ARCHITECTURE DESIGN
STUDIO AIR
SEBASTIEN BARBIER
INTRODUCTION SEBASTIEN BARBIER UNIVERSITY OF MELBOURNE My name is Sebastien and am a third year student at the University of Melbourne. I am currently studying a Bachelor of Environments, with a major in Architecture. I was born in Sydney (AUS) and spent the first three years of my life there. My early school days were at the French School in Barcelona (ESP) where I spent the next five years of my childhood, learning French, Spanish and the slightest bit of Catalan. My mother being Australian, my father French and having been given the opportunity to, we moved to Singapore (SIN) where I spent majority of life - eleven years. The first five years were spent in the French system, followed by an international school for the following six, where I lost some of my Spanish and the entirety of my Catalan, giving me space to improve my English and get rid of my French accent. Since receiving my International Baccalaureate diploma, I have been studying in Melbourne (AUS) in order to find part of my original roots, and feel like I belonged somewhere. Nowadays, the more I think about, the less I feel the need to find a base or somewhere to call home. Instead, that label has just become where my family is, and where we reunite. My interest in design and architecture goes back as far as I can remember, where I used to draw and conceptualise buildings, cars, boats and landscapes. I have always had an interest in putting my own spin on things, which usually was done through pen and paper, or SketchUp. More recently, I’ve taken an interest in photography, and have fallen in love with capturing other people’s work, landscapes and urban areas, with my own spin, rather than completely redesigning it. My all time passion being cycling and travelling/exploring, I have had the opportunity to see parts of world, either internationally, or locally from my bike. Since I have been at university, I have learnt new ways to express myself through my design work, ranging from rendering SketchUp files (thanks to internships), to learning more complex drafting and 3D modelling software (such as AutoCAD and Rhino). Furthermore, I have found an interest in construction and urban planning. The following journal, is a working display of my understanding of certain topics covered in the subject Architecture Design Studio: Air.
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TABLE OF CONTENTS 2
INTRODUCTION
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PART A // CONCEPTUALISATION
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PART C // DETAILED DESIGN
8-11 DESIGN FUTURING 8 _endessa pavilion, iaac 10 _harbin opera house, mad architects
56-59 DESIGN CONCEPT _technique 56 _flowchart 58
12-15 DESIGN COMPUTATION 12 _pathe foundation, renzo piano building workshop _metropol parasol, j.mayer.h und 14 partner, architekten, arup
60-75 TECTONIC ELEMENTS AND PROTOTYPES _fabrication 60 _laser cutting _joints _realisations 68 _solutions _re-engineering step 2 70 _re-engineering step 4 71 _fabrication of second model 74
COMPOSITION/GENERATION 16-19 _fractal architecture, tom beddard 16 _living bridge ginza-tsukishima, 18 geoffrey w. klein architecture CONCLUSION 20 LEARNING OUTCOMES 22 24
ALGORITHMIC SKETCHES
PART B // DESIGN CRITERIA
RESEARCH FIELD 26 _geometry 26 CASE STUDY 1.0 28-31 _matsys gridshell 28 _iterations 31 CASE STUDY 2.0 32 _mississauga towers, 32 TECHNIQUE DEVELOPMENT 34-37 _matrix 34 _selected renders 36 38
TECHNIQUE PROTOTYPES
TECHNIQUE PROPOSAL 40-51 _Rodent Interactions 40 _Proposed Solution 42 _Precedents 50
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52-53
LEARNING OBJECTIVES AND OUTCOMES
76-95 DETAIL MODEL _location 78 _isometric drawing 84 _isometric drawing post-presentation 94
95-96
LEARNING OBJECTIVES AND OUTCOMES
PART A The world is currently going through a period that has been explained and described by Tony Fry as a period with an “accelerating defuturing condition of unsustainability”1. That is to say that due to human nature’s anthropocentric way of living, we have created an environment where design is created for the human’s own well-being and comfort. This also means that throughout the design process of everything, right down to the use of the final product, things are designed for ourselves, not taking into account what and how that might affect other parties, such as the environment. The effect of this mindset has been exacerbated by the discovery of fossil fuels and the invention and development of technologies used to make our lives easier. In response to this, there has been an increasing interest in things other than ourselves in order to “curb our currently auto-destructive, world-destroying nature and conduct”2. To achieve such goals, the term Design Futuring has been brought to the surface, which is comparable to sustainability, except can be looked at from more of a design perspective. This means that the mindset is changed from the anthropocentric way of thinking, to one where sustainability is brought to the front. With the way our society has been going towards, a percentage of the world’s population will be classed as being environmental refugees, which means that a significant amount of people will be affected by our own actions. By confronting an issue as such, we may be able to slow the rate of defuturing, where we can move towards a more sustainable way of living, globally. Furthermore, thanks to the development of computer modelling, we have been able to input certain variables, out of which a computer can come up with various solutions. For the sustainable development of human life on earth, it is essential that the rate of defuturing is reduced. This can easily use computer and digital technologies to help us design sustainably, renewably, and in ways that will enhance our connection to our environment.
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TONY FRY, DESIGN FUTURING: SUSTAINABILITY, ETHICS AND NEW PRACTICE (NEW YORK: BERG, 2009), 1-16.
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CONC EPTU ALISA TION
FIGURE 5
DESIGN FUTURING ENDESA PAVILLION IAAC
FIGURE 1
Along with the 21st Century, have come various new ideas and technologies worth developing, in order to reduce the effect the human being has on its surroundings; environmentally, economically as well as socially. One of the ways in which this has been done is through the invention and continuous development of solar panels, collecting solar energy and transforming it into electrical energy. What IAAC (Institute for Advanced Architecture of Catalonia) have done, is design a “self-sufficient solar prototype” pavilion in Barcelona, related to testing and developing Barcelona’s intelligent power management. In line with this shift in priorities is the change in the quote “form follows function” to “form follows energy”1.
FIGURE 2
In designing this concept, IAAC have taken into account the fact that this modular pavilion can be a solution for a multi-scale problem, which can be applied to metropolitan contexts just as well as suburban contexts. Their method for doing so was to create something that could adapt to its own environment and the conditions around it. That is to say that, “The same skin component addresses and responds to the energy collection, passive solar gains, control of shadows and views, insulation, natural ventilation and forced, natural and artificial lighting, storage ...”2
FIGURE 3
FIGURE 6
IAAC have designed “a single constructive system that is capable of solving a single house or an office tower without changing logics, just adapting geometries.”3 The end design was optimised through the use of parametric design, accompanied by solar calculation software, resulting in a building able to react or change depending on the various stresses around it in addition to its orientation and position.
The construction and testing of the pavilion has and will allow for a better understanding in the areas of how and where to build new systems that will allow for an optimised collection and use of energy. The end goal being to reduce a negative human affect on the environment, creating a more sustainable future for the generations to come. PAGE 8
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FIGURE 4
Systems like these help to develop and push forwards environmental plans and goals. This project in particular is a prototype used to monitor and test several smaller projects fitting into the scheme of the International BCN Smart City Congress, relating to intelligent power management.
THE 3 DIAGRAMS THAT CAN BE SEEN IN FIGURE 2 ILLUSTRATE THE SOLAR CALCULATIONS THAT WERE DONE - SPECIFICALLY, THIS LOOKS AT MORNING, MIDDAY AND AFTERNOON SUN LIGHT EXPOSURE ON THE STRUCTURE.
THE 3 DIAGRAMS THAT CAN BE SEEN IN FIGURE 3 ILLUSTRATE HOW THE MODULAR STRUCTURE WOULD LOOK, IF STACKED UP AND TURNED INTO A TOWER. THE DIAGRAMS SHOW 3 DIFFERENT DIRECTIONAL FACADES, WEST, SOUTH AND EAST (FROM LEFT TO RIGHT).
QUOTES TAKEN FROM: HTTP://DIVISARE.COM/PROJECTS/331635IAAC-ADRIA-GOULA-ENDESA-PAVILION
1, 2 & 3
ALL FIGURES 1 TO 6, WERE TAKEN FROM HTTP://DIVISARE.COM/ PROJECTS/331635-IAAC-ADRIA-GOULA-ENDESA-PAVILION
FIGURE 12
DESIGN FUTURING HARBIN OPERA HOUSE MAD ARCHITECTS
FIGURE 7
The Harbin Opera House was designed by MAD Architects, with a strong, visual emphasis on the building’s surroundings. The result is an opera house that appears to have been sculpted by the surrounding water and the winds that the building will have to withstand. This has been done in order to blend in with the topography and the environment that the edifice has been built in. However, rather than simply being lost in its surroundings, the Harbin Opera House stands imposingly and dramatically, consequently deepening the emotional connection visitors have to the play or performance they have come to watch. The building is “theatrical in both its performance of narrative spaces and its context within the landscape1.”
FIGURE 9 FIGURE 10
The importance of this building stands in its relationship with nature, and furthermore is in accordance with Wright’s beliefs. Therefore, the building will be one to stay for many years to come, whilst still being appreciated for its nature-inspired shape, as it would have been a century ago, as proven by, arguably, one of the world’s most successful architects, Frank Lloyd Wright.
FIGURE 8
The area in which this project becomes interesting is in its reflection of Frank Lloyd Wright’s thoughts and beliefs in relation to nature and the environment. Firstly, Wright says “a sense of organic is indispensable to an architect”2, which is strongly portrayed in the case of this edifice. Whilst the envelope of the opera house is drawn to the lines of the exterior, cold and frigid environment, the interior was designed in such an organic naturalistic manner, that the feeling of warmth is created, contrasted to the, almost clinical, white exterior. As can be seen in figure 9, timber stairways and wall cladding (as seen in figures 10, 11 & 12) create a more comforting, welcoming and warming feeling. Again, this is a concept Wright brought up over 100 years prior to the completion of the building.
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”HARBIN OPERA HOUSE,” DIVISARE, 16 DECEMBER 2015, ACCESSED 10 MARCH 2017, HTTP://DIVISARE.COM/PROJECTS/305894-MADARCHITECTS-ADAM-MORK-HUFTON-CROW-HARBIN-OPERA-HOUSE. FRANK LLOYD WRIGHT, “IN THE CAUSE OF ARCHITECTURE,” ARCHITECTURAL RECORD, MARCH 1908: 338-344.
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ALL FIGURES 7 TO 12, WERE TAKEN FROM HTTP://DIVISARE.COM/PROJECTS/305894MAD-ARCHITECTS-ADAM-MORK-HUFTON-CROW-HARBIN-OPERA-HOUSE
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FIGURE 11
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FIGURE 18
DESIGN COMPUTATION PATHE FOUNDATION RENZO PIANO BUILDING WORKSHOP
The ways in which computation has been used in a scenario like this goes to showing how beneficial it can be in coming up with solutions, or at least inspiring solutions, that are complex, unique, fit the site requirements and that are optimum, not simply for the building in question, but for the environment surrounding the proposed building.
FIGURE 15
The destruction of the two previous buildings that were there were done to make way to a building which has a better integration to the site and its surroundings, which has hugely be helped by computer aided design and manufacture. Although not the first example of a building designed through computation, it is a good example in showing how the use of computation allows for optimisation of the space and its surroundings. Had computation not been around, the final design may have been less complex and organic and perhaps more similar to the previous 19th Century buildings that were there previously, in turn creating shade and darkness for the lower floors.
FIGURE 13
The Pathé Foundation was built in Paris, in its 13th arrondissement, which features high density, tightpacked mid-rise apartment blocks built in the 19th Century. Neighbouring streets are narrow and can often block out direct sunlight from getting to apartments or windows on the lower levels. It was for this reason that one of the major factors in renovating the site was to allow for there to still be sunlight for the neighbours, all the while preserving Pathé’s past and heritage.
FIGURE 14
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“PATHE FOUNDATION,” DIVISARE, 09 SEPTEMBER 2014, ACCESSED ON 10 MARCH 2017, HTTPS://DIVISARE.COM/PROJECTS/268939-RENZO-PIANOBUILDING-WORKSHOP-MICHEL-DENANCE-PATHE-FOUNDATION.
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FIGURE 16
FIGURE 17
ALL FIGURES 13 TO 18, WERE TAKEN FROM HTTPS:// DIVISARE.COM/PROJECTS/268939-RENZO-PIANO-BUILDINGWORKSHOP-MICHEL-DENANCE-PATHE-FOUNDATION
FIGURE 23
DESIGN COMPUTATION METROPOL PARASOL J.MAYER.H UND PARTNER, ARCHITEKTEN, ARUP
Having such a system where everyone involved could access the original model and have a computation improve the structure to optimise material use and general structural strength, has allowed for the creation of this very complex structure.
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ALL FIGURES 19 TO 23, WERE TAKEN FROM HTTPS://DIVISARE. COM/PROJECTS/166459-J-MAYER-H-UND-PARTNER-ARCHITEKTENARUP-HUFTON-CROW-METROPOL-PARASOL “METROPOL PARASOL,” DIVISARE, 13 MAY 2011, ACCESSED ON 10 MARCH 2017, HTTPS://DIVISARE.COM/PROJECTS/166459-J-MAYER-H-UNDPARTNER-ARCHITEKTEN-ARUP-HUFTON-CROW-METROPOL-PARASOL
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FIGURE 20 FIGURE 21
The design process for the parasol started off in the hands of the architects in the form of a 3D computer model. This model was fully integrated with the data available to the structural engineers, meaning that no extra time was needed to re-model the structure in a different software, allowing for a reduced chance of error and a faster handover time. The structural engineers were able to, thanks to an automated iteration tool that they developed, calculate the thickness that each timber element needed to be and were optimised in order to create a rigid structure that wouldn’t fail. The results of the structural engineers work was sent to the timber contractor, and then on to external contractors before being sent through to the manufacturers of the LVL elements. Once there, computer controlled robots were able to cut out the timber elements from rectangular panels, where cuts were optimised to reduce loss and wastage of material.
FIGURE 22
Through computation, the architects, engineers and contractors were able to communicate easily and receive information and drawings more quickly and more precisely than if they had been drawn out, element by element.
FIGURE 19
The Metropol Parasol is an immense timber structure, made up of a total of 3000 laminated veneer lumber (LVL) elements, arranged along an orthogonal grid of 1.50m by 1.50m. Having a grid as such turns the structure into a bi-directional timber lattice shell, housing an elevated walkway, an archaeological museum, markets and restaurants, right in Sevilla’s Plaza de la Encarnacion.
FIGURE 29
COMPOSITION/ GENERATION
“Computation is redefining the practice of architecture”4, but whilst such a design technique broadens possibilities endlessly, it is still, at this stage, creating things that move “beyond the realistic to a realm of pure mathematical intricacy.”5
FIGURE 27
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FIGURE 25
Exploring relatively simple mathematical equations, algorithms and processes has allowed for the creation of a complexity and a level of detail that can only be done through computation. Generative design allows for designs to go beyond human ability and creativity, allowing for continuous ideas that have never been imagined before, ideas that are “beyond the intellect of the designer”2. Rather than thinking about how to design something or how a building will go together, generative design has become more about designing the way a software will analyse and process data3.
FIGURE 26
Computers have long helped architects in displaying and portraying their sketches and thoughts to 3D models and renders. However, there has been a new form of architecture, which is led by architects more than by software makers, as it has been in the past. The reason for this is through some architect’s advancements to software creation, such as Tom Beddard, who writes: “For me the creative process is writing my own software and scripts to explore generative processes in an interactive manner.”1
FIGURE 24
FRACTAL ARCHITECTURE TOM BEDDARD
”ABOUT,” TOM BEDDARD, TOM BEDDARD, UNKNOWN, ACCESSED ON 17 MARCH 2017, HTTP://SUB.BLUE/ABOUT.
2, 3, 4 & 5 BRADY PETERS, “COMPUTATION WORK- THE BUILDING OF ALGORITHMIC THOUGHT,” ARCHITECTURAL DESIGN 222, 2013: PP. 8 - 15.
ALL FIGURES 24 TO 29, WERE TAKEN FROM HTTPS:// WWW.FLICKR.COM/PHOTOS/SUBBLUE/
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FIGURE 28
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FIGURE 32
COMPOSITION/ GENERATION
LIVING BRIDGE GINZA-TSUKISHIMA GEOFFREY W. KLEIN ARCHITECTURE Design projects like these are often subject to negative reviews and opinions, describing these designs as alienlike, not fitting the current surroundings or lacking historical links. However, it is through steps like these that evolution occurs. In the case of the Living Bridge Ginza-Tsukishima, designed by the Geoffrey W. Klein Architecture firm, the building bridges over a body of water and seems to be a living organism taking over and wrapping around a current bridge. However, “The objective in designing Living Bridge was to describe a new type of non-linear architecture through the design of an inhabitable bridge in Tokyo”1. This proves an advantage of using computation is clear, in that the results are not restricted to the designer’s creativity, but rather to the mathematical algorithms put into the equation. This is what makes the difference between computation and computerisation, where computation is calculation and output of results/designs, whereas computerisation is the input of sketches or ideas into CAD software. Although the concept is successful in answering the brief, it is still too early for the manufacturing to complete the project, as the technology has not been able to keep up to date with advances as such, within full scale architecture.
“LIVING BRIDGE GINZA-TSUKISHIMA”, CARGOCOLLECTIVE GKLEIN, MAY 2011, HTTP://CARGOCOLLECTIVE.COM/GKLEIN/LIVING-BRIDGE.
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ALL FIGURES 30 TO 33, WERE TAKEN FROM HTTP:// CARGOCOLLECTIVE.COM/GKLEIN/LIVING-BRIDGE
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FIGURE 31
FIGURE 33
FIGURE 30
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Through exploring various ways of designing, it has been made clear to me how much of an impact computation has had on architecture. The buildings that can be seen in our cities are more and more commonly designed using computation, but knowing its current limits shows just how much potential it has for the future. Given how much of an impact humans have had on the environment, it is key that these computational methods are used to act against the rate of defuturing. In turn, this will help with creating a more sustainable environment for the world to live in, whether it be through material usage optimisation and waste control, through “form follows energy�, or through imitating the environment around us. After seeing the results that have come out from firms focussed on algorithmic and fractal architecture, it is something that I would like to try my hand at. However, I feel that there needs to be more of a merge between renewable energy, the environment and these highly conceptual designs.
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LEARNING OUTCOMES
I have often been tempted to try being creative and inventing new things, such as with designs, musically and artistically. Understandably, not all designs made will ever be perfect, or even satisfactory, but I am really excited with trying to use algorithms and mathematics as a way to create a design. Knowing a limited amount of software skills prior to the start of the subject, I look forward to learning to understand how software works and reacts to certain things, and how I can use it to my advantage.
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Along with expanding my own software skills, I have enjoyed looking for and exploring real-life examples of computation architecture, expanding my architectural repertoire.
FIGURE 34 WAS TAKEN FROM: HTTP://WWW.SUCKERPUNCHDAILY. COM/2014/05/02/SOFI/#MORE-36337
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FIGURE 34
CONCLUSION
ALGORITHMIC SKETCHES
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PART B
C E D
CRIT ERIA DESIGN
B1 RESEARCH FIELD GEOMETRY Geometry is a part of mathematics that comprises of points, lines, surfaces and solids, and looks at the interacation and dynamic between them. The exploration of architecture in geometrical terms allows for a hugely diverse rnge of results. This has created a situation where the exploration and development of the relationship between shapes can impact an area’s feel and create emotions within the viewer. Along with the development of manufacturing techniques and materials has been the development of architectural geometry, where the boundaries have constantly been pushed further, giving way to concepts that seem unthinkable and unrealistic. Computer aided design has allowed for much faster and much more accurate method of exploring an ensemble of shapes, meaning that shapes can be optimized for their given purpose, whether that be a specific function, challenging emotions, environmental protection, etc. Through the increase in communication, going from a digital concept to a physical object/structure has been made a whole lot easier, where the complex geometries imagiend can be represented in real life. This has resulted in an architectural variety unseen to the world before on such a scale.
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FIGURE 35
FIGURE 35 WAS TAKEN FROM HTTP://3.BP.BLOGSPOT.COM/SKIFB4_ZF5W/U5HXIUJENBI/AAAAAAAAAIM/ID2O2KBP7FQ/ S1600/PROJET-HYFIVE.-HOTEL-DE-VILLE-LONDRES.JPG
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FIGURE 39
B2 CASE STUDY 1.0 MATSYS GRIDWELL MATSYS
The structure comes out of a workshop, of which the focus is to design and build a structure from straight timber elements, forming a geodesic and relaxed gridshell.
FIGURE 36
The importance of such a structure is in showing the possibilities of computer aided design and the ease of transfer from a concept to a real-life model.
The use of computer aided design, such as parametric tools, allowed for the structure’s athmospherical presence to be evaluated, all whilst minimising material wastage in order to reduce its environmental impact.
ALL FIGURES 37 TO 39, WERE TAKEN FROM HTTP:// MATSYSDESIGN.COM/2012/04/13/SG2012-GRIDSHELL/
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FIGURE 38
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FIGURE 37
A structure as such serves as an example to show the immense variety of the possibilities and outcomes from parametric tools, where material and tactile elements can be evaluated prior to construction, as well as in helping with modelling moving, or emotionally aiding/ challenging structures.
B2 ITERATIONS MATSYS GRIDWELL MATSYS
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FIGURE 43
B3 CASE STUDY 2.0 MISSISSAUGA TOWER BURKA ARCHITECTS, MAD STUDIO
FIGURE 40
The Mississauga Towers in Ontario, Canada, are a unique pair of towers, designed with the help of parametric tools such as grasshopper. Every single floor of both towers are unique and allow for the each apartment in the building to have it’s own unique qualities about them. The reason why I chose this building was to challenge my grasshopper skills and form finding skills, as well as to explore the different variants of this kind of design. In doing so, I used a graph matter function, shift, graph types, perp frames, and others, as a way of getting results I could not have imagined otherwise. I found great interest in overcoming the “writer’s block” and finding new ways of representing something, inspired by such a unique pair of buildings.
FIGURE 41
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FIGURE 10
FIGURE 40 WAS TAKEN FROM HTTPS://500PX.COM/ PHOTO/117232851/MONROE-BY-HANY
FIGURE 42 WAS TAKEN FROM HTTPS://500PX.COM/PHOTO/149616409/ MARILYN-MONROE-BUILDINGS-BY-A-GREAT-CAPTURE FIGURE 43 WAS TAKEN FROM HTTPS://500PX.COM/PHOTO/14904235/ABSOLUTETOWERS-II-BY-ROLAND-SHAINIDZE?CTX_PAGE=1&FROM=SEARCH&CTX_ TYPE=PHOTOS&CTX_Q=MISSISSAUGA+TOWER
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FIGURE 42
FIGURE 41 WAS TAKEN FROM HTTPS://500PX.COM/PHOTO/114373967/ THE-MARILYN-MONROE-TOWERS-BY-JASON-DUNCAN?CTX_ PAGE=1&FROM=SEARCH&CTX_TYPE=PHOTOS&CTX_Q=MISSISSAUGA+TOWER
B4 TECHNIQUE DEVELOPMENT MISSISSAUGA TOWER BURKA ARCHITECTS, MAD STUDIO
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B4 TECHNIQUE DEVELOPMENT MISSISSAUGA TOWER BURKA ARCHITECTS, MAD STUDIO
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B5 PROTOTYPES GEOMETRY Geometry is a part of mathematics that comprises of points, lines, surfaces and solids, and looks at the interacation and dynamic between them. The exploration of architecture in geometrical terms allows for a hugely diverse rnge of results. This has created a situation where the exploration and development of the relationship between shapes can impact an area’s feel and create emotions within the viewer. Along with the development of manufacturing techniques and materials has been the development of architectural geometry, where the boundaries have constantly been pushed further, giving way to concepts that seem unthinkable and unrealistic. Computer aided design has allowed for much faster and much more accurate method of exploring an ensemble of shapes, meaning that shapes can be optimized for their given purpose, whether that be a specific function, challenging emotions, environmental protection, etc. Through the increase in communication, going from a digital concept to a physical object/structure has been made a whole lot easier, where the complex geometries imagiend can be represented in real life. This has resulted in an architectural variety unseen to the world before on such a scale.
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B6 PROPOSAL RODENT INTERACTIONS
Hungry. As a matter of fact, I’m starving. I haven’t seen much that tickles my fancy lately. Before you say it would be smarter and easier to be looking during the daylight, no, it’s not any easier. Trust me. There’s a reason as to why we’ve been doing this for as long as I can remember, all 2 years of my life. Have you ever seen anything like myself hunting for food in broad daylight? No! I am not a rat. I’m a Rakali, and they are very different things to us. Have you ever seen a rat swim? Oh you just wait until I tell you who we are. Comparing us to rats is like comparing big fish and small fish. They might look the same except for size, but I like to eat small ones, whereas the big ones will hunt our young ones, those savages. Those big things out there, the ones that move on two legs and stand up-right, you know the ones, they like to hunt us. They confuse us too, for rats, you’re not alone. They chase us away from our habitat. They have built big walls to keep us out, but we’re smarter than they are. We’ve found the paths to get through their gigantic walls. And guess what we find on the other side of the walls, food. I’m not sure what it is, but they leave it out at night. They leave it out to rot! If anything, we’re doing them a favour by eating it. I don’t think that’s stealing. They leave it out for dogs and cats to eat, for them to play with those strange two-legged things. Why don’t they treat us the same? Anyhow, that’s why we don’t hunt during the day. Because they get us. I’ve seen some friends get turned into weird accessories they like to flash around, as if they were trophies. That’s why we hide. That’s why we hunt in the darkness of the night. That’s why we are so sneaky. Because they would get every last one of us if they could, those feral, uncivilised things.
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If only they didn’t throw and pour things into the river. They poison our food, other animals, and even our homes. Despite leaving food out, I don’t think we should live together. We need a seperation, and a proper one of that. Not one of their ‘fences’ or whatever they like to call them. An impassable wall. OneTHE to benefit both of us. RAKALI
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SPECIES rodent HABITAT burrows about 1 meter deep next to creek banks – sometimes also shares platypus holes. THREATS chased by humans for their soft fur and considered to be a pest (under protection since 1938). large fish, snakes, foxes and birds of prey feed on baby/young rakali.
FOOD SOURCE carnivorous animal, feeds on fish, toads, eggs, reptiles, small birds and also known to steal pet food LIFECYCLE 2-3 years UMWELT sneaky, nocturnal, territorial, semiaquatic. can become highly aggressive in urban areas, due to its territoriality.
B6 PROPOSAL PROPOSED SOLUTION
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B6 PROPOSAL PROPOSED SOLUTION
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B6 PROPOSAL PROPOSED SOLUTION
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B6 PROPOSAL PROPOSED SOLUTION
ENVIRONMENT The site was chosen thanks to housing in proximity of the river, where the barrier prevents animal wandering into homes.
ENVIRONMENT The structure being so close to the water on slanted ground allows for an uninterrupted view from the homes to the vegetation.
MATERIAL The use of timber is to fit in to the environment as well as keeping the Merri Creek’s natural and untouched feel.
DESIGN Holes in the structure allow for visual cues through it, making it feel less like a wall and more like a natural, forest-like element.
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ENVIRONMENTAL IMPACT When river water overflows, the timber structure will act as a filter, stopping all large elements from flowing further downstream.
DESIGN Creation of holes allows for reduced environmental impact, as it allows wind, light and water to flow, with minimal interference.
STRUCTURE Lightweight structure as such removes the need for deep, grounded footings, resulting in possibility for Rakali nests close by.
DESIGN Inspired by neighbouring transmission tower through the use of triangular shapes and holes.
B6 PROPOSAL
PRECEDENTS
MUMBAI TRAIN STATION unknown SUPERTREE GROVE adrian pluto
AERIAL SERIES ISO822 emmanuel coupe UNDERGROUND WORLD II alexander druganov
BEACHED ICEBURGS andrew storey WATER POOLS sebastien barbier
DUBAI INTERCHANGE I daniel cheong UNKNOWN unknown
UNDULATUS ASPERATUS eduard gutescu AURORA BOREALIS OVER ROTTERDAM will hendriks
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B7 LEARNING OBJECTIVES AND OUTCOMES From looking at Matsys Gridshell and the Mississauga Towers, with the Rakali in mind, I feel that I have been able to challenge myself in finding ideas and form finding, which have then allowed me to consolidate my Grasshopper skills. Thanks to the exploration of creating a shape entirely different and unrecognisable to an original inspiration, I have been able to learn, develop as well as influence the way I designed and came up with an appropriate solution the brief. Along with the development of my Grasshopper skills I have been able to look into Rhino rendering and how to best represent 3D geometry and shapes. For example, I have been exposed to using colours to differentiate different elements, different surface finishes, reflectivity and transparency, all while choosing an angle most appropriate in delivering my interpretation of my model. Furthermore, creating a fly-through video in Unity has allowed me to show a narrative and a story in my proposal. That is to say that Unity has made it possible for my script and model to speak to one another more effectively, through the ability to move and explore a space from different perspectives, emphasised through the use of lighting.
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PART C Moving forwards from Part B towards Part C presented a brand new way of thinking about the project, given the change from individual work to group work. In order to move forwards to the next step, David and I decided to look into what either of our projects were strong at and where they needed improving, along with the feedback received from Part B. The first thing that David and I both noticed was the similarity in our projects, no so much in their designs, but rather in the idea behind our designs: preventing physical, close-up interaction, whilst providing a place for the animal to live peacefully without human interaction, as well as providing infrastructure usable to humans. In order for us to develop our projects, David and I will look into how we can come up with a solution that is influenced by both of our Part B designs. We will explore David’s idea of layering areas that are accessible to humans or animals on different levels, physically separating the two. Furthermore, we will be taking inspiration from my previous design’s complex and disorganised design, similar to a game of Mikado. The design process for this stage will also be influenced by both of our previous designs. That is to say that we will explore image sampling and grids that David used for his Part B design, and explore how to incorporate the shifting of lines and points, derived from my own Part B design.
Our end goal is to prevent physical interaction but not visual interaction, allow for the exploration of human curiosity for the environment around it, and create infrastructure for humans as well as a safe haven for the Rakali, the animal that we concluded on having most possible outcomes.
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DETA ILED DES IGN
C1 DESIGN CONCEPT TECHNIQUE For the project to advance and develop in a specific way, we have had to think about a few different areas that will allow us to improve and progress in achieving our goal. The first step was finding out how we could keep the complex and messy design style that I had in my Part B, and join that to the grid based structure that David had. Essentially, the imagined structure would look like my Part B design, which had been multiplied into many more layers, giving it a top-down view of a grid rather than a single line. In order to do so, we started by taking a grid of points on two surfaces (one above the other), drawing lines between those points and then shifting the list. Furthermore, we wanted to create patterns and elevation on both surfaces we had created, creating a bridge that would span over the river.
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PART B David
PART B Sebastien
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PART C First iteration as a group
C1 DESIGN CONCEPT FLOWCHART The following flowchart is a simplified reproduction of what our grasshopper definition looked like, creating a refined and improved version of the first iteration.
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DRAWING 1
Surface
Divide Surface
Image Sampler Positive amplification
Negative amplification
Point projection onto amplified top surface
Point projection onto amplified bottom surface Value of width (x)
Value of length (y)
DRAWING 2
Grid of points
Value greater than maximum height
DRAWING 5
DRAWING 4
DRAWING 3
Line SDL
Vector Z
Brep/Line
Brep/Line
Partition list
Partition list
Positive (A)
Value
Negative (B)
Shift list
Shift list
Line A+B
Line A+B
Perpendicular Frames
Perpendicular Frames
Loft & cap
Loft & cap
Top layer o
Value for step dimensions
Rectangle
Value for step height
Extrude Surface
Brep join
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Image Sampler
DRAWING 1
DRAWING 2
DRAWING 3
DRAWING 4
only
DRAWING 5
C2 TECTONIC ELEMENTS AND PROTOTYPES FABRICATION We were at a stage where we were happy with the design of the last iteration showed in C1, and therefore decided that we needed a draft model to help us visualise and understand the model in a more realistic manner. The best way forwards for us was to try to recreate our model, allowing us to visualise just how transparent the bridge is from a side perspective. Seeing the model on a screen is one thing, but understand the interaction between each layer and the sequencing of each layer is another, one that needed to be tested.
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LASER CUTTING We chose to get 6 sections laser cut. Due to the design and original choice of material, laser cutting our model was the most accurate and quickest way of reproducing a model which would allow for us to carry out tests. Given the maximum size available for MDF board of 600mm x 900mm, the largest scale we could go with was 1:25. Furthermore, given that the board size that was available was 3mm thick, we had to alter within grasshopper the thickness of our model, to 75mm (which equates to 3mm at a 1:25 scale). This change also allowed for each layer to be stronger and less likely to snap.
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JOINTS The most successful way for us to assess the success of our model in achieving what we had set out for it to accomplish, was for each layer to accurately be spread out evenly from one another. In order for us to do so, we used thick zip-ties. They would wrap around an intersection within the MDF board, and then loop into the next zip-tie on the next layer.
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JOINTS DIAGRAM Diagram showing the way the zip-ties are to connect each layer.
LAYERS
1 2 3 4 5 6
LAYER 1
LAYER 4
LAYER 2
LAYER 5
LAYER 3
LAYER 6
C2 TECTONIC ELEMENTS AND PROTOTYPES
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C2 TECTONIC ELEMENTS AND PROTOTYPES
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C2 TECTONIC ELEMENTS AND PROTOTYPES
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C2 TECTONIC ELEMENTS AND PROTOTYPES REALISATIONS One of the first things that we noticed was the issue of transparency of the bridge from, width-wise. That is to say that due to the sequencing of each layers, large parts of the bridge did not have that ‘see-through’ aspect that we desired. Given that with only 6 layers we found that that was the case, we figured we needed to reduce the size of each member from each layer. In addition, we realised that there was too much variability in the height of each peak, where the steps would be placed. This means that fabrication and accuracy must be impeccable to an extent not feasible by hand. In contrast, we were pleased with the way the model turned out, helping us visualise the elevation and curvature of the top layer of the bridge, something we came out being quite proud of. Also, the bottom part of the bridge and its general interaction with the top layer allowed us to see this rather overall sleek silhouette.
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SOLUTIONS With the issue of transparency being a major concern, we realised we needed to change the material of construction and with it, the shape each member. Going with a circular cross section rather than a square, cuts out the corners and reduces the cross sectional area by a considerable amount, which led us to go with metal rods instead of timber beams. In this instance, a metal rod also allows for the individual size of members to be reduced to more than half the size of the timber elements. This also means that a reflective/chromelike finish on the metal will bring more light to the lower part of the bridge, giving the idea that the board-walk is floating above the water. Also, the issue of the board-walk being too variable can be changed by constraining board-walk steps to specific values. Thanks to Grasshopper we were able to easily test what size-gap worked best, with 0.30m as the optimal height. That is to say that a step between 0.00m and 0.30m will be rounded up or down to either value.
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C2 TECTONIC ELEMENTS AND PROTOTYPES
Brep/Line
Brep/Line Deconstruct Point Z Y X
RE-ENGINEERING STEP 2
Divide
Re-engineering the second step, the part looking at height of each peak, rounding up or down to the nearest 0.30m.
Expression: Round (x,1)
Value of height of the steps
Multiply Z
Brep/Line
NE
PRE-TESTING DESIGN Elevation showing variability of steps prior to re-engineering of step 2
POST-TEST CHANGES SW Elevation showing step increment of 0.30m, creating a much more structured and linear aesthetic
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Y
Point
X
RE-ENGINEERING STEP 4 Re-engineering the fourth step, which is the step that creates the perpendicular frame sections to pipe sections. Furthemore, the pipes in one direction are to be moved in direction Y for construction purposes, in order to represent how they would be welded/soldered in the physical model.
Line A+B Pipe
Line A+B Value representing rod radius Value x 2
Pipe
Y Vector
Move
Brep Join
PRE-TESTING DESIGN Perpendicular frame sections, as can be seen in previous iterations as well as on the physical model.
MID-CHANGE DESIGN Perpendicular frame sections have been changed to pipes, revealing much thinner members and therefore much more transparency through the structure.
FINAL DESIGN Pipes slanted in one direction are moved by rod radius mulitplied by 2, which can be seen here in red. This creates a structure with overlayed intersections rather than intersections through each pipe.
C2 TECTONIC ELEMENTS AND PROTOTYPES
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C2 TECTONIC ELEMENTS AND PROTOTYPES
FABRICATION PROCESS IN STAGES The photos on the right portray the fabrication stages of the second model, showing laying out of rods, soldering joints, cleaning up solder, cutting rods to the right size, solder layers together using perpendicular rod, paint perpendicular support rods black, clean-up overall structure, lay-out steps in correct order, organise steps onto structure.
FABRICATION OF SECOND MODEL Due to the design changes, we thought it was important ISO VIEW OF MANUFACTURED BOARD-WALK for us to analyse and assess how the new design Diagram showing an isometric view of the 10x20 squares that were interacts and responds to our goals and visions. sent to the laser-cutter, to be placed onto the fabricated metal rods. Through the use of thinner members, metal rods, the fabrication technique was entirely different and could not be done using computer aided manufacturing, such as laser-cutting. Print-outs of a chosen 10 layers were laid down on a flat surface, over which we were able to place each rod, similar to a former. Once all rods were in place, we were able to easily solder each intersection, creating the main structure of the bridge. As for the board-walk, the steps were laser-cut in order to create uniform squares that would fit accurately and precisely against one another. Lines were etched on larger pieces, allowing for the continuity of squares throughout the surface of the bridge. The board-walk was made to attempt to show different ways in which the bridge-top could be used.
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METAL ROD PRINT-OUTS Print-outs of the 10 layers that were chosen for fabrication. These were printed out at a 1:25 scale, just like the previous model.
LAYER 1
LAYER 2
LAYER 3
LAYER 4
LAYER 5
LAYER 6
LAYER 7
LAYER 8
LAYER 9
LAYER 10
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STAGE 1
STAGE 2
STAGE 3
STAGE 4
STAGE 5
STAGE 6
STAGE 7
STAGE 8
STAGE 9
C3 DETAIL MODEL FINAL MODEL Through the testing and changing of our initial design, we have achieved this final design, made of metal rods with a timber board-walk lifted into the air above and over the water. The following pages show the result of several iterations, with a design that has been achieved thanks to computational techniques, allowing us to create this semi-transparent structure.
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C3 DETAIL MODEL LOCATION Due to the nature of the brief and our interpretation and response to it, the structure in itself is not restricted to one specific area. That is to say that anywhere along the Merri Creek is a suitable location for the structure to be placed. That said, there is an opportunity to have multiple bridges along the river, allowing for multiple crossing points, observation spots and entertainment centres for humans, as well as several nesting grounds for the Rakali. The advantage of having created and designed this specific design aesthetic using Grasshopper and other tools means that the design itself can be changed very easily in order to reflect more localised needs, or elements that need to be emphasised. For example, the top and bottom image samples can be changed or altered to reflect the meandering of the river locally, more space can be created on the top of the bridge to allow for more activities or on the contrary can be thinned out, creating more areas for personal thought contemplation. Additionally, the bridge length and width can also be altered, thanks to the use of number sliders allowing for the grid to be enlarged or reduced, according to necessary local needs. As for the Rakali, if there is an area of low Rakali population density, the bottom image sample can be changed to create more space for more Rakali to create nests. The 5 locations shown here are examples of areas where the bridge could be placed, enhancing local environmental or social needs.
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LOCATION 1
LOCATION 2
LOCATION 3
LOCATION 4
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LOCATION 5
CONTEXT ZOOM LOCATION 1
LOCATION 2
LOCATION 3
LOCATION 4
LOCATION 5
C3 DETAIL MODEL
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C3 DETAIL MODEL
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C3 DETAIL MODEL IMAGE SAMPING
TOP Provide a a clear path for crossing and variations for diverse use.
BOTTOM Adaptation to topography and barrier for the rakali
MINIMUM SPACEOUT The minimum spaceout between the top and bottom amplified surfaces is 1.5 m to guarantee that structural elements won’t overlap POINTS ON SURFACE A grid of poits is laid out in the amplified surface that serve as the start points of the struture, as shown by this section curve of set surface CONNECTION The main use of the project is to be connecting infrastructure between the 2 sides of the river.
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BOARD-WALK Parametrical lenght to be the same as the distance between points: 0.6 m
a
Surface Points a
Hight determined individually by slider 0.05 m TOP CONSTRAINT OF POINTS Parametrically determined z vector of each points to be constrained every 0.3 m using several maths componets This makes several pieces to join at the same level for the final geometry
GEOMETRICAL VARIATIONS Geometrical variations on the boardwalk posibilitates several uses such as a terrace towards the river or a small grandstand for presentations.
RAKALI Bottom of the structure creates an environment for rakali to thrive and be protected from large fish, snakes, foxes and birds.
C3 DETAIL MODEL
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C3 DETAIL MODEL
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C3 DETAIL MODEL
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C3 DETAIL MODEL
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C3 DETAIL MODEL
FINAL MODEL AFTER CRIT FEEDBACK This isometric diagram shows how we have responded to feedback from feedback we were given during the presentation. One of the major issues was how human-oriented the design was, to which we responded by altering the bottom image sampler, giving more space and a larger place for the Rakali to create their nests. This will give them a safer place, away from humans, where they are protected from humans and predators. Furthermore, the diagram features more examples of ways in which the bridge surface can be used, emphasising it’s multi-purposeness, simply than just a path across a river.
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C4 LEARNING OBJECTIVES AND OUTCOMES Throughout the semester in this studio subject, I have found myself to develop on certain skills that I already had previously, as well as learn various new skills which will be very helpful for future projects. Furthermore, I believe that the new tools that I have learnt to work with will be very helpful and will definitely be re-used for academic/professional purposes, as well as personal purposes. Firstly, going from a single person project and merging that to a group has allowed me to further develop how and why a brief should be answered to, and where to let go of some ideas. In this instance, David and I were able to discuss jointly about our personal projects and how either of us responded to the brief. From there we tried to identify the major points we had in common, or bring out points that needed more emphasis and consideration, allowing us to critically analyse both of our works. Through interrogating the brief I think we have successfully designed a structure that stands differently to how we both had originally understood and reacted to the brief. Secondly, the use of the Grasshopper plug-in has drastically changed the way I look at architecture and design, in general. I have found myself designing objects and structures that I am not even able to imagine. The ease of changing a shape, and the ability to create a multitude of varied designs has also helped in influencing design decisions, and furthering aspects of the brief that could be answered. Parametric modelling is a new set of skills that I can see myself thriving on in future projects due to its ease and magnitude of unimagined designs. Although frustrating at times, I believe Grasshopper and parametric design in general can definitely help the way we shape things around us by trying to understand how it can respond to a given brief. The best way of integrating this into our design process is to include and expand on analytical diagramming as it allows to clearly set out and explain the “who, what, when, where and why� of an project. Along with analytical diagramming, I believe physical modelling and fabrication creates an even more effective way of interrogating the response to the brief, another skills that I have worked on. The analysis of this physical model is essential to the positive development of a project - without it, it renders the working model as PAGE 96
being quite useless as that is something that renders can easily do. As for the actual fabrication itself, it has allowed me to revisit some of the skills I had previously learnt, as well as brought new ones to my skill-set. I have found that soldering and welding are processes that can fairly easily represent a certain kind of structure. Soldering allows for mistakes to be made and corrected without drastically affecting the rest of the model. It further challenges the choice of materials used in a model. In doing computer models as well as physical models, I have been able to focus on understanding and interrogating strengths and weaknesses of the given model. It has also allowed me to focus on those aspects that either need re-working, or aspects that are strong and that need to be put into a persuasive argument. All in all, I have had a challenging, yet very enjoyable project, where I have been most impressed by the power of parametric modelling.
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