Adamson luke 699014 Journal Preliminary Final

A I R L u k e

A d a m s o n

S e m 1 , 2 0 1 6

Fig 1.

Ideas Y Proyectos DiseĂąo Y Algoritmo 2014

CONTENTS PART A

PART B

PART C

Introduction A.1. Design Futuring A.2. Design Computation A.3. Composition/General A.4. Conclusion A.5. Learning Outcomes A.6. Appendix- Algorithimc Sketches B.1. Research Field B.2. Case Study 1.0 B.3. Case Study 2.0 B.4. Technique Development B.5. Technique: Prototypes B.6. Technique: Proposal B.7. Learning Objectives & Outcomes B.8. Appendix- Algorithmic Sketches C.1. Design Concept C.2. Tectonic Elements & Prototypes C.3. Final Detail Model C.4. Learning Objectives & Outcomes

A.1.

INTRODUCTION

Studio Earth Pavilion, 2015 Rhino & Photoshop

Studio Water Boathouse Archicad

Luke Adamson - 3rd Year Architecture.

Growing up I have always had an interest in design, fostered in the early years of education before coming to fruition in studying at the University of Melbourne under the Bachelor of Environments. Architecture had always interested me through its ability to satisfy simplistic human needs while providing more than just the bare necessities, sculpting lanscapes and areas to create a broad spectrum and exerpiences.

It has become increasingly obvious that technology plays a vital role in the architecture of today’s society. Various digital design ideas are available and employed in a plethora of ways. My previous experience with digital design methods has been highly self guided through practice in previous projects and side works. I have recently acquired industry experience in a small Architectural Firm in North Melbourne (Architecture Matters) completing small jobs with Archicad.

I feel proficient and capable using Archicad, however my knowledge of 3d modelling programs like Rhino and Revvit are limited, leaving room for me to expand my knowledge base.

Through my studies my interest in computer aided design has flourished and I harbour a thirst to learn anything that could be applied to the architectural field in my feature career.

A Fig 2.

Fernando Romero and Mauricio Ceballos The Museo Soumaya 2015

PART A

CONCEPTUALISATION

Fig 3.

Design, Development and Context Dutch Portfolio 2016

A.1.

Guggenheim Museum.

FranK Gehry

Fig 4.

Bruno Assumpção A Mcdonaldização Dos Museus 2012

Gehry uses a compilation of bold shapes and unusual post modern surfaces to create structures which challenge conventional architecture with bold ideas and statements.

Known for his ambitious designs which tend to harbour complexity, Gehry is often criticized for not using his design space as a valued principle in his architecture. Some individuals loathe his designs and consider them a waste of important space.

With that considered, many visionary architects can conflict with popular public opinion in search for a different kind of architecture. Gehry’s innovative visions and unique synthesis of design concepts have inspired visionary designers around the world.

Thus Gehry has created a solution to some of the bland modernistic architecture of the end period of the 20th century which was riddled with overused typical design strategies and methodology. He inspired generations to follow who aim to create a visual spectacle recognizable on a world scale. One such artist is Zaha Hadid, a woman known global for her striking and unique design.

Specifically speaking, Gehry’s designs (especially the Guggenhiem Museum pictured) are not a product of digital computation, rather a computerisation of previous sketch work which is further developed through computer aided design.

However, his striking features, such as the fluid curves and unique internal structural systems, give way to new methods of design which begin to assimilate more and more with parametric design technologies.

Fig 5.

Iwan Baan The New York Times 2013

A.1.

Heydar Aliyev Centre.

Zaha Hadid

Fig 6.

Zaha Hadid Architects Designboom 2011

Zaha Hadid has been a pioneer architect, through her unique design styles and by empowering women in a design typically crowded with prominent male figures.

Taking inspiration from architects like Gehry, Hadid has patented flowing curved architecture which excludes sharp angles, eliminating stagnant planes as to emulate natural surfaces, with contradicting that with material choice.

The Heydar Aliyev Centre exemplifies an advancement in thinking from Gehry’s designs, considering cultural and contextual factors. This building is a single continuous surface providing a variety of cultural spaces connected under one tapestry while simultaneously create separate private areas.

Hadid is known for focusing on notions of space in a multitude of dimensions; not only the physical space created by architecture itself but also social and cultural spaces and the effect on those who utilise these areas. Her architecture is clever and engaging, never dull and boring.

She asserts her views through her architecture knowingly recognizing that others may interpret things differently.

Hadid continues to be appreciated as a female leader in architecture, encapsulating a modern world through her actions and designs, inspiring a generation to adopt their own unique characteristics and ways of thinking.

While still not being digitally computed, Hadid’s work is a step beyond Gehry, considering factors which limit her architectural scope. Her working is moulded by parameters in real life situations, leading to a design which connects to the user on a different level.

DESIGN COMPUTATION The design process has been manipulated by computer aid as technology has developed, with both positive and negative results. Technology has boosted the synthesis of designs and ideas on a workable scale, allowing design fabrication through another medium. Many argue that this process has altered who can be now considered ‘designers’ by corrupting previous methods of creation, offering a disconnected solution to the problems faced, allowing people to stumble and adjust their way through projects.

With that said, not everybody who can manipulate computer technology effectively can produce proficient designs. Thus, computer aided design (CAD) systems work as another weapon in a modern designers abilities. All fields of design have become accepting of new technologies, accommodating for flexibility in design techniques and systems. The construction industry has become heavily reliant on computer aid, to the extent that most would be lost without digital assistance.

Computation fits within the void between visualization and creation. Designs are represented through technology which allows for development and improvement that is often not humanly possible. New design ideas can be discovered and controlled through altering parameters in design and altering computer generated algorithms.

Documentation is produced at highly proficient levels with precise details, allowing the real world to be captured behind a screen and studied and altered in a mathematical fashion.

Fig 7 (Background).

Yunus Emre Kara Parametric Design 2015

A.2.

Fig 8.

ArchDaily “ICD-ITKE Research Pavilion 2013-2014

Fig 9.

ArchDaily “ICD-ITKE Research Pavilion 2013-2014

A.2.

ICD-ITKE Research Pavilion ICD-ITKE University of Stuttgart

Fig 10 & 11.

ArchDaily “ICD-ITKE Research Pavilion 2013-2014

This project puts contemporary design techniques in a unique light, culminating in research from a multitude of fields, including biologists, architects, engineers and paleontologists. Noting this is particularly interesting as a large majority of people think that computational design has streamlined the design process.

The pavilion is a study of natural fiber composite shells, recreated with double layered lightweight fibers which were to reduce the need for structural framework, enabling more freedom within the design. The protective shells of beetles was studied and regarded as an efficient material use for maximum structural strength.

3D models were constructed with micro computer technology, allowing high resolution reconstruction and detailed analysis.

ICD-ITKE used architectural prototypes throughout the design process with the use of robotic assistance. 36 geometrically unique modules were created through coreless winding with robotic arms. This allows for lightweight structural modules with high resource efficiency, no waste or off cuts. The total pavilion covers 50 square metres while only weighing 593kg.

In this instance computer programs have allowed for complex arrangements abstracted from a seemingly simple shell structure, exploring the possibilities of material efficiency and spatial qualities.

Fig 12.

ArchDaily Diyar Media Studio / ReNa Design 2015

A.2.

Diyar Media Studio ReNa Design.

Fig 13.

ArchDaily Diyar Media Studio / ReNa Design 2015

Located in Teheran, Iran, this design studio embodies computational design qualities within its architectural decoration.

The designers aimed to use algorithmically designed dynamic shapes in an elegant and fluid manner. A simple space is made interesting with complex geometries, depicting elements of traditional middle eastern architecture with technology.

The whole design was crafted in extreme detail, with all elements considered as part of a larger algorithmic pattern. Even elements often disregarded as a design element like the air conditioning was designed to fit in.

As can be seen, computer design has been a crucial part in this design. The wall design requires a complexity in construction that could not be created without the assistance of technology.

The client benefits from the use of new age design techniques, allowing an otherwise blank space to become a canvas to create interest in the room, allowing modern and traditional architecture to collide.

With technology continuing to develop, algorithmic architecture will continue on an upward trend.

COMPOSITION/GENERATION Often imagined as one in the same, design composition and generation share similar ideas yet possess qualities that make themselves distinguishable, often upon further investigation.

Design composition denotes humanly crafting a design to fit a set of parameters or limits with the intention of creating better architecture. Design computation highlights the ability of scripts and algorithms to discover and model optimal designs and efficient architectural forms, typically defined with certain limits or formulae.

The National Gallery of Qatar serves of a perfect example that on first glance may convince the viewer that it is a generational structure, yet further research proves it is a computational piece.

Inspiration was taken from the desert ‘Sidra Tree’ which is recognised as a beacon in the baron deserts throughout Qatar.

The design studied the shape of the tree in order to create an efficient and practical design , while interior spaces are also closely alligned with energy and water saving strategies.

While drawing on information gathered, this building was architecuraly modified to produce a result that is visually stimulating and inspired by natural elements, however it is not considered to be a computer generated design.

Fig 14 & 15.

ArchDaily Qatar National Convention Centre / Arata Isozaki 2013

This composite swarm prototype exemplifies generational design. Design director Roland Snooks created this sculptural piece through a swarm script which depicts analysis of social insects like ants and their behaviour as a group. This allows for structure, ornamentation and multiple surfaces to all be expressed in one form, optimizing material use and strength through complex algorithmic patterns.

Fig 16 & 17.

Kokkugia Composite Swarm 2016

It is important to be able to recognise the differences between composition and generation. That isn’t to say that one method is preferable, rather that they are different ways about finding an architectural or design solution.

CONCLUSION Architecture is in a transformative phase. Developing technologies, materials, ways of thinking and reacting are all leading us into an ever changing design change.

The current trajectory of architecture is continuing in an unsustainable manner. Perhaps the most prominent problem riddling most design fields, it is interesting to see movement towards correcting issues that may be fundamental to our survival as a species. As such, architecture professionals, students and visionaries alike are beginning to work with environmental protection and conservation as an engrained design concept.

With technology continually changing and evolving, architecture is undergoing a transformative phase. New ways of designing allow for efficiency and accuracy, while also bringing new concepts and methodology to this progressive craft. Parametric design and algorithmic logic provide interesting ways of expressing design ideas while simultaneously providing a variety of methods to solve existing design problems.

Incorporating already tried and tested means of design with everything that is constantly being developed and released provides a system where architecture can prosper and ultimately improving society on a global scale.

Moving forward, architecture ought to continually be approached with interdisciplinary thinking, utilized all these exciting technology to its full effect. I plan to exercise my powers as a student of architecture to incorporate many professions into create a design solution for the Merri Creek brief.

LEARNING OUTCOMES Entering this subject with little knowledge of parametric design, the readings and lecture content have successfully introduced the concept and helped distinguish various similar terms. Alongside this, class discussion about the reading content and problems that have been encountered through weekly work has extended my knowledge.

By coalescing with peers I have managed to overcome existing boundaries in my technological skill set and increased confidence levels in my abilities.

Paramount to this subject is creating another facet in my design thinking, revolving around parametric design and using algorithms to produce an outcome. With the initial introduction phases complete, I am eager to see what how my design thinking develops into the Merri Creek project.

Fig 18 (Background).

Esteban Castro Chacon, Marcin Komar, Aikaterini Papadimitriou, Yilin Yao Fibro City 2015

APPENDIX

Arc curves overlaid

Within the sketchbook I sought to manipulate what was taught in the tutorial videos through similar examples of my own creation. This was to allow myself to create scripts that had the same base concept, yet provided results of a completely different nature.

Perhaps what was most satisfying was finding the angle of each image that created the most artistic outcome.

Spheres of different radius circled

Manipulation of grid network

REFERENCES Cover Page - Bolojan, Daniel, “Ubiquitous Urbanism Studio Zaha Hadid”, Non Standard Studio, 2013 <https://nonstandardstudio. wordpress.com/2013/03/19/1762/> [accessed 9 March 2016] Figure 1 Produccionalgoritmica. “Ideas Y Proyectos”, diseño y algoritmo, 2014 <https://produccionalgoritmica.wordpress. com/2014/05/02/ideas-y-proyectos/> [accessed 11 March 2016] Figure 2 “Architecture-Photos: The Museo Soumaya \ Fernando Romero And... (Neomexicanismos)”, Bloglovin’, 2015 <https://www. bloglovin.com/blogs/neomexicanismos-12532299/v-architecture-photos-museo-soumaya-fernando-4119746651> [accessed 11 March 2016] Figure 3 “DUTCH PORTFOLIO | DESIGN, DEVELOPMENT & CONTEXT”, Dutch Portfolio, 2016 <http://dutchportfolio.com/> [accessed 17 March 2016] Figure 4 Assumpção, Bruno, “A Mcdonaldização Dos Museus”, OBVIOUS, 2012 <http://lounge.obviousmag.org/olho_sobre_ tela/2012/04/a-mcdonaldizacao-dos-museus.html> [accessed 14 March 2016] Figure 5 Lau, Maya. “Who’S Winning The Architecture Arms Race?”, Nytimes.com, 2016 <http://www.nytimes.com/interactive/2013/10/13/ magazine/look-architecture-arms-race.html?_r=1&> [accessed 14 March 2016] Figure 6 “Zaha Hadid Heydar Aliyev”, designboom | architecture & design magazine, 2011 <http://www.designboom.com/architecture/ zaha-hadid-heydar-aliyev-cultural-centre-progress/> [accessed 14 March 2016] Figure 7 “Effect”, Pinterest, 2016 <https://www.pinterest.com/ pin/119275090108970549/> [accessed 14 March 2016] Figure 8, 9, 10 & 11 “ICD-ITKE Research Pavilion 2013-14 / ICDITKE University Of Stuttgart”, ArchDaily, 2014 <http://www.archdaily.com/522408/icd-itke-research-pavilion-2015-icd-itke-university-of-stuttgart> [accessed 15 March 2016]

igure 12 & 13 “Diyar Media Studio / Rena Design”, ArchDaily, 2015 <http://www.archdaily.com/593966/diyar-media-studio-rena-design> [accessed 15 March 2016] Figure 14 & 15 “Qatar National Convention Centre / Arata Isozaki”, ArchDaily, 2013 <http://www.archdaily.com/425521/qatar-national-convention-centre-arata-isozaki> [accessed 15 March 2016] Figure 16 & 17 “Composite Swarm - Kokkugia”, Kokkugia.com, 2016 <http://www.kokkugia.com/Composite-Swarm> [accessed 15 March 2016] Figure 18 “Parametric World”, Parametricworld.tumblr.com, 2016 <http://parametricworld.tumblr.com/> [accessed 16 March 2016]

B Fig 19.

PART B

CRITERIA DESIGN

Research Field

Patterning In Architectural terms, patterning is about finding a design solution that can be replicated on a large scale relative to the necessary context. A fundamental structural organisation scheme, patterning is entrenched in most design software. It has the potential to provide rules, guidelines, schemes, relationships, systems of operating.

Within nature or a human creation, pattern coexists with people, an intrinsic feature. If you want to look close enough, one could say that people themselves are patterns, just repitition of their gene pool in a variety of combinations, influnced by various factors.

Architecturally, patterning can work and be understood in a variety of ways. It can work to replicate, to mimic, to repeat. One must be careful not to be defined or controlled by a pattern or its logic, rather use it as another design tool.

Fig 20.

Fig 21.

Fig 22.

Fig 23.

Fig 24.

B.1.

Patterning provides many opportunities to architecture in all of its facets. Software programs have enabled people to create increasingly complex geometries through the repetition of design constants, something impossible to do by eye. Naturally occuring patterns can be replicated with ease, almost as to analyse the environment into mathematical ideas. The Aqua Tower of Chicago (depicted previous) is inspired by the topographical location of the city and well as the Great Lakes of the surrounding areas, while the Winery Gantenbien (left) has a robotically constructed facade that replicates an oversized basket of grapes.

Of course observations can be made about these architectural examples on an intermediate inspection, but the complexity its realised until the design process is truly studied and appreciated; although computerised, they are pattern taking complex form.

Patterning provides concern for fabrication often only in its complexity. Even then, architecture can be broken into creatable solutions which work together to create a whole.

With the main idea be ing replication and repitition, anything can be crafted with the right tools and technology.

Fig 29.

Fig 25.

Fig 26.

Fig 27.

Fig 28.

Case Study 1.0

Swanston Square Apartment Tower.

Ashton Raggart McDougall

Fig 30, 31, 32.

B.2.

In recognition of the history and presence of the Aboriginal People in this country, Ashton Raggart McDougall (ARM) Architects decided to impose the image of William Barrack (a famous aboriginal artist and advocate for social justice) on their building visible down the Swanston Street axis. Controversial to say the least, ARM created this statement, in your face piece that has divided critics.

ARM took an image from artist Peter Schipperheyn to begin the process. When transposed to Black and White, Photoshop was used to transform the image into horiztonal white strips which create the balconies on the facade.

From there the process was imported into 2D and 3D CAD files which were used to determine the measurements and details for fabrication.

Although not directly created with Rhino and Grasshopper, the portrait building can be reverse engineered with curves controlled into points that are influenced by an image sampler to create all different kinds of images.

1. Increasing Curve Concentration

20 U, 10 V

40 U, 20 V

Origin Direction Plane

X Direction Plane

2. Altering Surface Shape and Direction

3. Creating New Surfaces

Piped Lofts

Swapping Move Lines

Failed Point Cull

Arc Face Curves

4. Modify Point Positioning and Frequency

Y Dir

60 U, 30 V

80 U, 40 V

100 U, 50 V

120 U, 60 V

rection Plane

Shell Shape

Multiple Folds

Voronoi 3D

Delaunay

OctTree

Facet Dome

Surface Frames

Offset Lofts

Change Image Pattern

Change Image Pattern

Change Image Pattern

Mirror Points

Sphere

180 U, 90 V

Repetition of Surfaces

Analysis of Results

Arc Face Curves

Sphere

Facet Dome

Mirror Points

Criteria for Selection

- The ability to create structure that raised from a flat plane.

-Able to be adapted in conjunction with existing features.

-Create a connection between natural and synthetic

Arc Face Curves

- I chose this iteration because of its wrapping nature. The swarming arc lines continued to get larger as though they are reaching out to something. It is interesting to think of this shape intersecting existing structure as to create a bridge between the natural and man made.

- Repetition of shape with increaing radius .

- Shape seems to be something natural

Sphere

- This created interesting shape by applying a sample image into a divided surface. Interestingly it divides the sphere but doesnt actually create the image.

- The small changes in surface shape - Repetiton with small change - Applying this pattern to different surfaces would give an intersting contour style pattern.

- No directionality, structure is a whole.

Facet Dome

-I dont think this iteration worked properly but it created a really interesting result, these plans that are arranged in all different directions, creating this 3 dimensionality.

- This has the potential to create 3D form if you lay it down.

- It creates this raised canopy that could be using as a shelter/bridgeway.

Mirrior Points

- I think this iteration best captures the idea of pattern - The facade is patterned and repeated, thus creating another pattern.

- Could be developed onto another desired surface.

- Very ornamental - Could provide an intersting start for planter wall.

Case Study 2.0

This single story building is a mulitpurpose office building for â&#x20AC;&#x2DC;Campus Netzwerkâ&#x20AC;&#x2122; in Germany. Its hexagonal acts as a wrapping which makes the building seem as though it is floating in the trees. The facade is an attempt to modernise the building in regards to its context, located within an old industrial area.

Inspiration is drawn from the honeycomb structure in the natural world which is then parametrically drafted and modified. Considerations needed to be in regards to light filtration and natural lighting requirements, thus the hexagons are of varying sizes at different locations.

These facades are then laser cut from relatively lightweight aluminium panels. It is interesting to consider that this design is only feasible with digital techniques; something of such repetitious detail is only available with computer accuracies.

B.3.

Campus Netwerk Office.

2014 // Toging am Inn, Germany Format Elf Architekten

Fig 33, 34.

1

2

3

Create Hexagon Grid

Extend X and Y values.

Image

4

5

e Sample Pattern

Overlay Image Sample at the Right Size.

Cull Unwanted Geometries

Technique: Development

B.4.

1. 2 Dimensional Transformations

Loft Spread Surfaces

Voronoi

Delaunay Mesh

Facet Dome

Quad Tree

Metaball

Kaleidoscope 5 Surfaces

Kaleidoscope 10 Surfaces

Kaleidoscope 50 Surfaces

Cull FFTT

Cull FFFFT

Triangulate

2. Adaption to a Variety of Curves

Square

2D Loft

Arch

Ribbon with Cull

Random Curves

Out and In

Sphere

Ramp

Ribbon

Continual

Broken Sphere

Loft with Logic

Technique: Development

B.4.

3.Altering Patterning

Just Points

Diamond Panels

Square Grid

Staggered Quad

Hexagon and Square

Hexagon and Diamond

Offset Hexagons

Half Loft with Square

Triangulation

Diamond and Quad

Half Loft with Quads

Developable Loft

4. Lunchbox Patterning with Different Loft Options

Triangular Grid

Points with Loft

Decrease Quads

Developable Quads

Increase Hexagons

Loft back

Hexagon Grid with Points

Straight Loft

Hexagon Overlay

Larger Hexagon Grid

Developable Loft

Increase Frequency

Technique: Development B.4.

5. Line Concentration of Selected Patterns

Increase Hexagon Size

Reduce Hexagon Size, Keep Overlap

Further Reduce Hexagon Size, Reduce Amount of Hexagons

Reduce U Values

Increase U Values from Previous

Then Increase Hexagon Size

Increase Frequency

Reduce V Values

Reduce One Layer to look Offset

Increase V Values from Previous

Increase Size, Drastically Reduce Number

Then Decrease Hexagon Size

Analysis of Results

Ribbon with Cull

Loft with Logic

Increase Hexagon Size

Increase Size, Drastically Reduce Number

Criteria for Selection with Alterations

- The ability to create structure that raised from a flat plane.

-Able to be adapted in conjunction with existing features.

-Create a connection between the natural, human and cultural relationships.

Ribbon with Cull

- Creates an interesting distribution of the original hexagons.

- Seems very fluid (like water?)

- This look could be adapted to multiple surfaces to combine to make one pattern?

- I like its flowing nature which could be continued, created out of hexagons as planar surfaces?

Loft with Logic

- I chose this loft because it was a combination of Hiedelberg Road, Merri Creek and Aboriginal Symbology.

- There is potential to arrange the pattern different or create a new pattern all together.

Increase Hexagon Size

- This was chossen because of its large scale.

- It would be interesting to combine something like this with sectioning exercise and see the outcomes.

- Almost looks natural like a spiders web. Could be deconstructed into different shapes.

Increase Size, Drastically Reduce Number - This was chosen as opposite to the previous, really simple and obviously defined.

- Possibilities to create obvious details?

Prototyping

The prototyping process follows a design logic I employed in one of my iterations, which was then adapted in 3D to create the above 3 different variations of the same shape.

From here I worked to analyse the capabilities of polyproplyene as a material that could create these kinds of form. I wanted to look at the effects of shadow, the ability for the material to bend/ stretch, and details of connecting the hexagons in a variety of ways.

To begin there was a hexagon grid hand cut using the forms defined by the interations , but lofted onto a flat surface for construction purposes.

B.5.

This prototype is being displayed here with the initial shape and form, followed by randomly bending the material to see how it cooperated and the effects of the shadows on the background.

Prototyping B.5.

From there I applied my process to a replica of some of the model at a 1:2 scale with help from the laser cutter in the FabLab. I again used polyproplyene because I like the qualities of the material and how it can bend and mold to different shapes. I also thought it would be interesting to think about using a plastic that is a waste material as part of my design thinking. I salvaged some transparent plastic from site but there wasnt enough of it to creat a design like that. Instead, I found a similar material in a rubbish pile at a local shop centre to use. In the end this processes proved to be a dead end in the fact that I couldnt find plastic with the exacty needed qualities in high enough concentration, so I decided that polyproplyene was the material available in large enough quantities that was readily available and workable.

1

From this point I decided to try and inflict some kind of logic in the prototyping stages of this design concept. This was to again identify the performance of the material in 3 dimensions with some form of real life constraints; - flexibility - whether it could create desired shapes - impact on its environment - finished look of the piece Image 1 shows a corner being released from the surface, creating and extended shadow on the wall.

Image 2 shows a corner being pinched in which creates a distortion in the shadow on the wall and a hump created on the right side.

Image 3 indicates a corner tucked up underneath, interestingly pushing the shadow down and out on the wall. I really liked this effect.

Image 4 is a corner pinched in yet this created a diagonal curve across that same corner.

Image 5 pinches in two corners which creates a symmetrical kind of fold similar to that seen in image 4.

Image 6 shows all corners pinched in to create a rise in the middle of the pattern.

Image 7 is two corners pinched in with one detached, creating two seperate kind of shadows that distinctly overlap.

Image 8 is one corner pinched in with two detached, giving a large shadow for both of the detached corners.

Image 9 is where I played around with the pieces that were extracted from the pattern, attempting to connect them in a way which was interesting as a pattern or random assortment.

4

7

2

3

5

6

8

9

The chosen site, Hiedelberg Road Bridge.

Technique: Proposal Merri Creek, 70 kilometres long, originating in Wallan and merging with the Yarra River at Dight Falls.

B.6.

- A culmination of natural, human and cultural; walking, talking, running, riding, existing, avoiding.

- Opportunities all through the site to represent connections between technical, cultural, natural.

- I found that these 3 groups of elements commonly existed as seperate or existed together rather than being interwined or represented collectively.

I decided to focus on the area of Hiedelberg Road Bridge. Here I felt as though there was potential in a few different areas. This is a spot where human (bridge) and natural (creek) have a chance to meet and mingle but rather they go out of their way to avoid. I thought it would be an interesting concept to create a design that helps them both interact.

At the same time, I felt as though the area had much more to give than its initial face value. Upon first glance the underside of the bridge seems to be ugly and unthoght of. But if you spend enough time at the site you realise that it is actually a marvellous achievment of engineering and how the whole structure is standing up is fanscinating to think about. It is just a pity that this site is majorly used as a thoroughfare so this aspect of the bridge may go unnoticed.

Thus, my design concept was to create a culmination of the natural, technical and cultural aspects of the site in a way which would instantly beautify the space beneath the bridge and make it interesting.

+

+

Represented here is the ultimate concept. I scaled down Hiedelberg Road Bridge and the distance of Merri Creek from the Falls to the site at 1:1000 in a line representation. This was combined with an aboriginal symbol for water extracted as linework. These curves were lofted with a hexagonal style grid (inspired by my previous case study and the natural/synthetic nature of the shape).

Broken down into seperate elements, the initial lofted lines creates a physical connection to the abstracts of each of the 3 systems identified.

This is decorated with a hexagonal pattern, with hexagons existing as a natural shape that is often replicated and executed in a perfect form as though to seem synthetic, creating a middle ground between the two. This is all suspensed as an installation beneath Hiedelberg Road Bridge itself to embody a recreation of the bridge above below, almost masking the aesthetics of the underside of the bridge, yet creating a piece that is interesting enough to be able to stop and analyse, allowing the targeted audiences to stop at that site and further think about the area and in turn the beauty of the bridge itself.

The Bridge Above, Below

Learning Outcomes Objective 2: Developing an ability to generate a variety of design possibilities for a given situation by introducing visual programming....

- Through the development of my interations, I have displayed the ability to use different aspects of Grasshopper to create different shapes and forms for a single or many designs. These then possessed qualities of their own which I could manipulate further. I think this shows that I can create a variety of different designs that can also be adaptable with endless possibilities.

Objective 5: Developing the ability to make a case for proposals by developing critical thinking and encouraging construction of rigorour and persuasive arguments...

- My design proposal shows a strong and lengthy thought process behind a concept which works to interact with the brief as well as the physical constraints on site. With that said, there is always room for improvement in being able to be fluid in my thinking and not get stuck with one design idea or concept.

Objective 7: Develop foundational understandings of computational geometry, data structures and types of programming.

- I believe this is perhaps one of the objectives that I have truly struggled with. Although spending hours on hours trying to remember the concepts behind Grasshopper and how everything works I have not yet truly been able to understand all of its complexities. I have, however, continued to work as understanding fully the computer program and the way in which it works, developing my knowledge and technological skills.

Objective 3: Developing skills in various 3D media and specifically in computational geometry, parametric modelling , analytic diagramming and digital fabrication.

- I believe that I have had success and failure in this objective throughout this journal. On one side, I have been able to produce shapes by hand and through computer aid, both influence by parametric modelling, all of which could be manipulated with purpose as a means of testing and prototyping. However, I wish I had more time to practice and perfect objects through laser cutting and execute design work which is both complex and interesting to create.

B.7.

Appendix

POINT CHARGE CONTINUOUS PATTERNING FRACTAL TETRAHEDRA

B.8.

PATTERNING PATTERNING WITH VORONOI

References Figure 20 - AquaTower - https://www.bloglovin.com/blogs/fando-forgotten-nobility-3462981/vistale-aqua-tower-chicago-via-4809216548 Figure 21 - Le Corbusiers The Modulor - https://www.flickr.com/photos/ad_symphoniam/4056805051/in/set-72157622692779974 Figure 22, 23 - Aiming Technologies Inward - http://butdoesitfloat.com/Now-weare-aiming-our-technologies-inward-where-they-will-start-to Figure 24 - Pattern - http://ww1.high-resolution-wallpapers.com/wall-scratchestexture-295509 Figure 25 - Sacred Geometry - http://colourfulway.blogspot.com.au/2015/08/30. html Figure 26 - Aiming Technologies Inward - http://butdoesitfloat.com/Now-we-areaiming-our-technologies-inward-where-they-will-start-to Figure 27 - IO Andy Gilmore - https://au.pinterest.com/pin/334392341061517584/ Figure 28 - The Puddle Builder - http://ertdfgcvb.com/wp/wp-content/uploads/2011/07/the_puddle_builder_06_2.png Figure 29 - Bearth & Deplazes - Gantenbein Winery - https://au.pinterest.com/ pin/486529565973751833/ Figure 30, 31, 32 - Swanston Square - http://www.a-r-m.com.au/projects_SwanstonSquare_Barak.html Figure 33, 34 - Campus Netwerkz Hexagonal Facade - http://www.designboom. com/architecture/format-elf-architekten-formstelle-kantine-campus-netzwerkgermany-09-02-2014/

C

PART C

DETAILED DESIGN

Design Concept

C.1.

Comparing Group Members Work from Part B Moving forward from Part B we were allocated groups which had been created because of the different strengths of our previous work. This page is a quick analysis of some of my other group members work and where their strengths lied after Part B

Glen Thai-Chan

Jessica Betterridge

- worked with arranging the surfaces in a sound screen to

- worked with packing objects sign that had multiple purpose creek and constructed from ba pipe.

adapt to the surroundings and create a space where noise and sound is regulated.

Our group was later given the task of creating a ceiling installation for a childrens school to soften the noise in one of their rooms.

We started to work together with the skill we had acquired from Part B to come up with an interesting and beautiful design solution.

together to create a whole dees to be cantilevered over Merri amboo or possible recycled

Daniel Paris - worked with sectioning to create an ergonomic chair design which sectioned together to create a piece which is inherent within nature along the Merri Creek Trail.

Site Context

C.1.

Location: Primary School For this project we were given a very open design brief to base our design on. We knew very little about an actual context, rather we had to assume some of our own necessities that should exist to make our design physically & logistically possible.

Our project is a sound diffusing ceiling installation which needs to break up and disperse the sound within a classroom or hall type situation. There is many areas for exploration with a brief this open, so we first had to imagine it in context before actually getting to work on any designing.

By nature the design needed to have a multitude of panels oriented in a variety of ways as to break the waves of sound and spread them in all different directions. The size of the panels and the installation itself could exist within a large size range, so anything that we design should have the ability to be scaled and manipulated to fit a variety of different spaces if need be.

Fig 35, 36.

Fig 37

So who would be using this installation/ need to have the sound dispersed in a classroom?

- Children aged from 6 to 11 - Teachers

- Educational Guests.

Children : they use the classroom as a place of learning and education. These classrooms are often packed full of interesting colours and objects which serve to stimulate their minds for creative thought. This project ought to be designed to interest and inspire the children through its colour scheme and interesting patterning. Research shows that interesting colours in architectural pieces helps the children become engaged and creates a positive educational environment.

Teachers and Education Guests: teachers are in a classroom in order to educate the youths of the school in the best way possible. This installation will help be diffusing much of the sound within the room, creating an area where they can better focus rather than be irritated and tired by as noisy classroom. It would also mean that there is less noise transmission between classrooms and other learning spaces, isolating the noise so that they are not affected by other learning groups which would create a more efficient and successful learning environment.

Precedents

C.1.

ZA11 Pavilion, 2011

The designers of this pavilion used parametric design tools to create a design that works with the limitations of its material while also creating an interesting shape that is actually based on simple geometries.

The main idea that came through this project was the way the all of the flat panels are connected with there joint pieces which allows for the panels to be on different planes and creates a system that is easily constructed.

Fig 38, 39.

Plate Pavilion, 2014 The plate pavilion works by using computational design aid to create a free standing vault that is rounded but made of entirely flat surfaces. It is structurally supportive by using gravity alone, allowing the forces to be distributed evenly through the structure and out through the ground.

The inspiration found in this design was also the way in which all the panels are connected. Each panel is interlocked into the neighbouring panel which helps distribute the load throughout. The joints themselves are simple holes drilled into the plywood which are pinned in with another piece of wood.

Fig 40, 41, 42

Pixel Building, 2010

Fig 43

The pixel building is renowned for its environmentally sustainable building, working with a perfect 105 Green Star rating score and 105 LEED points.

What interested us about this design was the facade system. At first look it all looks very complex and hard to construct. However, all of the irregular triangular shaped panels connect to create singular panels when they are not on the building, thus meaning there is no waste material.

Our group liked the idea of being able to create a panel system which could utilise as much of our chosen material as possible, meaning less wasted material and thus a more environmentally favourable design. It would b interesting if we could source a material that was recycled in order to extend this logic.

Fig 44, 45

Student Work, Alex Bancu

I stumbled along the work of this student when looking for inspiration for this design. I thought I would include it because it just looking on a conceptual level it has the vibes that we are searching for and the same kind of look on a less developed level. It is also comforting that a student is able to produce work that looks like this.

The Concept

C.1.

A noise installation that works to disperse noise effectively, while being a playful, inspiring and environmentally efficient design.

Experimental Lofts/Shapes

Hexagons

Hexagons Decreased Amounts

Radial Surfaces

Radial Surfaces Increased

Rectangle Waves

Rectangle Waves Decreased Amount

Triangles with Increased Cull

Triangles with Increased Points

C.1.

Here is the base script that we modelled our final design from. It uses basic shapes like Rectangles and Hexagons to fill out a culled loft and then orients the different layers in different directions. There is also a size scaling factor ranging from 0.8 to 1.1.

Hexagons Decreased Amounts

Hexagons Decreased Amounts

Hexagons Decreased Amounts

Hexagons Decreased Amounts

Hexagons Decreased Amounts

Hexagons Decreased Amounts

Hexagons Decreased Amounts

Hexagons Decreased Amounts

Hexagons Decreased Amounts

Hexagons Decreased Amounts

Hexagons Decreased Amounts

Hexagons Decreased Amounts

Creating Joints/Slits This diagramming shows how we created the intersections between the panels to work at a full scale.

This method is adaptable to different materials and anything other changes that are made to the design.

Objects intersect

Extract Intersections

Organise Data

Divide Curve to Find the Midpoint

Analyse the New Data

Obtain the Correct Line Segment.

Offset Lines

Extrude for Clean Intersection

Loft Lines

Extrude and Cap Loft

Trim Shapes with Solids

Slits are Generated for that Set

Repeat Previous Steps for Generate the other necessary Slits.

C.1.

This diagramming shows how we created the intersections between the panels to work at a full scale.

This method is adaptable to different materials and anything other changes that are made to the design.

Divide Curve

Find Midpoint

Creating Connection Joints

Orient Correctly

Create into Surface

Trim the Intersections

Joints Complete

BUILDING COMPLEXITY THROUGHOUT Creating the Complexity - Multiple Layers

THE DES

REDUCING DENSITY AND OVERLAPS

First reduce the amo

GENERATING SEPERATE LAYERS �)\�,"'\:,·....

A.•::.�,�·'\•' . ..... ·"' ,:-_. .

. . . . . . ..,:::.<•w�: =�� /

Continue by generating mul p

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Here you can see the mult

ROTATING AND ORIENTING NEW SHAOES AND FO which GEOMETRIES combine back toge I

. ..., :,•. .. ··....·......... .

I '•'

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COMBINING ALL LAYERS

This final grid on the loft layers of grids. By applying orienting from there you ge

SIGN

ount of points with a cull

ltiple layers with the different points

tiple different kinds of layers OR EACH SEPARATE ether to creat the whole LAYER grid

is a combination of different g a different shape to each and et a seemingly complex design.

/

Shape Refining Depicted below are the shapes that we originally decided to use on the design. This decision was made in reference to a playful paint splatter of sorts, tying in with our original design. We wanted to make the design look as complicated as possible with crazy panels while still having a script that we could control and alter

C.1.

We took to designing the panels so that they were still inspired by creative processes, in this case a jigsaw puzzle. We have done this so that the pieces can join together on to one surface in order to minimalise the waste material created while still emitting a playful vibe.

Colour Allocation

The colour selection for the panels was easily sorted. Being a primary school, the primary colours where chosen to bring a variety of colour, as well as tones of black and grey.

The way in which the panels are located allows the teachers and students in the classroom to see different colours depending on their location.

C.1.

Tectonic Elements & Prototypes

C.2

It took at least two people to construct the prototype, with propping needed.

We decided that this was because of the flexibility of the mountboard that we have decided to prototype with, rather than a glitch in the design.

Using slits alone to try and lock the design together was not effective at all with each of the panels just slumping under its own weight.

Thus we needed to glue the pieces together so that they would hold in place.

We suspended the mountbo over a stair railing in order to real situation.

The form was interesting, th create definition in the desig in any of the spaces in the d

Structurally, a design like thi depending on the final mate

oard prototype over two sticks and hang it o try and simulate what it may look like in a

he way in which the panels dropped to gns shape, and how the ligh snuck through design.

is should be able to support its own weight, erial.

We experimented with fixings and how the design could be attached to the roof to be installed.

We could easily laser cut holes into the material and attach steel rods to the design and the ceiling where it would be installed. This was impractical to prototype without having an ceiling constraints or requirements, but could be easily designed to suit a variety of examples.

Joint Testing

C.2

After creating our scale replica prototypes out of the mountboard was discovered the problem of just creating simply slits to support the design, so we began experimenting with ways that different materials could be connected.

Pinning Panels Together

Using

Original Problem

Connecting with a Flexible Item

Having a Flexible Hinge-like

g Screws and Brackets

Connection

Using Seperate Joints to Fill the Space

Interlocking Addition Joints

Final Prototyping

C.2

From testing out joints we came up with a solution as to how to connect our panels.

The main test was overcoming the necessity for having a joint which connects panels that rotate in more than one direction. To do this we created a wider slit so that the panels dont actually meet eachother, allowing for the joint (depicted below) to connect the two panels in its own plane, not mergin together the two panels in their planes.

Testing with the original playful shapes we were happy with how the design was represented through the laser cutter. We liked the different angles we could successfully produce with just these few panels, let alone how the whole design could look.

Using MDF is a good substitute for our final material because of its cost price and availability, while having similar structural properties to Echo Panels

We lined another version of the connected panels in felt in order to test the aesthetic appeal of the colour palette we selected.

Testing Fi

The final prototyping stage wa shape of the design in a mediu feel and discuss.

First, to the left, we had our or stant curve in the shape and w hexagons and pentagons.

What was best about this desi in the loft and how it should so shapes within. I also liked the w slow transition in the way that The problems that existed wit of the loft in a life size scale an this up to full size the design w tall, taking up too much of the areas. The organization was to degree over the whole design

Second, to the right, the final s of our second most developed which is inspired by the paint

We editted this design to have waves in the loft, while not ext possible teaching space. Some scaled to a life size piece and b

inal Form

as to examine the form and um that we could hold, touch,

riginal loft which had one conwas constructed of rectangles,

ign was the beautiful curve o much definiti1on of the way in which you could see a t the surfaces were oriented. th this design was the depth nd the organization. To scale would be at least 2.5 metres e ceiling space and teaching o generic, a steady change of n.

style of design. This consists d shapes and a culled pattern splatter.

e a a few different dips and tending too far into the ething like this could easily be be installed on the ceiling.

C.2

Acoustic foam Durability

Standard Plasterboard

Polypropylene

Very Poor

Good

Good

Fire resistance

Acceptable

Acceptable

Very Poor

Weight

Very Light

Acceptable

Very Light

Acoustic resistance

Appearance

Initial Cost

Scrach can easily destroy the foam but without affecting its performance Acceptable

PVC Foam Sheet Durability

Good

Further finishing is required Acceptable

Cork Sheet

Available in opaq translucents with range of colors Cheap

Aluminium she

Very Poor

Very Good

Acceptable

Poor

Very Light

Heavy

Acoustic resistance Fire resistance Weight Appearance

Initial Cost

Self Extinguishing Very Light Available in wide range of colors Acceptable

Grain texture and pinnable surface Cheap

Smooth surface and prone to rusting Expensive

e sheet

ques or h a wide

eet

d not

Acrylic

Echo panel

Good

Very Good

Very Poor Half the weight of glass Wide range of colors and able to diffuse light to create stunning visual effects.

Cheap

Standard MDF Board Good

Copper Sheet Very Good

Acceptable

Poor

Light

Heavy

Fabric like finish surface Expensive

Polystyrene Sheet Very Poor

Smooth surface and not prone to rusting Expensive

Polycarbonate Panel Very Good

Acceptable

Very Poor

Heavy

Very Light

Half the weight of glass

Smooth surface and sparkle appearance

Highly transparent to visible light, with better light transmission than many kinds of glass

Further finishing is required Acceptable

Cheap

Poor

Acceptable

Materiality

CO

OST 1200mm BREAKDOWN 574 Total Panels @ 15mm x 15mm 128 Panels per sheet Total sheets needed: 5 Based on the colour scheme and @ 12mm:

2400mm

Echo Panel: Black $104.50 Off White $152.73 Red: $193.73 Sunshine: $178.38 Mid Blue: $179.38 Total Projected Cost of Panels: $809 Projected Manufactoring Cost $717.50 Metal or wood fixtures are varible depending on the structual specifications of the roof. But estimating $400 and $300 for joints.

TOTAL PROJECTED COST $2226

Assembly Drawings

C.3

Joints

+

Panels

Diagram with surfaces exploded

Fabrication Process C.3

Finished Det

tailed Model C.3

Final Renders C.3

Learning Outcomes Objective 2: Developing an ability to generate a variety of design possibilities for a given situation by introducing visual programming....

- Through experimenting with a variety of design ideas that stem from a singular idea we were able to create a concise design path with our goal in focus. By developing each of the seperate stages into a visual medium through grasshopper we could make effective design decisions and move forward with designing.

Objective 5: Developing the ability to make a case for proposals by developing critical thinking and encouraging construction of rigorous and persuasive arguments...

- The design proposal involved plenty of critical thinking, with reasoning coming from each of the different members of the group to keep our design on a consistent line with the ideas of all of us. When we encountered a problem in the design or the work load, we were able to discuss, find a solution and move forward. The interim presentation showed that we had developed an ability to persuasively argue our decisions with sufficient intellectual backing.

Objective 7: Develop foundational understandings of computational geometry, data structures and types of programming.

- This grasshopper script was incredibly complex and hard to use, making me appreciate the process and learn plenty of different aspects within. I think learning how to streamline a script and make a more efficient file would be useful in helping improve the quality of work and the eventual outcome.

Objective 3: Developing skills in various 3D media and specifically in computational geometry, parametric modelling , analytic diagramming and digital fabrication.

- Without a doubt Part C has taught me the most about grasshopper, fumbling through some of the steps and finding design solutions, while in other parts knowing exactly what to do to achieve the desired outcome. The laser cutter and 3D Printer have become effective tools for me to help visualise designs and aid decision making.

C.4.

References Figure 35, 36: https://au.pinterest.com/pin/324892560590228102/ Figure 37: https://au.pinterest.com/ Figure 38, 39: http://www.arch2o.com/za11-pavilion-dimitrie-stefanescu-patrickbedarf-bogdan-hambasan/ Figure 40, 41, 42: http://design-milk.com/plate-pavilion-malta-design-week/ Figure 43: http://www.pixelbuilding.com.au/ Figure 45, 45: http://www.adammarcus.com/writings/positioning-parametric-design