PART B: Critical Design Shubhangi Pandey 834589
Contents B1 Research Field B1.1 Broken Egg B2 Case Study 1 B3 Case Study 2 B4 Technique Development B5 Techinique: Prototypes B6 Technique: Proposal B7 Learning Objectives and Outcomes
B1.0 Research Field
SYSTEM OF NOTES IN RAGA “A raga is defined as a melodic structure with fixed notes and a set of rules is maintained while playing the notes so that a certain emotion is evoked by the performance. By a set of rules we mean that note sequences are rendered in aroh (ascent) and in awaroh (descent) while singing the raga, the specific note combinations are typical in a raga and by the way a particular note or a particular note combination is rendered it is quite possible to determine which raga is rendered.� In Indian classical music, ragas constitute specific combinations of tonic intervals potentially capable of evoking distinct emotions. Our system is the study of the action and reaction of two ragas of the Sahasrara chakra, that belong to opposing categories in terms of time of day. RAGAS AND CHAKRA Ragas are designed to help activate specific chakras, which allows the Kundalini energy to rise easily and energize and nourish the chakra. The raga also influences the chakra to maintain its optimum spin and balance, ensuring a balanced energy supply to different organs that are connected to the specific chakra.
Ragas Darbari (Darbari Kaanada in Carnatic) and Bhairavi (Sindhu Bhairavi in Carnatic) are helpful in prolonging the state of meditation and thoughtless awareness. The notes of these ragas help relax and calm the emotionally-related limbic area. The Kundalini energy then soothes and nourishes the Sahasrara chakra and the brain. The result is that one feels, joyous, energetic, peaceful and relieved of tension and depression. The person also enjoys the sensation of a cool breeze on the finger tips and achieves the state of Self-Realization or enlightenment. RAGA #1: BHAIRAVI A pleasant sobering atmosphere full of love and piety is created when anything in raga Bhairavi is performed, and one feels so close to the Supreme. The raga is extremely versatile in the genres of music. Since it is an ocean of immense possibilities the melodic combinations can include all the twelve notes with skill. RAGA #2: DARBARI The ideal singing time for darbari, is at night, typically, closer to midnight. That time is very calm, quiet. So is the composition of Darbari. If the raga is presented by a great singer, who understands Darbari, it is bound to create the effect the raga should ideally be creating. (Rasanishpatti). It creates a soothing, lasting effect of calmness, seriousness filled with dedication and devotion. Naturally, such environment reduces your stress.
DIAGRAM ANALYSIS: Frequency waves
BHAIRAVI VS DARBARI
ANALYSIS
500
Frequency
400 RAGA BHAIRAVI ↑
300
RAGA BHAIRAVI ↓
200
RAGA DARBARI ↑ RAGA DARBARI ↓
100
1
2
3
4
5
6
7
8
9
10
Seconds RAGA BHAIRAVI VS. RAGA DARBARI - 30 SECONDS
600
10 SEC
0
In the ten seconds we can see a similar incline in the ascent (aroh) of the ragas however the difference in the character of the two raga is highlighted in the descent (avroh). Bhairavi maintains a steady, more linear rhythm down, however Darbari shows that certain notes are so significant in the raga that the flow of coming down is preferred to be broken.
0 SEC
RAGA BHAIRAVI VS. RAGA DARBARI - 10 SECONDS 600
500 Frequency
NOTATION TABLE
400 RAGA BHAIRAVI ↑
300
Western system: C D E F G A B Indian classical system: Sa Re Ga Ma Pa Dha Ni Note Name Full Name Notation ID
Frequencies (if Sa is C) Western Equivalent
Mood
Sa
Shadja
S
240
Unison
Calm
Re (komal)
Rishabha (komal)
r
256
Minor second
Tensed
Re (shudh)
Rishabha (shudh)
R
270
Major second
Happy + Romantic
Ga (komal)
Gandhaara (komal)
g
288
Minor third
Longing
Ga (shudh)
Gandhaara (shudh)
G
300
Major third
Romantic
500
Ma (shudh)
Madhyama (shudh)
m
320
Perfect fourth
Longing
400
Ma (teevra)
Madhyama (teevra)
M
337
Augmented fourth
Tensed
Pa
Panchama (shudh)
P
360
Perfect fifth
Happy
Dha (komal)
Dhaivata (komal)
d
384
Minor sixth
Longing
Dha (shudh)
Dhaivata (shudh)
D
405
Major sixth
Sad
Ni (komal)
Nishaada (komal)
n
432
Minor seventh
Calm
Ni (shudh)
Nishaada
N
450
Major seventh
Happy
Sa
Shadja
S’
480
Octave
Calm
RAGA BHAIRAVI ↓
200
RAGA DARBARI ↑
100
RAGA DARBARI ↓
1
5
9
13
17
21
25
30 SEC
0
A loop is created of the aroh avroh and the waves are dancing in all different directions, even though both ragas belong to the same chakra.
29
Seconds RAGA BHAIRAVI VS RAGA DARBARI - 1 MIN
Frequency
600
RAGA BHAIRAVI ↑
300
RAGA BHAIRAVI ↓ RAGA DARBARI ↑
200
RAGA DARBARI ↓
After one minute we can clearly see Raga Darbari, although sound calming, its formulation is scattered. The ragas are together forming a chain.
100
60 SEC
0
1 3 5 7 9 11131517192123252729313335373941434547495153555759
Seconds RAGA BHAIRAVI VS. RAGA DARBARI - 5 MINUTES
600
Frequency
500 400 RAGA BHAIRAVI ↑
300
RAGA BHAIRAVI ↓
200
RAGA DARBARI ↑
100
RAGA DARBARI ↓
1
51
101
151
201
300 SEC
0
The density of this infinite chain increasing displays the forming of a solid, rather than a chain of frequency waves. Personally I feel calmer as the visibility of the wave structure has reduced.
251
Seconds
RAGA BHAIRAVI VS. RAGA DARBARI - 10 MINUTES 600
DESIGN PROCESS
400 RAGA BHAIRAVI ↑
300
RAGA BHAIRAVI ↓
200
RAGA DARBARI ↑
100
RAGA DARBARI ↓
0
1
101
201
301
Seconds
401
501
At the tenth minute, the graph is unrecognisable with multiple, countless, bodies of waves colliding together to look like a whole piece of architecture. 600 SEC
These effects are explored in our timed loops of the aroh (ascent)and avroh of each raga, to study the play of frequencies of each note used in its specified order, in aims to land a versatile range of design and conceptuals. The mood of each raga is reflected in its actions on the graph and the ragas are compared to draw attention to the ‘balanced” nature of the crown chakra.
Frequency
500
SYSTEM MATRIX
EXPLORATION OF FREQUENCY CHARACTERISTICS ON GRASSHOPPER
0 SEC
10 SEC
The results are similar to the earlier studied Excel graphs. As the time goes on, the design becomes less chaotic and forms a solid figure. The frequencies are most interesting when time is in the first 10 seconds, as you can clearly see a dance being done why the frequency values on the panels illustrated above.
30 SEC
60 SEC
300 SEC
600 SEC
B1.1 Broken Egg
TRANSLATE Expanding Design Thinking and Creating Wonders! In conventional design tools it is “easy� to create an initial model - you just add parts, relating them to each other by such things as snaps as you go. Making changes to a model can be difficult. Even changing one dimension can require adjusting many other parts and all of this reworking is manual. The more complex the model, the more work can be entailed. From a design perspective, decisions that should be changed can take too much work to change. Tools like these can limit exploration and effectively restrict design. For someone of my blockage, someone who can get carried away with detail because they just don’t know when to stop, conventional design can be a pain to use for exploration. In many ways, it prevents my blockage from becoming a strength. In B1, we played with the limited limits of parametric design and developed a script reflecting the battle between aiming high and aiming too high which leads to self-doubt. The goal set for this script was to explore the opportunities grasshopper offers to enable us to build a design more relevant to our selfmade brief. We work towards creating a design that displays an ascending and descending order of some sort, highlighting the behaviour of the two ragas studied earlier, as per the assessment guidelines. To portray a clear and applicable bond of the system of the ragas and our blockage is a challenge, yet an advancement in our ability to create and reflect our ideas through exploring 50 or more iterations.
B1 PSEUDO CODE
This code is produced through the backbone of the system matrix. We choose to start with a box as the initial topography. Then break up its singularity by granting it floating points that open up hundreds of design prospects to emerge from within the box. Then we repeat this process however choosing different geometry and altering the quantity of size and amount, in attempts to achieve varying results. The aim was to try new shapes and outcomes while following the planned behaviour of the system stated in the matrix. Populating the shapes assists in breaking it down and then introducing a pattern onto the skin gives the object a new dimension. Then the pattern is restricted through the use of a range and domain. This step controls the uneven appearance of the egg-like shape and is responsible for breaking up the consistency and the size of the pattern. It is what truly reflects my blockage of feeling the fear of incomplete and never reaching my full potential.
SEPERATION Y AXIS - MATERIAL: GEM
+5
+50
+75
+100
EXPERIMENT
+125 SEPERATION Z AXIS - MATERIAL: PLASTER
+5
+50
+75
+100
+125 SHAPE SIZE
+5
+25
+50
+100
+200 SEED - MATERIAL: PLASTIC
+10
+15
+20
+25
+30 DOMAIN START - MATERIAL: METAL
+5
+50
+75
+100
+200
This script, although, supports my blockage particularly well, it seems to have a lack of variations to compare outcomes with. Thus, instead of learning differences with entirely geometry and scales, we investigated the different materials also and how it can impact the appearance of an object/space. For example, the results obtained from gem (first row) are interestingly different from metal (third row), in areas such as transperancy, vibrance, reflectance, shine, density and levels of the appearance of spacing between broken skin geometry.
DOMAIN END
+0.1
+0.2
+5
+5
+10
+10
+0.5
+25
+20
+0.8
+1.2
+50
+70
+30
TARGET DOMAIN
GRAPH VARIABLE
+40 SHAPE COUNT - PAINT
+5
+0.1
+10
+0.3
+50
+1
+500
+2
+1500
+3
PLANES
EXPERIMENT
ANALYSIS: SELECTION CRITERIA
CONCEPT
1
2
3
4
FUNCTION
AESTHETIC
FABRICATION
ANALYSIS: One Vs Four
1
The concept behind this follows the path of the blockage, where pieces are unlinked and their is some sense of an incomplete object that didn’t quite reach the stage of union; however is still displaying the initial spherical shape to represent the infinte loop/ cycle suggested of the Sahasraha Chakra. There is no current function and fabrication is not accessible for such an open surface model. Aesthetically, it is appealling as it stands out in the crowd of majority round, patterned iterations.
2
A much stronger concept is derived from this design due to its clear positioning of density and transperancy. The inner center is the most dense, getting lighter as it expands out, directly implying the connection to the blockage. The different scales of spheres show the range of frequencies dealt with in the raga, and takes us deep into the restrict and repeat strategy from the system matrix. Its appearance is very neat and clear, with the gradient in the pattern showing marvelously. Function is yet not determined as this design cannot, yet, occupy people. Fabrication is a failed criteria for this design due to its incompatability with 3D printing conditions.
3
4
The design is unique for its material and paint. Aestheically and conceptually it is less than Choice 2, because of its bigger spheres merged into a single solid. It’s scale varies less, and looks all too similar. It looks much like a transparent blob, rather than a representation of note frequencies, or the chakra, or the blockage. Fabrication, again is not feesable, as it is not a joined model, and function is also undetermined at this stage.
Personally, from just pure form and material, this one is most appealing, however, it has one of the lowesr selection criterias overall. It’s chaotic, massy, imperfect look can be considered the descending nature of Darbari raga, however the design is not descriptive enough visually to deliver that thought or justification.
B2.0 Case Study 1
+1
+1
+250
+5
+5
+500
+50
+50
+750
+100
+200
+100
+200
+1000
+2000
+10
+30
+5
+10
+1
+2
+60
+15
+3
+90
+20
+4
+120
+25
+5
Understanding the Transition.
In the reading ‘The Building of Algorithmic Thought’, by Brady Peters, the author mentions that the day the digital becomes no different from normal design, is when it can truly take shape and “computation can become a true method of design for architecture.”
This task enables one to familiarize themselves even more with algorithmic design through analysing the play of an existing script. In my case, I have now taken one little step towards normalising digital in architecture. The exercise allowed us to recognise the flexibility of a feature and how easily its operation can be represented through computation. This lead us to trying out several different scripts and my knowledge of and interest in parametric design has only expanded. The script chosen for case study 1 is of floating, and rotating louvers.
B3 Case Study 2.0
Al Bahar Towers Facade
This building is the world’s largest to have a sun responsive facade. Working with Arup Engineers, Aedas Architects created an incredible ‘mashrabiya’ façade that pays homage to traditional Arabian architecture and design. The geometric patterns that comprise this gigantic screen include over 1,000 moving elements that contract and expand during the day depending on the sun’s position. We chose this as a precedent for its flexible design and connection to site. They have used traditional patterns to symbolise the place and the people of the place, as well as designing a smart geometry that promotes future computation and energy efficiency.
B3 PSEUDO CODE
DESIGN PROGRESS OF FACADE
HEXAGONAL GRID
TRIANGLE FORMATION
RESPONSIVE GEOMETRIES
RESPONSIVE FACADE
RESPONSIVE NATURE OF FACADE
Direction of attractor point is UP
Direction of attractor point is DOWN
B4 Technique Development “Algorithmic thinking means taking on an interpretive role to understand the results of the generating code, knowing how to modify the code to explore new options, and speculating on further design potentials.� In this section, we have adopted the behaviour of algothimic thinking, and incorporated it in the making of our design. Starting off with taking on the role of understanding the surroundings, culture, nature, understanding what we want to do with it, and how this proposal will be beneficial to this surrounding, culture and nature. In B4, development of potential designs on site Merri Creek are explored and one is presented in aims to better the environment and and the wellbeing of the people of Melbourne. Throughout the process, we have created design specifications that keep us focused towards reaching our goal and lead the path towards the atmospheric value desired in the proposal. B4 Technique Development is a further development of the tasks performed in B1, B2 and B3, thus these past experiences will now be used as inspiration and assisting tools to achieve best potential results. Main technique applied is the system of notes in Raga Bhairavi and Darbari, bringing them together to create a balance structurally, mentally, appearance-wise and metaphorically.
THE FUNCTION DISCUSSION PRECEDENTS:
Temple is a place of prayer and sacrifise. It is also a place of self- reflection, meditation and tradition music. These three activities are aspects that will be promoted through the design along with ecological development. The precedents portray many similar qualities, which is significant piece of information to gather for the formation of a conceptual. Their physical form compiles of a large mass filled structure with levels stepping down to get larger in surface size. They all share a sense of heirachy as well as symmetry. Another common factor is they all are positioned in open land where they stand out to the public eye. Why is this? In my opinion, I’d say people feel a sense of security when a large structure regarded with so many prayers is rising above them. It delivers positive vibrations, which is what my design is looking for.
SYSTEM MATRIX (REDEFINED)
PSEUDO CODE
TOPOGRAPHY: 2D EXPLORATION
Graph 1
Graph 2
Graph 3
Graph 4
10 SEC
30 SEC
60 SEC
300 SEC
“If raga is a space, it is not an empty space, or a set of equal points. Ragas serve as flexible but stable topographies that singers explore through both melodic and gestural action. Singers explore this space of a raga in the physicial space around their body. Singers explor ethis space while leaborating on melodies, moving through particular regions via particular melodic paths, with particular textures and topographies.� Our topography is the crown chakra. It is the detailed mapping of a specific area. In these iterations, we explore the nature of frequency graphs playing on the topography of the Sahasraha chakra. Graph 1 representing Bhairavi at 10 seconds, graph 2 at 30 seconds, graph 3 at 60 seconds and graph 4 at 300 seconds (five minutes). 600 seconds is left out of this experiment, due to its lack of significant alterations iin 2D geometery in comparison to the other graphs.
3D EXPLORATION 1.1
10 SEC
30 SEC
60 SEC
300 SEC
600 SEC
Graph 1
Graph 2
Graph 3
Graph 4
Graph 5
3D EXPLORATION 1.2
10 SEC
30 SEC
60 SEC
300 SEC
600 SEC
Graph 1
Graph 2
Graph 3
Graph 4
Graph 5
ANALYSIS: Two Vs Two
CONCEPT
FUNCTION
AESTHETIC
B4 Most Successful
FABRICATION
B5 Technique Prototypes 1. Night: Darbari
2. Morning: Bhairavi
B5 Cover page
Combining the two Ragas and portraying the Sahasraha Chakra through their behaviour has been the entire concept of this practice. The slightly more chaotic nature of Darbari is mixed with calm and soothing Bhairavi to create a balance in the system. Night and Day are merged to create something even more beautiful. Something that involves the beauty of the star constellations and sunlight wavelengths with a charm and purpose. The upwards shape is taked on through the characteristics of a Raga, as the notes are always rising first and falling after (aroh and avroh), no matter what the raga. The
rising step formation is a take on from the typical look of traditional temples. The design being proposed is a multi-storey park in the shape of an inverted temple, which metaphorically means to find the divine within yourself instead of looking for it outside in statues and temples and writing. Become of devotee of THAT divine. This is what will get me to overcome my blockage.
B6 Proposal: Temple Park Design Development
SITE ANALYSIS
The selected site is located at the corner of the Yarra Bend Park, beside the water in the Merri Creek Trail. This site choice was ideal due to the temple influence temple. It offers an open space available to everyone, clear in sight, and has accessible view to the urban as well as Melbourne’s green gardens. The function of the architectural space is a multi-story, available to all, park, with all the views.
Perspective 1
Perspective 2
Perspective 3
Perspective 4
The Proposal In the reading, Design Futuring, the idea of redirection is strongly discussed; the idea of using the great power of design and “reorienting it” sustainably, for the better of our future. This proposal is a part of a system that points to new forms of architectural “knowledge and action that have sustainabilty.” The purpose of of this design was to combine the spiritual with the practical; take an abstract natural system and apply it to a functional build. The design explores abstract concepts such as the frequencies of the two chakra ragas, in attempts to deliver new ideas of viewing architecture and design. THE PHYSICAL STRUCTURE:
ELEVATION 1.1
ELEVATION 1.2
The inner structure is designed by a cosine curve, representing raga Darbari. The notes are chaotic with their frequencies, reflecting on the physical chaos on the uneven pyramid structure. The surface area is dependent on the height of the structure, symbolising the higher number of frequency as higher notes are sung. The second raga (Bhairavi), much softer and smooth, wraps around the inner, in attempts to control it. To balance the system out and work together towards the chakra. However, this concept is not final yet. What if it does not control it? What if it merges with the chaos, rebelling, disobediantly, acting against its natural course and adapting smoothly to the environment it is presented? HOW IS IT USED?
ELEVATION 1.3
PLAN
The idea is to recognise that the site is located in proximity to the urban environments, where demand for lifestyle around greenery is on the rise and required to improve wellbeing. This proposal is a design for a multistorey park, which preserves rare plants and grows vegetables to sell locally to promote local produce. It offers spaces of retreat, an opportunity to experience a park above ground with undercover facilities and looks directy out to the Melbourne CBD, Melbourne gardens, Merri Creek and the Yarra River. Developing a space that is sustainable and promotes sustainable produce is an attempt on creating balance in the ecosystem around urban areas like Melbourne and growing a healthy community.
BRINGING IT BACK TO MY CHAKRA AND MY BLOCKAGE Sustainable design is a step towards building a society with a higher level of consciousness to work in our present to make their future better. This very rise in consciousness is a sign of reacting to the Sahasraha chakra. The design provides so people enjoy their time at the park and feel a sense of relief and happiness when they leave the building, making them more capable of activating the chakra, without them even knwing. Greenery is incorporated in the design to this degree, since people react positively around it. The chakra is the starting and finishing point of this proposal, as it is purely, innately infinite. My blockage since the beginning has been about continuously doubting my potential, because my initial reaction is to intantly aim top level, which only mostly ends with disappointment. This chakra along with the raga system and this design, all suggest a balanced rise- one note at a time, each step at a time.
Our 3D Printed Model
3D PRINTNG PROCESS Initial Process:
5. SUBMIT
1. Book training classes on 26th March.
2. Watch FabLab Powder Printer Introduction and Function Tutorials
3. Build concept for final proposal on Grasshopper, Bake and keep as Rhino file
4. Arrange model as per FabLab 3D printing terms and conditions. (Scale to fit inside a 255x205x205 template, with minimum 2mm thickness, and closed surfaces)
Result:
3. SUBMIT
1. Two Days later we receive an error in file.
2. Closed off singular surfaces, and separated in two. Submit to different printer due to long queue at Fablab.
4. Tried another 3D print company (United Make). Unsuccessful, again.
Problem Solving:
6. Semi-worked
1. Booked 3D Printing Consultation
2. Found that there is problem with the basic structure of script. Frequency graphs used are too complex for practical 3D printing
3. Managed to close the polysurfaces, however required eliminating “Mirror” and “Loft” to create a solid.
4. Getting rid of Loft has changed the entire look of the model. But this is sufficient for representation purposes.
5. SUBMIT
B7 Learning Outcome
This assignment has been a huge learning process for me, possibly the most new and knowledgable information I’ve gained that has left me baffled several times in the design process. Its pushed me to develop new skills that seemed to be the most alien topic to me few weeks ago. I’ve learnt there are constantly inprovements required in a design, which is why your initial sketch is never your final. Its a long and tedious and exciting journey before you decide on an outcome that satisfies all criteria’s set by yourself. I’ve learnt to work with a partner, taking into account each of our talents and shortcomings. I do believe this project is incomplete, because there are so many doors left open and concepts to discuss and experiment with. However, I think I have overcome a little bit of my restriction during this process. I KNOW this is incomplete, yet I have no fear of it, because this is exactly the stage I should be at right now. The learning stage: where you start, fail, miserably fail, break, get back up and learn more. I have no fear of not achieving as high as I expected, because my personal gain from this task outnumbers all that. Thanks to Studio Air and my group partner Lexi for being a part of this with me.xx