Student journal

STUDENT JOURNAL CARLIN LYON (637315) ABPL30048 STUDIO AIR 2015 SEMESTER 1 TUTORIAL 11 TUTOR: CAITLYN

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TABLE OF CONTENTS 01 03 04 06 10 13 19 19 21

Title Table of Contents Task 01 _ Introduction A1 _ Design Futuring A2 _ Design Computation A3 _ Composition/Generation A4 _ Conclusion A5 _ Learning Outcomes A6 _ Algorithmic Sketches

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B1 _ Research Field B2 _ Case Study 1.0 B3 _ Case Study 2.0

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TASK 01 _ INTRODUCTION

My name is Carlin Lyon. I am an architecture student at the University of Melbourne, in the final year of my undergraduate dress.

As far as I can remember, I have always been deeply interested in design, but my passion stemmed from graphic design in particular. I enjoyed digital art, design and visual composition, however I pursued architecture because I felt it held many more opportunities and perspectives on design thinking.

Digital tools such as Rhino and Revit are great ways to virtually represent a building, or even a more abstractedly designed form. Recently I have had a lot of fun exploring Vray rendering in Rhino, and am fascinated by the process of digital translation from life to programmable date; for example computing the parameters of the sun or understanding digital and real space. My first experience with digital fabrication and parametric design was in 2013 under Virtual Environments, where I was exposed to a new design approach with a far less linear process and outcome.

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WEEK 01 TASKS

IMAGE: Virtual Environments, Carlin Lyon WEEK 01 TASKS

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TASK A1 _ FUTURING

Iris Van Herpen, 2012 There is a strong sense of growth and movement in Van Herpen’s designs which are a result of an algorithmic process; they have a very successful outcome where it appears as if a dynamic form has been preserced in hard geometry. There is also a clear symmetry in a lot of her works which emphasises the applied mathematical thinking to the forms.

A difficulty with parametric design, I suspect, is the ability to respond directly to the site/brief/body whilst using such a complex process.

I believe Iris Van Herpen’s designs have a direct relationship with the model which only enhances the overall effect - a kind of shell or even armour.

2.

It also appears that she didn’t just use modeling software as a tool - the algorithmic nature is strongly integrated in the design as a whole. Her designs ARE algorithms. However they clear have a sense of consideration for composition which solely comes from her personal sense of design.

The technology of her designs goes beyond anything imagined without the aid of computer software. Her designs take part in a new direction of fashion, as they take on sculptural form extended from the body, rather than just an idea of clothing and body, sleeve, pant leg etc. A lot of her designs were 3D printed which also adds to the sense of unity and holistic design - everything joins or relates to everything somehow1.

The use of 3D printings was incredibly new to the runway and opens up a radically different opportunities for smaller design pieces. As with computational design, one of the bigger dangers is the lack of consideration for fabrication. As the lines of fashion and sculpture are

3.

becoming blurred, we can now start to think about unified forms with a high level of complexity, being printed together as a single strong, wearable piece. The juxtaposition of strong and wearable is interesting to me, as you can design something that looks like an extension (even if scaled) of the body, yet have it look rigid and stiff.

Comme des Garcons also employed a similar sense of parametric design, which suggests that computation has instigated a new overall mentality of the limits of fashion.

1 http://www.additivefashion.com/iris-van-herpen-and-3d-printing-the-beginning/ 05

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5.

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Bloom, Biothing, 2012 TASK A1 _ FUTURING

Bloom is an installation of plastic cells which combine to make various parametric forms. As it only has three main connection points on each cell, there is a (not necessarily linear) connection and pattern between all the potential formations. It’s also interesting how the idea of growth and ‘building on oneself’ extends to the audience’s engagement with the installation, and not just in its parametric design. The work is considered a game, which has infinite outcomes.

However, despite similarity and a clear relationship between all the forms created, the individuality of each maker is still strongly evident. An interesting idea raised in the Oxman reading was that with technology, firms often employ the approach of ‘research by design.’ This suggests that various iterations created through programs inform the next stage of iterations. As technology is undoubtedly becoming a key part of architecture practice, computer programming becomes a universal tool for design. However, as the reading mentioned, there is still an element of unique style within a practice, which demonstrates how they respond to, and choose to use this universal tool. Bloom captures this idea as it uses the same starting elements (like the tools in a program) but the choices of connections and overall form still carries the flavour of the individual and how they approached the ‘game.’

The installation was unique in its purpose, a recreational building block which did not have such linear connections.

It was not a set of lego which only built up. It challenged the future mentality that we can build with non-symmetrical, nonlinear, non-straightforward things, yet still attain forms such as furniture. It also responded well to its site as its parametric undertone promised growth in its form aesthetically. No matter how the pieces were joined, it still appeared that it kept developing or was frozen in time; it was never ‘finished.’

There is some criticism in its superficial purpose - a bit of fun however I think that it was an important installation to change the mentality of parametric relationships and growth.

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TASK A2 _ COMPUTATION

Before thinking about how computers will help

tailor our mentality towards design to work with our

evolve design, I think it’s important to consider the

environment, and integrate programming into that

different ways computers relate to us as designers.

thinking and response to it. Whether there is action

The ‘Computation Works’ reading (Brady Peters)

immediately or not, I think it is clear that digital

mentions various relationships between designers

design will become part of the way we think.

and computers, for example designers do their ‘job’ then introduce an intensive team of highly skilled

It is difficult to fully predict where the future of

computer guys when they’re ready for that next

computation well end up; do we invest our time in

stage. In contrast there is a more integrated approach

learning everything, becoming fluent in all design

where designers use the tools intuitively, almost as

languages, or do we stick to just our professions?

an extension of their designing. I think that the latter

I think there’s an ambiguity in where architecture

is more effective, there is no loss in translation, it

extends to and that it’s worth testing those limits -

can enhance a design which has more opportunity

computation is the perfect means to start.

than the single designer’s mind; a more expansive and interesting future direction for computation.

Ultimately there is always the danger of the software

‘Design Futuring’ is even more radical in that they

being used solely as a tool with buttons to press,

suggest computation will become accepted as part

however hopefully the future of computational

of our mentality, not just our process. We need to

design will mean a great opportunity for complexity

assess the current ‘state of our world’ so that we can

in design.

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TASK A2 _ PRECEDENT 1

Voussoir Cloud, IwamotoScott Architecture, 2008

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Voussoir cloud is an example of algorithmic

kind of dependency between the elements is largely

tessellation, where the cells mildly vary depending on

reliant on computer based generation, therefore

their location and what is around them. It does not

digital computation would heavily influence the

immediately appear that there is a consistent pattern,

design and aesthetics. Without computer generation,

as each cell scale and distance apart is different as

this kind of design would not be possible, or at least

they join in a variety of points and faces. However,

without this level of complexity. The opportunities

there still is some overall physical connection between

with computational design will undoubtedly change

all of the forms - they all fit and seem to depend

design thinking in the future.

on each other to maintain the overall structure. The

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The structure itself, as intended by the architects1 tries

tabs for fabrication and joining, but the arced form

to achieve the act of compression while maintaining

(perpendicular to the petal surface) adds strength in

the aesthetic of a lightweight material. Every element

its tension. The level of curve along the petal edges is

within the structure physically relies on the rest as

computed based on its neighbouring petals, drawing

an interdependent system. The form of the structure

off of tangents from the centers of each panel. This

itself also alludes to two completely different

reminds me a lot of other tesselating commands

experiences and appearances. From underneath, the

like the voroni component which essentially splits a

structure appears as ‘vaults’ which are somewhat

surface into cells, following some sort of center based

oppressive and have a strong, enclosed atmosphere.

grid - i.e. they are not just randomly sized and placed.

However from above, it looks like a soft blanketed

When written about in Dezeen2, it is mentioned

material - like a cloud. Not only is the tessellation of

that the architects purposely confuse the structural

petals important for structural integrity, the architects

and material systems. Their ability to use little cells

are also aware that material choice is important. The

as structural components, due to the nature of the

thing wood laminate is both flexible enough to curve

laminate, is a major benefit of cell tessellation.

slightly for the overall form, and to be able to fold 1 http://www.iwamotoscott.com/VOUSSOIR-CLOUD

2 http://www.dezeen.com/2008/08/08/voussoir-cloud-by-iwamotoscott/

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TASK A2 _ PRECEDENT 2

Swoosh Pavilion, Architecture Students at the AA, 2008 Swoosh Pavilion at the AA, is an example of something

A UK article1 on the pavilion read the structure

that isn’t just static and made of simple geometries.

as a swirl that emanated from a central “fulcrum”

Each cell has a slightly different scale and distortion,

and slowly decayed as it wound outwards. This

but overall they have a systematic relationship. Like

sense of changing form at different points lends

Voussoir Cloud, there is a systematic relationship

itself particularly to algorithmic design as it follows

between the elements that has a complexity beyond

a consistent, yet non linear action to define the

what we can imagine and detail out without the aid

form. Consequently the students had the ability to

of computer softwares. There is also an element of

seamlessly transition the structure from shelter to

fluidity that borrows from the structure as well as

seat, from the varying structural heights and densities.

the aesthetics of the design. Both designs are their

The students themselves noted that fluidity was a

structures; they are not a structure with a facade,

key driving factor, and the goal was an interactive

rather an architectural manipulation of their structural

space. The form definitely suggests activity, and

elements which is an advantage of computational

interaction even between the elements within the

exploitation. With the Swoosh Pavilion, it also appears

form. There is a “sense of cohesion”2 between the

to follow the idea of scales, potentially mimicking or

vertical pieces as they follow a manipulated grid in a

inspired by biomimicry where many scaled beings

sense. The students also mentioned the limitations of

taper down to a tail. The relationships between the

computerisation, and were aware that they couldn’t

scales however are clearly a result of programming.

rely on just the commands of the programs. They had

Before computation, there was only basic opportunity

to resort to hand models towards the later stages,

to take inspiration from the patterning of nature

however the computed geometry was a significant

and pre-existing things. However now we have the

base for the design execution.

ability to map the growth, decay, and movement of patterns and units. The performance of design is now considerably more dynamic with the opportunities of computation.

1 http://www.bdonline.co.uk/swoosh-pavilion-swoops-into-view-atthe-aa/3116685.article 2 Quoted from one of the students in: http://www.bdonline.co.uk/ swoosh-pavilion-swoops-into-view-at-the-aa/3116685.article

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TASK A3 _ COMPOSITION/ GENERATION Often generation in architecture is an unavoidable stage in the process, but it is particularly enhanced through the use of digital softwares. The Oxman reading supports the idea of integrated computational design processes, especially as it allows us to create systems, not just a static form. The level of complexity in the relationships between forms is constantly changing, as we find new connections and ways of altering forms, which consequently change the next layer of forms.

They suggest that representational design is key in the generation of design into form. There is a digital sequence in our design process which relies heavily on the generation and iterations of forms. A new concept to me was ‘research by design’ which suggests a series of outcomes inform the next stage of outcomes and so forth - a chain. Computer softwares such as grasshopper are incredible means for altering renditions of an idea - it is not necessarily blind generation of slightly different looking things, rather an opportunity to tweak smaller modules within the form, while still following the overall rule sets. It means that we can create so many different compositions with the same underlying technique, style, idea, pattern, relationship and other design paths.

Biothing’s Agentware Research and their installation Bloom which I mentioned earlier is a fantastic example of design generation using algorithmic principles and relationships. They suggest clear overall systems, yet there is still a controlled irregularity to the design. The kind of networking involved in this design goes beyond the potential of direct composition. There are limits to controlling where each element sits to achieve balance and other principles. However, with algorithmic generation, an idea drives the design, but there are complex relationships and systems created through computation to express it. This particular project involved key use of fields, which is a new concept to me. It is not as straightforward as generating a pattern or dividing a surface into a grid, instead there are many external factors which induce a sort of ‘magnetic’ field. This plays with attraction of curves, from the centers of the groups, and how the curves respond out of that.

There is also evidence of connection between the groups which could suggest a merge or similar type of computation has been used.

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TASK A3 _ COMPOSITION/ GENERATION

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YAYOI KUSAMA

Composition has classically been produced through hand made designs, literally composed through physical sketching - for example in architecture, Venturi largely based his ideas of balance and architectural principal by his composition of shapes on a page.

However with the development of technology, there has been a radical shift to computational design, that has a less direct influence on which element is placed where, rather the generation of relationships and dependencies between different elements. These elements however are not static.

Yayoi Kusama, a Japanese artist, is unique in the sense that she has touched in the successes of generation from rules and relationships even with her hand-made paintings (pictured next page). She does not view the elements, e.g. spots, as single static elements, rather a network of units that respond to the densities of 3D or 2D shapes and patterns.

Her recent architectural installation, a collaboration with Louis Vuitton (Selfridge’s, 2012) was the official translation from her design thinking, into architectural creation; the generation of dotted patterning is clear in her design. The sizing of the dots are relevant to their positioning on the different surfaces and between other scaled dots, so it is evident that it is not simply a randomised composition, it is a calculated generation. Particularly with this scale of work compared to paintings, there are limitations with handmade work, and computation of form becomes necessary. This kind of design as a whole would not have been imagined initially in her mind, rather a starting idea that would be developed over a process. It is remarkable how a clear example of computational cutting of sheeting metal with computed ruling, can relate so strongly to her original hand paintings, and consequentially, her design thinking.

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YAYOI KUSAMA

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TASK A4 _ CONCLUSION TASK A5 _ REFLECTION

I am fascinated by the evidence of growth and development in parametric design, which follows non-linear rules. This means that although a form may follow a rule, we cannot immediately identify what that pattern is; although of course there is still evidence of some relationship. I intend to take an approach to parametric design by ensuring a presence of an overall system in my work, while still maintaining the fine complexity and opportunity from the algorithmic thinking.

am new to parametric design.)

With the programs themselves, I want to continually use them throughout the entire design process, so that it is integrated with how I think about the design, rather than just use it towards the end for the final outcome. This way the opportunities are far greater than the imagination in my head (especially given that I

This new understanding would have helped me in previous designs when considering relationships between elements in a form. Also, in parametric design you often have modules or components that fit together with rules, in contrast to considering a building as a whole and single unit.

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REFLECTION I am surprised at how much we have learned about parametric design so quickly. The concept of algorithmic function is new to me in the design context, but I feel that I am getting a grasp on how it relates to physical forms, and more importantly design ideas.

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REFERENCES 01 02 03 04 05 06 07 08

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Van Herpen, Iris, Crystallization, 2011 (Cover Photo) Van Herpen, Iris, Crystallization, 2011 Van Herpen, Iris, Capriole, 2011 Van Herpen, Iris, Crystallization, 2011 Andrasek, Alisa, BLOOM, 2012 Andrasek, Alisa, BLOOM, 2012 IwamotoScott Architecture, Voussoir Cloud, 2008 Architecture Students AA, Swoosh, 2008

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TASK A6 _ SKETCHES

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B1

Using strips as a base element allow great opportunity for relationships and pathways between the lines. They

TASK B1 _ RESEARCH

have the ability to change direction, reconnect to where they started, move through different parameters and be influenced by surrounding fields. Loop_3 by Co-de-iT architects particularly employs the idea of strips looping back around itself, gravitating back to a central pull, and bending around pulled out points. Interestingly, there is not a single strip continuously looped and folded around the overall shape, rather layers of individually closed loops. These are not regular either, they do not follow a pattern of symmetry between each ‘arm.’ I think that this, like the base example Pavilion, Biothing, shows the ability to alter the paths of curves and strips using fields. It seems as if there are pressure points or gravitational pulls which influence the direction of the curves. This differs greatly from parametric design with tessellation or patterning.

There is not sense of repetition, rather the presence of many individual strips that are pulled and stretched and looped around, each very unique but have an overall relationship to their fellow strips.

Strips and folding might also be used as a definition of surface. It reminds me of some exercises I used to do with paper, where if you lightly score lines, even curves along the paper you could push the paper edges together, to neatly distort it along the lines. In Silico’s Curved Folding Pavilion appears to represent this similar application, where they have individual manufactured strips with their unique curves and 3D qualities, which fit together neatly along their sides to form an overall surface. Computation is strongly evident through the unflawed matching of each piece to each other, and the The Archepelago Pavilion lends itself somewhat to In Silico’s approach, where it uses individual strips to make up a surface. Differently however, the strips create a smooth finish and almost seamless surface of the structure. It is as if strips and folding is used to panelise the piped nature of the pavilion.

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TASK B2 _ CASE STUDY 1

2. The extrusions were still a very ‘flat’ representation of the overall geometry, so I also tried to pipe the curves, and this gave a considerably better result with the renderings, as there was now a form to each of the tendrils.

4. Tried to loft but I think the loft tool did not know which direction to loft in and what lines to use - I attempted to reorientate the base grid at each point on the curve but I didn’t succeed as evident in the right hand column on the following page

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TASK B2 _ VERSION 1

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TASK B2 _ VERSION 2

Ref fig. 4

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Species 1

01

Base Curves

Species 2

01

There is so much

There were drawn in rhino,

opportunity with the cull

and selected in grasshopper

tool, I am able to create all

to be divided, and worked

sorts of patterns

on essentially

02

First attempts at changing

02

Again selecting curves to

slider bars, changed the

deem ‘false’ i.e. they are

influence of the fields, which

not drawn

as I understand, operates much like a magnetic field

03

04

Changed the height of the

03

I redefined the vector

curve groups, altered the

planes of the circles at the

scale of the PCharge and

divisions, which are the

Decay command which

base of the groups, some

affects the density/pull

are now perpendicular

Started to look at the

04

I replaced the base circle

information lists, and culled

with an ellipse, hence the

some of the curves which

increased density in some

came out from the center

ends of the circle, while the middle is sparse

WEEK 04 TASKS

Species 1

01

02

03

Changed the PCharge to a

Species 2

01

Here are some failed

significantly higher value,

attempts at lofting the

which meant the curve

curve, initially I tried to loft

clusters came much tighter

around the center of each

together

cluster manually, no success

Varying the length of the

02

If I defined the vector

curve clusters, looks too

direction then I could

splayed out so you do not

get a loft that essentially

get the effect of the overall

extruded along a vector in

shape

the XY plane

Extrusions of the curves,

03

There was confusion

this gave them some

however in the central

substance rather than just

axis of the overall form,

being lines

where there are so many overlapping surfaces

04

I played with different

04

I decided lofting, although

thickness and height of the

looking cool, was a very

extrusions. I also tried to

rough execution, and

loft along the curve but the

started to get complex

definition couldn’t read it

beyond my comprehension

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TASK B2 _ VERSION 3

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Ref fig. 2

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RENDERED PIPE - VERSION 3

TASK B2 _ VERSION 3

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TASK B3 _ REVERSE ENGINEERING

WEEK 05 TASKS

The way I initially read the form, was that there was some kind of panel across a full surface, where the tension between the corners responded to their relative location on the form, or the stresses of the pull in that area. I initially approached this using a box morph, which gave me a general representation of the form, but I was limited to a uniform, pre-

made mesh as a panel, which had to have a minor 3D element.

This was the earlier attempt at box morphing, which still had some success. The mesh was obviously a very rough way to recreate the panel, but it was ablse to follow the surface quite well. It meant however that I had to create a 3D element to the panels. This evetually showed when the panels were scaled. The scaling was also a bit odd as it followed the

nature of a ‘morphing’ box morph, rather than a clear transition between two panel types.

The most unsuccessful part was the change in the panels. I relied on the stretching and tension in the panels, solely from the pull of the base surface curves. This was not enough to give the variation I needed for the overall form. Next I tried a variable wall...

WEEK 05 TASKS

The next method I explored was panelling a surface grid through grasshopper. This meant that it was a 2D surface, like the precedent, and I was able to control the grid more easily, especially with an attraction point.

TASK B3 _ REVERSE ENGINEERING

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TASK B3 _ REVERSE ENGINEERING

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WEEK 5 READING

The Function of Ornament Moussavi, Farshid and Michael Kubo, eds (2006)

I thought that the reading this week on ornamentation

‘design’ of a building - which are often multipurpose,

was particularly interesting, so I thought I’d note it

or have a generalised typology. Generalised space,

down. Architecture is a way of formalising culture,

e.g. shopping centers whose interior is not necessarily

we take the essence of our society, what makes it

specified or tied to the context it is in - it is just loosely

unique and turning the idea into the building blocks

a ‘shopping center.’ It suggests that we are no longer

of our design, much like the principle I’m exploring

designing for a client, the personal investment and

of paneling a form - there is the basic surface or

client relationship is removed. We are essentially

landscape that we must dress, and we need to find

design straight for the need at the time, it has been

the appropriate key to dress it with.

dehumanised.

Progress is finding new developments in our culture, new ways to rearrange the ideas into formal designs.

I somewhat disagree however, one designs a

How we represent the ideas formally has changed

shopping center based off the social culture it

throughout

modernism

is based in, or for the type of shops intended to

translated the ideas of culture of design literally; a

be included. Or, for a library, what kind of books

linear and straightforward translation. Essentially

there are, whether it is children based, community

the way we view the communication of design is

based, or if it is commercial. The architect should be

“historically framed.’ The reading suggests that

responsible for the interior of the space, how rooms/

there are more successful representations of design,

voids work, why certain families are placed where

ones that have the ability to adapt to the social and

they are. The exterior is undoubtedly important, as is

cultural changes in our society. More stylised formal

aesthetics, but you cannot disregard the purpose of

design however is more confined, limited to formal

these buildings - buildings are used by people.

history.

For

example

elements, which is only one way of design thinking.

More commercialised buildings limit the depth of involvement from the architect. The requirement, or rather what we see as the focus, is designing the outer

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TASK B3 _ REVERSE ENGINEERING

WHAT I NEED ->

WEEK 05 TASKS

In this definition I first attempted a variable wall - I

only defined between two diagonal points from the

built the base panel from nurbs curves from points I

square base of each cell in the grid, so it crossed over

selected along a base square and ones scaled form

itself. It was suggested that another way to do this

that. I then created an overall bounded form, which I

was to build a panel from 4 defined points.

paneled onto a lofted curved surface. Once I added an attractor point, there was an obviously morph

This is how the panels seemed to respond to the

between the base panel, and a square cell which I

variation from the attractor point, but I wanted it to

had set up. However, it seemed as if the panels were

morph like the image on the right.

WEEK 05 TASKS

TASK B3 _ REVERSE ENGINEERING The third attempt at reverse engineering was

was able to more freely play with the overall form,

successful - I found that I had to create the curved

and wasn’t restricted to a single loft.

edge panel, from previously defined corner points.

These corner points would later then be mapped

The biggest difference between the previous two

onto the paneled surface, where the corner points of

methods, is that the first controlled variation in

each cell are also defined.

the panels by inputting a starting forming, and an ending form. The second however, controlled it by

Initially I started with a curve, and the grid was

weight of the curve on each side; it could make it

defined upwards from there, however I found that I

very prominent, or have no curve at all i.e. a square.

was able to substitute the first part of the definition

The latter makes it harder to substitute different

with something from my previous attempt - where

panel types. Perhaps something I will explore from

the grid was based off a surface. This meant that I

here is to panel 3D shapes and have variation.

WEEK 06 TASKS

TASK B4 _ DEVELOPMENT

Series 1

Simple base geometry, first

Series 5

Revisiting the Biothing

tests of the latest paneling

definition I ended up with

method on an extruded curve

last time, as I think there is potential in creating a surface that I can later panel

Series 2

A more dynamic way of

Series 6

Some failed attempt at lofting

expressing the attractor points

the Biothing definition, in

- points still independent of

order to try to get a base

surface, but can be positioned

surface to eventually panel

in stresses of surface

Series 3

Simple grasshopper piped

Series 7

An interesting combination

base geometry from rhino

of the two definitions, which

curves, DeBrep applied

includes the base pipes, and a

to make surface more

double layered paneled ‘skin’

manageable, then paneled as

which resulted

before

Series 4

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Combination of my Case

Series 8

I tried to be a bit more

Study 1+2 definitions, DeBrep

experimental with the

the surface of my Biothing

Biothing definition, spreading

result, then paneled between

out the divisions along the

the points on the pipe

curve, and getting a flatter

surfaces

result overall

TASK B4 _ DEVELOPMENT

1

2

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3

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4

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5

6

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7

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10

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TASK B4 _ DEVELOPMENT

TASK B4 _ DEVELOPMENT

Notes: I want to capture the representational idea of the first selection, with the more intwerwoven, less broken execution of the second form.

De brep played a key role in combining my definitions from Case Study 1 and Case Study 2; the idea that you can have one overall form, seamless and united, then you can break it down into more manageable pieces, and influence each of those in a more complex and detailed way.

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TASK B5 _ PROTOTYPES

Overall Form - Rigidity Detail of connection - Moveable

WEEK 07 TASKS

TASK B6 _ PROPOSAL

FIELDS DENSITIES CELLS TRANSLATIONS SYSTEMS

When I visited Ceres, I noticed that there were all these little systems across the fields, separated into working cells. For example, the chicken coop had its own private quarters, next to the vege patch where each bed was neatly cropped and separated into vegetable types.

However, it wouldn’t be unreasonable to guess that the chickens feed off crop scraps, so there are likely many external connections between theses little modules of activity.

This is why I think the current iterations I have chosen are appropriate, as it visually represents the idea of cells connecting together at one point, where each module has the opportunity to do its own thing. There is also evidence of repetition and systematic layouts, much like the garden beds and market stalls.

WEEK 07 TASKS

There is an obvious translation between garden bed

for workers while carrying out daily tasks. I realise it

and fruit stall box, between chicken and free range

is a very radical idea, however one of my strongest

eggs, where Ceres participate in all of the stages

impressions of Ceres is that it is all incredibly labour

mainting the animals and site. They are incredibly

intensive. I think that the human connection to the

proficient and self-suficient in there ways, it is a

crops and animals is very important, so I would

closed cycle where even visitors can witness the start

not want to remove them, but potentially create a

to finish.

feeding uniform with personal operation, but while being more efficient. Because of the small scale,

As well as at Ceres, the general length of Merri Creek

responding to a human body, the suit has the

also has an obvious continuation of ecosystem at

potential to be manually operated.

different scales, including the many types of birds around the area, and the aquatic life which is so mysteriously hidden below the surface.

My proposal is a chicken/garden feeder/water dispenser suit that is worn on the body, a uniform

WEEK 07 TASKS

TASK B6 _ PROPOSAL

WEEK 07 TASKS

WEEK 07 TASKS

TASK B6 _ PROPOSAL

I think there is something very interesting about the

where there is a sense of community and mutual

idea of densities. It suggests a variation in activity,

appreciation of what is achieved there. Therefore it is

where some parts may be concentrated and others

quite appropriate to note the densities of Merri Creek

less dynamic. All are important to achieve a well

and Ceres geographically. The physical proximity and

balanced atmosphere, particularly at Ceres, where

concentration of things generally translates to the

there is a great need for simple open space, to

level of activity or participation, so it us befitting to

accommodate for students, animals, and general

concentrate on physical or geographical placement.

agricultural work. It is also important, to have a

The example above shows the density, or rather

hub of activity, similar to the fruit market area,

solidity of the panels where the topography is tight.

WEEK 07 TASKS

TASK B7 _ LEARNING OBJECTIVES

Looking at precedents, I find, is an invaluable way to

limited to scale bars. It is so easy to make things with

learn about design - not only do you see a completely

pre-set commands, however the translation between

different imagination and design thinking, but also

each program gives so much more opportunity when

how it is applied to computer programming. The

you understand it all.

reverse engineering task was particularly influential on my because I thought that it was enough to just

In terms of interrogating a brief, this is the first time

logically think through the stages of generation.

that I have strayed from the path of a building or large

However, after creating a very similar panel using

structure. I have decided to create a piece of fashion

three incredibly different methods, I realised that

(loose term) which responds directly to the people

it is so important to find the right method, for the

at the site. I have learned new ways to approach a

next step of the process. The side algorithmic tasks

site when it is focused on the human activity and

have also taught me more than I realise, because I

interaction there. I think also parametric design has

am becoming more comfortable in improvising and

greatly helped my ability to achieve the ideas I want

pulling out commands to alter definitions, while also

- they can express through computation the abstract

understand what it is I am doing. This way I am not

ideas I explore, for example torsion, repetition, cells.

WEEK 07 TASKS

TASK B8 _ ALGO TASKS

WEEK 07 TASKS

WEEK 07 TASKS

PART C FINALISING FORM

WEEK 09 TASKS

TASK C1 _ DESIGN INTENTION REFINED

Something that I have tried to maintain since my

In a more abstract sense of the design, I still

interim presentation, was the idea of elements and

maintain earlier ideas of modules informing other

range and density. From my initial experiments

modules as if in a network. This stems from my

in grasshopper with variable walls, I discovered

observation at CERES where ever mini system was

that small pieces, or rather scales, gave so much

part of a larger whole; for example the food was

opportunity to create a sense of direction or

grown and later sold in another part of the are, the

density in a form, which drew attention to an

food market, or it was used in yet another part, the

overall anchor. As I have been encouraged from

cafe. I assume also that the animals, in particular

the last presentation, I decided to alter my panel

the chickens would also be related to other parts

type into a 3D scale. My precedent, FERMID

too: the vegetable patches perhaps, whether they

(referred to later) inspired the idea of movable,

are fed from scraps or used for maintaining the dirt,

interconnected panelling modules which can press

or even if their eggs are used in the cafe. There is a

together densely, or open up in a splayed motion.

constant sense of connection and interdependency

I want to achieve a form that appears malleable,

which I want to make apparent in the connection

or that as a whole, it can formed to a surface, in

details of my design.

this case the body. I am carrying my initial idea from the interim, the idea of a chicken feeder,

This is also were density is important, I observe

as I think it has a lot of potential to particularly

the are of CERES as a map of active density. Where

develop the aforementioned design goals. My focus

there are these mini systems, there is the hubbub

consequently, is the staff at CERES who would use

of activity and working, and sharing between users.

the suit on a regular basis. Therefore, I need to pay

Then there are great extents of quiet land which

closer attention to the way the suit interacts with

are slowly inhabited by vegetable crops or wild

the body, something I had not considered in depth

animals. The pace of life in these places is much

before. If I had a base form, onto which the panels

more subdued. In my interim I mentioned that the

are connected, which was somewhat malleable

topography of Merri Creek was directly related to

and impressionable then I could essentially create

the activity and inhabitation of the area by various

a second skin so that the workers would hardly be

life forms, so I intend to continue to use this data to

impacted by it.

inform my design aesthetically.

WEEK 09 TASKS

TASK C1 _ USER GROUPS

One of my strongest impressions of CERES was that it was incredibly labour intensive. In every area I visited there was always someone loading a van, doing intensive gardening, maintaining the shops or tending to the animals.

My idea is to help the process by creating a suit that makes everyday tasks more efficient. I am particularly interested in focusing my efforst on feeding chicken/vegetable gardens.

The suit would be used exlusively by the CERES team, and would become part of their uniform, if they were carrying out any feeding tasks. It needs to be lightweight, moveable, and efficient at dispersing feed.

Also, visually, I remember seeing some unique and very beautiful chickens, whose feathers staggered in their shades of grey for example. I sought to emulate that beauty, as it was appropriately connected to the purpose of the suit. The suit would both adopt the essence of its subjects, but still provide some protection from the poultry, who can be quite violent at times.

WEEK 09 TASKS

WEEK 09 TASKS

TASK C1_PRECEDENT - FERMID

FERMID uses parametric design to create variation and actual movement into the work. The panels work like scales, rotating around eachother to create an impressionable form, which dictates the pressures and tensions at different places.

I think its choice of panel is very interesting as the way they are connected relates to everything around it, it means that you to consider its neighbours before you construct it or affect it in any way. It also means that if you were to influence it or shape it in anyway, it would bring its neighbours with it.

The use of a pin joint here is crucial as it allows free movement between the cells of the form. However, I would imagine that these are not very loose connections, because that would cause the form to sag overall.

I wonder too, if I need a base strip at all or if I should try to use the panel itself as the binding strip between?

But base strips give more freedom to form to the body.

WEEK 09 TASKS

TASK C1_SITE AND DATA

Create base curves to mould to user - the body

Divide curves so there are points of reference

Create panels using nurbs curves, from previously defined points

Scale by changing direction, size of lines, offset distances

WEEK 09 TASKS

WEEK 10 TASKS

This group of the definition concerns the base shape which drapes over the shoulder. It starts from a point and curves flow outward through a field.

The small groups are repeated commands which help to scale the panels - they are placed in positions which allow me to control height, width and sharpness by governing the points which define them.

WEEK 10 TASKS

C2_USING GRASSHOPPER THE CORE CONSTRUCTIONAL ELEMENT

WEEK 10 TASKS

On the left page and above, are some of my sketches are I was trying to understand the process of creating my forms in grasshopper. Each element that I scaled had to be done in a different way, and sometimes I wanted to do a scaling which involved all of the defined points I had, so I had to find which points I needed and how to connect them in order to scale something in one go.

To the left are some of my initial thoughts of connections were using pins which were nailed into pieces of mdf or boxboard, but I later found that this was impractical given the thickness of the materials, and the number of panels I would have to make.

WEEK 10 TASKS

Interesting interations with extremes for different scaling types - but they definitely test the limits of fabrication, and functionality as a design

WEEK 10 TASKS

TASK C2_BETWEEN MODEL SPACE AND FABRICATION

This stage of the design was

material when I was in the

details, but I knew that some

critical as I had to consciously

beginning stages of this design,

of the sharper (bottom right)

think about the reality of

but once I had more formal

iterations would not be realistic

each iteration, in terms of

iterations, I realised it would

given the way polypropylene

material and joints. My chosen

be very dificult to create wired

bends. Also, one of the more

material is plypropylene palstic

structures for the material

major shifts in the design, was

sheeting, as I think this would

to be in tension in between.

going from the scale of the

be the most succesful for the

The benefit of plypropylene

bottom row, to the scale and

forms in my design; Paper

sheeting is that it has a variety

number of panels as the upper

would not withstand the forces

of colours and opacities, it

row of iterations. The bottom

of being bend, it would either

is moveable yet strong, and

row had panels which were

fold, or would be far too flimsy.

can allow more structural and

only 1cm wide, and it would be

Card would be very stiff and

harsher joint methods.

imposisible to bend any thick

likely buckle in unwanted

I did various sketches as I

material in this way, as well as

places. I originally considered

went of potential connection

fix it to something else.

WEEK 10 TASKS

TASK C2 _ FIRST PROTOTYPE

The key success of my prototype I found, was the movable relationship between each of the panels and strips. As I had mentioned in my refined design intention, I wanted to be able to create densities and splayed out forms - These twisting joints make the form retractable. It is considerably more interactive that I had anticipated from the grasshopper models, and I found a lot of joy in pushing the panels into eachother, then pulling them out again. This also emphasised the idea of gradual scale, as the panels neatly fit into their bigger counterparts.

One of the failures of this prototype, was that one of the joints split apart, and there was nothing I could do to save it. I later found that this was due to the excess stretched material from when I created a hole in the plastic - that had bunched up under the eyelet. There were two ways I approached this.

First I tried an alternate way of pulling the points into each other (pictured) with a bent metal wire, and from here I could potentially use the wire as an axle in the base strip. In theory I thought this idea had potential, but in practice I quickly realised the difficulty of cementing the bar in position relative to the eyelets. Also, if I put the axle through a base strip, it would be very loose and not hold any form that I intend it to.

The second approach was using a hole punch to create the base hole. Initially I didn’t try this, as the tool I had made a small hole which created the friction around the eyelet and I thought the hole punch was too big. My fears were correct at first, as the hole punch was slightly bigger than the ideal hole for the eyelet, however I solved this by hitting the hammer on the eyelet just a little bit harder! The pressure from either side of the eyelet allowed enough friction for me to freely, but importantly, control the form and movement of the eyelets.

WEEK 10 TASKS

WEEK 10 TASKS

TASK C1 _ TELESCOPIC NATURE

Physical prototyping became a significant

fabricating, to ensure that I didn’t have stray

part of the design process, as it put theory of

panels which ‘flopped’. The biggest advantage

joints and movement into real properties. For

of the telescopic nature of the strips, was that

example, my intentions with the base strips of

I could push and pull them into dense, and

the panels were for them to loosely mold to

spaced out ‘empty’ zones. This emphasised

the shape of the body, in a draping or falling

my initial ideas of densities and variable forms.

motion. I later found however, that the level

Another thing I discovered was that I could pull

of stiffness in the joints affected how it would

the ends of each scale up so that they protruded

behave. If I tightened the eyelets for example,

more dynamically. This was accentuated by the

I could have a considerable amount of control

panel shape, position and gradual variation

over the form - the arms could even become

in scale. It looked like there was an overall

telescopic. I took this into account when

direction and movement in the form.

WEEK 10 TASKS

There is this constant shift between physical modelling and virtual alteration, back and forth which inform each other’s process. Due to the nature of the panels, certain shapes had a more significant impact visually. I had many iterations of panel types (pictured next page) which looked lumpy or really flat, as the width of the panel affected how the propylene would bend around itself. Therefore the narrower, sharper panels were far more successful (pictured above). It also meant that the end point was defined when I needed to express them in the ‘pointing out’ ‘active’ positioning. Also, with this

WEEK 10 TASKS

second prototype, I also strated to experiment with different coloured materials. I found a polypropylene sheet in a white matte colour, and aalternated the panels. I think that this is a stubtle but succesful way to denote variation in the form (The scaling is still quite subtle but I don’t want to exaggerate it as the larger panels would become clunky). I will investigate later on some ways to incorporate or fully utilised the different material colours, it is also avalable in black. The last thing to consider is eyelet colours, which have corresponding colours to the polypropylene sheets luckily.

WEEK 10 TASKS

TASK C1 _ CLOSER LOOK AT JOINTS

WEEK 10 TASKS

TASK C2 _ CLOSER LOOK AT

JOINTS

WEEK 10 TASKS

FABRICATION MDF Panel for base, with notches for insertion of strips. Strips attached by tying string around strips and finally gluing. All joints along the strips are movable, fabricated using eyelets.

WEEK 10 TASKS

WEEK 10 TASKS

TASK C2 _ FABRICATION DETAILING SITE DATA

Once I had found a final form and had begun to consider frabrication, I played around with material types and particularly, material colours. I found that the individual panel system meant that I could fabricate each panel with its respective strip piece (pictured above) and attach all these elements together at the end. Consequently I had a lot of freedom with the colouring of each panel. To inform my choice of pattern, I referred back to part A and B where I took datat from the activity of the site. I found that the topography and densities of landmarks corresponded to the density of activity and life in the area. I then abstracted this desnity map to create a curve, which the panel order follows.

WEEK 10 TASKS

WEEK 10 TASKS

TASK C3 _ RENDERING

Rendering was the final stage before I fabracated

doing this. Another benefit of rendering is that I can

the full model. It gave me a strong indication of the

see, quasi-realistically, how the form will sit on the

success of the multicoloured panels, and I think it

shoulder. I want the base plate to act like an anchor,

is definitely a design choice worth pursuing. From

that attached to the lapel of the CERES workers

here I have chosen the different opacitices and

uniforms. From here the strips will drape and form

colours in polypropylene. I was also able to test

to the body. Something interesting I noticed with

virtually, the shift between sagging panels, and

the prototyping is the agility of the strips, so I would

protruding ‘active’ panels. Although I feel that this

imagine at this scale, with so many strips, that

is a very basic indication, I can see how the nature

there would be a very interactive feel of ‘swishing’

of the panel direction can so dramatically affect the

around. If the user were to twirl, the strips would

form. In terms of physical fabrication the jointing, as

respectively flair out like a long skirt for example.

discussed before, is the only thing that permits me

This could be worked into the use as a feeder.

WEEK 10 TASKS

Experimenting with colour I tried a transparent blue in place of the colourless, to mimick the bright colours sometimes found in chicken or exotic bird types - I don’t think this is a design consideration worth pursuing as it adds no weight to the design, and I prefer the aesthetics of the greyscale

WEEK 10 TASKS

WEEK 10 TASKS

TASK C3 _ FINAL MODEL RESTING POSITION

In its execution, I think the design incorporates the feathered appearance or impression of a bird, but still maintains a severity as if it is a protective armour/safety gear.

The base strips successfully responded to the shape of the body, particularly as I moved it around on them. Each strip had an added weight too which I did not anticipate in the Rhino and grasshopper model: if anything, this aided the illusion of drapery on the body. The top plate/ junction was the least successful as, in my crit, it was mentioned that it detracted from the overall aesthetics.

Perhaps a quick approach to fixing it would be to render the plate black, however in a more complex solution, I could try to design a lighter looking structure out of polypropylene too.

The only worry is that I will lose the rigidity and harshness of the immediate surrounding panels, if the new base is too flopppy.

WEEK 10 TASKS

TASK C3 _ FINAL MODEL

WEEK 10 TASKS

TASK C3 _ FINAL MODEL AGRESSIVE: MY INTENTIONS WERE SUCCESSFUL

WEEK 10 TASKS

WEEK 10 TASKS

TASK C3 _ FINAL MODEL

TASK C3 _ FINAL MODEL

PART C3_FINAL FIXED TO SHOULDER LAPEL OF CERES STAFF UNIFORM WEARING THE MODEL KEVIN HUYNH

WEEK 11 TASKS

WEEK 11 TASKS

TASK C4 _ LEARNING OBJECTIVES

One of the main considerations I took from the final

with the joints were not so successful until I came

presentation, was the main base plate onto which all

across eyelets. They allowed so much control in

the strips are fixed. I started to explore lighter and

the position of the joints, and most importantly

less obvious methods to create a central junction

the tightness of the joints. Without the movement

for all the strip ends. The hardest part is accounting

restriction that the tight joints allowed, I would not

for the weight of all the strips. I did some

have been able to express as clearly the different

experimentations with polypropylene (pictured

forms of the model, at rest and ‘active’ when

right) which allowed me to use the curve of the

pointing out, nor the retractable nature of the arms.

material against itself, working both in compression

The particular process that I took with grasshopper

and tension. The only problem was however, that

was incredibly helpful in understand relationships

not matter how high the stresses and pressures

between elements in an algorithmic sense too.

against it were, the thickness of the material would

It was not as easy as just scaling all the panels

never allow me to take much weight. So far the

together in one go. Each of my panels were defined

only successful method I have tried, which not only

by curves which were defined by points which in

worked in theory but also in practice was the mdf

turn, were defined by other points that had been

base plate. Even with this I still had some difficulties.

offset from division of the base curves. EVERYTHING

I needed the strips to sit vertically in it, which meant

was interconnected and I think ultimately my

that it was really easy for the weight of the strips

design somewhat showed that a little aesthetically.

to pull it out. Consequently however, I tried some

Grasshopper’s role in my design thinking has now

new methods. I put string through the ends of the

radically shifted the way I approach a design. I used

strips and sandwiched them in between the layers

to think of computational design as a mysterious,

of mdf. This stopped the lateral and vertical forces

untouchable force that created beautiful thing out

in one go. To refine this method I would painted

of accidents. I now see that the ability to manipulate

the base plate black, to stop the overwhelmingly

different points along a definition, and to know

obvious colour from distracting the viewer. In terms

exactly what you’re controlling gives so much more

of the strips and joints however, I am quite happy

depth to the overall design, and especially where

with how it turned out. My initial experimentations

the design could go from there.

WEEK 12 TASKS

WEEK 12 TASKS