AIR Journal by rebecah

STUDIO

AIR

Rebecah Wiesner - 698312 Semester 2 - 2016

ARCHITECTURE DESIGN

TABLE OF CONTENTS

INTRODUCTION (p. 1)

PART A: CONCEPTUALISATION (p. 3)

PART C: DETAILED DESIGN (p. 65) C1. Design Concept (p.67) C2. Tectonic Elements & Prototypes (p.75)

A1. Design Futuring (p.5) A2. Design Computation (p.11)

C3. Final Detail Model (p.89) C4. Learning Outcomes (p.99)

A3. Composition/Generation (p.17) A4. Conclusion (p.23) A5. Learning Outcomes (p.24) A6. Appendix: Algorithmic Sketches (p.25)

PART B: CRITERIA DESIGN (p. 27) B1. Research Field (p.29) B2. Case Study 1.0 (p.31) B3. Case Study 2.0 (p.37) B4. Technique: Development (p.47) B5. Technique: Prototypes (p.53) B6. Technique: Proposal (p.61) B7. Learning Outcomes (p.63) B8. Appendix: Algorithmic Sketches (p.63)

BIBLIOGRAPHY (p. 103)

INTRODUCTION My name is Rebecah Wiesner and I am extremely passionate about design, which is what drew me towards the profession of architecture. I have always had a love for art, drawing and design, as well as an interest in mathematics and problem solving.

My interest in art has meant that much of my design work so far has been designed through sketching and presented through careful hand drawings and crafted models. I feel as though hand drawn design solutions show a more intimate relationship and help to show the connection between the design and the designer. I have however had some experience using the Adobe Creative Suite and other simple design programs when I undertook a course in a Digital Media in 2012.

My other interests include sport and traveling. I love adventure and am always up for traveling and visiting new places whether they are big cities, small towns or beautiful places in nature.

Although I have not had much experience with digital design, I look forward to learning and experimenting with new design outcomes and possibilities.

Throughout my university degree so far I have continued to work with some of these programs and have also done some experimentation with Auto CAD. I am interested in a variety of different architectural styles, but one of my favourite at the moment is deconstructivism, including buildings such as Frank Gehry’s famous Guggenheim Museum and Coop Himmelblau’s Rooftop Remodeling project. I feel as though designing is this style, whether it’s using smooth curved planes or sharp angular ones, would be greatly assisted by the use of digital design tools and parametric modeling.

CONCEPTUALISATION

Beko Masterplan - Zaha Hadid Architects http://www.zaha-hadid.com/architecture/beko-masterplan/

City of Dreams Hotel Tower - Zaha Hadid Architects http://www.architecturebeast.com/futuristic-architecture-by-zaha-hadid-architects/

A1. DESIGN FUTURING The concept of deign futuring brings forward the possibilities of design as a way of shaping our future and changing our current way of living, to provide a better living environment for the years to come. Design futuring helps to define design as a world shaping force and allows us to engage with it in many ways, whether that be as designers or the general population. Currently the earth is on the cusp of one of the most dramatic changes in the history of human habitation. Our actions are impacting the environment around us in many different ways and we are causing major changes to the worldâ&#x20AC;&#x2122;s atmosphere and climate. We humans are also using up our resources at a rate that is much faster than they can be renewed. It can no longer be assumed that we have a future.1 This is due to unsustainability; and for a longer and more positive future we need to make changes to the way we live and ensure we start to provide a healthier environment for future generations to live in. These changes can be greatly assisted by techniques used throughout the design process, meaning that an effective way to make these needed adaptations will be in the form of design. We need to design for the future, design sustainable and design smart. Design gives us the ability to visualise and test solutions before they are created and this process is integral in designing for our future as it allows us to see and predict the consequences that certain designs will have on the environment and its inhabitants. â&#x20AC;&#x153;Whenever we bring something in to being, we destroy something else at its expense.â&#x20AC;?2 Using design as a way of improving our future will allow us to find the balance and minimise the effects on our planet, while allowing us to create the infrastructure we need without compromising other necessities. To do this however, we first need to overcome the denial of our possible demise and realise that the problems we face are more serious than they appear.3 The idea of design futuring proposes that we only have a future by means of design and that without design, or more importantly sustainable design, we will not have a future as long or as good as the one we could possibly have with good and innovative designing. 1 2 3

Fry. T, Design Futuring: Sustainability, Ethics and New Practice, (Oxford: Berg), 2008, 1 Fry. T, Design Futuring: Sustainability, Ethics and New Practice, (Oxford: Berg), 2008, 4 Dunne. A, Speculative Everything: Design, Fiction, and Social Dreaming, (MIT Press, Cambridge), 2013, 2

PRECEDENT #1 The Eden Project - Cornwall, UK - 2001 Architects: Grimshaw Architects The Eden Project is located on an unusual site that was once a mining area. It now consists of two large biomes that house and are surrounded by beautiful plants and amazing gardens. The biomes were inspired by soap bubbles, which mould to the surface they land on. The architecture at Eden employs new theories of digital design together with the most sustainable construction materials and techniques. The biomes have what is known as a hex-tri-hex space frame with two layers.1 The steel frame is extremely light, similar to the materials used for the shell. The transparent ‘windows’ in each hexagon are made of ethylene tetra uoroethylene copolymer (ETFE). Each window has three layers of this, inflated to create a twometer-deep pillow. Although the windows are very light, they are strong enough to take the weight of a car and will last for over 25 years.2 The sustainable construction and services used at Eden help to reduce the carbon footprint and work towards the idea of a cleaner and healthier environment.

The Eden Project uses many radical design techniques and creates an incredible space that focuses on sustainability and thinking about the impact it has on the environment. This type of design is the design of, and for, the future. 1 “Architecture at Eden”, The Eden Project, http://www. edenproject.com/eden-story/behind-the-scenes/architecture-at-eden, (accessed August 1, 2016) 2 “Sustainable Construction at Eden”, The Eden Project, https://www.edenproject.com/eden-story/behind-the-scenes/ sustainable-construction-at-eden, (accessed August 1, 2016)

“The moment we saw it we loved it, because it felt natural – a biological response to our needs, but forged in materials that would allow us to explore the cultivation of plants in a way never before attempted” Tim Smit, Eden co-founder on seeing Grimshaw’s initial Biome model

The Eden Project - Grimshaw Architects http://www.edenproject.com/eden-story/behind-the-scenes/architecture-at-eden

Wooden Orchids - Vincent Callebaut Architects http://vincent.callebaut.org/page1-img-woodenorchids.html

PRECEDENT #2 Wooden Orchids - Jiangxi Provence, China - 2015 Architects: Vincent Callebaut Architects mathematic surfaces, becoming the wooden structure module for the shopping complex.2 Although the project has not yet been built, it demonstrates the revolutionary change in ideas that are needed to ensure a better and longer future for both us and our planet. It does this by providing a new way of living, where the spaces are better connected and the design and inhabitance of them are more sustainable and eco-friendly. This is made possible by the use of computation and parametric design to provide the best possible system for the design. This project is one example of how design futuring could benefit not only the life of the earth, but provide us with a more livable environment and better way of living.

Wooden Orchids is a design for an ecoresponsible shopping hub in China that runs entirely on renewable energy sources.1 The project is inspired by organic and spontaneous structures and focuses on turning the shopping complex into a sort of ecosystem. The goal of the project is to create a “livable” and connected space for private and public use that focuses of the principles of sustainability. Based on biomimicry, the architecture of the shopping hub is directly inspired by the petals of orchids, translated into minimal

1 “Wooden Orchids”, Vincent Callebaut Architects, http:// vincent.callebaut.org/page1-img-woodenorchids.html (accessed August 2, 2016) 2 “Futuristic Megamall”, Gizmodo, http://gizmodo. com/this-futuristic-megamall-wants-to-make-shopping-ecofri-1707826631 (accessed August 2, 2016)

A2. DESIGN COMPUTATION In recent years, the fields of architecture and design have seen some major changes to the design process and methods of fabrication. The fields have moved away from many traditional methods of designing and are beginning to move towards a more digitized and better connected design and production system. These new methods have produced new tectonics and theories that have become a driving force for material creativity. The use of parametric and algorithmic design has allowed architects to experiment with the possibilities of the algorithm and explore the many design variations it can create. Design is a process of discovery and with the aid of computation designers and architects are able to create a range of different outcomes and designs both quickly and repeatedly. As design has moved from traditional methods of drawing and model making, through to computerised design and computation, the look of architecture has gone through a dramatic change. Buildings have changed from the orthogonal box and geometric shapes to a “more fluid logic of continuity” that is created by a range of curvilinear surfaces.1 With more readily available technologies and programs the new age of design is much more digitally focused that it ever has been before. This phenomenon has begun to evolve as a medium that supports a continious logic of design thinking and making - the logic of the algorithm.2 Computers are analytical machines that have the power to follow a line of reasoning to it’s logical conclusion, however, they lack any creative abilities or intuition.3 Design computation has influenced a more connected and efficient means of communication between different specialists, allowing the design process to be streamlined by incorporating a better system of refining design projects. Computation has also allowed for much more mathematically correct and more complicated designs to be visualised and even built, giving rise to a new type of world-wide architecture.

1 2 3

Oxman. R and R. Oxman, Theories of the Digital in Architecture, ((London, New York: Routledge), 2014, 2 Oxman. R and R. Oxman, Theories of the Digital in Architecture, ((London, New York: Routledge), 2014, 3 Kalay. Y. E, Architecture’s New Media: Principles, Theories and Methods of Computer-Aided-Design (Cambridgs, MA, MIT Press), 2004, 2

Serpentine Pavilion - Bjarke Ingels http://www.serpentinegalleries.org/exhibitions-events/ serpentine-pavilion-and-summer-houses-2016

“If we could find a way to take advantage of the abilities of computers where ours fall short, and use our own abilities where computers’ fall short, we would create a very powerful symbiotic design system: computers will contribute their superb rational and search abilities, and we humans will contribute all the creativity and intuition needed to solve design problems.” Kalay. Y. E, Architecture’s New Media: Principles, Theories and Methods of Computer-Aided-Design (Cambridgs, MA, MIT Press), 2004, 3 Guggenheim Museum, Bilbao - Frank Gehry https://www.guggenheim-bilbao.es/en/the-building/

PRECEDENT #3 ICD/ITKE Research Pavilion - Stuttgart, Germany - 2013-14 Architects: ICD/ITKE at The University of Stuttgart This research pavilion in Germany was designed by a group of designers from the Institute of Computational Design. The bionic structure showcase the potential of computer aided design, simulation and fabrication.1 The focus of the project was to investigate the natural fiber composite shells by developing a winding technique that allows geometric freedom and structural integrity in a light weight design. Through the use on computational design and simulation tools, the fabrication characteristics and the abstracted biometric principles could be integrated in the design process to provide the most material efficient design solution. This helps to reduce costs and construction time, while increasing the structural capaity.2 Each module in the pavilion fits together perfectly in the most logical way to provide a continuous surface made possible by the algorithmic thinking of computer design. 1 “ICD/ITKE Research Pavilion”, Universität Stuttgart, http://icd. uni-stuttgart.de/?p=11187, (accessed August 5, 2016) 2 “ICD/ITKE Research Pavilion”, ArchDaily, http://www.archdaily.com/522408/icd-itke-research-pavilion-2015-icd-itke-university-of-stuttgart, (accessed August 5, 2016)

ICD/ITKE Research Pavilion - ICD/ITKE University of Stuttgart http://icd.uni-stuttgart.de/?p=11187

PRECEDENT #4 Guangzhou Opera House - Guangzhou, China - 2003-10 Architects: Zaha Hadid Architects Overlooking the Pearl River, the Guangzhou Opera House has a contoured profile that represents two large boulders or pebbles who’s surfaces have been smoothed by the flowing water of the river.1 The parametric forms are embedded into the landscape and incorporate the latest acoustic technology. The design evolved from the interplay between architecture and nature and create a sense of fluidity throughout the design. The triangular panelised surface results from making the complexity of the smooth curved surfaces created by digital design means into a buildable enclosure for the building in the most efficient way, without sacrificing the smooth look the design required. The Guangzhou Opera House and it’s seamless design have been the catalyst for the development of many other cultural facilities in the city. 1 “Guangzhou Opera House”, Zaha Hadid Architects, http://www. zaha-hadid.com/architecture/guangzhou-opera-house/, (accessed August 5, 2016) 2 “Guangzhou Opera House”, ArchDaily, http://www.archdaily. com/115949/guangzhou-opera-house-zaha-hadid-architectst, (accessed August 5, 2016)

Guangzhou Opera House - Zaha Hadid Architects http://www.zaha-hadid.com/architecture/guangzhou-opera-house/

Fallingwater - Frank Lloyd Wright https://www.khanacademy.org/humanities/art-1010/architecture-20c/a/frank-lloyd-wright-fallingwater

Wangjing Soho - Zaha Hadid Architects http://www.zaha-hadid.com/architecture/wangjing-soho/

A3. COMPOSITION/GENERATION In the past few decades a change in design methods has seen a discernible change in the form and language of architecture seen around the world. The traditional methods of the design process (sketching, drawing and model making) resulted in many different styles of architecture, but not one was remotely similar to what we see today. Architecture has shifted from the boxes and straight lines of the modern movement to the more complex forms of “blob” architecture. The use of design computation and computerisation has seen the use of parametric design to create blob-like shaped buildings all around the world. The use of the algorithm has changed architecture by creating a new way to design through computer programs. An algorithm is an unambiguous, precise, list of simple operations applied mechanically and systematically to a set of tokens or objects.1 This means that computer programs can follow this set of rules, almost like a recipe or method, to design an outcome or range of outcomes in a quick amount of time. It allows for complicated and interesting designs that are worked out mathematically. An algorithm does not just simply explain what an object is, it also explains how it is computed (what it does or goes through to become that object). Sketching by algorithm (computation) allows designers to extend their abilities to deal with highly complex situations. The advantage of designing with algorithms is their ability to adapt and change to quickly create different designs.

“When architects have a sufficient understanding of algorithmic concepts, when we no longer need to discuss the digital as something different, then computation can become a true method of design for architecture.”2

1 2

“Defnition of ‘Algorithm’” in Wilson. R, and Keil. F, eds. The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), 1999, 11 Peters. B, “Computation Works: The Building of Algorithmic Thought”, Architectural Design, 2013, 12

PRECEDENT #5 AAMI Park Stadium - Melbourne, Australia - 2010 Architects: Cox Architecture AAMI Park embodies a move forward in the City of Melbourne with the first-class facilities “pioneering approach” to public architecture and, in turn, public life.1 The Stadium is cleverly integrated with the landscape around it through scale and urban plazas, while inside the series of seating bays maximize the sense of theatre and engagement that is essential in creating great events. The 20 roof shells that provide enclosure to the stadium are comprised of a bio-frame structure that uses 50% less steel than typical structures and triangular panels of glass and metal.2 It creates an efficient, functional and visually exciting structure. The design was reached through the application of shell theory and the use of 3D modeling tools. These tools and the advanced computer technology have helped to realise each of these important parts of the design and without it, the structure may not have been possible. Winning the Bentley Award for International Excellence in Parametric Modeling for

Structures in 2008 and many more awards for it’s steel structure the stadium has become an iconic landmark in Melbourne’s skyline. 1 “AAMI Park”, COX Architects, http://www.coxarchitecture. com.au/project/aami-park/?discipline=architecture#!, (accessed August 9, 2016) 2 “About AAMI Park”, AAMI Park, http://www.aamipark.com. au/about/history/, (accessed August 5, 2016)

AAMI Park Stadium - COX Architects http://www.coxarchitecture.com.au/project/aami-park/?discipline=architecture#!

Beijing National Stadium - Herzog & de Meuron Architekten https://beijingbirdsnest.wordpress.com/architecture/

PRECEDENT #6 National Stadium (Bird’s Nest) - Beijing, China - 2008 Architects: Herzog & de Meuron Architekten China’s National Stadium, like much of their architecture, is a symbol of great nature. In this case, the stadium is based on the typology and weaving of a bird’s nest. The structural system of the stadium is constructed from steel and is designed to withstand extremely strong earthquakes.1 The weaving look of the facade and unnatural shape of the design meant that many of the systems needed to be customised to work with the unusual angles. With strange angles and little draw documentation, design specialists (including architects, engineers and HVAC specialists) found the use of computer aided design extremely helpful as it allowed them to create the necessary drawings and models

to analyse the extremely complicated building.2 This analysis helped to integrate all the systems within the building and create a strong relationship through each part of the structure. The nest like grid allows for light and natural ventilation and although the forms appear to be random, each line and form follows a very strict path to transfer loads.3 In this project the use of computer aided design allowed for the structure to be created in an efficient manner to help with load transfers, and allowed optimization of services and materials that all made this project possible to construct. The stadium’s design is a great example of how the algorithmic thinking of computers can assist the creativity of designers in achieving their designs and making complex buildings and structures possible to build, creating amazing landmarks. 1 “National Stadium”, Arup, http://www.arup.com/projects/ chinese_national_stadium, (accessed August 9, 2016) 2 “Structural Systems”, Beijing National Stadium, https:// beijingbirdsnest.wordpress.com/evaluation-of-results/, (accessed August 9, 2016) 3 “Architecture”, Beijing National Stadium, https://beijingbirdsnest.wordpress.com/architecture/, (accessed August 9, 2016)

A4. CONCLUSION influenced a more connected design process between different designers and specialists by providing them with a more efficient platform of communication.

The professions of architecture, engineering and design have seen some tremendous changes over the last few decades. The means of design have changed as technology has evolved and this has changed much of the work done in these professions to be included as part of the digital design realm.

Although the use of digital design tools has seen a huge rise in â&#x20AC;&#x153;blobâ&#x20AC;? type architecture, when it is used correctly, computation has the ability to produce amazing and complex designs that can benefit designers, the general public and possibly even our planet.

Computerisation has allowed complex designs to be realized and become buildable objects, while computation has expanded the design possibilities greatly. Parametric and algorithmic design have produced a wide range of advantages for architects and designers, including streamlining the design process.

Traditional methods however, such as sketching and model making, should not be forgotten. They allow the architect or designer to use their creativity and create a more personal and close relationship between the designer and the design something that can never be replaced by computerisation.

The use of computers not only allows designers to explore a range of ideas, it helps them to produce a variety of possible outcomes in a short time frame. It also assists with changing the designs in an efficient manner as the algorithm adapts the design to the new parameters. This

new

way

digital

design

With the integration of traditional methods and computerisation, digital design will have an integral place (as it already somewhat does) in the field of architecture and will allow for endless creative possibilities.

has

Walt Disney Concert Hall - Frank Gehry http://wdch10.laphil.com/wdch10/index.html

A5. LEARNING OUTCOMES At the start of this subject I had very little knowledge of the variety of uses, programs and ways of digital design. With very little experience with computation I felt as though the best method of designing was through hand sketches and models. After being emerged in the ways of digital design, I now feel as though it can be a useful and valuable part of the design process. Although I still feel that traditional methods should still be widely used, I also feel that there is a place for computer generation. I think using a mixture of the two methods (for example, designing by sketch and finalising or adapting it using computers) can lead to some amazing design outcomes that could not be reached with only one of the methods.

Throughout my past studios I have enjoyed designing using the traditional methods. My interest it deconstructivism, tessellation and triangular forms resulted in complex geometries and forms that become difficult to model. The use of digital design programs could have assisted with creating more accurate models and final outcomes through the use of algorithms and parametrics, possibly even in a quicker time frame.

King Abdullah Financial District Metro Station - Zaha Hadid Architects http://www.zaha-hadid.com/architecture/king-abdullah-financial-district-metro-station/

A6. APPENDIX ALGORITHMIC SKETCHES

EXAMPLE #1 These three examples show the beginning of my digital design experience. The use of simple shapes, curves and lofts to create surfaces using basic techniques allowed the recreation of simple undulating walls. Using both Rhino and Grasshopper, I began to realise how the process of digital design can become a useful tool in creating design outcomes.

EXAMPLE #2 These two examples show more experimentation with the abilities of digital design by creating 3 dimensional shapes. Using a simple box and applying just a few transformations allowed me to create a range of interesting outcomes. 25

EXAMPLE #3 These examples show more complex surfaces with a range of transformations applied to them. These examples are particularly interesting as the demonstrate how computation can be applied to real life designs and situations, using even the most basic techniques. 26

CRITERIA DESIGN

B1. RESEARCH FIELD

SHoP Architects http://www.shoparc.com/#/projects/all/botswanainnovationhub

STRIPS AND FOLDING As I was undecided on one particular research field, I have decided to move forward with two different fields to explore which one I feel could be more useful in my design project. The first research field I will be exploring is Strips and Folding. In architecture, the tectonic of strips and folding can produce a wide variety of linear shapes and well as interesting undulating surfaces. Using parametric design objects can be broken up into strips to create interconnected surfaces and produce patterns of varying or repeating elements. The folding technique can also produce interesting outcomes, some of which can produce elegant designs and origami-like architecture. These two techniques can often be used together to create both simple and complex outcomes and the use of digital design allows each strip or folded panel to be easily fabricated.

Wooden folded parallel strips http://www.karamba3d.com/projects/wooden-folded-parallel-strips/

Aqua Tower - Studio Gang http://www.archdaily.com/42694/aqua-tower-studio-gang-architects/

PATTERNING The second research field I will be exploring is the field of patterning. Although the idea of patterning is quite simple, it has the potential to create complex and effective designs. Patterning is often created by repeating one single element or a small range of elements to create a larger design. These elements can either be perfectly repeated or change slightly as the pattern continues, creating a more dynamic design. Patterning is often predictable and is mainly used for aesthetic pleasure, however it can sometimes be used to create a whole structure if itâ&#x20AC;&#x2122;s designed carefully. I feel as though the patterning technique could work well alongside strips and folding and I am interested in seeing what sort of outcomes each research field can produce on its own as well as when they are used together.

ICD/ITKE Research Pavilion - University of Stuttgart http://www.dezeen.com/2011/10/31/icditke-research-pavilion-at-the-university-of-stuttgart/

B2. CASE STUDY 1.0 SERIES 1

Divide curve: 5

Divide curve: 8

Divide curve: 12

Circle: 10

Circle: 40

Input B: -3

Input B: -6

Conic Graph

Gaussian Graph

Divide curve: 8 Steps: 400

Gaussian Graph Steps: 200

SERIES 2

Circle: 24

SERIES 3

Input B: 0

SERIES 4

Bezier Graph

SERIES 5

Change curve heights

BIOTHING - SEROUSSI PAVILION

Exploring the possibilities of the Grasshopper definition

Divide curve: 18

Divide curve: 3

Divide curve: 1

Circle: 70

Circle: 25 Steps: 50

Circle: 25 Steps: 250

Input B: -10

Steps/segments: 1

Input B: -2

Parabola Graph

Sine Graph

Square Root Graph

Steps: 50

Divide curve: 3 Radius: 0.9

Divide curve: 8 Conic Graph

B2. CASE STUDY 1.0 SERIES 1

Change Picture

Divide surface U: 100 Divide surface V: 60

Divide surface U: Divide surface V:

SERIES 2

Input A: 0.4 Min Move: 0.2

Change Picture Input A: 0.08 Min Move: 0.2

Input A: 0.8 Min Move: 0.2

SERIES 3

Divide Surface V: 10 Input A: 2 Min Move: 5

Change Picture

Divide Surface U:

SERIES 4

Change Picture Flip Strip Direction Vector Direction: X

Divide Surface U: 50 Divide Surface V: 10

Divide Surface

Change Picture Flip Strip Direction Vector Direction: Z

Divide Surface V: 60

Input B: 0.5

SERIES 5

PORTRAIT BUILDING - ARM

Exploring the possibilities of the Grasshopper definition

10 10

V: 100

Divide surface U: 35 Divide surface V: 50

Divide surface U: 25 Divide surface V: 15

Divide surface U: 15 Divide surface V: 50

Input A: 0.8 Min Move: 0.8

Input A: 1.2 Min Move: 0.8

Input A: 2.0 Min Move: 2.0

Divide Surface U: 100 Divide Surface V: 50

Min Move: 0.8

Input A: 0.8 Divide Surface U: 120

Input B: 0.2

Input B: 1 Min Move: 0.2

Divide Surface U: 20 Divide Surface V: 5 Input B: 2

Divide Surface U: 100 Min Move: 0.1

Divide Surface U: 160

Divide Surface V: 5

THE MOST SUCCESSFUL OUTCOMES Explaining the 4 most interesting iterations

Iteration #1: Although this iterating is quite similar to the original image, I find it quite interesting as it allows you to see the components of the form clearly. Without looking too closely you can see the points at which each line begins and how they radiate outwards to form each larger circle of lines. It is also clear how the forces push the lines from circle away from the next, creating interesting patterns throughout the image. Iteration #2: I feel as though this iteration pushed the initial form the furthest, making the resulting form almost unrecognisable. I found interesting to see how the lines could be forced in different directions depending on the height of the curves and different types of graphs. This iteration reminds me of a wave when it crashes onto a rock - the water sprays up and out in an instant as finally some of it calmly runs over the surface of the rock. I feel as though these are much more sculptural forms than designs that could be applied to architecture, however I like the dynamic qualities.

Iteration #3: I found this iteration interesting as the image is greatly abstracted and pushed away from what it should appear as. This portrait appears as though it is stretched out and is almost unrecognisable as a person. By creating this effect, the strips have produced smoothly curved lines throughout the image that I feel give a nice effect to the overall composition. This abstracted image could easily be applied to a facade as something practical, like a system of shading, or even just as a simple pattern to add interest to the design.

Iteration #4: Unlike the previous image, this image has much more detail even though the image is still somewhat unrecognisable. The strips are much thinner and closer together, however they are not as smooth, creating instead a more broken, dotted effect. The image itself is quite intriguing and could be used in similar situations to the previous image. I feel as though this design would be much more complicated to fabricate due to the finer details and may not have the same aesthetically pleasing success as others.

B3. CASE STUDY 2.0 AQUA TOWER The Aqua Tower is a highlight in Chicago due to its sculptural form. Inspired by the striated limestone outcroppings of the Great Lakes area, the tower creates an undulating surface of strips that provide shading for the building as well as its intriguing form.

Aqua Tower - Studio Gang http://www.archdaily.com/42694/aqua-tower-studio-gang-architects/

REVERSE ENGINEERING - CREATING THE AQUA TOWER IN GRASSHOPPER ATTEMPT 1: FAILED

Step 1: Creating a series of curves Using Rhino I created a series of closed curves around a box. I moved each curve higher that the previous one to give the height of the tower. Step 2: Lofting the curves This step joins all of the curves together to create an undulating surface (or morphed box-like shape). I attempted to do this step in Grasshopper to give me more control of the shape, however the loft was not as smooth as the one Rhino creates. Step 3: Contouring the surface After referencing the lofted surface into Grasshopper as a Brep I then used the contour component to break the surface up into more components. 37

Step 4: Creating surfaces using the contours This step was a challenge as I wasnâ&#x20AC;&#x2122;t sure which component to use to turn the contour curves into flat surfaces. I tried lofting and other surface commands before finding the ??? command that allowed me to create these surfaces. Step 5: Extruding the surfaces This step was simple and was used to give the flat surfaces a thickness. Step 6: Creating a box I created a box in Grasshopper to form the main part of the building (where the glass can be seen in the images above). Step 7: Joining the box and the contours to create a structure Using the join command I joined the contoured slabs to the box to create the Aqua Tower-like form. 38

I think my reverse engineering method has worked quite well to create a model that looks similar to the aqua tower. I would however like it to be more adaptable and the first step towards this will be creating a loft in Grasshopper rather than Rhino. I would also like to be able to incorporate some image sampling into the definition to determine the curves, but I am not yet sure how to achieve that.

I feel as though using the two different colours in these renders has helped to distinguish the different components of the Aqua Tower design. It would be much more realistic if had lines on the box shape for the window frames.

REVERSE ENGINEERING - CREATING THE AQUA TOWER IN GRASSHOPPER ATTEMPT 2: FAILED

SURFACE

DIVIDE SURFACE

EVALUATE SURFACE

CURVES

This attempt was much more adaptable than my first attempt and it has given me much more control over the curves and inputs of the definition. I achieved this by creating a more fluid surface and using the image sampler to determine the curves rather than a contour component. This allows for the overall composition to be changed much more easily. The troubles I had with the attempt however was getting a rectangular or box-like surface, so I made the design with a cylindrical one.

IMAGE SAMPLING

MOVE CURVES

CREATE SURFACES

EXTRUDE SURFACES

REVERSE ENGINEERING - CREATING THE AQUA TOWER IN GRASSHOPPER ATTEMPT 3: SUCCESSFUL

DIVIDE SURFACE

SURFACE

CURVES

This attempt was similar to the last one but with a rectangular box used for the original surface, and some fine tuning of the Grasshopper relationships. I feel as though this reverse engineering attempt has been successful in achieving a design that can be seen to represent the Aqua Tower.

IMAGE SAMPLING

CREATE SURFACES

EXTRUDE SURFACES

B4. TECHNIQUE DEVELOPMENT

AQUA TOWER

Exploring the possibilities of the Grasshopper definition

B4. TECHNIQUE DEVELOPMENT

AQUA TOWER

Exploring the possibilities of the Grasshopper definition

THE MOST SUCCESSFUL OUTCOMES Explaining the 4 most interesting iterations

Iteration #1 I have chosen this outcome as one of the most successful as I feel that it best represents the pattern and changing curves of the Aqua Tower project. While it is not a big experimentation, it clearly shows how the surface of the Aqua Tower move in and out of the building, changing shape as they wrap around it to create the interesting patterning effect. I feel as though reverse engineering this project helped me to better understand the parametric tools that can be used and how the relationships between different parameters are so important.

Iteration #2 I feel as though this outcome is one of the more interesting iterations of all the explorations as it has quite a different aesthetic to many of the others. Rather than the curves being smooth and working to harmonize the entire form, the curves are more jagged at certain points creating a more disjointed feel to the overall design. I feel as though moving forward with a system similar to this would produce some very different aesthetic effects and give any potential design a much different meaning.

AQUA TOWER

Exploring the possibilities of the Grasshopper definition

Iteration #3 I chose this particular outcome as I felt it best conveyed both the smooth curved elements of the one below and the jagged elements of the iteration at the bottom left. By having both these qualities the design becomes much more dynamic and interesting by creating a more complex aesthetic and system. I really like the quality that can be seen by having two different effects combine into one singular form can produce and this idea is something that I feel could be valuable moving forward with the design process.

Iteration #4 The reason I like this particular iteration is for the aesthetic qualities that is possesses. The free flowing form created by the smoothly changing curves creates a calm and harmonized design that conveys unity and togetherness. The layers work with one another to become one semi-continuous form rather than the disjointed effects produced by some others. I feel as though this idea of harmony is quite a strong design idea and could be used to strengthen many different types of aesthetics or forms.

B5. TECHNIQUE: PROTOTYPES Before experimenting with prototypes and models, the brief and site must first be analyzed to definitively determine the selection criteria for both designs and prototypes moving forward.

THE SITE MERRI CREEK

http://www.weekendnotes.com/im/009/06/imag00671.jpg

When I visited Merri Creek I found the water flow and patterns quite intriguing. It was interesting to see how they varied at different points in the river, creating calm still pools as well as fast flowing areas. Similar conditions can be seen in one part of the creek by looking at the water in varying weather conditions, for example on a nice day the water will be much more gentle and still, while on a stormy or windy day it will more than likely be rough and less predictable. Through my design of a parametric garment, I would like to try and convey the two different types of water patterns I have just discussed.

http://il5.picdn.net/shutterstock/videos/1100218/thumb/1.jpg

http://downscaling.net/wp-content/uploads/Niagara_rapids.jpg

CALM

ROUGH

THE PARAMETRIC GARMENT A garment can mean a range of different things from a simple item of clothing to a much more abstracted object. Itâ&#x20AC;&#x2122;s purpose is often to clothe, cover or protect the body. A garment is something that is wearable and has a particular function in relation to the human body. Through my design I will focus on the garment in the more common sense of clothing, ensuring it covers the main parts of the body and allows for movement. I would also like to try and achieve most of the design for the garment through the use of patterning techniques mentioned previously.

THE GARMENT DESIGN

After exploring the ideas behind the Aqua Tower I went back to the brief and my ideas of exploring the different behaviors of water. I felt as though the best way to achieve this was to divide the garment up into different sections. One section diagonally down the center for the rough, dynamic and chaotic design; with sections either side for the calm patterning. The idea of the rough water can closely be linked to chaos and danger which I have chosen to convey in the form of pointed triangular and pyramid shapes. The calm is conveyed by a simple pattern with a smoother and more 2-dimenstional pattern,

PROTOTYPE #1

Exploring the rough and chaotic properties of water

The pyramids which symbolize the rough, chaotic and dangerous properties of water are connected with hinges which provide movement for them to wrap around the body. Although these are flexible connections, they limit movement of the design as they only allow the structure to bend in one direction or the other at any one time. Moving forward a more flexible connection between such rigid shapes would need to be used to achieve an outcome that would be appropriate for garment design. The shapes and objects of this particular prototype are very bold and rigid. To convey my design intent better in the future these shapes need to be more dynamic, which can hopefully be achieved by adding a more interesting pointed shape than this simple pyramid and by varying the sizes of each shape to create more movement throughout the design.

PROTOTYPE #2

Exploring the smooth and calm properties of water This prototype has a much more flexible connection than the first prototype, using small metal rings to connect one panel to the next. This provides much more movement within the surface making it dynamic and adaptable to different surfaces, which could easily be applied to the human body. The reflectiveness of the material (Perspex) also makes it much more interesting than the MDF used for the first prototype and in itself reflects one of the properties of water. This particular part of the design is however, supposed to convey the calmness of the water and I donâ&#x20AC;&#x2122;t feel as though it does that well enough. I think the angular shapes make it feel too rigid and moving forward I would like to experiment with more organic and curved shapes to provide a more free flowing look to the design. I am also undecided on the amount of noise the design makes as it moves. I think this sort of effect could be better connected to the rough rather than the calm and I will need to remedy this moving forward.

B6. TECHNIQUE: PROPOSAL

The garment design so far has not produced a well resolved outcome. I need to focus more on the properties that I am trying to covey and work out the best ways to represent them through imagery, shapes, patterns, materials and behavior. Refining my design in the digital realm will be the first step to this process. The two sections of the garment in the design so far are extremely segmented and donâ&#x20AC;&#x2122;t seem to convey the sense of them being to different behaviors of the same object. Moving forward with the design I will try to merge these two sections better to create a gradient or hierarchy from the smooth to the rough through a series of shapes that will slowly transform. This will provide a more harmonious design as opposed to the conflicting one I currently have. Moving forward I will also reassess the types of shapes used and the geometric and angular shapes donâ&#x20AC;&#x2122;t represent smoothness as well as organic shapes possibly could. To achieve my desired effect in my garment design, much more prototyping of a better and refined digital model will help me to determine the best materials for the design (whether they be flexible or rigid) and prefect the connection techniques between each piece to provide a wearable garment.

INSPIRATION

Examples of parametric garments that will help me to refine my design

https://au.pinterest.com/ pin/402931497892905528/

https://au.pinterest.com/pin/437341813793874217/

https://s-media-cache-ak0.pinimg.com/236x /2b/28/d3/2b28d3afbfbb7bddade34d80f8ebc887.jpg

https://au.pinterest.com/ pin/479703797785996085/

https://s-media-cache-ak0.pinimg.com/236x/8a/ e8/9a/8ae89ae55fbba96c7e98087586ee4983.jpg

https://au.pinterest.com/ pin/568860996653489208/

B7. LEARNING OUTCOMES Using Grasshopper as a platform for designing has opened my eyes to many new possibilities and outcomes for architecture, design and model making. Digital design is becoming more likely to be the future of architecture and can provide a variety of outcomes that may not be possible without it, however throughout my use of these process I have found my own creativity to be limited. While digital design is a useful tool it can limit the creative potential of the designer which is why I feel that traditional practices of using pencil and paper, as well as modeling by had can not be fully replaced by computers and digital programs just yet. I feel that using a mixture of the two methods would be the most successful way for me to produce the most resolved design as it allows for both the creative potential of the architect/designer as well as the mathematically correct tools of parametric modeling. Using Grasshopper has proved to come with many challenges. I feel that with more practice this form of design aid could be much more efficient, but to achieve this I first need to be more confident and experienced with algorithmic thinking. Moving forward with my design project I would like to be able to explore more ways of creating a harmonious design that flows from one concept into another and I am not yet confident with how this will work in Grasshopper. Through the design process so far I have been amazed at the different ways digital models can come to life with laser cutting and other production methods. Doing this has shown me how much detail needs to be put into the digital design to ensure the outcome is fully functional when it is fabricated. I look forward to exploring these techniques more as the semester continues and hope that I can to like digital design as much as I like the traditional methods.

B8. APPENDIX

EXAMPLE #1 & 2 These two example show interesting and different ways that surfaces can be broken up to produce some interesting patterns. As patterning is one of the key components of my garment design, I found these to be particularly interesting and think it would be good to see how they could be formed into something wearable. 63

EXAMPLE #3 & 4 These two examples show the different outcomes that can be created using field components in Grasshopper. I really enjoyed these exercises and love the outcomes that these components produce. On the left is one of the more complex and interesting field line patterns I created using a flat plane, while the right shows how the simple lines can be created into 3-dimensional objects giving the outcome a different feel. EXAMPLE #5 I really like the dynamic feel of this design and the 3-dimenstionality of the line image. I find the form very intriguing and interesting to explore where each of the lines intersect.

EXAMPLE #6 This example shows one of the aqua tower iterations that displays the properties of a rigid, yet dynamic design. I find this particular example interesting as the idea of two intersecting ideas is something I want to explore in my own designs but have not yet been successful with. 64

DETAILED DESIGN

C1. DESIGN CONCEPT REBECAH

This design was based on the idea of using patterning to represent the different behaviours of water that can be found at Merri Creek. The triangles represent the dangerous and chaotic, which is contrasted with the smooth and clam pattern. These patterns make up a dress form - a conventional garment type.

ZEB

Differing from the first design, this concept is a less conventional garment. It focuses on creating a restrictive form that acts as a punishment method for those found littering at Merri Creek. It tests both loose and rigid connection types and shows the properties of the materials used for these.

SOODI

While this design represents a conventional garment similar to the first concept, it has a much stronger relationship to the site. It represents the cultural background of the site by representing the Indigenous inhabitants through two different systems that combine to create the garment.

MERGING DIFFERENT IDEAS

Exploring varying perspectives and concepts - Working in a group

MERGING DIFFERENT IDEAS

Exploring varying perspectives and concepts - Working in a group

INSPIRATION

https://au.pinterest.com/ pin/366621225899533960/

http://maksoud-architects.com/ui/MAGLAB/ Haute_Contour__Parametric_Fashion_Research_2012/1408450126_VCpYF.jpg

https://au.pinterest.com/ pin/273664114829631386/

https://au.pinterest.com/pin/386746686733362050/

THE DESIGN CONCEPT 2 ideas By combining our ideas we have come up with a concept that we feel is strong, interesting, different and can be adapted to suit both the design for a garment and a pavilion. Our garment design will be wearable and while the inner surfaces will conform to the body, the outer form will subvert it in places and make it difficult to move. The design itself will be a combination of two systems, a sturdy structure of strips with a panelised or triangulated pattern or surface overlaid onto it. It will focus on patterning and creating a visually appealing aesthetic.

THE BRIEF Merri Creek, the Parametric Garment and a Dystopian Future

We’ve envisaged a dystopian future where the environment is failing due to the impact of humans. Community groups such as CERES continue to fight for the environment but, they’ve had to resort to extreme methods. People found guilty of environmental degradation are punished with wearing our garment proposal, in doing so they become the ‘Merri Creek Scarecrow”. Their task being to discourage both animal and human life away from the site. The purpose of the garment is to punish people who litter in the Merri Creek area. The garment will function as a punishment mechanism by limiting their movement, while also being effective in keeping birds away with its triangular or spiked form.

CHOOSING A DESIGN CONCEPT The first concept shows a more organic form with greater contrast between the two systems, while the second form is more symmetrical and has less potential to be developed into a restrictive garment. We selected the first concept as it wraps around the body well with potential to restrict movement of the arms. We desired a dynamic and organic form that responds to the body whilst subverting conventional garment forms. We also thought it would be interesting to try and achieve this restricting form without covering the whole body, which is why we have left a small gap around the front of the shoulder.

MERRI CREEK TODAY

THE SCARECROW

https://au.pinterest.com/loubeeash/scary-scarecrows/

MERRI CREEK IN THE FUTURE

BASE SURFACE

CONTOUR SURFACE

OFFSET CONTOURS

THE CHOSEN DESIGN CONCEPT

NEW OVERLAID SURFACE CREATE SURFACES FOR STRIPS TRIANGLE GEOMETRY

BOX MORPH GEOMETRY ONTO SURFACE

C2. TECTONIC ELEME MODIFYING THE DESI

STEP 1: MODIFYING THE BASE SURFACE

STEP 2: CREATING

The major formal elements across our design work as individuals were strips and triangles, which when repeated can achieve patterns. This diagram shows how a base surface was constructed in response to the body, which was used as a starting point to build the geometries from. In our concept design, the strips twisted and formed more organic forms that although looked aesthetically pleasing, proved to be difficult to fabricate. As we desired a sturdy structure to be formed by the strips we decided

NTS & PROTOTYPES GN FOR FABRICATION

PLANAR STRIPS

STEP 3: APPLYING A PATTERN TO THE STRIPS

that modifying the strips so they were planar and could be laser cut from a strong material was the best option for our design moving forward. We still however liked the qualities of the changing directions and twists in our original design, so to add more interest to the new planar strips we experimented with adding patterning to the outside curve with a zig zag responding to the triangles form, whilst maintaining a smooth curve on the inside, for the body.

STRIPS

TRIANGLES 77

PROTOTYPE #1 - TESTING FABRICATION AND JOINT SYSTEMS

STRING

EYELETS

To test our design we fabricated a section of the strips with both an intense zig zag pattern and a more subtle wave. Each strip had a small hole at each end and in the center to assist with our connection method. The joint system for the strips was made by threading an eyelet through the perspex, then looping nylon around, before closing the eyelet with a hammer. We encountered a few problems with this system: 1. Hammering sometimes cracked the perspex and 2. The strips couldnâ&#x20AC;&#x2122;t be as close together as weâ&#x20AC;&#x2122;d hoped as if they were it blocked access for hammering. We also fabricated some triangles and learned the importance of preparing for laser cut fabrication correctly, as having duplicate etch lines meant the polypropylene would tear rather than fold, which made the nets difficult to reconnect.

STRIPS AND JOINTS

We prototyped 2 different iterations of Strips. With the thinner set we wanted to see how thin we could go without the material breaking, these had a smoother and more curved zig zag so we could test the visual relationship between the strips and the triangles. We were concerned that too many angles and spikes would be overwhelming. We did the smooth set to als0 test how the triangles might be more easily joined. The joint system worked, and looked rather good, but it was not that appropriate for our design intentions, as we desired something more rigid. Using this system the strips were not held in the orientation and position that weâ&#x20AC;&#x2122;d intended.

TRIANGLES

With the triangles we were testing net fabrication. Our goal was to create non planar triangles, utilizing the bending properties of polypropylene. We were unsuccessful as the triangles we were trying create had double curvature, and therefore would not form correctly. In summary we learnt that we should try experimenting with thicker perspex to reduce the risk of breakage, we need to develop a rigid joint system (a rigid joint system also suits our concept better), that planar triangles are needed for our net fabrication to work effectively, and we need to focus on the joint between the strips and triangles. 80

REFINING THE DESIGN

Our design developed based upon learning from our prototyping. In order to efficiently fabricate our design one of the major changes we needed to make was changing the organic triangles to more planar forms so they could be fabricated as origami nets. The second change was creating a new joint system that will require careful consideration of the placement of small connection pieces that will create a rigid frame for the triangles to rest on.

CREATING PLANAR TRIANGLES

A NEW JOINT SYSTEM - CONNECTOR PIECES

For the strips new joint system, we started developing small perspex connector pieces that would span between the strips. We became interested in the idea that the joints could feature a secondary patterning system. We devised an recursive algorithm that progressively added joint pieces, each time moving it and rotating it by a specified amount, resulting in a spiraling or twisting effect. This subtle effect provides detailed variation, with each joint catching light at different angles. The joints are placed at the start, middle and end of the strips, with extra pieces being added to the ones that required more stability to reduce bending. This system provided a strong, sturdy and stable structure that forms the base of our design. 82

CONTINUING TO REFINE THE DESIGN With a fully refined joint system that will provide a stable structure, our attention was turned to the connection between the strips and the triangles. Although the new planar triangles can be fabricated successfully, they points at which they join to the strips, particularly at the shoulder area has become a problem. The triangles arranged in our original overlaid dynamic form proved to be a challenge to connect as where they connected in some points required angular cuts that could not be fabricated neatly or left us with areas of the strips that were too thin due to the risk of breakage. For this reason we decided that it would be more efficient for us to change the form in which our triangles were arranged. We adopted a more simplified form that allowed us to modify the pattern on the strips to fit the triangles within them. We tested the triangles on the garment surface and decreased the number of triangles to create more visibility of the strip system. We also changed the height of the triangles to create a gradient and re-introduce a dynamic look. The new triangles are perfectly perpendicular to the strips making the connection efficient.

Detail showing how the strip pattern was modified to adapt to the triangles and create a clean join

THE FINAL DESIGN

CREATING THE DIGITAL MODEL

BASE SURFACE

CONTOUR

DIVIDE SURFACE

SURFACE BETWEEN CONTOURS

OFFSET CONTOURS

APPLY ZIG ZAG PATTERN

EXPLODED CONSTRUCTION DIAGRAM

CREATE RECTANGLE JOINT

APPLY REPETITIVE ALGORITHM JOIN ALL ELEMENTS

CREATE OVERLAYING SURFACE

BUILD TRIANGLE

ORIENT TRIANGLES ON SURFACE

C3. FINAL DETAIL MODEL

STRIPS

JOINTS

GLUE

In making our final model, we tested many glues (more than 5 different types) as both polypropylene and perspex are difficult materials to be glue as they require a particular type of glue. This proved to be a challenge as fast drying glues either did not stick or left us with no flexibility, meaning we had to join each strip perfectly and extremely quick, while glues that would hold often took longer to dry which meant we spent a lot of time holding pieces in place or waiting. We used a variety of glues as we found some worked better in joining certain parts, using fast drying glue where we could to save time, and slower drying glues where we required flexibility.

THE CONSTRUCTION PROCESS

NETS

TRIANGLES

GLUE

THE MERRI CREEK SCARECROW

C4. LEARNING OUTCOMES PRESENTATION FEEDBACK

Our final presentation received a lot of positive feedback towards the complexity of our digital design and definition and the thought and time put into making our design as carefully thought out as it was. Although or finial design was successful, many of the original concepts and ideas were discarded due to the limited time we had to produce our final model and this was not always for the best. If we had more time to develop our design we would have like to experiment more with the dynamic form of triangles as reflects our concept and ideas better. With more time we would have been able to test different fabrication methods or materials to be able to achieve the angular joints or curves we required for this form. We also would have liked to explore a more elaborate garment that covers more of the body. As part of our concept was punishment of those disrespecting the environment, we feel as though restricting movement should have been a bigger part of our design, and this could be achieved more effectively with a larger garment. Potentially restricting the movement of arms and legs.

FURTHER DESIGN POTENTIAL

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REFLECTION Throughout the course of this subject I have immersed myself in many new ways of architectural design. While I have a good amount of practice generating designs and responding to a brief, I have not gone through the design process using digital tools in the way I have this semester. Using computation and being able to explore parametric modeling has shown me how a variety of outcomes for a single design can be generated and adapted easily and quickly which makes the design process much more efficient. I feel as though I have been quite successful in creating a variety of iterations and different stages within the design process, particularly in the beginning. I have also been able to experience how designs can be easily adapted and changed without too much hassle through the use of algorithms, which I found extremely helpful. Using parametric modeling along with other digital means such as Photoshop has allowed me to produce complex and resolved design outcomes that have varied greatly from my previous design work. Although I am not yet an expert in computational design and I have a lot more to learn, overall, I have thoroughly enjoyed learning the new design approaches in this subject and I will continue to use these methods to assist with my design work in the future.

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