Steve Keogh Air Assignment 2 by Steve

Design Studio: Steve Keogh 338541 Tutor: Bradley Elias

AIR

Contents B3 Case Study 2.0

PART A - Student Introduction

4-5

A1 Design Futuring - BIQ House 6-7 - Dome Over Manhattan

8-9

A2 Design Computation - National Bank of Kuwait

10-11

- Museo Soumaya 12-13 A3 Composition Generation - Spanish Pavilion 14-15 - nonLin/Lin Pavilion

16-17

Bibliography/Image References

18-19

PART B B1 Material Performance - ICD/ITKE Research Pavilion

20-21

- Voussoir Cloud 22-23 B2 Case Study 1.0 - Iterations

24-29

- Reverse Engineering

30-33

B4 Technique: Development

34-41

B5 Technique: Prototypes

42-43

B6 Technique: Proposal

44-45

B7 Objectives & Outcomes

Bibliography/Image References

B8 Algorithmic Sketches

48-49

INTRODUCTION - Steve Keogh

Currently at the tail end of an undergraduate architectural degree, it is interesting to reflect upon the winding road of ambiguity that led me to this point. Overwhelmed and desperately uninspired to spring into action following a demanding VCE year, I fell into a Science/Law double degree at Monash University in Clayton. Soon enough, however, I said my goodbyes to the universty life and entered into the workforce hoping to make my way as a landscaper.

Unfortunately the depth of my knowledge regarding digital architecture is quite minimal. Encouraged by tutors to work to my strengths, I delayed the conversion of written design to computer formats longer than would be advised. Nonethless, I am now quite proficient on both AUTOCAD and SketchUp and though it appears dauting, I am looking forward to broadening my skill set through the navigation and utilisation both Rhinoceros 5.0 and Grasshopper.

In the ensuing years I developed a passion for creation out of blood, sweat and tears. There is something intrinsically rewarding about looking back over your work at the end of a hard days toil and admiring your labours. Yet, after 6 long years working on both domestic and commercial projects, I finally hearkened once more to the call of university life. Wishing to expand upon my prior knowledge and experience, the logical course for me was within the Department of Design, Building and Planning. Indeed, my path up until now has been anything but clear cut, twisted and led astray by the musings of youth.

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A1. Design Futuring

BIQ House

Arup 2013 ‘It is hard to say what today’s dreams are; it seems they have been downgraded to hopes – hope that we will not allow ourselves to become extinct.’1 Evidently, a disheartened sentiment pervades the writings of Dunne and Raby, deflated by the stark reality of a world undone by the fires of industry. Nonetheless, they believe that the gateway to redemption lies with the reemergence of societal dreaming, unbound and uninhibited from the shackles of modern consumerism. The liberation of the mind will ‘provide platforms for further collaborative speculation’ and critical discourse. 2 All that is needed is a spark, and the revolutionary design and implementation of the BIQ house may provide just that. Composed of an integrated network of adjoining panels, the BIQ house is pioneering the use of biomass as an alternate energy source. Algal populations are synthesised and distributed within a closed loop façade system that captures heat as a photosynthetic byproduct when exposed to sunlight. Generated heat can be used for internal temperature regulation, stored for future consumption, or distributed to the external grid network servicing the municipality. Algal communities also contribute to reduced solar heat gain during the summer months resulting in reduced energy consumption and can be harvested to extract vital nutrients required within the pharmaceutical industry. 3 Whilst only a fledgling technology, the potential is enormous as ‘design speculations can act as a catalyst for collectively redefining our relationship to reality.’4 Visitors admire the stunning morphological union of two seemingly divergent personalities and begin to reshape their own attitudinal values towards intrinsic design initiatives across a variety of scales. In this way, design speculation serves as the medium for critical discussion and collaborative discourse. Additionally, Fry asks us to consider the notion of ‘redirection,’ as a pertinent way of shifting momentum rather than precluding it altogether. 5 The BIQ house does not attempt to condemn the use of fossil fuels nor does it address the problem of irresolute consumer patterns, but rather provides a convincing and futuristic alternative path to conventional energy derivation.6

1) Anthony Dunne and Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press,2013), 1. 2) Dunne and Raby, Speculative Everything, 6. 3) Jan Wurm and Martin Pauli, “SolarLeaf: The world’s first bioreactive facade.” Architectural Research Quarterly 20, 01 (2016): 73-79. 4) Dunne and Raby, Speculative Everything, 2. 5) Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), 10. 6) Fry, “Design Futuring,” 1-16.

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Figure 1.1: BIQ House biomass facade

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A1. Design Futuring

Dome Over Manhattan

Richard Buckminster Fuller

1960 In his article ‘Design Futuring: Sustainability, Ethics and New Practice,’ Fry contends that anthropogenic influence, facilitated by impetuous design and conceited ego, has disfigured the global environment so profoundly that the persistence of humanity can longer be assured.7 He is vexed by the misdirection and trivialisation of contemporary design practice, and challenges the antediluvian ideology embedded within current, fashionable design conception and maturation. Unfortunately, however, the systematic regulation of today’s economy ensures that ‘whole continents of social imagination’ are ‘swallowed up’ by the ruinous arm of neoliberal capitalism. 8 As such, Fry’s thoughts are echoed in the sentiments of Dunne and Raby, whom would also seek to preclude this damning influence of capitalism through ‘speculative design,’ a notion of conceptualisation that ‘thrives on imagination.’9

Figure 1.3: The geographical distribution of the proposed dome

On face value, Fuller’s proposal of a geodesic dome over Manhattan would appear to align with the bold, whimsical teachings of Dunne and Raby, yet diverges abruptly from the urban ideology preached by Fry. Fuller believed that the integration of a self-regulated environment beneath the dome would significantly reduce energy consumption associated with seasonal temperature fluctuations within individual dwellings.10 Yet, Fry urges us to consider the concept of ‘design intelligence,’ an astute notion regarding the ‘exploration of how things come into being and act beyond their mere function as material or immaterial objects;’ a concept which appears unforgivingly absent from the crux of Fuller’s plan.11 Issues pertaining to solar reflectance and absorption, maintenance schemes, ingress and egress, societal segregation and vilification, as well as the topographical positioning are simply not revealed.12 Thus, herein lies a great paradox between the two articles; on the one hand we must entertain the notion of unbound, creative dreaming, and on the other, we must balance this creative license with scholarly collaboration, verification and judicious thought. Nonetheless, Fuller must be commended for his ability to transcend the ‘layer of designer gloss’ that often pervades and indeed corrupts an artist’s imagination, guiding it down a misguided and often linear path of flawed architectural conception.13 Whilst his idea was never realised, it did inspire meaningful contemplation, innovation and heightened environmental awareness.14

Figure 1.2: Fuller’s Dome encapsulating a portion of Manhattan

7) Fry, “Design Futuring,” 1. 8) Dunne and Raby, Speculative Everything, 8. 9) Dunne and Raby, Speculative Everything, 2.

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10) Laura Kurgan, “Threat Domes,” ANY: Architecture New York 17, 20 (1997): 31-34. 11) Fry, “Design Futuring,” 12. 12) Kurgan, “Threat Domes,” 31-34. 13) Dunne and Raby, Speculative Everything, 8. 14) Kurgan, “Threat Domes,” 31-34.

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Figure 2.1: Bird’s eye view of the fins adorning the building’s sides

A2. Design Computation

National Bank of Kuwait

Foster + Partners

2013 Parametric modelling is an innovative field of design fabrication that incorporates specific design parameters to facilitate enhanced geometric exploration. The manipulation of these variables permits the efficient generation of numerous iterations within specific, predefined boundaries.15 For example, driven by unique, locally defined climatic conditions, the National Bank of Kuwait engages parametric modelling software to derive numerous prototypical variants in response to explicit design intent. The shape, orientation and dimensions of east orientated shading fins was fast tracked through the computation of numerous archetypical derivations, not feasible with traditional software. Performative analysis of each variant determined the most appropriate compositional morphology to counteract environmental factors pertaining to solar radiation, prevailing wind conditions and acoustic performance.16

Figure 2.2: The parametrically created fins

Parametric modeling has also ‘renewed the architect’s traditional role as the master builder empowered with the understanding and ability to digitally create in the material realm.’17 Form is no longer dictated by standardised parts or manufacturer’s specifications, as the architectural conception and articulation of material geometry has permitted absolute governance over the morphological composition of a building. In the aforementioned precedent, the conceptualisation of specialised longitudinal fins ensures that authoritative jurisdiction has once again returned to Vitruvian origins. The mitigation of external influences ensures that the prerogative of design now lies with the architect alone.18 There are, however, those who question the capacity of parametric instruments to align with the ‘poetics of construction’ within a capitalist regime.19 Unchartered technology coupled with great expense usually leads to orthodox form. Indeed, ‘CAD might conspire against creative thought’ as impulse and flair are bound by the aptitude of the handler to comprehend and exploit design software, not to mention the inherent limitations of the software itself. 20 Elias also alludes to the stylistic inhibitions of the Building Code of Australia and observes the marginalisation of small scale university projects as the forerunners of this cutting edge technology. 21

15) Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014) 1–10. 16) Dusanka Popovska, “Integrational Comuptational Design: National Bank of Kuwait Headquarters,” Architectural Design 83, 2 (2013): 34-35. 17) Oxman and Oxman, Theories of the Digital, 5. 18) Oxman and Oxman, Theories of the Digital, 1-10. 19) Oxman and Oxman, Theories of the Digital, 6. 20) Bryan Lawson, (1999). ‘’Fake’ and ‘Real’ Creativity using Computer Aided Design: Some Lessons from Herman Hertzberger’, in Proceedings of the 3rd Conference on Creativity & Cognition, ed. by Ernest Edmonds and Linda Candy (New York: ACM Press), pp. 174-179 21) Bradley Elias, in conversation with Semester 2 Studio Air Class, Melbourne University, August 9, 2016.

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A2. Design Computation

Museo Soumaya

Fernando Romero and Armando Ramos

2011

Foresight is an essential component necessary to facilitating design, and without it the process of affecting change will be considered a slapdash mockery of trivial intent and flawed temporality. It is essential that design be a consideration of systematic thought based on empirical data analysis and reference to past enterprise for guidance. In this way, design teams can pursue meaningful solutions based on merit and virtue ‘rather than waste their time searching for unsuccessful ones.’22 Conversely however, a case study into the Museo Soumaya would appear to contradict this logic in its entirety. Indeed, Romero and Ramos contend that ‘one of the challenges was how to realise this ambitious project without precedent or local expertise.’23 The structural matrix separating the building’s external façade from the internal environment is composed of ‘not a single repeating strut,’ and as such, the design team could not rely upon past innovation. 24 Strangely, however, the cladding element of the building’s façade was preordained and remained an inexorable factor to be contended with through reverse engineering. The prescribed hexagonal units had to be geometrically manipulated in order to maintain harmonious spacing’s between repeating units and was only achieved through the parametric assignment of family groups. Yet the key to the future lies buried in the past and it would appear a very brash, even conceited statement to stand alone in world spiraling swiftly into the abyss. 25

Collaboration, however has been attributed to the success of the now acclaimed Museo Soumaya, which insofar, appears to be a recurring thread throughout all of the prescribed literature. The rising complexity of parametric modelling techniques compared with traditional two-dimensional software programs demands relentless communication from the outset. Indeed, collaborative discourse together with the analysis of past projects straddling similar design problems has been hailed as the future of ‘solution synthesis’ and the use of computers has fast tracked this process through quicker response times and reduced critical error. 26 As such, even though this project did not engage with historical anecdotal evidence per se, Kalay would see it prescribed as the harbinger for future parametric endeavor. 27

Figure 2.3: The complex hexagonal geometry adorning the building’s facade was created using computational design techniques

22) Yehuda Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004)5-25. 23) Fernando Romero and Armando Ramos, “Bridging a Culture: The Design of Museo Soumaya,” Architectural Design 83, 2 (2013): 66-69. 24) Romero and Ramos, “Bridging a Culture,” 67. 25) Romero and Ramos, “Bridging a Culture,” 66-69. 26) Kalay, “Architecture’s New Media,” 10. 27) Kalay, “Architecture’s New Media,” 5-25.

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Figure 3.2: The interior facade of the Spanish Pavilion

A3. Composition/Generation

Spanish Pavilion

Enric Miralles and Benedetta Tagliabue

2010

Peters argues that ‘computation also has the potential to provide inspiration and go beyond the intellect of the designer,’ mediated by ‘the generation of unexpected results.’28 It is within these unimagined derivations that new possibilities may be explored and utilised to promote more efficient and effective avenues of design. Indeed, the proficiency of computational software was not lost on the designers of the Spanish Pavilion in Shanghai, China. The axial division of complex geometry through Rhino simplified the process of steel fabrication; a feedback loop enabled efficient revision of geometrical properties to devise components that best ‘exploits the potential structural advantages of its form;’ and a single, dynamic geometric model enabled universal understanding of the building’s systematics for all design teams. 29 The furtherance of this last point may indeed become a moot point of future architectural design as computational models remain pertinent in the occupational phase of construction, relaying integral information that can be utilised in future modelling ventures. Computation also ‘lets architects predict, model and simulate the encounter between architecture and the public,’ the benefits of which pertain to a universally harmonious building of enhanced contextual presence within the environment. 30 More importantly, the progressive nature of the digital realm will permit the synthesis of melodious form, congruent with ‘the creation of meaning,’ a notion that frequently evades modern day architectural form. 31 In this way, a design brief demanding the seamless integration of futuristic design ideology within a culturally enlightening medium became a reality. Initially, the curvaceous form required to encapsulate the design intent proved troublesome to comprehend. Yet computational maneuvering led to the revelation that this geometry, ‘when adequately configured’ would ‘behave in an optimal, structural way.’32 In other words, the envelope would support itself, if designed correctly, thereby negating the need for incoherent and financially problematic ancillary supports. Nonetheless, Peters asserts that the current, unwavering attitude of designers predominantly adheres to the ‘lone gun mentality,’ which diverges from a computational vernacular consistent with collaboration and enhanced conceptual analysis. 33 Nonetheless, as computation is slowly integrated within the design curriculum, we will begin to reap the benefits of enhanced performative deisgn.

Figure 3.1: The intelaced facade was made possible through computational design 28) Brady Peters, “Computation Works: The Building of Algorithmic Thought,” Architectural Design 83, 2 (2013): 10. 29) Julio Martinez Calzon and Carlos Castanon Jimenez, “Weaving Architecture: Structuring the Spanish Pavilion, Expo 2010, Shanghai,” Architectural Design 80, 4 (2010): 52-59. 30) Peters, “Computation Works,” 13. 31) Peters, “Computation Works,” 13. 32) Martinez and Jimenez, “Weaving Architecture,” 55. 33) Peters, “Computation Works,” 15.

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Figure 3.3: The complex geometry of Forne’s work stands testament to the variability within parametric design

A3. Composition/Generation

nonLin/Lin Pavilion

Marc Fornes

2011

Schumacher, contends that computational design is often ‘misunderstood as expressions of artistic or technophilic exuberance,’ oblivious and ill-equipped to deliver real world buildings on a rapidly imploding earth. 34 Whilst not a building per se, the nonLin/Lin Pavilion, acts as ‘a way station along the route from avant-garde speculation to mainstream realisation’ and showcases computation as a very real technology capable of fusing expressive construction techniques within deliverable constraints. 35 Close inspection of Forne’s work exemplifies the capacity of computation to attain a high degree of intricacy through geometric variation whilst remaining both economical and feasible as a built structure.

The algorithmic logic behind this fluid and flowery composition also demonstrates how easy it is to conform with fabrication limitations. More to the point, Schumacher deems parametric computation as the only apparatus capable of walking stride for stride with recent developments within the engineering industry, and thus ensuring that collaborative discourse remains a mainstay in future design schematics. It is for these reasons, that the nonLin/Lin Pavilion should be used as an informative example to help wrench parametricism out from the vice like grip of marginalised design and into the forefront of contemporary building. 36

34) Patrik Schumacher, “Parametricism 2.0: Gearing Up to Impact the Global Built Environment,” Architectural Design 86, 2 (2016): 10. 35) Schumacher, “Parametricism 2.0,” 14. 36) Schumacher, “Parametricism 2.0,” 14-16.

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Bibliography Calzon, Julio, and Jimenez, Carlos. “Weaving Architecture: Structuring the Spanish Pavilion, Expo 2010, Shanghai,” Architectural Design 80, 4 (2010): 52-59. Dunne, Anthony, and Raby, Fiona. Speculative Everything: Design Fiction, and Social Dreaming (MIT Press,2013), 1-9, 33-45. Elias, Bradley. In conversation with Semester 2 Studio Air Class, Melbourne University, August 9, 2016.

Conclusion In sum, it was found that computational modelling has become an influential tool within most contemporary design circles. Architects can now test numerous best fit scenarios through the rapid manipulation of numerous variables, which until recently, would have been considered a timeworn pipedream by most software developers. This efficient method of sifting through countless design parameters ensures that the most beneficial, and economically viable model is selected to be built, which in a time of rapid defuturing, seems a pretty pertinent and influential power to have. Nonetheless, this technology is still a marginalised frontier that has not yet gained momentum within global architectural groups and may, as Schumacher contends, benefit from an innovative marketing campaign aimed at shedding the ambiguity surrounding its contentious avante garde tag. 37 This introductory period has opened my eyes to the unworldy power that now lies at the fingertips of designers from all walks of life to affect change. Be it small, medium or large scale projects, it is now our prerogative to utilise such a gift to redirect our tumultuous conditions and stay the hand of doom knocking so eagerly at the door. Although a little apprehensive at first, I now look forward to working in unison with Grasshopper to explore the relationships between the natural and built environments regarding the Merri Creek initiative kicking off in the not too distant future.

Fry, Tony. Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), 1-16. Kalay, Yehuda. Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004)5-25. Kurgan, Laura. “Threat Domes,” ANY: Architecture New York 17, 20 (1997): 31-34. Lawson, Bryan. (1999). ‘’Fake’ and ‘Real’ Creativity using Computer Aided Design: Some Lessons from Herman Hertzberger’, in Proceedings of the 3rd Conference on Creativity & Cognition, ed. by Ernest Edmonds and Linda Candy (New York: ACM Press), pp. 174-179

Images Cover photo - Zaha Hadid, No Title, n.d. http://www.arch2o.com/10parametric-plugins-every-architect-should-know/ Figure 1.1 - Arup, SolarLeaf - Bioreactor Facade, 2013, computational sketch, http://www.arup.com/projects/solarleaf Figure 1.2 - R. Buckminster Fuller, Save Our Cities’, 1960, http://www.treehugger. com/urban-design/look-bucky-fullers-dome-over-new-york-city.html Figure 1.3 - R. Buckminster Fuller, A Look At Bucky Fuller’s Dome Over New York’, 1960, http:// www.treehugger.com/urban-design/look-bucky-fullers-dome-over-new-york-city.html Figure 2.1 - Foster + Partners, National Bank of Kuwait, 2013, computational model, http://www.fosterandpartners.com/projects/national-bank-of-kuwait/# Figure 2.2 - Foster + Partners, National Bank of Kuwait, 2013, computational model, http://www.fosterandpartners.com/projects/national-bank-of-kuwait/# Figure 2.3 - Esteban Sosa, Museo Soumaya, Mexico City, 2013, photograph, https://500px. com/photo/41383030/museo-soumaya-plaza-carso-by-esteban-sosa Figure 3.1 - Paul Brogna, Spanish Pavilion, 2010, photograph, https://angel.co/ projects/39923-2010-world-expo-spanish-pavilion?src=user_profile

Oxman, Rivka, and Oxman, Robert. Theories of the Digital in Architecture (London; New York: Routledge, 2014) 1–10.

Figure 3.2 - Shen Zhonghai KDE, Spanish Pavilion, 2010, photograph, http://architypereview.com/project/spanish-pavilion/

Peters, Brady. “Computation Works: The Building of Algorithmic Thought,” Architectural Design 83, 2 (2013): 8-15.

Figure 3.3 - Francois Lauginie, nonLin/Lin Pavilion/Marc Fornes, n.d., photograph, http:// www.archdaily.com/152723/nonlinlin-pavilion-marc-fornes/tvm_f-lauginie_014_1280

Popovska, Dusanka. “Integrational Comuptational Design: National Bank of Kuwait Headquarters,” Architectural Design 83, 2 (2013): 34-35. Romero, Fernando, and Ramos, Armando. “Bridging a Culture: The Design of Museo Soumaya,” Architectural Design 83, 2 (2013): 66-69. Schumacher, Patrik. “Parametricism 2.0: Gearing Up to Impact the Global Built Environment,” Architectural Design 86, 2 (2016): 8-17. Wurm, Jan, and Pauli, Martin. “SolarLeaf: The world’s first bioreactive facade.” Architectural Research Quarterly 20, 01 (2016): 73-79.

37) Patrik Schumacher, “Parametricism 2.0: Gearing Up to Impact the Global Built Environment,” Architectural Design 86, 2 (2016): 8-17.

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B1. Material Performance Material performance is the analysis of both the properties and behaviour of an element in order to best articulate its optimal form and use, relative to specific design parameters within the built environment. The idiosyncratic traits affiliated with each material will inform and govern the relationships between adjoining materials and ensure the integration of discrete building components into a cohesive whole. Computation is now turning towards the astute organisational hierarchy articulated seamlessly throughout the natural world, wherein seemingly complex form is generated from the efficient and economical spatial distribution of materials. As Menges explains, the analysis of material properties at the cellular level divulges an otherwise unexplored frontier of possibility.1 Currently, the notion of materiality is perceived as an ancillary cog in the pyramid of design, typically “assigned to geometrically defined elements” as a mode of embellishment and personal preference, rather than an inherent influence of fabrication. 2 The morphological composition of materials at the cellular level is neither explored nor understood, and for this reason contemporary design teams are failing to capitalise on the virtuosic qualities specific to the materials they engage. The repercussions of which pertain to reduced performative capacity and deleterious environmental impacts. Fortunately, however, computational design utilises material performance as a very significant proponent within the design agenda, and integrates the analysis of material properties as a precursory consideration within the conceptual process. 3 The ICD/ITKE Research Pavilion of 2010 is one such project, and explores the materialistic properties specific to birch plywood. As observed in figure 4.1, the pavilion is composed almost entirely from these deformed plywood strips. Empirical data derived from deflection analysis was used to determine the optimal geometrical configuration of each successive strip relative to its neighbours, the jointing type and orientation, as well as the thickness of each structural unit. The benefits of this approach are twofold. Firstly, it is the behavioural properties of the plywood strips under tension that determines the spatial configuration of the pavilion, allowing for an innovative derision of form and occupancy of space, which would have otherwise not been explored. And secondly, structural integrity was adequately achieved using materials not exceeding 6.5mm in thickness, verifying the resourcefulness of material exploration.4

Figure 4.1: ICD/ITKE Research Pavilion, University of Stuttgart, 2010.

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Interwoven birch plywood strips articulated through material analysis allows for previoulsy unheralded spatial conception and exploration.

1) Achim Menges, “Material Computation: Higher Integration in Morphogenetic Design,” Architectural Design 82, 2 (2012): 14-21. 2) Menges, “Material Computation,” 17. 3) Menges, “Material Computaion,” 14-21. 4) Moritz Fleischmann et al., “Material Behaviour: Embedding Physical Properties in Computational Design Processes,” Architectural Design 82, 2 (2012): 44-51.

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B1. Material Performance

Voussoir Cloud

Iwamotoscott 2008 The structural capacity of the Voussoir Cloud is very much based on the historical works of Frei Otto and Antoni Gaudi. Underpinning their designs was an astute knowledge of the constructional forces threatening the integrity of any structural formation. 5 As such, their form finding process was facilitated by hanging chain models that articulated geometry “in pure tension with no shear or bending forces.”6 Once inverted, the tensional forces translate to units of compression, thus delivering a structurally proficient arch. IwamotoScott Architects turned to these archetypes in their quest to resolve a wholesome structure from individual modular units. Precursory designs were forwarded to engineering firm Buro Happold, where a digital assessment of the structural feasibility was conducted by inverting the design just as Otto and Gaudi did in an earlier time. Although, randomly interspersed, the vaults remain homogenously balanced through their interaction with adjoining vaulting arrangements, and it is this reciprocal bonding that keeps the entire structure stable. The modular building blocks of the Voussoir cloud are formed from a wafer-thin, timber laminate folded at its edges to produce curved, wedge shaped units. This manipulation of the geometrical perimeter imparts strength and solidity to an otherwise unreliable and elastic material. The systematic arrangement and orientation of these units was governed by parametric modelling tools relative to the degree of compression experienced at a particular locale within each vault.7 Thus, it becomes clear that the material properties of the timber laminate assumed a generative role throughout the design process. 8 Analytical exploration enabled a shrewd comprehension of the behavioural properties of the material once folded, leading to an unorthodox but effective realisation of form. Who would have thought, that a translucent, paper-thin material could double as a structurally supportive unit within the compressive armature of an arch? Furthermore, the spatial configuration of each module relative to one another also contributes an ethereal ambience within the construct. The deflection, distortion and transmission of light about the interstitial space can be attributed to the distinct geometrical kinship between successive wedges, as determined by the live stresses in a particular region.9

5) “IwamotoScott Architecture,” Voussoir Cloud, n.d., http://www.iwamotoscott.com/VOUSSOIR-CLOUD 6) Iwamoto, Lisa., and Craig Scott, ed. 2011. Proceedings of the 31st Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA), Calgary/Banff, Canada, 2011. p54. 7) Iwamoto, “Proceedings,” 52-55. 8) Menges, “Material Computaion,” 14-21. 9) Iwamoto, “Proceedings,” 52-55.

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Figure 4.2: Voussoir Cloud, IwamotoScott Architecture, SCIArc Gallery, Los Angeles, 2008 The geometric manipulation of paperthin material can be used to form modules capable of withstanding compressive forces that arise within a catenary arch. CONCEPTUALISATION 23

B2. Case Study 1.0 - Iterations Species 1 Point transform

1.1 Single attractor point

1.2 Scale

1.3 Move unit z

1.4 Two attractor points

1.5 Three attractor points

1.6 Move unit z and scale

1.7 Move unit z and scale

1.8 Additonal voronoi points

2.1 Surface geometry guided by single attractor point

2.2 Surface geometry guided by multiple attractor points

2.3 Weaverbird’s Picture Frame and Laplacian Smoothing

2.4 Scale geometry and extrude

2.5 Weaverbird’s Sierpinski carpet

2.6 Weaverbird’s Laplacian smoothing

2.7 Weaverbird’s thicken edges

2.8 Weaverbird’s stellate face

Species 2 Weaverbird and attractor points

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B2. Case Study 1.0 - Iterations Species 3 Kangaroo and curves

3.1 No anchor points

3.2 Brep vertices as anchor points

3.3 Negative unary force

3.4 Positive unary force

3.5 Catenary chain

3.6 Blend two curves

3.7 Pipes around circular mesh decoration

3.8 Using pressure, unary force and active floor plane

4.1 Triangulate faces

4.2 Cytoskeleton

4.3 Mesh faces converted to pipes

4.4 Facet dome

4.5 Polar array

4.6 3D Voronoi and delete geometry

4.7 Kaleidoscope and invert geometry

4.8 Sphere collide

Species 4 Meshes

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Successful Iterations

2.1 Façade manipulation through attractor points

3.2 Brep vertices as anchor points

The success of this iteration stems from its ability to respond both efficiently and effectively to a host of external stimuli. The capacity to regulate the openings of the structure based on specific, prefigured and freely moveable points permits generative modifications late within the design process. Simple adjustments within the algorithm can therefore account for any unforeseen alterations that may be required to bring a project to fruition, such as a complete translocation or simple reorientation. Greater parametric control can also be afforded through the addition of more locally defined points. Elemental consideration pertaining to light, shade and wind can therefore be easily accounted for. As such, the dynamic proficiency of the algorithm behind this form makes it a very enticing iteration to pursue.

The iteration seen here was achieved by establishing several predefined vertices within the archetypical model and anchoring those points to a set of Cartesian coordinates. This allowed the Kangaroo Physics engine to alter the original form without completely deforming the outcome. In this way, a definition initially designed to explore the notion of compression can also be manipulated to explore a similar concept under tension, illuminating a host of alternative design possibilities. The capacity to explicitly define values such as this may prove quite useful in the weeks to come. My affinity for this form derives largely from the aesthetic appeal of a top heavy structure balanced precariously over needle thin legs. It appears as though the slow passage of water over time has gradually eroded the material to reveal smooth sides and a poetically curvaceous form, which seemingly threatens to sweep visitors inside. This “mutability of materials” was once considered a blight within the construction industry but is now “pursued by a number of well-known architects” for its seamless expression of the natural passage of time.12 Further investigative study would seek to determine those materials capable of producing an analogous form without themselves failing structurally.

2.1 Façade manipulation through attractor points

Ideally, this structure would remain as a pavilion within the landscape. The hierarchical categorisation of apertures relative to attractor points has created a unique fabric for discovery. The experiential journey is relative to both time and space as the outcome is very much dependant on the conditions present during occupancy. The dancing of light within the interstitial space; the play of shadows upon the walls; and the transition of sound are all determined by the time of day and seasonal change. Indeed, feedback mechanisms might also be incorporated to alter these apertures relative to undesirable environmental effects such as the onset of rain, traffic or wind. Thus, as Moussavi contends, “none of these specific decisions are crucial to the operation of the building interior, but they are vital to the affects they trigger in the urban landscape.”10

4.8 Sphere Collide

4.6 Voronoi/delete geometry

3.2 Brep vertices as anchor points

4.6 Voronoi/delete geometry 28

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This form was realised through the integration of a Voronoi 3D component followed by subjectively removing superfluous geometry from the resultant iteration. In executing this algorithm, I had hoped to convey the shape of a building as an expression of the volatile relationship between man and the environment as evidenced by the roughly hewn, monolithic fragments, segmented by random voids and deep ravines. Upon reflection however, I would prefer to see a building sprout from this precursory geometry, wherein the monolithic slabs slowly morph into refined and recognisable building components pervasive throughout the construction industry. Thus, further assessment would extrapolate on this notion of evolution through a “divide and conquer” analogy as championed by Woodbury.11 The upheaval and massing of the foundations might be conceived as a single part, whilst the building itself might be considered another. Upon completion the two can be merged and refined as needed to demonstrate the manipulation of earthen materials into familiar parts and finally an occupiable space.

4.8 Sphere Collide In a complete divergence from the original definition, I explored the uniquely experimental component of sphere collide. Circular geometry is added to the fundamental shape of the Voussoir Cloud and then dropped from a height with the addition of unary force. The spheres deflect upon impact with the ground plane to form unorthodox shapes and patterns absent in other methodology. As expected, uniquely whimsical results were obtained, deviating greatly from the shape of the original pavilion. As such, this new form would be better suited as an artistic sculpture, or perhaps as an interactive feature within a children’s playground. The scattered nature of the spheres encourages a tactile exploration, unseen throughout most of the other iterations. Visitors feel compelled to feel their way through the labyrinth of spheres to unearth the secrets that lie within.

10) Farshid Moussavi and Michael Kubo, The Function of Ornament (Barcelona: Actar, 2006), 9. 11) Robert Woodbury, “How Designers Use Parameters,” in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge, 2014), 158. 12) Branko Kolarevic and Kevin R. Klinger, Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge, 2008), 8.

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B3. Case Study 2.0

Chinese National Stadium (Bird’s Nest)

Arup 2008

The Chinese National Stadium, colloquially referred to as the Bird’s Nest, was designed as a centrepiece for the 2008 Summer Olympic Games. Throughout this period the stadium held a capacity of 91 000 but has since been reduced to 80 000 after temporary seating was removed following their completion.13 The most striking feature of the design is a series of randomly interspersed bands that encapsulate the building’s exterior and play an integral role in binding the 24 structural columns into a cohesive whole. Sitting atop these columns is a saddle shaped roof that appears as a circle when viewed from above and remains a symbolic gesture to heaven. Holistically, however, the presence of these bands alludes to “the balance of order and disorder in Chinese culture,” a notion also reflected in the transition of spaces throughout the stadium.14 Key amongst the design considerations was the necessity to ensure unimpeded views from all angles, which required an explicit resolve and astute foresight from the outset. Subsequently, the stadium was conceived in two phases. The sporting arena and constituent seating had to be designed first to ensure an optimal spatial configuration and economical design. The exterior shell could then be moulded around the interior space.15 Figure 4.3 Chinese National Stadium, Arup, 2008 The banded external shell of the Bird’s Nest Stadium

13) “Arup,” National Stadium (Bird’s Nest), 2015, http://www.arup.com/projects/chinese_national_stadium. 14) Michael Webb, “Bird’s Nest Bowl: in scale and ambition, Beijing’s National Stadium is an evocative symbol of the new China,” Architectural Review 224, 1337 (2008): 38. 15) Webb, “National Stadium,” 38. 30

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dfdfsvfvbfbvfd

Reverse Engineering Set base curves in Rhino

Divide curve

Create arc

Loft

Surface

Bounding box

3D populate Line

Find centre

Sphere

Perpendicular plane

Resolve plane/brep intersection

Pipe

3D populate

(Volume)

Setbacks Whilst the shape of the dome itself progressed with relative ease, I encountered a major setback when trying to simulate the randomisation of straps comprising the external faรงade. Initially I thought that shifting the list of points attained from dividing the base curves of the stadium would prove a profitable venture. Unfortunately, however, this method expressed a systematic array of bands quite divergent to the geometry articulated in the original design. My next step involved countless hours musing over the jitter component and attempting to cull points from the specified list; both to no avail.

Successful process

The foundational curves that will define the shape of the stadium must be created in Rhino and referenced systematically into Grasshopper.

CONCEPTUALISATION

These curves must then be divided and the resultant data must be set upon a single branch for it to be used.

Arcs are then created through these points before being rebuilt and lofted.

The random generation of curves is created by articulating a sphere at the stadiums centre within a bounding box and populating. Lines connect the points and perpendicular planes ensure the correct orientation.

An intersection is then found between the lofted surface and each of the generated lines, which anchors the curves to the desired geometry. Pipes are then added to give the straps volume.

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B4. Technique: Development Species 1 Meshes

5.1 Original

5.2 Weaverbird’s picture frame

5.3 Weaverbird’s Sierpinski carpet

5.4 Cytoskeleton

5.5 Weaverbird’s mesh thicken

5.6 Insert circular geometry and extrude

5.7 Vector XYZ altered

5.8 Facet dome

5.9 Weaverbird’s stellate

5.10 Weaverbird’s bevel vertices

6.1 Sum surface from existing curves

6.2 Offset

6.3 Offset, pull curve from original and extrude

6.4 Offset, alter uv count, extrude circle

6.5 Extrude multiple curves along a single surface

6.6 Cull pattern/extrude/alter uv

6.7 Cull pattern/extrude

6.8 Offset and pipes

6.9 Pipes relative to single attractor point

6.10 Attractor points relative to u-shaped curve

Species 2 Surfaces

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Species 3 Transform & Intersect

Species 4

7.1 Brep/brep intersection

7.2 Contour

7.3 Contour change extrusion direction

7.4 Kangaroo anchor points (4 columns)

7.5 Kangaroo anchor points (naked vertices)

7.6 Kangaroo anchor points (clothed)

7.7 Kangaroo anchor points

7.8 Unary force negative z direction

7.9 Mirror curve and loft

8.1 Triangulate surface

8.2 Camera Obscura

8.3 Rotation, angles, amplitude and segments

8.4 Rotation, angles, amplitude and segments

8.5 Metaball

8.6 Metaball and extrude

8.7 Kangaroo random anchor points

8.8 Octree

8.9 Octree altered leaf content

8.10 Voronoi/delete geometry

7.10 Kaleidoscope

Assorted

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Species 5 Curves

9.1 Circle tangent between two curves

9.2 Blend curve (bulge factor) and curve array

9.3 Perp frames/rotation around a single curve

9.6 Curve frames, extrude geometry

9.7 Catenary chain, lofted, gravity set to x

9.8 Catenary chain, cull pattern, lofted

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9.4 Perp frames/rotatation

9.9 Circle tangent between two curves & cytoskeleton

9.5 Fit curve along another curve

9.10 Project curve onto brep and extrude

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Successful Iterations 6.9 Pipes relative to single attractor point

This fibrous mesh of chains seems to propagate from the very roots of the trees themselves. Thickened and robust, they threaten to entwine the unsuspecting visitor both in thought and reality, encouraging an unplanned, yet meaningful exploration about the installation. The interwoven fabric could provide safe refuge for small insects, act as a trestle for climbing plants and provide shelter to those encumbered by inclement weather conditions. The niche environments created within the fabric also encourage exploration of the interstitial space. In this regard, the reciprocal nature of this construct would appear to respond most astutely to the brief at this point in time. The use of attractor points seems a pertinent issue given the dynamism of the Merri Creek environment. A precursory site visit revealed extensive erosion to the river bank associated with steep escarpments, areas of scattered vegetation and an accelerated flow rate following periods of high rainfall. Given this unpredictability, incorporating attractor points within the Grasshopper definition will permit considerable manipulation late within the design piece, should the existing site topography significantly transform. They may also prove useful in the navigation around profound natural features such as trees, rocky outcrops or pathways that may need to be retained during installation.

9.1 Circle tangent between two curves The geometrical constitution of this iteration makes it an appealing candidate for future development and maturation. Composed entirely of extruded circles engaged at a tangent to several predefined curves, a seemingly complex shape of poetic form and dynamic interplay was achieved. As a standalone component, circular geometry is vulnerable to compressive deformation, lateral stresses and torsion and would be overlooked as a conducive building block in most scenarios. However, the interconnectedness between modules appears to play an integral role in transforming an otherwise unsuitable form into a geometry capable of significant structural bearing. The intersection of adjoining members is marked by a reduction in the effective length about a join, as once freely moveable parts become anchored in place. Thus, future analysis might centre on the affiliation of successive components to overcome deformation as well as enhanced structural depth to minimise torsion. Furthermore, the faรงade itself reads as an audacious quarrel between perception and imperception as the closely woven fibers veil the secrets of the interior space. Inquisitive observers hearken to the flicker of the faรงade as they move through the environment and attempt to transcend this external barrier through behavioural modifications such as stopping to look or moving closer to the installation. Numerous apertures also provide for a breathable space enlightened by shadow and light as determined by the time of day and seasonal oscillations.

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B5. Technique: Prototypes

The prototypes observed here explore the versatility of paper to perform structurally integral tasks when manipulated beyond its standard rectilinear form. A single, notched template forms the basis of the entire design, wherein a seemingly complex shape is wrought from a relatively fundamental concept. Although not pertinent at this scale, designing with standardised parts accelerates productivity during fabrication and alleviates the financial burden pertaining to mass customisation.

Prototype 1

Figure 4.5 Single chain deformation under compression Figure 4.4 Single chain

Figure 4.4 Single chain

Figure 4.6 Single chain deformation under tension

My interest in the geometry seen here stems from the interlaced fabric exemplified in iteration 9.1 (circle tangent between two curves). I found the aesthetic qualities of the interwoven rings to be intellectually stimulating and decided to explore the morphological composition of these shapes relative to both compressive and tensile forces. As observed in figure 4.5, a single chain of interwoven rings demonstrated little resistance to deformation when placed under compressive stress and again when placed under tensile stress as per figure 4.6.

Prototype 2

Figure 4.8 Linked chains under compression

Figure 4.7 Multiple linked chains

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Figure 4.9 Single Chain

In response, I decided to generate three separate chains composed entirely of abutting rings, which were then spliced together through a series of predetermined notches as illustrated in figure 4.7. Interlacing multiple rings with one another reduces the effective length of ring fragments, thereby minimising deflection when stress is applied as per figures 4.8 and 4.9. Similarly, the surface connection of adjoining rings ensures that the deformation of one ring is resisted by the outward force of its neighbours. Thus, the more connections, the greater the performative capacity of the system, which makes this prototype a suitable candidate for future development. CONCEPTUALISATION 43

B6. Technique: Merri Creek Proposal Ramsden Street Entrance Clifton Hill Victoria

Figure 5.3 Traditional escarpment stabilising mesh

Figure 5.1 Site location

Figure 5.4 Proposed mesh geometry

Preliminary research has unearthed destabilising conditions along the Merri Creek walking trail. Sheer cliff faces, fast flowing water and regions of sparsely vegetated terrain all contribute to erosion and threaten the safety of passers-by. As such, I would like to propose a cylindrical netting of interlaced rings that can be draped over desolate regions along the trail to prevent further environmental decline. As disclosed in the previous chapter, this system has undergone preliminary deformation analysis and shows considerable promise as a stabilising mesh. The netting can be sculpted to fit the undulations of steep escarpments through the use of attractor points to categorically migrate smaller links where there is an acute topographical curvature. Anchor points within the mesh vertices can help bind the system to the terrain through the insertion of piles. As disclosed in figure 5.5, the Merri Creek walking trail meanders alongside the river in very close proximity. Mitigating the fragmentation and dislodgement of rock fragments ensures that these paths of circulation do not recede over time. The interlocking nature of each link may also prevent seeds from being washed into the river which can germinate in situ and contribute to the revegetation of the riverbank. Disadvantages may include the financial burden of selecting this product over generic mesh systems, however the artistic appeal may override the expenditure.

Figure 5.5 - Proximity of circulation routes to the river Figure 5.2 Proposed site for stabilisation 44

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B7. Learning Objectives and Outcomes Whilst Part A was a relatively straightforward conceptual exercise, Part B is defined by an abstract comprehension of a very unique skill set. Whilst my understanding of algorithmic thinking was adequate in theory, it was severely lacking in practice, making this assignment a formidable hurdle to overcome. In particular, the reverse engineering task was an immense challenge, dogged by dead ends and the continual rebooting of Rhino when linking incompatible components. Being thrown into the deep end, however, ensured that I learned quickly from my own mistakes and is a strategy that I would condone. Thus, I now feel quite comfortable navigating around the Grasshopper environment and whilst my knowledge is still only rudimentary, the prospect of tackling Part C with conviction is now a reality. The manipulation of a source algorithm proved a fruitful exercise of exploration and discovery. Reworking an existing definition and splicing in new ones demonstrated just how significantly an archetype can be manipulated to generate previously unthoughtof form. Kangaroo Physics was a delightful mechanism to tinker with and although not fully appreciated in this assignment, I look forward to pushing the boundaries throughout Part C. Indeed, the capacity to test my prototype relative to the effects of gravity over time will play an integral role in the acquisition of a final form.

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Bibliography

Images

“Arup,” National Stadium (Bird’s Nest), 2015, http://www.arup.com/ projects/chinese_national_stadium.

Figure 4.1 - Universitat Stuttgart, ICD/ITKE Research Pavilion, 2010, photograph, http://icd.uni-stuttgart.de/?p=4458

Fleischmann, Moritz, Jan Knippers, Julian Lienhard, Achim Menges, and Simon Schleicher. “Material Behaviour: Embedding Physical Properties in Computational Design Processes,” Architectural Design 82, 2 (2012): 44-51.

Figure 4.2 - Alan Lu, Voussoir Cloud, 2012, photograph, http://www. mintdesignblog.com/2012/04/voussoir-cloud/

Iwamoto, Lisa., and Craig Scott, ed. 2011. Proceedings of the 31st Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA), Calgary/Banff, Canada, 2011. IwamotoScott Architecture, Voussoir Cloud. n.d., http://www.iwamotoscott.com/VOUSSOIR-CLOUD Kolarevic, Branko, and Kevin R. Klinger. Manufacturing Material Effects: Rethinking Design and Making in Architecture. New York; London: Routledge, 2008.

Figure 4.3 - Arup, National Stadium (Bird’s Nest), 2015, photograph http://www.arup.com/projects/chinese_national_stadium. Figure 5.1 - Google, Ramsden Street, Clifton Hill, Victoria, 2016, photograph, https://www.google.com.au/maps/ Figure 5.3 - Ground Stabilisation Systems, Rock Fall Mesh and Netting, 2016, photograph, http://gssystems.com.au/services/rockfallprotection/

Menges, Achim. “Material Computation: Higher Integration in Morphogenetic Design,” Architectural Design 82, 2 (2012): 14-21. Moussavi, Farshid, and Michael Kubo. The Function of Ornament. Barcelona: Actar, 2006. Webb, Michael. “Bird’s Nest Bowl: in scale and ambition, Beijing’s National Stadium is an evocative symbol of the new China.” Architectural Review 224, 1337 (2008): 38. Woodbury, Robert. How Designers Use Parameters, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman. London; New York: Routledge, 2014.

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B8. Appendix - Algorithmic Sketches Quelea/agent with spheres

Anemone

Hoopsnake

Anemone

Anemone 48

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