SEMESTER 2 2012
ARCHITECTURE DESIGN STUDIO: SOPHIE FARMER 390862
AIR
CONTENTS CASE FOR INNOVATION C A S E S T U D Y 1.0 C A S E S T U D Y 2.0 M A T R I X P R E S E N T A T I O N P R E P EOI PRESENTATION F E E D B A C K G A T E W A Y P R O J E C T P R E S E N T A T I O N P R E P F I N A L P R E S E N T A T I O N F E E D B A C K
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CASE FOR
INNOVATION
ARCHITECTURE AS
DISCOURSE
The Sky House was designed by architect Kikutake Kiyonori in 1958 and served as his own family home. Despite the overall design being quite simplistic, being made up of one single room, what really captures my attention is the theory behind its design. Kikutake was one of the main architects part of the Metabolist movement in Japan, something that I am very interested in. This building I believe, really showcases the ideas and overall theory associated with the Metabolist architectural movement. The fundamental ideas are that of replacement and renewal - essentially the metabolic process. The building is designed in such a way as to allow additional rooms to be added underneath the exsiting structure elevated 5m into the air. The core structure of the Sky House is the upper level and the rooms added below act in the manner of capsule-like compartments.
I believe that the architect’s intention was, that, as the family structure, in this case his own, grew and changed, then so will the house in conjunction. As the children grew up and became independent then the number of rooms could be adjusted accordingly, the overall layout of the building would go through a somewhat cyclical process that is symbolic of metabolic process (Koolhass and Obrist, 2011). The theory behind this design was most likely seen as quite innovative at the time although it does not directly relate to the trend in digital architecture today. However, the idea of growth and renewal associated with this building can and has been somewhat implemented into current digital architecture. This is in turn enhanced through the use of mathematical analysis and algorithims of biological processes such as tree growth.
KIKUTAKE KIYONORI
SKY HOUSE
The Qatar National Convention Centre, designed by Isozaki Arata, an architect who was also associated, albeit loosely, with the Metabolist movement, was designed and contructed using such digital methods involving a mathematical analysis of the way tree branches form and grow. Although the architecture does not clearly link to the Sky House or other similar works in a concrete sense, in my own opinion, the ideas of growth are evident in both designs but implemented for different purposes. In the Sky House, the idea of growth is used to improve the lifestyle of the users, whereas the National Educacation Centre design uses this idea in a structural and biomimical way. It is evident that, by using digital modelling techniques, some architectural theories that were never truly realised at the time they were proposed can now be refined and applied in a much more successful way to architecture.
REM KOOLHAAS
MAISON A BORDEAUX
Designed by Rem Koolhaas and OMA and completed in 1998, the Maison Bourdeaux is another building that I admire. Though the overall volumes are quite simple, I really like the linearity and large cantilevering upper level. The interior space is quite a contrast to the overall volume of the house being complex and dynamic yet it is a very open plan. What makes the interior space so interesting to me is the elevator that connects the three floors. The elevator, however is seen as an entire room, the wheelchair boound client’s office. Not only can the client travel comfortably
between the levels, but he can also create different spatial and experiential qualities within his office to his liking. It was designed that all three levels produced different qualities of light associated with them (Kroll, 2011). The notion of moving rooms I find to be a very interesting concept, its almost as if the house is a machine itself. It instantly reminds me of idea developed during the modernist movement by Le Corbusier. This building expresses this notion very well and also I believe it does so in quite a literal sense.
IN ARCHITECTURE
COMPUTING
WHAT ARE THE BENEFITS? Computational design is an approach to design that makes use of computers as an actual design system to aid in both the realisation and creation of design ideas, in comparison to computerization or computer aided design that is really only a tool for organizing information and in turn representing it. A computational design approach allows information to be generated via computers and in turn is able to come up with potential design solutions. A computerization approach involves the designer having to input all of the information necessary, literally translating it into computer aided design programs. In this case, the computer, being an amazing analytical machine capable of storing and generating enormous amounts of information is not being used to it’s full potential, and in turn the benefit that designers should be receiving is not being maximized.
The main objective for the designer is to create solutions to problems, therefore using a computational approach is currently the most beneficial design approach as the computer is an excellent problem solving tool and can come up with many different design solutions. There are many ways in which computational design methods can benefit architects and other design professionals. However, despite programs being able to generate solutions, they are purely rational and so the creative abilities of the the architect or designer is necessary. By combining the rationailty and analytical skills of computers and our creative abilities the most suitable and ideal design solutions are able to be explored. In addition to this, using computers to aid in design allows the architect to experiment
with their design in a virtual space. Although physical models are still important, it is much easier to manipulate the parameters of the design using a computer. Not only does a computational approach aid virtual experimentation, it also is able to make the fabrication processes, such as creating scale models, manufacturing and in turn final construction much more efficient.
This computational process was able to create a surface shape that represented a good fit between architects’ early ideas and structural/ load-bearing criteria. Second application of analysis and optimization considered the shape of individual component facets of the roof that allowed detailed design to meet the edge condition, size and regularity constraints, as shown above to the left.
Computational architecture also allows for greater optimization, particularly in a structural perspective. Using algorithms and complex mathematical analysis, the most optimatl structural system of a building can be explored and determined. An example of this kind of optimization would be in the design of the British Museum Great Court roof, by Foster and Partners. The optimal structural form was achieved through a mathematical analysis.
Computing in architecture gives architects numerous benefits when engaging with the design process. By creating a symbiotic realitionship in a communication sense between both designer and computer, the results that can be achieved are infinite. Computational design does not only optimize the buildings we design, it optimizes the way in which we design too.
AGENT BASED SYSTEMS
COMPUTING SWARM INTELLIGENCE THEORY Using agent based simulation systems in architecture involves what is known as swarm intelligence theory.
group is achieved through emergent behaviour rather than prescribed (Emergence over prescription).
The theory behind swarm intelligence is that, in nature, despite simple creatures following simple rules, each one acting on local information (no individual creature seeing the big picture or tells any other creature what to do), the interactions that locally and randomly occur between each creature or agent is able to result in very intelligent behaviours as a collective.
It is believed that through swarm intelligence, solutions to problems in nature can be solved successfully, then it may also be able to be applied in robotic systems. By specifying simple rules and specific behaviours that each agent is constrained by and allowing each to interact randomly through computer simulation, emergent behaviours and in turn solutions are able to arise.
For example, within a self-oganized ant colony the individual ants themselves are not very intelligent, it is the collective colony as a whole that functions intelligently. In an ant colony there is no one ant in charge, it is through the vast amount of individual interactions that allows an ant colony to function so successfully. To summarize, success of a large collective
In the case of emergent architectural design, the agents would be architectural elements. Through each individual element’s random interactions with one another, the collective optimal architecture, containing all these elements, much like ants in an ant colony, is thought to be able to emerge.
<http://ngm.nationalgeographic.com/2007/07/swarms/miller-text>
<http://www.kokkugia.com/>
<http://www.kokkugia.com/>
KOKKUGIA
BUSAN OPERA
The main idea used for inspiration in this building was ‘evolution by self-organized behaviour’ of the agents within the simulation system and also ‘design by emergence’.
Using such a system gives many benefits to the designer, the rules set up for the agents within the system were able to be manipulated easily to incorporate the constraints and brief ‘requirements’ of the project. Examples of such being; connecting the users with water, and transparency and opacity to allow good views.
Both the form and the character of the building is realised and created through an agent based system. The interactions of individual agents allow for the surface structure to arise and through further interactions allow the topological surface to morph and evolve.
It is evident by looking at this project just how inherently unique and interesting the building forms generated using agent based swarm systems can be. Implimenting such a system into the design process can be very beneficial as it allows for solutions to arise naturally.
Designed by Kokkugia for a design competiton in Korea in 2010, the Boran Opera House is a good example of agent based swarm systems.
IN ARCHITECTURE
PARAMETRIC MODELLING OVERVIEW Parametric modelling, can be said to be a method computational design that makes use of what is known as parameters or variable within 3D computational software. Parameters are thought of as any factor that defines a given system, in this context, the architectural design. As parameters define a system, they therefore determine the limits of its performance. Parametric modelling involves linking variables together so that in such way, all the variables or parameters are inherently linked via mathematical equations within the software. Essentially, by using computational software a parametric system is able to be generated and explored to find an optimal solution. By utilizing such a system, the designer is then able to easily modify the entire model by changing a single parameter of the parametric system created. Within a parametric system all of the parameters are linked with each
other, therefore it can be seen as a rule driven systematic approach to designing. Parametric systems allow for infinite variations, and as variation can be said to be one of the mechanisms of design. Architectural design is an iterative process that focuses on creating variations or design possibilities from specific constraints. Up until very recently, and currently still, for the architectural designer, coming up with numerous variations and then exploring each possibilty to reach an optimal solution has been extremely time consuming. By creating and using a parametric system, design possibilities are able to be explored much more efficiently as variables can be easily adjusted rather than starting a design from scratch manually. While it may be time consuming to set up a system in the initial stages of the design process, more variations are able to be explored in a much
ADVANTAGES & DISADVANTAGES shorter amount of time, making this method theoretically much more efficient. However, there are some draw backs using such a design method. As the technology is seen to be quite new, that is, in the architectural industry, it involves an entirely different kind of thought process for the current designer that still focuses on two dimensional drafting and analogue computerization techniques to find solutions, and when something needs to be altered it is started from scratch again. For those that have been practising for a considerable time, it may be difficult to change and others with such technical skill may need to be employed. An example of this is seen at Gehryâ&#x20AC;&#x2122;s, where there is an entire dedicated team that deals with parametric modelling. Yet, for many small firms it can be quite costly and so the change to parametric modelling is difficult to make.
Another problem is the fact that buildings designed using parametric software are categorised by some into a particular style, that of parametricism. Designers may not be drawn to integrating parametric systems into their design process as they do not want to design architecture in a parametric style or aesthetic, in particular organic, blob-like forms. However, many argue that the parametric design should not be seen as an aesthetic style. I also agree with this, the designs that are able to be generated are infinite, therefore I find it strange that the use of such modelling systems can be seen to be conforming to a particular concrete style. Despite such disadvantages, there are numerous benefits that appear to outweigh the set backs. Parametric modelling aids in finding the most optimal solution to a design problem, in terms of cost efficiency, construction methods as well as structural optimization.
UN STUDIO
MERCEDES-BENZ MUSEUM The Mercedes-Benz Museum located in Stuttgart, Germany and designed by UN Studio is a good demonstration of the kind of architectural forms that can be generated through parametric modelling. The overall design, with the aid of parametric systems is highly sophisticated in terms of geometry, form and also spatial organization. The overall program is based on a trefoil form and organization. And through computation software, the layers of each level, their organization and intersections of the building were explored and an optimal solution was able to be realised. Though the trefoil was already in the mind of the designers, by using a parametric system, they were able to soley focus on the design
of the building without needing to worry about factors such as construction methods. The reinforced concrete that makes up the majority of the structure was established via parameters. Once such parameters were established, the designers were able to focus on manipulating and investigating possible design solutions and variations. If the architects did not implement parametric systems into their design they would be having to worry about methods of construction and other similar problems at the end of the design process rather than having them established from the start. This is a good example of how such a system can really allow designers to work efficiently and optimize their time looking at design variations which is the prinicipal part of architectural design.
SU11
DUNE HOUSE
OVERVIEW Designed by New York design studio Su11, the Dune house is a reptilian-like structure designed to be situated in the Nevada desert. The designers used parametric software that allows for the building to be very site-specific, taking into consideration in particular the climate, and topography. Through the use of parametrics, the building is able to mimic the form and structure of sand dunes. The designers were also able to adjust the structure of the building by altering parameters. In other words, the building elements of the design, such as spatial characteristics, the windows, solar panels and other building technologies that would allow for an optimal solution that was best suited to a desert environment.
Dune House is a good example of how the use of a parametric system can create a building system much like a natural living system. Though I believe it to be a good use of parametrics, and it is certainly ecologically sustainable, I think that using biomimicry within a design can be achieved without the actual building looking physically like what every biological organism or process it is aiming to mimic. Perhaps less subtlety could be employed. However, parametric modelling is a great tool in biomimical design and over time as knowledge and technical skill increases the benefits will progress accordingly.
<http://www.su11.com/index.php?/project/dunehouse/>
EXPRESSION OF
INTEREST
EXPERIENCE & OPINION So far throughout this studio, learning about digital and parametric design theory has proved to be interesting. Before researching these topics, the ideas of parametricism to me were all about aesthetics, in other words, I thought that parametric design seemed to mainly be used for looks, used for the exploration of strange, organic forms. I still slightly believe this to be the case, however, through researching the benefits of using computational design methods to achieve such things as structural optimization and more efficient construction methods, I have started to regard parametric design differently. I’ve realized that it’s posssible to create quite
conventional looking designs using parametric tools and vice versa. There are many projects that appear to be created parametrically however sometimes it may not be the case. I have also found it quite amazing how organic, what looks to be quite spontaneous, forms are arrived at through such a rational and mathematical design. What has interested me the most is the ways in which organic shapes, what seem to me to be just ‘blobs’, emerge in parametric design. The notions of emergent architecture through agent based systems and swarm intelligence, though seemingly complex to me, is something that I would really like to explore further in the future when I have the time and appropriate knowledge.
RESEARCH
BIOMIMICRY
OVERVIEW Biomimicry, that is, the mimicking or emulation of models from nature to solve human problems, is an ideal approach in solving design problems not only innovatively but also sustainably. The types of models from nature vary, but they can be broken up into two levels. The emulation of natural physical forms, for example, leaves or shells. The actual physical structure of an organism can be very useful especially when trying to create an optimal structural system for a building. Biomimicry also exists at a deeper level, using biological processes as a reference when designing. This is what I find to the most interesting, despite being quite difficult to currently implement.
Using a biomimetic approach to design is very advantageous, however, there are also some drawbacks, I believe. In terms of structural optimization, it can be said that taking inspiration from models found in nature is a beneficial option. However, structure is a somewhat static architectural element, when looking at other cases in nature, particularly processes or biological models that have involve movement it is much more difficult to currently implement into a design. Despite this drawback, we as a group are very interested in movement associated with natural processes and are looking to further explore this notion throughout the coming weeks.
ARGUMENT: WHY BIOMIMETICS? The Wyndam City district is a constantly growing area with a rich natural landscape, when designing the gateway we believe that a biomimetic approach would be the most appropriate given the context. By using biomimetic parametric techniques, with a focus on natural biological processes associated with growth, the current rapid population growth, renewal and improvement of the district, as well as original natural lanscape of the region will be able to be to be expressed
in an optimal, creative design. The link between technology and natural, organic forms able to be conceived through such a design approach is ideal as it enables two major characteristics of the region to be embodied, community advancement and the maintenance and conservation of the natural environmental surroundings. Successful examples include the ICD/ITKE Research Pavilion 2011, inspired by sea urchins, as well as the Bowoos Pavilion shown to the right inspired by marine plankton shells.
RESEARCH
BIOMIMICRY
<http://www.architizer.com/en_us/blog/dyn/49023/bowooss-pavilion-a-study-in-bionics/>
GRASSHOPPER: OMA
CASE STUDY 1.0
PARAMETRIC DIAGRAM
YORKSHIRE DIAMOND
CASE STUDY 2.0
OVERVIEW
OVERVIEW & OPINION
Designed by Various Architects for the Yorkshire Renaissance Pavilion Competition, the Yorkshire Diamondâ&#x20AC;&#x2122;s form takes on that of a diamond lattice structure with a faceted, cavernous interior space. The entire exterior is comprised of inflatable tubes, which are intended to radiate light in all colours and directions in a way reminiscent to actual diamonds (Basulto, 2009).
The diamond lattice form of the exterior appears to be quite superficial and seems to be only in an aesthetic sense, the diamonds donâ&#x20AC;&#x2122;t appear to be doing anything structurally and most of the loads are taken by the interior structure.
The interior is intended to resemble a cavern so as to symbolize the mines (though not diamond mines) of Yorkshire. We do believe that there are some issues with the design, however, especially in terms of the relationship between the interior and exterior form.
We think that it is important that, if the designer is going to use biomimetics to design is should serve a purposes other than that of novel aesthetics. Another problem is that inside the pavilion, the diamond structure is barely noticable, it seems as if the users would only catch glimpses of it.
PROCESS IN GRASSHOPPER
CASE STUDY 2.0
STEP ONE
STEP TWO
Create lines that make up the diamond module using point, vector and length components.
Line created in previous step is mirrored alongside an opposing vector in order to form the upper half of the module.
STEP FIVE
STEP SIX
Unsure how to create copies of the structure in multiple directions. Attempted to copy the module onto a divided surface using a bounding box, however this was unsuccessful, copying the both halves combined.
Another attempt is made in an effort to copy each half seperately. However, if they were done separately they would not align correctly. Another method was necessary.
STEP THREE
STEP FOUR
The upper half of the module created is then mirrored once again and then rotated at a 90 degree angle forming the complete module ready for for tessellation.
Module is copied across from one point to create the diamond structure needed for further tesselation.
STEP SEVEN
STEP EIGHT
Able to copy the module using series, x, y and z axis components. Module copied successfully, however, the layers did not align and form a diamond structure.
Through further revision, a definition was achieved that allowed that module to be copied infinitely with series component without the need for re-alignment and in turn the reengineering process was successful.
PROCESS IN GRASSHOPPER
CASE STUDY 2.0 OVERVIEW The technique created in this case study is easily adaptable, however, as we are not very interesting in chemical structuring, we have decided to rework the technique in order to make it more suitable to our intended design approach. The diamond lattice form of the exterior appears to be quite superficial and seems to be used only in an aesthetic sense, the diamonds donâ&#x20AC;&#x2122;t appear to be doing anything
THOUGHTS structurally and most of the loads are taken by the interior structure. We think that it is important that, if the designer is going to use biomimetics to design is should serve a purposes other than that of novel aesthetics. Another problem is that inside the pavilion, the diamond structure is barely noticable, it seems as if the users would only catch a glimpse of it. We would like to investigate modules of polyps as we reassess our argument, so will come up with a new technique.
TION DIRECTION
LENGTH
INWARD LONG
SHORT
SIZE OF OPENINGS BIG SMALL OPEN/CLOSED DIAMOND
HEXAGONAL
QUAD R
QUAD S
TRIANGULAR A
TRIANGULAR B
OUTWARD LONG
BIG C
SHO
SMALL O
C
O
BIG C
O
EXPLORATION OF TECHNIQUE
ORT SMALL C
O
MATRIX
ORT
ŝŶƚĞƌŶĂů ĞdžƚƌƵƐŝŽŶ ĚŽĞƐŶ͛ƚ ĂůůŽǁ enough room for opening
EXPLORATION OF TECHNIQUE
SELECTION
short extrusion does not seem to have enough impact. Hexagonal ƐƚƌƵĐƚƵƌĞ ƋƵŝƚĞ ŝŶƚĞƌĞƐƟŶŐ
long hexagonal external ĞdžƚƌƵƐŝŽŶ ǁŝƚŚ ƐŵĂůů opening creates the most ŽƌŐĂŶŝĐ ĂŶĚ ŝŶƚĞƌĞƐƟŶŐ form
ƌĞĐƚĂŶŐƵůĂƌ ƉƌŽĮůĞ ĚŽĞƐŶ͛ƚ ƐĞĞŵ to be dynamic enough
ŝŶƚĞƌŶĂů ĞdžƚƌƵƐŝŽŶ ĚŽĞƐŶ͛ƚ ĂůůŽǁ enough room for opening
short extrusion does not seem to have enough impact. Hexagonal ƐƚƌƵĐƚƵƌĞ ƋƵŝƚĞ ŝŶƚĞƌĞƐƟŶŐ ƚƌŝĂŶŐƵůĂƌ ƉƌŽĮůĞ ƐĞĞŵƐ ƚŽ ƉƌŽĚƵĐĞ ũƵƐƚ ĂƐ ŝŶƚĞƌĞƐƟŶŐ Ă result as hexagons long hexagonal external ĞdžƚƌƵƐŝŽŶ ǁŝƚŚ ƐŵĂůů opening creates the most ŽƌŐĂŶŝĐ ĂŶĚ ŝŶƚĞƌĞƐƟŶŐ form
BEST RESULT
ƌĞĐƚĂŶŐƵůĂƌ ƉƌŽĮůĞ ĚŽĞƐŶ͛ƚ ƐĞĞŵ to be dynamic enough
SELECTION EXPLANATION
ƚƌŝĂŶŐƵůĂƌ ƉƌŽĮůĞ ƐĞĞŵƐ ƚŽ ƉƌŽĚƵĐĞ ũƵƐƚ ĂƐ ŝŶƚĞƌĞƐƟŶŐ Ă result as hexagons
We have decided that a great form to base our technique on LEFT: is the coral polyp, the D dZ/y K& fundamental building block of the large, dZ E^&KZD d/KE^ extensive coralRIGHT: reefs. Each polyp exists RENDERED SELECTIONthey form a coral independently yet together K& dZ E^&KZD d/KE^ structure. We would like to embody this in our technique. We tried to achieve this by creating a structure constructed of repeated modules which will symbolize the polyps both opening and closing; the geometry, size, and direction of extrusion were explored. Using panelling components from the plugin Lunchbox and other geometries, the most LEFT: optimal design D dZ/y K&solution achieved by our design
technique that we feel expresses our design approach the most ideally is the triangular BESTand RESULT panelled dome. The opening closing of the flaps are similar to a polyp which is something that we are quite interested in. From this form, further exploration will be undertaken in particular to do with the detailing of the flaps as well as testing the panels ability to be mapped on other kinds of surfaces. The joints are a little bit of a problem, and construction methods will be investigated through conceptual models.
30
dZ E^&KZD d/KE^
RIGHT: RENDERED SELECTION K& dZ E^&KZD d/KE^
30
<http://blog.izilwane.org/wp-content/uploads/2012/07/152 701059_368146a413_o.jpeg>
PREPARING FOR EOI PRESENTATION
CONCEPTUAL MODELS OVERVIEW After selecting what we believed to be the most optimal design option from the matrix and receiving feedback from the tutor we decided to experiment with physcial conceptual models to test materiality as well as structure. At first, small, flat study models were created by eye from the digital model to test different fabrication techniques. The first model was created using one flat sheet of cardboard, with no structure underneath. The result, while quite pleasing, indicated to us that some structural form or jointing would be necessary as the points at which each module met were quite flimsy. Taking this into account, another study model was generated, this time using a laser cut structure of card and attaching each module flap individually. The overall appearance was also evalauted, seeing the modules flat seemed somewhat too static for a design that mainly focuses on movement. We experimented with
O=OPINION SO FAR
bending in an effort to see what the modules would look like applied over a curved surface. From this experiment it was decided that, in order to represent our technique in our presentation to fully display itâ&#x20AC;&#x2122;s potential, and make it seem less static, it would be best to apply it to some sort of surface. After reviewing both the groupâ&#x20AC;&#x2122;s argument and interests, we began developing a suitable surface for the modules to be applied to. As we were taking inspiration from the growth process of coral polyps, we thought it might be interesting to generate topology that represented the phenomenon of phototropism seen not only in coral, but also in plants in general. In addition to this, our ideas of sun reactivity associated with the already somewhat developed polyp module also became a source of inspiration. Taking these two conceptual ideas we investigated solar paths of the sun during both summer and winter.
OVERVIEW Surfaces were generated using attractor points of the sun position at different times of the day for both summer and winter. It was decided that by creating an average achieved a more pleasant and interesting surface. On the averaged sun path surface, each module was mapped using attractor points of the sun path, and thus larger modules came to be located in areas on the surface that would experience higher sun exposure on average and smaller ones in darker areas.
O=OPINION SO FAR
This idea came from the natural phenomenon of phototropism.
As the sun moves across the sky during the day and the angle of this path changes over the seasons, the appearance of our structure will gradually transform and in some ways adapt to the current conditions much like that of a living organism. Essentially, it may have the potential to be viewed as a different structure everyday, always creating a new experience for the driver.
PREPARING FOR EOI PRESENTATION
GRASSHOPPER MODELS
PREPARING FOR EOI PRESENTATION
PRESENTATION MODELS
M
STEP ONE
STEP TWO
To create the pyramidal texture on the surface of each flap, each flap was sectioned into horizontal strips and unrolled and laser cut onto ivory card. As tested in the conceptual models a triangulated structure was also fabricated using plywood for support.
Each strip was glued onto the plywood structure, covering only one side so as to show the actual support. For a neater finish tabs may have been better, however, as only one side would be covered in the texture the underside of the card would be able to be seen .
S
MODULE MODEL: THE PROCESS
THOUGHTS The module model was quite successful thanks to the conceptual modelling we constructed early on. The only issue we found was the connection of each of the elements. Despite one of our main focuses being movement, we had not really considered joints and how each flap would open and close to a large extent before fabricating the presentation module. It was probably something that should have been explored through conceptual models as was suggested by the tutor. However, the result is still satisfactory to us despite not being to move smoothly, each flap can open and close albeit with some difficulty.
STEP THREE After completing each flap they were attached to a triangular structural base using joints made from boxboard. Originally, we had not considered the joints and these had not been included in our digital model and were only added as makeshift joints at the time.
PREPARING FOR EOI PRESENTATION
PRESENTATION MODELS
STEP ONE
STEP TWO
At such a small intricate scale, it was quite difficult to bend each module in the direction necessary so this initial stage was the most time consuming. However, having tested material qualities of the ivory card in our conceptual models, we were confident that this was the most flexible and suitable material we could use.
In order to construct the sun path surface, along with strips of panels, ribs were also created and unrolled to function as structural support, especially given the scale we intended to build the model at. The panel faces just by themselves would be too flimsy as realized in the study models created prior to our presentation models.
When constructing the study model it was also found that the pyramidal texture was difficult to etch in or attach at such a small scale so it was decided that the texture would only be applied to the larger scale module model.
These ribs were created purely for fabrication, as it was thought that the triangular structure tested in conceptual models would be too intricate and flimsy given the scale and number of modules. The structure is something that really needs to be explored and refined when developing the technique for the actual site.
S
APPLICATION SURFACE MODEL: THE PROCESS
STEP THREE
THOUGHTS
Once the ribs were slotted and glued into place, it was only a matter of connecting each strip of modules to their given location on the ribs. This was also somewhat time consuming, the end of each strip being quite difficult to glue accurately.
Overall, the result was pleasing and despite having creating numerous conceptual models, there is evidently still more improvements that can be made in terms of fabrication. The presentation model is accurate to the digital model so I believe it to be successful in that sense.
Again, it is evident that in future development the structural form should be explored and refined in more detail. The triangular supporting structure used in concept models as well as the large scale module model would have been more ideal, however given the scale this method of vertical ribs was probably the easiest way to display the modules applied to a surface.
If we are aiming to express a high amount of intricacy and detailing accurately, other fabrication techniques may also need to be considered for final presentations at the end of semester. In addition to this, a larger scale may be more efficient to construct both in a structural sense and also timewise.
EXPRESSION OF INTEREST
PRESENTATION
BI
IOMIMICRY
ARCHITECTURE DESIGN STUDIO AIR RHIAN AP REES 361874 SOPHIE FARMER 390862 EDDIE MA 583573 JUNHAN FOONG 395563
INTRODUCTION
ARGUMENT DESCRIPTION
One of the main characteristcs of Wyndham City is its rapidly increasing population growth. Therefore, we believe that the Gateway should be a celebration of this growth. As growth is a fundamental process of nature, we sought to study biological processes and models in nature to generate a design technique.
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1991 2001 2011
UNIVERSITY OF STUTTGART
ICD ITKE RESEARCH PAVILION 2011 OVERVIEW The modular pavilion system was designed using a generative computational process based on the morphological principles of the plate skeleton of sea urchins along with robotic manufacturing methods for physical construction. The main idea behind the research project was to integrate the peformative capacity of the sea urchinâ&#x20AC;&#x2122;s plate skeletal structure into architectural design and investigate the resulting spatial and structural material system s in full scale. Being fabricated from very thin polygonal plywood sheets, the pavilion is said be not only be efficient economically but also structurally and in regards to materiality (Menges, 2012).
The modular system of polygonal plates are linked to together at the edges by thin, finger-like joints, similar to that observed in sea urchin. Three plate edges always meet together a single point, in order to allow the transmission of normal and shear forces without the presence of bending moments between the joints. This construction method in turn enables the structure to have a high load bearing capacity much like that of a sea urchinâ&#x20AC;&#x2122;s domed shell (Dezeen, 2011). Overall this installation can be considered successful in what it sets out to do. There are a few concerns perhaps with the thinness of material. This structure is not something that would be able to last for a considerably long period of many years. However, it is extremely efficient given the context.
<http://www.archiable.com/image/design/120519_ICD_ITKE_Research_Pavillion/Archiable_ICD_ITKE_Research_Pavillion_01.jpg>
<http://www.aedas.com/Content/images/pageimages/Al-Bahar-Towers-wins-Innovation-Award-NewsAl-Bahar-Towers-wins-Innovation-Award-1264.jpg>
AEDAS ARCHITECTS
AL BAHAR TOWERS OVERVIEW The facade shading system, designed by Aedas Architects is able to respond to sun exposure and the changing angles of the sun during different days of the year. The design was inspired by a traditional Islamic shading window featuring latticework known as a mashrabiya.
too complex and costly to apply to our technique.
The facade screen is made up of triangular panels, each being programmed to respond to the movement of the sun during the day. This movement results in a reduction of both solar gain and glare. It is estimated that with the facade, solar gain may be able to be reduced by fifty percent (Cilento, 2012).
Therefore, a lot of energy is being used running the facade panels during the day, so the main intention to say energy is made somewhat redundant.
The facades reactivity to the sun is what we are particularly interested in, however, the type of technology intergrated into this design is far
Also, although solar gain will be reduced and thus energy use, particularly air conditioning within the buildings will too, the facade relies on a mechanical system powered by electricity.
In our design, our main intention is not even to save energy, therefore it would appear that the energy used to create movement within our structure would be highly inefficient. This is probably something that we need to consider when developing our technique in further weeks.
<http://www.achimmenges.net/?p=5083>
ACHIM MENGES
HYGROSCOPE OVERVIEW This project HygroScope, created by Achim Menges in collaboration with Steffen Reichert acts as a climate-responsive system that makes use of physically programmable material system that is able to open and close in relation to humidity. Climate responsiveness seen in current biomimetic architectural design is usually only able to function through mechanization and electrical systems. The HygroScope however, requires no external power supply, it’s responsive nature being physically ingrained into the material, in this case the material used was timber, which absorbs moisture and when very thin is prone to curling. When humidity increases, the flaps of each module open in an effort to ventilate the moisture in the air (Menges, 2012). In a sense the installation can be viewed as kind of living, breathing organism. This notion is also what we are
trying to achieve in our technique. As this is only a small scale installation it is difficult to know how successful this kind of low technology would be if implemented at a much larger scale and also in an outdoor location. It is of little use if it can only function in a highly controlled and confined space. We tested how moisture would affect certain material in our conceptual study models, and unfortunately the results were no where near as successful as that seen in the HygroScope. However, the integration of “low technology” of physically programmable material is of great interest and as our technique is developed further and materiality is being investigated in more depth, we will attempt a more comprehensive investigation into material affects from natural elements, particularly solar.
RVTR
RESONANT CHAMBER
OVERVIEW The Resonant Chamber by RVTR is as an investigative project on acoustics using both computational and prototype-based research. The first prototype of Resonant Chamber was designed as a kinetic installation (shown above). The installation was scripted to simulate both applied and gravitational forces using Kangaroo, this also allowed for the development of folding patterns that were able to be altered to meet different needs in a spatial sense and also acoustically. Commands tied to the digital model communicate data through the plugin Firefly in order to calculate and coordinate desired movements. (Thun et al, 2012). The moving elements of Resonant Chamber installation that open and close are in some ways similar to what we are trying to achieve. The Resonant Chamber prototype uses a tessellated pattern consisting of two sizes of
triangular cells. Triangular geometry was chosen as it proved to be most acoustically sensitive in a series of investigations. In our technique we also opted for a triangular (pyramidal) texture on each of the module flaps. Not only is the installation reactive to sound from something such as a performance it also functions as a performance itself. This is something similar that we wish to achieve in our technique, though through reactions with the angle of the sun in the sky, not sound. This is just a small scale installation, and so whilst it is able to function well in a mechanical sense, at a larger scale similar to that of the Gateway Project, mechanizing and programming such movement may be extremely expensive.
<http://www.designboom.com/weblog/cat/16/view/20884/rvtr-resonant-chamber-origami-architectural-acoustic-panels.html>
<http://www.reefnews.com/reefnews/news/v05n04/stars.html>
<http://www.icriforum.org/about-coral-reefs/what-are-corals>
INTRODUCTION
TECHNIQUE
<http://blog.izilwane.org/wp-content/uploads/2012/07/152701059_368146a413_o.jpeg>
OVERVIEW In order to embody the notion of growth in our design technique we investigated the growth/ reproductive process of coral polyps. As they grow in large colonies, the concept somewhat similar to a human population. Each colony makes up the large coral structure, much like each person makes up a community as a
whole in general. The reproductive process of coral begins with lavae being released from existing polyps and then the lavae settles and metamorphisizes into another polyp thus contributing to the growth of the colony of polyps (coral).
DESCRIPTION Using the polyp and its growth process as inspiration we use a traingular basic cell, and repeated the cell to form a larger module, and these larger scale modules are then able to create an even larger structure, much like polyps forming coral. And in some ways similar to the self similar patterned fractals. We also investigated the responsive nature of coral polyps as they open and close to control their exposure to their surrounding environment. The flaps of each module are intended to open and close to control the light passing through. From cell, to module to form, our technique is adaptable and can be applied to any surface. This system can be said to be symbolic of Wyndham CItyâ&#x20AC;&#x2122;s growth while still remaining quite abstract.
DEVELOPMENT
TECHNIQUE
PHYSICAL REPRESENTATION
TECHNIQUE
ACOUSTICS
APPLICATION Our technique is advantageous in many ways, specifically in terms of performance, sun reactivity, acoustics and adaptability. Each module is a pyramidal form, and the texture on each panel is also of the same form. This pyramidal geometry allows for a larger surface area for sound wave contact and in turn is able to disperse and lower the frequency of traffic noise.
By using a pyramid form with such particular angles amount of bounces a sound wave makes increases when passing through the structure. As the sound wave bounces so many times, by the time the sound actually passes through the modules, it has already been greatly reduced. If this is not necessary, the texture of the panels can be infinitely adapted to suit any need.
SUN PATH SURFACE
APPLICATION DESCRIPTION
In terms of sunlight reactivity, as each module is designed to mimic the biological process of a coral polyp opening and closing through photosynthesis, we have calibrated them to react to the position of the sun during the day. As the sun moves across the sky each module will react to it by incrementally opening and closing to control the amount of sunlight that passes through the structure. The main intention of this is for each module to act as anti-glare agents and reduce discomfort for commuters along the freeway. An example structural that the modules have been applied to was created from a surface attained through mapping sun paths in both summer and winter and taking an average of them. Each module is mapped using attractor points of the sun path, and thus larger modules are located in areas of the surface that receive higher sun exposure on average and smaller ones in darker areas. This idea came from the natural phenomenon of phototropism. As the sun moves across the sky during the day and the angle of this path changes over the seasons, the appearance of our structure will gradually transform and in some ways adapt to the current conditions much like that of a living organism. Essentially it can be viewed as a different structure everyday, creating a new experience for the driver everytime they pass through the structure.
PHYSICAL REPRESENTATION
APPLICATION
PHYSICAL REPRESENTATION
APPLICATION
EXPRESSION OF INTEREST
FEEDBACK
EXPRESSION OF INTEREST
FEEDBACK
OVERVIEW
OVERVIEW & OPINION
After presenting our technique for review and receiving relevant, helpful feedback, we have come to realize that there are some issues associatiated not only with our technique but also the rationale behind our ideas.
These comments will help us focus our attention on the areas of our work that need more improvement, or possibly take these aspects of our design, and further improve them. Particularly in terms of the experiential qualities that are able to be achieved through our technique.
Our group decided that the best way to acknowledge and address these problems was through a feedback action plan that explored the opportunities presented from the comments received during the review.
“Good presentation of story of biomimicry, exciting”
However, as always, it is more important to focus on the critical yet opportunistic feedback when looking to further develop and refine the design so an emphasis should largely be place on such comments. Below are the comments recieved that are thought to provide our group with the most opportunities in further developing and enhancing our design technique to achieve a better solution.
“Would be wonderful to drive through every morning and wonder what it will look like today”
OPPORTUNITIES
POSITIVE FEEDBACK
“Beautiful lace”
“Need reference for biomimicry”
“Close to standard of final presentation”
- Add reference for all definitions and precedents
OVERVIEW & OPINION
OVERVIEW & OPINION
“Present less like marketing campaign... more as an architectural concept...it’s important in an educational setting to be more open about shortcomings, drawbacks and unresolved issues”
“Practicality of technique e.g energy consumption, maintenance, cost, etc”
In our presentation we focused completely on the benefits of biomimetics, however, in order to understand this topic better it’s important to acknowledge the negative aspects associated with it. By presenting the current problems associatiated with not only our technique, but with biomimicry in general it demonstrates a more informed understanding of the topic and our approach may be seen as more justifiable. What could be done: - Not only focus on the positive aspects of biomimicry and our design but also mention some of the problems associated with it. - Mention unresolved issues in presentation and how they could be possibly be resolved (how we can improve our design technique to do this)
When coming up with our technique, we did not focus on such things as energy consumption and cost as we did not see it as necessary at the current stage of development. However, it is probably important to begin thinking about such aspects now. These shortcomings could have been investigated and outlined to create a more detailed and somewhat more analytical presentation. What could be done: - Research into practicality, e.g energy consumption, cost, acoustics, etc - Mention these drawbacks in terms of practicality in the presentation - Remove the movement of the polyps in the technique, change the rationale, or research some low technological options.
EXPRESSION OF INTEREST
FEEDBACK
OVERVIEW
OVERVIEW & OPINION
“Most references are unbuilt, proof of concepts with no realistic expectations. why doesn’t everybody design like this?”
“Should focus on conceptual aspects of biomimicry and not technical... just conceptual and aesthetics is enough”
It is quite difficult to find built parametric biomimetic architecture and as such makes our argument less convincing. The examples we used were either installations that were small scale and temporary or at a large scale but ridiculously expensive to operate.
“Acoustic argument is a bit weak”
What could be done:
The rationale behind our design, now that I have had a chance to reflect on it, it does seem to be more technical than aesthetic. I think that we may have been caught up with producing efficiencies. Over the break we should explore the site further and perhaps rethink our rationale behind the group’s technique.
- Find other “built” precedents relevant to our technique - Justify practicality of technique e.g slow movement = low energy consumption
“Could generate sound inside the structure... could be examples of this found in nature... cultural performance” What could be done: - Look into examples.
sound
producing
biological
- Focus more on aesthetics; the experience of drivers when moving through the structure.
OVERVIEW & OPINION
OVERVIEW & OPINION
“Issues with model... should be able to move... just beautiful lace”
- “Need to sort out the structure, currently too clunky”
Our presentation models, particularly our example application surface did not feature any movement despite that being the main feature of our design. This was due to scale and also technical issues. When further developing our technique, we intend to investigate throughouly into the movement of our design and also small scale mechanical systems that will allow the flaps to open and close.
The structure is also something that we have not explored in much detail as we were solely focusing on the modular surface system. The structure would also be similar to the modules in terms of form, however other structural forms need to be explored and tested through conceptual study models.
What could be done:
- Explore different structural forms that are able to bend and curve
- Increase range of module sizes to not look too monotonous and more interesting and eye catching - Devise a strategy to allow movement in models - Rethink model making techniques - Come up with a strategy to allow for movement, but also allow for the flaps to remain in raised position as well, possibly with hinges.
What could be done:
- Look into both lightweight structures and materials when further developing the design over the coming weeks.
EXPRESSION OF INTEREST
FURTHER DEVELOPMENT OVERVIEW
OVERVIEW & OPINION
After considering the feedback received, and looking more into the site and other contextual information, there are some changes that evidently need to be made.
be rethought, or the structure could be skewed at one end so as to allow or the service centre to be clearly seen.
Firstly, as the site only features natural surroundings and a nearby petrol station, the performance characteristics of our design, particularly the acoustic properties, need to be revised. The pyramidal texture on each flap could still remain, however, it would most likely be for aesthetic purposes. In this case, other textures could be explored if its functionality is not of great concern. In addition to this, the intended movement of our design also need to be reinvestigated as well as how the movement will be generated. In regards to siting, we intend to use our technique to create a structure similar to our solar path application example that would ideally act as a tunnel spanning across sites A, B and C. However, the nearby service centre is a slight disruption, yet it still needs to be fully visible for drivers. Therefore having the
Another issue is the size of the site. In terms of length, it is quite short with site A being the longest at approxiamately 90m in length. As it is quite short, the amount of time the drivers would spending going through our design would only be a few seconds. A lot of our previous ideas associated with slow, gradual change. One of the main features of our design technique was that it would gradually change over the day and throughout different seasons, however, due to site constraints, it could be quite difficult for drivers to even realize that the structure has changed since their previous journey through it. With this in mind, perhaps it would be more suitable to adopt a slightly more recognizable changing element into the technique.
EXPRESSION OF INTEREST
REFLECTION OVERVIEW
O=OPINION SO FAR
As the semester progresses and my experience does coincidingly, my views towards parametric design approaches has changed. I am still somewhat unconvinced that it is the most appropriate technique to currently use.
A parametric approach is advantageous in many ways, however, if the only characteristics that can generally (there are exceptions) be physically constructed to the exact likeness of the virtual model is structure and aesthetics, the approach seems somewhat redundant to me. I also believe that this may also be a contributing factor behind the reason that some think of the approach as more of a â&#x20AC;&#x2DC;styleâ&#x20AC;&#x2122; than what it actually is; a method. If a parametric design technique is capable of producing numerous efficiencies (the reason why it is being used), but only digitally, what is the point of using it at this time? I am sure that it will be very beneficial in the near future, but at this time, I feel like it is still developing and quite expensive and appears to be more of a conceptual study tool or for small scale projects, such as installations. Which is great in an educational setting, but I am not entirely convinced by the relevance of the benefits it claims to bring to the design field at present.
After receiving feedback from the review that the aesthetic properties of our technique were more appropriate at this stage and that other aspects concerned with efficiencies were quite weak Iâ&#x20AC;&#x2122;m beginning to question whether or not the real point of parametric design is just purely for aesthetics, at least at the present time, where certain technologies are difficult to implement into a design. Many conceptual ideas created using parametric software can not be physically constructed at their true scale due to costs, energy consumption and technological issues. Of course, they are possible to construct but most large scale work is very constrained, mainly due to costs. That is why most parametrically designed works are only installations. When researching precedents for our presentation, it was very difficult to find built work or work other than study models and physical installations.
Nevertheless, developing our technique has been very interesting and exciting for me. Varying the design and refining our technique at the beginning, I thought would take a great
OVECURRENT THOUGHTS deal of time, however, I was suprised just how quickly variations could be made when completing our group matrix. I found it slightly difficult to not consider context when creating our technique, as did other members of the group. We often found that we were getting too ahead of ourselves. This was probably due to the different design approach that parametrics allows. Another issue was rationalizing and justifying our technique. To begin with we were essentially just playing around with different components in order to achieve a form that looked the most aesthetically pleasing. And from this form we began to investigate more into other design aspects such as acoustics and solar reactivity as a way to justify our design and undertook further design refinement from that point. I was and still am somewhat confused as to which is the most appropriate way to justfy a parametric design; novel aesthetics or performance, or a balance between the two. Overall, my views towards parametrics has changed from what I originally felt. I’ve come to realize a great deal of benefits and have also become more aware of the drawbacks that the approach currently presents.
OVERVIEW & OPINION OVERVIEW & OPIN
“It is engineering, not design. There is no art for art’s sake, or idea for idea’s
sake. The whole enterprise reeks of utility. But that’s what parametrics are for. Why should a design method that comes from engineering and produces a novel form be priviliged over the same
”
method producing high performance? (Hagan, 2008, p.75)
OVERVIEW Hagan, S. 2008. Archictecture and the digial, the environmental and the avant garde, (New York: Routledge) Koolhaas, R., H. U. Obrist. 2011. Project Japan Metabolism Talks... (Koln: TASCHEN) Kalay, Y, E. 2004 Architectureâ&#x20AC;&#x2122;s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press) Kolarevic, B. 2003 Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press)
http://www.achimmenges.net/?p=5083 http://ad009cdnb.archdaily.net/wp-content/uploads/2012/04/1334693879-rc-12-1000x800.jpg http://ad009cdnb.archdaily.net/wp-content/uploads/2012/04/1334693855-rc-06.jpg http://api.ning.com/files/ogE19DGjM8dJG27AtGzqLPDF*-EyibN1PmfPo*iiDOeYqGXwxZ2Muy5ecaXbzdOmZXVD44-lV-lA4Z1NLmV5FKCKKdLxVOX/HygroScope_04_DSC7766.jpg http://www.architectsjournal.co.uk/the-critics/patrik-schumacher-on-parametricism-let-the-stylewars-begin/5217211.article http://www.architizer.com/en_us/blog/dyn/49023/bowooss-pavilion-a-study-in-bionics/ http://www.nzarchitecture.com/blog/index.php/2010/09/25/patrik-schumacher-parametricism/
http://www.qualterhall.co.uk/projects.php?id=10 http://www.kokkugia.com/ http://www.designboom.com/weblog/cat/16/view/20884/rvtr-resonant-chamber-origamiarchitectural-acoustic-panels.html
EXPRESSION OF INTEREST
REFERENCES
http://designsandprojects.com/wp-content/uploads/2012/06/New-Headquarters-Al-Bahr-TowersAbu-Dhabi-UAE.jpg http://neptunesweb.com/wp-content/uploads/2011/07/Leather-Coral-Polyps-GBR-2005.jpg http://stockarch.com/files/10/11/coral_polpys.jpg http://vimeo.com/38996182 http://vimeo.com/41075549 http://www.aedas.com/Content/images/pageimages/Al-Bahar-Towers-wins-Innovation-AwardNewsAl-Bahar-Towers-wins-Innovation-Award-1264.jpg http://www.archiable.com/image/design/120519_ICD_ITKE_Research_Pavillion/Archiable_ICD_ ITKE_Research_Pavillion_01.jpg http://www.digitalfutures.info/wp-content/uploads/2011/02/parametricskin.jpg http://www.hiren.info/desktop-wallpapers/other-mix-pictures/hard-coral-polyps_taveuni_fiji http://www.icriforum.org/sites/default/files/images/reef-repro.gif http://www.itke.uni-stuttgart.de/img/background/default/index.jpg http://www.messersmith.name/wordpress/wp-content/uploads/2010/04/coral_polyps_IMG_2829. jpg http://www.youtube.com/watch?v=11KV00yDnbY
PROJECT
GATEWAY
FURTHER DEVELOPMENT
SITING AND SCALE IDENTIFY SITE BOUNDARIES
DESCRIPTION After the EOI presentation, we think that our technique is already quite relevant to Wyndham, being that it embodies the notion of growth quite well. The only problem is the scale, the strucuture needs to be large enough so that drivers are able to get some sort of experience out of it. As our technique is able to be applied across any site, we began our development by identifying the site boundaries and mapping the attractor points to the sun path, he diagram to the left shows the steps undertaken in reaching our initial form. This initial form is quite long being over 790 meters, which is a real problem and it is also ridiculously tall. The structure definitely needs to be scaled down and altered to a more realistic size. The curvature also created by the definition most likely would not be able to be constructed, particularly in the lower areas. The modules seem to bunch up very tightly together so some revision needs to be undertaken to resolve this issue. The structure spans across both site A and B, with the main focus being on users driving towards Wyndham as the entrance to Wyndham should be what the gateway is representing.
DIVIDE BOUNDS EQUALLY AND CONNECT TO CORRESPONDING POINT ON OPPOSITE SIDE
DIVIDE LINES EQUALLY AND SPECIFY AS POINTS
IDENTIFY SUN PATH SPECIFIC TO PATH
DIVIDE SUN PATH EQUALLY INTO SAME NUMBER OF SEGMENTS AS LINES
MOVE POINTS TOWARDS POINTS ON SUNPATH
MATHEMATICAL MANIPULATION OF DISPLACEMENT OF EACH POINT TO EMULATE PHOTOTROPISM
RESEARCHING MATERIALITY
THERM0-BIMETAL OVERVIEW
OVERVIEW
From the feedback that we received in the mid semester review it was evident that we needed to look into some low tech methods of creating the opening and closing motion of each of the flaps. At the same time we were beginning to investigate materiality and therefore we thought it would be interesting if the actual technology that would enable the movement was somehow embedded in, or better yet, a property of the material it self. After discussing this with our tutor, it was suggested that we research and possibly do some testing with bimetallic strips.
aluminium and copper. These strips were glued together and were then heated by a lighter. However, other than becoming rather charred and the cork catching on fire, no curling occured. This result was most likely due to the two metals not being welded or laminated together.
A bimetal is essentially a strip or sheet made up by a combination of two different metals often laminated or welded together. The two most common metals seen in bimetals are copper and steel, though there are other combinations. The two different metals will expand at different rates when exposed to heat and in turn the difference in expansion rates will result in the bimetal curling up or down depending on it’s position relative to the heat source. In theory, if the flaps of our structure were of bimetal, it may be possible for them to open and close when exposed to sunlight. To test this theory out, we created tests strips, one with cork and aluminium, and another with
After further reasearch, we came across some metal wires known as ‘muscle wires’. These wires are made from Nitinol, a metal alloy consisting of nickel and titanium. How nitinol works is that it can be bent into any form but it has the ability to remember it’s original shape, and when exposed to heat it will snap back to it. However, while it did seem like a great option placing these wires underneath each of the flaps after more careful research we discovered that the wires would only snap back to the original form and then would have to be bent by hand to bend it back out again. From this point we continued our investigation into bimetal, as we believed it would be the most suitable for our project, being low tech and using minimal energy as the thermomechanical properties are embedded within the material it self. We began looking particularly for architectural and design applications of such material.
<http://wanderersinthemist.blogspot.com.au/2011_02_01_archive.html>
< h t t p: //u p l oad .w i ki m ed i a .o rg / w i ki ped i a /co m m o n s / t h u m b /d /d 2 / B i m etaal . jpg/300px-Bimetaal.jpg>
<http://www.capgo.com/Resources/Temperature/BiMet/BiMetallic.html>
DORIS KIM SUNG
BLOOM INSTALLATION <http://www.evolo.us/architecture/metal-that-breathes-bloom-installation-made-with-14000-thermonimetal-pieces/>
OVERVIEW A project that utilizes thermo bimetal or TBM is the Bloom Installation, created by Professor Doris Kim Sung of the University of Southern California. The installation, ‘Bloom’ is made up of 14,000 pieces of thermo bimetal, curling up when exposed to heat and flattening out when in shade. Essentially it is able to act as a sun-tracking device, though this isn’t the main intention for us, our gateway structure certainly could act as one. In addition to it being sun tracking devide it also acts as a responsive shading device, which is something similar to what we are trying to implement into our design. However, the reason for it’s implementation would be mainly for aesthetics as shade is not that important given the context. In this installation, in my opinion shade isn’t really all that necessary, and even if it was, the metal used has quite a high shine and even
though each of the sheets is able to close and protect users from the sun, there’s a chance that the sunlight is just going to be reflected off the metal and onto users anyway. Taking this problem into consideration, we need to look into some matte or less shiny metals, as high reflectiveness is going to be distract and make drivers uncomfortable. Sung describes the thermo-bimetal as a kind of living skin or organism, that opens and closes to let heat in and out (Evolo, 2012). Therefore, it is very relevant to biomimicry and allows us to clearly demonstrate our main design intentions. Furthermore, when researching this installation, we found out that thermo-bimetal has yet to be used in a larger scale architectural context (Sung, 2012), so we believe that this material to be a great choice, when using innovative design methods to create our project, it makes sense to use innovative material too.
STRUCTURE DEVELOPMENT
CONSTRUCTION OVERVIEW OVERVIEW Though we have researched a lot into materiality, the actual structure and how all of the modules go together is in some ways very lacking at the moment. I think that we may have been avoiding things such as joints for a while now because we are worried about ruining the light, lace-like nature of our design, the aspect that we like the most. We would like to have the structure looking as lightweight as possible. When investigating structure, we looked at a number of projects, particularly by Grimshaw Architects, namely the Zurich Airport, Southern Cross Station and the International Terminal Waterloo Station. These incorporate space frames and this could work quite well for our design. However, we are slightly concerned with how low the frame would have to extend
OVERVIEW down due to the varying curvature of our form. It may also result in our design becoming too clunky and the original intention may becone lost. Another aspect we need to consider is jointing. For the triangulaltions, a six way joint is the most appropriate. While we would like to create a universal joint, we do have time contraints so we donâ&#x20AC;&#x2122;t we really want spend too much time investigating it. For the design of our joint we have taken inspiration from Kâ&#x20AC;&#x2122;Nex, a building systems toy. We would like to create a joint that is superficially universal and make the connections very simple so attention is not drawn away from the main attraction of our design, the triangular flaps.
<http://grimshaw-architects.com/project/international-terminal-waterloo/>, <http://grimshaw-architects.com/project/southern-cross-station/>, <http://grimshaw-architects.com/project/zurich-airport/>
<http://www.calatrava.com/#/Selected%20works/Architecture/Dublin?mode=english>, <http://www.calatrava.com/#/Selected%20works/Architecture/Seville?mode=english>, <http://www.turtlebay.org/ sundialbridge>, <http://www.architecturaldigest.com/architecture/2012-03/santiago-calatrava-margaret-hunt-hill-bridge-article>
STRUCTURE DEVELOPMENT
SANTIAGO CALATRAVA OVERVIEW A large problem with our design is itâ&#x20AC;&#x2122;s current structural characteristics, the kind of curvature and overall form that resulted from mapping our grasshopper model to the site is very weak structurally. At first we thought about including a very thin space frame system that would be underneath the layer of flaps. However, the structural frame would take attention away from our design, and may also result in a rather clunky, heavy looking structure. We would like to create the illusion that our design is somehow floating, or at least appear to be lightweight, despite being made of metal.
OVERVIEW We believe that the best method to achieve this is to suspend the structure by steel cables from an arch or something similar, much in the fashion as that seen in Santiago Calatravaâ&#x20AC;&#x2122;s bridges, namely the Samuel Beckett Bridge, Dublin, Puente del Alamillo, Sevile, Sundial Bridge, Redding and the Margaret Hunt Hill Bridge, Dallas (pictured right). The Puente del Alamillio is supported by a pylon with an inclination of 58 degrees. Most likely our arch will have a much lower inclination, given the sun path that it will be based on, however, it should be able to structurally support it self.
Revised model with suspension arch addded
FURTHER DEVELOPMENT
CONCEPTUAL MODELS DESCRIPTION
OVERVIEW
To see how we could suspend a our form from an arch we created a test model from box board, calico and thread. This conceptual model was test how and where the suspension cables would need to be placed in our final model, and also just to get an idea of what our structure would like with the added arch before being modelled. Overall the results were what was expected however, quite a lot of threads were needed just for the piece of the fabric, and they do attract the eye away from the actual structure. It would be best to have the arch in a some what similar form to the actual structure, and possibly mapped and formed using the same logic from the sunpath in Grasshopper that our form was generated from.
In addition to this, conceptual six way joints were created using card and balsa dowels acting as the supporting members of each of the flaps. The joints are at a slightly too large a scale in comparison to the piping, and so the flexibilty may not be a realistic representation of how it would be joined together. When making our final presentation model the joints would need to be downsized to give a more accurate representation. In addition to this, the form created in this test model is slightly too geometric, in the presentation model it would be best to take a section of our structure and create a more organic, curved or arching form to better represent our design.
PREPARING FOR PRESENTATION
DESIGN REFINEMENT DESCRIPTIONVERVIEW After adding the arch and suspension cables to our design, it was evident that flaps in certain areas would have trouble opening, and so we made the decision to reverse the flaps and have them positions on the inside of the structure. This will probably be more exciting for those driving underneath towards Wyndam anyway. They do attract attention away from the structure it self and it does seem to have lost some of it’s lightweightedness. However, we believe that the suspension is quite a viable option and is less clunky looking than a space frame. Wanting to get a 1:500 scale model 3d printed from Shapeways, I think that we may have slightly rushed to a final conclusion when perhaps more time should have been spent refining
OVERVIEW refining the model a bit more or possibly making it a little more structurally stable especially on the arch side. The degree that the arch is leaning on is very sharp. And even though it is derived from the sun path used in our definition I think that it in some ways may be a slightly too literal form. It does not need to be so literal as most likely, even if people saw it, they wouldn’t immediatley think that the reason why it is so skewed looking is because it represents the sun path during the day, and especially if they are only seeing it for a few seconds. Nevertheless, due to time constraints and wanting to send our file off for printing, we unfortunately didn’t alter the design after this point.
STRUCTURE DEVELOPMENT
CONSTRUCTION BOLT FIXED 6 WAY STEEL JOINT
CIRCULAR HOLLOW SECTION STEEL PIPE STRUCTURE
BIMETAL PANELS RIVET FIXED TO STEEL PANEL. STEEL PANEL WELDED TO STRUCTURE
BIMETAL PANEL STEEL SURFACE WITH CORTEN FINISH
BIMETAL PANEL STEEL SURFACE WITH CORTEN FINISH BIMETAL PANEL POLISHED COPPER SURFACE
MATERIALITY & STRUCTURE
OVERVIEW
In terms of materiality, the flaps will consist of the bimetal. As bimetal is typically made up of copper and steel, we have decided to use this combination, but rather than just steel, apply a corten finish so as to be more uniform and less contrasting to the copper and also to add a weathered look to our design to further increase the notion of nature surrounding our technique. Stainless steel hollow piping will make up the structural framework and will be connected by bolt fixed six way joints. These are on a much smaller scale than those we created for the conceptual model. In addition to this, the over shape will not by circular in reality, but rectangular.
In terms of construction, the idea is that sections of the structure be prefabricated and transported to site. The supporting arch will be erected, suspension cables attached and attached to the structure as it is built up. As some panels are very large, transportation and time spent constructing it is quite an issue. However, as the project is purely conceptual itâ&#x20AC;&#x2122;s not that big a deal, though we are aware of these problems, alterations in scale and sizing may need to be adjusted if the project were to be realistically built.
PRODUCED BY AN AUTODESK STUDENT PRODUCT
PRODUCED BY AN AUTODESK STUDENT PRODUCT
PRODUCED BY AN AUTODESK STUDENT PRODUCT
CIRCULAR HOLLOW SECTION STEEL PIPE STRUCTURE. BOLT FIXED TO FOOTING
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CAST MASS CONCRETE PAD FOOTING
PREPARING FOR PRESENTATION
PRESENTATION MODELS
STEP ONE
STEP TWO
Having already tested the material qualities in our conceptual model, we continued to work with thin dowel and card. The joints were created using six circular pieces, scored in the centre, folded and glued together to create a spherical-like ribbed shape. The dowels were then slit at the ends and slotted in to either side of the joint.
We slotted each component together lying flat so as to make it easier to attach the boxboard flaps to each pipe. When pre cutting the flaps, however, we did not take into consideration the joints and the loss of length required so each flap had to be altered accordingly.
STEP THREE
THOUGHTS
Once the flaps had been resized and attached we bent that form into position. Though the form is not exactly like that seen in our model we thought that it would be a good representation of the structure and also what drivers would experience when driving underneath and past it.
Overall, we believe the model to be successful in showing the experiential qualities of our design. Not only does it do this, but it also is able to highlight and represent the structural characteristics of our design. If time permitted I would have loved to have made a 1:500 model of our complete structure in this manner, though it would have been extremely intricate. I think that this model is a good representation of how old school hand modelling can depict a complex, digital model.
PREPARING FOR PRESENTATION
PRESENTATION MODELS
STEP ONE
STEP TWO
Due to the intricacy of our design, we thought that it best to get the model 3D printed for a smaller scale of 1:500. Originally we planned to get it printed through Shapeways, however, due to a 650mm size limit the only option was to print in stainless steel. So we decided to get it printed locally at the FabLab in plaster, however, the maximum size had to be 250mm and as our model was quite long (661mm) it would need to be printed in 17 separate pieces. Due to time constraints, we felt it was best to scale the model down to 1:1000 and print in 3 pieces, the arch, and two sections of the actual structure.
As the plaster model was quite grey (we expected it to be white) we decided to spray our boxboard site model black to create more of a contrast. In addition to this, we felt that it would be good to highlight the roads so we masked them up prior to spray painting it.
Unfortunately, because we had made everything so thin there were some areas of the model that broke, but luckily we were able to save most of the parts.
STEP THREE
STEP FOUR
A white pencil was used around the edges of each contour to add some depth that had been lost by spraying it black.
We then added the 3D to site and glued the pieces back together. A big issue we found was the lack of structural integrity, especially on the underside where parts had snapped off as well as the arch as it had broken in half. Once the threads representing cables were added, however, the model was able to stand up.
The result of spraying it was quite successful, however, the spray paint really highlighted the areas in which masking tape had been placed from laser cutting in the FabLab and had teared a layer of the box board off. This was a little disappointing, perhaps a better option would have been to get some black card laser cut and stuck onto each layer of the model.
If there was more time I think it would have been better to alter our 3D model and get the model reprinted so as to better demonstrate itâ&#x20AC;&#x2122;s structural capabilities. Because this current model is very unstable and not the strongest representation of what our design is about. A larger scale would have been better, as well as added thickness.
PREPARING FOR PRESENTATION
PRESENTATION MODELS
STEP ONE
STEP TWO
Rather than applying a 3D pyramidal texture to the flaps like that seen in our EOI, we felt it was much better to just etch a pattern in. This would also be the case for our design in reality, the added weight from the 3D texture would restrict the movement of the flaps.
Once all of the flaps had been etched and cut we sprayed the underside of each very lightly with black spray paint so as to give a slightly rusted and aged look and make it appear more like dark corten.
After adding the score lines of the pattern and printing we sanded a sheet of copper and etched the patterns in. This was rather time consuming, but we felt that it was probably the most suitable method.
The result was quite good, though we thought perhaps a better option would have been using a dark brown so as to better represent the corten. Nevertheless, each flap still looked pretty good.
STEP THREE
THOUGHTS
After spraying, to add to the weathered look and to bring the etched pattern out, each flap was roughly sanded and attached to the piping.
The final result of the model was extremely pleasing to us, though as the copper flaps were quite heavy for the balsa the model was not completely rigid so we thought it would be best to attach the model to a clear perpex sheet. This way you could see the underside of the model clearly as well, showing off the material qualities of the modules of our design really well.
The piping was created from balsa dowel much like the other presentation model, though much thicker and connected by aluminium joints that slotted into to each piece of dowel.
Looking back, I think that it probably would have been better just to make the overall model a bit more sturdy rather than just drilling and fastening it to a perspex sheet.
FINAL
PRESENTATION
BI
IOMIMICRY
ARCHITECTURE DESIGN STUDIO AIR RHIAN AP REES 361874 SOPHIE FARMER 390862 EDDIE MA 583573 JUNHAN FOONG 395563
<http://www.reefnews.com/reefnews/news/v05n04/stars.html>
168,552 84,861
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1991 2001 2011
INTRODUCTION AND RECAP
ARGUMENT DESCRIPTION Wyndham is a rapidly growing area, not only in population but also in terms of opportunity. Therefore, we aim to create a gateway structure that celebrates this change. The notion of growth is at the core of nature itself and so in order to develop and represent this idea we investigated and employed biological processes to generate a design technique and applied this so it was relative to the site of Wyndam.
DESCRIPTION Our technique was developed by taking the coral polyp and its growth process as inspiration and abstracting this into a single triangural cell, and repeated the cell to form a larger trinagular module. Our technique is based on the responsive nature and differentuality of coral polyps as they open and close in response to their exposure from the surrounding environment, particularly light. The idea being that when each module is exposed to sunlight or shadow, it will open and close accordingly. These modules are then applied over a surface to get a larger form. This surface is derived from the sunpath across the site. However it should be noted that the technique can be applied virtually to any location or context. By using the sunpath across the site, phototropism can somewhat be emulated.
INTRODUCTION AND RECAP
TECHNIQUE
DEVELOPMENT
DESIGN DEVELOPMENT
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SITING Though we would have loved to have applied our technique across the entire site and create a highly experiential kind of tunnel, we felt it was important to properly map our technique to the site to generate the form. A diagram of this development is shown to the left.
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MOVE POINTS TOWARDS POINTS ON SUNPATH
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Overall the structure is 661m long, so as to give drivers an adequate experience. Those driving towards Wyndham will experience driving underneath and getting a full view of the polyp modules, Space is also left to increase approach.
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<http://www.evolo.us/architecture/metal-that-breathes-bloom-installation-made-with-14000-thermonimetal-pieces/>
DORIS KIM SUNG
BLOOM INSTALLATION <http://www.evolo.us/architecture/metal-that-breathes-bloom-installation-made-with-14000-thermonimetal-pieces/>
OVERVIEW A project that utilizes thermo bimetal or TBM is the Bloom Installation, created by Professor Doris Kim Sung of the University of Southern California. The installation, ‘Bloom’ is made up of 14,000 pieces of thermo bimetal, curling up when exposed to heat and flattening out when in shade. Essentially is able to act as a sun-tracking device, though this isn’t the main intention for us, our gateway structure certainly could act as one. In addition to it being a sun tracking devide it also acts as a responsive shading device, which is something similar to what we are trying to implement into our design. However, the reason for it’s implementation would be mainly for aesthetics as shade is not that important given the context. In this installation, the metal used has quite a
high shine and even though each of the sheets is able to close and protect users from the sun, there’s a chance that the sunlight is just going to be reflected off the metal and onto users anyway. Taking this problem into consideration, we have decided to use matte materials with minimal shine. Thermo-bimetal can be thought of as a kind of living skin or organism, that opens and closes to let heat in and out. It is very relevant to biomimicry and allows us to clearly demonstrate our main design intention. And being that thermo-bimetal has yet to be used in a large scale architectural context (this installation being the largest currently) we believe this innovative material is a great choice for our project.
STUDIO ROOSEGARDE
LOTUS DOME OVERVIEW The Lotus Dome, designed by Dutch designers Studio Roosegarde, is an installation made up of thousands of heat responsive metal petals. The petals are of what is known as ‘smart foil’, a unique material created using several layers of Mylar film and metals. The installation employs 3D motion sensors that react to movement and increase the amount of light and thus heat within the centre of the dome causing the metallic petals to curl and open up, giving the sense that they are reacting to human movement. The designer, Roosegaarde thinks of the Lotus Dome as having both animal and technological qualities (Dezeen, 2012). These animal-like qualities are similar to what we are trying to achieve within our design. Though this installation utitilizes 3d sensors and people’s movement, the light and heat responsiveness of the metals petals is what is
of great interest to us. The ‘smart foil’ works in very much the same way as thermo-bimetal. This work is focused on a longer user experience than what is seen in our project, however, the responsiveness seen in this is very quick due to a direct heat/light source, in a natural setting it would be much slower, which is what we are aiming for in our design. The responsive nature of our structure will be much slower and gradual and even though the driver will most likely not see the flaps opening and closing before their eyes, we believe that the gradual, ever changing nature of our design will be noticed and appreciated by users. At night, lighting would be used in our design so a similar aesthetic effect to that seen in this structure will also be achieved.
<http://www.dezeen.com/2012/10/13/lotus-dome-installation-by-studio-roosegaarde/>
STRUCTURE DEVELOPMENT
JOINTS AND MATERIALITY
DESCRIPTION After deciding on materials, it became important to explore how each of the polyp modules and flaps would connect together. Due to the triangular shape of each module, a six way joint was the most suitable. The design of our joint by was created by taking inspiration from Kâ&#x20AC;&#x2122;Nex, a construction toy system. The idea being, that the steel pipes that the flaps are supported by would be able to slot in to each joiint. Though this method was fine when constructing our physical models, when actually constructed, the pipes will be bolt fixed to the joints. The joint will also be made of steel.
The flaps will be made of thermo-bimetal as previously mentioned, yet to avoid being too reflective, a combination of copper on the underside and cor-ten steel on the outerside will be used. As the structure ages, so will the copper. The oxidation weathering will help to further represent growth and change over a gradual period. Each of the flaps will be riveted onto hinges connected to the steel piping. However, it is not the hinge that causes the movement, though it enables for the bimetal to move as it is able to curl itself open and closed.
<http://www.calatrava.com/#/Selected%20works/Architecture/Dublin?mode=english>, <http://www.calatrava.com/#/Selected%20works/Architecture/Seville?mode=english>, <http://www.turtlebay.org/ sundialbridge>, <http://www.architecturaldigest.com/architecture/2012-03/santiago-calatrava-margaret-hunt-hill-bridge-article>
STRUCTURE DEVELOPMENT
SUSPENSION AND CALATRAVA OVERVIEW A large problem with our design is itâ&#x20AC;&#x2122;s current structural characteristics. The kind of curvature and overall form that resulted from mapping our grasshopper model to the site is very weak structurally. At first we thought about including a very thin space frame system that would be underneath the layer of flaps. However, the structural frame would take attention away from our design, and may also result in a rather clunky, heavy looking structure. We would like to create the illusion that our design is somehow floating, or at least appear to be lightweight, despite being made of metal. We believed that the best method to achieve this is to suspend the structure by steel cables
OVERVIEW from an arch, much in the fashion as that seen in Santiago Calatravaâ&#x20AC;&#x2122;s bridges, namely the Samuel Beckett Bridge, Dublin, Puente del Alamillo, Sevile, Sundial Bridge, Redding and the Margaret Hunt Hill Bridge, Dallas (pictured right). As the structure will be suspended, there may be problems with the suspension cables blocking the module flaps from opening and closing. Therefore, it was decided that the flaps be placed on the underside of the structure. By doing this, it also creates a more interesting experience for those driving underneath, which is the main focus of our design.
EXPERIENCE
EXPERIENCE
DRIVE THROUGH
EXPERIENCE
DRIVE PAST
EXPERIENCE
SOLAR REACTIVITY OVERVIEW
DESCRIPTION
Throughout different times of the day and different seasons, the structure will be able to alter itself relevant to the sun path and position in the sky. This differentiality within our design is our main intention. That is, to create something that acts as a living organism, constantly changing, giving the sense of growth and in turn nature itself. As mentioned previously, the form is derived from the sun path and mapped to the site so as to enhance the solar reactivity of the design. Though the form generated does have structural issues that can only be resolved through suspension, the fact that sunlight reactivity is the most optimal using this form fulfills and demonstrates our argument more effectively.
PHYSICAL REPRESENTATION
1:20 DETAIL MODEL
PHYSICAL REPRESENTATION
STRUCTURE MODEL
PHYSICAL REPRESENTATION
1:1000 SITE MODEL
THE MK II
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PRODUCED BY AN AUTODESK STUDENT PRODUCT STEEL PANEL BOLT FIXED TO FOOTING
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PRODUCED BY AN AUTODESK STUDENT PRODUCT
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PRODUCED BY AN AUTODESK STUDENT PRODUCT
GATEWAY PROJECT
FINAL ANALYSIS
FINAL PRESENTATION
FEEDBACK OVERVIEW
OVERVIEW & OPINION
Overall, I felt that our final presentation went quite well. Although there are many improvements that could be made, the resulting design achieved by the group was very pleasing.
‘An ambitious project, there are moments that it’s beautiful’
POSITIVE FEEDBACK ‘Models (excluding site model) are great’ ‘Love the big model showing the materials on it, that’s really great’ ‘Techniques shown are good’
‘You guys as a group, work well as a group’ ‘Amazing consistency of work throughout the semester’
OPPORTUNITIES “Videos took up a disproportionate amount of your presentation showing somebody else ... should be selling the material choice as it related to the project”
‘Like the shapes that were being created’ ‘Some of the drawings are really nice’ ‘Really cool and very clear diagrammatic representation’ ‘A very ambitious project on multiple levels, to be applauded’ ‘Researched and researched and came up with a solution, to be commended’
I must admit that I do agree with this completely. I think that the reason we a lot of video content, especially for the explanation of thermobimetal, was because we didn’t feel that we had the credibility to explain it convincingly ourselves. And even though the main aspect of our design is movement, I think that there was a little too much video showing this. It probably would have been better to speak more about it ourselves.
OVERVIEW & OPINION
OVERVIEW & OPINION
“The material is something that would be better to experience up close or if you were spending time within that change... it has far more applicable applications than what you’ve got”
“Too prescriptive about a rule following process to get your form”
I think that perhaps this reason why it would seem better to be viewed up close is because of our video of the Lotus Dome that showed the quick responsive nature of this. In a natural setting, the change would be gradual. However, I also understand that many drivers may not realize that the structure is constantly changing, especially if they are not going to regularly travel through it.
“Formally, needed a bit more time spent putting some other options forward and making the right choices about which ones you chose” When coming up with our final design, we did follow the rule of our technique quite pedantically, even going to the point of shaping the arch in quite an awkward position because that’s the form the Grasshopper definition spat out. I think that we thought that this was the most appropriate because, if it was generated by the definition then it must be correct, when evidently it wasn’t.
What could be done: What could be done: - Perhaps rethink the importance of the movement of the structure. It is not necessary at all, but then again, neither is the gateway itself. I think that we have been successful in achieving what we set out to do. To create a structure that is able to change and alter itself over time. - Mention in the presentation or perhaps show more images/video demonstrating the slow, gradual change.
- Alter the form even though it ‘breaks’ the rules that we have set for our technique. “Final diagram (sun path animation) wasn’t showing how and where the changes were occurring... could have been clearer... perhaps could have shown what it was like underneath” What could be done: - Create an animation of the underside opening and closing rather than the just a top view.
FINAL PRESENTATION
FEEDBACK OPPORTUNITIES “Models at this sort of scale (1:20) should be working towards a prototype... shouldn’t put Perspex underneath... It’s like a piece you would put in a gallery, we can only look at it from far away” While we did try and make it structurally stable, if we had more time we would create the 1:20 model much more sturdily so perspex wouldn’t be needed. We just felt that because the flaps were meant to be facing downwards it was important to create two different views, though I suppose that this can be done just by lifting it up and examining the model.
OVERVIEW & OPINION “There’s a difference between adding to the drama and pushing limitations to the complete extreme” I think that we really all knew that there was structural issues yet we tried to justify it as creating some kind of dramatic effect. I do think that the form is dramatic and does push limitations though probably not as successfully and as positively as we would like to think. What could be done: Again, revise the structure of our design, preferably so suspension is not needed.
“I feel that this is very counter intuitive, it is like the whole thing is leaning over”
“That cable thing is scary”
There are issues with form, I feel like we could have spent a little more time on exploring structural alternatives but because we were trying to finalize the design early with the intention of getting it 3D printed, I think we may have neglected this aspect quite a bit.
To support the structure with so many cables does make our design less attractive, especially in the animations we made. As stated above it would be nice to develop our form a little bit more so suspension cables aren’t necessary and the whole thing is able to support itself.
What could be done:
“The way that your triangulations get squished until it’s almost like elongated stocking pieces, it just wouldn’t work that way, you’re losing all the strength there. It’s not all working as one skin”
If time permitted we would definitely revise the structure of our design.
OVERVIEW & OPINION
OVERVIEW & OPINION
This was actually one section of our model that we didn’t really pick up on. Well, we did, but we didn’t think too much of it as we believed that because it was generated by our definition in Grasshopper that it was okay. However, this wasn’t the case.
the reason for this is digital fabrication. From the feedback received, the models we just made from eye and weren’t really accurate were more favoured.
“Form needs tweaking a little bit... scale it up in Z, needs to be more flowing”
- When presenting, make the models look as aesthetically pleasing as possible even if they don’t match up with the digital model.
Originally, our design was quite tall and we ended up scaling it down to a more realistic scale and this is what caused the flatness and lack of curvature. What could be done: - Increase the height and perhaps shorten the length/ - Change the form back to one our original models that was much more curved and flowing. “Don’t need to be so precious and think that your presentation has to be exactly like your models” We wanted to depict our design in our presentation as accurately as possible. I think
What could be done:
“Sometimes you just need to be a bit more self critical.”
(Paul)
^This comment sums up our review well.
FINAL ANALYSIS
REFLECTION OVERVIEW
finalFINAL THOUGHTS
Over the course of the semester, I do believe that my knowledge and skills in parametric design have grown quite significantly and in turn I have come to like parametric tools such as Grasshopper much more. Before taking this studio and even half way in, I remained somewhat unconvinced that parametric software was actually necessary in the design field at present. To be honest, I still slightly believe this to be the case, that parametric design is not needed. But I have come to realise that it is a very convenient design method depending on what it is that needs to be designed. One of the major benefits is that it is so adaptable. After developing our technique it was only a matter of defining the site boundaries and our form could be generated. And so the technique could be used virtually anywhere, the context did not really matter, it could be quickly mapped to any site. I think that this is one of the more positive characteristics surrounding parametric architecture.
gateway project, performance (other than structual), was not really necessary as it was not something that people would be spending a lot of time in, so it was not something that we really experimented with in Grasshopper to a great extent. However, in the future I would like to look more into it. Another problem I found was that we focused a little too much on our definition. The form that it produced when mapped to site may not have been the most appropriate, however, because it was created from our ‘rules’ we decided that it must be suitable. From this experience I’ve learnt that even though Grasshopper can create forms based on a set of rules, it’s important to know when ‘intervention’ and alterations are necessary.
I still believe that parametrics is only really useful for performance, being that that is essentially what it was created for (Hagan, 2008). I don’t think that it should just be used to create novel forms for the sake of it. In the
Overall, I have really enjoyed this studio. Not only has it introduced me to new design tools, it has introduced me to a new way of thinking when designing. It was also excellent working in a team, I really enjoyed working hard throughout the semester with my group members. Though Grasshopper was difficult to get my head around at first, I found it to be very engaging and was really pleased with our final result.
thank you to my great group members
E D D I E, J U N H A N & R H I A N and to our tutors
ALISON & PAUL
OVERVIEW Hagan, S. 2008. Archictecture and the digial, the environmental and the avant garde, (New York: Routledge) http://wanderersinthemist.blogspot.com.au/2011_02_01_archive.html http://upload.wikimedia.org/wikipedia/commons/thumb/d/d2/Bimetaal.jpg/300px-Bimetaal.jpg http://www.capgo.com/Resources/Temperature/BiMet/BiMetallic.html http://w w w.evolo.us/architecture/metal-that-breathes-bloom-installation-made-with-14000thermonimetal-pieces/ http://tbmresearch.blogspot.com.au/2012/10/bloom-surface.html http://vimeo.com/35968896 http://grimshaw-architects.com/project/international-terminal-waterloo/ http://grimshaw-architects.com/project/southern-cross-station/ http://grimshaw-architects.com/project/zurich-airport/ http://www.calatrava.com/#/Selected%20works/Architecture/Dublin?mode=english http://www.calatrava.com/#/Selected%20works/Architecture/Seville?mode=english http://www.turtlebay.org/sundialbridge http://www.architecturaldigest.com/architecture/2012-03/santiago-calatrava-margaret-hunt-hill-bridgearticle
GATEWAY PROJECT
REFERENCES OVERVIEW
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