AIR
2015, SEMESTER 2, Caitlyn Parry Tania Putri Kanadi
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Contents
Introduction
A.1 : Design Futuring
A.2 : Design Computation
10
A.3 : Composition/Generation
16
A.4 : Conclusion
22
A.5 : Learning Outcomes
23
A.6 : Appendix - Algorithmic Sketches
24
B.1 : Research Fields: Patterning
28
B.2 : Case Study 1: OMA - McCormick Tribune
30
B.3 : Case Study 2: Iwamoto Scott - MOMA/PS1 Reef
44
B.4 : Technique: Development
56
B.5 : Technique: Prototypes
68
B.6 : Technique: Proposal
74
B.7 : Learning Objectives and Outcomes
88
B.8 : Appendix - Algorithmic Sketches
92
C.1 : Appendix - Algorithmic Sketches
96
C.2 : Appendix - Algorithmic Sketches
104
C.3 : Appendix - Algorithmic Sketches
110
C.4 : Appendix - Algorithmic Sketches
124
Feedbacks and Potential
127
Bibliography
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3
4
128
Introduction
Tania Putri Kanadi I am a third year architecture student studying in University of Melbourne. I was born and raised in Indonesia, and I came to Melbourne 4 years ago to pursue tertiary studies. I have done other design studios in previous semesters, and in all of them, my designs were mostly developed through the more traditional hand-drawn methods. I have limited experience with CAD programs, however, I know its significance in the architecture industry is growing and as such, to learn it is necessary. I have been looking forward to Design Studio: Air as it aims to introduce and develop skills in handling the Grasshopper software. My aim would be to master this software and polish my skills as an architect.
Fig.1: Portrait
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Tony Fry. 2008. Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16.
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A.1 Design Futuring In today’s society, inventions such as televisions and social media have encouraged a society that prioritises high living standards. We blindly chase this goal, unaware of the sacrifices of the planet itself. To fuel our desire, renewable energies are being used up 25% faster than the rate they can recover. In other words, it is unsustainable. If it continues, sooner or later, we will reach a point where it cannot be fixed1.
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Fig.2: Faculty of Engineering anf Information Technology, UTS
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Fig. 3: Covered pedestrian pathway
This faculty building is built by the architecture Denton Corker Marshall (DCM). It is a faculty that stands at the western edge of the University of Technology, Sydney. With a limited budget, DCM has to cope with a monolithic building, and only playing with its facade. The building focuses on reaching new standards in commercial buildings’ sustainability ratings, while also expressing the function of the building. The facade of this building plays a significant role in expressing the architect’s ideas. The binary design is taken from the faculty’s function, to collect and generate data, and in addition, spells out the faculty’s name in binary language. It is torn and pulled at some places, allowing light to illuminate the research spaces, and particularly the social space on the ground floor, and it saves about 10-15% of operational energy. The facade extends outwards to the walkway, creating a covered path for the pedestrians from which they can view the social space on ground floor. It then opens up at the entrance to the building to invite them inside.
Fig.4: Light intake
Enhancing the idea of data collecting, it has an array of renewable energy generators on its rooftop. Among them are solar thermal concentrators which are rarely used in commercial context today. The building itself is described as a ‘living laboratory’ as it collects data (energy) and displays them in real-time for the inhabitants to view 2.
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Clair McCaughan, ‘Faculty of Engineering and Information Technology, UTS’, Architectural Review Asia Pacific, March 2015, p. 44-51.
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10 Cal Tower is located on Bangsaen beach, Thailand. It is a playground built by the architects Supermachine studio. The studio aims to reinterpret what a playground is. Instead of a simple traditional facility aimed for children, Supermachine studio interprets a playground as a place where friends, families, both adults and children can meet at. It changes how one think of something. It goes back to the basics and reinterpret what is really important in something. In today’s society where people meet and talk online, Supermachine aimed this structure to encourage meetings and the start of a new relationship. In the small space of 7.80 x 10.26m2 lawn, Supermachine designed a concrete labyrinth that has 10 complex routes people could take to explore it. Supermachine uses this labyrinth to encourage people meeting others and communicate as they explore the structure. It challenges the usual computerised culture that has developed in Thailand. Recently, trees are planted beside it and branches are to be allowed to go through the labyrinth voids. Supermachine wants the community to communicate not only with others, but also with nature.
Fig.5: To connect with nature
The 10 Cal Tower is a design that is aimed for the community, and it one that is accepted by the community. People of various ages now go to this tower to do various acitivities. It acts as a landmark, shade and playground. The space that was previously neglected has now become crowded3.
Fig.6: To connect with people
Christine Murray, ‘Winner Vertical Playground’, The Architectural Review, 1 December 2015, p. 22-29. 3
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Fig.7: To shelter
Fig.8: 10 Cal Tower
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4
Yehuda E. Kalay. 2004. Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25.
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Rivka Oxman and Robert Oxman. (eds.) 2014. Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10.
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Peters, Brady. 2013. ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15
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A.2 Design computation design is a complicated thing in architecture. Many factor can affect the outcome of the design, and these factors may prove to be constricting or even contrasting to each other. Design thus requires the architect to often sacrifice a feature to fulfil another, and the process of deciding which is more important or how much should they sacrifice is often a complicated and time-consuming process. Hence, the use of computer-aided design is critical in assisting architects in design process4. computer has enabled us to continuously formulate outcomes that emerge from varying design factors in a short amount of time5. unlike in the past where computer is merely used for computerisation, a process to represent the final product that we have imagined in our head to computers, computer is now being used increasingly as a tool for negotiating contrasting features and exploring more complex forms previously hard to achieve with pen and paper6.
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Fig.9: Physical model
This project explores the extent of computer aided design in creating morphological structure which emulate the shapes of cell membranes. It studies the effect of varying the diameter, depth and wall thickness of the structure to create diverse sets of outcomes. Here, computation displays how it can further develop geometries which are hard to represent by simultaneously changing the result as the factors that affect it, namely tension, material characteristics, etc. changes. As the prototype uses material pulled by tension, it is problematic for architects as tensioned materials often behaves unpredictably. Fabrication process is complex to create a hyper-toroidal structure, often needing a custom-built CNC machine. By using an already calculated mesh and just printing and attaching them to anchors, it eases the construction process.
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Fig.10: Realisation of the digital model
Sean Ahlquist uses a Java-based programming environment processing software to do the design form-finding process. It is by using these programming softwares that the materials of the prototype are able to achieve double curvatures that are diverse from each other. As the architect was able to have a circular communication from and towards the computer, he is able to input to the computer the characteristics of textile material and thus allow the computer to generate exactly how the physical model will look like7.
Fig.11: Utilising computers to generate how the physical model would behave
7
Sean Ahlquist and Achim Menges. 2012. ‘Physical Drivers: Synthesis of Evolutionary Developments and Force-Driven Design’, Architectural Design’, 82, 2, pp. 60-67.
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This structure is an installment by Skylar Tibbits for MIT’s 150th anniversary of its Festival of Arts, Science, and Technology (FAST), called the Voltadom. Using new computer aided design softwares and emerging fabrication methods, many potentials are being created in design and construction industries. More intricate structures can be built relatively easily as programs enable fast calculation and simulation of our design thinking. The project aims to highlight the ability of assembly information being embedded to the material itself, and hence transforming the construction industry. Tibbits explored this process called the ‘self-assembly’. As Oxman (2014) has stated, modelling the material itself has reverted architects back to the time when they were still the master builder. Architects now don’t simply design a form, but also understand and solve how that form is going to be achieved. I agree with Tibbits as she claims that this self-assembly process and material design is the future of architecture8.
Fig.12: Voltadom Fig.13: (left) Repeated elements that connect to one another to form a structure.. The elements are easily cut and rolled to create desired shape. Fig 14: (right) rendered prototype in computer
8
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Skylar Tibbits. 2012. ‘Design to Self-assembly’, Architectural Design, 82, 2, pp. 68-73.
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9
Peters, Brady. 2013. ‘Computation Works: The Building of Algorithmic Thought’, pp. 08-15
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A.3 Design Composition By developing an algorithmic thinking, architects can more effectively use design programming to solve complex design problems. Different from pen and paper sketching, when one explores the different digital forms in computer, it is called algorithmic sketching. Architects now start to develop algorithmic thinking and starting to design in computers. In this new space where architects now work, it allows flexible and adaptive design. In other words, parametric design. In his work ‘The Building of Algorithmic Thought’, 9Peters argue that computers for design process are going to be used naturally. I agree with this thinking. As humans will choose what is more efficient for them, the method would definitely save an immense amount of time in the designing process. There are things currently that we still design outside the computer. Things such as shadows and atmospheres are often shown by making physical models and sketches to make it more realistic or invoke emotions. I do think, with the rapidly developing technology, that in the future these small things may also be doable in computer through better renders and simulations. Thus the study of algorithmic thinking and parametric design is critical in architecture. Architects are able to be the master builder again as they now design not only form but also how materials interact and how it should be assembled.
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Fig.15: (top) translucent enclosure; Fig 16: (bottom) ability to appear in many forms
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The ICD Aggregate Pavilion, built in the University of Stuttgart, Germany, is claimed to be the first architectural structure built in the manner of a granular system. It is a research project which aims to realise a vertical structure by studying how granules interact with its environment, its binding and friction properties. Researcher Dierichs and professor Menges commenced the research of granular particles such as sand and snow. Utulising the results of the research, granule particles are fabricated with molds and robots to create diverse set of particles to be experimented on. With the assistance of computers, the granules may be embedded the programs to create geometric properties not found in natural sand formation. Programmed synthetic particles then allows the architect to create vertical structures from granular system that defies the natural angle of repose.
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The Pavilion explores a new type of architecture which can now be used by others, called aggregate architecture. Previously it would not be able to create an enclosure. Moreover, as the pavilion does not use binding materials, the pavilion was easily rebuilt a few times in a different form by robots in the span of a few hours. I think this property enhances the efficiency sustainability of construction. It is really important that it can be disassembled easily as it is able to be reused at different locations and appear in different forms. This adaptability makes it suitable in today’s dynamic environment and it reduces waste of construction. The ICD aggregate pavilion promises great potential if combined with textiles or other material which would add the waterproofing property to it and enable more types of structure to be built with granular structure10,11.
Karola Dierichs and Achim Menges. 2012. ‘Aggregate Structures: Material and machine computation of designed granular substances’, Architectural Design, 82, 2, pp. 74-81.
Alyn Griffiths, ‘Robots uses stacked spiky particles to build groundbreaking ICD aggregate pavilion 2015’, in Dezeen <http://www.dezeen.com> [accessed 17 March 2016]
Fig.17: (left) experimentation of various molds made by robots
Fig 18: (right) vertical structure made out of granular systems
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Fig.19: Computer tracking the humidity levels on the experimented timber
The FAZ summer pavilion is a project that emerges from the studies of responsive structure in ICD University of Stuttgart. The study looks at the hygroscopic capacity of a structure, in this case, wood. Hygroscopic capacity is a material’s ability to absorb and store moisture and also release it back into the atmosphere. The research looks at the thickness, length and width of a material as the basic parameters of the design and enables the structure to open and close on its own without the use of electricity efficiently. Through the use of algorithmic programs, they were also able to use only the wood to hold up its own weight and designed how each opening should be to form the pavilion. This project utilises the properties that nature has. It created a highly adaptable structure, which could close in a matter of seconds in case it rains with minimal material needed to construct. The wood laminates can also be programmed to close when it is dry and bends when it is humid. Meaning, further exploration of this project can lead to very sustainable skyscrapers, acting as an independently moving enclosure that blocks sunlight to a certain degree12, 13, 14, 15.
Fig.20: assembled prototype following how the elements are connected in the algorithmic language Achim Menges and Steffen Reichert. 2012. ‘Material Capacity: Embedded Responsiveness’, Architectural Design, 82, 2, pp.52-59. 12
Achim Menges, ‘FAZ Pavilion Frankfurt’, in achimmenges.net <http:// www.achimmenges.net> [accessed 17 March 2016] 13
Achim Menges, ‘Responsive Surface Structure I’, in achimmenges. net <http://www.achimmenges.net> [accessed 17 March 2016] 14
Achim Menges, ‘Responsive Surface Structure II’, in achimmenges. net <http://www.achimmenges.net> [accessed 17 March 2016] 15
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Fig.21: Render of the pavilion during rain
Fig.22: Render of the pavilion during a sunny day
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A.4 Conclusion In conclusion, design is highly adaptable and rapidly changing with the inflow of new technologies. As architects, we should utilise the underlying potential of these technologies to create designs that suit our current needs and environments. We should move ahead from how we merely recreate what is already in pen and paper into computer-computerisation, but rather to use computers to assist in our design thinking and process-computation. Computation after all, does not mean that we are being replaced by computers. The fastest computers still cannot rival human brain, and it is human that feeds commands to computers. However computer is faster and more precise, and it is exactly that that we should make use to further our designs. With the mastery of algorithmic thinking, we are one step closer to being the master builder that architects in the pasts were.
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A.5 Learning outcomes Before this subject, I have only known computer aided design as something which helps computerise our sketches. I was not aware of its capability to program complex commands to robots how the elements should be individually made and assembled, and how significantly it helps to make a sustainable and efficient structure. I understand now just how big of a part computer plays in designing process.
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A.6: Appendix: Algorithmic Sketches
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Appendix: Algorithmic sketches I love the result created with image sampler here. The spheresâ&#x20AC;&#x2122; diameter are varied nicely, and the way it collides with another to form walls were nice to see. It has this maze-like characteristic because the smaller spheres created enough path for people to wander in.
The fractals were very easy to make, and very beautiful to see. The image on the right resembles a snowflake. The way it recreate nature is what made me think its successful.
The lofting of three curves created very flexible surfaces, but not so flexible that it would just flop down into a pile of fabric. Itâ&#x20AC;&#x2122;s like that of a rubber glove, it looks as if it has this springy trait.
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I call this the Voronoi tower. Itâ&#x20AC;&#x2122;s made with 5 tiered circles with points. The points are then used for voronoi. I like how delicate it looks and the shadow it casts.
The octree function created this video game feel to the result, but most of the results come out similar to each other. However, the octree would be very useful in creating massing for form finding.
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B.1: Research Fields
Patterning
I have chosen to explore patterned architecture and experiment on its parameters to see the limits of the designs. The following B2 section will aim to understand how to differ from the original pattern by changing the datas involved. The chosen project is OMA's McCormick Tribune. The implication of this exploration is how much components I can play with, as the grasshopper definition is quite short. Furthermore, the patterned surface itself is flat and does not explore other areas such as lofted objects, etc. thus the exploration may seem similar throughout.
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16
OMA, ‘IIT McCormick Tribune Campus Center’, in <http://oma.eu> [accessed 3rd April 2016]
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B.2: Case study 1.0
OMA - McCormick Tribune Exploring of parameters
In this section grasshopper components used in the creation of the original design will be altered and experimented to its limits to create varying results. The McCormick tribune is located in Chicago, USA. Its design came from a long forgotten masterplan of the famous architect Mies van der Rohe in the 1940s16. One of the wall has patterns which uses the image of Mies van der Rohe himself as a form of appreciatoin of his work in determining the pattern. Thus in this section, the said wall section will be subjected to different parameters in order to generate potentially different results. The latter part of the section will also explore how the grasshopper definition may be blended with definition of another buildings's, and from all this 4 will be selected as per a set of criteria to be the most successful.
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1. Surface used
2. Surface frames
The surface component is chosen mainly because it is the initial base on which all the elements will be located. Changing the shapes of the surface will likely create significant change in the results.
The Surface frames will determine how the elements are located on the surface. Iterations will test on maximising and minimising the 'u' and 'v' value of the SFrames. The 'u' represents the number of frames in the x axis, and 'v' represents the number of frames in the y axis.
3. Image Sampler The image sampler will be explored through reducing and enlarging the size of the image and adjusting the surface frames to fit the size. It will show how abstracted and detailed an image sampler can be used.
4. Curves used
5. Calculation results
This section will explore the addition of curves and 3D solids to the group, also adjusting the 'B' input of the multiplication to ensure all curves are shown. The 'B' input multiplies the brightness value of the image sampler and allowing a higher number that can be used for the index of the curves.
The calculation (in the original case, a multiplication component), determines how the pattern will differ from the original data. I will explore the use of different calculation components, changing the 'B' and 'A' input, and also removing the integer component to have decimal results.
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Species 1
Surface: Hexagon
Surface: 2 lofted curves
Surface: 4 lofted curves
u: 3
u: 7
u: 17
v: 3
v:7
v: 14
Image size: 5x7
Image size: 10x12
Image size: 20x25
u: 3
u: 6
u: 12
v: 4
v: 7
v: 15
2 input curves
4 input curves
5 input curves
B: 2
B: 5
B: 8
equation: multiplication
equation: multiplication
Equation: addition
B:0
B: 10
Species 2
Species 3
Species 4
Species 5
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Surface: cone
Surface: Sphere
Surface: Multiple spheres
u: 25
u: 39
u: 13
v: 18
v: 8
v: 38
Image size: 40x45
Image size: 80x90
Image size: 114x120
u: 24
u: 48
u: 70
v: 25
v: 43
v: 66
3 input breps
4 input breps
3 input curves and 4 input breps
B: 2
B: 7
B: 27
Equation: division
Equation: B*tan (A)
Surface: multiplication
A: 2
B: 3
removed integer component (decimal results)
B: switched to image sampler brightness value
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Modified definition 1 This definition takes from Herzog and De Meuron and De Young's Museum's characteristic that moves the initial curves to a certain distance with factor derived from an equation that is y*x_0.1. I am trying to extrude the patterns upwards and create a 'punched' wall with holes which are the patterns of the McCormick Tribune.
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Modified definition 2 I tried to add a scale component to the moved curves to have a tunneling effect to it. As I placed the scaling center on the Surface Divide component points to ensure the curves are oriented the same way, I was hoping for a neater loft. However, the curves may be too complicated for the loft component to understand unlike the simple circles used in Herzog and De Meuron and De Young's Musem and so the lofted surface created are twisted and not in order. Still, it created quite a beautiful render that I like.
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Successful Iterations
Design criteria Porosity 5/5 Aesthetics
5/5
Complexity
4/5
I imagine this design as a clustered enclosure with patterned holes to let lights in. I really liked this idea as it reminds me of an observatorium. The lights that comes in through the pattern can tell a story depending on what patterns are there, and the light will move throughout the day and can project a moving image. The potential of being able to tell a story through it is why I deemed it successful.
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Porosity 2/5 Aesthetics
3/5
Complexity
3/5
In this iteration, I liked how the 3D objects are mixed together with the original curves. It allows less light to get through but it can be used to control light as well with how they are arranged. The 3D objects also add dynamicity to the plain surface.
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Design criteria Porosity 4/5 Aesthetics
4/5
Complexity
4/5
This iteration creates a complex surface as the patterns follow the contours and coagulates at a point. The said point really emphasises the undulating form of the surface even though the surface itself is hidden from view.
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Porosity 2/5 Aesthetics
5/5
Complexity
3/5
I though of this iteration as successful because the images can convey a lot to viewers. It is more complex in terms of the scale and arrangement for the details to be apparent. Light that goes through this would display again the image on the interior floor.
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17
Iwamoto Scott, ‘PS1 MOMA Young Architects Program’, in <http://w.iwamotoscott.com> [accessed 3rd April 2016]
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B.3: Case study 2.0
Iwamoto Scott - MoMa/PS1 Reef Reverse engineering
In this section I will attempt to analyse the original design and from that recreate the patterning using grasshopper. As its name suggest, it is a design inspired by ocean reefs. Iwamoto Scott aims to use the porous property of an anemone to create a shading system that can control the amount of light going through17. The design creates a lofted surface that changes from rectangles to circles arranged in a rectangle grid that is shifted to have an alternating pattern.
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Fig. 23: PS1 reef model undulating anemone clouds.
PS1 reef’s design is a dynamic surface held up by cables to hang above the people, creating the ‘anemone clouds’ that protects them from the sun. When seen from above like in Fig. 24, there seems to be a pattern on which the anemones are arrangeed in. The squares are shifted every row to create an alternating pattern. I think this will be the hardest part to reverse engineer in grasshopper. From the pattern, fabric falls down and turns into circles that has varying length. This can be done with lofting rectangles and circles, then attaching them to a surface using boxmorph.In the following pages, I will document the reverse engineering process in detail.
Fig. 24: PS1 reef’s alternating grid pattern.
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surface divide surface
This was the initial surface that I chose to work on. It is flat unlike the PS1 reef and so it is not a good remake of the original. However it serves as a base for the next try.
cull pattern
I used cull pattern (true, false) to create alternating points. At first, the points were arranged in branches and the culled pattern would not work well, but after the points data was flatten the cull pattern worked.
voronoi on culled points
I used voronoi on the points in hope of creating the alternating pattern the PS1 reef has in Fig. 24. However the pattern generated formed diamond shapes and it was arranged very regularly.
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curves range - tween curves curves | curves (CCX)
cull pattern rectangle on points
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In reaction to the previous results, I created a curve to begin with. By using curves in the beginning I figure it would be a more dynamic surface. using range and tween curves I created a grid to accommodate for the CCX.
Like before, I culled the pattern to create alternating points. This time I tried using rectangles on those points to create the brick-like pattern. It does work, however the rectangles do not touch each other.
voronoi on culled points
Going back to using voronoi, on the curved surface as well it still generates similar pattern.
voronoi on CCX
Here I applied the voronoi on the CCX points itself to see how it would generate the grids. At first I though of using this and trimming the rectangles, But I realised it would take too long and the pattern created will still not form the brick pattern.
curves loft
divide domain surface box
rectangle and circle loft
boxmorph
Since I couldn’t make the alternating pattern, I tried to solve the geometry that they have used first. I’m using a lofted curve this time, and I’ve shaped it to look like it has been hanged on four corners.
Unlike before, I use divide domain in this surface to create the grids for the geometries to fit on. The surface box will determine how deeo the geometries will go. I realised that it is too short here compared to the photos.
This is the base geometry that would be used for the box morphing. it replicates the MOMA PS1 reef’s anemone clouds’s elements.
With the base geometry, I’ve applied it to the surface to resemble the photos. It is still different as I made the surface box too thinly and it does not have varying depth.
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4 curves loft
divide domain image sampler surface box
box morph
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I am using 4 curves to create a more undulating surface for the surface box to be more undulating.
I have tried with divide domain and using its normal output as the input for the surface box height, however the surface box remained quite flat. Hence I added an image sampler as the input for the surface box height, and multiplied it to make it more noticeable.
Here is the final result. It has the undulating surface with varying depth of the anemone. The only problem unsolved here is how to create the alternating pattern explored earlier in this section.
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*continuation from tween curves and CCX shift paths cull pattern flip matrix
using the flip matrix, I managed to make a set of curves within the boundary I want to work on.
interpolate curve
curve closest point shatter loft
area circle move - z axis
loft
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Using the previous culled points and the shatter components, the curves can be divided into segments that resembles the cells of the MOMA PS1 reef structure. With more cull components and CCX, a grid with more varied length of cells can be made.
The area component gives the centroid od each cells and allowed me to use them as the center of the circles, which are then moved up to facilitate the lofting.
Here is the final result. After it is lofted, I expected it to have the PS1 reef shape, however the lofting twisted which I think may be the result od different point location, but I am not sure how to fix it.
extrude rectangles brep box morph
divide curves shift list line
loft option: straight closed loft
line from shifted list sweep2 rectangles and circles
This time, I used the extruded rectangles as the target box for the box morph, building on what Iâ&#x20AC;&#x2122;ve tried on the previous page. Again, it did not work as the breps overlap with each other not staying within their boundaries.
To fix the twisting, I decided to loft it differently. Using shift list on the points created to align the points on the circle and rectangle better and make a line.
Then using thoose lines created I have lofted them. The result is not smooth and the base have gaps since they donâ&#x20AC;&#x2122;t form rectangles.
To fix the previous problem, I tried using sweep2 so that the bottom would not have gaps in between. The bottom is fixed here however the top curls and does not make a clean circle. I am guessing it is because the lines are still twisting.
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divide curve flip curve line
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The components I used here is similar to before, but I realised in the previous trials, one row is lofted well but the next one is not. Thus, I separated the rows so that I can flip the curve of the rows that were problematic. And then the same process is repeated to get the lines.
added image sampler addition multiplication remap numbers
To fix the previous problem, I tried using sweep2 so that the bottom would not have gaps in between. The bottom is fixed here however the top curls and does not make a clean circle. I am guessing it is because the lines are still twisting.
Successful definition
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B.4: Technique: Development
Iwamoto Scott - MoMa/PS1 Reef This section will explore again the limits of the definition, however using the grasshopper definition of the reversed engineered project as a base. With a set of criteria, the most successful iterations will be chosen and developed further.
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1. Surface used
2. Surface divide points
The surface component is chosen mainly because it is the initial base on which all the elements will be located. Changing the shapes of the surface will likely create significant change in the results.
The Surface divide points will provide the points on the surface that the boxmorph will base on. Iterations will test on maximising and minimising the 'u' and 'v' value of the SFrames. The 'u' represents the number of frames in the x axis, and 'v' represents the number of frames in the y axis.
3. Calculation input The calculation is the input for the height of the surface box. Changing the calculation will result in differing heights between iterations.
4. Breps used
5. Cull Pattern
The Brep will be put on the surface divide points. In this specie, I will change the type of breps used to experiment of the light intake and the overall shape
To this component, the B output will be connected to a cull pattern component before going into the box morph as an input to create holes in the surface.
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Species 1
Surface: cylinder
Surface: cylinder
Surface: sphere
height: 5
height: 10
u: 7
u: 10
u: 10
v: 8
v: 3
v: 3
u: 2
u: 4
u: 6
v: 2
v: 4
v: 6
B: 0
B: 1
B: 3
cull:
cull:
cull:
true
true
true
true
false
true
false
true
false
false
false
Species 2
Species 3
Species 4
Species 5
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Surface: variably piped curve
Surface: sweeped curve rail
Surface: 6-sided pyramid
u: 10
u: 10
u: 5
v: 2
v: 3
u: 10
u: 14
u: 3
v: 10
v: 14
v: 12
B: 5
B: 10
B: 16
v: 6
cull:
cull:
cull:
false
false
false
true
false
true
true
true
true
false
true
false
false
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Successful Iterations
Design criteria Porosity 5/5 Aesthetics
5/5
Complexity
4/5
The iteration have a lot of holes that lets air penetrates inside. It is visually appealing and quite complex to the eye. I find its shape that resembles a tunnel creates potential for many things such as a covered pathway.
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Porosity 5/5 Aesthetics
3/5
Complexity
2/5
This iteration is made by using a sphere as the base surface for the boxmorph. It has high porosity throughout and make a container-like shape. I am thinking that this can be developed to a flower pot for nurseries and hanging vines.
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Design criteria Porosity 4/5 Aesthetics
3/5
Complexity
2/5
By using the cull pattern. I can reduce the amount of holes there are and thus reduce and control the porosity.
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Porosity 0/5 Aesthetics
4/5
Complexity
5/5
This iteration does not make an enclosure to have any porosity, however it is very eyecatching and complex. The iteration is made while using a 5 sided polygon extruded to a point as a surface. The created result intersects with one another and will be very hard to fabricate.
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Further developments
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B.5: Technique: Prototypes This section will document how the design is built physically and the exploration of the physical model's characteristics in relation to the brief, which is porosity, aesthetics, and complexity.
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connection joints
The second version takes note of the shadow pattern formed by the geometry into account. I divided the geometry vertically to several segments with spaces in between. By doing so I intended to create slivers of light and shadow. The connections I used here are long sticks that would connect the edges together. The issue here is that I've laser cut the geometries in surfaces, not polylines. It turns out that the laser cut would register surfaces with a cross in the middle to show that it has an area. As a result the surfaces were cut into 4 pieces each. However, The connections show promise if fabricated in 1:1 scale. Although I feel that they can be improved to be efficient joints that would not require nails to hold them. Lastly, I could not figure how to input the material thickness into the geometry itself, thus the cut segments are very thin.
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This is the first fabrication attempt. My idea was to use etched cuts on the plywood to create a surface that can be easily folded with minimal connections. The connections were meant to be placed in the gaps made between the folded geometries and has a flap to connect the geometries together. However, since the etch cut was very hard to cut, it was a failure. It could have worked if the cut material was thinner, such as plastics.
connection joints
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The third version is the one I think is most sucessful. There is porosity, and the shadows formed are also quite alluring. The fabrication however, is still a failure. I could not offset the geometries to get the holes and so I've used Weaverbird picture frame. Since the result is a mesh, it could not be unrolled. Furthermore, The geometries' surfaces were not planar and so the unrolled brep created intersecting lines that had to be removed. Therefore the physical model has a gap formed on the corner that has the intersecting lines.
Overall, this design is the most sucessfull, but improvements still need to be made in terms of making the surfaces planar, improving the connection joints, and fixing grasshopper problems for easier fabrication.
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B.6: Technique: Proposal This section will develop and finish the previous prototype designs and present it in a way that considers the brief and place i.e. Ceres Market.
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Brief and site analysis Studio AIR, 2016-1, Project Brief: “[…] when all frontiers have been tamed and devel-oped, when all exotic tribes and species have been winkled out of their hidden crannies and firmly tagged, where after all can one look for the wild, the unknown? When all natural wonders have been sci-entifically investigated, and all ancient monuments have become tourist attractions, where can one seek the numinous, the sacred? In a world contracted by motor travel and telecommunications, how can one experience vastness?”16
Aim: “To create a structure that connects the market area to other areas.”
When I was at the site, I feel as if each of the areas are not well connected. The nursery and market in particular is forgotten after passing through it and the landscape is empty in a few spaces. A lot of urban people come to Ceres market to buy plants and organic groceries and sit down to have lunch, while the people who live in the nearby areas uses the nurseries, groceries and playspace to play with kids. I want to create a design that can connect the areas people often go to with other areas to unite the Ceres community more.
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analysis of paths
design placement
Iâ&#x20AC;&#x2122;ve decided to create the pavilion only on one place marked above. I think that this place is suitable as it shades the people who gethers there and also it invites people in and connects the market and nursery area to the other oreas. 16
Mathews, Freya. Reinhabiting Reality: Towards a Recovery of Culture (Albany: State University of New York Press, 2005)
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Final design development Previous issues: non-planar surfaces unrolled flat and rigid design prototype, needs to be done in 3D to wrap around the tunnel grasshopper issues of offsetting and moving elements individually how to create the material thickness on the 3D model through grasshopper Opportunities: incorporate Ceres characteristics, datas or pattern into the design
curves divide curve arc SED
divide length cull pattern flip matrix interpolate curve
curve closest point shatter loft
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To fix the problem with the flat prototype, I decided to use arches as a base skeleton. Also, using the Arc SED I was able to make the height vary.
Like the reverse engineer definition, I applied the same method to create 2 sets of curves to enable the shifted pattern.
The curves are then shattered and lofted to create individual segments of rectangles. While doing this step I realised that the rectangles will not be planar and it will be hard to fabricate. Another version will be explained in the following pages, however I decided to develop this further since while the rectangles are not planar, I may be able to fabricate just the geometries embedded to it.
divide curves area polyline scale
cull pattern list item plane 3pt vector unit image sampler move
explode line
Moving on, the segments are divided to create 6 points each and they will form the base polygon of the extruded geometry. They are scaled to the center of each.
There was a problem since I could not find the normal of each geometries using evaluate surface. So for alternative, a 3pt plane is used with 3 of each segmentsâ&#x20AC;&#x2122; points which are selected using cull pattern. It succeded and the move component worked to create varying heights according to the image sampler. I want to use this image sampler to input something from Ceres market, however other than an image of recyling logo or organic growing, I have no idea.
Next, I exploded both the base polygon and the moved polygon to get the vertices of each. These vertices mde it possible to create lines that connect both and create the skeleton of the form.
sweep 2
I chose to use sweep 2 since I have all of the inputs ready. Rail 1 - the base polygon; rail 2 - the moved polygon; section lines lines formed by connecting the vertices of the polygons. However, the sweep turned out horribly. I suspect that it is a problem of data structure, however I am not sure where the problem lies.
loft
Since the sweep2 failed, I am using loft with the base polygon and the moved polygon as the curve inputs. It worked for one set of the polygons, but did not for the other. The other resulted in nulls when viewed in panels, and it is again a problem of data structure.
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DEFINITION 1
loft
polylines sweep2 cull pattern
Iâ&#x20AC;&#x2122;ve resolved the data structure problem here, so the loft of the other set of curves worked. It seems that I simplified one of the outputs that resulted in a different set of data. It has the shape that I want but I was still worried about the surface not being planar and so I tried a new approach with more rigid base surface.
Here, from the arches, I formed polylines from points and used sweep2 to create a rigid surface and cull pattern is used since there was an excess segment.
DEFINITION 2
surface split ungroup divide curve polyline
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I am using surface split and ungroup to ensure that the segments are individual surface, so that when divided curve and polyline is applied it will form individual polygons that do not collide with another. The result was not how I expected though. The polylines formed a continuous line throughout the surface.
lunchbox hexagon cells
Since both methods did not work, I used lunchbox plug-inâ&#x20AC;&#x2122;s hexagon cells on the surfaces instead.
list item
The list item made it possible just to select the center completed hexagon.
disc average plane fit move merge point deconstruction sort list extrude to point
disc component find the edge points and average finds the center. Plane fit uses the edge poitns to create approximate plane for the normal. The planes were merged and sorted since some were facing opposite directions. And then, using the vector that is formed from the plane fit, a series of point were made to enable the extrusion of the polygons.
deconstruct Brep Brep | Plane intersection surface split area curve closest point
The planes were used again to split the extruded geometries and sort list to select the lower shape.
sort list list item
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DEFINITION 3
area scale edges merge boundary
Since the geometry is already deconstructed, I can scale them individually and use it to create a hole in the middle. This model however have quite large gaps between each elemtns and I think it will make it harder for fabrication since long connecting joints should be made.
deconstruct brep area scale edges merge boundary
DEFINITION 2
DEFINITION 1
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To solve the previous problem, I used the same method to definition 1. This one fits better and the heights of the extrusion was connected to an image sampler.
DEFINITION 3
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Renders
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B.7: Learning Objectives and Outcomes
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Learning objectives and outcomes Objective 1: “Interrogating a brief” by considering the process of brief formation in the age of optioneering enabled by digital technologies - When understanding the brief, I have thought first of what can I design that is unachievable using normal pen and paper sketches.
Objective 2: developing “an ability to generate a variety of design possibilities for a given situation” by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive design-space exploration - Using visual programming, I have been able to create numerous iterations that can lead to infinite design possibilities.
Objective 3: developing “skills in various three-dimensional media” and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication - During the learning process, I have improved significantly in dealing with parametric modelling, and have also tried digital fabrication using laser cut to know its advantage and shortcomings.
Objective 4: developing “an understanding of relationships between architecture and air” through interrogation of design proposal as physical models in atmosphere - In my design I have faced various problems trying to understand how the structure will hang, how it will stand, and how it will connect with other elements. I think this is the relationship of architecture and air. Each elements need joints that will allow them to be what they are designed to be.
Objective 5: developing “the ability to make a case for proposals” by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourse. - I feel like I am lacking in this department. My concept for the proposal does not have a strong idea that connects it to the space itself. The whole design was more of an experimentation with visual programming. I did outline the issues with the designs but I was not able to fix some. Page 90
Objective 6: develop capability for conceptual, technical and design analyses of contemporary architectural projects - visual programming and algorithmic thinking has allowed me to create complex designs that leans to contemporary architectures.
Objective 7: develop foundational understandings of computational geometry, data structures and types of programming - Throughout the course I have learned grasshopper significantly. The reverse engineering exercise in particular was one that forces me to find ways to create a geometry and scans the whole definition to fix data structures.
Objective 8: begin developing a personalised repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application. - While developing the design, I have started to use several components without difficulty to form various geometries. Sometimes they still fail to form what I had in mind however I think it is the beginning of a thorough understanding of the components.
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B.8: Appendix: Algorithmic Sketches
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Appendix: Algorithmic sketches The piping of the field lines created a pavilion of delicate tubes. The design is complex and I like the circular arrangement.
Using both spin force and point charge at the same points created a series of spirals branching out and colliding that creates this dune-like curves.
I like this because the spin forces intersect and go throught other lines. It also created this smaller circles in the middle.
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This design is an extruded curve from generated field lines. The extruded curves forms this maze and small spaces inside. This was too complex, but using simpler field lines, I might be able to create a floor plan draft of a design.
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C.1: Design Concept
This section will further develop the design proposed by analysing its weaknesses and strength. From this point my design will be merged with Brenda Kim's and Kimberly Ann's.
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Problems:
-The place it leads to does not have a strong impact -The geometries does not have a quality of the site embedded to it. -The geometries does not have consistent sides that connect to other geometries. Hard to fabricate
Changes:
-Grouping up with people who has similar concepts -moving the position of the design on site to connect to Merri Creek -embedding the organic characteristic of Ceres to the geometries -creating a new layout for the geometries to be extruded of
The Brief mentions: ‘the wild, the unknown’ ‘the numinous, the sacred’ ’experience vastness’17
to connect the people to Merri Creek as the creek is hidden to create an isolated space that can be reached through the tunnel to play with scale Final design concept: To create a secluded space for the community to appreciate nature
Mathews, Freya. 2008. Reinhabiting Reality: Towards a Recovery of Culture (Albany: State University of New York Press) 17
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Development of form The Geometries - v.1
continued from basic lofted surface
Weâ&#x20AC;&#x2122;ve decided to keep the curved shape as it resembles the undulating shape of Merri Creek
diamond panels
To fix the problem of the inconsistent geometries, I am using diamond panels here to ensure the corners would always touch
list item curve
The panels are sorted so that only the diamonds are selected. These panels are then transformed into curves for extrusion.
discontinuity average plane fit amplitude move sort list item extrude to point
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Discontinuity and average finds the center point of each geometries, then these geometries are moved according to their planes to accommodate extrusion
plane fit amplitude-move sort-list item deconstruct brep (from extrusion) Brep|Plane surface split
to let lights in, we cut the upper half by moving the planes. The ones closest to the curve closest point are selected.
curve closest point sort list item
area scale edges
For this version, we are making smaller holes on the panels.
boundary
scale loft
This step is used for rendering purposes. the geometries are scaled down and its edges lofted together manually in rhino. The lofting process couldnâ&#x20AC;&#x2122;t be done in grasshopper since selecting which lines to loft was very complicated.
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The Geometries - v.2
area (of individual panels) scale edges boundary
rectangle surface divide image sampler circles
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This version uses patterns to create shadows. The panels are scaled bigger than the first version because it only acts as a boundary for the pattern
For the image sampler, we are using leaves to represent the organisc and greenness of Ceres Market. The downside here is that the leaf patterns are sometimes unrecognisable and very uniform. In this sample we used a cartoon leaf image as it showed results with the most clarity.
unroll brep
We could not project the circles onto the 3 dimensional brep. As an alternative we unrolled the brep first to make it 2 dimensional.
delete circles outside of the boundary
This works well as the leaf would not be facing the same way once it is folded. However, as we could not do it in 3 dimensional, no renders can be produced for this version.
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C.2: Tectonic Elements & Prototypes This section documents the progress of design prototypes and show the solutions taken to fix the failures detected in the prototypes.
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Laser cut panels. The panels were unrolled in grasshopper and only etched to allow folding. We realised that this was only achievable because we are using boxboard. The final presentation needed plywood so a connection needs to be designed for the panels.
The panels are joined at the end with tabs. This was a problem because the tabs cover the holes that needed to be poked through.
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Prototype 1 - dowel connections The circles were too close to the edges that they tear when the dowel is poked through. The geometries also did not tilt to create the curve of the model.
Prototype 2 - wire connections Here, wires are used because it curves better. In real construction, what can replace the wires may be bamboo.
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The other problem aside form the different angles was that some of the geometries do not intersect nicely. In the Figure on the right, you can see that the intersection is off and this cannot be clipped. We considered slotting the two together by making cuts but it was complicated and undoable.
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Another connection was generate where the geometries will be scaled up and potentially clipped on the intersections like the figure on the left. This however still need a clip designed for each of the intersections since the angles will be different.
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C.3: Final Detail Model
This section documents the assembly of the final model in detail along with the characteristics that it possesses.
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Joints
deconstruct brep (from extrusion) list item perp frame circle-brep
Brep|Brep join discontinuity polyline
offset loft cap holes
curve (of the base arc)
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Wedges are used instead of wires because in real construction the panels would need connections as well. The Wedges would create no gaps between the panels so it is favourable.
The intersection of the circle and the extrusion is extracted and the discontinuities joined to create the triangle wedges.
To illustrate the laser cut wedges, the triangles are offsetted and lofted.
Since the wedge alone would not hold the structure up, we are using the arches to hold the geometries as well.
discontinuity rectangle sweep 2
To give the arches substance, rectangles are sweeped through it.
cap holes
rectangle extrude cap holes trim solid
brep (of geometries) trim solid
The base of the arches will be held using plates with trimmed holes that correspond to the arches.
For the arches to hold the geometries, holes are trimmed using the geometries generated. When laser cut, the outline of the hole will cut through the whole plywood.
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Geometries
Arches
Base
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Step 1 Glue two of the wedges between two panels. Make sure that it is the correct wedges.
Step 2 Slot in the arches to the base so that it will stand on its own.
Step 3 Next, slot in the geometries in between two of the arches with corresponding holes.
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Assembly of individual elements
Patterns
Holes
Arches
Details of wedge connections
Testing and marking the connections The first problem we encountered was the placement of the geometries. As the unrolled brep was not cut at the same place each time the geometries had to be connected with tape first and placed between the arches to ensure the wedges fit .
testing the geometriesâ&#x20AC;&#x2122; direction
There were two types of arches, one with plywood and another with perspex. The image shows the first combination. This was not ideal since the shadows created by the patterned geometries would be obstructed.
Testing the combination of patterned geometry and plywood arch Page 116
This one does not look very appealing. The goal of the holed geometries was to show the structural qualities so pairing it with plywood will work better.
Testing the combination of holed geometries with perspex arch
Base outline printed
Holes marked with â&#x20AC;&#x2DC;oâ&#x20AC;&#x2122;
Everything put together with masking tape
Finished product
The main model is the patterned geometries with perspex arches as it represents Ceres market better. The shadows would also be more interactive for the visitors.
removing masking tape and transfer to base
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Shadow Study
The fabrication includes our exploration of shadow. The two versions of the model is created for this purpose. The shadow is our main focus since it can be interactive (changing at different times of day) and representative (the leafy patterns on the panels). 1st version: This version was made to highlight the structural properties of the model. The shadows produced by this version is very clear and outlines the shape of the geometry. 2nd version: The main concern was how clear the leaf shadows will be, and as the image show the panels do produce some clear shadows.
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Plan
Section A
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C.4: Learning Objectives and Outcomes
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Learning objectives and outcomes Objective 1: Discuss the learning objectives of the studio and your performance in relationship to them - I feel that I have performed considerably well throughout the semester. I have developed good parametric skill as well as trying to create impactful concept during the studio.
Objective 2: Discuss how the design project affected your knowledge of architecture and the roles of computation in the design process. - By observing others as well as during my own time I have learned many different ways of interpreting a brief and also the importance of embedding computational aspects of the site to the design to achieve a well grounded design.
Objective 3: Are you able to create, manipulate and design using parametric modelling? - Yes. I feel that I have improved significantly in using grasshopper to create models. I am starting to understand how many of the components work. Although this is good, I still think my parametric modelling skills are lacking in terms of problem solving.
Objective 4: Can you use computational methods to design and fabricate bespoke tectonic assemblies? - Making the connections for the model proves to be difficult as the connections need more attention to details. So far the model turned out fine, however I lack the means to create more complex connections that will be able to allow me to design more freely.
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Feedback -The model has too many gaps letting light in for the patterns to make shadows. -If each geometries are unique, rather than trying to make them similar, it would be better to highlight their uniqueness -The scale is too big
Potentials
-The gaps can be filled in with curved plywood to create a closed environment. -Each of the geometries can be varied so that each have different heights and different sizes of the hole at the top. It would also contribute to letting less light in to create clearer shadows The geometries can also be flipped to extrude inside. -The scale can be adjusted so that it is not too big. Because Ceres is a non-profit organisation, smaller scale would be preferable and more practical.
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BIBLIOGRAPHY Achim Menges and Steffen Reichert. 2012. ‘Material Capacity: Embedded Responsiveness’, Architectural Design, 82, 2, pp.52-59. Achim Menges, ‘FAZ Pavilion Frankfurt’, in achimmenges.net <http://www.achimmenges.net> [accessed 17 March 2016] Achim Menges, ‘Responsive Surface Structure I’, in achimmenges.net <http://www.achimmenges.net> [accessed 17 March 2016] Achim Menges, ‘Responsive Surface Structure II’, in achimmenges.net <http://www.achimmenges.net> [accessed 17 March 2016] Alyn Griffiths, ‘Robots uses stacked spiky particles to build groundbreaking ICD aggregate pavilion 2015’, in Dezeen <http://www.dezeen.com> [accessed 17 March 2016] Christine Murray, ‘Winner Vertical Playground’, The Architectural Review, 1 December 2015, p. 22-29. Clair McCaughan, ‘Faculty of Engineering and Information Technology, UTS’, Architectural Review Asia Pacific, March 2015, p. 44-51. Iwamoto Scott, ‘PS1 MOMA Young Architects Program’, in <http://w.iwamotoscott.com> [accessed 3rd April 2016] Karola Dierichs and Achim Menges. 2012. ‘Aggregate Structures: Material and machine computation of designed granular substances’, Architectural Design, 82, 2, pp. 74-81. Mathews, Freya. 2008. Reinhabiting Reality: Towards a Recovery of Culture (Albany: State University of New York Press) OMA, ‘IIT McCormick Tribune Campus Center’, in <http://oma.eu> [accessed 3rd April 2016] Peters, Brady. 2013. ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 Rivka Oxman and Robert Oxman. (eds.) 2014. Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10. Sean Ahlquist and Achim Menges. 2012. ‘Physical Drivers: Synthesis of Evolutionary Developments and Force-Driven Design’, Architectural Design’, 82, 2, pp. 60-67. Skylar Tibbits. 2012. ‘Design to Self-assembly’, Architectural Design, 82, 2, pp. 68-73. Tony Fry. 2008. Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16. Yehuda E. Kalay. 2004. Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25.
Images: 1. Hertanu, Elly, 2015, Digital Photograph, Personal Source 2. Glover, Richard, 2014, Photograph, <http://www.dezeen.com/> 3. Ibid. 4. Ibid. 5. Tungthunya, Wison, 2014, Photograph, <http://www.aasarchitecture.com/> 6. Ibid. 7. Tungthunya, Wison, 2014, Photograph, <http://www.archdaily.com/> 8. Tungthunya, Wison, 2014, Photograph, <http://www.aasarchitecture.com/> 9. Menges, Achim, 2011, photograph, <http:/www.achimmenges.net/> 10. Menges, Achim, 2011, image, <http:/www.achimmenges.net/> 11. Ibid. 12. Tibbits, Skylar, 2011, photograph, <http://sjet.us/> 13. Ibid. 14. Tibbits, Skylar, 2011, image, <http://sjet.us/> 15. Dierichs, Karola, 2010, photograph, <http://icd.uni-stuttgart.de/> 16. Ibid. 17. Ibid. 18. Ibid. 19. Reichert, Steffen, 2006, image, <http://www.achimmenges.net/> 20. Reichert, Steffen, 2008, photograph, <http://www.achimmenges.net/> 21. Menges, Achim, 2010, render image, <http://www.dbz.de/> 22. Ibid.
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