Studio Air 2013
Ravi Bessabava Tutors: Tom & Finn
Contents Part 0: Introduction
0.1. Previous Works & Experience
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Part A: Expression of Interest I: Case for Innovation A.1. Architecture as a Discourse
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A.2. Computational Architecture
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A.3. Parametric Modelling
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A.4. Algorithmic Explorations
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A.5. Conclusion
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A.6. Learning Outcomes
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Part B: Expression of Interest II: Design Approach B.1. Design Focus
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B.2. Case Study 1.0
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B.3. Case Study 2.0
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B.4. Technique: Development
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B.5. Technique: Prototypes
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B.6. Technique: Proposal
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B.7. Algorithmic Sketches
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B.8. Learning Objectives & Outcomes
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Part C: Project Proposal C.1. Gateway Project: Design Concept C.2. Gateway Project: Tectonic Elements C.3. Gateway Project: Final Model C.4. Algorithmic Sketches C.5. Learning Objectives & Outcomes
Part D: References D.1. Reference List
Part 0
Introduction
0.1. Previous Works & Experience
About Me My name is Ravi, I’m currently in my third year of a Bachelor of Environments, Majoring in Architecture at The University of Melbourne. My interest in architecture began through a general interest in the design field. Gradually this interest developed into more of a passion & therefore seemed like a logical step towards a profession that fulfills both the creative & technical aspects of the design process. As architecture has a very tangible impact on the world I feel it is a good place to initiate ideas of sustainability thereby instigating a behavioral change in society at large. I have a keen interest in geometry & am inspired by the works of architects such as Buckminster Fuller, Louis Kahn, Michael Hansmeyer & Thomas Heatherwick. This journal is a record of my learning and developing understanding of digital design techniques over the duration of the Studio Air Course.
What is Digital Architecture? At a basic level digital architecture is the utilisation of digital tools to execute an architectural brief. Digital tools enable processes that were traditionally done by hand to be executed in a more time efficient manner, however they also allow experimentation & generation of complex geometries. These digital tools also enable physical constraints (e.g. gravity) to be simulated & allows the resulting data of such a simulation to be integrated into the design form. Therefore digital architecture can be seen as a [r] evolutionary step in the building design & construction process allowing a new realm of possibilities to be explored which encourages a new approach to the design process & allows for an integration with current fabrication techniques.
Previous Works & Experience I have previous experience with a number of programs including: Photoshop, Illustrator, InDesign, Cinema 4d, AutoCAD & Rhinoceros. My experience using Rhinoceros is limited to the major project for the subject Virtual Environments. Our project brief was to design a form based upon a natural process that we would fabricate into a wearable lantern. The natural process I chose was erosion, which I then applied to the trapezius & deltoid muscles of the human back. The forms generated were then modelled in Rhino where I explored the use of point/curve attractors & custom panelling. The panelling function enabled the fabrication process to take place. This process reaffirmed the varying outcomes that different tools can achieve (e.g. manual vs. digital processes). I am excited to be further exploring the possibilities of digital architecture & learning about parametric design as I can see the amazing possibilities of using this type of generative tool in architectural practice.
Part A
Expression of Interest I: Case for Innovation
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Figure 1. ETFE Domes at Eden Project1
A.1. Architecture as a Discourse
Eden Project Sir Nicholas Grimshaw cornwall, uk (2000)
Figure 1. Eden Project2
The Eden Project, designed by Sir Nicholas Grimshaw, is a unique project that has been made possible by new technologies & utilises digital techniques. The project comprises of a visitors centre (seen in the foreground of figure 1) & a series of eight interlinked geodesic domes which create the world’s largest plant enclosure.3 The design has been quite obviously inspired by Buckminster Fuller, while the innovative use of ethylenetetrafluoroethylene, (ETFE) as a cladding material works to minimise materials yet maximise
space showing a focus on efficiency. The design decisions made in this project have influenced more recent buildings such as the Beijing National Aquatics Center which utilises the same ETFE material and also the structural optimisation gained through the use of geodesic curves. It could be said that this project belongs to an ecological movement, even though some of the material choices could be interpreted as detrimental to the environment, the overall achievement of ‘more for less’ is commendable. The project
also acts as a sustainability hub where people can learn about new technologies (in the visitors centre) & how to make sustainable choices in their own home which will hopefully change their pattern of living thereby creating a positive change in the world at large. The Eden Project is currently one of the top three charging attractions in the UK showing people’s appreciation for such a unique project.4
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A.1. Architecture as a Discourse
Subdivided Columns: A New Order Michael Hansmeyer
gwangju design biennale, korea (2011)
Figure 1. The Sixth Order by Michael Hansmeyer1
This project consists of a four 2.7m high abstracted Doric columns with six million faces each. The columns have been fabricated from laser cut 1mm thick white perspex. This project relies solely upon digital technologies for its design & fabrication to create unimaginable shapes.4 Although this project is not a ‘building’, it is designed as a sculptural building component which contributes a great deal to architectural discourse & algorithmic design possibilities. The theory behind the columns 12
involves the folding of surfaces based upon the PSUB PIXAR subdivision algorithm5, something that would be if not impossible extremely challenging & time consuming to do without the use of digital technology. Subdivided Columns: A New Order could be classified as part of the post-modern movement with references to Gaudi’s Sagrada Família through its highly articulated ornamentation & classical architecture through the Doric proportions of the columns.
It would be naive to say that this project will bring about a positive change in the world at large, however the theory behind this project is pushing the boundaries of current design & fabrication technologies which has great implications for the future of digital architecture.
Figure 2. The Sixth Order by Michael Hansmeyer2
Figure 3. The Sixth Order by Michael Hansmeyer3
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“Computational design tools need to be more closely connected with the building process.� Kai Strehlke, 20131
Figure 1. Completed HygroScope1
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Figure 1. Central opening building2
A.2. Computational Architecture
Messe Basel - New Hall
Herzog + De Meuron basel, switzerland (2013)
Figure 2. Articulated façade treatment3
With a specialised Digital Technology Group, Herzog and De Meuron are able to fully utilise the possibilities for computational design however are adamant that “the focus is more on design intent and the architectural idea and concept. We try to find the right tool, and develop the tool to make the concept work.�4 The design industry is going through a shift in the way in which designers design as the utilisation of computers allows for enhanced design possibilities which can lead to more complex and elegant solutions to age old
design problems. However the adoption of computation in the architectural field is not without its challenges. The construction and manufacturing industries are faced with a challenge to meet the needs and capabilities of current design possibilities. The current gap between design and construction possibilities poses a challenge as it is currently resulting in the high costs associated with the utilisation of new technologies (such as 3d printing). Which although give the ability to experiment and actualize form may encourage impractical design decisions.5
Herzog and De Meuron therefore rely on more common digital construction methods such as CNC milling to produce the majority of the elements in their projects. The highly articulated surfaces on this project that resemble woven paper are more than ornamental expression as they act to filter light into the exhibition spaces within. Once again computation is essential to such a design and surface treatment first for the calculations and adjustments of such complex structures but also for fabrication via CNC milling. 15
A.2. Computational Architecture
Swiss Re Headquarters Foster + Partners london, uk (1997-2004)
Figure 1. Completed building1
Drawing precedent from Buckminster Fuller’s Climatroffice, Foster + Partners iconic Swiss Re Headquarters is a model for computational architecture.4 It combines complex forms that are optimised to suit environmental conditions. It is clear that computing quickens processes, allows for recursive inputs, and enables more complex geometries to be calculated, but what does this mean for the design process? Computing has had a great effect on the design process for this project through the calculation of complex geometries and the 16
structural capabilities of such forms The implications of faster processing, drawing and editing abilities means more time can be spent on theoretical aspects affecting a design. Such as developing a more aerodynamic building form suitable for a high rise building such as the Swiss Re Headquarters. Additionally computation also means that more design possibilities can be analysed and selected designs can be refined quicker, in more depth and more effectively than ever before.
Performance oriented results are perhaps the most inspiring and useful aspects of computation contributions to the design field. The Swiss Re Headquarters demonstrates the integration of solar access in a complex structure which has been modelled as an optimal solution to fit the architectural intent.
A.2. Computational Architecture
Figure 2. Virtual wind tunnel tests of Swiss Re Headquaters2
Figure 3. Conceptual sketches of solar access and ventilation paths3
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“Scripting [is] a driving force for 21st century architectural thinking.� Burry, M (2011)1
Figure 1. Completed HygroScope4
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A.3. Parametric Modelling
HygroScope
Achim Menges in collaboration with Steffen Reichert centre pompidou, paris, france (2012)
“Computation and materialisation are inherently and inseparably related.” Menges, A (2012)2
Figure 2. Parametric model of HygroScope showing different reactive elements3
The HygroScope Project by Achim Menges in collaboration with Steffen Reichert is one project that exemplifies the possibilities of computational design and parametric modelling. Climate data, material properties, and parametric modelling all combine to produce an aesthetically pleasing, environmentally reactive form requiring no mechanical or electronic devices. Parametric processes employed in this project include: designing the substructure, modeling the overall shape, optimising the material usage, and ensuring
planarity of the moving elements thereby avoiding any collisions.5 The HygroScope is comprised of 4000 unique digitally fabricated elements and the complex substructure which work together to produce an elegant design that appears to react in an almost biological fashion.
as what Michael Meridith refers to as “the mastering of hi-tech engineering software.. [to]... ultimately...produce ornate architectural decoration” resulting in a complex and overly ornamental design that performs a simple function (i.e. opening a window).6
The merits of this project with regard to architectural discourse is that it is a sculptural experiment that could be adopted as an novel solution to a building ventilation system without the need for electrical or mechanical inputs.
However, in the context of architectural discourse this project is an innovative example that focuses on the junction between parametric modelling and material functions to produce an elegant, responsive form that demonstrates current technological possibilities. 19
The shortfalls of this project is that it may be considered
A.3. Parametric Modelling
Aviva Stadium Populous
dublin, irl (2010)
Figure 1. Completed stadium1
One of the most innovative features of this project is the use of a shared parametric model among all parties involved in its design and manufacturing. This approach allowed “global design alterations to be carried out simultaneously with detailed design development, eliminating any abortive work� thereby creating a non-linear, integrated design process.4 A key factor in this project was organisation. At the beginning of the project naming and construction orders needed to be implemented and agreed upon to ensure the files did not become messy with so many people 20
working on them.5 The direction of the flow of implemented changes was also established, i.e. architectural adjustments would flow to the structural engineers model but not visa versa.6 It is arguable that this restricted design flow could have inhibited a truly optimised process. Regardless, organisation of the digital space and flow of information enabled a hierarchical design process while the parametric nature of the project enabled changes to occur and be implemented dynamically. For example the building footprint was designed before the cladding was finalised, the parametric model allowed the
footprint to be recalculated with minimal trouble.7 This project presents an interesting model for future projects, as it exemplifies the advanced levels of collaboration and non-linear design processes that are possible through the use of parametric modelling. This approach results in work becoming more efficient, project times reducing due to the adoption of parametric modelling and a non design approach, and increased levels of optimisation due to the discourse occurring between parties involved in a project.
Figure 2. Collaborative design process2
Figure 3. Geometric Envelope Definitions3
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A.4. Algorithmic Explorations
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A.4. Algorithmic Explorations
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A.5. Conclusion
“[Computation]...creates endless opportunities to explore for forms that are not practically reachable otherwise.� Woodbury (Elements of Parametric Culture, 2010 pg 39)
In the beginning computers were programmed to emulate tasks performed by hand, namely drafting, as in Ivan Sutherlands 1963 Sketchpad System, which demonstrated the basic advantages of computation. We have relatively recently moved from simple 2d drafting to a far more complex 3d realm which allows more complex forms to be calculated. It is evident that architectural practice has been influenced through historical precedents and that computational architecture has elements which hark back to the futurists of the early 20th 24
Century. However differing from futurism, current architectural design practices have the ability to learn from the mistakes of the past and through the adoption of computational processes help to innovate the current state of the design and construction industries thereby reduce its impact on the world at large. In short, computation allows much more complex results to be calculated and a far greater amount of variables to be assessed, which has huge implications for the future of building technologies.
Computational tools open the door to previously unreachable goals and can be utilised to create more efficient building designs requiring less materials for structural stability, enhance their environmental performance and occupant comfort levels.
A.6. Learning Outcomes
“The history of design can be read as a constantly changing process of exploring for new form-making ideas, using whatever tools and intellectual concepts are at hand� Woodbury (Elements of Parametric Culture, 2010 pg 39)
Through the process of this expression of interest, my own knowledge of computation and parametric modelling in the architectural field has expanded to include elements of current architectural discourse, and examples of how these elements are put into practice in real projects. Examination of the current discourse surrounding computational design has increased my interest in the field and reaffirmed the necessity and power of computation and scripting in architecture.
Of particular relevance to the gateway project is the workflow of the Populous firm in their Aviva Stadium project, I can see these organisation factors playing a key role in our major group project.
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Part B
Expression of Interest II: Design Approach
B.1. Design Focus
Biomimicry
Biomimicry is concerned with looking to natural systems as a method of discovering innovative design solutions. This is not a new field, designers have been looking to nature since, and most probably earlier than, the first flying machines. As a group, we feel that biomimicry is an interesting field that has the potential to create a unique, thought provoking, technically innovative design for the Wyndham City Council. We decided that this broad umbrella topic of biomimicry would allow us to encompass and experiment with many different 28
interesting and innovative aspects such as materiality, structural optimisation, form and jointing techniques with the aim of creating a site specific and responsive design.
systems. The systems identified are as follows:
Following the description of biomimicry setout by Janine Benyus, founder of the term, where “a biomimetic approach is one that favours ecological performance research and metrics over shape making�4 we set out to discover natural systems that would influence our design. Looking at biology in general we identified similarities that are spread across many natural
- Synergistic Relationships
- Structural Efficiency - Material Efficiency - Passive vs. Active Systems Overall we aim to create a site specific design that is conceptually accessible to the project audience and contributes to the architectural discourse of biomimicry through the use of digital design tools, thereby creating a unique and well recognised design to generate ongoing interest in the city of Wyndham.
B.1. Design Focus
Images clockwise from top left 1. Biomimicry.org, 2012, Accessed via <http://static.biomimicry.org/wp-content/uploads/2012/06/lizard.jpg> viewed 22/4/13 2. Underside of a Giant Lily showing structural support, Accessed via <http://dangergarden.blogspot.co.uk/2010/08/hugheswater-lily-fest.html> viewed 22/4/13 3. Stadium roof structural design inspired by giant lily. Palazzetto dello Sport, Pier Luigi Nervi (1958) Accessed via <http:// biomimicron.files.wordpress.com/2012/11/palazzetto-int.jpg> viewed 22/4/13 In Text 4. Peters, T (2011) â&#x20AC;&#x153;Nature as Measure: The Biomimicry Guildâ&#x20AC;? AD vol. 81 Issue 6 pp 46.
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B.1. Design Focus
ICD / ITKE Research Pavilion University of Stuttgart stuttgart, de (2012)
Inspired by the exoskeleton of a lobster University of Stuttgartâ&#x20AC;&#x2122;s 2012 ICD/ITKE research pavilion is a prime example of biomimicry in architectural form. All levels of this project; the form, structure, and materiality are intrinsically linked in this project to achieve an impressive 4mm thick structure with an 8m span. This project is an example of a biomimicry design solution which is technologically, structurally and materially innovative.
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It is remarkable that by looking at one aspect of a set or organisms (obviously with some direction and help from the biologists!) an entire structural system can be created that is not only highly performative, but also has an aesthetically pleasing form and utilises an innovative construction method. We were inspired by this design as an example of what is possible when an natural system is extrapolated and applied as a overall system to inform a design.
Images clockwise from top left: 1. ArchDaily, Available via <http:// ad009cdnb.archdaily.net/wp-content/ uploads/2013/03/5136a891b3fc 4ba663000225_icd-itke-researchpavilion-university-of-stuttgart-facultyof-architecture-and-urban-planning_ icd-itke_rp12_image03.jpg> accessed 25/4/13 2. ArchDaily, Available via <http:// ad009cdnb.archdaily.net/wp-content/ uploads/2013/03/5136a9dfb3fc4 ba663000235_icd-itke-researchpavilion-university-of-stuttgart-facultyof-architecture-and-urban-planning_ icd-itke_rp12_image18.jpg> accessed 25/4/13 3. Available via <http://c1038.r38.cf3. rackcdn.com/group5/building45282/ media/bbab_1941pavillion_20123.jpg> accessed 25/4/13
B.1. Design Focus
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B.1. Design Focus
Reef
Rob Ley and Joshua Stein new york, us (2010)
Reef is an interesting sculptural piece of architecture that uses Shape Memory Alloy technology (SMA) to create a responsive form. Located at the ‘Storefront for Art and Architecture’ this project is an iconic, experimental success. This project effectively experiments with place-making techniques and through the use of technology creates a responsive form that acts as an advertisement for the possibilities of future architectural practices. As the design utilises SMA’s to create a reactive structure it becomes interactive, accessible 32
and enjoyable to both professional and public audiences alike. The project “shifts [focus] from the biomimetic to the biokinetic”.1 This ‘biokinetic’ technique of creating movement through material chemistry rather than mechanical means, relates back to biomimicry (although more likely bio-resemblance) as the material changes shape and reacts to external inputs to serve a particular purpose. As a group we are interested in further exploring the possibilities of SMA’s and reactive, site responsive architecture.
In Text 1. Ley, R & Stein J (2010), Reef an Installation by Roy Ley & Joshua Stien, available via <http://www.reefseries. com/downloads/Reef_Ley_Stein.pdf> accessed 25/4/13 Images clockwise from top left: 1. Interior of sculpture showing waffle support structure. 2. Connection details showing Nitinol wire charged by electrical current. 3. Parametric model showing façade movement along with two more shots of the completed structure. All images available via <http://www. reefseries.com/downloads/Reef_Ley_ Stein.pdf> accessed 25/4/13
B.1. Design Focus
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B.1. Design Focus
UK Pavilion ‘Seed Cathedral’ Heatherwick Studio shanghai expo, ch (2010)
Thomas Heatherwick’s Seed Cathedral built as the UK pavilion for the World Exposition held in Shanghai in 2010 expresses a new and novel type of architecture that was well received by both public and professionals as shown by its 8 million visitors over 6 months and through receiving the award for the top pavilion at the expo. We like the passive responsive nature of this project and it’s overall soft/fuzzy aesthetic. The concept of lighting has been carefully crafted to create a stunning effect. Although it is not formally biomimicry but 34
more a form of bio-resemblance as the form has been inspired by “swirling grass” we still felt this to be a relevant precedent which referenced our design intent.1 The nature of a project such as this is that it is so unexpected that it gains renown. It is also a site responsive design as each hair or rod catches the wind and creates a slight shimmering of the surface. This is an eye catching technique that could reference the grassy plains surrounding Wyndham and enabling the forces of the wind to be visually understood by the audience.
In Text 1. Heatherwick Studio, 2010, available via <http://www.heatherwick.com/ukpavilion/> accessed 25/4/13 Images Clockwise from top left: 1 Close up of the façade structure 2. Finished Pavilion 3. Seeds close up 4. Interior All images: Baan, I, 2010 available via <http://www.heatherwick.com/ukpavilion/> accessed 25/4/13
B.1. Design Focus
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B.2. Case Study 1.0
The Morning Line Aranda Lasch
shanghai expo, ch (2009)
To begin our experimentations with grasshopper in the field of biomimicry, we looked at the files made available to us via the University of Melbourne Learning Management System (LMS). We began with a reverse engineered version of Aranda Lasch’s ‘The Morning Line’ project which proved to be an interesting exploration into recursive subdivisions of an input geometry. The parameters of this model were explored and some interesting geometry resulted. Experiments began with a change in the number of iterations of the base geometry. 36
The first results were composed of rigid geometries which through the process of mirroring formed more complex dynamic geometries. After applying the second part of the definition lines were drawn upon the surface resulting in much more complex geometries. Problems experienced in the use of this definition was crashing due to the number of scaling iterations, which could have possibly been improved by using the ‘Hoopsnake’ plug-in. This leads to the conclusion that grasshopper isn’t the best tool for fractal iterations.
Although this project was an interesting exploration, the forms were not directly translated into our project as we felt the general underlying geometry to be too rigid and symmetrical. This experiment did encourage our exploration of solid geometries which would form the underlying structural component of our mid-semester model.
Image:‘The Morning Line” Available via <http://farm6.staticflickr.com/5270/588 2758562_84ccd143e6_o.jpg> Accessed 26/4/13
B.2. Case Study 1.0
Biothing Seroussi Pavilion Olyer Wu Collaborative taipai, tw (2011)
The Biothing Seroussi Pavilion is an interesting project as it explores electromagnetic fields (EMFâ&#x20AC;&#x2122;s). As a group we were interested in this idea of visualization of invisible natural forces. Once again exploration of the file on the LMS resulted in a variety of results. This case study differed from our experiments with the Aranda Lasch Morning Line Project as rather than creating linear elements from rigid geometry, Biothing uses point charges to generate lines which visualize EMFâ&#x20AC;&#x2122;s. This resulted in complex linear
geometries radiating from points along a curve with control of the density/length of lines. Numerous techniques were explored when using this case study, such as changing the input curves, applying rotational fields rather than radial ones, using graph mappers to affect the overall form (i.e. flat or undulating) and the number division points of the curve. Similarly to the Morning Line case study, problems were encountered with crashing in this definition when higher numbers of lines were calculated, this was overcome by calculating all other
factors and then changing the density of lines as the final step thereby avoiding unnecessary recalculation of a large number of lines. We decided that the elements we liked from this case study was the hairiness, the visualization of invisible natural elements and the organic, dynamic aspects of this type of geometry. Biothing images clockwise from top left (All Accessed 26/4/13): 1. <http://farm3.static.flickr.com/2637/3 709156721_4c01a33f6f_b.jpg> 2. <http://thefunambulistdotnet.files. wordpress.com/2013/01/seroussi.jpg> 3.< http://www.biothing.org/wpcontent/uploads/2010/03/3600031921_ beed61e9a9_o.jpg>
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B.3. Case Study 2.0
Re-engineered ‘Seed Cathedral’
1.First attempt applying principles that worked on a plane to a cube
After group discussions and experimentations of the Grasshopper definitions in Case Study 1.0, we decided to further our experiments and attempt to re-engineer a parametric version of Thomas Heatherwick’s Seed Cathedral, as this seemed to be the most appropriate example of ‘hairy’ architecture and a fitting example of the two different elements of our case study 1 files. The process began by deconstructing the project to its core elements as I had learnt from previous algorithmic sketches, its easier to begin with something simple and then apply 38
2. Second attempt radiating curves from central point and trimming curves on the inside with a second cube
it to something more complex. So for the Seed Cathedral the basic components are faces with protruding lines. This seemed easy enough. I began by creating a planar surface and subdividing it, creating points on the surface. These points were then moved in the ‘z’ direction and a curve was drawn between the points. I then tried applying this technique to a cube after using the ‘explode’ component, the ‘list item’ component was used to select each face and the same moved points were used in their corresponding directions.
This experiment was a good start and roughly simulated the technique used in the Seed Cathedral, however it was far removed from Thomas Heatherwick’s elegant filleted cube with radiating lines. We wanted to achieve a solution that more closely resembled the form of Seed Cathedral. The distinguishing factors of seed cathedral are that the lines radiate out from a central point, and the lines also penetrate the interior of the space. The first re-engineering models lines were perpendicular to each face and did not enter the interior space.
B.3. Case Study 2.0
4. Final render
3. Final Grasshopper definition
To improve the existing model a point was added at the world centre (0,0,0), which became the centre point of the cube, and the ‘moved’ points were deleted. Then a curve was then drawn from the central point to each point located on the cube’s faces, these curves were then lengthened via the ‘extend’ component. The original cube was duplicated and its radius was reduced, nesting it inside the larger cube. This shape was then used to trim the curves via the ‘trim with brep’ component and the ‘outside curves’ were then piped for visual clarity.
The next step was to create a filleted cube to replace the cube in the definition. After researching the internet and looking on the Grasshopper3d Forum, I discovered a post by David Rutten (the developer of Grasshopper) stating that currently parametric filleting of solid geometry edges in grasshopper was not possible.1 Although the desired filleted cube shape could have been produced in Rhino it was decided to stop the re-engineering process here as the main focus was explorations in Grasshopper.
1. Rutten, D, 17/7/11 accessed via <http://www.grasshopper3d.com/ forum/topics/fillet-edge-of-a-solid> viewed on 20/4/13
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B.4. Technique Development
Design Matrix Technique Iterations
1
A
B
C
D
E
F 40
2
3
4
5
B.4. Technique Development
6
7
8
9
10
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B.5. Technique Prototypes
Material and Technique Prototypes
With some focus we had decided that our design for a Wynhdam City Gateway would contain three elements: - Nitinol Shape Memory Alloy Wire (SMA) - Panelisation (to support the nitinol wires) - Structural support system to transfer loads to the ground Ideally these elements would be combined into one system as similarly seen in the ICD/ ITKE research pavilion. We experimented with waffle structures as a simple way of generating a support structure for 42
our design to sit upon. A basic panel was constructed also as a mock-up. These two basic forms were used as an introduction to the digital fabrication processes, including unrolling, labelling, nesting and submitting for laser cutting. Through research we discovered two different types of Nitinol wire, one is â&#x20AC;&#x2DC;super elasticâ&#x20AC;&#x2122; meaning it springs back to being straight as soon as a given force is lifted and is quite hard to kink. The second is heat activated, resulting in deformations that are set straight again by slight heating. We discovered that
the reactive temperature could be adjusted through different compositions leading to the possibility of it being reset at 17 degrees or so. After discussion we decided that the super-elastic wire would be more interesting as it would be affected by the wind then immediately spring back to place, similar to a tree in the wind. Another field for exploration that we determined was that of shifting the contours of the site in order to shape the wind in order to further shape the forces affecting the wires of our design.
B.5. Technique Prototypes
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B.6. Technique Proposal
Developing Our Own Definition
Lofted Curves
1. Example of turgor pressure as seen in plants Available via <http://york.conroeisd.net/Teachers/ jlutke/144051A7-00870B2F.3/turgid.jpg> Accessed 5/5/13
Lofted Curves
Following Case Study 1.0 and Case Study 2.0 we decided to further our explorations with ‘hairy’ architecture and develop our own Grasshopper definition in an attempt to address the Wyndham City Council gateway brief. Combining the techniques and strategies that we liked from our precedents, case study examples and re-engineering study we decided that we would like to utilise the power of the wind and perform material explorations with nitinol wire. Our aim was to shape the landscape and create a sweeping form that was striking 44
and immediately accessible to the public while driving past at high speeds. We originally looked at turgor pressure which refers to the effect of a plant rehydrating itself with water. It seemed like Nitinol wire could be used to appropriate such an effect with the wind blowing it over and the sun raising it back up again creating a dynamic, ever changing sculpture that is passively responding to the elements. We started researching wind flow patterns and applying general ‘up-draught’ principles such as creating an artificial bank
which due to having a surface that the wind is hitting creates higher pressure and higher wind speeds at its apex whilst creating interesting ‘whirls’ at the back of the structure. Through discussions with our tutor were directed to Autodesk’s Project Falcon which enabled us to wind tunnel test our own 3d models. The project began with a simple tunnel that would increase wind speed via a funnel style technique and also by creating an artificial bank. This was created through lofting three curves. This shape was then wind tested in Project Falcon. Once satisfied
B.6. Technique Proposal
Technique from Case Study 2.0 implemented
with the lofted surface, it was paneled with triangular panels as a simple method of ensuring that all the faces would be planar. These panels would then become the form to which the wire could be attached.
to start small and grow longer towards to top of the structure where there would be stronger winds.
The technique discovered in the re-engineering of Seed Cathedral was then used to populate the surface with curves radiating out from the central point of the surface. The length of these lines was affected by its distance to a movable/attractor point enabling the length to be modified easily. The aim behind adding attractor points was to enable the curves 45
B.6. Technique Proposal
Extrapolation of edge curves and attempt to create a support structure by extruding these curves
Original lofted curves
Attempt to create waffle structure via perp frames
In order to establish a structural support system, we had wanted a system that would follow the panelled surface thereby making the construction process much simpler and the overall design more elegant that placing two completely separate structures together. This process proved more difficult than we had expected. I first attempted isolate the edges of the panels which worked however when it came to extruding these curve they lost their planarity as the direction they were extruded in was not a pure x/y/z direction. It was 46
determined that the original curves were not planar, this was solved by rebuilding them. A simple perp frame technique that we had experimented with early in the semester was attempted however this overlapping problem was still encountered. At this point I looked on the internet and through posting on the Grasshopper 3d forum discovered the fabrication definitions made available to us via ExLab. This appeared to be the solution to the problem encountered however the definition (waffle structure type 4) didnâ&#x20AC;&#x2122;t work in the expected way. It appeared to recognise each individual
Curves rebuilt with 3 control points to create new planar curves
panel its own surface resulting in approximately 800 individual structural elements. I had attempted to join panels before inputting them to the waffle component and also after exiting the component, however an error message kept occurring inside the component. Another problem faced was that the component did not automatically generate two structures (one top, one bottom) instead this was done manually by flipping the direction of the structure. Due to time constraints a solution inside Grasshopper was not found and the waffle
B.6. Technique Proposal
Exlab waffle definition following panelisation pattern and detail of intersecting rib structures problem illustrated
structure was baked into Rhino and manually joined. I then referenced each joined rib into Grasshopper in the hopes that the structure could be parametrically labelled and unrolled. However the components that we were given on the LMS did not appear to work with my new referenced brep surfaces. The problem appeared to be that the component was not recognizing a â&#x20AC;&#x2DC;planeâ&#x20AC;&#x2122; around which to unroll each rib structure. Once again due to time constraints the surfaces were manually unrolled, nested and labelled in Rhino in preparation for laser cutting.
A problem of this design is that as the base of each curve is a different distance from the attractor point it has resulted in 1593 different curve lengths which would cause major problems in the construction phase. Something to look at for further refinements would be a method of using lists to limits the lengths to a set number of inputs. The contours of the site have also been experimented with through the use of attractor points, in an attempt to shape the landscape and further shape the wind flows affecting the design.
This form of this project would ideally be further developed to create a sweeping form that rises up from the contours of the landscape and then tapers back into it, creating a soft transition between the natural landscape and artificial landscape. Overall this model achieves many of the goals we had set before creating this definition. However its still needs work and modifications, it appears that this project has become more bioresemblance than biomnimicry.
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B.6. Technique Proposal
Bottom waffle structure baked into Rhino and manually joined
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Top waffle structure baked into Rhino and manually joined
B.6. Technique Proposal
Final model render from Rhino
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B.6. Technique Proposal
Current Grasshopper Definition
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B.6. Technique Proposal
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B.7. Algorithmic Sketches
Attractor point tutorial Rhino visualization & Grasshopper definition
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Experimentations with the Fibonacci sequence
B.7. Algorithmic Sketches
Creating planes centred on a point at the tip of a curve
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B.8. Learning Objectives & Outcomes
Mid Semester Presentation
Feedback from mid-semester presentation was positive but also critical. It has given us alot to consider and pointed out flaws in our approach. The following points summarise the response from the panel members on our design and technique: - Consider how the design will change over time, aging process - Consider progression over seasons i.e. wind patterns - How will the design be experienced through placement on the site? - Further consideration of the form required 54
- Possible intersection of design components (including the site) - Explore 3D potential for the wires and a possible patterning effect by their placement on the surface - Suggested that having the wires be moved by wind will be more effective than using the heat memory activation - Principles of biomimicry should be the focus and less so the waffle structure and wire itself. - Explore further the nature of “hair”....the systems, processes and patterns of behaviour
inherent in hair - The design, based on the theme of biomimicry should exhibit the ‘rules’ of hair and not simply by means of bioresemblance - The design should ‘do what hair does’.
B.8. Learning Objectives & Outcomes
One of the key issues raised in the feedback was that of biomimicry. As it appears that through the course of our explorations we have focused more on material exploration and bio-resemblance than biomimicry. Although we began by looking at natural systems in a broad scope, this has let us down by shifting the focus from the natural systems and principles themselves to the materials in use. We have considered the effect and affects created by this ‘hairy’ design and feel that the notion of visualising the patterns of air flow would be successful for the site.
Similarities can be drawn between our design and natural systems however we need to develop the concept further to incorporate a specific natural system in order to successfully fulfil the ‘biomimicry’ brief we had set for ourselves.
the focus of the project back to biomimicry rather than bioresemblance in an attempt to strengthen our proposal.
I agree with the crit panel that further form exploration is needed. Since the mid-semester presentation we have further researched the relationship between hair and skin, the details of hair growth, follicle structures, and the root system of trees and grasses in an attempt to bring 55
B.8. Learning Objectives & Outcomes
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B.8. Learning Objectives & Outcomes
So far this project has explored some interesting concepts, required a steep technical learning curve and produced a well considered, reactive, site responsive design. Although the biomimicry concept, jointing techniques and form need refinement I feel that this project has great potential and am excited to see how we can further develop it over the coming weeks. As a group we have achieved many of the outcomes as described in the course reader. I feel that although it needs further refinement, we have successfully developed a variety of design
possibilities through the use of a matrix system and we have developed a strong relationship between architecture and air. I recognise that our ability to make a case for proposals may also need further refinement. As an individual I feel I have developed strong skills in parametric modelling and digital fabrication techniques. I look forward to improving upon these skills and furthering my knowledge in the next phase of this project.
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References Part A: Expression of Interest I: Case for Innovation A.1 Architecture as Discourse Eden Project 1. http://www.archreh.com/Eden_Project/EdenProject4.jpg (EDEN IMAGE BIG) 2. Viewed 13/3/13 <http://blog.emap.com/footprint/files/2009/06/eden-project.jpg> 3. Bissegger, K (2006) Viewed 13/3/13 <http://www.caa.uidaho.edu/arch504ukgreenarch/CaseStudies/ EdenProject1.pdf> 4. Grimshaw, N, viewed 13/03/13 <http://grimshaw-architects.com/project/the-eden-project-the-biomes/>
Subdivided Columns: A New Order 1. Hansmeyer, M, viewed 13/03/13 <http://tedconfblog.files.wordpress.com/2012/07/8_fabricated_column_ outside_ii.jpg> 2. http://tedconfblog.files.wordpress.com/2012/07/2_prototypes.jpg 3. http://www.michael-hansmeyer.com/images/columns/columns_m3.jpg 4. Hansmeyer, M, viewed 13/03/13 <http://www.michael-hansmeyer.com/projects/columns_info3.html?screenSize =1&color=1#undefined> INFO 5. Hansmeyer, M, viewed 13/03/13 <http://www.michael-hansmeyer.com/projects/columns_info. html?screenSize=1&color=1> INFO
A.2 Computational Architecture Messe Basel: New Hall 1. Strehlke, K (2013) AD magazine pg 58 2. viewed 20/03/13 <https://www.artbasel.com/-/media/ArtBasel/Pictures/Press_Images_Basel/General_ Imrpessions/NewExhibitionHallHall1.jpg> 3 viewed 20/03/13 <http://thesuperslice.com/wp-content/uploads/2013/02/Messe-Basel-New-Hall-Herzog-deMeuron-01.jpg> 4. Strehlke, K (2013) AD magazine pg 58 5. Strehlke, K (2013) AD magazine pg 58
Swiss Re Headquarters 1. viewed 22/03/13 <http://www.saa.vg/imagenes/fotos/pr-gherkin.jpg> 2. viewed 22/03/13 <http://www.architectureweek.com/cgi-bin/awimage?dir=2005/0504&article=tools_1-2. html&image=12682_image_2.jpg> 3. viewed 22/03/13 <http://www.fosterandpartners.com/projects/swiss-re-headquarters-30-st-mary-axe/> 4. viewed 22/03/13 <http://www.fosterandpartners.com/projects/swiss-re-headquarters-30-st-mary-axe/>
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A.3 Parametric Modelling HygroScope 1. Burry. M. 2011 “Scripting Cultures" pg 17 AD magazine 2. Menges A 2012 http://www.achimmenges.net/?p=5083 3. Viewed 30/03/13 <http://www.grasshopper3d.com/photo/hygroscope-parametric-model-ii/next?context=user> 4. Viewed 30/03/13 <http://www.grasshopper3d.com/photo/hygroscope-geometry-control-dials/ next?context=user> 5. Menges A 2012 http://www.achimmenges.net/?p=5083 6. Meredith. M in Burry. M. 2011 “Scripting Cultures” pg 17 AD magazine
Aviva Stadium 1. Murphy. D Viewed 30/03/13 < http://populous.com/wp-content/uploads/2012/02/Aviva-Stadium_ArchitectPopulous-and-Scott-Tallon-Walker_Photo-%C2%A9Donal-Murphy_1839_203D-990x465.jpg> 2. Viewed 30/03/13 <http://people.bath.ac.uk/ps281/research/publications/ijac_preprint1.pdf> 3. Viewed 30/03/13 <http://people.bath.ac.uk/ps281/research/publications/ijac_preprint1.pdf> 4. AD magazine pg 66 5. Viewed 30/03/13 <http://people.bath.ac.uk/ps281/research/publications/ijac_preprint2.pdf> 6. Viewed 30/03/13 <http://people.bath.ac.uk/ps281/research/publications/ijac_preprint1.pdf> 7. Viewed 30/03/13 <http://people.bath.ac.uk/ps281/research/publications/ijac_preprint1.pdf>
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