STUDIO AIR 2017, SEMESTER 1, TUTORIAL 3 MELANIE YARD 757729
2 Melanie Yard
A
FIG.1 AND 2 ARE EXPEIMENTATION WITH GRASSHOPPER
Table of Contents 1.0 Introduction 4 2.0 Conceptualisation 6 Module A. Futuring
Design
Module A. Design Computation Module A. Composition/ Generation Module A
Conclusion
3.0 Appendix 20 4.0 Bibliography 22
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Aquired Graphic skillset: -Photoshop -illustrator -In design -RHINO -five star -saffaira -grasshopper
I
am melanie yard and i am currently a third year undergraduate environments student majoring in architecture at the university of melbourne. i previously studied art history with no qualification aquired at the university of queensland. throughout my last two years of this degree i have developed interests in many diffrent aspects of the architectural disciplin including:
•
how the built environment affects humans psychologically and how it can be used and adapted to improve built environments (specifically in high density areas).
•
sustainable, architectural
• I
have
Design
and within
vernacular Australia
lastly, how form generative CAD programs help find new solutions to the above issues.
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in
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subjects
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Digital
Fabrication, and Studio Earth(see Appendix for further images). By undertaking these subjects I gained an appreciation for CAD software and the broad impacts they has on design. I believe my knowledge could Melanie Yard
go
deeper
learn and
and
in
new
regards
to
tools
to
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software aid
and
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i
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excited
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process
architecture
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FIG.3: DETAIL OF DOHA TOWER FACADE
FUTURING The lecture and associated readings for week 1 revolved around the changing role of the architect through design futuring. Futuring is a design practice in which humans are accounted by negating systems, goods, actions, and institutions that defuturise (take time away). Current projected environmental models show the current human way of life is leading to an uninhabitable planet. Climate change, sea level rises, mass extinctions, and the resulting climate refugees are disrupting current human life. Not only this, current social and political climates are changing: as was posed in the lecture: “if the end of capitalism seems to many like the end of the world, how is it possible for Western society to face up to the end times?” These increasingly disrupted climates are being combated by this design futuring so that the planet, humans and other forms of life can continue to co-exist in balance.
For successful design futuring and for it to make an impact, two aspects must be taken into account. Firstly, slowing the rate of defuturing and secondly, a redirection that leads to a healthier planet for habitation (Fry, 2008). Architects have a large role in contributing to this design futuring. Dunne & Raby (2013) explained that as well as solving aesthetic problems, they also have the ability to change social and cultural norms and ideologies (it should be noted that they can do this in a positive and a negative way). Williams (2005), progresses this idea by stating “architecture needs to be thought of less as a set of special material products and rather more as range of social and professional practices that sometimes, but by no means always, lead to buildings”.
FIG.4 AND 5: DOHA TOWER, JEAN NOUVEL FACADE DETAILS
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Currently, architects understand that it is not just about form and function, but faciliting cultural and social changes that create benefits for natural environments for either human or non-human forms. Understanding the flow of an environment and the relationships life forms have. For example, designing with an animal to facilitate its’ needs as well as humans, instead of placing fences to separate humans from animals. Designing nonanthropocentric flow facilitators can arguably be the future of architecture. For this to be achieved a more pluralized form of architecture needs to be established that includes design futuring. FIG.6 AND 7: IDC/ITKE RESEARCH PAVILION 2015/2016
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FIG.2
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Taking the readings and lecture on Design Furturing into a real world perspective, my Studio this semester will focus on performative pattern making through parametric design to create an intervention for the chosen client. Performative parametric design is most commonly seen in the use of facades and skins, where by airflow, light and radiation are considered in creating a pattern relative to the conditions of the site. To begin this, I chose two precedents whose work illustrates the direction of where I want to go this semester. The Doha Tower (2007-13) by Jean Nouvel who uses superimposed geometric patterns to control the light and solar gain relative to the suns position. This method I believe can be universally adapted and is something I wish to research further.
The second precedent whilst using parametric design to explore performative architecture also refers to another section of the brief regarding materiality. The ICD/ITKE Research Pavilion 2015/16 uses performative computational design to create a biomimetic shell (close to that of a sea urchin) whilst the materials although nothing recent (main volume made out of wooden elements) use robots to bend the laminated wood into shape. These two precedents will help build the foundations of my project this semester.
FIG.8: IDC/ITKE RESEARCH PAVILION 2015/2016 ARIAL VIEW, FIG 9: IDC/ITKE RESEARCH PAVILION 2015/2016 ASSEMBLAGE VIA ROBOTS FIG.10, DOHA TOWER , JEAN NOUVEL
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DESIGN
For the second week of this studio the lectures and readings were focused on design computation. What I learnt from this was the difference CAD programs have made to the creative process of architecture and the differences between computation and computerization. Traditionally, and up until very recently architects took a top down approach (computerization), where by the creative process takes place outside of the computer. From here the details of how to turn it into a constructible/built project is fleshed out with in the computer. What Grasshopper and other complex CAD software’s are allowing now is a return to a bottom-up approach (computation). By using the software as the creative process, this allows architects to take traditional building typologies, characteristics and materials and explore them further using new techniques such as computative design. FIG 11 & 12 Flotsam & Jetsam by SHoP Architects (2016).
Digital design technologies have opened up new creative modes that take a multidisciplinary approach to design, these new modes and technologies, however have been scrutinised for ruining the creative process for designers. Computation based design allows for formation to proceed form and for form to be driven by performance. Oxman, and Oxman (2014) explain that “form generation informed by performative design, tectonic models and digital materiality are emerging as integrated processes in digital design�. This allows for more responsive and high performance buildings that are suitable for there select location instead of copy and pasting one building typology.
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Not only this but it has changed the aspects of the design process to allow synthesis throughout the project and other disciplines to be involved (Kalay, Yehuda E. 2004). These changes in the design/ creative process and form generation have been scrutinised for parting from traditional architectural techniques. However, Computers cannot disrupt the creative processes because they are set with in parameters that do not allow creativity. Computational Design is merely a tool which allows architects and designers to come to more complex and intelligent solutions and designs. From this weeks lectures and readings, I have come to agree that CAD and computative systems are not a hindrance to my own creative process. It has only been in the last few weeks that I truly have an appreciation for CAD softwares and parametric design. From learning these I have found that my own creative process has been enhanced and the abilities and presence of CAD softwares has and will continue to have definitive position in the architectural world for many years to come.
Melanie Yard
To understand further how form could follow performance and the new integration of materialization and a multidisciplinary approach, I looked at two precedents. The first of these is Flotsam & Jetsam by SHoP Architects (2016). The structure consists of a biodegradable bamboo medium that has been digitaly fabricated together to create a responsive interaction within its context.
SHoP collaborated with other technological companies to help assist in the fabrication of this project. The second of these precedents is the Eureka Pavilion by NEX and Marcus Barnett (2011). This is the collaboration between an architecture firm and a landscape designer. The two looked toward biomimetic designs to create the pavilion which explores the cell shapes of leaves. This was then digitally fabricated which allowed for easy and fast construction. Although computation can be argued as the future of Architecture there are always risks. There are those who could use the tools to create an undisciplined aproach. For example, computational design has the ability to ensure a habitable future for humans on this planet (design futuring). However those whose interest lay in creating “something pretty� to simply make more money can exploit these tools and distract from the technologies potential. For computational design to reach its full potential and not be exploited an multidisciplinary understanding and approach is required.
Fig 13, Computational design of Eureka Pavilion by NEX and Marcus Barnett (2011)
FIG 14, 15, Bulit form of Eureka Pavilion by NEX and Marcus Barnett (2011)
Computational Design is merely a tool which allows architects and designers to come to more complex and intelligent solutions and designs.
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/ GENERATION
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Week 3 lecture and readings explained what informs generation and the logic behind intuitiveness as a mode for design sketching. Using computational design the end outcome is not always known, however by using the software parameters, numerous iterations can quickly and effectively be made to solve a problem. By seeking complex outcomes through simple algorithms, unimaginable new outcomes can be achieved, these will always however be limited by the parameters set by the designer on the software. Seemingly uncomprehendable natural phenomena such as bird flock patterns (Boids) and tree branching (L system), can for the first time be made into an algorithm which can then be used in the creative process. Design sketching refers to the numerous iterations created using an algorithm, this new form of sketching allows for logic to be instilled throughout each output. This results in fewer errors due to the design taking place between the parameters set by the designer, and yet more iterations and forms can be explored. Bradey (2013) explains that computational designers “…distil the underlying logic of architecture and create new environments in which to explore designs and simulate performance, both physical and experimental”. This does propose questions regarding the nature of design sketching and parametric design. Part of the beauty of nature is its seemingly random patterns and formations; if everything becomes defined by an algorithm, will it destroy its appeal? Further more will everything in design become too predictable? No computational design is random as parameters have been set of which the randomness takes place inside of. These questions however are not for the immediate future, as we are still discovering the extent of computational design and are constantly pushing the parameters set and the software’s ability.
Fig 16, Suo Fujimoto’s Serpentine Pavilion (2013)
FIG 17 Design Iterations from ..........
In terms of performative architecture, design sketching becomes an invaluable tool in finding the best solution to the complex environmental influences of the site (ie radiation, light, wind ect). This also shortens the design process and allows for smaller margin of error when it comes to the build. Suo fujimoto’s Serpentine pavilion (2013) is one such intervention that would have required design sketching to come up with the final form. The parameters of the pavilion were set with in its materiality: using geometric steel rods. From here the design can be explored using those forms to create a cloud like structure. The second precedent for this week is the Dragon Skin Pavilion by Emmi Keskisarja, pekka Tynkkyen, Kristof Crolla and Sabastien Delagrange (2012). Here the design parameters were set by the algorithmic module created, then by design iterations the module could be explored to create numerous forms. I also have been exploring design sketching and realise that it will become an invaluable tool for this studio in the following weeks and have only just begun to use this form of sketching in my work (see Appendix). Design sketching has and will continue to be a critical element of computational design to allow for create diversity and complexity.
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Module A has helped me understand computational design and how it has been and is influencing architecture. By understanding the difference between computerization and computation utilise computation to its full effect. Although my Grasshopper skills are still developing I have no doubt I will be using generative design and design sketching to finalise my project. The next module involves applying this to my own work process in regards to the site and the brief. From the precedents and readings I have been interested in performative skins and plan on using these to influence the next module
Fig 18: Building Order scheme Fig 19, 20: Dragon Skin Pavilion by Emmi Keskisarja, pekka Tynkkyen, Kristof Crolla and Sabastien Delagrange (2012)
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DESIGN
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CRITERIA DESIGN IS THE SECOND SECTION OF STUDIO AIR. HERE THE FOCUS WILL BE ON DEVELOPING A PARTICULAR TECHNIQUE/TECTONIC SYSTEM USING COMPUTATION DESIGN METHODS. THESE TECHNIQUES AND TECTONICS WILL BE DEVELOPED THROUGH CASE STUDY ANALYSIS, PARAMETRIC MODELING AND FINALLY, PHYSICAL PROTOTYPES.
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B
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Research Field Case Study 1.0 Iterations Form finding process Case Study 2.0 Iterations
Process of Selection/creation
Successful Species
Technique: Development
Reverse Engineering
Iterations
Successful Species
Technique:Prototype
Design Criteria
Failed Algorithms
Form: Prototype 1
Form: Prototype 2
Materiality Connections
Colour Analysis
Technique:Proposal
The Site
Proposal Learning Outcomes Appendix Bibliography
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FIELD
Melanie Yard
A series of design criteria were used to narrow down the direction I want this project to go in. Due to two clients being used, and the location of the site using various land discrepancies the easiest solution to this was to choose a parametric design based off of patterning. This patterning can include perforating or transforming in a repetitive or predictable manner. For this project it is more likely that a module will be created and transformed in a repetitive/ predictable manner to allow for a complex parametric analysis in regards to the site conditions.
One such precedent that will help guide this project through to the next phase is Architeuthis by Ayarchitecture (2012). Using the Giant Squid (Architeuthis) as their inspiration for modules, they are repeated and distorted according to the algorithmic coding. This allows for different variations of the same conical geometry to create an intricate and engaging design. That transforms across the space
The layout is set within a building. With this tight area the design transforms across the space of the room achieving differing heights, this is something I wish to bring into my own project. The structure folds and bends over itself to create smaller small knots in the structure. This allows clarity of the modules to its inhabitants, of which I also will take inspiration from. Over all the form and undulating shape is something which can demonstrate the power of Computer Aided Design (CAD) programs, this is something I wish to directly illustrate through my project.
Materiality however is still an issue that will need to be developed. Engineered timbers are likely to be used for the project due to sustainability and local sourcing issues. Due to this, it places restrictions on the shapes of the modules and overall design. Connections between modules is also something that will be researched as it will be an integral part of the design. These issues will be explored further through grasshopper and prototyping detailing.
Fig 1: Architeuthis by Ayarchitecture (2012)
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“
THE MATHEMATICAL PHENOMENON ALWAYS DEVELOPS OUT OF SIMPLE ARITHMETIC, SO USEFUL IN EVERYDAY LIFE, OUT OF NUMBERS, THOSE WHOSE WEAPONS OF THE GODS: THE GODS ARE THERE, BEHIND THE WALL, AT PLAY WITH NUMBERS - LE CORBUSIER
Fig 1 and 2: Architeuthis by Ayarchitecture (2012)
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STUDY 1.0
Fig 2: De Yound Museum, 2008 Fig 3: Vector line work of original script for De Young Museum Fig 4: De Yound Museum, 2008
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When using Grasshopper as a computational design tool, scripts and coding can become complicated very quickly. One such example of this is by Herzog de Meuron at the de Young Museum.
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The facade system uses parametric design to create a perforated wall with different layers of transparency and undulating ridges. The logic behind this design uses two images superimposed over each other with the images made via circles controlled by an image sampler. The circles radius, height and spacing is dependent on the algorithm set in grasshopper. The first layer dictates the perforated cut-outs of the metal sheeting whilst the second dictates the heights and extrusions of the second layer of circles. Grasshopper was used in this case as it would not be achievable via other programs such as Rhino.
This is due to the image sampling of the script that has been used. Image sampling involves using black and white images as a template for images ad object to be placed on. In the case of the De Young Museum, two images have been super imposed, one of which is to be cut out during digital fabrication and the other to be used as the templates of the ridges. The height and radius of the circles imposed onto the image sampler is also controlled via the script. In addition to this the faรงade was used to control the amount of light able to enter the building. As a museum with important and costly displays and objects, they need to be protected from sunlight damage
By controlling more elements within the design more variations can be made to find the best solution...
Understandably this is a very complicated design with many parametric factors to incorporate hence the designers have simplified and separated elements to be able to read the script clearly. By controlling more elements within the design more variations can be made to find the best solution. This is the process called design sketching. Using the provided algorithm for the De Young Museum I have shown numerous outcomes that could be achieved. I have broken down these design sketches into three main modules: Slider changes, image changes and slider/image changes. Through these modules numerous smaller iterations can be explored. This technique of design sketching will be employed into my own design progress for the brief. By exploring more options, the ideal solution can be found, it is important to note that these forms of iteration are not aesthetic based, but form and/ or performance based i.e. The search to find the best form.
This case study has shown me how patterns can be superimposed on each other to create a more complex outcome. Specifically, how one pattern can be 3D and the other 2D, and then superimposed onto each other. This can be integrated into my design through differing perforations and oculi with in the conical shape, protect the human client from the sun and provide shade. This may however cause issues with the planned usage of engineered timbers in regards to creating a 3D pattern.
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S1: 5 S2: 5 S3: 7 S4: 10
S1: 15
S1: 30
S2: 15
S2: 30
S3: 15
S3: 40
S4: 10
S4: 10
S1: 11 S2: 14
S1: 24
S3: 77
S2: 17
S4: 67
S3: 90
S1: 20 S2: 20 S3: 70 S4: 70
S4: 80
SI-1: 1
SI-1: 1
SI-1: 3
SI-2: 1
SI-2: 2
SI-2: 3
S1: 0
S1: 57
S2: 0
S2: 50
S3: 37
S3: 24
S4: 22
S4: 90
SI-1: 5
SI-1: 6
SI-2: 6
SI-2: 7
S1: 80 S2: 80 S3: 12 S4: 12 SI-1: 5
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SI-2: 6
PARAMETERS
S1: 40 S2: 40
SPECIES 1
S3: 15 S4: 10
S3: 40 S4: 42
S1: 4 S2: 20 S3: 85 S4: 90
SI-1: 4
SI-1: 1
SI-2: 1
SI-2: ORIGINAL SOURCE IMAGE
S1: 50 S2: 50 S3: 5 S4: 9 SI-1: 6 SI-2: 7
SPECIES 2
S2: 30
SPECIES 3
S1: 30
4 SLIDERS CHANGED REPRESENTED AS S1, S2, S3 AND S4
SOURCE IMAGE WAS CHANGED, PLEASE SEE APPENDIX FIG... AND ...
SLIDERS AND SOURCE IMAGES WERE CHANGED
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GM: CONIC NEGATIVE
GM: CONIC
GM: PARABOLA
GM: PARABOLA
GM: SQUARE ROOT
GM: SQUARE ROOT
GM: SINE
S1: 7
GM: SQUARE ROOT
S2: 0
S1:4
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S2: 25
SPECIES 4
PARAMETERS
GM: GUASSIAN
GRAPH MAPPER WAS USED TO CHANGE THE HEIGHT AND VARIATION OF THE EXTRUSIONS
GM:
GM:SINC
GM:
SPECIES 5
GM:
GM: PARABOLA
GM: PARABOLA
S1: 7
S1: 16
S2: 5
S2: 0
LAYER 2 WAS EXTRUDED AND LOFTED. SLIDERS WERE CHANGED TO ALTER EACH ITERATION
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PROCESS
DESIGN ITERATIONS OF ORIGINAL SCRIPT
Initial Factors For the De Young Museum numerous factors had to be considered for example, the form was on a planar surface. The amount of perforations in regards to light tolerances and mould-ability of the material would need to have been considered.
Exploration of the Script Numerous iterations were made exploring number factors with in the script with out the addition of nodes and other elements.
Explorations of limitations of script
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Larger changes began to occur with in the script in regards to image samplers and slider changes to start pushing the script away from its initial form and design intention.
REVERSE ENGINEERING Pushing the script further To begin reverse engineering the script numerous elements such as graph mapper were added into the script.
Finding the Limitations Either through the script of the initial design factors, limitations could be found to discovering the final form. here it was pushed further in disregard to the initial factors. the reverse engineered the script.
Evaluation of Limitations of Script To begin reverse engineering the script numerous elements such as graph mapper were added into the script.
The original script of the De Young Museum is determined by its design criteria. Due to this the script is formed appropriately. From here I began through iterations push away from the Criteria to create different forms. This process of pushing away from the original script until it is unrecognisable in form is referred to as reverse engineering. By reverse engineering the script, although not suiting the design criteria, allow for more forms to be explored. I explored the script further through the use a of graph mapper to change the form and layout of both layers of the script.
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STUDY 2.0
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Ornamentation as decoration is not what we are trying to achieve, the results are not primarily vision driven. - BRADY
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Aesthetics and ornamentation are not driving this process but rather the process of computational design, and what can be achieved through design sketching. This process is also collaborated by others such as Brady (2012) who writes “ornamentation as decoration is not what we are trying to achieve, the results are not primarily vision driven�. Computational design is driving this process however it cannot be set without parameters. These have been found through the chosen site and client. From here, precedents have been used to catapult ideas together for potential algorithms. Case Study two will analyse the work of Voltadom by Skylar Tibbits (2011). This work was chosen as it explores key concepts and provides elegant and efficient solutions to problems that I have been encountering in moving forward in the design phase. These include digital fabrication as well as the connection of a complex set of modules. Voltadom takes inspiration from vaulted cathedral ceilings to create articulated cone-like surfaces with oculi, forming a walkway and protective shell between two spaces. The script uses cones that have been trimmed together, from here intersecting planes have been cut across to create the oculi. Due to their shape these cone like structures can be unfurled into developable strips that are digitally fabricated and bolted together for the final form. Explorations through design sketching have uncovered the key issues Voltadom encountered with in its script. The script provided and the Voltadom whilst conceptually the same use different scripts.
Melanie Yard
The main issue is the orientation of the cones. The Voltadom has cones directed and seemingly random directions to create complexity. The script given shows them oriented on a planar surface. Through the iterations and following reverse engineering, I have explored trying to take them off a planar surface, and how to use seedpoints and grids to create complexity if on a planar surface.
Fig 5: Voltadom by Skylar Tibbits (2011)
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Fig 6: Voltadom by Skylar Tibbits (2011) Fig 7: Process of script making and digital fabrication Fig 8: Original script line vector.
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P: 8
P: 6
S: 3
S: 2
S: 0
P: 24
P: 27
P: 35
S: 8
S: 8
S: 10
CR: 0.17
CR: 0.17
HR 0.80
HR: 0.50
CR:1 HR: 2
CR: 1.0 HR: 0.50
S:0.9 S: 0.9
S:0.7
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S:1
S:0.6
S:0.5
S:1
S:0.1
S: 23 6
P:35
P:
S: 3
S:
CR: 0.31
CR: 0.31
HR 0.69
HR: 2
CR:0.08
CR:0.44
HR: 2
HR: 2
S:0.1 S:0.5
S:0.4 S:1
NUMBER OF POINTS: P SEED NUMBER: S
SPECIES 2
P: 15
S: 3
CONE RADIUS: CR HEIGHT RATIO: HR
SPECIES 3
P: 12
SPECIES 1
PARAMETERS
SLIDER 1: S SLIDER 2: S
S:1 S:0
SUCCESSFUL ITERATIONS
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CR = 0.35
HR =2.0
HR =0.56
S1=0.2
S1=0.5
S2=1.0
S2=0.8
CR =0.61 HR =1.15 S1=0.3 S2=1.0
CR = 1.0
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L: CIRCULAR
L: HEXAGONAL
HR = 1.68
S1= 0.6
S1= 1.0
S2= 1.0
S2= 1.0
L: TRIANGULATED
SPECIES 4
CR = 1.0
HR = 2.0
SPECIES 5
CR = 0.78
CONE RADIUS: CR HEIGHT RATIO: HR SLIDER 1: S1 SLIDER 2 :S2
PATTERN OF SEED POINT THROUGH MENTIONED GRID
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SELECTION/ CREATION
Original Script. By creating a simple
script that has variously controlled parameters numerous iterations could be made
Design Intent. The voltadom had to span
between two buildings and over a walkway. This created parameters for which the script and form had to work within. Not only this but it also had to show a high level of complexity and variation.
Fabrication. To take advantage
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and show case digital fabrication technologies, The voltadom uses a geometry that can easily be unrolled and developed using lazer cutters.
Parameters changed and explored
Seed Point
Algorithmic sketching to find the best solution
Cone Radius Height Ratio Slider 1 Slider 2
The
process of design sketching allows for a multitude of iterations to be made. This however means that for a final form to be produced a series of steps and selection criteria must be in place. Using the Voltadom (2011) as an example we can see how this has influenced its final form. By analysing the parameters of the site, complexity and fabrication the final form can be made with in these criteria. Starting out with a simple script of cones placed on a series of points the complexity can be added in layers.
For
example in this case, 3 main areas of the script could be changed to add and subtract complexity: Seed and Point, Cone radius and Height Ratio, and finally two sliders that could change the length and oculus of the cone. Through design sketching and selection criteria, the final form can be found. Through my own algorithmic sketches I have found that the script is limited in a key area. The cones are only found on a planar surface, by altering the script I believe it could produce more complex and interesting forms. This is something I have taken into Technique Development.
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SPECIES
Melanie Yard
Through the research field and two case studies I have learnt how complex algorithmic designs can be created through Grasshopper, which could not normally be achieved through other CAD programs. All three examples show how modulated sections can be tessellated within a 3 dimensional space to create a complex form. All three works could be digitally fabricated for example Voltedam’s forms were unfurled via the script and laser cut. The works were carefully chosen as they all used a modulated surface with varying oculi. In turn this demonstrated how a simple concept could be interpreted and fabricated in different ways and to varying complexities. In all cases the form of the projects has not been achieved from an aesthetically driven design process but as a performance based process of design sketching. In the case of the De Young museum (2008) design iterations, data is processed and changed accordingly.
it required light to be filtered through the façade in a way that would not damage the galleries work inside, further more in the case of the Voltedom(2011) it was required to span a specific and complex space. Lastly in the case of Architeuthis, architects looked to the giant squid as their inspiration of form. Here these works are not looking at the time honoured method of “form follows function” or even “function follows form” but to a new theology of the architectural discourse “form follows performance”. Branko and Klinger (2008) briefly expand on this idea “In such “form follows performance” strategies, the impulse is to harness the generative potential of nature, where evolutionary pressure forces organisms to
Become highly optimized and efficient.” In saying this, some argue that the future of design will not need a human presence. I do not agree with this as humans use CAD programs as any other tool. CAD programs make it easer for us to process information and potential outcomes by sorting through vast amounts data and digesting it into workable loads for a human to choose and work from. Parameters always have to be set for each project, as well as parameters of what the software can do. In the future however I see no reason why the whole urban environment could be digitally fabricated, but the presence of a human to the design will always be required to some varying degree.
This “Form follows performance” is what drove the criteria for successful iterations from the design sketching of both the case studies. Whether or not form suits and enhances the performance of the structure and site.
“FORM FOLLOWS PERFORMANCE... EVOLUTIONARY PRESSURE FORCES ORGANISMS TO BECOME HIGHLY OPTIMIZED AND EFFICIENT” - BRANKO & KLINGER
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DEVELOPMENT
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The voltadom script was pushed through the iterations. Once the script had been reverse engineered it was decided to put the cones onto a spherical surface. Here it was realised that the script could not do this. A new script was created using the same principals as the Voltadom but with the capabilities of putting cones around the surface of a sphere. The result of this is iterations pushed far beyond the initial script in aesthetics and capabilities.
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ENGINEERING 1. Populating and setting Frams onto a Spherical surface
2. Make cones flip
Area
line
Surface
Populate Geomtery
Surface Closest Point
Perp Frame
Radius
Cone
Cone Number Slider
Circle
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1 2 3 4 Outcome
Graft
4. Trim Geometry B.A.N.G. List Length
Cull Index
series
B.A.N.G.
TRIM
Graft
3. Create a trimming surface Edges
curve
Area
Vector 2 Point Amplitude Extrude merge
Join
Cap Holes Ex
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25
30
C:64
C: 61
C:61
R:3.06
R:
R:3.88
L:2.0
L:
L:2.0
C:
C:
C:
R:
R:
R:
L:
L:
L:
C: 32
C:32
R:1.03
L: 4.03
L:32
C:15
L:10
C:60
R:15
C:85
R: 0.5
L:10
R:3
L:0.5
L:32
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C: 32
R: 3.54
R:3.54
SPECIES 1
PONITS =P
80
C:61 R:2.95 L:5.48
C:27 R:2.95
SPECIES 2
50
BEGAN WITH A PLANAR SURFACE WITH SET CONES SITTING OF FRAMES. NUMBER OF CONES IS CHANGED BY POINTS
SURFACE OF THE CONES WAS TURNED INTO A SPHERE AND THEN FLIPPED. 3 VARIABLE CONTROLS WERE USED. : COUNT: C RADIUS: R LENGTH: L
L:5
C: 87
R:2.95
2.99
L:2.0
L:1.5
C: 32
C: 32
R:1.03
R:1.03
L:10
L:10
SPECIES 3
C:87
SURFACE OF THE CONES WAS TURNED INTO A SPHERE. 3 VARIABLE CONTROLS WERE USED: COUNT: C RADIUS: R LENGTH: L
C:40 R:10
C:32
L:50
R:5.0 L:50
PARAMETERS THE SURFACE AND BOUNDARY ON WICH THE CONES WERE COMPOSED WAS CHANGES TO VARIOUS FORMS.
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S: 25
C:50
C:50
CUTTING FRAME OF:
R:5
R:10
S: 25
S: 25
C: 50 R:10
S: 1.0 C:25 R:1.0
S: 5
S: 1.5
C: 35
C:30
R: 7
R:10
L: L:
L:
R:
R:
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GM: SIN
R:
GM: SQUARE ROOT
GM: CONIC
C: 80 R: 5
S: 5 C: 80 R: 10
SPECIES 4
S: 80
IN AN ATTEMPT TO CROP THE CONES, AN ISOTRIM WAS ADDED. (NOTE IT COULD NOT OCCOR ON TIP OF CONE ONLY ON THE SIDE SURFACE) S: SLIDER C: COUNT R: RADIUS
S: 10 C:100
SPECIES 5
CONES WERE REPLACED BY CIRCLES CONTROLLED BY A GRAPH MAPPER. THESE WERE THEN LOFTED.
SPECIES 6
R: 7
KEY SPECIES WERE TAKEN AND THEN COMBINED WITH A GRAPH MAPPER (INPUT OF 5) TO DICTATE THE LENGTH OF THE CONES. ALTHOUGH THEY LOOK LIKE OTHER SPECIES THEIR SCRIPT IS SIMILAR
L: R:
GM: PARABOLA
GM: GAUSSIAN
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SPECIES
Through the reverse engineering iterations there were a few forms that were more successful than others. Due to the script being based of a sphere, constructibility was considered as an issue. However, spheres are useful for when the topography of the landscape is mountainous and uneven. The sphere is created and trimmed according to the topography, this is often the case for biomes and those who require dome like structures as well. The successful iterations chosen are those who have potential buildability, whether via a biome, dome, skeletal structure or pavilion. The successful species however did not have a rigorous design criteria. At this stage I was pushing the script to find finding its limitation.
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PROTOTYPE
As mentioned before CAD programs are useful for form finding and the creation of numerous iterations. These forms however are not with out their parameters. A four step design criteria was made to meet the brief. Firstly, a client and site was chosen and analysed for potential improvement. From here a series of parameters that my project partner and i wished to explore using CAD software was made. Thirdly, previo Case Studies and Reverse engineering explorations were sourced as inspirations and script starting points for the project proposal.
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CRITERIA
Client
Site
The chosen client was humans. The surrounding suburbia of Merri Creek may not have been directly exposed to parametric design through architecture before. Merri Creek is a small patch of urban greenery that encourages the breeding of native wetland birds and the rehabilitation of the waterway. The Creek cuts through Melbourne with urbanity nestled tightly next to it. This peaceful area is one that is enjoyed by its neighbouring residents and those who travel to the area for recreation and the enjoyment of a natural setting. Humans were chosen as the client so their experience through this peaceful area could be continuous. In addition to this to demonstrate the potential of parametric design to the general public.
The site chosen along Merri Creek was Linear Reserve. Here there was a bridge that was highlighted to have potential for a parametric design improvement. The bridge itself was an obtrusive form that unapologetically cuts through the serene landscape of the reserve. The Industrial styled bridge is an ode to architecture that disregarded the natural setting of the site. The bridge divides the space between Linear reserve and the Merri Creek Trail. This bridge also causes large amounts of noise pollution through the trains that run across it. The site also has potential for a shading structure as there is none in the immediate facility and most of the paths are uncovered. The three areas of the site that will influence our use of parametricism will be: - Ambiance and Radiation - Acoustics - Wind tunnelling effects In addition to this, the site situated in a suburban setting allows for a showcase of parametric design to be displayed to the public. This can increase
h
ous
Parametric Explorations
Reverse Engineering & Fabrication
To meet the design criteria of the brief, parametric design will be an integral part of the design process. As highlighted in the site, ambiance and radiation, acoustics, and wind tunnelling are all aspects of the site that require improvement. Through parametric design these parameters will be explored to produce a form purely dictated by its performance from the local site conditions. This will be done using Grasshopper and other plugins such as Lady Bird and Honey Bee.
The reverse engineering script will be carried through as a starting point. This is due to the use of cones. Cones can provide complex geometries with an easy fabrication solution as they can be unrolled onto a surface ad lazer cut. Whilst they do require some assemblage it allows for reduce in cost and materials. A potential problem for this however is the connections between the modules which will be explored later.
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ALGORITHMS
The design intent required a series of cones on a surface, trimmed 3 ways: the top, the bottom, and to the cones next to it. This proved to be more difficult than initially thought. Numerous Grasshopper scripts were created to try and achieve this. Not all however succeeded. Those seen here are the remnants of a few who did not work to the design intent. They are not however wasted. Scripts are stored and learnt from and could be developed for future use. This is often the case for many scripts.
Box Morph
Failure Due To:
Skills Acquired
Planer Cones
Failure Due To:
Skills Acquired
- Using the box morph command to create a grid on a surface. - Using the box morph to create an offset surface to trim cones.
- Circles
were placed onto a surface and offset
- An
attempt to loft them however did not work
Lofting a Voronoi - Creating
a voronoi surface and finding the midpoint and moving it so
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it can be lofted together
- Cones not overlapping - Cylindrical section attached to cones from box-morph could not be trimmed or removed
- Planar surface - doesn’t meet requirements
Failure Due To:
complexity
-Base connection is undesirable in regards to trimming. - Does not meet complexity requirement
- How to use the box morph command - how to create a parametrically designed trimming surface
- How to apply geometries to non standard geometries
Skills Acquired
- How to use the box morph command - How to create a parametrically designed trimming surface
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PROTOTYPE 1
Prototype 1 was used as a basis to understand how one can translate from a grasshopper script to a physical model through digital fabrication. The script itself was not complete. At this point in the scripting process triming the cones against each other was not understood. As a result, this process was finished on Rhino. Triming the cones against each other became a large issue. Consultation with technical help staff informed my project partner and i that triming on grasshopper is most often faster on other programs such as Rhino or Revit. This prototype explores how a cone is unrolled through grasshopper is sent for digital fabrication. The form of this prototype however is largly parametric based for exaple, the cones oculi have been cut by using a parametric surface. This prototype also demonstrated an early connection piece of using metal clips, this will be further elaborated below.
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PROTOTYPE 2
Prototype 2 is a more refined version of our design however it does not contain the complexity desired. A single plane was used to control the oculi of the cone. This makes them all relatively uniform something that is not desired in our design. to combat this for a future prototype parametric tools such as light analysis and acoustic controls should be integrated more to control the opening of the cone. This prototype also uses a zip teeth connect which will elaborated at a later point.
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Selection criteria Due to the form of the design being chosen relatively early on, the material component became critical to achieve the desired result. Due to the form, numerous materials were ruled out quite quickly. Three materials were highlighted for potential and through a process of selection by analysing the materials fabrication method, flexibility, cost availability and time constraints a material suitable for our design was found: Polypropylene
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Polypropelene
3D Printing
MDF
Fabrication
Flexability
- Rigid - Cannot curve, however - Could be bent through kerfing (whilst a simple result the process of detailing is quite time intensive)
The flexibility of 3D printed objects is often subject to which printer and form of 3D printing is used. However, due to forms being already constructed and no need to bend objects into place flexibility is not a large issue.
-The flexibility of 3D printed objects is often subject to which printer and form of 3D printing is used. However, due to forms being already constructed and no need to bend objects into place flexibility is not a large issue.
Cost - Very Cheap
g s )
-3D printing is very expensive. On a large scale the costs can increase exponentially. - On a small prototyping scale however it is comparable with MDF and Polypropylene.
-Very Cheap
Availability
Time Constraints
- Easily accessibility however,due to popularity it can sell out very easy in fablab’s
- easily accessible due to workshop on campus. - For final build however, Australia may not have a large enough printer for the modules.
- easily accessible due workshop on campus.
to
- Processing times are quite short between 1-3 business days if done through the universities fablab. - if out sourced it can be done in a mere few hours.
- Due to time constraints 3D printing is not preferred. The turn over time for prototyping is 3-5 business days. - If this was to be replicated at life-size, This may take many weeks to fabricate.
- Processing times are quite fast during non peak times. - Can easily be outsourced.
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3D printed Ball Joint
Zip Teeth Joint
Metal Tie Connection
Connections and joinery of the conical modules was highlighted early on as an area for problems. Connections on a non-planar surface can become incredibly difficult to detail. Our goal was to create an elegant and efficient solution the connects both the cone module and the cone modules in a pattern. As mentioned in Case Study 2 the Voltadom provides an elegant solution for a connection however this was ruled our as an option due to material availability
Prototype 1 explores the first fixing of a metal tie connection. This method whilst a quick and easily solution was not elegant and rigid enough to hold the structure of the cones
Prototype 2 looks at the Zip Teeth connection. Through the prototype this options was ruled out as a connect possibility as the teeth arranged on a curved and-planar surface the teeth would not collect together.
The 3d PRINTED JOINT IS A STRIP THAT JOINS THE TWO SURFACES OF THE CONES TOGETHER INTO A COMPOSITE JOINT. The connection piece has balls in which hole in the cones slide in over the top. due to polypropylene being flexible enough it is hoped that with force that the surface will slide over the top.
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ANALYSIS
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To step outside of our comfort zone my group project partner and i decided to explore colour. Our previous work was heavily non - colour based. Our
use of polypropylene as a material also gave us a large degree of flexibility in regards to colour. Our precedent for this was john Wardle’s NGV summer pavilion (2016). This precedent inspired us to use bright and loud colours with in the design. This allows for an increased level of complexity and intrigue to the client. Not only this but colours absorb and reflect light differently, parametric analysis will allow for an understanding how the colour will affect the qualities of the secondary skin. Colour iterations are shown as an example for future reference.
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PROPOSAL
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SITE
The
bridge makes no attem
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a continous transition be
mpt to engage the client in
etween the sites programs .
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The Coni-Cone Is an experimental secondary skin for an underpass located at Linear Reserve in Merri Creek that explores computational design and parametricism in an suburban Australian context. The Skin is created out of modular cones that are patterned together using a trimming algorithm. The existing bridge is an obtrusive intervention that unapologetically cuts across the river disturbing the natural environment. The secondary skin will improve preexisting conditions by providing a smooth transition from one area to another within Merri creek with out the appearance of a large man-made intrusion across the natural landscape. Ambiance and acoustics will be considered through parametric design to allow for reduced noise and filtered light. The final form of the cones will be dictated by the parametric parameters of the site as well as the Trimming algorithm.
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Part B was a large learning curve in computational design and moving a proposal into physical prototypeable module. The research field set the base geometry of my work in motion: A conical like form with an oculi at the top, this is something I have carried through out Part B and largely influenced my choice of case studies. Through the research field I used patterning as a concept. This allowed me to analyze fabrication and connection techniques earlier on into the design process. Case study 1 looked at the Herzdog and De Muren De Young Museum, here two surfaces were superimposed onto each other, one surface was perforated with an image sampler, whilst the second also with an image sampler was used to determine the extrusions. Through the iterations of the script on grasshopper I explored how to parametrise cones on a planar surface. From here I analysed the Voltadom by Skylar Tibbits (2011) as my Case Study 2. This study was chosen as although its research field is biomimicry, it also uses conical like forms as a basis for its design. Through Grasshopper iterations once again I explored the script to understand its design potential and parameters. This set the foundations for the reverse engineering phase. Using the knowledge of scripting from the case studies I wanted to set cones onto a spherical surface and trim each cone according to its neighbor. This proved to be more difficult than first thought, in regards to the trimming algorithm as well as the script produced was heavy, each iteration had 30 minute lag time. Although the iterations from the reverse engineering were successful, moving forward into group work, we decided to remake the script so it was more efficient.
After a design criteria matrix was set up with my project partner we attempted to take a similar version of my reverse engineering script and apply it to the site. Here however trimming the cones according the position of their neighbor became an issue. Trimming using grasshopper was incredibly inefficient, it became more efficient for us to trim on Rhino 3D for our prototypes. Through our script we found a limitation with in the software of Grasshopper. Here we learnt that in the design of project, select areas that require parametric modeling such as a faรงade are created in Grasshopper whilst the rest of the project is created with in another program. This process we felt goes against the brief and design intent of our project, and further solutions for our trimming process are still being explored. Although undeniably seen as the future of architecture Part B has shown me that the Parametric Modeling Software still needs improvements such as improved trimming modules and faster processing times. Room for improvement in these tools will be largely done by scripting cultures around the world and no doubt architects will be the ones to write the new software so they can improve on their own and others designs.
Prototyping was also a learning curve as our connections were on non-planar surfaces. Cones are easily developable surfaces as they can be unrolled and lazar cut as long as material is flexible enough. However, in regards to the connection of numerous cones across a non-planar surface, many issues arose. To solve this issue, multiple connection details were explored through the prototypes. Only one connection was highlighted for further analysis in part c: 3d printing ball joint. Our design proposal meets our selection criteria highlighted at the beginning of our group work however to move this design further and to truly use parametric modelling to influence our design further, my group project partner and I will undertake light, acoustic and wind analysis studies to see if this could dictate the form of our structure more. This will be undertaken in the final module of this subject: Part C.
In regards to the learning objectives outlined in the project brief I believe I have formed a solid foundational relationship on which I have engaged them with. I have been able with the help of the Case Studies create and manipulate a design (through iterations) using parametric modelling. From this parametric modelling I have also been able to generate a series of designs through species development. In addition to this I have through critical thinking and design engagement put forward a project proposal based off the Research Field, Case Studies and Prototyping phases.
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Detailed Design
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C
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Design Concept Tetonic Elements & Prototypes Final Detailed Model Learning objectives and outcomes Appendix Bibliography
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DESIGN CONCEPT
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INTERIM REFLECTION
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After Interim Presentations, feedback was given on how to rationalise, optimise and refine the design. Leading on from Part B, numerous issues were highlighted for improvement including member connections, materiality, site and parametric responsiveness. Maria and I decided to focus our designs parametricism to radiation: To be able to control the radiation across the site. To be able to control this radiation it was decided to add a second skin to the cones which would be able to react to the site. To note however It was considered to simply change the size of the cone and its oculi, this was ruled out as Maria and I decided this was a lazy approach to a complex issue that could elegantly be displayed another way. To allow for the cones to be able to hold the second skin, polypropylene was quickly eliminated as a choice for the cones materiality due to concerns of them not being able to hold the weight of the second skin. This lead to experimentations of DIFFERENT COMPOSITE TIMBER MATERIALS.
To continue on with the same fabrication method of unrolling the cones onto a flat surface, a strategy was required to be able to bend the unrolled surfaces into cones using timber. This strategy was Kerfing and later steaming. These changes subsequently required a new connection strategy for each cone. To address the site in regard to the form of the structure it was changed to allow for habitation and interaction with the form. By adding the second skin it is was considered that this structure not only facilitated flow but also requires areas to allow for the client to enjoy the responsiveness and counteractivness towards the radiation. After the interim presentation a series of changes were made that had trickle down effects into every aspect of the design including the grasshopper script. These changes were prototyped and modelled to display their Kinect response and their radiation variation on a smaller scale.
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TECHTONIC SYSTEMS
FORM GENERATION
CONNECTION DETAILING
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CONNECTION ONTO ITS NEIGHBOUR SITE ANALYSIS
CONNECTION ONTO ITSELF
WORK-FLOW OF DESIGN DEFINITION
CONNECTION TO KINETIC SECOND SKIN
FORM OPTIMISATION CHARGE
CONNECTION TO THE SITE
PARAMETRIC PERFORMANCE
ENVISAGED FABRICATION
SECOND SKIN RADIATION ANALYSIS: MACRO RADIATION ANALYSIS: MICRO
ENVISAGED FABRICATION OF DESIGN.
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FORM FINDING
SECONDARY SKIN OF BRIDGE
CONTINUITY OF PATH
SYMPATHY TO CREEK
SHADING
SYMPATHY TO VEGETATION
HABITATION
FINAL SURFACE FOR DESIGN DEFINITION
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FORM GENERATION
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PERSPECTIVE
HORIZONTAL SECTION
PLAN
VERTICAL SECTION
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FORM GENERATION
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WORK FLOW OF DESIGN DEFINITION 2.0 Cone Creation
1.0 Defining the Surfacee USING THE FOUND FORM THE SURFACE WAS USED AS THE BASE OF THE DESIGN FOR THE CONES TO BE ADDED. TO MAKE SURE THE CONES ARE ORIENTED IN THE RIGHT DIRECTION SURFACE FRAMES WERE USED.
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Surface
Surface frames
FROM THE SURFACE FRAMES A CIRCLE WAS ADDED AS THE BASE FOR THE CONES SO THIS ELEMENT COULD BE CONTROLLED INDEPENDANTLY.
circle
Cone
3.2 Triming With Neighbours
3.1 Triming Oculi TO TRIM THE OCULI A SET DOMAIN WAS ADDED AND AN ISOTRIM WAS USED SO THE OCULI OF EACH CONE WAS CUT AT A CERTAIN WAY DOWN FROM ITS APEX
IsoTrim
TO MAKE SURE EACH CONE TRIMS TO ITS NEIGHBOUR A POINT WAS ADDED TO EACH CONE. FROM THIS A DISTANCE WAS SET TO TRIM AGAINST.
Graft Tree Trim
Point
Area
Cull
Please refer to appendix for full script
ISSUES OF DESIGN DEFINITION
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FORM GENERATION
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SURFACE FRAMES WERE SET ON THE SURFACE IN A GRID FORMATION THAT WAS OUT OF OUR CONTROL. AN ISSUE OCCURRED WHERE GAPS BETWEEN CONES OCCURRED. THIS WAS A LARGE ISSUE AS WE COULD NOT BRING THIS FORM INTO FABRICATION.
GAPS BETWEEN THE ROWS OF CONES
CONES NOT CONNECTING TO ANY NEIGHBOUR
FORM OPTIMIZATION: POINT CHARGE
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FORM GENERATION
X: 30 Y: 35
X: 30 Y: 50
X: 30 Y: 80
X: 60
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Y: 110
X: 75 Y: 110
To control the spacings of the cones and to ensure each cone intersected with its neighbour a point charge was added. Once adding in the point charger to control the base of the cones iterations were made to find the optimal outcome. This was our selection criteria for the final form of the design. The base of the cones were controlled by two sliders x and y which represented the numeric range for the base of the cones in conjunction with the point charger placed next to the form.
X: 80 Y: 120
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CONNECTION DETAILING CONNECTION TO ITSELF
CONNECTION TO NEIGHBOUR
CONNECTIONS IN GROUPS WITH ISOLATED GROUP
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CONNECTION NOGGINGS BETWEEN CONES
ZIP TEETH TAB ON EACH UNROLLED CONE
CONNECTIONS IN PLACE ON ROLLED CONES
CONNECTION OF KINETIC SECOND SKIN
FOUNDATIONS
KINETIC HINGE 1
GROUND LEVEL
FOUNDATIONS 1 KINETIC HINGE 2
DECONSTRUCTED HINGE FOR 3D PRINTING
FOUNDATIONS 2
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PARAMETRIC PERFORMANCE
FOLDING EXPLORATIONS
OPEN
MIDWAY
CLOSED
TO CONTROL THE RADIATION ON THE SITE NOT ONLY THROUGH THE CONES A SECOND SKIN WAS ADDED TO OUR DESIGN. THIS MECHANICAL SECOND SKIN WILL ADJUST ITS OPENING DEPENDING ON THE TIME OF DAY AND SEASON. THIS WILL ALLOW FOR MULTIPLE VARIATIONS OF LIGHT PERFORATION THROUGH THE SITE.
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PARAMETRIC PERFORMANCE
SUN PATH ACROSS SITE YEARLY AVERAGE
YEA
BEFORE
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YEARLY AVERAGE
RADIATION ANALYSIS WAS DONE USING A MELBOURNE WEATHER EPW FILE MAP. ANALYSIS OCCURRED BETWEEN 4AM AND 6PM.
FORM ADDED TO SITE WITH SECOND SKIN OPEN.
ARLY AVERAGE
WINTER SOLSTICE
SUMMER SOLSTICE
E FORM IS ADDED TO THE SITE.
WINTER SOLSTICE
SUMMER SOLSTICE
FORM ADDED TO SITE WITH SECOND SKIN CLOSED.
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PARAMETRIC PERFORMANCE
RADIATION ANALYSIS ON OUTTER SURFACE OF SELECTED CONE
YEARLY AVERAGE
WINTER SOLSTICE
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SUMMER SOLSTICE
RADIATION ANALYSIS WAS DONE USING A MELBOURNE WEATHER EPW FILE MAP. ANALYSIS OCCURRED BETWEEN 4AM AND 6PM.
RADIATION ANALYSIS WITH CLOSED SECOND SKIN ON AREA BENEATH CONE SURFACE.
WINTER SOLSTICE
SUMMER SOLSTICE
YEARLY AVERAGE
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ENVISAGED FABRICATION
A key aspect highlighted for revaluation was the materiality of our design. Polypropylene was previously suggested as a material of choice however, upon adding a second skin to each cone it was not viable for a built model due to its flexibility. From here it was decided to use composite timber materials. Due to our method of fabrication however (unrolling the surface of the cone for laser cutting) a flexible timber material was needed, not only this but also a way to detail each cone to be able to bend onto itself was needed. It was here that we looked to the Kerfing Pavilion (2012( by MIT). Here the wood has been curved by kerfing: placing cut lines into the wood to achieve a certain degree of bend. From here it was decided to test whether this was a viable solution through prototyping. MDF was chosen as the first material to test Kerfing. Due to the rigidity of this material however it was not a viable solution. Even with Kerf lines the material showed no degree of flexibility.
Plywood was the next chosen material. Due to the cross lamination of the wood grains it naturally had more flexibility within itself before kerfing was applied. After kerfing had been added it provided to be successful in its ability to curve onto itself. Unfortunately, however, once in place the thinnest areas of the unrolled surface members snapped. This was a large issue, as different kerfing patterns were explored all seemed to have this issue. From here it, using the kerfing technique, the unrolled cones were steamed to loosen the wood fibres. This allows for the plywood to have more flexibility whilst being steamed to place cones into position around a form, once the wood was dry however the wooden fibres tighten allowing for a strong cone with less chances of breakage. This material change had multiple flow on effects such as connection and foundation changes.
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ENVISAGED FABRICATION CONE FABRICATION WORK FLOW
ISOLATE CONE FOR FABRICATION
TRIM NEIGHBOUR CONNECTIONS
UNROLL SURFACE
ARRAY KERFING LINES
ADD KERFING LINES
ADD ZIP TEETH TO UNROLLED EDGES
NEST LAYOUT
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FINAL CONCEPT SECOND SKIN FOR LINEAR RESERVE BRIDGE
The final concept for this design is a secondary skin that flows through the bridge on linear reserve. Our aim is to provide a more transparent relationship to the bridge and the surrounding parkland. Our design will facilitate the natural flow and delineation of the site whilst also allowing for habitation-al spaces. Our design will also look at parametric performance to provide a comfortable space for the users. The independent cones of the structure will be fitted the a kinetic skin that will adjust its light perforation depending on the time of day and year. Our design looks to solve complex issues through non standard geometries and allow for the users of the site to understand and appreciate how parametric design can help improve the performance of the structure to create a site specific response to linear reserve.
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TECTONIC ELEME & PROTOTYPE
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ENTS
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PROTOTYPING
SERIES 1:
SERIES 2
MATERIAL: PLYWOOD MATERIAL: MDF
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PROTOTYPE TESTING: KERFING LINES AND CURVATURE
PROTOTYPE TESTING: CONNECTIONS AND KERFING STEAM BENDING
SERIES 3
MATERIAL: PLYWOOD PROTOTYPE TESTING: SECONDARY SKIN
REVIEW
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PROTOTYPING
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Prototype
series 1 looked at kerfing lines and MDF as a material. This was quickly ruled out due to the fact that mdf has no natural flexibility and is quiet rigid. This state also did not change when kerfing lines were added. Not only this but the kerfing lines used were not nested correctly and needed to be substantially closer together. From here the material was changed to plywood due to its cross lamination as well as more kerfing lines arrayed around a central point for easy fabrication of the cones
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PROTOTYPING
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Prototype series 2 looked at Plywood and setting a kerfing pattern. More cut lines were added into the unrolled cones. This proved quiet successful as well as the natural flexibility of plywood cones were able to be attached. Unfortunately however, once in place members snapped and were distorted. To solve this issue steaming the wood was considered as an option. Idealy the wooden fibres loosen allowing them to have more flexibility, and once dry again the members tighten in there new position. This proved incredibly successful and we were able to move onto out final prototype series.
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PROTOTYPING
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Prototype series 3 looked at the connections between each member and the second skin of the cones. The connections consisted of a notch and slide into predetermined holes of the cones. Not only this but the connect the cone to itself a zip teeth edge was added to each section. The secondary skin proved a little more difficult. A circular plate was added to the inside of the cones to allow for hinges and mechanical wires to be hidden. Ribbed members were added to the second skin to make it more rigid and controllable.
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WHY IS IT BEAUTIFUL? IS IT BECAUSE OF ITS COMPLEXITY IN THE FABRICATION METHOD OR ITS PARAMETRICISM?
FINAL PRESENTATION
The final panel presentation proved useful for allowing our design to move forward. Due to our complex fabrication process the parametric elements seemed to be lagging. It was posed to us “what makes it beautiful? Is it because of its complexity in fabrication or its parametricsim. From this comment it was decided to refine the second skin so it incorporates the parametric elements we wish to employ. in addition to this, our fabrication method was not viable for a real world application. from here it was decided to review the connection of each member and fabricate these through 3D Printing.
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FINAL DETAILED MODEL
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FINAL MODEL
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RADIATION ANALYSIS
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FINAL MODEL
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YEARLY AVERAGE. NO FORM ON SITE.
YEARLY AVERAGE. FORM ON SITE.
WORKFLOW
156
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FABRICATION
347
334
335
ALLOCATING SET FOR FABRICATION
348
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336
KERFING PATTERN ARRA
347 335
334
NUMBERING MODULES
CONNECTIONS CATERE
FINAL FORM FOR FABRICATION BAKED
UNROLLED FOR LASER
AY
ED FOR
CONNECTION CLOSE UP
CONNECTIONS ATTACHED
STEAMING PROCESS CUTTING
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LINE VECTOR OF CONNECTIONS TO NEIGHBOURING CONES
KINETIC HINGE
FROM INSIDE
ANGLED NOTCH
FROM OUTSIDE
CONNECTION DETAILING
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FABRICATION
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SECOND SKIN HINGE
NEIGHBOURING CONE CONNECTION
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FABRICATION
SECONDARY SKIN CONNECTIONS
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FINAL MODEL RENDER
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FINAL MODEL
Studio Air was a learning curve in computational design and fabrication. This consequently required Maria and i to study and fabricate in methods that are unfamiliar with us. Not all mistakes and issues with in the design can be solved using CAD programs, and most of what we learnt about the construction systems happened in the fabrication of the prototypes. This first begun with 3D printing. Joints using polypropylene were first suggested in Pat B of our Design. Once printed and tested is was considered as a non liable construction system. This is due to many joints being to thin for printing. This caused damage to some of the joints and proved to be a waste of material.
Melanie Yard
Due to the quality of final presentation models it was suggested that our plywood kerfing cones were sanded to produce a cleaner result. Once cones were sanded however they required steaming to relax the timber fibres. This in conjunction with the sanding removed a protective layer and caused serve water damage with in the plywood. So much so it was considered unusable for prototypes and the final model.
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FINAL PRESENTATION The design work-flow is never a linear process. constant refinement and optimisation of your work allows for a better result. This was undoubtedly the case for this project. due to setbacks in fabrication and parametric design constant refinement was done until a final concept was achieved.
Melanie Yard
BRIEF ANALYSIS
CASE STUDY REVERSE
PARAMETRIC EXPLORATION
PROTOTYPE
OPTIMISATION, RATIONALISATION AND REVIEW
FINAL CONCEPT/MODEL
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LEARNING OUTCOMES
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Studio Air was the first time i came into contact with computational design and to some extent computer aided design fabrication techniques. I can confidently leave this subject knowing how CAD software’s have helped designers in the last 25 years and further more how it is still and will continue to affect architecture. CAD programs will continue to allow architects to explore there designs further and allow for optimisation of their projects in a rational manner. This was something that I learnt through my own work as well. Due to these new techniques I was able to go through the design process with relative ease. If an area required revisiting such as the form definition it was easy to re-evaluate and completely change the design, and then move forward again for the optimised result. The parametric limitations and The final design responds specifically to the radiation with in Merri Creek and will allow for the optimised performance to be achieved. This is impossible with traditional drawing board techniques, CAD programs have allowed us in this process to analyse the site, its conditions, other limitations and incorporation of the brief in a faster, and more rational time-line. In hind-site however, through the work-flow of this design process to much time was spent finding a fabrication technique, the one chosen over complicated a relatively simple geometry. It also caused us to loose sight of what is truly important in our design :parametricism. This required after the Final presentation revaluation of the second skin on our geometry.
Melanie Yard
The software learnt this semester :grasshopper, allowed us to explore multiple iterations of our design and made the process of choosing an optimised result easier, faster and more accurate to our specific design ideas. Whilst grasshopper is an incredibly useful tool it is not developed enough. Trimming of our form was a large issue and upon consultations it was known that their are still limitations with in the software itself. Consequently as the software develops so does the ability of architects through this software. i am excited to see where this technology will take architecture and better yet how i can continue to implement it into my own designs to produces rationalised results.
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Dunne, Anthony and Raby, Fiona (2013) Speculate Everything, MIT Press
Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 Kolarevic, Branko and Kevin R. Klinger, eds (2008). Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge), pp. 6–24 Jodidio, Philip (2015) Architecture Now, Vol 10, Tachen, pp 119-123 Williams, Richard (2005). ‘Architecture and Visual Culture’, in Exploring Visual Culture: Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press), pp. 102-116, p. 108 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 Peters, Brady. (2013) ‘Realising the Architectural Intent: Computation at Herzog & De Meuron’. Architectural Design, 83, 2, pp. 56-61
Melanie Yard
Woodbury, Robert F. (2014). ‘How Designers Use Parameters’, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge), pp. 153–170
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Melanie Yard
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