Air
ABPL 30048 Studio One Stephen Khalek 538235 tutor: David Lister
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expression of interest
a. Case for innovation
b. Design Approach
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Contents
a.1. Architecture as a discourse a.2. Computational architecture a.3. Parametric modelling a.4. algorithmic explorations a.5. conclusion a.6. learning outcomes
B.1. Design focus b.2. case study 1.0 b.3. case study 2.0 b.4. technique: Development b.5. technique: prototypes b.6. technique: proposal b.7. algorithmic sketches b.8. learning objectives and outcomes
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a. Case for innovation
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a.1. Architecture as a discourse
Arguably one of the most important phrases in current architectural practise is the ‘Avant-Garde’. With the allusion to concepts such as critical architecture, the formal typology of tectonic form and most importantly architectural discourse, the term: Avant-Garde, quintessentially captures the constructive feedback loops within architectural communication. At this point, it is crucial to clarify that architectural communication is not limited to constructed projects. Critical communication is also found within unconstructed concepts such as Sant’Elia’s 1914 Futurist manifesto of architecture or El Lissitzky’s 1925 Cloud Hangers1. The value of these will later be discussed in relation to Hill’s coined term of immaterial architecture. Furthermore, architectural communication is also the verbal and written critiques of constructed and immaterial projects in relation to society, culture and history2. Coincidently, this will also form the definition throughout this semester’s exploration for the term architectural discourse.
become well established, if not mainstream architectural practise and therefore demonstrates the value of the Avant-Garde in creating architectural discourse that will benefit the future.
Without critical architecture, discourse is a near impossibility. Schumacher discusses the autonomous, self-constructive network of communication within architecture as an autopoietic system5. He theorises that architecture is a self-perpetuating, heuristic system that is based off an evolutionarily cyclical growth principle. However, if this were to be true, and discourse was non-inclusive of multi-disciplinary and multi-institutional factors, then surely it would be limited by the parameters of its current paradigm. For example, if the field of architecture was constrained by vernacular materiality and techniques we would only be constructing buildings out of bricks, timber and steel, however, with composite development, new forms of concrete, plastics and fabrics have developed and entered the industry through developments in cross-institutional fields. 3 Williams describes the actions of the Following the theory of the closed autopoietic Avant-Garde as a force for moral critique of system, these inputs would have been neglected, however, architectural discourse design. It encapsulates more than the artistic expression of a construct’s typology whilst has learnt to adapt from more wide spanning complementarily critiquing the symbolic realm institutions. Lynn’s radical proposition of and the spatial experience. ‘blobitecture’6 is inclusive of multi-disciplinary thought. Lynn’s suggests a revolution to the The beginnings of this non-superficial ideology architectural movement whereby, form should was discussed by Kenneth Frampton4 who organically respond to its environment and not sought beauty in structure and believed that it to preconceived building mentalities. Lynn’s should not be hidden by an artificial aesthetic work will be revisited in the investigation of skin, which had previously been done. He computational and parametric architecture. explored this throughout the prioritisation of ‘tectonics’ in architecture. This is a case in which a relatively revolutionary paradigm has 5
A.1.1 Precedence Plug-In City (Right) Walking City (Below)
http://lagraphicdesign.wordpress.com/2009/11/16/archigram/
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Peter Cook, Archigram 1964
http://lagraphicdesign.wordpress.com/2009/11/16/archigram/
In commerce, a multi-disciplinary change is known as a change to institutional logic7. This occurs when an individual not only draws on their own knowledge but also that of their relevant institution as well as their industry to attempt to be industry leaders. Although this may seem far afield from architecture, Williams8 notes that architecture is not just for the mind of an artist but it is often restrained by clients’ desires and budget, making economic parameters highly relevant to the constructability of architectural projects. Therefore it should be noted that architectural discourse should respect the symbolic realm and spatial experience to produce something more than art. For example, 8th August 2013, HASSELL, Herzog & De Meuron’s proposal won the redesign competition for Flinders Street Station9 and was respected for its architectural integrity. However, the Victorian government has not yet pledged to construct the “$1 to $1.5bn”10 project, therefore questioning the economically viability of the proposal. Although this should never constrain the creativity of any proposal, further justification to the public and cliental (in this case the Victorian State Government) is necessary to justify the cognitive practicality
of the project and to convey the symbiotic practicality11. Unfortunately financial constraints shall always define parameters to design within, therefore, idealistically, the strongest architectural discourse should occur within the bounds of the finances.
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A.1.2 Precedence
Nagakin Capsule Tower
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Kisho Kurokawa Tokyo, Jspan, 1972
Archigram’s radical idea proposals are a good summary of Hill’s immaterial architecture12. Although the projects were unconstructed, it was the insemination of ideologies into architectural discourse that allowed future, more refined versions, such as the Japanese metabolist movement to become reality. The process of societal shocking worked as a wake up call. The issues addressed were too invaluable to ignore. However, architects before Archigram addressed similar issues of overpopulation of settlements. Le Corbusier’s Unité d’Habitation and his urban plan for Cité Radieuse offered solutions to the housing crisis in France between 1935-1952. It was Archigram’s radical approach, which allowed them to revolutionise the way in which the public undertook critical analysis of the projects. They had a long lasting affect to the discourse of housing redevelopment in which Le Corbusier could not achieve.
Furthermore, it was Archigram’s movement that laid the building blocks for the Metabolist’s movement with Kisho Kurokawa’s Nagakin Capsule Tower. Although the artistic deliverance may not have been aesthetically ideal, the symbolic importance of a building whose components are interchangeable and expendable once either obsolete or depleted allows for an adaptable environment. Cook13 discusses the value of “mass-produced expendable component dwellings” for the foresight of automated and mass-customised housing arrangements. This is an example of a critically analysed architectural design problem that only an architect who has balanced creativity and cognition could generate to contribute to the architectural discourse14.
http://tcabler.files.wordpress.com/2011/11/nakagin_capsule_tower200810.jpg
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a.2. Computational architecture
It is critical to the design process that computational design is integrated within due to the balance of design and pragmatism that will allow an effective design process to unfold to encourage architectural discourse. With the development of computational competencies, avant-garde designers have been able to progress architectural discourse. Williams15 discusses that effective discursive action should be for consumption rather than production. He refers to consumption as the understanding of symbols and signs as well as the consumption of the spatial experience. It is possible to realise that architecture’s modern demands requires symbiosis between these factors whilst maintaining an “aesthetic brilliance”16. Although Kalay mentions, “design is the epitome of intelligent behaviour”17, to fully engage with three such comprehensive topics, computational design has emerged to provide the critical foresight and directionality that is necessary to create a project. It can therefore be argued that the process of computational creation is an extension of our desire to creatively solve problems, as it allows constant monitoring and a reduction of strain on the human intellect to consider the analytical, allowing greater focus to be directed towards creative problem solving.
Considering computation is a relatively nascent introduction to design, in comparison to the expansive history of the architectural field, it is still in early development stages. To bridge the gap between analogue design processes and computational design, computerisation was a stepping-stone but 10
is now often creates blurred definitions. Peters’18 definition for computerisation in architecture stipulates that computers are only integrated into the design process after form and geometric creation has occurred. For example, Frank Gehry’s design for the Guggenheim museum, Bilbao, was generated through a series of rough sketches and paper models that were later scanned in 2D and 3D. This process is useful for fine tuning results and quickly generating images, schematics and working drawings. Alternatively, computational design is purely created on the computer. The computer is utilised to extend the abilities of the designer to deal with highly complex situations19. However, the process of computational design necessitates the generation of code and datasets, requiring the coined term: ‘algorithmic thinking’20. Kalay notes that computation is only viable if a theme and project directionality have been considered and evaluated in depth prior to any initiation21. The complexity of the computational process is eventually beneficial to the designer as it allows for minute detail, unfathomable information storage in he form of data points and sets22 and programming theoretical situations, such as lighting, weather or environmental affects onto the design and testing it before construction23. In total, I believe that this will allow for the construction of more radical and interesting designs that shall aim to test the threshold of the construction and social expectation as theoretical possibilities can be tested digitally and form optimisation can occur to create uncontainable architectural discourse.
A.2.1 Precedence Guggenheim Museum
Frank Gehry
Bilbao, Spain, 1997
Above: http://www.pixhd.net/travel%20n%20living/View/1/preview15.html Below: http://illustradolife.com/wp-content/uploads/2010/07/GUGGENHEIM-MUSEUM-BILBAO.jpg
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A.2.2 Precedence Grid-Shell Pavilion
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City Form Lab & ARUP Singapore, 2013
http://www.evolo.us/architecture/city-form-lab-designed-grid-shell-pavilion-for-singapore-university/
Computation can be seen in the Singapore pavilion, whereby each piece has been individually manufactured to precise details to construct an eventual optimised geometric mesh surface. This pavilion has used computational processing in multiple stages of its design. Firstly, during the design phase the design team configured the algorithmic processing to account for minimal volume to enclose, and therefore to derive the most efficient surface area, reducing material wastage and making the project more sustainable. Furthermore, the complex form of a double curved surface could only be bent optimally via computation, something that would have nearly been impossible without. Secondly, during the construction phase, since there were over three thousand unique plywood pieces and six hundred marginally different metal sheets, a CNC machine could simply cut and form the structure’s components based off only a single drawing. This whole process
was accelerated exceptionally by computation and demonstrates how the process is a intelligent design system24. Due to the simplicity of construction, this whole project is far more sustainable as it is only designed to be a temporary shelter. This pavilion truly encapsulates Kalay’s thoughts of entering this design process with a formulated goal, which matched the spatiotemporal context of the design problem25. It is critical that light and temporary structures such as this are constructed because it not only tests the bounds of the current architectural constraints but it also demonstrates to the public just how fast discourse is progressing.
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a.3. Parametric modelling
Evolutionary Change
Analogue Architecture
Revolutionary Change
Computerised Architecture
Computational Architecture
Rate of Change in Architecture
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Parametric Architecture
When the leading parametric designers in the world struggle to clearly and comprehensively define a term such as ‘parametric’ or, ‘parametricism’, it then becomes evident that there probably is not an easy way to describe it. Based of the progression of architectural communication from analogue architecture, to computerised architecture, progressing into computational architecture and today arriving at parametric design, it is possible to observe two things. Firstly, architecture is rapidly progressing at an exponential rate. The rate in which we have progressed the last three stages is overwhelming to the analogue
architect. Secondly, it’s the growth of the architectural field. With the rate of change in architecture increasing, the fields in which architecture has begun to explore is highly expansive, creating buildings that have multisensory responses, or buildings that have now apparent structural form, returning to the ideas of Greg Lynn’s ‘Blobitecture’26. From the rate of growth and the rate of expansion, we can conclude one thing; architectural discourse has never thrived so prominently.
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A.3.1 Precedence Galaxy Soho
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Zaha Hadid Architects (ZHA) Beijing, 2012
As the one of Zaha Hadid’s leading architects, Patrik Schumacher undertakes and disseminates his perception of parametric design in a very literal sense of his own parameters; let’s call it ‘Patrametric’ design. Patrametric design assumes that parametricism is its own style rather than a process. Although he may use parameters to constrain his design whilst using algorithmic thought, he breaks the fundamental suggestions for computational architecture put forth by William’s, that critical architecture should be a art, a sign and an urban and social experience. However, when all of the proposals’ form coming from Zaha Hadid’s office are nearly identical, then it becomes increasingly challenging to identify how his architecture is parametric, ergo, the term ‘Patrametric’.
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A.3.2 Precedence
ICD/ITKE Research Pavilion The research pavilion undertakes a detailed parametric model that highlights that aesthetic form is not the key driver towards architectural discourse. This umbrella like formation was a finely tuned and optomised surface in which the tension of the individidually spanning members were under the least strain and could span the greatest distance. Through the process of parametric design and rapid prototyping, it was possible to quickly generate realistic models to test the load bearing capacity of each member. The research pavilion achieves its strength through the varied manipulation of each section. The mesh that controls the 80 different types of sectioned strip patterns, must account for the flexibility of the wood and the way in which they will be laid out, therefore demonstrating a high level of sophistication, thus showing the strengths of parametric modelling.
Institute of Building Structures and Structural Design (ITKE) and the Institute for Computational Design (ICD) at the University of Stuttgart (2010)
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a.4. Algorithmic Exploration
The ICD/ITKE Research pavilion demonstrates the strengths of sectioning in Parametric architecture. It allows for the perfect balance of lighting, as design programs can very simply factors this in for any time of the day at any stage of the year, at completely different longitudinal and latitudinal coordinates. This shows how comprehensive the design phase is that it creates a perfectly day lit enclosure. This inspired me to attempt to create something similar in form and an irregular arching canopy. Despite the many methods one might undertake to achieve such a form, I attempted the use of a Delaunay mesh function. However, since this is a triangulation, it does create angled edges rather than curved edges.
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a.4. Algorithmic Exploration
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a.5. conclusion
There are many advantages of undertaking a parametric and a computational design approach as it is a holistic approach to designing. Firstly, it allows inquiry into deeper fields. Expanding upon this point, it allows architects to focus on the efficiency of the smallest details without losing site of the whole project. Secondly, it creates a unified design process, and this is the element I would like to expand upon. By having a holistic perspective of the design it is possible to integrate all elements. Architectural design should no longer be a production line of idea creation passed to engineers who approve it to be constructed; all three of these steps should be combined. Although it may have once been a farce to conceive that this could happen, it is the most efficient method of design. City Form
& ARUP have clearly demonstrated the streamlining efficiency of combining all factors together in their Grid-shell pavilion. Due to their intelligent tessellation system they can integrate engineering strength with architectural aesthetic and intelligence, then use a CNC machine to manufacture the form. In this design they clearly highlight the structural and aesthetic advantages of tessellated form. Therefore, due to the fundamental nature of the tessellated form, it will be an appropriate system to employ throughout the Expression of Interest: II. Tessellation is a highly relevant field since it is historically well developed and design has centralised around its forms. Therefore, I intend to investigate my own form of discourse to integrate the historic system of tessellation into parametric modelling.
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Bibliography 1. Curtis, William, J,R. “Modern Architecture Since 1900.” New York: Phaidon Press Limited. (2012) 2. Hill, Jonathan (2006). ‘Drawing Forth Immaterial Architecture’, Architectural Research Quarterly, 10, 1, pp. 51-55 3. Richard Williams, ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), pp. 102 - 116. 4. Kenneth Frampton, cited Williams 5. Patrik Schumacher, ‘Introduction : Architecture as Autopoietic System’, in The Autopoiesis of Architecture (Chichester: J. Wiley, 2011), pp. 1 - 28. 6. Lynn, Greg (1998) “Why Tectonics is Square and Topology is Groovy”, in Fold, Bodies and Blobs: Collected Essays ed. by Greg Lynn (Bruxelles: La Lettre volée), pp. 169182. 7. Thornton & Ocasio, 2008 8. Williams, 2005 9. Carey, Adam. 8th August, 2013. Flinders Street redesign competition won by HASSELL + Herzog & de Meuron. The Age. http://www.theage.com.au/victoria/flindersstreet-redesign-competition-won-by-hassell--herzog--de-meuron-20130808-2rhou.html. 10. Carey, 2013 11. Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), pp. 5 - 25; 12. Hill, 2006 13. Cook, P. 1963. “Editorial” from Archigram 3. 14. Kalay, 2004 15. Williams, 2005 16. Kalay, 2004 17. Kalay, 2004 18. Brady Peters (2013) Computation Works: The Building of Algorithmic Thought in Architectural Design, pp8-15. 19. Brady, Peter (2013) Realising the Architectural Intent: Computation at Herzog & De Meuron. Architectural Design, 83, 2, pp. 56 - 61 20. Brady, Peter (2013) Computation Works: The building of algorithmic thought. Architectural Design, 83, 2, pp. 8 – 15 21. Kalay, 2004 22. Kalay, 2004 23. Peters, 2013 24. Kalay, 2004 25. Kalay, 2004 26. Lynn, 1998
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B. EOI II: Design Approach Tessellation
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B.1. Design Focus
Tessellation has been a critical form to use within architecture for the creation of uniform strength. Some of the strongest structures, natural or man made resemble tessellated forms. Naturally, the honeycomb structure is a quintessential demonstration of uniform internal structure. The hexagonal pattern, that has replicating equal length members separated and butting to other members with the same 120째 interior angles means that there is no single point that is weaker than another. Furthermore, by replicating the structure with small but many iterations rather than big but few iterations, means that the each member can withstand larger tensile and compressive forces before deformation occurs. Thus justifying the structural advantage of naturally tessellated shapes. However, the adaption of tessellating shapes to create strength is not a new concept. The formulation of truss structures demonstrates the load dispersing capabilities of tessellation. Truss structures are one of the strongest man made structures as it channels loads in compression and tension throughout its members to create an extremely efficient strength to weight ratio.
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The self-contained strength possessed within tessellated structures allows the construction of innovative forms. Despite frequent association between tessellation and self-contained strength, we looked further into the properties of tessellation to direct our investigation. In our hope to utilise a tessellated form to create rigid origami, we further plan to leverage the strength of member construction rather than plane or wall construction to integrate the ornamentation of the project. Curtis1 states that the modernist movement attempted to create ornamentation through the exaggeration of industrial metaphors such as chimneys, silos and turbines as seen in Sant’ Elia’s Ciudad nueve as stipulated by his futurist manifesto de architectura in 19122. This was the first step to prioritising the materials and technologies in architectural facades. However, today’s parametric design allows us to create revolutionary and innovative forms that capitalise upon the strength of new materials and technologies. One such technology is the use of lightweight tessellated structures.
This therefore removes the necessity to have a superficial façade with decorative ornamentation and instead gives ornamentation and aesthetic appeal to the structural forms as supposed by Moussavi & Kubo3. For this proposed reason, we believe that the us of parametrically designed, irregular tessellated shapes will create an innovative form and therefore an appealing ornamentation. However, what we hope to achieve is not a regularly tessellating shape with a uniform aesthetic, but instead a parametrically designed form that is malleable to create interactive architecture. The way we hope to achieve this eventual outcome is through the creation of rigid origami. With inspiration from designers such as Tomohiro Tachi, we hope to emulate their form of tessellation and create our own interactive rigid origami for the highway gateway from Wyndham to Melbourne.
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B.1. Precedence
Bionic Research Pavilion
ICD/ITKE
Stuttgart, 2011
http://www.dezeen.com/2011/10/31/icditke-research-pavilion-at-the-university-of-stuttgart/
The ICD/ITKE Bionic research pavilion 2011 is an exemplification of built tessellated form. This structure develops the idea of tessellation as it mergers hexagons with differing dimensions. Although each iterative cluster is largely varied, the overall form is still relatively linear. This therefore requires closer interaction to be able to appreciate the design intricacies and complexities only achievable through parametric design. Further evidence of parametric modelling becomes apparent as each plywood cluster is perfectly fabricated with finger jointing which traditionally is a sign of intricate craftsmanship, usually reserved for fine detailing of valuable woodwork. However, due to the use of
parametric design coupled with robotic fabrication, this fantastically elaborate tessellated form could be constructed with relative simplicity. This demonstration of tessellations exemplifies the confluence of structure and aesthetic as the finger jointing and the irregular tessellating hexagons show beauty in its fabrication’s complexity. This sophistication is inspiring for creating an eye-catching image and a long lasting appeal. This therefore deserves further exploration into the form finding process. An understanding of how this pavilion is designed should open our perspectives and lead our enquiry into the realm of tessellated assemblies.
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B.1. Precedence Aegis Hyposurface
The Aegis Hyposurface designed by dECOi architects is the first example that we examined that exemplified a literal dynamism in its form. The Hyposurface has a pre-programmed visual demonstration that manipulates what appears to be a singular surface, which in fact is a triangulated pattern. With small pneumatic arms, the surface will morph and curve to put on a show that attracts audiences. It is displays such as this which invites people to be intrigued by the design and therefore have a desire to interact. However, the major limitation of the Hyposurface for our design intention is that it only stimulates a visual connection with the user. For our design intent we intend to create a physically interactive
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design that will encourage a deeper sensory interaction with the gateway, thus making it far more memorable than a mere visual interaction. However, the Hyposurface’s sheened metal means that as the form changes, it is emphasised by the use of lighting. The metal not only reflects light better than other surfaces but also dims the negative spaces to enhance the overall realism of the manoeuvrable surface. The Hyposurface is an inspiring construct for our gateway proposal as it exemplifies the advantages of an interactive and dynamic structure that further manipulates light flows.
dECOi
Birmingham, 2001
http://www.raphaelcrespin.com/works/11-05-2/
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B.1. Precedence Resonant Chamber
The Resonant Chamber, designed by rvtr Architects is an inspiring look into the built form of rigid origami. The resonant chamber is a reminder to a child’s chatterbox that will open and close its varying elements. This chamber however, has proposed a much larger scale with visual and auditory benefits. As the robotic envelope opens the acoustic absorption will change to dampen or enhance the auditory pleasure. However, it is the base tessellated form that inspires this idea of the rigid origami form that enables all elements to be fixed, but instead, the jointing system that will manipulate the form. The patterning that is required
rvtr
Canada, 2011
within this rigid origami form is extremely complicated but most importantly it inspires a childlike reaction as if it were a chatterbox. Seeing an exaggerated dynamism compared to what was seen in the Aegis Hyposurface does create a greatly elevated interactive ideal to the proposal. Further, instead of just being visually responsive, this rigid origami creates a multisensory reaction, which we hope to further extend when we research and develop our concepts.
http://www.archdaily.com/227233/resonant-chamber-rvtr/
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B.1. Precedence
Freeform Rigid Origami
Freeform Origami Tesselation
Origami Tesselation Torus
XOR Variation Origami 34
Tomohiro Tachi Japan
Origami Hemisphere http://www.flickr.com/photos/tactom/
It is not only the 2D geometric and tessellating patterns that are intriguing to contribute to our conception of our own tessellated assembly, but also it is the intriguing geometric prisms that result in a 3D form. Tomohiro Tachi’s work into rigid origami using the parametric design program ‘grasshopper’ and the physics-simulating program of ‘Kangaroo’ is unparalleled. His ability to conceive and manipulate forms is, in my opinion, currently at the forefront of the discourse into interactive tessellated forms. Being able to manipulate a surface into a solid in
limitless combinations creates ingenious endless variety in his designs. Often, his proposal of surfaces has little resemblance to what the three-dimensional form will be, therefore creating a pursuing intrigue to track the dynamic changes. Tomohiro Tachi’s freeform rigid origami effectively summarises our intrigue into creating a dynamic structure that heavily integrates the attention of the user and therefore creates an interactive platform for a rewarding design experience.
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B.1. Design Focus
P A TTERNING
TE S S E L L A TION
RIGID ORIG A MI
P L A C E M A K ING
ENRI C HMENT
DYN A MI S M
INTER A C TION
From these precedence projects it is possible to associate some of the key attributes of the brief to the different design motifs. We are looking to highlight four elements in our phases of construction.
1. Firstly, that our installation shall be eye catching as a result of the endlessly dynamic form.
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2. Secondly, it shall have a sense of place making, enabled through the interactive capabilities of the design. 3. Thirdly, the design shall enhance its physical environment by creating an aesthetically intriguing design through formwork inspired by rigid origami.
“EYE CATCHING INSTALLATION... THAT INSPIRES AND ENRICHES THE MUNICIPALITY”
“ENHANCE THE PHYSICAL ENVIRONMENT THROUGH THE INTRODUCTION OF A VISUAL ARTS COMPONENT” INSTRUMENT BY ONE USER
“ACCESSIBLE TO A WIDE PUBLIC AND SHOULD EXPLORE PLACEMAKING ASPECTS AND QUALITIES” INSTRUMENT BY ONE USER
“HAVE LONGEVITY IN ITS APPEAL, ENCOURAGING ONGOING INTEREST IN THE WESTERN INTERCHANGE” Wyndham City Gateway project guide
4. Fourthly, the design shall have longevity in its appeal as a result of the modernist ideology that proposes to merge the strong tessellated form with the ornamentation of the design, removing superficial components of the design, making it functionalist.
These four attributes shall be explored throughout our case study 1.0 and 2.0 as well as throughout the technique development, prototyping and proposals. We can therefore converge our design focus to exemplify the following: “We intend to utilise tessellated forms to explore rigid origami patterns with the intention of creating a dynamic and interactive project for the Geelong highway gateway from Wyndham to Melbourne.” 37
B.2. Case Study 1.0 Voltadom
However, before constructing our own tessellated structure it was critical that we firstly manipulated pre-existing forms to attempt to understand the parametric design process of a tessellated structure. It would be counterintuitive and counterproductive to be ignorant of previous parametric tessellated forms as discourse can only occur once an understanding of the relevant design field has been achieved. The VoltaDom installation by Skylar Tibbits is a creation that is emulative of historically vaulted ceilings of cathedrals (Design Playground citing, 2013). Fitting to the metaphor of tessellating shapes, VoltaDom mergers doubly curved but individual parabolic shapes with smallscale iterations to develop an outcome that plays with the notion of uniform tessellation. As before mentioned,
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the preconceived mentality towards tessellation is that it must be uniform to minimise points of weakness. However, this ornamented element of individual vaults demonstrates a high level of parametric modelling as each element specifically and purposefully ties in together whilst the design explores the differences between the length of the conjoining members, the radius of the vault, the height of each vault and the oculus (the penetration through the material) contained in specific vaults. This therefore made for an interesting case study to analyse in our attempt to create a tessellating form that tends towards creating rigid origami.
Skylar Tibbits
Massachusetts, 2007
http://www.evolo.us/architecture/voltadom-installation-skylar-tibbits-sjet/
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B.2. Case Study 1.0 Voltadom
Demonstration of Species E
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Demonstration of Species F
Skylar Tibbits
Massachusetts, 2007
The fundamental principle behind the VoltaDom algorithmic definition is that it measures the interaction between two layers of overlapping cones. When the base layer meets the upper layer, then a horizontal section is cut, removing the top of the cone, creating an oculus. When these cones are multiplied over a seeded plane, the cones begin to interact, and it is this interaction that allows the flowing vault like structure of Skylar Tibbits’ project. The initial exploration for VoltaDom was investigating the differences between separate (species A) and conjoining (species B) conical shapes. This allowed us to investigate the clustering affect of the interactions. For example, in species B, to interact, there needed to be more than 45 seeds to the pattern, resulting in a higher density of cones before any interactions occurred. Species C, investigated the affect of increasing the seed patterns and the manipulation of cone size, and species D manipulated the oculus size. The affect of species E was achieved through manipulating the inputs. Instead of having two layers of cones, instead, it was rearranged to be a cone with the
restraints of a cylinder. This affected the penetrations, changing the sloping penetrations to clear-cutting vertical penetrations. This created a lot more form segmentation, but also generated many more interesting shapes. In species F, we experimented with the overlapping of base geometric forms to create pockets of increased density. The process simply mapped the same cones into a smaller space, resulting in a higher concentration of cones in the centre, creating a dispersing affect as tending away from the centre. From this matrix, we learnt the ways in which the interactions vary within the VoltaDom Project. Most critically, this project exemplified a built form of nonuniform tessellations. This is the first step in progressing into rigid origami, as we now know that we do not have to have conventionally built patterns in order to construct our architecture. This will allow us to explore into a new and innovative range of design solutions.
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B.3. Case Study 2.0 Bionic Research Pavilion
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ICD/ITKE
Stuttgart, 2011
The VoltaDom project by Skylar Tibbits introduced us to the practices of tessellating irregular shapes to create parabolas, however, the learning outcomes were limited by the restrictions of the pre-constructed definition. Through analysis of the Bionic research pavilion it was possible to decipher different methods to analyse the composition of a built form. Therefore, case study 2.0 will firstly look at prioritising the variability between each cluster. Secondly, we will focus on the accurate recreation of the hexagonal form. The first attempt to create the Bionic research pavilion tracked the development of a 2D surface that was
populated with a voronoi component and then when the centres’ of the voronois were found, then a metaball component was integrated as the foundation for creating the oculus. Once this was achieved, the overall pattern was mapped to a 3D lofted surface. As mentioned above this created a reasonably varying result that still tessellated and had an oculus within each tessellation. However, the limitation of this design process was that the process of mapping a 2D geometry to a 3D surface resulted in a curved 2D surface. This means that there is no volume to the shell and without depth, such a concept would be not be constructible.
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B.3. Case Study 2.0 Bionic Research Pavilion
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ICD/ITKE
Stuttgart, 2011
Therefore, we investigated the construction of the Bionic research pavilion through the process of morphing. This allowed us to create a true tessellation and repetitive pattern, compared to the random formation of a voronoi component. As we changed the base geometry as an input we began to find more success in morphing geometries to a lofted surface. Although mapping and morphing seem relatively similar, morphing allowed us to create 3D base geometries that could be recreated multiple times and would be fit to a distorted grid across the lofted surface. This meant that although there was a singular geometry as an input, due to the transformation there was still variation within the tessellated design outcome. By the third attempt, we had found a base geometry that fit well with the morphed surface and it allowed us to begin our
further investigation into the varying techniques. Although the morphing technique was a stronger way of recreating the Bionic research pavilion, it was still limited by the lack of variety. However, it does allow us to progress towards the image of creating a rigid origami pattern as the input patterns begin to become more interesting, as will be discussed in the technique development. The process of case study 2.0 allowed us to investigate some of the properties of tessellation. We learnt that it would be possible to alter some of the properties to distort a simple input geometry to create a varied design, however, the idea of a dynamic design had not yet emerged.
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B.4. Technique: Development Morphing Technique
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Throughout our technical development we further investigated the technique of morphing. As we had yet to find an idea that allowed the exemplification of dynamism and interaction within our design, we began to observe the consequence of each base geometry housing the dynamic elements within and the tessellation as the basis of the structure. By using geodesic mapping we could find more efficient paths over the surface that we could then apply the box morphing technique. The generative outcomes began to track the development of plausible dynamic elements. However, investigation into the constructability of each type of base geometry was necessary. This led us to investigate base geometric forms through prototyping to find the most practical geometry before we could continue the parametric design process. Prototyping was necessary as the base geometry’s ability to hold the dynamic elements of the model may limit the design outcomes and therefore directly affect the form or the box morphing technique that we would use.
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B.5. Technique: Prototypes Tessellated Base Geometric forms
The first stage of prototyping encouraged the exploration into base geometric form. Through observing patterns conducive to tessellation based off Tomohiro Tachi’s rigid origami, we began to create structures that, if hinged correctly, could open to allow the integration of light into the structure. Although appearing to only be a minute element to the design, the base geometric form will determine the limitations of the construct and the parameters of movement. For example, on the left, this repetitive triangulated structure would allow our base geometric
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form to undertake a triangulated mesh, something similar to what was seen in the Aegis Hyposurface design. The second prototype investigated the use of a hexagonal 2D geometry. Despite, the overhang of the star-like prisms, the edges will form a hexagonal base, suggestive of the technical development seen earlier.
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B.5. Technique: Prototypes Exploring Dynamism
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However, it became apparent that the design would largely be constrained by the directionality of the folding system. If the proposed hexagonal system was constructed then it may not be able to fold out, whereas having a central pivot point proved to be extremely challenging to construct to be structurally stable.
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B.6. Technique Proposal
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From what was learnt throughout our analysis of the VoltaDom project, the recreation of the ICD/ITKE Bionic research pavilion 2011, the investigation into mapping and then into box morphing and eventually base geometry development, we were able to converge on the design aspiration: “We intend to utilise tessellated forms to explore rigid origami patterns with the intention of creating a dynamic and interactive project for the Geelong highway gateway from Wyndham to Melbourne.� To create a sophisticated and holistic concept it is critical that each cornerstone element is individually analysed and assessed for practicality. Intractability creates memorable longevity. As discussed in the Aegis Hyposurface and the Resonant chamber, the audience can appreciate and be entertained by a dynamic experience. The concept of having a movable and interactive structure in architecture is still something nascent. As the forefront of tessellation, we propose to create a tessellated geometric form that has elements that are manually moveable by its audience. For example, if the interior chamber has a series of pulley systems, as explored in our previous modelling, which allows the movement of
panels, a positive imprint is more likely to be embedded on the minds of our users. By creating a multi-sensory reaction for our users, we are more likely to create a project of meaningful significance that we leave a lasting impression compared to a simply visual reaction. With a stronger lasting impression for the users of our gateway, people are more likely to create an association between the gateway and Wyndham, otherwise unseen in many non-interactive highway projects throughout Victoria. However, there has to be an appealing element to motivate the initial interactions with our gateway project. The brilliance of pivoting prisms or geometries will allow the illumination of the interior with shadows and streams of light dependent on time of day and how many panels are open. However, with appropriately sized panels, this will not just create an affect for internal users but as the geometries open, they will allow panels to emerge to the exterior. As planned, each geometry will have a single pulley system to be operated and the systems will be able to be locked open or closed. As there will be multiple iterations of the geometries allocated by the process of box morphing, there will be close to endless combinations of open and closed geometries.
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B.6. Technique Proposal
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For example, on a three by four grid of hexagonal geometries, we have laid out nine possible combinations of opened and closed elements; however, this is nine out of a possible 1,495 different combinations. If there were a new combination each day, this would total to over 11 years of variable designs. Returning to dynamism creating and preserving interest in a design, we believe that the possible variations that could be demonstrated will create an eye catching interest, especially for road users who often travel the same
way each day. This has the potential for creating place making as people can drive past and attempt to notice in a glimpse, the variations within the puzzle like geometries. As they do this, an association will begin to be constructed, consciously or subconsciously that associates the dynamic tessellated geometric structure as the iconic gateway for the city of Wyndham.
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B.6. Technique Proposal
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Returning to conclude about the base geometric forms, we propose the geometry to be a pivotal hinge system. Through the stages of prototyping, we discovered this to be the most effective solution that has the potential to account for weight distribution. Depending on where the hinge will be located, it is possible that the system can have a near 50-50% weight distribution, meaning that minimal effort would be required to
open or close the geometric forms. This would allow it to be appropriate for all age groups. One consideration that will have to be undertaken in the construction of such a system is the possible danger to young children who may be tempted to climb the pulley systems, thus requiring them to have a high factor of safety and weight bearing tolerance.
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B.7. Learning Objectives & outcomes Post Mid-Semester Presentation
In summary of the EOI:II, the process of developing the gateway project has heavily investigated and explored at range the possibilities of tessellation as a system, the patterning derived from rigid origami and the dynamic interface. It has observed many precedence projects which has greatly aided the development of the design solution. In response to the mid-semester presentation, it was a good opportunity to show case our design focus, concept and proposal and receive the relevant feedback. Constructively, we intend to continue into part C of the report with a few strong focuses. Firstly, we hope to showcase a working model of our chosen form of geometry. As demonstrated above we have decided on a hinging system to emulate the dynamism seen in rigid origami. Secondly, once we have set the parameters of the base geometry, such as how far each cluster can open, how much light they will let through and the movement system, it will then be possible to refine the form to be contextually responsive. This was not possible to investigate before since it would have been misinformed, and as previously mentioned, discourse is unlikely if one is ignorant of current design limitations. The form shall be responsive to the site context. Thus far we have planned to be on site B which has access from the petrol station, however, that will bring
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about possible design conflicts; if this is a gateway project that children will especially fancy, we should consider how safe the environment would be for them. Furthermore, if the cluster movement system (whether it be pulleys or some alternate mechanism) should be easy enough for children to use but not to harm themselves. These are new and real parameters that should not be ignored in an effective design solution, and is something to highly consider. However, with the investigation into tessellating shapes, my parametric designs skills a developing, however, it is confined to a relatively small spectrum of concepts, which makes learning more complex solutions far more challenging. For instance when attempting to create a rigid origami structure the definitions became very intricate very quickly. When attempting to find resolutions to this problem on forums, I found that due to my narrow knowledge of the expansive range of tools, that leaders in rigid origami, such as Tomohiro Tachi, had undertaken completely different methodologies. Nonetheless, I am certainly feeling far more confident in my intrigue and my experimentation is becoming more successful, far more frequently, which will hopefully allow for the development of our structure’s form.
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B.8. Apendix - Algorithmic Sketches 3D Voronoi Pattern
Data Tree Analysis
Whilst proceeding with the progression of the Gateway project it was crucial to constantly innovate and think of new ways to construct a suitable form for construction. Throughout this process the was experimentation into creating 3D Voronoi shapes with the intention of curving them to a surface which proved to be a lot more challenging than previously thought. Also, an investigation was undertaken that integrated the use of geodesic surfaces to optimise the lofted surface and then the paths were piped and the intersections were constructed as points to have piping circle them. This was an early thought process of con-structing a suitable surface for the tessellated form, however, it was unsuccess-ful due to the static nature of the form.
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Geodesic Piping
Options for Patterning
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B. Bibliography 1. Curtis, William, j.r. (2013) Modern Architecture since 1900. Pp. 330-350 2. Curtis, 2013 3. Moussavi, Farshid and Michael Kubo, eds (2006). The Function of Ornamentation (Barcelona:Actar), pp. 5-14. 4. http://www.dezeen. com/2011/10/31/icditke-research-pavilionat-the-university-of-stuttgart/ 5. http://www.raphaelcrespin.com/ works/11-05-2/ 6. http://www.archdaily.com/227233/ resonant-chamber-rvtr/ 7. http://www.flickr.com/photos/ tactom/ 8. http://www.evolo.us/architecture/ voltadom-installation-skylar-tibbits-sjet/
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