S T U D I O A I R Melissa Tokkuzun
PA R T A CO N C E P T U A L I Z AT I O N
Contents Part A 4-5
IA0 NTRODUCTION
6-9
A1 DESIGN FUTURING
10 - 13
A2 DESIGN COMPUTATION
14 - 17
A3 COMPOSITION / GENERATION
18
A4 CONCLUSION
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A5 LEARNING OUTCOMES
20 - 21
A6 APPENDIX - ALGORITHMIC SKETCHES
22 -23
REFERNCE LIST - IMAGE LIST
Part B 26 - 27
B1 RESEARCH FIELD
28 - 31
B2 CASE STUDY 1.0
32 - 37
B3 CASE STUDY 2.0
38 - 43
B4 TECHNIQUE: DEVELOPMENT
44 - 45
B5 TECHNIQUE: PROTOTYPES
46 - 51
B6 TECHNIQUE: PROPOSAL
52 - 53
B7 LEARNING OBJECTIVE
54 - 55
B8 APPENDIX
56 - 57
REFERENCE LIST - IMAGE LIST
A0 INTRODUCTION
About Me My name is Melissa and I am a third year student at the University of Melbourne. I am currently studying the Bachelor of Environments degree, majoring in Architecture. I enjoy spending time with my family and friends and believe that these moments I share with my loved ones make life worth it. I enjoy swimming and playing the flute and I hope to travel as many places as I can, to experience the diverse cultures the world has to offer. I was always confused as to what I wanted to study; however, I always knew it was related to construction or architecture. The Bachelor of Environments provided me with the chance to explore both fields in first year, before selecting my major. I undertook various construction subjects along with studio subjects and developed a greater interest in this field. I always viewed both industries as a separate unit. Although, my lecturer in first year said, “there is no architecture industry, there is a building industry�. I questioned this idea and I now see how these two professions compliment one another and must be considered simultaneously rather than two separate entities.
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My existing knowledge in digital architecture in relation to computational design and modelling is limited. I am excited to experience this subject to take part in learning practices that go through computational iterations of design. This is a new way of thinking and I am looking forward to experiencing an area that will broaden my skill and knowledge in design.
About Me Over the pass few years I feel that I enjoy designing spaces with functionality as the underlying purpose. Design has the power to control the mood and alter the experience one goes through in a given space. Understanding how people interact in spaces and designing areas that work well is important. Working with a brief and resolving designs, is in fact a stimulating process. During my time at university, I have been required to develop a range of skills in a short period of time, which has been particularly challenging. I have developed some skills in software’s, such as AutoCAD, Google Sketch Up and a few programs in the Adobe Suite. Although, I have never used Rhino or Grasshopper and frankly this makes me nervous about Studio Air. I am yet to perfect my computer aided skills and am looking forward to learning a new set of skills and design.
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A 1 D E S I G N F U T U R I N G
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Our current architectural practice is shifting towards a futuring concept. It is a concept, which aims to increase time for human existence by negating systems, and actions that take this time away. A formal approach to this can be through understanding what is required to head towards a futuring design practice. Sustainability plays a large role in this component of design as it has the ability to improve environmental conditions through improved designs. The natural world ‘cannot sustain us’ as we have become ‘too dependent on this artificial world’ [1] . To overcome this issue, it can be argued that the way we design should shift towards a future where the traditional approaches to design are re-focused on become an agency of sustainability. This can be achieved and has been undertaken by many designers through the process of integrating human systems with natural systems so both entities work as a unified whole. In doing this, architectural design should redirect its knowledge towards an area that will assist in designing a more efficient future.
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OLYMPIC SCULPTURE PARK WEISS / MANFREDI
of the city, and using the continuous Z-shaped landscape with tilted planes to create a new urban edge, which offers an area for future users and practices. This design responds well to its context and successfully integrates several functionalities in a unified manner.
The Olympic Sculpture Park, located in Seattle was a winner of an international design competition, and is a principal form in Seattle’s urban setting. The design was proposed as a new ideal for an urban environment, located on an industrial site at the water’s edge. The design creates a continuous constructed landscape, forming a Z-shaped “green” platform that connects the urban environment with the natural system of the waterfront [2] .
Whether you have an industrial space or a residential site, there are several ways to use existing lands. This particular project restores the land with a public resource that flawlessly mergers the built environment with the well maintained natural world. It demonstrates the mutual respect and complimentary nature of both the urban and natural world, creating psychological nourishment in the form of art and natural views [6]. Manfredi believed that this project can take the form of ‘recovering the illness’ [7], as envisioned design can work towards understanding the broader context of design.
The collaboration of the built and natural environment is one that is incorporated in many design concepts, and is an aspect of design that is changing the way design integrates human and natural system. This particular project successfully demonstrates the relationship between both of these worlds. Sustainable landforms are designed with relations between art and the city, the city and nature, and organic and inorganic forms [3]. This theme allows the design to develop its form from its surrounding landscape fabric, creating a subtle yet empowering landscape. Tony Fry says, ‘forget design as a territory and practice that can be laid claim to … and start talking to other people, other disciplines; broaden your gaze’ [4] . This is evident in this design, as several industry leaders have joined to ‘suggest a more materially grounded objective and agency’ [5].
Throughout the park, landforms and plantings collaborate to direct, collect, and cleanse storm water as it moves through the site before being discharged into Elliott Bay. As a ‘landscape for art’, the park defines a new experience for modern art outside the museum. The deliberate unrestricted layout, invites new understandings of art and environmental engagement, reconnecting the ruptured relationships of art, landscape, and urban life.
It transforms the city scope by capturing the energy
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THE WATER CUBE PTW ARCHITECTS
The winning design of an international competition, the Water Cube, is a well-resolved project developed by PWT Architects, with the assistance of China State Construction Design (CCDI), CSCEC and ARUP [8]. The structure was founded using lightweight construction and derived from the arrangement of bubbles in the state of aggregation found in foam. The use of technology and materials create a remarkable, energy-efficient, and ecologically friendly building. Theoretically, the overall box like form are cut out of an unconstrained cluster of foam bubbles, which denotes a condition of nature that is altered into a condition of culture.
tive’ and ‘dream new dreams’ [12]. Based on the unique geometry of bubbles, the repetition of shape is set out in an organic and random manner. The building is a simple regular form, with very complex geometry in the façade, which is visually appealing. It can be viewed as an imaginative thinking process and can be the means of developing and influencing a journey into the possible future of design thinking. 7
This thinking process evidently highlights the idea of speculative design as the designers of the Water Cube ‘redefine our relationship with reality’ [9]. Desires and dreams are redirected towards a more speculative and critical design practice that focuses on a sustainable design future. The highly sustainable arrangement uses translucent ETFE (ethyl tetra fluoro ethylene), which is a strong, recyclable material, weighing only one percent of an equivalent sized glass panel [10]. The bubble cladding allows more natural light to travel through the façade compared to glass, with improved insulation capability that is more resistant to the weathering. It was aimed to act as a greenhouse, allowing natural daylight into the building, making use of the sun to passively heat the structure and pool water [11]. Anthony Dunne says that, ‘one is to design as a means of speculating how things could be specula-
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A 2 D E S I G N CO M P U TAT I O N
Design computation has formed a new approach to thinking about the design practice. It allows for a variety of new design ideas and solutions, which can assist, designer to produce unique work, by computing algorithmic codes. This approach is discussed as an aspect of architecture that forces design to become a way of thinking about architectural generation with the use of algorithmic coding [13]. Parametric modelling has allowed for this new design system as technology provides designers with the opportunity to integrate software’s into the design process. This style of thinking about architecture enforces designers to think about materially and therefore constructability of the structure. Understating materiality is a component of this paradigm between architecture and construction. This new form of practicing architecture forces us to question what the future of architecture will be. This has developed a new world of forming well resolved and complex forms, and is yet to provide enhanced designs in the years to come.
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SHEZHAN BAO’AN INTERNATIONAL AIRPORT MASSIMILIANO FUKSAS / KNIPPERS HELBIG
Computation is a driving energy across many disciplines and the benefits of computer systems have made computer programming relevant to a wide range of professions, including the field of design [14]. It offers a scope of diverse ideas and new techniques to solve problems.
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The Shezhan Bao’an airport design was an outcome of an international competition in 2008. Massimiliano Fuksas and Knippers Helbig, developed a honey-comb like terminal structure, allowing natural light to seep through the 25,000 openings across the double-skin facade, which is supported by a system of slender [15]. The first stage of design development used clay models by Fuksas, which was then implemented in Rhino 3D [16]. Following on, Helbig commenced the discretization of the surfaces with the use of parametric software tools. The openings and directions of the glass were proportionate to each other as were the daylight and energy input. Developing the geometric design required the structural arrangement of the steel composition along with the coordinates of all facade components. The use of computational programs allowed for easier iterative optimization of the façade design in a shorter period of time [17]. This evidently highlights the advantages of engaging in computational design practices, as the total time of the traditional design process can be greatly reduced, improving time efficiency. This parametric design is a ‘new form of logic of digital thinking’ [18]. Rather than producing specific design representations, the designer uses a set of r`ules that define a system capable of producing many outcomes. Computerization enriches our ability to challenge organic forms and the future of design and construction is the improved ability to construct buildings, which employ challenging geometries and forms.
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EXPANDABLE SURFACE PAVILLION PABLO ESTEBAN ZAMORANO / NACHO MARTI / JACOB BEK
Material-based design computation is established and anticipated as a form of computational strategies accompanying the collaboration of form, material and structure. This is achieved by integrating physical form-finding strategies with digital analysis and fabrication. Integrating materiality and technology within the driving force of computer and architecture, digital variety is further developed. In the world of computational design, materiality defines shape. This approach to design conveys that materiality effects structural and overall form. This can be seen across many research based material computation designs and built forms, which envision a new way of thinking about architecture and its form [19]. Architects Pablo Zamorano and Jacob Bek, and designer Nacho Marti coordinated a research project, demonstrating a new experiment in testing the limitations of an efficient, and sustainable construction method of a natural sheet of material. The design took the form of an exhibition and meeting room pavilion, whilst examining the multifaceted geometries created by simple patterns cut into a material sheet.
like Rhino, Grasshopper and VB Script were collaboratively used to produce a 16m2 design proposal [20]. To understand the built structure of this project, the team explored structural and geometric digital analysis to understand and anticipate the reaction between the material and pattern, finding ways to digitally control material properties. This process was then studied and revised by findings resulted from structural analysis. Nerri Oxman states, ‘material is not considered as a subordinate attribute of form, but rather as its progenitor’ [21]. Thus, understanding the material properties resulted in a successful research project. Design computation is related to designing for material efficiently, reduced construction waste, and low energy means of fabrication, transportation and assembly. In rethinking contemporary modes of construction, this proposal aims to achieve zero material waste. Less than two percent waste is produced during fabrication. The logical and geometric design is implanted in the material directly, without an additional support system.
One of the largest inefficiencies in building systems is the lack of integration between building elements. The Expandable Surface System looks to integrate all elements into one – structure, facade and shading while developing a sustainable mode of fabrication. Software’s
This project can cess of design vilion questions a unified and
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be viewed an innovative proand construction, as the pamodern practices focus on sustainable building process.
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A 3 CO M P O S I T I O N / G E N E R AT I O N
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With the development of technology there has been a shift from composition to generation in the regime of architectural practice and literature. Computerization can be referred to a ‘drafting board … to increase the precision of drawings’ while computation refers to the ‘ability to deal with highly complex situations’ [22]. Peters further distinguishes these two components, as does Kostas Terzidis. Personally, I would support this mentality; though I would defend it by stating that computerization forms the basis of this new computational design practice. The necessity of understanding drawings and computers should assist in the era of computation as a process of information communicated through the use of a tool, which is then expressed as an algorithm. Even though it may appear that design has shifted towards algorithmic thinking, understanding this idea of computerization can potentially assist designers enhance their ability to comprehend this new approach. It is fair to state that computation does in fact allow designers to explore new ideas and solve more complex designs, and is evident in many buildings across the world. Algorithms form part of computational designs as it acts as ‘a set of rules or operations’, which define a structure and allows a new thinking process; algorithmic thinking [23]. This thinking process can be defined as ‘a means of taking on a interpretive role to understand the results of generating code, knowing how to modify the code to explore new options, and speculations on further design potentials’ [24]. The algorithmic thinking has allowed for conceptual changes, as it provides designers with the ability to explore simple geometries to form complex structures. Computing and coding has assisted and continues to assist many architects in using computations and parametric modelling to enhance building performance. Given that design futuring is a concept of importance for the sustainability of our world, this element allows for the experimentation of building performance to improve efficiency.
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THE SAHMRI WOODS BAGOT
The computational process is redefining the structure of architectural practice as it moves towards a more generative process. With the assistance of software modelling programs, architecture is introducing the idea of algorithmic thinking. The South Australian Health and Medical Research Institute (SAHMRI) uses triangulated and textured façade, which represent the collaboration of art, science and innovation. The façade is made of 15,000 triangulated steel frames, which are arranged in a diagonal grid format. Environmental consideration has been thought, using the basic of passive design ideas to control direct daylight. The overall design aims to maximise the natural lighting whilst reducing the glare and energy use with the triangulated system of sunshades [25]. The triangular panels, made of glass, steel mesh and aluminum, are connected at metal points that form an architecturally appealing facade design that integrates the angle of sun exposure. This project was designed to deal with the environment
and to achieve such a successful outcome, parametric modeling process was employed with the aid of rhino and grasshopper to form a point of stability between architectural form and function. This use of software’s assisted the design process as more accurate and algorithmic thinking was employed. To begin with, around 300 variation of this triangulated shape was formed across the whole faced. However, parametric modeling assisted in reducing this to only 20 variations [26], leading to a more efficient assembly. This evidently highlights the benefits of interacting with software’s, which require algorithmic thinking to move towards this generative approach to architectural literature. The use of parametric modeling assisted in testing various layouts before production, to ensure that the system of triangular panels work effectively to achieve an energy and environmental design. The outcome was successful and the design received a gold LEED (Leadership inn Energy and Environmental design) rating [27].
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KHAN SHATYR ENTERTAINMENT CENTRE FOSTER AND PARTNERS
One of the worlds tallest tensile structure were produced by Foster and Partners with an envelope of 3 layers, offering shelter to the extreme climates of Kazakhastan [28]. This location is a civic, cultural and social venue where a variety of activities take place across the year. The sheltered design is formed using a generative design approach with the aim to provide a comfortable atmosphere for users. The tent like structure is derived with the use of parametric designing tools to generate several forms. The computer-generated designs where tested against a written computer program to mimic the structural forces, leading to the use of a cable structure with an ETFE (ethylene tetrafluoroethylene) dome. Peters discusses this new era of algorithmic thinking as architects shift away from using software’s ‘to one where they create software’s’ [29] and is obvious in the design process as computer programs were ‘written’ to assist the overall structure. The computational works of this project were a form of algorithmic thought and modelling. Several complex forms were created and tested with the use of prototyping machinery as a design tool. This idea that ‘computational designers…generate and explore architectural spaces and concepts’ [30] is evident in this particular project as 3D models are formed along with the creation of design tools to assist in the design process [31]. This prototyping step allowed for designers to further enhance their understanding parameters of the architectural design. This process implements the computational component of the architectural practice into the whole design process allowing for improved integration and collaboration of the project.
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A3 C ONCLUSION
We live in a dynamic world with changes occurring in our technological, social and cultural systems. Architecture is part of this changing world, which affects our future more than people realise. It is a discipline, which has the ability to ‘construct’ or ‘deconstruct’ our future. As our world is changing, it too must adapt to this shift towards design futuring. For this shift to occur, education should be constructed in a way to implement this thinking process as part of a new way of living and thinking. Design practices and design thinking should move towards a futuritive approach, which encounters with the many possibilities of computational design. The world of computerization is one that is changing and it must not be seen purely as a components of design but rather a tool that designers can use as part of this new approach to design to explore new ideas. My intended design approach is to link the natural and human systems together to ensure that the design fits within its context. By using algorithmic thinking practices, I am hoping to find a system, which will benefit all users of the site and contribute to this idea of designing for a sustainable future. Designs have a tendency of focusing purely on appearance
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and disregard such a vital components in today society; that is sustainability. In terms of architecture and construction, there should be an interdisciplinary thinking approach that will enhance efficiency of the whole design process as each of the components of design work together. Embodied energy can be an element to consider in terms of reducing the amount of energy required to build a given design, and further contribute to this idea of design futuring. Algorithmic thinking and computational design in essence can assist with this idea as materiality should be considered and assist designers to compute competent designs. I personally like this new thinking approach to the architectural practice in term of designing for a sustainable future. Design futuring, design computation and generation/composition are linked in one-way or another. They all form part of this new practise as parametric modelling and algorithmic thinking can assist in producing computational designs with complex geometries that allow designers in exploring new paradigms and design options that will form an interconnectedness with nature.
A4 LEARNING OUTCOMES
Before beginning tutorials, I was unsure about what to expect, and somewhat nervous from the workload. The workload is definitely much more than I expected, however, in terms of content, I enjoyed learning about the different topics covered in Part A. I never thought about this idea of design futuring or computation. I knew of these ideas but didn’t look deep into the theory. Studying these ideas has broadened my perspective of what architecture should be and what is shouldn’t. The main aspect I enjoyed was the idea presented by Tony Fry about design futuring. Like Fry, I agree that we must further integrate sustainability into our course structure, as it is an issue that is affecting our future, and it is in our power to control the way in which we design. We must all understand that “nature alone is not enough to sustain us” [32] and look at ways to sustain our future.
ability to shift my design practice and style in ways that will contribute to design futuring. I feel that parametric modelling acts as a tool for designers to explore numerous design options and assist in the transition of traditional design to generative design practices to achieve more sophisticated outcomes. Throughout Part A, I have already learnt a lot about computing and algorithmic designs, and in terms of my past work, I think by understating how rhino and grasshopper works, I would have had the chance to explore various forms, resolve my designs more proficiently and experiment with design solutions that will increase design efficiency.
Learning about architectural computing was and still is a challenge for me. I have never been exposed to algorithmic design practices and I am currently in the process of learning both rhino and grasshopper whilst producing my work. However, I don’t see it as a burden as such, but rather a process of developing my skills in computations to enhance my
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A5 APPENDIX ALGORITHMIC SKETCHES
This algorithmic sketch was a basic, yet frustrating process to go through. This outcome was achieved with the use of components such as Pop3D, Voronoi3D and offsetting. I encountered many struggles, as the offsetting values would not read the commands. This outcome, reminds me of The Water Cube design produced by PTW architects. This tool can be a process used to explore different ideas and shapes. By adjusting the number slider of the Pop3D component, this should be able to increase the repetitive shapes.
This rigid form was produced through the triangulation component of grasshopper, which was then edited in rhino. It is a similar process as the algorithmic sketch above. However, this was an easier way to produce abstract looking forms. By taking part of this algorithmic exercise, I began to gain an undersigning of how designers actually produce complex forms. Whilst deconstructing the overall form, it was easier to see the relation between some buildings.
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Complex forms are easily created with the use of computer software’s. This was produced through the exploration of grid shells with the use of the geodesic and shift list command to alter line directions. It is hard to make out what it is, however, with further algorithmic thinking and exploration; a clear design can be reached. Grid shell designs are becoming a well-explored design field and by taking part of this exercise, I can begin to understand the thinking process.
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REFERENCE LIST
[1] Fry, Tony, Design Futuring: Sustainability, Ethics and New Practice (USA: Oxford Berg, 2009), p. pp. 1 -16. [2] Weiss and Manfredi, Seattle Art Museum: Olympic Sculpture Park (2014) < http://www.weissmanfredi.com/project/seattle-art-museum-olympic-sculpture-park> [accessed 10 March 2015]. [3] Huber, Nicole, ‘Olympic Culpture Park’, Places, 20.3, (2008), pp.6 – 11. [4] [5] Fry, Tony, Design Futuring: Sustainability, Ethics and New Practice (USA: Oxford Berg, 2009), p. pp. 1 -16. [6] Levit, Julia, ‘Seattle to the Wrold: Olympic Sculpture Park’, World Chanigng Seattle, (2008), in < http://www.worldchanging.com/ local/seattle/archives/008741.html> [accessed 10 March 2015]. [7] Huber, Nicole, ‘Olympic Culpture Park’, Places, 20.3, (2008), pp.6 – 11. [8] Arc Space, Water Cube: PTW (2013) <http://www.arcspace.com/features/ptw/watercube/> [accessed 10 March 2015]. [9] Duner, Anthony and Raby, Fiona, Speculative Everything: Design, Fiction, and Social Dreaming (The MIT Press, 2013), pp. 1 - 45. [10] [11] McManus, David, Water Cube Beijing (2015) <http://www.e-architect.co.uk/beijing/watercube-beijing> [accessed 10 March 2015]. [12] Duner, Anthony and Raby, Fiona, Speculative Everything: Design, Fiction, and Social Dreaming (The MIT Press, 2013), pp. 1 45. [13] Oxman, Rivka and Oxman, Robert, Theories of the Digital in Architecture (London: New York Routledge, 2014), p. 1 - 8. [14] Jacobs, Jennifer, Algorithmic Craft: the Synthesis of Computational Design, Design Fabrication, and Hand Craft (United States: Massachusetts Institute of Technology, 2013), p. 1 - 131. [15] [16] [17] Welch, AJ, Shenzhen Bao’an International Arport (2015) <http://www.e-architect.co.uk/hong-kong/shenzhen-airport> [accessed 12 March 2015]. [18] [19] Oxman, Rivka and Oxman, Robert, Theories of the Digital in Architecture (London: New York Routledge, 2014), p. 1 - 8. [20] Singhal, Sumit , Expandable Surface Pavilion in Cologne, Germany by Pablo Esteban Zamorano (2011) <http://www10.aeccafe. com/blogs/arch-showcase/2011/11/29/expandable-surface-pavilion-in-cologne-germany-by-pablo-esteban-zamorano/> [accessed 14 March 2015]. [21] Oxman, Rivka and Oxman, Robert, Theories of the Digital in Architecture (London: New York Routledge, 2014), p. 1 - 8. [22] [23] [24] Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 0815 [25] [26] [27] Keller, Candice, ‘15,000 Pieces to the SAHMRI Puzzle’, Architecture and Design, (2015), in <http://www.architectureanddesign.com.au/news/there-are-15-000-pieces-to-the-puzzle-that-makes-s> [accessed 16 March 2015]. [28] DeZeen, The Khan Shatyr Entertainment Centre (2010) <http://www.dezeen.com/2010/07/06/the-khan-shatyr-entertainment[29] [30] [31] Peters, Brady, The Khan Shatyr Entertainment Centre <http://www.bradypeters.com/khan-shatyr-centre.html> [accessed 17 March 2015]. [32] Fry, Tony, Design Futuring: Sustainability, Ethics and New Practice (USA: Oxford Berg, 2009), p. pp. 1 -16.
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IMAGES LIST
1 Personal Photograph - Self Image
2 Personal Photograph - From Studio Water in 2013 3 Personal Photograph - From Studio Water in 2013 4 Wiess/Manfredi, ‘Olympic Sculpture Park’, <http://www.weissmanfredi.com> [accessed 18 March 2015] 5 Wiess/Manfredi, ‘Olympic Sculpture Park’, <http://www.weissmanfredi.com> [accessed 18 March 2015] 6 Wiess/Manfredi, ‘Olympic Sculpture Park’, <http://www.weissmanfredi.com> [accessed 18 March 2015] 7 Shou Ruogu Architects Photograph, ‘The Water Cube’, <http://www.e-architect.co.uk/beijing/watercube-beijing> [accessed 18 March 2015] 8 PTW Photographs, ‘The Water Cube’, <http://www.e-architect.co.uk/beijing/watercube-beijing > [accessed 18 March 2015] 9 Knippers Helbig, ‘Shezhan Bao’an International Airport’, <http://www.e-architect.co.uk/hong-kong/shenzhen-airport> [accessed 18 March 2015] 10 F. Colarossi, ‘Shezhan Bao’an International Airport’, <http://www.e-architect.co.uk/hong-kong/shenzhen-airport> [accessed 18 March 2015] 11 F. Colarossi, ‘Shezhan Bao’an International Airport’, <http://www.e-architect.co.uk/hong-kong/shenzhen-airport> [accessed 18 March 2015] 12 Courtesy of Pablo Exteban Samorano, ‘Expandable Surface Pavilion’ <http://www.archdaily.com/186069/expandable-surface-pavilion-pablo-esteban-zamorano/> [accessed 18 March 2015] 13 Courtesy of Pablo Exteban Samorano, ‘Expandable Surface Pavilion’ <http://www.archdaily.com/186069/expandable-surface-pavilion-pablo-esteban-zamorano/> [accessed 18 March 2015] 14 Candice Keller, ‘The Sahmri’, < http://www.architectureanddesign.com.au/news/there-are-15-000-pieces-to-thepuzzle-that-makes-s> [accessed 18 March 2015] 15 Candice Keller, ‘The Sahmri’, < http://www.architectureanddesign.com.au/news/there-are-15-000-pieces-to-thepuzzle-that-makes-s> [accessed 18 March 2015] 16 DeZeen, ‘The Khan Satyr Entertainment Centre’,<http://www.dezeen.com/2010/07/06/the-khan-shatyr-entertainment-centre-by-foster-partners/> [accessed 18 March 2015] 17 DeZeen, ‘The Khan Satyr Entertainment Centre’,<http://www.dezeen.com/2010/07/06/the-khan-shatyr-entertainment-centre-by-foster-partners/> [accessed 18 March 2015]
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PA R T B
CRITERIA DESIGN
B1 RESEARCH FIELD
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TESSELLATION - VOLTADOM Tessellation can be referred to as a process that creates interesting surfaces. A flat surface can be developed though tessellation with the use of geometric shapes that are repeated over a surface. The repetitive element of tessellated surfaces form patterns usually with with tile arrangements, although through advanced technology, other methods of producing tessellated surfaces have developed. The VoltDom is an installation that utilizes this idea of repetitive patterning to form a tessellated structure. It was created for the MITâ&#x20AC;&#x2122;s 150th Anniversary Celebration and FAST Arts Festival and is positioned in the concrete and glass hallway of building 56 & 66 on the MITâ&#x20AC;&#x2122;s Campus. Undertaking several research and experimentations of the sculpture, the final form was obtained [1]. It was designed by the research practice SJET, which was founded by Skylar Tibbits, the designer of the VoltaDom. Computational design is an approach to architecture that has been developing with the assistance of technology. It is assisting many designs by allowing for improved efficiency in testing materiality, form, and structure as well as enhancing architectural aesthetics. Tessellation, being a form of patterning assists designers to form computational designs with ease, due to the advancement in technology and programming like Rhino and Grasshopper, along with several other plugins.
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The VoltaDom aims to reminiscent the historically dominant structural vaulted ceiling in cathedrals [2]. Using this as a basis of design intent, the development and installation of this project has been appreciative towards sculpture and materiality experimentations with the use of digital fabrication. This installment aims to develop the concept of architectural design with the use to tessellation or surface paneling. It experiments with the curvature of the vaulted surface, while focusing on the ease of installment and fabrication methods. The VoltaDom uses digital fabrication to produce this tessellated sculpture using a complex double curved vault produced by rolling of a sheet material [3]. The use of tessellation can be seen as beneficial to projects that aim for a patterned appearance as it allows for a complex structure yet, aesthetically pleasing architectural compositions. This type of design may not suit all design purposes and projects. However, it can be a valuable aspect of computational design to explore interesting forms and patterns. Computational design and parametric modeling provides endless opportunities in terms of increasing efficient research possibilities and improved detailing and design. Although, there are still many limitation including time and money. If the idea of tessellation and the use of technology and digital fabrication are utilized properly, it will lead to successful projects like the Voltadom.
VOLTADOM Skylar Tibbits
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B2 CASE STUDY 1.0 Species 1
Number of seed point on capped dome form
Species 2
Capped cone radius is reduced with seed variations.
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Capped cone radius is enlarged with seed variations.
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Dome form i domain varia
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Using the VoltaDom project to explore tessellation has been interesting to see the overlapping elements that repeat itself over a given geometry. By varying the number of seed, several patterned surfaces have emerged. The base form was altered by using the domain2 container to allowed for different forms of a given cone geometry. The cones sitting on the surface have also been altered to experiment with potential tessellated surfaces. While it was difficult to connect the capped cone surfaces onto a flat or more complex geometry, these iteration have developed techniques by exploring potential design proposal concepts.
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VOLTADOM Skylar Tibbits
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is used with ations of V0/V1
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Semi-dome form with varied number of cones on surface. Cone thicknesses are altered
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Capped cones randomly scattered on a flat surface. Number of cones and capps altered
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Number of cones altered on a planar curved surface.
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6.4
7.4
5.4
5.5
6.5
7.5
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B2 SELECTION CRITERIA Aesthetic Interesting patterns that is aesthetically and architectural appealing. Form Feasible form that allows for the successful integration of tessellation and design concept. Site Responsive The structure should flow within the site and connect with the natural environment. Materiality Aim to incorporate the natural materials on site to from a rigid form with a soft appearance. Floating Structure that can be self supported and is free from traditional structural elements.
This iteration is very similar to that of the VoltaDom project. It uses the same idea with exaggerated cones on the surface to the spherical base. However, the number of cones has been increased so that the cones are more frequent. The cones are arranged in a random pattern that intersects at the base to form a continuous surface with no breaks in between. The overall form of the iteration is interesting on its own, although in terms of respond5.2
ing to the selection criteria, this design technique will fail to be site responsive as it would appear to be a dominating structure within the area. However, further development can enhance the compatibility of the form by using a material that links well at Merri Creek.
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OUTCOMES
This iteration extends further from the VoltaDom project; it uses a steeper spherical form that has the tip of the cone cut off. The idea of capping the cone has been used to on both the base form as well as the coned surface that sit on the original form. The randomly scattered circular components (ie. the capped cones) appear to be disconnected at some point. This will be an area to develop further to ensure the constructability of this idea. The overall configuration is more open and easily defines an area with is curved face. It is successful in achieving an aesthet3.5
ically appealing design and can be site responsive. It also addresses the criteria of having this floating idea as some piece are connected whilst other are not.
This iteration varies the density of the capped cones as the number of cones sitting on the surface has been increased so that there is an overlapping affect, which resolves the issue of constructability. The form clearly defines an inter1.4
nal space, by separating one area with a patterned wall. Cuts have been created on three sides of the dome form to develop the idea of creating a self-supportive structure, which addresses the criteria of having a floating element.
This iteration aims to have cones that sit on a flat surface. The cones are scattered forming a random arrangement of the cone shape. This is not a well resolved form that could be built, however, it is a technique that can be further developed and used within the design proposal to create a structure that is site responsive by using the forms from the surface and place them around the ac6.5
tual structure. These disconnected elements can help achieve the integration criteria by having smaller forms that appear to be the roots of the overall design, which grow from the ground rather than appear in one area of the site.
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B3 CASE STUDY 2.0
4
FABPOD The FabPod project is an installment in the new RMIT Design Hub. It is a design, which utilizes many research fields in acoustic design, architecture, and digital fabrication. It forms an enclosed meeting room space with an open plan-working environment. The design integrates acoustics design elements relating to geometries and materiality. Creating a private area with great acoustic performance using a parametrically design structure was a challenge that has been successfully achieved in the particular project. Several research outcomes of various forms have been tested with ease due to the advantages of using parametric design tools [4]. The research began with a research geometry group by the RMIT Spatial Information Architecture Laboratory (SIAL), which used design elements of the Familia Church by Gaudi. The interior of this church was effective in diffusing sound within the space. The experimentation developed from this idea that hyperbolic surfaces holds sound within the area [5]. Techniques were fine tuned and tested to evaluate reverberation and absorption of how sound work on these surfaces. The FabPod design used this element to create repetitive dome like geometric forms on the surface of the overall design.
32
FABPOD RMIT SIAL
5
33
B3 REVERSE ENGINEER STEP 1 STEP 2 SKIN 1
SKIN 2
STEP 3 STEP 4 STEP 5
STEP 6
34
FABPOD RMIT SIAL
Step 1 Use a point that forms the center of the overall form. Creating the sphere at this point and subsurface it. Add a domain so that the overall form reduces to a dome.
Step 2 Create a voronoi pattern on the surface of the dome structure. Then, you must create two separate skins, which sits around the dome form. Achieve this by creating vector lines that extend from the central point of the dome. Each line should be set at a different length in order to create the two separate skins around the base form.
Step 3 Create cones between the two skins. Arrange the cone radius and height so that it is proportional to the base form. T prep frame component is used to frame these cones within the defined area.
Step 4 Create circles on the outer skin which will then create a circle on the cones previously create. Add a capping container to create the holes on the cones that sit on the surface of the dome.
Step 5 From step 2 â&#x20AC;&#x201C; creating the voronoi pattern, you must create a frame element that sits around the voronoi pattern. Again, create vector line work that extends from the central point. Set the dimension of the frame width.
Step 6 Final combination of the frames and the capped cone surface
35
B3 REVERSE ENGINEER
REVERSE ENGINEERED FABPOD
ORIGINAL FABPOD 6
36
OUTCOMES
The main purpose of reverse engineering the FabPod project is to create a form that has several capped cones that sit on the surface. FabPod takes a unique form of separate curved surfaces, which intersect to create an enclosed meeting space. The reverse engineered file was not successful in replicating the exact unique form of the original FabPod. Instead of using separate curved surfaces as the base form, half of one sphere surface was used. However, the capped cones that sit on the surface have been successful as they mimic the tessellated pattern of the overall form. The advantages of using the algorithmic designs in developing the FabPod can be linked to design potential accuracy and efficiency. The script works in a controlled environment with the use on containers and sliders to adjust overall forms, shapes, and patterns. Once the script is complete, it is easier to experiment with variations of the original file. The framing lengths can be adjusted and the cone dimensions as well as the holes created on the cones. The unique form was not difficult to produce; however obtaining the capped cones on each individual surface was a struggle. Continuous errors occurred with linked the unique forms brep component with the coned surface.
37
B4 TECHNIQUE:
Species 1
Using the FabPod reverse engineered file to alter seed values and seperating the frame structure. 1.1
1.2
1.3
2.1
2.2
2.3
3.1
3.2
3.3
4.1
4.2
4.3
Species 2
The V0 and V1 sliders on the domain container are altered to change the spherical form. Framing component is piped with varying pipe thicknesses.
Species 3
The spherical form uses the hexagonal panelling component of lunchbox. Pipe thicknesses are also altered to creat more dense structures.
Species 4
The diamond panneling component is used. the U and V values are adjusted tp create more intricate details.
38
DEVELOPMENT Matrix
1.4
1.5
1.6
1.7
1.8
2.4
2.5
2.6
2.7
2.8
3.4
3.5
3.6
3.7
3.8
4.4
4.5
4.6
4.7
4.8
39
B4 TECHNIQUE:
Species 5
The triangular pannel is added to a form that extends from the ground. Pipe thickneses create more bold structures.
5.1
5.2
5.3
6.1
6.2
6.3
Species 6
A gridshell structure was the basis of this form. Basic panneling elements are used with varrying U and V values.
Species 7
The hexangonal panel used on a unique form which appears to be floating from some angles and more flat on other sides.
7.1
40
7.2
7.3
DEVELOPMENT Matrix
5.4
5.5
5.6
5.7
5.8
6.4
6.5
6.6
6.7
6.8
7.4
7.5
7.6
7.7
7.8
41
B4 TECHNIQUE DEVELOPMENT Te
1.7
42
2.3
This iteration looks at the framing structure
This iteration uses the surface of the reverse en-
of the FabPod reverse engineered file. The
gineered FabPod project with the capped cones.
frames are separated from the overall form to
However, it does not include the framing ele-
create a more open and less dense structure.
ments. This particular form creates a more con-
The repetitive surface creates a visually ap-
tinuous surface rather than having a contrast
pealing form that allows for a communal area.
between softer surfaces and the rigid frames.
The sphere is a great organic shape that cre-
This iteration is successful in achieving an ar-
ates a well-defined space. The rigid geometric
chitecturally appealing design. However, it does
frames are in contrast with the overall form.
not respond extremely well to the criteria that
Altering
hav-
aim to achieve a floating element. It appears to
ing some area with less frequent frames
be self supported, although further develop-
can
ment should be explored to resolve this criteria.
the
further
frame
thickness
develop
this
and
technique.
OUTCOMES
4.3
7.7 A completely different form is used in this it-
A unique form is also tested to experiment
eration. This tessellated surface with repetitive
with a patterned surface. A hexagonal pan-
diamond elements, form a free flowing struc-
el is utilized, with a low number of U and V
ture. This addresses the criteria that require
values, creating larger spaces between the
the design proposal to explore the potential
frames. This form appears to be more geomet-
of different forms in order to create this float-
ric with sharp edges that could be developed
ing sensation. If this idea is to be further de-
in order to achieve a more organic form. This
veloped, it can achieve a more successful out-
iteration is a potential design technique, al-
come by integrating its natural, free flowing
though, further development is required in
form with the contour of the site. The spaces
order to successfully address the floating cri-
that are provided between the overall forms,
teria. Currently, it appears too rigid and may
can allow for plantation growth through the
not effectively sit well within its site context.
structure to demise that clear distinction between the built and natural environment.
43
B5 TECHNIQUE:
This prototype explores the design
This prototype is a more rigid frame,
This is a replica of the balsa wood
potential of the voronoi cells that is
as balsa wood has been used to create
frame
used to create the frame elements
a stronger form. It meets the design
capped cone elements are used
on the FabPod script. Iterations have
criteria of being self-supportive, while
within the framing elements to
also been explored by using flat
also creating a repetitive pattern.
create a more enclosed structure.
prototype,
however,
the
frames and piped frames. This flat
This idea was explored using ivory
frame has been prototyped to ex-
card, which was laser cut, howev-
plore the design potential in terms
er, the connections to the frames
of materiality. This particular model
were not successful. They were too
is on ivory card that has been la-
small for the frames. When the sur-
ser cut. It has etched edges on one
face was unrolled to be set up for
joined frame that if folded. It is not
digital fabrication, there were ac-
an ideal material as it is too loose
curacy issues. This infill area must
and does not stand on its own.
be a tensile material in order to create the dome like curvature.
44
PROTOTYPES
Here, the voronoi pattern with the capped cones have been digitally fabricated by using laser cutting techniques to individually produce the voronoi surfaces. The pattern was printed on a flat surface, which required slits to exist on parts of the surface to ensure the curved surface can be achieved. Tabs should be used to connect each section. However, details that are more complex can exist to create a cleaner finish. This surface was achieved easily on a thin material that is flexible, as it provides more room for bending. A thicker boxboard or balsa wood is not viable.
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B
6
T E C H N I Q U E : P RO P O SA L
Site: Merri Creek Communal Space
SITE ANALYSIS
7 The main users of the site are those who take part in physical activities, like cycling or jogging. However, humans are not the only users of the site. Several fauna types exist at Merri Creek. Animals like the yellow-rumped thronbill and the bluewrens have particular habitat requirements and fact many threats with the changing environment.
8
9 The image depicts the idea of floatation, as the tree grows naturally out of the hill along the side of the pathway. This represents the dominant natural elements of free flowing greenery around the site. 10 This site has a lot of historical reference as the Wurundjeri people used the site their homeland and particularly set base the Dights Falls. This location has increased in cultural importance as it was used as a main meeting location. On a plaque near Dights Falls, it mentions the traditional meetings that occasionally occur.
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11
PRECEDENTS
12
The Living Pavilion Project is a sustainable design outcome that has been developed by Ann Ha and Behrang Behin. It is a low tech; low impact fitting that uses milk cartons to create a framework that allows plants to be built over the surface [6]. The surface has a particular plant that allows for shading as well as a cooler environment under the structure due to the evaporation of the plants that sit on the surface [7]. This is an interesting idea that has links to my potential design outcome. The free flowing form along with the green wall is common to my conceptual idea. This can be linked to the idea that creating areas on the surface of the structure to provide additional habitation for endangered species on site.
49
CONCEPT Design Proposal: The Merri creek is an environmental, heritage, and recreation passage, which attracts many users to the site. Whilst on site, it is evident that there is a clear distinction between the built and natural environment. The large retaining wall separates Merri Creek from the apartments and is contrasted against the vibrant greenery. Integrating the parametric design to ensure that it is site responsive should resole this issue. The historical importance of the site is related to the Wurundjeri people that used the site as a basis for their meetings. Community was a strong value to the Wurundjeri people. Dights falls is also of great importance and is the main meeting location. A plaque along the Creek mentioned that the Wurundjeri people hold occasional gatherings at Merri Creek. This is an interesting idea that seems to be forgotten. The parkland has importance values and a beautiful setting, yet is lacking in providing the best possible uses of the site. These community meetings that are â&#x20AC;&#x2DC;occasionallyâ&#x20AC;&#x2122; held could be from the lack of facilities on site. An open communal meeting space can be created with the use of parametric modeling to design a pavilion like structure that allows for all users to interact further with the site rather than act as bypasses. Users are not only humans. Various fauna exist on site and some are even threatened species due to variations occurring in the natural environment. This parametric model can use a tessellated surface to allow plants to naturally grow through the design and allow for the integration of both the natural and built environments. The tessellated surfaces can also incorporate solid section that provides nesting opportunities for the existing fauna. Overall, the final outcomes should be a free flowing and self supportive structure, which responds well to the site whilst also providing for all types of users; humans, plants and animals.
Design Potential Photomontage
50
SUCCESSFUL ITERATIONS
These iterations have been successful in exploring different forms to produce an aesthetically appealing design. The free flowing element has also been utilized as the structure appears to be self-supportive, which ideally creates this floating sensation.
This lofted surface is the basic form of Species 7 in B4. This is purely a form finding exercise to identify possible design geometries that can work well with the brief. Elevation views have been shown to display the different spaces created from an organic structure.
51
B 7 L E A R N I N G O BJ E C T I V E S & O U TCO M E S
52
For the duration of Part B, I have been required to learn a large amount of skills in compiling all the components required. This studio has been a massive challenge, as I have never been exposed to Rhino, Grasshopper, or digital fabrication. A lot of self-learning has been required to produce the work in this studio. The workload was also larger in comparison to Part A, with a lot of time and dedication required. The
prior
research
from
Part
A
has
allowed
me
to
understand
the
process
of
experimenta-
tion of designs with the assistance of parametric modeling and digital fabrication. If traditional modeling tools were used, the iterations would take much longer. With the use of parametric modeling and the aid of the various components of Grasshopper, like lunch box, several iterations were produced. This allowed the opportunity to explore with a lot more forms and tessellated patterns and geometries. My first encounter with digital fabrication was in this studio for Part B. This was a new process for me, and I believe that it is a useful tool to experiment with different forms and geometries. Some of the geometries formed using grasshopper would be too difficult, if not, impossible to produce by hand. Also, modeling by hand is much more time consuming. Digital fabrication also allowed for an easier method of testing different materials to understand the constructability and scale of models. Using different materials in my fabrication made it easier for me to be selective of which is more feasible and therefore which material is better for the final design proposal. In terms of developing a design proposal, using parametric modeling has allowed the opportunity to have a better understanding of which forms are more successful then others. With the reduced time required to produce 3D models, experimentation has been easier. This has also allowed for the testing of limitations and design potential from using different scripts and grasshopper containers. By using various surfaces, I have been able to explore the design possibilities to create various spaces. Throughout Part B, I believe that I have been able to use parametric modeling to compute various design and experiment with different forms. There has been a massive learning curve from Part A to Part B, as I have been able to put my prior research to practice, in order to gain a better understanding of the process required for computational design.
53
B8 APPENDIX ALGORITHMIC SKETCHES
This was a very interesting and aesthetically pleasing piping technique used during the trials of iterations. However, it was not a feasible design as the constructability of this form can be questioned. Further connection would be required in order to resolve this issue.
Another piping experimentation has failed here. The paneling technique has been used again, although the connections have failed once again. One end of the form is connected with intersecting pipes. Although, the other sides are not structurally viable.
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Spirals were attempted to be made by using grasshopper containers. The point planar element is used and linked with the range container to then use two points, being the start and end, which joins to a nurbs surface.
This was an attempt at adding cones on a unique surface. When the surface was set in grasshopper and the surface was divided, several points where successfully created. However, adding the cones, the points dispersed in an unusual manner.
This image uses the evaluating fields videos in week 5 online tutorials. Graph sections and controllers are used create interesting shapes. The graph mapper is used with the Bezier graph type. Although, this image does not clearly show the form that is created.
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REFERENCE LIST
[1] Sjet, Sjet / VoltaDom (2011) <http://sjet.us/MIT_VOLTADOM.html> [accessed 8 April 2015]. [2] Grozdanic, Lidija, VoltaDom Installation / Skylar Tibbits (2011) <http://www.evolo.us/architecture/voltadom-installation-skylar-tibbits-sjet/> [accessed 8 April 2015]. [3] Grozdanic, Lidija, VoltaDom Installation / Skylar Tibbits (2011) <http://www.evolo.us/architecture/voltadom-installation-skylar-tibbits-sjet/> [accessed 8 April 2015]. [4] SIAL, FabPod / RMIT SIAL (2013) <http://www.sial.rmit.edu.au/portfolio/fabpod-sial/> [accessed 16 April 2015]. [5] SIAL, FabPod / RMIT SIAL (2013) <http://www.sial.rmit.edu.au/portfolio/fabpod-sial/> [accessed 16 April 2015]. [6] Neokentin, Milk Crates Into Green Shelter (2011) <http://www.recyclart.org/2011/03/milk-crates-shelter/> [accessed 26 April 2015] [7] Neokentin, Milk Crates Into Green Shelter (2011) <http://www.recyclart.org/2011/03/milk-crates-shelter/> [accessed 26 April 2015]
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IMAGES LIST
1 Grozdanic, Lidija, VoltaDom Installation / Skylar Tibbits (2011) <http://www.evolo.us/architecture/voltadom-installation-skylar-tibbits-sjet/> [accessed 8 April 2015].
2 Grozdanic, Lidija, VoltaDom Installation / Skylar Tibbits (2011) <http://www.evolo.us/architecture/voltadom-installation-skylar-tibbits-sjet/> [accessed 8 April 2015].
3 Grozdanic, Lidija, VoltaDom Installation / Skylar Tibbits (2011) <http://www.evolo.us/architecture/voltadom-installation-skylar-tibbits-sjet/> [accessed 8 April 2015]. 4 Mokhatar, Arid, Graduate Architecture Portfolio – FabPod <http://www.arifmokhtar.com/fabpod/> [accessed 20 April 2015] 5 Mokhatar, Arid, Graduate Architecture Portfolio – FabPod <http://www.arifmokhtar.com/fabpod/> [accessed 20 April 2015] 6 Mokhatar, Arid, Graduate Architecture Portfolio – FabPod <http://www.arifmokhtar.com/fabpod/> [accessed 20 April 2015] 7 Personal Photograph - 2015 8 Personal Photograph - 2015 9 Personal Photograph - 2015 10 Personal Photograph - 2015 11 Personal Photograph - 2015 12 Neokentin, Milk Crates Into Green Shelter (2011) <http://www.recyclart.org/2011/03/milk-crates-shelter/> [accessed 26 April 2015]
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