STUDIO AIR PARAMETRIC DESIGN STUDIO NINA NOVIKOVA 2015
CONTENTS A1
INTRODUCTION
3
SERPENTINE PAVILION
4
BIQ
6
REFERENCES A2
A3
A4/5
A6
2
8
COMPUTATION
10
COMPLEXITY
12
REFERENCES
15
THEMES/PROGRESSION
16
BIOTHING
18
CODE OF FUNCTION
21
ON AUTOPILOT
23
REFLECTION
26
PROPOSAL
27
ALGORITHMIC SKETCBOOK
28
REFERENCE
32
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.
I’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, I’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.
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‘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 maintaining the correct amount of bracing, weight and load
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
to make the structure secure.
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
Serpentine Pavilion does the opposite. An elongated mound, it is a visual continuation of the landscape, something that blends into the ground. Alvaro Siza himself comments 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 freestanding, 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
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– another trajectory outlined by Siza -
is
What does make this project unique is the combination of contemporary technology and vernacular methodology. 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
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.
The
conventional perception of renewable energy as it is focuses on forces of nature, not living organisms and their processes, in critically re-evaluated.
biomass is then harvested and converted into energy in
Looking at BIQ and the SolarLeaf, one can almost imagine
a central generator system, which is then used to run a
an idealistic dwelling In which the usage of natural ele-
number of appliances in the dwelling.
ments as bioreactors renders the building completely car-
Moreover, ther-
mal energy is generated as the water in the container is
bon-neutral, where various architectural features render
heated in the direct sunlight.
the secondary produce of living matter.
Should this pro-
ject prove to be successful and operate as intended over
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 ap-
a longer span of time, the future architect is sure to be
proach lies in going further than ensuring that vegeta-
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
- it is creating and introducing a completely new microbiological ecosystem. This symbiosis of structure, tion
exist to serve an anthropocentric purpose
–
the
benefits that the dwellers of the project receive are a
inspired to give the terms of ‘self-sustaining’ and ‘eco-system’ a new definition within the premise of architecture.
project through multidisciplinary approach and integrating artificial and natural ecosystems.
byproduct of independent existence.
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)
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A.1. INTRODUCTION
7
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
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A.2 - COMPUTATION
COMPUTATION
GEOMETRY: GENERATION, MUTATION, SIMULATION
THE SHAPES ARE BASELESS. THEY JUST KEEP MOVING. -SASAKI MUTSURO Traditional design is oft empirically based – the optimal
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.
In his dialogue with Isozaki, Mutsuro Sasaki disperses
over and over again, until experience over time reveals the 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, is imminently affected by. When traditional political relations, global links and the urban fabric itself cannot remain static, and thus its elements – its architecpictorial display is concerned, there exists a certain ture - cannot be swept under one stylistic definition, into pre-existing guideline that sets an aesthetic standard, one typology. In his projects, Arata Isozaki advocates and while a degree of rational justification is required 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 freeform and organic shapes are easier to introduce into progress, traditional methods of design fall short of creating ‘free, mutable, fluid and organic’ architecture, a fluid context where all surrounded architecture shares a rational mathematic connection, but is more forgiving in as they rely too much on artificial representation (anterms of complementing each element. tiquity through to renaissance), followed by its distillation (modernism) and attempts of re-charatirisation Computation works with precise mathematical information (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-organization and optimization. Said two qualities are characterof imitating natural process of creation, spontaneous generation 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/ build environment. In the Florence New Station proposal, implemented in ways that are novel in terms of practicability, 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
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)
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COMPLEXITY | PERVERSE FUNCTIONALITY
In 2001, architect Preston Scott Cohen took part in the Eyebeam Atelier competition, seeking an alternative solution to the Museum of Art and Technology, NYC. This design as well as some of Cohen’s other explorations
While there is significant merit in the emotional framework of this project, one must pay heed to the original project brief, one of the key aims of which was to generate
‘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.
distortion of both the mathematic algorithm that serves to
of the strongest advantages of computation
This is one
– the designer
generate the torus, and the approach of defining the space, is no longer confined within the realm of physically tangiis realized through pushing the traditional elements of architecture to the limit as well as engineering a structurally plausible flawless form
– both made possible through
computation processes.
ble material.
An important function of design is the ability to identify situations, predict the change to the existing delivered by their product, and predict the overall effect of their design. Computation provides an opportunity to create countless scenarios and lifelike simulations of how
It is argued that the emphasis on how the user experiences the space is by surface as opposed to linear arrangement and spatial progression.
The interlocking of surfaces
– the possibilities for trial are endless. In the eyebeam atelier, this has been utilized first in formation of most appealing light effects, they would behave with minimal resources
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.
the pre-existing building.
ing space
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Finally, in the arrangement of the floor plan and void alignment in a three-dimensional parameter 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 algorithms, 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 rationalising and justification through mathematical approach Below: Steel Column on QNCC - detail RHWL Architects
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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)
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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 – 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.
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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)
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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 ‘cold minimalism, blind traditionalism and mindless materialism.’ Form generated by computation mutates and evolves beyond ordinary aesthetic comprehension and encourages the designer to seek functionality and aesthetic in form that they might not 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 further decontruct conventional understanding of line and 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’s an opportunity to reimagine design and building practice 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)
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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 – 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. material. etudes and paper architecture
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 by the traditional Mashrabiya pattern, the computer-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)
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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
– 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
– that is, for the Mashrabiya to fold
and unfold.
Are we then to criticise this precedent on that digitalising predetermined dynamics doesn’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.
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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
– in other words, structures built by
robots.
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 lobster– once again, natural influences are at hand.
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.
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 multifunctional purpose, this is a new height of sustainability – 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. 23
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
becoming more and more integrated within the umbrella term of ‘design’. 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 lobster’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.
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In conclusion, part A has been an extremely valuable insight into what some definitions and methodologies of design are, how do they interact with computation, how are they affected by the latter, why is this beneficial, and how does this affect us as aspiring designers.
The theoretical understanding is important for developing our own viewpoint and being able to bridge potential opportunities to employ par-
– including the Air project for this semester – and the benefits it provides, while being aware of possible dubious aspects. ametric design
right upper - pavilion detail right lower - construction in process (ICD)
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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, artificial, 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 My un-
information in my everyday surroundings.
derstanding of this approach has been reshaped by actually understanding the difference between using 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
made this more meaningful would be algorithms of
meaningful would be algorithms of triangulation for
triangulation for the form outline, and self-or-
the form outline, and self-organisation and stability
ganisation and stability for the panels.
for the panels.
parametric tools such as grasshopper would have
The use of parametric tools such
The use of
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.
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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
– 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. tifice to the environment,
Rather than introduce arI 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 ‘encoded’ 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
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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 – otherwise one faces serious limitations in terms of material selection if the curve is to be achieved by plasticity.
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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.
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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), I’d imagine this is what generation as a design doctrine looks like, changing the values and watching something new and unexpected come to life.
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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 Y or X axis were the predominant sector I would be changing.
very thick, depending whether the
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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 De Landa, Manuel, ‘Deleuze and the use of Genetic Algorhythm in Architecture’ in Architectural Design, Vol. 72, January 2002
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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.
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