Studio Air Final Journal

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

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T A N

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table of contents INTRODUCTION PART A: CONCEPTUALISATION A.0 DESIGN FUTURING

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A.1 DESIGN COMPUTATION

7-16

A.2 COMPOSITION AND GENERATION

17-27

A.3 CONCLUSION

28-35

A.4 LEARNING OUTCOMES

36-37

A.5 APPENDIX - ALGORITHMIC SKETCHES

38

BIBLIOGRAPHY

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PART B: CRITERIA DESIGN B.1 RESEARCH FIELD

43-46

B.2 CASE STUDY 1.0

47-60

B.3 CASE STUDY 2.0

61-66

B.4 TECHNIQUES: DEVELOPMENT

67-82

B.5 TECHNIQUE: PROTOTYPES

83-88

B.6 TECHNIQUE: PROPOSAL

89-94

B.7. LEARNING OUTCOMES

95-98

B.8. APPENDIX- ALGORITHMIC SKETCHES

99-109

BIBLIOGRAPHY

110

PART C: DETAILED DESIGN

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C.1 DESIGN CONCEPT

113-129

C.2 PROTOTYPES

130-137

C.3 FINAL DETAIL MODEL

138-145

C.4 LEARNING OUTCOMES

146-147

BIBLIOGRAPHY

148

introduction

NICOLE TAN I am currently studying the Bachelor of Environments (majoring in Architecture) at the University of Melbourne. I love going out for brunch, sleeping in, walking in the city and reading magazines. Design studios have been my favourite subjects however prior to Air I have not engaged with digital design theory before (I have taken Virtual Environments however that is not a pleasurable experience I’d like to recall).

I am hoping that Air will provide me with a fresh start in working with generative software like Rhino and Grasshopper.

From what I have researched, digital architecture seems like something birthed from a futuristic utopia. Their designs are beautiful in a very rational, organised way and created through the very systematic, deliberate thought process of algothmic thinking. This is something which will challenge my learning as I am definitely not used to working that way but I am more than excited to give it a shot!

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5

PART A C O N C E P T U A L I S A T I O N

A.0

design futuring

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8

LAKE NEUCHATEL, SWITZERLAND B L U R

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P A V I L I O N

BLUR PAVILION

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hrough the Blur Pavilion, Diller and Scofidio push boundaries in the very conceptualisation and nature of architectural spaces. The vast, artificially created fog creates a habitable space which is formless, dimensionless, scale-less and massless, pushing the ways we conceive ideas of spatial and temporal boundaries (or lack thereof) (See Figure 2). It is also exciting to see the project empowering users with the opportunity to challenge the use of senses other than sight and to negotiate new ways to relate to other ‘bodies’ around them (through the Braincoat, see Figure 4). This form of radical design contributes to a new, emerging design intelligence and is paradigmatic of design futuring as it creates valuable pluralism in design ideologies and approaches[1].

design futuring The successful construction of the pavilion demonstrates the ability and future potential of information technology and electronic mediation to modify and create habitable spaces (see Figure 3).

In this case, the space employs computerised climate control to create a smart weather system that adapts to changes in the environment[2]. This techempowered architecture explores the concept of a governing virtual presence within the micro-scale of everyday life and this idea holds potential to create sustainable spaces which tailors responses to occupancy loads and demands.

Fig.1 (PREVIOUS PAGE): The Blur Pavilion seen from above: the solid tensegrity structure encased in a amorphous, soft fog which sweeps across the lake.

FIG 2 (ABOVE): The pavilion introduces a new way of perceiving space and rejects architecture as a static entity. It also extends the conventions of everyday life by putting the outside world out of perspective to focus on the individual journey of entering this eerie, devoid space.

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

2. Diller Scofidio & Renfo, Blur Pavilion (2002) http://www.dsrny.com/#/projects/blur-building [accessed 8th March 2015].

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FIG 3 (ABOVE): Juxtaposing its interior, the exterior of the pavilion seems almost magical and enticing. The fog is created through computer controlled jets of water in response to a range of environmental parameters like wind direction, speed and atmospheric humidity.

Thus, the pavilion strongly engages with the concept of critical design, offering an alternative to the current state of being. It uses design to open up new possibilities[3] of both technological capabilities as well as other ways of experiencing and negotiating a space. The Blur Pavilion is no longer just an exhibition arena but has become a symbol of meaningful architecture. It has

1. Dunne & Raby, p.6.

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contributed to the ongoing architectural discourse predominantly through exploring new ways a space can be physically constructed (through computational approaches with adaptive capabilities) but also how new spaces can be designed to challenge and surprise users in the experiences they bring to create alternative ‘worlds’ and realities.

FIG 4 (ABOVE): Braincoats display a light based on affinity or antipathy to others around you, demonstrating the ability of technology to profile consumer preferences and shape relationships.

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time is something everyone can relate to, and we should

appreciate energy as much as we appreciate time....

- Santiago Muros Cortes

�

REFSHALEOEN, COPENHAGEN S O L A R

H O U R G L A S S

A Fig.5 (ABOVE): The Solar Hourglass set within Copenhagen’s industrial backdrop.

s Fry suggests, the concept of design futuring is concerned with how design can contribute to prolonging and improving humanity, and instigating this change lies with design, not by chance[1].

Engaging with this challenge is the Solar Hourglass project (designed by Santiago Muros Cortes) as it provides a step towards the future realisation of a sustainable community.

1. Fry Tony, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p.6.

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design futuring

SOL AR H OURGL AS S

A

lthough it has not been constructed, the project introduces very strong ideas about renewable resources- how the image of the power plant can be redesigned into something which reminds and encourages inhabitants of a city to want to care about sustainability and the health of our planet. This is cleverly and thoughtfully achieved through the successful exploration of what Dunne calls ‘dark design’[2] – the Solar Hourglass, though a beautiful installation, exposes the destructive and unrelenting nature of time o encourage positive action towards climate change.

Furthermore, the project not only introduces a new way of thinking about renewable

resources but also provides a viable method of obtaining solar power – one which has the potential to be realised across cities. It utilises mirrors called “heliostats” (designed by Abengoa Solar) to concentrate energy into a receiving power bank which can generate electricity for more than 1000 homes[3] (see Figure 2). This technology has the potential to expand future possibilities of harnessing solar power and it is the brainchild of an interdisciplinary conversation between an architect and renewable energy experts – reiterating the power of collaboration between multiple disciplines to create a new design intelligence for the future[4].

2. Dunne & Raby, p.38.

3. Karissa Rosenfield, Winning Proposals transform Power Plants into Public Art (2014) http://www.archdaily. com/553875/winning-proposals-transform-power-plants-into-public-art/ [accessed 8th March 2015].

4.Fry, p.12-13.

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The Solar Hourglass concept already contributes to changing the perspective and culture towards renewable energies but its impact after construction will make even more of a global statement. It would further emphasise Copenhagen as the world’s green capital and its success ideally would not only act as a symbol to inspire and educate the local community but communities worldwide on the ability of solar power slow the rising effects of climate change.

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Fig.6 (ABOVE): Diagram of the Solar Hourglass utilising Heliostats on the upper dish to collect solar energy.

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A.1

design computation

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LORRAINE, FRANCE 19

C E N T R E

P O M P I D O U - M E T Z

“

design is a process of discovery....

- Yehuda Kalay

CE NTRE POM PI DOU METZ

” A

Fig.7 (PREVIOUS PAGE): The magnificent timber roof forms a shelllike structure by overlapping members rather than utilising mechanical joints.

Fig.8 (ABOVE): The museum forms a sculptural yet functional space, leaving a deep impression with its visitors.

ccording to Kalay, there are 5 main stages of the design process: problem analysis, solution synthesis, evaluation, communication and [1] fabrication . The positive effects of design computation can be seen to resonate the strongest in stages of solution synthesis, communication and fabrication.

1.Yehuda E. Kalay, Architecture’s New Media: Principles, Theories and Methods of Computer Aided Design (Cambridge: MIT Press, 2004), p 9-12.

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design computation Increase in experimentation and designer’s embracing complexity in forms

S

olution synthesis is not a rational process and requires intuition [2] and creativity , thus the integration of computation and parametric algorithms can assist in creating outcomes and iterations which we, as designers, may fail to conceive.

An example of this is the Centre Pompidou-Metz

by Shigeru Ban. The roof’s complex geometry was inspired by the woven structure of a Chinese straw hat but developed through defining a series of parameters (like the roof’s edge, position and angle of column connections) within a generative modelling [3] software (see Figure 9 and 10). A series of permutations then arises from this script and the various models were then tested and evaluated against a set of performance criteria.

Potential for more cross border projects and increased shared interdisciplinary design intelligence world-wide

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Fig.9 (ABOVE left): The NURBS parametric model.

Fig.10 (ABOVE right): Digital model of the timber framework developed from the NURBS model consisting of 1800 beam segments in a hexagonal grid projected onto a curvelinear surface.

sing computers are also redefining design practice by expanding the communication network to international and crosscultural teams. The project team for Centre PompidouMetz consisted of an interdisciplinary team based in various locations across the globe with a shared computer network.

This allowed designers to work on the 3D computer model at any time with immediate updates on changes to the model [4].

2. Kalay, p.11.

3. Centre Pompidou-Metz, The Architecture-Roofing http://www.centrepompidou-metz.com/en/roofing, [accessed 13th March 2015].

4. Allplan, Art Under A Straw Hat http://www.allplan.com/fileadmin/user_upload/germany/Casestudies/Centre_ Pompidou_Metz/Allplan_Case_Study_FR_Centre_Pompidou_Metz.pdf, [accessed 13th March 2015] 21

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BOSTON, UNITED STATES K E R F

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P A V I L I O N

design computation

Fig.11 (PREVIOUS PAGE): The pavilion demonstrates that parametrically controlled kerfing produces timber with a more ergonomic form.

Fig.12 (FAR left): Kerfing on the CNC milled plywood used to construct the Kerf Pavilion.

Fig.13 (LEFT): Timber glu-lam members of the Centre Pompidou Metz also manufactured using the CNC Mill and brought prefabricated to the site.

KE RF PAVI LI O N

Computation pioneers digital materiality

D

esign computation is also remaking the fabrication process by introducing emergent properties to traditional materials. Both the Centre Pompidou Metz and the Kerf Pavilion utilised the CNC Mill to accurately test prototypes and produce the final timber members (see Figure 12 and 13). This is an example of digital materiality where the CNC Mill has allowed the

harmonisation of the digital and physical world to create an “informed� material[5].

The Kerf Pavilion utilises a timber which has undergone specific kerfing patterns to create bending without compromising structural [6] integrity . Thus, the physical material can be understood to have been enriched with information in the form of parametric data during its manufacturing process.

5. Fabio Gramazio & Matthias Kohler, Digital Materiality in Architecture (Lars Muller Publishers, 2008), p.2-4.

6. Futures+Design, Kerf Pavilion-MIT (2012) http://futuresplus.net/2012/07/18/kerf-pavilion-mit/, [accessed 14th March 2015].

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design computation The beginning of performance oriented design

R

einventing the 20th century modernist idea of ‘form follows function’, 21st century digitally informed design now focuses on ‘formation preceding form’. This is about architecture derived from the logic of the algorithm which then results in the parameterisation of a ‘second nature’[7], replicating the less wasteful, efficient performance of natural systems. For example, many structures now mimic the regularity in cell packing structures found in natural world (see Figures 14 and 15) although the range of geometries are nowhere as diverse.

FIG 14 (ABOVE): Repeated tetrahedral surfaces of the Kerf Pavilion on Grasshopper.

Fig.15 (RIGHT): Generation of a hex mesh similar to Centre Pompidou-Metz (top), The mesh is rotated to form equilateral triangular nodes (middle) which forms the hexagonal roof beam cell-packing structure (bottom).

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This second nature is the overarching concept of performance oriented design where parametric algorithms create more coherent structural forms which integrate the building into its local ecology[8]. Computational methods also consider the wider context of processes by responding to a series of matrices of data-driven operations and feedbacks.

This provides unique opportunities to optimise performative capacities of a building and allows designers to overcome the superficial dichotomy between form and function[9].

7. Rivka Oxman & Robert Oxman, Theories of the Digital Architecture (New York: Routledge, 2014), p.3-8.

8. Michael U. Hensel, ‘Performance-oriented Architecture.

Towards a Biological Paradigm for Architectural Design and the Built Environment’, FORMakademisk, 3(2010), 36-56.

9. Michael U. Hensel & Soren S. Sorensen, ‘Intersecting Knowledge Fields and Integrating Data-Driven Computational Design en Route to PerformanceOriented and Intensely Local Architecture’, Dynamics of Data-Driven Design, 1(2014), pp.59-74 (p.60).

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A.2

composition/generation

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FIG 16 (LEFT): Design outcome for the Seaside Second Homes project.

n 1999, Greg Lynn emphasised the need for designing in response to an animate environment, where architectural forms are the result of changing ambient forces[1]. In modern architecture discourse, this can be primarily achieved through the integration of contextual data to create an innate responsiveness in the building. The success of this performance oriented design lies with the flexibility and dynamism of parametric modelling.

1.Greg Lynn, Animate Form (Princeton Architectural Press, 1999).

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FIG 17 (ABOVE): Form generation based on coastal airflow conditions at the three different sites.

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composition/generation

SE AS I D E SE CON D H OM E S PROJ E C T

T

he Seaside Second Homes projects aimed to demonstrate how contextual data can become the main drives of design for digitally conceiving and fabricating houses[2]. Three sites were chosen for this project where terrain and airflow data for each site was retrieved (see Figure 17) in the form of point clouds which served as a data input into the generative design process[3].

Extrinsic data shaped the outer and inner layer of the building envelope (see Figure 18) whereby the custom configured designs of each of the three houses were driven by the variations in the integrated data

FIG 18 (ABOVE): Two layers of the building, each shaped by data on airflow, terrain and wind loads.

sets. Parametric modelling allowed the mapping the complex system (interactions between airflow, wind, terrain and the effects on the house) through visualising various system elements in relation to one another or in relation to a set of criteria.

A fundamental benefit from this shift from drawing composition to algorithmic generation is the ability for increased in accuracy to design in our complex human and natural environment.

2. The RIBA President’s Medal Student Awards, http://www.presidentsmedals.com/Entry-31261, [accessed 17th March 2015].

3. Hense; & Sorensen p. 66-68.

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Evolutionary Structural Optimisation (ESO)

E

volutionary Structural Optimisation is also another innovative generative design process based on an idea that ‘structure evolves towards an optimum by slowly removing elements with lowest stress’[4]. ESO has become a useful tool in design practice to optimise structural integrity of a building as the algorithm uses real world loads and forces to implement ongoing performance analysis on the material and tectonics of the building’s form.

AKUTAGAWA OF F I CE BU I LD I NG

A

n example of this would be the Akutagawa Office Building project where extended ESO methods were applied it its south, west and north walls.

Figure 19 shows the modification of the configuration of the wall from the process of the extended ESO algorithmic method based on vertical, horizontal and earthquake loads[5]. Previous design practice typically conceptualises performance in the view of building function, aesthetics and cost.

However, modern architectural discourse is slowly moving towards context and environmentally-aware designs, hence shift to generative technologies like ESOs allows for the optimisation of structural elements to improve the building’s life cycle, increase efficiency of material use and reduce cost.

FIG 19 (ABOVE): The topology of the building can be seen to evolve as material form low stress areas were added to areas with high stress.

FIG 20 (OPPOSITE PAGE): 3D printed version of a model of a lightweight bridge based on the concept of a perforated bridge.

4. Yi Min Xie & Xiaodong Huang, ‘Recent Developments in Evolutionary structural optimisation for continuum structures’, IOP Conference Series: Materials Science and Engineering, 10(2010), pp 1-8 (p.2).

5. Hiroshi Ohmori, ‘Computational Morphogenesis’, IASS-IACM, (2008), pp1- 4 (p.3).

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composition/generation

E

xperimental designs for a pedestrian bridge

by BKK architects also utilised the generative ESO techniques to create structurally efficient yet [6] The elegant forms . technique was used to explore the use of perforated tubes in designing lightweight bridges with different cross sectional shapes (see Figure 20) but at the same time adhering to geometric constraints including: ramp slope of 1:20, height of 5.7m and a 6.5m width[7].

With the shift from composition to generation, modern

architectural discourse is also transitioning from formfinding to form-improving.

Hence, the topology of the building system becomes an optimisation process which creates a more integrated experience for future users and an architecture of meaning[8].

the status-quo and might not be a popular design approach. Fry’s concept of a democratic design is an ideology yet to be realised and as a result, many will choose to turn to conventional homogenous design rather than an emerging technology.

However, despite the influential impact of generative tools on architecture, in reality this method is still subject to the limiting effects of a capitalist economy. It is still an emerging technique which has not been accepted as

6. Sam Fragomeni & Srikanth Venkatesan, Incorporating Sustainable Practice in Mechanics and Structures of Materials (CRC Press, 2010), p. 42.

7. Fragomeni & Venkatesan, p. 43.

8. Brady Peters, ‘Computation Works: The Buildng of Algorithmic Thought’, Architectural Design, 83 (2013), pp.08-15.

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D E R MO I D

G

enerative architecture is also encouraging the emergence of algorithmic thinking which involves taking an interpretive role to understand the results of generating a code[9]. Success in algorithmic thinking can lead to the production of complex and interesting design forms like ‘Dermoid’.

Similar to the Kerf Pavilion, this project was about designing for material performance and pushing the boundaries of traditional material use through generative mediums like Grasshopper. In this case, a parametric modelling and algorithmic thinking was able to create a doubly-curved surface using timber elements of the same size, which would not have been possible using conventional 2D approaches[11]. As Peters discusses, unlike Modernism which focussed on the perfection of a single detail[10], generative thinking involves understanding parametric families and controlling relationships between parts. This allows for innovation of materials and creation of unique forms.

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Currently however, a major shortcoming of this approach to design is the difficulty in developing algorithmic thinking. In most cases, parametric modelling pedagogy involves learning specific algorithms rather than encouraging algorithmic, ‘puzzle-making’ thought[12]. This lack of knowledge undermines the creative potential of generative approaches to design in the industry.

9. Peters, pp.8-9.

10. Centre for Information Technology and Architecture, http://cita.karch.dk/Menu/Research+Projects/ Digital+Formations/Dermoid+Australia+(2013) [accessed 19th March 2015] 11.Peters, pp. 11.

12.Gerald Futschek & Julia Moschitz, ‘Developing Algorithmic Thinking by Inventing and Playing Algorithms’, Constructionism (2010), pp. 1-10.

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A.3

C

conclusion

onceptualising design has evolved from typical pen to paper approach to a more sophisticated creativity involving generative design. My intended design approach is to utilise this technology predominantly through Grasshopper to modify and create unique iterations with innovative structural integrity and intelligence. Similar to the Blur Pavilion, I want to focus on creating a design which challenges our normal every day paradigm and confront users with another more interesting reality for the senses.

It is always important to analyse and embrace positive aspects of new technologies (in this case, generative approaches) in order to develop new ways to contribute to the growing architectural discourse. I have been inspired by the generative approach and final fabrication of ‘Dermoid’ which utilises a parametric weaving technique to stretch the traditional properties of timber. Hence, for my own design conceptualisation, I would like to look into this concept of parametric weaving and in doing so, how different iterations of geometric patterns and forms can be created.

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I am also interested in how these patterns and forms can be influenced by existing site characteristics. From my research in Part A, I have realised the importance of performance-oriented design and this will also be an integral aspect in my design at Merri Creek. In doing so, my design becomes a medium from which users can form relationships and understand their surrounding environment rather than become detached from it. It also allows my design to be responsive to specific conditions like sunlight or views that is prevalent on the site, benefiting both users and the local ecology.

A.4

I

learning outcome

t was interesting learning about design generation and computation and its ability to improve and revolutionise the way we think about and design spaces. The precedents I have researched have really demonstrated the effectiveness of utilising computation in architecture, something that I have definitely underestimated, and its ability to produce extremely complex and creative forms. I could have used my new knowledge on parametric modelling to definitely extend the tectonics of materials like timber, a material I enjoy incorporating into my designs, and possibly created a new, more innovative, form.

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A.5

appendix

Using the Octree command on the NURBS surface of the Sydney Opera House, three different iterations could be produced. This demonstrates the creative ability of generative programs like Grasshopper to develop forms that the designer could not normally conceive or relate to. They represent that creativity is about pushing boundaries and suprising youself with the unusual, unique forms developed through computer generation.

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bibliography Allplan, Art Under A Straw Hat http://www.allplan.com/fileadmin/user_ upload/germany/Casestudies/Centre_Pompidou_Metz/Allplan_Case_ Study_FR_Centre_Pompidou_Metz.pdf, [accessed 13th March 2015] 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].

Brady Peters, ‘Computation Works: The Buildng of Algorithmic Thought’, Architectural Design, 83 (2013), pp.08-15.

Centre for Information Technology and Architecture, http://cita.karch.dk/Menu/ Research+Projects/Digital+Formations/Dermoid+Australia+(2013) [accessed 19th March 2015] Centre Pompidou-Metz, The Architecture-Roofing http://www. centrepompidou-metz.com/en/roofing, [accessed 13th March 2015].

Fabio Gramazio & Matthias Kohler, Digital Materiality in Architecture (Lars Muller Publishers, 2008), p.2-4.Futures+Design, Kerf Pavilion-MIT (2012) http:// futuresplus.net/2012/07/18/kerf-pavilion-mit/, [accessed 14th March 2015].

Fry Tony, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p.6.

Gerald Futschek & Julia Moschitz, ‘Developing Algorithmic Thinking by Inventing and Playing Algorithms’, Constructionism (2010), pp. 1-10.

Greg Lynn, Animate Form (Princeton Architectural Press, 1999).Karissa Rosenfield, Winning Proposals transform Power Plants into Public Art (2014) http://www.archdaily.com/553875/ winning-proposals-transform-power-plants-into-public-art/ [accessed 8th March 2015].

Hiroshi Ohmori, ‘Computational Morphogenesis’, IASS-IACM, (2008), pp1- 4 (p.3).

Michael U. Hensel, ‘Performance-oriented Architecture. Towards a Biological Paradigm for Architectural Design and the Built Environment’, FORMakademisk, 3(2010), 36-56.

Michael U. Hensel & Soren S. Sorensen, ‘Intersecting Knowledge Fields and Integrating Data-Driven Computational Design en Route to Performance-Oriented and Intensely Local Architecture’, Dynamics of Data-Driven Design, 1(2014), pp.59-74 (p.60).

Rivka Oxman & Robert Oxman, Theories of the Digital Architecture (New York: Routledge, 2014), p.3-8.

Sam Fragomeni & Srikanth Venkatesan, Incorporating Sustainable Practice in Mechanics and Structures of Materials (CRC Press, 2010), p. 42.

The RIBA President’s Medal Student Awards, http://www.presidentsmedals. com/Entry-31261, [accessed 17th March 2015].

Yehuda E. Kalay, Architecture’s New Media: Principles, Theories and Methods of Computer Aided Design (Cambridge: MIT Press, 2004), Yi Min Xie & Xiaodong Huang, ‘Recent Developments in Evolutionary structural optimisation for continuum structures’, IOP Conference Series: Materials Science and Engineering, 10(2010), pp 1-8 (p.2).

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image bibliography Figure 1: Diller Scofidio & Renfo, http://divisare.com/projects/151217-DILLERSCOFIDIO-RENFRO-Blur-Building [accessed 9th March 2015] Figure 2: Diller Scofidio & Renfo, http://www.dsrny.com/#/ projects/blur-building [accessed 9th March 2015] Figure 3:The Design Canopy, https://designcanopy.wordpress. com/2013/04/15/blur-building/ [accessed 9th March 2015] Figure 4: Diller Scofidio & Renfo, http://www.dsrny.com/#/ projects/blur-building [accessed 9th March 2015] Figure 5: LAGI, http://landartgenerator.org/blagi/archives/3610 [accessed 9th March 2015] Figure 6: LAGI, http://landartgenerator.org/blagi/archives/3610 [accessed 9th March 2015] Figure 7: James Ewing Photography, http://www.jamesewingphotography.com/index. php#mi=2&pt=1&pi=10000&s=0&p=12&a=0&at=0 [accessed 13th March 2015] Figure 8: Kay Gaensler, https://www.flickr.com/photos/ gaensler/5631311928/ [accessed 13th March 2015] Figure 9 and Figure 10: DesigntoProduction, Digital Model of Parametric Surface (2007), pp. 482-86.

Figure 11: MIT Architecture, https://architecture.mit.edu/architecturaldesign/project/kerf-pavilion [accessed 14th March 2015] Figure 12: MIT Architecture, https://architecture.mit.edu/architecturaldesign/project/kerf-pavilion [accessed 14th March 2015] Figure 13: McGraw-Hill Companies, http://archrecord.construction.com/projects/ portfolio/archives/1007pompidou-metz/slide.asp?slide=4 [accessed 14th Marc 2015] Figure 14: MIT Architecture, https://architecture.mit.edu/architecturaldesign/project/kerf-pavilion [accessed 14th March 2015] Figure 15: DesigntoProduction, Digital Model of Parametric Surface (2007), pp. 482-86.

Figure 16: Joakim Hoen, http://www.joakimhoen.com/ [accessed 15th March 2015] Figure 17: RIBA Present’s Medals Student Awards, http://www. presidentsmedals.com/Entry-31261 [accessed 15th March 2015] Figure 18: RIBA Present’s Medals Student Awards, http://www. presidentsmedals.com/Entry-31261 [accessed 15th March 2015] Figure 19: Hiroshi Ohmori, ‘Computational Morphogenesis’, IASS-IACM, (2008), pp1- 4 (p.3).

Figure 20: BKK Architects, http://b-k-k.com.au/research [accessed 16th March 2015]

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PART B C R I T E R I A

D E S I G N

B.1

research fields

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FIGURE 21: FRAC Centre and its faceted parametric form.

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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.

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B.2

case study 1.0

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

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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 22: Voussoir Cloud experience.

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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

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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

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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

#

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case study 1.0 Delaunay Mesh

Sierpinski Carpet

Sierpinski Carpet

Scaled value: 9

Scaled value: 15

#

#

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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.

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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.

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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.

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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.

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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.

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60

B.3

case study 2.0

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PULA, CROATIA

T U F T

FIGURE 23: 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.

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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

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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.

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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.

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B.4

technique: development

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T

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

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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

#

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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

#

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technique development

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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.

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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

#

73

T

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

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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

#

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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

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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.

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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.

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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

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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.

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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.

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82

B.5

technique: prototypes

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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.

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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.

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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.

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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.

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88

B.6

technique: proposal

89

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.

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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.

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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.

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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

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94

B.7

learning outcomes

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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.

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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.

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98

APPENDIX algorithmic sketches

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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

100

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.

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E VALUAT I NG F I E LDS

Radial hexagons

Series of intersecting curves 102

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.

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E XPRE S S I ON S

104

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).

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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.

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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.

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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 left 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.

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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?

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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 21: http://www.designboom.com/architecture/frac-centre-opens-in-new-site-by-jakob-macfarlane/ Figure 22: http://www.iwamotoscott.com/VOUSSOIR-CLOUD Figure 23: http://www.numen.eu/installations/tuft/pula/

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111

PART C detailed

design

C.1

design concept

113

114

design concept D E S I GN D E VE LO PM E NT

A

s my chosen research field was geometry, I wanted to extend my design to incorporate geometries like hexagons or voronoi cells to create a non-uniform surface pattern. I did not have an interim presentation (due to illness) so I continued developing my proposal to create a canopy-like structure which envelops users within the space.

Furthermore, I considered incorporating materiality within the cell geometries to encourage an interactive tactility, as well as bringing the canopy down to the human level, rather than lofted above.

Considering feasible methods of fabrication, I turned towards a framelike structure rather than utilising more flexible materials like fabric. This will hopefully allow me to create a structure with the ability to withstand compressive forces (yet maintaining a fluid aesthetic) and also have distinct members whose dimensions can be accerately fabricated.

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ax

is

of

sy

mm

et

ry

proposed site

existing playground FIGURE 24: Site analysis showing axis of symmetry and elements of balance within the chosen site.

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design concept F I NAL PRO POSAL

T

he final design will continue to maintain the inherent symmetry on the site and act as an anchoring point for the entrance at the North.

As mentioned previously, the alcove serves as a very relaxing niche which is underused and often overlooked as users walk towards the playground.

Philips Reserve is quite centrally located in the region (accessible by a main trail) and is close to residential areas and the CERES Community Centre. Thus, the space is often frequented by families, joggers and cyclists and the design aims to encourage these users to spend more time in the alcove (proposed site) before continuing on their journey. Furthermore, the design also aims to engage with children, providing a new ‘playground’ as the existing one is weathered and old.

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As demonstrated by Figure 25 on the following page, the design will also respond to sunlight conditions on the site.

As the design aims to refocus views to within the alcove, rather than outwards, shades will be provided to create an enclosed feeling. These will be placed in voronoii/hexagonal cells situated where there is no tree cover, allowing for a patterning to occur both within the cells and on the ground through its shadow.

Furthermore, Figure 26 (also on the following page) shows that the ‘entrance’ to the design will be located facing the row of trees to encourage users to walk through the alcove and underneath the natural canopy. The design is all about. encouraging users to stop and appreciate the surroundings and aims to encourage users to take a route not normally used.

SITE PLAN & ANALYSIS response to sunlight

shaded cells 118

FIGURE 25: Site analysis showing the design’s response to sunlight through shaded cells.

119

SITE PLAN & ANALYSIS response to primary axes of movement

shaded cells primary axis of movement intended re-route 120

FIGURE 26: Site analysis showing the design’s response to movement axes through location of entrances attempting to redirect and change pedestrian flow.

121

E LE VAT I O N S*

0

1m

north elevation

0

1m

east elevation

122

design concept

0

1m

west elevation

0

1m

south elevation

* La nd s ca p e o m i t te d to d em o n s t rate d es i g n fo r m a nd s t r u ctu re - s e e fo l l ow i ng p a g e fo r l a nd s ca p e v i ew 123

A

row of tall oaks line the northern boundary, creating an area of dense foilage and shade.

The structure can be seen between the trees whilst the ‘entrance’ opens up for users to enter the

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canopy. The entrance is tall enough to fit full-grown adults however the spaces within shift and change- sometimes gettng smaller and lower. The entrance is also located amongst the tress to encourage users to walk between them and experience the space

north view

125

west view

126

east view

T

he design facilitates play through encouraging children to climb and interact with the structure as it is fairly low lying and is accessible for children.

The foilage falls through the empty cells and into the canopy indicating a lack of spatial demarcation between the interior and exterior of the structure.

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The undulating nature of the catenary structure also creates an interesting internal environment for children to explore. Incorporating the tactility of the shades (shown in the final model) will also create shadow play within the internal environment whilst the filtration of light from the foilage and shades will create quite a tranquil place for users.

TE CH N I QU E PROCE S S SPRINGS

2

1 POPULATE RECTANGLE WITH VORONOI

3 CURVE

ANCHOR POINTS

EXPLODE

UNARY FORCE

z AXIS

VECTOR

1,2 3

A rectangle is created in Rhino within the

Anchor

confines of the site and is populated with

surrounding

Voronoi cells through Grasshopper. The grid is

will be attached) and this will influence

then edited by deleting and elevating cells and

the

referenced back into Grasshopper as a curve.

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points

overall

are

trees

determined (where

‘inflating’

of

the the

on

the

structure structure.

design concept 4 KANGAROO PHYSICS

5 EXPLODE POLYLINE

REMOVE DUPLICATES

PIPE

4,5

Kangaroo

Physics

runs

the simulation based on the Z axis force to inflate the grid whilst the anchor points pin the ends down.

The

geometry

output

is

converted into pipes to allow for a more realistic diagram of the timber members.

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C.2

prototypes

130

prototypes

P

rototypes were developed to explore different methods of creating the joints which connected the different members of the cells. Realistically, it would be too expensive to create individual customised joints through 3D printing so another method needs to be devised. The prototypes each explore different systems of connection however still allows for the undulating terrain of the design. Furthermore, it utilises different materials which can be fairly easily obtained and put together.

Materiality is also important in the design as it assists to create a particular atmosphere. Thus, it will also be considered when constructing prototypes. The design ideally works on a system of compression however tension members are also considered during prototype development. This will widen the scope of experimentation with different jointing systems.

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prototypes PROTOT YPE O N E Fo l d s c re ate d by m a n i pu l at i ng fa b r i c

Cables are attached onto the trees and the height of which it is attached determines the degree to which the cable is pulled upwards.

FIGURE 27: The upper surface of the structure. Rings and cables are used to alter the folds present on the top and underside of the canopy.

Sew rings onto fabric. Hoop ends of cables onto rings and secure them in place. Length of cables will be determined by where they are attached.

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T

his prototype demonstrates the ability of fabric to be easily manipulated.

Cables are used to control the height and intensity of the folds by altering the length of the cable and the number of rings present on the fabric (and how they are spaced). The folds create a smooth undulating surface (see Figure 28) and a particular physical texture in the structure.

Using fabric also creates a heavy atmosphere however its material uniformity does not provide the opportunity to play with light and shadow- something I would like to achieve in my final design.

FIGURE 28: Folds created on the underside of the fabric.

The fabric can be pulled to create arches at the entrances.

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prototypes PROTOT YPE T WO Cu r ve d l at t i ce b a l s a s t r u ctu re u s i ng p i n j o i nt s a nd d ou b l e cu r vatu re of s t r i p s

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his prototype was inspired by the construction of Centre Pompidou Metz (Shigeru Ban) which uses double curved glulam timber members. These members are prefabricated and CNC milled to produce to ensure high structural integrity. They are connected using prestressed screwed bolts forming simple pin connections between members. This method can be used on site to form a hexagonal lattice rather than a Voronoi one. As the scale of the structure is much smaller than the roof lattice at Centre Pompidou Metz, the construction time and material use would also be less. This method will allow for the creation of a fluid aesthetic of the canopy (using simple connections) and yet maintaining its structural integrity.

FIGURE 29: Construction of the prototype- pinning wet balsa strips down onto foam so the balsa dries into its doubly curved form.

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The curved, fluid form of the canopy is constructed using the process described in Figure 29. It utilises long strips of balsa (rather than shorter individual ones) pin jointed to form the fluid canopy.

FIGURE 30: The underside of the lattice structure seen from within the design space

The benefit of using this fabrication system is that the long timber members create an experience of fluidity. Furthermore, there are no complex connections which speeds up the construction process on site. However, a challenge is the complex fabrication method to produce these doubly curved members.

CNC milling is expensive however it is possible as the scale of the project is small and relatively simple. This being said, the design will have to change to produce regular cell geometries rather than use irregular voronoi cells.

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This frame system is also beneficial as it creates ‘empty’ cells which can be fitted with a shade. It provides room for children to hang and climb whilst also allowing for the foilage to filter into the structure itself yet maintaining the fluidity and sense of movement like fabric.

It is clear this system has a strong potential to be utilised for the construction of the final design however I would like to explore other options to test different structural materials which may be more efficient to fabricate and construct.

prototypes PROTOT YPE THRE E U s i ng r i ng te r m i na l s a nd ca b l es to m a n i pu l ate t h e d i re ct i o n a nd a ng l es of m em b e r s

FIGURE 31: The nodes on this rope climbing frame allow the cables to be strung in different angles and planes.

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imilar to complex rope climbing frames, this prototype works on a tension system of cables. It is constructed using long continuous cables which are weaved in and looped around ring terminals which allows the cable to remain fairly rigid whilst also being able to be projected in different directions and different angles.

The system is quite efficient in creating a structure for play as children are able to climb on it and hang from it. Furthermore, because the cables are all connected, moving one section of the structure can create a ripple

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in another adjacent section.

This further adds to the dynamism of the design.

The system itself is fairly easy to construct and uses materials which are easily obtainable. Cable members can be adjusted in length and each connection utilises a ring terminal which is a standardised product.

The structure itself can be rigid and strong enough to support children climbing on it but it needs an extra dimension to prevent it from seeming like another rope climbing frame seen at playgrounds across the globe.

FIGURE 32: Cables are looped around the ring terminals which project the members at angles to form the caternary structure.

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C.3

final detail model

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final detail model

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he final model draws on tectonic elements from both the cable and balsa prototype systems. From Prototype 2, timber was determined to be the best material due to its ease of construction and also as an aesthetic- a natural material which will complement the alcove space very well. Prototype 3 demonstrated the need to have joints which will allow members to be projected in different directions and angles but also requires a node which is standardised to allow for efficient and cost-effective construction.

Thus, the final model is a system chosen as it is more effective than those explored in the prototypes. Prototype 2 and prototype 3 are systems which are still able to be utilised in achieving the design agenda however the final design system proves to be a better articulation of materials and joints thus is able to achieve the caternary system of the design in a more effective manner.

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CO N N E C T I O N O F T I M B E R DOWE L S

ball joint/ node

connector

Connector pin

timber dowel

FIGURE 33: Detail of timber dowel connection with the steel node.

Hole for insertion of bolt

Threaded bolt Sleeve 140

final detail model

CO N N E C T I O N O F T I M B E R DOWE L S TO TRE E

timber dowel

FIGURE 34: Detail of timber dowel connection with tree (anchor point).

plate

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he construction system uses a combination of timber dowels and steel connectors.

The steel connectors have multiple insertion slots to cater for the various angles of the timber dowel members.

Figure 33 demonstrates the connection system.

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This connection system was chosen as it provides the ability for the connection joint to be standardised however catering, to some flexibility, for the angles adopted by the timber members.

CO N S TRU C T I O N PROCE S S

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The dowel is then connected to the node via means of bolting and welding to create a rigid connection which works efficiently in compression.

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Timber dowels are cut using miter saws according to shop drawing specifications (and specific member lengths) in the factory (prefabricated) and transported to site.

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Nodes are manufactured or purchased in bulk and transported to site. They can be standardised to allow for ease of fabrication (cold formed steel).

final detail model 4.

Hook screws are screwed into timber dowels (6 per dowel)

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Yarn is threaded through the hooks to create a patterned ‘shade’. Logic behind the pattern: Each hook at the corners are threaded through the 6 hooks on both its adjacent sides.

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FIGURE 35: The shadow effect created by the patterned shade.

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ateriality and patterning are important in the design as it contributes to creating interesting niches within the canopy. This may be the rigid frames which exposes the raw structure of the steel and timber to encourage climbing. Or the play of light by shadows from the weaved shades or from the natural foilage.

Or the low lying parts of the canopy which encourage tactiltiy with the timber and yarn.

Thus, the construction system chosen is important in achieving the design agendas of encouraging play (movement and light) and tactility as well as facilitating the creation of a fluid caternary form comprising of framed cells.

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B.7

learning outcomes

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learning outcomes

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omputation and parametric design has the ability to transform architecture and create forms which were previously never imaginable.

It allows the design to be optimised and also better customised to its environment and context.

However, as I have learnt (especially in the later half of the semester), it can be tricky to actualise and construct the computational geometries in reality. This may require fabrication methods not accessible to students or the design might have been better rationalised using different geometries (eg. using triangles rather than hexagons or Voronoi grids). Realising the design proved to be a bigger challenge for me compared to developing the design through parametric means. I found it difficult to conceptualise the product in real life which led me to pursue the less optimal path during my design development. This led to complications in fabrication and construction.

This being said, I have managed to develop a method of construction which allows me to achieve the design of a fluid, ‘inflated’, caternary structure. I have expanded my skills in using algorithms and parametric modelling in Grasshopper to inform my design and I also have an improved understanding on the criteria and ogic behind the need to always consider HOW the parametric model can be translated into a physical

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ogic behind the need to always consider HOW the parametric model can be translated into a physical model which helps to optimise and rationalise the design into efficient construction methods.

Through the brief, case studies and using Kangaroo Physics, I have also been inspired by how a suspended structure (although detached from the ‘wordly’ plane’ can be designed to influence user behaviour). Many structures use the notion of air for suspension and for weightlessness and encourages users to explore it in unusual ways (eg. Tuft Pula, Tape Mebourne). This adds a new dimension to how floating, suspended structures can be utilised to create new environments and experiences.

It is clear the computational design and parametric modelling has the potential to expand normative architecture and the way design is conceptualised (and realised). It has potential to generate new, exciting designs which are responsive to its context. However, users must be aware and not be lost within the digital realm and must be constantly analysing their work in response to real world fabrication. If this is achieved, parametric modelling and digital fabrication not only provides innovative designs but also innovative ways of using materials and tectonic systems.

bibliography Figure 29: DesigntoProduction, Digital Model of Parametric Surface (2007), pp. 482-86.

Figure 31: http://www.lifeinbonitasprings.com/blog/cocohatchee-river-park-naples-florida/

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