STUDIO AIR 2017, SEMESTER 1, TUTOR: MATTHEW MCDONNELL OLIVER SUTER
Table of Contents 4 INTRODUCING... 8 A.1 Design futuring 10 CASE STUDY ONE 13 CASE STUDY TWO 15 A.2 Computation 17 CASE STUDY ONE 18 CASE STUDY TWO 21 A.3 Composition/Generation 22 CASE STUDY ONE 25 CASE STUDY TWO 26 A.4 Conclusion 27 A.5 Learning Outcomes 28 A.6 Appendices
FIG.1 (COVER) : HTTP://ZENBULLETS.COM/PRINTS.PHP
INTRODUCING... Hello! I’m Oli, a third student at the University of Melbourne. I am studying architecture through the bachelor of Environments and have a keen interest in design computerisation and visualisation techniques for both architecture and visual communications. As I am fairly new to the more complex digital softwares on offer, my previous works have been developed through analogue techniques and more standard digital programs. My interest in exploring digital architecture further was first triggered by the internet. Living in a technological era, our demand for information is infinite and programming is constantly evolving to better suit our wants and needs. I would like to develop a comprehensive understanding of algorithmic techniques this semester so I can develop my own codes and experiment further in manipulating them. I think it is such a dynamic tool to have now and even more into the future!
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CONCEPTUALISATION
FIG.1: CINEMA BUILDING ENVELOPE, GOLD COAST QLD 2016
SECTION A: CONCEPTUALISATION
A.1 Design futuring P E R S O N A L D E F INI T I O N : R E - O RC H E S T R AT IN G E X I S T IN G D E S I G N P R O C E S S E S T H R O U G H T H E C O L L A B O R AT I O N O F M A N Y D I S C IP L IN E S TO E S TA B L I S H M O R E E F F E C T I V E D E S I G N O U TC O M E S IN T H E F U T U R E 1
1 (FRY 2009) 2 (FRY 2009) 8
CONCEPTUALISATION
As humans, we viciously exploit the world in our daily activities as if it were a limitless resource. Jacob Bronowski once stated “design is the epitome of intelligent behaviour: it is the single most important ability that distinguishes humans from other animals.”2 . As designers we are at the forefront of the world’s exploitative state, it is primarily our duty to establish strong solutions now for the future. Our previous design process has failed us as humans as it functioned with the morals of a world with so called ‘limitless’ resources. A new process needs to be formed involving close collaboration with disciplines such as; ecology, engineering and psychology in order to form fully sustainable solutions.
CASE STUDY ONE
URBAN RIGGER, BIG
As the number of students is steadily increasing globally, major cities and study destinations are gradually evolving into universal problem: a housing crisis. As major cities are already reaching overly-dense capacities, it is becoming very difficult to form an effective solution. Luckily for students, the Bjarke Ingels Group (BIG) have addressed this issue with a revolutionary approach! The Urban Rigger project has been demonstrated with a full scale prototype in Copenhagen. Being a city which in recent years has experienced a growing number of student applications, it is a prime example of how the project is so successful 3 . A primary factor for student accommodation is that its location needs to be within the city. Most major cities are linked to a water system - a system which also offers the greatest underdeveloped spatial opportunity in it’s context. By identifying this opportunity, the BIG developed a suitable prototype which could be easily constructed and repeated for effectiveness. In using shipping containers structural features and portability of the containers are highly effective in reducing financial cost. By repurposing an item which is in abundance globally the ecological cost is also minimal. As the model’s cost is so low, implementing technologies such as: solar energy, Hydro source heating and Up-cycled materials also allows the project to be cost-effective and self-sustaining 4 . The simplified blueprints allow easy construction and as the end result floats the project is movable along river sides. The BIG have successfully formed a revolutionary model that creates a new purpose for its chosen sites and can be repeated cheaply all over the world.
3 (ARCHDAILY 2016) 4 (URBAN RIGGER 2016) 10
CONCEPTUALISATION
FIG.1 (TOP) : (URBAN RIGGER 2016) FIG.2 (RIGHT) : (URBAN RIGGER 2016) CONCEPTUALISATION
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CASE STUDY TWO
ZEB PILOT HOUSE, PILOT PROJECT/SNOHETTA
The term ‘sustainability’ in design is often followed by a negative notion as it is regularly perceived as an anti-social or inconvenient intention. The ZEB Pilot House by Snohetta however, completely contradicts any previous mindset. Combining experts of multiple professional backgrounds the approach for this family house is simple in concept but complex in its execution; to verify a minimum of 100% CO2 offsetting without reducing a houses standard of living 5 . It was identified that by focusing on reducing carbon emissions other green house gases would be altered simultaneously. With the implementation of photovoltaic panels (150M2) and solar thermal panels (16m2) on the buildings roof, energy from power stations can be completely avoided - thereby eliminating any burning of fossil fuels. Together with additional energy received through geothermal energy sources allow the house to achieve a surplus in energy levels. The design team identified the key expectations and qualities of a family home to ensure the preservation of modern living standards. Independent research body SINTEF, Optimera and ZEB partner Brodrene Dahl together with Snohetta have revolutionised the way sustainability can be implemented into buildings, demonstrating the importance of cross-disciplinary interaction in design.
FIG.1 (TOP) : (SNOHETTA 2014) FIG.2 (BOTTOM) : (SNOHETTA 2014) 12
CONCEPTUALISATION
5 (URBAN RIGGER 2016) CONCEPTUALISATION 13
A.2 Computation P E R S O N A L D E F INI TO N : T H E U S E O F D I GI TA L PA R A M E T RI C S Y S T E M S F O R A S S I S TA N C E IN COMPLE X
DESIGN
R E S O LU T I O N .
The new millennium has so far shown parametric design methods being increasingly incorporated in the design world. As architects now have access to forming and manipulating their own scripts, computerisation methods are driving architecture into a new era. Responses to this evolution are critical and often become controversial. Are these programs perhaps restricting our creativity? Frampton himself stated his concerns that contemporary design culture is losing its capacity to implement tectonics as “poetics of construction�6 .
This is the last printable page in your book and will print on the left side.
It is however a standard response for society to be skeptical over new methods, as a similar response was seen in Corbusier when he expressed distaste for Man working alongside the machine. However, Man and the machine proved necessary for the growing global economies and societal demands for improvement in systems. Furthermore a result of progressive technologies, designers are expected to shift in parallel with the current evolution of digital methods. 6 (FRAMPTON 2007)
CASE STUDY ONE
VANA, ORPROJECT
In this project the design process begins naturally with the concept of the tree structure - existing in an interior setting. A depth first candidate is selected to use an algorithm for the objects structure. By establishing parametric definitions for the algorithm, The Vana (meaning forest) was formed primarily as an iso-surface around an anastomotic network diagram, as the cortex which bound a venation system 8 . Through this reliance of algorithms the project successfully displays how complex technologies can be somewhat manipulated to form quite successful results. However, it also displays how the traditional analogue process is neglected in the process of this. It is difficult to determine if the algorithm produced an accurate or hopeful outcome of what was planned. The Vana also proves that the use of algorithmic systems in a project completely relies on the digital system to equate some form of resolution which significantly changes the traditional stages of the design process.
FIG. (ALL) : (ORPROJECT 2014) 16
CONCEPTUALISATION
8 (ORPROJECT 2014) CONCEPTUALISATION 17
CASE STUDY TWO TIMES EUREKA PAVILLION, NEX ARCHITECTURE
Through elaboration of the original concept of its surrounding landscape, the design team extracted forms from the bio-mimicry of leaf capillaries to influence organic shapes that are embedded into the project’s walls and structure. The computing element of the project has assisted compositional aspects of the project allowing it to work structurally also. After creating the form digitally it could be directly passed on to digital manufacturing and construction with only minimal assistance from specialised fabricators 9 . The digital process and manufacturing enables precise control over the project through its entire journey.
9 (NEX-ARCHITECTURE 2011) 18
CONCEPTUALISATION
FIG.1 (COVER) : HTTP://ZENBULLETS.COM/PRINTS.PHP FIG. (ALL) : (NEX-ARCHITECTURE 2011) CONCEPTUALISATION
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A.3 Composition/Generation
P E R S O N A L D E F INI TO N : T H E U S E O F D I GI TA L PA R A M E T RI C S Y S T E M S F O R A S S I S TA N C E IN COMPLE X
DESIGN
R E S O LU T I O N .
The new millennium has so far shown parametric design methods being increasingly incorporated in the design world. As architects now have access to forming and manipulating their own scripts, computerisation methods are driving architecture into a new era. Responses to this evolution are critical and often become controversial. Are these programs perhaps restricting our creativity? Frampton himself stated his concerns that contemporary design culture is losing its capacity to implement tectonics as “poetics of construction� (SOURCE).
This is the last printable page in your book and will print on the left side. 20
CONCEPTUALISATION
It is however a standard response for society to be skeptical over new methods, as a similar response was seen in Corbusier when he expressed distaste for Man working alongside the machine. However, Man and the machine proved necessary for the growing global economies and societal demands for improvement in systems. Furthermore a result of progressive technologies, designers are expected to shift in parallel with the current evolution of digital methods. CONCEPTUALISATION 21
CASE STUDY ONE ENDESA WORLD FAB CONDENSER / MARGEN-LAB
We are in an era where designers are using programs to create programs that can then generate designs. This project is a prime example. The form is originally an icosahedron, then under a parametric process following specific thermodynamic criteria is manipulated to respond best to the solar radiation of Barcelona, its site location. The Margin-Lab have combined organic local materials, with parametric design and passive climate systems. And it gets better. Through the use of the digital process it then enabled the design to be digitally manufactured in to only 20 components ready for assembly process10 . Through code the design took approximately 2 months, with manufacturing and final assembly in just 9 days. The project’s entire creation was only possible through Algorithmic technology.
10 (MARGEN-LAB 2014) FIG.1&2 : (MARGEN-LAB 2014) 22
CONCEPTUALISATION
CONCEPTUALISATION 23
CASE STUDY TWO CHECK POINT BUILDING / KIMMEL ESHKOLOT ARCHITECTS
The Check Point Building showcases just how well algorithmic design can suit a concept. With the brief signifying that it needs to distinguish a clear division of science and mathematics departments it was only appropriate that algorithmic patterns would be implemented in designing the building. Using computerised parametric the architects were able to wrap the building’s envelope with glass pixels in order to display a changing lighting effect that symbolises the de-materialized world of technological hard and software11. The glass wall was formed through four stages; beginning at a polygon, curves, to points, to finally - pixels!
FIG.1 : (KIMMEL ESHKOLOT ARCHITECTS 2013) 24
CONCEPTUALISATION
11 : (KIMMEL ESHKOLOT ARCHITECTS 2013) CONCEPTUALISATION 25
A.5 Learning Outcomes PERSONAL DEFINITON : THE USE OF DIGITAL PARAMETRIC SYSTEMS FOR ASSISTANCE IN COMPLEX DESIGN RESOLUTION.
A.4 Conclusion PERSONAL DEFINITON : THE USE OF DIGITAL PARAMETRIC SYSTEMS FOR ASSISTANCE IN COMPLEX DESIGN RESOLUTION.
The new millennium has so far shown parametric design methods being increasingly incorporated in the design world. As architects now have access to forming and manipulating their own scripts, computerisation methods are driving architecture into a new era. Responses to this evolution are critical and often become controversial. Are these programs perhaps restricting our creativity? Frampton himself stated his concerns that contemporary design culture is losing its capacity to implement tectonics as “poetics of construction” (SOURCE). It is however a standard response for society to be skeptical over new methods, as a similar response was seen in Corbusier when he expressed distaste for Man working alongside the machine. However, Man and the machine proved necessary for the growing global economies and societal demands for improvement in systems. Furthermore a result of progressive technologies, designers are expected to shift in parallel This is the last printable page in your book and will print with the current evolution of digital methods. on the left side.
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CONCEPTUALISATION
The new millennium has so far shown parametric design methods being increasingly incorporated in the design world. As architects now have access to forming and manipulating their own scripts, computerisation methods are driving architecture into a new era. Responses to this evolution are critical and often become controversial. Are these programs perhaps restricting our creativity? Frampton himself stated his concerns that contemporary design culture is losing its capacity to implement tectonics as “poetics of construction” (SOURCE). It is however a standard response for society to be skeptical over new methods, as a similar response was seen in Corbusier when he expressed distaste for Man working alongside the machine. However, Man and the machine proved necessary for the growing global economies and societal demands for improvement in systems. Furthermore a result of progressive technologies, designers are expected to shift in parallel with the current evolution of digital methods.
CONCEPTUALISATION 27
A.6 Appendix - Algorithmic Sketchbook
A.7 References ARCHDAILY. 2016. URBAN RIGGER. OCTOBER 6. ACCESSED MARCH 17, 2017. HTTP://WWW.ARCHDAILY.COM/796551/URBAN-RIGGER-BIG. FRAMPTON, ARCHITECTURE. FRY,
TONY.
KENNETH. NEW YORK: 2009.
DESIGN
2007. THAMES
FUTURING.
NEW
MODERN HUDSON.
& YORK:
BERG.
KIMMEL ESHKOLOT ARCHITECTS. 2013. KIMMEL ESHKOLOT. MAY 21. ACCESSED MARCH 17, 2017. HTTP://WWW.KIMMEL.CO.IL/PROJECTS/CHECK-POINT-BUILDING/. MARGEN-LAB. 2014. “ENDESA WORLD FAB CONDENSER .” MARGEN LAB. SEPTEMBER 24. ACCESSED MARCH 17, 2017. HTTP://WWW.ARCHDAILY.COM/549830/ ENDESA-WORLD-FAB-CONDENSER-MARGEN-LAB/54123712C07A80931F00005EENDESA-WORLD-FAB-CONDENSER-MARGEN-L AB-PHOTO. NEX-ARCHITECTURE. 2011. “TIMES EUREKA PAVILION .” NEXARCHITECTURE. SEPTEMBER 12. ACCESSED MARCH 17, 2017. HTTP:// W W W.NE X- A RCHI T ECT URE .C OM / PRO JECTS / T IMES - E URE K A - PAV IL ION /. ORPROJECT, SUMEDH PRASAD AND. 2014. “VANA.” ORPROJECT. MARCH 12. ACCESSED MARCH 17, 2017. HTTP://ORPROJECT.COM/VANA/. OXMAN, RIVKA, OF DIGITAL IN
AND ROBERT ARCHITECTURE.
OXMAN. 2014. NEW YORK:
THEORIES ROUTLEDGE.
SNOHETTA. 2014. “ZEB PILOT HOUSE.” SNOHETTA. AUG 30. ACCESSED MARCH 15, 2017. HTTP://SNOHETTA.COM/PROJECT/188-ZEB-PILOT-HOUSE. URBAN RIGGER. 2016. “COOL AND AFFORDABLE LIVING.” URBAN RIGGER. OCT 3. ACCESSED MARCH 17, 2017. HTTP://WWW. U R B A N R I G G E R . C O M / W P - C O N T E N T/ U P L O A D S / 2 0 16 / 0 2 / U R 6 _ 3 . J P G . —. ,
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2016. SUSTAINABILITY. AUGUST 20. ACCESSED MARCH 17 2017 . HTTP://WWW.URBANRIGGER.COM/SUSTAINABILITY/.
CONCEPTUALISATION 29
SECTION B: CRITERIA DESIGN
B.1. SECTIONING R E S E A RC H D E F INI T I O N
There are multiple methods in which parametric design can be implemented to assist designers in their projects. Sectioning is an effective technique for forming three-dimensional geometries that are also structurally resilient. Sectioning techniques are highly effective when crossing over from design to construction stages as the information from a sectioning project can easily provide information for its immediate digital manufacturing 1.
1. K L A U S T E LT E N KOT T E R , “ D I GI TA L E S E N T W E R F E N D I GI TA L D E S I G N B E TA : P RIN C IP L E S .� G E S TA LT U N G H O C H S C H U L E M A IN Z (2 017 ) 32
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RESEARCH FIELD
BANQ
The BANQ restaurant of Boston, USA is a prime sample of how sectioning can be effectively applied to a design concept. The project brief required an architectural form to camouflage elements such as: mechanical equipment, sprinkler systems and piping that were necessary to the space’s function but visually polluting 2 . This form would also have to complement the existing fittings that existed within the space to evoke a social and unique atmosphere – an ‘identity’ for the venue.
The building’s generous ceiling height encouraged some spatial freedoms for the new form that could be fitted. In using parametric design, rules could be employed to establish boundaries that the form could work within and characteristics that were necessary to suit the client’s intentions. By following the set algorithms, the architects would be able to play with possible outcomes and manipulate a design that is playful and structurally effective. Parametric sectioning would also allow quick manufacturing be completed with one main material: plywood.
Key concerns with this design were the structural support for the form as the connection to existing columns would not be structurally possible 3 . As the form would consist of multiple plywood strips, an effective support system had to be formed.
2 . PA S C A L PA N A G I OT I D I S , “ B A N Q R E S TA U R A N T B Y O F F I C E D A .” YAT Z E R (2 017 ) [1] H O R N E R , J O H N . B A N Q R E S TA U R A N T B Y O F F I C E D A . 2 017. H T T P : // W W W. A R C H D A I LY.C O M /42 5 81/ B A N Q - O F F I C E - D A / 5 011F F 612 8 B A 0 D 5 5 810 0 0 0 91- B A N Q - O F F I C E - D A - P H OT O
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3 . D A O F F I C E , “ B A N Q R E S TA U R A N T.” A R C H D A I LY (2 0 0 9)
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Case Study 1.0 B A N Q R E S TA U R A N T A LG O RI T H M E X P LO R AT I O N
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Key Iterations
S P E C IE S T H R E E , I T E R AT I O N O N E
S P E C IE S T H R E E , I T E R AT I O N O N E
S P E C IE S F O U R , I T E R AT I O N T W O
S P E C IE S F I V E , I T E R AT I O N T H R E E
Species two focused on manipulating the form, this time tweaking more components and keeping the original bitmap reference in order of seeing how far the form could be pushed before it becomes illegible.
A significant step was acheived in the third species as the form was extruded along the Y axis and a YZ union box replaced the previous direction of the contours. In adjusting the sliders once again, significant differences in the forms were acheived due to the YZ union box changing the direction of the contour extrusions.
Species four evolved on from species three. Extrusion on the xyz plane gave a third direction for each individual shape. The although the form generated an unnecessary complexity, the physical result of engaging all three vertices on the extrusion was unexpected. This touches back on the week four reading where Robert Woodbury elaborates on how parametrics offer endless results of form thus making it a great search tool for designers.
In Species five a step backwards was necessary, by deleeting the extrusion components included previously, the form was back to it’s key framework. The original contour curves were connected to an extrude to point component which then allowed circles to be placed along each curve equally. Through lofting, new cylindrical forms were able to be generated along the original body.
In the first two iterations (top to bottom) it can be seen that the form and its densities were tested. This was done by implementing a number slider to the surface grid. By this fifith iteration, the amplication of movement was further exagerrated by swapping the addition formula to a multiplication component which pushed the form to become highly complex. 38
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Case Study 2.0 W E B B B RID G E , D O C K L A N D S , M E L B O U R N E R E V E R S E E N GIN E E R E D
Finished in 2005, the Webb bridge is a prominent 21st century architecture piece located in Melbourne’s renowned Docklands area. The bridge’s intent was to act as a key thoroughfare for pedestrians and cyclists over the Yarra river whilst also acting as a public art piece. The project involved Architecture firm Denton Corker Marshall, artist Robert Owen and engineering firm Arup. The Artist’s vision for the bridge was to develop a form similar to the structure of a Koori eel trap which would have been used in the area by indigenous Australians prior to the colonization of what would become Melbourne 1.From an engineering perspective the intent was to develop a spline and circular form that would best fit the artist’s ideas in elevation whilst ensuring the form would still be affordable and buildable 2 . In resolution, the structure was in fact built in the local area, erected and then shipped within the water network to the site with its installation taking only a few hours! Upon reflection of the project, its structural composition and charismatic character are beautiful – especially at night. There are however some key details that were perhaps neglected in its design stages. As the bridge is a key thoroughfare for cyclists, the bends and railings do not function well for cyclists as highlighted on several occasions by 1 Bicycle Victoria . This suggests that a key technological focus potentially distracted the designers from key aspects which were vital to its users. Overall the bridge is effective aesthetically, structurally and as a local attraction. However its slight flaws in functionality for its users is somewhat disappointing.
1. N O R M A N D AY, “ T H E W E B B B R I D G E ” , T H E A G E (2 0 0 4) 2 . D E N T O N C O R K E R M A R S H A L L , “ W E B B B R I D G E .” D E N T O N C O R K E R M A R S H A L L (2 0 0 5 )
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[ 2 ] M C G R AT H , S H A N N O N . W E B B B R I D G E . 2 013 . H T T P : // W W W. D E N T O N C O R K E R M A R S H A L L .C O M / W P - C O N T E N T/ U P LO A D S / 2 012 / 0 6 / W E B B _ B R I D G E _ 0 3 . J P G
CONCEPTUALISATION 41
STEPS
FINAL OUTCOME W E B B B RID G E S T R U C T U R E R E V E R S E E N GIN E E R E D STEP ONE: BACKBONE FOR STRUCTURE -CENTRE SPLINE WAS FORMED.
STEP TWO: FRAMEWORK - ELLIPSES FORMED OFF PERPENDICULAR FRAME POINTS ON SPLINE.
STEP THREE: ELLIPSES DIMENSIONED - ELLIPSES ARE TOGETHER PIPED.
STEP FOUR: BRANCHING - ELLIPSES ARE DIVIDED, COUNT OF POINTS SET AND CURVES SET BETWEEN START AND END POINTS (BRANCH).
I feel that the final outcome of the reverse engineering process has been quite successful for the timeframe it needed to be completed withinz. The process was more concerned in creating a section of the framing and perfecting the branching rather than attempting the entire bridge. The ellipses flow successfully around the curve and the branches are offset well so that it displays strong similarities to the structure of the Webb bridge. With more time, the structure could be further evolved in attempting to widen the ellipse frame intervals around bends and alter the ellipse sizes in a varying fashion throughout the entire form. I would improve the algorithm also by connecting up the pathway directly to the spline and perhaps setting vertical heights throughout the bridge to create a slightly elevated pathway at the center of the bridge. In terms of personal preference I believe further exploration in to how the form can be made more complex would be beneficial since it can be done so easily through a strong algorithm.
STEP FIVE: BRANCH OFFSET - EVERY SECOND BRANCH SHIFTED BY ONE.
STEP SIX: BRANCHES - BRANCHES GIVEN 3D THICKNESS THROUGH PIPE COMMAND.
STEP SEVEN: PATHWAY - PRIMARY SPLINE IS OFFSET TWICE (CURVE), CURVES ARE BOUND AS SURFACE AND EXTRUDED IN Z DIRECTION. 42
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B4.Technical : Development F U RT H E R D E V E LO P M E N T O F R E V E R S E E N GIN E E R E D A LG O RI T H M
ITERATIONS 1- 10 1.
6.
2. 7.
The focus in this section was to find a new form through a process of pushing the existing algorithm as much as possible. In doing this it was intended to even create outcomes that are overly complex and unusable in order to manipulate them onwards until they would be usable again. This process of trial and error was interesting as both destructive and progressive outcomes were identified as critical steps.
8. 3.
9.
4.
10.
5.
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ITERATIONS 11-20
ITERATIONS 21- 30 16.
11.
21.
12.
26.
27.
17. 22.
13.
28.
18. 23.
14.
24. 29.
19.
25. 15.
30.
20.
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ITERATIONS 31-40
ITERATIONS 41- 50
31.
41.
46.
36.
32. 37.
42.
47.
48.
33. 38.
43.
34.
49. 39.
44.
50. 35. 45. 40.
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Key Iterations
The fundamental criteria identified for the iteration series are the potential functionality of the form – if the form can be implemented as a bridge structure for pedestrian thoroughfare. Socially – the form must show an aesthetical composition that is visually balances natural and computer generated form. Lastly, the form must also touch on values of the brief. Key values were identified as symbiotic relationships, urban and natural form, iterative generation, rule based design and attrition.
I T E R AT I O N T E N
I T E R AT I O N T HIRT Y- F I V E
Looking at iteration ten it’s primary validation against the selected criteria is its structural form. The frames will allow a pathway to still flow through the shell and its form is a socially appealing structure that can be exposed in a social setting. The form effectively demonstrates rule based design in its obvious pattern that is repeated through the entire form. The thin branches that make up the shell also gives the overall composition a frail aesthetic – in relation to the attrition aspect of the learning outcomes.
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The simple openings of this model will allow for easy formation of a pathway. The form is quite ‘free-form’ or ‘organic’ in nature through its complex skin-like texture. This relates well to the balanced link between nature and parametric design that the brief discusses. If constructed with metal materials, this iteration could further project a man-made but natural identity.
I T E R AT I O N T HIRT Y- NIN E
I T E R AT I O N F O RT Y
This structure relates closely to the original algorithm’s structure. Through it’s simplification, the form is visually clear and offers a semicontrast effect that could work really well in a social setting. Through implementing only three ellipses the form would be easier to construct than the previous forms. The design also strongly relates to the rule based design criteria of the brief.
This form may be the most successful out of the four chosen. As each deformed ellipse is made up of small spheres it screams rule based design and a nature based form through its tweaks. Although the components are simple, the design is unique and free-flowing, it has style. Allowing it to fit well in a social setting again. Implementing a pathway through the forms will be of ease which means it will be functionally sound also.
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B5.Technique: Prototypes P H Y S I C A L M O D E L L IN G O F P OT E N T I A L I T E R AT I O N S
The core intention behind these prototypes was to generate forms that mimic the sectioning structures seen in the BANQ restaurant as seen in case study 1.0. Creating a curvy solid and then dividing the object in several sections is the quickest and most effective way to create the sectioning technique. The attempted prototypes proved that sectioning can be very strong structurally as long as there is horizontal bracing also in order to support shear forces.
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B6.Technique: Proposal P R O P O S E D T E C H NI Q U E TO A P P R O A C H T H E B RIE F W I T H .
Sectioning has been identified as a valid technique in response to the requirements and expectations as outlined in the brief. The form will be inspired by techniques researched in the BANQ project to address the representation of natural elements using digital design tools. To maintain the model’s constructability and functionality the perpendicular branch techniques discovered in the Webb bridge project will also be included in the form which will push the form to evolve on from the one seen in the BANQ restaurant. Through the process of iteration, forms will be developed and then key prototypes will be identified. Throughout the entire process the client’s needs will be kept in close consideration to ensure the design be suits its users.
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B7. Learning Objectives and Outcomes O U TC O M E S O F S TAG E S T H R O U G H O U T PA RT B
Throughout this Part B section it became apparent that a brief is simply a guide – a list of points to consider whilst completing the task. I feel that alongside the brief designers need to also push the brief! In the reverse engineering iterations I attempted this by attempting the steps in a way that I thought would suit the brief. Using Grasshopper, I came to understand that through iterations you can refine and experiment in rapid ways generating outcomes that are unimaginable. It shows how as a designer you need to keep your mind open to endless technologies and their capabilities. Grasshopper also highlighted that close consideration needs to be kept with the fabrication process, as some tangents in exploration will become very complex to build. This was discovered during the prototyping section when I realised that two of my chosen iterations would be very difficult to even attempt. Grasshopper relates very closely to architecture and air, as you are creating in an xyz axis, where there are endless possibilities and no exterior boundaries. This became very apparent through the iteration stages (both). Through the critical analysis of the Webb bridge I could form strong views of the successes behind the parametric product and its flaws. It reminded me also that it is essential to always keep the client’s interests at the forefront of any design.
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B8. Appendix - Algorithmic Sketches S E L E C T E D K E Y S K E TC H E S D U RIN G PA RT B D E V E LO P M E N T
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References B IB L I O G R A P H Y
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