ARCHITECTURE AND SOCIAL RESPONSIBILITY
STUDIOAIR KURT BALLENER - 541042
YUSAKUJI
WHAT TO EXPECT ARCHITECTURE AS A DISCOURSE CONTINUAL BODY OF KNOWLEDGE
SOCIAL RESPONSIBILITY AND DESIGN THE POWER OF DESIGN - WITH GREAT POWER, COMES GREAT RESPONSIBILITY
COMPUTATION IN DESIGN DIGITAL CAPACITY
PARAMETRIC DESIGN FURTHER PRODUCTIVE CAPACITY AND MINIMAL SURFACE
THE YUSAKUJI APPROACH FURTHER EXPLORING MINIMAL SURFACE
THE YUSAKUJI MINIMAL SURFACE THE POWER OF COMPOSITION LEARNING FROM ITO AND CERVELLIONE
THE YUSAKUJI ITERATIVE EXPLORATION
A PATHWAY TO A NEW OUTCOME
THE WYNDHAM GATEWAY
“DIVERSE PEOPLE, ONE COMMUNITY, ONE FUTURE”
ARCHITECTURE AS A DISCOURSE CONTINUAL BODY OF KNOWLEDGE
source: http://woodensquarerulers.files.wordpress.com/2013/01/walkingcity02.jpg
Architecture as a Discourse is a conceptual and perceptual method of viewing architecture. It ensures the perspective of architecture is viewed as a Continual Body Of Knowledge rather exclusively the built environment. The discourse of architecture is often use to refer to complex issues related to society, responsibility, design capacity and the development of design techniques which allow for the further exploration of complexity through structure and, even further, exploration of design intentions and ideas. As the progression of digital design continues of a path of rapid development, it is important that as designers we consider the larger societal impact that occurs as a result of the designs we integrate into the environment. Often seen throughout current designs are the concept of sustainability and the consideration of reducing embodied energy and water as well as an overall reduced energy consumption over time.
Another facet of architectural discourse is its ability to catalytically induce change or the further adoption of particular thought processes. Elaborating on this concept we refer to the Walking City by ArchiGram1 which, although designed in 1964, holds much pertinence within society as it considers the human consumption rate and the need for sustainable alternatives to a highly commercialized and overly productive civilization. Walking City holds significance as an architectural discourse as it ascertains an awareness of particular issues which are ongoing. And, although unbuilt and completely theoretical, it has been added into this body of knowledge which remains relevant as long as architecture is continued. Architectural Discourse can be seen as the seeming immortalisation of a building, or project, or concept, or idea as it adds to this body of knowledge to be remembered forever.
We should consider these particular aspects as we carry on as designers and providing solutions for clients.
Walking City, ArchiGram < http://www.archigram.net/projects_pages/walking_city_5.html >, [accessed th of 3rd April]
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source: http://veronicaaj.files.wordpress.com/2010/04/image-disney_concert_hall_by_carol_highsmith_edit.jpg
Although critically received by some, Gehryâ&#x20AC;&#x2122;s Guggenheim2 is another prime example as a key piece of architecture which adds to the architectural discourse. Being the first of its kind, the Guggenheim was innovative beyond measure and its sense of monumentality provided Bilbao with a name and a reputation although the attribute may be a sole attribute to Bilbao, at least in a conversational sense. The critical example of the 2
contribution to the architectural discourse is the concept of being referred to as a solution or a desired aesthetic or feel etc. The Guggenheim further adds to what people, lay or industry-informed, perceive to be architecture and what they understand to be so. This is Architectural Discourse.
Guggenheim Museum Bilbao, GUGGENHEIM< http://www.guggenheim.org/bilbao>, [accessed th of 5th April]
SOCIAL RESPONSIBILITY THE POWER OF DESIGN
WITH GREAT POWER, THERE MUST ALSO COME - GREAT RESPONSIBILITY3
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Robert Genter, Cold War Culture and the Birth of Marvel Comics < SPORTDiscus with Full Text, EBSCOhost >, [accessed th of 7th April]
source: http://www.skyscrapernews.com/images/pics/3017BFLSDesignDalstonEcoTower_pic1.jpg
By considering how architecture must reflect the environment it sits in, whether commentary of contrasting, we see the obligation architecture has - especially within the built environment. This is especially the case with the progression of digital design tools and the productive capacity to generate and assemble more abstract and radical forms.
s o u rc e : htt p : / / w w w. za h a - h a d i d . co m / architecture/33-35-hoxton-square/
Considering this, I have decided to observe the work of Zaha Hadid in particular her proposed 33-35 Hoxton Square project. Through her heavy incorporation of digital design into her design process she is able to manipulate the form of the proposed structure and provide an outcome which provides a phenomenological experience to the inhabitants of the dwelling, aesthetic captivation for those who sight it and, more importantly, a sense of social responsibility towards the site and the pre-existing environment. As expressed primarily through the form, the sense of social responsibility within this project is clearly outlined within the design ideology - respecting the neighborsâ&#x20AC;&#x2122; desire for natural sunlight access and views. As the captivating aesthetic of the building provides an innovative appeal to the building, this underlying ideology driving the design process is what can be truly taken from this proposal.
s o u rc e : htt p : / / w w w. za h a - h a d i d . co m / architecture/33-35-hoxton-square/
s o u rc e : htt p : / / w w w. za h a - h a d i d . co m / architecture/33-35-hoxton-square/
As described in the Design Issues Magazine, the products which are introduced to society have a great effect on social behavior and, therefore, there are social implications with regards to what we create as architects and designers. In this issue they discuss the analysis of Winner and mention his commentary on the New York overpasses on the Long Island parkways and how the designer had intentionally designed them to wield political power as their height would restrict public transport access. This was a ploy to limit the presence of the lower socio economic class into the parkways in 1912.
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As we can observe from the effect that designs may have on society, and the way in which society operates, It is the obligation of the designer to consider their responsibility to serve the needs of the community and the society in which their building, or structure, or architecture will sit within. Although the case is old, the moral of the story is still pertinent to society and obligatory societal concerns whilst designing.
source:http://www.vanderbiltcupraces.com/ vcrsys/Images/Then/L1164-58725-58-186_ edited-3.jpg
COMPUTATION IN DESIGN DIGITAL CAPACITY
APPLYING ALGORITHIMS TOWARD DESIGN AND CREATING RELATIONSHIPS
ICD Design Studio (Prof. A. Menges, S. Ahlquist), Sonja Templin / Valentin Brenner, ICD Stuttgart University, 2010
source: http://www.achimmenges.net/icd-imagedb/icd_ent_evolving-systems_project1_cover.jpg
source: http://www.achimmenges.net/?p=4703
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source: http://www.achimmenges.net/?p=4703
source: http://www.achimmenges.net/?p=4703
The Achim Menges exploration into the development of cylindrical morphology links into the applications of computations in digital design. The exploration looks into the concept of minimal surfaces whilst occupying volumetric space. This concept of occupying space at a high volume to surface area ratio is an area which is further explored by Yusakuji and holds great pertinence toward the outcome they used to resolve the Wyndham Western Gateway Project Entry. The actual exploration by Achim Menges adopts the concept of the sun paths and the relationship between the light and shade - but this is expressed through the use of the minimal surface technique. As the relationship of the light and shade are applied algorithmically toward the design, it demonstrates the digital capacity within design showing the ability to further realize design intentions within projects both built and unbuilt.
Top right - source: http://www.michael-hansmeyer.com/projects/columns.html#1 Mid right - source: http://www.michael-hansmeyer.com/projects/columns.html#2 Bottom right - source: http://www.michael-hansmeyer.com/projects/columns.html#3
The computation and applicability of the digital capacity allows for a new form of exploration on a less constrained level - as there is a three dimensional aspect to digital design from the genesis of a project. Computation also allows for the application of forces and the structural tests of design outcomes through plug-in such as kangaroo where loads can be added to show force allocation and stress points - thus providing opportunity to design more holistically and with a greater knowledge and awareness of realistic outcomes.
As computation further delves into complex geometry and composition, the amount of detail and craftsmanship (seeming craftsmanship) becomes apparent. From Michael Hansmeyer’s Column work we can see the amount of geometric complexity that can be produced through the use of computational architecture. The computation subdivides the Doric Order Column3 then does so iteratively. The Columns actually reach an 8th stage iteration4. Through applying the computational aspect of digital design, the design is able to explore how a particular aspect of design can be expressed in a completely innovative and fresh perspective. This is similar to the Yusakuji approach to the minimal surface - as shown in more detail later.
particular column is cardboard. The following provides a very brief summary of production. “The calculation of the cutting path for each sheet takes place in several steps. First, the six million faces of the 3D model are intersected with a plane representing the sheet. This step generates a series of individual line segments that are tested for self-intersection and subsequently combined to form polygons. Next, a polygon-in-polygon test deletes interior polygons. A series of filters then ensures that convex polygons with peninsulas maintain a minimum isthmus width. In a final step, an interior offset is calculated with the aim of hollowing out the slice to reduce weight.” — Michael Hansmeyer5
It is often hard to grasp the method of production for such complex geometries as the material in use for this
Top left - source: http://www.michael-hansmeyer.com/projects/columns.html#8 Mid left - source: http://www.michael-hansmeyer.com/projects/columns.html#9 Bottom left - source: http://www.michael-hansmeyer.com/projects/columns.html#10 Michale Hansmeyer, Subdivided Columns - A New Order (2010) < http://www.michael-hansmeyer.com/projects/columns_info. html?screenSize=1&color=0>, [accessed th of 25th April] 4 Nicoletta Sala, FRACTAL MODELS IN ARCHITECTURE: A CASE OF STUDY (2000) < http://math.unipa.it/~grim/Jsalaworkshop.PDF>, [accessed 26th March] 5 Michael Hansmeyer, Complex Cardboard Columns Through Computational Architecture (2011) < http://strictlypaper.com/blog/2011/04/ complex-cardboard-columns-through-computational-architecture/>, [accessed th of 26th April] 3
PARAMETRIC DESIGN FURTHER PRODUCTIVE CAPACITY AND THE MINIMAL SURFACE
GUIDED BY A PURPOSE THE REALISATION OF DIGITAL DESIGN
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The next few pages are going to be considering the Minimal Complexity Series by Vlad Tenu is a key precedent in the development of the minimal surface concept. Minimal Complexity seems to encapsulate the Studio AIR spirit through its highly innovative use of digital design software and its use of the parametric design models utilising a minimal surface to generate complex form. Tenuâ&#x20AC;&#x2122;s sculpture had a great impact on the architectural discourse from its assembly in 2011. It utilises modular surfaces composed together to create another more complex surface. It then further demonstrates this by iteratively combining these complex surfaces in such a way as
source: http://tex-fab.net/wp-content/uploads/2011/01/IMG_0200.jpghttp://tex-fab.net/wp-content/ uploads/2011/01/IMG_0200.jpg
to produce an even more complex three-dimensional form which still remains, essentially, a single minimal surface. The actual form has a great deal of similarity to the Yusakuji Gateway Proposal, however, Yusakuji has taken this concept one stage further and iteratively combined the form to create one final and ultimately complex three-dimensional form.
source: http://farm9.staticflickr.com/8282/7609016248_bfd42237f7_o.jpg
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source: http://now-here-this.timeout.com/wp-content/uploads/2012/03/Kings-Cross-22-%C2%A9-Phil-Adams.jpg
As the Minimal Complexity Sculpture had such a profound effect on the architectural discourse from its 2011 construction, it has influenced form of the John McAslan + Partners 2012 redevelopment of Kingâ&#x20AC;&#x2122;s Cross Station. This is clear to see upon the visual analysis of the central feature within the terminus of the station. Considering the apparent perceived modernity of the minimal surface concept, it should be acknowledged how commonly occurring, and accepted, the form and surface are within society.
The image shows the King’s Cross Station’s Redeveloped Western Concord. The minimal surface does become apparent
source: http://now-here-this.timeout.com/wp-content/uploads/2012/03/Kings-Cross-2-%C2%A9-Hufton-and-Crow.jpg
The Western Concourse of the King’s Cross redevelopment is shown expressing the minimal surface concept as it connects the structure towards the ground. The form generations of minimal surfaces through parametric modeling and digital design software such as Rhino and Grasshopper have been trending internationally and have been emerging more frequently prior to the redevelopment. Minimal surfaces have been appearing at local Victorian Events, such as the Melbourne Cup of 2005 through the Moët & Chandon marquee by PTW Architects6.
Of course, the emphasis of the marquee at the time was a “bubbly” theme which was also addressing the key criteria of a ‘light’ feel. This lightness is something that is explored by Yusakuji and it is found through the use of particular materials which possess these intrinsic qualities of ‘lightness’. The light feel which the Moët & Chandon marquee communicates so clearly is through the evident material efficiencies expressed through the structural form.
MakMax, Moet & Chandon, <http://www.makmax.com.au/projects/project/moet-and-chandon>, [accessed 25th of April]
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source: http://gallery.australianinteriordesignawards.com/website/sites/ all/files/gallery/2006/entry/291/513.jpg
source: http://media.onsugar.com/files/ons1/325/3255661/23_2009/4d/ moet-chandon-marquee-ptw-architects2.jpg
source: http://cdn.cubeme.com/blog/wp-content/uploads/2009/01/ moet-chandon-marquee-ptw-architects1.jpg
THE YUSAKUJI APPROACH
A WORLD OF DIGITAL DESIGN THE YUSAKUJI MINIMAL SURFACE
YUSAKUJI
1st
2nd
3rd
4th
5th
As shown in the matrix above, Yusakuji reverse engineered the Voussoir Cloud project by Iwamoto Scott. The purpose of the matrix was to further explore the parametric relationships between digital design algorithms and the form and structure expressed as an outcome. Within the first row, we explored the x-axis and explored a lateral parameter of the project and the different application of force and structure throughout. The second row was similar to the first, however, we explored the y-axis morphologies and the concept still related to lateral parameters but perpendicular to the first column. As seen within the third row, the vault length was under exploration as this would affect the structural aspect of the project for the vaults, with structural properties, would morph the entire structure with the depth variations. This experiment was particularly useful as it gave quite a good indication of the effect of the parameter on the structure.
The fourth column was the experimentation with the opening sizes and its effect on the reverseengineered project. As shown, they had a great deal to do with the form of the outcomes. There were a lot of failures in this column as we learn of the significance of the controlled parameter and how it can affect an entire outcome. The fifth and final column was the exploration of the curve changes and points. This exploration further provided knowledge of the parameter. Although it doesnâ&#x20AC;&#x2122;t necessarily express it very well, the relationship between point and curve became apparent through this exploration From these explorations it became more explicit as to how certain parameters would affect outcomes especially regarding forms.
THE YUSAKUJI MINIMAL SURFACE
THE POWER OF COMPOSITION LEARNING FROM ITO AND CERVELLIONE
Using Robert Cervellioneâ&#x20AC;&#x2122;s Schoen F-RD script from CERVER.org, we were able to create a complex form which consisted of minimal surfaces that were mirrored and 3D rotated and mirrored some more to generate a modular component form.
The Cerver script allowed us to form a basis of which our parametric model could be based on. This foundation provided us with the tools we needed to further explore form generation and complex geometries through the minimal surface approach.
Rather than continuing to develop the entire Cerver script and duplicate an already realized form, we decided to experiment with a reduction in subdivisions applied to the BlendBox and manipulate the top and bottom surface parameters in order to experiment with the form generation as well as explore the extent of this technique.
As shown in the work to come, the iterations which explore the concept above create a significant impact on the final outcome of Yusakuji.
Limiting the subdivisions was actually one of the ways we tried to express the individual complexity involved in the entire form - which lead us to conclude with it expressing enough complexity to represent sufficient monumentality and contribute to the architectural discourse of social responsibility.
As you can see above, there has been quite a drastic mutation of the form. This iteration of the design demonstrates the direct effects of the how the parameters can affect the form and how the relationship between the form and the algorithm driving are interrelated with one another.
This exploration into the top and bottom surface parameters was a crucial step in achieving the final outcome.
THE YUSAKUJI ITERATIVE EXPLORATION
A PATHWAY TO A NEW OUTCOME
1st
2nd
3rd
4th
5th
In a similar approach to the previous matrix, we explored the various iterations possible to our own modular component - each column above exploring in the same method as the previous matrix. The variety of outcomes present within the matrix expresses the variations of complexity and form the final outcome had undergone. Each of the iterations retained the same basic foundation of the modular form of the prototype, but has numerous explorations with U and V manipulations along with alterations in base surface used and mirrored throughout. The tetrahedral symmetry is retained within each of the explorations in this matrix - demonstrating how numerous parameters can be attributed to a particular outcome or form whilst using a singular design approach. Seemingly revealing and demonstrating the multi-faceted nature of design.
DESIGN DEVELOPMENT PROCESS
Response to the site
Larger Scale Structure
Response to the Site Property
Vehicles Reflection of Speed of Vihicles
Refinement of the Form
Simplification of the Form
Sunlight Through Structure
Perforation of the Upper Part
Shadow
DYNA VIE When Passing By
MONUMENTALITY
w Cast
AMIC EWS When Passing Through
MATERIAL EFFICIENCY
The Weaverbird exploration into perforation was important as it gave a further rise to reduction in material usage. This concept was integral to the Yusakuji design as it emphasized a sense of material efficiency which provided further opportunities such as utilizing off-cut materials for joints and connections from panel to panel â&#x20AC;&#x201C; the evolution for the use of architectural tab modeling. We guided the perforations in our final outcome through the concept of triangulation and truss-work; another great example of material usage in an efficient manner. We chose to follow this method as it retained a sense of structure and rigidity whilst reducing the structureâ&#x20AC;&#x2122;s dead load and generating a new visual aspect to the design â&#x20AC;&#x201C; which provided a new interaction with light.
THE WYNDHAM GATEWAY “DIVERSE PEOPLE, ONE COMMUNITY ONE FUTURE”
THE YUSAKUJI SOLUTION
The realisation of the Yusakuji joint is driven by material efficiency and made of offcuts of the steel panels used for the production These panels are held together by rivets
INTERIOR
With the joints of the panels to be flush with the perpendicular panel fixed to it, the interior joint (or bracket) will be of a shorter length than the exterior bracket with the bend occurring about the centre of the bracket.
18m
2mm 10m 3mm
5mm SIZE
THICKNESS
SIZE
GALVANIZED STEEL PANEL
BOLT JOINT
YUSAKUJI ON SITE
0
50
100m
YUSAKUJI ON SITE
WYNDHAM’S NEW GATEWAY TO GLOBAL RECOGNITION Yusakuji, to be situated at the Western Gateway, will express the complexity and monumentality all from the basic minial surface as its base and foundation. As a Gateway welcoming and farewelling the users of the Princes Freeway into and out of Wyndham it will also act as a gateway that Wyndham can use to being recognised as a global contributor to an ongoing architectural discourse. It will do for Wyndham what the Guggenheim did for Bilbao.
to express their importance within the sculpture that will be used to represent them. The final outcome of the Yusakuji is essentially a singular modular component that can be rotated and mirrored to create a highly complex geometry.
Yusakuji expresses, through its form and composition, the ideals and vision of Wyndham into a physical form - for the world to identify. The Wyndham Vision, as taken from draft Wyndham City Plan, states:
The entirety of the modular components and their ability to create high complexity geometry creates a “community” of modular components. The community aspect within the Wyndham City can be represented through their Gateway - stressing the importance of the individuals within the community and emphasising the fact that an entire city is comprised of its individuals within.
“Diverse People, One Community, One Future”
“One Future”
Yusakuji expresses this vision within its design. The complexity of the geometry represents the complexity of each individual person within Wyndham. As the City of Wyndham would not exist or continue to function without the people within it, it is important
Yusakuji expresses the use of the minimal surface - as Toyo Ito does in his Tai Chung Opera House, which is currently under construction and pertains a strong sense of relevance regarding being current and innovative. The Future of Wyndham is Yusakuj
Providing Visual Pleasures Minimal Surface Approaching
Response to Userâ&#x20AC;&#x2122;s Experience
Space Optimization
Response to Clientâ&#x20AC;&#x2122;s Requirement
exc eye ca insta
Learning From Nature
Responsive Architecture
Pr Requ
Response to Surrounding Context
enrich muni
Contrast Approach to the Flat Site
Preventing Vehicles From Speeding
Realisation with Design Theme
Potential Expectation
citing, atching allation
Material Efficiency
Generating Better Social Behaviour
roject uirement
Social Representation
Social Refinement
hing the icipality
Serve the Needs of Community
Reformatting the Previous Condition
LEARNING OUTCOMES
LEARNING OUTCOMES “Interrogat[ing] a brief” by considering the process of brief formation in the age of optioneering enabled by digital technologies;
Utilising the parametric modelling capabilities of Rhino with the Grasshopper plugin allows for a more thorough design approach regarding the design intention.
Studio AIR has taught me to interpret design briefs and allowed me to respond in a much focused manner. The tutorials of the semester have provided me with the ability to narrow my focus and to add further depth to my argument – which has created a profound influence on how I respond in a design environment.
Through the algorithmic stages of design and the reverse engineering phase of design, along with the explorations of the parametric capability and effects on the form it was clear to see how a designer could utilise this capability to apply a sense of relevance to site and even context of their own design outcomes.
This is thoroughly expressed in the group’s non-deviating attachment to the material efficiency argument.
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 intrinasic capacities for extensive design-space exploration;
For example applying the bottom surface of the BlendBox to fit with the contours of the site allowed for a seamless fit onto the site and provides a sense of fluidity from site to design which really expresses the design intent less rigidly.
LEARNING OUTCOMES Developing “skills in various three-dimensional media” and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication; For the group, as our design focused on reductively approaching material usage we needed to focus on how to translate tabs into panels which could be installed into a physical realisation. Although the joints we had created we not digitally designed through the use of Rhino or Grasshopper, I learnt that although our designs may be limitless on the computer screen, the physical capacity of some these realised components may need to take into consideration – material weights, dead loads, spans and joints as well as cost. One of the initial strategies for the group to install our outcome was to excavate the road to allow for clearance, this obviously did not take into consideration any budgeting as excavation would be outrageously over budgeted and, furthermore, unnecessary.
What I learnt most about fabrication and physical translation is that it is important to prototype and test the material capacity of particular materials to allow for limited variations between trials and final outcomes Developing “an understanding of relationships between architecture and air” through interrogation of design proposal as physical models in atmosphere; The group’s final outcome seems to encapsulate a sense of air but not necessarily in the form of oxygen and breathing. Instead, the group seems to embody this Moet and Chandon Marquee sens of air – bubbles. This concept of bubbles reflecting the original occurrence of the minimal surface, it is only fitting that the minimal surface be reflected through the Yusakuji project. It is important to note how an atmosphere of a building captures its essence. It is said that air occupies the building, seemingly assuming its form. Therefore, the air within the building becomes the building. This is important as in order for architecture to nurture life and creativity, it must be able to house it within.
LEARNING OUTCOMES 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. As previously mentioned, this concept of narrowing a focus and adding depth to the argument had a great impact on this learning objective. It is not uncommon to approach a design with the intent to add so many radical and crazy design ideas and blurt out design but when you approach it in terms of relevance and trying to achieve a very particular kind of argument you tend to make your work mean something. And when it means something, it becomes something more than a fancy sculpture or a pretty building. It becomes architecture and a lesson that people can refer back to and learn from and even draw from to influence their future design choices and even their way of thinking of and understanding architecture in the built environment.
Develop capabilities for conceptual, technical and design analyses of contemporary architectural projects; In the reverse engineering stage of the subject, case study 1.0, we were able to see the parametric design techniques and how they could be manipulated to form a particular outcome. We were able to create complex surfaces and polysurfaces through the combination of Grasshopper techniques. As we were taught the techniques to create, we could then identify the techniques within other projects – even without the reverse engineering stage. For example, Toyo Ito’s Tai Chung Opera House utilised a similar technique to the group – which involved a lot of mirrors and 3D rotating through, as explained explicitly in previous pages. Additionally with this newfound ability to identify techniques, as we are familiar with the nature of each technique, we can further understand what the designer is trying to communicate through their design.
LEARNING OUTCOMES Develop foundational understandings of computational geometry, data structures and types of programming; The concept of computational geometry was explored through recreating geometry that is naturally occurring and reapplying it to a digital context and then further manipulating it in order to apply it onto site and incorporating it into designs. For the group this was expressed through the re-creating Schoen F-RD minimal surface – through the use of Grasshopper and the minimal surface plugin. In order to this, we created our parameters around the tetrahedron utilising its geometry to create midpoints to influence the surface. The manipulation past this point focused more on composition of the surface, but the base modular component was created through our re-interpretation of the Schoen surface. The Grasshopper method of programming allowed for a simplified and logic-based approach to form generation. This is different to how a program such as AutoCAD would apply parameters. Using Grasshopper it separated each function into different components which allowed for backtracking
and corrective actions to occur by addressing issues at the source. This is especially so when boxes become highlighted orange or red. Regarding the data structures within Grasshopper, it was very user-friendly to be able to view each address through program functions – this allowed us as designers to identify which parameters and input information was influencing which forms. This was especially so through the use of sliders to provide an integer value – when we used it to control the U and V subdivisions within the BlendBox we saw how each time we influenced the data, within the data structure, the outcome form would behave directly in accordance. This may seem like a relatively pedestrian revelation, however, once these foundational concepts are understood the learning curve for programming decreases and it allows for further personal exploration – opening up the possibility to innovation.
LEARNING OUTCOMES Begin developing a personalised repertoire of computational techniques substantiated by the under-standing of their advantages, disadvantages and areas of application. As the group narrowed their focus towards the applicability and further exploration of composing a minimal surface in an artistic and complex fashion. Regarding the disadvantage, a seemingly self-sustaining structure of high rigidity and stiffness can seem almost perfect on screen or in Rhino – prior to being subject to external forces onto the structure. I assume that this is an issue with CAD software approaches in general – its ability to create without consequence. I know that seems as though it is merely a complaint about how my physical realisations can’t 100% reflect my digital realisations due to limitations of joints or materials or unforseen loads etc. but it is more than this. I understand that the Kangaroo plugin within Grasshopper allows for external loads to be applied onto the digital models, but after each of the phases of testing are
completed it would still require physical prototyping and then digital amendments which seems to be thorough but highly labourintensive. And when this process is repeated laboriously a countless amount of times, this questions comes to mind: “Does the complexity expressed through the digital models and the productive capacities of digital fabrication really allow us to express a complete design intention? Or are we still limited by our own physical productive capacity? There are advantages to the digital design techniques and understanding how to apply them. For example, a subdivision within a box where a singular component can be applied into each subdivision is a highly representational way in which we can represent particular aspects of designs – for example, people or communities etc. It also demonstrates highly expressive tools which can used to elaborate the designer’s intention a lot more clearly – limited only by physical productive capacity.
REFERENCE LIST
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