Studio Air - module b by Nina Novikova

STUDIO AIR PARAMETRIC DESIGN STUDIO NINA NOVIKOVA 2015

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. 4

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 in-

dividual 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 34

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

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 con-

tinuity, 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.

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)