Cain_Natalie_758360_FinalJournal by Natalie Cain

STUDIO AIR 2017, SEMESTER 1, LINDY HAYTER NATALIE CAIN

FIG. 1

PART A

FIG. 2

TABLE OF CONTENTS Introduction

A.1 - Design Futuring

A.2 - Design Computation

A.3 - Composition/Generation

A.4 - Conclusion

A.5 - Learning Outcomes

A.6 - Algorithmic Skethbook

References

INTRODUCTION

MY NAME IS NATALIE CAIN AND I AM AN ARCHITECTURE MAJOR AT THE UNIVERSITY OF MELBOURNE. I AM IN MY THIRD YEAR OF THE BACHELOR OF ENVIRONMENTS COURSE. My interest in architecture stems from my love of art and the variety and beauty that both forms encompass. In my opinion, architecture is a form of art installation, with which living things experience and become affected by. we discuss the way a piece of architecture makes a person feel the same way we discuss art. My artwork ‘Untitled’ exhibited at NGV, is based on the rorsarch test, which challenges viewers to individually make sense of the ink blots and paints on the canvas. I think this relates to architecture in the way that people experience and appreciate different styles and moods in a unique way, and this should be celebrated. Essentially, architecture is a generator of discussion and debate that has the ability to influence people. The development of computational software has advanced the industry of architecture drastically. No longer are architects limited to what they can draw on paper, computational software allows people to experiment with fluid and irregular shapes creating diversity in design. This has resulted in an explosion of novel ideas that proves to be an enticing and exciting field for students such as myself.

CONCEPTUALISATION

A.1 - DESIGN FUTURING

“DESIGNERS SHOULD BE THE FACILITATORS OF FLOW”

In the state of the world today, architecture and design is vital in the push to educating and creating a planet that is once again sustainable and ecologically prosperous. Humans today have created an “anthropocentric mode of worldly habitation” that prioritizes our species over others1. This will not only ultimately detriment our species, but the remainder of the ecosystem. Design futuring is vital in changing our thinking about the fundamental nature of design, whilst slowing the rate of defuturing. Computational software and its availability to the masses has trivialised design to its aesthetics. It is important as architects, that we are critically informed about how architecture can improve the ecological situation of the time. Design futuring does not demand an immediate and harsh change, it merely asks for a redirection of ideals in architecture. One way to do this is through speculative design, whereby people use design to strive for imaginable preferable futures. As architects, we have the responsibility to as john wood says, to be the “facilitators of flow”, to allow the ecosystem to prosper, for both humans and all living organisms.

1 Tony Fry, Sustainability, Ethics And New Practice, 1st edn (Oxford: Berg Publishers Ltd, 2008), pp. 1

CONCEPTUALISATION

CASE STUDY 1 NAME : BARN HOUSE ARCHITECT : CO+LABO RADOVIC DATE : 2012

This barn house is a classic example of a moment when humans have ridden their minds of our anthropocentric society and decided to treat an animal with equality. The architects have designed a house in which humans and horse coexist under the same roof. The house provides both with the fundamental need of shelter, and redefines the role of the horse.

History tells us that a horse has always been a tool or a slave to the humans needs. this project challenges this idea, as human and horse develop an interdependence on one another. The horse will roam the fields and enjoy the sunshine in the summer, however, during the winter months, it will seek shelter in the barn house. The manure produced by the horse is used for compost which provides energy for heating inside in the winter months, as well as fertilizing plants. The building itself is comprised of charcoal, which is made of sawdust. When this material absorbs the ammoniac from the urine of the horse, it becomes a fertilizer, which when exposed to sunlight, can be used for heating and melting the snow.2 This example demonstrates the interdependence humans have on other species, which is mirrored to a greater extent in the ecosystem. The breakdown of any species can have a dramatic effect on the rest of the food chain. This theory extends to flora, and indeed the environment as a whole. Humans have the ability to change the mentality away from human exceptionalism, to create a world where the ecosystems cohabitates with increased equality.

FIG. 3.1 2

“BARN HOUSE”, Japlusu.Com, 2017 <https://www.japlusu.com/news/barn-house> [accessed 3 March 2017]. CONCEPTUALISATION

FIG. 3.5

FIG. 3.2

FIG. 3.3

FIG. 3.4

CASE STUDY 2 NAME : PETTING FARM ARCHITECT : 70F ARCHITECTS DATE : 2005-08

FIG. 4.1

The petting farm responds to its rural natural environment and sits on the concrete foundations that housed the previous petting farm before it burnt down. The building aims to have very limited impact on its surroundings, with an open façade system on the first floor of the building to allow for wind ventilation through the building and the rest of the farm. This case study has a similar idea of cohabitation, with the petting farm quarters on one side of the building, and an office on the upper level on the other side.3 The building is designed for the animals, and thus does not contain any doors. It simply has shutters, that open and close automatically when the sun rises and when the sun sets. The sheep grow to understand this routine and choose whether they wish to come inside or not. it is up to them whether they want to involve themselves with the human driven shelter, or exist on their own means. The most interesting element to this project is the way in which it lights up during the night. As this is located in den Uyl park, it is utilized as a guiding light or an iconic luminous installation that draws people to the otherwise relatively dark area. Here, we can identify the way in which both humans and sheep can benefit from a piece of architecture. By considering other species other than ourselves, we can produce novel pieces of architecture that contribute to the ecosystem.

3 8

“70F”, 70F.Com, 2017 <http://www.70f.com/projects/al0504/al0504.htm> [accessed 3 March 2017]. CONCEPTUALISATION

FIG. 4.2

FIG. 4.3

FIG. 4.4

CONCEPTUALISATION

A.2 - DESIGN COMPUTATION Design computation ultimately utilizes technology to enhance and create a design. It begins in a digital medium, which is free of a preconceived concept. Through the abilities of the programs, we can experiment with geometries, properties and parameters to eventually arrive at a design. Not only has computation changed outcomes, but it also has caused architects to become parametric thinkers. For example, designers now think of dynamic responses to environmental conditions that can be calculated because these programs facilitate this kind of thinking. Indeed, Oxman speaks about the emergence of a “Vitruvian effect”4 in design, as a result of computers. Designers have noticed a shift to the organic, with a stronger emphasis on natural forms and curvilinear designs. It is at the beginning of the design process, that architects are considering other properties aside from aesthetics. Elements like structure, geometry and material capabilities are being explored from the outset to inform the design, rather than attempting to fit these into the completed design. Energy and structural performance can be measured and explored through computation, informing us the ways in which we can design enduring, sustainable architecture.

4 5

“THE AGE OF THE EMERGENCE OF RESEARCH BY DESIGN”

Rivka Oxman and Robert Oxman, Theories Of The Digital In Architecture, 1st edn (London: Routledge, 2014), pp. 1. Rivka Oxman and Robert Oxman, Theories Of The Digital In Architecture, 1st edn (London: Routledge, 2014), pp. 1.

CONCEPTUALISATION

FIG. 6.1

CASE STUDY 1 NAME : ICD/ITKE PAVILION ARCHITECT : ACHIM MENGES DATE : 2010 Oriented around materiality, this pavilion was built based upon the tensile strength and stresses of plywood. Through simulation and product testing, the structure consists of elastically bent plywood strips, linked together through precise design slots becoming joints. The design is inherently driven by the structural qualities of the material originally chosen. The strips of plywood are designed and manufactured robotically, and positioned and connected in place with alternating tensioned areas. The “force that is locally stored in each bent region of the strip, and maintained by the corresponding tensioned region of the neighbouring strip”6 raises the structural integrity of the pavilion. The structure therefore gives off this mesmerising and energizing feeling of individual vulnerability, yet collective strength. The system itself is very lightweight, due to the stored energy in the bending process and the altering joint locations along the planar pieces of plywood. This design combines the material behavioural elements of plywood with parametric thinking and principles. To establish the elasticity and tensile capabilities of the material, physical experiments were conducted which measured the deflections of the thin plywood. Utilising “4600 lines of code”7, all geometric and structural information was outputted which informed this design. In this example, we can understand that the architects arrived at this design through researching and experimentation. In this case, the material plywood was chosen, and through their study of its tensile properties, they were able to create a self-supporting structure which boasted strength, as well as lightweight properties. this precision in design was facilitated by computation.8

FIG. 6.2 FIG. 6.3 6 Achim Menges, “Material Computation: Higher Integration In Morphogenetic Design”, Architectural Design, 82.2 (2012), 47 <https://doi.org/10.1002/ad.1374>. 7 ”ICD/ITKE Research Pavilion 2010 | Institute For Computational Design And Construction”, Icd.Uni-Stuttgart.De, 2017 <http://icd.uni-stuttgart.de/?p=4458> [accessed 11 March 2017]. 8 ”ICD/ITKE Research Pavilion 2010 | Institute For Computational Design And Construction”, Icd.Uni-Stuttgart.De, 2017 <http://icd.uni-stuttgart.de/?p=4458> [accessed 11 March 2017]. CONCEPTUALISATION

CASE STUDY 2 NAME : SERPENTINE PAVILION ARCHITECT : TOYO ITO AND CECIL BALMOND DATE : 2002 The design for the serpentine pavilion was fundamentally based upon an algorithm of a cube, or rectangular prism. It features both solid and transparent geometric forms that intersect to create the illusion of a deconstructed cube that has maintained its structure. Elements of the cube appear to be deleted, providing light into the pavilion. Architect Toyo Ito joined with structural engineer Cecil Balmond to create a structure that was based upon, and grew from algorithmic thinking and design. The structure contained a steel frame as support, and the cladding was erected around this. The sporadic pattern of the opaque triangulations and trapezoids create a sense of transitional space, where one feels not enclosed, yet not necessarily protected either.9 The algorithmic nature of this pavilion derives from the experimentation and exploration of design computation. The designers began with a simple geometry, (a cube), and manipulated and altered it until they came to a conclusion, or outcome. In grasshopper, a populated geometry can be inputted into a voronoi for a similar effect. The voronoi creates 3D cells in the geometry which can be manipulated or deleted, such as in this case. When flattened, the skin of the pavilion would be a series of intersecting lines that create the shapes found here. This pavilion represents the way in which novel ideas can be generated through the process of design computation.

CONCEPTUALISATION

9 ”Serpentine Gallery Pavilion 2002 By Toyo Ito And Cecil Balmond With Arup”, Serpentine org/exhibitions-events/serpentine-gallery-pavilion-2002-toyo-ito-and-cecil-balmond-arup

Galleries, 2017 <http://www.serpentinegalleries. p> [accessed 11 March 2017].

FIG. 7.1

FIG. 7.2 CONCEPTUALISATION

FIG. 8.1

A.3 - COMPOSITION/GENERATION

Architects throughout history have designed with the basic principle of balanced composition. Straight lines and symmetry were prevalent, and this was likely due to the technology of the time. In order for their ideas to be translated to the builders, the design would have had to be easily communicated, drawn, and understood. This would explain the strong use of linearity and balanced composition. However, architects today are fortunate enough to have access to 3 dimensional software that models designs for you. Curvilinear structures are easily produced, and can contain much more complexity. In addition to this, designers have the ability to exploit the software to not only aid them in depicting their ideas, but also in the generation of ideas. “Computation allows architects to extend their abilities to deal with highly complex situations”10, and can often generate unexpected or surprising results. In this computational generation mindset, these surprises are what remains exciting about this software, as it is often through this exploration, that a truly novel idea or concept is found. Grasshopper can be loosely defined as creating relationships between elements, which is informed by rules. The point attractor command creates relationships between a point and a series of elements, and the reaction will depend on how close the point is to each individual element. This is represented by the Boids algorithm. Although there are many benefits to the software and this idea of generation, limitations exist within it. Firstly, often these programs can be difficult to learn all the skills and commands, which in this case can cause a stunt in design production. Indeed, the notion of creating something through experimentation may symbolise a lack of emotion, originality of thought or connection to a design brief. Thirdly, pattern generation and elaborate and complicated design may also result in wastage from an environmental perspective, however, it should be argued that this software can be used to find the minimal routes, which thus reduces wastage. Providing the software is familiar and the user is environmentally conscious, the software is beneficial.

10 Brady Peters, “Computation Works: The Building Of Algorithmic Thought”, Architectural Design, 83.2 (2013), 10 <https://doi.org/10.1002/ad.1545>. CONCEPTUALISATION

CASE STUDY 1 NAME : SITUATION ROOM ARCHITECT : MARC FORNES DATE : 2014

The situation room is an innovative installation that merges art with architecture to achieve fascinating results. Parametrically designed, the form is an “aggregate of twenty spheres of incremental diameters, combined to create an envelope of experimental tension.”11 It is created by Boolean operations which subtly connect the sphere like surfaces, resulting in rigidity from double curvature. The networks that form the envelope subdivide and recombine, to become the columns that invade the internal space and provide support for the structure. As the form extends to the ground in the centre, it forms a kind of obstacle course for the visitor. The installation itself is lightweight and self-supported, and is a strong representation of a shell-like structure. Through parametric modelling, the design contains openings, differing in sizes, to allow light and air through the space. Due to the openings within the membrane structure, its acoustic merit is held highly, and is even utilised by composers. When open to the public, resonant sounds are played, enhancing the experience. The architect claims that the experience of walking through this structure “blurs[ing] one’s perception of the known.”12 This idea reminded me of the installation “Dots obsession”, by yayoi kusama, displayed at mona, Tasmania. the work uses mirrors and pattern on the floor, walls and floating objects to distort THE VISITORS PERCEPTION OF WHAT IS REAL.

11 12

This is one clear benefit of parametric generation, it allows designers to create pieces that seem unworldly, or unimaginable. Some of the ideas remind me of dainty, small, toy like structures, that are blown up into a human like realm, however, now have structural integrity on a larger scale. And indeed, the daintiness and precision necessary for designs like this could only be supported by computer generation, at least to the standard of these structures. Parametric design and computation generation allows architects to stray from the conventional line of building and designing houses. Pieces such as this one allow visitors to experience a new world, almost like an art form. Architects are not merely concerned about the comfort of those who enter as they would in a house, they are interested in leaving a strong impression on the visitor, to which I believe has opened up a new body of architecture.

”14 Storefront”, MARC FORNES & THEVERYMANY™, 2017 <https://theverymany.com/14-storefront/> [accessed 14 March 2017]. ”14 Storefront”, MARC FORNES & THEVERYMANY™, 2017 <https://theverymany.com/14-storefront/> [accessed 14 March 2017]. CONCEPTUALISATION

CASE STUDY 2 NAME : NINETY NINE FAILURES ARCHITECT : THE UNIVERSITY OF TOKYO DIGITAL FABRICATION LAB DATE : 2013

FIG. 10.1

This project is one that is covers the topic of computation perfectly. This design was not planned, far from it, and what this team learned, was the endless opportunities that comes with failing, or indeed, merely just playing around on grasshopper. The traditional ideas of problems were flipped, and the students were encouraged to use these issues as a catalyst for innovation in design. Like ICD/ITKE Pavilion, this project was focused on the structural performance of the materials. This idea of tensegrity construction also aids in the idea of conservation of materials. It was also necessary to incorporate the use of the fab lab, for precise results, as well as ease of construction. Three light, stainless steel sheets were utilised on each cloud, welded together and hydraulically inflated to increase the compressive strength. The structure was able to fold out into a flat plane, which was consistent with their other possible designs.13 Once again, this piece of architecture connects to the art form, and allows people to experience a strange reality when walking through or sitting in it. The exterior shell is representative of the boids algorithm, and acknowledges the relationship between elements. This repeated element creates a great sense of harmony and solidity, regardless of the fact that the forms appear to be floating. Each element is reliant on the other in some way, and the relationship, and closeness of the elements is important to the structure.

FIG. 10.2 13

“Ninety Nine Failures / The University Of Tokyo Digital Fabrication Lab”, Archdaily, 2017 <http://www.archdaily. com/469193/ninety-nine-failures-the-university-of-tokyo-digital-fabrication-lab> [accessed 14 March 2017].

CONCEPTUALISATION

A.4 - CONCLUSION

My exploration thus far, has allowed me to consider the development of structures I once thought to be out of my reach. Through deliberation over design futuring, I am aware that going forward, it is essential that I design not only for the human, but for the natural animals and plants that inhabit the Ceres site. This will be possible for me to do through design computation and further exploration of grasshopper, to ensure I can achieve precise results that could potentially be developable on a larger scale. Ultimately, I would like to design a shading pavilion that draws connections to Marc Fornes “Situation Room”. I love the organic nature of the design, that provides a shelter above, but also has internal partitions to integrate the visitor into the design. The slits within the work would be beneficial for animals or insects to inhabit if it were a double skinned structure. The folding of the wings of the bird shaped pavilion I created could potentially also provide shelter to animals or insects. The incorporation of the glow in the dark material at night would also draw insects to the site. Essentially, I think this displays innovation through designing for not only the human, but for the ecosystem. To create a space that excites and draws both humans and animals to it reduces our anthropocentric ideas.

A.5 - LEARNING OUTCOMES

Within part a of studio air, I have learned a great deal concerning the abilities of the plug-in grasshopper. There is evidently a strong connection between mathematical formulas and design, which helps in the idea of structure and the actual building of the structure. One of the most fascinating aspects for me, is the way in which you can so easily triangulate, or pattern a surface to create mesmerising results. All the calculations are completed by grasshopper, and it ultimately allows you to focus on the design. It is interesting to see the shift from the start of the semester when I only had a basic understanding of rhino, to now having experienced grasshopper. There are so many things that you can create with grasshopper, that appear innovative and geometrically interesting. This would have been helpful when designing the sleeping pod in digital design and fabrication, to create patterned geometry that was easy to fabricate. It is amazing how through little pre-conceived designing, you can create something through coding that is exciting and motivating. I suppose this is the benefit of computation, as you stumble upon ideas and designs that display more innovation rather than even the subconscious which attempts to recreate preconceived ideas.

A.6 - ALGORITHMIC SKETCHES

I liked this example as it adapted a geometric (in this case two triangles) onto a lofted surface. Instead of a simple loft, I decided to alter it into the shape of the wings of a bird. This provided shelter as to fit with the brief, as well as displaying a connection to the animals that inhabit the site. The idea of triangular geometry also allows for places for animals or insects to hide, or seek warmth, like the feathers of a bird.

CONCEPTUALISATION

I was very interested in the way in which one can create geodesic patterns onto a lofted surface. Not only am I interested in the triangular patterns that it cre-ates, but also the way in which it represents the connections that would need to be made if creating a large model. I decided to utilise an organic shape for the loft, that could represent the ultimate foundations of a tree, with the fluid lines of coral. Like in the work of Marc Fornes, I wanted to create an organic environ-ment, that would be appropriate for the CERES site.

CONCEPTUALISATION

REFERENCES “14 Storefront”, MARC FORNES & THEVERYMANY™, 2017 <https:// theverymany.com/14-storefront/> [accessed 14 March 2017] “70F”, 70F.Com, 2017 <http://www.70f.com/projects/al0504/al0504.htm> [accessed 3 March 2017] “BARN HOUSE”, Japlusu.Com, 2017 <https://www.japlusu.com/ news/barn-house> [accessed 3 March 2017] Dunne, Anthony and Fiona Raby, Speculative Everything, 1st edn ([S.l.]: MIT, 2013), pp. 1-45 Fry, Tony, Sustainability, Ethics And New Practice, 1st edn (Oxford: Berg Publishers Ltd, 2008), pp. 1-16 “ICD/ITKE Research Pavilion 2010 | Institute For Computational Design And Construction”, Icd.Uni-Stuttgart.De, 2017 <http://icd.uni-stuttgart.de/?p=4458> [accessed 11 March 2017] Kalay, Yehuda E, Architecture’s New Media, 1st edn (Cambridge, Mass.: MIT Press, 2004), pp. 5-25 Menges, Achim, “Material Computation: Higher Integration In Morphogenetic Design”, Architectural Design, 82 (2012), 47 <https://doi.org/10.1002/ad.1374> “Ninety Nine Failures / The University Of Tokyo Digital Fabrication Lab”, Archdaily, 2017 <http://www.archdaily.com/469193/ninety-nine-failures-theuniversity-of-tokyo-digital-fabrication-lab> [accessed 14 March 2017] Oxman, Rivka and Robert Oxman, Theories Of The Digital In Architecture, 1st edn (London: Routledge, 2014), pp. 1-10 Peters, Brady, “Computation Works: The Building Of Algorithmic Thought”, Architectural Design, 83 (2013), 10 <https://doi.org/10.1002/ad.1545> “Serpentine Gallery Pavilion 2002 By Toyo Ito And Cecil Balmond With Arup”, Serpentine Galleries, 2017 <http://www.serpentinegalleries.org/exhibitions-events/serpentinegallery-pavilion-2002-toyo-ito-and-cecil-balmond-arup> [accessed 11 March 2017] Wilson, Robert A and Frank C Keil, The MIT Encyclopedia Of The Cognitive Sciences, 1st edn (Cambridge, Mass.: MIT, 2001), pp. 11,12

CONCEPTUALISATION

IMAGES FIG. 1.1 “Parametric”, Parametric, 2017 <http://nparametric.tumblr.com/ post/34778943346> [accessed 15 March 2017] FIG 2.1 Ricos, A, “A Alma Dos Ricos”, Eiriz.Org, 2017 <http://www.eiriz.org/2016/12/ a-alma-dos-ricos_27.html> [accessed 14 March 2017] FIG. 3.1 - 3.5 “Co+Labo Radovic: The Barn House In Hokkaido”, Designboom | Architecture & Design Magazine, 2017 <http://www.designboom.com/readers/thebarn-house-taiki-cho-hokkaido-japan/> [accessed 14 March 2017] FIG. 4.1 - 4.4 “70F”, 70F.Com, 2017 <http://www.70f.com/projects/al0504/al0504.htm> [accessed 3 March 2017] FIG. 5.1 S-Media-Cache-Ak0.Pinimg.Com, 2017 <https://s-media-cacheak0.pinimg.com/originals> [accessed 14 March 2017] FIG. 6.1-6.3 “ICD/ITKE Research Pavilion 2010 | Institute For Computational Design And Construction”, Icd.Uni-Stuttgart.De, 2017 <http://icd.uni-stuttgart.de/?p=4458> [accessed 11 March 2017] FIG. 7.1 -1.2 “Serpentine Gallery Pavilion 2002 By Toyo Ito And Cecil Balmond With Arup”, Serpentine Galleries, 2017 <http://www.serpentinegalleries.org/exhibitions-events/serpentinegallery-pavilion-2002-toyo-ito-and-cecil-balmond-arup> [accessed 11 March 2017] FIG. 8.1 “Projects”, Jenny Sabin, 2017 <http://www.jennysabin.com/ new-page/> [accessed 13 March 2017] FIG. 9.1 “14 Storefront”, MARC FORNES & THEVERYMANY™, 2017 <https:// theverymany.com/14-storefront/> [accessed 14 March 2017] FIG. 10.1- 10.2 “Ninety Nine Failures / The University Of Tokyo Digital Fabrication Lab”, Archdaily, 2017 <http://www.archdaily.com/469193/ninety-nine-failures-theuniversity-of-tokyo-digital-fabrication-lab> [accessed 14 March 2017]

CONCEPTUALISATION

PART B

TABLE OF CONTENTS B.1 - Research Field

B.2 - Case Study 1

B.3 - Case Study 2

B.4 - Technique : Devlopment

B.5 - Technique Prototypes

B.6 - Technique Proposal

B.7 - Learning Objectives and Outcomes

B.8 - Algorithmic Sketches

Referencesl

B.1 RESEARCH FIELD - GEOMETRY PARAMETRIC DESIGN ALLOWS DESIGNERS TO CAPTURE AN “EXPLICIT, AUDITABLE, EDITABLE AND RE-EXECUTABLE FORM” As expressed by Daniel Davis, Parametric Design is is “a set of quantities expressed as an explicit function of a number of parameters”14. It focusses on the relationships between elements and allowing these relationships to be maintained whilst editing these relationships. Tools like grasshopper allow us to rid ourselves of conventional tools like cut, copy and paste to reduce the tedium of reworking. The relationships that are established in grasshopper are then able to be baked into rhino so that designers can keep a record of these alterations made to the design. This can easily and clearly be shown in a matrix, by which you show moments of the design that have been slightly altered in a row, however, one can identify that the essential relationships and algorithmic logic is the same. It creates “limited and understandable links from part to part”15 which allows the design to grow.

For the research field, I have chosen geometry, as it is a broad concept and can be effective and eye catching. The form itself can be geometric and target this idea, as well as the patterning within the form, which I think allows great scope for design. The gridshells designed and made by MATSYS, utilise timber to form the shells. Algorithmic programs like grasshopper can help to identify the geometry and the connections for the design, using points along the curve that move, in this case five points to the right or left to create the patter and connection.

Davis, Daniel, “A History Of Parametric – Daniel Davis”, Danieldavis.Com, 2017 <http://www.danieldavis.com/a-history-of-parametric/>

[accessed 5 April 2017] 15

Woodbury, Robert F. (2014). ‘How Designers Use Parameters’, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge), pp. 153

CONCEPTUALISATION

FIG. 11.1

Box morph

Polyline instead of curve

Open curves

Alter curves and change shift values

Alter curves

B.2 CASE STUDY 1 - MATSYS GRIDS

SHELLS

Successful Iterations

I found this iteration to be successful as I had adapted it to a shape that I think could be of use as a shading structure. Unlike Matsys Gridshell, which becomes quite an enclosed design, I decided to open this up by adjusting the curves to that it has its widest area at the top. I think this could be beneficial in the future design, as we are aiming to design a shading structure, as well as the fact that it would not invade or overwhelm the small site that we have been given.

I changed the form from using closed curves like in Matsys Gridshell, to utilising open curves. I believe that the structure of the intersecting lines is shown in a cle er and more understandable way when displayed in this way. This is likely due to the fact that the loft between the curve is quite flat, therefore, it is a smoother tra sition from one point to the other on the opposite side. I would be interesting to explore the technique of the intersectin panels as it seems as though it is a very alistic way to fabricate a small structure we are designing for.

g e earn o es ane

ng ree like

This iteration is from the same species as the previous successful outcome. To alter it, I dramatically changed the height final curve to cause the intersections to change substantially. What we can identify is the build up of connections and intersections in the left, relatively flat area of the design, and less as the shapes moves up. I found this to be interesting in the sense that the structure would likely have greater strength in the flat area than in the high areas.

Whilst maintaining the open curved fundamentals, I opened up the shape by changed the initial lines from all the same size. I increased both the height and the width of the two outside basis lines, and shrunk the middle basis line. This created an effect almost like the “Gardens of the Bay” by Grant Associates and Wilkonson’s Eyre Architects in Singapore. And indeed their shape utilises closed curves, which is where we see a difference in form.

B.3 CASE STUDY 2 - REVERSE ENGINEERING 16

Project : Green Void Architect : LAVA architects Location : Sydney, Australia

The Green Void project consists of a minimal surface, stretching from the ground floor to the ceiling. It uses lightweight material to connect the floor, walls and ceiling, almost like the feet of a frog. The critical aim of the project was to create “optimum efficiency in material usage, construction weight, fabrication and installation time”16 whilst demanding the attention of users in the atrium space.

In my opinion, the project suceeds in doing just this, and contains a message about sustainability in design. By designing a project with a minimal surface, the architects have reduced their carbon footprint on the fabricatable outcome, whilst still achieving an eye catching installation.

“Green Void / LAVA”, Archdaily, 2017 <http://www.archdaily.com/10233/green-void-lava)> [accessed 7 April 2017]

FIG. 12.1

Green Void Grassh Minimal Surface

Mesh Relaxation

Points to reference

What creates minimal surface meshes? - Kangaroo Physics

What permits the relaxation and formation of minimal surfaces? - Boolean Toggle and Timer

Between what do form? - Anchor Points

Creation of points openings How can the vertic into points with fac ing them (clothed) with openings(nak - Naked Vertices

hopper Diagram

e shape

Mesh divided into vertices

Starting Mesh

oes the mesh

What breaks a mesh into vertices that can be manipulated?

How to create a mesh with openings that can provide anchor points for the relaxation?

- Deconstruct Mesh around

ces be sorted ces surround), and points ked)?

- create meshes in rhino - intersect meshes and boolean union, in places where openings are wanted - explode booleaned mesh - delete faces to become openings - join together remaining surfaces - weld at 180 degrees

Minimal Surface

Mesh Relaxation

Points to reference

What creates minimal surface meshes?

What permits the relaxation and formation of minimal surfaces?

Between what do form?

- Kangaroo Physics

- Boolean Toggle and Timer

- Anchor Points

Creation of points openings How can the vertic into points with fac ing them (clothed) with openings(nak - Naked Vertices

e shape

Mesh divided into vertices

Starting Mesh

oes the mesh

What breaks a mesh into vertices that can be manipulated?

How to create a mesh with openings that can provide anchor points for the relaxation?

- Deconstruct Mesh around

ces be sorted ces surround), and points ked)?

Given that the form itself was relatively simple, I think the definition created in grasshopper worked very well in replicating the Green Void. The essence of the design came from the fact that it was a minimal surface, which directly correlates to the Kangaroo Physics command. Having watched a video on this in previous weeks, it seemed the most natural and straight forward way to create the surface. The ratio of the arms of the surface and the directions of these look very similar to that of the Green void, which was easy to create due to the original rectangular mesh. The width and overall surface area of the design also reflects that of the Green Void, essentially as both designs used an algorithm that aims

to find the smallest amount of surface area between these anchor points. Upon looking at images of the fabrication process, it appears that the green void was fabricated by being broken down into strips, and trinagulated, which are not present in my design. Indeed, the circular openings are all central to the arms of my design, whereas in the Green Void, the openings of some of the horizontal arms span further to one side. Overall, I think this is a great way to minimise waste in terms of conserving materials and reducing the carbon footprint when it comes to fabrication. In terms of moving forward, I am very interested in the way the thin arms create large, quite organic openings.

B.4 Technique: Developm 1.1

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ment 1.6

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The great benefit of the Minimal surface algorithm, is that it creates a surface that will utilise the least material, and therefore make it environmentally friendly. However, when considering the site, and the ways in which we would like to position the pavilion around the current poles at Ceres, the thinness of the stalk would render this impossible. Having said this, the gentle openings at the top and bottom of the mushroom like shape would be beneficial to providing shade for the children who are the main users of the site during the day, and indeed, a meeting space for adults to congregate under in the dark when the space is used for festival like parties.

5.7

Through the Weaverbird commands, we were able to create complex patterning within the minimal surface. However, before getting too carried away with the patterning, one must consider how this will be fabricated and whether it is within the realms of this studio. Therefore, we decided that triangulation was an easy method, as the structure could be unrolled and pieced together with the triangles. It is also important to consider the point of the patterning on the surface. As spoken about in the readings, Loos contends in Ornament and Crime, that “ornament had lost its social function, and had become unnecessary.”17 Indeed, we must consider then the purpose of the patterning, in order for it to be necessary and crucial to the design and not merely for aestheic purposes. 17

5.3 Moussavi, Farshid and Michael Kubo, eds (2006). The Function of Ornament (Barcelona: Actar), pp. 5-14.

Having considered the issues with the slenderness of the poles and the initial design brief of the pavilion providing shade, the most logical option is to move away from the minimal surface, but try to replicate this shape with a little more freedom through lofting. Similar to the way that Matsys Gridshell uses strips of bendable wood that is joined together through intersecting strips in triangulated patterns, we have triangulated the loft, allowing it to be easily fabricated. We want to create a space that children will enjoy and be drawn to when playing. They could use it as a base for their chasy games, or simply play or sit under it when having a break.

When considering the purpose of the patterning to ensure that it is not superfluous, we have now decided that this must be limited to being within the triangulations. In reference to the brief and the element of shade, we believe that the patterning is what allows light through the pavilion. In areas where the sun is strong, the openings of the patterns will be smaller, and in areas where there is less sun, the openings will be wider. This shows how the design will be site specific. During the night, the patterning will light up with the help of the glow materials, and provide a psychedlic and exciting atmosphere for the festival goers.

B.5 - Technique : Pro

ototypes

Prototype 1

I have taken the lines from rhino and exported them to illustrator. I have created little tabs on the edges to allow them to be stuck together.

From here, I have created big the openings would b the structure will cease to purpose - shading.

d the holes to see how be. If they are too big, o provide its fundamental

I have now connected the three pieces. Whilst only being made out of paper, the design perhaps lack variation. I have also noted that the external border is very thin.

Prototype 2

Once again, I have used the curves created and baked in rhino to produce the outline of the pieces. Being triangulated, it allows the structure to easily be placed together.

I printed off the outline, how lised cardboard as the mat stronger than the paper an a more informed idea of wh material we would utilise.

wever this time utiterial. This was a lot nd I think provided hat sort of strength

Due to tab on the side of the piece, it was easy to put together with glue. Obviously the materials we would be using would need to be stronger, however this has shown me how to create a connection that is relatively seamless.

Prototype 3

I have chosen to use a similar design to prototype 1, however incorporate holes in it to allow for more light to come through. This should not impact its shading capabilities to a great degree.

Utilising cardboard, cu shape was certainly dif ter would be much mo a classier finish.

utting the holes for the fficult. Using a lasor cutore efficient and provide

There is an interesting effect that comes from the holes as light comes in from different angles, however, the cleanliness of the prototype lets the design down.

Prototype 4 - FabLab

A much more efficient way to cut the holes is through lasor cutting, which provides much cleaner results.

The result of the lasor cut pieces and holes.

We decided to use hinges and bolts to create the connections as the timber was heavy and needed a strong connection.

When putting the components together, it turned out to be quite heavy and bulky although we did like the effect of the light shining through the holes.

Prototype 2 develop

As I considered this to be a more successful design, I decided to go ahead with the addition of the glow. I thought that it would be interesting to put the glow around the openings of the pieces, to ac glowing during the night, and it would appear as almost floating shapes. I have place the glow on t ing tape to try to cover the flap connection, in an attempt to hide it.

pment

glow material. In this case, I only had access to the tape, therefore there are some overlaps in the ccentuate the geometry at night time. Therefore, the physical structure of the pavilion would not be the under side of the pieces, and this cannot be seen from above. I have also positioned the glow-

I think that the glow around the openings is quite successful as it creates an entirely new image at night. It also hidese the structureal properties, and creates a playful and geometric atmosphere, that acts as more of an light installation, rather than a place that provides shade.

I think the design could be improved by utilising the glowing vinyl, which would allow for seamless shapes of the glow, rather than parts colliding together. It could also be interesting to perhaps put the vinyl within these openings, that has the little holes cut in it. It would then appear almost as fireflies.

Prototype 4 - develo

We liked the way the light came through the openings of the prototype pieces as it created a playf during the night time. This allowed us to create a different atmosphere and image during the night t

opment

ful atmosphere. The shadows would move around during the day until the would no longer be seen time with the glow.

It was interesting how we could create such a different atmosphere with the glow during the night. W think perhaps it would be good to explore instead, how we could utilise the glow in the small openin

We used strips of tape to accentuate the structure and connections to see how this worked. We ngs, to create an atmosphere almost like fireflies.

Implementation of the glow

It will be interesting to see how we can implement the glow to perhaps work underneath as sh

hown in Prototype 2. This shows a conceptual image of how it could look with different layers.

B.6 - Technique Prop CERES is an environmental site that is frequently visited by both adults and children. After speaking with people at the site and observing, we understand that the site given is prodominently utilised by children during the day. As demonstrated in the picture, it is an open space that allows for children to run around, kick balls and play freely. This is something that we would like to maintain, and we would like to taper our design to fit in harmoniously with the site, not invade the space. This is why we have chosen the thin stalk idea, to ensure we are leaving the space open.

posal As CERES is an educational site, we think that the addition of the phospherescent glow is a perfectly fitting material to use. Not only are children learning of the ideas of renewable energy during the day from excursions and other CERES programs, adults are being exposed to this during the night. The glowing material is a renewable source of light that promotes renewable energy. Creating something that adults will be drawn to and be impressed by is therefore creating an educational and eye opening environment at night.

Our proposal consists of three mushroom like shaped pavilions, that have triangulated patterning to make it easy to fabricate. In the areas that have the most sun in the afternoon when it is at its harshest, we will ensure that the design of the pavilion is lower to the ground in an attempt to provide more shade.

The largest pavilion is in the most densely populated space, north of the exisitng timber pavilion. In this design, we have provided a much more enclosed space to ensure that children can be shielded from the sun in the afternoon.

Form Development - Shading

B.7 - Learning Objec

ctives

Computational design has allowed me to explore geometry and patterning in a way that is different to traditional exploration. Instead of looking for inspiration in other designs or in nature, it has created these patterned designs for me, which can be easily altered to fit different parameters. When considering the patterning however, it was not enough for it to be merely aesthetically pleasing, it needed to serve a purpose. I suppose in this sense, having a site analysis, and response to sunlight and shading allowed us to quantify our use of patterning.

In terms of our design, Kangaroo Physics was extremely helpful in our exploration of minimal surfaces. It aided us in creating a form, whilst also promoting efficient, non wasteful designs, reflecting the values of CERES. Matsys Gridshell was a helpful insight into how components can be easily joined together and fabricated. Although I have not yet explored it, Voussoir Cloud has connections similar to the ones in our design, therefore looking forward, I would like to explore this further.

B.8 - Algorithmic Ske Using this logic from the green void, I was able to create the minimal surface and use plug ins to create a design. To create a tensile structure is also a great way to save material.

etches

Using the logic from the green void, it was great to use the plug in Weaverbird to create the patterning. This led us to come to a design conclusion about how we were shading in our pavilion.

REFERENCES Davis, Daniel, “A History Of Parametric – Daniel Davis”, Danieldavis.Com, 2017 <http:// www.danieldavis.com/a-history-of-parametric/> [accessed 5 April 2017] “Green Void / LAVA”, Archdaily, 2017 <http://www.archdaily.com/10233/green-void-lava)> [accessed 7 April 2017] Moussavi, Farshid and Michael Kubo, eds (2006). The Function of Ornament (Barcelona: Actar), pp. 5-14. Woodbury, Robert F. (2014). ‘How Designers Use Parameters’, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge), pp. 153

IMAGES FIG 11.1 “Matsysdesign”, Matsysdesign.Com, 2017 <http://matsysdesign.com/wp-content/uploads/2012/04/IMG_9469.jpg> [accessed 5 April 2017] FIG 12.1 Etherington, Rose, “Green Void By LAVA | Dezeen”, Dezeen, 2017 <https://www.dezeen. com/2008/12/16/green-void-by-lava/> [accessed 7 April 2017] FIG 12.2 Etherington, Rose, “Green Void By LAVA | Dezeen”, Dezeen, 2017 <https://www.dezeen. com/2008/12/16/green-void-by-lava/> [accessed 7 April 2017]

PART C

TABLE OF CONTENTS C.1 - Design Concept

C.2 - Tectonic Elements and Prototypes

112

C.3 - Final Detail Model

134

C.4 - Learning Objectives and Outcomes

166

C.1 - Design Concep In the feedback from my Part B submission, I was reminded of the fact that the ultimate aim of the brief was to create a pavilion for shading. The elements that I had used in my designs had large openings, which did not service this brief to a high standard. I was keen to maintain the triangulations, as this was a strength of my project, however it was imperative that I redesign the patterns within these triangles in an attempt to provide a better and more specific shading sculpture. To create these new patterns, I have used the plug-in ‘Python’. The program uses scripting and rules, to create subdivisions within the triangles. It uses lines to ‘crack’ the polygon, allowing the user to alter the number of iterations to achieve different outcomes. By providing different iterations, the plug-in allows me to alter the the amount of sunlight streaming through the shading pavilion. This means that some areas could provide more shade than others, providing people with the option of different amounts of light. 3 Iterations

2 Iterations

1 Iteration

Python

Through experimentation with python, it was evident to me that I would be limited to 3 iterations when designing the pavilion. Although the patterns with 4 and 5 iterations are visually challenging and aesthetic, I made the decision that they would be too difficult to work with when implementing them into my design, due to their complexity. I considered changing my original design to repetition of different shapes, like the pentagon, however, after experimenting, I decided to keep the triangulations. It became evident that a pentagon is merely made up of five triangles, which ultimately brought me back to why I had used triangles in the first place - for ease of fabrication. Triangles made up the essence of the pentagon, and therefore I decided that it was important to continue with triangles, as they act as a primary shape for joinery of more complex shapes.

The process of the patterning stretched further beyond the lines created with the pyth and turn them into something that could be beneficial to my shading structure. To do I offsetted the curves to create holes between the curves, so that the pattern would b inwards, and not create a larger overarching shape which would alter the original stru the external curve. This will be beneficial in fabrication as if the triangle remains unfillet to fail.

hon script. I needed to take these patterns, created by the computational software, o this, I took the curves from rhino and used grasshopper to both offset and fillet them. be in the negative space. I offsetted by a negative to ensure the offset would extend ucture. I then filleted these curves to create soft edges both on the pattern, and on ted, there is no room for error in the connections, and may cause the entire structure

CERES

I beleive my design would be a great addition to the landscape at CERES. A section o during the day and the night. I think this is a perfect way to target the different users o day.

During the day, the primary users of the site are children. School groups, families and friends all congregate at the environmental site of CERES to learn, create and enjoy. As an educational site, CERES provides children with knowledge about the earth and all its beauty, as well as ways in which we as people can look after it and live harmoniously together. Children are willing to listen and learn, however, often they need visual or kinesthetic stimulants to help them keep engaged. Scultpural pavilions like the one I am proposing will engage children to the principles of natural structures, and even the fundamental natural form of shade. The form will come out like a tree, or a mushroom, sheltering them from the sun, whilst providing another educational stimulant. The patterning on the triangulations show resemblance to leaves, providing an organic and botanical atmosphere. It is hoped that the children become mesmorised and interested in the scultpure, and therefore become eager to learn in the environmental site. Indeed, the structure also acts as a facilitator of flow, by encouraging movement and interaction with the area. Children can utilise the pavilion in their games, and its tall ‘stem’ or ‘trunk’ ensures that the open space is not inhibited.

of the brief that stood out to me was the idea of creating different atmsopheres of the site to ensure that the pavilion can serve different purposes at all hours of the

At night, the pavilion will aim to serve a different purpose. Adults frequently habitate the CERES site for festivals, concerts, gatherings and other events. The phospherescent glow material used in the pavilion boasts a revoloutionary and eye-catching renewable material. My aim is to use this architectural light feature as a way to educate adults about the wonders and opportunities of renewable energy. If people are drawn to a scultpural piece as a result of its flurescent light, people will be willing to learn more about it. If people become interested in the work of David Mainwaring and his glow materials, their entire outlook on renewable light sources, and indeed, renewable energy as a whole, could shift for the better. This is important to push at an environmental site like CERES, as this knowledge should not only be passed on to the children, and it may be that adults have had less exposure to these ideas as it may not have been so prevelent when they were at school. Aside from this, the pavilion also aims to provide a psychedelic, festival feel to the area for their night time events. The bright colours should light up the area and provide a beatiful, organic, light feature for all to enjoy.

Consolidation of Form evolution

Form evolution

Pattern Gene

-Generation through loft between curves

-Triangulate to allow fabrication potential of curved form

-Use python to c terns on triangu

design process

eration

Pattern Generation

create patulations

-Use attractor points within python script to generate altering iterations on triangulations

Formation of openings

-Offset and fillet triangulations to create openings. Seperate into layers based on iterations to ensure smooth execution of offsetting.

Diagram of Cons

Footings

Structure

-Environmentally friendly, low material EASY FOOT footings.

-Timber strips that create a base for the form. Timber strips sit in footings

struction Process

Triangulations -Patterned triangulations form the membrane and provide the shading. Connected together through tabs.

Membrane connections -Triangular membrane connected to structural wooden strips through super glue or nails.

Constructio Footings Upon receiving feedback from the site manager at CERES, I have decided to put forth easy foot footing as the structural base for the design. Resists gravity, shear, moment and uplift loads. Easy to install, and has low carbon footprint. Predominantly made of steel, no concrete use, and less wastage of

on Process Structural base In the Part B submission, one of the crits spoke about the triangulations and how issues can arise from the joinery of them. He explained that if each connection is not perfect, the entire structure can be compromised. I will still explore this, however I think a more feasible option is to break the structure into strips created by the outline of the form, and then attach the triangulations as more of a membrane. This will ensure that the structural rigidity will be based on the strips, and not rely on the precision of connections. We will aim to utilise recycled timber for these strips.

Triangulation connections The triangles will serve the shading, and decorative purpose and will not be used for structural rigidity. Therefore, each triangle will be made of a malleable, thin, lightweight material that can easily be attached to the wooden strips. The triangles themselves will be attached through tabs shown in red. This connection will still allow movement between the joints. The connections of the tabs will be either with glue or pins.

Structure as a whole Essentially, I think the pavilion will be easiest to build in this form, however in my prototypes, I will attempt to explore other options. Hopefully, my prototyping will lead to me a conclusion on the best way to build the structure in the most environmentally friendly, cheapest and most visually effective manner.

C.2 - Tectonic Eleme

ents and Prototypes

Prototype 1

In this first prototype, I decided to work with the triangulations, to ensure that the triangulations created through grasshopper did in fact connect together seamlessly. I watched the Voussoir Cloud Fabrication Tutorial which showed me how to put tabs on the pieces to facilitate the cured shape. This meant that the tabs were specific to each piece. Although the triangles were unrolled, the tutorial did not go into how to number the edges.

The lack of numbers posed a serious problem when fabricating the lasor cut pieces. Luckily, there was only two strips of triangles, and therefore, I could use common sense to try to fit all the pieces together. However, if I had laser cut the entire triangulated structure, this would be an enormous issue.

The tabs were glued together by super glue. This was an effective way to create the joineries as I was only using card.

As pointed out by the blue circle, the connections did not work seamlessly, and this was likely due to the wrong triangles being joined together. Although I made every effort to dictate what was connected to what, there was obviously a mistake somewhere which ruined the whole structure. I will look to numbering the edges in the future.

Prototype 2

These are 1:1 scale models of the triangulated pieces. Although I could use connections like hinges to connect them, I have struggled to come to a conclusion as to how they would be positioned at the correct angle. As shown in the progressive photos to the left, the hinges are not rigid, therefore they can be bent to change the form. The structure would fail and change unless I used specific, rigid connections for all triangles. Although the material and connections were somewhat unsuccessful, the use of the glow paint was extremely effective. After an undercoat of white paint, the green glow is very vibrant in the dark. Although the product claims to last 8 hours, my prototypes seemed to only last a couple of hours at full vibrancy.

Prototype 3

After acknowledging the timber prototype was unsuccessful, I decided to consider materials that were light and malleable. I initially considered paper, as a perfect membrane material. After unrolling the surfaces, I printed off the triangles with tabs. Although simple, I think this prototype really lead me in a different direction when thinking about my design and the fabricatability of it. It is much more appropriate to break the design up into strips and create connection of these triangles through tabs. Once each strip is complete, the strips would be joined together. This membrane could then be attached to the strutural frame. This entire method now seems like a much more feasible and appropriate method, rather than attempting to use the triangles as the structural support. Although we would aim for precision, this is much more room for

As I was just using paper, I decided to just stick the tabs together with glue. This worked effectively, although I do understand that this paper would not be appropriate for an outdoor pavilion. I will attempt to use the principles I have learnt from this prototype to come up with a similar design with more realistic materials.

Prototype 4 I decided to trial out another material that is lightweight and malleable, however, would be acceptable in an outdoor context - polypropelene. I utilised pin joints through split pins to create the connections. This worked well and the phosphorescent glow was effective when applied straight onto the white polypropelene. However, this material has a high carbon footprint and is made largely of plastic, which is bad the environment. I would aim to use recycled polypropelene, or another similar material like vinyl.

Prototype 5

After the challenges I faced in Prototype 1, whereby I had to try to figure out the connections of the triangles, I decided to use tabs with numbers. Unlike the complicated grasshopper definition used to create the tabs in Prototype 1, I used Panelling Tools in rhino to create generic tabs with numbers. In total, there was approximatley 250 connections, and therefore would have been impossible to build without this system. I sent the labelled triangles to be laser cut, and this proved to be quite expensive, as the numbers took a long time. In future, I could attempt to arrange the triangles in their correct order on the laser cutting template and manually write the numbers on. Although this would be tedious, it is more cost effective.

This shows the process of piecing the structure together. Basically, I spread out all the triangles on the floor and began to put strips together. There was no easy way of sorting them, as each edge had a different number, therefore this process took many hours.

Here, I have pieced together all of the strips. This made the actual fabircation of the entire structure much easier and more manageable. As shown when the strips are flat, the strips do not line up with each other the whole way up. When all the edges are joined together, this allows the curved aesthetic to occur.

After attaching all the pieces together, I was disappointed to find that the structure did not hold up on its own, at all. Now looking back on it I suppose card is not a strong material and therefore would not be able to take the load, however, I thought the shape would stay more in tact than it did. It was interesting to see how the structure almost seemed to fold up when placed on the floor.

The structure struggled to stay in shape even when being supported, for example: if the top sides were being supported the bottom stem would collapse and vice versa. I knew that there were strengths to the prototype, as it was great to see that the strips all joined together perfectly, however, I needed to focus on how I could bring rigidity to the structure.

Prototype 5-Develop By returning to the original surface on Rhino, I used the ExtraxtIsoCurve command to reference the lines with which I would use to create the strips. I extracted each line at the connections of the triangles, to ensure that it would be easily fabricatable and the connections would be smooth. I then extruded these curves to then create a surface. After unrolling these strips, I sent them to the fab lab to be cut.

It proved to be very easy to connect the strips to the card structure as the triangular strips connections almost created a little slot for the timber. Although I did not have the strips labelled, it was easy enough to figure out which strip went where merely by trial and error. Despite all looking a similar length when on the floor in strips, the angles with which the connections create alter the height of the structure at points, allowing me to easily decipher the position of the strips.

ped

Once a few strips had been connected, the whole structure began to maintain its form. It was great to see the structure stand up unassisted. This demonstrated to me that I had found a fabrication process that would bring structural rigidity to my design, and allow it to be buildable. It was a wonderful feeling to see the triangulations work well and create the intended curved form that I had been working on for the majority of the semester.

Prototype 6

In this prototype, I hace combined what I have learnt from previous trials in an effort to produce a successful 1:1 scale model of a part of one of the strips. I placed them in order when putting them on the FABLAB template, so it would be easy for me to identify which pieces fit together.

When I received the lasor cuts, it was great to see the patterning on a malleable piece of material. Although Ivory Card would not be appropriate for outdoor use, it provides a good visual indication of the material I would like to use.

Once again, I used the pin joints in the form of split pins to connect the pieces. This was successful, however the tabs were only on the ends of the triangulations, and I think next time I will put the tabs the whole way across and have a connection in the middle as well.

I then attached the wooden strips to the sides of the triangulations. This is a simple and easy connection that would be very easy in fabrication of a 1:1 scale model.

C.3 - Final D

Detail Model

Fabrication Process

I decided to look at what was most suceessful in my prototypes to use in my final model. I decided the paper was the most feasible option for the fabrication process as it was malleable and lightweight. I am using it in this case as a substitute for recycled polypropelene, or indeed the old banners that CERES said that we could use. All materials are bendable and will work in the same way as the paper. After learning that the structure needs a stronger support, I am using MDF as the strips. This will make the form structurally rigid and will join together the strips of the membrane. As this is my final model, I will also be using the phosphorescent glow material.

Once again, I laid out all the triangles to ensure they all fit together. I then used super glue to connect them, as I thought on a 1:5 scale model, the split pins would be too prominent.

I applied 5 x coats of the White Knight Glow Spray Paint as it is most effective when it has several coats.

C.4 - Learning Objec

Studio Air has really opened my mind to the capabilities of the computer and the Fabrication Lab. I can honestly say that I had lagged behind in terms of computer program knowledge, as it not only intimidated me, but I also felt a certain attachment to the organic hand drawn designs. I have learnt however, that computational design indeed opens opportunities, and brings forth crazy, amazing ideas that I simply could not imagine without it. Being able to design something in 3d, and visualise it helps with expanding and challenging the mind to extend the design.

Grasshopper was a challenging, yet eye opening program to learn, particularly for students that struggle with generating ideas. Earlier in the semester, we were told that with computational design, you should not come with a pre-conceived idea, and in some ways, I believe this. The possibilities that arise with programs like grasshopper are enormous, and I think that you would be limiting yourself if you did. However, I believe this is enabled by in depth tutorials that enable people to follow the logic, as I found it difficult to work out my own logic to generate ideas, particularly at the start. The excitement came when you were able to take a design and alter the parameters to make it your own.

ctives and Outcomes

It was incredibly encouraging to see my computational model come to life in the physical model. It proved to me that programs like grasshopper encourage and provide great opportunities for unconventional designs to be fabricated. As I had never used the fabrication lab before, it was exciting to see my computer designs replicated in physical form, in such a precise manner. The 1:5 scale model of the form was a highlight in this sense, as I felt accomplished that all the pieces fit together perfectly to create my design. Even though the form was not structurally rigid at first, I felt a sense of achievement by extending the prototype and coming to a solution, which ultimately solidified my design structure. To me, this emphasised the importance of prototyping.

Form Progression

There is a clear progression of the form seen in this journal, dating back to Part A. Star curved shading structure that would fit appropriately in the CERES site. Development became less extreme when realistically thinking about fabrication, and the ‘stalk’ or cided that it needed to be wider, to provide more shade and it has come to the fina space for people to congregate under. It facilitates the flow of the space, and enco

rting with the Geodesic Patterns learnt in a tutorial, I began modeling an organic, t saw the introduction of triangulations, to provide a means to fabricate. The curves ‘trunk’ became taller to accomodate for the height of people underneath it. I deal form. Growing like an organism from the ground, it provides both shade, and a ourages children and adults to interact with the area.

Pattern Design Deve

It is interesting seeing how my patterning design has developed over the semester as learnt the importance of filleting and offseting, which are both present in my final pa ble, and it has allowed me variation in my openings through the point attractor logic alter them to make them fabricatable. This is where the simple knowledge of offsetin

elopment

s I learn new things within computational design. Beginning with trinagulations, I atterned design. The incorporation of Python Script into my design has been incredic. It is also important to note that although designs may look appealing, you have to ng and filleting is vital.

Phosphores

scent Glow

It was great for me personally to experience the wonders of the phosphorescent glow in my designs. As I have said as part of my design, I really wanted to educate people, in particular adults about the powers and opportunities of renewable light sources. Physically using it in my design has been incredible, and it has solidified my belief that people will be drawn to