Studio Air Journal. Semester 1, 2017. Olivia Goodliffe. by Olivia C Goodliffe

STUDIO AIR OLIVIA GOODLIFFE. 722120. SEMESTER ONE 2017.

CONTENTS

INTRODUCTION 3

PART A

CONCEPTUALISATION

DESIGN FUTURING 7 DESIGN COMPUTATION 15 COMPUTATION / GENERATION 25 CONCLUSION 33 LEARNING OUTCOMES 34 APPENDIX 35

PART B

CRITERIA DESIGN

RESEARCH FIELD 39 CASE STUDY 1.0 45 CASE STUDY 2.0 57 TECHNIQUE: DEVELOPMENT 65 TECHNIQUE: PROTOTYPE 77 TECHNIQUE: PROPOSAL 83 LEARNING OBJECTIVES AND OUTCOMES 103 APPENDIX 105

PART C

DETAILED DESIGN

DESIGN CONCEPT DESIGN DEVELOPMENT FINAL PROPOSAL LEARNING OBJECTIVES AND OUTCOMES

107

109 113 147 157

INTRODUCTION OLIVIA GOODLIFFE

BACHELOR OF ENVIRONMENTS ARCHITECTURE URBAN DESIGN & PLANNING

My name is Olivia and I am currently studying the Bachelor of Environments, majoring in Architecture and Urban Design and Planning at the University of Melbourne. I decided to combine the two believe that in architecture it is highly important to understand and be conscious of the surrounding context of a project and its place in the bigger picture. My passion for design stemmed from a young age when drawing took precedence over food. Throughout my school life all the work I produced was carefully and creatively designed. I was involved in extra activities such as designing the poster and booklet for the school musical, and created movies in my spare time. These passions led me to achieve a very high standard of work in VCE with both my Visual Communication and Design (Figure A) and Media (Figure B) portfolios being displayed as part of Top Designs in the Melbourne Museum and my film being screened at ACMI cinema. I am lucky to share my passion for architecture with my father. We have been fortunate enough to travel and visit some countries with inspiring architecture and design, such as

London, Spain and New York. Working casually at Clarke Hopkins Clarke Architects has started to put my university studies into perspective. I am staring to understand where the skills I am learning at university have a place in the industry, which is an invaluable opportunity. My introduction to parametric design and computation began when last year I attended a lecture by Mark Burry about completing the Sagrada Familia using design computation to calculate the possibilities of Gaudiâ&#x20AC;&#x2122;s plans. My technical knowledge of digital programs has grown every year since I began studying architecture. Last semester I taught myself the basics of Revit and used it for my Studio Water final presentation (Figure C). I have some experience with other programs, however I donâ&#x20AC;&#x2122;t have a lot of digital design experience so I am excited to learn about and experience the possibilities of design computation. All my presentation models so far have been hand-made (Figure D), so working in digital fabrication is a challenge I am excited to take on this semester.

Figure C. Studio Water presentation

Figure D. Studio Earth Model

Figure A. Visual Communication and Design

Figure B. Same Same but Different film

PAR 5

RT A

CONCEPTUALISATION

A1DESIGN FUTURING LA SAGRADA FAMILIA

ANTONIO GAUDI . BARCELONA, SPAIN. The work of Antonio Gaudi has long been thought of as one of the greatest influences on the world of architecture. The largest scale example of his radical, aspirational and revolutionary concepts is La Sagrada Familia Basilica in Barcelona. Gaudi’s design ideas and processes exemplify that parametric thinking is not constrained to the digital age and is present amongst architects in history. Gaudi was a parametric thinker using methodological design processes that link art and science. He begins designing by focusing on the physics of the building, its components and how they will work, and this informs the aesthetics of the structure. His experimentation with geometry and volume led to achieving a finer structure that allowed for new possibilities of open space in La Sagrada Familia. Gaudi’s design process is essentially parametric1 and involved creating experimental 3D models to create unmanicured forms. For example, he used hanging models (Figure 3), which comprised of weights on strings, to design the ceiling by achieving the optimal curve of the arches. The hanging model can be seen as an early system of analogue computation, using the forces of gravity to define the curvature of the forms.

FIGURE 2. HANGING

MODEL After Gaudi’s tragic death, La Sagrada Familia Basilica has remained unfinished. Unfortunately, there were hardly any records of his plans for the remaining structure but in recent years senior architect Mark Burry has been using design computation to reconstruct and complete the design intended. Computational analysis of the geometries has allowed Burry and his team to work on the completion of the masterpiece by following Gaudi’s parametric thought process, analyse the complex geometries and predict the possibilities of his design intention. Staying true to Gaudi’s workflows, models are still used as a design tool but are now generated by 3D printers. Burry believes that Gaudi can be seen as a predigital precursor for designing parametrically but now with the benefit of building information modelling and design computation architects are able to use Gaudi as inspiration and employ his design ideas with unlimited possibilities. 2

John Frazer, ‘Parametric Computation: History and Future’, Architectural Design, 86 (2016), 18-23.

Mark Burry, ‘Antoni Gaudí and Frei Otto: Essential Precursors to the Parametricism Manifesto’, Architectural Design, 86 (2016), 30-35.

FIGURE 1. WEST FACADE

FIGURE 3. SAGRADA FAMILIA INTERIOR

GUGGENHEIM MUSEUM BILBAO FRANK GEHRY. BILBAO, SPAIN. Similarly to Antonio Gaudi’s work, Frank Gehry’s architecture is sculptural, experimental and monumental and contributed largely to design discourse and culture. The Guggenheim Museum Bilbao achieved a new level of experimentation with free-form shapes by working “analogue in design and digital in production”1. Gehry is more traditional in in his methods of conception, using rough sketches and 3D models. His abstract concepts were then translated by computerisation into a building that could be constructed. Digital design is valuable in allowing for the freedom of imagination and highly ambitious designs such as these to be more closely realised2 and Gehry was a pioneer in the use of computer software to generate the free-form surfaces of the Guggenheim Bilbao. Gehry’s Guggenheim museum instigated change in the world of architecture. It was part of a reaction against modernism and ideas of solidity,

1 2 3 4

strength and weight3. His work is all about expression, experimentation and playfulness with geometry. The concept of the building is based around the theme of fish and movement. The sweeping metal sheets of the exterior have a sense of fluidity, the surfaces jump and curve around each other, projecting a sense of joy and celebration. The building changed the role of architecture as not only functionality and art but as having a powerful influence over urban regeneration. The building has revitalized the city of Bilbao, attracting tens of millions of visitors making it a popular tourist destination. After learning how this ambitious design could lead to culture and tourism, similar buildings have started appearing in struggling post-industrial cities around the world in hope to achieve the ‘the Bilbao effect’4. This exemplifies that Gehry’s architecture is a symbol of optimism and possibility and that design is a world-shaping force and can be used to generate strategies for enabling change.

Rivka & Robert Oxman, ‘Theories of the Digital in Architecture’ (2014) pp.1. Anthony Dunne, ‘Speculative Everything’(2013). David Goldblatt, ‘Lightness and Fluidity’, Architectural Design (2007). Marc Kushner, ‘Why the buildings of the future ill be shaped by you’, TED Talks (2015).

FIGURE 4. GUGGENHEIM BILBAO CENTER ATRIUM

FIGURE 5. GUGGENHEIM MUSEUM BILBAO14

A2 DESIGN COMPUTATION Contemporary computational design techniques are redefining architectural practice. In the new computational design era of architecture ‘formulation precedes form and design becomes the thinking of architectural generation through the logic of the algorithm’1. Computational design introduces an entirely new architectural work methodology where digital techniques are fully integrated into the architectural process from conception to production. There are many benefits in using computers in the design process such as conceiving and achieving aspirational and innovative geometric forms, facilitating a stronger connection between design and construction and the ability to deal with the constraints of the site and brief and be adaptable to changes imposed.

Rivka & Robert Oxman, ‘Theories of the Digital in Architecture’ (2014) pp.3. 1

FIGURE 6. DONGDAEMUN DESIGN PLAZA 16

FIGURE 17 7. DONGDAEMUN DESIGN PLAZA

DONGDAEMUN DESIGN PLAZA ZAHA HADID. SEOUL, KOREA. Zaha Hadid Architects are known for challenging the traditional architectural practice. They embraced digital technologies early on and were one of the first architects to fully explore and utilise the possibilities of parametric desigN1. Zaha Hadid’s buildings are iconic and highly unique. She is known for working with dynamic, curving, sensuous

shapes, and her pioneering parametric design technology has supported the creation of these adventurous structureS2. Zaha Hadid’s Dongdaemun Design Plaza was the first public project in Korea to utilize digital computation techniques and its design is the specific result an example of how the context, local culture, programmatic

1 Amy Frearson, “Zaha Hadid’s Dongdaemun Design Park & Plaza Opens In Seoul”, Dezeen, 2017 <https://www.dezeen.com/2014/03/23/zaha-hadid-dongdaemun-design-plaza-seoul/> [accessed 20 April 2017]. 2 S.C. Hickman, “Zaha Hadid: Mistress Of Parametric Design Architecture”, Techno Occulture, 2017 <https://socialecologies.wordpress.com/2016/03/31/zaha-hadid-mistress-of-parametric-designarchitecture/> [accessed 20 April 2017].

FIGURE 7. DONGDAEMUN DESIGN PLAZA

30 ST MARY AXE

FOSTER AND PARTNERS. LONDON, ENGLAND. Foster and Partners’ 30 St Mary Axe, also referred to as the Gherkin for its unique bullet-shaped form, is another example of the use of design computation to achieve radical and innovative architecture. The building is developed from the ideas of Buckminster Fuller in the 1970s to create a free-form glass skin that allowed the building to have its own microclimate1. Parametric modelling design was employed to create an innovative and intricate aesthetic and to achieve the energy efficiency ideas of Fuller.

1 “The Design And Engineering Of The Gherkin: 30 St Mary Axe, London”, Bright Hub, 2017 <http://www.brighthub.com/education/ homework-tips/articles/60104.aspx> [accessed 20 April 2017].

FIGURE 8. THE GHERKIN IN THE CITY OF LONDON

CREATIVITY

Computational design techniques have generated new and different forms of creativity in architecture. Although computers ‘lack any creative abilities or intuition’1, they can be used to easily realise aspirational concepts and generate a multiplicity of variables in order to explore a huge range of design options. Parametric design has allowed architects such as Zaha Hadid to freely explore and create aspirational, avant-garde forms while still accommodating the constraints and requirements of the brief. This can be seen in the façade of the Dongdaemun Design Plaza with the free-form shape and the seemingly random assortment of panels. Parametric modelling and innovative digital fabrication allowed the highly complex cladding, which consists of over 45,000 panels of varying size and degrees2, to be produced.

CONSTRUCTION

Computation has allowed for greater integration and communication between the fields of architecture, construction and engineering during the design and realisation of a building. Design computation can be used to maintain the design intent while adapting to accommodate changes that arise during construction and can allow designers to work with the embedded properties of materials to achieve optimal aesthetic and functional outcomes. The

Dongdaemun Design Plaza is one of the most innovative and technologically advanced constructions3 due to 3D technologies being employed to improve efficiencies, manage cost and quality control and to coordinate and control the construction and engineering. Digital computation was used to achieve the innovative design of the Gherkin. Parametric modelling was used to change all the individual curved glass elements into flat panels3 to retain the overall form but make fabrication cheaper and easier. Parametric modelling is beneficial because it can break down complex surfaces into simpler ones that can achieve the same design aspiration.

PROBLEM SOLVING & RESPONDING TO CONTEXT

Computational design techniques are also useful in problem solving and analysis and responding to constraints and changes in the design brief and context. Computers can be used as analytical systems that provide solutions and adaptations to an evolving client brief and help to achieve the optimal solution. The geometric form of the Gherkin responds to the constraints of the site, becoming slimmer at the bottom to allow for more space at street level, not blocking out sunlight, maximising air ventilation and reducing wind deflection which were calculated using 3D modelling.

1 Kalay, ‘Architectures new medium’, (2014) pp.2. 2 ‘Dongdaemun Design Plaza’, Sucker Punch Daily, <http://www.suckerpunchdaily.com/2014/05/20/dongdaemun-designplaza-ddp/> [accessed 6 March 2017]. 3 “The Design And Engineering Of The Gherkin: 30 St Mary Axe, London”, Bright Hub, 2017 <http://www.brighthub.com/ education/homework-tips/articles/60104.aspx> [accessed 20 April 2017].

FIGURE 9. THE GHERKIN INTERIOR

FIGURE 10. DONGDAEMUN DESIGN PLAZA

A3 COMPUTATION / GENERATION THE SHIFT With the introduction of digital modelling techniques comes a shift in architectural methodology from composition to generation. There is a movement from architects using software to digitise their ideas, towards architects creating their own software. Parametric modelling, scripting cultures and algorithmic thinking are becoming more prominent in todayâ&#x20AC;&#x2122;s architecture with practices such as Skidmore Owings & Merrill (SOM) and UN Studio embracing the computational approach. Design generation is still on the margin, however, and many practices are yet to employ and embrace these techniques.

Generation is a new form of architecture based on rules and programming the logic behind design ideas. There are both benefits and disadvantages to using generation in the architectural design process. Computation is redefining practice and the structure of the design process. It enables new ways of thinking and design approaches and creates opportunities in the design process, fabrication and construction1. It increases the ability for designers to deal with highly complex situations and generate complex forms and structures. It is also beneficial to designers in exploring new ideas and gaining inspiration.

Brady Peters, â&#x20AC;&#x2DC;Computation Worksâ&#x20AC;&#x2122;, Architectural Design, (2013).

CHHATRAPATI SHIVAJI INTERNATIONAL AIRPORT SOM ARCHITECTS. MUMBAI, INDIA.

FIGURE 11. CHHATRAPATI SHIVAJI INTERNATIONAL AIRPORT

BURNHAM PAVILION,

UN STUDIO. CHICAGO, USA.

FIGURE 12. BURNHAM PAVILION

FIGURE 13. CHHATRAPATI SHIVAJI INTERNATIONAL AIRPORT

Generation is integral to the designs of UN Studio’s Burmham Pavilion and SOM’s Chhatrapati Shivaji International Airport. These structures both have a place in the architectural discourse, with the pavilion being used for experimentation of structure and the airport exemplifying the giant scale of the structures that can be achieved. UN Studio constructs pavilions as design research experiments to test and explore innovative detailing. Pavilions are used as an extension of the diagram and the design mode1. The Burmham Pavilion explores a cantilevering plinth over a smooth, morphing geometry, and

the development of computational strategies to produce a twist which then was used in the design of a larger project. Computation expands the horizons of creativity for architects with the only limits being the physics and materials. Parametric modelling was used to design the continuous form of the pavilion by creating a gradient between its ingredients2. The resulting structure is a fluid, continuous transformation between the geometries. There are a few shortcomings of computational design. The extensive amount of information generating unnecessary complexity might make design activity more complicated than it

Marc Garcia, ‘Future Details of UN Studio Architectures’, Architectural Design, 2014. Marcus Fairs, “Burnham Pavilion By Unstudio | Dezeen”, Dezeen, 2017 <https://www.dezeen.com/2009/04/14/burnham 3 Yasser Zarei, The Challenges Of Parametric Design In Architecture Today: Mapping The Design Practice, 1st edn (Melb scw:172092&datastreamId=FULL-TEXT.PDF> [accessed 20 April 2017]. 4 http://www.som.com/ideas/research/parametric_design_a_platform-free_master_model 5 Brady Peters, ‘Computation Works’, Architectural Design, (2013). 1 2

needs to be. On the other hand, the constraints of the parameters may offer limited outcomes and confine the creativity of the designers. Computation blurs the definition of the author of the design, and can create confusion over the ownership of algorithmic forms3. If parameters made by another author chosen without their consent the issue of intellectual property may arise. Computation can be used to simulate building performance for analysis and to gain feedback that can inform architectural decisions. Throughout the constantly changing design process, it is beneficial to maintain a master

model that is flexible and adaptive to changes in parameters4. These models can act as a link between the virtual design environment with the physical environment5. In the Chhatrapati Shivaji International Airport, SOM employed an algorithmic approach for exploring the form in relation to its associated performance, enabling the design of a building of great scale and complexity.

FIGURE 14. BURNHAM PAVILION

Computation has become part of the design process in many of the largest projects around the world and is an essential part of their construction. A multidisciplinary approach which involves a collaboration between architects and engineers can facilitate a strong relationship between novel structural concepts and architectural expression1. This can influence how the technical and aesthetic design evolves. Architects and engineers worked closely in the design process of Chhatrapati Shivaji International Airport which celebrates a new global, high-tech identity for Mumbai2. The roof canopy comprises of a kaleidoscope of custom panels which spans over 70,000 square meters, making it one of the world’s largest roofs without an expansion joint3. This was made possible with modular construction. SOM worked with the manufacturer to segment the 3D generated map of the ceiling into pieces and make moulds from these that would allow for each component to be fabricated to precise detail.

Neil Katz, ‘Structural Emergence’, Architectural Design (2013). “Chhatrapati Shivaji International Airport – Terminal 2”, SOM, 2017 <http://www.som.com/projects/chhatrapati_shivaji_international_airport__ terminal_2> [accessed 20 April 2017]. 3 “Chhatrapati Shivaji International Airport – Terminal 2 – Structural Engineering”, SOM, 2017 <http://www.som.com/projects/chhatrapati_ shivaji_international_airport__terminal_2__structural_engineering> [accessed 18 April 2017]. 1 2

A4 CONCLUSION Computation has changed the world of architecture dramatically. Part A has given me a good base and background understanding of the world of parametric design and where we sit on its timeline right now as designers. I think that we are at an important time in architectural history with the rapidly developing concepts and technologies for creating architecture that may have not seemed achievable just a few decades ago. As students of Studio Air we are entering the era of experimentation and unlimited possibilities. All the precedents I have discussed in Part A I chose because I feel I can relate to them and they correlate with my architectural style. I intend to approach Part B with these as my influence and inspiration. I aim to use the methods of design computation and algorithmic thinking to achieve ambitious forms like the work of Gaudi, Gehry and Hadid. In some of my precedents such as the Gherkin, additional design parameters were put on top of the brief to achieve outcomes beyond the basic role of design. It might be interesting in my response to the brief in Part B to investigate the interaction between my structure and the surrounding context and how the two can interrelate to create something innovative, sustainable and beneficial those interacting in the immediate context.

A5 LEARNING OUTCOMES Architectural computing is quite a new concept to me so I have enjoyed investigating its implications and design possibilities. With the support of learning Grasshopper during these investigations, I have been able to put these new concepts into a real life perspective and have a stronger understanding of how computation might be used in practice. This has me excited for exploring new possibilities in my designs in the future, and in a broader context, how the shape of the world will change with the increased use of design computation techniques in practice. This new knowledge would have been very useful in my final design for Studio Earth where I was attempting to manipulate and unravel a geodesic dome to create a form that reflected movement but also functioned as a shelter. I understand now that creation of these forms can be easily generated with computation, not to mention the endless variations I could have generated and selected from to achieve my optimal aesthetic and functional outcome.

A6APPENDIX ALGORITHMIC SKETCHES

INITIAL EXPLORATION WITH PARAMETRIC DESIGN

INITIAL STRUCTURE

KANGAROO STRUCTURE

BOID SEPARATION & COCOON

COCOON STRUCTURE

MULTI-AGENT MESH STRUCTURE

PAR 37

RT B CRITERIA DESIGN

B1 RESEARCH FIELD STRUCTURE Structure refers to the relationships between the elements and their systems involved in a design. Structural consideration and the role of the engineer in the design process is more prominent than ever. As outlined by Woodbury1 technical knowledge and mathematical thinking are integral to a parametric design process. The relationships between the parts must be established, observed and edited which then determines the design outcome. This means that structure, materialisation and fabrication technologies are now integrated at the early stages of the design process. Computation allows for a between design aspiration structural regulations and restrictions. It can be used to

balance and the material calculate

any restrictions in the structure before a design has been decided on, to optimise the structural integrity and the fabrication and construction process. To do this, computation can be used to analyse and simulate how a building will perform. This is beneficial to the design process by avoiding design problems, minimising construction costs, reducing resources and achieving design flexibility. A new design process emerges where the complex 3D shapes designed by structural engineers form the skeleton for the architecture and the basis of the geometric coordination2. Design strategies then need to embrace the structural behaviors of geometries to allow the coordination between the architecture, structure and fabrication.

1 Woodbury, Robert F. (2014). ‘How Designers Use Parameters’, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge), pp. 153–170 2 Mangelsdorf, Wolf, “Structuring Strategies For Complex Geometries”, Architectural Design, 80 (2010), 40-45 <https://doi. org/10.1002/ad.1104>

FIGURE 15. MORPHEUS

FIGURE 16. KING ABDULAZIZ CENTRE FOR WORLD CULTURE

KING ABDULAZIZ CENTRE FOR WORLD CULTURE SNOHETTA & BUROHAPPOLD ENGINEERING. DHAHRAN, SAUDI ARABIA. BuroHappold Engineering used 3D building information modelling to optimise a structural solution by using computation to find thermal, shading and energy demand solutions that worked with the material preferences of the client.

MORPHEUS

ZAHA HADID ARCHITECTS & BUROHAPPOLD ENGINEERING. MACAU, CHINA. Pioneering engineering strategies were used by Burohappold in the realisation of the ambitious steel and glass lattice shell design of Morpheus. Computation was used to design 2500 highly complex and unique connections that form the mesh structure, which was also designed to withstand the climate and reduce internal structural support.

FIGURE 17. MORPHEUS

B2 CASE STUDY 1.0 TWISTED BESO TOWER I chose the Twisted Beso Tower definition that was supplied by my tutor. This definition focuses on my research field, structure, and uses Karamba to optimise the cross sections of the geometry. A twisted nurbs surface is used as the base geometry for the structure. In this section I explore the possibilities and usefulness of this definition. I will explore the base geometry and use Luncbox to create different structural systems and patterns. When creating sequences of geometric variation I am keeping the brief in mind and trying to achieve an organic form, and an interesting pattern made out of the structure.

SPECIES 1

ALTERING THE BASE SHAPE AND ROTATION

ORIGINAL

INCREASE STEPS AND ROTATION

MOVE POINTS

MOVE POINTS & INCREASE ROTATION

MOVE POINTS VERTICAL

CIRCLE BASE

STAR BASE

STAR BASE & INCREASE ROTATION

STAR BASE, INCREASE STEPS AND ROTATION

SPECIES 2

USING GRAPH MAPPER TO CHANGE THE GEOMETRY PROFILE - CIRCLES AS BASE SHAPE

PARABOLA

SINE

BEZIER

GAUSSIAN

SINE

PARABOLA

BEZIER

GAUSSIAN

SPECIES 3

ALTERING THE BASE SHAPE, ROTATION AND PROFILE

ORIGINAL GEOMETRY

SINE CURVE

HEXAGONAL BASE

INCREASE STEP COUNT

BEZIER GRAPH MAPPER

SINE CURVE & CHANGE PROFILE RANGE

BEZIER

SINE CURVE

INCREASE ROTATION

BEZIER

GAUSSIAN

SINE CURVE GRAPH MAPPER

BEZIER

INCREASE SIDES OF STAR & PARABOLA

BEZIER GRAPH MAPPER

SINE CURVE & INCREASE TWIST

STAR BASE SHAPE & PARABOLA

INCREASE STEP COUNT

SPECIES 4

EXPLORING PATTERNING WITH STRUCTURE USING LUNCHBOX

ORIGINAL

DIAGRID STRUCTURE

DIAGRID INCREASE VERTICAL DIVISIONS

SPHERES AT NODES

HEXAGONAL STRUCTURE

SPACE TRUSS

BRACED GRID, ALTER PIPE THICKNESS

ADJUST HEXAGON SHAPE

GRID STRUCTURE WITH VARYING PIPE SIZES

THICKER AT BOTTOM

JITTERED LIST

BOXES AT NODES

TRIANGLE PANELS

PIPE EDGES

PANEL FRAME

DIFFERENT FRAME SIZES

JITTERED FRAME SIZES

DIVIDE TRIANGLES

PATCH

HEXAGONAL PANELS

PANEL FRAME

SCALE FRAME INFILL

DIAMOND PANELS

CONSTANT QUAD SUBDIVIDE

SUCCESSFUL OUTCOMES SELECTION CRITERIA 1. ORGANIC

3. CONSTRUCTABILITY

2. FUNCTIONALITY

4. AESTHETICS

Does the geometry explore biomimicry and capture a natural and organic essence? Does it have ephemeral qualities?

How much shade can it provide? Could it protect humans from the weather / external environment?

Could the structure be constructed at a 1:1 scale? Is there potential for fabrication of the elements and simple assemblage?

Does the geometry have the potential to fit into the landscape? Is it suited to the site? Is it aesthetically pleasing and interesting to look at?

I like that this form resembes a mushroom growing, this relates to the biomimicry part of my selection criteria. This form would be successful as a shelter structure. I think that the shape it creates would be relatable and interesting to the children on the site. It could be interesting to explore these mushroom geometries, varying in size and height to create a canopy. It would make humans on site feel like they are the size of a small bug in a forest.

This form has an element of movement. It relates to biomimicry by the fact that it resembles a petal, bud or leaf as well as the essence of growth. This could be an interesting geometry for a pavilion. I could also explore openings for ventilation and accessibility.

The gradual decrease in infill gives the illusion of the structure as a form that is growing from the ground. It seems stronger at the bottom and lighter at the top, as if it could bend when the wind hits it. It is aesthetically interesting annd could be integrated into the site as a form that emerges from the existing conditions. The wider panels could be placed strategically to achieve shading in particular areas, so some parts of the pavilion are covered and some can be seen through to the sky.

This structural grid is interesting as the shapes it creates arenâ&#x20AC;&#x2122;t standard geometry such as hexagons and squares. The strucutre resembles the chicken-wire fencing used at CERES to contain plants. I like that it evokes this imagery, I could explore having a more organic structure underneath this wire-fence design. Assemblage and constructability is potentially simple becuase all the elements are planar and would just need to have a joint designed to connect them.

KARAMBA STRUCTURAL ANALYSIS Karamba is a parametric structural engineering tool which provides accurate analysis of spatial trusses, frames and shells. It lets you analyze the response of 3-dimensional beam and shell structures under arbitrary loads. This definition offers the flexibility in generating different geometries then analysing these geometries with Karamba. Karamba calculates the structural loads going through the form. It is useful in integrating the practicality of considering structural integrity and can be used somewhat for form finding, by analysing and optimising to find the best structure. Karamba can calculate a structure through lines (beams), which is what is used in this definition, but can also analyse basic 2D structures by calculating the loads through a mesh. The interesting idea of this definiton is that the structure is driving the design.

B3 CASE STUDY 2.0 METROPOL PARASOL

JURGEN MAYER. SEVILLE, SPAIN The development of computational design methods has allowed for experimental architecture to emerge worldwide. Earlier this year I visited the Metropol Parasol in Seville, Spain, which is a large, free-form timber structure that shades the plaza and has walkways on top. The structure was designed by a collaboration between an architect and engineer using digital computation and is one of the largest timber structures ever built. Computation was used to generate the technical aspects of the structure while staying true to the concept which is based on the natural form of trees and mushrooms. The Metropol Parasol is a timber structure with interlocking panels that form a lattice joined with more than

3,000 custom steel nodes designed for rapid onsite construction1. The structure was fabricated with individual strips of wood whose form was generated by splitting the overall form by computation. 3D models of the structure were generated by the architect and then analysed and optimised by the engineer, requiring highly complex calculations. The structural engineers developed a software that uses the geometry to analyse and determine the structural connections required, which updated with every change to the profile and weight of the elements to come to the final structure. This data was then used to fabricate each individual timber element and connection.

1 Brownell, Blaine, â&#x20AC;&#x153;Three Contemporary Projects Make A Compelling Case For Innovationâ&#x20AC;?, Architect, 2017 <http://www. architectmagazine.com/technology/three-contemporary-projects-make-a-compelling-case-for-innovation_o> [accessed 24 March 2017]

FIGURE 18. METROPOL PARASOL

59 19. METROPOL PARASOL FIGURE

Outline of the parasols

Rhino model of the wooden structure

Section profiles for a selection of the wooden elements

FIGURE 20. DESIGN TO FABRICATION

REVERSE ENGINEERING

PROCESS

REVERSE ENGINEERING FINAL OUTCOME

After a few attempts at different methods of reverse engineering this structure, I am happy with the final outcome. The overall form is quite similar to the original although less dynamic. My â&#x20AC;&#x2DC;treesâ&#x20AC;&#x2122; seem more static than the original and there is less variation in the sizes and geometry of the roofs. I hope to explore further how I can create more dynamic, fluid geometries. My final outcome uses a waffle to create the structure rather than a lattice connected with bolted connections. A waffle structure could be interesting to explore for my design as it may be easier to fabricate and assemble because the connections are inbuilt into the elements.

B4 TECHNIQUE: DEVELOPMENT Continuing with the technique I used to reverse engineer the Metropol Parasol, in this section I will develop and explore the possibilities of the definition. During this process I have kept in mind that the aim of my final design is to create a pavilion. This

SELECTION CRITERIA 1. ORGANIC

Does the geometry explore biomimicry and capture a natural and organic essence? Does it have ephemeral qualities?

2. FUNCTIONALITY

How much shade can it provide? Could it protect humans from the weather / external environment?

3. CONSTRUCTABILITY

Could the structure be constructed at a 1:1 scale? Is there potential for fabrication of the elements and simple assemblage?

4. AESTHETICS

Does the geometry have the potential to fit into the landscape? Is it suited to the site? Is it aesthetically pleasing and interesting to look at?

has influenced the geometries I explore to remain somewhat functional as a shade. I also incorporate techniques explored in Case Study 1 for creating geometry and surface structures and patterns.

ALTERING TREE PROFILES WITH GRAPH MAPPER

CHANGING CURVATURE OF ‘TREE TRUNK’ AND ALTERING GRAPH MAPPER

USING GEOMETRY FROM CASE STUDY 1 TWISTED TOWER

ALTERING GRAPH MAPPER

SEPARATE TWISTED FORMS WITH CAP

MERGING TWISTED FORMS WITH AND WITHOUT CAP

FINDING SIMILAR FORMS USING KANGAROO

BATIK

TRADITIONAL INDONESIAN PATTERNING The site is surrounded by educational huts each with a different cultural theme such as Indonesia, Africa, India and Indigenous. I want to incorporate this culture into my design through some patterning. Batik is a way of decorating cloth using wax and dye and has been practised for centuries. In Java, Indonesia, batik is part of an ancient tradition, and some of the finest batik cloth in the world is still made there.

FIGURE 21. BATIK PATTERN

FIGURE 22. HAND MAKING BATIK

FIGURE 23. BATIK INDONESIA

EXPLORING PATTERN WITH WAFFLE

CONTOURS MUST BE KEPT PLANAR FOR FABRICATION

BASE GEOMETRY

BASIC WAFFLE

INCREASE DIVISIONS ONE WAY

INCREASE SPACING

CONTOURS

CULL PATTERN

SLANT ONE SIDE

BOTH LINES SLANTED

INCREASE DIVISIONS

CREATES DIAMOND SHAPED WAFFLE

TRI-AXIAL WAFFLE

STAR SHAPED WAFFLE

SUCCESSFUL OUTCOMES SELECTION CRITERIA 1. ORGANIC

3. CONSTRUCTABILITY

2. FUNCTIONALITY

4. AESTHETICS

Does the geometry explore biomimicry and capture a natural and organic essence? Does it have ephemeral qualities?

How much shade can it provide? Could it protect humans from the weather / external environment?

Could the structure be constructed at a 1:1 scale? Is there potential for fabrication of the elements and simple assemblage?

Does the geometry have the potential to fit into the landscape? Is it suited to the site? Is it aesthetically pleasing and interesting to look at?

These forms are simple but effective. They have an organic nature to them, resembling a group of mushrooms growing from the ground, twisting around each other and merging together. This form would provide adequate shading to the site. It is aesthetically pleasing and interesting to look at. I think it can be incorporated into the site well becuase it doesnâ&#x20AC;&#x2122;t take up much ground space where seating already exists. This form can be used as the basis of a waffle structure easily.

The star shaped waffle structure encompasses the cultural aspects of the site. It should be easy to construct with planar surfaces that have notches cut out. It is aesthetically interesting and has potential to be explored further with infill surfaces. It could also work as a structure that greenery can grow on

B5 TECHNIQUE: PROTOTYPE WAFFLE STRUCTURE There are many advantages of building the pavilion as a waffle structure. Firstly it suits the brief of a lightweight structure. The way that the pieces are assembled together in a grid achieves strength in the structure requiring less material therefore a lower cost. It also flexible in the fact that the structure can be disassembled and reused in a different location, or the pieces can be recycled. Fabrication is simple, with notches cut out for the pieces to slot together it is quick and easy to assemble. Interlocking elements negate the need for additional fixing. It can be made simply from cutting two dimensional materials into

the continuous ribs. The script can easily be changed to work with the dimensions of the selected material. One of the disadvantages of this technique, however, is that it doesnâ&#x20AC;&#x2122;t offer sufficient shelter from the rain. I could explore how to overcome this by filling in some of the gaps with a material. This could also lead to an exploration of how light penetrates through the structure. The waffle structure also offers the freedom to work with more extreme geometries which I think suits my aim of achieving an organic form.

PROTOTYPE SQUARE GRID

BASE GEOMETRY I used this geometry for sample purposes, this is not the final

WAFFLE

FABRICATION PLANAR SURFACES

JOINT DETAIL Strength and stabilitiy the way the pieces slot together with inbuilt notches

PROTOTYPE 80

STAR GRID

Simple to fabricate using notches that run along the planar surfaces

TRI-AXIAL GRID

Connection between three planar surfaces is more complex

LIGHT EXPLORATION Patterns that project onto ground plane and existing surfaces on site, through the penetration of sunlight through the waffle structure.

All of the prototypes are successful in achieving the desired effect of creating patterns with shadows, however the star waffle grid is the most successful in resembling the Batik patterning. This is a way of bringing the cultural themes of the site into the design of the pavilion.

B6 TECHNIQUE: PROPOSAL

FIGURE 24. MUSHROOMS FORM THE BASIS OF THE GEOMETRY CONCEPT

CLIENT / SITE The site is CERES, the Centre for Education and Research in Environmental Strategies. It is a non-for profit sustainability centre located on the Merri Creek.

BRIEF The brief is to design a shade structure over the amphitheatre in the Global Village. Global Village is a collection of education huts, each with a different cultural theme such as Indonesia, India, Africa and Indigenous.

THEMES The main themes i decided to focus on were structure, nature and culture. STRUCTURE This was my research field throughout Part B. I have explored different structural systems, optimising structure and creating pattern with structure. NATURE The client emphasised an interest in the theme of biomimicry and a structure that explores human/environment relationship and has an ephemeral quality. CULTURE BATIK PATTERNING In keeping with the cultural themes of the global village, I explored batik patterning and aimed to achieve this in the structure.

CONCEPT Mushroom forms that grow from the landscape, twist around each other and merge together.

SITE PLAN

20m N

INTERIM PRESENTATION FEEDBACK The feedback recieved after my interim presentation was very valuable in guiding me to push my design even further. My concept of integrating nature, structure and culture was strong, however, a few suggestions were made to improve the design such as incorporating more of the Batik patterning, making a stronger connection to the ground, integrating functionality such as seating, and showing how the pavilion can be used.

TESTING MORE FORMS ON SITE Taking on the feedback recieved during the interim presentations, I played around with the graph mapper to make the forms more fluid in the way they blend into the site and to incorporate some seating.

IMPROVE EXCECUTION OF BATIK PATTERNING Colouring waffle pieces

Filling random holes of waffle

Experience the pattern when looking up from underneath

100

101

102

B7 LEARNING OBJECTIVES AND OUTCOMES This section has expanded my knowledge of architecture and the roles of computation in the design process. My grasshopper skills have improved and I was able to create, manipulate and design using parametric modelling. I was able to extract the brief into areas of interest and focus on ideas that could influence my design and then translate these ideas into the parametric model, such as the Batik patterning. I now have a good understanding of materiality, fabrication and structural considerations as being driving forces of a design and can be used to influence and guide the design. Parametric modelling offers a quick and easy way of generating many design possibilities that I wouldnâ&#x20AC;&#x2122;t necessarily think of on my own. This shows that with the aid of technology, the possibilities of design are dramatically increased. Modelling the existing site conditions

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in Rhino allowed me to translate and visualise my grasshopper generated design into a real world context. It exemplifies how arbitrary geometries can be translated into functional spaces. I was able to acknowledge the limitations of my design proposal and respond to feedback given. My knowledge of grasshopper has come a long way during this process, and there is much more I can explore in terms of fabrication. Initially I was trying to rely on grasshopper to generate the design, but I came to the realisation that I have to look at grasshopper as a tool to help me design, but I am still the designer. The designer needs to have an idea of what they want to achieve and program grasshopper to work for them in terms of what parameters they want to change. Thinking parametrically has introduced me to a different way of thinking about design.

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B8 APPENDIX ALGORITHMIC SKETCHES

105

106

107

108

109

110

PAR

RT C DETAILED DESIGN

C1 DESIGN CONCEPT Reflecting on my Part B design proposal, I believe that it was quite strong and that a number of elements and ideas can be integrated into the new group design. My design technique that I have developed so far can be easily adaped to work with other ideas put forward by group members.

My concept not only relates to humans, but animals as well, something that I think is a core value for CERES. Not only is the structure interactive for humans at ground level, but by growing a plant on top of the structure I am creating a habitat for animals. The use of timber and greenery also connects to the ethics and aesthetic of the site.

Each of the steps in my script follow a process that is parametric, firstly finding the form of the structure then using a plugin to create the structural pattern which at the moment is a waffle, then using Karamba to analyse and optimise the structure. My approaches to shape finding at the moment have been to use a graph mapper to fluidly explore geometries. My approach has been to use the technology to find form, rather than thinking of an idea and trying to make the script generate that idea.

Becuase there may have been problems with the structural integrity of my Part B design, particularly at the â&#x20AC;&#x2DC;stemsâ&#x20AC;&#x2122; connecting to the ground, this will have to be something I pay attention to when analysing the structure for the group project. This is important to ensure because we are proposing this design to be built at a 1:1 scale on site. As well as my approach to computation and relationship to site, the three core concepts I am proposing to my team are nature, structure, and culture.

NATURE The client emphasised an interest in the theme of biomimicry and a structure that explores human/environment relationship and has an ephemeral quality. I used nature to influence the geometric form of my design which mimicks the form of three mushrooms growing from the ground, twisting around each other and merging into each other. I also incorporated greenery on top of the structure to create a habitat for animals and link to the values and aesthetic of CERES.

STRUCTURE Structure was my research field throughout Part B. I have explored different structural systems, optimising structure and creating pattern with structure. This is something valueable I can bring to the group to ensure that our design is structurally feasable. The main structural idea I am proposing to the group is a waffle system. It is easy to turn any geometry to a waffle using Grasshopper, and to send off to be fabricated. Our group will have to think about construction, fabrication and materiality before determining the structural system used.

CULTURE In keeping with the cultural themes of the global village, I explored batik patterning and aimed to achieve this in the structure. Although our design proposal is now for a different site, I still believe that creating pattern with the structure will create an interesting aesthetic. Different structural systems can be explored alongside patterning to generate a number of iterations using the structural elements to create shapes.

C2 DESIGN DEVELOPMENT FOR GROUP PROJECT Group members India McKenzie Romana Radunkovic Merijn Braam Mariam Najeeb Yan Jiao Connor Forsyth Hagi Andoko

STRUCTURAL ANALYSIS IMAGE OR RECIPRCAL CONNECTION

BRIEF We are to propose a final design for a shading structure over the sandpit in Adventure Habitat at CERES. This means that our Part B design proposals and concepts need to be altered to suit the smaller scale site and change in user demographic. As children will be the predominant user of the structure, we will be thinking about some new design criteria such as safety, interaction and education. As a group we developed a number of design criteria to integrate and focus on while developing the design:

Photography by Merijn Braam

o Sustainable materials o Biomimicry o Habitat for humans and animals o Structure that isnâ&#x20AC;&#x2122;t climbable o Constructability o CERES values and expectations o Education o Structural integrity o Aesthetic appeal o Use of digital tools

DESIGN CONCEPT The concept for our design is a tree structure using recycled timber which incorporates a climbing plant to provide adequate shading. The design will encompass the values and aesthetics of CERES and provide a habitat both for humans and for animals. The outcome is to have an organic and handmade quality but will be generated using digital technology for the form, pattern and structural design.

Sketch by India McKenzie

Photography by Merijn Braam

â&#x20AC;&#x153;An approach is not without precedentâ&#x20AC;? Achim Menges

PRECEDENT STUDIES The group explored some precedent projects to inform the direction and possibilities of our design concept. My original design concept was entirely a waffle structure and could potentially be climbed on by children. Since the brief for the new site specified that the structure should not be climbable, the focus of my precedent research was on the different ways in which the ‘trunk’ could be designed to achieve this requirement.

CONCEPT 1

Trunks that are integrated into the overall form but are thickened and smooth at ground level. This way they cannot be climbed and there is potential to be more interactive for the children, for example, incorporating seating, benches or hiding holes.

Figure 25. The Park, !MELK

Figure 26. Shadow Play, Howler & Yoon

Figure 27. Catalyst Hexshell, MATSYS

CONCEPT 2

Thin posts that ground a more separated, interesting shading above. The poles aren’t climbable, the play space at ground level isn’t compromised by the structure, and the children can be seen at all times by parents and teachers.

Figure 28. MPavilion, Amanda Levete

Figure 29. Tulane City Centre

Figure 30. The Sequence, Arne Quinze

BIOMIMICRY The concept driving the design of the geometry is based on our biomimicry investigations. Romana and Mariam discovered how looking to nature can inform design. We are looking to the logic behind the structure of the tree to inform the performance of our structure. All the elements of the tree have a purpose, we used these ideas from nature and took them into design. The tree is the most notable shading structure in nature. Its roots anchor it to the ground, its trunk adds stability and support and the canopy adds shading and habitat. All the elements are interrelated, they work and grow together. The biomimicry aspect is suited to the Adventure Habitat site, its aesthetic is organic and humble, and also allows children to image themselves as animals.

GEOMETRY The geometry team (Merijn and Hagi) developed the overall shape of the structure, using a sun shading analysis to simulate the shading coverage on the site and thus determine the optimal geometry. The sturdy core acts like a tree trunk, supporting the lightweight canopy that cantilevers above the sandpit and the simple shape of the geometry allows for complexity in the structural arrangement.

SOLAR ANALYSIS

A solar analysis was used to generate the geometry in order to achieve the optimal shading for the site. This was an important analysis becuase the primary function of our design is to shade children from the sun. The solar analysis simulates sunlight during the day in summer, mapping the average shading that the structure generates. A number of geometries were tested by altering the parameters, in order to find the optimal form.

IMAGES BY MERIJN BRAAM AND HAGI ANDOKO

INITIAL STRUCTURAL ANALYSIS FORCES Using Karamba, I generated an initial structural analysis on the geometry generated by the other group members. Karamba indicates compression as red and tension as blue. This initial result of the forces acting on the structure as a shell informs us about what parts of the strucuture must be paid close attention to. The results of this model indicate that the cantilever is experiencing high stresses.

STRUCTURAL PATTERN I created a few initial options for structural patterning to analyse how the arrangement, length and number of beams will affect the forces on the structure. The model reveals that when the structure is comprised of smaller beam elements, the compression and tension forces are smaller and more evenly distributed.

DEFORMATION This investigation informed me that the base geometry will need altering because at the moment the slender â&#x20AC;&#x2DC;trunkâ&#x20AC;&#x2122; and large cantilever is causing the structure to fail and deform under load. This will be a problem with the impact of gravity, wind loads, and the load of the plant that will

Figure 31. Recycled Timber

MATERIALITY The selection of recycled timber was based on the client’s preference for recycled materials. One issue with this material, however, is the availability of regular shaped members. Because of this, the script for the structure, and the joint type, has to comply with the variety in material sizes available. This means that the material is the driving force of the design. Although the structure is parametrically designed, we wanted to maintain a sense of workmanship and handmade quality, something that the client emphasised. This also influenced our material and joint type selection. The use of timber also connects with the values of CERES. Not only is it sustainable and maintains the CERES aesthetic, but can be used for education about how materials can be reused and how things can be built by hand. The structure can also be deconstructed and the material used again. Selection criteria: • Recyclability • Availability • Craftsmanship • Constructability • Aesthetic of CERES • Lightweight

EXPLORING JOINT CONNECTIONS At the beginning of determining our structural method and aesthetic we created many sketch models to assess which structural connections would suit the geometry, aesthetic and constructability we were aiming for. In order for me to move forward with the computation of the structure, it was crucial to work closely with the team members exploring the prototypes to know which approach would be most appropriate for construction.

Multi directional sectioning

Canopy lateral biscuit joint

Trunk structural core + seating

Butt joint branching Prototypes by Romana Radunkovic, Mariam Najeeb, Olivia Goodliffe

ROPE

BRACKETS

DOWEL

NOTCHES

DRILLED CABLE TIES

SCREW

OVERLAP CABLE TIES

Explorations of prototypes and joint details had a direct impact on our final design. The prototypes were used to test the limitations of the structure and whether the final structure can be assembled. These explorations had a significant impact on rationalising, optimising and refining the final design. We quickly realised that cutting slits in each beam would be too labour intensive and inaccurate because they would have to be cut manually, so a number of alternative joint types were tested out. The type of joint determines the types of forces experienced by each individual element as well as the overall structure. Romana completed a thorough exploration and analysis of different connection types between the timber members, analysing factors such as rigidity, cost, time, constructability and material behaviour.

NUT AND BOLT

The final decision was to use bolted connections. These add rigidness and stability to the joint, are easy to construct, have an industrial aesthetic and donâ&#x20AC;&#x2122;t require many materials. Because of the rectangular geometry of the reciprocal structure, the connections between the members need to be fixed. Traditionally reciprocal structures work only with compression forces, but the negative curved surfaces bring shear forces, which is why itâ&#x20AC;&#x2122;s necessary to use bolts to keep the assembly together.

RECIPROCAL STRUCTURE After moving on from the waffle structure and experimenting with different structural connections, the group decided to use a reciprocal system. A reciprocal structure is made up of sloping beams that form a closed circuit. It is a self-suuporting structure where all the members rely on each other. This mimicks the way that nature works as a system, tieing to the CERES message. The benefit of using a reciprocal structure is that the curvature of the organic form can be achieved through

strraight, shorter length elements. The appeaance of the structure will be detemined by the parameters to of the individual beams and the connections between them. The freeform surface generated by the geometry team is used as a base for the reciprocal frame system. The pattern of the beams was determined by the shape of the mesh used to generate the reciprocal system. The final model uses a rectangular mesh.

EXPLORATION

Images by Romana Radunkovic

PATTERN FINDING The various patterns are created by the configuration of the structural elements. When generating the iterations for the pattern we had to keep in mind the constructability, therefore, the successful iterations are those where one two beams connect at any time. It was important to work with Romana who was investigating joint types, to determine which pattern would work.

The selection of the final pattern was based both on the constructability and the aesthetic. The group liked the aesthetics of the smaller squares that the pattern generates at the joints and thought this might create some interesting patterning on site. Another factor was ensuring the pattern created a â&#x20AC;&#x2DC;trunkâ&#x20AC;&#x2122; that was not climbable for children. The chosen pattern generates beams at the base of the structure that are almost vertical and therefore harder to climb.

Mariam created a sketch model to explore how the chosen pattern would project shadows in different lighting situations.

BEAM SIZES Because of the nature of recycled timber, the design of the structure needs to be flexible in the dimensions and properties of the members. I made the script with approximate parameters of the beam sizes, based on Romanaâ&#x20AC;&#x2122;s investigations, and have allowed for these dimensions to be changed. The script works so that the dimensions of the materials are inputted, rather than cutting the material to suit the digital model. This is a huge benefit of using parametric design. The script also allows for optimisation of the structure when using beams of various sizes.

Figure 32. Augusta Kennedia

BIODIVERSITY During tutorial we were introduced to research about offsetting biodiversity. This made our group consider how our design will not only affect the humans using it, but how the animals and creatures will interact with it. We decided that the structure should work to benefit the wellbeing of both humans and animals. This was also addressed as an important factor for the CERES client, as the health of the river and the returning of biodiversity to the site was one of their core values. “Anything you design is going to provide a habitat for biodiversity” Florence Damiens The incorporation of a climbing plant through the central core of the structure will not only provide additional shading over the site but will also attract birds and provide a home for them. This is also in line with the current theme of the playground because the colourful canopy will attract children who can become birds and bugs beneath the structure. The greenery could also be an opportunity for education about plants and pollination because the flowers of the Augusta Kennedia attract birds and insects for pollination.

Augusta Kennedia

• Evergreen, robust, low maintenance • Native • Flowers September to December • Tolerates full sun • Fast growth rate • Suits Melbourne temperature • Screening, shading, ground cover

STRUCTURAL ANALYSIS Karamba colours the beams based on how much stress they experience under loading. It expresses the stress in terms of a percentage of the maximum stress capacity of the material. The beam members transmit the vertical forces of their own weight and any imposed loads through compression in each member. White means the least stress, red beams are experiencing high compression stress and blue beams high tension stress. I have specified the materiel to be timber, and have used the loads of gravity and an extra load on top to account for the plant. This analysis is used to check the safety, stability and structural integrity of the elements in the model. When the number is higher than 100% this means the element is likely to break, this is represented by the darkest colours. The displacement analysis indicates the maximum amount that any element of the structure will move under loading.

TOP VIEW

BOTTOM VIEW

The outermost beams seem to be taking a lot of the structural load, experiencing high compression (red) top top and high tension (blue) underneath. This suggests that the structural integrity might be improved by removing the outermost beams becuase there is a chance they might fail under load.

MOVEMENT UNDER LOAD

COMPRESSION AND TENSION

FORCE FLOWS This force flow analysis of the shell of the structure gives a diagrammatic image of the force trajectories on the overall geometry.

FORCE FLOW LINES

PRINCIPLE STRES

SS LINES

LINES OF DISPLACEMENT

C3 FINAL PROPOSAL BAJEERANG Meaning â&#x20AC;&#x2DC;treeâ&#x20AC;&#x2122; in the language of the Wurundjeri people, the traditional owners of the land. Our design enables animals and humans to come together for protection and habitation underneath the tree-like structure. Each piece of the structure is integral, resting on each other, in a similar way that all the elements of nature do. The final design is not only functional but is also environmentally conscious and connects to the values of CERES.

Image by Merijn Braam

GEOMETRY SEAT CIRCLE

OFFSET

EXTRUDE

PATTERN

BOTTOM CIRCLE POINT

MIDDLE CIRCLE TOP CIRCLE

LOFT ANGLE

MOVE

MESH

RECIPRO

OCAL

STRUCTURE ASSEMBLE MODEL

LOADS SUPPORTS LINES TO BEAMS

CROSS SECTIONS MATERIAL JOINTS

OPTIMISE & ANALYSE MODEL

PHYSICAL MODEL

C3 LEARNING OBJECTIVES AND OUTCOMES Our design proposal was well received by the audience and the group was happy with the final outcome, response and feedback. Although it was disappointing we didnâ&#x20AC;&#x2122;t get to propose the final design to the CERES client, I have tried to clearly outline our design process and ideas in order for the client to fully assess and consider our proposal for construction. There was some feedback from the audience suggesting that when showing design iterations and options, it is important to make it clear which iteration you chose and why. I have tried to address and improve this in my journal. The task was to develop a realistic and innovative design proposal. All the steps we have taken along the development of the design are not only to achieve a certain aesthetic, but are related to optimising the structural performance. This has been done through testing different parameters such as the form, number of members, pattern of members and joint types. Documentation during the design process is key. It is valuable to reflect on how the process came to certain solutions, and to pick up from somewhere along the process if an outcome is unsuccessful. Documentation is also useful for showing the process of learning and development.

I believe that my computation skills have improved dramatically. As well as structural analysis and optimisation, my contribution to the group was making the script work and bringing the different fields together to create a cohesive design. It was integral to gain input from other members of the group, those working on geometry and pattern in particular, in order to achieve the final design. An interdisciplinary approach to design was a great way to approach this brief. At times when communication and input from others was lacking, I had to find a solution myself which is something I have learnt about working in a team, and is valuable to have experience with before moving into practice. When Achim Menges spoke at the Deanâ&#x20AC;&#x2122;s Lecture Series during this semester he spoke about a number of points that relate. In his designs he uses materials as a driving force, something that we fully integrated in our design, with the recycled timber determining many design choices. In his designs, the structural system defines the character of the space, which is what we have done with the geometry of the form and the reciprocal pattern that makes up the structure.

Objective 1. “interrogating a brief” by considering the process of brief formation in the age of optioneering enabled by digital technologies The infinite outcomes and options made possible by digital technologies definitely changed the way I thought about the brief given. Computation enables new and different approaches to a brief. It is important that throughout the design process, the brief is interrogated regularly in order to maintain the design narrative that was intended. Requirements of the brief guide the digital technology approach by indicating the selection criteria and limitations. Objective 2. developing “an ability to generate a variety of design possibilities for a given situation” by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive design-space exploration Computation allows for infinite design possibilities to be explored. By pushing a script further beyond its original intention, unexpected outcomes can be generated. This is the benefit of digital approaches because the designer no longer has to fully realise the design

outcome in their head, they can guide the computer to generate possibilities they never would have thought of. For our design proposal, we initially had a design concept and rough sketch of our idea, just like Frank Gehry does, and used digital tools to bring the concept to life. The technology allowed us to develop the geometry and concept by generating iterations and using tools to work with constraints and optimise the design to suit real life factors such as sunlight, material and structural stresses. Objective 3. developing “skills in various three dimensional media” and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication From having minimal knowledge about computation and parametric modelling and feeling quite overwhelmed with all the new tools and concepts introduced. I have pushed myself hard throughout the semester to improve my skills and have gained confidence and experience with these new techniques. I have developed an excitement and passion for computational design. While my computational skills improved dramatically, I didn’t get to work with digital fabrication. This is one area I

would have liked to explore further this semester, and intend to try in my own time. Due to the brief, our group decided that digital fabrication wouldn’t achieve the handmade, recycled aesthetic the client was looking for. Fabrication would’ve achieved a different outcome not suited to CERES aesthetic, brief and values. The challenge was to create something authentic and handmade looking but using digital tools to design. This is something that isn’t the norm in digital fabrication which is often about creating things that look like robots have made. This could be an interesting idea to explore in the future. Objective 4. developing “an understanding of relationships between architecture and air” through interrogation of design proposal as physical models in atmosphere Physical models played a major role in the development of our design. We used them to explore the relationship between the architecture and the air by playing with their relationship with the atmosphere and sunlight. The shading explorations played a part in the selection of the reciprocal pattern.

Objective 5. developing “the ability to make a case for proposals” by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourse The quality of presentation and argument when proposing a design is critical for how it is received. This is why Indi dedicated the majority of her work load to preparing and presenting the design proposal. Making a case for a design is more successful with confidence in your ideas and clarity in your explanations. A narrative of the design choices, processes and reasoning in relation to contemporary approaches is critical for the audience to understand what you did and why certain conclusions were made. Critical thinking using a selection criteria is valuable in guiding choices and linking the design back to the brief. Objective 6. develop capabilities for conceptual, technical and design analyses of contemporary architectural projects Now that I have some knowledge about how architecture can be designed and constructed with complex technology, I can be more critical of the success of

contemporary architectural projects. This subject has allowed me to look at contemporary buildings and understand more about the design process that involves digital technology. The analysis of these projects can be inspirational and spark ideas, but can also help me think about how I could apply my knowledge to think of ways to improve the design or design it differently. Iâ&#x20AC;&#x2122;m also driven to think about how older architectural styles that do not use computation methods, can be recreated or transformed using techniques from the digital world. Objective 7. develop foundational understandings of computational geometry, data structures and types of programming I believe that throughout the semester I have developed a solid foundation of understanding of digital technology in architecture. One of the key points I learned using Grasshopper was the importance of data management when scripting. Gaining a greater understanding of this at the end of part B made the scripting process a lot more comprehensive and easier to manage and helped to get what I wanted out

of the script. The architecture firm I am involved with are now beginning to use Rhino and Grasshopper and I hope that some of my skills learnt in this subject can be explored and carried on to practice. I am interested to explore what techniques I have learnt can be used in larger scale projects with even more practical constraints. I want to explore the fabrication side a bit more and am planning to learn some skills from my peers in the other classes, to program robots to carve parametric designs. Objective 8. begin developing a personalised repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application. I am excited to push my newfound skills further by exploring my own projects during the semester break. I think that my repertoire of Grasshopper techniques and how they can be used has expanded and I am keen to push this even further into areas I havenâ&#x20AC;&#x2122;t yet explored.

Studio Air has taught me a different way of thinking about architecture, with the availability of digital technology techniques. As Achim Menges argues, the role of technology in architecture is shifting and challenging our preconceptions of design.

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