Design Studio: Air (Semester 1, 2018) Shannon Terry, Part B Journal by Shannon Terry

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CONTROL FREAK SHANNON TERRY 757856 DESIGN STUDIO:AIR - 2018 JULIUS EGAN

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CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK

TABLE OF CONTENTS PART A: CONCEPTUALISATION 1 3 9 17 22 24 25

A. // INTRODUCTION A.1 // DESIGN FUTURING A.2 // DESIGN COMPUTATION A.3 // COMPOSITION/GENERATION A.4 // CONCLUSION A.5 // LEARNING OUTCOME REFERENCES

INTRODUCTION

I'm Shannon, and I'm a third year student in Architecture at the University of Melbourne. Design Studio: Air is my third design studio and I'm excited to see where it takes me. Architecture to me is exciting because it is fundamentally just a bunch of materials produced on this earth put together. It is the integration of artistic innovation in a wide range of forms. I am originally from Hobart, Tasmania. I was lucky enough to be brought up with keen and creative parents, always encouraging me to take my artistic career further. Moving to Melbourne broadened my experience and knowledge of the wide range of architecture and the culture PHOTOSHOP

INDESIGN

AUTOCAD

within. It's interesting experiencing and comparing the types of architecture in Hobart and Melbourne. My experience with digital design technology began in first year where I was dropped in the deep end. I remember my first tutor saying "I'm sorry to break it to you, but the only way to learn the programs are to just do it". Two years down the track, I can safely say I have come a long way, and even now I know it is just the beginning. Technology is imroving all the time and it is only getting easier for architects and drafters to complete a project in an efficient manner. CAD programs are becomming easier and more efficent to use every year.

RHINO

GRASSHOPPER

INTERIOR RENDERS

SECTION CC

EXPLODED AXONOMETRIC

DESIGN STUDIO: WATER

SEMESTER 2, 2

CASE STUDY 01

CLEVELAND CLINIC LOU RUVO CENTRE FOR BRAIN HEALTH FRANK GEHRY PROJECT YEAR: 2010

LAS VEGAS The concept behind Frank Gehry's building the Cleveland Clinic Lou Ruvo Centre for Brain Health in Las Vegas, was to 'keep Memory Alive'. Gehry has a strong connection with this specific masterpiece of architecture he created due to his family history of Alzheimer's and Huntinson's1. This building is a fusion of simplistic cubes and a wave formation created on comput-

er software. It is also descibed as 'Lego-like and distorted 2 blocks' . In creating this project, he generated a structure which is easily remembered, fun and vibrant. With these design principles, Gehry created such a form with the aid of modern technology, such as Grasshopper and more complex parametric design plugins.

1 Etherington, R. (2010). Lou Ruvo Center for Brain Health by Frank Gehry | Dezeen. [online] Dezeen. Available at: https://www.dezeen.com/2010/06/17/lou-ruvo-center-for-brain-health-by-frankgehry/ [Accessed 2 Mar. 2018]. 2 Cleveland Clinic Lou Ruvo Center For Brain Health / Frank Gehry, Archdaily, 2010 <https:// www.archdaily.com/65609/center-for-brain-health> [Accessed 4 March 2018]

FIG 1 3

FIG 2

FIG 3

FIG 4

DESIGN FUTURING: A.1

CASE STUDY 02

THE CITY OF CULTURE PETER EISENMANN PROJECT YEAR: 1999

SPAIN

FIG 5

FIG 6

FIG 7

The City of Culture by Eisenmann is a new cultural centre for the Province of Galicia. The building contains three sets of information. The first of which is the street plan of the medieval centre of Santiago overlayed with a topographical map. The second is a modern Cartesian grid which is amalgamated over the medieval routes. Finally, with the aid of computer modeling software, the topography of the hillside was distorted into two flat geometries. Hence, the topological surface

we see in the image below. The surface neither acts as a figure nor a flat map, but rather a 'figured ground and a figured figure'1. The composition of the three elements are juxtaposed with the surround landscape of Santiago, leaving a place for tourists and locals to experience the city both historically and in the present.

"The City Of Culture / Eisenman Architects", Archdaily, 2011 <https://www.archdaily. com/141238/the-city-of-culture-eisenman-architects> [Accessed 5 March 2018].

FIG 8

DESIGN DESIGN FUTURING: FUTURING: A.1 A.1

BIOMIMICRY

algorithmic sketchbook

The piece of music, Arrival on Platform Humlet by Percy Grainger took me by surprise as I listened to it walking through the site at Rushall Station in Fitzroy North. I started on the east side of the bridge as the music started. Throughout the song, I got a strong sense of anticipation and I felt agile. The music changed from calm to intense within seconds.

user into it. It has a nook area at the back which resembles the complexity of the song as the song progresses.

I wanted to create a pavillion structure as users walk up and down the Merri Creek River. Like the song, the form starts off very open and captures the

In a similar way to the song, the form encaptures the user, bringing them closer to the nook at the back.

I intended for the pavillion to be by the Merri Creek because as I first walked across the bridge, this spot captured my attention. It is secluded beyond the shrubs, and is open for the curious.

DESIGN FUTURING: A.1

A.2

DESIGN COMPUTATION With the rapid changes in technology, computational design techniques are expanding. It allows the user to explore multiple design options, as opposed to very few options in traditional design techniques (due to limited time and energy). With this intention, designers can evaluate and optimise the best possible strategy. Furthermore, with the upcoming technology, these computer programs are beginning to have the opportunity to interconnect and it is becoming much easier to transfer data between the different softwares. In addition, contemporary technology allows us to complete the tedious and repetitive tasks very fast, making the process much

more do-able. This gives more time for the designers to create interesting and unique figures that would not have been made possible otherwise. The contemporary computational design strategies allow simulation like real life data (including sun path diagram in a specific location) much easier and very realistic, thus we are producing more sustainable designs. Finally, the technology allows people with left-brain logic to encode the data to create the forms, which might otherwise be quite difficult. Computational design is logical and allows for a set of data which can be evaluated, revised and improved1.

1 "5 Ways Computational Design Will Change The Way You Work", Archdaily, 2016 <https://www. archdaily.com/785602/5-ways-computational-design-will-change-the-way-you-work> [Accessed 11 March 2018].

FIG 9 9

CASE STUDY 01

KOLON CORPORATE AND RESEARCH HEADQUARTERS MORPHOSIS ARCHITECTS PROJECT YEAR: 2018

SEOUL, SOUTH KOREA

FIG 10

An example of a building which was optimised with computational design is the Kolon Corporate and Research Headquarters in Seoul. The design is by Morphosis architects, who use sustainable and efficient technology. The exterior facade of the building has a shell which has optimal shading, thus keeping the building cool during the summer and warm in the winter. The designers used a 'holistic approach' to minimise energy use and conserve resources1.

1 Marco Rinaldi and Marco Rinaldi, “Kolon Corporate And Research Headquarters By Morphosis”, A As Architecture, 2017 <http://aasarchitecture.com/2017/02/kolon-corporate-research-headquarters-morphosis.html> [Accessed 14 March 2018].

DESIGN COMPUTATION: A.2

CASE STUDY 02

WILLIAM BARAK BUILDING ARM ARCHITECTS PROJECT YEAR: 2018

MELBOURNE

FIG 11

FIG 13 11

FIG 12

FIG 14 The William Barak Building on Swanson Street in Melbourne CBD is another building created with a contemporary comutation design program. Designed by ARM architects, the building contains a photograph of Barak. Barak was an artist and an influential crusader for aboriginal social justice. ARM architects went through a step by step procedure to create this masterpiece. First they trans-

formed the photo into a binary black and white image, then using Photoshop the image was converted into horizontal bands of black and white. The bands were then turned into vector based line work to inport into 2D and 3D CAD files. Without the contemporary technology for computational design, this building and hundreds of buildings around the world would not have been made possible1.

1 'Barak Building / ARM Architecture', Armarchitecture.Com.Au, 2015 <http://armarchitecture.com. au/projects/barak-building/> [Accessed 17 March 2018].

DESIGN COMPUTATION: A.2

DISSOCIATION

The series of films, The Enclave, by Richard Mosse was highly immersive and attention grabbing. The series depicts the conflict in the Democratic Repulic of Congo in a surreal world. The magenta colour sounding the people was created with infared cameras; changing everything green to a bright, unworldly pink. When researching Mosse's project in depth, I read that 5.4 million people have died since 1998, and yet we hear near to nothing about this monstrosity in the media. This realisation of the war torn

country jolted me into reality as I viewed the series. I no longer see it as 'surreal', but rather as powerful, shocking and alienating. The artwork, along with the research accompanied by it showed us that the situation is very real, as is our detatchment to it. My partner and I decided to base our project on this detatchment and dissociation. We explored Rushall Station and decided to create a form where commuters wait for the train in a secluded area of the site.

This is a place where the urban surroundings are out of sight of mind, and the peace is broken only by the arrival of the train. We began with a similar form to a tree, as we know that trees are associated with nature, thus is peaceful. As we created this form, we loved it, but we knew we could go further and take this form out of this world, like The Enclave. We exploded lines from our points on the original structure, and attached cylinder forms to these points.

It was then, when we knew that the main tree structure must go. Remained was the cylinders, floating in space, as seen in the figure above. They allow light to float through, dappling the ground with speckles of light. The combination of the cylinders, the location, and the motif, allowed us to achieve the 'peaceful' aspect. With the noise of the train arriving we get the 'jolting' sensation, as the commuters jolt back to reality.

DESIGN COMPUTATION: A.2

algorithmic

ard Mosse - The Enclave hall Station - Waiting

sketchbook

DESIGN COMPUTATION: A.2

A.3

COMPOSITION/GENERATION In the reading 'Computation Works; The Building of Algorithmic Thought', Peters explains that as computerisation and computation both have very different meanings. Computerisation may be described as virtual drafting to make it easier to edit, copy and increase the precision of drawings. Computation on the other hand is the use of the computer to process the parameters of the code in

order to create complex orders, forms and structures. Algorithms are translated through the computer software, and will only produce something if the set of algorithms and parameters are written in a particular language that the computer can understand1.

1 Brady Peters, 'Computation Works: The Building Of Algorithmic Thought', Architectural Design, 2.83 (2013), 8-15.

FIG 15 17

CASE STUDY 01

ICD/ITKE RESEARCH PAVILION ICD AND ITKE PROJECT YEAR: 2014

STUTTGART

The Institute for computational deign (ICD) and the Institute of building structures and structural design (ITKE) at the University of Stuttgart constructed a research pavilion which shows the novel design simulation, and fabrication processes. The designers formulated the project from a 'bottom-up' strategy for a biomimetic investigation for natural fibre shells. The project was not only made by architects, but also biologists, palaeontologists and engineers. The role model and inspiration was the elytra, a protective shell for beetles' wings1. This inspiration, drove the workers to take the form further, yet still using a similar shell like structure like the beetles. 1 'ICD/ITKE Research Pavilion 2013-14 | Institute For Computational Design And Construction', Icd.Uni-Stuttgart.De, 2013 <http://icd.uni-stuttgart.de/?p=11187> [Accessed 18 March 2018].

FIG 16 COMPOSITION/GENERATION: A.3

CASE STUDY 02

TEXTILE MORPHOLOGIES SEAN AHLQUIST PROJECT YEAR: 2013

STUTTGART Sean Ahlquist's exhibition at the Stuttgart University consisted of scaled protoypes and computational simulations exploring spatial forms. Ahlquist develops his work around the behaviour and performance of various materials. Thus, generating multi-layered membrain systems and textil hybrid

structures. The extent of computational design enables expression of parametres and and sets of rules. Alhquist speculated various design potentials by stretching the parametres of the computational design program1.

1 'Textile Morphologies | Institute For Computational Design And Construction', Icd.Uni-Stuttgart. De, 2013 <http://icd.uni-stuttgart.de/?p=8893> [Accessed 18 March 2018].

FIG 17

FIG 18

COMPOSITION/GENERATION: A.3

A.4

CONCLUSION

Part A has given me an insight on the revolution of technology in the field of architecture. The computational design strategies are expanding in many ways in the architecture world to come up with flexible, strategic and sustainable designs. Throughout the discourse of this module I have produced architectural forms at the Rushall Station site in Fitzroy North. The forms I created were based on the piece of music, Platform Humlet by Percy Grainger, and

the series of filmwork, The Enclave by Richard Mosse. I used my interpretation of the two pieces of work and used my up and coming knowledge of the Grasshopper plugin for Rhinocerous 3D to formulate my designs. It was infact the mistakes I made in Grasshopper that allowed my work to develop into shapes I never would have imagined would be possible at my current level of computation design.

CONCLUSION:A.4

A.5

LEARNING OUTCOMES

At the beginning of Design Studio: Air I was terrified of what was yet to come in the semester. Learning new programs, especially coding, is challenging for me and is out of my confort zone. After the first week of the semester, I realised it was actually easier than I exptected. Although the codes look complex and confusing, they are very logical. Three weeks into the semester I have realised that the pro-

grams have allowed me to be spontaneous and loosen up to create weird and wonderful design solutions. In addition, I have become more comfortable and I have hope in my abilities for computational design programs. If I were to go back on my previous designs I would use my current knowledge to manipulate the parametres of my designs, thus creating more interesting and conceptual designs.

LEARNING OUTCOMES: A.5

REFERENCES 1 Etherington, R. (2010). Lou Ruvo Center for Brain Health by Frank Gehry | Dezeen. [online] Dezeen. Available at: https://www.dezeen.com/2010/06/17/louruvo-center-for-brain-health-by-frank-gehry/ [Accessed 2 Mar. 2018]. 2 'Cleveland Clinic Lou Ruvo Center For Brain Health / Frank Gehry', Archdaily, 2010 <https://www.archdaily.com/65609/center-for-brain-health> [Accessed 4 March 2018] 3 'The City Of Culture / Eisenman Architects', Archdaily, 2011 <https://www. archdaily.com/141238/the-city-of-culture-eisenman-architects> [Accessed 5 March 2018] 4 '5 Ways Computational Design Will Change The Way You Work', Archdaily, 2016 <https://www.archdaily.com/785602/5-ways-computational-design-willchange-the-way-you-work> [Accessed 11 March 2018] 5 Rinaldi, Marco, and Marco Rinaldi, 'Kolon Corporate And Research Headquarters By Morphosis', A As Architecture, 2017 <http://aasarchitecture.com/2017/02/ kolon-corporate-research-headquarters-morphosis.html> [Accessed 14 March 2018] 6 'Barak Building / ARM Architecture', Armarchitecture.Com.Au, 2015 <http:// armarchitecture.com.au/projects/barak-building/> [Accessed 17 March 2018] aDesign, 2 (2013), 8-15 7 'Textile Morphologies | Institute For Computational Design And Construction', Icd.Uni-Stuttgart.De, 2013 <http://icd.uni-stuttgart.de/?p=8893> [Accessed 18 March 2018]

IMAGE REFERENCES FIGURE 1 Giral, David, View Of The South Side Of The Building At Sunset, 2012 <http://blog.davidgiralphoto.com/2012/08/24/exploring-las-vegas-frank-gehryscleveland-clinic-lou-ruvo-center-for-brain-health/> [Accessed 9 March 2018] FIGURE 2 Carbone, Matthew, Memory Alive, 2011 <http://housevariety.blogspot. com.au/2011/01/cleveland-clinic-lou-ruvo-center-for.html> [Accessed 9 March 2018] FIGURE 3 Cantrelle, Coco, Stand Out From The Crowd. Frank Gehry'S Dreamlike Lou Ruvo Centre, Las Vegas., 2012 <https://thetravelcrew.wordpress. com/2012/04/22/stand-out-from-the-crowd-frank-gehrys-dreamlike-lou-ruvocentre-las-vegas/> [Accessed 9 March 2018] FIGURE 4 Cantrelle, Coco, Stand Out From The Crowd. Frank Gehry's Dreamlike Lou Ruvo Centre, Las Vegas., 2012 <https://thetravelcrew.wordpress. com/2012/04/22/stand-out-from-the-crowd-frank-gehrys-dreamlike-lou-ruvocentre-las-vegas/> [Accessed 9 March 2018] FIGURE 5 Llorca, Mario, Archive Of Fundaciรณn Cidade Da Cultura De Galicia. <http://www.santiagoturismo.com/galeria-fotografica/cidade-da-cultura-de-galicia-2-1> [Accessed 9 March 2018] FIGURE 6 Ito, Shawn, Cidade Da Cultura XXXVI - Museo De Galicia <http://www. flickriver.com/groups/peter_eisenman_architects/pool/interesting/> [Accessed 9 March 2018] FIGURE 7 Showcase City Of Culture, 2018 <http://files.archinect.com/uploads/ai/ aiu_showcase_city_of_culture_03x.jpg> [Accessed 9 March 2018] FIGURE 8 Vicente, Manuel Gonzalez, City Of Culture Of Galicia, 2013 <https:// www.ignant.com/2013/03/25/city-of-culture-of-galicia/> [Accessed 9 March 2018] FIGURE 9 AECCafe, 'Kolon Future Research Park in Seoul, Korea by Morphosis Architects', 2017 < 17/02/28/kolon-future-research-park-in-seoul-korea-bymorphosis-architects/ > [17/02/2018] FIGURE 10 AECCafe, 'Kolon Future Research Park in Seoul, Korea by Morphosis Architects', 2017 < 17/02/28/kolon-future-research-park-in-seoul-korea-bymorphosis-architects/ > [17/02/2018] FIGURE 11 Arm Architecture, 'Barak Building', 2015 < http://armarchitecture.com. au/projects/barak-building/> [18/02/2018] FIGURE 12 Arm Architecture, 'Barak Building', 2015 < http://armarchitecture.com. au/projects/barak-building/> [18/02/2018] FIGURE 13 Arm Architecture, 'Barak Building', 2015 < http://armarchitecture.com. au/projects/barak-building/> [18/02/2018] FIGURE 14 Arm Architecture, 'Barak Building', 2015 < http://armarchitecture.com. au/projects/barak-building/> [18/02/2018] FIGURE 15: ICD/ITKE RESEARCHERS, 'ICD/ITKE RESEARCH PAVILION', 2013 < http:// icd.uni-stuttgart.de/?p=11187> [19/02/2018]

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TABLE OF CONTENTS PART A: CONCEPTUALISATION 31 33 37 43 47 59 65 81 87 91 95 97

B.1 // STRIPS AND FOLDING ALG.1 // WEST SIDE STORY B.2 // CASE STUDY 01 ALG.2 // WAITING FOR MY LIFE TO BECOME A POSSUM HOUSE B.3 // CASE STUDY 02 ALG.3 // WEATHER DANCER B.4 // TECHNICAL DEVELOPMENT ALG.4 // FROG WALL B.5 // TECHNIQUES: PROTOTYPES B.6 // PROPOSAL B.7 // LEARNING OBJECTIVES REFERENCE LIST

B.1

RESEARCH FIELD STRIPS AND FOLDING

Strips and folding is a combination of origami and weaving. It is the dynamic folding on the smooth strip.The japanese originated art form, origami, creates shapes and forms which could never have been imaginable. Using similar techniques, like computational design, we can push the parametres and get forms like that of origami. The strips and folding technique allows for the basic structure to be emerged and configured by merely playing with paper and such objects which can be morphed with.

MARCO RINALDI, BOWOOSS BIONIC PAVILION, 2012 <http://aasarchitecture. com/2012/09/bowooss-bionic-pavilion.html> [Accessed 14 April 2018].

Rupert Maleczek and Christian Scheiber, Wooden Folded Parallel Strips, 2013 <https:// www.karamba3d.com/projects/wooden-folded-parallel-strips/> [Accessed 14 April 2018].

WEST SIDE STORY The film clip, West Side Story, comprised of a very complex story about two groups: The Sharks and The Jets. We noticed many things throughout the story as it was so complicated; however we decided to focus on the flock/pack type behaviour between the two groups. We noted the conflict and tension and how it was affected by the physical boundaries of the streets. For example, one site of the town was controlled by The Sharks and the other side controlled by The Jets. The basketball court acted as a neutral zone. It is an unbiased area whereby people can enjoy their time without being tormented. By introducing strict boundaries at the Rushall Station site, with a focus on the neutral area that is the basketball court as the station, we tried to funnel the traffic into claustrophobic passages to

Linework over Rushall Station

Creating points over the site

Magnetic forces following the channels

recreate the chaotic movement we saw in th

In our design, there are two primary chan converge to the station to and from (perpe station). The train station marks the meeti sages; a space we have opened up to serve winding, dark passages.

To get to this form, we created magnetic ch roads and channels; pushing the commute sages. We then imposed a rectangular mass we cut into to hollow out the paths of mov cavern-like tunnels which the passengers a fore arriving at the station.

Magnetic forces following the channels

Extruding the passa

Massing in the red

Tunnelling out chan train, roads and â&#x20AC;&#x2DC;ne

he clip.

nnels that passengers endicular to the train ting of the three pase as a relief from the

ages up

TECHNIQUE DEVELOPMENT

harges along the main ers into the dark pass onto the site, which vement. This formed are funnelled into be-

nnels for the eutral zoneâ&#x20AC;&#x2122;

B.2 CASE STUDY 01

SEROUSSI PAVILLION BIOTHING

PROJECT YEAR: 2007

PARIS

The Seroussi Pavilion is a project designed with a bottom-up computation strategy. It uses self-modifying patterns of vectors adapted around Electromagnetic Fields. The structure is immerive and interactive with the users. The design started in plan, and then the arcs were lifted. The heights and freqency of the strands were controlled my trigonometry funtions. Following similar characteristics to nature and ecology, the structure consists of many cells, all with varying lighting, shading and programming. It's the sine-wave functions which 'drive the parametric differentiation of angle, orientation and size 1

of aperture', thus creating a decent relationship between the metal and glass within each cells. The form follows a cocoon like structure on the interior from changing the parametres and the charge of the Electromagnetic Fields1. I am very fond of the control and indeterminacy presented in this project. There is a really interesting balance between the control of the parameters and the mathemetics and electromagnetic field control. Giving us a form that is easily altered and the small changes and original plan, give us a form which is unexpected and this is exciting in the computational world of architecture.

Hassan Yakubu, â&#x20AC;&#x153;Seroussi Pavilion |Biothingâ&#x20AC;?, Arch2o.Com, 2012 <https://www.arch2o.com/seroussi-pavilion-biothing/> [Accessed 4 April 2018].

Nora Schmidt, Biothing Exhibition At The Centre Pompidou In Paris, 2009 <http://www.dailytonic.com/biothing-a-transdisciplinary-lobratory-founded-by-alisa-andrasek/> [Accessed 6 April 2018].

SPECIES

ITERAT

SPECIES 04

SPECIES 03

SPECIES 02

SPECIES 01

DIVIDE_01 (5) CHARGE (POSITIVE) DIVIDE_02 (20) CIRCLE RADIUS (0.0001) FLINE (100)

DIVIDE_01 (20) DIVIDE_02 (24) CIRCLE RADIUS (1.751) FLINE (42)

DIVIDE_01 (40) CIRCLE RADIUS (0.001)

DIVIDE_01 DIVIDE_02 FLINE (42)

DIVIDE_01 (3) CHARGE (POSITIVE) DIVIDE_02 (24) CIRCLE RADIUS (0.05) FLINE (100)

CHANGE OF BEZIER CURVE

CHANGE O DIVIDE_03

DECAY (300)

DECAY (38

SPIN FORCE RADIUS (0.015)

SPIN FORC

SPIN FORCE

SPIN FORCE AND INDIVIDUAL COMPONENT

SPIN FORCE RADIUS (18)

SPIN FORCE STRENGTH (6.8)

TIONS 4

1 (5) 2 (24) )

CIRCLE RADIUS (0.8)

CIRCLE RADIUS (5) DIVIDE_02 (5)

CIRCLE RADIUS (0.05) DIVIDE_01 (1)

OF BEZIER CURVE 3 (100)

SPIN FORCE ADDED

SPIN FORCE: STRENGTH (135) RADIUS (100) DECAY (55)

DECAY OF SPIN FORCE (16)

86)

DECAY (560)

STRENGTH (600) RADIUS (300) DECAY (150)

STRENGTH (1000) RADIUS (1000) DECAY (1000)

SPIN CHARGE AND POINT CHARGE TOGETHER

POSITIVE POINT CHARGE

CE DECAY (4.6)

**This was very interesting because any decay over 560 failed and the algorithm no longer worked**

RADIUS (0.3) DECAY (7) CHANGE OF BEZIER CURVE

ANALYSIS OF RESULTS

SELECTION CRITERIA Contains distinct public - private zones â&#x20AC;˘ Employs s

SPECIES 01 iteration experiments with the circle radius and division of the curves. It creates a very simplistic form with different areas, which would be ideal for perhaps a fine dining experience or maybe a modern day monastery.

SPECIES 01

SELECTION 01 It was successful because it has distinct public zones and private zones. The two diamond shapes and the intersection between the two forms are the private areas, whilst the dispersed area around the edges area is for public use. The species also utilises greate shading techniques with the distributed overhead canopy.

SPECIES 03 iteration, similarly to species 02, used the spin force. This time however, the form was created with a positive point charge. The strength of the spin force was 135, radius was 100, and the decay was 55. The bezier curve was also played with to create this form. The form was then flipped 180 degrees.

SPECIES 03

SELECTION 03 was successful because it accomodates pockets of private zones. These pockets can be made out of wire mesh and glass for optimal view usage. This design could also fall under a special fine dining experience where each individual pocket contains itâ&#x20AC;&#x2122;s own table and seating arrangments, allowing customers to enjoy their time without the interruption and noise of other customers.

shading for users • Place to ponder

SPECIES 02 iteration was created by multiple iterations of bezier curve changes, division of curves, circle radius, and circle division. The final component added was force spin which created a new and exciting form.

SPECIES 02

SELECTION 02 was successful because it feels dreamlike and incorporates the notion of ‘walking on clouds’. Whilst the form does not have much height and is quite linear, it would be great if it was like a mediation hub and each meditator sat on or under an individual swirl.

SPECIES 04 was created also with a spin force. It had a strength of 600, radius of 300, and decay of 150. SELECTION 04 - whilst it doesn’t hav e clear distinctions between public and private, it has a really interesting connection area between the two circles. The strands/wires so close to touching, yet they do not. This could make for a really captivating entrance to the building.

SPECIES 04

WAITING FOR MY LIFE TO BECOME A POSSUM HOUSE

Mustard and tomato sauce bottles and image sampler

Rectangle boxes

Spheres

TECHNIQUE DEVELOPMENT

Household items and image sampler

When looking at the pain rette advertisement by M the painting caught our a terns that suggested mov od of ‘striking a balance b making it do as it is told’.1

Extending the spheres 43

We experimented with va and image sampling. A few my co-worker placed the instance, when I put the s the colours alternate. Wh chucks them in. In ways, Gromm’s artwork. The sau 1

Michael Gromm, “Con

nting, Waiting for my life to become a cigaMichael Gromm, the collage-esque nature of attention the most. We set out to create patvement and variability, inspired by the methbetween letting the paint do as it wants, and

arious compositions using household objects w days later I was at work and noted the way tomato and mustard bottles on the tray. For sauces on the tray, I am OCD and make sure hen my co-worker places them, she randomly , I believe that this relates back to Michael uces are held within a boundary (the tray), as

is his paintings (the technique he paints them); and the way they are organised are randomised, and that is just the way it is. There was no meddling with the sauce bottles, as was Gromm’s paintbrush. When we image sampled the image in grasshopper, we based the image off red, plugged the output into a grid and populated it with points. We output the image into a rectangle, which resulted in the grid being partially populated with rectangular volumes. We them populated the rectangular volumes with spheres and they were exploded upwards.

We flipped the design so that the volumes were on the top, and decided these would serve perfectly as possum housing and a ‘living artwork’.

ntemporary Michael Gromm”, Flg.Com.Au <https://www.flg.com.au/artist/michael-gromm/contemporary> [Accessed 3 April 2018].

B.3 CASE STU

DIGFABMT

ANDRES MARTINEZ AND ALE PROJECT YEAR:

MEXICO

DIGFABMTY 1.0 was designed by Andres Martinez

It took two lots of algorithms to create this mas-

and constructed by 11 undergraduate students

terpiece. First off they had the altorithm to make

from Tecnologico De Monterrey Campus Moner-

the form, and then another algorithm to flatten

rey. TheY used parameteric tools to create this

the project to a two dimensional surface, then

pavilion as their final exercise for the class. It is

lasercut. The structure of the pavilion was PVC

a pyramidal shaped component, spread across a

pipes, with a coroplast grid. The team only used

vaulted and lofted surface1.

an industrial staple gun and plastic cable zip ties

1 2

Andrés Martinez and Alejandro Rodriguez, “DIGFABMTY 1.0 | Arquidromo - Arch2o.Com”, Arch2o.Com <https://www.arch2o.com/dig Rodriguez, Alejandro, and Andrés Martinez, “DIGFABMTY 1.0 | Arquidromo | Archinect”, Archinect <https://archinect.com/arquidrom

Andrés Martinez and Alejandro Rodriguez, DIGFABMTY 1.0 <https://www.arch2o.com/digfabmty-1-0-arquidromo/> [Accessed 17 April 2018].

UDY 02

TY 1.0

EJANDRO RODRIGUEZ 2014

to connect the lazer cut sections2.

triangle holes cut out (see the right hand side of the image below). This would create a stimulating

The pavilion contains a similar feel to a dragon skin

vibe on the inside of the pavilion as light would be

or crocodile skin. The light qualities of the pavilion

slightly dappled inside.

are really interesting on the interior because it is fained and blurred from the material of the white skin. Some of the traingular prisms have small

REVERSE ENGINEERING THE DIGFABMTY 1.0 When I first saw this project, I broke down the many elements to simplify the project. I noted that the structure was made out of 5 or 6 curves at different angles, and that this was then lofted. It was evident that underneith the triangular prisms was a grid pattern. From here, I researched how to create prisms from lines and points.

CURVES

Andrés Martinez and Alejandro Rodriguez, DIGFABMTY 1.0 <https://ww

LOFT

GRID

CURVES

LOFT

ISOTRIM

OFFSET

LOFT

LINE

DEBREP

EVALSRF

Andrés Martinez and Alejandro Rodriguez, DIGFABMTY 1.0 <https://ww

ww.arch2o.com/digfabmty-1-0-arquidromo/> [Accessed 17 April 2018].

THE TECHNIQUE

STEP ONE Curves were created and slanted in Rhinocerous 3D

STEP TWO Loft curves

STEP THREE Isotrim and divide dom on the surface

main to create a grid

STEP FOUR Offset surface to create an exact replica

STEP FIVE Evaluate surface creates many planes going off each intersection of the grid surface

THE TECHNIQUE

STEP SIX Lines project out of the intersections of the grid on the surface. The are at the perpendicular to the planes created in step five

STEP SEVEN Points are created from each corner of the grid and the top and bottom points from the lines (seen in step six)

STEP EIGHT Each point is connecte

ed with a line

STEP NINE The lines are then lofted in both directions

STEP 10 The holes created are from creating another offsetted surface and manually trimming them in Rhinocerous 3D

CONCLUSION The outcome of my reverse engineered project of the DIGFABMTY 1.0 pavilion was successful in the form but it did have some differences from the original DIGFABMTY 1.0. For instance, the original DIGFABMTY 1.0 curves inwards in the centre of it (it gets thinner). Another difference is that the holes on the skin profile in my design were not created in grasshopper, but rather trimmed in Rhinocerous 3D. This resulted in square cut outs, rather than the triangles varying in size. When I take this design further, I will fix the overall shape issue, and work on getting the holes in the skin profile. I will also play with the division of the isocurves, and height of the offset, and size of the triangles. I want to further make the points more pointy to make it look a bit more dragon like.

The snippet of story by I

pothese about why the in

earth: â&#x20AC;&#x153;that they hate the

they avoid all contact, an

they existed and with spyg

ward they never tire of exa ant by ant, contemplating

Our design follows aspects

observe the earth and that

speaking, light like the we

research the wind rose dia

January, April, July and Oct

diagrams in winter, spring,

collaborate this data into o

WEATHER DANCER

Italo Calvino talked about three hy-

We mapped the contours of the site in a circle and plotted points

nhabitants of Baucis donâ&#x20AC;&#x2122;t touch the

along each contour - this was our starting point. We then a used

e earth, that they respect it so much

magnetic field to direct the rectangles on different planes and

nd that they love it as it was before

directions.

glasses and telescopes aimed down-

aminig it, leaf by leaf, stone by stone,

One point was the controller of the direction and attitude of the

with fascination their own absence.â&#x20AC;?

planes. We introduced the wind rose diagram from a specific month to determine the X-Y location in the circle, and the Z lo-

s of the second hypothese, that they

cation would be determined from how high the sun goes in that

t the city of Baucis is, metophorically

season. An example is seen here:

eather. With that, we decided to do

agrams in Melbourne in four months:

We then played around with long

tober. We also looked at the sun path

thin tubes and rectangular planes

, autumn and summer and wanted to

until we got our design, as seen

our design.

on the next page.

We analysed the design in the different maps and decided it is a visual weather station. Passersby would walk past it as they approach the train station and they would look at it and understand from diagrams and maps that the wind will be THIS strong (whatever the day, the month, and the time is), and that the sun will be however strong and high. It is a living weather station that can be used from not only the meteorologist, but the general public. Often information we get from the media (on the news, newspaper, internet etc...) is distorted. This design diminishes the power held by the government, and gives the public the power.

JANUARY

APRIL

JULY

OCTOBER

B.4 TECHNICAL DEVELOPMENT SPECIES 01

DIVIDE FUNCTION OF ISOTRIM - U COUNT (U) - V COUNT (V)

ORIGINAL REVERSE ENGINEERED: U = 14 V=8

U = 48 V = 41

U = 30 V=4

U = 49 V=9

U = 14 V = 41

U=4 V=4

U=1 V=3

B.4 TECHNICAL DEVELOPMENT SPECIES 02

DIVIDE FUNCTION OF ISOTRIM - U COUNT (U) - V COUNT (V)

U=2 V=8

U=3 V=1

U = 11 V=1

U=1 V=3

U=1 V = 37

U=1 V=1

U=2 V=1

U = 49 V=1

U=1 V=2

B.4 TECHNICAL DEVELOPMENT SPECIES 03

EVALUATE SURFACE POINT - U COMPONENT (UC) - V COMPONENT (VC) DIVIDE FUNCTION OF ISOTRIM - U COUNT (U) - V COUNT (V) ORIGINAL REVERSE ENGINEERED: UC = 0.5 V0C = 0.5

UC = -4.5 VC = 0.5

UC = -7 VC = 0.5

UC = 0.5 VC = -2

UC = 0.5 VC = -5

UC = -0.5 VC = 0.5

UC = -2 VC = 0.5

UC = -10 VC = 0.5

UC = 0.5 VC = -0.5

UC = -4 VC = -2

UC = -4 VC = -2 U = 28 V = 48

B.4 TECHNICAL DEVELOPMENT SPECIES 04 ITEM 1: (I1) ITEM 2: (I2) ITEM 3: (I3) ITEM 4: (I4) EVALUATE SURFACE POINT - U COMPONENT (UC) - V COMPONENT (VC)

ORIGINAL REVERSED ENGINEERED: I1 = 0 I2 = 1 I3 =2 I4 = 3

I1 = 2 I2 = 0 I3 = 3 I4 = 3 UC = -2.1

I1 = 3 I2 = 1 I3 =1 I4 = 3

I1 = 3 I2 = 1 I3 = 3 I4 = 3

I1 = 2 I2 = 0 I3 = 3 I4 = 3 UC = -2.1 UV = -0.9

B.4 TECHNICAL DEVELOPMENT SPECIES 05

DIVIDE FUNCTION OF ISOTRIM - U COUNT (U) - V COUNT (V) EVALUATE SURFACE POINT - U COMPONENT (UC) - V COMPONENT (VC) ITEM 1: (I1) ITEM 2: (I2) ITEM 3: (I3) ITEM 4: (I4) OFFSET LOFT (OL)

U = 14 V=8 UC = -2.1 VC = -0.9 I1 = 2 I2 = 0 I3 = 3 I4 = 4 OL = 2

OL = 0

OL = 10

OL = -2

B.4 TECHNICAL DEVELOPMENT SPECIES 06

DIVIDE FUNCTION OF ISOTRIM - U COUNT (U) - V COUNT (V) EVALUATE SURFACE POINT - U COMPONENT (UC) - V COMPONENT (VC) ITEM 1: (I1) ITEM 2: (I2) ITEM 3: (I3) ITEM 4: (I4) OFFSET LOFT (OL)

U = 25 V=8 UC = 0.5 VC = 0.5

I1 = 2 I2 = 0 I3 = 0 I4 = 4

OL = 2

OFFSET LOFT 2 (OL2)

FINAL JOIN SWITCHED TO VISABLE

OL2 = 4

I1 = 2 I2 = 1 I3 = 4 I4 = 6

OL = 1

OL2 = 0

OL2 = 0.5

OL2 = 1

OL2 =10

OL2 = 20 76

B.4 TECHNICAL DEVELOPMENT SPECIES 07

OFFSET LOFT (OL)

U = 25 V=8 UC = 0.5 VC = 0.5

OL = -2

I1 = 2 I2 = 0 I3 = 0 I4 = 4

OL = -0.5

OL = -1

OL = -4

B.4 TECHNICAL DEVELOPMENT ANALYSIS OF RESULTS

SELECTION CRITERIA Definite public to private zones • Shading techniques • Pl SPECIES 01 iteration experiments with the division of the isotrim component. It is divided by 1 in the U direction (long ways) and by 37 in the V direction (across the arch). Whilst it is quite a simple transition from the original reversed engineered project, it conveys the selection criteria quite nicely.

SPECIES 01

SELECTION 01 was chosen because it fits the criteria for the most part. The public to private separation is not as interesting as I would have liked. There is definitely a great shading technique with the overhead canopy. It would be very peaceful as it is likely to block out surrounding urban noises.

SPECIES 03 iteration is an experimentation of different item numbers, offset loft (visible), offset loft 2 (visible), isotrim division, and evaluate surface numbers. This iteration was right before the computer crashed so I was luck to achieve it. It is a complex form with three forms within it. SELECTION 03 is actually the design which I’ll be talking about in my proposal. It’s the most interesting and exciting form, especially because it is so different from the original reverse engineered form.

SPECIES 03 79

lace to contemplate and sit in peace SPECIES 02 iteration experiments with the evaluate surface point numbers in the U and V direction. It also investigates the divide function of the isotrim component. It has a evalute surface point number of 0.5 in the U direction and -2 in the V direction. SELECTION 02 was chosen because I believe it would be a great resting curved log type building. If the building was rotated 90 degrees, people could lie back into the curve and have a nap whilst waiting for the train at Rushall Station.

SPECIES 02

SPECIES 04 iteration is quite similar to that of species 03. In this case, the offset lofts are reversed. SELECTION 04 was chosen because I love the transition between the different iterations in species 07. It reminds me of a growth of plantation or a blooming lotus flower. I think that itâ&#x20AC;&#x2122;s great because it shares many zones within the building, but also still quite open to the outside world. It has great shading strategies and this inside ball could be a private room or fine dining restaurant.

SPECIES 04 80

FROG WALL

The Distribution Of The Cane Toad In Australia, 2013 < press.com/2013/05/19/fighting-the-cane-toad-menac

<https://exploringresearchbio.wordce/> [Accessed 17 April 2018].

The cane toad was the animal that we chose for our project which will be on going for the next six weeks. When we read the document and did copius amounts of research on the animal, we found many things interesting. They were introduced in 1946 to cull the beetle population in sugar crops in Queensland, and very quickly spread to NSW and the Northern Territory. They inhabit moist and humid climates, however they are starting to adapt to drier conditions. We found it interesting that a few toads were spotted in random locations around Australia. This is when they are trapped of log trucks and driven to these locations. Sometimes they are placed in locations which do not contain cane toads, to teach the native species surrounding them to adapt and learn not to eat their poison when the cane toads do invade. They breed vigorously and prey on native species, endangering many species and unbalancing every ecosystem they spread to1. Australians have developed an extreme hatred for the cane toad, which is hypocritical given the fact we introduced them. Inhumane acts in killing them involve beating them with cricket bats and more. Why do humans treat them so inhumanly, when they are just like any other animal. Would you beat a wombat, bird, or possum? I wouldn’t think so. This lack of respect is the cause of their introduction. 1 “Fighting The Cane Toad Menace”, Exploring Research Biology, 2013 <https://exploringresearchbio.wordpress.com/2013/05/19/fighting-the-cane-toad-menace/> [Accessed 17 April 2018].

Our approach to the design was analyzing their spread and adaption to the site of Rushall Station. We analysed the site accessibility by adding agents to the topography; limiting their moving by the steepness of the incline. This mapped complex pathways defined by the incline. We then mapped the routes that a toad may take at Rushall station, focusing our attention to the river, isolating the dots on the bank. We then connected these dots to a line and lofted it and created a mesh that could act as a wall to prevent their spread. The result of this is a highly imposing barrier that cuts across the river. Overtime, it will collect natural matter and litter, changing the site overtime. This acts as a living metaphor of the inhuman and hypocritical common response to the newly introduced. When we take this project further, we will implement more data and facts, which is specific to the cane toad only.

81 83

B.5 TECHNIQUE: PROTOTYPES When I first thought about prototyping my design, I thought about fabricating it the way the DIGFABMTY team did. This would involve flattening the individual prisms in rhino, creating tabs on each element, lasercutting them (or hand cutting), then reproducing them. However, in architecture, I have learned a very valuable lesson: use your time wisely. In architecture, we all have limited time and we are all very tight for time; itching to get just 24 more hours to work on our projects. This is the reason I have 3D printed my project. Although it costs more money, I think about how much time I would be working on putting together the hand-cut project, and with this time, I could work 1.5 hours at my job and the project is complete. Iâ&#x20AC;&#x2122;m very happy with the job the 3D printer did and Iâ&#x20AC;&#x2122;ve learnt a second great lesson in this project: submit the job to the FabLab 10 days earlier than you were originally going to submit it. I got a call the day before this assignment was due saying that the 3D printer had accidentally integrated some colour in it, and a crack had appeared. Luckily I was not phased by the colour and it actually adds a bit of depth to the project. The third lesson I have learnt is that although using computational techniques of making models is quick, easy, cheap and gives a great result; technical errors (like the colour and the crack, or the burn marks around the edges of lasercut jobs) can occur, and this is something that can be avoided by hand making it.

B.6 PROPOSAL My proposal no longer lies amongst the yoga/med-

I see my design now as a funeral chapel, where peo-

itation/peace pavilion as I believe that the jump

ple go to mourn and pay their respects to their lost

from my ‘successful’ iterations in B.2 to the ‘suc-

loved ones, as well as small funeral services. Given

cessful’ iterations in B.4 is too distant. I am finding

my recent experience with my father passing away,

it hard to imagine these iterations as a place for a

I have realised that there needs to be more special

monastery/yoga.

and beautiful places like this.

The outside facade is the public zone where citizens can sit in peace under the arched canopy. It will be constructed of reinforced concrete and glass. It will provide space for contemplation and peace. The next element of this design is the tall arching walls, placed under the arching canopy. This is the entrance for the users where it is more private and people have the opportunity to engrave their lost one’s name into the wall.

The final element is the core of the building. This is where the people have the funeral service.

As seen in the plan drawing, people walk in the entrance, and turn left or right which leads towards the back. On the walls are also names of the people who have passed. They then walk in to the centre where there is seating in a circle. All seats face 91 the centre, it’s a bit like a quaker service.

SECTION

NORTH ELEVATION

PLAN

EAST ELEVATION

B.7 LEARNING OBJECTIVES I have learned so much over the past four weeks. Working through Part B was quite a struggle for me because using grasshopper is still really hard, even though I’ve learned so much already. The weekly projects that we do in our tutorial have helped a huge amount. They have helped me let loose in my species and iterations and discover more techniques in computational design. Our class is called “Control Freak” and we get given a piece of art, music, video, animal, snippet out of a story, and we produce a design in grasshopper by putting in our interpretation as an input, and receiving a form as an output. This is really interesting because we get a crazy form, we interrogate it, and find a funtion for it. Our tutor writes: “after analysing your geometry is really dumb, simple terms, consider who is specifically going to use it, why and in what way? Let the client emerge from the design - don’t force it. Make big time mistakes”. I just think that is the most awesome thing ever because it makes everyone feel included and like we can do it, and we can create stupid, ugly, crazy forms, and get told “you could have made it crazier”. It’s really nice walking into class on a Wednesday evening with a design (even when it’s ugly) and not feeling judged. This class has given me confidence in my work and confidence in public speaking. Last year when I presented my designs I would often need to write a script and read off it (which, I always knew was bad presenting skills, but it was the only way I could present). Nowadays, I’m so proud of myself because Julius (our tutor), tells us to be confident, because it’s our design, and we know it (so why do we need to read off the paper?). I believe that there is so much more to learn in grasshopper in order to make my designs and iterations more out there. I really want to continue exploring grasshopper and the other plugins because this will bring me closer to becoming a great architect.

REFERENCE LIST Yakubu, Hassan, "Seroussi Pavilion |Biothing", Arch2o.Com, 2012 <https://www.arch2o.com/seroussi-pavilion-biothing/> [Accessed 4 April 2018] Gromm, Michael, “Contemporary Michael Gromm”, Flg.Com.Au <https://www.flg.com.au/artist/michael-gromm/contemporary> [Accessed 3 April 2018] Rodriguez, Alejandro, and Andrés Martinez, “DIGFABMTY 1.0 | Arquidromo | Archinect”, Archinect <https:// archinect.com/arquidromo/project/digfabmty-1-0> [Accessed 17 April 2018] Martinez, Andrés, and Alejandro Rodriguez, “DIGFABMTY 1.0 | Arquidromo - Arch2o.Com”, Arch2o.Com <https://www.arch2o.com/digfabmty-1-0-arquidromo/> [Accessed 17 April 2018] ”Fighting The Cane Toad Menace”, Exploring Research Biology, 2013 <https://exploringresearchbio.wordpress. com/2013/05/19/fighting-the-cane-toad-menace/> [Accessed 17 April 2018]

IMAGE REFERENCE LIST RINALDI, MARCO, BOWOOSS BIONIC PAVILION, 2012 <http://aasarchitecture.com/2012/09/bowooss-bionic-pavilion.html> [Accessed 14 April 2018] Maleczek, Rupert, and Christian Scheiber, Wooden Folded Parallel Strips, 2013 <https://www.karamba3d.com/ projects/wooden-folded-parallel-strips/> [Accessed 14 April 2018] Martinez, Andrés, and Alejandro Rodriguez, DIGFABMTY 1.0 <https://www.arch2o.com/digfabmty-1-0-arquidromo/> [Accessed 17 April 2018] The Distribution Of The Cane Toad In Australia, 2013 <https://exploringresearchbio.wordpress. com/2013/05/19/fighting-the-cane-toad-menace/> [Accessed 17 April 2018]