air - complete journal by Nina Novikova

PARAMETRIC DESIGN STUDIO NINA NOVIKOVA SEMESTER 2 FINNIAN 2015

table of contents

introduction

A1 A2 A3

A4 & 5 A6

part a: design computation

design futuring

computation

9 16

generation reflection

+ proposal

algorithmic sketchbook

references

part b: criteria design

technique study

B1 B2 B3 B4 B5 B6 B7 B8 B9 C1 C2 C3 C4

case study

technique development prototyping

+ formfinding

52 72

proposal

learning outcomes

algorithmic sketchbook

references

part c: detailed design

design concept

tectonic elements

& prototypes

126

final detail model

134

learning outcomes

158

references

162

A.1. INTRODUCTION

introduction

Nina Novikova | 3rd year Bachelor of Architecture

I was born in the Russian Federation but spent 9 years in Melbourne, where I completed my secondary schooling as well as a Cert. IV in Residential Drafting.

Iâ&#x20AC;&#x2122;m intrigued by the correlation between the built and natural environments, and the opportunity architecture has of playing a role in that dynamic. most of my childhood was spend amongst negative effects of an urban development generated and driven mostly by

3 the industrial revolution, where environmental issues have never been much of a priority.

Can architec-

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

Is it then our responsobility as aspiritng designers to familiarise ourselves with the influence factor of design?

Though I have previously worked with basic Rhinoceros 3D modelling, paneling tools and processes, Iâ&#x20AC;&#x2122;m unfamiliar with parametric modelling. I have always been a very visual, concept-driven person, so the idea of creating geometry as a product of algorithm, as an outcome secondary to computerised standardised manipulation is both challenging and exciting.

I look

forward to seeing how this technical mathematical approach to form can be combined with the emotional framework and expression of creativity.

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

SERPENTINE GALLERY PAVILION 2005

the dimensional parameter of the ones surrounding it while 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

– another trajectory outlined by Siza -

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)

A.1. INTRODUCTION

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

A.2 - COMPUTATION

COMPUTATION

GEOMETRY: GENERATION, MUTATION, SIMULATION

THE SHAPES ARE BASELESS. THEY JUST KEEP MOVING. -SASAKI MUTSURO 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.

over and over again, until experience over time reveals the

In his dialogue with Isozaki, Mutsuro Sasaki disperses

beneficial features and points that seek improvement.

this by his suggestion of that the human imagination is

Unprecedented form also has a significance in the culturimagination, which lies as the basis for computation over al and social context. We are of a time where economy, computation, 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, Mutsuro Sasaki & Associates previous: Sendai Mediatheque, photographer unknown (i’ll find out) left: Sendai Mediatheque (Beestface, Flickr)

COMPLEXITY | PERVERSE FUNCTIONALITY

In 2001, architect Preston Scott Cohen took part in the 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

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

A2. COMPUTATION

COMPUTATION : THEMES, PROGRESSION, DISCOURSE

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

GENERATION

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

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

The process informing the flux geometry of the pavilion is user circulation - body movement, limb movement and smaller actions the body performs, to be precise.

Note that the initial form generation is not digitalised, but engineered by testing a paper strip model. The composition however is still informed by an algorithm â&#x20AC;&#x201C; a simple rule that the strips of paper are scored and cut every time a movement occurs, and are fixed to each other at the cutting point.

This creates an unprecedented

pattern and curvature that is of direct relation to how the visitors would interact with the space.

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

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

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

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

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

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)

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)

A3. COMPOSITION&GENERATION

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

Each

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

Each Mashrabiya becomes

a cell, and computerisation both powers their movement patter and simulates microscopic processes of cellular self-organisation.

The configuration of the cells, their

positioning within the overall skin of the building and their functionality are co-dependant, and compromised by

3D modelling in the earlier stages.

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

Son-O-House or the geometric explorations of Isozaki. The approach of exploring the laws and mathematic formulae behind natural functions and processes as well as imitating natural forces here is somewhat reversed in finding the optimal iteration of a pre-existing parameter

â&#x20AC;&#x201C; the latter being

a set requirement for the geometry, the kinetics of its flexibility, and its spacing that will allow the function to follow form

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

and unfold.

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

The flexible facade of Al

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

- also a great example of

bio-imitation used for in an especially practical manner.

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

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

â&#x20AC;&#x201C; 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 lobsterâ&#x20AC;&#x201C; 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 â&#x20AC;&#x201C; the pavilion is extremely efficient in terms of labor (given that the robot is autonomous and easily reusable over and over again), material, and its weight to span and stability ratio. 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 â&#x20AC;&#x2DC;designâ&#x20AC;&#x2122;. Inspiration, initial visualisation and conceptualisation, choice of materiality, analysis and engineering, fabrication and assembly are no longer chronological and linearly dependant in that order.

The mimicry of the lobsterâ&#x20AC;&#x2122;s carapace is selected based on available materiality, while the choice of glass and carbon fibres - by the available constructions method - or perhaps vice versa. The form is defined by the construction process itself - and in this lies the key difference between unique generation, and realisation of a computerised design.

This direction of change is heightened in developing machinery that automates construction itself, relying on algorithmic engineering and computation. A 3D printer, a fabrication robot and in this case specifically the robotic arm are all examples of this.

It is plausible that in the future this could be the mainstream trajectory of design and construction, allowing an indepth understanding of each discipline and aiming for efficiency in terms of labour materials in use and environmental impact.

In conclusion, part A has been an extremely valuable insight into what some definitions and methodologies of design are, how do they 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-

â&#x20AC;&#x201C; including the Air project for this semester â&#x20AC;&#x201C; and the benefits it provides, while being aware of possible dubious aspects. ametric design

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

A.5 LEARNING OUTCOMES

REFLECTION

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

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

PROPOSAL

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

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

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

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

It is therefore important that the design solution is an extension to the ecosystem in place, a mimicry of it as opposed to a foreign intrusion. 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 â&#x20AC;&#x2DC;encodedâ&#x20AC;&#x2122; natural precedents to inform the generation of form for the project, eg. trees, bushes, tessellating rocks, and so on.

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

A. 6 ALGORITHMIC SKETCHBOOK

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

I thought this was interesting because it triangulated my curves in an efficient matter while still retaining the geometry.

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

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

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

I thought was interesting.

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

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

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

I started off originally. Sometimes it would be almost flat, sometimes it would expand and become Y or X axis were the predominant sector I would be changing.

very thick, depending whether the

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

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.

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

– such as the site or installation space area and height, designated usage of space, and amount of open large vaults required. by independent factors

Double Agent White, an experimental structure consisting 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.

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)

The shapes can then be stacked and reapplied over and over to create a continuous surface and structural

â&#x20AC;&#x201C; such as the site or installation space area and height, designated usage of space, and amount of open large vaults required. vaulting over a span dictated by independent factors

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.

The bend/fold lines and the triangulation edges 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

x | y panes is being pushed from the edges to

It’s almost like the linework created in the

competition entry that focuses on automated

bend upwards and create the little pods.

interaction between elements, reaction to

is a very interesting generative feature and

present charges, self-organisation and

provides a mix of control over the initial input

morphologies of geometry to achieve new

for element arrangement, and novelty, an el-

form.

ement of predictability as there is no knowing

This

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

second, there is a folding/bending sequence

by attraction/repulsion generated by the

in the materiality and expression of said

force fields.

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-di-

what happens to each strip once the definition

mensional form from a flat diagram of some-

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 iii b ii

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

-1

curves per point

- 2.6

radius

points per curve

- 50

curve count coming off per charg point decreased

24 curves > 4 curves

a ix

a viii

curve per point

a iii

- 24

- 0.05

curves per point radius

- 20 - 100

-7

- 0.8 - 20 - 100 > 50

points per curve

fline length

graph range disconnected

species: reverse bi

b ii

curves per point radius

- 24

curves per point

- 0.05

radius

- 20 fline length - 100 graph range - 1

- 24

curves per point

- 1.234

radius

-5 fline length - 140 graph range - 100

points per curve

graph scaling factor

b iii

graph scaling factor x

- 1.5

-5 fline length - 300 graph range - 100

points per curve

- -8

- 16

points per curve

- -7

- y swapped on graph

- 10

graph scaling factor curve value reversed

species: butterfly ci curves per point radius

- 24

- 0.05

points per curve fline length graph range

- 20

- 60 -6

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

- 30 - 20 fline length - 100 graph range - 60

- -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

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

points per curve increased

5 > 50

curves per point

-4

0.05 > 2.6

5 > 50

ax curves per point radius

curves per point

- 0.05

radius

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

graph scaling factor

a xii

a xi

- 24

curves per point

- 2.60

radius

points per curve

- 50

- -8

points per curve

curve value reversed

x y reversed

- steeper

fline length

- -10

graph scaling factor

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

curves per point

- 50

- 30 graph range - 10

100 graph range - 10

-6

- 0.5

points per curve

fline length-

b iv

graph changed

-9

graph scaling factor

- -10

b vi

- 55 fline length - 150 graph range - 360

pods changed graph drastically changed curve

- -7.6

graph scaling factor curve value reversed graph changed

- close to

edges, obtuse

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

graph scaling factor decay

- 30 points per curve - 50 fline length - 130 graph range - 2 - -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 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 boolean making curves closed

-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

rotated by

45 deg 48

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

- 0.5

points per curve

- 20

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

d iv

d iii

-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

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

- 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.

B3 CASE STUDY 2

loop_03

loop_03 is an installation by

UniBolo and Alessio Erioli of CO-DE-IT, completed in 2012. it is a complex flux shape consisting of a membrane stetched on a series of ribs

- sectioned strips of material

that fluctuate between being pulled into the centre

the construction drawings/design projects tend to suggest that this is a number of developable surface on a single base, but they are not of a regular elongated rectangle shapes, and their edges are not linear.

or stretched away from it. something to especially consider would be how it seems to reply on a number of control/attractor points to pinpoint the curvature.

The process of

folding is occuring as the strip travels and distorts 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

the curves are generated, how is each divided into points, and how the points are isolated from the rest to allow the useage of them as a vertice for rotation.

There is an interesting

distortion obseravle through the entire sweep, and not limited to just projecting upwards,

- each strip is fluid, con-

changes in amplitude and steepness of each curve.

across or sideways

the curvature is, of course, the main focus.

this is a reaction to how the strip is twisted and

Alessi

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

stantly morphing. though it is suggested that maniputaed, the algorihtm behind the pattern and

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

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 - 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. and repulse points are in action

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;

(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. to employ algorithms defined by curvature

aesthetic: dynamic, flowing, morphologic, untangible, uncontained within horisontal and vertical panes, 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-

15, creating more full

polated curve input to

spans of the sine over

create one long strip

interpolated curve input

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-

(amplitude default)

curs across both the x

vatures and have two

and z vectors; geometry

different graph functions

controlled through am-

extrude form from desig-

plitude, graph range and

nated baselines

graph

20 but a cull

a iv

a vi

graft the input for base-

flattening input for

graft the baseline

line curves to create in-

baseline curves and

curves

emergent points from

true, closed curve

dividual strips

– boolean

to false to disjoint the

the ‘divide’ command

emerging geometry

boolean at false

– Boolean at

a xi

a xii

increasing amplitude of

grafted, identical to

flattened, identical to

one list and bringing the

4 except shifting the

5 except drastically

amplitude of other close

amplitudes of both lists,

increasing of both lists

increasing the interval

(from under 10 to 1000)

between the two

b iii

b iv

steeper graph, smaller

loft of species b xi,

difference between am-

interpolated curve angle,

portrayed directly

plitudes and a less steep

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-

creating different kinds of

extrusions through a

outputs than previously

command

similar to

graph

15, larger

+ lesser range

‘Move’

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

curves of one as op-

â&#x20AC;&#x2DC;moveâ&#x20AC;&#x2122; component and lofted;

changed to imitate scoring

posed to extruding them.

then triangulated into a mesh

pattern

species: hor c vi

c vii

II; u/v values

+ vertical

, add

return to initial defini-

panelise meshes from

continue from

extrusions from two

extrusion lines for a

tion. increase initial divide

curves (refer to original

count and modify culling

definition)

3-dimentional pattern across single-line pan-

interestingly, sine

el edges triangulated

crease amount of dips and

curvature becomes more

into a mesh

protrusions

patter/separation to in-

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

decrease movement angle

expands by rotating and

and vector lenght after

moving in the xz axis

reaching

90. increase range to 3; steeper sine

reaching

graph mapper

duce interpolated curve

sine range and points derived

-2

60. switch to bezier graph mapper. reangle to

1 66

c iv similar to

27 but with a

flattened component for

change panel generation to

loft created from edges as

brep edges as used in c iv

Lunchbox quad mesh; employ

defined by panelisation as

creating a set of winding

cull pattern to present form

defined in c iii, and then once

curves

as individual strips, using u/v

again plugged to triangulate

count nodes to control strip size

d ii

d iii

d iv

continue increasing

initial definition

continue playing around

amount of division points

- maximising sine graph mapper,

and dips while slightly

range and angle to inter-

ferentiation while reducing

adjusting amplitude

polated curve to accent

interpolated curve angle

on vertical differentiation

with significant vertical dif-

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

increase aplitude, perform

and perform simulation in

simulation in

(open); continue experimenting 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

initial definition undextrud-

initial def unextruded curves di-

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

ed curves

- divide by equal

vide by equal points, draw lines,

points, draw lines between

extrude using sine curvature as

interpolate curve

corresponding points,

per intial definition, use range

extrude lines in x z vectors

disconnected from division points to control density

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

3. fit geodesic curves

extrude in x z without sine with x length

> z length

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

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

= z length

selection criteria

1) To employ the mechanic of generating new geometry and form through sine curvature in an aesthetically pleasant unprecedented manner that can be expressed in an algorithm and applied to a variable set of parameters. one can speculate that the parameters, such as the base geometry, the maximum verticality or horizontality and other features, can be directly taken from site and brief context, thus combining the power of generative computation design and the need to grant it contextual and metaphysical value and unique site relevance.

2) To have a sense of movement and rhythm expressed through its visual elements, to possess a certain continuity, as this is more plausible in a circulation device and would complement the creek flow nicely. Sines rotating around a fixed centre point are at a disadvantage here because their circumference becomes its own limitation to said continuity. one can speculate that the parameters, such as the base geometry, the maximum verticality or horizontality and other 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.

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

paper architecture b viii

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

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

This species has been selected because it gives an impression of scoring a solid shape, of introducing openings into the whole as opposed to trying to make up a flux shape from smaller elements, in this technique extruded strips.

There is also a more or less defined system of longer, curvier elements resting on top, and harsher arch-

es 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

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

the curvature derived from site analysis, but the

above all, a bridgelike structure comes to mind. the

direction/degree of parallelity is also emergent of

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

suggest that the less centrelised and closer to

express the form that results.

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

same function; lines drawn through

two separate curves controlled

points and joined, then extruded to form strip.

3 fold directions from one

by separate functions.

B4 TECHNIQUE

4 structure of lines connected

5 3d shape generated from individ-

6 3d shape generated from individ-

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

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. the aim of these excercises was to test how a flat

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 de-

helps to further the understanding of how

fined, displaying the way it responds to fixed

bending is generated.

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

the direction to formulate this proposal was as follows:

previously explored. the use of sine curvature has proven 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.

> to provide base curvature inspired by the creek flow the sparse solidity of bending/folding shapes, the

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

- 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. resolves the two secondary problems

the curvature of the creek is transformed into three dimensional flux form through the sine folding technique

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 disadvantages 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

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. control geometry and gave me a lot more control over everything

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 - for example the ability to 3d print something does not mean that said something is a plausible efficient direction; and the ability to present 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...) industry applications as well as material properties and fablab facilities

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.

STUDIO AIR

algorithmic sketchbook - generative process

various attempts from the reverse engi-

most of the generative process-related sketches

neering task and technique developemtn,

are already presented in the matrices and var-

featuring kangaroo bending, hinging and

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

lofts. differences in unfolding sequence

much, so

lar or square; forming weird kinks at the

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

attractor point placement that wouldnâ&#x20AC;&#x2122;t

great learning tool to the mechanics of

be therer in paper space.

kangaroo.

depending on whether the mesh is triangu-

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)

PART C

vestige CONCEPTUAL FORMULATION + TECHNICAL DEVELOPMENT+ PROPOSAL

take your aim it was important to take a step back and map out what steps to take to adress the critique received in part b. before taking any drastic steps, the feedback had been projected onto the current proposal and translated into an updated criteria to which the design is to be refined to respond to.

| form | finding ways to justify the form; evaluating how different â&#x20AC;&#x2DC;baseâ&#x20AC;&#x2122; gemoetry reacts so sine extrusion will show a better understanding of itiration process and help come up with the most aesthetically optimal form

| entwinement| relationship between strips. the function assigned to each particular strip (deck, railing, structure?) connection points are crucial to deal with shearing/uplift forces that are inevitable

| open + close | how does the proposal adress the viewing experience while crossing the bridge? can the strips be used to emphasise specific views?

C1. DESIGN CONCEPT.

|site | re-evaluating the chosen location on site while cosidering the dminesions, the scale of the banks, the exact curvature and depth of the creek.

The exact perception of the topography is crucial to refinining the form as the two are of direct relation, one intended to harmonise and continue the other | precedents | precedets would help better understand tructure of bridges as well as give some inspiration as to how else the form could be expressed.

| tectonics | personally i feel my work currently lacks an expresed understanding of tectoics, of the form as a |structure|, a system of something more than squiggly lines forming a whole.perhaps the search for this further abstraction from 2d curve can open up collaborative opportunities.

anchor

structure

how is the bridge anchored to the banks? do the strips dig into the shore? is everything rooted into the bank? are there additioal supports?

up to date, structural plausibility and a coherent system of how the formfiding can be applied to an existing structure has been the least resolved. An understanding of how the form deals with compression, tension, shearing and live loads is needed.

site plan

- refer to scale bar

site refinemet

terrain sections

- 1: 50

topographic variety on site

C1. DESIGN CONCEPT.

site refinemet

the most important piece of information analysed would be regarding the circulation. the optimised location on site is dictated by where exactly should a crossing be placed to be a point of intersection for the most existing circulation paths. note that the current bridge placement is not a main determining factor as it fundamentally irrelevant to the brief.

100

existing pedestrian paths existing major roads geological profile

- granite bed

high soil moisture content articifial concrete structure onsite natural boulders on site unautherised paths found on banks unautherised crossing locations found existing circulation existing circulation

- acceptable - problematic

proposed circulation route proposed bridge location

101

revisiting precedents As a piece of infrastructure aimed to carry out significant live loads aside from its own weight, it is crucial that the proposal is backed up with some sort of understanding of structure, load distribution and various nuances of existing systems.

Bridge span The banks for Merri Creek are qute close together â&#x20AC;&#x201C; the waterway is narrow. Retaining the brief constraints of keeping the bridge users as close to nature as possible as outlined in part B suggests that the closer the bridge is placed to the water, the better, and this would be the narrowest point. Studying a few sources on bridges, a lot of existing ones rely on either a classic arch system or a more or less analogous girder and

SMTH (disregarding suspension and cable Arched bridges in their

bridges as too unlike the proposal).

fixed structural platonic form automatically weaken this part of the brief, though

â&#x20AC;&#x201C; the high point distances the user from A standard symmetrical arch

the nature so sought after.

also removes a lot from the entire concept of spontaneous shape generation, having a very narrow parameter for the form, therefore it is overall disadvantageous.

Community project by CAED (College of Architecture and Environmental Design) is interesting (albeit not very parametric) features a distorted arch shape, creating a sweep that deflects across the axis similar to the strips in the previous proposal, but this doesnâ&#x20AC;&#x2122;t seem to undermine its structural integrity.

The form is referenced from the terrain, and is firmly anchored into the ground, allowing compression forces to be distributed from the arch. It is therefore plausible to suggest that a small-scale footbridge placed over unstable ground will be structurally stable if an arched form, even if shearing or distorted, is expressed as structural element.

The use of sine curvature is relatively easy to engage with, then, for its sweep is essentially a series of arches. Some kind of central element (like the main pipes of the CAED footbridge) to deal with compression comes to mind, with additional strips to address shearing and tension.

102

Other precedents such as the Ripshorst Footbridge show the structure divided into a central loadbearing nonsymmetrical (deflecting) arch – a more organic form; a differentiating curve of the deck, and aa ‘vintage parametric’ – optimised with the help of a hanging model - truss system positioned to connect the two together. The repetitive geometry creates an aesthetic effect that’s supports previous searches for rhythm and frequency. Another plausible conclusion emerges – with the help of additional trusses, more structural stability is secured, which in turn would allow further deflection of the main loadbearing element; an interesting pattern could also be established through the trusses.

In the extremely graceful and transparent L’Areouse by GeninascaDelefortie, the form is also expressed through steel strips, elegant in their varying curvature and narrowness. It’s a bit hard to make out exactly how the trusses are positioned to allow for this minimal thickness and presence in the struc-

(Good. That means the effect was carried out to the fullest.) But this does allow to suggest that this, too is plausible. ture

103

revisiting precedents constitution bridge

The fourth circulation point across Venice’s Grand Canal, the Constitution bridge is a truss system consisting exactly what has previously been noted

– an arch-type bridge

firmly anchored on both sides, with side trusses in a repetitive vertical sequence to deal with the inevitable tension/shear forces.

It’s also an exploration of a visual and structural relationship between these members. Unlike the Ripshorts bride, which has a very prominent industrial aesthetic and follows a linear up-and-down

V-shape pattern of the

trusses, the ‘rib’ element here connects to a multitude of points at different intervals and heights, in a symmetrical butterfly shape.

The

central arch offsetting into the middle almost creates a folding technique it itself.

The

truss positioning becomes a prominent expression of form as well as the actual span of the arches, a strong tectonic element as well as

(Some of the Disintegration species (G) from Part B come to mind). This is also an opportunity to tie multiple horizontal elements - proposed strips, if you like – together for more visual unity as well as structural integrity. a contribution to the visual effect

104

The experimental project by Aalbord University students

A similar setup – separate curves for the loadbearing arch, the girder carrying the deck, and elements to resolve tension, however the expression is taken further in its abstraction, sculptural quality and the degree of engaging with computational methods. The overall form is derived from analyzing digital degrees of curvature as well as through analogous formfinsing (self-organisation of threads in water akin to

The ‘soft ribs’ are thus made parametric in relation to the overall form; the span and degree of deviation from the main curve depend on the overall form in the computational model but dictate the perception of form in real life as they support the secondary bows – in this case expressed as cables. The role of vertical members is brought to the foreground; they almost become the main tectonic elements, the particles that hold the whole together.

Otto Frei’s formfinding), with a focus on

optimizing through computation (the exact methodology is not mentioned, but mathematical analysis is inviolved.)

105

direction The whole idea of a set of lengths connected by a series of rib-like trusses, a hybrid of tension and compression as a bridge structure was really inspirational. It provided solutions to the present lack of plausible structural system, it presented a solution that still had a distinct set of flowing horisontals (that could deform), and it connected them together and prevented them from shifting and shearing. The next step was to see how this could be applied to the form defined in part B (to be refined, but, for now...). The sine curves were simply divided into a set of points which then had lines interpolated through them, with the premise that they must intepret a main arch in the centre.

Constitution Bridge, two lower arches were introduced. This would stabilise the structure and also add Overall this is a visually pleasant and useful tectonic element - the structure integrates with the aesthetics. I’d like to seek how to push this rib geometry further. mimicing the

in more ‘strips’ and create a more tangible form.

collaboration proposal ‘How much easier would this all be if I was working with someone else?’ this phrase was uttered quite a number of times while struggling with part

B. In the completed work there was an

opportunity to collaborate with someone that had a strong tectonic technique not bound to a particular form that can be used to express the ribs or a similar technology.

Leo and I had made the mutual decision to work togetheer. His technique focused on real-time computation and AI design - which, on principle, not too far off generativfe design and non-human optimisation. The technique reliant on the GH addon galapagos optimises individual lengths and their joints to one another, and can populate any planar geometry. With a bit of refinement, this may be a solid opportunity to do something with the ribs rather than have them as solid geometry, which is bulky, inefficient and, frankly, not very parametric. examples of galapagos generative techniques from

- joints optimised based on stability and - recycled timber; minimal material waste. part b

intersection count. targeter materiality

combined technique pathway outline the form. come up with an ideal combination of sine curve strips that are perceivable as a whole. refine and justify in relation to site.

section the form. work out planes and their optimal spacing along the curves as optimal to determine truss placement and spacing. define the optimal geometry for this purpose.

populate the planes in the galapagos technique, producing interesing geometry and frequency. while this will disintegrate some of the strips, this is an effective and elegant manner to express the form, without subtracting from all the investment in generative design.

merge proposal With the first prototype on the way and relatively successful (though of course with massive room for improvement), the collaboration was confirmed. what benefit did it bring to either of the members? For leo, his approach was quite cutting-edge and showcasing strengths of real-time analysis and artificial intelligence, which is an area of computational design i’ve always wanted to explore. he did, however, lack a solid justified application – a form, a shape that would encompass the same principles of generation and optimisation. Mine, on the contrary, is a formfinding technique rooted in algorithmic, aesthetic and metaphysical frameworks. one literally transforms a part of the site – creek curvature – into a form driven by algorithm, translating mathematic scripts into a sculptural element compliant with a pinpointed aesthetic criteria. however, i had no real strategy to communicate this through structure and tectonic elements; to find a plausible real-life application. therefore, the two approaches complement each other

–

the tectonics are applied to an innovative

flux shape, and the formfinding can be realised through something that doesn’t undermine the original medium

– the strips.

Materiality A huge portion of Leo’s proposal was the investment in using recycled material and easily acquired elements, tools and machinery. having found a heap of recycled timber on site, he was eager to explore possible applications. this approach bridges cutting-edge technology and vernacular construction methods, as well as oppposing the generic (and flawed) idea that innovation comes through high-class materiality, robotics and unprecedented methodologies. Ultimately, recycled timber and low production footprint stem from the same idea as explored in the brief - awareness of sustainability, ecological cleanliness and awareness of nature.

108

the tectonic expression of the bridge is much better! the ribs donâ&#x20AC;&#x2122;t take away or overwrite the original form, but rather support the strips and anchor them together. this is the first time the form has been put into something structural, so itâ&#x20AC;&#x2122;s reassuring the see the result retain the original qualitative values of the concept and obtain some kind of plausible path for further evolution.

Thethere were some issues with matching the angle of strip bending with the one required by the digital model to meet the ribs. slight mismatching was easily compromied where slots were present, but the connectors reliant on glue (all but the first three) proved to be essentially useless.

The slots are rigid and stable, but not very viable for real life application.

The joints will need to be investigated and refined, of course, as both spine-to-rib and rib-to-strip connections. the prototype is

1:5, which is

the scale and section chosed for the detail model.

Anything smaller would not be an accurate representation of joints and structure (buckling, relationship between spans etc); anything bigger is probably a bit too large to replicate continuously.

Although 1:1 prototype for one of the ribs could be inetersting... a

the main aim for this was to investigae whether the collaboration proposal actually works and whether the planes resolve structural issues. the answer is a definitive yes; now the form is to be refined and the galapagos explorations are to start.

C1. DESIGN CONCEPT.

a brief reminder old brief

STAKEHOLDERS community

- strong communal value present

environmental concern natural environment

- posters, cleaning bees, awareness

- flora & fauna, a number of ecosystems

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

SECONDARY PROBLEMS flooding

- lack of stable water level to refer to

pollution

110

- present in the water and lower branches.

updated brief

STAKEHOLDERS community

- closeness to nature

specifically targets those regularly crossing without bridge awareness for ecology and nature

KEY PROBLEM REMAINS THE SAME circulation across the creek that does not require abstraction from the natural landscape or distancing away from the creek resolving safety issues with illegal wading across the stream must capture the thrill of the same experience

SECONDARY HIGHLIGHTS multiple quirks and pluses is easier to handle than a plethora of problems you absolutely must address. these are all possible, but not required. a strong singular solution is arguabluy better than a multitude of mediocre ones.

engagement with ecological factors

- recycled material + awareness

minimal impact on the landscape grugal vernacular assmebly method very quick assemply sequence

111

form

refinement

kangaroo analysis: curvature + gravity

reverse arch

- to retain its fullness and be pronounced enough to

classic arch

- perfect structural solution but similar to existing

have its tensile strength, must be placed among the lower anchor

bridge structures, works to distance the user from the creek,

points, where circulation paths from the banks meet the water.

which is against the criteria and brief.

natural curvature complemented, but the physics emulation is

jagged, with either poor curve definition or very harsh variations in jagged, with either poor curve definition or very harsh variations in amplitude - poor user integration . reponds to aesthetic preferencamplitude - poor user integration es for symmetry.

112

reverse arch extended to higher circulation paths where it could

optimised gravitation points remain centrlised if bends in the curve

serve an elegant continuation undermines th existing slope

if there are nly two anchor points and they remain rooted

natural curvature continued smoothly

- creates an extra centroid

introduces new geo rather than complete natural site. curves

ridge. maintains the main compressive arch; braces both sides lead-

would bear more structural rigidity if used as supports, but this

ing up to anchor points.

implies a preset geometry that influences the site.

Kangaroo conclusion: The reverse arch overall shape is more or less justified, both in compassion to other trialed options, and as an analysis of curvature behavior when a reverse classical arch experiences stress. This option is also the least imposing on the terrain.

113

sine analysis: reaction to various forms

Some curious curves established; a unified, harmonius shape. note the

of sine mapper, except extruded into

Already there’s more harmony present in the form, and it’s more interesting overall. however, the curvature is quite intense, the most prominent on site as seen. if we look back to the proposed circulation path from the analysis , it did

both axis.

suggest something more smooth and

rhythmic pattern

To begin with, we trialled how basic straight curvature of this scale would behave through sine extrusion. the shape itself isn’t too bad, but it’s very predictable

- it’s almost a direct

mirror of the graphic representation

continuous.

Also, the relationship with the site is a lot - quite a lot - weaker with just straight curves. They could have come from anywhere, they hold no direct relation to the site. While this was a good start, it’s just more or less pointless to pursue straight lines.

114

effect created by the peak of each curve shifting gradually through the layers, and a reverse acrh curve.

This is a lovely ripple effect

across the shape that creates a

- a quality that we would like to maintain.

There is one strip visible as the outlier of the form - the bigger curve starts to deform once it’s taken too

however the concept of unprece-

far outside a certain range of graph

curvature supplied, meaning that

mapper values or multiple.

we are more or less aware of the

dented form is weakened

- the over-

all geometry is very akin to the base

result we were going to produce.

While the base curvature is still more

for a reason we’re unsure of, the

admittedly, this one was pretty off-

or less readable in the produced

sine curves were really difficult to

hand, and the dull curve itirations

form, it retains some degree of unex-

deal with for this particular shape.

akin to graphic sine input could have

pectancy.

the edges towards the southern bank

been morphed into something more

The peak variation is there

- the perception of patten is created

intetesrting, but the same negative

through subtle changes as opposed to

‘refused’ to deflect through all kinds of sine definition and range variations, intense ones, which helps retain unity. creating flat, straight areas that There’s also an odd outlier in the then suddenly sweep uo in predictshape, but this can be rectified able arches. The base curvature is through range, integer and sine script not that drastically different from changes as it does morph (as opposed the other trials so it’s difficult to to the static one in the second itiraexplain this behaviour, but it may be tion). that the sharper angles on the base

points as in the first one apply. the generic

shape in unfavour-

able because one again it is predictable and reads more ordinary than something more subtle and intangible.

curve clash too much with the sine pathways.

showing where the most successful curvature was sampled from creek curvature

+ existing path

115

SEQUENCE

116

117

METHODOLOGY

graph mapper is used to extrude curve

points.

into three-dimensional outline

The 3D extrusion technique focuses not

The graph mapper is combined with a ‘move’ function’ – it determines what changes are

finalises the translation of

made to the script of the original curve so

base curve into three-di-

that the points shift accordingly.

mensional strip, ensuring

on directly manipulating the existing geometry, mimicking a physical bending

+ deflection of an existing length as such, but on establishing its pathway through anchor points, figuring out its algorithm, and then making changes to that, establishing a new pathway. What is a curvature? It’s a continuity spanning from point to point. If we are to protrude the curve upwards, the series of points must show a gradual shift

The ‘move’ command moves every point to a new location, while the ‘int curve’ draws a new continuity through them. Changing the graph itself, the integer, the range/point count allows one to play around with the geometry and analyse the results straight up. Because we are working with large lengths spanning metres, the sine coefficient is

along the z axis; same goes for deflection in all the other directions.

number and to indicate positive and negative

so smaller values are favourable for a more wholesome shape (definitely below

10)

(this obviously changes the curve also). The sine curve is unpredictable, unprecedented and sometimes seemingly illogical in its behaviour.

The ‘amp’ function is a more

linear up-and-down shift in the points; it was introduced to the function as more or less of a stabiliser, a point of control.

Granted,

it only shifted anything by a few centimeters, so the spontaneity of formfinding was not compromised.

118

The ‘extrude’ function

the form can be expressed in the physical space as a solid tectonic element

(edit: this proved debatable later on, but this was the idea.) The width of the strips can be adjusted to

multiplied by an integer to produce a larger

Experimentation shows that dividing the base curve into too many points creates a generic continuous sine wave,

extrude to strips

base curves are divided into a number of

suit whatever material will be decided later on.

| repeat with more curves

structure elementals

divide into points

interpolate lines through points

A later introduction to the design was the main structural arc – the Spine, and its two lower and thinner

With the shape more or less finalised, the definition of planar, correctly

‘Move’ and ‘Scale’ commands

counterparts to handle shearing and

determined.

dictate the positioning of the

brace the main load at the anchor

truss placement.

points where it is the weakest.

placement allowed to control truss

With the parametric strip complete, the generation of overall form is the next step.

next base curve in the series; repeating the machination

spaced vertical planes was to be

This would be the future Parametric point

system count and make decisions on

creates a series of strips

While the upper section is allowed as

the spacing and distribution. It also

that possess value as a

much deflection and sculptural effect

considered the customization of each

as desired, the selection criteria

truss layer, each

shifted a bit when it came to these

ing as every section is unique due to a

constantly adjust the strips

lower elements.

non-predetermined curve pathway of

in relation to one another to

have their points shifted in both x

3-dimensional form. Through the process, one would

make sure the form is aesthetically optimised, such as retaining the aforementioned gradual peak shift and the elongated eyelets.

Computa-

tional optimization happens by default

– if a suboptimal sine

The upper curves

+ z axis to allow for a more flexible, three-dimensional pathway. Here, there was no shift/deflection in the x axis – the main structural curves are planar. Symmetry was also favourited, in anticipation of allowing for an even load distribution.

Rib, so to say, see-

the strips.

Once the section locations and count was chosen, one could create a parameter within which to populate the sections with points to input into

Galapagos and define the rib infill.

definition is given, the result often ‘freaks out’

– spans

for a kilometer, develops tens of kinks around the edges or disappears entirely, so certain values are eliminated.

119

FINAL FORM

The horizon line is already ambiguous due to dense vegetation and the varying curvature of the river.

Designated anchor points â&#x20AC;&#x201C; all the strips come together to be approximately level with each other,

the strips take this lack of clear horizontality

unifying the form visually as well as making it eas-

further, framing the view as defined by organic

ier to attach, were we talking real-life.

curvature, until there is no coherent segregation

the upper railings are extended

of what is the creek and what is the surrounding

mind an opportunity to bring them out farther into

shores.

the contours of the terrain in case weâ&#x20AC;&#x2122;d want to

Note that

â&#x20AC;&#x201C; this is keeping in

develop an appropriate manner of tying them into the landscape.

120

There’s a designated role for thicker strips that do not deform on x or y axis, therefore remaining planar, as loadbearing, dealing with spanning the compressive

the surprise factor and the generative qualities are

weight of the bridge from one anchor point to another.

ed by the principles of sine extrusion graph mapper

The railings are to handle much lighter loads, so they can deform as much as is desired. While they possess a stronger sculptural presence,

techniques.

the fact that the structural spine is planar does not subtract too much from the complexity of the form.

retained in the relationship between it and the sine-extruded elements, and its configuration is still dictat-

Right now, we still don’t know what geometry would be produced once the vertical ‘ribs’ are introduced; this is the highly anticipated next step. 121

TECHNIQUE: GALAPAGOS* Galapagos

is an evolutionary solver, which relies on a artificial intelligence system to perform trial and error machinations

in real time to skim through possible outlines to satisfy a criteria of choice to constantly evolve possible itirations and find the best solution.

Galapagos is ‘fed’ a genome, a script that contains the required outcome - in this case to have all the pieces

touch when coming off three base points (upper corner, lower corner and main spine joint), but have limited intersections; and a penality

The

- a numerical value to indicate when the criteria hasn’t been met in a satisfactory manner.

process is broken down into three ‘layers’, each with a different thickness and width, to account for the inconsistent

dimensions of recycled timber.

The positioning is that each ‘layer’ has a shared width and thickness, implying it originates from

the same original piece; the length of the pieces are the controlled parametric inputs and changing factors.

Leo adds that a separete component is used to analyse and cut the recycled material into the appropriate dimensions for each ‘layer’ so they have consistent thickness and width. While the algorithm is not used in this project, it is possible to apply this along with a 3D scanner, lasercutter or CNC mill to automate the process, engaging with further scopes of innovation The length generated can be input into Galapagos in a real world scenario for optimal use of recycled material.

Extract Section from the form generated and define regions for Galapagos. Generate random points within the defined region and lines from vertices to these random points. Length is based on randomly generated value or documented length of material.

Divide the curve and generate new lines based on the new points and randomly generated value for length. In a real world scenario, the length will not be randomly generted, but according to the measured length of available material Any new lines that does not reach its destination is excluded by replacing its value with a very large number (10,000). This allows Galapagos to easily identify what is not suitable. Original curves offsetted to show the width of material.

3D scanner scans a piece of rejected construction timber, identifying faults and damages and outlining the area that can remains useable for construction.

The required width of timber pieces and the algorithm outputs the possible lengths, which can be used to lasercut or CNC milled. These lengths can be used for the Galapagos process, instead of randomly generated lengths.

Repeat previous step with the newly generated lines to crete a teritiary set of lines.

Final Result by adding wdith to the third layer of lines. Repeat process for each section generated. This can be applied as many times as neccessary, and in any direction, as long as the sections are planar.

Analyse difference in length and distance between points, using Galapagos Evolutionary Solver.

please keep in mind that the methodology secions of the journal are shared work. weâ&#x20AC;&#x2122;ve made an effort to paraphrase the written content but we acknowledge that we both have contributed to these particular pages and if identical parts do occuer, they were shared with 110% knowlegde and consent from the parties.

123

combinatum Something to address that’s not necessarily bad, but still undeniable. There is a clash of aesthetics, of the

This is, of course, not the final outcome, so the discord is not catastrophic – it’ll be interesting to

stylistic approaches of the elements the proposal is

observe how this will be resolved through further

made of.

prototyping.

The strips are smooth, seamless and continuThe ribs, on the contrary, are chaotic, disjointed and rugged, The materiality and the method of derivation furthers this fundamental difference – putting something together from scarps and pieces, and creating geometry intangible through platonic solids. The Galapagos has a very distinct physicality to it, with a lot of thought put into the overlapping joints, the construction method and so on, while this is a weakness for the strips. ous, a ‘metabolic flux shape’, a transparency.

124

A potential visionary direction to take the project is to infuse it with a sense of urban decay, degradation – the rugged aesthetic and recycled materials with all imperfections exposed. This ties back to the concept of disjointment from nature through lack of sustainability, which links back to the brief. In this case, the visual segregation between the two could be exaggerated and expressed.

C1. DESIGN CONCEPT.

The fablab submission was especially frustrating to nestle, having large shapes with protrusions and indents that didnâ&#x20AC;&#x2122;t necessarily allign. The material choices were mdf to imitate recycled timber for the ribs, and plywood for the strips. the strips were to be lazer-cut as planar and then bent into shape through soaking, steaming or gluing methods. Note the choice to break the truss sequences into halves, hamking two ribs that meet together in the centre to form one section.

structure top

- railings

steel strips

- own + slight live + shear + uplift anchored into bank + bolted to ribs load

seconddary structural lowest strip indicates decking level

second

- ribs

recycled timber, metal plates (joints) primary structural load

- live loads distributed from deck to spines

bolted onto spines deals with tension

first

- spines

steel or lvl primary structure transfres load of entire bridge to banks compressive, uplift, tensile between curves

125

C 2 TECTONIC ELEMENTS

SECOND PROTOTYPE The second prototype was sent off for fabrication at the end of week 10 and completed at the start of week 11, created with a naive positivity that the structure and form expression were optimal. This is the first time the elements all come together and adapt structural feasibility, so we were unsure what to expect - it was very much a starting point to put things into perspective. The main areas adressed by this trial are the strips, the ribs themselves and the joints between the the two plus the lower arches (the planar arches themselves were more or less straightforward; as for the techniques, they were applied with a relative degree of confidence from both contributing sides.) Strips | Ribs | Joints |

126

Do they bend? Do they hold form? What material shall one use to prototype? Can the be composed of small MDF pieces? How to demonstrate element thickness? How to connect every piece together? What joining system is optimal? Is it rigid? Does it engage with parametric design?

Our original plan was to use basic industrial brackets to connect the ribs to the main spines.

The reasoning behind this choice was

that it complied with the idea of construction from easily accessible materials

- the plates

are efficient, cheap, and an example of how off-the-shelf materials can be used. in theory, equipping each rib with three plates

- for the main spine, for the bottom supports and for thebottom curvy strip - was going to be sufficient. the brackets were easy to drill on and screw in, and didnâ&#x20AC;&#x2122;t require skilled labour (the fact that yours truly could do it serves a good indicator.)

however while working on putting the structure together we noted that it did very little to engage with parametric design as a whole.

Though basic construction and a frugal aesthetic were parts of the concept, sticking together these carefully programmed refined pieces in such a blunt and simple way almost felt like undermining the previous effort and the point of using computational software.

not only were all these conceptual issues, weâ&#x20AC;&#x2122;ve also had to struggle to physically assemble the model. due to the deformation of the top strip and the angle at which each rib meets anything but the central arch (at which they are trimmed to allow a better fit), the brackets do not form a right angle, and therefore do not allow a rigid connection.

Some worked well, but some ribs were left to - it was difficult to get the

dangle and shift

model to stay together let alone judge its structural performance.

127

HINDSIGHT Of course, no prototyping process goes without complications (if everything worked 110% smoothly, chances would be that we weren’t pushing the concept far enough). This was an important point to critically assess the first prototype we produced, and to see whether things were working out, and what was problematic. And as it turned out, quite a few things were problematic. Here’s a basic rundown of immediate issues:

really bulky main arch

- very prominent.

very heavy; is visually dominant because of its size. connections are not spaced out evenly along the height (along the z axis) of the

- makes space for deflefctions in the structure. main arch

issues with connections of the ribs to the arches that do deflect, that is, that some plate joints weren’t even

do encompass the sine curvature.

rigid, causing the ribs to rotate around the axis of on the spine. some connections were literally impossible to apply

something positive

- there’s still a very

intetesring shape being created even when all present elements are planar. this is very reassuring especially given that there have been issues with bending the plywood for the model.

128

improved joint systems shot

The top strip especially was unattachable due to the mismatched angles.

Attaching the plates to the main spine was surprisingly easy, but it felt like the bolts

strip can be attacked to that rib at that

The struggle. Thereâ&#x20AC;&#x2122;s no way that bottom

made a weak point

angle...

the bending of the strips themselves proved

this method gave some acceptable curvature that more or less fol-

to be very problmeatic. it was easier, as

lowed the desired pathway, though it looked a lot less pronounced

addressed, when little slots on the ribs

than that on the digital model.

were in place, imitating a lap joint, because

snapping occurred

any imperfection would be adjusted by fixing the strips at the slots. the strips

- plywood

- were soaked and left to dry on a makeshift jig following the curve as seen from above.

As the photographs show, some

- any kinks or knots in the ply were very weak for bending. the irl vision for the design is to have strips of steel, that is definitely bendable to precision, so the proposal is not flawed, but something needs to be done for the prototype. A better, more rigid jig or a different kind of ply (laser ply or bendy ply) comes to mind.

129

130

An improved variant completed at the end of week 11. This was aimed to be a final detail model depictng the joints, the main tectonic elements and demonstrating the overall form.

Based on previous feeback, this progression of the design targeted the following areas: | | | |

Joints should be expressed as tectonic elements. The ribs should be less disjointed from the spine Reconsider the strips. This is the latest stage at which Consider dimensions of ribs - could they be more volumous?

C 2 TECTONIC ELEMENTS

prototype 3

A quick rundown of the conscious design decisions in regards to the joining system is as follows.

The ribs are now a singular piece! creating two different pieces made the strcture less wholesone and introduced two weak poinst at the joints instead of one.

While the Galapagos geom-

etry is still run within a singular trinangle to make the script easier, where the ribs were prepared for digital fabrication, they were left as one quasi-symmtrical section.

The spine is now equipped with a new element - the vertebrae. The vertebrae returns back to the slot lap joint system as seen in prototype with the spine.

1, and actis to bridge the rib

The lap joint echoes what leo has previous-

ly trialled as the connection between pieces of recycled timber, so theyâ&#x20AC;&#x2122;re perfectly in place here.

The slotting

physically and visually binds the emergents of two techniques together, making them a more graceful continuation of one another as opposed to two separate things screwed together.

The bottom and top bits also feature a vertebrae, inbuilt into the recycled timber playing on the variations in its thickness.

Whatâ&#x20AC;&#x2122;s great about this change is that itâ&#x20AC;&#x2122;s modelled directly from the digital form, meaning that each vertebrae is custom to individual ribs, perfectly matching the angle that the curved strips are at. This prevents any kind of issues with alligning the two so that they can be physically connected.

Once again, this expresses the joints

as tectonic elements and a touch of harmony between the two stylistically different elements.

131

prototype 3 With further reflection, discussion and valuable feedback from Finn, we were given a direction for further refinement and improvement of our design to pursue a more graceful combination of our original techniques.

it would be really good to have a single rib investigated as a

1 : 1 prototype, demon-

strating potential joints and estimating the real-life presence of the structure. to do this, perhaps a galapagos sequence should

- connections to main spine and lower arches.

be re-done aimed to correspond with real

improved joint systems

recycled timber dimensions.

decking. weâ&#x20AC;&#x2122;ve not thought about the decking at all; though something like a simple mesh has been proposed, itâ&#x20AC;&#x2122;s urgent to work out where will it be placed and what will bear the weight.

as it is, the ribs look a bit too sparse. thereâ&#x20AC;&#x2122;s a lot of spine and few thin ribs and this causes the prototype to read suspiciously

spine still a little bit too large. aim to reduce by around

5 mil, but make sure slit

placement for vertebrae leaves enough thickness to hold

132

3 individual strips with random elements placed in to hold this together. The form expression currently reads as a hybrid between strips and ribs. perhaps increasing the rib count and cutting down the spacing might help the design look more unified. like

customised to each rib, these joins

slots created through simple offset

the ‘vertebrae’ that slides onto

ensure the angle of connection corre-

of material. in real life, these would

the spine became almost a tectonic

sponds between the elements.

be bolted for additional security.

element in itself, a repetition of jagged rough pieces along the spine. we might have wanted to see them as more prominent and three dimensional, scultpuratl, even, so that they have a visual role just like the

the same issues with the strips occurred. not at any point through a

3-week prototyping process have we been able

trusses, but there was no time to develop and prototype that concept.

to perfect the strips and ensure they were perfectly bend and connected.

Though it’s argued that they’re still a perfectly viable proposal, another question arises: how crucial are they to the merged proposal? the form currently achieved still encompasses all the intent quantified

B and previous findings; if we’re struggling to balance the stylistic differences of three strips and a set of ribs, would the stips completely overpower the ribs if successfully added? through part

From one regard, it would be unfortunate to have the entire sculptural railing part gone, but from another the ribs are such a powerful elements as is. You can almost envision yourself walking through them as opposed to somewhere on top of them, really experiencing the construction detail, the tectonics and the complex geometry.

A recommendation from Finn was to replace the strips with cables. cables would undoubtedly be justified as remaining in tension, from a structural point of view; from an aesthetic one they are lighter and less tangible than strips and a lot easier to compromise with other geometries. In other words, that which is above the decking becomes secondary, and the ribs are the main element expressed.

133

vestige 6 additional ribs which are responsible for holding the cables, and do not come in contact with the bottom supports. adise from the two

expandable mesh is transparent, so it wonâ&#x20AC;&#x2122;t conceal the

frequencies that were the top and bottom corners of

experience.

each rib previously, they create a third, deconstructing

that the cable railings are barely higher than the decking

the otherwise realtively straightforward winding path

is a bit risky, but that is favourable for the adventurious,

of the bridge.

thrill-seeking experience of those who would otherwise be

the choice of decking that was deemed favourable was

crossing the creek with no bridge at all.

the final proposal features

- a transparent steel surface stretched to have numerous openings, and capable of draping any shape. expanable mesh

main tectonic element

- the rib patterns - from the users,

neither will is separate them from the nature they long to

The uneven shape of the decking and the fact

speaking of cables, they are now in place, tensioned between the ribs and aimed to be anchored into the banks on each side,

Thereâ&#x20AC;&#x2122;s 3 - they all follow the same degree

of curve, but having a multiple of different scale encompasses some of the arrangement methods the strips were concerned with.

final proposal

C2 DETAIL MODEL

elevation

- 1:20

top without decking

- 1:20

top with decking

- nts 137

vestige - functions | flow | sine extrusion of geometry referenced from circulation pathways ensures that the bridge is a seamless continuation of existing flow.

| minimal impact | the play of opening and presence, physical materia and the space between it aims to make the design is transparent, so it does not impose itself on its environment

| causatum | the use of recycled and found materials, the achieved colour scheme and overall aesthetic is a constatnt reminder of environmental and sustainability factors.

| anchor | anchroing occurs quite deep into the banks to prevent contributing to bank erosion.

138

below |

| above

expandable mesh creates no barrier between the user and the water the way traditional decking would.

the bridge is aimed to be a challenge to the adveturous - the thrill of unprecedented form is combined with the thrill of physical expereince surpassing the uneven surface, the rise and fall, the lack of sturdy elevated railing.

this transparency also leaves one to witness intricate geometry of the ribs below.

CONSTRUCTION DIAGRAM

140

C2 DETAIL MODEL Debatably, the mesh mesh and the cables are reversible in the order of construction, but the principle is the same stretched over the corresponding ribs once they have been secured.

To save onsite labour, the anchor points for the cables would probably be mounted into the bank at the same time The process itself should not take too long either, and shouldn’t require elaborate skill labour, though knowledge of how the joint operates is required. as the one for the strips, but the cables can only go in once all the ribs have been secured.

After the arches are stabilised, the rib attachment may begin. The slotting technique can probably be used on a full-size application, so this is how the ribs would be positioned to begin with; then some sort of bolting would be required.

Note that the creek is literally less than half a metre deep on its shallower days unless it is flooded in that particular section, so was it to be assmbled, workers would not need any special equipment, cranes or similar machinery, or complex temporary supports. if the detail model construction had taken 3-4 hours all up (a huge part of that spent gluing the pieces of the ribs together), it’s plausible to suggest the ribs can be attached to the spine within a day.

In a real life scenario, the structural elements would be the first to be installed. The main spine and the lower counterparts would be anchored into the site - it’s hard to formulate an exactl proposal of how, this would probably need to be discussed with an engineer or surveyor, but probably concrete piers (the soil should be stable with a granite bed under it, though it’d be deeper down) with plates and dowels as anchors. Getting the strips and the anchor bases onsite is the only step that would require machinery and equipment that disturbs the surrounding environment, but it’s probably doable in the least disruptive manner if the path through vegetation is cleared to improve accesss to the brdge. Once the presumed conceret is poured, it can just be left there to set and cure, while the ribs are fabricated elsewhere (CERES comes to mind)

141

CONSTRUCTION SEQUENCE The thickest pieces are the ones that connect immediately to the horisontal members. This is where the structure needs to be the strongest and most rigid. the idea of trusses breaking, bending and snapping at such a short span is unlinely; wobbling and shearing at the joints is a bigger concern, as seen with the plate joints. A series of lapjoints a couple of mm in are notched with something like a drop saw, and the pieces are arranged accordingly. A â&#x20AC;&#x2DC;vertebraeâ&#x20AC;&#x2122; element would be what brings them togethr in the centre - in real life, weâ&#x20AC;&#x2122;re back to two separate halves as they would be cut from separate pieces.

The medium thickness beams - usually the longest - are then laid into the notches in a manner that connects the thicker pieces together. Although they posess less material strength than the thicker bits, the thickness is to be optimised to perform in a sufficient manner.

This structure should be able

to distribute the loads the bridge is to be exposed to without the addition of the smaller strips.

Nail

plates are utilised to fix the lap joint for additional security and rigidity.

Once again, it is crucial that there is no major deformation at the joint.

the thinnest and, by total surface area, smallest strips act as extra bracing and rigidity to the existing structure, as well as completing the same sense of rhythm and dynamism previously mentioned so many times.

The three layers all vary in thickness, so the final rib is not flat - the first layer protrudes from the back, and the thinnest strips over the front, making the variety interesting regardless of from where the bridge is approached.

142

C2 DETAIL MODEL

laminated veneer lumber is the final materiality choice for the strips. this has been a shift from steel to avoid further clash between expression and style of both forms

- material unity would help visually

tie everything together. since the spines are planar, there is no need for materiality to posess bending qualities for this part. use of recycled timber is encouraged, though it would need to undergo waterproofing and corrosion treatment due to immediate proximity to water.

nail plates to secure the lap joints between the rib fragments

specialised notches with openings to feed the cables through.

143

CONSTRUCTION SEQUENCE

The 1:1 prototype was completed during week The recycled timber was cleaned, washed and left to dry, as well as 12, after the fullscale prototype/detail model scanned with a metal detector to remove any unseen nails or metal was completed (image 5). the detail model is plates that could be a hazard during the cutting process. The pieces thoroughly depicted in the following pages. were then lined up in accordance to a set of working drawings printed The aim of this particular ptototype was to test off the fablab template, and all the lap joints and angles were carehow well the lap joint system worked, as well fully measured and drawn. Certain areas of the boards could not be as whether the geometry created by galapagos used as they were defected or rotten, so this had to be taken into could be applied to real-life materials. consideration.

the usage of nail plates to reinforce the lap joint was a lot less offputting than the angle bracket for rib-to-spine.

Although with time, a

more graceful variant might have been found

(maybe more slotting or intersection techniques?), but this went to support the easy, frugal, urban-decay themology as well as prove that complex innovative design methodology could go hand in hand with traditional carpentry.

144

the recycled timber was cleaned, washed and

tools such as the table saw, drop saw and mitre saw were in use

left to dry, as well as scanned with a metal

easily accessable (in the fablab, in our case) and once again not requiring

detector to remove any unseen nails or metal

high skill labour. the pieces were sawn to appropriate size, and then had

plates that could be a hazard during the

sections taken out of them with the mitre saw.

cutting process.

avoid more intersections than necessary kept the angle of lapjoints as

The pieces were then lined

- all

The Galapagos criteria to

90 degrees as possible was not without awareness of building process - the closer to the right angle mark, the easier it was to use the mitre saw. There were very few offcuts, except the damaged wood.

up in accordance to a set of working drawings closely to printed off the fablab template,

145

- 1:50 detail model - 1: 5 site model

detail

147

the final detail model presents almost the whole span of the bridge, save for the ends of the arhes where the anchor points would connect it to the bank. since formfinding was a significant part of the proposal, we felt reducing the segment will not showcase it at fullest, so the initial a little over

900 mm lenght (design fabrication working area limit) was extended to

1200 mm.

Though this is the final outcome of the design explorations, in a way this is still a prototype. This is the first time the additional ribs have been mounted on, and the first time some kind of indication of decking has been present in the modelling.

The additional ribs were an additional stress on the central spine, which meant additional points of weakness around the slits for the vertebrae - it was important to see how the strips would behave (especially with the 5 mm reduction as mentioned for the previous prototype. Luckily, though there was a slight wobble and a few intense moments while getting all the ribs on, the structure performs fairly well. Two special notches were used for the top points of the ribs, where the vertebrae used to be. The one with the three openings is on the upper ribs, designed to feed the cables through to form a tensile system. The original set of ribs that bear the decking as of this prototype end with a special hook notch to mount the decking. It would have been nice to prototype a proper expandable mesh, but due to time restraints and the mesh not being a primary element, itâ&#x20AC;&#x2122;s expressed through soft netting. The idea was to have the nettng dip down and follow the curve of the bridge, but due to the material quality of the net it remained stretched taut between the notches, so arguably this area of testing was not very successful. However, itâ&#x20AC;&#x2122;s still a perfectly plausible portrayal of how the decking would in teract with the bridge and how the need for decking has been resolved. 149

vestige

netting to imitate mesh creates transparent effect

notch specialised to hold netting stretched in place

vertebrae about to slide onto the main spine

As for the cable, experiments were made with steel cord, thread and woven strings (sadly undocumented). In all forms, the cables worked wonders to brace the ribs if the appropriate tension was achieved, preventing any kind of bending and wobbling, implying that this was a sound structural concept. However this was only achievable with a fixed anchor point with unchanging amount of tightness for the cords (in our case it was achieved by two people holding the cables on both ends). This, of course, imitates being achored to stone or concrete fixed into the bank on site, taking the load off the bridge. Fixing the cables to the model, however, which was the only place to attach them to while presenting, just took the load back. They would either not do anything due to a lack of tightness, or bend the ribs and threaten to deform the entire model if tightened to the same degree. It was a conscious decision to present withouth the cables, but they remain a thoughtthrough part of the proposal.

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There was a series of interesting effects created by the geometry intricate shadows and the play of shadowed areas and highlights under controlled light and in a dark environment.

Though probably not all that relevant - the vegetation

to the site placement

analysis at the very start shows that the banks are quite shadowed all the time, but still curious.

The intersecting trusses of the ribs, slghtly shadowed by the netting, make one thing of tree branches or driftwood collections along

Merri Creek, so itâ&#x20AC;&#x2122;s

possible to claim that the proposal captures the atmosphere and visuals of the site quite well, even if the m etaphysical relationship it shares with the site is not immediately detectable to the users.

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speculation Of course, even at this stage the project is far from absolutely resolved and perfect, and though it was a fair effort over 3 weeks of collaborative work, it could be challenged and pushed much further. First, some elements were exposed as unresolved in the detail model – decking placement, decking technique, proof that cables are functional when fixed. A couple of digital iterations for the decking and a few more prototypes would have cleared it up, had we not a static time limit. Right now, the interactions of ribs and strips is very linear – the shape is simply sectioned (and this is something also noted by the crit panel). It would be interesting to introduce a hierarchy of span and thickness to the truss sections, or perhaps arrange them in a three-dimensional

– Leo and Finn were keep on reverse pyramids – just to populate the shape with the Galapagos in a more intricate manner. At the moment, it is still visible that the two techniques came from different people, different sources, and have been compromised to work together. The ribs are not unique in relation to the form, aside from their shape matching form contours; the form could still

The spine is reduced to be as thin and subtle as structurally feasible, masked by the vertebrae. The rest of the ‘strips’ are completely removed, leaving exposed thicker pieces of the trusses sticking out at varying frequencies. With a proper engineering structural analysis, these could be worked into the banks with appropriate intervals, perhaps at their lower points. Actually, a lot of things about the structure would be verified with a proper structural analysis, such as optimal spine thickness, recycled timber fragment required thickness, how legit is the claim that tis reverse arch shape is not only viable but favourable (it feels like the Kangaroo analysis is very vague and very half-relevant), and the good old Will This Thing Actually Stay Up™. Back to the vision though.

manner

The ribs would be the central tectonic element – their size would be increased to provide that walking-through experience as opposes to walking somewhere over the top.

The design decision to scratch the strips probably supports this – if would have been interesting

One of the main points of argument for the later stages or prototyping has been the decking placement. Leo wanted to match it up with the endpoints of the bottom ribs, having it rest on the recycled timber elements directly; I have always envisioned it lower, bringing the user closer and closer to the water, to the smell of grass and soil and the very essence of the creek (and mud and decaying pollution – how poetic. We’re actually quite lucky that we had physical evidence of the unauthorised-crossing issue,

to see the design evolve so that my contribution to it

otherwise the fact that these conditions are sought after

was just a step, so that the sine strip is the form but

and actually desirable might be a bit hard to prove).

be expressed through something less decorative and labour-intensive.

Some kind of extra step needs to be

taken to push the design further so that the two techniques really become one, sharing a more intimate bond, a visual harmony.

not the form expression, the physical presence but not the tectonic element.

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This sort of approach would change the aesthetic, of course. Something more primal, more skeletal comes to mind. Bodily imagery was used throughout the project for convenience of labelling the elements, but one can easily imagine the vertebrae as actual three-dimensional/ sculptural elements, with the ribs an abstraction of an

Another pathway of speculation is the direction where no collaboration would have occurred, in other words, we’re back to extruded curves forming strips as the methodology of tectonic expression. In a case like this, a

actual ribcage torn open for the adventuros to walk

play a much less significant role than in the present fi-

through. It may be a bit difficult to justify this direction

nal outcome

from a structural.tectonic int of view, but the tectonics promise to be effective (atleat in the way

I envision it), and the concept goes back to environmental awareness and urban decay – a disjointed chaotic sequence of bones to represent the imminient destruction caused to the environment, and a reminder in regards to

Merri Creek in general. Though a bit more abstracted, some-

thing ike that could be argued really well in a more grim metaphysical sense.

similar approach to the very first prototype would have probably been taken, but the trusses themselves would

– if anything I’d try to hide them, make them as transparent as possible, going for a weightless look as shown in the L’areuse precedent An important premise for both of these pathways would be to ensure would be that one is working with a material – both for physical modelling and prototyping – that can be bent successfully and with relative ease. It has been confirmed that this is achievable by steel (later pages will have evidence of yours truly trying to contact steel manufacturers,) but the claim is insufficient

Of course, if this is done, the earlier influences from

for trials and exploratons that are crutial in a project

the formfinding exercises will be decreased in the value

like this.

they hold, and the strips

In hindsight, I’d probably have been a lot more reluctant to make the decision to remove the strips from the proposal has trying to bend them not been absolute hell.

What exactly are the strips? They’re the most primitive – the main tools of the formfinding – into individual 3D forms, tryway of making the sine curvature extrusions

ing to express them as some sort of physical tectonic.

This is really not crucial – as long as the form is exressed as another form ot tectonic, such as the truss sections, every element of previous explorations has been retained. The form could, however, be emphasised, deformed from a rigid linearity even further. The arch could no longer be planar, no longer be perfectly symmetrical, but given a more seemingly arbitrary organic curve to it, really portraying the power of sine curvature as a form

(The planar curve is nice and the wave is soft and organic compared to the existing bridges, but it’s easily imaginable and rationalised from a human point of view. The whole ‘generative design’ thing would be generative tool

so much stronger with more and more deformation and diversion from something original taken much further.

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afterthought

In terms of engaging with digital fabrication, this aspect has been probably both achieved and challenged. We’ve demonstrated the ability to recognise the differential between the digital model and its physical realm, while preparing files to engage with digital machinery (mainly the lazer cutter, used on plywood and

MDF). Through

prototyping, we were able to successfully resolve some issues around digital fabrication like fabrication defects, material thickness, material behaviour at the joints, maximum workable area for the

MDF and ply sheets, and I’ve

so on. In my communication with steel manufacturers

been asked to provide a set of shop drawings to receive

It has certainly been a long run, with some things successful, some things a reminder that hindsight is indeed 20/20.

an exact quote, and though after the quote was given, the idea of fabricating actual steel strips was very quickly discarded, it felt like skirting around what preparing your concept for digital fabrication in the real world might be like.

I do believe that the design has achieved what I was most interested in – that is, generative qualities, unprecedented forms, computation over computisation of something

However, the materiality and construction of the ribs

that is conceptually tangible with a bit of brainstorming

seemed to challenge the need for digital fabrication

and imagination. It’s been thrilling to take something

performed on ideal selected material by high-tech power

and then create something not really existing or even

tools in a controlled environment, which is what would

imagined before.

occur in a perfect scenario, and seems to be the case

Although there is nothing particularly breathtaking about the final form, it shows a process of generation, then optimisation based on digital value and evaluation of its algorithm, and then finally improved based on my own aesthetic preferences which in turn rely back on traditional framework of art principles, but are forced to abstract from it.

In both my understanding and the precedents/readings earlier discussed (Lars Spuybroek), there’s an under-

for a lot of part

A + B precedents that deal with gen-

erative design.

Here, the Galapagos system, a relatively complex (at least in the eyes of someone that’s Really Damn Awful with AI applications) script solver is used to work with literal waste, damaged and discarded material, which is then cut with accessible tools and hammered together in any workshop. It’s a daring contrast of methodology

lying sense of combining visual and emotive elements as

to explore, and goes to prove that cutting-edge archi-

touches of human intuition, and unbiased mathematic ra-

tecture reliant on high computational involvement and

tionale through the scripting and algorithm manipulation.

design technologies and tools does not depend on digital

I feel like through this process, the final design delved into both, and was therefore successful in the field.

and can exist outside of a vacuum of idealised conditions.

It feels like the project has come together as a relatively strong proposal and case of direction – a clear problem, evidence and analysis to back it up, and divide into parameters for a design that bridge functional, social, aesthetic, tectonic and conceptual criteria, so the ‘case for proposals’ objective is covered. Without a sound understand of data structures and a ‘repertoire of computational techniques’ and scripts the project would have been impossible, so we’ve got that covered too (the amount of times something went wrong because someone didn’t flatten something or selected the wrong list item…) 160

fabrication, high-tech construction tools and materials,

Despite this, if the idealised conditions were present, a different emergence can be argued (though this wasn’t something I kept in mind while beginning to develop the design, this is moreso Leo’s field of speculation). In a world where advanced technology is readily available, the relatively simple process could probably be automat-

– relying on a lazer scanner to analyse the supplied waste material, identify usable areas, and then follow up with a CNC mill or a pre-programmed robotic cutter to speed up the cutting and achieve maximum precision. If robotic arms such as for the IDKE pavilion become integrated with the industry, even the rib building process could be completely automated, as the pieces fit together like a puzzle. ed

afterword

In conclusion – Air was fun. I think. Yes, it had its immediate challenges and more subtle issues, but overall it was really enjoyable. I remember in the beginning I wrote about being a very visual person, and viewing technology and computation as something cold, mathematic, artificial. This studio has completely reparametrized that belief (do I lose marks for bad puns?) and the outcome of ‘architecture and air’ outcome became really important. Even forms produced by cold, artificial machines are alive, have context, have a visual and conceptual framework which directly influences atmosphere and user experience.

A pristine, perfect organic shape beyond human traditional understanding has been deconstructed into junkyard materials, offcuts of pollution that have been put together in the most rugged, frugal of manners, reusing the remains of industry. The bridge tells a story, infuses the experience. I finally understood the concept of tectonics – though I’m still not sure how to paraphrase it, so excuse the repetition of the word over and over again. I’m left wishing I explored a wide array of different techniques before choosing my part B case study. The choice was made based on ‘Hey that looks really cool!!!!’ as opposed to ‘What technique does it use? What geometry does the technique deal with? How can I apply this?’, and I’ve spent a The biggest achievement of this semester isn’t really a I guess it goes under ‘case for proposals’ and critical thinking. I was able to create something I was proud of. I was able to challenge myself and admit the flaws in my processes, viewing the critique I received as a pathway to improvement as opposed to failure. It’s probably sentimental and silly but I’m really thankful @ Finn, for being so invested in everyone’s learning outcome, though

projects and providing feedback that came from his own impression of the class’s works as opposed to expected outcomes, and also

@ Leo for contributing towards a

comfortable, hardworking collaborative environment.

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bibliography

Asterios Agkathidis, Digital Manufacturing In Design and Architecture, Bis Publishers, March 2010 – first ed. Balmond, Cecil, Crossover, Prestel, 2013 Baus, Ursula and Mike Schalaich & de Gruyter, Walter; Footbridges: Construction, Design, History, 2008, pg. 180-120 Blockley, David, Bridges: The Science and Art…, OUP Oxford, 2010. Clements, Daniel, 4th Constitution Bridge, Hundven-Clements Photography, available at http://hundven-clements-news.com/ Grosse, Christian U., Advances in Construction Materials 2007, Springer Science & Business Media, 2007 Grozdanic, Lidija, The Living Bridge – Fjords and Parametric Form Finding Evolo, April 11 2012,

for

available at http://www.evolo.us/architecture/the-living-bridge-fjords-and-parametric-form-finding/

Rudy, Margit & Jaksch, Stefan, Haus Riphorst for ‘archistructura – builings’, available at http://www.archistructura.net/bldgs/769/index_en.html

Lomholt, Isabelle for GeninascaDelefortie SA Architects, Comtemporary Swiss Bridge: Passerelle L’Areuse for ErCo, March 6 2014, available at http://www.e-architect.co.uk/switzerland/passerelle-neuchatel Salikis, Ed, Senior Project Bridge Design, College of Architectural Engineering and Environmental Design, News and Events Archive 2006-2007, June 14th, 2007, available at http://www.arce.calpoly.edu/content/news-events/ news-0607

Van Uffelen, Chris, Bridge – Architecture + Design, ‘Masterpieces’, Braun, 2010,

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i think this is what they call a ‘bloopers’ page??? please dont assess this

i wanted a picture of that time i wore socks the morning but this wasnt photographed

communications with a steel fabricator to see if steel stips can be cut and bent for the prototype.

Great idea, if it didn’t come to almost $300...

what has that poor bridge done...

not really shop drawings but that was the first thing i sent him anyway

‘he is Leaning ont hEBRIdgE DONT LEAN ON THE BRIDgE LEO PLease

s and sandlas to uni at

- ‘can you justfity why is one photo ten times the size of our fablab file?’

what it looks like

what it feels like

srsly tho how do you actually stuff up a photoshop edit so bad without trying to. that’s some render skills right there.