Studio Air - parts A & B by Nina Novikova

STUDIO AIR PARAMETRIC DESIGN STUDIO NINA NOVIKOVA 2015

CONTENTS A1

INTRODUCTION

SERPENTINE PAVILION

BIQ

REFERENCES A2

A4/5

COMPUTATION

COMPLEXITY

REFERENCES

THEMES/PROGRESSION

BIOTHING

CODE OF FUNCTION

ON AUTOPILOT

REFLECTION

PROPOSAL

ALGORITHMIC SKETCBOOK

REFERENCE

A.1. INTRODUCTION

Nina Novikova | 3rd year Bachelor of Architecture I was born in the Russian Federation but spent 9 years in Melbourne, where I completed my secondary schooling as well as a Cert. IV in Residential Drafting. Iâ&#x20AC;&#x2122;m intrigued by the correlation between the built and natural environments, and the opportunity architecture has of playing a role in that dynamic. most of my childhood was spend amongst negative effects of an urban development generated and driven mostly by the industrial revolution, where environmental issues have never been much of a priority.

Can architec-

ture not only reflect the hierarchy of values and constraints within a society, but also influence them?

Is it then our responsobility as aspiritng designers

to familiarise ourselves with the influence factor of design?

Though I have previously worked with basic Rhinoceros 3D modelling, paneling tools and processes, Iâ&#x20AC;&#x2122;m unfamiliar with parametric modelling. I have always been a very visual, concept-driven person, so the idea of creating geometry as a product of algorithm, as an outcome secondary to computerised standardised manipulation is both challenging and exciting. I look forward to seeing how this technical mathematical approach to form can be combined with the emotional framework and expression of creativity.

‘Engineering helped to give scale to the design, as well as expertise in timber performance.’ -Alvaro Siza (Melvin 2006) The use of technology to engineer a fluid form could by itself be considered innovative – though in the year 2005 this combination of expression through organic materiality and form, engineering to achieve the right amount of tension, and computer technology is more of a confirmation of a movement than a standalone leading cutting-edge example. Nevertheless the precision at which each bit of timber is designed is phenomenal – because the shape does not rely on symmetry, each individual cell of the grid feeds

SERPENTINE GALLERY PAVILION 2005

the dimensional parameter of the ones surrounding it while

Built in 2005 for the Serpantine Gallery, the pavilion was developed by Alvaro Siza, ARUP’s Cecil Balmond and Eduardo de Moura, and is a striking example of novel technology and engineering being used to craft organic form from individual elements.

Being a point of prominence and cultural value suited to an art gallery, the project aims for a sort of flexible monumentality, for recognition as a landmark and a place of distinguishment. Instead of singling out the pavilion against the environment and the site, making its contours defined and emphasised against the landscape as favoured traditional modern monumentality, the Ser-

pentine Pavilion does the opposite. An elongated mound,

it is a visual continuation of the landscape, something that blends into the ground. Alvaro Siza himself com-

ments that their goal was to conduct a dialogue with the site, with its topography and vegetation.

This

conversation is expressed through factors such as the slant of the shell curve to match that of the ground level, the elongation in the direction of trees left free-

standing, the containment of the form within an ellipse

of loose vegetation, the juxtaposition of the entrance to the biggest tree.

The sense of attachment to elements of nature is heightened by the use of semi-opaque screens for cladding, which reveal the surrounding parkland from the interior, and leave the space flooded with universal natural light. The aim to make the building an unforgettable experience rather than an extravagant structure or monument – another trajectory outlined by Siza - is

maintainingthecorrectamountofbracing,weightandload to make the structure secure.

What does make this project unique is the combination of contemporarytechnologyandvernacularmethodology.It challenges the notion of the vernacular fading to something pastiche and impractical, to something that can only flow through contemporary design as influence of form, experience and concept. Each piece is fitted together with methods primitive to traditional Anglo-Saxon carpentry – mortice and tenon. This modular assembly combined both the merit placed on rhythm and movement in contemporary architecture, and paying homage to historic park architecture, finding cultural merit in the contemporary collaboration.

A.1. DESIGN FUTURING left: the pavilion interacting with the surrounding vegetation bottom left: the mound within the parameters of hedges and trees bottom centre: use of digital technology to design the shape to precision (Architectural Design) bottom right: the span of the intricate organic form of the pavilion (Alvaro Siza Vieira)

A.1. DESIGN FUTURING - BIQ

BIQ PROJECT 2013

In April 2013, the BIQ excibition apartment went live as the collaboration between Splitterwerk, ARUP and a number of scientific facilities. Among the usage of recycled material and exemplerary passive thermal design, its unique feature is the facade – a double skin with operatable louvres that consists of bioreactors

The BIQ project deconstructs the facade and the shading device as a passive element that serves a dual function at best. Traditionally, the facade offers coverage from exterior factors, climate control and definition of the building envelope, while the shading device controls UV and heat peneteration. Here, the facade and shading louvres consists of SolarLeaf™ panels - containers spanning at around 2x1 metres housing cultivations of microalgae. The organisms absorb sunlight and proceed to photosynthesise - the biomass is then harvested and converted into energy in a central generator system, which is then used to run a number of appliances in the dwelling. Moreover, thermal energy is generated as the water in the container is heated in the direct sunlight.

Conceptually and as far as the ecological aspect is concerned, It is akin to something that a green roof aims to achieve – compromising elements of nature and artificially constructed material The cutting-edge approach lies in going further than ensuring that vegetation - it is creating and introducing a completely new microbiological ecosystem. This symbiosis of structure,

The design doesn’t try to compromise the two systems – it enhances their qualities – human production of carbon, large vertical faces exposed to sunlight; photosynthesis and thermal energy production – in a way that both sides benefit from this interaction. Not only is this a technological advancement – the success of this project has the capability to urge designers and engineers of the future to broaden their horizons in regards to the renewable energy that can be used.

cuses on forces of nature, not living organisms and their processes, in critically re-evaluated.

Looking at BIQ and the SolarLeaf, one can almost imagine an idealistic dwelling In which the usage of natural elements as bioreactors renders the building completely carbon-neutral, where various architectural features render the secondary produce of living matter. Should this project prove to be successful and operate as intended over a longer span of time, the future architect is sure to be

inspired to give the terms of ‘self-sustaining’ and ‘eco-system’ a new definition within the premise of architecture.

architecture and microbiology introduces a radical

Lastly, this example pushes the boundary of what can potentially recycled into sustainable resources - kinetic energy of our everyday lives, carbon content human activity releases, and so on. It would be thrilling to see what

contcept that an architectural element does not only

one can achieve following the key ideas expressed in this

exist to serve an anthropocentric purpose

–

the

benefits that the dwellers of the project receive are a byproduct of independent existence.

projectthroughmultidisciplinaryapproachandintegrating artificial and natural ecosystems.

top: bioreactors installed in the facade (Syn. De. Bio.) right main: main facade (ARUP) bottom left: approximate calculations of energy production through bioreactor (Syn. De. Bio.) bottom right: closeup up carbon coursing through biomass (IBA Hamburg)

The

conventional perception of renewable energy as it is fo-

A.1. INTRODUCTION

REFERENCE Serpentine Pavilion Alvaro Siza archive, ‘Serpentine Gallery Pavilion2005’, Alvaro Siza Vieira official website, 13 October 2011 Cecil Balmond et al, ‘Serpentine Gallery Pavilion 2005’, published by Serpentine Gallery, 2005 Jeremy Melvin, ‘Serpantine Gallery Pavilion’, Architectural Design Volume 75, Issue 6, 23 March 2006 BIQ ARUP, ‘SolarLeaf – Bioreactor Facade’, ARUP, 2013-14 ‘BIQ - The Algae House’, Syn. Des. Bio. Publications, 13 March 2014. ‘BIQ Project’ as described on the International Building Exhibition official website, 2013 http://www.iba-hamburg.de/en/themes-projects/the-building-exhibition-within-the-building-exhibition/ smart-material-houses/biq/projekt/biq.html

A.2 - COMPUTATION

COMPUTATION

GEOMETRY: GENERATION, MUTATION, SIMULATION

THE SHAPES ARE BASELESS. THEY JUST KEEP MOVING. -SASAKI MUTSURO limitless and that to constrain it by a certain set of solution is one that has been trialed and put to practice computed functions is to threaten creativity itself. over and over again, until experience over time reveals the

In his dialogue with Isozaki, Mutsuro Sasaki disperses

beneficial features and points that seek improvement.

this by his suggestion of that the human imagination is

Unprecedented form also has a significance in the culturimagination, which lies as the basis for computation over al and social context. We are of a time where economy, computation,isimminentlyaffectedby.Whentraditional political relations, global links and the urban fabric itself pictorial display is concerned, there exists a certain cannot remain static, and thus its elements – its architecpre-existing guideline that sets an aesthetic standard, ture - cannot be swept under one stylistic definition, into and while a degree of rational justification is required one typology. In his projects, Arata Isozaki advocates to justify the engagement with this definition of appeal, two points: that form derived by simulation of evolutionit is still fairly limited. But in the age driven by need of ary processes is more natural and organic; and that said progress, traditional methods of design fall short of freeform and organic shapes are easier to introduce into creating ‘free, mutable, fluid and organic’ architecture, a fluid context where all surrounded architecture shares as they rely too much on artificial representation (an- a rational mathematic connection, but is more forgiving in tiquity through to renaissance), followed by its distil- terms of complementing each element. lation (modernism) and attempts of re-charatirisation Computationworkswithprecisemathematicalinformation (postmodernism). and algorithm to generate form and spatial distribution. Computation in itself is different - it is a means to pro- In a way, this method suspends the constraints of human duce geometry beyond human methodology, it is capable judgement and leaves the design process to self-organiof imitating natural process of creation, spontaneous zation and optimization. Said two qualities are charactergeneration and mutation. It allows for much more com- istics drawn from nature, and achieve the natural balance plex and unexpected forms to be created, analyzed and between efficiency and resilience applied to the designed/ implemented in ways that are novel in terms of practi- build environment. In the Florence New Station proposal, cability, structural appeal, aesthetic value and overall the tube-like freeform shapes achieve maximum efficiency in terms of material and space taken up (as opposed to total effect. surface area) while maintaining what the sensory analysis limited by the influence of its context, that pictorial

A.2 COMPUTATION

It is, of course, arguable that human imagination is Traditional design is oft empirically based – the optimal

algorithm speculates is the optimal structure in terms of tension, heat and structural performance.

digital itirations to create the optimal structure for Florence Station competition, Arata Sasaki & Associates previous: Sendai Mediatheque, photographer unknown (i’ll find out) left: Sendai Mediatheque (Beestface, Flickr)

COMPLEXITY | PERVERSE FUNCTIONALITY

In 2001, architect Preston Scott Cohen took part in the While there is significant merit in the emotional frameEyebeam Atelier competition, seeking an alternative solu- work of this project, one must pay heed to the original tion to the Museum of Art and Technology, NYC. This project brief, one of the key aims of which was to generate design as well as some of Cohen’s other explorations ‘mysterious’ light effects. The void space mechanic was in relies on computation to generate complex geometry the fact generated from a series of iterations created with

interaction of which is dictated by algorithm. In this case, software that allowed to analyse shading effects achieved

what is referred to as ‘perverse functionality’, or intended without having to generate a built environment. This is one distortion of both the mathematic algorithm that serves to of the strongest advantages of computation – the designer

generate the torus, and the approach of defining the space, is no longer confined within the realm of physically tangi-

is realized through pushing the traditional elements of ble material. An important function of design is the ability architecture to the limit as well as engineering a structur- to identify situations, predict the change to the existing ally plausible flawless form – both made possible through delivered by their product, and predict the overall effect computation processes.

of their design. Computation provides an opportunity to

It is argued that the emphasis on how the user experiences

create countless scenarios and lifelike simulations of how they would behave with minimal resources – the possibilities

the space is by surface as opposed to linear arrangement for trial are endless. In the eyebeam atelier, this has been and spatial progression.

The interlocking of surfaces

utilized first in formation of most appealing light effects,

rather than spaces creates voids breaking apart an exist- then in optimization of the torus shape and separation of

– an approach of distortion in itself. There is a certain thrill in novelty, in perversion, in something outside the conventional norm. ing space

the pre-existing building. Finally, in the arrangement of the floorplanandvoidalignmentinathree-dimensionalparameter of the existing structure is solidified.

Similar to Isozaki’s station concepts and Mutsuro’s Mediatheque, the self-sufficient, meaning the requirement is that it support itself.

The

slightest flaw in the tension of the tori, the smallest miscalculation in the parameter and sectioning of the non-platonic surface would result in systematic failure, threatening to undermine the entire building.

Through parametric design and computation, the precise dimension and premise of each element is converted and solidified in sequential algo-

rithms, eliminating the possibility of human error and ensuring maximum accuracy.

Applicable to both cases

is also the relationship between each factor of the algorithm, which is generally retained through computation.

left: 8th floor of the Eyebeam conceptacle model (Thomas Erben) upper: circulation diagram via the tubes (Preston Scott Cohen) middle: floor plan (Cohen) bottom: as far as unprecedented form is concerned, the idea of ‘tubes’ and the look they will provide is intended and known from start; the optimisation is algorithm-dependent.

A2. COMPUTATION

geometry is aimed to be structurally

Though Isozaki lost the Florence Station competition, the concept is realised in the QATAR national convention centre, completed in 2011 in partnership with RHWL architects, where the column geometry is re-generated emplying the previously listen advantages of computation as follows: alleviating design prediction by empirical testing possible though digital technology permitting unprecedented form, pushing design possibilities further eliminating human error maximising material efficiency rationalisingandjustificationthrough mathematical approach Below: Steel Column on QNCC - detail RHWL Architects

A2. COMPUTATION

COMPUTATION : THEMES, PROGRESSION, DISCOURSE

above: detail of Son-O-House, (NOX) left: analysis of movement translated into paper strip models (NOX) lower left: Son-O-House completed (NOX)

GENERATION

A huge aspect of design is communication. A successful design should be intelligent is the sense that it is informed by a number of factors or precedents, and that it informs those that are to be using it, whether in terms of functionality or evoking a certain emotion or atmosphere.

In Son-O-House, built in 2004 in Son-en-Breguel by NOX Art and lead by Lars Spuybroek, this flow of information is greatly emphasised, and shows exactly how algorithmic thinking and parametric design can reflect this.

The process informing the flux geometry of the pavilion is user circulation - body movement, limb movement and smaller actions the body performs, to be precise. Note that the initial form generation is not digitalised, but engineered by testing a paper strip model. The composition however is still informed by an algorithm â&#x20AC;&#x201C; a simple rule that the strips of paper are scored and cut every time a movement occurs, and are fixed to each other at

the cutting point. This creates an unprecedented pattern and curvature that is of direct relation to how the visitors would interact with the space.

Son-O-House displays the relationship between each elements secured and translated into mathematical value as the model is made digital and prepared for fabrication of each individual steel module.

Each stage of the process must retain accuracy and precision, otherwise there is a risk of everything not coming together, of the pavilion failing to support itself, or underperforming in tension. Same as with the previous precedents, the optimisation process would have been to elimiate the possibility of human error or irrational decisionmaking.

above: relationship between each individual strip of material - paper model above right: finalised digital form derived from paper model (NOX both)

If one looks at the development of architecture as an art form throughout history, we as artists has been more or less confined within the premises of the picturesque and symbolic imagery, and/or between linear panes and platonic solids.

The beauty of computation is that when a parameter/ organisational law is transformed into geometry, it is capable of producing shapes beyond human imagination - metabolic morpho-ecological form. Spuybroek of NOX claims that this is necessary to break out of the state of â&#x20AC;&#x2DC;cold minimalism, blind traditionalism and mindless materialism.â&#x20AC;&#x2122; Form generated by computation mutates and evolves beyond ordinary aesthetic comprehension and encourages the designer to seek functionalityandaestheticinformthattheymightnot have imagined initially.

A3. GENERATION

BIOTHING | BIOMIMICRY Experimental architect and creator of the biothing project Alisa Andrasek talks about her work as quanityfing nature, breathing life into physical form. She seeks to furtherdecontructconventionalunderstandingoflineand form by working in ‘continuos direction without top, bottom or centre, potentially infinite in their genetic origin.’

The natural environment, the biological organism, is seemingly spontaneously generated to achieve a form that is efficient to the maximum while being able to adapt to its surroundings and be symbiotic with its environment. A unique and innovative aspect that parametric design allows is recovering the ‘code’ that governs these principals of

assembly and growth, and setting is as the parameters for generating manmade structures.

It’sanopportunitytoreimaginedesignandbuildingpractice as something coming as close to natural, organic growth of space and shelter as one can. The more suitable to contemporary wants and needs - sustainable resource, quick construction, little carbon footprint, climate control, integration into the urban fabric - is achievable through natural means, the more ecologic the design becomes.

left - Andrasek’s conceptual research for Seroussi Pavilion (biothing)

A3. GENERATION

Son-O-House, the works of ‘biothing’ and countless other experimental project are cutting-edge examples of unprecedented form based on unique derivation from natural processes (movement, attraction/repulsion, genetic hierarchy and so on). However the general scope of these works range from research

material. etudes and paper architecture – or smallscale pavilion-type structures that are not concerned with the function of

shelter, climate protection and other requirements of dwelling

and commercial spaces – something that remains the prevalent benchmark for contemporary architecture and building.

That being said, the writings of both Alisa Andrasek and Lars Spuybroek reflect the awareness of this fact, and express a laconic hope to apply the research component of their works to larger-scale projects and see a similar appreciation emerging in

Seroussi pavilion model (Frac database)

the discourse.

A3. COMPOSITION

THE CODE OF FUNCTION | REACTIVE ARCHITECTURE

There are, of course, works that encorporate the basic notion of code and computer function to imitate nature in a beneficial way on a larger scale. In 2012, the Al Bahr towers were completed in Abu Dhabi, making ARUP and Aedas Architects the creators of the world’s largest reactive facade. The outer ‘skin’ of the building consists of over 1000 screens that imitate the process of sun-reactive plants and fold and unfold depending on the amount of UV rays they receive. Inspired bythetraditionalMashrabiyapattern,thecomputer-monitored screens provade an adaptive shading solution, provide diffused natural light and save on climate control costs.

The towers from numerous angles (Architecture and Composites)

A3. COMPOSITION&GENERATION

The design is dubious in terms of generative approach. The form and facade is not informed by algorithmic thinking but is carefully planned out and trialled; It is not being put forth as the product of generative design, but a functional response to a problem.

Each

individual element of the facade still has an algorithm dictate its optimal size, proportion and orientation in

relation to its counterparts. Each Mashrabiya becomes

a cell, and computerisation both powers their movement patter and simulates microscopic processes of cellular self-organisation. The configuration of the cells, their positioning within the overall skin of the building and their functionality are co-dependant, and compromised by

3D modelling in the earlier stages.

The omnipresent dynamic of form and function is addressed in contrast with the precedents concerning generation of form, such as the

Son-O-House or the geometric explorations of Isozaki. The approach of exploring the laws and mathematic formulae behind natural functions and processes as well as imitating natural forces here is somewhat reversed in finding the optimal iteration of a pre-existing parameter â&#x20AC;&#x201C; the latter being a set requirement for the geometry, the kinetics of its

flexibility, and its spacing that will allow the function to follow form and unfold.

â&#x20AC;&#x201C; that is, for the Mashrabiya to fold

Are we then to criticise this precedent on that digitalising predetermined dynamics doesnâ&#x20AC;&#x2122;t really employ generative approaches? One could argue that generation can refer to functionality as well as the shape and perimeter of the building. The flexible facade of Al

Bahr embodies scripting culture and the usage of code to animate it and achieve a structure that can evolve within a basic set of rules

- also a great example of

bio-imitation used for in an especially practical manner.

Mashrabiya concepts Architecture and Composites left - the pavilion (Anida&Spiegel)

ON AUTOPILOT A sort of breakthrough in both the concept of generation and the approach to it for both designers in the industry is experienced in the face of automation, robotic technology and principles of autonomous construction robots.

â&#x20AC;&#x201C; in other words, structures built by

Parametric design makes it possible for machines to follow a certain code and generate shapes completely dictated it. Here, the computation/generation dynamic is in the assembly as well as design creation.

The ICD/ITKE Research pavilion developed in 2012 by the institutions in Stuttgart is an example of this. Designed completely by optimizing an algorithmic relationship of matter and space, this pavilion strives to mimic the exoskeleton of a lobsterâ&#x20AC;&#x201C; once again, natural influences are at hand. This precedent counters the emerging criticism of the generation section of how useful generation methods like this really are. By mimicking aspects of organic growth like heterogeneity, hierarchy and multifunc-

tional purpose, this is a new height of sustainability

â&#x20AC;&#x201C; the pavilion is extremely efficient in terms of labor (given that the robot is autonomous and easily reusable over and over again), material, and its weight to span and stability ratio.

The pavilion reflects, in a way, the direction of change observed in the architecture and building industry.

Each stage of the process of creation is

becomingmoreandmoreintegratedwithintheumbrella term of â&#x20AC;&#x2DC;designâ&#x20AC;&#x2122;. Inspiration, initial visualisation and

conceptualisation, choice of materiality, analysis and

engineering, fabrication and assembly are no longer chronological and linearly dependant in that order.

The mimicry of the lobsterâ&#x20AC;&#x2122;s carapace is selected based on available materiality, while the choice of glass and carbon fibres - by the available constructions method - or perhaps vice versa. The form is defined by the construction process itself - and in this lies the key difference between unique generation, and realisation of a computerised design. This direction of change is heightened in developing machinery that automates construction itself, relying on algorithmic engineering and computation. A 3D printer, a fabrication robot and in this case specifically the robotic arm are all examples of this. It is plausible that in the future this could be the mainstream trajectory of design and construction, allowing an indepth understanding of each discipline and aiming for efficiency in terms of labour materials in use and environmental impact.

In conclusion, part A has been an extremely valuable insight into what some definitions and methodologies of design are, how do they interactwithcomputation,howaretheyaffected by the latter, why is this beneficial, and how does this affect us as aspiring designers.

Thetheoreticalunderstandingisimportantfor developing our own viewpoint and being able to bridge potential opportunities to employ parametric design â&#x20AC;&#x201C; including the Air project for this semester

â&#x20AC;&#x201C; and the benefits it provides,

while being aware of possible dubious aspects.

right upper - pavilion detail right lower - construction in process (ICD)

A.5 LEARNING OUTCOMES

REFLECTION

A huge interest out of Studio Air so far has been the human/nature dynamic. My attitude towards the age of the digital previously has never been without a somewhat jaded scepticism of that artificial intelligence and computer technology remains, well, arti-

ficial, and therefore represents a polar opposite to

nature. I place a lot of value into the relationship with nature, ecocriticism and sustainability, so my first reaction was that despite being super useful and all, isnt relying on something of artificial origin is a bit counterproductive?

I certainly appreciate the concept a lot more having familiarised myself with concepts of biomimicry, codes in nature and how the former can lead to a sustainable practice.

I’ve even found myself wondering about generative information in my everyday surroundings. My understanding of this approach has been reshaped by actuallyunderstandingthedifferencebetweenusing computers as a render tool for ideas; and actually generating new ideas in their wake. look too bad’.

In hindsight, what really might have made this more meaningfulwouldbealgorithmsoftriangulationfor the form outline, and self-organisation and stability for the panels.

made this more meaningful would be algorithms of triangulation for the form outline, and self-or-

ganisation and stability for the panels. The use of parametric tools such as grasshopper would have

as grasshopper would have saved a lot of time and

saved a lot of time and effort compared to drawing

effort compared to drawing each little bit of the

each little bit of the panel by hand.

panel by hand.

The use of parametric tools such

A past project I could improve with this knowledge is last year’s Studio Earth design, a Place for Keeping Secrets. My proposal consisted of a solid curved shape with modular panelling. Though I have claimed that this design was inspired by the topography of the site, they were really aimless and there for the sake of needing a form. This and my iterations of the panel lacked rational approach and judgement - I simply did not possess a criteria by which I could judge if the composition was optimised yet, aside from ‘Yeah that doesn’t look too bad’. In hindsight, what really might have

PROPOSAL

I would like to take precedent from nature. Not only is the concern for nature and sustainability a massive factor

â&#x20AC;&#x201C; the site itself relies on a network of meanders and rapids, vegetation and marshes to deal with the problem at hand, filtering out the pollution. among the stakeholders

The foremost aim is to improve the health of the waterway by removing excess pollution, but other stakeholders include assisting the community in drawing attention to issues of sustainability and the effect of human activity on the environment, on

Merri creek itself have attractive features, and, if possible, provide extra circulation points between the two banks, if the installation can be resolved to bear weight and form a point of crossing. making

It is therefore important that the design solution is an extension to the ecosystem in place, a mimicry of it as opposed to a foreign intrusion. Rather than introduce artifice to the environment, I should seek to have it set the premise to the solution, to recognise and apply an existing process to the computation of the latter. Certain parameters to analyse could be the kinetic of the river flowing through the obstacles, an algorithmic dynamic of positive space and opening to create a filter, or possible â&#x20AC;&#x2DC;encodedâ&#x20AC;&#x2122; natural precedents to inform the generation of form for the project, eg. trees, bushes, tessellating rocks, and so on.

Merri creek - along the bank nnovikova 2015 right - Earth sketch and paper model nnovikova 2014

A. 6 ALGORITHMIC SKETCHBOOK

The first exercises focus more on controlling the Rhino-Grasshopper space and modifying geometry within it. I consider this iteration successful because it creates an interesting dynamic of positive space and opening.

I thought this was interesting because it triangulated my

curves in an efficient matter while still retaining the geometry.

Triangulation divides organic surfaces in a form in which it can be paneled, divided into modules and fabricated â&#x20AC;&#x201C; otherwise one faces serious limitations in terms of material selection if the curve is to be achieved by plasticity.

DIGITAL PAPERSPACE Exercises featuring the attractor point show a slightly more animated version of the vase, in terms of method an geometry utilized. They were beneficial for explaining spatial relationship between elements and its ability to fluctuate.

The top example shows two sets of geometry – tubes and spheres – gradually morphing into one another depending on their proximity to the attractor point. The second was an aesthetically pleasant composition that actively distorted and bent the form and the ‘tubes’, which I thought was interesting.

The aim of this exercise was to recreate a shading device with elements – extruded curves – that would follow the attractor point as if it was the sun. It shows how reactions to a driver can occur within a digital environment, much like the previously analyzed reactive architecture. If this was to be properly developed, it would also fulfil the need to predict what a design solution would do, acting as a synthetic simulator of the environment.

A. 6 ALGORITHMIC SKETCHBOOK This was both exciting and fascinating. As the other notable sketches demonstrate, most of the preliminary Grasshopper exercises have been concerning manipulating pre-existing form and seeing how each element reacts as the relationship within the composition is retained. With practice and actual understanding of the algorithm used to generate this (which was completely lacking in this experiment), Iâ&#x20AC;&#x2122;d imagine this is what generation as a design doctrine looks like, changing the values and watching something new and unexpected come to life.

This series of algorithmic sketches was intended to be for the Box Morph toolbar, generating repetitive morphology on a surface of geometry. While playing around with the domain values while setting out the parameters of the surface, I noticed that rather than just making a certain amount of box cells, the max and min U and X values gave off a whole pattern of boxes. Depending on whether the values of U and V coordinates were positive or negative, and how long for (larger values brought more development), my shape would unroll and mutate into a distorted continuation of the little set or arches I started off originally. Sometimes it would be almost flat, sometimes it would expand and become very thick, depending whether the Y or X axis were the predominant sector I would be changing.

ALGORITHMIC SKETCHBOOK

REFERENCE

Alvaro Siza archive, ‘Serpentine Gallery Pavilion2005’, Alvaro Siza Vieira official website, 13 October 2011 Andrasek, Alisa, ‘biothing’, 2009, Frac Centre. Anida, Alfredo & Spiegelhalter, Thomas, ‘Post-Parametric Automation in Design and Construction’, 2015, Artech House; ch. 5, ch. 16-17. Architecture and Composites, website (used mostly for images) http://compositesandarchitecture.com ARUP, ‘SolarLeaf – Bioreactor Facade’, ARUP, 2013-14 ‘BIQ Project’ as described on the International Building Exhibition official website, 2013 http://www.iba-hamburg.de/en/themes-projects/the-building-exhibition-within-the-building-exhibition/ smart-material-houses/biq/projekt/biq.html ‘BIQ - The Algae House’, Syn. Des. Bio. Publications, 13 March 2014. Cecil Balmond et al, ‘Serpentine Gallery Pavilion 2005’, published by Serpentine Gallery, 2005 Isozaki Arata & Affiliates official website DeLanda,Manuel,‘DeleuzeandtheuseofGeneticAlgorhythminArchitecture’inArchitecturalDesign, Vol. 72, January 2002

Franc Centre exponates http://www.frac-centre.fr/inventaire-detaille-90.html?authID=255&ensembleID=837 Isozaki Arata, ‘The Virtues of Modernity’, 2004, Umbrello Allemandi & Co Ito Toyo & Associates official website Klooster, Thorsten, ‘Smart Surfaces’, 2007, Birkhusher Publishers. Melvin, Jeremy, ‘Serpantine Gallery Pavilion’, Architectural Design Volume 75, Issue 6, 23 March 2006. Preston Scott Cohen official website. http://www.pscohen.com/ Rahim, Ali, Toroidal Architecture in ‘Contemporary Techniques in Architecture’, Architectural Design, Vol. 72, January 2002 Sasaki Mutsuro, Morphogenesis of Flux Structure, 2007, Dexter Graphics, UK.

ALGORITHMIC SKETCHBOOK

CONTENTS B1

TECHNIQUE ANALYSIS

BIOTHING REVISITED CASE STUDY 1

MATRIXES

LOOP_03 - CASE STUDY 2 COMPLEXITY MATRIXES

52 60

VARIATIONS

FORMFINDING (PROTOTYPING)

PROPOSAL

LEARNING OUTCOMES

ALGORITHMIC SKETCHBOOK

REFERENCES

PART B CRITERIA DESIGN CONCEPTUAL FORMULATION + TECHNICAL DEVELOPMENT+ PROPOSAL

Though Mark Fornes and Atelier Calter do not disclose the generative process, it is plausible to assume that there might have been trials to optimise the amount and direction of said control points/lines so that their usage is effitfrom sphere to sphere seamlessly.

Of course, with enough scored lines and bending moments, the project would have achieved the perfect specimen of smooth edge and continuity – a symmetrical platonic sphere that holds a simplified structural unity. However that would diminish greatly from the sense of visual continuity and the language of morphology.

An idea explored by Robert Woodbury in his ‘How do Designers use Parametric Design’ is that there’s a typology of parameter – in this case visible as the juncture between elements and the overlapping of two directions of patterns and interaction of double curvature (aimed to further the complexity of shape)

– and the guidelines for actual form – the size of the spheres, the degree of vault. Once conditions at which the shapes are conjoined and the relationships between different sizes of spheroids are established, the rhythm, the logical law by which folding as a technique controls the bending point and junction, is derived.

TECHNIQUE EXPLORATION | FOLDING The conventional understanding of folding is as that of a technique that defines edges, tessellates the connection points between surfaces. Folding is, in essence, a point of distortion on a plane, a point of stress on a surface. This goes around to imply that it’s a technique necessary to achieve any geometry. If we fold a square piece of paper, it will become a triangle, if we fold it on pre-calculated seams, we’ll have paper models of platonic solids, and so on.

The shapes can then be stacked

and reapplied over and over to create a continuous surface and structural vaulting over a span dictated by independent factors – such as the site or installation space area and height, designated usage of space, and amount of open large vaults required.

DoubleAgentWhite,anexperimentalstructureconsisting of developable combination of spheroids, explores how folding interacts with morphology of geometry and surface outlines where they meet. One of the constraining parameters of Double Agent White would have been to develop a surface that allows for curvature with angles that would allow protrusion, yet flows into itself smoothly. Scored and folded lines serve as control points through which the folding occurs. 36

above: numerous spheroids (the Very Many) right: joints at the folds (Strabic)

A3. GENERATION

left - Andrasekâ&#x20AC;&#x2122;s conceptual research for Seroussi Pavilion (biothing)

Once conditions at which the shapes are conjoined and the relationships between different sizes of spheroids are established, the rhythm, the logical law by which folding as a technique controls the bending point and junction, is derived.

The shapes can then be stacked and reapplied over and over to create a continuous surface and structural vaulting over a span dictated by independent factors â&#x20AC;&#x201C;

such as the site or installation space area and height,

designated usage of space, and amount of open large vaults required.

above: interior of the structure, showing the vault space (the Very Many)

left - Andrasekâ&#x20AC;&#x2122;s conceptual research for Seroussi Pavilion (biothing)

The dA Office (MoMA, 1998) was designed by Nader Tehrani and Monica Ponce de Leon of NADAA, and aims to deconstruct the mainstream definition of facade and structure. This is, in essence, a developable surface held by itself and column-like supports, draped over an existing building.

B1 - TECHNIQUE STUDY

FABRICATING COINCIDENCES

Here the folding also is responsible for

granting the structure its structural quality.

Thebend/foldlinesandthetriangulationedges between the strips of steel create stress points and give the vertical span some rigidity and stability.

Structural columns through

which the folding is continued assist this notion. This makes the metal sheet both the structural component bearing its weight, and

the aesthetic/decorative function prescribed to the ‘skin’, thus blurring the line between the two

(MoMA).

The definitions of folding here are all achieved through principles of computation

– defining each individual ‘face’ of the strip as well as the strip itself, perforating the surface to let light through, determining the overlap and scoring the edges. The technique of score and fold rather than bend under direct stress, or welded/bolted joints challenges both the qualities of materials and perception of assembly. Why go through the length of actually folding the material as opposed to imitating the folding pattern?

The elimination of joints prevents needing to apply additional material and causing thicknesses at each joint, which in turn lets the folds to look more clean-cut and executed with much more precision. There’s also less risk of the metal failing under stress, seeing as some of it is relieved by the scoring.

Once again, there is a focus on continuity through the shape, the fact that the â&#x20AC;&#x2DC;foldingâ&#x20AC;&#x2122; seam is indeed the procession of one surface into the other as opposed to disjointment and fracture of the face.

B1 - TECHNIQUE STUDY

In the Botswana Innovations Hub (Shop Architects), currently in construction, this quality spans through the entire building. The facade of each floor is one long strip that distorts and morphs as itâ&#x20AC;&#x2122;s stretched over the building and loops up and down. This kind of language unites the horizontal panes of the building together, and the fact that the folded surface creates a geometry brings the whole form closer to a developable parametric form as opposed to just the facade.

left - the folding visual effect achieved by the metal sheeting on the outside of the dA structure (NADAA) above - FInal render for Botswana Hub (SHOP architects)

REFERENCE Evolo - Double Agent White (http://www.evolo.us/architecture/double-agent-white-in-series-of-prototypical-architectures-theverymany/) Galilee, Beatrice, ‘Office dA‘ for Icon Eye, (http://www.iconeye.com/404/item/3484-office-da) Fetro, Sophie, ‘Mark Fornes, Double Agent White, Prototype d’architecture’ (http://strabic.fr/Double-Agent-White-prototype-d) Fornes, Mark & the Very Many, ‘Atelier Calder: Double Agent White,’ (http://theverymany.com/12-atelier-calder/) NADAA studio, Projects - MoMA 1998, NADAA official site (http://www.nadaaa.com/#/projects/fabrications/) SHOP architects, Porjects - Botswana International Hub (hhtp://www.shoparc.com/projects/botswana-innovations-hub/)

REFERENCE

BIOTHING REVISITED

Seroussi pavilion by biothing, previously mentioned in ‘biomimicry’, is a conceptual competition entry that focuses on automated interaction between elements, reaction to present charges, self-organisation and

morphologies of geometry to achieve new form.

It’s almost like the linework created in the x | y panes is being pushed from the edges to bend upwards and create the little pods. This is a very interesting generative feature and provides a mix of control over the initial input for element arrangement, and novelty, an element of predictability as there is no knowing how that initial basis will distort and morph in

through a base set of curves set in different

response to changes made to the iteration in

directions, there is a distribution of points

case there are such.

that will organise lineworks engaging with each element and self-organising as defined by attraction/repulsion generated by the force fields.

second, there is a folding/bending sequence in the materiality and expression of said form. the pavilion model seems to consist of thin strips fixed together at the common point – the very top of the ‘domes’, and then

the tectonic application of folding in this

relying on folding and bending to create the

case is explored in two directions. the first

geometry. It would be interesting to observe

is that the process of creation of three-dimensional form from a flat diagram of some-

what happens to each strip once the definition starts to change.

thing akin to an organic matter is in a way unfolding, unravelling the geometry.

MATRIX ITERATIONS species

a vii

a ii

a iii

a viii

a ix

species: reverse bi

b ii

b iii

species: butterfly ci

c ii

c iii

a iv

a vi

a xi

a xii

b iv

b vi

c iv

c vi

MATRIX DEFINITIONS

species

a ii

curve count coming off per charge*

‘umbrella’ curve count

point increased

point decreased

24 curves > 80 curves

24 curves > 7 curves

a vii radius

- 2.6

-1

points per curve

curves per point radius

- 50

curve count coming off per cha point decreased

24 curves > 4 curves

a ix

a viii

curve per point

a iii

- 0.05

- 24

curves per point radius

- 20 - 100

- 0.8

-7

- 20 - 100 > 50

points per curve

fline length

graph range disconnected

species: reverse bi

b ii

curves per point radius

- 0.05

- 24

b iii

curves per point radius

- 20 fline length - 100 graph range - 1 points per curve

graph scaling factor

- 1.234

- 24

-5 fline length - 140 graph range - 100

curves per point radius

points per curve

- -8

graph scaling factor x

- 1.5

- 16

-5 fline length - 300 graph range - 100 points per curve

- -7

- y swapped on graph

graph scaling factor - 10 curve value reversed

species: butterfly ci curves per point radius

- 0.05

- 24

- 20 fline length - 60 graph range - 6 points per curve

graph scaling factor

c ii

c iii

curves per point

- 30 - 20 fline length - 100 graph range - 61

curves per point

points per curve

graph scaling factor

- 30

decay

- 0.888

- -8

- 30 - 20 fline length - 100 graph range - 60 graph scaling factor decay

- 0.1

- -8

another initial curve added

*will be referred to as ‘umbrella’ curve for shortness **if a certain parameter is not mentioned, assume ibid or default

arge

a iv

a vi

80 curves per point

6 curves per point

charge point radius increased

charge point radius

0.05 > 3

0.05 > 2.6

points per initial curve

curves per point

-4

points per curve increased

5 > 50

ax curves per point radius

- 0.05

- 20 fline length - 100 graph range - 1

curves per point radius

points per curve

graph scaling factor

- 2.60

curves per point radius

- 50 fline length- 100 graph range - 10 graph scaling factor

b iv

- 24** points per curve - 5 fline length - 500 graph range - 360 graph scaling factor - 8

points per curve

curve value reversed

x y reversed

curves per point

graph changed

-9

- steeper

- 0.5

- 50 fline length - 30 graph range - 10 - -10

- 55 fline length - 150 graph range - 360 graph scaling factor - -7.6

graph scaling factor

b vi pods changed graph drastically changed curve

graph changed

- close to

c iv

c vi

-1 points per curve - 8 fline length - 300 graph range - 5

curves per point

- 30 points per curve - 20 fline length - 200 graph range - 60

curves per point

graph scaling factor decay

- 0.75

- 23

- -10

curve value reversed

edges, obtuse

curves per point

-6

points per curve

- -8

5 > 50

a xii

a xi

- 24

0.05 > 2.6

graph scaling factor decay

-5

- 30 points per curve - 50 fline length - 130 graph range - 2 - -1.9

graph scaling factor decay

-5

- -3

extra curve

another initial curve added

introduced cull pattern to

cull pattern fftff

initial points

fftf

MATRIX ITERATION + DEFINITION

c vii

c viii

- 26 points per curve - 5 fline length - 300 graph range - 9 decay - 6.7 Gaussian graph

identical to

curves per point

graph scaling factor

except switched IntCrv booleanmakingcurvesclosed

-9

species: surface di

d ii

curves per point

-5 points per curve - 5 fline length - 100 graph range - 60 decay - 1 graph - sine 3.2

curves per point

extruded

rotation vector from start

to end of ‘umbrella’ curve

rotated by

90 deg

-8 points per curve - 8 fline length - 100 graph range - 60 decay - 1 graph - sine 5

45 deg

c ix

- 24 points per curve - 5 fline length - 100 graph range - 5 decay - x pane graph - sine -6 IntCurve mult. boolean fttf IntCrv turn 300 deg.

curves per point

- 20

- remapped at -50 to 100 graph - gaussian 10 decay - z pane IntCurve mult. boolean fttf IntCrv turn 300 deg. fline length

-5 points per curve - 5 fline length - 100 graph range - 60 decay - 1 graph - sine 8.7 curves per point

curves per point

graph scaling factor

- 0.5

points per curve

d iv

d iii

-4 points per curve - 5 fline length - 300 graph range - 9 decay - 6.7 Gaussian graph

radius

-7

-9

rotation vector from start to end of â&#x20AC;&#x2DC;umbrellaâ&#x20AC;&#x2122; curve rotated by lofted

25 deg

c vii

b ii

SELECTION CRITERIA 1)

To be visually dynamic, that is, to have the visual elements producing a sense of rhythm or

movement, some sort of fluxuation. It is the dynamic and repetition of unified yet differing elements that

Seroussi pavilion so aesthetically pleasant. To retain its attributes as a three-dimensional shape. all geometry that is nothing but flat strips will be eliminated as it doesn’t have any structural or architectural application. 3) Plausable real-life application or structural suggestion make

The case study is firmply rooted in point charge and attractor points so it was exciting to break apart that pattern and produce a new arrangement. there is the aforementioned movement and rhythm not only in repetitions of lines but also in how the individual shapes seem to crawl out and away from the initial frame of curves. This iteration embraces Alisa Andrasek’s idea of no confined canvas to work within - as the

GH definition changes, the shape distorts and spreads.

the introduction of a cull pattern allowed to create an intense visual dynamic and a less predictable distribution of charge points, breaking apart the circular geometry and becoming more seemingly chaotic.

Having the attractor points shifted closer to the centre really emphasises the difference in positioning depending on how far away it is from said points, demonstrates how each ‘pod’ warps as the charge effect decays - a new sense of rhythm and dynamic in itself.

this has been a succesful trial of reversing the shape and starting to think about structural values. You

can easily imagine something like a built vault system to create an enclosure, with the attractor point circumferences being the centre of weight transfer. the idea of an entire system is favourable because it shows how parametric design can be beneficial - the deriviation can be edited to accomodate column thick-

ness avaliability, the need to structural elements required etc. in terms of selection criteria, it is a very

plausable 3D shape imaginable in real life; the degree of slope and variation of each ‘pod’ is interesting and dynamic to some degree.

here a whole new methodology of pod structure has been defined, with intertwining arches and closed

curves. this is almost reminiscent of self-organisational methods. The first choice criteria indirectly hints at presence of a pattern, and compared to the other itirations, this is the most interesting and prominent change that has been achieved in the pattern. the pods are quite three-dimensional and have their presense as individual shapes, which one can imagine prefabricated and stacked together to form a dynamic whole, so a plausability of real-life application emerges.

B3 CASE STUDY 2

loop_03

loop_03 is an installation by UniBolo and Alessio

the construction drawings/design projects tend

plex flux shape consisting of a membrane stetched

surface on a single base, but they are not of a

Erioli of CO-DE-IT, completed in 2012. it is a comon a series of ribs

- sectioned strips of material

that fluctuate between being pulled into the centre or stretched away from it.

to suggest that this is a number of developable regular elongated rectangle shapes, and their edges are not linear.

something to especially consider would be how

it seems to reply on a number of control/attractor

the curves are generated, how is each divided

folding is occuring as the strip travels and distorts

from the rest to allow the useage of them as

points to pinpoint the curvature.

The process of

through each point, thus creating curvatures that sweep through a complex horisontal path as well as twisting and shearing as it undergoes the bends and changes in amplitude and steepness of each curve. the curvature is, of course, the main focus.

Alessi

writes on his intent to express the curve as both structure and aesthetic, focusing on connections and spatial interations between strips and surfaces.

into points, and how the points are isolated a vertice for rotation.

There is an interesting distortion obseravle through the entire sweep, and not limited to just projecting upwards, across or sideways - each strip is fluid, constantly morphing. though it is suggested that this is a reaction to how the strip is twisted and maniputaed,thealgorihtmbehindthepatternand

distortion seems quite difficult to adress - this would be the second part of the reverse engineering process.

PAPER ARCHITECTURE

a series of experiments bending a paper strip to see how it reacts under pressure. a series of control points have been employed to experiment with geometry similar to the one of loop_03. to achieve the 3-point ribbon structure, which is what the case study uses, both attractor and repulse points are in action - the ones in the centre are pushing the strips in, folding them in towards the centre; the ones around the outer curves ensure the surface retains the volume.

similarly, when a number of strips is combined, they share their control points and an amount of shearing along the z axis is added and shifted as the two pieces of geometry interact with each other as well as the pins

analysis of bending in the physical realm

more prominent on a thicker strip, the flat thin body of the strip is warping even

when nothing is done aside from pinning it down. folding occurs throughout the entire strip even when only three control points are employed - in other words it supports itself in a certain curveature throughout when the same kind of centralisation happens as in loop-03

similarly, the shape changes drastically and drastically moves in the x+y+z axis when the natural edges are twisted.

biothing - seroussi pavilion

approach:

distributing a number of charge points as the centres of each â&#x20AC;&#x2DC;podâ&#x20AC;&#x2122;, distributing lines to define the shape and radius of each pod; using graph curvature to define the level of three-dimensional protrusion of the pods.

innovation:

new shape and unprecedented form morphing from minimal parameters set by human; everything else is derived from a grasshopper definition.

self-organisational principles controlled through a set of variables and definiion factors, almost akin to biomimicry.

aesthetic:

rhythmic, reaching out, dynamic, ballanced, symmetric (despite slight assymtery), flowing, interconnected, harmonous, sensual, serene

parametric design advantages:

unprecedented form, interesting folding/bending moments that are otherwise impossible to control

co-de-it - loop_03

approach:

extruding base set of geometry to create a set of curvatures and developables that will have structural integrity thanks to the tension and stress distributed by this percise curvature.

innovation:

usng a mathematic formula, a sine graph, to define the flowing geometry, to define scale and spacing; to employ algorithms defined by curvature (sin, cos, tan) to set the parameters for an optimal form. this engages both generative computation and human intelligence to pick the most pleasant outcome.

aesthetic:

dynamic,flowing,morphologic,untangible,uncontainedwithinhorisontalandverticalpanes,organic, fluid, centered, uncontained, ethereal parametric design advantages:

unprecedented form generation, combination of mathematic logic and aesthetic expression structural system:

vertical loadbearing braces, supporting â&#x20AC;&#x2DC;ribsâ&#x20AC;&#x2122; fixed at braces, fabric membrane draped over ribs.

reverse engineering sequence

* working drawings published by co-de-it suggest use of tangent graph mapper after this step ** repeat or use series component to generate needed amount of curves (4 in this case)

loop-03

matrix iterations species: headwaters ai

a vii

a ii

a iii

a viii

a ix

species: raft a xiii

b vi

b ii

b vii

b viii

a iv

a vi

a xi

a xii

b iii

b iv

b ix

b xi

matrix definitions species: headwaters ai

a ii

a iii

switch graph charge to

run a sort list on points

switch boolean of inter-

negative, flipping the

to change the order of

polated curve to false

curvature

points for interpolation

to create open curves

(unexpected outcome from command)

a vii

a viii

a ix

grafting the emerging

increasing amount of

flattening emerging

points and the

points/graph range to

points and the inter-

interpolated curve input

15, creating more full spans of the sine over

polated curve input to create one long strip

the extrusion

species: raft a xiii

b ii

drastically increasing

shifting amplitude and

number of points the very

increasing graph range,

initial curve is divided into

graph value and graph

(amplitude default)

curvature itself

b vi

b vii

b viii

drastically increasing

when new baseline curves

similar to

number of points the very

are created by scaling

pattern is employed to

initial curve is divided into

and moving, moving oc-

organise individual cur-

curs across both the x

vatures and have two

and z vectors; geometry

different graph functions

plitude, graph range and

nated baselines

(amplitude default)

controlled through amgraph

20 but a cull

extrude form from desig-

a iv

a vi

graft the input for base-

flattening input for

graft the baseline

baseline curves and

curves

emergent points from

true, closed curve

line curves to create individual strips – boolean to false to disjoint the

the ‘divide’ command

emerging geometry

boolean at false

a xi

a xii

increasing amplitude of

grafted, identical to

flattened, identical to

amplitudes of both lists,

increasing of both lists

one list and bringing the amplitude of other close to

– Boolean at

4 except shifting the

increasing the interval

5 except drastically

(from under 10 to 1000)

between the two

b iii similar to

15, larger

difference between am-

b iv

steeper graph, smaller

loft of species b xi,

interpolated curve angle,

portrayed directly

geometry mirrored at end-

below. control through

points of extrusions to form

loft options optimised

a butterfly shape

for smoothness and flow

b ix

b xi

ssubstituting very ini-

substituting very initial

same approach as

tial geometry to an open

geometry for a straight

vature controlled through

crescent-shaped curve,

line and then organizing the

graph, graph range and num-

plitudes and a less steep graph

+ lesser range

creating different kinds of

extrusions through a ‘Move’

outputs than previously

command

23; cur-

ber of points derived from initial line.

MATRIX ITERATIONS species: skin ci

c ii

c iii

species: hor c vi

c vii

+ vertical

species: large marsupials ei

e ii

e iii

f ii

species: abstracting folding fi

c iv

d ii

d iii

d iv

e iv

g ii

g iii

species: disintegration gi

MATRIX DEFINITIONS species: skin ci

c ii

c iii

return to the initial sine

a set of interpolated sine

similar to c

strip; lofting the line

curves organized through

of triangulation pattern

â&#x20AC;&#x2DC;moveâ&#x20AC;&#x2122;componentandlofted;

changed to imitate scoring

posed to extruding them.

then triangulated into a mesh

pattern

curves of one as op-

species: hor c vi

c vii

, add

panelise meshes from

continue from

extrusions from two

extrusion lines for a

curves (refer to original

3-dimentional pattern across single-line pan-

definition)

interestingly, sine curvature becomes more

II; u/v values

+ vertical

di return to initial defini-

tion.increaseinitialdivide count and modify culling patter/separation to in-

el edges triangulated

crease amount of dips and

into a mesh

protrusions

subdued

species: large marsupials e ii

e iii

use initial definition

simialr to e i but position

imitating bending motion in

lunchbox to quad mesh

via x y z vectors

digital space using kangaroo

run kangaroo simulator

use move function to

hinge function. base curva-

apply unary forces

position in continuous

ture extruded, converted

y vector

dynamic manner

to triangualr mesh and bent accordingly

species: abstracting folding fi

f ii

change base geometry to a

increase line count.

series of line geometry that

decreasemovementangle

expands by rotating and

and vector lenght after

moving in the xz axis

reaching

90. increase range to 3; steeper sine

reaching

graph mapper

duce interpolated curve

sine range and points derived

-2

60. switch to bezier graph mapper. reangle to

1 66

c iv similar to

27 but with a

flattened component for

change panel generation to

loft created from edges as

brep edges as used in c iv

Lunchbox quad mesh; employ

defined by panelisation as

creating a set of winding

cull pattern to present form

defined in c iii, and then once

curves

as individual strips, using u/v

again plugged to triangulate

count nodes to control strip size

d ii

d iii

d iv

continue increasing

initial definition - maxim-

continue playing around

and dips while slightly

range and angle to inter-

ferentiationwhilereducing

adjusting amplitude

polated curve to accent

interpolated curve angle

onverticaldifferentiation

ising sine graph mapper,

amount of division points

withsignificantverticaldif-

1, causing flat planar

strips folding akin to a hinge function

e iv

increase the amount of force

continue experimenting with

use boolean false initial curve

applied; switch to quad mesh

hinge definition, drastically

lengthen span of simulation and perform simulation in

increase aplitude, perform simulation in

(open);continueexperimenting with hinge definition

7 steps

by moving the anchor points through amplitude (rfer to initial def)

species: disintegration gi

g ii

g iii

return to initial definiton

initialdefinitionundextrud-

initial def unextruded curves di-

- find sine curvature brep edges, loft, divide surface, interpolate curve

ed curves

- divide by equal

points, draw lines between

vide by equal points, draw lines, extrude using sine curvature as

corresponding points,

per intial definition, use range

extrude lines in x z vectors

disconnected from division points to control density

g iv divide unextruded sine curvatures draw arches through consequent points. rebuild curve with angle of

3. fit geodesic curves

extrude in x z without sine with x length

> z length

gv divide unextruded sine curvatures draw arches through consequent points. control shaping, slope and frequency through point count

g vi simialr to iv but introduce shift list to create steeper curve and interesting frequency. extrude with x length

= z length

selection criteria

1) To employ the mechanic of generating new geometry and form through sine curvature in an aesthetically pleasant unprecedented manner that can be expressed in an algorithm and applied to a variable set of parameters. one can speculate that the parameters, such as the base geometry, the maximum verticality or horizontality and other features, can be directly taken from site and brief context, thus combining the power of generative computation design and the need to grant it contextual and metaphysical value and unique site relevance. 2) To have a sense of movement and rhythm expressed through its visual elements, to possess a certain continuity, as this is more plausible in a circulation device and would complement the creek flow nicely. Sines rotating around a fixed centre point are at a disadvantage here because their circumference becomes its own limitation to said continuity.

one can speculate that the parameters, such as the base geometry, the maximum verticality or horizontality and other fea-

tures, can be directly taken from site and brief context, thus combining the power of generative computation design and the need to grant it contextual and metaphysical value and unique site relevance.

3) To explore negative and positive space, the dynamic of solid and void; to be perceivable as a 3-dimensional flux shape yet not be solid. this has been a feature intertwined with the basis of generative design through sine curvature - making flux form beyond the limitations of generic panes and orientations through something that is technically not a solid (the concept of developable surfaces challenges the perception of platonic solids at its core). Therefore, to keep this un-whole-ness, the extrusions cannot have immaculate presence, there needs to be a dynamic of positive and negative spaces. As potential on-site application, this can be effective dealing with issues identified in part A, such as waver level variations and pollution sweep. the openings let water pass freely, and could function as a filtering device akin to baleen.

paper architecture b viii

selected species The raft species comply with deconstructing the centring around one attractor point, which was a first coming out of the Loop-3 reverse engineering. Sine curvature creates a repetition of plates that are almost sort of like a pathway in the middle; the repetition creates a sense of flow and rhythm in the geometry, like little waves in themselves. In terms of technical application, one can imagine an extended sequence forming a paving or a bridge of sorts.

There is something very expressive and moving in this particular shape, and the full asymmetric curvature is aesthetically pleasant. Point 3 is really challenged here because this iteration above all presents a solid shape, a three-dimensional presence; and out of all it has the least surface coverage seeing as all expression of form is expressed through the use of curve, no extrusions or lofts. Though the influence of the sine wave is still readable in the initial form, the outcome of rebuilding arcs â&#x20AC;&#x201C; the kinks, the radius and behaviour - was quite unexpected and exciting.

This species has been selected because it gives an impression of scoring a solid shape, of introducing openings into the whole as opposed to trying to make up a flux shape from smaller elements, in this technique extruded strips. There is also a more or less defined system of longer, curvier elements resting on top, and harsher arches of strips at the bottom, which makes one think of structural frames vs exterior expressive curvature, giving room to make speculations of real-life application of something like this.

The folding mechanic here is a kind of folding novel to Biothing and Loop-3 â&#x20AC;&#x201C; sharp, angular, pronounced. Itâ&#x20AC;&#x2122;s a stark contrast with the smooth curvature of other itirations and the original case study, and would be of equal contrast juxtaposed with the natural environment of Merri Creek, but perhaps the contrast would work to emphasise the rhythmic, dynamic presence of the shape. The tectonics of creating 3D form from bending a single piece of material in different directions is quite interesting; but while this method of surface treatment can easily be used for all kinds of surfaces, it lacks in the innovation/unprecedented behaviour department.

paper architecture variations

with the selection criteria in mind, a number of variations

the overall shape of the geometry is determined by

above all, a bridgelike structure comes to mind. the

direction/degree of parallelity is also emergent of

have been produced. evolving from the â&#x20AC;&#x2DC;raftâ&#x20AC;&#x2122; species

the curvature derived from site analysis, but the

techniques of sine curvature extraction drive the geome-

keeping the selection criteria in mind. the itirations

try generation, while a remaining question is how to best express the form that results.

suggest that the less centrelised and closer to a straight line the base geometry is, the more and more prominent becomes the visual continuity of it, a dynamic, a frequency.

flat plateaus of layers to control

overall shape derived from sine

structure of lines connected

heigh and horisontal protrusion as

curvature from two separate

between points of shape defined

defined by broken singular round curve

curves controlled through the

by sine curvature derived from

and generated by sine curvature

samefunction;linesdrawnthrough

two separate curves controlled

points and joined, then extruded

to form 3 fold directions from one strip.

by separate functions.

B4 TECHNIQUE

4 structure of lines connected

5 3dshapegeneratedfromindivid-

6 3dshapegeneratedfromindivid-

between points of shape defined

ual strips controlled through

by sine curvature derived from

sine curvature.

sine curvature combined with

two separate curves controlled

extruding joined lines between

by separate functions.

the two sweeping curves.

B5 PROTOTYPING

the aim of these excercises was to test how a flat 2-dimensional developable surface

was capable of being presented as an unprecedented 3-dimensional flux shape through the techniques of bending and folding as explored in previous case studies

1 + 2.

formfidinging: transformation from curve to flux shape

doing this in both digital and analogue forms the physical presence of â&#x20AC;&#x2DC;stripâ&#x20AC;&#x2122; becomes dehelps to further the understanding of how bending is generated.

fined, displaying the way it responds to fixed points, pressure and position, how frequencies and repetitions of geometry occur naturally.

formfidinging: scoring. play of opening vs whole.

formfinding: bending and folding

prototyping: material in bending/folding a number of prototypes from found/recycled material.

Metal wire - posesses same malleability as paper but doesnâ&#x20AC;&#x2122;t bend smoothly, angles itslf to form sharper folds Does not spring back - shared quality with steel. structurally stable more or less - holds its own weight

- posess same malleability as paper and more rigidity, needs to be fixed into place seeing as it will seek to return to its original state. Unstable - barely holds its own weight, doesnâ&#x20AC;&#x2122;t have high stress performance or potential for tension. plastic strips

prototype : folding

iteration 2

evaluates visual effect of vertical repitition and sectioning. tests the â&#x20AC;&#x2DC;rib and exteriorâ&#x20AC;&#x2122; system seen in loop-3. tests how the sine curvature can dictate shape.

B6 PROPOSAL

site awareness - merri creek

STAKEHOLDERS community

- strong communal value present

environmental concern natural environment

- posters, cleaning bees, awareness

- flora & fauna, a number of ecosystems

- CERES environmental centre awareness for ecology and nature present across all stakeholders

KEY PROBLEM circulation across the creek that does not require abstraction from the natural landscape or distancing away from this resolving safety issues with illegal wading across the stream

- every sighted unresolved path from bank to bank

SECONDARY PROBLEMS

flooding

- lack of stable water level to refer to

pollution

- present in the water and lower branches.

proposal the aim is to engage with generative design principals previously explored. the use of sine curvature has proven

the direction to formulate this proposal was as follows:

itself to be a tool to create new geometries and shapes that are aesthetically pleasant, mirror the dynamics of

the site, and can have an application to engage the two banks and the waterway by creating a bridging structure.

bending and folding to create curvature means a variation in levels, making this technique very applicable to a) be able to be placed in varying topography such as the steep banks of merri creek, and b) actively engage with such site conditions, the height and positioning of anchor points inevitably affecting the geometry.

the sparse solidity of bending/folding shapes, the

> to provide base curvature inspired by the creek flow itself from one presumed bank to the other

separation of the shape into strips and gaps between the strips as seen in both biothing and loop -3 would create a shape that has qualitative functions of transparency and lightness, very suitable for a site that is desired to be

perceived as natural and untouched by the stakeholders. fullness, harmony and wholeness of form produced.

> to generate a number of sine curvatures with individual graph mappers

> to experiment with the algorithm parameters to produce the most ideal iteration. refer to past selection criteria as well as fullness, harmony and wholeness of form produced. these are, of course, pure speculation at this point, beginning to introduce a functional logic that would need to be solidified and refined over and over again before it can be considered physically applicable.

there are three shapes present, unique but very similar. the lower sweep separates the body of

the speculated bridge from oncoming waters and currents, acting as a breaker in case of flooding and a barrier for large particles of rubbish.

the middle curves, analogous on both sides, are

the body of the bridge, and would be the main loadbearing elements.

the outer curve is a visual counterweight to the other protrusion and allows a smooth transition from artificial proposal to waterline.

proposal

the form expression through layering individual elements and creating a play of opening and whole resolves the two secondary problems - in the case of flooding, water would be able to pass freely,

without stagnating or â&#x20AC;&#x2DC;dambingâ&#x20AC;&#x2122;. large elements of pollution, however, would get caught on the lower curves and make the cleaning process easier.

the curvature of the creek is transformed into three dimensionalfluxformthroughthesinefoldingtechnique

the location on site has signs of activity and attempted crossing where there currently isnâ&#x20AC;&#x2122;t a bridge. installing one here in particular thus resolves demand for circulation at the lower banks.

bridge geometry

top

perspective

1: 50

section

elevation

- south

1: 50

elevation

- north

1: 50

first full prototype aim of prototype evaluate strips and curvature as a method of shape generation in the phsyical realm. seeing whether this combination of strips is capable of being perceived as a solid flux form. relatively successful.

Proves that sine

curvature is a plausable tool in generating geometry that is flowing,

rhythmic and has emotive expression. could have been a good exploration of material behaviour. explores positive/negative space - which is perceived as a whole? which strip becomes abstracted?

prototype weakness fails to acknowlegde materiality and therefore does not provide with an accurate estimate of the shape each strip will take.

scoring pattern not parametric - defined by offsetting curve, quite likely not optimal.

conceptual weakness

- should be fur-

ther explored in terms of technique and methonodology. The curvature and strip analysis proved to be a powerful form generator but has little value in terms of materiality, form expression and tectonics. structure

- an industrial loadbearing

structure, the proposal needs to

concider structural integrity and load distribution

resolving connections

bolt systems to hold strips together before the ribs. these are the attractor

points that help define angle of folding, therefore a fixed point is important.

â&#x20AC;&#x2DC;ribsâ&#x20AC;&#x2122; - fixed solid elements which define the position, curve and order of each individual strip.

resolving current stagnations

here’s something to consider before part c commences...

Materiality Each material behaves differently, especially so if exposed to stress (such as bending and folding processes) and load (inevitable in a bridge structure). It is therefore fruitless to estimate capabilities to hold shape and obey by a certain direction/parameter without an indication of how a chosen material will behave. steel seems an easy choice from the top of one’s head but there’s always environmental concerns and costs related – perhaps there is a more efficient option for materiality, such as timber that still performs well and lasts for a long time when exposed to water – materiality is a field worth researching into before starting part c. Once the choice has been made, material performance will be evaluated and prototyped properly, with consideration for connections, scale differentiations and tectonics. Structural integrity it is crucial that the proposal is given structural ground and regulation, or at least proven that it can create something so rooted in engineering and understanding load and integrity as bridges are. it would be wise to refer to existing bridge structures, whether to obtain a better understanding of loadbearing elements and requirements. Either way, | anticipate looking at new precedents and coming up with some basis for structural plausibility before part c is on the way.

proposed bridge by laurent sant-val (amsterdam) combines sine curvature and need for structural elements (eVolo)

Better side connection and consideration of scale There were significant issues with topography difference and the degree of curvature created, as well as the span grasshopper outputs compared to the distance between the two banks. direct measurements of the site would be extremely useful, prompting a site revisit, and a new, more accurate definition may need to be produced. Form expression while the current proposal has a very direct correlation to the chosen technique, it does have its disad-

vantages and risks – ensuring materiality and stability, ensuring safety concerns, accessibility and being

user friendly, gaining quantitative value as well as artistic expression and conceptual depth. It is possible that the sine curvature as a shape generator can be expressed in different manners, such as the ‘disintegration’ species – having an interesting form and employing a different or slightly modified technique to translate it into architecture. through i do not plan to make a definitive shift in this direction, it may be worth investigating if continuous issues and doubts arise with the current theme.

learning outcomes It was fascinating to see things previously covered in part a start to emerge in my own work – generative design, the ability to create iterations, the response of Grasshopper outputs to changes forced on the parameters. The biggest obstacle and the biggest achievement during Part B has undoubtedly been the technical side of Grasshopper. Even the transition from analogue methodologies of thinking to computational ones took some time to occur. For example, in my Loop 3 Reverse engineering, my initial idea was to imitate the bending technique of what I later discovered to be the sine curve through Kangaroo. While Kangaroo is a powerful tool for simulations and computational performances, this mindset shows my initial lack of understanding of generative processes and growth, and trying to overcome the task by imitating analogue methods. Once the principles of creating a new form from something that did not previously exist, through morphing and distortion as opposed to computisation of existing matter and slightly editing its state, it was really exciting! Once I got around to understanding data structures and basic manipulations such as shifting lists, sorting lists, singling out items in a data tree and the effects of grafting and flattening, it became much easier to control geometry and gave me a lot more control over everything I was doing. My experience with Grasshopper has been very trial-and-error, branching out for new results and realisations through things I already knew, and strengthening my understanding of certain functions through the application of such. In terms of architecture and tectonics, I admit it was a bit difficult to translate the technique to an actual plausible idea or concept, so there was a bit of what I refer to as ‘conceptual stagnation’. Playing around with paper, plastic and wire prototypes was a valuable learning tool to overcome this – it felt like conducting a dialogue between digital and paper spaces. It helped me learn to envision techniques applied to real life spaces and constraints, and to project them onto my brief and outlined problems. another learning outcome has been that of digital fabrication, understanding the constraints and resources avaliable.

What is important about fabrication and materiality is understanding real-life

industry applications as well as material properties and fablab facilities - for example the ability to 3d

print something does not mean that said something is a plausible efficient direction; and the ability to pres-

ent form does not always mean valuable prototyping. It’s important to know what exactly you’re testing for, and what inaccuracies are evident in certain prototypes (paper bridge...enough said...)

I look forward to continuing to explore grasshopper techniques and learning about translating computational outcomes into architectural elements in a way that has meaning and significance in terms of materiality and tectonics.

trying to imitate sine curvature in rhino through computisation, and through ‘bending’ a circle in kangaroo. glad we’re past that.

week

B7 + 8

algorithmic sketchbook - weekly tasks

4 - image mapper - creates frequencies in geometries by evaluating contrast and colour depth of an imported

image. an interesting strategy to enhance a piece of geometry and render it more interesting, but not very powerful as a computational or generative technique or spectrum for innovation.

5 - l-systems and recursive aggregation - generating geometry through the means of repetition and recur3d and 2d form and a fascinating generative technique, it would be difficult to find a structural application to these in real life. they dodo, however, possess unique aesthetic qualities and make great patterns to analyse. week

rances. although achievable in both

week

6 - kangaroo meshes - running a simulation to analyse how a mesh might behave exposed to various forces.

produced some interesting results, especially playing around with attractor points. this could be a valuable technique outside of studio air to assist in evaluating the performance of certain elements.

algorithmic sketchbook - generative process

various attempts from the reverse engi-

most of the generative process-related sketches

featuring kangaroo bending, hinging and

iations; others donâ&#x20AC;&#x2122;t differentiate from them

neering task and technique developemtn, lofts. differences in unfolding sequence

depending on whether the mesh is triangular or square; forming weird kinks at the

attractor point placement that wouldnâ&#x20AC;&#x2122;t be therer in paper space.

are already presented in the matrices and varmuch, so

Iâ&#x20AC;&#x2122;ve chosen to present the less successful interpretations here. although not of direct relevance to the technique, they were still a great learning tool to the mechanics of kangaroo.

references

Andrasek, Alisa, ‘biothing’, 2009, Frac Centre. Evolo - Double Agent White (http://www.evolo.us/architecture/double-agent-white-in-series-of-prototypical-architectures-theverymany/) Evolo - Mixed Use Bridge for Amsterdam (http://www.evolo.us/architecture/mixed-use-bridge-for-amsterdam-laurent-saint-val/) Fetro, Sophie, ‘Mark Fornes, Double Agent White, Prototype d’architecture’ (http://strabic.fr/Double-Agent-White-prototype-d) Fornes, Mark & the Very Many, ‘Atelier Calder: Double Agent White,’ (http://theverymany.com/12-atelier-calder/) Galilee, Beatrice, ‘Office dA‘ for Icon Eye, (http://www.iconeye.com/404/item/3484-office-da) NADAA studio, Projects - MoMA 1998, NADAA official site (http://www.nadaaa.com/#/projects/fabrications/) SHOP architects, Porjects - Botswana International Hub (hhtp://www.shoparc.com/projects/botswana-innovations-hub/) Tedeschi, Arthuro, ‘Algorithm-Aided Design’, Edizioni Le Penseur (2014)