COMPUTATIONAL ORNAMENTATION PROTO BUILDING
AA Intermediate 13 VIVIAN OLAWEPO Taught by Soomeen Hahm
PRECEDENT STUDIES Digital Grotesque Benjamin Dillenburger & Michael Hansmeyer
Digital Grotesque explores the different potentials of additive manufacturing in architecture on a large scale. And the benefits of exploring detailed designs at no extra cost which now renders ornamentation as a n accessible comodity. Digital Grotesque is the first enclosed structure that is entirely 3D printed out of sand. This s16 square meters strcuture is materialised with details at the threshold of human perception. Every aspect of this architecture is composed by customdesigned algorithms, which all have been documented in a technical report. Research for the Digital Grotesque project was carried out at the Chair for CAAD at the Swiss Federal Institute of Technology (ETH) in Zurich. The aim of this project is to defy our traditional notions of architecture and not to comply with classification and reductionism. They explore unseen levels of resolution and topological complexity in architecture by developing compositional strategies based on purely geometric processes. It is integrated ornamentation that plays with the unknown and has the power to surprise.
Incidental Space
Incidental Space gives us an insite into what this kind of design means for us today and its potentional. It reflects the architectural production in the form of a highly technological interdisciplinary practice of architecture that goes above and beyond the building. It’s more to do with how much you can imagine and how you can experience a space instead of the space being functional, so that everyone can relate to it in a different way instead of it being forced on you like many functional buildings we have today. It is exploring new ways of thinking about architecture and experiencing space.
RMIT Mace - Roland Snooks in collaboration with Scott Mayson
This is a research project into 3D titanium printing. The project draws upon the intricate and ornamental characteristics of historical mace and reinterprets these through computational design processes. The mace was fabricated through a laser sintering process that fuses titanium powder to create a highly intricate and lightweight structure. They used a mace because of its symbolic meaning. It is supposed to bring together techology and design within the university. One of the problems they encountered was optimising the structure of the algorithm. The swirl patterns with in the mace were not able to be 3D printed, so they created their own software that removed all the geometry that isn’t buildable and subsititue with geometry that would all them to build the mace. [They used the same algorithm we see in nature].
XenoCells project uses a cell division algorithm that can be applied in varying resolutions, to vastly different effect – achieving 3D-printed forms that range from sharp crystalline structures to organic folds reminiscent of internal organs.
Some projects by Roland snooks and Alisa Andresek have good examples of design and fabrication experiments through the utilisation of high population of agencies enabled by super computer power.
Xenocell - Alisa Andrasek
Statement 1 With the rapid development of GPU, there is vast amount of computer power to deal with complex shape, however, we are still using the power to generate very conventional models, and even though it is more detailed it is just polishing what we already know and have. For my project I want to challenge the way we utilise computer power by generating complex form that could possibly incorporate deep learning to advance our way of thinking.
Statement 2 Complex details are Nowaways freely offered by Digital Fabrication Process. There are no economic difference during construction process between
conventional form vs highly Complex form.
Mario Carpo Excessive Resolution
Ink |
| Water
PRECEDENT STUDIES
Day 202 (2013)
Experiments - Alex Nero
Emotion XII (2015) Day 205 (2013)
Emotion VIII (2015) Emotion IV (2015)
Alex Nero is an American artist currently living and working in New York City. His current body of work captures the out come of when two liquids mix together. This experimental technique physical dynamics of liquid ink submerged in water. Nero’s imagery inspires a dialogue with the subconscious, allowing a unique experience through individual interpretation. He uses other kinds of medium, like mirrors, magnets and chemicals of different kinds.
FORM IN NATURE
Puyehue volcano in the Andes mountains of southern Chile
Lava Flows and Folds
Lava flow by Adrian Warren - Mount Kilauea, Hawaii
Mind-Matter by Mind-Matter on deviantART Pahoehoe basalt in a section over the lava tube
The form of ink in water is also seen in nature. From the swirling clouds in the sky to the slow cooling lava on the ground. This form has its place in nature where it’s most natural and effortlessly peaceful, playing with light, different colour tones as well as transparency and reflection. It all comes together in the continous cycle of nature.
Instead of observing a moving obstacle through the ink, it was time to find out how a stationary would interact with the ink in cold water. Cold water because it reduces the rate of diffusion takes place. The result is the same as the previous experiments where by the form is similar but different because you cannot have the same outcome twice. As the ink is injected onto the marble it engolfs the marble to create a new form that then dissipates upwards.
So the obvious next step is to see what happens when iink is injected through the obstacle. So if it changes the form of the end result significantly.As I injected the red and blue ink through the cluster of balls there was a visible difference. Due to the direction of the red ink it passed through a gap to create a sightly wishy washy form that raced to the bottom of the tank, while the blue ink had a lot more form with protruding hooks that gradually changed as it made its way to the bed of the tank.
Photo Graph - Visual Analysis
2 seconds 1ml
3 ml
5 seconds
10 seconds
15 seconds
20 seconds
30 seconds
So, because we now know that the slower the release the more enlogated and delicate the form, I used this technique constantly until the 0.5ml ink finished in a full jar of water. I did this twice in one setting and the end result is simply breath-taking. It’s like sitting a light-weight structure ontop of the clouds. The slow release relaxes the mind and also elevates your mood. You have to smile at the final image with the form being a lot looser, almost flat at the beginning and then holding its shape at the end - magnificent.
As 1ml was injected onto this clay chair, it was interesting to see that the result was differernt from when 1ml was injected onto a marble. And this is due to the different shapes of the obstacle. The aim was for the ink to take the shape of the chair to form a chair, however this didn’t happen.
This trail was the most success because the path to the base of the lady was perfect which in return created the perfect ink chair. By analysing the chair you can tell the combination of techniques I used. So I started off light but firm because the inital release is solid due to it being a chair. My release was constant due to the even coat over the lady with bigger forms where the ink first interacted with the lady. Then it starts to support the neck and head more as it settles on the ground.
To conclude, the rigorous study into ink has given me an unprecedented insight to how a dense liquid interacts with a less dense liquid. How this is replicated into comolex forms of nature and backed my calculated physics. I was also able to make subtl links to achitecture which has been evident in the way I describe the experiments. This is a beautiful but complicated phenonemon that has a lot of possiblities when explored. The image above is me trying to explore one possibility out of many. It anwers the question of how this form could occupy a given space. This is on a mirco scale, I will further my development to look at it on a marco scale. 35
Simu
ulatiion
WAYS OF CAPUTURING INK |WATER REALISTICALLY Photogrammtry
ScanLAB, UCL
As a test subject, Chris Peregoy, UMBC
ScanLAB, UCL
3D Scanning
There are many accurate ways of capturing the motion of ink in water, with two examples being 3D scanning and photogrammtry. This way would make it possible to study this formation in much detail however, the ultra high speed scanner is an expensive peice of equiptment and so is acquiring 100s of camers for photogrammy. So I did not persue these routes
Instead I chose to simulate the formation on ink in water, This is how I capture the form because this way I can learn more about the fluid and its parameters as I am not interested in just replicating the form but adapting and applying it. This way I have more control over the outcome.
There are available computer power to deal with complex shape, while in this reference they are still using the power to generate very conventional models, and my project I want to also challenge the ways to utilize computer power to generate complex form.
GPU COMPUTING
GPU computing and Simulation
With this research, I started to look into liquid simulation which is simulating the real world liquid which is part of Computational Fluid Dynamics (CFD). Interestingly, I carried out through ink experiments in real world (please refer to first booklet) as a developmental leeway into technically simulating it. So, I designed a setup and tried a lot of experimentation to try and observe the generated shape through control of the injection and flow speed etc. My goal is to learn more about thr parameters of fluids and how they generate interesting shapes/ form through controlling the trajectory, denisty, velocity and so on. The physcial ink studies gave way for me to delve in on a deeper level to generate these digital studies. This is a way of using modeling tools creatively to generate new aesthetics. The generated shapes will have to be fabricated. There are examples such as the swiss pavilion which was 3D printed. I explore this in my next booklet (booklet 3). I assume there will be improved method of fabricating highly organic geometry in the future and my project will adapt to this.
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42
REAL-TIME INK SIMULATION USING A GRID-PARTICLE Research by Shibiao Xu, Xing Mei, Weiming Dong, Zhiyi Zhang, Xiaopeng Zhang
An example of ink diffusing animation computed with our particle-guided method, ink ow spreads outward in every direction.
Initial ink simulation using fluids in maya. It shows the flow of the fluid downwards with the inital form of a diffusing ink in water. However, the seetings used to generate this form doesn’t accomplish what I want.
TRAIL AN Next I went on to use Bifrost in Maya. Below are a sequence of images showing different outcomes created by different settings. The set up is to imitate my initial ink experiments. The first image is of two liquids being emitted from two different meshes. As you can see it doesn’t interact or anything. The idea behind this was to play with the interaction of the two liquids as they both different viscosity and density levels.
Next I went to play with the particle s size of 1, while the image below has a only affects the visibilty.
Term1
ND ERROR
So then I thought I needed the two liquid systems to collide, but that isn’t possible without futher coding in mel script. This is because in Bifrost you cannot make two particles collide because the particles have no volume or nucleus so, it has to be a particle system colliding with a mesh. Term2
size. The image on the left has a point a particle point size of 3. The result - it
- 2D Simu
ulatiion
SETUP PARAMETERS Constant Parameters : Falloff Method - Static Grid Gravity [N] - 9.8 Swirl - 0.030 Buoyancy - -1 Turblence Frequency - 0.011 Turbulance Speed - 0.063
Emission Rate [Percent] Timeframe - 156/1000 Base Resolution - 400 Size [cm] - 30,30,1
10
50
100
Emission Rate [Percent] - 100 Timeframe Base Resolution - 400 Size [cm] - 30,30,1
156/200
Emission Rate [Percent] - 100 Timeframe - 156/1000 Base Resolution - 400 Size [cm]
30,30,5
Emission Rate [Percent] - 100 Timeframe - 156/1000 Base Resolution Size [cm] - 30,30,1 10
156/500
30,30,10
50
156/1000
30,30,20
100
200
500
156/10,000
156/25,000
30,30,30
30,30,40
200
400
1,000
2,000
156/50,000
156/500,000
60,60,1
100,100,100
800
2,000
SHAPES TRANSLATED [SQUARES] Velocity
Timeframe - 115
Scale - 4,4,1 Swirl - 0.030 Noise - 0
Scale - 4,4,1 Swirl - 0.030 Noise - 0
Scale - 2,2,1 Swirl - 0.030 Noise - 0
Scale - 2,2,1 Swirl - 2 Noise - 2
Pressure - 30 Threshold - 1 Tension - 0 Gradient Force - 30
Pressure - 30 Threshold - 1 Tension - 0 Gradient Force - 15
Pressure - 30 Threshold - 1 Tension - 0 Gradient Force - 3
Pressure - 35 Threshold - 1 Tension - 0 Gradient Force - 30
- 3D Simu
ulatiion
After exploring nParticles and Maya Fluid, I went on to go back to basics and use Maya’s Fluid Dynamics. This is because the simulation does what you tell it to do, so pbviously I wasn’t using the right parameters/using the parameters properly. The next set of iterations are on this page. It is not exactly what I want but it is a progression from what I initally started with in term 1. With this set of iterations, I combined them together to explore the spatial qualities and the possible impact on user experience.
Frame 20
Frame 200
Frame 100
Frame 280
FLUID PRIMITIVES
This is a zoomed in view of option 2. I choose this view because its a close replica of the form of my ink study. As you can see the bends and folds even though a bit looser can be related to the latter part of the controlled experiments where the shape loosens it forms. So right now only the replication of the form is being focused on and not the trasluceny and so on. I also cut a section because of how intrigued I was into what characteristics this interior space forms. And as you can see it’s not a direct correlation between the exterior folds, so just like the ink it’s unpredictable.
FLUID PRIMITIVES
BLOB PRIMITIVES
FLUID BLOBS
CONTAINED FLUIDS
ERODED PRIMITIVES
This is a zoomed in view of option 2. I choose this view because its a close replica of the form of my ink study. As you can see the bends and folds even though a bit looser can be related to the latter part of the controlled experiments where the shape loosens it forms. So right now only the replication of the form is being focused on and not the trasluceny and so on. I also cut a section because of how intrigued I was into what characteristics this interior space forms. And as you can see it’s not a direct correlation between the exterior folds, so just like the ink it’s unpredictable.
Material Study a
and Fabrication
Contour Crafting
Contour crafting has a similar technique to 3D-Printing. The outcome isn’t what I want but it make me aware of the structural flaws in my original model.
Styrofoam and acetone
The styrofoam experiment gave me interesting results. The aim was to try and replicate a form similar to my ink experiemnts, instead I got interesting textures
Foam - Blue Foam Acetone - 100ml Duration - 5 mins [Least dense]
Foam - Yellow Foam Acetone - 75 - 100 ml Duration - 4 mins [Least dense]
Foam - Black Foam Acetone - 150ml Duration - 10 mins Dense]
CNC + Acetone + Concrete The outcomes. I filled the styrofoam with Concrete to examine the textures with practical materials
APPLICATIO
ON ON SITE
2D Fluid Simulationoverlayed ontop of site as an approach to spatialising the site a and indictive key on how to possibly zone it
Ground Floor - Exhibition etc Scale 1:1374
Cultural/Festival Park 1. Salon - 12mx12m 2. Exhibition Space -15mx15m 3. Performance Space - 10mx8m 4. Screening Room -10mx12m 5. Meeting Room - 6mx5m (2) 6. Workshops/Classroom 5mx5m (4) 7.Community Hall 18mx10m 8. Staff Room 8mx7m 9. Toilets 850mmx1500mm (per cubicle) (5)
This is the first option whereby I generated each blob and joined them together and make a section to also see the interior spaces. From this I realised that this technique, even though it was beautiful and has potential only gave me sculptural forms and already set interior forms that I’ll have to make work somehow which goes against how I wanted to design the same because I wanted something a bit more open and free flowing, I wanted to set the spaces instead of the spaces being a byproduct of the generated form.
KINE
ETICS
The feeling of not belonging The term GHETTO is prominent with the black community as it classified a minority group. A ghetto is located within a city’s slum area and is occupied a minority group usually due to social, legal or economic pressure. It is an isolated and restricted area. Social housing, high crime and black men are the sterotypes perpectuated in today’s society due to the poor designs and maintenance of modernist social rising. The high walkways/circulation variables, entrance characteristics, number of blocks and their layout that is naturally succluded due to the exterior boundary that is seen as protecting the bypassers from people living in these blocks. As well as the detoriating deisgn of modernist social high rises, the transition of being in a confind area into the city has a pschological effect especially in an oppressive society. This is double consciousness.
Afro-Caribbean immigrants arrive at Waterloo
Beach Head Lady 200AD
Cheddar Man 10,000 year old human fossil dates to the Mesolithic
My design project aims to create an intelligent system that challenges the traditional notion of ornamentation in architecture. The notion of whether ornamentation can be controlled, inhabitatble, structural, functional as well as asethically pleasing especially within the digital age and rapid development of technology. Applying this architecturally, it establishes defines and utilises both functional and non functional spaces.
Platform with multiple textures [refer to page 66]
Fabric - Lyrca
Gaps = Excavated Site
Fluid Simulation [refer to page 46 and 85]
This chapter gives an insight into the current site for my design studio. Brixton is located in the Bourough of Lambeth, South West London. It has a long black history which is evident in the culture of the palce.
Interactive Facade that moves based on the brainwaves of the person inhabiting the space
Procedual Landscape based on the outcome of the different materials I tested. It about the material and the textures it creates after certain procedures have been applied My design project above proposes a prototypical system that sculpts a persons immediate environment based on their emotion. We have a few analogue and digital fabrication methods for complex geometry that encentuate the ornamentation of the form, however they hardly have an architectural function in the context of the built environment that isn’t a temporary detached instalment. It is always hidden and utilised at a small scale. Except for incidental space, but even with that it’s isolated within a bigger structure.
Linear Actuators
An intelligent system that allows the form to sense and analyse its surroundings. This way it processes a person’s emotion as they intersct with the exterior. By the time the person finds the hidden door, the inside would be sculpted to evoke a different emotion.
Interactive Form - Case Study
Interactive Architecture Lab reEarth: Hortum machina, B
Panelling system + Structure
Aluminium Structure
Elastic/flexible fabric
Panelling system [Option 1]
Panelling system [Waves]
PROPO
OSAL
30 St Mary Axe [The Gherkin] 180m St Helen’s 118m Bishopsgate
Tower 42 183m
The Leadenhall Building [The Cheese Grater Building] 225m
London Eye Shell Centre St Paul’s Cathedral Canary Wharf
The Shard
Strata SE1
107 m
306m
20 Fenchurch [Walkie Talkie Buildling] 160m
A city is defined by its skyline of office towers. Since the late 19th century, these tall buildings has been the representation of the achievements of architecture. From the Effiel Tower in Paris to the Burj Khalifa in Dubai. The images above is the skyline of London illustrating the raneg of skyscrapers that define life in the city of London. Bishopsgate
LIFE IN A CITY
Big Ben
My Site Area Elephant and Castle
Victoria Tower
Strata SE1
Westminister Abbey
LIFE IN A MODERN CITY
‘Form matters, but more for what it can do than for what it looks like’ -Stan Allen [Allen, n.d]
‘Neither function or form is abandoned. Rather, form is reconceptualized as a conditio conducive to certain outcomes, certain possiblitiles of activity and habitation.’ [Allen, n.d] This inspired me to use form as an instigator of performances and reponses, ‘a frame that suggests rather than fixes’. This is especially needed in today’s changing dynamics in working and workspaces.
The Taylorist Layout and Bürolandschaft each had a linear relationship between its occupations
HISTORY OF OFFICE
Daily 7am Plan
Reflective Plan
95
10pm
1pm
3pm
6pm
LIGHT + ATMOSPHERE
105
COLOUR
TEXTURE
Thank
you