Mitra sohan 791380 final journal

Part

C Design Studio Air Part C Sohan Mitra 791380

From the interim presentation, we were suggested to not work with this building typology rather focus and build more on the integration of the composite facade on the right. Our thoughts as a group was also along the lines, our main objective was to have a design that adequately caters to our narrative of growth that is not hindered.

Fig: 1 Such is shown in later parts of the journal.

Fig: 2

Our Initial thought was to integrate a design chunk that would adequately convey the narrative of growth. This component (Fig: 2) almost shows the type of growth that we wanted to achieve. While the columns would sit at the bottom and the openings would be perfectly shaped to accommodate the column tops, we wanted to strive for a more homogeneous growth pattern from the bottom till the top.

This image (Fig: 3) adequately captures the type of facade we wanted to achieve, however to adequately house a first floor and cover a substantiate portion of the site of the Northcote town hall and also from feedback we decided to stretch the upper component and have more openings below to accommodate more columns.

Fig: 3

C1: Design Concept

Fig: 4 Plan

Front facade of the Northcote Town-

Fig: 5 Elevation

Fig: 6 Perspective

Perspective view of the Northcote Town-

The Interim presentation was very helpful to receive feedback from the Jury members, they pointed out that the integral part of our design philosophy could be improved and have more rigour. The part they liked and would want us to improve on was the composite growth facade, showing the connection of the column with the facade. Thus, as a group we decided to implement the composite facade into the site. Which would require to completely demolish the existing structure of Northcote Townhall.

While it was almost unjustifiable to demolish an existing heritage building, knowledge dissipated from the tutorial readings, especially ‘The Lost Meaning of Classical Architecture by George Hersey brought about a justifiable reason for the neoclassical building to not exist.

This was because, the classical orders exemplified animal sacrificial representation, which is not relevant to the present understanding. In our studio group we wanted to represent Northcote’s growth, it was a poor socioeconomic suburb in the 1990s and started growing with rising trade and commerce and by 2006 it was one of the fastest growing suburbs. Public transport was also improved with tram networks being installed. Further, we wanted to have a single composite almost organic growth of the structure from the ground starting with the column to the structure bringing about the 1st floor. Thereby, bringing about a newOrder ornamentation by having an undifferentiated growth. This uninterrupted growth would house collaborative spaces that would cater to further community growth. This technique can be built by 3D printing the columns and components of the facade which can be then joined on site.

In the designing process from the reverse engineering module we used the grasshopper algorithm of the Serrousi Pavilion. In this case the Nurbs curve were extruded in the X and Z directions. However we did not go with Iteration because it did not form a upward moving form that was our intention but informed us of a form.

Considering the Serroussi Pavillion as the starting point precede oping the facade to be a continuous form of the column we te forms.1

Facade Design Development

The Intended form in a multiple level of interpolation was made creating a complex form which was starting to accomplish our intended design proposal.

ent for develested various

Further, the design was improved upon and another level of intricacy was added to create a homogeneous growth pattern from the column. Further, the top of the column was had to fit the openings of the facade. We intended to use columns of various designs to put emphasis on various types of growth that culminated for the collective growth into the facade, thus the openings had to be adjusted to fit the various columns.

The form was then simplified and a simple upward form was formed.

A very crude form of this design was shown in the Interim presentation and was worked upon.

1. Seroussi Pavillion <http://portfolio.ezioblasetti.net/Seroussi-Pavillion> [Accessed 1 June 2018].

Column Design Developmen

The images above shows the design process of the column development and also the initial Idea of Growth. This idea was taken forward to the iteration phase and the based on selection criteria based on satisfying the initial design narrative such was selected. In the Iteration process from each developed species the iteration was pushed to generate the best outcomes which was then used in the final facade design.

nt

Chosen iteration Coherence with design narrative

Chosen iteration Coherence with design narrative

Intricacy in design Uniqueness in ornamentation

Intricacy in design Uniqueness in ornamentation

These set of iterations were done using the later mentioned grasshopper definition and in that specifically by manipulating the sine curve and keeping all other components same. Our main objective of showing growth which would properly fit with our precedent research and the over arching narrative previously mentioned.

Further iterations using the sine curve was done and iterations were chosen based on a set of preconceived selection criteria as mentioned above.

Chosen iteration Coherence with design narrative Intricacy in design Uniqueness in ornamentation

Chosen iteration Coherence with design narrative

At all times in the column design process, we were consciously informed about our facade design and that the column should have a smooth flow into the facade.

However, the design integration of the column and the facade had a lot of back and forth going to achieve the desired.

Intricacy in design Uniqueness in ornamentation

Chosen iteration Coherence with design narrative Intricacy in design Uniqueness in ornamentation

This set of iterations were also done using the same definition as mentioned earlier. However, in this case the Purlin wave distribution was used and the iterations were made by changing the curve wavelengths.

Facade Definition Development

The form of the facade was ach through the use of sine and b graphs.

Continuation W

The Field lines to suitably connect with the column top are generated from the column ends. Thus the points are laid on the column top to achieve a seamless form from the various columns.

hieved bezier

Continuation

The Nurbs curves are then converted into pipes to achieve the growth of the facade.

Using this algorithmic definition, we started constructing a seamless growth pattern. It was in the interim-presentation that we were advised to use the seamless growth facade, so we built on it and eventually after a lot of alteration in the definition components we achieved the above form.

One of the biggest challenge as mentioned earlier was to fit the column heads into the facade. The size of the Rhino file was also extremely large because of the complexity in the form as it was highly intricate which was our intention to achieve a level of detailed ornamentation.

Column Definition Development

Minor changes were made in this section to achieve the iterations

To achieve the i mostly altered.

iterations, the sine curve was

The algorithmic definition best suited our design narrative as it explicitly showed a form of organic growth and variations of columns were achieved by changing the curves in the graph mappers. As shown in this diagram, the sine curve is complete, however a portion of it shows a connection to a purlin curve distribution graph showing that a multitude of curve types can be used to attain this column generation. For the purpose of this studio and our design scheme we used only Sine wave distribution and Perlin wave distribution and minor alterations in the steps of the field lines and the graphs.

Exploded axonometric view of the primary design structure.

The individual components of the facade can be 3 D printed in components and joined in site.

However, it needs to connected to the concrete slab and the column. The large scale 3D printing can be achieved as done for the Daedalus Pavilion by AI Build.

Our proposal for the facade is to be a elevated slab which is integrated into the facade and the column system. This exploded axonometric drawing shows the ways the entire system is constructed. The columns will be 3D printed by Robotic arms using cementitious material and will also have integrated structural core. Further, each component as shown above will be separately constructed and will be fused to the slab. This integration will ensure that the entire construction process is sustainable and the design can be accurately achieved.

Plan of the structure.

Section In our plan and the section design, we wanted to represent the flexibility in strict architectural rules. This we brought about by using a Palladian plan as shown on the left and bent it to suit with our form. This gesture brings about a unique aspect to the newOrder that we designed for it challenges the design notions that have been set in ancient times and have forever been appreciated. By using this distorted Palladian plan and also having Palladian staircases

Construction of Project in the physical world Possible ways of fabricating the project (Large scale 3D Printing)

Gantry method simply sums up the additive construction. Can be called a giant 3D printer.

‘D’ Shape printer is like a ink jet printer, instead of spraying ink it sprays cementitious powder. It can achieve architectural structures upto 6X6X6m, compressive strength of 235-245 Mpa and is designed mainly for structural complex geometries.

Gantry Based

Robotic Arm

Swarm method

The swarm method uses small robots to construct structure. This method can tially used for constructing zones or places where co is difficult or unsafe.

‘D’ Shape

D Shape Printer, 2018 <https://commons.wikimedia.org/wiki/File:Dshape_printer.png> [Accessed 5 June 2018].

Swarm Method, 2018 <http://zachmortice.com/2015/09/01/4ways-a-robot-or-drone-3d-printer-will-change-architecture-andconstruction/> [Accessed 1 June 2018].

Limitations of this method flight stability, material av battery life of the robots.

Contour crafting 6 axis robotic arms used for constructing in the architectural space.

Eg: Kuka or ABB robotic arms.

Contour Crafting, 2018 <https://3dprintingindustry.com/news/3d-printing-next-fiveyears-brian-c-giles-blair-souter-armatron-systems-114979/> [Accessed 5 June 2018].

Contour crafting is the in-situ process where the material which is usually cement based is used for vertical extrusions.

This method was considered the most viable because the arms can move in 6 directions making it construct truly in 3 dimensional. The others were not selected because D-shape had difficulty in hydrating cementitious powder and Contour crafting can only achieve vertical extrusions and has problems achieving uniform level of viscosity.

_________________________________________________________________________________

Chosen Robotic

Hamad Al Jassmi, Fady Al Najjar and Abdel-Hamid Ismail Mourad, “Large-Scale 3D Printing: The Way Forward”, IOP Conference Series: Materials Science And Engineering, 324 (2018), 012088 <https://doi. org/10.1088/1757-899x/324/1/012088>.

Robotic arm fabrication work flow

s multiple t a large be poteng in unsafe onstruction

Creation of Robotic instructions through Cam Plug-ins Design input

d include vailability,

technique: arm fabrication

Sensor Feedback

Use of Rhinoceros and Grasshopper to create the design

Feedback from end effectors using micro controllers and sensors crucial when extruding non-static cement, clay or polymer.

This was the short listed choice for project fabrication in 1:1 scale as the kuka robotic arms would achieve the best detail for their rotation in 6-directions rather than 3 directions in the 3D printers.

Alternative Materials

Fabclay technique Fab Clay, 2018 <http://www.sasajokic.com/fabclay> [Accessed 1 June 2018].

Fab Clay

is a new ceramic printing project that has researched into a new type of digital fabrication technique that looks into the use of traditional materials. This project uses KUKA robotic arms to hold a vacuum pump which has the clay material. The Robotic arm movements and the vacuum pump releases the material in a synchronised manner. This technique could potentially be used for building the full scale columns as it is economical but there could be challenges in ensuring the structural integrity.

Terra Performa Terra Performa, 2018 <http://www.iaacblog.com/programs/terra-performa/> [Accessed 1 June 2018].

The Column Design could be constructed using the additive technique of large scale

Terra Performa

3D printing as achieved by The project in the Advanced architecture Group of the Institute of Advanced Architecture in Catalonia. They used an ancestral technique of mud construction which had an ecological footprint of close to zero. Our main objective of investigating about this technique is to bring about a connection with the narrative of growth. This technique would further the design of a newOrder column being an ancient ornamentation joined with the ancient building technology brought about by robotic fabrication technology.

C.2. Tectonic Elements & Prototypes

The minute details on the column bring about a second spiral moving upwards, this aspect truly expresses the design intent. It is through this detail we can convey the intricacies of our design and also promote the ornamentation that we have algorithmically developed. It is through this sculptural detail that we are carrying forward the relevant local narrative, every patron can experience this tangible space and admire the marvel of the design made real because of technological advancement in the design sphere, human conscious selection and computerised additive fabrication.

It is through this space we want to achieve an experience of admiration of intricate sculptural ornamentation newly made to create a newOrder.

Prototype 1: ABS Plastic (grey) Aim: To construct a detail model Material used: ABS Plastic Colour: White Time taken: 8 hours Achieved detail: Structural stability: Time consideration: Ease of fabrication:

This was the first prototype that we made for the interim presentation and proved to be quite good in all ways. It was structurally sufficient, achieved the intricate detail and was neat. The desired outcome initiated a conversation for realizing the entire facade by 3D printing.

Prototype 2: Aluminium Wire 2mm

Aim: To test the materiality for constructing the facade Material used: aluminium wire 2mm Colour: Silver Time taken: not considered.

Achieved detail: Structural stability: Time consideration: Ease of fabrication:

In the initial stages of our fabrication, we tried aluminium wire for trying to fabricate the facade and also the columns. This technique proved to be quite tedious and time consuming as we were trying to construct by hand. However, certain technologies, like active bending and welding would allow this technique to be used to conceive this design.

Bench Mark model C at Spuilein, the Hague by OnSite Studio

Prototype 3: PLA Plastic 3D print Aim: To prototype 1:20 scale columns Material used: PLA plastic Colour: White Time taken: 17 hours for 3 columns

Achieved detail: Structural stability: Time consideration: Ease of fabrication:

We tested 3D printing using the PLA plastic filament and the results were satisfactory. However, the results from ABS plastic was much better but the only advantage of this method was that the fabrication was cheaper. The details achieved were fine but it was quite difficult to remove the supports. Thus the results of this prototype informed us of the structural aspect and we researched about it in later pages.

Prototype 4: ABS Plastic (grey) Aim: To construct a detail model Material used: ABS Plastic Colour: Grey Time taken: 14 hours Achieved detail: Structural stability: Time consideration: Ease of fabrication: The use of ABS plastic proved to be quite effective in bringing out the minute details, this particular model was 3D printed using a grey filament. This one took around 14 hours to complete and had a very good finish. The model was quite strong to be used for presentation purposes and also for prototyping. The level of detail achieved was quite accurate in this prototype and its perfectly satisfied our aim.

C.3. Final Detail Model

The chunk of the column was previously selected and a test fabrication was done by 3D printing using ABS plastic as previously mentioned. However to make it in 1:5 scale we chose to laser cut layers of this in box board because it would be very expensive to 3d print and so laser cutting was the ideal option. The final detail model was achieved by laser cutting 1 mm box board sheets and gluing them as layers. At first we thought of laser cutting 3 mm box board, but on seeking further advise from our studio leader we switched to 1 mm box board to achieve a finer detail. The Chunk model was extracted from the column and scaled upto 1:5 and was contoured in 1 mm layers. The layers were then individually separated and flattened.

There after it was numbered and put in the laser cut template. Further, 4 rectangular extrusions were put in the chunk and in laser cut layers it became 4 squares and these were used to align the layers while assembling the model

Assembly of Detail Model

C.4. Learning Objectives and Outcomes Objective 1. “interrogat[ing] a brief” by considering the process of brief formation in the age of optioneering The brief given to us by our studio leader in the first instance created a feeling of awe in our minds. The newOrder studio in its studio synopsis had works of Michel Hansmeyer displayed on the front page. It immediately caught my attention and wanted to remain in the studio. While looking deeper into the tutorial demands furthered by the lecture content and readings and also reading presentations taught me about various ways of fabricating and the amount of options that is possible using computational and algorithmic design software. While interrogating the brief, we connected the various aspects related to the site and given precedent research about optioneering. Such aspect led us to think about designing with clay, cementitious material with the help of Robotic arms.

Objective 2. Developing “an ability to generate a variety of design possibilities for a given situation” by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive design-space exploration; Looking back to our project from the start of this semester I can justly say that we have come a long way in terms of enabling us with the knowledge of algorithmic and computational design. Neither of us in our group had prior knowledge about Grasshopper and we developed it in a very sequential way along with studio tasks, readings and other investigations. It most rightly inculcated in us the ability to explore extensively in the design space, the reverse engineering process and also the iterations and the understanding behind the selection of the iterations created in us a more aware parametric designer.

Our Initial design research of flora and fauna in the Meri Creek region fussed with the site and its demographics, furthered with the use of parametric modelling exploration was really engaging and the ability to do so will be forever cherished.

Objective 3. developing “skills in various three-dimensional media” and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication; Visual representation skills were thoroughly enhanced and in using various three-dimensional media. Studio Air required us to do online modules of grasshopper learning which helped us in our design thinking and moreover in learning the logic behind the commands. As previously mentioned neither of us had knowledge about algorithmic designing and was really engaging. I really enjoyed algorithmic tasks given by our studio leader in the first few weeks to create algorithmic outcomes from initial sketch design and such were the founding base for our design approach. Such exercises made us acquire various three-dimensional media skills. Later in the semester it was further more engaging in making small scale 3D prints in various material and also researching about large scale 3D printing and construction using robotic arms.

Objective 4. developing “an understanding of relationships between architecture and air” through interrogation of design proposal as physical models in atmosphere; Our site and design proposal is closely associated with the “architecture and the air” as the proposal is of an elevated design scheme and the order is lifting up the space which is intricately related to the design narrative. To investigate this process we made prototypes quite early in the semester to understand the feel of the design in the physical world and also to investigate further with the associated ornament in our newOrder. While we had not created such intricate prototypes earlier in the semester, to see something made digitally get fabricated was quite exciting.

Objective 5. developing â&#x20AC;&#x153;the ability to make a case for proposalsâ&#x20AC;? by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourse.

While it was endless process to discover in the digital realm, we formed sound argument for what could be considered good prototype through a developed selection criteria.

Such was developed through extensive feedback provided in the in-class presentation and also the interim and final presentation. It was these feedbacks that enable us to rethink and create better outcomes. Further, the readings and in-class reading presentation inculcated in us a designerly attitude in the contemporary design style.

Objective 6. develop capabilities for conceptual, technical and design analyses of contemporary architectural projects; Through the investigations in the Part A of the Journal, it introduced to us various precedent research and tutorial discussions allowed us to investigate the process of designing to fabrication. Such research and dialogue informed us to make a detail model for the final presentations. It can be said to be a direct technique use from the columns developed by Michael Hansmeyer.

Objective 7. develop foundational understandings of computational geometry, data structures and types of programming; Looking back at the initial weeks, I was really scared looking at complex grasshopper algorithms and not being able to understand. However, with the help of the online videos provided by the studio, I gained sufficient knowledge to understand and write definitions using a multitude of grasshopper components. I remember learning how to keep my computer stable by understanding data structures, thus I believe that I have developed foundational knowledge and understanding of computational geometry, data structures and types of programming.

Objective 8. begin developing a personalised repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application.

We were informed about the advantages of Grasshopper quite early and we started iterating simple columns quite early and using the various techniques available with amendments from our group we built our repertoire that enabled us to create the most successful columns that could integrate with the façade design. Such a challenge of allowing the components shows that a definitive personal repertoire was built.

Bibliography Al Jassmi, Hamad, Fady Al Najjar, and Abdel-Hamid Ismail Mourad, “Large-Scale 3D Printing: The Way Forward”, IOP Conference Series: Materials Science And Engineering, 324 (2018), 012088 <https://doi.org/10.1088/1757-899x/324/1/012088> Achimmenges.net. (2018). ICD/ITKE Research Pavilion 2010 | achimmenges.net. [online] Available at: http://www.achimmenges.net/?p=4443 [Accessed 31 Mar. 2018].

Hersey, George (1988). The Lost Meaning of Classical Architecture (London; Massachusetts; The MIT Press) pp. 1-45 Kolarevic, Branko (2014). ‘Computing the Performative’, ed. by Rivka Oxman and Robert Oxman, pp.

103–111 Kolarevic, Branko and Kevin R. Klinger, eds (2008). Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge), pp. 6–24 Moussavi, Farshid and Michael Kubo, eds (2006). The Function of Ornament (Barcelona: Actar), pp.

5-14 Peters, Brady. (2013) ‘Realising the Architectural Intent: Computation at Herzog & De Meuron’. Architectural Design, 83, 2, pp. 56-61 Special Issue: ‘Patterns of Architecture’, Architectural Design,79,6,2009.

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

Images Seroussi Pavillion <http://portfolio.ezioblasetti.net/Seroussi-Pavillion> [Accessed 1 June 2018] Fab Clay, 2018 <http://www.sasajokic.com/fabclay> [Accessed 1 June 2018] Terra Performa, 2018 <http://www.iaacblog.com/programs/terra-performa/> [Accessed 1 June 2018] D Shape Printer, 2018 <https://commons.wikimedia.org/wiki/File:D-shape_printer.png> [Accessed 5 June 2018] Contour Crafting, 2018 <https://3dprintingindustry.com/news/3d-printing-next-five-years-brian-cgiles-blair-souter-armatron-systems-114979/> [Accessed 5 June 2018] Swarm Method, 2018 <http://zachmortice.com/2015/09/01/4-ways-a-robot-or-drone-3d-printerwill-change-architecture-and-construction/> [Accessed 1 June 2018]

Appendix