STUDIO AIR PART B

AIR S T U D I O

J O U R N A L S E M E S T E R O N E 2 0 15 N I C O L E

T A N

PART B C R I T E R I A

D E S I G N

table of contents PART B: CRITERIA DESIGN B.1 RESEARCH FIELD B.2 CASE STUDY 1.0 B.3 CASE STUDY 2.0 B.4 TECHNIQUES: DEVELOPMENT B.5 TECHNIQUE: PROTOTYPES B.6 TECHNIQUE: PROPOSAL B.7. LEARNING OBJECTIVES AND OUTCOMES B.8. APPENDIX- ALGORITHMIC SKETCHES BIBLIOGRAPHY

B.1

research fields

FIGURE 1: FRAC Centre and its faceted parametric form.

research field

G

eometries are an interesting research field as they provide many opportunities for exploration of form and materiality. I am interested in focussing on the benefits of using relaxation in form finding as it has potential to be manipulated to respond to information in the physical environment like wind and gravity loads. Thus, this can create geometries which are context specific and enhances the performative aspect of my design. The freedom to input and manipulate data and parameters in this research field will hopefully lead to the creation of an unexpected yet context-responsive design.

As Dunne1 mentions, critical design is about generating alternatives – constructing compasses rather than maps in the design process.

Furthermore, this research field also provides an opportunity to combine with the patterning or tessellation fields to create new possibilities in the design of surfaces. These surfaces can also be parametrically designed to respond to factors like sunlight, sound or other interesting data like pollution factors or frog species numbers.

Thus, the design becomes a means of communicating information to users through surface manipulation and geometric form.

Fabrication of relaxed surfaces might prove to be difficult.

To address this, I intend to use tessellation or patterned planes to map the ‘relaxed’ surfaces and improve the fabrication process to one that is more precise. For example, the Frac Centre uses planes to create its form.

1. Anthony Dunne & Fiona Raby, Speculative Everything: Design Fiction and Social Dreaming (Cambridge: MIT Press, 2013), p.9.

B.2

case study 1.0

LOS ANGELES, UNITED STATES V O U S S O I R

C L O U D

T

he Voussoir Cloud uses Kangaroo to form its vaulted structure and its tesselations can be created through a Delaunay mesh as I will explore in case study 1.0 It is an interesting project because of the experience it creates being under its umbrella canopy with light filtering through the tesselations.

There is a sense of natural beauty found in its asymmetry and organic canopy which inspires me to look at materials as mediums to express and shape experiences.

FIGURE 2: Voussoir Cloud experience.

geometry and point distribution

Scaling relative to point

Scaling relative to point

Scaling relative to point

Domain start: 0.7 Domain end: 0.9

Domain start: 0.4 Domain end: 0.8

Domain start: 0.1 Domain end: 0.7

#

RECTANGLE; THREE POINTS

*

RECTANGLE; SIX POINTS

HEXAGON; FIVE POINTS

geometry and point distribution

CIRCLE; PHYLOTAXIC SEQUENCING OF POINTS

Bezier Graph Cull Pattern: TTF Step size: 0.7 Height: 0.9

*

Bezier Graph Cull Pattern: TTF Step size: 0.7 Height: 0.9

Bezier Graph Cull Pattern: TFF Step size: 0.7 Height: 0.9

case study 1.0 Unary Force X axis: 3 Z axis: 1.5

Unary Force X axis: 7 Z axis: 3

Cull Anchor Points

Cull Anchor Points

Anchor Points: 20

Anchor Points: 37

*

*

Bezier Graph Cull Pattern: TFF Step size: 0.7 Height: 0.9

Perlin Graph Cull Pattern: TFF Step size: 0.7 Height: 0.9

Perlin Graph Cull Pattern: TFF

Parabola Graph Cull Pattern: TTF

Parabola Graph Cull Pattern: TTF

Step size: 0.7 Height: 0.9

Step size: 0.7 Height: 0.9

Step size: 0.7 Height: 0.9

*# * #

For further exploration Successful iteration

E

xtending from previous iterations, I also decided to explore surface treatment and potential use of string, rope or yarn as a fabrication material (weaving).

Chosen species

Weaverbird Frame Scaled value: 17

#

case study 1.0 Delaunay Mesh

Sierpinski Carpet

Sierpinski Carpet

Scaled value: 9

Scaled value: 15

#

#

case study 1.0 OU TCOM E 1: VAU LTE D F OR M Cr ite r i a: Cre ate ca v it i es a nd s p a ces to ex p l o re a nd d i s cove r

I

intend to create something experiential with my final design whereby form is essential in achieving this outcome. The vaulted form of Outcome 1 creates a canopy which distinguishes what is underneath it compared to its externalities. There is also an opportunity to play with the concept of a hidden element on the underside of the canopy.

I chose this iteration over the rest as its slender ‘legs’ supporting a vast canopy has an elegance and gentleness to it. I would like to create an unassuming design yet a powerful one when all its properties and secrets are discovered.

case study 1.0 OU TCOM E 2 : S TAL AC T I TE F OR M

Cr ite r i a: Cre ate a n u n ex p e cte d e l em ent i n a n u na s su m i ng d es i g n

T

his striking form was an unexpected outcome from combining phylotaxic sequencing, culling and graph mapping. It is something quite bold and would create quite a striking impact if hung upside down or placed upright to form obstacles which users have to manouver between.

It has potential to bring a dynamic and active element into my design. It could be constructed as something to climb on, something to hide under or something to run around. This particular form has provoked several ideas of user participation hence why I have labelled it as a successful iteration.

case study 1.0 OU TCOM E 3: WE AVE/ F R A M E RE L A X AT I O N

Cr ite r i a: Ge o m et r y a nd fo r m a s a m e du i m to c re ate ex p e r i ences .

T

his iteration was chosen because of its interesting ‘relaxed’ form. The peaks and troughs of the mesh projects its own topography which in itself, creates a unique effect. In this case, rather an a relaxed undulation, its a stark contrast between peak and trough, high and low.

Rather than the gentle canopy of Outcome 1, this form is about harshness and contrast - like needles poking into the sky. It can form its own enclosed space whereby the enclose is completely pitch black albeit for the tiny light which shines down from the holes at the peaks.

This brings about another design idea of utilising light and dark spaces, soft and hard surfaces and the projected contrast in perception of sharpness and gentle contours.

OU TCOM E 4: SE RPI N SK Y WE AVE & PHYLOTA XI C SE QU E N CE Cr ite r i a: M ate r i a l i t y a s a m e du i m to c re ate ex p e r i ences .

W

eaving is a versatile method of forming a space and through explorations of Kangaroo, many different forms and geometries can be created by external forces. The material used to weave can also help shape user experiences as different effects are brought about by changes in thickness, colour, material and weaving pattern.

Factors like light penetration, feelings of enclosure, safety and exposure, visual cues and relationship to the physical site can all be manipulated.

This particular outcome is of interest as the patterns created by the phylotaxic sequence contribute to the outcome’s amoeba-like form. It is somewhat disturbingly odd yet uniquely interesting.

Combining with the Serpinsky weave has inspired me to explore patterns which can be created through string and how density, formation of ‘gaps’ and the overall relaxed edges can impact on experience.

case study 1.0 OU TCOM E 5: D E L AU NAY Cr ite r i a: Fe a s i b i l i t y of fa b r i cat i o n.

A

practical criteria is the ability for a specific mesh or surface to be fabricated and physically actualised. The Delaunay mesh creates triangulations along the mesh which can be fabricated to form its curving, undulating form.

However, having a closed surface eliminates the ability for the surface to respond to external elements suggesting that another method needs to be explored.

B.3

case study 2.0

PULA, CROATIA

T U F T

FIGURE 3: Internal cavity of Tuft Pula.

P U L A

T

uft Pula is one of Numen’s tape projects. It hangs suspended,4m into the air, between balconies in a church in Pula. The primary form is fabricated by using adhesive tape which is weaved through the structure (tufting). Carpet is used to create an encompassing, soft interior which juxtaposes the rough exterior surface.

This is an interesting project as it explores several concepts which I also wish to utilise in my design. Firstly, its organic surface can be created parametrically and by doing so, unique forms can be created based on loads and selection of anchor points.

Alongside this, the project also plays and manipulates the user’s experience

in a clever and unsuspecting way.

It is about exploring boundaries, feelings of anxiety and adrenaline, all within a tactile environment.

It echoes sentiment’s of a child’s playground and it is this sense of play and adventure that intrigues me and will influence my final design.

3

WEAVERBIRD EDGES

1

2 BREP

4

mesh edges

mesh

ENDPOINTS

DECOMPOSE MESH

UNARY FORCE

mesh SETTINGS X AXIS Y AXIS

VECTOR

Z AXIS

1

2,3

A brep is created in Rhino using a series of solids.

This allows more freedom in creating geometries of

different

shapes

and in different planes.

4

A mesh is creted from the brep.

Information exported

on

its

(kangaroo

vertices

are

forces

will

act on these vertices). The mesh also allows for the creation of springs

through

weaverbird.

Endpoints

and

naked

edges are also extracted from the mesh and these behave as anchor points.

case study 2.0 SPRINGS

5

KANGAROO PHYSICS

5

Now that the anchor points are set, Kangaroo

Physics

impacts

on

the

internal vertices, deforming and relaxing them based on parameters like the Unary Force, Spring stiffness and rest length and some mesh settings too.

B.4

technique: development

T

his set of iterations explore manipulating geometries using Kangaroo Physics forces and settings which haven’t been explored in Case Study 1.0.

geometry

Mesh Settings Number of Planes: 15 Unary Force (Z): 35

technique development

Mesh Settings

Cull Anchor Points

Number of Planes: 50 Unary Force (Z): 35

Anchor Points: 16

Cull Anchor Points & Alter Springs Anchor Points: 16 Rest Length 9 Plasticity: 5

#

T

his set of iterations explore manipulating geometries using Kangaroo Physics forces and settings which haven’t been explored in Case Study 1.0.

geometry

Mesh Settings Number of Planes: 15 Unary Force (Z): 35

#

technique development

Mesh Settings

Cull Anchor Points

Number of Planes: 50 Unary Force (Z): 35

Anchor Points: 16

Cull Anchor Points & Alter Springs Anchor Points: 16 Rest Length 9 Plasticity: 5

T

his set of iterations explore surface manipulations through tesselations, cytoskeleton and voronoi, elements which have not been tested in Case Study 1.0.

Patterning

Patterning

technique development

Cytoskeleton

Cytoskeleton

Strut Thickness: 0.4

Strut thickness: Scale relative to point

Populate 3D voronoi

Number of cells: Individual variation listed

#

T

his set of iterations explore surface manipulations through tesselations, cytoskeleton and voronoi, elements which have not been tested in Case Study 1.0.

Patterning

Patterning

#

technique development

Cytoskeleton

Cytoskeleton

Strut Thickness: 0.4

Strut thickness: Scale relative to point

Populate 3D voronoi

Number of cells: Individual variation listed

#

technique development OU TCOM E 1: AN CH OR PO I NT S Cr ite r i a: Co n n e ct i o n w i t h t h e l a nd s ca p e

E

xplorations of Case Study 2.0, showed me the different possibilities of connecting my design form to the site. The design brief stipulates that the object cannot touch the ground or air (hence it will need to be anchored onto something).

Anchoring at certain points will created different surface relaxation forms which can be parametrically manipulated to

achieve a design effect. As seen by the outcome below, the form seems to extend out into the landscape in a very invasive manner, The reverse can also be created whereby the design seems to mould itself into the landscape.

This outcome has encouraged me to think about how my design can interact with the landscape. I want to create something meaningful and manipulating anchor points may just be the way to make that connection.

technique development OU TCOM E 2 : F OR M E NGAG I NG W I TH 3 PL AN E S Cr ite r i a: Eng a g i ng w i t h mu l t i p l e p l a n es , mu l tp l e fa cto r s a nd s ta keh o l d e r s .

T

he form on the right begins to explore engaging with different planes. It is a representation of different ways my design could engage with different factors or stakeholders. Thus, it can either be a journey of convergence or divergence. This is an interesting concept with immense design potential as it gives the opportunity for my design to shape and mould existing physical, cultural and social elements.

The challenge now is deciding which factors I would like to engage with and to what degree.

But most importantly, how I could represent this connection in my design and if it will be in an antagonistic or sympathetic way.

technique development OU TCOM E 3: SU RFACE PAT TE RN I NG (2 D) Cr i te r i a: Cre at i ng p at te r n s!

C

reating patterns is one of my key deliverables for the project.

The outcome below demonstrates that by triangulating a mesh, any pattern can be created by simply by projecting curves formed on a triangular surface onto the specific triangulated surfaces.

The outcome below shows that patterns can create a unique scaling effect, similar to the skin of a frog or snake. As frogs are a key issue in the Merri Creek region, this may be a method which I engage with context specific factors/issues.

technique development OU TCOM E 4: SU RFACE PAT TE RN I NG (3 D)

Cr ite r i a: T h e env i ro n m ent i nf lu enc i ng t h e p hy s i ca l fo r m of t h e d es i g n

T

he outcome below is an improvement from the weaving explored in Case Study 1.0. In this case, a 3D framework is created to map the relaxed form. The outcome below creates a skeleton like structure which is interesting as nets or fabric can be suspended within the form’s own framework- creating an internal landscape influenced by the bones of the design.

Furthemore, the outcome below (right) demonstrates the ability of the strut thickness to alter and change throughout the structure rather than remain uniform.

This can be in response to a multitude of factors which can be parametrically designed through the use of graph mappers, scaling and point attractors. A huge opportunity in creating the final design

Uniform strut thickness

Scaled strut thickness based on distance from a point

technique development OU TCOM E 5: “ PAT TE RN I NG” TH E WH O LE SPACE Cr ite r i a: S h a p i ng m ovem ent t h roug h t h e s p a ce v i a d es i g n d e c i s i o n s .

O

utcome 5 is the most far fetched as it explores populating the 3D space of the form with Voronoi patternsthe voronoi framework extends into the internals of the space.

This idea has potential to be used to create spaces which challenge users’ movement and their ability to manouver through the loose or tighly packed (no. of cells can be controlled) voronoi frames. Furthermore, it can also behave as roadblocks to direct movement, the degree of tightly packed Voronoi cells used to influence flow and circulation patterns within a looped arena. Creating loops within a loop simply by manipulating density of cells.

Also, the use of this Voronoi packing technique on this particular form emphasises the ability of ‘geometry’ to change and shift - from something elastic (like the Tuft) and relaxed to such a restricted and rigid form.

B.5

technique: prototypes

S TR I NG TH E ORY: PROTOT YPE O N E (PAT TE RN I NG O N E)

Logic behind the pattern: Point 1 on y axis will connect to Point 2 on x axis and so on and so forth.

This creates a curving profile as seen on the images on the left.

This pattern can be translated to a 3D framework suspended between anchor points (tied) yet it creates the same curved profile. As I am exploring suspension with regards to the brief, this patterning of strings can create an interesting framework to work with. Furthermore, it is based surrounding a formula which improves precision and consistency of the pattern.

technique: prototypes S TR I NG TH E ORY: PROTOT YPE T WO ( TAPE S TRU C TU RE S)

I attempted to play around with tape as a material to be shaped by the frame and to hold the frames together. It was a tricky process but a volume was able to be created with a large opening and gradually becoming smaller as guided by the existing framework.

S TR I NG TH E ORY: PROTOT YPE THRE E (PAT TE RN I NG T WO)

Logic behind the pattern: Begin at the centre of each vertice.

Connect the string to the two opposite corners. Begin moving up the adjacent edge until you reach the vertice you began with.

The workflow above creates a pattern with a hole in the centre. This gave me an idea to to use the same workflow on different shaped polygons simiar to voronoi cells. In implementing this pattern, a hole will be created in the centre and the size can be adjusted based on the number of pins skipped as you are threading towards the origin point.

The density of the string can also be adjusted indicating this can create individual surface cells with varying hole sizes and string density. This complies with the selection criteria of environment affecting design as the size of the hole or density can be made to vary according to specific data.

technique: prototypes S TR I NG TH E ORY: PROTOT YPE F OU R ( TE N S I O N AN D PU LLI NG)

This prototype was exploring tensioning in various directions and its impact on the way string can be shaped.

This is an important element as my final design can have the potential of having point loads at various sections to create distortions in the string pattern.

B.6

technique: proposal

My chosen site is Philips Reserve which lies along the southern end of Merri Creek near the CERES centre. I chose this reserve because of the multitude of environmental and physical factors present in the site. This includes the overhead power lines and power towers which in their steel and cable structure have an embedded pattern within them.

technique: proposal

LEFT: Alcove (intended site) BELOW: View out towards open space and playground from alcove.

More patterns within the site include the arrangement of trees to form an alcove in the northern section of the reserve in which my specific site for my project will be located. This site also allows me to engage with broader issues surrounding Merri Creek namely the declining populationg of frog species in the area.

I believe this set of data can be used to influence patterning in my design.

The alcove also looks out towards a fairly open field and a playground. This acts as a source of inspiration for my design as I would like it to be centred around play. I intend to create a structure which children can interact with to engage with the broader issue of the declining health and numbers of frog species in Merri Creek due to pollution.

D E S I GN D E VE LO PM E NT D eve l op i ng a f i na l d es i g n b a s e d o n c r i te r i a ex p l o re d i n Ca s e Stu d y 1.0 a nd 2.0

I am interested in using the above pattern created during my prototyping stage to construct patterns on surface. I intend to experiment with creating my own voronoi cells with different densities of the above pattern so when combined with a series of other cells, will form a similar patterning effect as on the top right.

Alongside this, I also want to experiment with different ways I can map a form derived from Kangaroo with tesselations or patterns which are easy to fabricate.

technique: proposal As mentioned previously, it is essential that my final design responds to its specific context as well as create an experience which sends a message. I believe this can be achieved in several ways: 1) Using Kangaroo Physics to derive a form based on specific input data on anchor points relating to the site (specifically manouvering the project within the alcove space and utilising the special formation of trees). I intend to maintain the sense of a semi-private, hidden, protected space of the alcove.

2) Using scaling relative to points, data from graphs or geometry to create thickening of weaves or struts or altering the size of holes within my tesselation.

Essentially I want to create a transitional surface which represents the declining frog population due to increasing pollution.

A potential idea I had was to create large cells at one section of the design form which opens to views but these cells gradually get smaller and tigher packed (see Voronoi 3D exploration in Case Study 2.0) to create an uncomfortable, enclosed space.

The form needs to be able to encourage play through climbing, hiding or manouvering therefore it needs to engage with different planes to create this undulating and engaging form. This can be achieved by experimenting with intial Brep geometry and running it through Kangaroo.

Areas of strut thickening

B.7

learning outcomes

Objective 1: Digital technologies have enabled us to improve analysing the performance of our designs and I have utilised this opportunity in gathering data from my chosen site and from the brief to influence my selection criteria. For example, I have explored the use of scaling surfaces (and holes) in relation to a specific point, geometry or information from a graph through Grasshopper. This will be used to enhance views and deliver a message in my final design as I believe this is one of the most versatile capabilities of Grasshopper.

Objective 2:

The Serpinsky Weave could not produce this effect of scaling “holes” according to specific points as each ‘strip’ was treated as a whole rather than as individual vertices. Identifying this issue was vital in my decision to look for other options where I found Cytoskeleton which could produce my desired effect.

I feel that I have learnt the most in regards to this objective. Concurring with Kalay, I have realised that algorithmic design and parametric modelling provides many opportunities that we ourselves may not realise. In B2 and B4, I have learnt to combine multiple definitions to create new species whilst also learning how to manipulate kangaroo and voronoi components to create design effects and affects.

learning outcomes Objective 3:

Objective 5:

This objective is quite challenging as I am still attempting to develop a method from which my design idea (creating a geometry through Kangaroo and populating its surface with tessellations or voronoi) can be physically realised. Digital fabrication is preferred as it allows for a more precise and cleaner physical model.

Critical thinking is about thinking outside the box and looking at the larger picture.

I have attempted to engage with this throughout the course by extending my definitions to encompass more than just changing geometries. Furthermore, thoroughly exploring and engaging with relevant factors within a chosen site is important as it is about raising awareness to issues and opportunities that are not normally thought of.

Objective 4: Suspension and relaxation are interesting concepts and through case study reengineering (Tuft) and exploration, I have grasped the technicalities of this brief requirement and how to achieve it through an algorithmic process.

Developing a definition to populate an organic shape with 3D voronoi was challenging but in doing so, I have created a unique form.

APPENDIX algorithmic sketches

TH E BE G I N N I NGS: Ex p l o r i ng mes h rel a xat i ons w ith Ka nga roo

T

hese iterations were done at the very beginning of my exploration of the capabilities of Kangaroo Physics. Here, I was manipulating anchor points and placing them in different planes relative to the mesh. As observed through Part B, my understanding of Kangaroo has grown, allowing me to alter a greater amount of parameters and geometries.

E VALUAT I NG F I E LDS

Radial hexagons

Series of intersecting curves

Fields derived from a parabola

Fields derived from a perlin

Fields derived from a sine graph

F

ields can be manipulated not only on a 2D level but also in elevation through graph mapping. Field evaluating sparked my interest in creating patterns from algorithms and also the ability for these patterns to form a 3D space rather than simply patterning a 2D area.

E XPRE S S I ON S

Interesting patterns of twisting can be created simply by using a series of hexagons and a point.

I

learnt some interesting Grasshopper skills whilst playing around with expressions. A predominant one was the use of a point attractor - a point or series of points can induce changes in surface patterns.

This was very interesting to me as it can be used in my design process to inform my final design.

Furthermore, expressions also expanded my perspective on the creation of patterns around a 3D space. The degree of twisting can be adjusted by the angles (x,y,z axis rotation) of the hexagonal curves (see above).

PAT TE RN I NG LI S T S

T

he Voronoi component is one of my favourite components in Grasshopper. It can be used alongside culling techniques to create interesting patternings as seen here.

V

oronoi can also be used in surface planarisation as two planes are lofted together to create individual surfaces which form the boundaries of voronoi cells. It would be ideal to be able to use these voronoi patterns in my final design however more exploration needs to be done to actualise that idea.

TH E JOURN E Y: Ex p l o r i ng p at te r n i ng, p a nel l i ng a nd Vo rono i

E

Voronoi, image sampler and a hyperbolic paraboloid surface,

xtending beyond the tutorial videos, I decided to experiment more with Voronoi and patterning . Here are some examples which may come into play when exploring the design possibilities of my final design. The sketch to the right involves projecting a Voronoi surface onto a Hyperbolic Paraboloid. The changes along the surface is relative to a point whilst utilising an image sampler.

Surface panneling a hyperbolic paraboloid also using scaling relative to a point.

It is clear that there is a vast amount of versatility in using patterning and scaling relative to a point.

Moving on from 2D surface patterning, I decided to explore populating a 3D space with voronoi and using the same point attractor.

To the right are some sketches produced by this technique.

To extend this concept, I also expored populating an organic shape (not a box) with Voronoi which can be seen in my iterations for Case Study 2.0.

Voronoi 3D creates surfaces. Possibility for fabrication of final design using a laser cutter?

bibliography Anthony Dunne & Fiona Raby, Speculative Everything: Design Fiction and Social Dreaming (Cambridge: MIT Press, 2013), p.9.Diller Scofidio & Renfo, Blur Pavilion (2002) http://www.dsrny.com/#/projects/blur-building [accessed 8th March 2015].

Figure 1: http://www.designboom.com/architecture/frac-centre-opens-in-new-site-by-jakob-macfarlane/ Figure 2: http://www.iwamotoscott.com/VOUSSOIR-CLOUD Figure 3: http://www.numen.eu/installations/tuft/pula/