AIR nicholas wilton
AIR nicholas wilton
I am a third year architecture majorin the bachelor environments at Melbourne University. Transferring from a major in philosophy, I was drawn to architecture for the incredibly complex and theoretical world of design. My practice in philosophy has helped me understand the basics of architectural discourse - but with each new thing I learn, ten more questions inevitably appear. It is this wealth of the unknown that pushes me forward in architecture, as I constantly seek out understanding in the field - such as why do we percieve things as beautiful, and what it is that makes good architecure so instantly noticable. I would describe my style as always wanting to find new ways to make sense - to reach objectives without simply copying the aesthetic of another. It feels as though I am a still long way off achieving my own true purpose in architecture, and It has occured to me that this road is a very long one, but also incredibly enjoyable to travel down. With each passing year I can feel my grasp on architecture getting tighter and tighter.
siza inspired sketches
A.1. design futuring A.2. design computation A.3. composition/generation A.4. conclusion A.5. learning outcomes A.6. algorithmic sketches
PLUG IN CITY
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PLUG IN CITY
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eter Cook’s “plug in city” (1,2) is a good basis with which to address the essence of design futuring. It’s radical rethinking of architecture in relation to science and society is synonomous with the type of revolution required from today’s designers. While entirely theoretical, the plug in city represents an approach to design that faces core societal issues where many others concede. Essentially, Peter Cook imagined a modular city whose future-proofing and efficiency would far surpass its competitors. The proposed upgradability of transport modules, along with the changeability of many of a cities functions, where direct asnwers to the problems that Cook saw in society. In this same way, design futuring
now focuses on a design revolution that seeks to address one of societie’s greatest threats: environmental sustainability. In essence, design futuring must: . Design for an ongoing future . show the Ability to challenge the current design concencus . Show a rethinking of the status quo . Face the challenges our world creates . See architecture as synonmous with science and society . Recognize flaws in our way of living them and seeks to address them
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PROSOLVE FACADE
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PROSOLVE FACADE
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ithin contemporary examples of design futuring, such as the prosolve facade pictured, we can see how architecture can be informed by the changing human condition just as much as it is by beauty. By using modules coated with superfine titanium dioxide, the material seeks to neutralize air pollutants. In this way, the design is informed primarily by the concern of environmental issues, rather than the “superficiality” of design purely for design’s sake. While perhaps not more than a stepping stone to a sustainable future, this represents a great shift, much like Peter Cook’s “plug in city”, in the thought process of a designer. It is not merely to change a design, but to change the designer all together
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DESIGN COMPUTATION
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DESIGN COMPUTATION
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esign computation has a great bearing on the process of architecture. The condensing of complicated, disjointed processes with the aid of computation creates possibilities that are inachievable without the raw precision and calculating power of computers and machinery. It is with the computer that designers can further their control of outcomes - but it is also so much more than this. Figures 6, 8 and 9 show the construction of a facade, aided with computers throughout the process of its design. The data from the model shown in figure 9 was able to be directly transferred to the machine in figure 8, cutting out any possibility of human communicative error and resulting in the building shown in figure 6. Furthermore, the “grapes” (round objects in figure 9) were not of human composition, but rather using algorithms to fit them inside the square object. The implication of this is that perhaps design is becoming less about the end result, and more about the process with which a suitable result is achieved. In other words, computers don’t just help us design, but inform the designer too.
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his idea is also visible in the ICD pavillion in figures 7 and 10. With a starting geometry, algorithms were used to ensure “cell sizes are not constant, but adapt to local curvature and discontinuities” and “the cells stretch and orient themselves according to mechanical stresses.” These rules are met by the computer, creating a design that is not composed wholly by the designer, but with the inexchangable hand of the computer.
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COMPOSITION/ GENERATION
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COMPOSITION/ GENERATION
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enerative design can be understood as composition through process rather than intention. The two examples featured, Jackson Pollock’s artwork (11) along with the BOIDS (12, 14), are linked in that their final composition is the result of an allowance of variables, but constrained by certain rules. In the case of pollock, the artwork is governed by both the paint and the size of the canvas, and the composition is generated within these two elements by the randomness of Pollock’s arm movements. In this way, He is intentionally letting the rules of physics express themselves on the canvas.
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ast forward 60 years, and we can see generative design take on a much more calrified form. The computer generated flock of birds are governed by three seperate rules (13), and left to form the compositions featured below and bottom. What pollock created through a complex randomness has been clarified through computers and alogorthims to be representative of the rules of birds. The implication of this is that future design no longer has to be necessarily bound by compositional efforts of the human brain, but rather composition that is implicit within the rules of nature. This creates the possibility to revolutionize design efforts in the same way that technology has revolutionized science - by letting computers do the work not always possible by man.
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Conclusion Part A introduced (very rapidly!) a whole new world of architecture to me. The usage of computers can change the way we think about design.. a necessary shift considering the environmental issues the world faces today. I intend to use this new design knowledge to create a composition that embraces this idea of shifting paradigms in the architect’s process. Furthermore, I want the informant for this design to be the environmental conditions of the brief, looking at how we can construct both practical and symbolic respect for the future in architecture.
Learning Outcomes The content produced in part A has introduced more design knowledge to me than has been in my entire life. Before this semester, I had been rather confused about the purpose of an archiect, and what it means to design something, and why certain designs are special. Computational designing has shown me that there are various frontiers of design in which we have room to discover more than just how to design “pretty space,� but how to begin looking at designing the architecture of the future.
ALGORITHMIC SKETCHES
ALGORITHMIC SKETCHES
PIPES INTO CENTRE POINT
VORONOI MASS
PIPES FACING OUT
COMPOSITION/ GENERATION
DIRECTIONAL PIPES INTO MASS
ALGORITHMIC SKETCHES
DIRECTIONAL PIPES INTO MASS
IIMAGE SOURCES/ REFERENCES
11 - http://www.jackson-pollock.org/autumn-rhythm.jsp 1, 2 - http://www.archdaily.com/399329/ad-classics-the-plugin-city-peter-cook-archigram 3, 4, 5 - http://www.prosolve370e.com/ 6, 10 - http://www.gramaziokohler.com/web/e/bauten/52. html gantenbeinvineyardKoher 7, 8, 9 - http://icd.uni-stuttgart.de/?p=65532011icdpavilion 12, 13, 14 - https://vvvv.org/contribution/boids-3dBOIDS INFORMATION FROM LECTURES AND TUTORIALS Chen, C. (2016). Tutorial 1,, Architecture Studio Air Melbourne University. Chen, C. (2016). Tutorial 2, Architecture Studio Air, Melbourne University. Roudavski, S. (2016). Lecture 1, Architecture Studio Air, Melbourne University Roudavski, S. (2016). Lecture 2, Architecture Studio Air, Melbourne University Roudavski, S. (2016). Lecture 1, Architecture Studio Air, Melbourne University
B
STRIPS/ FOLDING
Strips and folding refers to the algorithmic technique of turning surfaces into volumetric spaces through evolving processes. These processes relate to origami, but use algorithms to produce complex form-finding results. With strips, the use of blank space is equally important in creating form. They often act to define non-existent objects - such as in double agent white (pictured above). These elements often produce form that is bound to their process - they represent the way in which they were made - with algorithms.
SEROUSSI PAVILION
I have chosen this as my base algorithm because of this dynamism in form. The simplicity of magnetic forces effecting lines is a gesture which transcends “the old� and embraces parametricsm as an incredible form-finding tool.
CASE STUDY 1
Specicies one explored the use of force lines to manipulate the existing shape. It was found that this would create interesting, uniform divisions in an otherwise chatoic pattern. By changing the lines, the divisions created differing effects.
Species two experimented with the changing the number of point charges on each acting curve. as point charges increased, the origin curves became more apparent.
Species three added a spin force to the algorithm, which could be changed to manipulated the “magnetization� between each point charge. As it was increased, the arms were constrained to their origin point charge - turning a single entity into a visibly disjointed product without changing the number of point charges.
CASE STUDY 1
CASE STUDY 1
The iterations shown were best presented from a closer angle to highlight the cavernous, shelter-creating qualities of the thicker legs. With increased pipe thickness, I noticed that the BioThing wouild start to create cave-like qualities
CASE STUDY 1
One of the most interesting iterations was the use of force lines. The combination of a spin force directing the lines, which are then directed by line forces, create a very dynamic shape, which shows a lot of movement. This sort of thing is great in expressing physical, natural qualities, and could be used as a directive for “point-of interest� type architecture - where points and lines represent certain qualities within the site that attract or reject people.
CANTON TOWER
STRUCTURE
Canton tower is interesting for the simplicity of its structure, whilst also being incredibly dynamic. Essentially, the tower consists of two ellipses - one at the bottom and one at the top - connect by steel beams. The interesting tightening shape in the middle is inherited from the rotation of one of the ellipses “after� the connection. This is significant of parametric design - as it showcases our ability to manipulate structures at all stages of design. The individual steel beams were not conceived of seperatley in order to give a sense of rotation, rather they existed as part of an alogirthm which follows suit as one of the ellipses is rotated. I find this idea interesting - starting of with a basic structure containing various elements and watching those elements shift and change together as parts of the structure are sculpted.
REVERSE ENGINEER
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CURVE
CURVE
DIVIDE
DIVIDE
LINE
PIPE (FOR A CORE)
OFFSET CURVE
OFFSET CURVE LOFT
After trying many methods including shift-listing, it was ffound the most simplistic way to produce the canton tower form was as shown above.
TECHNIQUE DEVELOPMENT
Like canton tower, this structure conisisted of various elements (in this case pipes connected to specific points between 3 divided curves.) The original curves were then modified after the connections had been made, which allowed me to “sculpt” a pre-existing aesthetic that was created through an algorithm. During my technique development, I would like to explore this idea by changing base “structures” or “aesthetics” and then allowing myself to sculpt them after the fact to see what I can come up with.
TECHNIQUE DEVELOPMENT
Manipulated wire structures
Wire strucutres with pipes
TECHNIQUE DEVELOPMENT
TECHNIQUE DEVELOPMENT
Developing the technique meant discovering what base structures could best be used to then sculpt the outcomes. I found that. This meant changing the radius of the slender members, and experiementing with both lofted cores and line cores. The lofted surface cores proved to
PROTOTYPE
While the prototype was ultimately unsuccesful, it provided insight into what the core of my project is about. While in grasshopper I was able to create paramaters for structurs, and then manipulate those structures after the fact - the physical model forced me to work in the opposite direction. While I tried to get the same aesthetic, all elements were placed individually, and the end result was dependant on each piece that was placed, rather than a constant ability to ajust elements in the structure. It seems that for this project, data should be lifted from desired outcomes and then used to build. Manually crafted models were not continued as they proved rather useless over-all.
MERRI CREEK
After developing a technique, it occured to me that the structures I was creating somewhat looked like “deconstructed� birdhouses. I thought this would be a nice opportunity to take a simple, well known man-nature relationship gesture a parametric do-over. Placed throughout the site, not only do they provide for birds, but they showcase and interesting naturality in their design. Rather than the simplistic work of human caprentry, the show a more evolved, futuristic process.
LEARNING OUTCOME
During part B, I found that parametric design is a very specific process which requires a lot of attention to be paid. I feel as though I have spent a lot of time trying to understand grasshopper, and as such have failed to meet many of the brief requirments, and have failed to look at the subject in a holistic sense. During part C, I hope to engage more with the theoretical side of this subject, and also design for the brief rather than “what looks cool in grasshopper.� While I have indeed ten-folded my skills in parametric design (still pretty awful!), I need to involve myself more in making architectural discoveries during the subject.
KALEIDOSCOPE
CONCEPT My design direction has changed quite a bit since the interim presentation, which in turn ended up being quite different from my part B journal submission. The most important bit of feedback I received in my interim presentation was a critique of my design process. It was suggested that while I had an okay idea, it had been realized outside of an algorithmic process. I needed to immerse myself more in experimentation with grasshopper, rather than coming up with something in my head and trying desperately to recreate it in grasshopper. I just wasn’t at that level of skill yet. So, While triangulation remained the main focus of my work, the concept driving the manifestation of those triangles has changed significantly. After much theoretical experimentation, the practical, environmentally conscious concept of nesting triangles to make “tree armour” has evolved into a far more artistic expression of sustainability. The new concept aims to use reflective triangles to mimic the disjointed, hallucinogenic experience of a kaleidoscope; taking reflections of merri creek to give observers a new perspective on the textures and colours of the landscape. In doing so, we aim to rid users of their understandable “immunity” to our landscape and allow them to take inspiration from the beauty that so many of us have neglected. We theorize that with this disjointed, impressionistic reflection, we can make art of the landscape without jeopardizing its essence, nor taking the focus off the environment.
Reflected environment
CHANGING PERCEPTION
Source environment
CONSTRUCTION CONCEPT The basic principle of a kaleidoscope (illustrated left), is the use of mirrors to reflect light onto each other, creating a repetition of elements which increase or decrease depending on the angle of the mirrors. The envisioned construction process uses the principles of a kaleidoscope to reflect different views, whilst also reflecting those views onto each other; creating a hectic, disjointed scene. To do this, we will use a delunary triangulation - easily conformable to form - and bring the edges forwards or backwards to create the angles illustrated. The angle of the triangles will also take environmental reflections from different angles, completely disjointing the scene (hopefully).
CONCEPT OUTCOME PREDICTIONS Above illustrates the idea that reflections at angles created by the movement of triangles will result in an impressionistic version of our environment; merri creek. That is, the textures and colours of the environment are reflected, but the user is disallowed from grounding himself in a familiar way - hopefully opening his eyes to merri creek as if it were new. Much like Monet painted the beauty of water-lillies by omitting detail; the kaleidosope form repaints merri creek by breaking it apart and reforming it.
VERSATILITY Another property of this project is that it can be hung anywhere in Merri Creek to reflect its immediate surroundings. Near the yarra, it will you will see deep browns and greens. Towards an open sky with no covering trees - bright blues or greys depending on the weather.
PROTOTYPING RESULTS After forming a triangular algorithm within grasshopper that changes the angles of the triangles, and can be applied to basic triangular forms, we began to experiment. The above shows multiple iterations that experiment with both the overall from and with the manipulations of the individual triangles within those forms.
PROGRESS RENDER This render shows the desired effect using one of the forms creating in grasshopper. At this point, I think we knew he had a bit of work to do on creating a more breathtaking, “designed� form.
FIRST PROTOTYPE As always, the first prototypes informed us of the many issues there were left to solve. Firstly, our complex forms resulted in a number of triangles that would cost too much to have lazer cut and be far too time consuming - considering the time it took to fabricate only a small panel. This Meant we needed to simplify the base forms that we were using to create renders. If making 30 triangles (even though it wasn’t laser cut) took 36 hours, then the 800 triangles present in our renders were going to be infeasible. Secondly, we were struggling to find a material that created enough of a reflection as to give an impression of the colours of Merri Creek. We decided to try adding artificial colour, as shown on the right, but we felt this completely took away from the intended concept.
JOINERY OPTIONS We had two basic ideas for joinery options. First, we try prototyping one with zips (pictured right), to possibly mess with the idea of “unzipping” the disjointed reality - but we didn’t really get anywhere with this, and the zips were too flimsy. We figured the second option, the use of tabs, was the most practical and the least invasive to our original concept.
OFFSET
CONSTRUCTION DETAILING On the left, we see trials for a much more simple form to reduce the number of triangles in our final model. We did this buy manipulating platonic forms, which helped us create something strong, but without too many faces. Secondly, an offset was created. This allowed two things. Firstly, there would be room for tabs to exist as the joinery. And secondly, perhaps most importantly, the gaps would allow slits of the natural environment through the form, aiding in giving a true “impression� of the environment, without ruining the kaleidoscope aesthetic.
FINAL FORM The final form consisted of nine large triangle panels. We decided to have a monolithic outer material, polypropylene, and to put the mirrored surfaces on the inside. The purpose of this is to in a way conceal the “reward” that is the kaleidoscope. Rather than just being a weird object someone hung off a tree on the side of the path which people stare at from a distance; the user must head down “the rabbit hole” to be get a view on a different kind of reality. We want them to feel like they are striking gold. As such, the bottom of the form was left open (see next page).
UNDERNEATH VIEW
HOPEFUL OUTCOME Users will be inquisitive of the monolithic form they see blending into the environment, but which is clearly not quite natural. Upon inspecting it, They will uncover its glistening insides, surprised to see a beautiful impressionistic art piece of the environment they are in. Hopefully, the feeling will be like striking gold in the earth, uncovering an airy gem that reminds them of the beauty of the colours and textures that surround them
CONSTRUCTION With a firm form in hand, and an idea of how to join the model, we began the process of creating tabs on the triangles in grasshopper, which would allow us to use rivets as the joints. This method is not only cost effective and time efficient, but it also allows for the offset which will let slits of the environment into the kaleidoscope scene. T T The use of black polypropylene is perfect for the matte black, monolithic look of the outer side of the form. To the right, we see the testing of various reflective surfaces to see what will best reflect the Merri Creek environment, and also be practical in application to the Polypropylene. In the end, the use of “Extreme� reflective film, which can be peeled back to reveal an adhesive surface (allowing for easy application to the triangles) was decided to be the best fit.
CONSTRUCTION The construction process was pure hell. The polypropylene was lazer cut and then removed from the sheets. Each of the nine triangle panels were then arranged according to how they were supposed to fit. Once this was done, they were placed on top of the adhesive reflective surface. They were then cut out and joined together with rivets. After each panel had been done, we joined them together with rivets to create the whole. We found that the offsetting process had effected the tab creating process, and thus the triangles were needing to be bent to be put into shape. We had considered fixing this and then re-cutting the triangles, but after constructing a few panels, we realized this effect was actually enhancing our objective, and had become an algorithmic process in its own, despite its incidental nature Just this process took three days of non-stop work. It was painstaking, but worth it.
Panels placed together before final joining.
FINAL MODEL PHOTOS The end result was a complete success. Despite the offset effecting edge lengths, and forcing bends in the triangles as we joined them - we found that this effect on enhanced the form and the final kaleidoscope effect.
LEARNING OUTCOMES Unfortunately for us, the final crits came at a time where we were really struggling to get somewhere - and thus the majority of our work (in fact everything after the first few prototypes), was a result of their feedback, meaning we had no opportunity to show them something more closely resembling our final model. However, we are happy with the way we addressed their feedback - managing to create the more realized project they had asked for. To us, the idea was always a good one - it was the realizing of that idea in which we really struggled. The full development of this project is contained above, however, I feel as though it was greatly successful. Studio Air has provided me with a whole new outlook on design. While the parametric process sometimes felt very confining and hard to deal with, it unearthed a number a key new ideas which I can add to my design arsenal. Interestingly, parametric modelling really feels like a new age. Before this, I always wondered were architecture was going after modernism. It felt to me like that modernism was the “renaissance” of aesthetic, and that architecture was just flopping around in the wake of it, unsure really of what to do next. But parametricism has opened my eyes to a whole new, modern age. It is a complete shift in the design process, which I am very happy to have been introduced to. The tools used to do so are undoubtedly very complex, but that gives me nothing but hope for my design future. It feels as though the future of design is in the science of design, which through exploring, we can uncover incredibly beautiful and poetic ideas with more sense and consciousness than ever. Myself, I’d be lying if I said I was a “parametric designer.” Sure, I have learnt a bit of grasshopper and I have been opened up to a whole new thing, but I definitely feel like I have more been informed about how much I don’t really know yet. I understand the parametricism, and I understand what it means for design to be intrinsically linked to specific processes - but I feel like a complete novice in undertaking those feats. Honestly though, its just exciting. Listening to every thing Brad said during the lectures, and enjoying how much sense it all made even though I had never heard it before, was a delight. I have a clear direction in design now. I know that a certain natural design ability and understanding exists, and that its pretty intangible and hard to understand, but I feel like now I know where to improve in getting myself to actually communicate any talent I might have. Looking back at my part A feels like 6 million years ago. Despite the fact that 12 weeks can only really do so much for the practical skills you possess - I’ve definitely learnt something new. I had a philosophical idea of the whole thing - talking about Boids and Jackson Pollock - but to have delved into it, I can feeling a pretty strong connection to the parametric process - and I feel like ignoring that process from here on out would be to take a step backwards. So... Thanks for that! Nick.