Octaviano tristan 681058 finaljournal by TristanO

STUDIO AIR

2017, SEMESTER 1, TUTOR: MATTHEW TRISTAN OCTAVIANO

Table of Contents 4

INTRODUCTION

Part A1: DESIGN FUTURING

PRECEDENT PROJECT 1: The Burj Khalifa

PRECEDENT PROJECT 2: CCTV Headquarters

Part A2: DESIGN COMPUTATION

PRECEDENT PROJECT 3: Beijing National Aquatics

PRECEDENT PROJECT 4: Heydar Aliyev Center

Part A3: COMPOSITION/GENERATION

PRECEDENT PROJECT 5: Guggenheim Bilbao

PRECEDENT PROJECT 6: The Lotus Temple

Part A4: CONCLUSION

Part A5: LEARNING OUTCOMES

Part A6: APPENDIX

RESEARCH FIELD: GEOMETRY

CASE STUDY 01: SG2012 GRIDSHELL

ITERATIONS

CASE STUDY 2.0 - CANTON TOWER

ITERATIONS 2.0

TECHNIQUE DEVELOPMENT

TECHNIQUE PROPOSAL

LEARNING OUTCOMES

APPENDIX: SKETCHBOOK

Center

INTRODUCTION

I am Tristan Octaviano, a third year Bachelor of Environments (Architecture Major) student in the University of Melbourne. I took an interest in design and architecture mostly because of the freedom one has over the process and the outcome. There is no need to be afraid to make mistakes because I believe that there are no mistakes when it comes to designing. I am fascinated by the way architecture allows, and sometimes even forces us to be imaginative - even more exciting is the process of translating the ideas we come up with into paper and eventually into a physical, tangible form. Architects are creators, something which was once thought of as only the divine can achieve. Architecture allows me to create a significant impact on the world around us, not only visually but also in a way that would change how we think about design.

CONCEPTUALISATION

With technology becoming an integral part of architectural design, architects are becoming less limited with what they can achieve. This significant advancement should not only allow us to create more complex and extraordinary forms but also help us find ways to become more efficient - enabling us to make the most positive impact with the least amount of resources

Part A1: DESIGN FUTURING CONCEPTUALISATION

PRECEDENT PROJECT 1: The Burj Khalifa

FIG 1. THE BURJ KHALIFA. PHOTOGRAPHER UNKNOWN (2010) < HTTP://I0.WP.COM/WWW.AVENLYLANETRAVEL. COM/WP-CONTENT/UPLOADS/2015/08/DREAMSTIME_M_23116708EDIT1.JPG> [ACCESSED MARCH 2017]

Currently the world’s tallest building, the Burj Khalifa’s glass enclosed, steel structure stands at 828 metres (with the second tallest building in the world, The Shanghai Tower standing only at 632 metres). Designed by the firm Skidmore, Owings and Merrell, the skyscraper and its incredible height pushed the limits on what can be achieved with architecture, raising the bar and the standard for skyscraper design, engineering and construction. Its conception was a consequence of a combination of the rising trend of extravagancy and vanity in the UAE and its luxurious city of Dubai, being already filled with several modern skyscrapers and a manmade island and a drive to increase the amount of residential buildings within the city. The impressive scale of the building and the grandeur it adds to the city skyline came at the cost of an incredible amount of resources, using over 110,000 tonnes of concrete, 39,000 tonnes of steel rebar and over 26,000 glass panels with the overall cost going over 1.5 billion dollars.1 The Burj Khalifa was seen as excessive, wasteful and unsustainable, driving the push towards more sustainable and environmentally cautious design, while on the other hand inspiring other clients to ask for even bigger and better.2

1 http://www.burjkhalifa.ae/en/the-tower/construction.aspx 2 https://www.theguardian.com/culture/2010/jan/10/burj-khalifa-dubaiskyscraper-architecture 3 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg),

The sheer scale and cost of the project drives “design futuring”3 in the opposite direction it should be heading in. Although the advancement in the integration of engineering and architectural design is quite significant (with the design being organically inspired by the Hymenocallis flower) designers should be looking towards making advancements in the sustain-ability of buildings and the construction of structures that have low demand from the environment. For now, the Burj Khalifa stands both as a symbol of vanity and excessiveness (that quite hopefully forces architects to rethink design as a process), but also serves as a benchmark to be surpassed by even grander projects, with another skyscraper in the process of being constructed within Dubai, looking to exceed the height of the Burj Khalifa by another 100 metres.

PRECEDENT PROJECT 2: CCTV Headquarters

FIG 81.CCTV BUILDING. CONCEPTUALISATION PHOTOGRAPHER UNKNOWN (2012) < HTTP://GEORGEINTERIORDESIGN. BLOGSPOT.COM.AU/2010/08/TAKING-THINGS-OUTSIDE.HTML > [ACCESSED MARCH 2017]

The CCTV Building designed by Rem

The unique design of the building

Koolhaas and Ole Scheeren of OMA,

(which, along with other buildings

is a unique take on skyscraper design

constructed in the country’s

- essentially being two connected

construction boom) has prompted

towers, both leaning at an angle from

the president of China to address

top to bottom, forming a Mobius loop.

the “odd” shape of the structure and request an end to “weird

The building itself adds to another

architecture” in Chinese cities2.

striking piece to the Beijing skyline but is also another example of

The CCTV building exists today as

how architects and engineers are

another example of an advancement

pushing the boundaries with what

in architecture and engineering and

is possible with the built form. The

as a reminder (even though it may

building’s cantilevered section

not be welcomed by everyone) that

requires the entire structure to be

we as designers are encouraged

able to withstand a great amount

to think creatively, not only

of gravitational and other lateral

through aesthetic and structure

forces, which brought about the

but also on how can minimize

need for the utilization of an external

our impact on the environment

diagrid that distributes loads evenly across its surface. This also allows the building to withstand earthquakes up to a magnitude of 8.1

1http://www.popularmechanics.com/technology/infrastructure/g2237/ worlds-10-toughest-buildings/ 2 https://www.dezeen.com/2014/11/26/rem-koolhaas-defends-cctv-buildingbeijing-china-architecture/ CONCEPTUALISATION

Part A2: DESIGN COMPUTATION 10

CONCEPTUALISATION

â&#x20AC;&#x153;

hat, then, is the use of

computers for the process of design, which requires both rational and creative abilities, if they lack one of the two key ingredients needed to solve design problems?â&#x20AC;?

CONCEPTUALISATION

PRECEDENT PROJECT 3: Beijing National Aquatics Center

FIG 1.BEIJING NATIONAL AQUATICS CENTER. PHOTOGRAPHER UNKNOWN (2008) < HTTP://DDYDC3QIKYFLYWHEEL.NETDNA-SSL.COM/WP-CONTENT/UPLOADS/2016/08/CUBE.JPG > [ACCESSED MARCH 2017]

FIG 2.BEIJING NATIONAL AQUATICS CENTER WIREFRAME STRUCTURE. PTW (2008) < HTTP://WWW.E-ARCHITECT. CO.UK/IMAGES/JPGS/BEIJING/WATERCUBE_PTW051208_2.JPG > [ACCESSED MARCH 2017]

CONCEPTUALISATION

The Olympic Swimming Centre used

Computation solved the problem the

for the Olympics in Beijing in 2008,

architects had of finding another type of

showcases a simple cubic form from a

geometry that could uniformly fill three

distance but a closer look reveals unique

dimensional space other than a triangulated

individual geometries interconnected

frame. The use of computer software to

to form the façade of the structure.

simulate stresses and other forces on the structure was also necessary to determine

Computing is integral not only to the

the size of the structural members that

design process but also to its fabrication.

would support the building. Determining how

It allowed the architects to generate the

to shape each panel in order to connect to

various geometries and calculate how

each other and fill the cubic form as well

many panels are needed and how each

as creating a stable and structurally sound

one should be shaped so each one would

framework would have been an incredibly

connect seamlessly and cover the entire

difficult task without the aid of computation.

structure. With the help of CAD modelling, the architects were able to model and

The process of the Water cube’s design and

fabricate an accurate physical model

fabrication from start to finish is an example

that involved 22,000 structural elements

of the “growing capability” of the digital in

and 4000 unique cladding panels.1

architecture that the Oxmans talk about 2 , including the simulation software used to make the structural calculations as well as the generation of the complex geometries of the individual pieces of cladding.

1 http://architectureau.com/articles/practice-23/ 2 Oxman, Rivka and Robert Oxman, eds (2014). eories of the Digital in Architecture (London; New York: Routledge) CONCEPTUALISATION

PRECEDENT PROJECT 4: Heydar Aliyev Center

FIG 1.HEYDAR ALIYEV CENTER. HUFTON CROW. (2011) < HTTP://IMAGES.ADSTTC.COM/MEDIA/IMAGES/5285/2152/ E8E4/4E8E/7200/015F/LARGE_JPG/HAC_EXTERIOR_PHOTO_BY_HUFTON_CROW_(1).JPG?1384456417 > [ACCESSED MARCH 2017]

CONCEPTUALISATION

FIG 1.HEYDAR ALIYEV CENTER INTERIOR. HUFTON CROW. (2011) < HTTP://IMAGES.ADSTTC.COM/MEDIA/IMAGES/5285/246E/ E8E4/4E22/2500/0150/LARGE_JPG/HAC_INTERIOR_PHOTO_BY_HUFTON_CROW_(6).JPG?1384457244 > [ACCESSED MARCH 2017]

The complexity and sophistication that

The Heydar Aliyev center is another example

Zaha Hadid is renowned for is highlighted

of the complex “free-form geometries” that

in the architecture of the Heydar Aliyev

are made possible through computation

center and its free flowing aesthetic.

and the advancement in digital modelling.

With an emphasis on fluidity, the form

Certain changes are also brought about

of the structure acknowledges its

in design and construction processes,

surrounding landscape and attempts

with these more sophisticated forms

to create a unison between the land

requiring even more innovative structural

and the building itself, blurring the

solutions. The design itself was regarded as

differentiation between the two1.

“ambitious”, having a single homogenous

With this ideal in mind, it brought about a

surface for the entire structure and having

necessity to generate a smooth, flowing

it curve in multiple directions smoothly -

form that curved and undulated naturally,

this makes computation as a necessity as

rather than sharp, rigid edges. The building

achieving these requirements would require

itself appears as one continuous curving

precision possible only with computing.

surface, that is definitely fluid, but also incredibly complex in the way it is formed. Advanced computing was acknowledged as what enabled this form to be achieved, with the help of digital modelling to manipulate the curvature of the surface, as well as make the calculations for structural components. Complex curvatures are also present in the interior as well as particularly unusual structural components such as curved boot columns and dovetail tapered cantilever beams2. 1 http://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadid-architects 2 http://www.worldhealthdesign.com/Placemaker-Baku-to-the-future.aspx

CONCEPTUALISATION

Part A3: COMPOSITION/GENERATION

â&#x20AC;&#x153;

hen architects have a sufficient

understanding of algorithmic concepts, when we no longer need to discuss the digital as something different, then computation can become a true method of design for architecture.â&#x20AC;?

CONCEPTUALISATION

PRECEDENT PROJECT 5: Guggenheim Bilbao

CONCEPTUALISATION

The Guggenheim in Bilbao is one of

The sheer complexity of the Guggenheim

architectural projects with a more unique

exemplifies how computational design has

and notable progression from idea

enabled architects to become more bold

generation into the final result. Beginning

with how they approach the generation

from a mere sketch that consisted of

process as it becomes easy to translate

seemingly random lines with barely a

ideas into a digital form where it can be

hint of any comprehensible form.

changed and tuned to the architect’s liking. Utilizing parametric modelling through

The sketch was then turned into multiple

CATIA, the Guggenheim’s initial sketches

iterations in physical models and translated

and prototypes were turned into digital

into a formal set of drawings through the

surfaces that were controllable through

use of a digital design software called

control points and mathematical functions.2

CATIA, which digitized the points on the edges, surfaces and intersections of each model and allowed for it to be manipulated on screen. CATIA also calculated the structural specifications of the building and the number and orientation of all structural supports1.

1https://priceonomics.com/the-soware-behind-frank-gehrys-geometrically/ 2 http://www.archdaily.com/422470/ad-classics-the-guggenheim-museumbilbao-frank-gehry

CONCEPTUALISATION

PRECEDENT PROJECT 6: The Lotus Temple

CONCEPTUALISATION

The Lotus Temple’s form and composition

Much of the process for the project

takes direct inspiration from the lotus

is made quite simple through the use

flower, acknowledging religion as the

of parametric modelling programs by

main inspiration for the project. The

converting the complex forms into

structure consists of geometries that

simpler shapes and even translating these

imitate the form of leaves, repeated 9

forms into equations is now easily made

times to create the whole building.

possible through using simple algorithms (usually algorithms are used to create

To achieve its complex form, the shapes of

the shapes, rather than the opposite)2

the lotus leaves had to be simplified into easily definable geometrical shapes, broken

Although digital modelling significantly

up into simple spheres, cylinders, toroids

simplifies the process of creating the

and cones. Digital modelling serves as an

complex form of each “leaf”, it is still unable

integral part of the process by translating

to simplify it to a level that can easily be

these geometries into equations. The

translated into detailed drawings, taking

structural components then followed

designers over two and a half years to

using these equations for structural

produce. While the technology at this point

analysis and engineering drawings.1

has become sophisticated to enable us to design such geometries and structurally analyse them, it still has certain limitations.

1 http://www.bahaihouseofworship.in/architectural-blossoming 2 Peters, Brady. (2013) ‘Computation Works: e Building of Algorithmic ought’, Architectural Design, 83, 2,

CONCEPTUALISATION

Part A4: CONCLUSION Technology’s further integration into the design process has enabled us to explore further possibilities in the field of architecture. In addition to the complexity it allows us to achieve, it gives us a rare opportunity for a shift in design thinking - to design more efficiently. Digital design can help us configure designs in a way that we can create certain forms with even less components and therefore even less resources. This, combined with acknowledging the current wastefulness of our design and production methods, is more in line with Fry’s message of designing for the future. Examining more recent architectural projects reveals how ingrained the use of digital methods have become in the design process. Computation has allowed us to achieve more sophistication in building forms, coupled with a computer’s ability to perform complicated calculations and force simulations in order to structurally analyse the forms, streamlines the entire process of ideation, generation, and fabrication. Although it still has its limitations as demonstrated by the complexity of the certain visualisations that are produced (making it difficult to translate into a more understandable set of drawings for construction), technology’s role in design and its benefits remain significant. Design approaches should welcome digital modelling and make use of its full capabilities, while also inputting creative thought into the design, with one supplementing the other.

CONCEPTUALISATION

Part A5: LEARNING OUTCOMES I have seen architectural computing as a great opportunity to advance my design process and in turn help create more sophisticated results. My early experience with the use of parametric modelling through Grasshopper has made it possible for me to create more complex forms and geometries which would have been difficult or near impossible with the use of non-digital and even non-parametric means. Computing and digital modelling also allows for a smooth transition between each stage of the design process, and enables us to control and shift forms with more precision and control than ever before. Its extensive use within the architecture world today is evident and expected due to its convenience and how it allows for further advancement.

CONCEPTUALISATION

Part A6: APPENDIX

CONCEPTUALISATION

Bibliography

Archdaily. Guggenheim Museum Bilbao. (n.d) < http://www.archdaily.com/422470/ad-classicsthe-guggenheim-museum-bilbao-frank-gehry> [accessed 6 March 2017] Archdaily. Heydar Aliyev Center.(n.d.)< http://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadid-architects>[accessed 6 March, 2017] ArchitectureAU. Olympic Swimming Centre. (n.d) < http://architectureau.com/articles/practice-23/> [accessed 6 March 2017] Burj Khalifa Events Group. Burj Khalifa Construction.(n.d) < http://www.burjkhalifa.ae/en/ the-tower/construction.aspx> [accessed 6 March 2017} Dezeen. REM Koolhass Beijing Architecture (n.d.) < https://www.dezeen.com/2014/11/26/remkoolhaas-defends-cctv-building-beijing-china-architecture/> [accessed 6 March 2017]

Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10

Peters, Brady. (2013) ‘Computation Works: e Building of Algorithmic ought’, Architectural Design, 83, 2,

e Guardian. Burj Khalifa Wastefulness. (n.d) < https://www.theguardian.com/culture/2010/ jan/10/burj-khalifa-dubai-skyscraper-architecture> [accessed 6 March 2017]

CONCEPTUALISATION

PART

RESEARCH FIELD: GEOMETRY 28

CONCEPTUALISATION

The exploration of geometry is the basis of architectural design. Breaking down complex architecture into its rudimentary components reveals sets of points, extending into lines which then connect to form surfaces that create tangible solids. The unique forms we commonly see in modern architecture are developed through the composition of geometries and understanding how these basic components connect and interrelate is integral to design today.

GEOMETRY

Utilizing digital drawing and parametric design technologies, these interconnections and relations between

- the branch of mathematics

geometries become more apparent as

concerned with the properties

well as being easier to manage and gives

and relations of points, lines,

designers accessibility and more freedom

surfaces, solids, and higher

to be creative with the design process.

dimensional analogues.

Through the use of specific case studies I will attempt to demonstrate

- the shape and relative

how manipulating basic points,

arrangement of the

lines and surfaces can create

parts of something.

varying design outcomes.

CONCEPTUALISATION

The â&#x20AC;&#x153;gridshellâ&#x20AC;? sculpture is composed

To recreate the structure in a

of straight wooden members arranged

paramateric medium involves curve

and attached together along geodesic

manipulation and division and list

lines to creating a pattern that results

management, all of which are then

in its shell structure. The entire object

fed into arc components and geodesic

undulates and arcs smoothly and

curves. Creating the pattern relies

naturally, which is enabled by the innate

heavily on the process of dividing

flexibility of the wooden material.

the curve and manipulating the data

The wooden members intersect and

sets to shift by a certain amount

criss cross, and is attached together

to get each curve to intersect.

through nails/bolts at the intersections

CASE STUDY 01: SG2012 GRIDSHELL 30

CONCEPTUALISATION

ITERATIONS

CURVE DIVISION + LIST SHIFTING

Using the definition provided for the gridshell project, I manipulated inputs and algorithm components to produce different design iterations. The process involved curve division and variance in division

GEOMETRICAL CURVE MANIPULATION + CURV

numbers, moving onto more complex list manipulation followed by various curve and arc manipulation, making use of the geodesic modelling capabilities of grasshopper

CONCEPTUALISATION

FREEFORM CURVE MANIPULATION + CURVE DI

VISION

ON + LIST SHIFTING

CONCEPTUALISATION

SELECTION CRITERIA

MY OBJECTIVES - To achieve something unique and aesthetically pleasing - To push the boundaries of what is possible through parametric design, but still makes senes when viewed - Organic/natural appearance The priority in the design selection determining the uniqueness and the aesthetic properties of each iteration and how complex the design is or can become, while still being visually understandable

CONCEPTUALISATION

- High potential in regards to how it can be further developed or what it could become wen certain parameters are changed - Unique in its appearance and noticeable deviation from precedent project When manipulated, can create some more very unique forms

- A complex boundary pushing form that is almost on the edge of breaking the deďŹ nition and the shape itself. - Considerably deviates form previous precedent project, although a similar technique is utilized

- A more interesting take on the gridshell on its form and orientation -Its round openings are quite unique and more intriguing and can easily be further explored - Aesthetically pleasant, disregarding that is a straightforward easy form to create through the deďŹ nition

CONCEPTUALISATION

CURVE

Examining the Canton Towerâ&#x20AC;&#x2122;s hyperboloid outer structure/exoskeleton reveals similarities with the first case study, the SG2012 Gridshell and the patterns produced through the connections and intersections of its linear structural members.

CONCEPTUALISATION

I took two po

reverse engin - curve divisi

of curves/arc

geodesic form

- creating a l

a panel grid t

CASE STUDY 2.0 - CANTON TOWER

LOFT

CURVE DIVISION + GEODESIC

SURFACE DOMAIN NUMBER

PANEL 2D

tial routes towards

ing the tower

eading into creation

nd feeding into

omponent

d surface and utilizing

eate the pattern CURVE MANIPULATION

CONCEPTUALISATION

LOFTING + MANUAL ROTATION + GRID MANIPULATION + PANEL 2D

FREEFORM LOFTING + CURVE MANIPULATION + PANEL 2D

TRIANGULAR LOFTING + CURVE MANIPULATION + ATTRACTOR POINT MANIPULATION + PANEL

LOFTING + CURVE MANIPULATION + GRID/ATTRACTOR POINT MANIPULATION + PANEL 2D/3D 38

CONCEPTUALISATION

ITERATIONS 2.0

FREEFORM LOFTING + CURVE MANIPULATION + PANEL 2D

TRIANGULAR LOFTING + CURVE MANIPULATION + ATTRACTOR POINT MANIPULATION + PANEL 2D/3D

CONCEPTUALISATION

LOFTING + SURFACE REBUILD + GRID/ATTRACTOR POINT MANIPULATION + PANEL 2D/3D

LOFTING + SURFACE TRIM + SURFACE REBUILD + GRID/ATTRACTOR POINT MANIPULATION + PA

CONCEPTUALISATION

2D/3D

CONCEPTUALISATION

SELECTION CRITERIA 2.0 - Naturality/Organicness - Developability - Aesthetic appeal - Design ďŹ&#x201A;exibility and malleability The ďŹ rst criteria had to be changed, after taking into consideration the site context and what is required in the brief. I have put a stronger emphasis on the organic appearance of the model, followed closely by developability and design aesthetic.

- This structure is visually striking and quite unique, through utilizing panelling tools - It appears to be curving naturally and organically, while also being easily manipulated to change form, height, etc., - Gridshell pattern allows for rooftops and rooftop structures quite easily, while also being malleable enough to be changed into another function completely

CONCEPTUALISATION

Seemingly similar organic curvature and natural appearing form

- Similar to both other iterations, but pushes foundaries further through the orientation of the surface and its slopes and curves - Seemingly random but natural and smooth curvature - Can also function as a rigid roof structure with a more visually exciting shape

CONCEPTUALISATION

TECHNIQUE DEVELOPMENT The priority during the design iteration

I develop this idea further by using

phase was to create a unique appearance different patterns and geometries, varying that used the similar techniques as

extrusion lengths, manipulating the shape

the precedent case study, but looks

of the grid through the use of attractor

nothing like it. I was very intrigued

points and changing grid density.

by the idea of the structures and the patterns produced through panelling

After taking the brief into consideration, I

and extrusion, more specifically the

explore the idea of using these fragments

â&#x20AC;&#x153;fragmentedâ&#x20AC;? panelled surfaces that

and attempting to piece them together

appear at the end of the iteration phase. in order to create a stable roof structure. I do this through attempting to fill the gaps with another type of grid panelled surface, which can provide an interesting contrast while also a chance to simulate a symbiosis between two materials.

CONCEPTUALISATION

PROTOTYPING

CONCEPTUALISATION

Focus during the prototyping phase was being able to visualise how individuals would connect and what type of forms they would create, attempting to emulate panelling through physical means. My final proposed material was timber, and I chose simple boxboard in order to quickly prototype the final design. Using strips of the box board and gluing them together to form a loop is an attempt to emulate the appearance of a hollow log, meant to be lightweight and versatile. From the prototyping phase I was able to succesfully create a miniature panelling pattern and can easily manipulate the shape of it through cutting different widths and lengths of material. Gluing each piece of rounded boxboard together at different heights together will help create a gridshell structure that can undulate and create different types of spaces. I realize through this process that the form can easily be adapted to reach the ground from the roof in order to either form a support structure or seating

CONCEPTUALISATION

My proposal for the final outcome is a roof

There are further aspects that can be

structure, situated above the courtyard,

explored with the technique, such as

consisting of a combination of two

extending the wooden sections to reach

materials, wood and metal. The wooden

the ground and potentially be carved

part of the structure is to be arranged in a

into to provide scattered seating.

grid pattern with panelling effects and will undualte and curve naturally, producing

My main objective with the design

a unique aesthetic. In contrast, the metal

is for the roof structure to provide a

will occur between the sections of wooden

performance stage (for any artist that

panels and will be rigid and geometric.

may require it) and have a stage, floatin

above the audience, exploring new ways

TECHNIQUE PROPOSAL 48

CONCEPTUALISATION

on how people view live performances.

PLAN - SCALE 1:250 @ A3

CONCEPTUALISATION

LEARNING OUTCOMES The geometry research field allowed me to essentially go back to the basics, start from simple points and lines and gradually progress into creating complex patterns and forms at a pace that was comfortable. With the prominence of digital drawing and parametric design, it is easy for todayâ&#x20AC;&#x2122;s architects to simply bypass the fundamentals and instead focus on seeking the most efficient way to create new and unique aesthetics.

Although it does have this pitfall, utilizing Rhino in conjunction with Grasshopper has allowed me to appreciate

and understand how critical each point and line is and how integral it is to be able to visualize and understand how the connections between each simple component can lead to extraordinary design outcomes.

Digital and parametric modelling has streamlined my design process as I have learned through the design iterations phase of the project - grasshopperâ&#x20AC;&#x2122;s capability of previewing the outcome in real time as minute details in the model is changed has enabled me to produce multiple unique iterations that have been integral to the final technique proposal.

Although I have yet to develop a good understanding of analytic diagramming through digital means, I was able to utilise parametric modelling to further explore a variety of different options regarding my design - I have chosen to design a roof structure, but with the outcomes I can achieve using grasshopper, I can easily adapt the design in other ways, making it into a series of seating platforms on the ground or attachments along the walls, etc. I also further appreciate the capabilities of parametric modelling, and the way it streamlines tasks such as panelling and creating gridshell patterns to suit my idea, which would have taken a much longer time if it were drawn manually.

Being able to visualise my project as a three dimensional computer model as well as experimenting with physical prototypes allowed me to understand and create a connection between the digital and the physical and made me consider certain issues I will have during actual physical construction processes that I simply bypass and ignore during digital modelling such as issues with planarity and developable surfaces, and the prototyping stage, even though it was short for myself, was very vital to understanding how I would be able to construct and connect the structure of my design. 50

CONCEPTUALISATION

APPENDIX: SKETCHBOOK CONCEPTUALISATION

DETAILED DESIGN

PART 52

CONCEPTUALISATION

Feedback from the interim presentation:

Visualise the design as a physical construct and consider how the structure is going to be connected. Do not be confined to a straightforward design proposal, and explore other design options than creating a roof structure. Further explore panelling and gridshell structures

Part C1: THE CONCEPT Our concept took inspiration from a literal translation of our brief, “Host + Growth”. We experimented with the scenario of a parasitic growth, sprouting from the tree and eventually spreading throughout the courtyard, multiplying itself like a cell, growing in size as it attaches itself to the surrounding buildings. The idea was of “nature fighting back” and taking back the site.

Through parametric modelling, we manipulate this idea into a gridshell, creating an undulating structure with multiple uses, making a roof, seating area and stage.

CONCEPTUALISATION

EVOLUTION/GROWTH

CONCEPTUALISATION

OUR DESIGN: “THE OVERGROWTH”

CONCEPTUALISATION

THE TECHNIQUE Our technique explored an alternative to

Shown in the diagram on the right, our technique

panelling to create a gridshell structure,

begins with a singular surface that we can

utilizing Voronoi + Nurbs Curves to

shape and manipulate, and this surface is

randomly generate the geometries,

populated with points with which the Voronoi

and achieve an organic, more natural

is applied to, and the curves produced from

aesthetic, which is central to our concept.

the process is divided into a list of points that are used to generate nurbs curves

CONCEPTUALISATION

SIMPLE SURFACE/GEOMETRY

POPULATE GEOMETRY

VORONOI 3D

BREP | BREP

EXPLODE

NURBS CURVES

DELETE ORIGINAL MESH

EXTRUDE CURVE CONCEPTUALISATION

The proposed construction technique, is a

In the drawing is an example of a cell capped

fairly simple process of cutting and sawing

with a patch of grass, constructed through

wood and attaching each piece together

attaching a timber panel inside the cell shell

through the use of nails and screws.

through nails, then pouring a bed of soil and allowing the grass to naturally grow. A hole is

In this instance, we are taking advantage

bored within the panel for a drainage pipe.

of the design’s modularity and focusing on a singular piece of the structure or a

The overall structure will be built by attaching

“cell”. Using Rhino, the digital model itself

each wooden cell to each other through

is constructed as how I idealized it to be

industrial grade screws or nuts and bolts.

physically made, which is through dividing the cell in separate components: an outer shell, infill panel and thin malleable piece of plywood to form an enclosed curve.

The idea was to use natural materials only, in accordance to our concept of nature fighting back. Each cell in the structure can be different, capped with different materials, such as grass , glass or timber. The shell of each cell is to be made of timber as well.

ENVISAGED CONSTRUCTION PROCESS 60

CONCEPTUALISATION

BASIC/HOLLOW

GRASS

GLASS

TIMBER CAPPED

CONCEPTUALISATION

Part C2: PROTOTYPES The core construction elements of our design are the individual modules or “Cells” that constitute the entire structure. We explored how to construct each cell with our proposed material, timber, by first experimenting with different connection methods with and without adhesive. We aimed to emulate the construction process of using timber through using smaller materials first such as boxboard and card. With the boxboard we explored several ways to attach them together without the use of glue or nails by looking at different types of tabs and how they can attach to each other to form closed loops. Cutting out notches also seemed to be effective methods but ultimately the boxboard project turned out to be very untidy and caused very visible creases when attempting to curve and bend the material manually. A tidier process was to use a knife to scour the bending edges of the boxboard, but the material was too thin and we had to choose a thicker, more rigid material. After testing with boxboard, we tried using a thicker card material to create the closed geometries. It was more rigid and harder to bend, but emulated how it was to use timber as a material. We resorted to cutting individual strips of card and attaching them together with adhesive, in an attempt to emulate “unwrapping” a closed surface on Rhino. We succeeded in creating the closed geometries and then explored how each cell was to be connected to each other. In a large scale with timber, we would be using industrial grade screws and bolts, but on a small scale we used paper fastener pins, and used this to figure out where to make connection points and how many was needed to be used to create a rigid connection. When we achieved this, we used a wallpaper type material to apply a wooden finish on each cell.

CONCEPTUALISATION

FINAL PROTOTYPE

CONCEPTUALISATION

Part C3: FINAL CONCEPTUALISATION

FEEDBACK & REFINEMENT

Feedback from the tutors pointed out a lot of improvements

The prototype was la

that needed to be made regarding the design.

for us it provided mu

how each cell would They emphasized heavily on the scale of the whole

the general idea of h

structure, and how it seemed unrealistic to construct

achieved if it were to

due to its size and the weight each cell would have.

CONCEPTUALISATION

ng in areas of quality, but

For the final outcome we implemented this feedback

needed insight in terms of

and altered the scale of the structure and each cell

physically connected and

to be more physically possible to construct as well

these connections would be

as created a differentiation in sizes, simulating the

constructed in a larger scale.

effect of each cell growing bigger as it latches onto buildings, further away from the tree, its origin point.

CONCEPTUALISATION

SITE PLAN 1:300 @ A3 70

CONCEPTUALISATION

Each cell was made significantly smaller and brought down to a more realistic scale. The sizes of the cells gradually increase as it moves away from the tree and latches onto the courtyard buildings. The structure undulates, peaks and troughs through the courtyard, hanging over roofs, penetrating building walls and swoops down to the ground to create enclosures and varieties of different spaces The model was drawn, keeping in mind the importance of scale and ensuring that each cell were withing realistic measurements.

CONCEPTUALISATION

FINAL MODEL

Improving on material quality from initial prototypes, the intended material for the design, timber, was used for the final model, and consisted of sawing individual pieces of timber at different angles to create points of attachment to form the closed â&#x20AC;&#x153;cellâ&#x20AC;?. With the feedback in mind, we constructed cells of differing sizes to show the progression of scale in our design. Also dealing with a much more realistic construction process, using timber, the weight of each cell is critical to construction as we were required to use a larger number of connection points, and instead made sure to connect each piece of timber together through nails and metal joints. 80

CONCEPTUALISATION

The corners w with and attem attach them t the timber, an connection ne of nails, a hot corners that c which was a s connection, ce

very difficult to deal ng to use nails to her led to splitting of alternative process of d to be used. Instead gun was used for not be nailed together, icantly weaker nly not as rigid.

CONCEPTUALISATION

LEARNING OBJECTIVES The feedback from the final presentations was very eye-opening and made me realize quite significant mistakes that I could not see during the design process. Being focused and carried away with creating these unique structures with grasshopper caused me to be detached from the realistic side of the process and then proceeded to neglect scale and how the structure would be constructed and â&#x20AC;&#x153;exist in Airâ&#x20AC;?, which was the main aim of the subject. I found that it was very easy to get carried away by all the outcomes possible through this way of drawing and modelling. I attempted to rectify these mistakes through consideration of each cell size, measuring them and downsizing them to a more appropriate, more buildable size (and therefore weight). Another problem with the scale of the design was how uniform the sizes were, and how every cell was generally around the same length and width. This was due to my limitations (at the time) to operate grasshopper in a more elaborate way than just plugging in a surface and using Voronoi to generate shapes. Translating digital design outcomes into a physical structure still remains a challenge for myself, but further exploration of more advanced grasshopper components such as Kangaroo and Ladybug can certainly help in establishing a more realistic physical scenario in order to further inform my designs and progress towards creating more easily buildable objects. It is sometimes hard to remember that the role that computation plays in the design process is a supportive one. It is to be treated as a supplement to the creativity of the designer, to help them experiment and explore outcomes or create shapes that would have taken a large amount of time or be nearly impossible to do manually. With myself being set on a certain idea for the final design, I was unable to utilize parametric design as an exploratory tool but rather used it to focus on making the changes and variations I needed to make based on the feedback I was given on previous iterations of the final design. I certainly have developed an understanding of the capabilities of parametric design as well as an adequate skillset to create interesting outcomes that I would not have been able to do before, but I remain limited in my knowledge of how I can produce more unique designs through complex algorithms and commands. For me there is still a substantial amount to learn in regard to grasshopper and what it can do.

CONCEPTUALISATION