STUDIO AIR JOURNAL 2017, SEMESTER 1, TUTORS: JULIAN SJAAK RUTTEN AND JOSHUA RUSSO-BATTERHAM TEAL BREEZ MARSHALL
FIG 1: GRASSHOPPER GENERATION, TEAL MARSHALL
CONCEPTUALISATION 1
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Table of Contents
INTRODUCTION 4-5 A
CONCEPTUALISATION
6-25
A1 DESIGN FUTURING 8-11 A2 DESIGN COMPUTATION 12-15 A3 DESIGN GENERATION 16-19 A4 CONCLUSION 20 A5 OUTCOMES 21 A6 APPENDIX 22-23 A7 REFERENCES 24-25
CONCEPTUALISATION 3
FIG 2: PORTRAIT
PROFILE Teal Breez Marshall Introduction I am a synthesis of urban and rural. I come from land and I don’t think the urban will ever truly be home. At the same time I’m half English and have spent a lot of time overseas, particularly in European cities and so I am fascinated with the complexities of a city and the societal norms that they facilitate. My interest in design stems from materiality, self-sufficiency and social theory. I am fascinated with digital design and fabrication, as I perceive them to be the essential tools to facilitate the change needed for the human race to persist. The concept of A.I terrifies my but the Cyborg fascinates me.
General Interests Macro Photography Pattern making, Sewing, Millinery and Craft Digital Fabrication “Paper Architecture” Vernacular Architecture Natural Materials The microscopic Fungi Model Making FIG3-6: MACRO PHOTOGROPHY 4
CONCEPTUALISATION
FIG 7: STUDIO EARTH
PAST EXPERIENCE EXPERIENCE Festival and event décor Digital Design and Fabrication ENVS20001 (DDF) Because of my experience with pattern making and actually physical fabrication my main contribution to the group assignment for DDF was the physical fabrication aspect; understanding materials, their limits and the properties as well as understanding the complexities of joining multiple plains together. Science background Particularly in Botany (Australian Specific, Macro Biology and Cell Theory).
FIG 11:DDF GRASSHOPPER SCHEME FIG 8: STUDIO EARTH
FIG 9: STUDIO WATER
FIG 10: DDF FINAL MODEL CONCEPTUALISATION 5
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A. CONCEPTUALISATION
FIG 12: FRACTAL TREE CONCEPTUALISATION 7
FIG 13: MAISON OZENFANT
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A1 DESIGN FUTURING Archite c ture contributes to set ting societal norms on aesthetic s and consumption. A minimalist house creates a pre ce dent in which material clut ter and material obje c t app ears out of place, conse quentially the owner won’t have them. Shif t s in consumer culture occur re gularly. A key e xample b eing America at the turn of the 19 th centur y. Many p e ople had houses in the Ar t s and Craf t s st yle or the American V ic torian, these houses were large with many ro oms and were f ille d with ornament, vast quantities of furniture and devises of luxur y. A s the Modernist st yle prevaile d (se e the Le Corbusier interior to the lef t), p e ople found themselves in empt y spaces with limite d furniture and the bare essentials in obje c t s. T he consumer demands had change d. Archite c ture has the p ower to make societ y accept essential changes, re quire d of so ciet y to lower our colle c tive footprint, through it s inf luence of shif ting trends and accepte d housing t y p ologies.
CONCEPTUALISATION 9
FIG 14:
PRECEDENT 1 NON-HUMAN CLIENTS Flow Hives T he f irs t le c ture discusse d our ne e d to move away from an anthrop o centric mindset and ack nowle dge that we are not the only organisms on this planet that can b e designe d for. O ur blatant e xploitation of resources e xpands into the animal realm. Animal right s aside, these prac tises are of ten highly inef f icient and ‘ham -f is te d ’. T hrough the advent of new materials, the Flow Hive design1 has b e en fully realise d, streamlining honey produc tion and highly de creasing the amount of disturbance the b e es undergo. Perhaps this design was bir the d out of a sp e culative design pro cess 2 fuelle d by a desire to dissimilate from anthrop ocentric notions and consider the re quirement s of the b e es. T he company, Flow Hive also illustrates the innovation of me dia funding, as the star t- up idea was funde d by Indie gogo.
1 Fl o w H o n e y, ‘ Fl o w H i ve - H o n e y o n Ta p ’, Fl o w H o n e y, (r e v i s e d 2017 ) <h t t p s : // w w w. h o n e y f l o w. co m . a u /> [5 M a r c h 2017 ] 2 D u n n e , A n t h o ny a n d R a b y, Fi o n a (2013) S p e c u l a t i ve E ve r y t h i n g : D e s i g n Fi c t i o n , a n d S o c i a l D r e a m i n g (M I T Pr e s s) p p. 1- 9, 33 - 4 10
CONCEPTUALISATION
FIG 15: FLOW HIVE
FIG16: CROSS-LAMINATED TEXTURE 2
PRECEDENT 2 RETURNING TO WOOD C LT an d Fotré Building Contrar y to the f irst pre cent the se cond is an e xp ose and celebration of “old ” materials being ‘reinvente d ’. Concrete and ste el have massively advance d our construc tion abilities and outcomes, yet these materials are not the solution to ever y thing. T imb er in the past de cades has b e en ignore d as a commercial construc tion material yet with the advent of CLT the advantages of timber can be re claime d. Carb on capture, increase d thermal p er formance, renewable, sustainable and faster construc tion are some of the b enef it s of using CLT as opp ose d to reinforce d concrete. Fotré in Do ck lands, Melbourne was the highest wooden building in Australia 3 (at date of completion, 2013). T hese new materials and construc tion methods are late to come to Aus tralia yet are une quivo cally demonstrating the advantages of engine ere d material and how a multidisciplinar y approach to design leads to innovations and even design futuring 4 .
3 W h e e l d o n , D av i d ‘ Wo r l d ’s t a l l e s t t i m b e r b u i l d i n g ‘ to p s o u t ’ i n M e l b o u r n e ’, A r c h i t e c t u r a l D e s i g n , (r e v i s e d 2012), < h t t p: // w w w. a r c h i t e c t u r e a n d d e s i g n . co m . a u /n e w s / w o r l d - s - t a l l e s t- t i m b e r- b u i l d i n g t o p s - o u t- i n - m e l b o u> [5M a r c h 2017 ] 4 Fr y, To ny (20 0 8). D e s i g n Fu t u r i n g : S u s t a i n a b i l i t y,
FIG 17: FOTRÉ BUILDING
CONCEPTUALISATION 11
Parametric design is no more limiting than the parameters of the physical univer se. At some p oint a design must b e come rational if the intent is to build it. Conse quently, there will b e constraint s. T he design outcomes are only limite d by your capacit y to under stand the constraint s of the brief and the parameter s that you set. ………….thought s on parametric design.
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CONCEPTUALISATION
A2 DESIGN COMPUTATION Computers collate, sor t and interpret vast quantities of data allowing designers to more ef fe c tively and ef f iciently under s tand the constraint s of a proje c t and range of p otential deliverable outcomes that could b e devise d. Parametric design then enables the designer to devise outcomes which are adhering to all the cons traint s. With these “ef fe c tive” outcomes, a designer can then imp ose fur ther parameters of preference, guiding towards of “desirable” outcome that is already k nown to comply and b e achievable. T his s treamlines the pro cess. T he designer is only limite d by computation in the same way that a novice draf t sp erson will b e initially limite d by the lack of sk ill using a Rotring p en af ter only ever k nowing a Biro.
CONCEPTUALISATION 13
FIG 18: ONE MAIN STREET STRUCTURAL SCHEME
PRECEDENT 1 MASS CUSTOMISATION T he of f ice refurbishment of ‘One Main’ in Boston by dECOi Archite c t s (se e image b elow) present s an e xcellent use of commutation design combine d with environmentally investe d design choices. Cons truc te d out of sustainably source d ply wood 5 and utilising ef f icient pro duc tion pro cesses it illustrates that an ‘environmentally f riendly ’ emphasis wont detrac t from a design. If any thing, the raw timber enhances the aesthetic . T he proje c t ef fe c tively utilises the C AD - C AM work f low with fully automate d machining of the individual element s. T he computational asp e c t s of the design allowe d for an ‘organic ’ form that is reac ting the all the induvial stimuli of the b ounding parameters of the ro om as ef for tlessly as an organic me dium would inhabit the space. T he unique element s, b e cause of the C AD - C AM work f low, are as ef f icient to create as if they were all identical and the assembly (due to lab elling and ge o -tagging) e xemplif y the advantages of computation and the abilities of mass cus tomisation.
5 A r c h i t i z e r, “ O n e M a i n St r e e t , B o s t o n ”, A r c h i t i z e r, (r e v i s e d 2010) <h t t p: //a r c h i t i z e r. co m /p r o j e c t s /o n e - m a i n /> [15 M a r c h 2017 ]
FIG 19: ONE MAIN STREET 14
CONCEPTUALISATION
FIG 20: ROBOTS, ICD/ITKE
PRECEDENT 2 AUTOMATED CRAFTSMANSHIP T his b eautifully ephemeral ICD/ITK E research pavilion (se e image b elow) was base d on biomimetic research 6 . T his ide ology re quires a collab oration of disciplines and while the pavilion is an aesthetic proje c t, it demonstrates a shif t in design prac tises to a more e xpande d net work of p e ople that envelops more disciplines and sk ill set s. What the creators term as ‘novel ’ design approaches and construc tion metho ds, I would argue are merely the frontier pre ce dent s for what could p otentially b e come standardise d processes, par ticularly with the growing interest in Mass Customisation. O f interes t for my studio, is the notion of t wo rob ot s work simultane ously to gether to ‘weave’ the pavilion’s unit s (se e image ab ove), illus trating the increase d advantage of rob otic coop eration. T his could b e a p ossible concept to consider in this studio.
6 I n s t i t u t e o f Co m p u t a t i o n D e s i g n a n d Co n s t r u c t i o n , “ 2013 -2014 R e s e a r c h Pav i l i o n ”, I n s t i t u t e o f Co m p u t a t i o n D e s i g n a n d Co n s t r u c t i o n (r e v i s e d 2014) < h t t p: // i cd . u n i - s t u t t g a r t . d e / ?p =11187> [13 M a r c h 2017 ]
FIG 21: 2013-2014 RESEARCH PAVILION, CONCEPTUALISATION 15
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CONCEPTUALISATION
A3 DESIGN GENERATION Computation is an e x tension of a designer ’s creative abilities yet I don’t believe that une xp e c te d result s are always a p ositive asp e c t in computational design. L ack of understanding is generally what leads to une xp e c te d result s in parametric design, par ticularly with a program such as Grasshopp er that is “user friendly ” b e cause of it s accessible icons and comp onent s. T his can lead to a t yp e of “pseudo design” that is form - centric, with it s only purp ose is to make “cool shap es” derive d from put ting random comp onent s to gether. At the same time I ack nowle dge Brad Elias’ comment s; that we place to o great a value on our intuitive unconscious outcomes. And so generating an une xp e c te d result as a pre cent, even if it was obtaine d through a pure lack of under standing of a program may be valid, even if I intuitively disre gard it.
CONCEPTUALISATION 17
FIG 22: FORM COMPUTATION
PRECEDENT 1 DESIGNING WITH RULES Inspire d by L-s ystems that were presente d in this we ek ’s le c ture and the fundamentals of Frac tals, the similarities b et we en frac tals and parametric design b e came apparent; as b oth dep end on an algorithm. ‘ FracShell ’ was a proje c t that aime d to combine the selforganising nature of a f rac tal s ystem with an interesting novel shap e to create a shell struc ture 7. T he program wishe d to diverge away f rom the grid -shell s ys tem of construc tion and inves tigate other struc tural s ystems and ge ometries. With the use of parametric design the result was an interesting s y mbiosis of a f rac tal algorithm and a “shell - like” shap e resulting in a cons truc tible design (se e f igure b elow). Computer mo delling (refer to the image series above) enable d the team to analyse the struc tural p ossibilities long before they ne e d to star t handling materials.
7 A r c h i t e c t u r e , Fr a c t a l & N a t u r e , “ ’ Fr a c S h e l l ’: A G r i d S h e l l D e s i g n b a s e d o n Fr a c t a l G e o m e t r y ”, A r c h i t e c t u r e , Fr a c t a l & N a t u r e (r e v i s e d J a n u a r y 2015) < h t t p s : // i a s e f m d r i a n .w o r d p r e s s . co m /> [15 M a r c h 2017 ]
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CONCEPTUALISATION
FIG 23: FRACSHELL
FIG 24: COMPUTATAION OF DESIGN
PRECEDENT 2 COMPUTATION AND PRECEDENT T he Serp entine Galler y Pavilion of 20 02 by Balmond studio and Toyo Ito T he cons truc tion of this pavilion, like the building ‘One Main Stre et ’ in Bos ton (se e page 14), has a dire c t work f low from C AD to C AM , with an unrolling of the developable sur faces that were sub cate gorise d into individual unit s. T he pavilion demonstrates how the control of parametric design helps s y nthesise aesthetic qualities and conte x tual stimuli and pre ce dent s. T he f lows of movement that interse c t through Hyde Park were chosen as a mo del to inform the interse c ting lines on the pavilion 8 (se e image ab ove). T hese net work s could then b e parametrically mapp e d and then proje c te d onto the pavilion form that they were mo delling. Variable asp e c t s of the algorithm could then b e teste d until aes thetic values were also achieve d.
8 A r c h i t i z e r, ‘ S e r p e n t i n e G a l l e r y Pav i l i o n w i t h Toy o I to ’, A r c h i t i z e r, (r e v i s e d 20 02) < h t t p: // a r c h i t i z e r. co m /p r o j e c t s /s e r p e n t i n e - g a l l e r y p av i l i o n - w i t h - t o y o - i t o/> [15 M a r c h 2017 ]
FIG 25: 2002 SERPENTINE PAVILION CONCEPTUALISATION 19
A4 CONCLUSION
Par t A; Conceptualisation, has endeavoure d to awaken an understanding of our current situation (in the global conte x t) and demonstrate the ways in which the f ield of D esign has be en changing. Our command of the te chnology in the design industr y has move d from Computerisation to Computation and the result s have le d to an entirely new paradigm of design conception and generation. My design approach consist s of e xhaustive research disjointe d by moment s of tangential trains of thought. I re cognise that these moment are of ten essential for creating the link s bet we en information set s and mentally f iling relevant information as the proje c t proce e ds. I tend to cross- reference disciplines and donâ&#x20AC;&#x2122;t usually b eing a design pro cess â&#x20AC;&#x2DC; through the eyes of a designer â&#x20AC;&#x2122;. I usually b e gin with preliminar y research stemming from a science p ersp e c tive (usually b otanical). I f ind this to b e a signif icant and b enef icial process, par ticularly in V ic toria as there is ver y lit tle undisturb e d ve getation lef t and many s ystems are incre dibly sensitive.
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CONCEPTUALISATION
A5 LEARNING OUTCOMES
Leaning ab out algorithms and parametric design has be en fascinating as it resonates with the analy tical, rational asp e c t s of my mind. I usually have to many pre ce dent s, to much information and to o many asp e c t s that I â&#x20AC;&#x2122;m tr ying to incorp orate into my deign. I now se e the p otential for incorp orating such data at an earlier stage in the pro cess throught the use of paramater s. My master y of computers is limite d and I f ind programs over whelming yet it is a challenge I ne e d to face. Already, I can se e how Grasshopp er would have hugely optimise d my DDF sle eping p o d design.
CONCEPTUALISATION 21
METHOD FOR LINE CREATION
FIG 26: CREATION DIAGRAM
CREATING LINES OF GREATER COMPLEXITY, BUT FAILURE TO JOIN THEM INTO ONE CURVE FOR THE ROBOT.
FIG 27: FINAL DESIGN
MESHING OVER ARRAYED LOFTED FORMS
FIG 28:
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CONCEPTUALISATION
A6 APPENDIX ALGORITHMIC SKETCHBOOK EXERCISES
FIG 29: LIGHT DRAWING GENERATED BY THE ROBOT IRB 120 CONCEPTUALISATION 23
A7 REFERENCES TEXT Architecture, Fractal & Nature, “’FracShell’: A Grid Shell Design based on Fractal Geometry”, Architecture, Fractal & Nature (revised January 2015) < https://iasefmdrian.wordpress.com/> [15 March 2017] Architizer, “One Main Street, Boston”, Architizer, (revised 2010) <http:// architizer.com/projects/one-main/> [15 March 2017] Architizer, ‘Serpentine Gallery Pavilion with Toyo Ito’, Architizer, (revised 2002) < http://architizer.com/projects/serpentine-gallery-pavilion-with-toyo-ito/> [15 March 2017] Dunne, Anthony and Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-4 Flow Honey, ‘Flow Hive -Honey on Tap’, Flow Honey, (revised 2017) <https://www.honeyflow.com.au/> [5 March 2017] Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 Institute of Computation Design and Construction, “2013-2014 Research Pavilion”, Institute of Computation Design and Construction (revised 2014) < http://icd.uni-stuttgart.de/?p=11187> [13 March 2017] Wheeldon, David ‘World’s tallest timber building ‘tops out’ in Melbourne’, Architectural Design, (revised 2012), < http://www.architectureanddesign.com.au/ news/world-s-tallest-timber-building-tops-out-in-melbou> [5March 2017] IMAGES FIG 1: Marshall, Teal (2017), Week 2 Algorithmic sketch exercise, Melbourne FIG 2: Goold, Saxon (2016), Portrait 1, Fort Napean, Victoria. FIG 3: Marshall, Teal (2017), Loyer vine, Kalang, NSW FIG 4: Marshall, Teal (2017), Alpine Orchard, Bogong High Plains. FIG 5: Marshall, Teal (2017), Invertebrate, Bogong High Plains. FIG 6: Marshall, Teal (2017), Fungi, Kalang, NSW FIG 7: Marshall, Teal (2016), Studio Earth final model 1, Melbourne FIG 8: Marshall, Teal (2016), Studio Earth final model 2, Melbourne FIG 9: Marshall, Teal (2016), Studio Water final model 1, Melbourne] FIG 10: 24
Marshall, Teal (2016), Digital Design and Fabrication final model 1, Melbourne CONCEPTUALISATION
FIG 11: Zheng, Shengran, (2016), Digital Design and Fabrication Grasshopper definition, Melbourne FIG 12: Kroenke, Łukasz, (2016), Fractal Tree < https://s-media-cache-ak0.pinimg. com/236x/8b/63/98/8b6398624f2e6f31e5ee69bae79cb3c3.jpg > [15 March 2017] FIG 13: Le Corbusier, (1922), Maison Ozenfant, Paris, < https://s-media-cache-ak0.pinimg. com/originals/89/9c/79/899c79dc5cd938d709e8f52e95d5b932.jpg> [15 March 2017] FIG 14:
Marshall, Teal (2017), Honey comb, Kalang, NSW
FIG 15: Honey Flow, “Flow Hive”, (revised 2017) <https:// www.honeyflow.com.au/> [5 March 2017] FIG 16: Schreyer, Alex (2013), Cross-laminated texture 2 <https:// c1.staticflickr.com/8/7290/8892850691_61742fbcaf_b.jpg> [15 March] FIG 17: Lend Lease, “Fotré building”, (revised 2012), http://www.architectureanddesign. com.au/news/world-s-tallest-timber-building-tops-out-in-melbou [15 March] FIG 18: dECOi Architects, “One Main Street Structural Scheme”, (revised 2016) < http://architizer.com/projects/one-main/> [15 March] FIG 19: dECOi Architects, “One Main Street”, (revised 2016) < http://architizer.com/projects/one-main/> [15 March] FIG 20: Institute of Computation Design and Construction, “ICD Robots”, Institute of Computation Design and Construction (revised 2014) < http://icd.uni-stuttgart.de/?p=11187> [13 March 2017] FIG 21: Institute of Computation Design and Construction, “20132014 Research Pavilion”, Institute of Computation Design and Construction (revised 2014) < http://icd.uni-stuttgart.de/?p=11187> [13 March 2017] FIG 22: Architecture, Fractal & Nature, “Form Generation”, (revised January 2015) <https://iasefmdrian.wordpress.com/> [15 March 2017] FIG 23: Architecture, Fractal & Nature, “Fracshell Pavilion”, (revised January 2015) <https://iasefmdrian.wordpress.com/> [15 March 2017] FIG 24: Toyo Ito And Balmond Studio “Computation Of Design”, < https://s-media-cacheak0.pinimg.com/originals/0c/26/a8/0c26a8860a0f551ff0329e52fcaf07a3.jpg> [15 March 2017] FIG 25: Toyo Ito And Balmond Studio “2002 Serpentine Pavilion”, Architizer (revised 2002)< http://architizer.com/projects/serpentine-gallery-pavilion-with-toyo-ito/> [15 March 2017] FIG 26: Marshall, Teal (2017), Explanatory diagram of Week 2 Algorithmic sketch exercise, Melbourne FIG 27:
Marshall, Teal (2017), Week 2 Algorithmic sketch exercise, Melbourne
FIG 28:
Marshall, Teal (2017), Meshes of Arrayed forms, Melbourne
FIG 29: Marshall, Teal (2017), Light Drawing, Melbourne CONCEPTUALISATION 25