AIR_Final Journal by Stephen Yuen

ARCHITECTURE DESIGN STUDIO: AIR Stephen Yuen_641050 2015_Semester 1 Tutor_Brad Elias

Cover image: studioAIR final design

CONTENTS 4

INTRODUCTION

PART A: CONCEPTUALISATION

7 12 16 21 22

A.1 DESIGN FUTURING A.2 DESIGN COMPUTATION A.3 COMPOSITION + GENERATION A.4 CONCLUSION A.5 LEARNING OUTCOMES

PART B: CRITERIA DESIGN

25 30 44 51 72 82 86

B.1 B.2 B.3 B.4 B.5 B.6 B.7

PART C: DETAILED DESIGN

89 113 136 144

C.1 C.2 C.3 C.4

146

REFERENCES

RESEARCH FIELD CASE STUDY 1.0 CASE STUDY 2.0 TECHNIQUE: DEVELOPMENT TECHNIQUE: PROTOTYPES TECHNIQUE: PROPOSAL LEARNING OBJECTIVES + OUTCOMES

DESIGN CONCEPT TECTONIC ELEMENTS + PROTOTYPES FINAL DETAIL MODEL LEARNING OBJECTIVES + OUTCOMES

INTRODUCTION

STUDENT PROFILE: STEPHEN YUEN YEAR LEVEL: 3RD YEAR (UNDERGRADUATE) INSTITUTION: UNIVERSITY OF MELBOURNE

then played around with it again during Year 12 when I modelled a small cafe as part of my Visual Communication and Design assessment. However, all these early endeavours were very rough and raw.

I often like to try and fool myself into believing that I am a cultured human being who enjoys going to food festivals and night markets. However, the simple truth is that I just like to eat food. And in many ways I believe my love for architecture has stemmed from a similar sentiment. I love architecture because I love to go into buildings (which I have done even when I have no specific reason for going in in the first place).

In my first undergraduate year, I was thrown into the deep end during Virtual Environments. I began to learn how to use Rhino as well as Autodesk 123D Catch which allowed me to create models of myself in the digital realm. Once I began to understand how to use it, I embraced it and thoroughly enjoyed its abilities to recreate designs I had drawn on paper onto the computer. In fact, since then, I have used it frequently ranging from my design studios to projecting real life built projects.

I guess combining this with my childhood obsession with Lego, I decided in Year 5 that I wanted to be an architect. So 10 years later, I now find myself in architecture school. Digital architecture has been something I did not truly start exploring till the beginning of my tertiary education. I remember playing around on Google SketchUp in Year 7 and then again in Year 10 when I modelled my very first house during my work experience with Melbourne-based firm, NHArchitecture. I

However, I realise that the role of digital design extends far beyond the purpose of representation. Looking at the world around us, it is evident that digitalisation in architecture is a growing phenomenon. Often, when considering digital methods and more specifically, parametric algorithms, my peers and I often imagine outlandish curves, maybe some sort of tesselation or patterning, and Zaha Hadid

gets at least one mention or 57. Over the last year or so, I have realised that this too does not define digital architecture. In fact, at this point in time, I believe digital architecture is anything that utilises digital technology to solve a problem. A historical example is Australiaâ&#x20AC;&#x2122;s iconic building, the Sydney Opera House which was designed by Jorn Utzorn. One design challenge that was encountered by the engineers at this time was the method in which the curvature of the sails would be produced. Using digital technology, the shape of the sails was mapped out using a specific rule or algorithm. Thus, even buildings constructed as early as the 1960s had already begun showing evidence of using technological means in their design or production. With the rise of technological capabilities, the presence of digital architecture will be constantly growing. Thus, through this growth, I am extremely interested to see where digital design, and more specifically, parametric modelling, will take me in regards to my attitude towards design. 1. Virtual Environments Introduction to digital modelling and fabrication 2. Architecture Studio: Earth Using digital modelling to illustrate tectonic relationships 3. Architecture Studio: Water Using Rhino and the rendering plug-in, Flamingo, to generate the final model 4. Prayer room interior Generating a projection of a proposed interior which was then actualised through renovation

PART_ACONCEPTUALISATION

A.1 DESIGN FUTURING is the future, now?

Every so often, I find myself embroiled in a discussion regarding why I like and dislike certain buildings. Sometimes, this is with my design peers but most times it is with friends and family who represent the majority of architectural users: ordinary citizens going about their daily business.

Thus, through Schumacher’s perspective of an encompassing system, all works are pertinent in constructing the future of design, and more importantly, our world. It is through this flow of ideas and perspectives that alternative and innovative approaches can be developed.

What I find (and I admit I sometimes do this myself) is that we are so bogged down in the way architecture looks, that we forget the essence of design. Often, when we look at recently constructed buildings, we find ourselves asking: is this the future of design? But what is this future? Is it simply new materials, fancy geometries or funky curvilinear structures?

In this way, the future of architecture, or perhaps more precisely, our future as human beings, remains undecided. Through critical design, we can create a new direction towards a preferable future out of all the plausible, probable and possible futures that lie ahead.2

The beauty of architecture is often reduced to aesthetic appearances or what is commonly known as “style”. Unfortunately, this causes a kind of conformity with the status quo providing a shallow idea of what “good” architecture is. However, the practice of architecture exists beyond these generalised misconceptions and transcends what is built in the physical realm.

“An important work of architecture will create polemics.”

In fact, architecture can be considered to be a system of communication, or more specifically, an autopoietic system of communication.1 This definition developed by Patrik Schumacher is rather liberating for designers as it places importance on all works, not just those that are built.

What is interesting to note is the longevity architectural works possess when it comes to directing the path of future design. One historical design precedent which possesses ideas that still strongly resonate within many architectural circles is the Cushicle and Suitaloon by Michael Webb which first appeared

1 Schumacher, Patrik, The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley, 2011), p. 1. 2 Dunne, Anthony, and Fiona Raby, Speculative Everything: Design, Fiction, and Social Dreaming (Cambridge: MIT Press, 2013), pp. 3-4, 34.

As Richard Meier once famously stated:

It is through this sentiment that the concept of design futuring and also the role of architects can be defined; that it is the duty of designers to shape the artificial and ecological future by contributing to the discourse that is known as design.

in a design publication distributed by avantgarde design group, Archigram, in the 1960s. Highly admired for its progressive attitude towards future living, it garnered much response from the design community not for its unique appearance, but more importantly, its ideas behind the pattern of living. Fuelled by the changing society and a need to develop a new way of living, Webb provided an alternative system of living almost interpreting architecture as a literal skin. He was interested in exploring the idea of mobility and mass consumerism, and aimed to investigate the possibility of a future where humans are not bounded by a single space of survival.3 With the rise of technology, Webb aimed to create a design which embraced the technological advancements of not only the present time, but those that would occur in the future. In many ways, this adheres to the approach of design intelligence. This concept positions designers to realise that successful designs are able to exist in a timeless fashion, transcending beyond temporal limits.4 The fact that this work was never built is irrelevant. The point that remains is its power to influence future architecture and challenge the way we humans coexist with nature in a

3 Curtis, William J. R., Modern Architecture: Since 1900, 3rd edn (London: Phaidon Press Limited, 1996), p. 538. 4 Fry, Tony, Design Futuring: Sustainability, Ethics and New Practice (Oxford, Berg, 2008), p. 13.

sustainable manner. Thus, it is evident that this historical work is still a relevant example in todayâ&#x20AC;&#x2122;s discourse regarding design futuring. A second precedent that contributes to architectural discourse is the ArcelorMittal Orbit (simply known as the Orbit) by Anish Kapoor and Cecil Balmond.

Below: Fig 1. Cushicle design by Michael Webb Image source: http://architecturewithoutarchitecture. blogspot.com.au/p/cushicle-and-suitaloon-were-conceptual.html

Above: Fig 2. Integrated design combining the Cushicle and the Suitaloon Image source: http://architecturewithoutarchitecture.blogspot. com.au/p/blog-page.html Below: Fig 3. Suitaloon remodelled for multiple users

Unlike the majority of built architecture, the ArcelorMittal Orbit tower was not constructed with a specific purpose in mind. As a result, Kapoor aimed to create a work that would be flexible in its usage. Having explored the tower firsthand during my trip to the UK, I was awestruck by the design ideology behind the structure. Kapoor challenges the definition of a tower which is typically pyramidal in form. Instead, he redefines the tower archetype. This questioning of form and function is an ideal example of what is known as critical design. In their book Speculative Everything: Design, Fiction, and Social Dreaming, Anthony Dunne and Fiona Raby argue the necessity of critical design to sharpen the direction of future architecture.5 Below: Fig 4. ArcelorMittal Orbit concept sketches Image source: http://anishkapoor.com/332/Orbit.html

Furthermore, Dunne and Raby state that â&#x20AC;&#x153;sometimes we can have more effect as citizens than as designersâ&#x20AC;?.6 This notion is also represented in the ArcelorMittal Orbit as it possesses various methods to travel throughout the tower. Therefore, a certain degree of participation is required to fully understand its multifaceted nature. As a result, the meaning of the building no longer resides in its purpose, but rather, it rests in each personâ&#x20AC;&#x2122;s individual journey. Furthermore, its progressive approach to modular fabrication displays an example of algorithmic design. Kapoor and Balmond experimented extensively through both digital and physical modelling to achieve structural optimisation. Thus, the tower was able to be constructed by simply welding pre-designed modules together. With this realisation, it is clear how this building contributes to the enlargement of disciplinary discourse. Each person who experiences the building, whether it be through the construction process or as a visitor, creates a node in the autopoietic system that is architecture. It is through this ongoing discourse that allows the future to be constantly molded, forming as it progresses. Consequently, design futuring no longer embodies a task that can be done and dusted. Rather, it becomes an attitude we as designers must adopt to direct the systemic flow of ideas and the evolving architectural conversation.

5 Dunne and Raby, p. 34. 6 Ibid., p. 37.

Above Left, Middle & Right: Fig 5, 6, 7. ArcelorMittal Orbit curvature experimentation using digital modelling Image source: http://anishkapoor.com/332/Orbit.html Below: Fig 8. ArcelorMittal Orbit completed at Olympic Park 2012 Image source: http://www.toursof2012sites.com/imagelibrary/P1080563.JPG

A.2 DESIGN COMPUTATION designing the way technology designs

The presence of digital technology within architecture has heralded a shift in design ethic and technique. Initially considered to be simply a representational tool, the rise of design computation has increased the plethora of design possibilities while evolving the way in which architects work.

In fact, Saarinen stated that his experimentation of plastic forms was an ode to the advancement of computation in the architectural industry. Moreover, his interest in new geometries extended beyond architecture and was even showcased in the furnishings within the terminal.

The practice of design has often been considered to be a problem-solving profession in which architects generate a variety of applicable solutions before selecting the most preferable option as the final outcome. The increased use of computation in the design industry has enabled architects to frame and analyse problems with a variety of parameters in a more efficient manner.1 As a result, designers now possess the ability to synthesise multiple outcomes within a few seconds.

Being able to utilise new technologies allowed him to explore different pursuits. With the digital advancements, Saarinen began exploring organic forms within human beings and also in nature. Thus, through computation, new possibilities were revealed giving architects a new method of investigating a subject that was initially unavailable.

However, in addition to this basic use of design computation, digital technology has opened a myriad of design possibilities. No longer limited to the Platonic geometries of the past, architects have embraced a more curvilinear aesthetic in order to showcase the dexterity of computer-aided modelling. An example of such a design is Eero Saarinenâ&#x20AC;&#x2122;s design for the TWA Terminal in New York. Saarinen chose to leave behind the clean geometries that embodied the American approach to the International Style and began experimenting with sinuous curves that could only be achieved from computer modelling.2

1 Kalay, Yehuda E., Architectureâ&#x20AC;&#x2122;s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), p. 11. 2 Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), p. 4-5.

Below: Fig 1. Plan of the TWA Terminal, New York Image source: http://www.metalocus.es/content/ en/system/files/file-images/twa_terminal_metalocus_41_1024.png

Below: Fig 2. TWA Terminal, New York interior Image source: http://www.shorpy.com/files/images/ SHORPY_00609u.jpg

Saarinen evidently embraced the unique opportunities presented by digital computation and increased the realm of achievable geometries that were available at the time. Yet, it is important to remember that digital architecture does not only embody one particular type of aesthetic. Rather, it is an approach to which designs are generated and then actualised. In his book, Architecture’s New Media: Principles, Theories, and Methods of ComputerAided Design, Yehuda Kalay reminds us that “buildings, prior to the Renaissance, were constructed, not planned”.3 This symbiotic relationship, which no longer exists today, can be rediscovered using the medium that is design computation. In fact, Kalay goes on to discuss the new professional profile (or scripting culture) that is generated from the use of digital technology. Today’s architectural and building climate features an essential relationship between architects and construction engineers. However, design computation seeks to abolish this system by replacing it with a hybrid connection that resembles something similar to an architect and a software engineer. This has created what is known as a digital continuum which has effectively melded what was once individually labelled as the design and construction phase.5

3 Ibid., p. 7. 4 Peters, Brady, ‘Computation Works: The Building of Algorithmic Thinking’, Architectural Design, 83, 2 (2013), p. 11. 5 Oxman, Rivka and Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014), p. 1, 3-4.

This is achieved through digital design, or more specifically, through digital scripting such as the Python or Grasshopper plug-in to Rhino. Thus, we as designers have essentially began to create a scripting culture where designers share codes, tools and ideas. In his journal article, Brady Peters describes this as the “building of algorithmic thought”.6 Through this new area of discourse, the future of the design and construction industry seems bleak in the sense that it may no longer exist in the near future. Instead, our society may revert back to the age of the Renaissance where designers also have a large amount of control over the fabrication process in addition to the design itself. Many are familiar with Louis Sullivan’s famous saying “form follows function”. However, this shift towards a digital mentality offers us the sentiment of:

“Formation precedes form.”7 This mantra suggests that architects no longer need to align themselves to a specific aesthetic idealogy. Rather, the focus has turned towards processes of fabrication where innovation arises from works that uniquely culminate design theory and experimental formative techniques.

6 Peters, p. 11. 7 Oxman and Oxman, p. 3.

An example that pioneered this approach was Alvar Aaltoâ&#x20AC;&#x2122;s Finnish Pavilion which was featured in the 1939 Worldâ&#x20AC;&#x2122;s Fair in New York. Heralded as one of his best works, Aalto experimented with curvatures taken from his local surroundings of Finnish estuaries and landforms.8 What is interesting to note is that his use of particular geometries not only stemmed from the Finnish vernacular, but also from his regionalistic approach to fabrication techniques which were made possible from the technology of the time. Although not strictly computational, the technological capabilities of the time were able to fabricate the curvilinear elements that feature within the interior of the pavilion. When considering the aesthetic appearance, Aalto did not allow his design to dictate the methods in which it would be constructed. Rather, he allowed the fabrication process to direct and determine the form. Thus, this approach enacts the same design thinking of using design computation. Essentially, with the Industrial Age developing into the Information Age, there has been a redefinition of the architectural practice. Computation has liberated designers by greatly increasing the range of what is conceivable and achievable.

8 Curtis, William J. R., Modern Architecture: Since 1900, 3rd edn (London: Phaidon Press Limited, 1996), p. 346.

In this way, architects must be aware that an increase of opportunities and innovation will require greater knowledge in terms of construction and fabrication. With design computation, architecture practices will begin to extend beyond what is commonly considered to be design, and encompass the art of formation.

Below: Fig 3. Alvar Aaltoâ&#x20AC;&#x2122;s Finnish Pavilion, New York Image source: http://www.metalocus.es/content/en/system/files/file-images/metalocus_alvaraalto_11_1280.jpg

A.3 COMPOSITION + GENERATION can we compute creativity?

The design process has traditionally been considered to be an infinite cycle of ideation and evaluation with the “best”, or perhaps, the most preferable solution chosen as the final outcome. This compositional approach is now beginning to shift to a generative one where the use of design computation has greatly increased the efficiency in which designers work. Rather than addressing and analysing issues against the composed ideas, architects have now begun to adopt what is known as “algorithmic thinking” whereby they frame design problems holistically. As a result, they can set parameters through which outcomes can be synthesised.1 As a result, architectural designs can begin to respond to their context more accurately as real-life environments can be simulated on a digital scale. This is where the benefits of parametric design comes to light. In their book Theories of the Digital in Architecture, Rivka and Robert Oxman describe parametric design as:

“[focusing] on a logic of associative and dependent relationships between objects and their partsand-whole relationship.”2

1 Kalay, Yehuda E., Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), p. 5. 2 Oxman, Rivka and Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014), p. 3.

Therefore, algorithmic thinking truly embodies a holistic overview on design. No longer are we working on satisfying individual design issues. Rather, architects are beginning to create a set of rules through which design computation should be used to generate a set of satisfactory outcomes. In this way, designers truly seek to take the opportunity of design issues. Often, it is said that the best designs arise from an innovative use of limited space, resources or design freedom. Therefore, if architects are only responsible for setting the algorithmic constraints (essentially giving full generative power to technology), the only real space for design comes from the limitations themselves. This then becomes what is known as algorithmic sketching.3 This is perhaps one of the shortcomings of generative design. At this point in time, digital technology does not possess pure creativity.4 Computers are only capable of adhering to rules, constraints and limitations which are conveyed through humans. Therefore, although computers generate outcomes in a far more efficient manner than we do as human beings, the question one must consider is whether efficiency is always the best design solution. Will humanity’s dependency on technology reduce our own sense of creativity?

3 Peters, Brady, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2 (2013), p. 10. 4 Kalay, p. 1-2.

One particular precedent that has adopted a generative approach is the Shellstar Pavilion by MATSYS which was constructed in 2012 in Hong Kong. This project embraces digital computation allowing technology to assist in the determination of form, surface optimisation and eventually fabrication.5 Below: Fig 1. Shellstar Pavilion form-finding process Image source: http://matsysdesign.com/wp-content/uploads/2013/02/ShellStar_Diagrams-1.jpg

5 MATSYS, Shellstar Pavilion (Oakland: MATSYS, 2013) <http://matsysdesign.com/category/projects/shell-star-pavilion/> [accessed 15 March 2015] (p. 1).

The form-finding process was a development of Antonio Guadiâ&#x20AC;&#x2122;s catenary-chain method. The rules set by MATSYS was the structural vectors that were put in place to hold the overarching canopy (see Fig 1).

Once these had been determined, they used Kangaroo (a physics plug-in for Grasshopper) to determine the most efficient structure. However, this presents a trade-off in creativity as the architect is no longer concerned with the form itself. Instead, the generated ideas are only dependent on the vectors (initially drawn by the architects) which the form would wrap around. Surface optimisation and fabrication also heavily relied on computer-generation. MATSYS aimed to produce a minimally stressed surface that could be divided into smaller modules enabling physical construction. Below: Fig 2. Shellstar Pavilion by MATSYS Image source: http://matsysdesign.com/wp-content/uploads/2013/01/ShellStar-7813.jpg

Through generation, such modules would be easily produced. MATSYS knew that in order to produce the free-flowing surface of the Shellstar Pavilion, planar elements would have to be used due to their ease of construction during the fabrication stage. With the power of computative generation, MATSYS was able to create planar modules that would fit together to produce the pavilion. Thus, this efficient method of design showcases the benefits of using generation as it allows designers to input various design constraints. Furthermore, it caters for the addition of new limitations which are introduced during the design process. Moreover, it provides a platform for architects to experiment with form while receiving data in regards to

performance feedback. This in turn can create new opportunities.6 An example where this has occurred and has extended the idea of generation beyond form, is the MoMA/PS1 REEF by IwamotoScott Architecture. Unlike the pavilion project by MATSYS which used computative generation for form-finding, structural optimisation, and fabrication, IwamotoScott additionally used it to respond to the context of the site. Drawing inspiration from the reefs found underwater, IwamotoScott incorporated biomimicry by utilising similar ideas to control light, shadow, shade, and movement.7 Furthermore, algorithmic rules were also determined by the experiential qualities of the site; particularly its flow and program. Using Rhinoceros, the design team generated multiple outcomes that responded to the environmental changes of the site. This method displays the flexibility of generation (as opposed to composition) as IwamotoScott Architecture is based in a different city to the site this was to be displayed.

6 Peters, p. 13.

Thus, using digital computation, the practice could still accurately produce numerous outcomes using data that simulated local configurations such as weather patterns. Similar to the Shellstar Pavilion, the REEF also heavily relied on generation during the fabrication stage. Analysing the outcomes that had been generated from Rhinoceros, the architects realised that the material required to produce the effects they wanted to achieve had to be translucent. Therefore, this illustrates that even though generation produces multiple outcomes in an efficient manner, an evaluation phase is also critical. Furthermore, another benefit of using generation is being able to experiment with different types of materials giving designers a more accurate picture of the likely behaviour of the final outcome. From these two precedents, it is clear that generation is an effective method of producing and analysing large amounts of solutions in a relatively short period of time. Although it lacks pure creativity, this apparent shortcoming allows the designer to take advantage of design obstacles in the form of limitations, and to creatively respond to the context of the design.

7 IwamotoScott Architecture, MoMA/PS1 REEF (San Francisco, IwamotoScott Architecture, 2007) <http://www.iwamotoscott.com/MOMA-PS1-REEF> [accessed 15 March 2015] (p. 1).

Below: Fig 3. REEF by IwamotoScott Architecture Image source: http://media.aiasf.org/uploads/cache/3b/46/3b468fd029f31286fc6f7d00306bbb8c.jpg

A.4 CONCLUSION part a

â&#x20AC;&#x153;Having this mindset is innovative in the way that it seeks to find creativity predominantly in the design problems rather than in its programsâ&#x20AC;?.

Prior to entering into this studio subject, I had a number of misconceptions in regards to what digital design looks like and how it should appear and function. However, delving into the theory behind the origins of digital computation and generative design has revealed to me that it is not a particular aesthetic that I need to conform to. Rather, it is an approach and an attitude that I need to adopt when producing and evaluating outcomes. Having this mindset is innovative in the way that it seeks to find creativity predominantly in the design problems rather than in its programs. In this way, it gives me an opportunity to take advantage of what may initially appear to be a limitation. Similar to the majority of successful architecture, I believe the key to achieving innovation is a thorough analysis of the designâ&#x20AC;&#x2122;s context. However, by adopting a generative approach, analysis becomes particularly important as it informs the algorithmic set of rules that the design needs to respond to. In this way, I would like to produce a design that will not only respond to the site, but will also interact with it and the surrounding ecology.

A.5 LEARNING OUTCOMES through a new looking glass...

Learning the theory behind architectural computing has not only allowed me to realise the benefits of using digital technology, but it has also revealed to me a different design approach. A key aspect to remember when it comes to digital computation is to accurately convey the set of rules or algorithms within which you would like to work. In this way, it has demonstrated to me the importance of framing a design problem. This is for two reasons: Firstly, it allows me to efficiently generate outcomes that adequately fulfill the project

requirements, thus giving me the opportunity to focus on experimenting with other aspects of the design. Secondly, not only can I address the design problems, but I can also exploit them to achieve a more creative and innovative solution. If I had possessed this knowledge earlier, my previous designs could be addressed using a different approach. Rather than trying to tick the boxes that I needed to satisfy, I would have attempted to scrutinise the rules themselves. In this way, I have learnt how to respond to design challenges through an exploratory attitude rather than a strictly pragmatic one.

PART_BCRITERIA_DESIGN

B.1 RESEARCH FIELD

material performance

The area which will be discussed and established as the starting point for my computational technique, is the stream of material performance. Specifically, membrane structures will be the focus of experimentation due to their intriguing conceptual design implications and opportunities as well as fabrication methods.

produce remarkable design implications.

Membrane designs are typically synonymous to tensile structures in which it features two elements: the skeletal frame and the membrane itself which is shaped by the frame.

These implications and design opportunities embody the true beauty of membrane architecture: their non-invasive yet undeniable presence in a given context. Their flexible nature is key to adapting to multiple temporal or spatial variations.

Herein lies a significant design opportunity. Having a design that features such an integral relationship between its elements allows one to understand its symbiotic nature - the frame determines the shape of the membrane, while the form of the membrane dictates the arrangement of the skeleton. Thus, this form of design exemplifies the benefits of using parametric design. The core aspect of parametrics is the relationship between various elements working together to produce a harmonious outcome.1 As a result, the primary stage of defining these relationships become pertinent. Furthermore, such structures are susceptible to external forces such as gravity or even human occupants. Thus, this form of architecture must support the oncoming loads, and even respond to it as well. This in turn can

1 Woodbury, Robert F., â&#x20AC;&#x2DC;How Designers Use Parametricsâ&#x20AC;&#x2122;, in Theories of the Digital in Architecture., ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge, 2014), p. 153.

One such implication is the importance of materiality. As the type of materials that are used to construct the structure heavily determine its behaviour and response to external inputs, it essentially dictates the essence of the design.

Thus, unlike much of todayâ&#x20AC;&#x2122;s architecture, the creation of membrane structures do not hinder the existing ecological system that encompasses both human beings and nature itself. Rather, it creates an additional node which can enhance the human experience in the surrounding environment. In this way, membrane designs enhance architectural experiences which then allows greater contribution to architectural discourse. One such example is the Tape Melbourne project designed by Numen/For Use - a collective made up of designers Christoph Katzler, Sven Jonke and Nikola Radeljkovic. This work represents many of the ideas that have been discussed regarding membrane

architecture. Spanning 16 metres, the work drew undeniable attention to the major civic space of Federation Square.2 Thus, it allowed visitors to experience the space in a different way - from an aerial position. Although the Tape Melbourne project is a significant work on its own, it also enhances and compliments the environment it exists within.

different approach to material performance and membrane structures is the Textile Hybrid M1 project designed by the students from the University of Stuttgart inconjunction Below: Fig 1. The durable and supple properties of the tape membrane and frame Image source: http://www.numen.eu/installations/ tape/melbourne/

On the other hand, this produces a fabrication concern. More specifically, the designers had to determine a suitable type of material that could create an organic finish and adequately support its users. Suspended six metres from the ground, fabrication involved using external platforms to utilise the surrounding buildings as anchor points.3 What is interesting to note is that the material used for the membrane and the frame was the same material (tape). No longer was there a division between the two elements, but rather, it became a single, organic body. Evidently, this work becomes an exemplary example of material performance. It successfully showcases both the durable and supple qualities of a single material. Thus, the connection between the membrane and the frame becomes blurred with their relationship remaining mutable and lively. Furthermore, it encourages audience participation adding another dynamic element into the system. A second example which has a similar yet

2 Kempton, Alexa, Tape Melbourne (Melbourne: Australian Design Review, 2011) <http://www.australiandesignreview.com/features/2413-tapemelbourne> [accessed 26 March 2015] (p. 1).

3 Numen/For Use, Tape Melbourne (Berlin: Numen/For Use, 2011) <http://www.numen.eu/installations/tape/melbourne/> [accessed 26 March 2015] (p. 1).

Above: Fig 2, 3, 4. Audience engagement with material properties Image source: http://www.numen.eu/installations/tape/melbourne/

Above: Fig 5. Prototype model displaying material performance Image source: http://ad009cdnb.archdaily.net/wp-content/ uploads/2012/03/1332211005-tape-melbourne-model-p1030026.jpg

with Sean Ahlquist and Julian Lienhard. Unlike the Tape Melbourne project, the Textile Hybrid M1 project was designed to be a canopy rather than a cacoon.

prototypes to demonstrate the relationship between the glass-fibre reinforced polymer rods as the frame, and the membrane material held within it.

However, this design was more restricted in terms of context. Being within a historical site (the stone tower designed by Leonardo da Vinci in the 1500s), the designers had to ensure minimal impact on the neighbouring ecology.4

As this relationship was vigorously tested using both computational and physical models, it was essential to define the parameters and interdependent relationships between the elements at the beginning of the process.

Thus, extra delicacy in terms of materials and fabrication had to be taken into account. Taking a more traditional approach to membrane structures, the students experimented with various materials and created Below: Fig 6. Textile Hybrid M1 material performance prototype Image source: http://icd.uni-stuttgart.de/?p=7799

From this definition, the designers were able to explore the various opportunities that such a relationship presented. Due to the restrictive nature of the site, this form of design which utilised membrane materials provided a flexible alternative. The final design was able to feature as a prominent element in the space, yet it did not intrude on the existing historical and ecological systems. Therefore, it can be understood that material performance architecture takes advantage of the design opportunity of showcasing the unique qualities of a particular material, or perhaps more interestingly, the interdependent relationship between multiple materials. In the more specific case of membrane structures, what is particularly unique is the design implication of an unobtrusive yet almost omnipresent identity it has within a particular space. Resultantly, it presents a symbiotic link not only within the design itself, but also in the environment it exists in.

4 University of Stuttgart, Textile Hybrid M1: La Tour de lâ&#x20AC;&#x2122;Architecte, (Stuttgart: University of Stuttgart, 2012) <http://icd.uni-stuttgart.de/?p=7799> [accessed 26 March 2015] (p. 1).

Above Left & Below: Fig 7, 9. Final membrane structure Image source: http://icd.uni-stuttgart.de/?p=7799

Above Right: Fig 8. Computational testing of tensile forms Image source: http://icd.uni-stuttgart.de/?p=7799

B.2 CASE STUDY 1.0 a cloud of ideas

In his book The Autopoiesis of Architecture: A New Framework for Architecture, Patrik Schumacher describes design as an autopoietic system where designers contribute ideas to create an infinite amount of outcomes.1

SELECTION CRITERIA

This concept of shared ideas forms the basis of my case study in which I use an existing design as a starting point to develop my own techniques and algorithms.

In selecting the most successful outcomes, the selection criteria features three criterions which are interconnected to a certain extent:

The design which I have chosen for experimentation is the Voussoir Cloud by IwamotoScott. Additionally, throughout my exploration with generating algorithms, I have found that it is easier to work with something rather than nothing. Specifically, from my starting point which is the Voussoir Cloud, I have attempted to combine this algorithm with ideas from other existing projects. This is not to say that my approach is a blatant regurgitation of other algorithms. Rather, I have analysed the interconnections between components as well as the individual components themselves, and have tried to incorporate and achieve similar effects in my own experiments.

1 Schumacher, Patrik, The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley, 2011), p. 1.

The following species and accompanying iterations are simply the starting point of an ongoing engagement with the design brief.

1. The way in which it produces forms that showcase the behaviour and performance of membrane and mesh structures. Specifically, ones that can be suspended so that it does not touch the ground (as specified within the brief). 2. The way in which it uses effects to engage with not only the audience and users, but also the material itself. The more successful outcomes should recognise the potential in its own material and create effects from its behaviour. 3. The way in which it forms relationships between the users and the surrounding ecological systems. The outcome should create an approach which forms specific links whether it is through physical connections or abstract nuances.

Above: Voussoir Cloud Image source: https://s-media-cache-ak0.pinimg.com/originals/bc/e5/67/bce567bca9ece5e7005ca3a0586dffd9.jpg

Below: Voussoir Cloud detail Image source: http://adbr001cdn.archdaily.net/wp-content/uploads/2012/06/1339693944_voussoir_cloud_1307120405_p1190972.jpg

species 1: pg 14-15

species 2: pg 16-17

species 3: pg 18-19

species 4: pg 20-21

species 5: pg 21-22

species 1 This species aims to experiment and investigate the opportunities, confines and limitations presented within the Voussoir Cloud algorithm. I wanted to test its limits and explore the possibilities of different forms within the same set of components. As the brief stipulates that the design cannot touch ground or water, I wanted to maintain the free-forming and overhanging nature of the Voussoir Cloud. However, at the same time, I would like to create something that reacts within a dynamic realm rather than an interior space in which the cloud was originally designed. The cavities expressed within the holes aim to create a connection between the environment and those that occupy the space underneath thus forming a canopy-like structure.

The reason why the iteration on the far right was deemed as the most successful outcome was because of its spatial presence. I felt that if the cavities were too large, the design ceases to be effective in adequately linking both human and ecological systems due to its feeble nature. Conversely, if the cavities are minute, the mesh creates a dominant identity which impedes on the surrounding environment. Although this may be a benefit in its own right, I would like to develop a technique that creates a full yet subtle presence. What is particularly interesting to note is the speciesâ&#x20AC;&#x2122;s ability to create effects through dynamic forces. Initially beginning as a rigid surface, the mesh depends on forces to create a membrane structure. Thus, the crux of the design is heavily dependent on the environment in which it exists.

cavity scale factor: 0.05 unary force (z direction): -0.8

cavity scale factor: 0.05 unary force (z direction): -50.0

cavity scale factor: 0.50 unary force (z direction): -50.0

cavity scale factor: 0.25 unary force (z direction): -50.0 cavity scale factor: 0.75 unary force (z direction): -50.0

cavity scale factor: 0.95 unary force (z direction): -50.0

cavity scale factor: 0.50 unary force (z direction): -80.0

cavity scale factor: 0.95 unary force (z direction): -80.0

36 Green Void by LAVA Image source: http://ad009cdnb.archdaily.net/wpcontent/uploads/2008/12/281882239_081210-greenvoid-build-up10cb.jpg

species 2 In addition to experimenting with membrane structures anchored to specific points, I also aimed to experiment with the way forces effect meshes that are defined by a skeleton. Using the Exoskeleton components as well as being inspired by the Green Void by LAVA, I investigated the possibilities of suspending a skeleton from a set of anchor points upon which a mesh could be draped. From what I can observe in the forms that I have created, there is an opportunity of creating forms or patterns that resemble elements and relationships within the ecological system. This provides a possible approach towards the design brief - to act as an intervention between systems to explore the dynamic

1 Kolarevic, Branko and Kevin R, Klinger, eds., Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge, 2008), pp. 10-11.

relationships that exist within them. This, in turn, not only creates a visual and spatial effect, but it also creates an affect as described by Peter Eisenman who defines it as a conscious implication a person experiences external to bodily changes.1 What makes the iteration on the far right the most interesting outcome is the opportunity of building upon this initial idea. A number of the outcomes produced from this algorithm appear to be quite bulky and substantial on their own. However, with a more slender module, additional components can be added onto it to create a more engaging solution.

exoskeleton thickness: 1.00 unary force (z direction): -100 rest length: 0.02

exoskeleton thickness: 1.50 unary force (z direction): -1 rest length: 0.75

exoskeleton thickness: 2.00 unary force (z direction): -100 rest length: 0.80

exoskeleton thickness: 0.50 unary force (z direction): 200 rest length: 0.6 exoskeleton thickness: 1.50 unary force (z direction): -370 rest length: 0.33

exoskeleton thickness: 1.50 unary force (z direction): -200 rest length: 0.10

exoskeleton thickness: 2.00 unary force (z direction): -300 rest length: 0.60

exoskeleton thickness: 0.155 unary force (z direction): -265 rest length: 0.20

38 AA Driftwood Pavilion Image source: http://mediacentre.kallaway.co.uk/ pics/architectural/hires/CGI_basic.jpg

species 3 The species explored through this algorithm had me attempting to combine the sectioning ideas expressed in the Driftwood Pavilion by AA with the Voussoir Cloud forms created using the physics simulation plug-in, Kangaroo.

The far right expresses the most interesting outcome as it highlights the areas where the mesh converges to each anchor point. Furthermore, it begins to mimic patterns seen within the natural system such as those on a molecular scale.

Although often used as a method to achieve fabrication, I attempted to use sectioning as a way to enhance the mesh surfaces rather than attempting to actualise them.

Therefore, this iteration is perhaps not aimed at exploring the dynamic forms as seen in the Voussoir Cloud, but rather the effects and resulting affects that can be achieved within an algorithm.

What appeals most to me is the opportunity to create visual effects which can be observed from above or below the membrane. In response to the design brief, as the occupants will either be experiencing the design from either below or above the surface, such a visual pattern becomes a feature.

no. of frames: 1.00 cavity scale factor: -100 no. of points: 0.02 unary force (z direction): -265

no. of frames: 0.50 cavity scale factor: 200 no. of points: 0.6 unary force (z direction): 0.6 no. of frames: 1.00 cavity scale factor: -100 no. of points: 0.02 unary force (z direction): -265

no. of frames: 1.00 cavity scale factor: -100 no. of points: 0.02 unary force (z direction): -265

40 Herzog de Meuronâ&#x20AC;&#x2DC;s de Young Museum facade Image source: http://static.panoramio.com/photos/large/35895628.jpg

species 4 Inspired by techniques incorporated into Herzog de Meuronâ&#x20AC;&#x2122;s de Young Museum, I attempted to combine the method of image sampling with the mesh forms created within the Voussoir Cloud algorithm. This combination of algorithms creates powerful outcomes as it creates effects that resemble forms within the natural environment. This is done in two ways: Firstly and perhaps most obviously, the mesh forms are directly dependent on the forces that are existant in nature. Secondly, the size of the forms are determined by the sampled image. This presents an approach to creating a design that

that expresses the relationship between ecological systems. The image sampled could potentially be the amount of sunlight or the degree of shade within a specified area. Thus, the design is able to respond to the site in a way that goes beyond contextual analysis. Its entire form is dependent in the environment in which it will exist. In terms of architectural application, utilising such a technique in creating a canopy structure could be pertinent in creating a space that can control the amount of light that enters within the environment. Conversely, the canopy could respond to multiple parameters both temporal and spatial thus producing a flexible outcome.

no. of points: 20 image sampling: brightness cavity scale factor: 1.50 unary force (z direction): -25

no. of points: 30 image sampling: brightness cavity scale factor: 1.50 unary force (z direction): -50

no. of points: 60 image sampling: brightness cavity scale factor: 1.40 unary force (z direction): -50

no. of points: 60 image sampling: colour cavity scale factor: 0.50 unary force (z direction): -50

no. of points: 20 image sampling: brightness cavity scale factor: 1.50 unary force (z direction): 100

no. of points: 60 image sampling: hue cavity scale factor: 2.00 unary force (z direction): 40

no. of points: 50 image sampling: blue cavity scale factor: 0.50 unary force (z direction): 80

no. of points: 40 image sampling: hue cavity scale factor: 1.5 unary force (z direction): 100

42 Seroussi Pavilion by Biothing Image source: http://www.biothing.org/wp-content/ uploads/2010/03/3600031921_beed61e9a9_o.jpg

species 5 Although extremely abstract in form, this set of iterations possess a visual effect that is both dynamic and reminiscent of ecological systems. The way in which this is achieved is the sense of movement and fluidity that the algorithm produces. These outcomes were produced by combining the Voussoir Cloud algorithm with the Seroussi Pavilion designed by Biothing. Due to the extremely intensive components within the algorithm, I limited the initial geometry to a single mesh surface. However, I was adamant in preserving the mesh forms produced using the algorithms within the Voussoir Cloud. Even though these iterations are impossible to fabricate, this species presents a possibility

into the kinds of visual effects that can be produced from using such components. The reason why the far right outcome is most successful is that the pattern expressed is not too little that it is unrecognisable in its purpose, yet it is not overwhelmed to the point where it merely becomes a collection of arbitrary curves. It retains this organic affect which causes the audience to consider the broader spectrum of the natural environment. Therefore, if this idea was to be incorporated into a design solution, it would respond to the brief as it causes the audience to consider their engagement within an ecological system.

unary force (z direction): 50 steps: 10 no. of circles: 1 circle radius: 0.20 no. of points per circle: 2

unary force (z direction): 25 steps: 10 no. of circles: 1 circle radius: 0.50 no. of points per circle: 1

unary force (z direction): 50 steps: 10 no. of circles: 2 circle radius: 1.00 no. of points per circle: 2

unary force (z direction): 100 steps: 20 no. of circles: 2 circle radius: 0.50 no. of points per circle: 2

unary force (z direction): 500 steps: 20 no. of circles: 4 circle radius: 0.30 no. of points per circle: 2

unary force (z direction): 1000 steps: 30 no. of circles: 4 circle radius: 0.80 no. of points per circle: 2

unary force (z direction): 1000 steps: 30 no. of circles: 4 circle radius: 0.20 no. of points per circle: 4

unary force (z direction): 50 no. of circles: 3 circle radius: 0.75 no. of points per circle: 2 steps: 10

B.3 CASE STUDY 2.0 tape my breath away

In order to further the search for my technique, I have chosen the Tape Melbourne project by Numen/For Use to reverse engineer using parametric modeling. The project itself is designed to be an intervention. Specifically, it is intended to be a large-scale public art forcing the user to consider the importance of community within society.1 Resultantly, it is situated in one of Melbourneâ&#x20AC;&#x2122;s major thoroughfares: Federation Square. Thus, Numen/For Use satisfy the program of generating relevance of experimental art in a civic centre. Tape Melbourne successfully transforms one of the cityâ&#x20AC;&#x2122;s most underestimated areas into a public art gallery. Furthermore, it creates a link between biological systems. The design initially appears to be a blatant invasion of public space. However, this is deliberately done in accordance with their design intention.

1 Numen/For Use, Tape Melbourne (Berlin: Numen/For Use, 2011) <http://www.numen.eu/installations/tape/melbourne/> [accessed 11 April 2015] (p. 1).

This decision inconjunction with the workâ&#x20AC;&#x2122;s parasitical appearance, transports the audience to a molecular scale evoking a consideration for the power of the overlying ecological system. This is emphasised through the fenestrations within the piece allowing users to explore the interior of the form. Thus, it transforms public art into architecture. To truly attain an organic appearance, Numen/For Use utilise the behaviour of the material (tape) and the natural forces to generate its form. The material itself is durable but is still susceptible to wind and gravitational forces. In fact, it heavily relies on gravity to achieve its biotic shape. What makes this work truly successful is its dynamic nature to respond to environmental changes. Tape Melbourne is therefore a genuine expression of artistry relating the audience to not only the work itself, but also the context in which it resides.

Tape Melbourne project by Numen/For Use Image source: http://www.electrolight.com.au/blog/wp-content/uploads/2011/09/P10002101.jpg Image source: http://1.bp.blogspot.com/-9uIn0r5KnPU/Tm7cIEpy97I/AAAAAAAAC10/uAGebpRkpmU/s1600/Photo+1309-11+1+26+23+PM.jpeg

46 1

reverse engineering TAPE MELBOURNE Prior to recreating the Tape Melbourne project, I decided to experiment on a single branch to generate a form that most resembled the public sculpture.

1. The first step was to manually draw the skeleton which underpinned the branch. 2. The curves were then referenced as primitives before being processed using the Exoskeleton component. This generated a mesh around the curves.

3. To obtain a taut and sharper appearance, the mesh underwent a physics simulation using the Kangaroo component. The rest length was then set to 0. 4. The node (the point at which the curves meet) was increased to create a larger organic body.

5. The final mesh prior to applying the physics simulation appears as this form. 6. Lastly, by decreasing the mesh thickness, the final form was obtained. 7. Following the success of a single branch, I attempted to join multiple branches to generate a central cavity similar to the Tape Melbourne project. 8. Following the physics simulation, I was able to recognise a continual problem where certain branches would disconnect from the central body. In order to rectify this, you must ensure that all nodes do not overlap with the centre of an adjacent node.

48 1

1. CREATING INITIAL GEOMETRY: Manually draw in base curves

2. PROCESS PRIMITIVES: Transform primitive curves into lines

3. GENERATING SKELETON: Run the Exoskeleton component

4. PRIME FOR TESTING: Prepare the resultant mesh for simulation

5. PHYSICS SIMULATION: Run the Kangaroo component to achieve final form

Tape Melbourne project reverse engineered

where to now? The form of the Tape Melbourne project was successfully reverse engineered. By using both the Exoskeleton and Kangaroo plug-in, I was able to obtain a form that is affected by external forces which is similar to the process in which Numen/For Use utilised to create their sculpture. By adjusting the anchor points to the relative heights adopted in the actual project, it successfully created the network of cavernous webs

Rather, what takes precedence in this investigation is the overall form of the structure and how different inputs can affect its appearance and its overall scale.

However, not all of the project’s qualities were reproduced. Firstly, the reproduction differs in material and resultantly, differs in “fabrication”. While the original project is produced by wrapping layers of tape around a skeleton to produce its organic form, the reverse engineered version obtains its shape by suspending and relaxing a membrane structure.

From this reverse engineered model, I would like to explore the algorithm’s capabilities of creating other unique forms. Additional to form finding, I am interested to see the possibilities in which this design could be combined to create various effects whether they are spatial or visual.

Due to this difference, the internal structure of the web is different. The actual project features tubes connecting the bottom to the top of the work.

Therefore, this process of reverse engineering the Tape Melbourne project is simply an example of how parametric modelling could have been used by the designers to achieve this form.

This perhaps is most important as effects create affects which in turn evoke responses from the audience.

B.4 TECHNIQUE: DEVELOPMENT

tape me to the next level

Now that the form of the Tape Melbourne project has been obtained through reverse engineering, further iterations will be explored to further discover my personal technique. Similar to Case Study 1.0, taking the Tape Melbourne project by Numen/For Use as the initial starting point, I will incorporate further algorithms to push the designâ&#x20AC;&#x2122;s limitations. Some of the species produced in this section have been inspired by other design projects, or more specifically, the algorithmic thinking underlying the project. Other species were produced by exploring different components available within Grasshopper. The first four species at first glance appear to be random explorations. To an extent, this is true however they create the basis for further investigations in species five to eight. The latter species begin to build off specific ideas such as responding to external stimuli.

SELECTION CRITERIA The following species and accompanying iterations are further developments from the starting point which was established in the previous studies. However, the focus of the selection criteria has changed subtly to accommodate the approaching design proposal. In selecting the most successful outcomes, the selection criteria features the following criterion: 1. The way in which it produces forms that showcase the behaviour and performance of membrane structures from a skeletal form. 2. The way in which it uses effects to engage with not only the audience and users, but also from external stimuli such as the surrounding ecological systems. 3. The feasibility for fabrication. Iterations should suggest possible pathways in which it can be actualised in reality.

52 species 1: pg 34-35

species 2: pg 36-37

species 3: pg 38-39

species 4: pg 40-41

54 species 5: pg 42-43

species 6: pg 44-45

species 7: pg 46-47

species 8: pg 48-49

species 1 This species explored the capabilities of the Exoskeleton component inconjunction with the Kangaroo component. While I was reverse engineering the Tape Melbourne project, I became interested in the relationship between the initial geometry and the final form.

Architecturally, as my selection criteria stipulates that the design should find a method to respond to the surrounding systems, multiple programs could arise. This ranges from providing varying levels of sunlight and shade, to different sized openings to filter user engagement.

Specifically, I wanted to investigate the way cavities are formed within the overall structure. Thus, these iterations showcase the behaviour of the skeletons under different conditions.

Due to the nature of this species and my selection criteria, I consider this species to possess an emphasis on form finding rather than fabrication.

The reason why the species on the far right has been deemed the most successful outcome is the way it expresses the cavity in the centre.

For me, this species demonstrates an analogy between the initial geometry and skeletal form if the design were to be actualised. Hence, I recognise the importance of carefully considering and constructing the skeletal frame as it underpins the design of this nature.

node size: 2.0 thickness: 0.3 rest length: 0

node size: 9.0 thickness: 0.6 rest length: 0

node size: 8.0 thickness: 1.5 rest length: 0.5

node size: 10.0 thickness: 2.0 rest length: 0.6

node size: 10.0 thickness: 5 rest length: 0.5

node size: 11.0 thickness: 4.0 rest length: 0

node size: 5.0 thickness: 1.0 rest length: 0.4

species 2 The algorithm which inspired the creation of the species was The Morning Line project by Aranda/Lasch. Specifically, I wanted to explore the effect the exoskeleton component would have when subjected to geometry developed through scaled iterations. What interests me in this set of investigation is the relationship between the nodes and the linear elements. As a result, these iterations express systemic-like behaviour; particularly the way in which the â&#x20AC;&#x153;limbsâ&#x20AC;? of the species meet at the varying sized nodes. Although something of this form cannot be utilised for the final design proposal (as the brief stipulates that it cannot touch the

ground or water), I particularly like the idea of individual systems meeting at different points. Further approaches for investigation could involve exploring the existing systems on site and incorporating them into a design underpinned by systems thinking. What makes the iteration on the far right the most successful outcome is the way it clearly demonstrates the varying sizes of the nodes. More specifically, it successfully demonstrates the result when multiple limbs meet at a single point: the node becomes larger. Thus, this species could greatly contribute to the conceptual development behind the design.

polygon side number: 3 expression operator: subtraction scale factor: 0.33

polygon side number: 3 expression operator: subtraction scale factor: 0.42

polygon side number: 3 expression operator: addition scale factor: 0.42

polygon side number: 4 expression operator: subtraction scale factor: 0.42

polygon side number: 3 expression operator: subtraction scale factor: 0.33

polygon side number: 4 expression operator: addition scale factor: 0.42

species 3 Not only does this set of iterations broaden the idea behind the Tape Melbourne project, it also begins to explore the fabrication opportunities behind the design. Carefully studying the way in which the Tape Melbourne project was actualised, I became interested in the idea of wrapping the flesh around a skeleton to create a body. Thus, these iterations begin to express the effect the method of wrapping can have on a frame. Obviously, it is clear to see that the more one engages with the frame, the more expressed the form becomes.

Furthermore, it demonstrates the importance of shaping the frame first, before applying the flesh onto the system. More specifically, the placement of the anchor points determine the behaviour of the membrane such as its thickness, and the way multiple branches of the mesh meet. In this species, I see multiple design opportunities for my proposal ranging from conceptual development to fabrication methods. What will be interesting to investigate is the behaviour of different materials with different performance capabilities acting under the circumstances as demonstrated in this species.

node size: 5 thickness: 0.5 frame numbers 20 rest length: 0

node size: 10 thickness: 1.5 frame numbers 20 rest length: 0.2

node size: 18 thickness: 2.0 frame numbers 30 rest length: 0.5

node size: 5 thickness: 0.25 frame numbers 120 rest length: 0.8 node size: 20 thickness: 4.0 frame numbers 50 rest length: 1

node size: 2 thickness: 0.3 frame numbers 60 rest length: 0.8

node size: 10 thickness: 0.5 frame numbers 100 rest length: 0.9

species 4 Species 4 further explores the idea of systemic thinking. Inspired by the corporeal illusion within the Tape Melbourne project, this set of iterations begin to produce a parasitical effect. It begins to form the illusion of sinuous flesh or a systemic web which meets at particular points. In this way, this species greatly responds to my selection criteria as well as the design brief. In terms of the selection criteria, it begins to spark the formation of a particular spatial effect which may respond or assist in visualising the ecological systems that surround the site.

In response to the brief, this set of iterations could also act as an intervention of colliding systems in the natural and man-made world, thus embodying the idea of living architecture. The most successful outcome on the far right captures the relationships between many nodes from different starting points. Hence, like the previous species, anchor points become an essential aspect of consideration as it acts as the outer inputs of the system which I would like to demonstrate.

polygon side number: 3 scale factor: 0.33 expression factor: subtraction rest length: 0

polygon side number: 3 scale factor: 0.42 expression factor: addition rest length: 0

polygon side number: 4 scale factor: 0.33 expression factor: subtraction rest length: 0

polygon side number: 5 scale factor: 0.40 expression factor: addition rest length: 0

polygon side number: 4 scale factor: 0.33 expression factor: addition rest length: 0.5

polygon side number: 5 scale factor: 0.33 expression factor: subtraction rest length: 0

polygon side number: 5 scale factor: 0.42 expression factor: subtraction rest length: 0

species 5 This species marks the starting point on a continual investigation of receiving external stimuli and how oneâ&#x20AC;&#x2122;s design can respond to such factors. In the previous case study where the Voussoir Cloud was the basis of exploration, I began to use the image sampling component. In this set of iterations, I combined the image sampling component with the Exoskeleton plug-in. What was initially difficult to achieve was determining what should respond to the sampler. Thus, I incorporated multiple cavities within the mesh faces with their sizes determined by the sampled image.

The most successful outcome on the far right truly captures the ability of the sampler and the stark contrast in the sizes of the cavities. In terms of thinking about my selection criteria, or more specifically, the fabrication feasibility of this species, it begins to become more challenging to incorporate this effect with the weaving method of the Tape Melbourne project. Further exploration would be required to see how these two concepts can be fused together into a single system.

sample: brightness multiplication factor: 30 node size: 0.50 thickness: 0.2

sample: brightness multiplication factor: 30 node size: 0.25 thickness: 1.0

sample: blue multiplication factor: 75 node size: 1.0 thickness: 0.5

sample: hue multiplication factor: 395 node size: 25 thickness: 0.8

sample: red multiplication factor: 5 node size: 15.0 thickness: 2.0

sample: blue multiplication factor: 70 node size: 0.1 thickness: 2.0

sample: green multiplication factor: 50 node size: 25 thickness: 0.8

species 6 Inspired by the previous species, I wanted to approach the idea of receiving external data in a different way and on a larger scale. Taking the form of the Tape Melbourne project, I embedded mathematical data in the form of cartesian graphs into the algorithm. Rather than analysing the visual information from an image, more specific information is being utilised from the values on a graph. What was interesting to investigate was varying the size of the domain over a graph which changes erratically or sharply. One such example is the iteration on the far right.

It can be seen that the size of the cavities extends beyond small and large, to even fully open or fully closed. This extends my initial explorations of simply using a cull pattern component whereby I merely determined if a cavity was to be true (opened) or false (closed). This species provides more flexibility in regards to what kind of information I can incorporate. This ranges from collecting sunlight data on site, to the number of existing organisms in a given system within a specific period of time. Thus, it gives me a possible opportunity to link the design to the site.

graph type: sine series start: 0.1 series step: 0.7 multiplication factor: 50

graph type: conic series start: 0.4 series step: 0.5 multiplication factor: 28

graph type: gaussian series start: 0.1 series step: 0.3 multiplication factor: 20

graph type: perlin series start: 0 series step: 1.0 multiplication factor: 2.5 graph type: parabola series start: 0.1 series step: 0.7 multiplication factor: 0.25

graph type: perlin series start: 0 series step: 0.8 multiplication factor: 40

graph type: square root series start: 0.2 series step: 0.9 multiplication factor: 12.5

species 7 A different approach to embedding data into design to create a specific effect is to utilise spatial data. Specifically, rather than analysing strictly quantitive data where numerical values are directly used, external points of interest are firstly mapped and measured before being used. The way in which this species achieves this is by relying on a point outside of the design. The distance between this point and the various points on the mesh faces are then determined which then informs the algorithm as to how large to make the cavity.

Therefore, this approach gives me the opportunity to explore systems on a larger scale. Rather than simply exploring the microscopic or local environment, the design can begin to utilise the information within a system on a regional or even global scale. The most successful iteration on the far right truly illustrates the flexibility and capability a design can possess from even just a single point of interest. Further aspects of exploration include incorporating multiple points both internal and external to the design.

point placement: centre domain: 0.1 - 17.0 multiplication factor: 1.5

point placement: top left domain: 0.1 - 21.0 multiplication factor: 0.8

point placement: top right domain: 5.0 - 15.0 multiplication factor: 0.8

point placement: bottom left domain: 0.1 - 46.0 multiplication factor: 1.0

point placement: centre domain: 2.5 - 25.0 multiplication factor: 3.5

point placement: centre domain: 2.5 - 5.0 multiplication factor: 0.5

point placement: bottom right domain: 0.1 - 38.0 multiplication factor: 0.7

species 8 The final species produced as part of my technique development investigates the spatial relationships between different points in a mesh. Initially beginning with a single branch of the Tape Melbourne project, the mesh was broken into 2-dimensional sections with the points along those cuts informing the size of the new mesh geometry. Similar to the previous sets of iterations, this species aims to explore different ways in which external stimuli can be expressed visually. However, unlike the other algorithms, this technique produces a more robust outcome which could offer a different fabrication approach.

The reason why the iteration on the far right has been deemed the most successful outcome is the way it intricately produces an outcome with varying-sized modules that reflect the data from the initial geometry. On the other hand, I believe this species is less successful in the way that it does not truly capture the essence of my selection criteria. It does not adequately express systemic thinking and although it possesses a visual effect, it does not seem to compliment the concept behind it. Yet, I still believe it is important to illustrate this species as it successfully demonstrates a way in which multiple components can be combined into a single algorithm.

series start: 2 series step: 0.0 thickness: 1.8

series start: -8 series step: 5.7 thickness: 2.0

series start: -4 series step: 8.7 thickness: 2.0

series start: 0 series step: 2.0 thickness: 2

series start: 0 series step: 7.8 thickness: 0.7

series start: -4 series step: 0.4 thickness: 1.75

series start: 0 series step: 0.5 thickness: 2.0

B.5 TECHNIQUE: PROTOTYPES prototype I

This prototype began exploring the fabrication method of my intended design approach. The first two exercises investigated the possibilities of using a thin, thread-like material in which it would wrap around the skeleton. Resultantly, it would deform the skeleton into an organic structure similar to those produced using the Kangaroo component on Grasshopper. By anchoring down specific points within the body, it allows the rest of the structure to be manipulated. Therefore, one must consider the placement of the points in order to achieve the desired effect.

However, I discovered that a possible downfall of using the thread material was that it would not remain static and would continue moving as I increased the number of revolutions around the frame. Therefore, my third technique involved using an adhesive material (tape) as the membrane blanket. As a result, the design maintains its form while creating an organic, fleshlike appearance. What is interesting to note is that the structure may be susceptible to sagging and movement from external forces, but will return to its initial form due to its rigid skeleton.

prototype II Unlike the previous prototype, this prototype focuses less on fabrication technique, but the intended effect. Inspired by the Tape Melbourne project (the subject of my reverse engineering exercise and Case Study 2.0), I wanted to create an organic effect. This coincides with my selection criteria which is to create an architectural intervention between ecological and man-made systems. The method in which I achieve this is by using a combination of sowing thread and tape. The thread forms the exoskeleton of the structure and the tape embodies the flesh. In this way, it creates a corporeal appearance.

This is expressed through the way the light reflects and penetrates the semi-translucent skin creating an effect that is similar to the movement of fluid. What I discovered through this prototype is the inherent strength layers of tape can possess. Through the rigidity of the thread, the tape is able to maintain its form in addition to supporting external or live forces simultaneously. What is unusual however is that the tape does not bond well with the thread due to its thinness. Rather, the tape bonds with each other which means the fabrication process must require the layers of tape to lap each other.

prototype III The third prototype is a refined version of its direct predecessor. Unlike the previous version which was produced through multiple layers of tape, this prototype utilises a single layer of the material which creates a finer and more transparent effect.

heavily shrink the design into a slender tube. Furthermore, the shadow it produces is much more translucent creating a web-like appearance rather than an organic one. However, the design becomes more fragile and less durable.

Furthermore, I decided to experiment by adjusting the threads. Through this exploration, I discovered that the rest length input on the Kangaroo component can be simulated by how taut you tie the thread.

Conversely, the form of the structure is dependent on how tightly the tape is wound. Unlike the previous prototype, this one weaves around the thread more tightly to create the resemblance of a triangular prism.

The tighter the thread is, the less manipulative the overall form becomes. As evidenced in this prototype, the threads were not tied very strongly which caused the membrane to

These two factors work simultaneously to create a specific form, effect and experience.

prototype IV The prototype further refines the fabrication process while exploring a more parasitical appearance within the design approach. Taking into consideration the factors within my chosen site, I decided to explore what would happen when I combine the thread with the existing frame on site. This results with a design that truly integrates itself upon the existing built forms creating a symbiotic relationship. Furthermore, by fixing both the thread and tape in a taut fashion, I discovered that even a single layer of tape can be durable. This is accentuated by the lapping of tape strips

ensuring that each element is bonded to the other. The fascinating feature of this prototype is the shadow play it creates. The shadow bears a resemblance of moving fluid such as falling rain. In terms of the sequence of assembly, it is imperative that one considers the placement of the skeleton and the way it meets with the existing forms on-site first. This is then followed by the laying of the flesh (tape) which manipulates the structure into a deliberately deformed form.

prototype V As part of my experimentation under the case study of material performance, I decided to expand my range of materials tested. I turned my attention towards cling film and began to investigate its durability under stress. By placing multiple handful of coins on top of a sheet of layered Gladwrap, I discovered it is extremely strong when lapped in layers. In fact, this small sheet alone as demonstrated on the right hand side, could support 2.5 kilograms without failure. Thus, not only does cling film produce the same ethereal visual effect as tape, it is arguably stronger and more economical as less

layers of cling film are required to achieve a similar durability. Furthermore, through the consideration of real life application, using cling film may be a more viable solution as products such as industrial grade cling film exist to withstand harsh conditions. Therefore, it can withstand the external forces that will be present on my chosen site, as well as resist the loads that are generated by the visitors who will climb onto the project. Also, it is available in large quantities so it is an economical alternative.

Industrial grade cling film Image source: https://www.scmp.com/sites/default/files/2014/10/13/clingfilm_1.jpg

B.6 TECHNIQUE: PROPOSAL site selection

The chosen site within the Abbotsford Convent presents an opportunity to truly engage with the ecological systems on-site. Being a central hub of environmental, socio-cultural and historical information, the convent presents an opportunity to be used as a site for public intervention. Environmental factors extend beyond the concept of sustainability in the literal sense, but begins to approach the notion of living communally sustaining each other through nature. The convent is a major site for exploring culture through the venue being visited by people with various backgrounds and interests.

Historically, the convent is an art piece filled with religious affiliation, municipal education and now historical conservation. Thus, it is obvious that the site is an ideal spot to present to the eye of the community an expression through architectural intervention. It is an opportunity to bring forth something that may not be easily understood. Furthermore, an additional opportunity is that the specific site area features existing built forms. Rather than engaging with natural elements, the benefits of engaging with existing architectural elements allows for amplifying, challenging, adhering and complimenting approaches.

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site plan abbotsford convent chosen site N

source: google maps 2015

Thus, I propose that the site is a suitable platform to convey what is not usually seen through the use of an architectural installation. Further points for investigation will require research into the specific aspects that I would like to highlight within my design. This could range from interactions between human beings and the larger ecological system, to the microscopic relationships that exist unnoticed to the naked eye. Integration with the existing canopy will also have to be carefully considered to ensure that it can support and shape the final design.

site model

All successful pieces of architecture considers the context in which they exist in. This however does not connote simply complimentary or contrasting relationships. Rather, it is ensuring that there is no complacency or ignorance to the site itself. Therefore, as my proposed design will be grounded in data obtained from the site, it is imperative that site details are not overlooked, but drawn upon.

technique development The technique I intend to use and develop possesses engaging effects with a simple yet effective fabrication technique. The effect that is present within my technique allows the creation of a design which appears corporeal, organic and living. Furthermore, it encompasses the meaning of â&#x20AC;&#x153;living architectureâ&#x20AC;? by simulating a skeleton and flesh system within itself. The two primary materials are a combination of thread and an adhesive material in the form of tape or gladwrap. On one hand, it utilises the rigid qualities within the thread and the adhesive membrane while taking advantage of their capabilities to be manipulated in form and structure.

technique prototype

By immersing this approach into a thriving system such as the one present at Abbotsford Convent, a truly ecological intervention can be produced. This conceptual achievement acts in addition to the technical feat of combining a relatively simple fabrication method to present a stylised message of the systemic ecology that surrounds the area. Firstly, the arrangement of the thread must be considered as the thread acts as the skeleton which underpins the overall form. Furthermore, it is the element which directly engages with the existing forms on site.

The membrane is then fixed or morphed along the threads. However, this second element should by no means be thought of as secondary. It is through the adhesive and durability of this membrane that manipulates the arrangement of the thread. Thus, these two materials act in unison to create the overall design. Using readily available materials uncommonly used within architecture further emphasises the sustainable approach of this project. Therefore, the design is not only environmentally conscious in its meaning, but also in its production. As it intends to become integrated with existing built forms, it may appear to

impede on the current situation of the site. However, in response to the brief in which a design intervention is required, forming a symbiotic relationship with the existing architecture is a deliberate decision. In this way, it begins to simulate a parasitical response particularly in the way it latches onto another body in order to survive or come into existence. Thus, my technique not only aims to create a visual spectacle, but rather, it also intends to explore and simulate systemic relationships existent outside of its immediate scope.

algorithmic explorations: systems

B.7 LEARNING OBJECTIVES + OUTCOMES live and learn

Upon completing this module, I have obtained a greater understanding as to which direction I would like to approach the final design. Through the exploration of techniques regarding fabrication, generating effects and form-finding, I have successfully been able to produce a clear design proposal. Through generating various prototypes, I have established knowledge in regards to which methods are successful and those that are not capable of conveying the effects that I aim to achieve. Furthermore, through the extensive exploration of various Grasshopper components and techniques, I have been able to establish a varied collection of computer modelling techniques. In this way, by investigating a wide range of techniques, I have been able

to achieve multiple alternatives which can contribute to the fulfillment of the design brief. Specifically, creating multiple iterations of different design ideas has provided an insight as to which effects can be used to amplify the desired effect or meaning behind the design. What will be interesting to see in the coming module is the way I combine and exclude certain techniques to take advantage of the opportunities presented in the design problem as well as within the site itself. Through examining my chosen site, I have begun to consider the possibilities that exist in the built forms themselves. Through the integration of a design intervention within the existing system, the design will likely garner attention towards the meaning that it aims to convey. The next module will aim to produce a final design which sincerely combines the current ecology with a design response.

PART_CDETAILED_DESIGN

C.1 DESIGN CONCEPT moving forward

The interim presentation in which the design proposal was presented generated useful criticism by pointing out the projectâ&#x20AC;&#x2122;s strengths to amplify and its weaker areas which require reconsideration. It is clear that my technique heavily engages with algorithmic thinking particularly in the way it possesses the ability to incorporate data from the site. Thus, I need to consider how I can adequately demonstrate the algorithmic nature behind my design. In order to do this, I need to consider the fabrication technique as this ties in heavily with the form of my design. My proposal heavily focuses on one material and one technique: tape and wrapping, respectively. However, since my chosen area of study is material performance, the feedback I received included exploring other techniques with the specific suggestion of planarisation. Without completely disregarding my experimentation with wrapping, I would like to explore a method where planarisation and wrapping are combined into a hybrid technique. In this way, I am no longer bound to a single approach which could have me limited within a technique that may not successfully express the conceptual thinking behind the project.

However, the most useful advice that was expressed was the need to firstly consider how I would like to implement these conceptual ideas onto the site. Rather than exploring an excessive number of fabrication methods, the need to finalise the design itself is a greater priority. This is because the final form of my design can heavily inform my technique and the materials that will be used to actualise it in the physical realm. This ranges not only in terms of producing the form itself, but also the effects that it intends to create. Thus, I will explore specific concepts and data that I would like to embed into the project which will combine the algorithmic experiments that I have previously undertaken. Furthermore and perhaps more importantly, I need to experiment with the configuration of the design within the site area. Specifically, this includes designating the points at which the project will be suspended, and how this will engage or interfere with the current user experience at Abbotsford Convent. With these reflections and goals in mind, the direction of my design process will now place greater emphasis on the site itself, and explore practical methods as to how it will be produced and fabricated. Thus, it will take the project from the conceptual phase, to real-world actualisation.

final concept As presented and considered in the previous sections of my project, the focus of my design has been systems. More specifically, I would like to demonstrate the local systemic relationships that exist within the environment of Abbotsford Convent. Exploring the historical, socio-cultural and environmental status of the site, it is clear that my chosen area is a central hub where each of these factors collide. Historically, the junction northern of the convent where Merri Creek and the Yarra River meet, was an important meeting place for the Wurundjeri people.1 Not only is it essential to recognise the historical presence of this tribe, it is also interesting to note that indigenous Australians still meet at this spot today. Furthermore, the convent itself was once a school opened by the sisters of the Good Shepherd. Thus, not only does the convent possess historical significance in the native period, but also in the colonial era. Culturally, the convent is home to a variety of artistic residents in which they use the available studio space to practice in their respective arts. Directly south east are buildings affiliated with the convent which have been re-purposed for the use of â&#x20AC;&#x153;internsâ&#x20AC;? - people who apply to use the space to showcase their works. Thus, the Abbotsford Convent frequently present art shows and exhibits.

1 Abbotsford Convent Foundation, Abbotsford Convent (Melbourne: ACF, 2015) < http://abbotsfordconvent.com.au/ visitor-information/history-of-the-site/the-site> [accessed 5 May 2015]

Furthermore, the outdoor areas are often frequented by extra-cirrucular enthusiasts ranging from yoga classes to circus acrobats. Lastly, the convent bears a strong sense of sustainability and community with the Collingwood Childrenâ&#x20AC;&#x2122;s Farm adjacent at its immediate east. Not only do they place importance on educating children and adults of the importance of living with and from the land, but they also prioritise the communal experience. With these multiple nodes of systems in place, I considered how to adequately express this data through my design. Through exploring multiple methods of embedding quantitive data, I decided that using spatial data would be most appropriate to illustrate the varying branches extending from the central node that is Abbotsford Convent. This will be demonstrated by using points to represent the orientation of these three locations which embody the idea of embracing history, culture and sustainability. This will in turn affect the individual components in the design through measuring these points to each surface of the project. Through this method, my concept of systemic relationships can be illustrated to the wider public which will inform them of the importance of contributing to the system surrounding the site of Abbotsford Convent.

The Wurundjeri people Image source: http://aboriginalhistoryofyarra.com.au/6-attitudes-and-perceptions-betweenthe-wurundjeri-the-british/

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abbotsford convent

source: google maps 2015

Collingwood Childrenâ&#x20AC;&#x2122;s Farm farmerâ&#x20AC;&#x2122;s market Image source: http://www. au.timeout.com/melbourne/ shopping/events/5058/collingwood-childrens-farm-farmersmarket Local artist studios Image source: http://abbotsfordconvent.com.au/whats-on/ events-exhibitions/melbournenow-open-studios

final algorithmic approach Before explaining the algorithmic technique upon which my design will be grounded, I would like to explain my choice of anchor points. This is a challenge that arises from an opportunity within this site due to its wide array of available points to which my project can be suspended. Although it is not illustrated on the site map for ease of viewing, there is a large tree at the centre of the courtyard. Without disturbing the growth of the tree, it is clear that my design must surround it to ensure that its life is not hindered. Furthermore, as I would like the design to be the centre piece of the space, I intend for the design to stretch the entire length of the courtyard. Hence, anchor points must be present on at least two sides of the space. In this line of thought, I had to determine which points would be most suitable and appropriate towards my design concept. Going back to the brief, the design itself should be an outspoken intervention. Thus, with this in mind, I have decided to place the anchor points at the locations of each main entrance into the courtyard. Therefore, as people exit the building or emerge into the exterior courtyard, they are caught beneath a branch of my design which draws them into the central space. It is effectively an invitation which intends to directly engage with the

users upon establishing a visual connection with the design. The points at which I have marked out in red on the right illustrate the designated anchor points. Deciding which exact points to utilise will require experimentation to discover which set of points will join together to create the more engaging outcomes. Furthermore, it will also have to be selected through practicality to investigate which will work best with my chosen technique. In terms of my algorithmic technique, I have decided to use spatial data in order to achieve my desired effect. My approach will utilise specific components including the Exoskeleton, Kangaroo, Expression and Distance components. It is at this point I need to begin determining my final form. I began by experimenting with two primary forms (both depicted on the right): one utilises a 3-dimensional form, while the other adopts a more 2-dimensional cellular grid. Through experimentation with my intended algorithmic technique of calculating distances from points of interest, I discovered that the 3-dimensional outcome is more suitable as it allows for more diversity. Conversely, the voronoi grid in the 2-dimensional solution is easily distorted with the cells merging and overlapping, causing impracticality in regards to fabrication.

algorithmic technique exploration

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obtaining final base geometry Through a full understanding of my algorithmic technique and being aware that the first step requires the use of the Exoskeleton component, I realised the importance of firstly establishing my base geometry. Taking the anchor points that had been previously determined, I began experimenting with its configuration through linear elements. From my experiments in the previous module, I had already obtained the knowledge as to the behaviour of the Exoskeleton component and the ways in which it creates an organic structure from its linear base. Thus, I began to construct an arrangement in which it would create a set of nodes within the larger system. Furthermore, I wanted to account for the central tree in the courtyard. Therefore, I had to ensure that the ways in which I arranged the geometry did not penetrate the space surrounding the tree. In general, I wanted my design to intervene within the space, but not impede upon it to the point where it dominates the existing system.

Initially, I explored only the possibilities of one branch emerging from each anchor point. However, through recalling my previous experiments with my design approach, I recognised the importance of multiple branches joining together to create a central body. Hence, my experimentation with the initial geometry involved creating multiple branches from a single anchor point. The diagrams on the right detail the exploration process and illustrates the way in which I achieved my final form. Furthermore, the heights at which each anchor point is fixed takes into consideration the circulation paths throughout the courtyard. If the anchor point is directly within the midst of a primary walkway, it will be fixed on the higher end of the pillar to avoid a major obstruction to the circulation pattern. Through this method, it provides thickness to the design so that it does not merely exist as a 2-dimensional surface. It enlivens the project and assumes a voluminous form.

final algorithmic technique 1. CREATING INITIAL GEOMETRY: Manually draw in base curves

2. GENERATING SKELETON: Run the Exoskeleton component

3. PHYSICS SIMULATION: Run the Kangaroo component to achieve the final form

4. EMBED SITE DATA: Run the Expression component to calculate distances between points of interest and mesh faces

5. APPLY DATA: Create custom sized cavities from processed data to achieve final form

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proposed construction process In comparison to the design concept and algorithmic approach of my project, the fabrication method proved to be the most challenging aspect. The combination of the form of my design as well as the intended effect required some consideration as to the specific method of actualising it in the physical realm. As a result, two different fabrication methods will be proposed each approaching the design from a different perspective. Furthermore, each prototype will showcase and feature a particular aspect of the project which will be further discussed. The first fabrication method involves a traditional approach. As my algorithmic approach is heavily dependent on spatial data and the resultant openings on the mesh face, I deemed it pertinent that this is somehow illustrated accurately. Therefore, from the advice of the panel during the interim presentation, I will investigate planarisation. After planarising a portion of the body, it will then be unrolled, cut into a template and then constructed manually to create the form. Although this approach neglects to show the corporeal and organic properties of the design, it will successfully showcase how the project responds to embedded data. In this way, it also contributes to the intended

effect as it shows the variation throughout the design. Another fabrication method combines the method of wrapping and contouring. Taking a segment of the proposed organic body, various segments throughout the structure will be extracted forming the skeleton. Once these have been fabricated through laser cutting, a number of holes will be added on the outermost edges of the shapes. This is to allow copper rods to be fed through to create a holistic body. In this way, a rigid skeletal structure will be formed. Afterwards, the flesh will be added. Through my previous investigations with tape, I would like to transfer the corporeal effect that was illustrated in the previous prototypes and implement them into this structure. Thus, the skeleton will be wrapped with an adhesive material creating the intended effect. However, the downfall of this method is its inability to show the fenestrations that are scattered throughout the surface of the design. These methods aim to establish and inform how the design can be constructed to portray the algorithmic concept and effect underpinning the design. It should provide an understanding as to how this could be fabricated if it were to be built on a larger scale.

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construction process I 1. ESTABLISH INITIAL GEOMETRY: Extract the portion of the body to be modelled

2. PLANARISE BODY: Planarise each face of the mesh ensuring each surface and its fenestration creates an individual face

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3. DIVIDE BODY: Separate portions of the body so that the faces can unfold without any overlapping

4. UNFOLD BODY: Unfold each portion of the body to create geometry which can be fabricated

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5. CONSTRUCT BODY: Fold the individual faces of the surface and combine each portion of the body to create the overall form

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construction process II

1. ESTABLISH INITIAL GEOMETRY: Extract a portion of the body to be modelled

2. GENERATING SKELETON: Contour the body to achieve a skeletal frame

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3. PROCESS SKELETON GEOMETRY: Add holes on the outer edges of the skeleton to create the form work for the limbs

4. CONSTRUCT BODY: Feed the copper rods through the holes to create a rigid body

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5. APPLY EXTERNAL FLESH: Wrap the skeleton in an adhesive material to create an organic form

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C.2 TECTONIC ELEMENTS + PROTOTYPES prototype I

Template: Establish and prepare the template to be laser cut in the Fablab

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Planarised face approximates curvature

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Variation of fenestration size

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Through the production of this prototype, it clearly illustrates the strength of the project which is the algorithmic technique that underpins the design. It is able to show the differing sizes of the various fenestrations on the surface. Therefore, it is able to demonstrate one of the visual effects that arise from the embedded spatial data. Where it lacks is its visual effect of a corporeal entity whereby the use of an adhesive layer creates a semi-translucent appearance. However, through the various cavaties in the structure, a higher contrast of lighting is established allowing light to either be blocked or fully penetrable through the structure. Through this method of fabrication, various faults also arise. Firstly, due to the limitations of construction, the method involved planarisation which removes the organic curvature of the body. What results is merely an approximation which at a small scale is rather convincing. But as the scale increases, the curvature may be less recognisable. A way to counter this issue is to merely increase the number of faces produced during the digital modelling stage of the project. Conversely, planarising the project also has a number of benefits.

Firstly, a clear method of construction becomes apparent. Not only does this exist in the ease of fabricating the individual frames, but also in the way the frames can be fixed together. Furthermore, through the planarisation of each face, the angle at which each surface joins together immediately conveys how to recreate the curvilinear structure of the design. Thus, each edge along the faces culminate together to create the form. This is similar to the way in which the Voussoir Cloud project by Iwamato Scott utilises the shape and behaviour of each module to create the overall shape. Although this version of the design lacks the material qualities of the adhesive layer which provides the visual analogy of organic flesh and bone, it excels in its ability to fully comprehend and convey the data inherent within the algorithmic technique. In my opinion, I believe that this is important as it is essential that the data which defines the design is clearly illustrated through the structure. This is not to say that this will be the final fabrication method with the wrapping approach being abandoned, but further exploration as to how I could combine these two methods will be undertaken.

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prototype II

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Unlike its predecessor, this prototype acts as a much more relevant example in terms of how its form can be generated. In an attempt to hybridise my wrapping and planarisation technique, this outcome presents an engaging result in its creation. For me, the most significant aspect that is drawn from the prototype is the visual effect that is generated through the use of adhesive material. As part of my experimentation, I decided to move away from tape and begin using Gladwrap for its wider span. In actuality, I propose that the design is fabricated using industrial grade cling film due to is durable qualities. A clear problem that I have identified in the past is its inability to demonstrate the cavities that are embedded from digital data. From here, I intend on creating prototypes to experiment different ways in which the initially proposed cavities can be actualised in real space. Thus, physical experimentation will take priority over digital exploration. This will involve manipulating the cling wrap by manually cutting holes in different shapes and methods. For the following prototypes, an aspect that will also need to be considered is the way in which I wrap the project. The result of this prototype generated a structure that tightly pressed around its skeleton. Although this is a design opportunity in itself that has arisen by

chance, I would like to identify the technique that can create the more bulbous appearance from my proposal. Because the technique of wrapping itself cannot be easily simulated on Grasshopper, it requires physical exploration to determine how it can be achieved. This will be further fuelled by my greater understanding of the behaviour of cling wrap. Moreover, the internal skeleton generated was found to be not the only factor that contributes to the overall structure. The ways in which the copper rods are bent also heavily influence its form. With these two factors, I would also like to achieve a smoother gradient of its branches that sprout from the main body. Another aspect that contributes to this issue as well as the visual effect are the layers of cling wrap used. This in effect acts as a transparency/opacity slider on a digital drawing program as the more layers that are added onto the design, the more opaque it becomes. Thus, it requires true finesse and a proper balance to generate a form that possesses the required structure and visual effect. My final goal is to now produce a series of outcomes that demonstrate a thorough understanding of actualising form and generating effects through rigourous physical experimentation.

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prototype III

Different cavity types

Interior view

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This prototype begins to explore the methods in which cavities can be generated onto the project. The difficulty that lies within this fabrication approach is to create an accurate representation of what was generated digitally on the computer. Because the algorithmic approach produced cavities of a specific size which were underpinned by mathematical data, it seemed quite challenging to recreate the effect. However, I believe that physical experimentation and fuelling an ongoing developmental process should not be hindered at the expense of sticking to my algorithm. Therefore, I explored producing the cavities manually by using a knife. What I soon realised was the inherent ability of cling film to retain a form once layered around a frame multiple times. What I found unsatisfactory with this approach was the inability to create sharp corners within the triangles which reduces the clarity of the effect. Although this could be a result of a blunt knife or human error, I would like to explore other ways in which I can achieve this visual effect. Furthermore, when you begin to approach the ends of the design where the branches become thinner, it starts to become difficult

to cut out both accurate and clean shapes. Aside from the challenges arisen through this fabrication approach, being able to physically look inside the form was something I could not do previously. Although I could achieve a similar effect through digitally produced renders, seeing the translucency of the cling film physically allowed me to truly imagine what the interior experience could be like. Because of the many layers of film I used to create the overall form, views towards the exterior are blurred with only light and shades of colour being visible. Thus, the interior experience is rather like immersing oneself into a mirage or a day dream. This is definitely the effect I wanted to achieve in terms of emotional expression however I also want to try using less layers of film so that there is greater transparency between the internal and external realms. However, this could be at the expense of the tautness of the material. Therefore, a balance must be achieved. The final model will also endeavour to generate a cleaner and smoother form. This will be done by incorporating a greater number of internal ribs onto the copper skeleton so that the cling film will have a clearer guide as to what form it needs to adopt.

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C.3 FINAL DETAIL MODEL the digital comes alive

The final detail model was partly influenced by my previous prototypes and also partly by the feedback that was provided during the final presentation. I would like to firstly clarify that this model is not intended to be a representational model. It does not even illustrate the entire design with merely a portion of the project being fabricated. Rather, I would like it to be considered a prototype which displays the visual and physical qualities that I would like to incorporate if this project were to be ever fully constructed. In terms of the form, greater precision was used to create a curvilinear shape as well as a smoother degradation of branch size. This was achieved by incorporating a greater number of internal frames onto the copper rods. Furthermore, in bending the rods into the correct orientation, I also considered the volume I required. Thus, at certain points within this model (specifically the central volume where the branches meet), the copper rods also act as part of the overall skeleton rather than just a medium to join the frames. During the final presentation, the idea of creating cavities by melting cling film was brought forth. This idea was generated to provide an alternative solution to manually cutting out cavities which produced a very artificial quality. Thus, the purpose of using heat is to create a more natural appearance with the cavities lined with a bevel effect.

After numerous tests, the result was rather appealing in that it produced various sized orifices in a web-like or arachnid manner. Furthermore, its resemblance to a creature or a disintegrating body adds to my concept of a systemic intervention that underpins my project. The film was melted by concentrating a stream of heat from a hair-dryer on a particular area of the bodyâ&#x20AC;&#x2122;s surface. What I discovered was that the size of the cavities corresponds to the number of layers of film used in that particular area. As heat causes the film to contract, fewer layers provide less resistance to the contraction thus creating larger holes in a smaller amount of time. In areas with more layers, the contraction creates thick branches which limits the size of the cavities generated. Furthermore, the contraction caused the film to weld against the skeleton creating the corporeal effect I was trying to achieve initially. Therefore, this final detail model possesses a much more spindly appearance truly expressing the connection that is the skin and bone relationship. This result, although not anticipated in any digital experimentation, was produced solely through physical trials. However, I believe this is an opportune design approach which adds to (rather than lessens or hinders) the strength of the project.

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C.4 LEARNING OBJECTIVES + OUTCOMES live and learn

Architecture Design Studio: Air has introduced a new and progressive design approach that has guided me to delve into the growing realm of digital design. What I have found particularly rewarding is the opportunity to interrogate a more open brief comparative to previous semesters. Specifically, through the use of digital tools, it has opened up design approaches that were previously unavailable in my repertoire. This has been particularly enabled through the use of parametric design. Having various solutions to a design problem is a traditional expectation within architecture. However, through the use of digital modelling, multiple series of solutions can be easily generated. This is not to say that critical thought has been abandoned for monotonous programming, but rather, it has taught me to be even more critical of my own work.

Thus, it has encouraged me to explore and contribute to the growing discourse of digital architecture. This has been particularly evident in the way I generate multiple species through investigating ideas and algorithms within online communities as well as my peers around me. It has provided the opportunity for me to extend and change existing algorithms through the use of digital tools. This semester, I have interpreted the relationship between air and architecture as a designâ&#x20AC;&#x2122;s underpinning presence within physical space. I explored the role of design as a silent tour de force and the way it effects a culture through its visual effects, form and program. This has been heavily influenced through the current discourse of architecture and the way in which progressive designers approach their work. For me, this required critical evaluation

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to determine what resonated the most with me and how I can emulate such techniques in my own work. This semester, I wanted to achieve an outcome that acts as an intervention which conveys to people the inherent relationships that exist between the environment, culture and history. It is through this conceptual grounding that I produced a visual representation of a collision of these spirited systems. Not only did I explore systems on a conceptual level, but a certain degree of understanding in regards to technical systems was also developed. Grasshopper is essentially manipulating forms through data structures, computer coding and programming. Therefore, this semester I established a personal knowledge base as to how I can manipulate

and even embed my own data into algorithmic processes. Furthermore, I have evaluated my own understanding of these techniques to identify the benefits and shortcomings of utilising certain approaches within a specific scenario. This studio has provided a vigorous immersion into what is perceived to be the future of architectural design. From here, I would like to continue exploring and using digital modelling tools in my future work while continuing to harness traditional methods and concepts. This semester has been a personal enlightenment into the capabilities of digital design and what it can achieve. If parametric design by digital technology is the future, may it be a means to enlarge the community by enriching, educating and engaging others through architectural discourse and design.

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REFERENCES sourcing my discourse

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