Final Journal Studio Air Margot Manasse by Manasse

STUDIO AIR 1

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TABLE OF CONTENT

Margot MANASSE DIGITAL ALCHEMY

David WEGMAN

SEMESTER 1, 2018

Introduction

Part A. Conceptualisation

A.1 Design Futuring

A.2 Design Computation

A.3 Composition / Generation

A.4 Conclusion

A.5 Learning Objectives & Outcomes

A. 6 Appendix - Algorithmic Sketches

Reference List

Part B. Criteria Design

B.0 Self Reflection

B.1 Research Field

B.2 Case Study 1.0

B.3 Case Study 2.0

B.4 Technique Development

B.5 Technique Prototype

B.6 Technique Proposal

B.7 Learning Objectives & Outcomes

B.8 Appendix - Algorithmic Sketches

100

Part C. Detailed Design

102

C.1 Design Concept

120

C.2 Tectonic Element & Prototypes

132

C.3 Final Detail Model

154

C.4 Learning Objectives & Outcomes

158

Reference List

INTRODUCTION

My name is M I am a French intern currently in my th Bachelor of Environ in Architecture at of Melbourne. One that made me fall is its interdisciplin requires both a creative skills that me to challenge m also itâ&#x20AC;&#x2122;s universal the way architectu reflects societies. Previous work. Studio Water. Le Corbusier

Throughout gained some experie representation tool and Rhinoceros, I basis with editing Photoshop, Indesig but the more I use I get at using them good skills in Au internship that I d an architecture fir skills on Grasshop the basis that the t interactions with s brought me, but w somewhere and I

my degree I ence with digital ls like AutoCAD I have a mere g software like gn and Illustrator them the better m. I gained pretty utoCAD through did last year in rm in Paris. My pper are now to tutorials and my studioâ&#x20AC;&#x2122;s partners we need to start cannot wait to

be able to play around with it more. I found the possibilities that it brings to the design based practise quite incredible. It please me a lot to see that I am studying at a point where the profession is having such a remodelling. I am a really lucky person to be studying in a field that I love and admire which brings me to embracing architecture even outside of university. But I think that my knowledge on digital architecture is unfortunately mostly through theory, I have only some the basis of technical knowledge but from what I could experience in the last weeks, this digitally faced studio will make me gain a lot of technical knowledge as well as.

The architecture expression that I prefer are Gothic, the one developed in France in the XIIth Century and Brutalism but if I had to name projects that used digital tools I would go towards building like the CCTV Headquarter in Beijing, not that I found it particularly beautiful but I am amazed by the capacity of computation to provides design that defy Natural laws like gravity. I appreciate the Metropol Parasol in Seville that I found interesting through the numerous intersection of elements that were capable via the computer calculations.

Margot Manasse, national student hird year of the nment majoring t the University e of the aspects for Architecture nary asset which analytical and t always brings myself daily. It is l presence and ure shapes and

PART A CONCEPTUALISTATION

Exodus, or the Voluntary Prisoners of Architec7 ture: The Strip Rem Koolhaas 1972

“We shape our buildings, thereafter they shape us”

A.1 Design Futuring Fry claims the importance of redefining design is exposed by the author; our society shifted towards an anthropocentrism, it is set into the majority of cultures the idea that the planet is an infinite resource as our disposal. We continue to sacrifice the potentiality of future to sustain the excess of the present. In the last 150 years, people got blinded by the concept of “progress” that they forgot that “To be human is to refuse to accept the given as given”. (3) The reading describes design as the main decisive factor to have a future, he proposes to change our perception of design in order to engage the complexity of design as a “world-shaping force”(6). Design Futuring aims to raise awareness on the gravity of the problem and is a call for actions to people. Architecture, needs to use critical design to seek for uniqueness and differentiation.

A.1 Design Futuring

In Mai 1968, riots of students and workers turned against the government in France to create an “anti-authority” movement. The strikes lead to the resignation of the president and a fundamental rupture in the French history to slowly bring the advent of a post-modernist society. The following president, Georges Pompidou understood the issue and wanted to materialize this time of revolution in a building dedicated to Culture to give it to the people, and the youth in particular. This National building that was commissioned by the president and was used as a political weapon to express the mental shift that France took and a sign of victory to the youth. This Georges Pompidou Cultural centre is a representation of this dynamic period of change. This inside-out designed, use the complex system of the building as an aesthetic figure for the edifice. Letting the knowledge of the functioning of a building available to anyone.

A cultural space should be accessible to everyone, but a lot of people think that it is only reserved to an intellectual elite. After Mai 1968, France saw a democratisation of all kinds of arts, they became more accessible. Beaubourg was one of them, it took in consideration that we had to free the art and the culture, the designers challenged the pre-defined ideas of art, culture and space to provide a critical design response. The diversion of thoughts regarding the centre simply put in relief the creativity that was put inside the project. Good architecture is supposed to shock people, Piano and Roger designed a new idea of buildings, drawing their inspiration on Utopias thinking of the 1960’s like Archigram or Superstudio.(16) Beaubourg blossomed to become one of the most iconic building of its century and loved by the public. Its radical design represented a revolution in ideology and conveyed the message to next generations to constantly challenge what is given and never settle in order to produce a “good” critical design. The architects did not give any directive on the organisation of the space. By creating a movable

internal spa the concept Georges P created a spa public, a pr formation.

ace, they absorbed t of change. The Pompidou Centre ace of culture for the remise of constant

figure 2.

Centre Georges Pompidou Renzo Piano & Richard Rogers Paris 1977

A.1 Design Futuring

The Seed Cathedral Heatherwick Studio Shanghai World Expo 2010

figure 4

The Seed Cathedral wanted to focus attention on the pioneer role that the UK had towards bringing Nature into cities. And create a place that reverence to the Botanical Research Heritage of the UK by collaborating with Kew Garden’s Millennium Seeds Bank. The design of the pavilion is a direct manifestation of the element that is exhibited (7). The design process was driven by a desire to be different and to stand out from the other participants of the World Exposition. They did not want to fall into the trap of creating a basic advert of their country. They played on simplicity with a meaningful message. The ephemeral aspect of the design is crucial, they were proposed to rebuild the project somewhere else after the Expo but preferred to donate the seeds to school in the UK and China to contribute to the education and knowledge of new generations. Humans tend to forget that they are finite entities, accepting this factor can be important, let other generation live how they want regarding their needs which evolve. Winston Churchill once said: “We shape our buildings, thereafter they shape us”, creating a building that alter under the influence of Nature is of great power. It brings to the idea that humans are part of

the Natural system, we do not own it. For visitors, the site was an entire experience, you could admire the power of daylight and the strength of wind without any artifice. Everything was Natural, providing people with a powerful silent place where they could have a moment of personal introspection. Bringing the idea that an eco-centric building that is aesthetically beautiful broaden the future for people to think that living and being respectful of Nature is possible. It was by wanting to differentiate themselves that they created a “good” design. Another focus of the project was the people, the majority of the site was given to the public as a public space to provide a reenergizing space inside the busyness of the expo. People used it to realm, talk have fun.

3D Printing in Fashion Iris Van Herpen 2016

A.2 Design Computation Computing is used in the design process in the same ideology that scale drawings and models had during the Renaissance. It gives the architect a medium to produce a design faster than before and to allow faster adjustments and changes. In the last decades, the creation of a powerful symbiotic design system between computer and humans using the best assets of both has emerged. Computer are used for their impressive rational

and search abilities to provide a better design by predicting and evaluating the potential of each design in relation to the goals and constraints. And humans contribute to the design process with their unique creativity and intuition to solve design problems. Computing along is not revolutionary, it is a simple digital help for designers. Through computation, architecture became a practise based on research and

figure 5

experiments, the design process changed to become a medium of Research based experimental design which emerged from the use of parametric design. Firms like Arup created a designated multidisciplinary research unit where a set of architects, engineers, mathematicians, programmers and artists collaborate to use experimental parametric design to exploit computational geometry through performative and digital design.

Multiple architects and theorists are reticent to the idea of computation, thinking that it destroys the poetic essence of architecture. When they should actually perceive computation as an opportunity for a new way of expression from the technologies of material design and fabrication. The industry of architecture seems to always aim to greater and greater goals in construction to build complex geometries and gigantic infrastructure, through computational performance in fabrication and construction, the dreams of certain architects is brought to life.

A.2 Design Computation

The ability to program, script and the new form of design production has lead the practise to view material systems as a tectonic system that redefined architecture as a material practise, the digital modelling of materiality in design enable architects to modulate their design which contributes to the progress in contemporary research-based in architecture. The intersection of parametric design and material systems created a new research field of textile tectonics. These new tectonics and the use of computation led architecture firm like dECOi to broaden their horizon and created through mathematical pattern an interactive surface that fluctuate according to its surrounding variations. (1) The directional position is provided by electronic sensors that is then interpreted by a genetic algorithm platform able to generate a form-finding strategy. (4)

figure 6

Hyposurface Designed by dECOi

A.2 Design Computation

Parametric design thinking works through a logic of associated and dependent relationship, and therefor provides a new form of design logic. Computation provides a control over the creation and the modulation of form, materiality and scales, which enables the generation of thousands design possibilities and therefor can create a better design response to the goals and constraints. The Water Pavilion became pioneer in the building industry being the first building to merge topological surface designed with computing software and digitally projected and manipulated interactive media. (4) New formmaking processes became possible through the use of new geometric forms and structural systems, therefor for the creation of hybrid architecture space like the Water Pavilion.

Water Pavilion Spuyorbroek/ NOX architects H2O Expo 1993-1997 figure 7

A.2 Design Computation In its search for the optimal design, the computational processes create complex forms and geometry that would be impossible to produce using traditional manufacturing methods. To meet the need for the industry to produce the sophisticated shapes generated through parametric design software, new medium of fabrication methods like 3D printing and CNC routers emerged. Those new fabrication methods also, became useful tools that enables a faster production file to production system and used the tools to create decorative patterns (9). In 2013, a â&#x20AC;&#x153;research and design by doingâ&#x20AC;? project arise, an international team of partners from different practice work together on 3D priting a full-size canal house in Amsterdam. Their broader goal is to revolutionize the building industry to offer a new customised housing solutions worldwide. (16) The digital continuum also introduced a new work flow in the practise with the digitally based convergence of representation and production process. (9) The use of computation revolutionized the industry by making the geometry of continuous curves and surface possible, it is now a main feature in contemporary architecture.

3D Printed Micro Home DUS Architects Amsterdam 2016 figure 8

Computation brought architecture to redefine its practise as a design research problem industry. Making the design process more efficient by predicting problems in early stage of the design through the experimentation of computational calculation and the tectonics of material systems. The idea of opening the design process to more disciplines and to broaden the spectrum of design to other professions also mentioned by Fry (6) in Design Futuring, would produce â&#x20AC;&#x153;betterâ&#x20AC;? design that is more adapted to the global needs.

â&#x20AC;&#x153;From the making of form to the finding

from appr star shif one sym and towa arch the gene

A.3 Composition Shrink Wrap HKS Studio 2017 figure 9

g of form.â&#x20AC;?

Greg Lynn

The transition m composition design roach to generation rted when architecture fted from seeking ideal form based on mmetry, ideal numbers d proportional series ards focusing on hitectural forms and implementation of etic evolution into it

which became possible with computation. (10) Architects that embraced the shift perceived composition process of architecture as limiting to their design process, and generative design as a medium to broaden the possibilities of the design further. On the other hand, some architects like Eisenman were recalcitrant to this shift, scared by the dystopian idea to lose control over the design through parametric into the design process and modelling. Until some artificial intelligence is attached to the design process this dystopia could not happen, but are we moving towards it? And as Karl Chu thinks, are humans drifting towards becoming half machines? In order to fully embraced and perform its best in the form generation approach to

design, architecture needs to be redefine. The gain a new set of algorithmic and parametric skills will enable architects to have access to the new territories of formal exploration and therefor produce performative design that answer to their environmental context. (12) Using parametric models provides consistent continual and dynamic transformation to the design until it finds an optimum answer to its objectives are replacing the static norms of conventional processes. The architecture practise is moving toward an era where architect wonâ&#x20AC;&#x2122;t simply use software, they will create them. Even if this could be a major evolution in the design process and the opportunities of variations, it also means that architects need to learn complex coding systems in order to create performative design.

n / Generation

A.3 Composition / Generation The Interactivator John Frazer Architectural Association Gallery in London 1995 figure 10

The Interactivator was a generative-evolutionary experiment that aimed at involving a global participation in the evolution of a virtual environment. (13) Frazer aimed to create an environmental space based on an evolutionary model of nature that would generate process for architectural form produced during the working process of the model through the interaction of three different parties. The visitors had the opportunity to propose a genetic information

generating an evolution of the model form. The room was equipped with different kind of sensors (temperature, humidity, noiseâ&#x20AC;Ś) the data they collected were fed to the model and variate its design. To broaden the participation, The Interactivator proposed a generative evolutionary system accessible through internet. Through his

experimentation, the archite tried to create artificial life d to â&#x20AC;&#x153;evolution processesâ&#x20AC;? well as a simulation of natu behaviour inside a buildi system. (1) To secure flow knowledge between futu and previous generation, genetic algorithm was us the continuous data feedi and learning of the mod created a biodiversity duri the evolutionary proce

ect due as ural ing of ure a sed, ing del ing ess.

With his generativeevolutionary experiment based on the concept of biological growth and form showed that a generative process of architectural form was possible. The collection of information that was then encoded in the computer permitted the modelling of an exploration of infinitely variable design. Made a formfinding strategy with the help of genetic algorithm. (1)

A.3 Composition / Generation X Phylum was created using the most powerful digital technology that served geometric visualisation of mathematical principles. Karl Chu made a shift the practise by unifying digital modelling and drafting (4) by being parts of the pioneer to explore spline-based topological digital modelling (2).

S 25

Chu is passionate by the application of the mathematical principals and computers, he explored the potential of spline modelling though his SGI workstation and the Alias software. He was not interested by the building but wanted to take part in the research on topological surfaces. He generated three-dimensional space through the use generation design approach. Chu was

generating surfaces based on the Lindenmeyer system which at its origin described the nature of plant cells and model itâ&#x20AC;&#x2122;s growth process. By looking for the limitations of his computer modelling system that Karl Chu made a contribution to the to the digital modelling process and made a step forward the shift of design process.

X Phylum Project Karl Chu 1994-1998 figure 11

A.3 Composition / Generation

Greg Lynn invented the generic form in genetic evolution, his use of an organic way of design brings his creations to often involve motion-based techniques. (9) In his Prototypes of the House in Long Island and the Bus Terminal in New York, Lynn employs kinematics and dynamic simulation, they are polar opposites motion-based techniques and are also used to achieve or perform or test different tasks and to then produce different architectural form. In House Prototype in Long Island, Lynn uses a kinematic motion-based technique to uses a “global skin” to observe the deformation around a “skeletal” hierarchical organises using both inverse kinematics and the influence of the numerous site forces to generate variations in the deformation. (9) In Prototype of the bus terminal in New York, the designer employs a dynamic simulation motion-based technique. He provides the required information (properties of the objects, environmental influences, contextual phenomena...) to the parametric modelling platform to generate a simulation of the actual constraints to the model to produce a performative design response.

Lynn uses parametric design techniq to produce modelling prototypes, he impla information on the environmental influen and the contextual phenomena to observe limitations encountered by the model to able to overcome them and produce a des solution that will be digital architectural f in response to the previous set criteria.

His dedicated contribution to development of generative approaches design process through the variations of design techniques and his algorithmic think along to his extremely performant algorith modelling, brought Greg Lynn to be one of the m predominant leader to the shift in design proc

ques ants nces e the o be sign form (12)

the his his king hmic most cess.

Prototype of the Bus Terminal in New York Greg Lynn 1999 figure 13

House Prototype in Long Island Greg Lynn 1999 figure 12

A.4 Conclusion

Part A introduce the concepts of design futuring and the possibilities that computation is offering to the architecture practise. Through the use of parametrics and the observation of natural system, performative design could bring solve or at least reduce the environmental issues that our anthropocentric society created. In French, we have an expression saying, â&#x20AC;&#x153;the Nature is well makeâ&#x20AC;?. Nature created systems that are adaptive to their environment and as humans we created systems that destroy the environment we live in.

In my design approach, I want to inspire myself from a natural system, to monitor itâ&#x20AC;&#x2122;s the behaviour and try to translate it into a grasshopper parametric algorithm in order to generate an ecocentric design. In this design approach, I will experiment using parametric model to search for optimum results.

A.5 Learning Outcomes

In the last weeks, I discovered new theories and theorist regarding the use of computation in the design process that made me re-think the way I can and want to design. The introduction of computer in architecture simply revolutionize the possibilities of design offering architects a broader spectrum to generate design. Starting to play around with grasshopper gave me an idea of what computing could bring to my design but it is mostly through the research and readings that I understood the aim of this studio.

The generation of a genetic design and using parametric modelling aiming to create a performative design.

A.6 Appendix - Algorithmic Sketches

Reference List

1. Altun D.A. & Orgulu B., Towards a Different Architecture in Cooperation with Nanotechology and Genetic Science: New Approaches for the Present and the Future (Izmir: Scientific & Academic Publishing, 2014 2. Canadian Center for Architecture, Karl Chu X Phylum Project Record, published in 2014. Retrieved from https://www.cca. qc.ca/en/search/details/collection/object/440077 3.

Dunne, A. & Raby F., Speculative Everything: Design Fiction and Social Dreaming (Cambridge: MIT Press, 2013)

4. EditoraleDomus, Archaeology of Digital, published in 2014, Retrieved from https://www.domusweb.it/en/news/2014/12/13/ archaeology_of_the_digital_media_and_machines.html 5. Frazer John H., The Cybernetics of Architecture: A Tribute to the Contribution of Gordon Pask (Emerald : MCB University press, 2001)https://eprints.qut.edu.au/10781/1/10781.pdf 6.

Fry, Tony, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2009)

7. Jordana, Sebastien, ArchDaily, UK Pavilion for Shanghai World Expo 2010/ Heatherwick Studio (2010). Retrieved fromhttps://www.archdaily.com/58591/uk-pavilion-for-shanghai-world-expo-2010-heatherwick-studio 8. Kalay, Yehuda Architecture New Medias Principles, Theories and Methods of Computer-Aided Design (Cambridge: MIT Press, 2004) 9.

Kolarevic, Branko, Architecture in the Digital Age â&#x20AC;&#x201C; Design and Manufacturing (Taylor & Francis, 2003)

10. Lynn, Greg, Algorithms in Architecture, Ted Talk (2005). Retrieved from https://www.ted.com/talks/greg_lynn_on_organic_design 11. Monoley, Jules, Architecture Australia (95; 3) Possible Worlds Exhibition (May 2006) https://architectureau.com/articles/ exhibition-33/ 12.

Oxman, R.& Oxman, R., Theories of the Digital in Architecture (New York: Routledge, 2014)

13. Professor John Hamilton Fraze, Digital Code Scripts for Generative and Evolutionary Design: De Indentitate (London: Frazer & Janssen, 2003) http://www.generativedesign.com/asialink/de6.htm 14. Perez Adelyn, ArchDaily AD Classic: Centre Georges Pompidou/ Renzo Piano Building Workshop + Richard Rogers (2010). Retriewed from https://www.archdaily.com/64028/ad-classics-centre-georges-pompidou-renzo-piano-richard-rogers 15. 3D Print Canal House, About the 3D Print Canal House, published in 2013. Retrieved from http://3dprintcanalhouse.com/ about-the-3d-print-canal-house-1 Figure 1: Carsten Witte (2016) Retrieved from http://www.fubiz.net/wp-content/uploads/2016/05/sydnewfractal2.jpg Figure 2: Rem Koolhaus (1972) Retrieved from https://www.moma.org/collection/works/104692 Figure 3: France Culture (2017) Retrieved from https://cdn.radiofrance.fr/s3/cruiser-production/2017/01/96dbd3bb-30d8-4746-b2ed-680f9a8c8a24/738_pompidou.jpg Figure 4: ArchDaily (2010) Retrieved from https://www.archdaily.com/58591/uk-pavilion-for-shanghai-world-expo-2010heatherwick-studio/ukpavilionsh0017 Figure 5: Provada Future (2016) Retrieved from https://s3.eu-central-1.amazonaws.com/rvh-api/r/i/4pzKcdLecPgJEswEA3lU4AsqP52USEiwLYc4TSmLAaNngUVlujL_GNu1URuO.jpg Figure 6: MIT (2012) Retrieved from https://architecture.mit.edu/sites/architecture.mit.edu/files/styles/banner_image/public/bannerimages/project/people_immersive1_0.jpg?itok=buu2UmfF

Figure 7: ArchDaily (2016). Retrieved from https://www.archdaily.com.br/br/796383/quando-gotas-criam-espacos-um-olhar-sobre-arquitetura-liquida/57daa377e58ece37950 00021-when-droplets-create-space-a-look-at-liquid-architecture-photo Figure 8: Dezeen (2016). Retrieved from https://static.dezeen.com/uploads/2016/08/3d-printed-urban-cabin-dus-architects-amsterdam_dezeen_2364_ss_1-1704x1217.jpg Figure 9: HKS (2018) Retrieved from http://www.hksinc.com/hksline/wp-content/uploads/2015/07/008b-e1436912124310.jpg Figure 10: Frazer (1995). Retrieved from http://www.generativedesign.com/asialink/de6_file/image002.jpg Figure 11: Karl Chu (1999) Retrieved from: https://www.domusweb.it/content/dam/domusweb/en/news/2014/12/13/archaeology_of_the_digital_media_and_machines/domus-00-archaeology-of-the-digital-media.jpg.foto.rmedium.jpg Figure 12: Greg Lynn (1999). Retrieved from http://digicult.it/design/operative-transformation-part-2/ Figure 13: Greg Lynn (2018). Retrieved from http://www.basilisk.com/P/portauthority_561.html Figure 15: RenĂŠ Descartes, Les MĂŠditations Metaphysique (1641) Figure 16: Mie Christensen (2014). Retrieved from http://78.media.tumblr.com/710e1b52955f08392e494149b086b4dd/tumblr_ mn89vbVTvd1rymihzo1_500.jpg Figure 17: Andrew Bluett (2017) Retrieved from http://www.glosnats.org/wp-content/uploads/2017/03/IMG_9053x.jpg

PART B CRITERIA DESIGN

figure 14

B.0 Self Reflection

Third Eye

figure 15

Through my research I discovered that different cultures had different meaning and ways to perceive the Third Eye. For example in Taoism, people train their Third Eye through meditation to open it. And through what some people call the awakening, you are able to go beyond space/ time to time/space where they raise the frenquency on which one operates into a higher consciousness and to have outof-body experience.

I have never been into spirituality and mysticality in my life, it was therefore a new territory to search on chakras. And I found it really intriging that I chose the Third Eye because through the research I found that it relates to multiple of my interests and some people that I admire like Descartes were really stimulated by this idea of another sense inside the body. Descartes described it as « the chair of the soul».

The Third Eye seen as pineal Glande w situated in the middle hemisphere of the brain balance), it has a ressem in its composition with t photorecepteurs. This secrets Diméthyltryp and Mélatonine. DMT i to induce dreams, med hallucinations and near experiences, and Melato regulate the cicardiens and the immune syste interesting thing with that all those experienc around the idea of a inside the humain bra consciousness, the p sensors are not in use is about introspection. relates to the Third Eye c to seperate from the bo have out-of-body experie

Some reptiles h visible third eye, they u regulate their circardien to sense light and as navigate.

Another thing found stimulating in th Eye chakra is this id when it awakens you «destruction of the p universe», in this sense i you realise what is important and vital. In o we tend to forget what wa important. Materiality physical world took ove lot of individuals are fas (prisoniers) to thoses m

is also which is of both n (idea of mblance the eyes glande ptamine is know ditations, to death onine to s circles em. The DMT is ce rotate journey ain and physical e but it . Which capacity ody and ence.

have a use it to ns circle, tool to

that i he Third dea that have a physical it makes actually our time, as really in the er and a scinated material

ÂŤbelongingsÂť, they loose a sense a self to follow trends and do not developp themselves to a full extend. I find interesting that it can be related to some Distopian movies like Matrix, the moment when Neo wakes up and realises that everything that he knew was just a lie. To an extend, the Third Chakra is the ability to follow ones intuitive inner guidance, to be able to pursue their dreams to its full potential and not being blinded by one thing to be able

to visualise the Big Picture. The Third Eye is the representation of a mind travel that lead to the knowledge and comprehension that leads to wisdom. As a group, with Hermione, we realised that our weakness in relation to the Third Eye was that we were missing a sense of balance in our lives and be extreme. On the other hand, we are strong in our capacity to think outside of the box and always question life and everything floating around it, we therefore took it as our strenght.

Weakness Balance Strenght Seek Difference

figure 16

B.0 Self Reflection

40 figure 17

B.1 Research Field Starling Murmurati We explored how animals adopt group behavior and how their movement effects and is affected by individuals in a scale free system. We donâ&#x20AC;&#x2122;t just want to map the way the birds flock but understand the rules that these birds abide by in order to create such varying density and shape-shifting. How can us humans learn from these birds and what they avoid. Often the behaviour is sparked by the presence of a predator, and thus the flocks movement is based on evasive manoeuvres. Individual starlings move as an intelligent cloud.

This â&#x20AC;&#x2DC;scale free correlationâ&#x20AC;&#x2122; relates to critical transitions in the shifts of the murmuration. It expresses the notion that one animal affects and is affected by all other animals in the group no matter the size in order to maximise their response to the environment. This allows for effective perception range that enhances the global responses. The reason that this speed can happen in synchrony is due to it being a critical system, of short range reactions where one bird affects its seven closest neighbors, which optimises a balance between group cohesiveness and individual effort. This is how the cloud creates differing densities.

1. Individuals are aware ven nearest neighbours the critical transition)

2. Individuals have a ten to line up

3. Individuals are attra each other, but try to kee 3-4 body lengths apart

4. Individuals avoid pre - they move out in rand rections when they e ter a predator to increas chances of survival, bu the rule of attraction them together again = sp and reforming. Each ind follows rules that leads t system for all of them

ion

e of se(this is

ndency

acted to ep about

edators dom diencounse their ut then brings plitting dividual to a safe

B.1 Research Field

Beha

STEP 1 Individual Bird

STEP 4 Bird Flock without Stimulus

STEP 3 Bird Flock with Speed

avioral System Diagram. Starling Murmuration

d and Synchronization

STEP 4 Bird Flock with Predator

After STEP 4, the system return to STEP 2, and a continuing circle happens

B.1 Research Field STEP 1 Individual Bird

STEP 2 Bird Flock without Stimulus

STEP 3 Bird Flock with Speed and Synchronization

STEP 4 Bird Flock with predator

Trans

slate.

Bird is without a functioning System. The bird relies on no other birds No restrained for the individual bird Vulnerable System

XYZ Point Geometry XY plane Unit Z

Birds functioning as a group Restriction by each other Start of a synchronisation between the birds Rise of an Awareness of their neighbors Cohesive System

Pipes Line SDL Brep to curve Area Project

Group functioning system Birds exist within each other parameters, with a freedom that pulsates through the system Birds are unrestrained by each other but retain their awareness Synchronization of the birds to face constant critical transitions that requires a larger focus Birds adopt their changing movements; a certain subtle mirroring exists but visually is a is overrode by rapid overall gesticulation Responsive System

Attractor point Populate 3D Bounding box Divide surface Sphere Closest Points

Haphazard system in its avoidance Birds exists within their own parameters Birds are unrestrained by each other demonstrating self reliance Birds move unsynchronized and are continuously confronted with threat The path of the predator is all consuming, each birds lives for itself Chaotic System

Move away from Negative Random Range List Item Deconstruct Brep

B.1 Research Field First attempt to create intersecting lines in the sphere Rectangular Grid

Geometry

Build.

Point

Unit Z

Second and succesful attempt to create intersecting lines in the sphere Represent the reactibity and cohesion of the group List Item

Area

List Item

Area

Deconstruct Brep

Represent the Bird Flock Plane

Range Random

Represent the 7 rules reaction

Geometry Move

Series

List Item

Divide Surface UV

Closest Point

Move

Unit Z Negative

Points moving away Represent the presen

Line Start Direction Lenght

Pipe

Plane

Project

Move

Brep to Curve

Project

Y Plane

e Away From

List Item

Sphere

a point by a certain distance nce of a predator in the system

Line

Pipe

B.1 Research Field

Spheres

Experiment.

First Unsucc to create inte in the sphere

Population 50

cesful attempt ersecting lines e

First Unsuccesful attempt to create intersecting lines in the sphere

Population 100

Succesful attempt to create intersecting lines in the sphere

B.1 Research Field

Analysis.

The restriction that we found to the Third Eye Chakra was that we found it hard to find a balance in life. But the question that rise from this is HOW to find a balance in life? People that opened their Third Eye shared that they had some Near-Death Experiences previous to the revelation. As a group, we realised that if our

pavilion had activities that recreated some Near-Death Experiences, it could help people to realise what is important in life and therefor bring them to find a balance in their lives. In relationship to our restriction and our natural system behaviour, we decided to create a room that would recreate a fear of falling. People would walkin from the bottom and try to make their way to the top of this slender structure. Their vision would be obstructed by the ropes and the balls would be a support for them.

B.1 Research Field

Analysis.

B.2 Case Study 1.0

Original

Scale and Population

Offset 0.08

Offset 2 Weavebird Mesh On

Scaling factor 0.01

Octree Without Weavebird Mesh Off

Octree of No Mesh

Delaunay edges

Population 100

f the population 100 h

Delaunay Edges Point

Delaunay Edges Cells

Population 1

Octree of population 100 Simple Mesh

Octree of population 100 Weavebird Mesh On

B.2 Case Study 1.0

Phylotaxis / Expression

Phylotaxis Cull Pattern TTFTTTF

Weavebird Mesh Phylotaxis Population 2

Scaling Factor 10 Weavebird Mesh Off

Scaling factor 10 Weavebird Mesh

0 h On

Phyllotaxis Cull Pattern TF

Phyllotaxis Cull Pattern TF Octree

Phylotaxis Voronoi Weavebird Mesh Off

Phylotaxis Voronoi 0.5 Weavebird Mesh Off

B.2 Case Study 1.0

DESIGN CRITERIA 1. Aesthetic of extremes 2. Creating a sense of confusion in its organic form or a sense of stark brutalism 3. . Ability to be fabricated 4. Functionality - must be able to be used by people in some way 5. Create an intricate, exploratory pathway if used

We felt that this iteration was a success due to its aesthetic quality eliciting a strong sense of hazy confusion . This type of iteration may not be used to create actual space due to its frame structure. It could however be used in a more diagrammatic or experimental sense whereby it could be abstracted into its raw data form and be further mutated .

Delaunay edges

Aesthetic: 8 Contrast: 6 Fabricatability: 3 Functionavlity/Architectural Potential: 6 Exploration: 3

This iteration creates a much more spatial quality . Even though it is regular in its grid form, it could be easily abstracted and placed into other forms (may they be rectilinear or organic in nature) . The points that these meshes were created from may also be adjusted to create variety, thus the overal form has potential for much exploration. It may be somewhat difficult to fabricate as it is somwhat complex, however 3D printing would save creating intricate joints as well as fabricating the doubly curved surfaces.

Octree of population 100 Weavebird Mesh On

Aesthetic: 5 Contrast: 5 Fabricatability: 7 Functionality/Architectural Potential: 8 Exploration: 9

We were excited by this iteration because for us it was one of the first parametric models we had made that was non-organic in nature. We also felt that the prisms were easily (hypothetically) usable and we were intrigued by the contrast between horizontal and vertical elements as exploration through space. We imagined having to climb great heights to go to the top of these vertical towers , allowing us to see some potential within this for design. We also know that this will be easily fabricated. The pockets of solid and void and easy ability to delete elements further added to its architectural potential.

Phyllotaxis Cull Pattern TF Octree

Aesthetic: 8 Contrast: 9 Fabricatability: 10 Functionality/Architectural Potential: 9 Exploration: 7

The success of this method is more in its spanning ability and less in its intricacy. This could be used more as a potential frame structure or a surface structure for ornamentation. There is also a certain beauty in its symmetry and its ability to create subtle disturbance within a rectilinear shape. It would however likely be difficult to fabricate, but may be a n interesting experiment to combine laster cutting of parts (if the elements were not curved), and creating joinery using 3D printing.

Weavebird Mesh Phylotaxis Population 2

Aesthetic: 4 Contrast: 4 Fabricatability: 6 Functionality/Architectural Potential: 3 Exploration: 4

We selected an unbuilt project for this Case Study that we felt had large potential to be played with and explored in the context of our chakra strength and weaknesses - to create some sort of structure that would allow people to ignite an introspective of themselves through exploration. We also felt that this Case Study was rich in terms of its capacity to be developed and mutated which proved integral to our proposal and further

research. We did however find that many of these iterations lead to somewhat â&#x20AC;&#x2DC;dead endsâ&#x20AC;&#x2122; or iterations that we were not interested in. Nevertheless there was strong merit in allowing us to understand the bounds of Grasshopper as well as many of these iterations sparking ideas for more potential developments, not necessarily directly translated to form.

B.2 Case Study 1.0

Build. cos (t)*t Series

Construct point (create phylotaxis)

Cull Pattern (true, false)

Voronoi 3D

sin (t)*t

Experiment.

Population of voronoi that creates octree at 25

Taking the script from B1, we played around with number of octrees that would create varying densities in the overall form of the proposed pavilion - it was an intersting process because we in fact found all of the interations pleasing , however at the same time we were aiming to create max amount of confusion and shock in users, thus we chose Population of Voronoi that creates octree at 90, as this provided an extreme amount of infill possible.

Population of voronoi that creates octree at 90

Population of voronoi that creates octree at 50

Deconstruct Brep (individual cells)

Graft Tree

Average (centre of vertical cells)

Disocontinuity (Determine segmants of voronoi edges)

Average (centres of faces)

Scale (points that scale the octree boxes to innumerable sizes) Octree

Duplicate Data

List Length (calculates the number of faces)

Graft Tree

Scale (scales octree boxes within the above scaleâ&#x20AC;&#x2122;s range, to create more or less intricacy)

Population of voronoi that creates octree at 35

Population of voronoi that creates octree at 70

Population of voronoi that creates octree at 90

B.2 Case Study 1.0 CONFUSED

INTRIGU

UED

63 DANGER

overall shape of our pavilion. With the exercise of the manipulation of Case Study 1.0, OPENNESS OF THE THIRD EYE EFFORT we found a shape that has a brutalist and therefore could be used as a good representation to reach the feeling that we want to implement around our pavilion. As a group, we decided to use this shape for our pavilion and each of the As mentioned in the vertical element will host a Analysis of B.1, we want to different Near-Death Expecreate a pavilion that would rience activity. host Near-Death Experience The materiality of the activities. In B.1, we build an building would be made out algorithm to have a room of concrete and a steel frame that recreates the fear of falwill surround it. ling, but we had not found the

B.3 Case Study 2.0 64

This project posits that “an organism capable of autonomous through the urban fabric is able to de architectural form and organisatio peculiar to its environment”. Project: Urban Agency Architect: Soma Architecture (from Kokkugia) Date: 2005 Project Design: Roland Snooks FEIDAD Award Finalist 2005

From this conceptually heavy summary, what jumps out in our understanding of this unbuilt project, is that its intrinsically organic form and developable structure (due to its evident use of components such as Voronoi), allows for infinite growth and thus in its own way satisfies its criteria of an “emergent architectural form”. In terms of it being “particular to its environment” we understand that, the model is based on a thermodynamic system, where the movement of information may self-organise into new forms. This is linked to ‘the derive’ in dislocating the prearranged use

of the city and attempting to disrupt traditional architecture, which I believe is evident in the renders when contrasted with normative architypes. Almost personified as an “organism” capable of morphological growth that extracts information of the city which serves its desires, it creates a ‘new breed’ of architectonic and programmatic synthesis. What we believe must still be explored in this project is in fact how these

‘space the e conce solely the br headq set u

propo which design this does

intelligent drift evelop emergent on intrinsic or

es’ are used. It is unclear of extent to which this is pure ept manifesting in form; if this y exists as a project to which rief is satisfied; a “networked quarters for an organisation up to explore biopower”.

However as this is “a osal for…a methodology h drifts within the space of n”, we find it relevant that type of generative design not necessarily have to be

figure 18

directly inhabitable, which is relevant to the subject matter of our studio as we have been more concentrated on eliciting experience and dynamic function over pragmatic use. We felt that this would further be an interesting and relevant project to reverse engineer due to our recognition of components that we deem within our skill range to execute, but also, prior to commencing the project felt that we would face certain challenges that would aid us in exploring tools in grasshopper.

B.3 Case Study 2.0

The outcome of the reverse engineering process did not resemble the original as the undulating and mutable surfaces have not been captured â&#x20AC;&#x201C; the contrast between the solid voronoi with the differing apertures of the growth structure that transfigures over them is not evident. We found it difficult to understand how the separate processes of the solid voronoi and the 2D voronoi synthesized and realised that the methods we were using were taking us in wrong directions. This was a very important learning curve for us because we began to understand how grasshopper can become mation was used to generate diverse outcomes. It would also be interesting to see their other iterations of such a design and understand the full set of criteria they were seeking to explore through this form, instead of us simply inferring from their summary how this de-

sign relates to their concept on the surface level. We found the voronoi command limiting in the complexity of surfaces it can create as well as its immediate identifiability, which may reduce the impact of dynamic form upon viewing by people (designers?) who have already encountered such design methods. Our replication also lacks a connection to fabrication, in the sense that, indeed, this may be 3D printed but that does not help us to understand the potential joints and connections between elements â&#x20AC;&#x201C; perhaps this is something that may be explored in detail, as for this task we were seeking to replicate overall form. If we want to take this method of organic design further, we need to take into consideration not only fabrication and materiality, but also the potential arbitrary nature of form that plugins of grasshopper may spit out. It is important to make ones design, ones own.

B.4 Technique Developement

Claustrophobia

Voronoi 3D

Tra

Deconstruct Brep (individual cells)

List Length (calculates the number of faces)

Graft Tree

Average (centre of vertical cells)

Disocontinuity (Determine segmants of voronoi edges)

Popul

Duplicate Data Average (centres of faces) Graft Tree

Vor 3

Scale (scales octree boxes within the above scale’s range, to create more or less intricacy)

Scale (points that scale the octree boxes to innumerable sizes)

Scale

Shift List

Shift List Merge Boolean Toggle

Construct Mesh Weavebird’s Join Mesh and Weld Weavebird’s Catmull -Clack Subdivision

late 3D

ronoi 3D

Build. Contemplate

B.4 Technique Developement

Population 50 Octree Normal Mesh

Population 100 Octree Normal Mesh

This definition provided much more variety in terms of the shape, size and fluidity of each design. It wasa critical step in the process to understand how the spaces may be used for human exploration (eg. how can a human actually fit inside these tubes? Is this even possible? How can humans climb vertically? What mechanisms may be needed to assist this?).

Population 100 Weavebird Mesh

Population 500 Octree Normal Mesh

Experiment.

Population 10 Voronoi

The voronoi was limited in terms of its potential for variation considering we could only play with size of the solid voronoi. We began to understand the bounds of a potential space that has encroaching structures and how one could move through this space . One aspect that we in fact found with many of these iterations for all rooms, was

Population 100 Voronoi

their lack of variety and thus users may become numbed to the sense of initial shock experienced when entering the room, thus it is integral that we find more variation in future proposals. A potential future exploration may be to explore creating a hollow voronoi with changing apertures that may vary the light entry into the space.

Edge Restraint: 64 Pixel quantity: 597 Max Diameter of holes: 5.8 The Original Pixel size is = mm, correction factor of global dimension: 0.27 Minimum distance between the holes: 0.6 Minimum diameter of the holes: 0

Edge Restraint: 33 Pixel quantity: 600 Max Diameter of holes: 24.6 The Original Pixel size is = mm, correction factor of global dimension: 0.36 Minimum distance between the holes: -5.0 Minimum diameter of the holes: 4

As this species investigated how naturally occurring patterns of murmurations in flocks of starlings , might be abstracted and incorperated into the architecture. These iterations attempt to extract the qualities of the starling murmurations for application to a surface, such as creating the

Edge Restraint: 33 Pixel quantity: 600 Max Diameter of holes: 20 The Original Pixel size is = mm, correction factor of global dimension: 0.27 Minimum distance between the holes: 0.6 Minimum diameter of the holes: 0

Edge Restraint: 33 Pixel quantity: 600 Max Diameter of holes: 4 The Original Pixel size is = mm, correction factor of global dimension: 0.36 Minimum distance between the holes: -5.0 Minimum diameter of the holes: 4

performations on the roof of the contemplation space. Patterns were created with varying degrees of resemblance to the original image. We felt that the two selected iterations above provided an interesting balance between allowing light into the contemplation space.

Edge Restraint: 33 Pixel quantity: 600 Max Diameter of holes: 30 The Original Pixel size is = mm, correction factor of global dimension: 0.27 Minimum distance between the holes: 4.8 Minimum diameter of the holes: 0

Edge Restraint: 33 Pixel quantity: 600 Max Diameter of holes: 4 The Original Pixel size is = mm, correction factor of global dimension: 0.36 Minimum distance between the holes: -20 Minimum diameter of the holes: 0

These iterations were important for perforations roof in the contemplation space because they gave us different effects that we could explore, depending on how much light we want to be let through the ceiling, and on how much the images resembled th original image. Using the same image for the image

Edge Restraint: 33 Pixel quantity: 600 Max Diameter of holes: 4 The Original Pixel size is = mm, correction factor of global dimension: 0.36 Minimum distance between the holes: -4.6 Minimum diameter of the holes: 0

sampler, and adding in many inputs that could drastically change the image sampler, allowed us to create images that unrecognizable and extreme.

Experiment.

B.4 Technique Developement

CONFUSED

PART OF A WHOLE

OPENNESS OF THE THIRD EYE

DISTURB

DISTORTION OF REALITY

DILEMMA

CONFUSED

Diagram.

INNER PEACE OPENNESS OF THE THIRD EYE

OPENNESS OF THE THIRD EYE

URVIVAL INSTINCT

EMINATION OF POSITIVE ENERGY

BALANCED

B.4 Technique Developement

Proposal.

B.5 Technique Prototype Makerbot 3D Printing Process

3D printin Maker

‘Boolean ‘Join’ to mesh

Powder Printing Process 3D printing using Powder Printing

Object must be a closed mesh

Making sure the mesh is ‘good’ by using FettFabb

A Prop hori

Using the layered 3D printing would have been a useful and cost effective however after some consideration, we decided to use Powder 3D printing instead. In terms of the overall effect, as the process of powder printing (liquid adhesive combined with the

ng using rbot+

Union’ and ensure the h is closed

Object must be a closed mesh

Object must have minimum thickness of 2mm

‘Boolean Union’ and ‘Join’ to ensure the mesh is closed

Additive printing process. prietary Powder is izontaly layed down in layers

Object must have maximum width to span ratio of 1:4

‘Mesh’ version of model ‘check’ diagnostic to understand the watertight model

Bounding process Liquid adhesive to blind the layers

powder) allowed us to produce the functional complex shape in its heavy, robust quality emulating the concrete effect that we were seeking. Furthermore , having no reliance on support material was important as the interior of our structure was relatively complex, reducing time and potential breakage of delicate elements.

Understading that our object is a ‘detailed display model’

Creating a closed mesh; showing naked edges and fixing them using ‘cap’

Understanding how the geometry is used in Makerbot Print (importing and orienting model/print modes and settings for supports and infill densities/calculating costs.)

Removal of the arbitary material with compressed air and vaccum units

Infiltration process Model is coated with a solidying solution to reinforce its strenght

Drying process

Model ready for use

B.5 Technique Prototypes

Diagram depicting potential future slotting of components into their required parts in the overall model.

3D Printing proces terface

Due to the accuracy and sturdiness of this type of 3D printing, and depending on how we are planning to further develop our proposal, there may be possibility for singular rooms to be effortlessly slotted into the overall shapes of the pavilion, which may emulate a realistic sense of surprise for those interacting with the model as well

ss, Makerbot In-

as a deeper understanding of how the contingent parts create the whole. In this way, there would need to be minimal use of other fabrication methods such as laser cutting which require manual labour and joints to hold the separate pieces in place. If the design should dramatically change, it was a useful and important process

for us to experience both types of 3D printing (plastic and powder), for potential future uses such as details, joinery or different material effects and understanding their fundamental differences.

B.5 Technique Prototypes

B.6 Technique Proposal

TIME

Plan of the Pavilion

E SPACE

Site Plan

B.6 Technique Proposal

Our concept is based around Contemplation of Death, we took the brutalist-style overall shape and created starkly contrasting often more organic spaces inside (to induce a sense of shock even before entering). These spaces house a series of (we dare call them) activities (because they are more of a

Contemplation

n of Death. nightmarish playground), that will ignite a strong emotional response for the individual (mostly of fear and and awareness). These spaces are based off notions/responses to Near Death Experiences - Fears of falling, claustrophobia, feeling trapped, being suddenly blinded and retrospectives of the past. These are related to 3rd Eye chakra because in order to access a higher spirituality this may be achieved through evoking near death experiences, and the bird flocking due to their survival tactics when avoiding predators etc. People when faced with the extreme challenges presented inside these Near Death Experience Rooms, may rea-

lise through extreme emotions what is critical in life, evoking reflection and awakening relating to the fundamental aspects of being a human being. There will also be a meditation type space where people may calm down post activities, and have the effect of hindsight to understand their experiences the room will have a perforated roof using a image sample of bird flocking as a cull pattern of the roof to allow light in and a heightened awareness of vthe system.

Claustrophobia. For the Claustrophobic room (see claustrophobia image set) we used an opening of 7 points around the centre of the voronoi cells (also in the bird flocking system) - as the birds use this mechanism to protect themselves as a group and individually - the skin type material creates a visceral feel as if you are within your own body.

LET YOU FIND YOUR WAY.

Trap.

LET THE TRAP UNHINGE YOU.

B.6 Technique Proposal

Fall.

The relationship with our Natural system, for example, is highlighted in the Falling Space (see falling image set), we made the placement of the balls (attached to ropes intended for climbing) in relation to the 7 rules of the birds flocking.

LET IT FALL INTO PLACE.

Contem

Post people may sense of bala terconnection surroundings do when con ponding to th death. When come out of they will ho this balanced

mplate.

activities, also feel a ance and inn with their s, as the birds nstantly reshe of potential n people will the pavilion, opefully feel d in them.

LET DEATH BRING YOU LIFE.

B.7 Learning Objectives & Outcomes

Through Part B, I really enjoyed the exploration of different elements and having to find a connection between them, the personal evaluation of our chakra, the natural system and the brief. I think that this opportunity to work on such an extreme project is a big chance because in our degree and later career it is mostly realistic project to the ground that we will work on. I really enjoyed having some sort of free rein in this project but one of the hardest thing that I found in this exercise was that we were supposed to find our design intent through explorations of form, whereas normally I would find my concept and after I would

think about form-finding. It took us a bit longer than the other groups to come up with our proposals but once we found it, we actually did not waste any time and ideas were fusing and all the time that we spend working on other script and trying to get our head around Grasshopper showed results. I actually realised that I really enjoy using Grasshopper, once you get to know the basic of the software it. And each time we were confronted to a wall, I took it as a game to find a solution. I particularly enjoyed the Phylotaxis algorithm, probably because expression that we learned in high school finally get to our use. The use of image sampler and Cull parameters that often brings up unexpected result can be really useful for ornamentation for example, it can transmit a message in a really subtle way. After exploring parametrics in more details

I am actually getting more i be use it in m jects and car never have t it would inte much becaus ly interested i bic shapes, b project which brutalist asp found it thro nipulation of This is reall perspective career that I proach in the We fou challenging someone else we tried num before choos the impressio is only so mu you can do, b a point, you the paramete try to add com sometime the relevant so w not to includ cause they w in really sma gnificant way

y thinking of into it to maymy future proreer. I would thought that erest me that se I am mostin simple cubut after this h has a really pect and we ough the maf parameters. ly putting in the idea of want to ape future. und it quite to work on eâ&#x20AC;&#x2122;s algorithm, merous script sing. We had on that there uch iterations because after explored all ers and you mponents but e result is irwe prefer just de them bewere altering all and insiys.

The 3D printing process was surprisingly easier than was we expected, everything worked perfectly, and the result was really impressive. Having a small-scale prototype is really useful to understand the scale and program of the project. For our final presentation, we plan to produce more prototypes, I do not know if we will still be working on the same project but if we continue with the Time Space we were thinking of printing the entire pavilion and each room to be able to detach in order to be displayed.

B.8 Appendix - Algorithmic Sketches

100

PART C DETAILED DESIGN

101

â&#x20AC;&#x153;One day it will have to be officially admitted that what we have christened reality is an even greater illusion than the world of dreams.â&#x20AC;? Salvador Dali

102

C.1 Design Concept

103

The feedback from our interim presentation led us to revisit some aspect of project. Our project had conceptual strength but it was missing some realistic aspects to help us make TIME. SPACE. Travel from a design intent to its realisation.

In our interim, we focused most of our intension on our chakra and we neglected our natural system: bird flocking. We therefor looked deeper into the system and through grasshopper we found a way to include the system, physically and conceptually into our project. Our definition uses boids to have birds flying around our shape, and projecting their trajectory onto our main shape. from far people will have the impression that our shape in a single unified shape, the Mobius but when you come closer, they will realise that it is formed by a multitude of individual, singular panels all separated. Another of our weakness leaned on our pavilion not being seductive enough for people to want to go and experience the inside. We therefor put thoughts while creating our shape to overthrow this issue and it created this contrast between the white immaculate Mobius shape cut with bright orange neon light on the outside with the bright blue and orange neon which accompany the neardeath activities in the inside. Finally, as our project is related to having really extreme, traumatising experiences, we needed renders which would translate this atmosphere and the feelings of the public in a better way.

104

Site Analysis Merri Creek

Existing Structures

Vegetation

Circulation

Site Contour

Site Map

In our interim, we noticed that our project did not provide a sound response to the site. We therefor went back to create a project which would be unique to Dights Falls. Through our analysis of

th w th in pr 3D th in fo ab to

he site and realise that there was a dense urban area close to he site, we therefor wanted to nclude the community in our roject, which we will see in our D printing process. We want he community to feel included n the construction process or them to acquire knowledge bout 3D printing in general and o realise that this construction

105

1:200 method could be revolutionary due to its short period of fabrication and its ease to create intricate shape. We also wanted our pavilion to take full advantage of the surrounding Nature. Therefor we decided to make our pavilion sit on the land and to have a part immerge in the

water. It was also dear to us, due to the location of the site being situated in a dense green space, to make our project ecocentred. This decision drove us to carefully chose our material for 3D printing and to make sure that our project would in no case damage the environment.

106

Form Finding Our initial shape being too brutalist, it did not had much meaning in relation to our project, so we decided to revisit it to create a singular more cohesive pavilion. The Third Eye Chakra has a strong relation with reality and to determine what is real or not, from this

we though that our pavilion could itself be an optical illusion. It could represent the misunderstanding that people have towards birds flocking. People think birds fly as a group to protect each other, whereas in the presence of a predator, what we though was unified collapse in the span of a second and every bird fights for his individual life.

Our pavili Illustrates this from far people impression th in a single uni Mobius but wh closer, they wi it is formed by individual, sing separated. We choo

Stage 1 Curve

Perp Frame Rotate Plane

Multiplication

Range

From Curve to Mobius Strip

107

ion Time. Space. s mechanism, e will have the hat our shape ified shape, the hen you come ill realise that y a multitude of gular panels all

strip as our main shape that we altered and modified to our will in grasshopper due to its quality to express continuity and unity but also for its own optical illusion character.

ose the Mobius

Stage 3

Stage 2

Deconstruct Plane

Line SDL

Extend Curve

Loft

In this initial Phase, we created a curve (Stage 1) which we decided on in order to suit the site. We divided this initial curve and created perpendicular lines which rotated all at different but subtle angles (Stage 2) that we then lofted to create the base Mobius Strip. (Stage 3)

108

Form Finding

The following Phase, is based focused on making our mobius strip 3 dimensional to creat interior space.

Stage 4

Stage 6 Divide Curve

Loft

Brep Edges /Naked/

Sort List

List item

Curve Closest Point Flip Curve

Stage 5

From Single Mobius Strip to 3D Mobius Shape

109

te an

Stage 7 Line

Loft /closed/

Offset Surface

Stage 8

Brep Edges /Naked/ Loft

Merge

Extrude

Mesh

Brep Edges /Naked/ Stage 9

Taking the edges of the strip (Stage 5), we flipped the edges and lofted them. (Stage 6) We then offset both of the loft surfaces (Stage 8) to create an closed 3 dimensional Mobius Strip. (Stage 9)

110

Iterations Mobius Turns

Number of turn: 1

Number of turn: 2

Number of turn: 15

Number of turn: 20

Number of turn: 80

111

Number of turn: 5

Number of turn: 10

Number of turn: 25

Number of turn: 50

Number of turn: 100

After few iterations regarding the number of turns of the Mobius, we settled with 2 turns for an aesthetic purpose. Only 1 was not enough and above 2 the shape started to become too complex, therefor we would have lost the simplistic aspect of the Mobius strip and the optical illusion would have not been as striking.

112

Form Finding This phase consists in reproducing the trajectories of birds around our 3D Mobius Shape.

Stage 10

Stage 9

Multiplication Loop Start Mesh

Stick to Geomet

List Item

Adhere to the Flo Center

Populate 3D

Brep /Balls/

Random Vector Populate 3D

Construct Domain

Repulse from th Flock Center

Adhere to the Flo Center

Align to the Floc Members

Bird Flying around the 3D Mobius Shape

113

Construct Domain

Stage 11 Trim Vector

Addition Loop End

try

ock

Flip Matrix

Polylines

Move Multiplication

Stage 11

Multiplication

Multiplication A defined number of “birds” would start flying from the sphere shaped breps. (Stage 10) In the definition, we gave the “birds” indication that they should fly around our 3D mobius shape. Those trajectories were therefore surrounding our shape but not yet projected onto it. (Stage 11)

114

Iterations Origin of the Birds

Number of balls: 2

Running time in seconds: 10

Running time in seconds: 100

Running time in seconds: 1000

Number of balls: 4

We explored the result that would come from having a different number of balls and as well from having the script running for a certain amount of time.

115

We set out choice regarding an aesthetic aspect that would have both complexity and elegance.

Number of balls: 8

Number of balls: 16

Number of balls: 32

116

Form Finding

This phase consists in translating the trajectory of the â&#x20AC;&#x153;birdsâ&#x20AC;? into 3 dimensional shapes cuttin surfaces of the 3D Mobius.

Stage 11

Stage 12

Flip Matrix

Perp Frame

Brep Closest Point

Brep /Mobius 3D/

Polylines

Construct Domain Stage 9

Stage 12

From Trajectory to Cutting elements

117

ng the

Stage 13

Rotate Plane

Stage 14

Circle

Loft

Cap Holes

Range Stage 14

One of our main design intent is to disorient people, and we want the trajectories of the birds to cut our shape in a fully chaotic way. Thus we projected the trajectories on our shape. (Stage 12) Then we divided the polylines and intepreted them as circles (Stage 13) to after give them a 3 dimensional aspect by lofting them. (Stage 14)

118

Form Finding

This phase consists in splitting our Mobius shape with the trajectory of the birds and transla our initial idea onto our virtual model.

Brep /Mobius 3D/

Stage 9

Loft

Stage 14

From Concept to Reality

119

ating

Solid Difference

Stage 15

Stage 16

We took both of our lofted trajectories (Stage 14) and the 3D Mobius Shape (Stage 9) and tried to make a solid difference using grasshopper.

and decided to take this failure as a design feature and to add the loft that did not work. This would create a difference between the lights on the inside (concave on the exterior) and the lights outside (convex on the exterior). (Stage 16)

Unfortunally, the shape being intricate, the solid difference worked only for a few of them. (Stage 15) We found that the result did not suit our design intent

We decided that both of them would carry a different colour of neon. The outside would be Orange, and the inside ones would be blue in relation to the Third Eye Chakra.

120

C.2 Tectonic Elemen Our Pavilion is composed of two major elements, the panels of the Mobius shape and the neon lights inside and outside. For the construction process, we had a few major criteria that we wanted to respect: the materials had to be respectful of

the environment and the community to have access to the construction process. 3D printing is an optimal fabrication process for our project because it enables the production of intricate and singular pieces.

121

Exterior Neon Lights

nt Interior Neon Lights

Panels of the Mobius shape

122

Construction Detail

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In a first place, we 3D printed a prototype constituted solely of the panels. We thought to incorporate the LED tube lights as a connecting mechanism in between each panel. After the reception of this prototype, we realised that the structure would not be sound because of the lack of strengh in the connection. Having this prototype was highly helpful in the development of our design because it made us realise that we had missed a fundamental element to our structure. Through this prototyping stage, we realised the importance of small elements in order for a project to be feasible and sound.

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Construction Detail

After the fail prototype, we decided to revise our connection system. We decided to include include slots at the edges of each panels to create connecting joints on the edge of the iridescent lights. The pavilion would therefore come together by recessing the panels in the lights.

Panel

Slot

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Iridescent Light

Connecting Joint

1:10

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Construction Process

KamerMake DUS Architects 2012

figure 19

Community Few architecture firms have been working on large scale 3D printing process, one of them worked on the “3D Print Canal House” project in Amsterdam. They build the “Kamermaker”: Roombuilder, this large-scale 3D printer allowed visitor to come and observe the printing process of the project. We found this initiative highly important because it included the community in the project and it allow people to understand a new fabrication

3D Print Canal House Project DUS Architects 2004 - Today figure 18

process still quite unfamiliar to the grand public. Relating to my first precedent analysed in Part A (Centre Georges Pompidou) I feel that it is deeply crucial to let people know about the functioning of architecture and on a bigger scale for people to share knowledge. Therefore, we found important to include the community in the fabrication process of TIME. SPACE.

KamerMaker DUS Architects 2012

figure 20

er s 2

r s 2

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Construction Process

Environmentally friendly The fact that our site is located in a natural environment and that we live in a time where Nature is damaged and set aside, we found essential to take good care to choose materials which would be respectful of the environment is some aspects. After research, we found that we could print using recycled PLA filament coming solely from white plastic packaging. Consequently, our main material would be 100% recycled.

figure 21

to find a way to 3D print glass in an eco-friendly way. We first found that a research group in MIT, using a system of chamber to 3D print glass, but we thought that the process of the Glass I (G3DP) was not environmentally friendly enough.

One of our challenged was

Glass I (G3DP) Project MIT 2014

figure 22

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Searching deeper into one of the team member: Markus Kayser, we came across one of his experimental project called â&#x20AC;&#x153;Solar Sinterâ&#x20AC;?. He explored the possibility of 3D printing glass in the desert by combining natural energy and sand. The technology has not reached its full potential yet but it brings 3D printing and its potential to a new level by having a fabrication method which becomes closer to being eco-centric rather than anthropocentric.

figure 23

Solar Sinter Project Markus Kayser 2011

One of the issue encountered with this fabrication method is that it is still in the process of being finetuned so we would not be able to utilise this technology for our project yet.

figure 24

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Construction Process

Industrial 3D Printing on Site Reduce the Embodied Energy of the Materials and the project as a whole

Becomes a community project.

P r o v i d e s knowledge to the grand public about the 3D printing fabrication process.

Provide a fast pace to the construction process

Challe Fabrication process is not available worldwilde yet.

The plastic support used in the Makerbot printing process can alter the final result.

The 3D m file r modifi before printing which c the final

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3D Printing Technology Ability to try new and innovative technologies.

Respect of the environment.

enges

modelling requieres cation the process can alter shape.

Fabrication process fairly expansive.

Size. For example, in small scale prototypes like ours, we had to divide our overall shape for it to fit into the printer.

3D printing fabrication process provides a flexibility in the printing shapes. And enable to the production of singular and intricate shapes.

Provides the option to choose a material: 100% recycled.

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C.3 Final Detailed M

Model

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Final Mobius Model

Due to the scale of our project, we had to work on our model to make it printable. We already reduced it to 1:200 but even then, the Mobius was not fitting any of the printer. Therefore, we decided to divide the model into different pieces that we would attach together after. We used a PLA (polylactic acid) as a printing material, which is biodegradable and stem from renewable resources.

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Design Intent to Realisation

Selfreflection

Observation

Retrospective

Realisation

Protective mechanism as a unity

Individual faced to their own destiny to a predator

Program Contemplative Space

Natural System: Bird Flock

design brief

design agenda

Specification Dights Falls

Design Concept: Third Eye Chakra

Strenght: Seek Difference

Weakness: Unbalanced

Near-death experience to open the Third Eye

Distortion of the perception of time and space

3D printed glass tubes of Neon Lights using sustainable energy

Mobius panel

Glass tubes of Neon Lights

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Panels: Recycled PLA filament

Community project

Environmentally friendly

On-site fabrication

Tectonic System: Connection of panels and lights

Fabrication Method: Industrial 3D printing

parametric modelling

fabrication

Form Finding

Connection Method: Slot

Mobius Shape

Bird Flocking

Sound with the site

Open access to the knowledge of the process

Insertion in the panels

Extruding elements on the side of the Neon Lights

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TIME.SPACE TIME.SPACE TIME.SPACE TIME.SPACE TIME.SPACE TIME.SPACE TIME.SPACE TIME.SPACE TIME.SPACE TIME.SPACE TIME.SPACE

Through this studio, we had to develop a contemplation space in Dights Falls. As the Third Eye Chakra revolves around an introspection of oneself, we wanted to create a space able to make people travel inside their mind.

We seeked to trick people from the moment they eyes would come to meet the pavilion by make it an optical illusion. The Time.Space. pavilion attempt to open the Third Eye of its visitor through neardeath experiences.For the people to realise the fundamental aspect of life and reach a balance in it.

E E E E E E E E E E E

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Plan & Sections

1:50

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Section A - Claustrophobia This section contains a claustrophobic organism space where people need to find their path.

Section B - Disorienting light

The entire pavilion is lit by neon lights. The outside one are bright orange and the inside are blue to represent the Third Eye. Those lights creates a disorientation for the public.

Section C - Mirror Maze This section host a series a mirror placed in a variety of position for people to find their way out while being disorientated through the reflection of both the lights and themselves.

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Effects of the overall shape of the pavilion

Confused

Intrigued

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Danger

Effort

Openess of the Third Eye

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Effects mirror frames

of the entrance

Confused

Curiosity

Dimensions

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Aspiration

Openess of the Third Eye

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Effects of Mirror Maze

the

Confused

Vicious Circle

Survival Ins

stinct

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Distortion of Time

Openess of the Third Eye

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Effect Claustrophobia

Confused

Distortion of Reality

Part of a

a Whole

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Dilemma

Openess of the Third Eye

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after Effect of the pavilion

Openess of the Third Eye

EMINATION OF POSITIVE ENERGY

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inner peace

Balanced

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C.4 Learning Objectives & Outcomes

One of the challenges of this studio for me was to generate multiple designs. I normally take the time to analyze the site and the brief to come up with a concept which later on would bring me to a single design that I will develop further. And this is where I think we encountered the obstacle. It was only when we knew what we wanted to achieve that we saw the potential of algorithmic design. We explored a lot of different possibilities during Part B, where we familiarized ourselves with Grasshopper and acquired a certain knowledge of its functions. But it is only when we had to go back to point zero regarding our overall shape after our mid semester crit that we really utilised Grasshopper, not as a form finding tool but as a tool to shape our project. In the first attempt, we built our base definition and then we played around with its components to be able

to reach a shape that we thought were meeting our criteria. In my opinion, even if Grasshopper is a playful and beneficial program to find forms, one of its major quality is the ability to create a range of possibilities in one design. After spending such a great amount of time on grasshopper trying to understand it, I quite enjoyed it. At the start of the semester, I would not have thought that if one of us had to be the Grasshopper person I would have been that person, but surprisingly the challenge was quite satisfying. As a group, we both have high expectation for our project and we explored numerous definition and Grasshopper plug-ins to find the ones that would fit the best our project. And without paying attention, we realized that we acquired a collection of definitions that we could perfectly manipulate. Another of our great challenge in this project was to go from our parametric model to its fabrication. Due to the complexity of its shape, we had to modify it before the printing and we did not take into account of

this factor in the organization of our pro Working with an intr shape made us spen greater amount of on the digital fabrica stage than other gr did, but it did also m us more familiar wit process. We experie with both powder prin and the plastic maker The ability to proto was useful and m us realize that we forgotten a major elem of our building after received the prints, w we worked and attem to fix in our final d model.

Being concep had never been a prob before, but during our semester crit, we rea that we focused attention on our ch and barely addressed natural system into concept. Having mul layers of highly diffe concepts was q intricate to address had to find pathway make them both inter to create a unified harmonious concept would also fit nicely our site. This was a deep concep journey that we enj and that is one of great aspect of this st

time oject. ricate nd a time ation roups make th its enced nting rbots. otype made had ment r we which mpted detail

ptual blem r mid alized our hakra d our o our ltiple erent quite s, we ys to rsect and that y on

ptual joyed f the tudio

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because once we’ll finish our degree there will be less space for concepts, at least in the first years we will have to focus more on the form than on the substance. Studio Air introduced me to parametric design, I had heard of it but never really took the time to fully immerse myself in it. I realized the possibilities that algorithmic design had and it made me rethink the future of architecture. We live in a world destroyed by waste and the human choices, architecture as a discipline has a position that could help to overthrow the situation. The ability to 3D print houses in fully recyclable materials for example, entire regions get destroy due to natural disaster, large scale 3D printers could reduce the time frame of humans talking about “housing problem”. It also broadens the umbrella of architecture, architects need to work with other fields in order for them to address the problem of our time, they need to develop new skills and adapt. Parametric design goes further than the simple computational representation of an idea,

it allows the design to go under modification in a simplest way. In France, we have a proverb saying, “La nature fait bien les choses” which could translate to “Nature has got it right”. By taking inspiration from nature and translating its systems into architectural forms the chances to pollute would, I think, be reduced. During this semester, we explored one system but going further in merging biomimicry as a pillar of architecture would probably help the transition of our society from anthropocentric to eco-centric. To conclude, architecture like any other field is constantly changing and we need to utilize the available tools to create new ones in order for us to change the condition of and to benefit our planet and its people. Parametric tools like grasshopper are open fields, it undergoes constant change by the creation of additive plug-ins and they are not personal. Their programmer shares their knowledge and allows the project to be universal, and that is maybe one of the greatest lesson of this semester.

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C.4 Learning Objectives & Outcomes

PROGRESS CRITERIA

Pavillion as an Organism

Site response Immersive / Maladaptive Bird Flocking

Variation of effect Scarness Singularity Illusion Unexpectancy

CONCEPTS

3D Printing Disorientating Effect Optical Illusion

Third Eye Chakra

Strenght: Seek Difference

Bird Flocking

Weakness: Unbalanced Seduce people Inside

During Part C,157 we identified different criterias in order to develop our design further. We evaluated how strong we answered each of them in diagrams.

TECHNOLOGY /FABRICATION 3D Printing

Renders

Grasshopper

Constructibility

TESTING EFFECTS

Openess of the Third Eye

Optical Illusion

Disorientating Effect

Seduce people Inside Raise Curiosity

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Reference List

Figure 20: DUS architect (2012). Retrieved from https://inhabitat.com/the-kamermaker3d-printer-creates-entire-bio-plastic-rooms/the-kamermaker-demo/ Figure 19: DUS architect (2012). Retrieved from https://gigaom.com/wp-content/uploads/ sites/1/2014/01/screen-shot-2014-01-21-at-4-49-05-pm.png Figure 18: DUS architect (2014). Retrieved from https://static.businessinsider.com/ image/533d859cecad040f1a27b039/image.jpg Figure 21 & 22: Markus Kayser (2014). Retrieved from https://kayserworks. com/#/053204149098/ Figure 23 & 24: Markus Kayser (2011). Retrieved from https://kayserworks. com/#/798817030644/

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