Part C by Louis Saunders

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

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P A R D E T A I L E D

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D E S I G N

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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

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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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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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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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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 oneâ&#x20AC;&#x2122;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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the heart the

m it met by

l be able to

perience.

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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

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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 surrounding nature.

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PLAN 1:50 A

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SECTION 1:50

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CONSTRUCTION DETAILS

DETAIL 1

1:20

DETAIL A 1:20

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IL A 2 I1 :L2 0 B 1 : 2 0 DD E ET A T

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For the entrances we didnâ&#x20AC;&#x2122;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 donâ&#x20AC;&#x2122;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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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

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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

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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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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 â&#x20AC;&#x201C; For Rubber tube and blob 2.Large scale robotic printer stainless steel (industrial-robot specialist ABB) â&#x20AC;&#x201C; triangular form

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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

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MOVEMENT ON TO PROPOSED SITE

1ST

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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.

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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 didnâ&#x20AC;&#x2122;t want a green led light but unfortunately that required a much larger transformer and wouldnâ&#x20AC;&#x2122;t have been too large for the model.

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S & PROTOTYPES

LED LIGHT

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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 didnâ&#x20AC;&#x2122;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 didnâ&#x20AC;&#x2122;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, thereâ&#x20AC;&#x2122;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 didnâ&#x20AC;&#x2122;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

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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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L O U I S S A U N D E R S 8 3 1 8 0 7

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