STUDIO AIR L O U I S
S A U N D E R S
8 3 8 0 1 7 TUTORIAL 14: DAVID WEGWAM
CONCEPTUALISATION 1
2
CONCEPTUALISATION
TABLE
OF
CONTENTS
PA R T A : C O N S E P T UA L I S AT I O N A.1. Design Futuring A.2. Design Computation A.3. Composition/Generation A.4. Conclusion A.5. Learning outcomes P A R T B : C R I T E R I A D E S I G N B.0. Self Reflection B.1. Model for Variation B.2. Case Study 1.0 B.3. Case Study 2.0 B.4. Expanding the Algorithm B.5. Technique: Prototypes B.6. Technique: Proposal B.7. Learning Objectives and Outcomes B.8. Appendix - Algorithmic Sketches PA R T C : D E TA I L E D C.1. Design Concept C.1.2 Final Design Concept C.2. Tectonic Elements & Prototypes C.3. Final Detail Model C.4. Learning Objectives and Outcomes BIBLIOGRAPHY
D E S I G N
CONCEPTUALISATION 3
INTRODUCTION My name is Louis Saunders; I am third year environments student majoring in architecture from Melbourne. I have completed the design studios Earth and Water, for Water I studied the work of Japanese architect Tadao Ando. I have also completed the course Digital Design and Fabrication. As such from my completion of these subjects I am proficient in the programs rhino, adobe illustrator, Photoshop, InDesign, Revit and have a very basic understating of grasshopper. Some of my architectural inspirations include, Frank Gehry, Bjarke ingles, Antonio Gaudi, Adolf Loos, Mies van der Rohe and countless others.
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CONCEPTUALISATION
PAST
WORK
Studio Earth DDF Stduio Water
CONCEPTUALISATION 5
A .1.
DESIGN FUTURING
“Safe ideas will not linger in peoples minds or challenge prevailing views but if its too weird it will be dismissed as art, and if its too normal it will be effortlessly assimilated.”
As stated by Anthony Dunne and Fiona Raby their 2013 book “Speculative Everything: Design, Fiction, and Social Dreaming” Today the way in which designers go about their work to define the future is a complete contrast to that of the height of radical design from the 70’s. Today in striving for the future, designers now “hope rather than dream” and as such design as now become a source of blandness in a search for the easy to use and the preferable future rather than striving for the impossible and creating a positive change.
The future of design must “dream new dreams for the twenty first century as those of the twentieth century rapidly fade” There needs to be a middle ground found between radical ideas and the average consumerism in order for the blandness of the preferable future to take over. Radical design will never be at the forefront of the future if there is an easier, cheaper and more consumer friendly option available as such a middle ground must be reached in order to change.
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CONCEPTUALISATION
CONCEPTUALISATION 7
FREDERICK KIESLER ENDLESS HOUSE 1950 Endless House is a conceptual work of architecture by Frederick Kiesler. Kiesler used the project to merge the spiritual and practical into a new housing typology. One of its main features is its derivation of the shape, this shape was argued due to the fact that it its is based on a lighting system; the shape would allow ample light to reach every corner of the room without being broken up by corners and interior walls of a conventional building. Being from the 1950’s Kiesler’s endless house shows how the future was designed by dreams compared to todays search for hope rather than radical change. to put this in perspective at the time kieslerr’s design was created in a time not inflicted by todays mod cons and mass consumerism more a time that was still restive but real more on the imagination than the need to create to please as such the design looks as radical and different today as it did then,
the endless house shows what is possibles when designers ignore the limitations and constraints of todays modern consumer driven world and enforce radical and different ideas to dream and imagine rather than hope and worry.
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CONCEPTUALISATION
CONCEPTUALISATION 9
BEN VAN BERKEL (UNSTUDIO) AND WERNER SOBEK, MERCEDES-BENZ MUSEUM, STUTTGART, 2006
The Mercedes-Benz Museum in Stuttgart is a perfect example of were radical design meets public consumerism. The building itself is unique and challenges that of ordinary design in that there there are virtually no right angles or plane surfaces in the whole building which help create its free flowing original form.
In the way of using consumerism to its advantage the building itself is a tribute to the german automotive taking all that is great about the company and enforcing those ideas to create this building, this ultimately shows that futuristic design can go hand in hand with public consumerism and create a radical and original designs.
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CONCEPTUALISATION
CONCEPTUALISATION 11
A.2.
DESIGN
COMPUTATION
As the future progresses, so to does the way in which we design, now days t squares and drafting are no longer essential tools to the architect, in todays modern age the greatest psychical aid or tool to the architect is the computer. An architect must not rely on the computer to do everything though, but let it do tedious tasks that would otherwise many years ago take a long time to do This mode of working has been termed computerisation. Ultimately the computer is a catalyst for the design process, it allows for an endless amount of inspiration for research, it excels idea generation in its ability to generate differing ideas and furthermore takes presentation to a whole new level.
The computer via algorithms and coding can provide the architect with an endless array of ideas and opportunity, this mode of working is called “computation. “But there is a danger when it comes to computation, as these techniques become common place and easy to use, we come to a point were individuality is lost and computer aided designs become repetitive and derivative. This is because people tend to go for easy option and stick within the computers limits rather then spend say hours developing a script the average designer will now days may download a script online or use over used components and easy tools to achieve something that sits well with the masses. It is this safety in creativity and fear of failure provided by the computer which almost impedes the creative spark as much as it amplifies it. As such ultimately the computer is a fantastic source for creating and driving designs but in the end sometimes the best ideas come from the simplest forms of technology like the pen and paper or a simple model.
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CONCEPTUALISATION
CONCEPTUALISATION 13
SHOP ARCHITECTS, FLOTSAM & JETSAM, DESIGN MIAMI, FLORIDA, 2016 3D printing technology is one of the latest design aids used by the architect in conjunction with the computer, Its ability to project computerised form in three dimensional objects, gives the architect a freedom to create a vast array of differing forms and designs, but the design will in most cases be limited by the size of the print bed. Not in the case of SHoP Architects pavilion at the 2016 design Miami. This structure is one of the largest ever to be 3D printed. Using a lattice-based structure the technology employed use of gantries and robotic arms extend the range of the printing heads in order to create the 3D printed structure made of Biodegradable bamboo filaments.
What this precedent shows, is that one of the major downfalls of the use of the computer is its limitations which can be sometimes solved. But its lattice like printing technique and form created from it, is nothing really that new and innovative, the real innovative part really is the shear scale of the structure other than that it is very similar to other alogrithimic designs though they may be at a smaller scale. That’s the major problem with everyone’s reliance with the computer some else could easy reproduce this style or form and slightly alter it, it lacks the individuality of human error .
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CONCEPTUALISATION
CONCEPTUALISATION 15
FRANK GEHRY, 8 SPRUCE STREET, NEW YORK 2010 Gehry is prime example of the way in which analogue techniques like a sketch or a model can be enhanced and pushed to completion by the computer. His work is all but Impossible to replicated and has uniquie indivual charateristics, somthing some algorithmic designs dont have
Even when compared to something more modern, but designed within the limitations of the computer like my first precedent, Gehry’s work creates almost a contrast between that and computer derivative works of today. As well known as it might be, Gehrys technique is completely individual to him, you see a Gehry building you know it’s a Gehry building and it is this ability to merge to distinctly different techniques together, an abstract sketch/model with the computer that gives his signature style.
The benefits of contemporary computational design techniques in the case of Gehry are evident in that without the comptuer Gehrys ideas, would not be able to be materialise as abstract and different as we know them today, with out the computer his ideas may be more toned down in an effort to be built.
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CONCEPTUALISATION
CONCEPTUALISATION 17
A.3 COMPOSITION/ GENERATION
From composition to generative, the architecture and design world went from standard architectural practices of sketches and drawings to algorithmic programing resulting in generative design. “Generative design approach works in imitation of Nature, performing ideas as codes, able to generate endless variations � In its search for optimal design, generative design creates complex forms that would otherwise be impossible to make, among this benefit you are also able to maximise optimization for materials and reduce costs as a result.
Though as generative design gets increasingly popular it is in danger of being overused. As such it id evident of one major drawback in that when designs created using theses computer aided and algorithmic methods the outcomes in some cases tend to share the same overall astheic, like that of the lattice like weaving form, though they are performing vastly different functions. Generative design takes away human error which cases can strengthen a project and make it stand out, its much easier to copy an algorithm then a more of a individual project. Generative design works better in certain situations than others for example in engineered and structural projects rather than art and decorative projects not to say I can’t be used in the latter but it makes more sense to generate optimal from for a structural project than a art work.
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CONCEPTUALISATION
CONCEPTUALISATION 19
MAMOU-MANI ARCHITECTS, CLOUD CAPSULE, LONDON ,2014 This design which is a two-metre-high micro-pavilion designed by architect Arthur Mamou-Mani uses generative design to create a form that measures changes in the levels of the way in which light diffuses through its forms in the natural environment. Mamou-Mani looks to the natural system of light to develop an algorithm that calculates daylight simulation thus allowing for optimal form to be created. In looking at parameters such as number of oscillations, number of emitted rays and the diffusion factor, the daylight simulation software called “Silkworm� is able to output various designs which would have been impossible for the designer to achieve. In this case the designer is using generative design very effectively by maximising the possible outcomes and creating a unique algorithm to achieve exactly what they want.
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CONCEPTUALISATION
CONCEPTUALISATION 21
SMITHSONIAN INSTITUTION WASHINGTON DC, USA , 2004-2007 FOSTER + PARTNERS (BRADLEY PETERS) Working for Foster + Partners on the courtyard enclosure of the Smithsonian Institution Bradley Peters enforced generative design techniques to create the optimal form for the roofing structure. “Instead of simply translating the designer’s sketches, Peters developed a script that could be easily used to control and manipulate the complex geometry. The script became a combination of all the design ideas and was constantly modified and adapted during the design process. According to Peters “As the possibility to generate thousands of different options by using scripting, it increasingly important to not only understand the system constraints, but also to have a clear strategy for evaluating the generated options”, in saying this the work was not all done by the algorithm the project required a knowledge of both programming and architectural design to achieve the final structure such as the way in which the design was evaluated structurally, environmentally, its acoustics, and aesthetic.
As the allure of generative designs endless options sweeps up architects from all around the world, the problem still arises of the ability to borrow or reproduce someone else’s algorithm to create or influence your own design, in the case of the Smithsonian institution courtyard we only have to look closer to home to see the same idea being enforced for the roof structure of the Chadstone shopping centre (see below) though
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CONCEPTUALISATION
CONCEPTUALISATION 23
A.4.
CONCLUSION
Ultimately my intended design approach will to take on more radical ideas to strive for the impossible future rather than the possible. I will blend together both my creative intuition with the endless possibilities that a computer can accomplish. But I will not let the computer do all the work as that will result in aesthetically derivative designs. It is important to design this way because the world is becoming too depended on the computer alone. With the input of human error and creative intuition in to the digital design process it ultimately creates some more unique and individual thus more relatable. I’m designing for humans not robots.
A.5.
LEARNING
OUTCOMES
My understanding has developed in such a short amount of time from the beginning of semester, I feel like a have a good understanding of the way in which computers can aid the design process and have a general idea of how to use the grasshopper plugin for rhino. It is the ground work on for what will come next.
This knowledge I have learnt would have helped improve my designs in my past studio in that I had a very abstract plan to begin with creating an algorithm would have allowed me to get various forms thus allowing me to chose the one the worked best with the brief, in doing so I would have saved time creating the overall aesthetic which then time could of spent more on the details and designing how the structure worked.
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CONCEPTUALISATION
CONCEPTUALISATION 25
A.6.
APPENDIX
VORONOID AND SPIRALING
DRIFT PAVILION EXERCISE
26
CONCEPTUALISATION
-
ALGORITHM
MIC
SKETCHES
EXPLORATION OF THE NATURAL SYSTEM OF CORAL VIA REACTION DIFFUSION
CONCEPTUALISATION 27
P A R C R I T E R I A
28
CONCEPTUALISATION
T
B
D E S I G N
CONCEPTUALISATION 29
B.0. SELF REFLECTION HEART CHAKRA
-
ABOUT THE HEART CHAKRA The heart chakra represents love, warmth, compassion, and joy is located in the centre of the chest at the heart level. It is the centre of your deep bonds with other beings, your sense of caring and compassion, your feelings of self-love, altruism, generosity, kindness, and respect. When anahata is open and energy is flowing freely, you are not only loving to others, you are also loving to your self.
WHY I CHOSE THIS CHAKRA The reason I chose this chakra was that I was drawn to the colour, other than that it was purely random, just my intuition. But upon learn my about this chakra I relaise that is very relevant to my in considering my strengths and blockages.
MY PERSONAL BLOCKAGE A major challenge that face is my lack of independence which is a direct result to high anxiety. To unblock this problem, I must rid myself of my dependence on other people and independently take control of my own life and determine what I really want to do. At this point in time one of major restrictions which represents my lack of independence is the fact that I’m still living at home, to grow stronger I must force myself into situations which will challenge me these include anything going to concerts on my own to living and working in a new country for an extended period of time. The work I will produce this semester should represent the overcoming of this blockage
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CONCEPTUALISATION
CONCEPTUALISATION 31
32
CONCEPTUALISATION
CONCEPTUALISATION 33
B .1. M O D E L
FOR VARIATION
ABOUT SEA CORAL Coral reefs are formed when free pieces of coral larvae attach themselves to a hard surface like rocks. The “corals then secrete skeletons from the underside of their skin” in which are made from calcium carbonate1. The algae that live inside the corals’ tissue provides the necessary nutience and energy to grow. Each species of coral grows at its own rate (on average 5 - 30mm per year) and also depends on the surrounding conditions. Rate of growth can be effected by the water temperatre, turbulence, salinity (need salt water to survive) and how much food is readily available1. Coaral reefs thrive in warm, shallow waters as they are exposed to large amounts of sunlight. However they are also able to grow at depths of up to 91 meters. Although only covering 1% of the ocean floor, they have the “highest diversity of any ecosystem on the planet, being home to more than 25% of marine life1.”
HARD & SOFT CORALS “Hard corals grow in colonies and are the architects of coral reefs1.” They consist of species such as maze/brain coral, elkhorn coral, etc. and come in a range of different shapes. Depending on the location, some form pointed shapes while others form round, flowing shapes. In wavy and rough watered areas, the corals form a flatter shape, whereas in sheltered areas where the water is calm, the same species will grow “more intricate shaped with delicate branching patterns1”. Soft corals, for example sea fingers, sea whips and anemone are usually bendy, soft and do not have a rigid skeleton. These types of coral have swaying bodies that move with the flow of surrounding waters and provide habbitat for fish, snails, etc. Due to soft corals always being in dager to being eaten, they have evolved to produce a toxic chemical that makes them poisonous to those who eat them.
DIFFERENT SPECIES STAGHORN CORAL (yellow/brown) - Have antler-like branches that grow in a dense and tangled formation2. ELKHORN CORAL (yellow/brown) - Branches are flat and broad resembling the antlers of a moose. The surface is covered with tiny round cups2. LETTUCE CORAL (yellow/gray/purple) - Hemispherical with thick, flat leave-like plates which have many ridges. They also have cups on the upper and underside of each ‘leaf’2. GROOVE BRAIN/MAZE CORAL (yellow/brown/gray) - Consists of walls and valleys in which form round bolders with deep, interconnected channels2. COMMON BRAIN/MAZE CORAL (green/yellow/blue) - Have long valleys with ridges that have no top groove. Resembles a worm2. STARLET CORAL (golden brown) - Forms rounded boulders in which are covered in round, pitted holes2. There are hundreds of coral species out in the ocean, these are only a small number of the most common species.
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CONCEPTUALISATION
CONCEPTUALISATION 35
B.1.
A N A LYS I S D I AG R A M -
LARVAE ATTACH TO FORM
ATTACH RANDOMLY
11
Na
Sodium
CORAL BECOMES DAMAGED & DETERIORATES SO ALGAE 36 LEAVES CONCEPTUALISATION
CONTINUES TO GROW FROM WATER, ALGAE & SUNLIGHT
GROWTH PATTERN DEPENDS ON ALL OF THE ABOVE CONDITIONS
CORAL GROWTH
CONNECTION BETWEEN CORAL GROWTH AND OUR DESIGN
GROW RANDOMLY & FORMS PATTERN
Our aim for this semester is to experiment with the growth of coral in various ways though the use of grasshopper. We will observe of how the coral forms, grows and develops, its diverse and various patterns and forms (mostly minimal surface) and how it creates and the connection between the coral and its host (rock). This will drive parts our script to create our final form. We will create a form which most likely be some variation of a minimal surface form, add a pattern depending on surrounding conditions, and play with colour in relation to what stage of the coral life cycle our piece is at. Knowing that the pattern is a consequent from the number of surrounding environmental factors such as amount of sunlight, wind, temperature. we will assess the site to know what type of coral would grow. This will help to create a unified design that is unique to the exact location on site. The connection between the coral and its rock is vital because without the host, the coral larvae will have nothing to connect to and develop. The most effective growth always comes from a solid stable host. We will be looking at a site in terms of where will be most suitable for our structure.
CLOSE UP GROWTH CONCEPTUALISATION 37
B.1. T R A N S L A T E Coral growth diagram to grasshoper CREATE CURVES
ROTATE CURVES
RELATING TO FORM
LARVAE ATTACH TO FORM
LARVAE ATTACH TO FORM
ATTACH RANDOMLY
CREATE MINIMAL SURFACE
(CORAL GROWTH)
11
Na
Sodium
LARVAE ATTACH TO FORM
ATTACH RANDOMLY
CORAL BECOMES DAMAGED & DETERIORATES SO ALGAE LEAVES
CONTINUES TO GROW FROM WATER, ALGAE & SUNLIGHT
GROWTH PATTERN DEPENDS ON ALL OF THE ABOVE CONDITIONS
CLOSE UP GROWTH
CLOSE UP GROWTH
GROWTH PATTERN DEPENDS ON ALL OF THE ABOVE CONDITIONS
GROW RANDOMLY & FORMS PATTERN LARVAE ATTACH TO FORM
SMOOTH & SURFACE LARVAE ATTACH TO FORM 11
Na
BETWEEN CURVES Sodium
11
CONTINUES TO GROW FROM WATER, ALGAE & SUNLIGHT
GROW RANDOMLY & FORMS PATTERN
GROW RANDOMLY & FORMS PATTERN
THICKEN SURFACE
CORAL BECOMES DAMAGED & DETERIORATES SO ALGAE LEAVES
ATTACH RANDOMLY
Na
ATTACH RANDOMLY
(CORAL DECAY)
ATTACH RANDOMLY
LARVAE ATTACH TO FORM
ATTACH RANDOMLY
GROW RANDOMLY & FORMS PATTERN
Sodium
GROW RANDOMLY & FORMS PATTERN
CREATE PATTERN GROW RANDOMLY & FORMS PATTERN
(WEAVERBIRD) 11
Na
Sodium
CONTINUES TO GROW FROM WATER, ALGAE & SUNLIGHT
CLOSE UP GROWTH
GROWTH PATTERN DEPENDS ON ALL OF THE ABOVE CONDITIONS
CORAL BECOMES DAMAGED & DETERIORATES SO ALGAE LEAVES
CONTINUES TO GROW FROM WATER, ALGAE & SUNLIGHT
GROWTH PATTERN DEPENDS ON ALL OF THE ABOVE CONDITIONS
11
CLOSE UP GROWTH
Na
Sodium
11
Na
CORAL BECOMES DAMAGED & DETERIORATES SO ALGAE LEAVES
CONTINUES TO GROW FROM WATER, ALGAE & SUNLIGHT
GROWTH PATTERN DEPENDS ON ALL OF THE ABOVE CONDITIONS
CLOSE UP GROWTH
Sodium
CORAL BECOMES DAMAGED & DETERIORATES SO ALGAE LEAVES
CONTINUES TO GROW FROM WATER, ALGAE & SUNLIGHT
GROWTH PATTERN DEPENDS ON ALL OF THE ABOVE CONDITIONS
CLOSE UP GROWTH
SMOOTH (MORE
LARVAE ATTACH TO FORM
ATTACH RANDOMLY
GROW RANDOML
CORAL DECAY)
11
Na
Sodium
38
CONCEPTUALISATION
CORAL BECOMES DAMAGED & DETERIORATES SO ALGAE LEAVES
CONTINUES TO GROW FROM WATER, ALGAE & SUNLIGHT
GROWTH PATTERN DEPENDS ON ALL OF THE ABOVE CONDITIONS
CLOSE UP G
CONCEPTUALISATION 39
B.1. B U I L D
CURVE
CURVE
MINIMAL SURFACE MESH (BASE OF FOUR BOUNDARY CURVES)
CURVE
CURVE
40
CONCEPTUALISATION
U
V
ITTERATION
WEAVERBIRD THICKEN
DISTANCE
MESH SMOOTH
STRENGTH
ITTERATION
LIMIT
WEAVERBIRD
WEAVERBIRD
CARPET
CATMULL
LEVEL
CONCEPTUALISATION 41
B.1.
E X P E R I M E N T
STRAIGHT CURVES
ROUND CURVES
CURVES CHANGED
42
CONCEPTUALISATION
THICKNESS
0
3
7
16
27
19
37
100
50
SMOOT LIMIT (CORAL SIZE)
3
5
13
REDUCE MESH (CORAL SIZE)
900
700
300
CONCEPTUALISATION 43
B.1.
E X P E R I M E N T
WEAVERBIRD (CORAL PATTERN)
no Wb
WbCc
WbCarpet
WbThicken
WbCc
+4
+5
WB HOLE SIZE (CORAL PATTERN)
+1
CLOSE UP 44
CONCEPTUALISATION
+2
+3
EYE LEVEL
WB AMOUNT
+1
+2
+3
+4
+5
8
12
15
6
10
U COUNT
1
5
V COUNT
0
2
4
CONCEPTUALISATION 45
B .1. A N A LYS I S
STRAIGHT CURVES This structure functions as a an interactive art instalation whereby people passing by can view or sit. The different levels made by the lofted straight curves creates a number of ledges so people can sit. With our restriction being a lack of independence, this iteration is not the best because there are no independent spaces for people to reflect. It is more of a social space.
ROUND CURVES This structure has a stronger connection to our restriction as it is divided into three separate spaces. One facing the river, one facing a hill face and one being nearly completely enclosed. Each space allows people to sit either independently or with others. The enclosed area intends to draw people in.
46
CONCEPTUALISATION
SMALLER WB HOLE SIZE This iteration allows people to walk through the structure, bridging over those under it. The holes throughout highlight light and transparancy, while creating hand and foot holes so that it is able to be climbed on. From the top, there is a beautiful view towards the waterall, where people will be encouraged to sit in silence and appreciate the landscape and energy around them.
LARGER WB HOLE SIZE Out of the four chosen iterations, this one fulfils our blockage the best. By increasing the size of the holes as well as the size of the structure, the holes are able to function as individual seating pods. Although this may be the case, a stronger connection to the land (like coral has with its host rock) is needed strengthen this design. Making the structure connect into the water or appear as though it is emerging from the ground might help to strengthen the relationship.
CONCEPTUALISATION 47
B.2. C A S E
S T U D Y
1 . 0
COUNT
1
6
14
32
56
97
0.33
0.47
0.60
0.90
1.44
25
62
94
FACTOR
0.15
COUNT + LOW FACTOR
1
48
8
CONCEPTUALISATION
13
SEED
1
3
4
7
9
10
WbCc
WbCc
WEAVERBIRD PROCESS
no Wb
WbCc
WbCarpet
WbThicken
WEAVERBIRD PATTERN ON DIFFERENT FORMS
CONCEPTUALISATION 49
B.2. FOUR FAVOURITE ITERA What’s stands out about this iteration is it simplicity when compared to the other iterations, it simplicity will allow for an easy build and a minimum cost. The six forms allow for multiple people to use the space and allows for extra people to climb and use the space in different ways. The form creates various pods which allows for people to experience a sense of independence.
This iteration uses a coral like pattern to create a large structure that can be climbed are rested on. Its height stands out on the bank of Merri Creek and catches the attention of the people that pass by. As well as acting as a resting place the structure also acts as an art installation that further strengthens the ascetic of the parkland area.
50
CONCEPTUALISATION
ATIONS This structure is similar to first iteration in that the form creates various pods which allows for people to experience a sense of independence, But by using the weaverbird pattern it allows for the structure to be climbed thus allowing access to the other pods. One downfall with the pattern is that is eliminates the isolation the is created form the first iteration.
This structure is the least successful out of the four iterations in that create a strong sense of independence. But what it does do well is replicate the natural process of coral formation in its smoothed minimal surface for which represents the decay coral, while the other iterations share similar aesthetics to coral, this iteration replicates the system.
CONCEPTUALISATION 51
B . 3 . C A S E S T U DY 2 . 0 G R E E N V O I D GREEN VOID // LAVA ARCHITECTS // 2008 This project LAVA Architects is a lightweight sculpture designed specifically for the central atrium of Customs House, covering through five levels of the building. The intent behind the design was to create a intense visual contrast to sit in the newly restored building interior1. “The concept was achieved with a design that follows the forces of gravity, similar to a spider web or a sea coral2.” The architects of the project focused on creating “more with less” and achieved this by using minimal surfaces and centenary curves to stretch between the void in the building’s atrium space. Utilising three dimensional computer modelling, as well as CNC cutting, the final outcome displays a effective use of materials, light weight construction, quick installation time while also “achieving maximum visual impact in the large atrium space3.” The materials that were used were double stretch woven fabric with aluminum track profiles suspended from stainless steel cabling above. With the structure comprising of 3000 cubic meters enclosed with a minimal surface area of 300 square meters, it only uses 40kg of material3.
HOW WE WILL INCORPORATE IT INTO OUR DESIGN We will incorporate this into our design via the inclusion and experimentation of minimal surfaces. Minimal surfaces will be explored because they give the best representation as to how coral grows in nature as such it will be used in our design. The form used in the Green Void is very similar to the forms we used in be one they may not look alike but they are both minimal surfaces and create from for the smallest possible distance. The green void form will also helps us create a form which greater represent our shared blockage of a lack of independence
52
CONCEPTUALISATION
CONCEPTUALISATION 53
B.3. REVERSE ENGINEERING
REMOVE CREATE SKELETON /
LOFT
REFERENCE CURVES
ADJACENT
FACES THAT INTERSECT WITH BRANCHES
CONVERT TO MESH
54
CREATE BRANCHES
EXPLODE INTO
/ REFERENCE
SEPARATE
CONCEPTUALISATION
H
THE GREEN VOID
ADD ELASTICITY (HOW
WELD / CHECK MESH
KANGAROO
FINAL
FIND NAKED POINTS
CONCEPTUALISATION 55
B.3. EXPERIMENT CHANGING THE BASE CURVES
CHANGING THE BASE CURVES
THICKNESS
56
CONCEPTUALISATION
SMOOTH LIMIT
PATTERNING #1
PATTERNING #2
CONCEPTUALISATION 57
B.3. SUCCESSFUL PATTERN
58
CONCEPTUALISATION
NS
Different patterns have the ability to create different visual effects. Depending on pattern type and scale, different levels of transparency are able to be created. In our design, after we come up with our base form, we will play around with ideas of transparency. Therefore patterning will be useful.
CONCEPTUALISATION 59
B.4. EXPANDING THE ALGO
WIND
WHAT TYPE OF CORAL
60
CONCEPTUALISATION
SMOOTH Sheltered by the cliff face
ROUGH
Exposed to the wind
path of the flowing ri
ORITHM - DIAGRAMS
SUN PATH
low
SMOOTH
H
dy
iver
high
ROUGH
Shaded from the sun
Exosed to the sun for
at certain points of the
nearly all hours of the day
day so does not grow as
so can grow wildly.
much.
CONCEPTUALISATION 61
B.4. TRANSLATE
LARVAE ATTACH TO FORM
LARVAE ATTACH TO FORM
ATTACH RANDOMLY
ATTACH RANDOMLY
GROW RANDOMLY & FORMS PATTERN
GROW RANDOMLY & FORMS PATTERN
GROWTH
CORAL FORM MOVE IN Z
CREATE A
11
SPHERE
Na
Sodium
11
CORAL BECOMES DAMAGED Na & DETERIORATES SO ALGAE Sodium LEAVES CORAL BECOMES DAMAGED & DETERIORATES SO ALGAE LEAVES
CONTINUES TO GROW FROM WATER, ALGAE & SUNLIGHT
GROWTH PATTERN DEPENDS ON ALL OF THE ABOVE CONDITIONS
CONTINUES TO GROW FROM WATER, ALGAE & SUNLIGHT
GROWTH PATTERN DEPENDS ON ALL OF THE ABOVE CONDITIONS CLOSE UP GROWTH
REMOVE
DIRECTION
BOTTOM
SCALE IN Y CLOSE UP GROWTH
DIRECTION
LARVAE ATTACH TO FORM
ATTACH RANDOMLY
GROW RANDOMLY & FORMS PATTERN
BASE FORM REMOVE
CREATE A SPHERE
11
BOTTOM
Na
Sodium
CORAL BECOMES DAMAGED & DETERIORATES SO ALGAE LEAVES
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CONCEPTUALISATION
CONTINUES TO GROW FROM WATER, ALGAE & SUNLIGHT
GROWTH PATTERN DEPENDS ON ALL OF THE ABOVE CONDITIONS
CLOSE UP GROWTH
LARVAE ATTACH TO FORM LARVAE ATTACH TO FORM
ATTACH RANDOMLY LARVAE ATTACH TO FORM
ATTACH RANDO
GROW RANDOMLY & FORMS PATTERN ATTACH RANDOMLY
GROW RANDOMLY & FORMS PATTERN
11 11
Na
Sodium
CORAL BECOMES DAMAGED & DETERIORATES SO ALGAE LEAVES
CONTINUES TO GROW FROM WATER, ALGAE & SUNLIGHT CORAL BECOMES DAMAGED & DETERIORATES SO ALGAE LEAVES
GROWTH PATTERN DEPENDS ON ALL OF THE ABOVE CONDITIONS CONTINUES TO GROW FROM WATER, ALGAE & SUNLIGHT
DECAY / DAMAGE MESH
SMOOTH
Na
Sodium 11
Na
CORAL BECOMES DAMAGED & DETERIORATES SO ALGAE LEAVES
Sodium
CORAL PATTERN CLOSE UP GROWTH
GROWTH PATTERN DEPENDS ON ALL OF THE ABOVE CONDITIONS
CLOSE UP GROWTH
CONTINUES TO GROW FROM WATER, ALGAE & SUNLIGHT
CORAL CONNECTION
CREATE A
JOIN MESHES
PATTERN
TOGETHER
GROWTH PATTERN DEPEN ON ALL OF THE ABOVE CONDITIONS
CONCEPTUALISATION 63
B.4. BUILD
MESH SPHERE
MOVE Z
MESH
MCOMP
SCALE Y
DIFFERENCE
SIMPLEX MULTIPLY MOVE MESH
MESH SPHERE MCOMP SIMPLEX MULTIPLY MOVE MESH
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MESH
MESH DIFFERENCE
MSMOOTH
WBCARPET
WBCC
THICKEN
COMBINE MESHES
CONCEPTUALISATION 65
B.4. EXPERIMENT
TIME
3
11
16
22
3
7
43
AMP / SMOOTHING
0
66
2
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12
SCALE
0.05
0.08
0.12
0.17
0.24
PATTERNING #1
1
3
7
13
25
CONCEPTUALISATION 67
B.4. EXPERIMENT
PATTERNING #2
1
2
3
4
5
4
9
15
PATTERNING #3
1
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3
COMBINATION
COMBINATION
CONCEPTUALISATION 69
B . 4 . A N A LYS I S These renders represent the two optimal positions for our design of the site of Dwight falls at the Merri creek park. The locations chosen are based on access to sunlight and amount of wind, these features also relate back to the type of coral the will grow in these conditions as such our design will reflect this.
The first position is based on the shallow rocks just west of the water fall, which allows for is maximum sunlight on the object as such the form will represents the the way in which coral grows rapidly in many different forms when exposed to that amount of sunlight for extended period of time. Furthermore, the position is also in the main path of the wind which will also enforce the way the form will develop. As for the brief this position allows for contemplation due its proximity to the running water thus allowing for a relaxing and calming sound, its location on rocks is also quite isolated which allows for people who enter the pod to experience a sense of independence.
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CONCEPTUALISATION
The second position is based on the top of the cliff face on the southern most island in the park. This location was chosen mainly due to it’s the fact that it draws similarities to the way in which coral forms of rock, the contemplation pod is growing out the cliff face the same way coral develops. This position also has minimum sunlight and maximum shade as such a different type of coral would grow in this position thus allowing for a different form to be produced within our design. A major problem with this site is that there is limited access to the other side of the river.
CONCEPTUALISATION 71
B . 4 . A N A LYS I S HIGHT ANALYSIS HEIGHT OF HIGHEST EXTERIOR POINT
HEIGHT OF LOWEST INTERIOR POINT
AVERAGE PERSON HEIGHT
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CONCEPTUALISATION
3000mm
2000mm
1700mm
As according to our blockage to experience a sense of independence only one person will be allowed to enter the space at a time as such the scale should reflect this idea. To be certain of this we referenced the average height of a man and the lowest point of the structure’s interior. It is important also that the individual in the space will not fell confined as such we added a clearance of 400mm for safety and comfort, resulting in the interior height to total 2200mm and the exterior form of structure will be 3000mm in height and 5500mm in width. The scale of the form also can not be too small as it will not be able to catch the eye of those that pass by and want to experience it.
COLOUR COMBINATIONS
The colour scheme enforced will impact on our overall design. Because the combination of white and green represents the end of a life cycle (white) and represents new life (green). Add to this the fact that green is the colour of the heart chakra, as such it is also associated with meanings of safety, renewal, nature, harmony and growth. These qualities reflect the feelings we hope to highlight for those using the structure. The best combination is the use of the light green as it is washed out and subtle, works well with white. It is not necessary to go over the top with a bright colour, a subtle hint of green is just as effective. We want people to be drawn to the form, not simply to a bright colour.
CONCEPTUALISATION 73
B.5. PROTOTYPE PROCESS A 3D PRINT PROCESS 1.Construct for using a cad program 2.Make sure that form constructed in closed or joined 3.Hollow out form so cost is minimised 4.Make sure the form is scaled accordingly 5.Check for defects (thickness of form, size, connection etc.) 6.Save file as an Stl 7.Stl is then sliced by a slicing software 8.Then sent to printer 9.A Laser solidifies the material and begins to print layer by layer Print job finished
POWERED PRINTER PROCESS Repeat step one to six form the previous process 1.Powered is melted by laser one layer at a time 2.When layer is finished the bed moves down by 0.1mm and the next layer begins this is repeated until the object is finished 3.Print job is then un packed, the printed parts are separated from the powder ( the powder 4.can be re used) 5.Print job is then cleaned
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AND RESULTS RESULTS FIRST ATTEMPT (FAILURE) The first prototype was unsuccessful because the exterior created via the weaverbird plugin was too thin (less than 2mm) and the holes created within the pattern were also far to small as such the 3d printer was unable to print the object. If the object was to be printed in the powder printer it would just crumble and if it were to be printed from the other, it would malfunction due to not be able to print a layer in mid air.
LESS THAN 2MMM
REBUILD To improve this error, the exterior mesh was thickening to at lest 2mm the holes were extended to a diameter of at least 1.5mm. The object was then sent to the regular 3d printed not the powder print to reduce cost.
To Test the powder printer, the base forms of the structure were sent of to print. This in import because the other printer was able to print the distinct form we wanted to print as such the powder printer was more successful printer the from and will what we be using for our final.
CONCEPTUALISATION 75
B.5. PROTOTYPE PLASTIC PRINT Unfortunately, the 3d printed prototype did not turn out as we expect, the base form came out sharp and harsh and the cage came out uneven and deformed. but as this is prototyping it is expected to fail in some cases. What this demonstrates is that regular 3d printer gives a rougher and uneven texture which while draws similarities to coral it is not the style for the final that we want to use, as such we will most likely us the powder printer
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POWDER PRINT The powder printer printed the object turned out better than expected. The form was accurately replicated and finished in a smooth and constant texture. It had no defects compared to the maker bot printer and was much sturdier which may lead itself better to an exterior environment such as Merri Creek. This technique of powder printing will be explored further for our final model.
CONCEPTUALISATION 77
B.6. PROPOSAL Our concept is about overcoming an internal battle with oneself. The structure aims to reflect this by having two intersecting forms trying to break free from one another. The structure will be open to all who pass by and will be located in the shallows of the Merri Creek. Removal of all electronic devices will be required before entering the internal space, in order to experience a true, distraction free connection with one’s thoughts. Users will be able to gain access one at a time and will enter via a void in the top of the structure they then will drop down in to the space and it will close resulting in complete darkness. Research shows that when one sense is diminished, the others increase. The darkness aims to remove any visual distractions, resulting in a heightened state of thought. Users’ thoughts will become louder and they will be able to express them in a creative way. A drawing utensil will be provided upon entry. Users will use this to express their personal blockage. This will be anonymous; however, the works will end up being exhibited to the public each night. After each person exits, their art work will not be wiped. Everyone will unknowingly be adding to the piece. At the end of each day, the work will be projected onto the cliff face, thus visually displaying the connection between the artist and the landscape. The following day the interior will be a blank canvas and the process will repeat itself. Part of the structure will have a white exterior, representing the end of a lifecycle before new life is formed and the other part will be a subtle shade of green, representing new life. The form depicts two individual forms intersecting one another, fighting to break free. The inner form is representative of a person’s soul and the cage is their blockage. It is always a battle to overcome negativity within, however upon exiting the structure users should feel a release, much like a weight has been lifted. The time spent alone in the structure will help to increase levels of independence. Coming back into the real world will be a shock to your senses and hopefully allow the visitor to contemplate their reliance on independent and as such as a result of enter the space now feel like they can be free of this blockage 78
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SECTION 1:50
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PLAN 1:100
A
A
N CONCEPTUALISATION 81
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EXPERIENCE RENDER CONCEPTUALISATION 83
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EXPERIENCE RENDER AT THE MOMENT BEFORE CLOSURE CONCEPTUALISATION 85
B . 7. L E A R N I N G O B J E C T I V E S Upon review of the learning objectives of this subject we have come to the conclusion that:
We were able develop a diverse assortment of design possibilities by using the limitless capabilities produced from developing a parametric grasshopper script. By creating various iterations, it allowed to chose the best possible outcome for our design, this is evident in the multiple design matrixes produced though out part B, the scripts used through out shared many similarities relating to the growth of coral, but the resultant forms were completely different that being the B1 catenary curve forms, the experimentation of the green void from and the final forms used for the proposal.
The continuous learning experience of grasshopper has ultimately developed our skills in various aspects of three- dimensional media. This will allow for greater expression in future projects with these new found skills. Because a program like grasshopper is so expansive it allows for a personalised repertoire of computational techniques thus resulting in personalised design ideas, this is evident in the complete contrast of the output of the three scripts that being the three forms I mentioned before.
Furthermore, for the next proposal we must improve our ability to make a case for proposals and our ideas. The design at this stage is not as thorough as such we were able to develop some critical thinking and prepared for some criticism, but ultimately it was not enough and as a result I was refuting criticism on the stop thus creating various different responses to the same thing, this will defiantly be improved in the next stage of design when our design in thorough and in depth. In saying this though now we can take the criticism and improve our design.
Also in the experimentation of grasshopper I have come to the realisation that certain architectural projects are not as difficult and technical as they may seem and as such I have become critical of certain parametric designed projects. This was brought to my attention when I was told about the city of Melbourne’s dependence on facades and less dependence on other aspects of the design in that the buildings look great from the exterior but not so much inside. This is something that will drive our design in the next stage because it was one of the major criticisms of our proposal. We will strive to achieve to perfect combination between exterior aesthetic and well designed interiors. 86
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AND
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B.8. APPENDIX - ALGORITHM These selected algorithmic sketches display my successes and failures throughout this semester using grasshopper these past seven weeks. The chosen sketches span from B1 to B6 and show my ability to utilize Grasshopper as a parametric modelling environment. Mostly the sketches either represent playing around with minimal surfaces between points and the limitless possibilities that the weaverbird plugin can create.
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MIC SKETCHES
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P A R D E T A I L E D 94
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T
C
D E S I G N CONCEPTUALISATION 95
C.1 INITIAL DESGIN C O Coming from the interim presentation we decided to heavily alter our design, in that we believed we could do a lot better from what we had. What we decided to further exaggerate the experience and program within the design. Where as our initial design was to enter a room and contemplate the new design had a sense of freedom in that it was now very abstract and the idea was not to go in a room but to crawl and walk through a tube like structure that in parts had been submerged in the river. We retained the blob like form which we found as the perfect object to represent the heart (our charka) and instead of painting it green we now allowed it to illuminate green, this became an integral part of our design which will be written about in more depth later. In addition to the to the blob, what also was kept was the weaverbird created cage but instead of having it purely for aesthetic purposes we transformed it into an interior, responding to the criticism we received that though it looked nice on the outside nothing was going on on the inside. As seen in the interior renders using this weaverbird form as an interior it allowed for the abstract forms we created on the exterior to be present in the exterior. 96
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ONCEPT
CONCEPTUALISATION 97
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CONCEPTUALISATION 99
The idea from the tubes wrapping around the main form came directly form the biomimicry system of coral growth, as it wraps around and goes of in different directions it creates a sense of a natural form though it is created digitally. The main criticism with this initial design was that the two pipes were too similar and together it was hard to tell them apart, so for the next part we will create a strong contrast between the two tube like forms and also have different experiences with in them.
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CONCEPTUALISATION 101
LINER PROCESS This initial stage of this design was that we learnt about the way in which coral grows, in that coral larvae attaches itself to a host and grows patterns depending on surrounding conditions. We then used this biomimicry script to drive our design. From coral growth we first experimented with the idea of minimal surfaces and catenary curves which replicate the final form the coral creates, but it was very limiting in terms of development, furthermore we played around with the form from the green void but like the original minimal surfaces we found it even more limiting. What we than decided on which became one of our main elements in our final design was a script which created a more in-depth and variable minimal surface form which had and almost unlimited amount of options when it was combined with the plugin weaverbird. These scripts were intertwined and combined with each other ultimately creating our final design.
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CONCEPTUALISATION 103
C.1.2 FINAL DESGIN C O Our final design is heavily influenced by the chakra Anahata (heart), overcoming our blockage of a lack of independence and our strength of a connection to the land. With the heart chakra representing love and bringing people together and our blockage being lack of independence, our goal was to find a way to satisfy these at the same time. The final design brings people together by having the amount of people on the structure determine how much the heart will light up. This light will attract people to the structure from all over the surrounding site. Although there might be many people around, the two pipes that wrap around the heart are only wide enough to fit one person comfortably, therefore each person will be completing their own individual journey. The tube like forms in our final design compared to the previous iteration differ in the fact that the second pipe has been substituted with a more rigid black triangular form, which creates a strong contrast between it an the other tube like form.
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ONCEPT
CONCEPTUALISATION 105
As Anahata is the central and middle chakra it connects the chakras to become one as such as our design will be t
links both sides the river, acting as a bridge to one’s independence. On either side of the structure where the form
the land, there are larger openings that are subtle but clear for people to enter and exit as they please. People will
climbing swim and crawl to the other side depending on the level on independence and freedom they want to exp
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CONCEPTUALISATION
the heart the
m it met by
l be able to
perience.
CONCEPTUALISATION 107
At night the design will illuminate in the darkness. The distinctive green glow will light up the design and the surrounding water. As mentioned before the more people on the structure the more life there will be as such the light will glow brighter as there is more life.
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SITE PLAN 1:200
N 110
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Placement on site is very important to our design as we wanted to represent a connection to the land and also to the heart charka as such, our design was placed at the heart of the Merri river creek river just west of the Dwight falls water fall. The design represents the heart of the river, all the elements will then revolve around this main focal point and the heart form will illuminate and glow. Having it in this position allows the water to active the architecture allowing the design to almost become a living organism and also as a result amplifies theCONCEPTUALISATION 111 surrounding nature.
PLAN 1:50 A
A
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N
CONCEPTUALISATION 113
SECTION 1:50
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CONSTRUCTION DETAILS
DETAIL 1
1:20
DETAIL A 1:20
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S
IL A 2 I1 :L2 0 B 1 : 2 0 DD E ET A T
CONCEPTUALISATION 117
For the entrances we didn’t want to stand out that much because the design it self is very eye catching and stands out, for the entrances we made them more subtle, but big enough for people to realise what the are, and thus use them. 118
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The key feature of this design in terms of audience experience are the two tubes which wrap around the heart form like coral wraps around a rock. The two tubes provide an experience like no other, the push the audience to the extreme, so at the end of it all you have a feeling of independence and completion. Ways in the people are pushed to their limits include having to swim though the submerged pipe in the murky Yarra to having to climb your way through the rigid structure with out falling into the water. There are two stages, the white form and the black form. Each tube contrasts each other allowing for different experiences within each one. They are opposites in colour, finish and aesthetic.
The rounded white form is a less intense experience, users will still have to concentrate though to ensure they don’t fall into the water through the holes of the structure. Both forms create a journey that will create a rush and push users to their limits. 120
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CONCEPTUALISATION 121
In contrast the black triangulated form creates a much more intense climbing experience. Users will be forced to think harder about their every move resulting in an energy release when they come out the other side.
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HYDRO ELECTRIC LIGHTING SYSTEM
Our design is made up of 5 main components, being the two different tubes, the heart core, the light and a propeller. The propeller uses the naturally running water from Merry Creek to generate and store energy to fuel the light. The thought process behind this was that the running water brings life, excitement and energy to the site. Therefore, we wanted to make the most of this energy by having it bring life to our design. We also submerged half the structure underwater, resulting in a constant flow of water and energy through it. This submersion also relates well to our strength, being a strong connection to the environment.
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EXPLODED PERSPECTIVE
Tube 1
Tube 2
Heart / Core
Light
Hydrollic Propeller
Merri Creek
CONCEPTUALISATION 125
S C A L E A N A LYS I S
TUBE WIDTH 1700mm AVERAGE PERSON HEIGHT & WIDTH
470mm
1700mm
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STRUCTURE SPAN 20000mm HEART SPAN 10500mm
OVERALL HEIGHT & ABOVE WATER HEIGHT
8500mm
4500mm
CONCEPTUALISATION 127
TOP VIEW & ELEVATIONS
ENLARGED RESTING POINTS In each form there is one resting spot where the diameter dilates in order to create a space for contemplation and rest. In order to get to the resting area, you must first get through the struggle that is provide by the forms. But once youCONCEPTUALISATION reach this spot you are allowed for complete contemplation
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NORTH
EAST
SOUTH
WEST CONCEPTUALISATION 129
C.2 TECTONIC ELEMENT LARGE SCALE 3D PRINTING Large scale 3d printing will be the chosen form of construction. Large scale 3d printing offers the ability to fabricate the unique and differing forms created via parametric design, optimal accuracy with minimal errors, allows for fabrication on site, thus allowing for maximum scale with out having to worry about transport.
MATERIALS Large scale industrial 3D printers are able to print any desired material; the core will be an opaque plastic allowing the light shine through. The rounded tube will be rubber due to the smooth finish to ensure users have a safe enough grip not to slip or fall through. The triangulated tube will be stainless steel due to the way it reflects light. All these materials have been chosen due to their durability and ability to withstand the constantly wet environment. Each form will be printed on a different type of printer depending on the material.
Black reflective stainless steel Rubber (white) Opaque plastic 3D printed plastic
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TS & PROTOTYPES LARGE SCALE ROBOTIC PRINTERS Normal 3d printers would be impractical for these complex curves, normal 3d printers go in x an y and up and down these robots can point in various directions thus resulting in creating complex curves, the robot not only need to know where it is but also how it should point when it gets there. The robots have a closed loop feedback system which allows for the robots to realise what its doing as such it limit, keep track and correct failures and reprogram it self in real time to correct a failure. To maximise safety on site due to the robots being very large in scale as such the robot is program to work along side and avoid humans.
The types of robots to be used will be 1.6-axis KUKA 3D printing robot – For Rubber tube and blob 2.Large scale robotic printer stainless steel (industrial-robot specialist ABB) – triangular form
CONCEPTUALISATION 131
C.2 TECTONIC ELEMENT CONSTRUCTION PROCESS Due to the differing materials, each of the three components will be printed separately and assembled on site. The structures will be 3d printed on site due to the fact that forms a very large in scale as such getting rid of the need to transport them to site. A section of merri creek will be closed off during the construction period but as 3d printing is time effective compared to current construction methods the section will only be closed off for a short period of time. This location will be inline with the final site at the heart of the Merri Creek river and be located on the river bank, once the 3d printed process has been completed the forms will be placed on site one at a time via a small crane starting with the blob and ending with the black triangular form. The 3d printed forms are very light weight in comparisons to other materials as such there is no need for a large scale construction crane to be used.
CONSTRUCTION STAGE
LEGEND Construction site Proposed site Robot 1 Robot 2 Crane Crane path 132
CONCEPTUALISATION
MOVEMENT ON TO PROPOSED SITE
1ST
2ND
3RD
TS & PROTOTYPES FORM CONNECTIONS As this new form of 3d printing allows for minimum error as such the forms created connect perfectly with each other. The forms created may look random but with the use of parametric design tools such as grasshopper and cad software such as rhino it allows for pin point accuracy allowing for optimal form to be created something that would be impossible with out a computer. The forms essentially clip in to each other allowing for minimal joints to be needed. This is evident in our construction 3d print prototype model which shows a section of the three forms connecting with each other. You could say this links back to the way in which coral latches on to its host form.
CONCEPTUALISATION 133
C.2 TECTONIC ELEMENT In an effort to accurately represent the illumination aspect of our design in our final model we wanted to include a LED light fitting in the model, ultimately though the final print came out too think and this idea was abandoned and instead represent in more detail by the renders But what we wanted to include an led strip lamp which was a perfect fit scale and illumination wise on what we wanted to show. In an effort to test brightness the led was dimmed at certain voltages to determine which would be best to shine through the material and also different types of green materials were tested to change the colour of the light, we didn’t want a green led light but unfortunately that required a much larger transformer and wouldn’t have been too large for the model.
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S & PROTOTYPES
LED LIGHT
CONCEPTUALISATION 135
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C.3 FINAL MODEL Overall my partner and I where very happy with the way in which the final model turned out, though we encountered many problems we were able to minimise these errors be allowing ourselves enough time to have to file ready for printing. The model itself is used purely as a representation of form, because the task we were asked to do was to come up with new futuristic methods of printing which are not yet possible. The best printer we found to prudence the accurate representation we wanted was the powder printer, this was chosen to do the complex geometry of our form as such the maker-bot printers would to be able to compared such form because it would need to print in mid air.
There were a number of issues that we encounter with our print, the main one being the fact when weaverbird was applied to a mesh the distance between holes was less then 2mm as such the printer would not be able to print the object and it would crumble, to solve this problem we came up with a script that allowed us to remove certain holes on the form. In addition to this another issue we encounter was that due to the complex geometry rhino would fail to boolean it and hollow it out as such I transferred the 3d file through the program make printable which was able to combined and fix up all the issues with our mesh allowing it the then be cut and hollowed out in rhino thus saving my partner and I hundreds off dollars and produce an exhibition quality model.
Moreover, as seen in the pervious section c2, we planed to place an LED light within the model, ultimately though the final print came out too think, though the light could still shine through it was not an accurate representation of how we wanted it to look, as such the renders compensated for this issue.
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C.4 LEARNING OUTCOM FEEDBACK The main point of criticism for this project was that the panel questioned the point as to why our design was placed on the water, was it just there for the sake of it. Our design was intending to be placed on the water from the beginning of the process we made this decision because we believed it would a line perfectly with the criteria from the brief we set our self and the fact that it would stand out and create a contrast between our class members design. It is also important to note that this design would not work if it was placed on land, everything we designed it to do would be redundant from the idea of it being a bridge to the way in which the people that use it to even the choice of materials. The other piece of criticism was that the people in our renders didn’t accurately represent the experience we wanted to create as such we have replaced and delated the people that were out of place. Next studio I will spend more time correcting this detail, though people leave it to the last minute it is a very integral part of the design presentation, one of the members of the panel suggested that if you can not find the person you want pose yourself and use it.
LEARING OBEJCTIVES Upon completion of this of this subject I have come to the conclusion that I have gained a vast array of skills that will ultimately improve and better my skills and career as a designer form now into the future. Most notably what I took out of this subject was that I am now aware of parametric design and how it works, it is something I had little knowledge about starting this year but now from this subject I can identify and most importantly critic and be inspired by parametric design, for example I know longer have to wonder how architects like bjrake ingles have created such innovative designs, were as in reality with my knowledge learnt from this course I realise that they simpler than they seem.
Learning about the positives and negatives of parametric design this subject has also allowed and taught me to integrated the brief very in-depth by considering the process of brief formation in the age of optioneering enabled by digital technologies. this is evident in the way my partner and I push the constraints of the brief to the limits creating a concise and well thought out design, some ways this is notable is the way in which our design works with nature in the way the water and people activate the architecture making almost a living organism.
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MES The key advantage that parametric design has is the way in which it allows you to develop a almost infantine number of ideas based on one idea. We used this to our advantage and we were able develop a diverse assortment of design possibilities by using the limitless capabilities produced from developing a parametric grasshopper script. By creating various iterations, it allowed to chose the best possible outcome for our design, this is evident in the out come of the formal shape of our final design thus evident through out this journal you can see the journey from start to finish and as the design evolved and changed it still linked back to the brief and original biomimmcry system and didn’t stray away from what we wanted to design. In doing this it allowed us to experiment to the extreme but in doing this we were also able to create very abstract forms which still linked back to one another and the brief.
As well as the ability to multiple parametric designs thus creating unique work, we also learnt was in which these parametric designs can be brought and fabricated in real life, thus not limiting these designs to computer screens. The main method we covered was 3d printing, the same way in which parametric will benefit my career 3d printing will to in this ever-changing landscape of design. What made the most difference was that at first we were failing in rapid prototyping and 3d printing, the would not work for many reasons which include thickness of material, unjoined meshes and very expensive solid objects. What these failures allowed us to do was learn form our mistakes and as such by the time the final presentation came along we were able to print and design stress free and now have the skills learnt to improve future designs. In a world were model making is becoming redundant 3d printed prototyping is a very important skill to learn to stand out in the screen driven world, there’s only so much a really good render can show but I you show a client a 3d printed model they get much more out of it and understand it greater.
In addition to this, another key thing learnt was the way in which I am now able to develop 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. This evident in the amount of time my partner and I spent developing a strong proposal via critical though, we went through various iterations and didn’t just run with an idea that worked with the brief, we had to also be confident in the idea and like it as such because in our final presentation we had to convince a panel that it was a solid design. In conjunction with this to make our design unique and stand out, my partner and I developed our own unique personal repertoire of computational techniques that were used through out the design process. CONCEPTUALISATION 145
BIBLIOGRAPHY 1. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 2. Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45 3.Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 4. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 5. Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12 6. New Structuralism: Design, Engineering and Architectural Technologies (pages 14–23) Rivka Oxman and Robert Oxman 7. Alberto Pérez-Gómez (2018) Surrealism and Architectural Atmosphere (pages 24–29) 8. Neil Leach (2017) Size Matters: Why Architecture is the Future of 3D Printing (pages 76–83) 9. sobek Werner (2010) radical sources of design engierring (pp31-32) 10. nina azzarello I designboom “SHoP architects’ enormous 3D printed pavilion to mark design miami/ 2016 entrance” @ https://www.designboom.com/design/design-miami-shop-architects-3d-printed-pavilion-10-07-2016/ 11. Arthur Mamou-Mani 2014 @https://mamou-mani.com/project/cloudcapsule/ 12.Peters Brady 2007 infromation on the The Courtyard Enclosure for Smithsonian Institute link @ http://www.bradypeters.com/smithsonian.html 1.Tullio Crali 1939 Cityscape http://www.starktruthradio.com/wp-content/uploads/2016/01/I-F. 2.Endlesss House: https://www.archdaily.com/126651/ad-classics-endless-house-friedrick-kiesler 3. mercdes benz museum https://www.mercedes-benz.com/en/mercedes-benz/classic/museum/10-years/ 4. Gehry Frank Walt Disney concert hall https://www.archdaily.com/441358/ad-classics-walt-disney-concerthall-frank-gehry/5264ac6ce8e44e88a00001ff-ad-classics-walt-disney-concert-hall-frank-gehry-photo 5. SHoP architects’https://www.designboom.com/design/design-miami-shop-architects-3d-printed-pavilion-10-07-2016/ 6. Gehry Frank spruce street https://www.dezeen.com/2011/07/12/new-york-by-gehry/ 7. Ingels bjarke-ingels new York https://ny.curbed.com/bjarke-ingels 8. Arthur Mamou-Mani 2014 @https://mamou-mani.com/project/cloudcapsule/ 9. XWPeters Brady 2007 ihttp://www.bradypeters.com/smithsonian.html 1 Coral Reef Alliance, ‘Coral Reefs 101’ (revised August 2017) <https://coral.org/coral-reefs-101/> [12 March 2018] 2 Florida Museum, ‘Coral Species Profile’ (revised June 2013) <https://www.floridamuseum.ufl.edu/southflorida/habitats/corals/species-profiles/> [12 March 2018] Figure 1 - https://www.sciencenewsforstudents.org/article/creative-ways-help-coral-reefs-recover Figure 2 - https://www.archdaily.com/10233/green-void-lava
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