STUDIO AIR PARAMETRIC DESIGN STUDIO NINA NOVIKOVA INTERM PRESENTATION 2015
MERRI CREEK
STAKEHOLDERS community
-
environmental concern natural environment
-
- 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
- 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.
parametric design and computation - sendai mediatheque - floence new station
sasaki mutsuro arata isozaki
unprecedented form abstraction from tradition aesthetic optimisation structural optimisation abstraction
abstraction ability to apply the same deriviation in multiple situations site specification and relationship vs. copy-paste mechanic structural premise defined by computation
‘The shapes must be mutable, fluid and organic’ sasaki mutsuro
son-o-house nox arts + architects
dialogue between digital and paper spaces
unprecedented form
unique flow of information
beyond traditional
formfinding technique automatic organisation information loops
fluidity, morphing into one another deconstruction of platonic solids flow patterns pre-determined material properties
biothing
- seroussi pavilion
approach: distributing a number of charge points as the centres of each ‘pod’, 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
matrix itirations
matrix definitions
curve count coming off per charge*
‘umbrella’ curve count
curve count coming off per charge
point increased
point decreased
point decreased
24 curves > 80 curves
24 curves > 7 curves
24 curves > 4 curves
curve per point radius
-1
curves per point
- 2.6
points per curve
radius
- 50
- 24
- 0.05
radius
points per curve line thingy
curves per point
- 20
- 100
-7
- 0.8
- 20 line thingy - 100 > 50 points per curve
graph range disconnected
curves per point radius
- 24
curves per point
- 0.05
points per curve
radius
- 20
curves per point radius
- -8
- 24
- 60 graph range - 6 fline length
-5 - 300 graph range - 100 points per curve
line thingy
line thingy
- -7 - y swapped on graph
- 10
graph scaling factor
graph scaling factor
x
curve value reversed
graph scaling factor
- 30
- 16
- 1.5
points per curve
- 30 points per curve - 20 fline length - 100 graph range - 61
- 20
graph scaling factor
radius
- 30 points per curve - 20 fline length - 100 graph range - 60
curves per point
- 0.05
points per curve
curves per point
-5 - 140 graph range - 100
- 100 graph range - 1 line thingy
graph scaling factor
- 24
- 1.234
decay
- 0.888
curves per point
- -8
graph scaling factor decay
- -8
- 0.1
another initial curve added
*will be referred to as ‘umbrella’ curve for shortness **if a certain parameter is not mentioned, assume ibid or default
10
80 curves per point
6 curves per point
charge point radius increased
charge point radius increased
charge point radius
0.05 > 3
0.05 > 2.6
points per initial curve
points per curve increased
5 > 50
curves per point
-4
0.05 > 2.6
5 > 50
curves per point radius
- 24
curves per point
- 0.05
points per curve
radius
- 20
- 100 graph range - 1 graph scaling factor
radius
- 50
- 100 graph range - 10
- -8
line thingy
points per curve
curve value reversed
x y reversed
- steeper
- 50
- 30 - 10
graph range
graph scaling factor
- 24** points per curve - 5 line thingy - 500 graph range - 360 graph scaling factor - 8
-6
- 0.5
points per curve
line thingy
curves per point
graph changed
curves per point
- 2.60
points per curve
line thingy
-9
- -10
- 55
- -10
pods
- 150 graph range - 360 line length
graph scaling factor
graph scaling factor
changed graph
- -7.6
drastically changed curve
curve value reversed graph changed
- close to
edges, obtuse
- 30 points per curve - 50 fline length - 130 graph range - 2 curves per point
- 30 points per curve - 20 fline length - 200 graph range - 60 curves per point
graph scaling factor decay
- -1.9
graph scaling factor decay
-5
- -3
-5
extra curve
another initial curve added
introduced cull pattern to
cull pattern fftff
initial points
fftf
matrix itirations
- 26 -5 fline length - 300 graph range - 9 decay - 6.7 Gaussian graph
27
curves per point
identical to
points per curve
except switched IntCrv
graph scaling factor
boolean making curves closed
-9
-5 points per curve - 5 fline length - 100 graph range - 60 decay - 1 graph - sine 3.2 curves per point
-8 -8 fline length - 100 graph range - 60 decay - 1 graph - sine 5 curves per point
points per curve
extruded
extruded
rotation vector from start
rotation vector from start
to end of ‘umbrella’ curve
to end of ‘umbrella’ curve
rotated by
90 deg
rotated by
45 deg 12
- 24 -5 fline length - 100 graph range - 5 decay - x pane graph - sine -6 IntCurve mult. boolean fttf IntCrv turn 300 deg. curves per point
curves per point
points per curve
radius
IntCrv piped
- 20 - remapped at -50 to 100 graph - gaussian 10 decay - z pane IntCurve mult. boolean fttf IntCrv turn 300 deg. points per curve fline length
-5 points per curve - 5 fline length - 100 graph range - 60 decay - 1 graph - sine 8.7 curves per point
-4 points per curve - 5 fline length - 300 graph range - 9 decay - 6.7 Gaussian graph curves per point
graph scaling factor
-7
- 0.5
-9
rotation vector from start to end of ‘umbrella’ curve rotated by lofted
25 deg
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
2)
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 itiration 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
- the deriviation can be edited to accomodate column thickness 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. shows how parametric design can be beneficial
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.
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 optimal form.
(sin, cos, tan) to set the parameters for an
aesthetic:
dynamic, flowing, morphologic, untangible, uncontained within horisontal and vertical panes, organic, fluid, centered
parametric design advantages:
unprecedented form generation, structural system:
vertical loadbearing braces, supporting ‘ribs’ fixed at braces, fabric membrane draped over ribs.
16
17
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
**
19
paper architecture matrix itirations
21
matrix itirations
22
2
23
paper architecture
24
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selection criteria
1)
To employ the mechanic of generating new geometry and form through sine curvature in an aesthet-
ically pleasant unprecedented manner that can be expressed in an algorithm and applied to a variable set of parameters.
2)
To have a sense of movement and rhythm expressed through its visual elements, to possess a certain Sines
continuity, as this is more plausible in a circulation device and would complement the creek flow nicely.
rotating around a fixed centre point are at a disadvantage here because their circumference becomes its own limitation to said continuity.
3)
To explore negative and positive space, the dynamic of solid and void; to be perceivable as a 3-dimen-
sional flux shape yet not be solid (as to let water pass through in case of flooding.)
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paper architecture
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 – the kinks, the radius and behaviour - was
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.
The folding mechanic here is a kind of folding novel to Biothing and Loop-3 – sharp, angular, pronounced. It’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
paper architecture variations
developing a series of bridgelike structures that employ the strong points of the selected species
1
2
3
heigh and horisontal protrusion as
curvature from two separate
between points of shape defined
defined by broken singular round
curves controlled through
by sine curvature derived from
through points and joined, then
by separate functions.
flat plateaus of layers to control
curve and generated by sine curvature
overall shape derived from sine
the same function; lines drawn
3 fold directions from one strip. extruded to form
structure of lines connected
two separate curves controlled
4
structure of lines connected between points of shape defined by sine curvature derived from two separate curves con-
trolled by separate functions.
5 3d shape generated from
6 3d shape generated from
through sine curvature.
through sine curvature com-
individual strips controlled
individual strips controlled bined with extruding joined
lines between the two sweeping curves.
paper architecture prototyping: material in bending/folding a number of prototypes from found/recycled material.
Metal wire - posesses same malleability as paper but doesn’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, doesn’t have high stress performance or potential for tension. plastic strips
olds
prototype
: folding
itiration
2
evaluates visual effect of vertical repitition and sectioning. tests the ‘rib and exterior’ system seen in loop-3. tests how the sine curvature can dictate shape.
formfidinging: transformation from curve to flux shape
formfidinging: scoring. play of opening vs whole.
Formfinding: bending and folding
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 ‘dambing’. large elements
of pollution, however, would get caught on the
lower curves and make the cleaning process easier.
the location on site has signs of activity and
attempted crossing where there currently isn’t a bridge. installing one here thus resolves demand for circulation.
bridge geometry:
top
perspective
1: 20
elevation
- south
elevation
- north
1: 20
1: 20
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.
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.
‘ribs’ - fixed solid elements which define the position, curve and order of each individual strip.
resolving current stagnation
derive exact scale and topography of site
employ powerful tool of shape generation that is mathematic curvature search for precedents
reconsider form expression and accent placed. the strips are not important as individual elements
- the overall form is.
thank you for your time!