Keynton natalie 615887 finaljournal by Natalie Keynton

DESIGN STUDIO AIR Natalie Keynton 615887

PART A

CONTENTS 6

A.1 Design Futuring

A.2 Design Computation

A.3 Composition and Generation

A.4 Conclusion

A.5 Learning Outcomes

A.6 References

INTRODUCTION

n a family holiday in 2009 to France I visited the MusĂŠe dâ&#x20AC;&#x2122;Orsay and was enthralled by the huge space. At one end of the museum there is a multilevel structure where, from the top level, you can survey the entire central gallery looking back on the divided spaces from above. Looking back towards the gigantic clock on the far side it struck me just how much this building has been changed. This intense collision of modern and ancient was not only represented in the artworks but also in the building fabric itself. Since this experience I have become increasingly interested in how we can repurpose buildings to show of the best of what they were in making them the best they can be today. I have always been interested in heritage architecture and am fascinated by the history that our buildings carry. In my work I hope to work on maintaining

culturally and historically significant buildings in a way that is symbiotic with our modern lifestyles. I am currently in my second year of my Architecture undergraduate. I completed Design Studio: Earth last semester and was exposed to new techniques and approaches to the design process that I found extremely useful in my final project. My experience with technology is incredibly limited having not had much computer experience in my teenage years. I have recently learned Revit and have become quite competent, using it in Earth for my final project. I have had next to no experience with Rhino and none with Grasshopper. I am a slow but thorough learner and hope that I will be able to work competently with Grasshopper by the end of the semester and look forward to using my new skills!

DESIGN FUTURING

nthony Dunne and Fiona Raby contemplate what constitutes design in their book Speculative Everything¹. Is it just problemsolving in an aesthetic manner? Or is it rather a useful tool in our kit for coping with our seemingly pessimistic future? Regardless of how optimistic we are about the future of the human race, it is evident that speculative design can be a useful aid when creating paths towards our future, or our possible futures. It falls to design, and architecture as a sub section of this, to innovatively show people how we can move from today into the future. While this may rest partially or entirely in the speculative realm, we have thus far refused to acknowledge the major destruction we are causing the planet. Consequently, we are disadvantaged when it comes to finding ways to deal with an elusive future. It is suggested, as also by Dunne and Raby¹ that a cultural shift needs to occur. Designing, while it may be one solution to sustainability issues, is more effective when accompanied by a change in our societal values, beliefs, attitudes and behaviour. Consider, for example, Sir Ebenezer Howard’s Garden City concept. The movement, as a method of urban planning was initiated in 1898 and was surprisingly futuristic in design. The proposition of a city with several smaller surrounding garden cities had a strong focus on public, open spaces within a sustainable and self-sufficient community. This concept intended to produce efficient cities with shorter distances and economic independency. It was adopted first in England at Letchworth Garden

City and Welwyn Garden City, and later in other countries around the world. While very few hold true to the exactness of Howard’s original design, several concepts have been transposed and redefined. I consider the notion of a Garden City to be particularly advanced for its time, and while at conception it was based off a desire to live simultaneously in the country and in town, it has different applications today. Now that the majority of the world’s population lives in cities I find this idea particularly adaptable to a modern context. When so few of us see greenery in a day, a garden city with satellite cities would provide the link to nature that many people are deprived of today. I also believe that in light of population issues and the consolidation or spread debate, this movement could be applied to reduce pressure on the inner city suburbs and create better opportunities for those living in satellite garden cities. It is perhaps a little late now to adapt a model like this in Melbourne for example, but I believe that our city would benefit greatly from a system like this one. It is suggested that the Garden City concept was an innovative movement of its time that would have been much suited for today. Thus, the design was futuristic. I believe it will continue to be a useful design into our future too as population rises and environmental issues increase. On the flip side to this, consider the Empire State Building. A gigantic feat of its time, the Empire State Building paved the way for other monumental sky scrapers. Sky scrapers are now of course common

in most large cities but this monumental construction brought the domain to new heights. This is an example of consolidation through extreme height and while it is an architectural masterpiece, it is perhaps less revolutionary than the Garden City concept. The use of the Empire State Building has remained largely unchanged since it’s being built, and has inspired other designs world-wide. An iconic building, I believe that we are now in need of remodelling for our iron towers. While this was perhaps futuristic at its conception, I believe we need a more sustainable method of consolidation if we are to deal more effectively with population and environmental challenges in our future. As we are faced with many unknowns, it is the role of design to show us a path into the myriad of possibilities and help us prepare. ¹

Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45

DESIGN COMPUTATION

igital softwareâ&#x20AC;&#x2122;s role in architecture in changing from a documentation tool to a design platform. This allows digital design to blur the lines between the precedent, concept generation, development, and documentation stages of the design process. I believe it creates a more traceable process and consequently makes the transition between the stages flow with greater ease. Within the industry I believe it also serves to reinstate the architect as masterbuilder of a project and facilitates inter-disciplinary team work. This said, a large proportion of the debate surrounding computational design is whether it limits creativity. In the past I have found that my ability to graphically represent with a pen on a piece of paper a 3D concept has drastically limited my designs. Digital design has removed this difficulty for me. I believe that the questions worth asking are in fact: what can computational design achieve, rather than what it limits. While I have thus far found many digitally designed projects to be very similar but I account for this by a relatively limited exploration of the possibilities offered. I am particularly interested in softwareâ&#x20AC;&#x2122;s ability to predict material performance, and then using this information to dictate design. For example, the Research Pavilion in Stuggart was designed based on the tensile strength of the laminated timber sheets when bent allowing their optimal strength to be harnessed. Here digital design truly excels to create a quickly constructed structure whose design is dictated by a prediction of material performance.

5 Los Manantiales Restaurant by Felix Candela. Sourced from: http://www.

To balance this however, included also is the Los Manantiales Restaurant by Felix Candela who combines mathematics within a system to meet his selected boundary conditions. This is an example of similar thinking to digital design harnessed in the 1950s. This is an example of predigital design computational thinking. We should not be considering how design methods are limited, but rather how they can be used together to achieve the best results.

penccil.com/ files/U_40_119744394989_ Cafe_Los_Manantiales. jpg 6 Parametric curves of Los Manantiales. Sourced from: http://

www.greatbuildings. com/buildings/Los_ Manantiales.html 7,8 Research Pavillion at Stuggart University by Simon Schleicher, Julian Lienhard, Moritz Fleischmann. Sourced from: http://www.detailonline.com/inspiration/ research-pavilionin-stuttgart-106075. html curtesy of Frank Kaltenbach.

COMPOSITION AND GENERATION

B 10

rady in his book Computation Works argues that ‘computation augments the intellect of the designer and increases capability to solve complex problems’². To an extent, this is true. Computation can assist in generating better or more effective solutions to complex problems. As to whether it ‘augments the intellect of the designer’ I am yet to be convinced. From the magazines I read, for example Architect Victoria or Architecture Australia, computational design is generally written about in a positive manner and discusses the possibilities of this method of design generation. However, some practices are yet to embrace this as a design method due to their current lack of knowledge and understanding. For example, Wolveridge Architects are just beginning to use digital software to influence the form of their designs³ – which is largely a product of individual designers in the team possessing a personal interest in this field. Like any transition within an industry, the shift to the digital design era will take time. First of all there are the issues surrounding learning how to think algorithmically in order to design and then using scripting and parametric modelling to achieve this. These conceptual changes are perhaps the most difficult to overcome.

Digital design can greatly improve the quality of a project in terms of its ability to predict performance, monitor performance and creatively solve complex problems. However, it is limited in several other areas. It is arguable that this type of algorithmic thinking for design limits real creativity. It may also hinder client input into a design as computer generated images feel fixed and decided rather than a hand drawn ideation sketch – leaving the client feeling decisions have already been finalised. I also find that many of the buildings associated with computational design appear similar due to the heavily featured repetitive geometry, sometimes referred to as ‘blob’ architecture. Take for example the pavilion for Volvo’s electric car designed by Synthesis Designs + Architecture, or the Cellular Tessellation Light pavilion designed by Chris Knapp. As computational design stands in practice now, I believe it is critical that we do not lose sight of more traditional design generation methods.

Contrarily, I believe the true capabilities of digitally informed design lies in its ability to predict and monitor performance as well as testing of materials for appropriate use in design solutions. Take for example Kieran Timberlake architects who are creating are using software to test the environmental impact of a building early in the design process. Due to issues of sustainability and the unpredictability of our own futures, it is my opinion that design as a field should now move away from a focus on the aesthetic properties of design but concentrate firstly on the efficiency and effectiveness of materials, form and location. By using this as our prime focus for design – digital generation will be at its best, and as a secondary consideration we can make this beautiful. But let’s make them practical and sustainably viable first because this is where digital design can work at its best to inform our societies. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 ³ Wolveridge, Jerry. ‘Wolveridge Architects’. 2015. Presentation. 2

9 Cellular Tessellation light pavilion by Chris Knapp. Sourced from: http://stemplusd.com/wp-content/uploads/2015/01/CellularTessellation-5.jpg - photo by Patrick Boland photography 10 Volvo Pavilion by Synthesis Designs. Sourced from: https://encrypted-tbn0.gstatic.com/ images?q=tbn:ANd9GcTTyCZrQv4DssrsCHDjnhRjvLFpJyhNpQ07JRRJpl6o4yzU83grsg 11 Dragon Skin Pavilion by students at the Tampere University of Technology. Sourced from http://www.evolo.us/architecture/dragonskin-pavilion-is-a-digitally-fabricated-plywood-sculpture/ 12 Digital analysis at Kieran Timberlake architects. Sourced from http://www.kierantimberlake.com/pages/view/95/

CONCLUSION

entered the subject with what may be considered as a more traditional approach to architecture â&#x20AC;&#x201C; I preferred hand drawn sketches over computer generated ones, particularly in the design process. I, like the industry, are taking a while to adjust to this new opportunity to design in innovative and responsive ways.

However, through the examples cited I have come to appreciate the possibilities that digital process offer when included early in the design process. This has led me to a particular interest in predicting material performance and evaluating the sustainability and life cycle of buildings. I hope to explore this further in the semester. I have also been interested in the field of biomimicry and will consider this as a path for future investigation. By predicting the performance of materials we would be able to build efficient and potentially sustainable structures. This will gain importance over the coming decades as materials become scarce and more expensive â&#x20AC;&#x201C; using them efficiently will therefore be the key to intelligent, beautiful design. 13 Parametric Design. Sourced from: http://img.scoop.it/2kSISFMpEWqN6iC9YX_pIXXXL4j3HpexhjNOf_3YmryPKwJ94QGRtDb3Sbc6KY

LEARNING OUTCOMES

ue to my preference for hand-drawing I challenged myself last semester by using Revit to computerise my design for the unit. While the design was already decided and I saw this as an opportunity to begin using digital software, my design was influenced by the program. When I modelled the

14 Light Pavilion by Natale Keynton, 2015.

roof structure in Revit I found that I could easily change the structure from a single plane to multiple triangular planes. I experimented with this before deciding on the final folded roof as shown below. While this is not an example of digital design as discussed in Part A, it introduced me to the possibilities of the approach.

REFERENCES In text ¹ Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45 2 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 ³ Wolveridge, Jerry. ‘Wolveridge Architects’. 2015. Presentation.

Images

1 Letchworth Garden City by Sir Ebenezer Howard. Sourced from: http://todiscoverice.b logspot.com.au/2015/01/letchworth-garden-city.html 2 Projection of ‘Racing extinction’ - raising awareness about biodiversity on the Empire State Building’s façade. Sourced from: https://cdn3.vox-cdn.com/thumbor/n3-3SoZdpv2 H85ZZuXfGeFF9hH4=/0x0:5184x3456/1025x683/cdn0.vox-cdn.com/uploads/chorus_ image/image/46882496/Tiger.0.0.png 3 Empire State Building by Shreve, Lamb and Harmon. Sourced from: http://server. empirestaterealtytrust.com/images/properties/empire-state-building2.jpg 4 Sir Ebenezer Howard’s Garden City concept. Sourced from: https://upload.wikimedia.org/ wikipedia/commons/3/3d/Garden_City_Concept_by_Howard.jpg 5 Los Manantiales Restaurant by Felix Candela. Sourced from: http://www.penccil.com/ files/U_40_119744394989_Cafe_Los_Manantiales.jpg 6 Parametric curves of Los Manantiales. Sourced from: http://www.greatbuildings.com/ buildings/Los_Manantiales.html 7,8 Research Pavillion at Stuggart University by Simon Schleicher, Julian Lienhard, Moritz Fleischmann. Sourced from: http://www.detail-online.com/inspiration/research-pavilionin-stuttgart-106075.html curtesy of Frank Kaltenbach. 9 Cellular Tessellation light pavilion by Chris Knapp. Sourced from: http://stemplusd.com/ wp-content/uploads/2015/01/Cellular-Tessellation-5.jpg - photo by Patrick Boland photography 10 Volvo Pavilion by Synthesis Designs. Sourced from: https://encrypted-tbn0.gstatic.com/ images?q=tbn:ANd9GcTTyCZrQv4DssrsCHDjnhRjvLFpJyhNpQ07JRRJpl6o4yzU83grsg 11 Dragon Skin Pavilion by students at the Tampere University of Technology. Sourced from http://www.evolo.us/architecture/dragon-skin-pavilion-is-a-digitally-fabricated-plywood- sculpture/ 12 Digital analysis at Kieran Timberlake architects. Sourced from http://www.kierantimberlake. com/pages/view/95/ 13 Parametric Design. Sourced from: http://img.scoop.it/2kSISFMpE-WqN6iC9YX_ pIXXXL4j3HpexhjNOf_P3YmryPKwJ94QGRtDb3Sbc6KY 14 Light Pavilion by Natale Keynton, 2015.

PART B

CONTENTS

18 20

B.1.1 Design Direction - Biomimicry B.1.2 Brief

22 24 26 28

B.2.1 Case Study 1 choice B.2.2 Selection Criteria B.2.3 Case Study 1 Iterations B.2.4 Design potential

30 32

B.3.1 Case Study 2 choice B.3.2 Reverse Engineering

34 36 44

B.4.1 Technique Development B.4.2 Case Study 2 Iterations B.4.3 Selection Criteria

B.5.1 Fabrication Prototypes

B.6.1 Technique proposal

B.7.1 Learning Objectives and Outcomes B.7.2 Interim Submission Feedback

58 58

B.8.0 Appendix B.8.1 Reverse Engineering

DESIGN DIRECTION Biomimicry

‘Biomimicry isn’t a product but a process’ – Tom Vanderbilt (2012)

Biomimicry is the practice of ‘studying nature to inspire better designs’ . As McNamara (2015) 1 explains in his blog post, each element of a system can be studied as either an individual element or as an integral element in that system. He argues that by exploring the connections between elements in a system you can smoothly fit them into their environment. This is one dimension of biomimicry that can help us achieve a better integrated built environment. If we begin considering a project within the entirety of its context we have created an opportunity to seamlessly integrate a building within its environment, minimizing negative effects.

Curt McNamara, 2015, ‘Exploring upwards, downwards, and sideways: Using a systems lens in design’, Biomimicry In Design Blog, Biomimicry Institute, 10 September, http:// biomimicry.org/exploringupwards-downwards-sidewaysusing-systems-lens-design/#. Vf4SvPSwVLA

Vanderbilt (2012)2 assesses biomimicry in perhaps a better understood, more accessible way. Using the example of the vibrant blue colours on butterfly wings he views biomimicry as harnessing millions of years of evolution. This common view that through understanding natures performance – which has had millions of years to evolve to relative perfection – we can take this knowledge and apply it to our built environment or any other design environment.

to form cohesive design. There exists a subtle difference between these two views of biomimicry that perhaps extend from the relatively small three years that separates their writings – a time period I would consider big enough for thoughts to have changed surrounding this practice. But regardless of this, I believe that biomimicry potential exists in employing both these ideas simultaneously. We can equally harness evolution’s knowledge and practice along with better integrated systems.

For Vanderbilt biomimicry is about harnessing practices that evolution has perfected and applying it to our current needs and technology. Whereas for McNamara, biomimicry is an opportunity to consider projects as a part of a system and integrate elements

I have chosen biomimicry as my design approach because the organic forms that often emerge from this process appeal to me aesthetically. I am not sure that the scope of this project will allow me to fully explore the evolutionary knowledge that can be found within biomimicry and integrate it within my design, but I would like to create a project that is considerate to its local and broader system and draws inspiration from the nature around it.

Tom Vanderbilt, 2012, ‘How Biomimicry is Inspiring Human Innovation’, Smithsonian, 10 September, http://www. smithsonianmag.com/sciencenature/how-biomimicry-isinspiring-human-innovation17924040/?no-ist

The projects to the right have been selected as examples of biomimetic design which showcase both aesthetic similarities to nature and process similarities.

1. Glove for Carpal Tunnel syndrome. http:// www.biomimeticarchitecture. com/2013/carpal-skin-

neri-oxman/ 2. Shading system. http://farm5.static. flickr.com/4031/4411 056528_4679a858b6_ b.jpg

3. Hygroscope by Achim Menges and Steffen Reichert. http:// www.biomimeticarchitecture. com/wordpress/ wp-content/ uploads/2012/04/ hygroscope1_edit4. jpg 4. Bell Tower Staircase by Gaudi. http:// buddhajeans. com/wp-content/ uploads/2014/03/ gaudi-snail-shellinspiration.png

THE BRIEF Problem Statement A footbridge connecting Beavers Road and Kingfisher Gardens must be suitable for cyclists and young school children, as well as other park users such as walkers or runners. Due to the pollution in the Merri creek area the bridge should not add to the degradation of the surrounding ecosystem but aim to improve it. Situated near to Ceres, the design should follow a similar philosophy of reuse or graceful degradation and aim to use sustainable materials where possible. Furthermore the footbridge should have a positive impact on the surrounding ecological systems and where possible aim to engage users with the conditions of the river system. It should act as prompt or reminder for visitors to actively engage with the health of the surrounding environment. Proposed site

Beavers Road

Area prone to flooding. Improvised creek crossing found at this location. Bricks and other waste material also observed in embankment at this site. CERES Park Kingfisher Gardens Google maps, 2015, https://www.google.com. au/maps/place/CERES+Community+Environment+Park/@-37.7687409,144.9818706,1699m/ data=!3m1!1e3!4m2!3m1!1s0x6ad6435e295bb43f:0x41761fff9e6748c2

SPANISH PAVILION Case Study 1

The Spanish Pavilion is designed by Foreign Office Architects aimed to reflect cultural hybridisation as it exists within Spanish culture1. As an amalgamation of Jewish and Christian cultures as well as Islamic occupation Spain has a diverse religious background. The façade encloses several vaulted spaces that act as chapels. The interior spaces are a re-interpretation of gothic vaults and Islamic domes combined, while the envelope explores traditional lattice patterns in a modern context. The interesting honeycomb pattern on the external faces appears non-repetitive and is achieved using a base of six unique hexagons tiles. The geometry is combined with an alternating colour pattern which gives the impression of a random pattern.

1 Ceramic Architectures, ‘Spanish Pavilion EXPO 2005’, 15 September, http:// www.ceramicarchitectures. com/obras/spanish-pavilion-expo-2005/

There are 15,000 ceramic pieces which make up the façade which is based off the repeating pattern of 6. I have chosen this project as my first case study exploration because I am intrigued by the apparently irregular honeycomb pattern. I can also see potential in the pattern for using smaller elements to create a whole. I am also drawn to the geometric form which mimics a beehive’s honeycomb pattern. I hope to explore patterning and irregularity through such patterning.

5. https://www.architecture. com/RIBA/Awards/ RIBAInternationalPrize/2005/ Spanish-Pavilion.aspx 6,7,8. https://encryptedtbn0.gstatic.com/images?q =tbn:ANd9GcToneSGlcGcY k3H2y4T9X6AVcYnfb0TWETKr wR9Z8-UV5Bxz5VaLQ

SELECTION CRITERIA

Constructibility

Structural capabilities

Materiality

It is desirable that the project will be easily constructed in order to minimise time and economic cost. This involves the most efficient use of material and also the ease in which it comes together i.e. considering the joints.

It is important also to consider how the footbridge will support itself. I would like to consider the potential for the final design to incorporate both aesthetic and also structural elements within one harmonious design. I am looking for the potential for the design to be self-supporting and not need additional supports as this will compromise the aesthetic value and raise costs through potentially more materials being used.

I must consider the capacity of each design to either be constructed predominately from reused or recycled materials or to plan for the graceful degradation of materials used in the structure. In order to achieve this, I believe the design must be versatile in its constructability and it should cater for a range of materials being used. It should also aim to breakdown components into smaller parts as this may make it easier to use recycled materials. With a repetitive structure or geometric base you can also make it easier to source materials.

This criteria ties tightly in with the materiality and structural capabilities criterion which will have a direct influence on construction. In these early stages of development I would like to begin considering how elements can be used the most effectively to minimise unnecessary elements that do not add to the design. Later I will consider what materials can contribute to the constructability of a project and use this guide when bringing together my final project.

It is also important to consider the place of offthe-shelf components that can be easily found and applied to many structures to reduce material costs and improve overall efficiency of the final product.

Function In accordance with my brief it is important that the structure conveys users easily from one side of the creek to the other. It is also important that any design considers the potential for including elements that could help raise awareness about the creekâ&#x20AC;&#x2122;s health. This social dimension of education can be incorporated in the function and form of the footbridge.

Environmental sensitivity

Aesthetic appeal It is always a delicate balancing act, trying to achieve smart design that responds to its environment, yet fits in seamlessly. In a similar way it is difficult to create a comparatively cost effective structure if you design durability and quality materials. While I aim in my design to integrate the project within its surroundings I also desire a certain aesthetic sensitivity that will generate a pleasing design.

This ties in closely with materiality where the design must be sensitive to the CERES park ethos of reuse and recycle, including elements of graceful degradation. As mentioned in the previous discussion of biometric design, the footbridge must aim to act as an element of its broader landscape and environment. It must aim to fit harmoniously in with its surroundings and add to the area rather than have In these early stages it is I would like a negative impact, be it However important to consider the the overall design to be social or environmental. potential of a particular aesthetically pleasing. In my design iteration to be applied early iterations I will aim also to a footbridge like structure to select designs that satisfy or be otherwise prominently this criteria and discard incorporated in the design. those that fill other criteria but disregard this one.

ITERATIONS Case Study 1

Altering corner points

Changing grid bases

Selecting offset cells

1. One corner point changed 2. Four corners changed 3. Three corners changed 4. Five corners changed

1. Square grid 2. Square grid with altered values 3. Hexagonal grid 4. Triangular grid

Using graph mapper 1. Sine 2. Perlin 3. Bezier 4. Conic

Changing loft options

Generating 3D form

Attractor points

1. Piping curves 2. Creating lofted triangles 3. Graph mapper to alter pattern of triangles 4. Creating twisted circles

Moved hexagons vertically then used an attractor point to move the moved hexagons before lofting between the two geometries.

Loft options 1. Open loft, curved 2. Closed loft, curved 3. Align sections 4. Closed loft, straight

DESIGN POTENTIAL SUCCESSFUL ITERATIONS Case Study 1 Successful outcome 1. Series 1, iteration 4 Selection criteria rating Constructibility Structural Materiality Function Environmental Sensitivity Aesthetics Total I can see potential for this pattern perhaps as a rainscreen, barrier or sun shade. The pattern is appealing however it would be difficult to built from recycled materials but there is possibility for degradable ones. It would not perform well as a structural element but is highly decorative.

Successful outcome 2. Series 4, iteration 3 Selection criteria rating Constructibility Structural Materiality Function Environmental Sensitivity Aesthetics Total Similarly to example one, I see potential for this iteration as more of a dcorative feature than as a design one. However, if this design were used at a much larger scale there is the possibility that it could be used in a similar way to stepping stones used to cross the creek. On the pavillion this method of shading/opening may have allowed more light in, but we loose the sense of the irregular pattern.

Successful outcome 3. Series 5, iteration 3 Selection criteria rating Constructibility Structural Materiality Function Environmental Sensitivity Aesthetics Total The points which protrude from the surface act oppositely to the original facade pattern which cave in towards the building. On the spanish pavillion they would seem unfriendly and unwelcoming, however if tapered slightly they would make an effective and interesting walkway or other decorative feature.

Successful outcome 4. Series 6, iteration 3 Selection criteria rating Constructibility Structural Materiality Function Environmental Sensitivity Aesthetics Total I see a lot of potential for this design to act as a structural support for the footbridge. However, I imagine that it would be more difficult to source recyclable or recycled materials on a scale large enough to act as a supporting structure.

BIOTHING Case Study 2

Biothing, designed by Arktura is a responsive ceiling system for the New Museum in New York. The structure works to act as a noise dampener and also to provide light. The light levels can be manipulated to create different atmospheres. I have chosen to manipulate this project as my Case Study 2 because I am attracted to the lightness of the design that appears to float mid-air. I also see a connection between the curved lines which create space or are compressed, and the Merri Creekâ&#x20AC;&#x2122;s water flow patterns. I feel that this subtle connection and mirroring of the natural in the built and the built in the natural environment will help the footbridge to integrate seamlessly within the system.

From top to bottom: 9. https://s-mediacache-ak0.pinimg. com/736x/88/ e8/64/88e864a2b53fdad871eefdcfd3178342.jpg 10. http://farm3. static.flickr. com/2745/4459451899_72ac8b0172_b. jpg 11. http://farm5.static. flickr.com/4020/ 4459451453_ 31f8ce5f89_b.jpg 12. Background image. http://farm5.static. flickr.com/4023/ 4459455217_ f85584a2c4_b.jpg

REVERSE ENGINEERING Case Study 2

I attempted many different versions of my reverse engineering project before settling on the one outlined below. Due to the relatively simple nature of the Biothing design there were many options that I could take when reverse engineering the project. I chose the one below for my iterations because it was the simplest that allowed me to experiment the most with a basic base definition. Note: I include some of my other processes in the appendix.

CURVE

DIVIDE CURVE

POLYLINE

DIVIDE CURVE

Reference to sets of curves into Grasshopper from Rhino

Divide all curves by the same â&#x20AC;&#x2DC;Nâ&#x20AC;&#x2122; value

Create a set of lines

Establish control points for curved lines

NURBS CURVE

MOVE

LOFT

Establish curves that will define final geometry

Shift lines to create 3D form

Create a volumetric form

TECHNIQUE PROPOSAL Case Study 2 - Reverse Engineering Process

Original Geometry

Experiment with creating space in the design

Give the geometry more 3 dimensional properties

Attractor Points

Vector in Z direction

‘Move away from’

Loft

Vector 2 Point

Pipe

Octree

Orientating geometry to the surface and creating patterns

Break down into smaller parts for fabrication

Surface Box

Pipe

Project

Intersect points

Attractor Points

Extrude

Design potential

ITERATIONS Case Study 2 1 Species 1 experiments with the ‘move away from’ component.

Iteration 1 Two points

Iteration 4 Changing the directions of the lines by 90 degrees

Iteration 2 Using a line instead of a point

Iteration 5 Using a rectangular box as the ‘move away from’ geometry

Iteration 3 Two lines, altering ‘move away from’ distance

Iteration 6 Adding a negative direction to the distance to move away

2 ‘Vector Move’ and ‘Graph Mapper’ are used to move the control points that create the curves. Iteration 1 Vector Move: Graph Mapper: Purlin

Iteration 4 Vector Move: Multiple points Graph Mapper: Bezier

Iteration 2 Vector Move: Graph Mapper: Sine

Iteration 5 Vector Move: Both sets of curves moved only in Z direction Graph Mapper: Sine

Iteration 3 Vector Move: Changed position Graph Mapper: SIne

Iteration 6 Vector Move: Two sets of curves moved in different directions: Z and XY direction Graph Mapper: Purlin

ITERATIONS Case Study 2

Attempting to loft between two sets of circles. Experimenting with Flatten, Graft and Simplify and the effect this has on creating lofts.

Looking at creating different geometry on lofted curve surface

Iteration 1 Lofting between circles at control points on curve

Iteration 1 Using Octree to group surface points

Iteration 2 Graft

Iteration 2 Using Octree as a square

Iteration 3 Increasing Vector Move in Z direction Flatten and Graft

Iteration 3 Reducing size of boxes to include only one point

5 Lofting between sets of control points on the curves.

Iteration 1 Using one attractor point to vary heights

Iteration 4 Graph Mapper: Bezier

Iteration 2 Reversing direction of Z vector

Iteration 5 Altered Graph Graph Mapper: Bezier

Iteration 3 Adding a Graph Mapper sine curve to alter heights of individual control points

Iteration 6 Graph Mapper: Purlin

ITERATIONS Case Study 2 6 Looking at orientating geometry to the lofted surfaces and creating patterns.

Iteration 1 Using â&#x20AC;&#x2DC;surface boxâ&#x20AC;&#x2122; to generate a truncated pyramid on the surface

Iteration 4 Orientating circles onto a surface

Iteration 2 Changing the surface box divisions U value: 5 V value: 1

Iteration 5 Altering radius based on attractor point

Iteration 3 hanging the surface box divisions U value: 1 V value: 5

Iteration 6 Changing the location of the attractor point

7 Generating geometry based on the curves, for example, Delaunay triangulation and Voronoi cells. Iteration 1 Voronoi cells based on divided surface

Iteration 4 Delaunay triangulation with â&#x20AC;&#x2DC;flattenâ&#x20AC;&#x2122;

Iteration 2 Adding more surface points

Iteration 5 Altering the U,V inputs of Surface Divide V count: 1 U count: 31

Iteration 3 Fewer surface points

Iteration 6 ltering the U,V inputs of Surface Divide V count: 10 U count: 1

ITERATIONS Case Study 2 8

Thinking about breaking down the definition into smaller parts for fabrication. Also begining to think about the design as a potential structure for the footbridge.

Iteration 1 Creating a circle at curve intersections

Iteration 1 Creating a grid on surface and offsetting grid curves.

Iteration 2 Using an attractor point to alter circle radius

Iteration 2 Varying the size of offset

Iteration 3 Attract points used to alter extrude distance

Iteration 3 Adding a negative direction to the distance to move away

DESIGN POTENTIAL SUCCESSFUL ITERATIONS Case Study 2 Successful outcome 1. Series 8, iteration 3 Selection criteria rating Constructibility Structural Materiality Function Environmental Sensitivity Aesthetics Total This design has the potential to form part of a structural system for the footbridge. I like how the supports get thinner towards the middle. I would like to experiment with having these on an angle, perhaps all reaching towards a centre point.

Successful outcome 2. Series 5, iteration 3 Selection criteria rating Constructibility Structural Materiality Function Environmental Sensitivity Aesthetics Total I am particularly drawn to this iteration because it harnesses the curved aesthetics present in the original design and translates them into a more interesting 3D form. It seems almost like it is malleable, like it could be easily moved and altered. I would like to experiment more with seeing how I could preserve the flow and curves of this design but make it easier to fabricate.

Successful outcome 3. Series 6, iteration 6 Selection criteria rating Constructibility Structural Materiality Function Environmental Sensitivity Aesthetics Total I love the dynamic nature of this design. I also believe that it would be easier to source recycled materials for a design such as this one which relies upon smaller repeating parts in order to create pattern. I would like to integrate this pattern with a supporting structure, such as the first successful iteration cited.

Successful outcome 4. Series 6, iteration 3 Selection criteria rating Constructibility Structural Materiality Function Environmental Sensitivity Aesthetics Total I see a lot of potential for this design. By creating a modular surface that responds to its environment the footbridge could be more environmentally sensitive and responsive. I would consider using a different geometry and including more structural members and try to find recycled materials for the panels.

FABRICATION PROTOTYPES

The two case studies have allowed me to delve deeper into Grasshopper and I am consequently feeling more confident with the program. I am thoroughly enjoying the seemingly limitless possibilities of Grasshopper and have enjoyed achieving unexpected results. The program has on several occasions generated unexpected results. This is a product of my not understanding scripting and programing, let along Grasshopper well enough to be able to predict outcomes. In this sense, Grasshopper works as an unreliable design tool, because it is hard to predict what outputs the software will generate.

I have thoroughly enjoyed this surprise element to the design process, considering my usual method of design generation is through model making. I have always enjoyed the active process of doing and have found that model making has also generated unexpected results in the past â&#x20AC;&#x201C; mostly through mistake â&#x20AC;&#x201C; similar to Grasshopper, although the difference is considerably less when you have a set number of materials that have a predetermined set of properties and parameters.

I wished to try several different techniques for comparison and to explore the possibilities of translation from digital to real models. For this reason I chose to use my original, unaltered definition to explore the design generation possibilities offered in the fabrication process.

To begin this process I made a sketch model from card which used a slot system to join the curves together. While this preserved the curves it was difficult to put together and it would be I also wanted to take impractical at a larger scale advantage of this task to to fit together many pieces attempt different methods that intersect at many points. of fabrication that I had not attempted before.

Knowing that it was not feasible to keep the curved surfaces when it came to fabrication I decided to test how panelling would affect the overall integrity of the design. This is shown in the model below where I pulled string taught around

nails which represented the intersection points between the original curves. I did feel that the flow and organic nature of the original design was lost, however I could see many interesting possibilities for testing joining types on such a panellised design.

1 2 3 4 5

7 8 9 10

In order to achieve this I panellised the curves and selected a set of four cells from the design. I then laid out the rectangular surfaces for laser cutting. I was keen to test the efficiency of this method of prototyping and found it fast and highly effective. I was quickly able to lay my geometry out for fabrication and once it had been cut was able to assemble it again with ease. I also cut regular circles on the joining edges of my geometry in order to attach them later using different methods.

JOINING TYPES One consideration that I took into account when putting together these models was which side of the MDF had scorching from the cutting process and I tried to place this face on

the inside of the cells where it would be less noticeable. The burning of the material during the fabrication process does not I believe compromise the overall aesthetics of the model.

I tried three different joining types which are detailed below along with my first ideation sketches on how to put them together.

Axonometric of printed joint

Third angle orthogonal of 3D printed joint

In line with my selection criteria which call for economic and efficient construction I decided to investigate the possibilities of standardised connection joints. I decided to 3D print a connection joint to show ease of fabrication and also to create a standardised part. In doing so I created a simple joint which also allowed the integration of curved lines back into the design. The â&#x20AC;&#x2DC;Iâ&#x20AC;&#x2122; junction allows for one continuous curve in one direction while connecting these curves with straight panels. I felt that it was a good compromise between constructability and maintaining the flow of the design. 51

SAILS I went back to the original design and discerned that in the fabrication process I had lost the flow of the curves and lightness. However, I wanted to translate this to

my physical models drawing and support this structure from my other fabrication using columns instead of attempts. To achieve this it being self-supporting. I considered changing the panels to a lighter material such as a fabric

I began experimenting with the notion of a â&#x20AC;&#x2DC;sailâ&#x20AC;&#x2122; and how these could connect. From the initial sketches below I attempted to recreate this in a model. However I felt that this was unsuccessful as the fabric bunched at the joints and did not spread like I had intended it to.

From this disappointment I rethought the process of creating sails. I thought that perhaps if I could stretch the fabric over some string that was pulled tight by the supporting columns I could achieve my desired effect. I tried this next using horizontal strips of fabric stretched over string. I was very pleased with this result because I feel that it captures the flow of the original model as the fabric extends from one end of the model to the other. While this final result differs greatly from my original fabrication aims and ideas I find it the most pleasing of my prototypes and hope to develop it further in Part C.

TECHNIQUE PROPOSAL The Brief calls for a footbridge to connect Kingfisher Gardens and Beavers Roads so that it is safer for the local students to travel to school. I am proposing a footbridge that also acts as a learning opportunity for the students to engage with their local environment. In this respect the structure should aim to: act as a pathway and also engage with its local system. I will be building upon the form generated in Case Study 2 to act as the base structure form. However I would like to develop the structural supports further. I would like to integrate a repetitive pattern, like the one found in Cast Study 1, into a flowing structure as found in Case Study 2. From the prototyping process I would also like to maintain the integrity of the curved form by considering the use of sails within my design.

In light of the feedback from my Interim Presentation I would also like to consider the possibilities of moving architecture. I have found an example of a moving system, picture below (right) that I would like to experiment with. I am interested in creating a responsive structure and would like to experiment with the form below to test the possibilities.

Where to from here: Draw key elements from precedents and decide upon key features to include in design. Decide who the bridge is for, what is its purpose? Consider moving architecture as a form of engagement.

INTERIM FEEDBACK

I felt that my interim presentation clearly laid out the explorations I had done both digitally and in my prototypes but lacked a clear direction of future design intent. This was reflected in the comments by the critics who suggested I consider more carefully the purpose of the design. I will refine this is the next stage of development.

was indeed a waffle grid. In light of this I also hope to generate a more innovative approach to the brief over the coming weeks.

I would also like to explore kinetic and poetic architecture as discussed during the critic session. I was provided with some useful ideas to get me started down this track and I hope to incorporate this It was also pointed out to me, into my project as an educational that the base project â&#x20AC;&#x2DC;Biothingâ&#x20AC;&#x2122; or engaging element of my design. was essentially a waffle grid and therefore I should ensure my I will also go back over my manipulations of the project steer precedent projects and draw out away from this and take on a more the elements that attracted me innovative angle. I was distressed to the projects in order to capture to realise that this was of course their essence in my final design. true as I had not noticed the form

LEARNING OBJECTIVES

Objective 1: Interrogating a brief When assessing my iterations I have considered how a particular iteration may be applied to the footbridge project. My Selection Criteria which are derived from the brief also acknowledge the requirements set out. I have however encountered some difficulty in terms of direction due to a large number of ideas and must now return to the brief and precedents and reduce them to their essential elements in order to effectively carry my design forward. Objective 2: Generate a variety of design possibilities Indeed, I have been able to generate many possibilities through my Grasshopper iterations and also though the prototype and model making process. Objective 3: Developing skills I have continued to develop my Grasshopper skills throughout the two case study projects. I have also learnt new fabrication types and techniques through making my prototype models such as laser cutting and 3D printing. Objective 4: Understanding relationships between architecture and air In order to stay connected to my site I was very specific in my site choice and location and built in site constraints to the brief and selection criteria.

Objective 5: Ability to make a case proposal I believe that this is where I struggled during Part B despite having many design ideas and possibilities. I will work on refining this promptly in time for Part C. Objective 6: Analise contemporary architectural projects This was done through case studies and also conceptually in my discussion on Biomimicry. Objective 7: Develop understanding of geometry, data structures, and types of programming Some of my most interesting and successful iterations were generated through data matching â&#x20AC;&#x201C; or rather altering data so that it did not match correctly in order to generate different results. Objective 8: Develop a personalised repertoire of computational techniques Through experimentation there were several techniques that I was able to use to manipulate my case studies. While I did not generate a unique style in terms of what computational techniques I can successfully manipulate, I did take away new skills that I can use in later projects to enhance the design.

APPENDIX: Reverse Engineering process Attempt 1

Attempt 2

Final Definition

PART C

CONTENTS 62 63 64 65 66 67 68

C.1.1 Interim Feedback C.1.2 Precedents C.1.3 The Brief - purpose C.1.4 The Concept - form finding C.1.5 Prototype 1 C.1.6 Concept Refinement C.1.7 Core Construction Elements

71 72 73

C.2.1 Core Construction Element development C.2.2 Prototype 2 C.2.4 Production Process

76 84 86 92

C.3.1 Final Models C.3.2 Definitional documentation C.3.3 Renderings and Sections C.3.4 Project in place - clients

106 108

C.4.1 Learning objectives and outcomes C.4.2 Appendix

INTERIM FEEDBACK In response to the Interim Submission Criteria session feedback I will review and develop the techniques I have explored in order to solve the problem statement set out in the brief. In order to do so I must first carefully consult the brief and identify the main issues for design. In doing so I must aim to bring a clarity and direction to my design that has thus far been lacking. As a starting point, it was suggested that I clearly identify who the project would be aimed at. While the brief calls for a footbridge to â&#x20AC;&#x2DC;connect the bike paths of Moreland and Abbotsfordâ&#x20AC;&#x2122; and also make it safer for local children to get to school I will henceforth be focusing on the school children as my focus group. This choice is two pronged: firstly, a bridge for school children can be used also by cyclists even if they are not the primary target. Whereas a footbridge designed uniquely for cyclists may have certain limitations that could limit the potential of the design. Secondly, I believe that there is more opportunity for interaction with this age group as children are often inquisitive by

nature. Because interaction with the environment is a secondary consideration of my brief, I believe that by engaging children with their environment we could have a bigger, long term effect on improving local ecosystems. In light of my target audience, I have chosen to simplify my design brief and Where to... identify with the following key elements and use these Step 1 : revisit precedents as criteria in my approach: Step 2 : review the design Purpose 1 : to convey brief and purposes students from one side of Merri Creek to the other Step 3 : form finding by synthesising precedent qualities Purpose 2 : to actively and design purpose engage students with Merri Creek and its ecosystem Step 4 : developing the In order to clarify my design I will first revisit my case studies and consider some additional precedents in order to identify the aesthetic (and practical) features that drew me to these projects. In doing so, I hope to isolate the qualities of these projects, not the form, and use these when refining my approach. Then I will consider the design purpose and synthesise a design approach to which I can apply the techniques developed.

technique

PRECEDENTS What initially drew me to this project was the seemingly irregular patterning. I could also see the possibilities for fabricating something like this out of smaller, recycled materials. What I would like to take out of this project now is the repetitive pattern that mimics nature and makes the project seem less rigid and manufactured, less manmade. I would like my design to contain irregularities or a repeating feature or pattern, mimicking nature which will allow it to nestle with ease into its environment. It was the lightness of form and creation of space that attracted me to the â&#x20AC;&#x2DC;Biothingâ&#x20AC;&#x2122; project. The organic lines mimicked the flow of water and the long flowing lines made me feel calm. It appears agile, like you could touch it and it would move and bend under your fingers. From this design I would like to carry through the creation of space and organic form. A structure that is permanent but is flexible, responsive.

THE BRIEF Purpose

Purpose 1 : to convey students from one side of Merri Creek to the other Having chosen the local school children as my target audience I the bridge must be crossable by them, whether it convey them over the water or through it. I am currently considering a structure that would be crossable some of the time and at other times, perhaps depending on the local conditions be uncrossable.

Purpose 2: to actively engage students with Merri Creek and its ecosystem

Object Display

Text How?

Image Built into structure

Waterflow

Sign

Bridge itself

Placard

Wildlife

Board Changing

What?

ENGAGE Permanent

Pollution Creek

Students Who?

Young Older

Parents

Drawing from my brainstorm and the feedback given in my Interim Presentation I have decided to engage the local students through a change in the bridge structure itself - some part that moves or changes which encourages the students to engage with the environment.

THE CONCEPT Form Finding

PROTOTYPE 1

I made a quick prototype model of this idea. However I did not like the results it generated and felt that it did not extend my concept to its full potential. While the changing gaps in between the platforms would have forced the students to carefully consider where they stepped, it didnâ&#x20AC;&#x2122;t do enough to engage them with their surrounding. I judge this design to be simplistic, ineffectual and not pushing my concept to the fullest. Therefore, I abandoned this idea and went back to the drawing board. However, I chose to carry across the notion of the bridge being difficult to cross at certain times and being able to be moved by the current. 66

CONCEPT REFINEMENT I took my concept back to basics and considered again what were the qualities and traits I wanted my design to have: the creation of space, flexibility, responsiveness to local environmental conditions and to be engaging for students. I took my idea back to my sails model and set myself some clear parameters. I would have a series of 15 poles for the sails to fly off, divided into an arrangement of 5 by 3.

Running with this idea I decided that I wanted the bridge to be able to move up and down the river shifting with the current and wind. In order to do this the structure would have to shift to fit the contours of the creek so that it would be able to span the creek at any point. As I was formulating this idea I shifted away from generating models in Grasshopper because while programs such as those are great for form finding, I found that it was slowing down my design process by giving me too many options. I put pen to paper in order to refine and select one design to carry forward. I found this a very effective way of working where the larger generative stages of the design process were completed in such software but the refinement takes place on paper where there are fewer variables and unknown outputs.

In order for the structure to be able to move up and down the creek with the current and the wind, the poles needed to float. So I created the poles with floats to use as my base 3 by 5 structure that would act as vertical members in the bridge construction.

Staying true to my sails model that initially prompted my momentarily distancing myself from digital design, I considered how I could encorporate them into the design. I considered both horizontal and vertical patterning. I chose to include the sails in the horizontal direction. In this way they would simultanously act as a control factor for the movement of the bridge but also create a pathway for the students to cross.

Finally I noted the need for the design to be flexible, and consequently focused on the connection between the posts that would allow them to adapt to the contour of the creek at each moment of itâ&#x20AC;&#x2122;s journey.

With a bridge that responds to the current and wind in its environment, it becomes truly responsive. As it changes position on the creek, this becomes a continual process of discovery and engagement for the school children who choose to cross at the bridge each day. This Sailing Bridge is a challenge to be conquered where the children become more aware of local conditions as their ability to cross the creek at the bridge changes each day depending on the environment.

CORE CONSTRUCTION ELEMENTS

I felt as though I needed to reconsider how I created the ties between the poles. Quite by chance I happened upon this Sketch-O-Graph. It allows you to increase or decrease the size of an image you trace using anchor points. When considering this more closely I realised that I could connect my poles with rigid joints using them as control points, which also allowing the connection to remain flexible and give the poles plenty of room to move.

CORE CONSTRUCTION ELEMENTS Development

I identified the above three elements as the core construction element to my design. Being the poles and floats that allow the structure to move up and down the creek, the rigid ties that keep the structure together yet allow it to shift and move, and finally the ropes that would hold the sails and attach them to the poles. Below I begin modeling the poles and floats in Grasshopper and adding the sails using the Kangaroo plug-in.

PROTOTYPE 2 With my tutor we decided that I would complete two models: a context model that showed several states of the Sailing Bridge and another to scale larger model. For the larger context model I decided to 3D print the poles and floats and represent the sails using string. I chose this because the scale of my context model was 1:200 which meant that the actual bridge itself was very small. I was unable to figure out how to fabricate such a tiny version of the bridge using other materials so decided to attempt a 3D print.

However, this method was far less effective than I had hoped due to the tiny scale of the model. The way in which the 3D printed created the model created the spiderweb like filaments that connect each of the poles. I found this prototype highly ineffective and began rethinking how I could effectively convey the traits of my model in a 1:200 context model.

PRODUCTION PROCESS I began by laying out a laser cut pattern which would form the contours of my context model. Then using the left over space I cut the ties that would hold my structure together. I did this to save materials and cost.

STEP ONE: I cut 15 circles with a diameter of 10cm from some laminated pine using a bandsaw.

STEP TWO: Then I used the saw to cut the 9.5mm dowel to different specified lengths.

STEP THREE: Using a drill I pierced 3mm holes in the cut dowl in order to later thread the string through.

STEP FOUR: I hammered the dowl into holes drilled into the center of each circle - here is a test piece where I match up the drill hole size with that of the dowl.

STEP FIVE AND SIX: After joining the poles using the rigid tie, I spread the structure out to its fullest and proceed to thread string through the holes that I had previously drilled.

STEP SEVEN AND EIGHT: I glued the layers of my contour model together and clamped them until they dried. Following this I glued nails on to the structure to act as a representation of the poles.

STEP NINE: I laid a sheet of paper over the nails and punctured holes in the paper at their location. After cutting these shapes out I laid the paper over the nails to represent the sails.

STEP TEN: I sewed each sail to the string using anchor points at each string that it crossed to hold it in place.

FINAL MODELS

Compressed

Relaxed

Joint detail

RIGHT: experience of a child crossing the bridge to get to school, looking through the sails. 80

Context Model

LEFT: view down the river of different situations in which the Sailing Bridge may be discovered.

DEFINITIONAL DOCUMENTATION

Create Poles

Create Floats

Create Sails

Grid

Create the same way as the poles, changing radius and height.

Divide pole ‘line’ into 2 segments

Duplicate point in Z direction

Line

Extract individual points from divide

Use these points to create surface using four points.

Pipe along curve

Then use Kangaroo to apply forces to these meshes.

Create Ropes

Create Ties

Use points extracted to create sails.

Build geometry in Rhino

Final Model

Connect using line.

Pipe along line to give thickness.

RENDERINGS AND SECTIONS

I spent some time watching video tutorials on how to render using V-ray and while I enjoyed learning about the lighting conditions and materials I found this type of presentation limiting. I have included it here to show some of the basic effects I was able to achieve and my progress. However because I chose earl y in Part C to step away from technology in order to gain some clarity in my design direction. However I preferred the use of rhino screen grabs to show my sections and plans as I felt that these tied in better with my rougher hand drawn images, or at least better than polished renders.

Resting

Stretched

Compressed

Plan of joint detail

PROJECT IN PLACE - CLIENTS

The Sailing Bridge is designed for the local students of Abbotsford and the Merri Creek area. As the bridge responds to its environment; being carried up the river by the wind and down by the current, the students become aware of local weather conditions influencing these changes. In this was the Sailing Bridge continually involves school goers as it changes location every day. Their journey to school become a continual process of discovery as they must search for and discover the Sailing Bridge each day in order to cross. At times it will be hard to cross and the students are drawn into a decision making process that requires them to be responsive to the local environment. The following pitch is aimed at the local students and aims to show them how the Sailing Bridge will change their walk to school.

and the B R I D D GE RA

Itâ&#x20AC;&#x2122;s Monday morning and Brad is about to wake up and go to school.

Walking alongside Merri Creek he notices something unusual in the distance.

It looks like a bridge with sails floating in the river.

Itâ&#x20AC;&#x2122;s not going to be as long to get to school today.

The next day the weather was very wet.

And Brad couldnâ&#x20AC;&#x2122;t see the bridge.

So he looked and looked and looked.

100

The bridge had been swept down the river by all the extra rainwater and had run into some rocks.

101

Brad tried to cross but got tangled in some of sails.

102

On Wednesday it was windy.

103

Brad was surprised to find that the bridge had been blown upstream to right outside his house.

104

Perfect!

105

LEARNING OBJECTIVES

Objective 1: Interrogating a brief When it came time to give my project a direction I carefully reconsidered and altered my brief. I realised that it is during these design studios at University that we have the perfect opportunity to create projects that are impractical, yet poetic. I struggled with this in particular due to my highly practical nature, but I enjoyed the challenge of consider a different facet of design - one of pure creativity and experimentation. So although my brief altered I felt that taking a step away from such a support advanced my skills as a designer as it forced me to try new things. Objective 2: Generate a variety of design possibilities I have never had a problem with generating many ideas or solutions to a project or brief. Where I have struggled and will probably continue to struggle is in my selection of the one idea that I will pursue until the end. Even after the interim presentation I still struggled to select only one idea to develop. However, I went out on a limb and chose the design that I was most uncomfortable with due to its poetic nature. What I struggle with the most is being selective in which ideas I develop, not needing to generate a variety of possibilities. Objective 3: Developing skills My skills have continued to develop during Part C where I explored

106

Grasshopper and some other rendering techniques. However, my final definition is quite messy and I am sure that there are ways that I could simplify the definition. Despite this though I was able to document my design process using my somewhat limited skills and was able to do this successfully. I am frustrated that I could not model my â&#x20AC;&#x2DC;tieâ&#x20AC;&#x2122; or joint detail in Grasshopper and was reminded of my limited ability in this respect. Objective 4: Understanding relationships between architecture and air I successfully built several models, both prototype and final in order to explore the relationship of my design to site. Objective 5: Ability to make a case proposal This is where I struggled during my interim Presentation and resolved to deliver a more persuasive and engaging pitch during the final presentations. I believed that I achieved this through a use of mixed presentation styles , presenting a variety of diagrams and images. The storyboard was also particularly effective at conveying my design idea and I enjoyed breaking from the computer work to engage the audience in this different way. Objective 6: Analise contemporary architectural projects Throughout any design project it is crucial to continue evaluating what

you see or research with a critical eye and mind. I continued this process across the semester, although largely undocumented what we see and experience undoubtedly influences our work, even if it is only in subtle ways. Objective 7: Develop understanding of geometry, data structures, and types of programming I continued to develop my skills in this area through my continued use of Grasshopper and Kangaroo in order to document and design my final project. Objective 8: Develop a personalised repertoire of computational techniques Grasshopper is now another tool to add to my belt and I am sure that I will use this in the future as I move into other studio and fields as I have found it a useful idea generation tool. However, this studio has also taught me that while these programs can facilitate design generation, there is still a place for hand drawn creation and the real challenge is knowing where to step away from one and into the other.

107

APPENDIX: Final Design Definition Please note that the full definition is included and annotated as a .gh file on the submitted CD.

108

109

Studio Air Semester 2, 2016 Natalie Keynton 615887 Tutorial 6, Sonya