Michael Southern // Architecture Portfolio

MICHAEL SOUTHERN USYD: 460220640 / NCL: 110127381

15 16 SEMESTER 2

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ARCHITECTURE PORTFOLIO MArch Stage 5 University of Sydney

DIGITAL ARCHITECTURE

ADVANCED TECHNOLOGY 2D PRINT PROCESSES

ARCHITECTURE PORTFOLIO MICHAEL SOUTHERN 460220640 / 110127381 MARC4003 University of Sydney Semester 2 2016/2017

- CONTENT ARCHITECTURE 01 DIGITAL RESEARCH STUDIO

03 17

Rule Based Design

37 67

Occupation

Digital Fabrication

Construction

75 ADVANCED TECHNOLOGY 1 77 2D PRINT PROCESSES IN DESIGN

- MARC 4003 -

Digital Architecture Research Studio ‘[This] studio explores theories, media and techniques that involve analogue and digital mediation to create engaging architectural designs in their relationship with the surrounding context. The studio addresses various issues of computational design theories, digital media, digital design techniques, and other factors influencing the development of architectural production using computational tools.

The studio prompts critical reflections on design conventions and creates novel design positions.’ [Extract from project brief] Through studying this module I have developed a new way of approaching the design process. Rather than starting with intensive site studies and going from there this studio has started with one element from the site and then rooted itself in the production of a material and a new way of thinking. In using rule based design we have been encouraged to react to issues of site and environment through our manipulation of rules.

In this case the building we designed is not the final product. This is just an application to prove and consolidate our learning through this semester. The real final product is the design process. The building designed shows that we can apply this new design process that we have learnt. Through this semester along with the new way of designing we have also been taught the tools needed to use these methods in the form of various new software’s such as Grasshopper and Rhino along with the skills needed to perform these tasks manually.

With the final building design for an Australian consulate based in Indonesia I have developed a wide range of skills from designing in an environment so different to any I have worked with before. Precedent has been taken from both Indonesia and Aboriginal Australia providing an opportunity to engage with new cultures from across the world.

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- RULE BASED DESIGN Assessment 1

3

THE LONTARA ALPHABET ‘IN BUGINESE, THIS SCRIPT IS CALLED URUPU SULAPA EPPA WHICH MEANS “FOUR-CORNERED LETTERS”, REFERENCING THE BUGIS-MAKASAR BELIEF OF THE FOUR ELEMENTS THAT SHAPED THE UNIVERSE: FIRE, WATER, AIR, AND EARTH.’

(Extract from Wikipedia)

With the building we were to be designing based in Makasssar, capital city of South Sulawesi, Indonesia we became interested in the Lontara alphabet. This is a script traditionally used for the Bugis, Makassarese, and Mandar languages of Sulawesi in Indonesia.

The script is traditionally written on manuscripts formed from Lontar leafs. It is written left to right with a range of line weights evident.

Having been used in Sulawesi since the 17th century this script gives us a starting shape of which to manipulate for the following tasks that is deeply rooted in the culture of our given site.

[Adjacent page. Consonants of the Lontara Alphabet]

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4

EMBEDDING & SCHEMATIZATION ‘The Embedding and Schematization task provides the fundamentals on the role of seeing, embedding and parameterisation.’ [From Task Brief] For this first task we took our form, of which to manipulate, from the lontatra alphabet as shown on the top left. The four given schemas explored how the shape is altered by selecting different parameters either in moving lines or changing angles.

The result from these varying parameters were then analysed to produce style groups. When not affecting the angles of the starting shape the results still resemble the same styles as the lontara alphabet to an extent, however, when the angles vary the resulting parametric designs deviate substantially from the original meaning and context.

[Adjacent page: Task 1 Embedding and Schematisation, Starting Shape, Schemas and Parametric designs].

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RULE BASED DESIGN / 2D From our first task we realised that we needed to look further into the nature of the lontara alphabet and how the script is constructed. We began to consider the line weights of each symbol and in this task we began to use this to our advantage. ‘Task 2 exercises the rules formulation and ways to control the iterative mechanism according to a certain design language.’ [From Task Brief] Shown on the left are the rules of which were used to manipulate the starting shape in order to produce the given designs. Here you can see no relation to our starting style with a wide range of further shapes embedded into each iteration. In using varying line weights we were able to easily recognise the varying elements.

The generated 2D designs could be looked at in either plan or section creating a series of interesting spaces and connections between elements.

[Adjacent page: Task 2: Rule based design, Starting shape, rules and computation].

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K 3 / PARAMETRIC RULE (3D)

RULE 1 [mirror in x and y axis]

RULE 1 - MIRROR

[Top. Massing Rules; Above: Massing Rule Iterations].

RULE 2 [rotation around a point]

RULE 2 - 3D ROTATION

RULE 3 - ADDITION

RULE 3 [move along z axis]

RULE 4 - MIRROR

RULE 4 [rotation]

RULE BASED DESIGN / 3D This task looked to advance our ability to generate rules and use them through now using a simple 3D shape.

Using a simple shape with an order of symmetry of 1 and no deterministic rules we were able to produce several 3D designs allowing us to begin to consider the spatial relationship of these combinations.

Presented on the left are our design rules with the following pages depicting our generated designs and an example of digital producing random designs. The presented rules look to use a range of the rules taught so far: additive rule, subdivision rule, subtractive rule and substitution rule.

[Adjacent page: Massing rules].

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[Above: Left: Alea gift; Right: Examples of generated designs.]

GIFT / GAME ‘PLAY AND PLAYFULNESS MUST BE UNDERSTOOD AS ESSENTIAL ELEMENTS IN CREATIVITY AS A WHOLE.’ (I. Singer) At this stage of the project we were encouraged to use the idea of ‘play’ as a way of creating order. From analysing the play forms of Allea, Agon, Mimicry and Ilinx we were tasked with producing either a game or a gift from our previous work in order to generate new designs and new ways of interpreting our chosen origin.

Show on the left is our developed allea gift. The term Alea means in this situation to encourage chance incursions. Our rules were in the shape of the game board and the limits of which the vertical elements offer but other than that everything else was left down to chance and how the user interprets the given pieces.

Three users of a range of ages from 14 to over 50 were used to deliver a wide range of interpretations as shown in the video overleaf.

In using this Alea gift we were able to analyse how others use these pieces and we were surprised with how drastically different the results were to how we were interpreting the pieces. In using subjects with little or in the case of the child substantially little knowledge of the built environment we were able to completely remove the architectural view from the design process.

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MASSING SCHEMA Shown on the adjacent page are two massing models that look to utilise what has been learnt form the previous tasks and propose early massings on the given site.

There two schemes both use elements of the generated designs form the allea gift.

The first example taking its whole form from this with the second example taking a generated element and using it as a core to build from.

Here you can see evidence of a feedback loop in how what we have learnt form the game / gift phase being used to generate new design rules.

[Adjacent page: Two generated massing schemes].

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- DIGITAL FABRICATION Assessment 2

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MATERIAL SELECTION When selecting what materials to focus on in during this next phase of design we were keen to address the fact that this building was to be an Australian consulate in Indonesia.

While the use of the Lontara alphabet addresses the relation to Indonesia we were keen to address the relationship between both Indonesia and Australia.

As a result of this we chose to study both fabric and concrete. Fabric, is widely used and manufactures in Indonesia, the image to the left showing some examples of such fabrics. As well the Lontara script is traditionally written on dried lontara, seemingly fabric in their nature.

Concrete was chosen to represent Australia as a more heavy element in contrast to fabric. Aborigines worked a lot with stone, producing stone art as shown on the left. This contrast is hoped to provide an interesting combination of the two cultures.

[Adjacent page: Top left: Lontara alphabet written on dried lontar leaf. Bottom Left: Local fabrics from Sulawesi. Top and Bottom Right: Examples of Aboriginal rock art].

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FERROCEMENT Ferro-cement, originating from France in the 1840’s, is a system of which applies cement over a layer of reinforcement in order to create very thin and strong surfaces.

This system was widely used in the production of boat hulls. This application shows the impressive structural capabilities of the system along with its ability to make sculptural forms.

Even in the very early years of its use there were experiments into what could be used as the reinforcement. Woven expanded metal; metal fibres, metal rebar and metal mesh were all used. More modern methods of producing ferro-cement involve using shotcrete in order to drive out air. and to ensure an even distribution of material.

Economically ferro-cement structures are deemed to be stronger and more durable than some traditional building methods, dependent on the quality of construction and the location. Ferro-cement is deemed to have good levels of resistance to earthquakes and can be rapidly assembled making it useful in certain climates.

The major failing of ferro-cement is that it doesn’t offer the steel reinforcements enough protection from rust.

[Adjacent page: Left: Application of ferrocement in the production of boat hulls. Right: Use of ferrocement to create organic architectural elements].

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FERROCEMENT EXPERIMENTATION We conducted experiments in order to establish whether ferro-cement could offer structural properties as columns with the aim of minimising the amount of concrete necessary in construction.

The image on the top left depicts the three experiments of which we conducted.

These three experiments all vary in how the cement is applied to the fabric, of which was kept in place with wire reinforcement. The first method (far left) had the wet cement applied directly to the fabric by hand and pushed through the fabric. The second method (middle) saw the dry mix for the cement impregnated into the fabric, then water was subsequently applied to the fabric. The third method (far right) involved dipping the fabric into the wet cement mix and then applying it over the structure.

The three images to the bottom left show the results of these tests.

Test 1, pushing wet cement through the fabric, failed to create any structural capabilities with the cement being unable to penetrate the fabric resulting in it acting purely as a render. Test 2, failed as the cement mixture was to dry resulting in it cracking and flaking off the fabric. Out of the three, test 3 was the most successful. The cement had penetrated and attached to the fabric creating a solid structural element.

From here we loaded test 3 under a uniform load to test how much weight it could take and how it would eventually fail. Failure eventually occurred at the base of the model with the structure bending causing the rest to topple over rather than ate concrete crumbling.

For future experiments we would have looked at creating a thicker column at the base with it getting thinner towards the top. This would have been achieved through hanging the fabric while it dries encouraging a higher cement ratio towards the base.

[Adjacent page: Top: Ferrocement experiments. Bottom Left: Wet cement applied by hand> Middle: Dry mixture embedded into fabric: Right: Fabric dipped into wet mix].

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FABRIC REINFORCED CONCRETE (FRC) Fabric reinforced concrete is a type of concrete where the usual steel reinforcement is replaces with fabric and textiles. The replacement offers new possibilities.

Previously all steel reinforcing had to be covered by a substantial layer of concrete in order to prevent rust, however with the use of fabrics this is no longer required helping to produce an impressively thin material.

Through the use of fabric the material has a high tensile strength, a property of which has never been achievable with previous manufacturing processes in concrete.

Common reinforcing textiles used so far are Jute, a by product of which is largely available in vast quantities. Other material used are kevlar, glass fibre, polypropylene and polyamides.

Examples have been studied by Atira, Ahmedabad Textile Industry’s Research Association. In these case studies pre-cast panels have been produced at as little as 3mm thick in order to produce basic shelters such as toilet block construction, as shown on the right.

The fabric reinforcement is commonly made using a bi-axially warp knitting machine or can be made into hollow box sections in order to provide more structural support.

[Adjacent page: Left: FRC with fabric in box format. Right: Production of a structure by Atira using FRC panels].

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LANGUAGE MANIPULATION From these initial experiments we returned to our previous tasks and looked to address how we would get our shape grammar into our new material.

The diagram on the right depicts this. Taking the Lontara alphabet and reproducing it as vectors created forms which could more easily understood and utilised.

From these vectors our interpretation was that there was always a thicker vector acting as a base for a thin vector. This thin vector was rotated at its base with the thicker vector.

As a result this formed our brief for manufacturing a material. The area circled in red towards the bottom of the adjacent image shows what we have set as a rule, that this pivot point and relation between the thick and thin that was needed.

[Adjacent page: Diagram detailing conversion of lontara alphabet into material form].

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MECHANISM

SEEING

EMBEDDING

Lontara Alphabet 90 Degrees

Polystyrene Lineweights Width decreased

Cardboard

Angle from Alphabet 60 Degrees

Chamfered Edges

Plaster

Flexibility of Angle Junction Separation of Two Elements

Fabric

Concrete

MAKING DOCUMENTARY Following the previous material definition phase we began to produce our elements. The image below shows our final element with the video [attached link] taking you through the process of manufacturing this piece.

Following the feedback from this phases we have looked to eradicate the use of timber as the joining piece for the fabric element. This has been replaced with dipping the fabric in a resin and then cutting a tongue and groove junction out of this that will then attach to the concrete piece using a fixing rod as before.

From our feedback of this assessment and with our upcoming massing rules in mind we looked to utilise a parametric making process. The mould, shown below, is to be used to manufacture our pieces. This gives us a greater allowance for what the element is capable of achieving with the size being able to vary on site.

[Top: Parametric mould. Bottom: Developed material element].

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DUMMY MATERIAL The given dummy material forces the user to follow the constraints that we set ourselves when using the materials.

The diagram to the left shows this again, using the point in the red circle as a control point where the thin element has to be able to rotate. The small wooden pieces given maintain this rule while giving the user freedom to reinterpret what the thick and thin vectors mean and how these are attached to the given control mechanism.

Plasticine and a range of fabrics have been given to represent the fabric and concrete used in our material. The aim of this material is similar to the use of the gift or game depicted in assessment 1. It was developed in order to allow users to generate their own material element based around the same rules and constraints we set ourselves when designing.

[Right: Connectivity diagram showing relationships between projects across the studio]

MASSING RULES Images on the following pages document our final massing rules. These rules have been developed to give us the ability to generate a design that can tackle environmental, structural and design problems.

The rules allow for us to move in 360 degrees with the change in angle of the fabric accommodating this flexibility in conjunction with the flexibility of our connections between fabric and concrete.

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RULE 1 (R1)

ADDITIVE

RULE 2 (R2)

ADDITIVE

RULE 3 (R3)

ADDITIVE

RULE 4 (R4)

RULE 3 (R3)

RULE 4 (R4)

ADDITIVE

RULE 5 (R5)

SUBSTITUTION

RULE 6 (R6)

ADDITIVE

RULE 7 (R7)

X

RULE 6 (R6)

RULE 7 (R7)

SUBSTITUTION

RULE 8 (R8)

2D SCALING X 2

RULE 9 (R9)

2D SCALING X 0.5

MANUAL ITERATION Images on the left show both a 1:200 sectional model and a 1:10 element model looking to manually use our massing rules to create architectural elements.

This proved to be a hard task with the ability for the pieces to move in the z axis being restricted in part by the rues, which was later amended, and by the fact that these pieces boast a tensile strength, a factor that was not incorporated into these designs.

From this we did begin to understand how the pieces would work in compression and what certain amalgamations of the elements would offer us.

[Adjacent page: Top: 1:10 Element model. Bottom: 1:200 Sectional model].

DIGITAL ITERATION Using a hoopsnake component in a grasshopper script we were able to generate time based digital iterations of our rules. As a result of this for each second there would be a random and unique design produced.

The video [attached] runs through how these rules work and looks to begin to show the working of an iteration.

Through using this software all the problems we faced in performing this task manually were dictated by the software to produce a design. This was achievable with the design not having to stand up in gravity. This is something that will have to be tackled when looking to apply these massings to a built form.

35

- OCCUPATION Assessment 3

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SITE ANALYSIS The site, located in Makassar, South Sulawesi provides a range of environmental factors of which needed to be considered through our design. The humidity of the region which can reach up to 99% at times; the temperature and sun with temperatures consistent throughout the year at a range of 20 to 30 degrees; and the strong onshore winds coming in from the West.

The following page provides fact and figures on this site analysis. From there the design process documented will show you how we responded to and dealt with this harsh climate.

[Right: Connectivity diagram showing relationships between projects across the studio]

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[Above: Site Location Plans].

TEMPERATURE

RAIN

WIND SPEED

HUMIDITY

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DESIGN PROCESS Using the massing rules shown earlier in the digital iteration method we were able to produce massing schemas for this site. The site data was inputted into the software as a bounding box in order to restrict the pieces to the site.

Shown on the left are two generated designs. The top design looks to use all of the rules with the below design omitting the change in angle in the fabric. Due to being new to this software we were unable to develop such a complex script as to allow the pieces to move in every possible angle. Another limitation of our skills was that we were unable to prevent the pieces from overlapping each other.

These limitations led to us using massing schemes developed without the change in angle of the fabric but still maintaining this rule as a way of resolving complex junctions at a later stage.

The following pages take you through the full design process from digital iteration to a final design.

[Adjacent page: Top: Massing scheme utilising all massing rules. Bottom: Massing scheme omitting change in angle in the fabric (Rule 5)].

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GRASSHOPPER ITERATION

‘BRUTE FORCE’ METHOD

Above is the grasshopper digital iteration of which was selected to take forward. This has been limited to the site area and the a relevant height for the massing of the area.

With the massing pieces all overlapping the ‘brute force’ method was used to eradicate any unwanted pieces. While removing pieces all massing rules were maintained.

INTERPRETATION

ADDITION OF FLOOR PLANES

From this massing common planes of fabric were found. Where such occurrences were found these were substituted with a floor plate.

Floor plates were added to all of the massing scheme and in result there became three separate blocks of massing with narrow voids separating them in order to allow for differing level s in the floor plates.

CIRCULATION CORES

FOUND ELEMENT

Circulation cores were added with respect to the 20m rules for fire safety. These cores were added to allow for direct fire egress from each tower with one central circulation core. The cores are made up from the same elements in a manner of which appeared through the digital iteration.

The element above highlighted in blue was found at this spot in the model. This resembled the side of an auditorium. This design was worked up and then elongated to form and auditorium.

ELEMENT SUBSTITUTION

RESOLVING JUNCTIONS

This new auditorium design was then substituted in the place of the found element creating a dramatic at the moment hovering auditorium over the entrance to the site.

Following this design process there were many unresolved junctions. These were again manually amended in line with the given massing rules.

ENVIRONMENTAL ANALYSIS Rules 6 and 7 of our massing rules relate to environmental factors. In order to use these rules we needed to undertake environmental analysis.

The diagrams on the adjacent page show this analysis in the form of solar analysis and wind analysis both on the building and the surrounding site.

[Right: Connectivity diagram showing relationships between projects across the studio]

48

SOLAR ANALYSIS ON GENERATED DESIGN

SOLAR ANALYSIS ON MASSING SCHEME

SOLAR ANALYSIS ON SURROUNDING SITE

WIND SPEED

MATERIAL SELECTION From the aforementioned site and environmental analysis rules were applied.

Rule 6 uses a double layer of fabric as a method for creating a thermal buffer helping to prevent heat gain in the building. This has been used in response to areas in red on the analysis diagrams.

Rule 7 looks to incorporate a bend in the fabric. Even the slightest of bends allows for wind to be funnelled off the surface of the building which is incredibly important on this site with both the strength of the wind and the material chosen of fabric.

A substitution rule has been applied in order to combat the problem of security with the buildings function as an Australian consulate. The adjacent diagram shows where kevlar, a material with much greater strength characteristics has replaced the fibreglass. Especially in the private areas of the DFAT function.

[Right: Connectivity diagram showing relationships between projects across the studio]

50

RULE 6 - THERMAL BUFFER

RULE 7 - WIND DIRECTION

SECURITY MATERIAL SUBSTITUTION - KEVLAR

PROGRAMME From the generated massing the programme was then inputted. As shown on the adjacent page and in the following plans, the building begins with parking and services located in the basement and to the rear of the ground floor. Then the ground floor is largely open to aid natural ventilation yet there are public spaces in the form of an exhibition hall, cafe and library. Above this is conference and meeting room. Following this the area above house the functions of DFAT -Department of Foreign Affairs and Trade; AFP - Australian Federal Police, and DIMIA - Department of Immigration and Internal Affairs. These functions are divided between the three towers accordingly with the ground floor of each being used for the public realm of the offices. The auditorium is located above the entrance to the site seemingly hovering creating a dramatic view of the building and an exciting display of what is achievable with digital architecture..

[Above: 1:500 Massing model. Adjacent page: Massing diagrams].

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SERVICES/PARKING

PUBLIC

AUDITORIUM

CIRCULATION

MEETING/CONFERENCE

OFFICES

SITE PLAN Shown here is the relation between the building and the ground. The three units at ground floor level touch the site very gently creating a series of ‘alleys’ through the site. Public access is incorporated both to the West off the main road and to the North of the side street along with access to the underground parking level.

With the auditorium above the cafe offers a very public entrance to the building looking to draw people in alongside the exhibition hall with active street frontage.

Landscaping has been utilised to separate the building from the much lower scale developments to the South along with being used to clearly define the paths through the site.

[Right: Connectivity diagram showing relationships between projects across the studio]

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BASEMENT FLOOR PLAN

GROUND FLOOR PLAN

FIRST FLOOR PLAN

SECOND FLOOR PLAN

THIRD FLOOR PLAN

FOURTH FLOOR PLAN

FIFTH FLOOR PLAN

ROOF PLAN

SECTIONS While our massing rules and element produced an overall massing for the building it is in the internal spaces where the random, digital nature of our design is evident.

The sections opposite look to demonstrate this. In particular the wide range of unique spaces of which have been developed thought this design process which can now be inhibited in a number of ways from meetings spaces, breakout areas to circulation.

This approach has been inspired by a lecture from architecture practice ‘Woods Baggot,’ who look to apply digital architecture to internal environments through analysing data.

[Right: Connectivity diagram showing relationships between projects across the studio]

58

[Abocve: Extracts from sections looking at common groupings of elements]

INTERIOR PERSPECTIVE This visualisation look to demonstrate the feeling upon entry to the building. It shows the random nature of the buildings elements creating numerous spaces seemingly coming out of the building.

This image also shows the way in which the light will penetrate into the tall open spaces and the way in which it will interact with the fabric used.

[Adjacent Page: Interior Perspective].

60

ROOFTOP PERSPECTIVE Shown on the right is a perspective taken from the rooftop bar at night time.

Incorporating both public viewpoints, a rooftop bar and rooftop garden this viewpoint demonstrates the way in which the building will add to the already vibrant night time scene in the area.

EXTERIOR PERSPECTIVE The following page shows a view upon approaching the building from the North.

This view demonstrates the semi transparent nature of the fabric used and what its lightweight nature offers. It also shows the dramatic auditorium as a focal point a the entrance to the site.

[Adjacent Page: Rooftop perspective. Next page: Exterior Perspective].

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- CONSTRUCTION -

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[Above: Initial Scan&Solve tests on primary structure. Left: Forces & Base geometry. Middle: Displacement. Right: Danger Rating]

[Above: Screenshot from Rhino & Grasshopper script for parametric structural analysis]

PARAMETRIC ANALYSIS OF PRIMARY STRUCTURE Hooke’s law:

F=ExA L

F: Force (Imposed and Dead Load) E: Young’s Modulus A: Cross Sectional Area L: Length

In order to analyse the primary structure of the building parametrically the equations above for Hooke’s Law has been used to determine what the parameters are for the analysis. The chosen parameters are the cross sectional area of the slab including the level of taper included, along with the length of the slab used.

In principle decreasing the length should help to decrease the applied force while increasing the cross-sectional area will also help to decrease the force.

Calculation of Total Load: Imposed load: Assuming a maximum occupancy of 1,000 people

80kg x 9.81 m/s = 7.8x105 N Dead Load: Roof Loads: 2,400 kg/m3 x 0.175 m x 1120 m2 x 9.81 m/s = 4.6 x105 N Cladding Loads: Total Cladding area: 9750m2

20% - Concrete: 2,400 kg/m3 x (9750x0.2x0.1) = 468,000 kg

50% - Glazing: 15 kg/m2 x (9750x0.5) = 73,125 kg

30 % - Fibreglass: 1 kg/m2 x (9750x0.3) = 2,935 kg

Total Dead Load = 4.6 x105 + ((468,000+73,125+2,935) x 9.81)

= 5.8x106 N Total Load = 7.8x105 + 5.8x106 = 6.6x106 N

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PRIMARY STRUCTURE RESOLUTION RULE 1 (R1)

RULE 1 (R1)

Using Scan&Solve the parametric model was used to create tests on 8 different iterations to analyse their structural performance. The results of these tests are shown on the adjacent page.

RULE 2 (R2)

Below are the parameters used in order to affect the analysis with the evaluates used stated below each iterations results.

RULE 2 (R2)

Furthermore rules 4 and 8 are shown again. Combining these two rules creates an element with increased structural performance which has been used in this analysis to see how it can influence the structural performance. Iteration 8 uses these 2 rules.

RULE 3 (R3)

RULE 3 (R3)

RULE 1 (R1)

RULE RULE1 4 (R1) (R4)

RULE 4 (R4)

RULE 2 (R2)

RULE 2 RULE (R2) 5 (R5)

X

RULE 5 (R5)

RULE 3 (R3) RULE 6 (R6)

RULE 4 (R4) RULE 7 (R7)

RULE 5 (R5) RULE 8 (R8)

RULE 6 RULE 9 (R6) (R9)

X

RULE 3 (R3) 6 RULE (R6)

RULE 4 (R4) RULE 7 (R7)

RULE 5 (R5)

X

X

RULE 8 (R8)

RULE 6 (R6)

RULE 9 (R9)

[Above: Top: Sliders taken from grasshopper script. Bottom: Massing rules 4 & 8].

RULE 7 (R7)

RULE 8 (R8)

RULE 9 (R9)

RULE 7 (R7)

RULE 8 (R8)

RULE 9 (R9)

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[Above: Iteration 1 - 600mm floor slabs - Scan&Solve tests on primary structure. Left: Forces & Base geometry. Middle: Displacement. Right: Danger Rating]

[Above: Iteration 2 - Floor slabs from 600mm to 250mm at each end - Scan&Solve tests on primary structure. Left: Forces & Base geometry. Middle: Displacement. Right: Danger Rating]

[Above: Iteration 6 - Length of bottom slab to 34750mm, 10 Columns at 300mm diameter - Scan&Solve tests on primary structure. Left: Forces & Base geometry. Middle: Displacement. Right: Danger Rating]

[Above: Iteration 8 - Rules 4 & 8 used to create structural elements based on area of highest stress - Scan&Solve tests on primary structure. Left: Forces & Base geometry. Middle: Displacement. Right: Danger Rating]

PRIMARY STRUCTURE RESOLUTION The graph below shows the results of the 8 iterations used. Both the maximum displacement and the maximum principal stress have been plotted. A target was set of an acceptable level of displacement set at 2.5mm. This target was achieved with the total maximum displacement reduced as far as 0.17mm in iteration 8.

[Below: Results from parametric primary structure analysis].

MAX. DISPLACEMENT (mm)

MAX. PRINCIPAL STRESS (MPa)

10 9 8 7 6 5 4 3 2 1 0

Acceptable Displacement 1

2

3

4

5

ITERATION

6

7

8

ELEMENT ANALYSIS Following on from the analysis of the primary structure the individual elements of which we created were tested to show how they will act under both an imposed load and as a result of their dead load.

Using ‘Kangaroo Physics’ for Grasshopper the images below were produced to analyse the elements performance.

[Adjacent page: Top: Massing scheme utilising all massing rules. Bottom: Massing scheme omitting change in angle in the fabric (Rule 5)].

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- MARC 4101 -

Advanced Technology 1

‘TO UNDERSTAND THE NATURE OF ARCHITECTURE AS ARTEFACT IN WHICH THE MADE OBJECT AND THE PROCESS OF ITS CREATION ARE INTEGRAL.’ (From Module Brief)

‘Advanced Technologies 1 is designed to give students a theoretical understanding of the relationship between form, structure, fabric and internal environment of major public and commercial buildings. Complementary executive skills in the detailing of the generic materials and junctions of the external skin of the building are provided through twenty exercises derived from the content of the lectures.

The course is integrated with the design studios through the requirement to submit for assessment technical and environmental analyses of a building selected.

The course gives the student an effective grounding in the skills required of a recent graduate.’

[Extract for project brief] Compiled and presented as an appendix to this portfolio are the Twenty conventional details of which have been completed during the semester. Through completing these details I have gained a base knowledge in a wide range of building details from the waterproofing of a basement to roof junctions.

Knowledge gained from the completion of these details was then applied to my own design project. The following 1:20 perspective section of the building looks to use what has been learnt and creates details fitting in with the design aesthetic of my given design.

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- DESA 9012 -

2D Print Processes in Design (Elective) ‘This course will explore the application of digital print processes and techniques of surface reproduction to represent architectural form. This entails a creative reworking that may incorporate social, historical and formal aspects of architectural design but in a manner that avoids using schematic plans, elevations or pictorial idealisation. It will focus instead on reversing the priority of architectural drafting: collapsing structural volume onto a 2D surface and dealing with the legible properties of façade - in the details of typography and signage, the superficial adaptations that accompany a building’s re-purposing and at the accumulation of textures that give character to its surface.’

[From brief document].

Throughout this module I have been able to explore the idea of localisation within the context of Australia’s architecture. I have drawn from personal interests and been able to explore these interests and develop my understanding further while looking to document my research and thoughts in pieces of art.

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FORM / MASS

TEXT

TEXTURE

COLOUR

- CONTOUR AND FORM -

Sensory Engagement with the City Submitted in support of presented art work for the 2D Print Processes in Design course, this text looks to justify and elaborate on themes presented in the piece. Responding to the theme of contour in relation to the sensory experience of engaging with a new city, Sydney, this work has allowed me to explore further my own current research theme – Counteracting globalisation in our cities. In addition to this, the works of the artist, Moki, and how she uses her sensory experiences to inform her artworks has been explored to show its influence on my own piece.

Having been born with a neurological condition called synthesia, Moki, sees and engages with several senses simultaneously. ‘When she hears a sound, for example – it automatically evokes a specific colour. “Numbers and letters have a colour,” she tells us, “days, nights, and years have returning form. Scientists still haven’t figured out why some people have these connected senses.”

It is this changed perception of the world we live in which drives Moki’s works. From studying the scientific philosophy of constructivist epistemology, where we are challenged to think about why we see what we see, we are challenged to reinterpret what is given to us as normal, Moki went on to produce a series of works based on ‘the border between reality and what is beyond isn’t defined.’

Her work, Untitled 04 (Fig2, above) is the piece of most interest to myself. Through this work the artist ‘looks to cloaks her subject in a lush green moss meadow […] inspired by the untouched terrains of Scandinavia and Iceland’ The use of layering in how Moki conveys this idea is a technique of which I feel encapsulates the nature of sensory experience in a convincing manner and in doing so creates a work of which powerfully takes the viewer on a journey through the artists mind and particular sensory experience.

-------------------------------------------Ritzer (2011) writes, ‘Globalisation is the spread of worldwide practices, relations and consciousness and organisation of social life. Nearly every nation and the lives of billions of people throughout the world are being transformed, often quite dramatically, by globalisation.’

-------------------------------------------So far my studies on globalisation have explored the notion of ‘clone towns.’ (Harris, 2012) and have looked to apply assemblage theory into the development of dynamic community assemblages.

I have become increasingly interested in the loss of identity that it spreading slowly through both the Towns and Cities of England, my home country, along with how this influence is affecting some of the most extreme and remote locations throughout the world. Now studying in Sydney, Australia, I have been again looking to challenge the notion of ‘clone towns’ and explore how Australia responds to this growing question.

-------------------------------------------The work of which I have presented (Fig3. Above) looks to draw on my experiences as an outsider exploring Sydney for the first time. It looks to draw on what make Sydney different from other cities - the chaotic relationship of roads and places. The image, of which looks to respond and expand on the given criteria of contour, is composed of an overlay of a map of the area where I have spent the most of my time coupled with an image of the Harbour Bridge in order to create a composition fitting to this chaotic, disordered and hard to navigate city. The same colour has been used form both layers in order to create a composition where you are unable to extract the individual layers. Again over-laid on top of this image is the block used to print the harbour bridge image. In offsetting this block a dynamic piece of art is created of which changes with each angle of which it is viewed from encouraging the viewer to engage with the piece and create their own unique experience.

Australia has provided an inspiring case study in my research into this field. Made up of countless nationalities and cultures with very little of its own aboriginal heritage still evident to the untrained outsider, this is a country that is truly global. Rather than trying to keep its identity and stop global influences from taking that away, Australia has formed its identity from global influences and has welcomed this.

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Utilised techniques were selected in order to create chance and random appearances on the paper.

In dragging ink over the stencil in a quick and light manner rather than creating a block outline I have created an almost vector like output, again strengthening the narrative of chaos and disorder in the piece. When block printing, ink was sporadically removed from the block with a dry cloth before it was pressed in an unconventional manner in order to create a print enriched with imperfections.

Through my work in the first assessment (Fig1, Above) I was interested in a derelict, pre-cast concrete building located in Redfern, Sydney. This building is one of architectural interest with some truly interesting forms and spaces nevertheless has been left for its condition to deteriorate.

A local informed me that this happens in many situations as a way of bypassing certain planning legislation relating to older and in some cases listed buildings. To me this seemed a sad case of a loss of identity and as a result I produced a series of work looking at preserving that identity.

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Through the duration of this module I have learnt to focus in on what my artwork is trying to encapsulate and what it is looking to evoke. Through being taught a range of techniques and being encouraged to experiment with chance occurrences I have developed a range of skills that I can now take on and look to apply to architectural representation methods.

The works of the German Natural Surrealist, Moki Mioke, have been selected to explore further the use of art in representing some of the ideas already discussed in this text. Moki’s work is described as, ‘confronting the boundaries of concrete existence and blurred the lines between the mental and the physical.’

GA2 // 2.1 / 2.6 / 2.7 ¦ GC2 // 2.3 ¦ GC6 // 6.3 ¦

[Adjacent page: Generated images for assessment 1 looking to individually address the themes of Contour and Mass (Top Left), Text (Top Right), Texture (Bottom Left), and Text (Bottom Right)].

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[Top: ‘Untitled One,’ Mioke Moki. Bottom: ‘The Line,’ Hereticheretic. Adjacent page: Final work in relation to Sensory Engagement with the City].

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- APPENDIX 1: ARB CRITERIA MAPPING The Graduate Attributes for Part 2

GA2 With regard to meeting the eleven General Criteria at Parts 1 and 2 above, the Part 2 will be awarded to students who have: 1 - ability to generate complex design proposals showing understanding of current architectural issues, originality in the application of subject knowledge and, where appropriate, to test new hypotheses and speculations; 2 - ability to evaluate and apply a comprehensive range of visual, oral and written media to test, analyse, critically appraise and explain design proposals; 3 - ability to evaluate materials, processes and techniques that apply to complex architectural designs and building construction, and to integrate these into practicable design proposals; 4 - critical understanding of how knowledge is advanced through research to produce clear, logically argued and original written work relating to architectural culture, theory and design; 5 - understanding of the context of the architect and the construction industry, including the architect’s role in the processes of procurement and building production, and under legislation; 6 - problem solving skills, professional judgment, and ability to take the initiative and make appropriate decisions in complex and unpredictable circumstances; and 7 - ability to identify individual learning needs and understand the personal responsibility required to prepare for qualification as an architect.

(Extract from ARB, Available at: http://www.arb.org.uk/files/files/ARB_Criteria.pdf)

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- APPENDIX 2: ARB CRITERIA MAPPING The General Criteria at Part 1 and Part 2

GC1 Ability to create architectural designs that satisfy both aesthetic and technical requirements.

The graduate will have the ability to:

GC7 Understanding of the methods of investigation and preparation of the brief for a design project. The graduate will have an understanding of:

1.1 - prepare and present building design projects of diverse scale, complexity, and type in a variety of contexts, using a range of media, and in response to a brief; 1.2 -understand the constructional and structural systems, the environmental strategies and the regulatory requirements that apply to the design and construction of a comprehensive design project; 1.3 - develop a conceptual and critical approach to architectural design that integrates and satisfies the aesthetic aspects of a building and the technical requirements of its construction and the needs of the user.

7.1 - the need to critically review precedents relevant to the function, organisation and technological strategy of design proposals; 7.2 - the need to appraise and prepare building briefs of diverse scales and types, to define client and user requirements and their appropriateness to site and context; 7.3 - the contributions of architects and co-professionals to the formulation of the brief, and the methods of investigation used in its preparation.

GC8 Understanding of the structural design, constructional and engineering problems associated with building design. The graduate will have an understanding of:

GC2 Adequate knowledge of the histories and theories of architecture and the related arts, technologies and human sciences. The graduate will have knowledge of:

8.1 - the investigation, critical appraisal and selection of alternative structural, constructional and material systems relevant to architectural design; 8.2 - strategies for building construction, and ability to integrate knowledge of structural principles and construction techniques; 8.3 - the physical properties and characteristics of building materials, components and systems, and the environmental impact of specification choices.

2.1 - the cultural, social and intellectual histories, theories and technologies that influence the design of buildings; 2.2 - the influence of history and theory on the spatial, social, and technological aspects of architecture; 2.3 - the application of appropriate theoretical concepts to studio design projects, demonstrating a reflective and critical approach.

GC3 Knowledge of the fine arts as an influence on the quality of architectural design. The graduate will have knowledge of:

GC9 Adequate knowledge of physical problems and technologies and the function of buildings so as to provide them with internal conditions of comfort and protection against the climate. The graduate will have knowledge of:

3.1 - how the theories, practices and technologies of the arts influence architectural design; 3.2 - the creative application of the fine arts and their relevance and impact on architecture; 3.3 - the creative application of such work to studio design projects, in terms of their conceptualisation and representation.

9.1 - principles associated with designing optimum visual, thermal and acoustic environments; 9.2 - systems for environmental comfort realised within relevant precepts of sustainable design; 9.3 - strategies for building services, and ability to integrate these in a design project.

GC4 Adequate knowledge of urban design, planning and the skills involved in the planning process.

The graduate will have knowledge of:

GC10 The necessary design skills to meet building users’ requirements within the constraints imposed by cost factors and building regulations. The graduate will have the skills to:

4.1 - theories of urban design and the planning of communities; 4.2 - the influence of the design and development of cities, past and present on the contemporary built environment; 4.3 - current planning policy and development control legislation, including social, environmental and economic aspects, and the relevance of these to design development.

10.1 - critically examine the financial factors implied in varying building types, constructional systems, and specification choices, and the impact of these on architectural design; 10.2 - understand the cost control mechanisms which operate during the development of a project; 10.3 - prepare designs that will meet building users’ requirements and comply with UK legislation, appropriate performance standards and health and safety requirements.

GC5 Understanding of the relationship between people and buildings, and between buildings and their environment, and the need to relate buildings and the spaces between them to human needs and scale. The graduate will have an understanding of:

GC11 Adequate knowledge of the industries, organisations, regulations and procedures involved in translating design concepts into buildings and integrating plans into overall planning. The graduate will have knowledge of:

5.1 - the needs and aspirations of building users; 5.2 - the impact of buildings on the environment, and the precepts of sustainable design; 5.3 - the way in which buildings fit into their local context.

11.1 - the fundamental legal, professional and statutory responsibilities of the architect, and the organisations, regulations and procedures involved in the negotiation and approval of architectural designs, including land law, development control, building regulations and health and safety legislation; 11.2 - the professional inter-relationships of individuals and organisations involved in procuring and delivering architectural projects, and how these are defined through contractual and organisational structures; 11.3 - the basic management theories and business principles related to running both an architect’s practice and architectural projects,

GC6 Understanding of the profession of architecture and the role of the architect in society, in particular in preparing briefs that take account of social factors. The graduate will have an understanding of: 6.1 - the nature of professionalism and the duties and responsibilities of architects to clients, building users, constructors, co-professionals and the wider society; 6.2 - the role of the architect within the design team and construction industry, recognising the importance of current methods and trends in the construction of the built environment; 6.3 - the potential impact of building projects on existing and proposed communities.

(Extract from ARB, Available at: http://www.arb.org.uk/files/files/ARB_Criteria.pdf)

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