AIR
JOURNAL ARCHITECTURE DESIGN STUDIO AIR S2, 2017
1
NANCY WILLIAMS
760302
Tutor: Bradley Elias
CONTENTS
2
PART A 6 A. PERSONAL INTRODUCTION 4 A.1. DESIGN FUTURING 6 A.2 DESIGN COMPUTATION 12 A.3 COMPOSITION/GENERATION 18 A.4 CONCLUSION 24 A.5 LEARNING OUTCOMES 25 A.6 APPENDIX 26 A6.1 ALGORITHMIC SKETCHES 28 PART B 30 B.1 RESEARCH FIELD 32 B.2 CASE STUDY 1.0 34 B.3 CASE STUDY 2.0 68 B.4 TECHNIQUE: DEVELOPMENT 80 B5 TECHNIQUE: PROTOTYPES 100 B.6 TECHNIQUE: PROPOSAL 108 B.7 LEARNING OBJECTIVES AND OUTCOMES 116 B.8 ALGORITHMIC SKETCHES 118 PART C 120 C.1 DESIGN CONCEPT 123 C.2 TECTONIC ELEMENTS & PROTOTYPES 134 C.3 FINAL DETAIL MODEL 148 C.4 LEARNING OBJECTIVES AND OUTCOMES 170
PARTS A,B&C REFERENCES 172 3
ALL IMAGES ARE AUTHORS OWN.
PERSONAL INTRODUCTION
4
NANCY WILLIAMS I am a third-year Bachelor of Environments student, completing a double major in Property and Architecture at The University of Melbourne. Combining property with architecture at University, and working in the construction sector, has given me a broader perspective and practical experience within the industry. I find it rewarding and interesting to be able to understand all phases of a development process - from feasibility, finance and marketing to architectural design and construction. Amongst these interests, my passion lies in design and the infinite possibilities that the built form can have on influencing society. Since I can remember I have been intrigued and inspired by many fields of design – industrial design, fashion design, communication design, interior design, and of course architecture. What influenced me to pursue architecture was the ability to make a mark in the world we live in, and the possibilities to impact the environment and society in a positive way. I have included some of my past design projects on this page to showcase my approach to design. Upon collating these images, I have noticed they have geometric themes. My computerized design experience is predominantly in Adobe programs such as Illustrator and Photoshop, but upon beginning my journey into computation design, I hope to build on and expand my computation 5
competency with more complex programs whilst also developing my personal style.
PART A CONCEPTUALISATION
6
A.1 DESIGN FUTURING 7
ARCHIGRAM PLUG IN CITY WALKING CITY
To completely understand and interrogate the environment in which we design in currently, and in the future, we must first look to the past. Throughout history, there has been several turning points which lead both built design, and design ideology in new directions. Modernism, as a movement in general, saw architects questioning society, questioning the ways of the past and enquiring whether the way we have always lived, is the eternal answer. Groups of radically thinking architects, such as the Archigram group, came together to disturb the habitual way of life, and change the norm.
The works submitted t built. They that began c the industr perception o amongst the The plug-in world where dynamic in new way of and it is still thinking th their views possibilities 8
FIG.1 WALKING CITY FIG.2 - PLUGIN CITY
of Archigram, were not works to be built, or even intended to be were fantasies, hypothetical ideas conversations and debates amongst y about the role of the city, the of infrastructure and the human’s role e machine and natural environment. n city and walking city portray a new e built form is not stagnant, it can be the same way humans are. It was a thinking, it was radical and the time considered so today, but it is radical hat inspires people to reconsider and, consequently, expand future s. 9
There is no question as to whether the ideas and works of Archigram, and the thought provoking drawings and images they produced will remain relevant. Whether the ideas they posed seem drastic or farfetched, it is the confidence and the ability to think beyond the world as it’s presented to you, that should be admired in these projects, to achieve results unimagined.
10
PLAN VOISIN LE CORBUSIER
Le Corbusier had several philosophies on an ideal city, or the way a new city could be built. In his career, amongst many notable and recognisable buildings, Corbusier proposed urban plans. What is notable about Plan Voisin (1925), is that he has redesigned central Paris. His plans are brutalist and purely functional, in a place which is known for its rich, decorative and ornate architecture. The plans were conceived as absurd and ludicrous, particularly due to the prominent Parisian locality, however, the underlying ideas are not as unimaginable.
In contrast to the avant-garde ideas presented a few decades later by groups such as Archigram, Corbusiers plan, if built elsewhere, is somewhat realistic. The contrast between Corbusier’s idealism and the works of Archigram is the practicality of the designs. The thought process and compulsion to change the city scape as we had known it remains similar, and ties together all those who wish to question the social construct of our world and the way in which we are influenced and orchestrated by our built environment. It is not important whether the projects were FIG.3
11
eventually built or not, it is the forward-thinking knowledge that we can take from the past, to influence the future.
12
A.2 DESIGN COMPUTATION 13
14
CHADSTONE SHOPPING CENTRE THE BUCHAN GROUP CALLISONRTKL
FIG.4
Computerisation has made architects’ lives easier for many years. Computer aided drawing is helpful to check for accuracy, make changes and distribute information. In 2006, Kostas Terzidis considered this to be the dominant mode of utilising computers in the industry. 10 years of technological advancement later and computerisation is still a necessity in the industry, however, computation has taken the wheel and is driving some of the most intricate, explorative and far-fetched designs we’ve seen. Computation in architecture is the act of utilising a computer as a design tool to generate detailed forms in a fast paced environment with great accuracy and customization. In some cases, humans otherwise would not have the resources, or patience, to achieve such highly technical outcomes. Throughout history, there has always been people who are skeptical of technological advancement, in all fields, Whether it be the feeling of losing an art-form, or loss of social interaction. Here in lies the term ‘fake creativity’, where some observe computation as dehumanizing creativity and don’t consider the originality to be of the designer but rather the design facilitator.
FIG.5
15
FIG.6
Displayed on this page is the grid shell glass roof recently built for Chadstone Shopping Centre in Melbourne. Being the first of its kind on the continent, this intricacy and scale of design was possible through 3D parametric modelling and collaboration with international researchers, architects and engineers. If formulated through an analogue format, the form of the structure could not have been as unique and striking.
16
BRUSSELS AIRPORT CONNECTOR UNS
Computation also allows for further research and exploration into performance based design. The high level of generative variability and performative behaviours that computation and advanced scripting skills enable, founded a new creative professional profile. It is the parametric design environment that a new generation of scripting competent designers prefer, as the results are beyond what could be done previously. (Oxman, 2014). For example, the airport connector project in Brussels by UNS focuses on providing a highly efficient infrastructural element that connects to and negotiates the existing airport structure – besides aesthetic exploration, the focus is on the logistical efficiency in handling passenger flows, security and operations processions. Without a studying or having a background in architectural computation, this high-tech design would be considered as something that both computation and computerization has aided.
FIG 7&8. BRUSSELS AIRPORT CONNECTORINFO BRUSSELS, BELGIUM, 2011 17
This digital linkage of form generation and performative form finding is what drives the architects interest into computation design. It is ‘architectures new media’, combining creativity, inherent in humans and possibly the one thing computers can’t match up with, with analytics, something computers do better than anything. The marriage of computation design generation and the intuition that talented architects’ posses, creates an exciting world for new geometries in our built environment.
18
A.3 COMPOSITION/ GENERATION 19
The generative approach to design is becoming a more understandable and applicable design technique due to a change in culture within the Architectural industry. Throughout architectural history, exploration of composition, form and layout has been a reoccurring design intent. The generative approach, however, explores the idea of form finding through algorithmic thinking and parametric modelling techniques. With these new computation and algorithms, comes a need for specialists in the field.
SHIGERU BAN GOLF CLUB HOUSE, KOREA LA SEINE MUSICALE, PARIS
Architecture firms have had to react to this shift in culture by seeking to employ more and more workers with high level skills in computation design. Due to the generational gap between experienced architects and those who have computation competency, the traditional work process and programming has changed. Much like how Frank Gehry employed others to turn his abstract sketches into a built form, architects now need more and more science and maths based specialists to facilitate computation design. Computation is turning Architecture into a multidisciplinary field and the role of the Architect in the modern day has changed and is ever evolving. Shigeru Ban has a recognizable and well known design style, one that would now be aligned with parametric modelling and the types of structural form generation it aids – such as grids. The images shown, are examples of his signature building material, besides his cardboard and paper explorations, timber. The tensile grid structures used in these designs, and many of his other designs, are forms that become easier to manipulate through computation design. His designs represent the shift from composition to generation through manipulating forms in abstract ways and using untraditional design methods. Parametric modelling makes complex forms such as these, more manageable and accurate in the design phase.
20
FIG 9. HAESLEY NINE BRIDGES GOLF CLUB HOUSE KOREA, 2010 21
FIG 10 & 11. LA SEINE MUSICALE PARIS, 2017
22
CUTE SEAMS// SEEMS CUTE ANN ARBOR MICHIGAN The contrast between the modernist Seagram building in NYC by Mies Van der Rohe (1958) and the ‘uncannily cute’ project by Ann Arbor, encapsulates the impact that computation design can have and the potential for unexplored aesthetics, compositions and design generations.
It is projects like these, unbuilt architectural exploration, which pose questions to the industry. It showcases the possibilities design installations can have on the purpose of a building, and the human interactions within it’s built form.
The Seagram building is considered an elegant and refined building, expressing function and structure in its form. The modernist period embraced technological advancement and it is a representation of social progression. ‘Cute seams’, in some ways, also represents social progression and technological
advancement, but in a new light. The adoption of form finding programs broadens the architectural and artistic possibilities and makes way for new forms, questioning and upturning the traits of high-modernism.
Architecture, as a field, has a history of periodical imitation and inspiration from the past. The emerging employment of computer based programs gives a space for new, unseen, 23
FIG.12
unthinkable forms, which ‘Cute seams’ represents and instigates.
A.4 CONCLUSION Throughout history, Architects have looked to both new and old ideas, to expand their knowledge and improve their creative thinking, to better their designs. Computation design, and the exponential form finding possibilities that are made through such technological advancements, is where the industry is looking to now. With endless possibilities in parametric modelling and more research into the extent to which computers and programs can aid design, it creates an exciting movement to be involved in. Through analyzing precedent examples, there is a small display of the possibilities of forward thinking and computation’s role in the architecture world. My intended design approach is to be open minded to all possible outcomes, open to trial and error, and to create forms that are both visually pleasing and functional.
24
A.5 LEARNING OUTCOMES The readings, precedent project examples and design exploration using Grasshopper throughout part A of this journal has given me an invaluable insight into the possibilities and necessity of computation design capability in the next generation of architects. I find it exciting that the performance of buildings, such as movement channels and material functionality, can be accurately reviewed and assessed using computation methods. Although I had no previous experience with computation design, and have found the introduction to grasshopper challenging and confusing, I am hopeful that I can improve throughout this course and beyond it. When looking back to my previous design projects, I can see that computation could have been helpful in pushing my designs to the next level and allowed me to explore many more possibilities in the time-frame. I look forward to the next stages of my computation design journey and hope to expand my knowledge in this field.
25
26
A.6 APPENDIX 27
ALL IMAGES ARE AUTHORS OWN.
28 28
ALGORITHMIC SKETCHES Through playing around with grasshopper and various plug-ins I have been able to create some interesting shapes through linework drawings. Although creating interesting forms seems almost automatic and inherent when playing around with grasshopper for the first time, I found it very difficult to figure out how to manipulate shapes to do what I wanted. These sketches are simple and are for no function other than to familiarize myself with the software, however, I can see how quickly it is to form-find in such an environment. Sometimes creating forms by accident, can have interesting or thought provoking outcomes that would not have occurred otherwise. 29 29
PART B CRITERIA DESIGN
30
B N
B.1 RESEARCH FIELD 31
The genetic make up of design “The evolutionary mode of nature, can be applied as the generative process for architectural form” (John Frazier, 1995). In the same way that DNA prescribes the functionality, process and forms of species naturally occurring in the environment, architectural and other physical forms can be governed by a similar, imposed biological makeup.
G p r th a B th
DNA generates the form of living organisms, so what stops architecture from modelling these growth mechanisms into design.
G r r is
Kolavrevic (2003) explores the fundamentals of genetic based design and the unpredictability of the generated forms. Variation is inherent in this type of design, in the same way variation in species occurs through major or minor DNA differences, gene cross over and mutation. Generative rules can be orchestrated to include such natural species differentiation parameters such as reproduction. Innately, by following genetic based growth rulesets, a ‘string like structure’ will be formed, however, through small incremental changes over generations of the rule set, a variation in results will occur. 32
RESEARCH FIELD: GENETICS
Genetic algorithms can be parametrically designed and work as adaptive search procedures. Karl Chu is an academic whose work related to genetic architecture, is regarded as innovative. His approach ‘proto-bionic’ architecture is a system based on he generative logic of the Lindenmayer system, or ‘L-System’. The L-system approach is a simulation of plant growth, which can be implemented in digital modelling software. By following the logic behind plant growth, such that one element ‘grows’ off another hrough a branching system, a recursive growth structure can be controlled.
Genetics based architectural design, is not based on a superficial concern with a form representing an organism, however it is the underlying value in the design process relative to nature’s own generative mechanism. The merit, in genetic based designing, s the inner logic.
33
34
B.2A L-SYSTEMS AND LOOPS 35
Manual L-system Iterations
Using a manual recursion system on grasshopper involving copying and pasting the definition to grow the systems
Initially only the X and Y planes were used, to create flat geometries, however introducing the Z plane allows the ge
Manual L-system Iterations
In order to create the various geometries seen, the X , Y and Z values in both negative and positive values were changed. Symmetry and straighter lines are achieved by using the same value for different axes.
36
generations.
eometry to grow in unforeseen ways.
L- SYSTEM ITERATIONS 37
Rabbit
plug-in iterations
The Rabbit Grasshopper plug-in was used for these iterations, to achieve ‘tree-like’ growth. The algorithm involved in the Rabbit plug-in uses letters, numbers and symbols, to direct the growth of the line-work. By creating new definitions and altering the scale and length of the line work created some complex geometries.
Hoopsnake L-system iterations
Hoopsnake is a Grasshopper plug in that speeds up the manual L-system process. It creates a loop system to automatically repeat the growth of the line-work. The geometries are manipulated in the same instance as the manual recursion, however using an automated growth tool allows for the results to be more complex.
38
d
39
L- SYSTEM ITERATIONS
These g which
The similarities in form, between the research field ‘Genetics’ and the iterations produced using the L-system techn individual lines grow based off of the previous lines, in a way that morphs and changes the shape over time is what these recursive iterations. As with ‘Bloom’, analysed in the next section, you can see how these shapes can be explo create interactive art installations. There is also potential for a tree canopy like architectural approach that could be 40
Selected Geometries
geometries were selected for their potential as complex forms. The recursion grows in a controlled yet organic way, h is intriguing to the eye. Specifically the Rabbit plug-in iterations produced the most interesting outcomes. This is due to the multidimensional aspect to the designs rather than the systematic nature of the linear designs.
nique, are clear. The way the t is specifically eye-catching about ored using more complex shapes to e applied using similar rule sets. 41
42
B.2B ‘BLOOM’ PROJECT 43
FIG.13 - PLETHORA ‘BLOOM’ PROJECT 44
45
CASE STUDY: ‘BLOOM’
46
CASE STUDY: ‘BLOOM’ PLETHORA PROJECT ‘A never finished structure in constant fluctuation, finding moments of stability and moments of failure’ – Plethora Project
Bloom is an interactive design project, featuring interconnecting components that slot together. Commissioned by the City of London in 2012, Bloom integrates architecture and gaming through being applicable at a human scale. The user is involved through the building of the installation, which can be admired for its intriguing form style in the way it can grow in an orderly, yet seemingly random, fashion. The shape of the component is what drives the overall structural form, as well as the places which the components meet each other. Controlling the possibilities and growth formation, is what makes the installation notably successful, as no direction in the construction process needs to be governed.
47
FIG.14 & 15 PLETHORA ‘BLOOM’ PROJECT
The research field ‘Genetics” can be seen both the physical form that Bloom creates – identifying the ‘string-like structure’ that Kolarevic describes – as well as the inner logic. The idea of one component reproducing itself and being grown, based off predetermined rules of growth (slot positions), lends itself to the underlying values in genetic based design.
C 48
B.2C COMPONENT DESIGN AND MANUAL AGGREGATION 49
Using the L-system approach and case study ‘Bloom’ as a basis for inspiring design, components are to be select
4 out of 6 components have been chosen below to be aggregated using 3D modelling, to discover which types o intriguing and eye-catching fashion. The components have been designed to be similar in shape to the ‘Bloom’ p because the nature of incorporating length within a component, allows for growth to stretch further distances ins
Tubular
50
Component Design
ted for manual aggregation.
of forms aggregate in the most precedent project, simply stead of clump together.
Bulbous
51
Curvature
Jagged
RULESET AXIOM = A A = ABC B=A C=0
CONDITIONAL RULES IF A instersects B, Keep A IF B instersects C, Keep C IF A instersects C, Keep C
52
Tubular
53
54
Tubular
55
RULESET AXIOM = A A = ABC B = ABC C = AB
CONDITIONAL RULES IF A instersects B, Keep A IF B instersects C, Keep B IF A instersects C, Keep C
56
Bulbous
57
58
Bulbous
59
RULESET AXIOM = A A = ABC B = AC C = AB
CONDITIONAL RULES IF A instersects B, Keep A IF B instersects C, Keep B IF A instersects C, Keep C
60
Curvature
61
62
Curvature
63
RULESET AXIOM = C A = AC B = BC C = ABC
64
Jagged
65
66
Jagged
67
68
B.3 CASE STUDY 2.0 69
Creating the base shape.
70
Orienting the first generation of growth.
71
Creating slots in geometry to allow components to fit together.
REVERSE ENGINEERING ‘BLOOM’
Axiom polyline and plane
Align mesh geometry
REVERSE ENGINEERING ‘BLOOM’
Orienting of polylines
Review geometry axiom
The u only pr wa referen 72
Orienting of polyline planes
Growth generations per defined ruleset
Growth definition
Final geometry
use of Grasshopper allows for the automated recursion of a component. The process is similar to the manual Rhinorocess, however it allows for changes at the initial stage to be updated automatically, which saves time. In the same ay that in Rhino, each geometry was oriented using the ‘orient 3 point’ command, each geometry in Grasshopper is nced to a plane, which allows the next generation to be oriented based on the previous. Introducing grasshopper 73 to the aggregation process creates geometries faster which allows for various rule sets to be explored.
Create an axiom polyline, specifically containing two segments, which join at a right angle. The right angle segment allows for a plane to be referenced in the correct dimension.
Locate a point in the rhino view port from where the aggregation shall grow.
Using the axiom as a base, create several other polylines with the same geometry at the axiom (two segments meeting at a right angle). The location, direction and angle of these polylines, will inform the definition heuristically where to grow. The heuristic nature of the definition, is based off polylines of different length. Grasshopper can recognise that these components have difference lengths and creates geometric attributes for a heuristic which assigns an identity to each polyline.
The length of the growth polylines however should be standardised, as a single component is being used for the aggregation. The heuristic definition will still be able to differentiate these polylines.
Each polyline set up from the initial axiom line, needs to be tagged with a letter that corresponds to the initial index number of the polyline. This will allow the axiom geometry to be chosen, e.g. how many components will be able to grow from each point. Using a number to letter component is necessary in order to choose how each component grows after the first generation. It allows us to determine the growth pattern, using letters, which is easier to read than numbers.
74
Each polyline that grows from the axiom, as well as the axiom itself, needs to be referenced using a plane. Assign/draw planes whose origin is at the start of the second segment, and whose X axis is aligned with the second segment. These planes will be used for reorienting branches throughout the recursive looping process.
75
Using ‘Aenemone’ plug in, this loops the heuristically coded geometry to grow, with the use of a button and an indicator dictating how many times to grow.
After referencing a component mesh, orient it based on an initial polyline and plane. This turns the definition into a growth basis for a 3-dimensional mesh object. This forms the basis of the final geometry.
AUTOMATED AGGREGATION PROCESS
76
BLOOM AGGREGATION
My reverse engineering of the ‘Bloom’ project displays many similar attributes in regards to form. The differences fall within the component itself, being more simple and stylized compared to the original, and with the complete form. The fact of having real life constraints such as modelling space and gravity, would impact on the final forms geometry in a way that was difficult to reproduce in the digital world. The twisting and cylindrical nature of the automated recursion displayed, is however of a similar language to the original project.
77
78
79
TEC 80
B.4 ECHNIQUE: DEVELOPMENT 81
Branching
triangulat
The new components created for automated recursion, feature similar geometric attributes to the manual recusrion Fabricating and prototyping had to be kept in mind when creating these components, hence some flatter and mor
82
tion
Block work
Growth
Component Design
n components. re linear results.
83
Branching
RULESET AXIOM = A A = ABCD B=D C=A D=C 84
85
86
Branching
RULESET AXIOM = A A = ABCD B=B C=C D=D 87
triangulation
RULESET AXIOM = A A=A B=A C=D D=CA 88
89
90
triangulation
RULESET AXIOM = A A = AB B = CD C=D D=CA 91
Block work
RULESET AXIOM = A A = AB B = CD C = AC D=DC 92
93
94
Block work
RULESET AXIOM = A A=A B=A C=D D=CA 95
Growth
RULESET AXIOM = A A = AB B = CD C=D D=CA 96
97
98
Growth
RULESET AXIOM = A A=B B = BA C =D D=CD 99
T 100
B.5 TECHNIQUE: PROTOTYPES 101
triangulation
The ‘Triangulation’ component would best suit laser cutting as a fabrication method, this is due to the flat, close to 2-dimensional geometry, that would be most suitable for a laser.
Block work
The ‘Blockwork’ component would be one of the only components to suit manual fabrication. Though the different faces of the block could be laser but before being put together, there is also an option of manual cutting each face of the geometry.
Growth
The ‘Growth’ component would be suited for 3D printing. Due to the flatness of the shape, it would be an economical choice as it would not use too much modelling material or support material. The 3D conjoined blobs would best achieve their original shape through a 3D print. 102
Tubular
The ‘Tubular’ component is the chosen component due to its abstract and peculiar form which mirrors itself and creates a feeling of suspension. The best fabrication method for this component is 3D printing, this is due to the irregular shape and curve features. 103
PROTOTYPE: POSSIBLE FABRICATION METHODS
Original component
Branching structure from Grasshopper definition
V
104
THE SITE: PROTOTYPE COMPONENT
Due to the complexity of the component, and their 3-dimensional attributes, 3D-printing is the ideal fabrication method. 3D printing is an additive manufacturing process whereby physical objects are created by adding and binding successive layers of materials, in this case plastic. In order to 3D-print the aggregation, certain steps need to be taken to ensure the 3D print turns out in the intended way. Considering the component geometries were created in rhino, the process of transferring the object into a 3D-print becomes much simpler.
Various perspectives of the compnent featuring ‘slots’.
The component that has been chosen for prototype fabrication, is one that was used for manual aggregation when exploring ideas. This component was then referenced into the grasshopper definition to facilitate a faster and more controlled environment for designing. The chosen component shows potential to be most interesting, due to its ‘fused’ like tubular composition, which allows the component, when aggregated, to seem fused in many directions and creates an illusion of suspended or hanging fragments. First of all, the component needs to be designed in a way where each component can ‘slot’ into one another. This process involves creating the new aggregated geometry from the ‘boolean difference’ Rhino command where each growth type is subtracted from the initial geometry at the place where they intersect. This process is important for fabrication as otherwise the components will not form the correct geometry for aggregation. Once the component has all the necessary slots, the component can now be prepared for 3D printing. The component needs to be a closed surface for the 3D printer to read it, this involves checking the edges of the geometry.
105
MSD FabLab template for Makerbot 3D print - Check the size and composition
‘Makerbot’ Print displaying ‘support’ material needed for 3D print.
3D print results. The shape material and base raft. 6 c successful joint size where need to be made to the ot was rewarding and is helpf 106
THE SITE: PROTOTYPE COMPONENT
Fabricating a Prototype
‘Makerbot’ Print file on Replicator + template
A plastic Makerbot 3D printer was chosen for this process. This is due to the more detailed outcomes in comparison to powder based prints, as well as the manufacturing speed. It does however limit the colour choice to black and white. This particular shape was oriented on the flattest side in order to reduce the amount of ‘support material’ the 3d printer would need, to reduce materials and costs. When using the ‘Makerbot’ 3D printer at the FabLab, the Makerbot software, which imports Rhino geometry, will display the support material that is needed for the components. Generous lead times need to be taken into account as fabrication issues, such as the 3D print warping, may cause fabrication to be delayed.
Material and time estimate from Makerbot:
es printed as shown in the 3D model, after removing the support components were fabricated, however, the joint shown is the only e the components could realistically slot together. Amendments ther slots in order for them to fit together. Seeing a physical model ful as a design tool in order to amend and better the future results. 107
108
B.6 TECHNIQUE: PROPOSAL 109
FIG.16 - DULUX GALLERY
110
THE SITE: THE DULUX GALLERY, MSD The Dulux Gallery is a Gallery space situated on the lower-ground floor of Melbourne University’s MSD Building. The space hosts exhibitions of works internal and external to the university, and is largely used by the design students studying at the MSD. The space has an atrium format, with large windows and canopy ceiling architectural features making the space a feature in itself. The natural light creates vibrancy in the works presented, and the windows, that have the potential to partially open, could create a space that connects the inside and out. The nature of the Aggy project, presented in this Journal, is that of an art installation. One that can grow and fill space in a variety of ways. These attributes make the Dulux gallery a perfect fit to display, on a large scale, the architectural sculpture that is Aggy. Before implementing a model onto a site, practicalities need to be considered. A bridging component, which is a similar component to the originals, has been placed to connect each aggregation type. This ties into the gallery wall and its size and weight creates a stable bridging component. Another practical component is a ‘footing’ component, which has been created to be flat and wide, to connect what could be the pointed edges of the component, to a stable base on ground level. This footing component may need to be repeated at various places depending on the stability of the result.
111
112
THE SITE: PERSPECTIVE 1
113
114
THE SITE: PERSPECTIVES 2 & 3
115
B.7 LEARNING OBJECTIVES The challenging nature of Studio Air Part B submission has felt very rewarding. Thinking back to the start of the semester, where I had never designed algorithmically, I have come a long way. I was able to create some interesting forms and proposals through the process of manipulating an algorithm in reference to a precedent project. I was also able to generate a variety of designs and develop my threedimensional modelling capabilities. Another rewarding aspect, was making a full circle from feeling lost in the digital realm, in terms of the practical application of such programming, to being able to propose an outcome which has capabilities of being modelled in the real world. 116
7 S
117
B8 ALGORITHMIC SKETCHES
118
8 S
119
PART DETAILED DESIG
Thank you to my group members in Part C: Maddie Gundry, Amani Eljari & Vand
120
C GN
da Nemeth
C.1 DESIGN CONCEPT 121
FIG.17 STRANGLER FIG
FIG.18 STRANGLER FIG 122
INTERIM COMMENTS
At the interim stage of the semester, we were required to begin thinking about our final design approach. It was at this stage that we could form into groups to complete the next part. Our tutor re-introduced and re-focussed our direction to the underlying qualities of the genetic based design.
R
The vision and focus moving into developing a final design was to think about implementing an element of nature into the design. Some things we pondered were:
How can we represent nature in a way that is not overly represented already? How can nature be an underlying concept in the constraints of an indoor space? What element of nature should we focus on? How can we represent the imperfect beauty of nature? Our group looked into researching the ‘Strangler Fig’. A type of tree which grows in an unusual fashion by ‘strangling’ its host, competing for light within its environment. In the initial stages we were unsure of how the Strangler Fig could be integrated into our design, but we started working on the final concept with a chosen component from previous work.
R
123
SITE TERRAIN EXPLORATION
Besides the aggregation installation which was to be introduced to the subject site: The MSD Dulux Gallery, we were required to consider a new ‘terrain’ for the space. Using Grasshopper techniques and taking inspiration from nature, as well as thinking about fabrication, we came up with some initial terrain ideas. It was decided that the exploration types displayed would be inefficient to fabricate, as the only way to achieve such geometries would be through 3D printing, which on a larger scale would not be suitable. We also considered the geometries we created to have qualities that would compete with the aggregation being implemented, rather than complement the overall scheme by adding interest and interaction.
124
125
SITE TERRAIN EXPLORATION
After feedback from the original terrain ideas, we worked with new Grasshopper techniques to create a more interesting terrain environment, and one which could be interactive to the user. Using the Voronoi tool in Grasshopper, a surface grid was created, which was then extruded to different points distributed within the grid. An important interactive focus meant that the terrain should be lower to the ground in the centre of the terrain, and higher at the edges, This allows users to start from ground level and climb up the site to be immersed in the installation. Another appealing factor for this terrain type, is the ease of fabrication. Each surface can be laser cut and then fixed together on site. Although there are many parts involved in this process, the laser cut pieces can be mass produced in a short time period, and if labelled correctly, construction is a straight forward process.
126
127
This page displays the design process of the terrain, as well as the steps taken to ensure it could be laser cut.
This square represents the section of the terrain which will be fabricated at a 1:10 scale for the presentation model.
Each voronoi surface is labelled, to ensure that once flat layed and fabricated, it is easy to differentiate the parts.
128
The surfaces had to be capped, to allow for a platform for users to stand on. The outside sections had to be capped manually due to digital modelling constraints.
SITE TERRAIN FABRICATION
Laser Cut templates: Each ‘wall’ section of the grid also has to be fabricated to create stability and represent the different heights of the terrain.
Each cap and side surface is labelled and then prepared for Fabrication using FabLab templates.
129
INITIAL CONCEPT
Our initial aggregation design used a previously designed c and aimed to fill the space, and grow upwards as the terrain
This design was restricted by the component type, as we ha not custom designed a new component to suit the site. This aggregation also had little correlation to the idea of nature and our intentions of implementing the Strangler Fig.
130
component n grew.
ad s
131
The digital design technique has not necessarily changed from its original state, it is however the rule set and component design that enable the installation to grow in different ways to suit the site specifics. The first step of the envisioned construction process for this installation involves the construction of the terrain environment.
The terrain structure could be made from any material which can be laser cut, ideally structurally stable plywood which could be screwed together on site. Some support material underneath sections of the terrain which would carry live loads, such as people exploring the terrain, should also be included, under consultation with the builder. Individual terrain platforms could also be made offsite and brought into the gallery space individually before sitting them in the correct order. Off site fabrication would be ideal in this setting, especially in the case where the exhibition may have a limited time to set up in the gallery space.
Once the terrai installers of the a then use the terra the individual com
The components with inbuilt slots, due to friction.
Each individual co a small imprint o allocated letter A installers will star from a point facilitated by a and be able to m aggregation as p set that was used component digita
The individual components should also be fabricated off site and brought onto site pre-finished.
132
ENVISAGED CONSTRUCTION PROCESS
in is set up, the aggregation would ain as an aid to put mponents together.
s will slot together , and stay together
omponent will have on it, displaying its A, B, C or D. The rt the aggregation on the ground, a footing system, manually grow the per the same rule d to aggregate the ally.
133
Footing components will be utilised throughout the areas that near the ground. Footing components should also have the ability to be stacked, so as to reach each necessary point. Essentially the structure should be rigid through its connections so that it does not fall. Unlike the precedent example of the ‘Bloom’ project, this installation example is not made to be interactive and moved by the viewer, it is instead supposed to be a space to be immersed in.
. TECTONIC 134
C.2 ELEMENTS & PROTOTYPES 135
136
PROTOTYPE 1 INITIAL CONCEPT
We decided to prototype our initial design concept. This included a 1:1 prototype of an individual component about 30cm long, as well as a ‘cluster’ component, which was various components, joined together within fabrication. The intention of the cluster component was to create multiple clusters, and then join them together to minimise fabrication time. We decided to first pursue 3D printing. We wanted to mould cast using the 3D print as a guide, however, this technique was going to be too time consuming, expensive and labour intensive, and would create an object too heavy for its purpose. Through prototyping this component, we realised the constraints with 3D printing, these being: - Delays and lead times with fabrication - No aspect of mass production, making it unsuitable for 1:1 production. - Clusters had weak joint components and could break easily. - The slots in the 1:1 model were not of perfect size to join different components together, and the tectonic element was overlooked within the design. The prototype of our concept brought about concern with our design generally, so we began to look to other fabrication techniques. 137
We then moved to laser cutting. Conside by the fabrication technique in creating so The only similarity we created was the cro attempt at making the laser cut compone This attempt also highlighted the importa were far too wide for the material type, w
Although this fabrication technique broug away from our original component idea, f lead times associated with laser cutting, a which is favourable for this specific projec
138
The digitally modelled component has a similar look to bamboo. For this reason we attempted to manually fabricate the component out of real bamboo. We were surprised by how similar it looked to the digital model, however it was too difficult to mass produce or create a clean result with manual fabrication.
PROTOTYPE 2 INITIAL CONCEPT
ering the 3-dimensional nature of our component, we were restricted omething of a similar language to the original component. ossed over element, which was also an ent more dimensional. ance of correct measurements as slots we created which meant it had no friction to stay together.
ght about some constraints, it also allowed us to move freeing us from its creative bounds. We noticed the fast and the aspect of mass production and mass customisation, ct, particularly when it needs to be built to scale.
139
PROTOTYPE 3 NEW DIRECTION
Chosen comp developme involved creat surface area compone
140
REDESIGNING COMPONENT
After realising the benefits of laser cutting for this project, we began to redesign the component to suite this fabrication technique. It was at this stage of the design process that we were able to return back to our initial idea of the Strangler Fig, and we were no longer stuck trying to make the original component work. Using photos of strangler figs for inspiration, we designed organic shaped geometries, mimicking the way the tree grows, in a criss-cross fashion.
ponent design. The final ent of this component ting less holes and more a to allow space for the ents to slot together.
141
Footing design
We also custom designed a footing component, in the same visual language of the chosen aggregation component. It was important that the footing type does not detract from the overall design, rather blends in and provides hidden stability for the structure, using a flat base.
Chose
142
After changing our component type, a new aggregation had to be developed. In this stage we went back to the Grasshopper file which automatically aggregates according to the referenced mesh and rule-set given.
AGGREGATION EXPLORATION
Through trial and error if different rule set types, we were able to aggregate the component in a way which it wouldn’t clash with itself, and would grow in a way that is interesting from whichever angle it is viewed from. We specifically aimed for the aggregation to have a ‘creeping’ effect, and to be viewed that it is strangling the site in an overgrown and natural manner. This was the selection criteria for the chosen type. We then customised the aggregation, adding on sections of regrowth in sparse areas. Minimal areas were clashing with the walls and floors of the gallery, due to the way the rule-set grew the aggregation with a slightly flatter base.
en aggregation (Top View) RULESET: AXIOM = ABD A=B B=D C=A D = DC
Aggregation on site 143
144
Laser cutting the final prototype was a success. The elements stayed together through the friction between the perfectly measured double slots on the components. We painted the component a moss green to again refer back to the element of nature, and reference the moss that grows on the strangler fig.
145
CHOSEN PROTOTYPE SCALE: 1:1 It was concluded that this fabrication technique was suitable for 1:1 implementation as the laser cut components can be mass produced as well as mass finishing with spray paint.
For the presentation model, we fabricated the 1:10 section of the site base, and its correlating aggregation section. Because it is one element repeated, the laser cutting was more simple than fabricating the base. There were constraints for fabricating at this scale, as material becomes flimsy as it becomes thinner, and for the structure to be sound, a rigid material is necessary. Therefore, we compromised by choosing a more rigid material, which meant the size of the components at 1:10 were almost too small to have room for slots. These issues are minor however, as the 1:10 model is used for presentation purposes only, and it is the 1:1 prototype which displays the structural and tectonic element of the design. The 1:10 model depicted the site and aggregation concept well and looks very similar to the digital model.
146
FABRICATION SCALE: 1:10 PRESENTATION MODEL
147
148
C.3 FINAL DETAIL MODEL 149
150
PRESENTATION MODEL
151
152
PRESENTATION MODEL
The underlying concept to our design was to implement the Strangler Fig ‘Ficus’ into an indoor setting. It is presented as an art installation, to the Dulux Gallery at the MSD, where the user is made to feel engulfed by the structure. The height and terrain is made to make the user feel small and ‘strangled’ within it, just as the Strangler Fig grows within nature. The component and aggregation as a whole, is made to be asymmetrical, displaying the beauty of irregularity within nature, and the unknown, uneasy feeling it can foster within humans.
153
PRESENTATION POSTERS
154
155
156
157
158
159
160
161
162
163
FINAL PRESENTATION 164
165
166
TAKING IT FURTHER LINE DRAWINGS After receiving feedback from the presentation, we continued to work on our visual representation of our project. The first bit of feedback we addressed was that our plans and elevations would read more clearly as line drawings. We generated line drawings to better depict the aggregation and its placement on the different levels of site terrain. This visual style is more appropriate for these drawings, as they are meant to be informative.
167
168
TAKING IT FURTHER REALISTIC IMAGERY Some other advice and feedback we were given was that our 3D renders did not depict the true environment of the installation. Upon receiving this feedback, we worked on imposing our design into a recognisable image of the space, to clearly depict the effect that the design has within the subject site.
169
C.4 LEARNING OBJECTIVES Objective 1. “interrogat[ing] a brief” by considering the process of brief formation in the age of optioneering enabled by digital technologies; During this subject I have interpreted a brief in a different way, due to the mode of designing. I have enjoyed the integration of the thought process behind the design method as an important part of the design outcome and overall concept.
Objective 5. developing “the ability to make a case for proposals” by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourse. During the final stage of the design process, we became stuck with our idea and needed a new direction. As displayed in the journal, having a precedent inspiration of the Strangler Fig allowed us to create a more persuasive design, which also tied back into the brief. This involved critical thinking and required us to create an argument for the idea behind our design.
Objective 2. developing “an ability to generate a variety of design possibilities for a given situation” by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive design-space exploration; Using digital programs and algorithmic design I definitely saw how you can quickly develop many more design ideas and assess their capabilities faster than in previous design methods I have used. It meant that small changes could be made and implemented to the entire design without starting the process again.
Objective 6. develop capabilities for conceptual, technical and design analyses of contemporary architectural projects;
Objective 3. deve various three dime and specifically in geometry, parame diagramming and
This subject was m both Rhino and G challenge starting previous knowledg understanding a lo modelling. It was a digital fabrication process of learnin model into a fabri
Objective 7. devel understandings of data structures an
We used one main precedent example, After this subject I the Bloom project, which we analysed and understand progr recreated before beginning our own design. use in design, mo We were able to use this technique as a starting point for the design concept, however the end results were completely different.
170
4 S
eloping “skills in ensional media” computational etric modelling, analytic d digital fabrication;
my first time in using Grasshopper. It was a g this subject with no ge, but I have come out ot about parametric also my first time using and I enjoyed the ng how to turn a digital icated prototype.
Objective 4. developing “an understanding of relationships between architecture and air” through interrogation of design proposal as physical models in atmosphere; The design concept behind our final proposal inherently correlates to air and the relationship between architecture and air. Our final installation basically fill space or ‘air’ creating a different atmosphere for the user.
lop foundational Objective 8. begin developing a f computational geometry, personalised repertoire of computational nd types of programming; techniques substantiated by the understanding of their advantages, disadvantages and areas of application. I feel as though I
ramming, particularly its ore comprehensively.
171
There are certain computational techniques, particularly when it comes to representing work, that I now have a better foundation of. Working in a group environment also allowed me to learn techniques from other people, which If I completed the semester alone, I wouldn’t have learnt.
A. REFERENCES Image References: Fig 1 &2. ArchDaily. (2013). ‘The Plug-In City’, Accessed July 30th, 2017 http://www.archdaily.com/399329/ad-classicsthe-plug-in-city-peter-cook-archigram
Fig 3. Pinterest. Plan Voisin , Accessed July 30th, 2017. https://au.pinterest.com/pin/469992911092928464
Fig 4, 5 &6. Seele. (2017). Chadstone Shopping Centre’, Accessed 1st August 2017. https://seele.com/references/ chadstone-shopping-centre/
Fig 7 &8. UNSTUDIO. (2011). ‘BRUSSELS AIRPORT CONNECTOR’, Accessed 1st August 2017. http://www.unstudio.com/projects/ brussels-airport-connector.
Fig 9 Ban, Shigeru. (2010). ‘HAESLEY NINE BRIDGES GOLF CLUB HOUSE - Korea, 2010’, Accessed 1st August 2017. http://www.shigerubanarchitects. com/works/2010_haesley-nine-bridges/. Fig 10&11. Ban, Shigeru. (2017). La Seine Musicale Paris’, Accessed 1st August 2017. http:// www.shigerubanarchitects.com/works/ p31_IleSeguin/index.html Fig 12. Arbor, Ann. (2016). ‘Cute Seams/Seems Cute’, Accessed 1st August 2017. http:// www.suckerpunchdaily.com/2016/11/10/ cute-seamsseems-cute/.
Frumar, Jerome. (2011). ‘Computation and Material Practice in Architecture: Intersecting Intention and Execution during Design Development’, RMIT. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 “AD Classics: The Plug-In City / Peter Cook, Archigram”, Archdaily, 2017 <http://www.archdaily.com/399329/ad-classics-the-plugin-city-peter-cook-archigram> [accessed 10 August 2017] “Archigram: Plug-In-City, The Walking City & Instant City | Study.Com”, Study.Com, 2017 <http://study.com/ academy/lesson/archigram-plug-in-city-the-walkingcity-instant-city.html> [accessed 10 August 2017] “BRUSSELS AIRPORT CONNECTOR”, UNSTUDIO. 2011.< http://www.unstudio.com/projects/brusselsairport-connector. >[Accessed 10 August 2017] “Chadstone Shopping Centre / Callisonrtkl + The Buchan Group”, Archdaily, 2017 <http://www.archdaily. com/804275/chadstone-shopping-centre-callisonrtklplus-the-buchan-group> [accessed 10 August 2017] “Chadstone Shopping Centre Expansion Opens To The Public - Callisonrtkl”, Callisonrtkl, 2017 <https://www. callisonrtkl.com/news/chadstone-shopping-centre-expansionopens-to-the-public/> [accessed 10 August 2017] “Chadstone Shopping Centre, Melbourne, Australia”, Seele Façade Construction, 2017 <https://seele.com/references/ chadstone-shopping-centre/> [accessed 10 August 2017] “Le Corbusier’S Plan To Overhaul Paris”, The Daily Beast, 2017 <http://www.thedailybeast.com/le-corbusiers-planto-overhaul-paris> [accessed 10 August 2017] Lubin, Gus, “Why Architect Le Corbusier Wanted To Demolish Downtown Paris”, Business Insider Australia, 2017 <https://www.businessinsider.com.au/le-corbusiers-planvoisin-for-paris-2013-7> [accessed 10 August 2017] 172
S
B. REFERENCES Image References: Fig 13, 14 & 15. Plethora Project, (2017), ‘Bloom’ , Accessed 21 August 2017 https://www.plethora-project.com/bloom Fig 16. MSD, ‘Dulux Gallery’. Accessed 17 August 2017. http://explore.msd.unimelb.edu. au/landmark/dulux-gallery References: Kolarevic, Branko and Kevin R. Klinger, eds (2008). Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge), pp. 6–24 “John Frazer Author”. 2017. Johnfrazer. com <http://www.johnfrazer.com/author. html> [accessed 9 September 2017] Plethora Project, (2017), ‘Bloom’ , Accessed 21 August 2017 https://www.plethora-project.com/bloom
C. REFERENCES Image References: Fig 17. ‘Climbing the Huge Strangler Figs of Southern Queensland, Australia’. (2015). Accessed 24 October 2017. https://www.youtube.com/watch?v=G7dTDr803Bo. Fig 18. ‘Strangler Fig’. (2015). Accessed 24 October 2017. https://umtrees.wordpress. com/2015/10/20/strangler-fig/ 173