Sohan Mitra_Journal B by Sohan Mitra

Part

Sohan Mitra 791380 Tutor: Sean Guy

B1: Research Field

FIG: 1 https://www.dezeen.com/2009/06/25/driftwood-by-danecia-sibingo/

Sectioning Sectioning allows the form to be expressed intricately as when viewed from a distance the overall forming shape is seen and up-close each sectioned shape is seen. In our design scheme of forming a new column order to redesign the Northcote town hall we plan to use this method to form our overarching inspiration. My design thinking at this stage upon observing architectural projects made using this method is to form a sectioning pattern that would grow from our column design into the facade forming a homogeneous design for the facade. This method would be ideal for our design thinking because of expressing the design of the facade and its associated ornament with contemporary fabrication techniques associated with the sectioning method. As seen in the AA Driftwood pavilion, its inspiration of the form from the undulating movements waves of water and fabricated using wood, a similar style has been seen in DECOiâ&#x20AC;&#x2122;s One Main Street and also Office DAâ&#x20AC;&#x2122;s Banq restaurant. In our Design Studio Air team we wish to take forward the idea of sectioning to respond to our tutorial brief, our belief is that we want to derive the form that can be achieved from a fabrication technique that will not only express its form but also its materiality and thus Sectioning would be a right choice.

B2: Case Study 1.0

FIG 2 https://www.archdaily.com/42581/banq-office-da

FIG 3 https://www.archdaily.com/42581/banq-office-da

FIG 4 https://www.archdaily.com/42581/ banq-office-da

FIG 5 https://www.archdaily.com/42581/banq-office-da

FIG 6 https://www.archdaily.com/42581/banq-officeda

Banq Resturant The Banq restaurant by Office DA shows how a certain weaving pattern surface which was then divided in the z axis and extruded. Such allowed the weaving pattern to be seen and also serve the mechanical purpose underneath it. I chose this case study because of its application which forms columns in certain areas. This allowed me to extrapolate an d think deeper in the context of the brief to design a column order and facade for the Northcote Townhall. The seamless design achieved here has received a lot of praise and the restaurant ratings have gone up because of the splendid interior architecture. I wish to take part of this concept to blend from the exterior to the interior showing how the space is uninterrupted and have minimal thresholds. Also, to mention I wish to use the technique of fabrication used here in later stages of the design process.

Iterations Successful iterations have been Highlighted

Through this exercise we wish to attain an algorithmic output that can possibly blend in with our column design that we are to design. Further, my selection criteria will also be dependent to a small scale about my cultural beliefs and its associated prejudices in the design sphere. Having said that, I will keep my cultural design prejudices to a minimal while selecting the design outcomes. Such is required to be true to the design intent and to be representational of the culture of the site, maybe representational of the changing culture or even an aspect that is changing the way people behave. Much like the quote by Alvar Aalto, we intend to be representational to the culture and not the civilizations. Thus our brief of redesigning the facade creating the new architectural order because the old is not relevant to our era.

â&#x20AC;&#x153;Architecture belongs to culture and not to civilization.â&#x20AC;? -Alvar Aalto

Iterations

Successful iterations have been Highlighted Iterations created by selecting a curve and a surface and extruding perpendicular frames on it in the X, Y, Z direction creating a repetitive grid iteration output. The iterations achieved here are varying the outputs and also by varying the design of the curve associated with the algorithm.

This itera instilled being an

As the iterations proceeded, the curvilinear iteration achieved satisfied the selection criteria stated previously. In this example, the curves could be used in the facade and a convergence point could have a column.

ation apart from satisfying the selection criteria in me a thought about ripples of water and that n inspiration for the AA driftwood pavilion.

This iteration apart from satisfying the selection criteria instilled in me a thought about ripples of water and that being an inspiration for the AA driftwood pavilion.

The bending of the curves away from the point achieved at the right hand section intrigued me, it could be a possible point to grow a column form.

U slider- 10 V slider- 10 [(7.4 x -2) x (uv)] +

U slider- 10 V slider- 10 A x B- 4.9 A + B- 4.9

U slider- 7 V slider- 4 A x B- 10 A + B- 1.5

U slider- 9 V slider- 7 [(2.7 x -3) x (uv)] + [1.35]

U slider- 10 V slider- 10 [(2.7 x 1.3) x (uv)] + [1.35] Extrusion in X- 0.106

U slider- 25 V slider- 25 [(5.2 x -1.2) x (uv)] + [0] Extrusion in X- 0.161

U slider- 25 V slider- 10 [(3.2 x -3.2) x (uv)] + [5] Extrusion in X- 0.161

U slider- 10 V slider- 10 A x B- 5.4 A + B- 1.5

U slider- 25 V slider- 10 [(1.6 x -5.5) x (uv)] + [0.56] Extrusion in X- 0.161

Iterations made by varying the points on the Y axis on a simplified plane

Chosen 4 successful iterations

This iteration has the potential to be developed into facade element, the junctions where the lines are meeting potentially be an origin of a column head or base.

This model shows the undulations causing an idea of columns causing a undulating movement in the first floor. This idea can be further explored

The movement of the above iteration causes the undulating movement to cause the idea of columns forming and is also similar to the Banq restaurant interior.

This iteration creates a feeling of opening in the right hand right corner, such a opening could actually be the head of the column. This iteration can also be said to be similar to that of Decoiâ&#x20AC;&#x2122;s one main street.

Week 4 Algorithmic Sketchbook Tasks

Fig: Botanical drawings of Callistemon Sieberi (River Bottlebrush)

As part of our algorithmic task in our groups we looked at plants local to the Merri Creek region and studied its behavioral characters. We chose the River Bottlebrush (Callistemon Sieberi). It is the filaments that form the distinctive bottlebrush look and the key characteristic that we chose and worked on was the retaining of fruits containing seeds in the plant for long periods of time.

Fig: Growth

This part of the task was to create an algorithmic sketch that would show the characteristic of the River Bottlebrush, here we tried to show the growth of plant in clusters connected to the parent plants. This particular task inspired us to look into the ornamental aspect of our column construction and eventually the redesigning of the facade of Northcote Townhall.

The third part of the task involved the use of algorithms to construct a two dimensional abstract grasshopper algorithm that would be inspired by the characteristics of the plant. We created the iterations primarily using point charge and spin force and later to add levels of complexity using additions and multiplication components. The drawings presented here are the best of the ten iterations created. The drawings yet again show the growth of the plant based on the characteristic mentioned previously.

B3: Case Study 2.0

FIG 11 h ion_2010

FIG 7 http://icd.uni-stuttgart.de/?p=4458

FIG 1 ion_2

FIG 8 http://icd.uni-stuttgart.de/?p=4458

FIG 9 http://icd.uni-stuttgart.de/?p=4458

FIG 10 https://vimeo.com/48374172

FIG ion_

http://icd.uni-stuttgart.de/wp-content/gallery/icd_research_pavil10/pavilion_image_12.jpg

12 http://icd.uni-stuttgart.de/wp-content/gallery/icd_research_pavil2010/pavilion_image_10.jpg

G 13 http://icd.uni-stuttgart.de/wp-content/gallery/icd_research_pavil_2010/pavilion_image_10.jpg

ICD/ ITKE RESEARCH Pavilion 2010 The institute of Computational Design ns the Institute of Building Structures and Structural Design in 2010 had jointly constructed a timber pavilion. The structure demonstrated the use of innovative design and the latest developments in material oriented computational design, simulation and production processes in architecture. The structure was made of extremely thin elastically bent plywood strips.1 The physical form of the structure was determined by the internal and external pressures exerted on the surface. This research pavilion was entirely derived from the physical characteristics of the material. It was entirely based on the bending character of birch plywood strips which were robotically manufactured and connected so that elastically bent and tensioned regions were in alternate positions. This was done to increase the structural capability and also create a very light weight structure. The structure was analyzed using FEM simulation which allowed the simulation of the locally stored energy. Such allowed detailed structural calculations to represent the understanding of the internal stresses that occurred due to the bending of the material in relation to external forces like wind or snow loads. Thus, the structure is a combination of computational design process with materialization. The research pavilion was successfully achieved by integrating the chosen fields of computational design and materiality, achieving the desired structural and aesthetic qualities using only the material properties. This successful integration can be used in other forms of architecture or various scales and has contributed significantly to the architectural discourse.

1 Achimmenges.net. (2018). ICD/ITKE Research Pavilion 2010 | achimmenges. net. [online] Available at: http://www.achimmenges.net/?p=4443 [Accessed 31 Mar. 2018].

B3: Case Study 2.0 Reverse Engineering Steps. 0,1 Curve

Divide Bang! 0,0 64

Arc

Cull (Invert)

Cull

Curve (SimpliDivide fied and grafted) Curve (Simplified and grafted)

Divide

Cull (invert)

Point

Cull

Point

Cull (invert)

Point

Cull

Point

Curve closest point

Evaluate

Curve closest point

Evaluate

2 concentric circles were drawn. Division of curves into equal points.

Use the bang and arch used in the Z direction to create the above geometry. 2 X Culled at 1, 0 one inverted. Culled points with grafted and simplified

Divide each curve and th one case the cull pattern

Points extracted from Cull a joined to curve closest poi two are joined to weave

Move

100

Planar Planar

Line

Vector Rotation

Amplify

Line

Vector Rotation

Amplify

5.85

Move (Reverse) Move

Weave

Interpolate

Extrude

Weave

Interpolate

Extrude

Move (Reverse)

hen cull twice (in is inverted)

Planar components are attached to the initial Z simplified and grafted curves.

and two are int while the other

Line components are attached to the planar components and vector rotate components are attached to evaluate components

Amplitude components attached to vector rotate and the output of Amplitude is connected to move. Finally, the output from move (alternate ones with reverse movement) is connected to weave which is connected to interpolate CRV which is then extruded to achieve the required pattern.

The Reverse Engineering process was conceived through envisioning the final outcome of a weaving pattern which forms arches. While the outcome may not be close to the real project, it was an attempt to achieve from initiation. The basic element of the project are weaving pattern plywood units that interlock with each other at specific junctions. Apart from the process shown on top, the construction of this structure can be achieved using parametric tools, further the structural efficacy can also be achieved using parametric tools.

The ICD/ ITKE 2010 pavilion allowed me to understand the intergradation of materiality and design. In our design brief for redesigning the facade Northcote town hall especially looking into the designing of a new order I intend to use the weaving pattern to some extent. This I chose os because of the structural integrity offered with the technique. Through fabrication we want to explore the possibilities of creating a facade that can grow from our column design and as previously mentioned achieve a homogeneous design outcome.

B4 Technique Development

This part of the journal required me to iterate the outcome of the reverse engineering. In the process of iterating, the selection criteria I preferred to keep was to look for capable ornamental outcomes that could would be in sync with the column design outcome. I intend to make use of this exercise to produce as many iterations as possible to attain best possible design outcomes that would go with the architecture of the intended column design and the facade of the Northcote Townhall.

Divide Count- 64 Cull Pattern- 1,0 Cull Pattern (Inverted)-1,0 Divide Grafted and Simplified Curve- 19 Cull pattern 1- true, false Line length - 5.858 Vector Rotation- 100, 75 Amplitude- 0.630, 0.670 Weave- 0,1

Divide Count- 60 Cull Pattern- 1,0,1 Divide Grafted and Simplified Curve25 Cull pattern- 0,1,1,1,1,0 Line length - 3 Vector Rotation- 50, 45 Amplitude- 0.3, 1.0 Weave- 0,1

Iteration 11 Divide Count- 15 Cull Pattern- 1,0,1,0,0,1,0,1,1,1,0 Divide Grafted and Simplified Curve60 Cull pattern- 0,1 Line length - 2 Vector Rotation- 25, 25 Amplitude- 1.0, 1.0 Weave- 1,1,0,0,1,1,1,1,1

Divide Count- 78 Cull Pattern- 1,0,1,1,1 Divide Grafted and Simplified Curve- 19 Cull pattern- 0,1,1,1,1,0 Line length - 2.058 Vector Rotation- 100, 75 Amplitude- 0.630, 0.670 Weave- 0,1

Divide Count- 45 Cull Pattern- 1,0,1 Divide Grafted and Simplified Curve10 Cull pattern- 0,1 Line length - 3 Vector Rotation- 90, 45 Amplitude- 0.3, 1.0 Weave- 0,1,0,1,0,1,0

Iteration 12 Divide Count- 15 Cull Pattern- 1,0,1,0,0,1,0,1,1,0,1,1 Divide Grafted and Simplified Curve- 60 Cull pattern- 1,1,1,0,0,0,0 Line length - 3 Vector Rotation- 25, 25 Amplitude- 1.0, 1.0 Weave- 1,1,0,0,1,1,1,1,1,1

Divide Count- 60 Cull Pattern- 1,0,1,0,1,1 Divide Grafted and Simplified Curve- 25 Cull pattern- 0,1,1,1,1,0 Line length - 3 Vector Rotation- 100, 65 Amplitude- 0.3, 1.0 Weave- 0,1

Iteration 8 Divide Count- 35 Cull Pattern -1,0,1 Divide Grafted and Simplified Curve10 Cull pattern- 0,1 Line length - 3 Vector Rotation- 90, 65 Amplitude- 1.0, 1.0 Weave- 0,1,0

Iteration 13 Divide Count- 15 Cull Pattern- 1,0,1,0,0,1,0,1,1,0 Divide Grafted and Simplified Curve- 60 Cull pattern- 1,1,1,0,0,0,0 Line length - 3 Vector Rotation- 25, 25 Amplitude- 1.0, 1.0 Weave- 1,1,0,0,1,1,1,1,1

Divide Count- 60 Cull Pattern- 1,0,1 Divide Grafted and Simplified Curve- 50 Cull pattern- 0,1,1,1,1,0 Line length - 3 Vector Rotation- 50, 45 Amplitude- 0.3, 1.0 Weave- 0,1

Iteration 9 Divide Count- 25 Cull Pattern -1,0,1,1,1,0,0 Divide Grafted and Simplified Curve25 Cull pattern- 0,1 Line length - 3 Vector Rotation- 90, 65 Amplitude- 1.0, 1.0 Weave- 0,1,0

Iteration 14 Divide Count- 30 Cull Pattern- 1,0,1,0,0,1,0,1,1,0 Divide Grafted and Simplified Curve- 60 Cull pattern- 1,1,1,0,0,0,0 Line length - 3 Vector Rotation- 25, 25 Amplitude- 1.0, 1.0 Weave- 1,1,0,0,1,1,1,1,1

Divide Count- 60 Cull Pattern- 1,0,1 Divide Grafted and Simplified Curve- 50 Cull pattern- 0,1,1,1,1,0 Line length - 3 Vector Rotation- 50, 45 Amplitude- 0.3, 1.0 Weave- 0,1

Iteration 10 Divide Count- 10 Cull Pattern- 1,1,1,0,0 Divide Grafted and Simplified Curve 50 Cull pattern- 0,1 Line length - 3 Vector Rotation- 90, 65 Amplitude- 1.0, 1.0 Weave- 0,1,0

Iteration 15 Divide Count- 15 Cull Pattern- 1,0,1,0,0,0,0,0,1,1,0,0 Divide Grafted and Simplified Curve- 60 Cull pattern- 1,1,1,0,0,0,0,1,1,1 Line length - 2.5 Vector Rotation- 60, 90 Amplitude- 0.250, 0.250 Weave- 1,1,0,0,1,1,1,1,1

Iteration 16 Divide Count- 25 Cull Pattern- 1,1,0,0,1,1,0,0 Divide Grafted and Simplified Curve60 Cull pattern- 0,0,0,0,0,0,1,1,1,0,1,1 Line length - 0.5 Vector Rotation- 60, 5 Amplitude- 0.250, 0.250 Weave- 1,1,0,0,1,1,1,1,1

Iteration 21 Divide Count- 25 Cull Pattern- 1,1,1,1,1,1,0,0,0 Divide Grafted and Simplified Curve10 Cull pattern - 1,1,1,1,0,0,0,0 Line length- 1.794 Vector Rotation- 50, 100 Amplitude- 5, 2.5 Weave- 1,0,1,0,1,0,0,0,0,1,1,1,1

Iteration 26 Divide Count- 29 Cull Pattern- 1,1,1,1,1,1,0,0,0 Divide Grafted and Simplified Curve10 Cull pattern - 1,0,1,0,1,0 Line length- 9 Vector Rotation- 21,190 Amplitude- 17.276, 4.411 Weave- 1,0,1,0,1,0,0,0,0,1,1,1,1

Iteration 17 Divide Count- 16 Cull Pattern- 1,1,0,0,1,1,0,0 Divide Grafted and Simplified Curve100 Cull pattern- 1,0,0,0,1,1,1 Line length - 2.5 Vector Rotation- 60, 5 Amplitude- 0.250, 0.250 Weave- 1,1,0,0,1,1,1,1,1

Iteration 22 Divide Count- 25 Cull Pattern- 1,1,1,1,1,1,0,0,0 Divide Grafted and Simplified Curve10 Cull pattern - 1,1,1,1,0,0,0,0 Line length- 20.305 Vector Rotation- 50, 100 Amplitude- 5, 2.5 Weave- 1,0,1,0,1,0,0,0,0,1,1,1,1

Iteration 27 Divide Count- 25 Cull Pattern- 1,0,0,1,1,0,0 Divide Grafted and Simplified Curve65 Cull pattern - 1,0,1,0,1,0 Line length- 4.945 Vector Rotation- 211, 179 Amplitude- -17.276, 4.411 Weave- 1,0,1,0,1,0,0,0,0,1,1,1,1

Iteration 18 Divide Count- 16 Cull Pattern- 1,1,0,0,1,1,0,0 Divide Grafted and Simplified Curve100 Cull pattern- 1,0,0,0,1,1,1 Line length - 2.5 Vector Rotation- 65, 85 Amplitude- 10, 10 Weave- 1,0,1,0,1,0,0,0,0,1,1,1,1

Iteration 23 Divide Count- 25 Cull Pattern- 1,1,1,1,1,1,0,0,0 Divide Grafted and Simplified Curve10 Cull pattern - 1,0,1,0,1,0 Line length- 4.945 Vector Rotation- 211,179 Amplitude- 17.276, 4.411 Weave- 1,0,1,0,1,0,0,0,0,1,1,1,1

Iteration 28 Divide Count- 51 Cull Pattern- 1,0,0,1,1,0,0 Divide Grafted and Simplified Curve79 Cull pattern - 1,0,1,0,1,0 Line length- 5 Vector Rotation- 132, 121 Amplitude- 9.5, 5.5 Weave- 1,0,1,0,1,0,0,0,0,1,1,1,1

Iteration 19 Divide Count- 16 Cull Pattern- 1,1,0,0,1,1,0,0 Divide Grafted and Simplified Curve100 Cull pattern 1- 1,0,0,0,1,1,1 Cull pattern 2- 1 Cull pattern 3- 1,1,1,1,1 Line length - 2.5 Vector Rotation- 65, 85 Amplitude- 10, 10 Weave- 1,0,1,0,1,0,0,0,0,1,1,1,1

Iteration 24 Divide Count- 25 Cull Pattern- 1,1,1,1,1,1,0,0,0 Divide Grafted and Simplified Curve10 Cull pattern - 1,0,1,0,1,0 Line length- 4.945 Vector Rotation- 211,179 Amplitude- 17.276, 4.411 Weave- 1,0,1,0,1,0,0,0,0,1,1,1,1

Iteration 29 Divide Count- 25 Cull Pattern- 1,0,1,0,1,0 Divide Grafted and Simplified Curve79 Cull pattern - 1,0,1,0,1,0 Line length- 5 Vector Rotation- 132, 121 Amplitude- 9.5, 5.5 Weave- 1,0,1,0,1,0,0,0,0,1,1,1,1

Iteration 20 Divide Count- 18 Cull Pattern- 1,1,0,0,1,1,0,0 Divide Grafted and Simplified Curve100 Cull pattern 1- 1,0,0,1,1,1 Line length- -5 Vector Rotation- 65, 85 Amplitude- 5, 2.5 Weave- 1,0,1,0,1,0,0,0,0,1,1,1,1

Iteration 25 Divide Count- 25 Cull Pattern- 1,1,1,1,1,1,0,0,0 Divide Grafted and Simplified Curve10 Cull pattern - 1,0,1,0,1,0 Line length- 9 Vector Rotation- 21,179 Amplitude- 17.276, 4.411 Weave- 1,0,1,0,1,0,0,0,0,1,1,1,1

Iteration 30 Divide Count- 6 Cull Pattern- 1,0,0,1,1,0,0 Divide Grafted and Simplified Curve39 Cull pattern - 1,0,1,0,1,0 Line length- -1 Vector Rotation- 360, 0 Amplitude- 14.986, -3.655 Weave- 1,0,1,0,1,0,0,0,0,1,1,1,1

Iteration 31 Divide Count- 19 Cull Pattern- 1,0,0,1,1,0,0 Divide Grafted and Simplified Curve- 59 Cull pattern - 1,0,1,0,1,0 Line length- 7 Vector Rotation- 268, 0 a parabola graph is added in-between VRot and AMP Amplitude- 14.986, -3.655 Weave- 0,1,0

Iteration 36 Divide Count- 21 Cull Pattern- 1,1,1,1,1,0,0 Divide Grafted and Simplified Curve- 25 Cull pattern - 1,1,1,0,1,1 Line length- 7 Vector Rotation- 268, 55 Amplitude- 21, 30 Weave- 0,1,0

Iteration 41 Divide Count- 88 Cull Pattern- 1,1,1,0,0,0,0 Cull Pattern (Inverted)-1,1,1,0,0,0 Divide Grafted and Simplified Curve- 40, 5 Cull pattern 1- true, false, true Cull Pattern 2- 0,1,0,0,0,0,0,1 line length - 2, 1 Vector Rotation- 90,25 Amplitude- -10, 50 Weave- 1,1,1,1,0,0,0,0; 1,1,1,0,0,0

Iteration 32 Divide Count- 19 Cull Pattern- 1,0,0,1,1,0,0 Divide Grafted and Simplified Curve- 59 Cull pattern - 1,0,1,0,1,0 Line length- 7 Vector Rotation- 268, 0 a parabola graph is added in-between Vrot and AMP x2 Amplitude- 14.986, -3.655 Weave- 0,1,0

Iteration 37 Divide Count- 21 Cull Pattern- 1,1,1,1,1,0,0 Divide Grafted and Simplified Curve- 23 Cull pattern - 1,1,1,0,1,1 Line length- 7 Vector Rotation- 230, 56 Amplitude- 20, 30 Weave- 0,1,0

Iteration 42 Divide Count- 88 Cull Pattern- 1,1,1,0,0,0,0 Cull Pattern (Inverted)-1,1,1,0,0,0 Cull pattern 1- true, false, true Divide Grafted and Simplified Curve- 40, 5 Cull pattern 1- true, false, true Cull Pattern 2- 0,1,0,0,0,0,0,1 Line length - 2, 1 Vector Rotation- 90,25 Amplitude- -35, -10

Iteration 33 Divide Count- 19 Cull Pattern- 1,0,0,1,1,0,0 Divide Grafted and Simplified Curve- 59 Cull pattern - 1,0,1,0,1,0 Line length- 7 Vector Rotation- 268, 0 a parabola graph is added in-between Vrot and AMP x2 Amplitude- 14.986, -3.655 Weave- 0,1,0

Iteration 38 Divide Count- 83 Cull Pattern- 1,0,1,0 Cull Pattern (Inverted)-1,0,1,0 Divide Grafted and Simplified Curve- 39, 4 Cull pattern 1- true, false, true Cull Pattern 2- 1,0,1 Line length - 3, 4 Vector Rotation- 90,35 Amplitude- 62, 38 Weave- 1,1,1,1,0,0,0,0; 1,0,1,1,1

Iteration 34 Divide Count- 19 Cull Pattern- 1,0,0,1,1,0,0 Divide Grafted and Simplified Curve- 20 Cull pattern - 1,0,1,0,1,0 Line length- 7 Vector Rotation- 268, 55 a parabola graph is added in-between Vrot and AMP x2 Amplitude- 16, -10 Weave- 0,1,0

Iteration 39 Divide Count- 88 Cull Pattern- 1,1,1,0,0,0,0 Cull Pattern (Inverted)-1,1,1,0,0,0 Divide Grafted and Simplified Curve- 40, 5 Cull pattern 1- true, false, true Cull Pattern 2- 0,1,0,0,0,0,0,1 Line length - 3, 10 Vector Rotation- 90,35 Amplitude- 68, 20

Iteration 43

Iteration 44

Divide Count- 88 Cull Pattern-1,1,1,0,0,0,0 Cull Pattern (Inverted)-1,1,1,0,0,0 Divide Grafted and Simplified Curve- 40, 5 cull pattern 1- true, flase, true Cull Pattern 2 - 0,1,0,0,0,0,0,1 line length - 2, 1 Vector Rotation- -45, 1 Amplitude- -35, -10 Weave- 1,1,1,1,0,0,0,0; 1,1,1,0,0,0

Divide Count- 50 Cull Pattern- 1,1,1,0,0,0,0 Cull Pattern (Inverted)-1,1,1,0,0,0 Divide Grafted and Simplified Curve- 40, 5 Cull Pattern 1 - 1,1,1,0,0,0 Cull pattern 2 - 1,1,1,1,1,0,0,0,0,0,0 Line length - 2, 1 Vector Rotation- -45, 1 Amplitude- -100, 10 Weave- 1,1,0,0,0,1,1,0,0,0 ; 1,0,1,0,1,0

Iteration 35 Divide Count- 19 Cull Pattern- 1,0,0,1,1,0,0 Divide Grafted and Simplified Curve- 10 Cull pattern - 1,0,1,0,1,0 Line length- 7 Vector Rotation- 268, 55 Amplitude- 21, 44 Weave- 0,1,0

Iteration 40 Divide Count- 88 Cull Pattern- 1,1,1,0,0,0,0 Cull Pattern (Inverted)-1,1,1,0,0,0 Divide Grafted and Simplified Curve- 40, 5 Cull pattern 1- true, false, true Cull Pattern 2 - 0,1,0,0,0,0,0,1 Line length - 3, 2 Vector Rotation- 90,25 Amplitude- 19, -10

Iteration 45 Divide Count- 50 Cull Pattern- 1,1,1,0,0,0,0 Cull Pattern (Inverted)-1,1,1,0,0,0 Divide Grafted and Simplified Curve- 40, 5 Cull Pattern 1 - 1,1,1,0,0,0 Cull pattern 2 - 1,1,1,1,1,0,0,0,0,0,0 Line length - 2, 1 Vector Rotation- -69, 50 Amplitude- -100, 10 Weave- 1,1,0,0,0,1,1,0,0,0 ; 1,0,1,0,1,0

Iteration 46 Divide Count- 50 Cull Pattern-1,1,1,0,0,0,0 Cull Pattern (Inverted)-1,1,1,0,0,0 Divide Grafted and Simplified Curve- 40, 5 Cull Pattern 1 - 1,1,1,0,0,0 Cull pattern 2 - 1,1,1,1,1,0,0,0,0,0,0 Line length - 2, 1 Vector Rotation- -69, 25 Amplitude- -100, -10 Weave- 1,1,0,0,0,1,1,0,0,0 ; 1,0,1,0,1,0

Iteration 49

Divide Count- 50 Cull Pattern-1,1,1,0,0,0,0 Cull Pattern (Inverted)-1,1,1 Divide Grafted and Simplifi Cull Pattern 1 - 1,1,1,0,0,0 cull pattern 2 - 1,1,1,1,1,0,0 line length - 2, 1 Vector Rotation- 86, -5 Amplitude- 50, -10 Weave- 1,1,0,0,0,1,1,0,0,0

Iteration 47 Divide Count- 50 Cull Pattern-1,1,1,0,0,0,0 Cull Pattern (Inverted)-1,1,1,0,0,0 Divide Grafted and Simplified Curve- 40, 5 Cull Pattern 1 - 1,1,1,0,0,0 cull pattern 2 - 1,1,1,1,1,0,0,0,0,0,0 line length - 2, 1 Vector Rotation- 45, 25 Amplitude- 50, -10 Weave- 1,1,0,0,0,1,1,0,0,0 ; 1,0,1,0,1,0

Iteration 48 Divide Count- 50 Cull Pattern-1,1,1,0,0,0,0 Cull Pattern (Inverted)-1,1,1,0,0,0 Divide Grafted and Simplified Curve- 40, 5 Cull Pattern 1 - 1,1,1,0,0,0 cull pattern 2 - 1,1,1,1,1,0,0,0,0,0,0 line length - 2, 1 Vector Rotation- 96, -10 Amplitude- 50, -10 Weave- 1,1,0,0,0,1,1,0,0,0 ; 1,0,1,0,1,0

Iteration 50

Divide Count- 5 Cull Pattern-1,1,1 Cull Pattern (Inve Divide Grafted a Cull Pattern 1 - 1 cull pattern 2 - 1 line length - 2, 2 Vector RotationAmplitude- 50, Weave- 1,1,0,0

1,0,0,0 fied Curve- 40, 5

0,0,0,0,0

0 ; 1,0,1,0,1,0

50 1,0,0,0,0 erted)-1,1,1,0,0,0 and Simplified Curve- 40, 5 1,1,1,0,0,0 1,1,1,1,1,0,0,0,0,0,0 2 - 96, -14 -10 0,0,1,1,0,0,0 ; 1,0,1,0,1,0

After completing the iteration process, I was convinced with the necessity of trying to achieve numerous outcomes of a single solution. In design thinking such as this I have tried to push the algorithm to its limits and achieved numerous outcomes that could not be possible in the imaginative mind, or if put to drawn would have taken countless hours. Thus, yet again convincing myself for the need of computational design approaches.

This iteration particularly caught my eye because of its unique shape and the folding aspect was coinciding with the aesthetic intent that I wanted to achieve particularly with the facade. Although, this iteration was quite solid in feel, it sparked a design thinking process that I will extrapolate in physical form in the next stages of the designing process.

Iteration 8 Divide Count- 35 Cull Pattern -1,0,1 Divide Grafted and Simplified Curve10 Cull pattern- 0,1 Line length - 3 Vector Rotation- 90, 65 Amplitude- 1.0, 1.0 Weave- 0,1,0

This iteration was chosen because of the ornamental aspect achieved, much like the explanation of the previous iteration, this one also introduced a design thinking process. Further, this incorporated a floral aspect that was unique to achieve from the shell pattern.

This pattern was also unique in its aesthetics and the outcome was coherent to a very vernacular type of design. Although not directly connected to the design scheme set out by us, the idea of looking to local vernacular can be taken forward. Further, this iteration initiated a different design thinking process involving the head of the column and its connection with the building facade main.

I would term this as the most successful iteration because of its weaving pattern and is completely in-line with our design thinking. We will in future stages incorporate a design along this iteration into our design and connect it with the facade.

Week 5 Algorithmic Sketchbook Tasks

Fig: Growling Grass Frog

FIG 14 https://en.wikipedia.org/wiki/Growling_grass_frog

Clematis Microphylla (Old Manâ&#x20AC;&#x2122;s Beard)

FIG 15 https://hiveminer.com/Tags/ clematis%2Cfluffy

Perspective view of the Northcote Townhall

Front facade of the Northcote Townhall

In week 5 our task was to look into the characteristic of two native species found in the Merri Creek region. Further, our task brief required us to keep redesigning the Northcote Townhall facade, so we decided to look into the history of the region for a better understanding of the site and to have significant meaning in our design. Northcote was one of the low socioeconomic areas in the 1990, but it grew significantly primarily because of the availability of better public transport and the growth of cafes and eateries and by 2006 it was one of the fastest growing suburban regions in Melbourne. Upon studying a lot about the flora and fauna keeping in mind the recent historical context of the region we settled upon the Growling Grass frog and the Clematis Microphylla. The frog has a special character of covering 1 kilometer distance in 24 hours, which is really fast for a frog and it stays near a water body. The clematis microphylla on the other hand is a very fast growing climber and has white fluffy cluster of seeds attached to the flower at the plume stage (as seen in the image. Further it is also colloquially called â&#x20AC;&#x2DC;Old Manâ&#x20AC;&#x2122;s Beardâ&#x20AC;&#x2122; for its looks. Thus we decided to metaphorically connect these two characters of the chosen flora and fauna to the redesigning scheme of the Townhall and also creating a new order.

Having considered the brief we set out to create a abstract drawing combining the chosen two species of the region, this we set out by combing the two characteristics and forming an abstract sketch which shows the uniqueness of the plant and the animal. Upon abstracting the beside shown sketch, we decided to graft it to make an even more intricate drawing (shown in the next page). This was done in order to achieve a level of complexity and thereby integrating it to our column design.

The grafted drawing shows the movement of the frog from the water source to the land and its fast movement combined with the fluffy growth of seeds in the clematis microphylla and its climbing character. As mentioned earlier this task was taken to understand the intricacies of ornamental representation and to find a meaning in ornament. As its has been likely said by Farshid Moussavi in ‘The function of Ornament’1 we set out to have a meaningful design complete in representation of the history and its ornamentation serving a function. Our inspiration was further fuelled by a recommended reading by our tutor ‘ The Lost Meaning of Classical Architecture’ which gave us an insight behind the design intent of the classical orders thereby inculcating in us a thinking process to help make our column order better.2

1 Moussavi, Farshid and Michael Kubo, eds (2006). The Function of Ornament (Barcelona: Actar), pp. 5-14 2 Hersey, George (1988). The Lost Meaning of Classical Architecture (London; Massachusetts; The MIT Press) pp. 1-45

London; Massachusetts; The MIT Press) pp. 1-45

Next we were supposed to generate grasshopper algorithmic sketches inspired by the flora, fauna and also the site context. Our aim was to start thinking about the incorporation of a facade that would homogeneously sit with the column of the facade of Northcote Townhall. The images here are outcomes of influences of the physical visible characters of the flora and fauna, metaphorically representing the movement associated with frog in its jumping and also the flowerâ&#x20AC;&#x2122;s pollination.

The algorithmic sketches here show our initial design thinking about generating a column that is inspired by the previously mentioned research but not historically connected for it is not relevant to the present scenario. Using point charge and spin force components we set out in representing a stored potential energy present the frogâ&#x20AC;&#x2122;s legs in the base of the column slowly growing into the fluffy floral aspect of the Clematis as our sight climbs. Architecturally, we found the aspect of a softer hollow top to be intriguing and we further experimented with it.

In our iteration process we were looking for a design that can adequately satisfy the design scheme that we previously set. In this exercise, we experimented with grasshopper algorithms to get an understanding of the various methods of column design. This particular task left us unsatisfied and pushed us to experiment more with the techniques.

In experimenting with the column design, we came up with final three iterations to be presented in class. As previously mentioned our selection process included primarily had to satisfy the scheme set previously and these three in our understanding satisfied quite adequately. However, we further pushed the design concept in the fabrication stage considering the structural integrity of the column.

B.5. Technique: Prototypes Prototype for the Column: 3D printing

FIG 16 https://www.shutterstock.com/video/clip-29543575

In fabricating our model for the column, we decided to try 3D printing to have an accurate representation of our column design. However, in this stage one of our design outcomes failed because it could not be 3D printed because of structural problems. The model shown with the red highlighted part (Fig:4) was not possible to be 3D printed and would fail. Thus through the fabrication testing process we got insight into the structural capability of the model.

Prototype for facade design: Using wires

4. 3.

1. Experimenting with the bending character of metal wires. 2, 3, 4, 5, 6, 7. Testing the creation of swarm like facade using wires The second method we tried was to use wires to create the growth of the facade from the column, in this case we tried understanding the materiality of metal wires bending, twisting and turning the wire to achieve various forms. Upon design testing, we came to the conclusion that wires would not be a viable option as it can only be controlled to a certain extent and thereafter becomes difficult to bend and achieve desired outcomes.

B.6. Technique: Proposal

As previously mentioned we tried to achieve the desired ornamental outcome based on the weaving pattern of the reverse engineering outcome and also the research about the chosen flora and fauna. I think that our outcome was quite successful and the main challenge at this stage would be to incorporate the facade with the column design. In the next few pages an ornamental outcome of the facade will be presented.

SECTION

ELEVATION

The column design took inspiration from the jumping movement of the frog, the successive jumps of the frog have been inculcated in the form of the column by varying the concentric circles forming the column at different heights (as shown in the diagram on the left). This outcome was achieved by visually recording the jumping movement of the frog creating an undulating surface in the column. Also, the elevation is incorporating the frog and the plant's characteristics.

Detail of the column base

devoloping pattern of the weave

Weave of the city fabric with the static city town hall

High St re

Westbou nd Grov e

Considering the site context, High Street has a tram line now and it shows the speed of communications. Thus, this informed our design as previously mentioned. Also, the aspect that the town hall was always present seeing the various growth phases of the surrounding areas informed our design. In consideration of our facade and column order we incorporated such context into our design scheme.

Perspective view of render.

This rendering shows the spatial aspect of the column order considering the scale of a human. Our design approach as previously mentioned wanted a homogeneous growth of the column to the facade. While this maybe a simple facade incorporation, in later stages we plan to incorporate a more ornamental and intricate facade (an early example is shown in the next few pages)

This image shows our initial facade thinking. Having experimented with wires and being unsuccessful, we plan to 3D print the facade swarm linking the column and the building main.

B.7. Learning Objectives and Outco

omes The learning objectives of this studio considering the computational techniques learnt and also its applications are very useful and informative. It incorporates the use of algorithmic tools with the design thinking that allows the designer to think in levels that are to an extent beyond imaginative power. However, the confusing part in relation to the subject, as raised in class and also put to debate is: who is designing? the computer or the designer. After participating in the design tasks and also the iteration process, I have come to the conclusion that it is largely the designer. It is the designer that is choosing the successful iterations and explaining the reason behind the success, it is the designer that is making initial sketches and drawing inspiration for the design project, it is the designer that is short listing and testing the design outcomes by fabricating. Thus, computational design techniques as this studio has introduced to us, is just a tool that enables designers to design better. As shown in the lectures, an architect may choose to use hand drawn drawings to communicate with clients but will become difficult and time consuming to make changes, thus drafting CAD software are used. Similarly, algorithmic tools are making design more effective and efficient. While we may not be as efficient in using the software and serving its purpose, it is a necessary that we were introduced and are doing a project using the skills gained. Having considered our skill level, it is quite evident that we have learnt considerably in the course of this subject. Further, I will push my boundaries to learn even more about the content and design accordingly.

B.8. Appendix

Bibliography 1. Achimmenges.net. (2018). ICD/ITKE Research Pavilion 2010 | achimmenges.net. [online] Available at: http://www.achimmenges.net/?p=4443 [Accessed 31 Mar. 2018].

2. Woodbury, Robert F. (2014). ‘How Designers Use Parameters’, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge), pp. 153–170 3. Moussavi, Farshid and Michael Kubo, eds (2006). The Function of Ornament (Barcelona: Actar), pp. 5-14 4. Peters, Brady. (2013) ‘Realising the Architectural Intent: Computation at Herzog & De Meuron’. Architectural Design, 83, 2, pp. 56-61 5. Kolarevic, Branko and Kevin R. Klinger, eds (2008). Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge), pp. 6–24 6. Special Issue: ‘Patterns of Architecture’, Architectural Design,79,6,2009. 7. Kolarevic, Branko (2014). ‘Computing the Performative’, ed. by Rivka Oxman and Robert Oxman, pp. 103–111 8. Hersey, George (1988). The Lost Meaning of Classical Architecture (London; Massachusetts; The MIT Press) pp. 1-45

Image referencing FIG: 1 https://www.dezeen.com/2009/06/25/driftwood-by-danecia-sibingo/ FIG 2 https://www.archdaily.com/42581/banq-office-da FIG 3 https://www.archdaily.com/42581/banq-office-da FIG 4 https://www.archdaily.com/42581/banq-office-da FIG 5 https://www.archdaily.com/42581/banq-office-da FIG 6 https://www.archdaily.com/42581/banq-office-da FIG 7 http://icd.uni-stuttgart.de/?p FIG 8 http://icd.uni-stuttgart.de/?p FIG 9 http://icd.uni-stuttgart.de/?p FIG 10 https://vimeo.com/48374172 FIG 11 http://icd.uni-stuttgart.de/wp-content/gallery/icd_r0search_pavilion_2010/pavilion_image_12.jpg FIG 12 http://icd.uni-stuttgart.de/wp-content/gallery/icd_research_pavilion_2010/pavilion_image_10.jpg FIG 13 http://icd.uni-stuttgart.de/wp-content/gallery/icd_research_pavilion_2010/pavilion_image_10.jpg FIG 14 https://en.wikipedia.org/wiki/Growling_grass_frog FIG 15 https://hiveminer.com/Tags/clematis%2Cfluffy FIG 16 https://www.shutterstock.com/video/clip-29543575 FIG 17 www.nearmaps.com.au

ALL UN REFERENCED IMAGES ARE MADE BY SELF