com. Fig. 7. Render, Archdaily.com.
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D E S I G N + C O M P U TAT I O N
A2.
“it is easier to imagine the end of the world than the end of capitalism.” - FREDRICK JAMESON Studies have shown that population growth is estimated to be over 11 Billion by 2100. We are at a point in time where the world we live in will soon not be able to handle the demands and needs of the exponentially growing human population. The age of technology has helped us increase the productivity and ease of the mass production of food and products for our consumption, but we have now realized that our attitudes about the way we live and how we live need to change (Fry, 2009). It is the very technology that has gotten us to this critical point in time that has the potential to shape our futures. There are many benefits to utilizing computational design. The way we design needs to keep up with the tools at ones disposal. It is a new form of design that encourages discussion of potential ideas, not only the probable, but also the possible and the plausible (Dunne, 2013). It can be used as a visual stimulator that can be
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understood and discussed not only by the trained designer or architect, but also to the general public. The increasing potential of algorithmic programs such as Grasshopper 3D have started to change the way one thinks about design, where it can be seen more often how human innovation working hand in hand with the technological and accurate workings of data processing by the computer (Kalay, 2008). Computation has made the creation of complex geometries a feasible feat in both the design and construction of a design. The mathematical and analytical precision of the computer has allowed us to efficiently visually create designs that would have been impossible to hand draw or calculate. Long ago architecture was a craft in which good style and design was defined by strict rules in which the master builder applies after considering aspects such as function and rules of proportion as can be seen through the rule based method used in Vitruvius’s writings (Kalay, 2008). Design has become a much more integrated discipline since then, with technological advancement pushing boundary’s of what man can create. Computational design can be used to understand the process and its connection with the end product. There is value in not just the end product but the process in which you got there. Computation design puts value on process and efficiency. It allows an ever active process in which still has the potential to change the final product even when finished. The programming capabilities of computational design is not only to be used as a modeling tool but can also be used to interpret data, with the potential to mathematically predict sun/shade ratios or calculating an area of a surface, all valuable tools to help create a better design. The way we live changing and changing quickly. Computational design is the design tool of the future that will allow better discussion of ideas with a broader audience and also play a large role in breaking new barriers in the way we think of designing and how we design.
SHELL STAR PAVILLION
MATSYS Shell Star Pavillion was designed in 2012 for Detour, an art and design festival in Hong Kong. This pavilion is a pure example of design computation from its initial design to it’s fabrication. It’s design intent was to maximise space while using minimal structural elements to preform as a meeting space for festival goers. Right from the beginning, the form of the project is found through research design within grasshopper. 1500 components were created from a custom python script written specifically for this project. Scripting is then used to optimize the planarity of the shape and then finally fabricated for construction. Fig. 9. Prototype, http://digiitalarchfab.com/ arch497/wp-content/uploads/2014/08/16Carbon-Shellstar1.jpg.
Fig. 10. Shellstar Pavilion, Dennis Lo, http://matsysdesign.com/wp-content/ uploads/2013/01/ShellStar-7813.jpg.
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A3.
COMPUTATION VS. GENERATION
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COMPOSITION A3. Fig. 11. L- System Fabrication, Michael Hansmeyer, http://www.michaelhansmeyer.com/projects/l-systems. html?screenSize=1&color=1#3. Fig. 12. Presbyterian Church 1, Greg Lynn, http://glform.com/buildings/ korean-presbyterian-church-of-newyork/. Fig. 13. Presbyterian Church 2, Greg Lynn, http://glform.com/buildings/ korean-presbyterian-church-of-newyork/. Fig. 14. Presbyterian Church 3, Greg Lynn, http://glform.com/buildings/ korean-presbyterian-church-of-newyork/. (Left to right )
The changing theories and practices within architectural design leading up until the present day can be heavily a credited to the growing proficiency of technology and its application within the construction and design industry. While we have been using computers and computer aided design for many years, there is now a push for an even stronger integration of human creativity and the computers ability to process complex data efficiently and effectively where the “complexity and urgency for solutions� to humanities fast growing problems is becoming dearer. Greg Lynn’s Presbyterian Church in New York attempts to demonstrate how movement or motion can be created through the use of repetitive but non modular components that are fabricated in different dimensions and angled and set within individual lengths. This could only be achieved through Computational design involving algorithmic processing and scripting. This change can be seen in many architectural firms creating smaller practices that focus on design research and research methods such as AGU (Advanced Geometries Unit) and Fosters specialist
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GENERATION ALGORITHMIC THINKNING The practice of generation calls forwards a new way of thinking. Algorithmic thinking is slowly growing in popularity within the design industries, some encourage this methods of thinking to be adopted by everyone. It is a drastic shift from the traditional Compositional methods of creation by valuing the process of a design which can then be understood, changed and evaluated. An example of how algorithms can be used in architecture is Michael Hamsmeyer’s L- Systems Project. Hamsmeyer explores how the Algorithm for tree growth created by Aristid Lindenmayer, can be used and applied to architectural forms. SCRIPTING CULTURES Algorithmic thinking would then go hand in hand with scripting. Scripting can be seen as a important factor within the movement toward procedural design from Compositional and representational theory and is becoming increasingly prominent within the design field (Carpo 2004). Grasshopper as a plug in for Rhino is a program that uses scripts to alter models created in Rhino. An example of how algorithms can be used in architecture is Michael Hamsmeyer’s L- Systems Project. Hamsmeyer explores how the Algorithm for tree growth created by Aristid Lindenmayer, can be used and applied to architectural forms. His models studies
PARAMETRIC MODELLING Parametric modeling is a digital model that is constantly changeable. The practice of architecture has formed to the era of technology, where knowledge of CAD (Computer Aided Modeling) and other computer aided programs are becoming a basic requirement of a practicing architect. It’s benefits are well known and have been used by many within the design industry to convey ideas between people. 3D modeling programs such as Rhino have also made it easier to fabricate a design into real space, cutting down the human error between the design process and the construction of parts. While these are all great benefits, parametric modeling is constrained to the program restraints the model is being modeled on, with the possibility of restraining creativity and potential of ones design. While it seems that design and architecture is heading towards a Generation and process approach to design, it’s application appears to forgo the traditional non computerized mediums of pen and paper for computerization, entrusting fully into the programs we use to create our designs and the constraints it plays.
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CONCLUSION Architecture has been imbued into human life for hundreds of years. It has become more than the mere design of a space for human occupation but reflects the social, economics and political views of a certain place and time. We as a society have begun to see the environmental impact we have on the world and present day architecture, complimented with the technological innovations of this century have reflected our concerns accordingly. Technological advancement has begun to shift the way we can approach design problems and approach architecture through using CAD programmes and Parametric Modelling not just to statically build and represent, but to utilize scripts and active processes that will have intuitive
A5.
affects on the design itself as seen by the Shellstar Pavillion. With the moving of time and the development of technology, there is an evolution of architecture that has the potential to take us into the shaky unknowns of our future. I plan to take on this new way of thinking within the Design Challenge presented in Studio Air. Grasshopper as an algorithmic program will be used to develop design through using scripts that can have easily modifiable variables and use parametric modelling to allow ease and efficacy in the exploration of form. I also want to integrate design research into how design outcomes are generated.
Fig. 15. Water Cube, http://www.archidose.org/Blog/watercube3.jpg. Refer to Fig. 10. Refer to Fig. 14.
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A4. LEARNING OUTCOMES These short three weeks within Studio Air have been filed to the brim with content to learn and new ideas to explore. Through lecture studio and assigned algorithmic tasks, I already feel I have learnt so much in regards to computation and process designing though the learning curve has been steep. The ideas involving Generation method and Algorithmic thinking have never been a concept that has been taught within my other studios or subjects and it feels like I have shown a glimpse of what architecture practice can be practiced in the future. If I knew about this knowledge in past studios I would use Rhino and Grasshopper to conduct design research and explore different initial forms.
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Applying a mesh pattern on a surface
Experimenting with applying mash geometries on Curves
Seasponges - Distoring shape with random and repeat
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REFERENCE American Statistical Association , News (NA) <http://www.amstat.org/ newsroom/pressreleases/JSM2015-WorldPopulationEstimatesPresentation.pdf.> [accessed 10 August 2015]. Rivka Oxman and Robert Oxman., Theories of the Digital in Architecture ([n.p.]: Routledge, 2014). Anthony Dunne, Fiona Raby, Speculative everything: design, fiction, and social dreaming(America : MIT Press, 2013), in [accessed 12 August 2015]. Greg Lynn, Korean Presbyterian Church (NA) <http://glform.com/ buildings/korean-presbyterian-church-of-new-york/> [accessed 12 August 2015]. â&#x20AC;&#x2DC;Greg Lynn: Organic Algorithms in Architecture , dir. by (TED2005, 2005). Michael Hasmeyer , L- Systems (NA) <http://www.michael-hansmeyer. com/projects/l-systems.html?screenSize=1&color=1> [accessed 12 August 2015]. Matsys, Shellstar Pavillion (2013) <http://matsysdesign.com/category/ projects/shell-star-pavilion/> [accessed 13 August 2015]. Tony Fry, Design Futuring: Sustainability - Ethics and New Practices ([n.p.]: Oxford, 2009). Yehuda E. Kalay, , Architectureâ&#x20AC;&#x2122;s new media: principles, theories, and methods of computer-aided design (America : MIT Press, 2004).
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C A S E S T U D Y 1.0
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B1.
BIOMIMICRY Biomimicry looks towards nature for new and innovative ways to provide efficient, sustainable solutions to design problems. It is a philosophy that does not attempt to mimic the pure aesthetics of a natural aspect but to understand how a natural element works and apply it to a design to achieve a smarter more functional, efficient design may it be optimizing sunlight within a building by looking at photosynthesis or observing the growth of tree roots and applying this knowledge to increase the structural soundness of a building during an earthquake.
We are now in an era where the development of technologies within the design and fabrication process has made it possible to utilise these concepts on a bigger scale with manageable cost. In particular, the use of parametric design has the potential to go hand in hand with facilitating bio mimicry. No matter how random and haphazard nature may seem to appear, everything within nature follows a biological code, similar to how Parametric design follows human code, thus making it possible to generate human codes that mimic natures code. I am interested in using Biomimicry with Parametric design as the basis of my design for Merri Creek. I am interested in producing or facilitating wildlife habitats within and around the wetland corridor of Rotunda Wetlands and thus plan to model my design on a solution found within nature or even Merri Creek itself.
BI.
CASE STUDY 1.0
MORNING LINE -ARANDA + LASCH
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B2.
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EXTRUDE Polygon S: 5 Polygon S: 5 Polygon S: 5 Polygon S: 3 Polygon S: 4
1.
2.
BREP 1 Brep + 2 Brep + 3 Scaled brep. Scale : 0.2 i Brep+ 2 Brep+ 3 Brep 1 Brep + 2 Scale Brep Scale 0.3 2 Brep . 3 Brep Scale: 0.3 2 Breo. Scale: 0.4
3.3
CONTOUR Polygon S: 4Vector Direction: Up Polygon S: 3. Vector Direction : X Ax Polygon S: 3. a Direction : Z Axis Polygon S: 3. a Direction : DIAGONA
3.
4.
EXTRUDE Polygon S: 3. Extrude Brep: Z. Scale xis Brep: 0.4 Polygon S: 4. Extrude Brep: Z. Scale AL Brep: 0.4 Polygon S: 5. Extrude Brep: Z. Scale Brep: 0.4 Polygon S: 5. Extrude Brep: Z. Scale Brep: 0.6
6.
5.
TRIANGLE Cluster 1: Rotate: 90 Scale: Brep all 0.5 Scale: Brep all 0.6 Scale Brep all 0.4
PENTAGON Cluster 1: Rotate: 90 Scale: Brep all 0.5 Scale: Brep all 0.6 Scale Brep all 0.4 Scale Brep ALl 0.3 Flip: 90
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SELECTION CRITERIA
+CONCAVE STRUCTURES +POROUS +ROUGH SURFACES - POTENTIAL TO STOP EROSION 32
P
I was attempting to create concave structures and repeated patterns of varying sizes. Extrusion also interested me but I felt wasnâ&#x20AC;&#x2122;t as successful as the variations that involved rotation and scale. These final iterations have a very different appearance from the outcome created by the original definition and I felt that these four versions are successful attempts at creating very different but useable forms to be used within Merri Creek. There is the possibility of creating wire frames or hollow lightweight forms that can be built upon. It can be used individually for creating different geometries and then like the Original, pieced together with mirror to create a nest like structure or a connections of geometries to form thin long structures that can be used as a bridging or connection device. The rigid and perforated forms could also be used for filtration of water, stopping erosion and habitat for local birds and land animals.
B3. 34
CAS
SESTUDY 2.0
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HEXIGLOO -TUDOR COSMATU
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FAILED ATTEMPTS I was having aot of difficulties creating the a panel that facilitated the hexagonal shape forms before finding the hexagonal component in Lunchbox. These failed attempts still achieve very similar geometry at a cell level but is unsuccessful in achieving a curved form.
[ORIENT GEOMETRY]
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[HEXAGON GRID]
ORIENT GEOMETRY Orienting the extruded hexagonal cells did not akkiw variation in shape or connections between each cell as seen in the original
HEXAGON GRID
SURFACE MORPH
The heaxgonal grid allowed the recreation of the individual cell forms but did not have the ability tocurve the grid. * Through exploring this method I have found potential in its use for my design project.
Surface morph allowed the hexagonal grid to be created on a curve but the hexagons became deformed whenattempting to extrude the surface.
[SURFACE MORPH]
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FINAL OUTCOME
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REVERSE EN -THE HEX [1]SURFACE
[5] MOVE CELLS IN Z DIRECTION
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[2] HEXAGON CELLS (LUNCHBOX)
[6] ATTRACTOR POINT COMPONENT TO DISTANCE BETWEEN ORIGINAL CELLS AND MOVED CELLS
NGINEERING XIGLOO [3] SCALE CELLS TO POINT
[7] RULED SURFACE OUTSIDE TOP TO BOTTOM SCALED CELLS
[4] RULED SURFACE BETWEEN SCALED HEXIGONS AND ORIGIONALS
[8] RULED SURFACE OUTSIDE TOP TO INSIDE TOP
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RESULTS
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[TOP]
[B
BOTTOM]
DEFINITION:
When recengineering the Hexigloo, the creation of the geometric shapes were the main focus. Using the hexagonal panelling component in the Lunchbox plugin made it possible to create a curved panel that maintained the individual hexagonal form. The parametric capabilities are still maintained through atttractor points allowing control of extrusion lengths and hole depths. and numbersliders controling the number of hexigons in the U and V.
POTENTIAL:
Reoccuring patterns within a controlled curved make it possible to fit to the topography of the the site while the cell form itself has the potential to be explored in hand with the overall design structrure, manipulating its shape to allow concave spaces to acomidate flora and filter storm water.
[CELLS] 45
MATRIX
T - 0.6
SF: 2
T - 0.1
SF: 3.5
T - 0.9
SF: 4.5
46 T - 0.6
T - 0.1
T - 0.9
[1]HEXAGON PANEL - T PARAMETER
T - 0.6
SF: 2
T - -0.4
[2]SCALE + OFFSET
SF: 2
[3]EXTRUDE HEIGHT W/ ATTRACTOR POINT
47 T - 0.6
TRIANGLE GRID
FILLET: 1.0
ATTRACTOR POINT
SCALE + SURFACE DIFFERENCE 0.24
48
CURVED PANEL
SCALE + SURFACE DIFFERENCE 0.740
EXTRUDE NEGATIVE Z + ATTRACTOR POINT
ATTRACTOR POINT + SCALE
TRIANGLE GR EXTRUDE TO POINTPOS
EXTRUDE NEGAT
RID SITIVE Z
ATIVE Z
[4]EXTRUSION + FILLET
ATTRACTOR POINT + SCALE (TRIANGLE GRID)
FILLET: 1.0
[5]DIMOND + TRIANGLE PANEL
TRIANGLE GRID EXTRUDE TO POINT POSITIVE Z 0,25
EXTRUDE NEGATIVE Z 0.0 + ATTRACTOR POINT
EXTRUSION + ATTRACTOR POINT
[6]HEXAGON PANEL
EXTRUDE POSITIVE Z DIRECTION
49
TRIANGLE GRID SCALED -.5 EXTRUDE TO POINT
HEXAGON GRID SCALE ATTRACTOR POINT
50
TRIANGLE GRID EXTRUDE NEGATIVE Z OFFSET 0.6
HEXAGON GRID SCALE EXTRUDE TO POINT SCALED SHAPE ATTRACTOR POINT
SQUARE PANEL EXTRUDE NEGATIVE
HEXAGON SCAL RULES SURFACE FRO ATTRACTO
[7]EXTRUSION
Z
N GRID LE OM SCALED SHAPE OR POINT
TRIANGLE PANEL EXTRUDE NEGATIVE Z OFFSET 0,.5
[8]HEXAGON GRID
HEXAGON GRID OFFSET 0.4
EXTRUDE TO POINT PIPE
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HEXAGON GRID WIRE FRAME CONTOUR 0.5 PIPE R: 0.1
SIDES: 4
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TRIANGLE GRID WIRE FRAME CONTOUR: 0.8 PIPE R: 0.1 FILLET
HEXAGON GRID WIRE FRAME CONTOUR 0.5 PIPE R: 0.1
SIDES: 9
[9] PIPE
HEXAGON GRID WIRE FRAME CONTOUR X + Y DIRECTION PIPE R: 0.1
TRIANGLE GRID WIRE FRAME CONTOUR: 0.8 PIPE R: 0.1 FILLET
[10] RADIAL GRID
SIDES: 3
SIDES: 3 EXTRUDE 0.3
SIDES: 3 EXTRUDE 0.5
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SELECTION CRITERIA This species meets all the criteria. It is a concave shape that can facilitate water flow. The triangular shape is a geomatric form I would be interested in exploring in replacement of the hexagon.
Wire frames allow water to pass through. It has the potential to create a frame and infill structure, allowing permeable material to be used as infill. Also poses interesting avanues of construction and joinery.
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CHANGES TO CRITERIA: After gaining a better vision of the design project, the selection criteria has become more specific. Immporant qualities that were looked for within speciies included: +The overall geometric shape of the individual cell + Concave shapes + Variation in openings + Stability in form + Ability to let water in + Ability to control the flow of water
This extruded form is the speicies I have found to be the most interesting and have the most potential as part of a rain garden. The varying openings can be altered with an attractor point and there is enough variation in shape to design different uses.
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B4.
T E C DEVELOP
H N I Q U E PMENT
METHOD+ [1] SURFACE GRID
[1] CURVED SURFACE GRID t
[2] VARYING HEIGHT FOR HUMAN [SCALE + ATTRACTOR P
NOTE: AT this point I have not decided on using the paneling tool in lLunch Box or the normal linear Grid and will continue to explore both.
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+PROCESS
N AND PLANT USE POINT] [3] VARYING OPENING SIZES AND CLOSINGS [CULL PATTERN + ATTRACTOR POINT] [4] FRAMING [PIPE]
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FOR
USING HEXAGONAL G
[1] 60
[2
RM
GRID TO CREATE FORM
2]
[3] 61
FO
USING HEXAGONAL PANEL
[1]
62
[2]
ORM
LING TO CREATE CURVED SURFACE
[3]
[4]
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CELL
CELL FORMS THROUGH EXTRUSION AND RELATIONSHIP TO FUNCTIONALITY OF CELL
[1]
[2]
Extrusion downwards + connextion between cell at widest point. Can allow water to pass through.. Gives height to structure
No extrustion downward . Varying heights. High for WFRAME BASE + SOLID SURFACE people - Low for fauna .
[4] Extrusion heights to meet porportions of humans Cell possible for climbing, walking on, sitting.
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[3]
CULL PATTERN TO CREATE SOLID SURFACES ALLOWS ABILITY FOR HUMAN MOEVMENT AND FACILITATION OF FAUNA.
[1]
[4]
[2]
[5]
[3]
[6]
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STRUC USING WIRE FRAME AND PIPE TO
[1] 0.2 RADIUS JOINED AT VERTICES
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[2] 0.2 RADIUS N: 10
CTURE CREATE FRAME STRUCTURES
[3] 0.5 RADIUS
[4] 0.2 RADIUS wire frame of whole structure
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SOLID SELECTION
USING CULL PATTERN + EXTRUDE RO TO POINT COMPONENT TO CREATE SOLID SURFACES
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[1]
[2]
TRUE FALSE FALSE
FALSE TRUE TRUE
[3] FALSE TRUE TRUE FALSE FALSE
[4] TRUE TRUE TRUE TRUE TRUE FALSE FALSE
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OPENING VARIATION
USING ATTRACTOR POINTS TO CREATEE VARIOUS OPENINGS / SIZES OF SOLID SURFACES
[1]
[2] {1} + {2} USING ONE ATTRACTOR POINT
WATER FLOW
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[3]
[4]
[5] {3} + {4} + [5} USING TWO ATTRACTOR POINT
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B5. PROTO 72
OTYPES 73
1
[INDIVIDUAL CELL CONSTRUCTION - EXPERIMEN
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1.
NTING HOW EACH CELL GOES TOGETHER]
75
2
[USING WEDGED PEICES TO SEEML
76
2.
LISLY JOIN INDIVIDUAL CELLS}
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3
[USING HINGE JOINTS AND POP RIVETS T
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3.
TO CREATE FLEXIBLE JOINERY AND FLEXIBLE SHAPES]
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4
[USING NUTS AND BOLTS TO CREATE JOINTS T
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4.
THATACCOMADATE ROTATIONAL MOVEMENT ]
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5
[CREATING A SKELECTAL FRAME + POPRIVETS T
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5.
TO GOING INDIVIDUAL CELLS TOGETHER ]
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CELL CONSTRUCTION POTENTIAL EXTRUSION DECIDES FUNCTION OF CELL
CONNECTION POINT OF EACH CELL INFILL MATERIAL
FRAME
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B.7 TECHNIQU 86
UE PROPOSAL 87
RAINWATER GARDEN
PURPOSE SOCIAL - People can walk/ climb/ sit around the rain garden
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ENVIRONMENTAL - Rain garden filters water run off from rural areas before it reaches the creek Promotes higher quality vegetation + animal habitats
[POTENTIAL CLUSTERING OF CELLS]
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DESIGN ORGANISATION The development of my technique has been done to attempt to incorporate flexibility of site as well as design aspects I have identified in my selection criteria of case study 2.0. I wanted to design something that can be pieced together as easily as an installation and be placed anywhere that can meet the basic requirement of the site (Near Storm water run off, contain a downward slope, poor vegetation with the potential of improvement)
I imagine approach to be used to create a design that can be easily assembles or parts manufactured for any site through just changing a few parameters using the number slider and thus having the potential to become a very flexible and cheap design if it were to be constructed in physical space.
LIMITATIONS Currently there is still a few limitations to my design such as the need for custom joinery which can be expensive. This can be overcome through 2 different joinery methods one more flexible than the other.
RUN OFF WATER RAINWATER GARDEN RESIDENTIAL
TRAIL
[SECTION VIEW] 90
PIPE
[PLAN VIEW]
CREEK
TRAIL
OUTER PATH RESIDENTIAL
RAINWATER GARDEN CONTD CLEAN WATER CREEK
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SITE SELECTION: CRITERIA BASED ON: Area with poor vegetation Near impervious surfaces Downward slope towards creek Close to park trail and urban area
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B8.
LE
Part B have tu to considering helped to giv future. Throug has made it po experience tr logical steps b me to becom and Panelling needed in Gra
While the tech choices as I fe
Another chall process was s seen common space and I va 96
EARNING OUTCOMES
urned out to be a massive learning curve from learning the technicalities of grasshopper and rhino g joinery and functionality of a design through prototypes. My research in parametric design has ve me a greater understanding of what parametric architecture is today and its potential for the gh case study 1.0 and 2.0 I have learnt that using a computational programme like grasshopper ossible to generate many different ideas visually within a short period of time. It has been a different rying to design within the constraints of a programme that is mathematically run and based on but it makes you break down your design into its raw elements. Case study 2.0 in particular helped me more familiar with Grasshopper and the numerous other plugins available such as LunchBox g tools and the reverse engineering section really helped be to understand the thinking process asshopper.
hnicalities of using parametric techniques were hard, the greatest struggle is to justify ones design elt it was possible to get lost in the programme and lose sight of the brief.
lenging section included the creation of prototypes. Having never used the Fab Lab before, this something new to me. Prototyping also introduced how a parametric design, which is quite often nly as conceptual or speculative design, can have the potential to be created within real, physical alued exploring a designs real construction possibilities. 97
SKETCHBOOK
IMAGE SAMPALER
98 GRIDSHELL + ORIENT GEOMETRY
FIELD CHARGE
99 HEXAGON GRID
REFERENCE Hexigloo, Unknown, Accessed: 15/09/15, <http://images.adsttc.com/ media/images/5014/bc63/28ba/0d58/2800/0136/large_jpg/stringio. jpg?1361294863> Morning Line, Unknown, Accessed 17/09/15, <http://www.newmediasculpture.com/wp-content/uploads/2014/08/ArandaLasch_MorningLine_11.jpg> Site Map, Accessed: 16/09/16, < www.googlemaps.com.au> Site Map 2, Accessed: 16/09/16, < www.googlemaps.com.au> Rainwater Garden, Unknown, Accessed: 16/09/15, <http://www.greengirlpdx.com/EventRelatedResources/Tours/FieldClass/rain%20garden. jpg>
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PART C 102
D E T A I L E D D E S I G N
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DESIGN PROPSAL CONCEPT:
An interactive rainwater garden that takes run off water from the residential site to be filtered through the garden and back into the creek. Permanent Platforms at varying heights meander from the rainwater garden down towards the creek, give users access to the creek and a different experience being up high with the trees. Plant Cells given to Users of the park such as Friends of Merri Creek and Students of Clifton Hill Primary to construct themselves where they will grow and nurture their own native plant, which will then be replanted back into the Merri Creek Site. Playing on the concept of the Tragedy of the Commons, in which people may gain enjoyment from the park but do not look after it as it is not their. By giving the user the ability to gain ownership of a little bit of Merri Creek there Is hope that the community can see how their contribution has helped revegetate a small area when these plants have finally grown and empower onlookers / other users of the site to join in. 104
ADJUSTMENTS: Based on the comments from Intrim and Final Presentations, I have created a more solid design concept that has stronger connections to the revegetation of the site and the intergration of human action. 1. Created a jonery system which will allow the best allocation of certain plant species to be placed together. 1B. This will also address the issue of enticing participation by users. 2. Further explanation on the generation of form.
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TECHNIQUE WORKFLOW
FORM GENERATION OF DESIGN
JOIN EACH VERTICES WITH A LINE
SCALE
MAKE SURFACE
MAKE SURFACE
MOVE Z AXIS
DIVIDE SUR
SCALE
OFFSET SU MOVE NEG Z AXIS
CREATE PL
SCALE
JOIN EACH VERTICES WITH A LINE
MAKE A SURFACE
TAKE PATC
ISOTRIM TO TRIM MOVE: NEG Z DIRECTION MAGNATUDE DEFINED FROM ATTRACTOR POINT
HEXIGON PANEL
ATTRACTOR POINT: DOMAIN -0.5 - 2 SCALE RANDOM CULL PATTERN
MAKE SURFACE
JOIN EACH
MOVE: Z DIRECTION MAGNATUDE DEFINED BYTRACTOR POINT ATTRACTOR POINT: DOMAIN -0.5 - 2
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RULED SURFACE
RULED SUR
POLAR ARRAY CULL EVERY 2ND TO GET RID OF DUPPLICATES
GROUP ALL SURFACES AND EXTRUDE
RFACE
URFACE
LANE NORMALS
ORIENT CIRCLE TO EACH PLANE SOLID DIFFERENCE
ORIENTATE CELL ONTO SURFACE
CH CONTOURS AND CREATE A SURFACE RANDOM
O CREATE POINTS ON SURFACE
H VERTICES WITH A LINE
CULL PATTERN GENERATE FORMS
WIREFRAME PIPE
RFACE
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CONSTRUCTION WORKFLOW
PLANT CELL
GENERATE FORM ON GRASSHOPPER
PERMANMENT STRUCTURE
PROCESS OF HOW DESIGN CAN BE FABRICATED
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PREFABRICAT
PREFABRICAT
NUTS AND BO
PREFABRICAT
PREFABRICAT
NUTS AND BO
TED METAL FRAME PARTS CONSTRUCTED ON SITE
TED TIMBER INFILL
OLTS
TED JOINT PARTS
TED TIMBER PIECES
PIECES PACKAGED AND GIVEN TO USERS TO CONSTRUCT THEMSELVES
OLTS CONSTRUCTED CELL WITH PLANT TO BE PLANTED BACK INTO SITE JOINERY DEFINED WHERE PLANT WILL BE ALLOCATED
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FORM GE
USING RANDOM AND CULL PATTERN TO GENERAT BETWEEN THE RA
[1]
110
[5]
[2]
[6]
ENERATION
ATE DIFFERENT BASE FORMS WHICH WILL BE SCATTERED AINGARDEN AND CREEK.
[3]
[7]
[4]
[8]
111
HEIG
USING ATTRACTOR POINT TO EXT ACCOMMODATE TO SITE CO
[1]
[5]
112
[2]
[6]
GHT
TRUDE THE BASE STRUCTURE TO ONTOURS AND HUMAN USE
[3]
[7]
[4]
[8]
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HEIG
USING ATTRACTOR POINT TO EXT FACILITATE DIFFERENT FUN EG WALKING/ SITT
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[1]
[2]
[4]
[5]
GHT
TRUDE THE TOP STRUCTURE TO NCTIONS AND ACTIVITIES. TING/ CLIMBING
]
[3]
[6] 115
116
THIS SITE WAS CHOSEN DUE TO TS PROXIMITY TO THE RESIDENtTIAL AREA AND THE CHARACTER OF THE STEEP DECLINE THAT LEADS TO THE CREEK. THE COMBINATION OF THESE TWO FACTORS AND THE OPPRTUNITY TO GROW A BETTER QUALITY OF VEGETATION, MAKE A DESIRABLE SITE FOR THE EXISTANCE OF A RAINWATER GARDEN. BEING WITHIN CLOSE PROXIMITY OF AN ENTRANCE TOO AND FROM MERRI CREEK AND THE BIKE AND WALKING PATHS ALSO MAKE IT AN IDEAL PLACE FOR PEOPLE TO INTERACT WITH THE DEISGN.
RAIN GARDEN
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TO CREATE A SELFSUFFICENT HABITAT THE SITE AND ACTS AS A LEARNING TO COMMUNITY THROUGH ITS CO
RUN OFF WATER FROM RESIDENTIAL SITE
CLEAN EXCESS WATER RELEASED
SECTION CUT FROM CREATING A PATCH FR
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AT THAT PROMOTES REVEGETATION OF OOL THAT EMPOWERS PEOPLE OF THE ONSTRUCTION AND GROWTH
ROM THE 3DM FILE PROVIDED OF THE SITE
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120
121
ACTIV
EACH MODULE CAN BE GROUPED TOGETHER TO F THE EXTRUSION HEIGHT FROM THE BAS
[ONE] 122
[FEW]
VITY
FACILITATE DIFFERENT ACTIVITES. DEPENDING ON SE + EXTRUSION OF THE SOLID FORM.
[MANY] 123
JOINERY SYSTEM
PERMANENT WALKWAY - JOINT SYSTEM
3D PR
124
RINTED
TIMBER
125
SYSTEM OF PLANTING EXAMPLE OF THE TYPE OF PLANT WHICH WILL BE PLANTED
LOW LYING / MEDIUM NATIVE SHRUBS THAT NEED SEMI SHADE.
PLANTS WITH HIGH TOLERANCE OF WATER - SUTIABLE FOR WET ENVIRONMENTS
PLANTS THAT FLOWER - SPECIES THAT ATTRACT BIRDS AND BUTTERFLIES
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NATIVE TRIEES
BIDGE WIDGEE
CLUSTED EVERLASTING
KNOBBY CLUB RUSH
TASSELL SEDGE
LEMON BEAUTY HEADS
GREY PARROT
BLACK WATTLE
WOLLY TEE TREE
SMOOTH RICE FLOWER
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SYSTEM OF PLANTING.
WHILE PLANT CELLS WILL BE PLACED BY THE OWNER OF THE PLANT CELL. THE JOINT SYS CONTROL WHERE A CELL CAN BE PLACED AND FACLILITATE EFFECTVE PLANTING.
[1] TREE CELLS
128
[2]
TREE CELLS CONNECTED TO MEDIUM/ LOW LYING SHRUB SPECIES
STEM WILL
[3]
SHRUB CELLS CAN BE CONNECTED TO FLOWER CELLS
[4]
HIGH WATER TOLERANT PLANTS TO BE PLACED AROUND WATERFLOW FROM RAINWATER GARDEN TO CREEK
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START PHASE OF PLANTING
130
[1
1]
CREEK
CLEAN WATER
RAIN WATER GARDEN
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PROGRESSION OF PLANTING THE IDEA IS FOR EACH PERSON TO ADD ON TO THE EXISTING STRUCTURE WITH THEIR OWN PLANTED POT.
[2] 132
[3] 133
JOINERY SYSTEM TWO TYPES OF JOINT SYSTESMS TO BE USED TO CONSTRUCT THE WAY CELLS ARE PLANTED
134
135
PLANT CELL FABRICATION
LASER CUT MDF 3.0MM
136
NUT
CONSTRUCT
TS AND BOLTS
TED PLANT CELL
3D PRINTED
137
PLANT CELL PROCESS
[1]
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[2]
[3]
[4]
139
I N T E R A C T I O
140
N W I T H C R E E K
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R A I N W A T E
E R G A R D E N
147
RAINGARDEN AT THE BEG
148
GINNING OF PLANTING
149
RAINGARDEN 150
1 YEAR LATER 151
C4. 152
LEA
Studio Air h smarter and Parametric M or tension an
In reflection in physical s construction Grasshoppe Through the applied arch having a par who has ne physical mo
ARNING OUTCOMES
has been a unique experience that has opened my eyes to a different, new sort of architecture that is d more efficient in design and construction processes. Part A has demonstrated to me the potential of Modelling as a design tool that can generate intelligent forms that can take inputted data such as sun data nd internalise this information into a design.
n of Studio Air, I can safely say I have learnt a great deal about computational design and itâ&#x20AC;&#x2122;s construction space. The demands of this studio have given me experience in working with 3D Digital media in the n and representation of my design working with 3D digital modelling programmes such as Rhino and er, to graphical representation programmes such as Illustrator, Photoshop and InDesign. e Grasshopper Plugin I can now generate geometries that can be fabricated into physical form and be hitecturally. I have learned to use Grasshopper as a tool for idea and form generation and the benefits of rametric design workflow, a new concept I have only been introduced to through this Studio. As someone ever used the FABLAB before, I have also gained valuable skills and experience in producing a scaled odel using equipment such as the Laser cutter, Card Cutter and 3D Printer.
153
SKETCHBOOK
POLAR ARAY, SOLID DIFFERENCE, SCALE, MOVE
154
EXTRUDE + ATTRACTOR POINT
ATTRACTOR POINT MOVE AND SCALE 155
REFERENCE PART Hexigloo, Unknown, Accessed: 15/09/15, <http://images.adsttc.com/ media/images/5014/bc63/28ba/0d58/2800/0136/large_jpg/stringio. jpg?1361294863> Morning Line, Unknown, Accessed 17/09/15, <http://www. newmediasculpture.com/wp-content/uploads/2014/08/ArandaLasch_ Morning-Line_11.jpg> Site Map, Accessed: 16/09/16, < www.googlemaps.com.au> Site Map 2, Accessed: 16/09/16, < www.googlemaps.com.au> Rainwater Garden, Unknown, Accessed: 16/09/15, <http://www. greengirlpdx.com/EventRelatedResources/Tours/FieldClass/rain%20 garden.jpg>
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REFERENCE PART B American Statistical Association , News (NA) <http://www.amstat.org/ newsroom/pressreleases/JSM2015-WorldPopulationEstimatesPresent ation.pdf.> [accessed 10 August 2015]. Rivka Oxman and Robert Oxman., Theories of the Digital in Architecture ([n.p.]: Routledge, 2014). Anthony Dunne, Fiona Raby, Speculative everything: design, fiction, and social dreaming(America : MIT Press, 2013), in [accessed 12 August 2015]. Greg Lynn, Korean Presbyterian Church (NA) <http://glform.com/ buildings/korean-presbyterian-church-of-new-york/> [accessed 12 August 2015]. â&#x20AC;&#x2DC;Greg Lynn: Organic Algorithms in Architecture , dir. by (TED2005, 2005). Michael Hasmeyer , L- Systems (NA) <http://www.michael-hansmeyer. com/projects/l-systems.html?screenSize=1&color=1> [accessed 12 August 2015]. Matsys, Shellstar Pavillion (2013) <http://matsysdesign.com/category/ projects/shell-star-pavilion/> [accessed 13 August 2015]. Tony Fry, Design Futuring: Sustainability - Ethics and New Practices ([n.p.]: Oxford, 2009). Yehuda E. Kalay, , Architectureâ&#x20AC;&#x2122;s new media: principles, theories, and methods of computer-aided design (America : MIT Press, 2004). 157
REFERENCE PART C
BIDGE WIDGEE, Accessed: 28/10/15, <http://www.victorianflora.com/ VictorianFlora/All-Plants/Plants/i-qgmCvqp/0/X2/Acaena%20novaezelandiae%201-X2.jpg> BLACK WATTLE, Accessed: 28/10/15, pics/2007/08/20/kennedyh/4a4f70.jpg>
<http://pics.davesgarden.com/
CLUSTED EVERLATING, Accesed: 28/10/15, <http://pics.davesgarden.com/ pics/2008/02/09/kennedyh/c96c88.jpg> GREY PARROT, AccessedL 17/10/15, http://www.westgatepark.org/wp-content/uploads/Dillwynia-cinerascensGrey-Parrot-Pea1.jpg KNOBBY CLUB RUSH, Accessed: 28/10/15, <http://www.bluedale.com.au/ system/files/imagecache/gallery_images/product_images/Ficinea-nodosa. jpg> LEMON BEAUTY HEADS, AccessedL 17/10/15, http://www.ehpartners.com.au/site/DefaultSite/filesystem/images/gallery%20 images/flora/33.jpg NATIVE IVY LEAF VIOLET, AccessedL 17/10/15, https://apginmelbourne.files.wordpress.com/2014/12/14-12-06zd1arthropo633f8a.jpg SMOOTH RICE FLOWER, AccessedL 17/10/15, http://www.westgatepark.org/wp-content/uploads/Dillwynia-cinerascensGrey-Parrot-Pea1.jpg 158
159