Verity Wells (639767) Journal, Studio Air, 2017 by VerityWells

STUDIO AIR VERITY WELLS 2

Architecture Design Studio: Air Student: Verity Wells 2017 Tutorial Group: 2 Tutor: Matthew McDonnell

TABLE OF CONTENTS 4

VERITY WELLS

PART A: CONCEPTUALISATION

A.1.: DESIGN FUTURING

A.2.: DIGITAL COMPUTATION

A.3.: COMPOSITION / GENERATION

A.4.: CONCLUSION

A.5.: LEARNING OUTCOMES

REFERENCE LIST - A

A.6.: APPENDIX

PART B: CRITERIA DESIGN

B.1.: RESEARCH FIELD: PATTERNING

B.2.: CASE STUDY B1.0

B.3.: CASE STUDY B2.0

B.4.: TECHNIQUE: DEVELOPMENT

B.5.: TECHNIQUE: PROTOTYPES

B.6.: TECHNIQUE: PROPOSAL

B.7.: LEARNING OBJECTIVES AND OUTCOMES

B.8.: APPENDIX - ALGORITHMIC SKETCHBOOK

REFERENCE LIST - B

PART C: DETAILED DESIGN

C.1.: DESIGN CONCEPT

C.2.: TECTONIC ELEMENTS AND PROTOTYPES

102

C.3.: FINAL DETAIL MODEL

110

C.4.: LEARNING OBJECTIVES AND OUTCOMES

112

REFERENCE LIST - C

Verity Wells

I came to the Bachelor of Environments (Architecture) Degree at the University of Melbourne following studies in other disciplines and locations.

I have previously studied visual/fine art, furniture design, performance (theatre and film), and once (briefly) commerce, in Perth, Dijon, Paris, Sydney and Melbourne.

I have had little experience with digital architecture, and with digital tools in the past - a little Photoshop/Illustrator, SolidWorks, and Rhino - so am looking forward to a fast + embarrassing + steep learning curve this semester.

(Opposite: samples of previous work)

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CONCEPTUALISATION CONCEPTUALISATION 7

A.1.: DESIGN FUTURING Precedent A.1.1: Yona Friedman, Ville Spatiale, 1958 -

Ville Spatiale is an un-built project by Yona Friedman, worked on and revisited continuously from 1958. Somewhere between a grand city plan and a methodology for implementing mass housing, Friedman’s idea is to increase the volume of the built environment without increasing the amount of land used, attempting a theoretical-pragmatic approach to futuring1, providing for an increasing population without, ideally, compromising non-urban spaces trying to approach, as Tony Fry terms it, “... the ‘development of the Sustainment’.” 2. Friedman argues for the use of local/close-tosite materials, and freedom of the end user in choosing and structuring their own space, and even (as in Fig.1, below) to fold in agricultural production, but perhaps with a Modernistlegacy community circulation spaces.

Fig.1: Ville Spatiale

Utopian grand schemes, master-plans by architects, and megastructures existed prior to this project, but the duration of time that it has been re-visited and re-worked with new input is unique. The pre- or proto- computation (eg, Fig.3) methodology, involving sketching, photo-montage, collage and some sketch models, is important in considering the foundations of this unit ‘Studio Air’, and the generative tools and thinking we will engage. As an unrealised (paper architecture) project of such a long duration, it exists as an idea and is re-worked and re-represented in variations that range between pure concept and more concrete and measured programming (for example, FIG3). The idea never becoming realised allows it to exist as a concept, to allow the sparking of concepts for works that can be realised. I would argue that Friedman’s un-built works permeated that ongoing concept of mass increases in built environment, questions of how to design for increasing populations, for unpredictable futures - or, Friedman’s term ‘mobile architecture’ 3. Ville Spatiale can certainly be recognised in other, some more extreme, paper architectures like Archigram’s Plug-In City. elements of the project echo through future works, for instance the incorporation of so much infrastructure.

YONA FRIEDMAN AND MANUEL ORAZI, YONA FRIEDMAN: THE DILUTION OF ARCHITECTURE, ED. BY NADER SERAJ (ZURICH: PARK BOOKS, EDITIONS ARCHIZOOM, 2015), P.48. 2 TONY FRY, DESIGN FUTURING: SUSTAINABILITY, ETHICS AND NEW PRACTICE (OXFORD; NEW YORK, NY: BERG, 2009), P. 10. 3 YONA FRIEDMAN AND MANUEL ORAZI, 2015, P.48 1

CONCEPTUALISATION

Fig.3: Ville Spatiale Perspective 3rd Phase, 1960-65

CONCEPTUALISATION

PRECEDENT A.2.2: ELEMENTAL (Alejandro Aravena, Alfonso Montero, Tomás Cortese, Emilio de la Cerda), Quinta Monroy / ELEMENTAL, 2003. At Quinta Monroy, ‘half’ a dwelling is provided, as in FIG.7, uniform with the others in the project upon construction. Space is allowed for the resident to construct further space as need, as a family grows for example - and at their own expense 4. Like Ville Spatiale, the point of departure for this project is mass construction (including prefabricated units) with the allowance for personal choices and individual endeavours. As stated in an interview for the journal Perspecta, “Elemental is more about method than object, thinking of architecture as an ongoing experience rather than as a solitary product of the mind.”5. The inhabitants were provided for, with a focus on important factors like weather detailing suitable to the region, that allow an ongoing quality of life and prevent damage to the building e.g. mould, that would undercut the building’s lifespan. The allowance of flexibility and space to transform, which culturally was an existing practice by individuals prior to the project7, provided as much of a fitting and suitable blank template as is possible to install (semi-)completed in a place.

Sold Pedro Prado, Iquique, Tarapacá, Chile.

The inclusion of the social context7 - respect to habitation patterns of inhabitants of these dwellings - and providing for their own building agency within allowed parameters is interesting. In documentation photographs in the years following completion, it seems to have been embraced by the residents. A realised project, it approached mass social housing, on a low budget, to formally and legally house people who had illegally lived in this region for decades. The project has been recognised with prizes, and the model of the half-dwelling has been used in following projects by Elemental. It being completed, and delivered by a for-profit company ’Elemental’, in partnership with other companies, is interesting as housing for people of lower privileges/lessindustrialised countries because usually nongovernment organisations, aid organisations and potentially significant government oversight would be expected in such a project.

This combination of large mass production and small/local personalisation may offer a compromise or example in the ongoing debates regarding bespoke vs mass production, and which is more sustainable6 - if there can be a single/uniform answer to the ‘futuring’ problem, of allowing for the future to continue.

Matthew Roman and Tal Schori, ‘Perspecta 42: The Real Perspecta’ (Cambridge, Massachusets: The Yale School of Architecture, 2010), p. 85. MatThew Roman and Tal Schori, 2010, p. 87. 6 Ian Abley, ‘Things Will Endure Less Than Us’, Architectural Design, 76 (2006) <http://dx.doi.org/10.1002/ad.195>. 7 Tony Fry, 2009, p. 8. 4

CONCEPTUALISATION

CLOCKWISE FROM TOP LEFT: Fig.3: Quinta Monroy courtyard Fig.4: Interior as built with two occupantâ&#x20AC;&#x2122;s variations on their homes Fig.5: Spatial Schematic diagram concept Fig.6: Photograph of recently-completed units from internal courtyard.

CONCEPTUALISATION 11

A.2.: DIGITAL COMPUTATION PRECEDENT A2.1: Zaha Hadid Architects, King Abdullah Petroleum Studies Centre, 2009 The King Abdullah Petroleum Studies Centre, commenced in 2009, has used digital computation to facilitate a complex that is, at least in theory, capable of adapting to changes in internal (user) and external (environment/ contextual) requirements, by virtue of modular/ cellular forms8, as can be seen in Fig.7. The visual appearance of these forms is obviously computer-generated; their modular nature and repeated-unit-with-slight-changes (on such a large scale) are markers of parametric design9. Without computation and digital fabrication, these kinds of cellular, non-orthogonal forms are possible - vernacular architecture and outsider (/art-brut) made dwellings, as well as shelters and hives made by animals offer many examples - perhaps, though, it is accurate to say that high performance (and highbudget) buildings require digitally computed forms, angles, and controlled fabrication of elements to be constructed and safely used.

8 9

HADID, Z., & FUTAGAWA, Y. (2010). ZAHA HADIDâ&#x20AC;Ż: RECENT PROJECT. A.D.A. EDITA. RIVKA OXMAN AND ROBERT OXMAN (EDS) (2014), P. 7

CONCEPTUALISATION

As this centre is not yet complete, the actual performance of the structure - the energy consumption required to achieve a comfortable internal environment; whether or not the designed intention for additions to the structure to be so organic become a reality if in the future the centre does need to grow; even the behaviour in reality of light through the Islamic-art/jala-screen-inspired cuttings through the surface of interior ceilings (in render in Fig.8) - cannot be measured. Visually, the engagement of these digital possibilities at the design stage is evident, though.

Fig.7 (ABOVE) Model of complex photographed from above. Fig.8 (BELOW) Render of internal space within the complex.

CONCEPTUALISATION 13

PRECEDENT A.2.2.: Karola Dierichs, Aggregate Architectures, Institute for Computational Design (ICD), University of Stuttgart, Stuttgart, 2011 Aggregate Architectures was coursework researching a process of developing architectural form in a completely digital/ computational-to-robot process. Starting from the point of ‘one granule’, sand, the forms were modelled, interrogated, re-modelled, to find a sort of unit that could be stacked/ heaped, and could re-assemble if upset from the pile of similar/identical forms, like a body of sand or snow10, as in Fig.10, opposite. As a research project engaging digital processes, there is no dwelling or building or consumable object at the end, but in a chapter citing the project in “Robotic Fabrication in Architecture, Art, and Design”, the authors identify that further investigation of their method could result in “the possibility of fully recyclable structures...” 11. Once fabricated they were also studied for performance - for the way their mass stores heat, and how the structure the units form (as in Fig.9, right). This project, I feel, highlights both the possibilities of digital designs as far as form-generation, material exploration, and environmental performance, as well as the limitations - as far as we have learned and studied, many of the aims and theories of digital design are not yet completely feasible or possible to implement outside of research pavilions, theoretical projects, and material tests.

Karola Dierichs and Achim Menges, ‘Aggregate Structures: Material and Machine Computation of Designed Granular Substances’, Architectural Design, 82 (2012), 74–81 <http://dx.doi.org/10.1002/ad.1382>.p. 10 11 Karola Dierichs, Tobias Schwinn and Achim Menges, ‘Robotic Pouring of Aggregate Structures’, in Rob | Arch 2012; Robotic Fabrication in Architecture, Art, and Design, ed. by Sigrid Brell-Çokcan and Johannes Braumann (Vienna: Springer Vienna, 2013), pp. 201 10

CONCEPTUALISATION

Fig.9 (OPPOSITE) installation view of large-scale of individual aggregates Fig.10 (ABOVE) Tested morphologies of particle aggregates

CONCEPTUALISATION 15

A.3.: GENERATION/ PRECEDENT A.3.1: Frei Otto and Gunther Behnisch, Munich Olympic Stadium, 1972. Munich, Germany. The Munich Olympic Stadium form is derived from the kind of proto-parametric formfinding Otto (and Behnisch) explored in other works and experiments, in materials like sand, soap bubbles, and plaster-fabric 12. These processes can now be recreated digitally, in battery components using anchor points, applying stress, approximating wind forces. Mark Burry compares the work of Gaudi and Otto against Patrik Schumacher’s 2008 manifesto-like “Parametricism” announcement, arguing that work created pre- or withoutthe computer is still a parametric design – Parametricism as a way of thinking13. The stadium was tested using equipment like suspended dial gauges, with photogrammatery on scale models, and both built on previous studies and contributed to later designs14. The approach in thought is what divides generative design (in - out) from compositional design (out - in), leading to form finding as opposed to arranging forms.

Frei Otto and Bodo Rasch, Form Finding: Towards an Architecture of the Minimal (Stuttgart, Germany: Werkbund Bayern; Axel Menges, 1995). p44 13 Mark Burry, ‘Antoni Gaudí and Frei Otto: Essential Precursors to the Parametricism Manifesto’, Architectural Design, 86 (2016), 30–35 <http://dx.doi.org/10.1002/ad.2021>. 12

CONCEPTUALISATION

CLOCKWISE FROM ABOVE: Fig.11 - Aerial Photograph; Fig.12 - Elevation; Fig.13 - Detail.

CONCEPTUALISATION 17

A.3.: /COMPOSITION PRECEDENT A.3.2: OMA, Seattle Central Library, 1994 - 2004. Seattle, U.S.A. The programming and later form of OMAs Seattle Central Library was created by a process of gathering and rearranging data , and re-composing the form from this - as the firm explains:

“Our first operation was to “comb” and consolidate the library’s apparently ungovernable proliferation of programs and media. We identified five “stable” programmatic clusters (parking, staff, meeting, Book Spiral, HQ) and arranged them on overlapping platforms, and four “unstable” clusters (kids, living room, Mixing Chamber, reading room) to occupy interstitial zones.” 16

The form of the building itself is not similar to a symmetrical neoclassical building, or a complex repeating geometry-driven baroque structure. However, because it is composed from a concept of deliberate analysis and reorganisation17, a fixed point, not in response to dynamic/changing parameters - because of this, I place it on the side of composition.

‘Seattle Central Library’ <http://oma.eu/projects/seattle-central-library> [accessed 9 April 2017] OMA AMO Rem Koolhaas 1996-2007 [II] : Teoría Y Práctica = Theory and Practice, ed. by Fernando Márquez Cecilia and Richard Levene (El Croquis, 2007). 16 17

CONCEPTUALISATION

Fig.14 (ABOVE): schematic composition - Seattle Public Library

CONCEPTUALISATION 19

A.4.: CONCLUSION

During Part A, the ‘conceptualisation’ stage, the development of Digital Computation in architecture, as well as sub-genres within it (in theory and in practice) have been explored. Additionally, alongside the promises of computation, the failures/restrictions have been touched on. There are human limitations in the ability to fully control digital design to achieve expression as easily as with analogue methods, there are limitations to application so that many parametric designs have been limited to paper architectures and research pavilions, as well as limitations to the accuracy of predictive modelling e.g. weather. Overall, there is an incredible pluralism in the engagement with and use of the digital in architectural practice. There is no clear line of design evolution over time from ‘computerisation’ to ‘digital morphogenesis’. It does seem that the technology available – programs, robotic/ digital production, the computers themselves – continues to grow and develop, with new things emerging, as fast as they can be thought of.

CONCEPTUALISATION

A.5.: LEARNING OUTCOMES

At this juncture, my knowledge of the possibilities and restrictions of digital design has grown significantly. I understand that there are many sub-disciplines/areas/specialisations within digital design that have developed as the greater field of digital design grows. I have a better understanding of the ultimate goal for this unit; of being able to treat Rhino/ Grasshopper as a kind of external designbrain, and to think of it less as a tool to document a preconceived idea/design and more as a way to generate design outcomes.

I think itâ&#x20AC;&#x2122;s also important at this point to not feel bad about working back into a digital design by thinking about it with physical sketches or sketch models, when I do reach the boundaries of my digital/ modelling abilities, if it helps to understand what I want, for example, GraSshopper to do with the element being modelled.

I believe I will be able to develop a greater understanding of my own weaknesses and target the building of skills to gain greater control. There are a number past sculptural works that would have greatly benefited from the ability to generate such a variety of different forms from the same concept, and then analyse and select from the resulting outputs. I think being able to generate, with control, variations in forms would have contributed to a more informed final outcome in previous architecture design studio projects.

CONCEPTUALISATION 21

REFERENCE LIST - PART A/Conceptualisation TEXTS: Abley, Ian, ‘Things Will Endure Less Than Us’, Architectural Design, 76 (2006) <http://dx.doi.org/10.1002/ad.195> Burry, Mark, ‘Antoni Gaudí and Frei Otto: Essential Precursors to the Parametricism Manifesto’, Architectural Design, 86 (2016), 30–35 <http://dx.doi.org/10.1002/ad.2021> Cecilia, Fernando Márquez, and Richard Levene, eds., OMA AMO Rem Koolhaas 19962007 [II] : Teoría Y Práctica = Theory and Practice (El Croquis, 2007) Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12 Dierichs, Karola, and Achim Menges, ‘Aggregate Structures: Material and Machine Computation of Designed Granular Substances’, Architectural Design, 82 (2012), 74–81 <http://dx.doi.org/10.1002/ad.1382> Dierichs, Karola, Tobias Schwinn, and Achim Menges, ‘Robotic Pouring of Aggregate Structures’, in Rob | Arch 2012; Robotic Fabrication in Architecture, Art, and Design, ed. by Sigrid Brell-Çokcan and Johannes Braumann (Vienna: Springer Vienna, 2013), pp. 196–205 <http://dx.doi.org/10.1007/978-3-7091-1465-0> Fraser, Murray, ‘The Future Is Unwritten: Global Culture, Identity and Economy’, Architectural Design, 82 (2012) <http://dx.doi.org/10.1002/ad.1495> Friedman, Yona, Yona Friedman/ Pro Domo (Barcelona: Actar, 2006) Friedman, Yona, and Manuel Orazi, Yona Friedman: The Dilution of Architecture, ed. by Nader Seraj (Zurich: Park Books, Editions Archizoom, 2015) Fry, Tony, Design Futuring: Sustainability, Ethics and New Practice (Oxford; New York, NY: Berg, 2009) Hadid, Zaha, and Yukio. Futagawa, Zaha Hadid : Recent Project (A.D.A. Edita, 2010) Otto, Frei, and Bodo Rasch, Form Finding: Towards an Architecture of the Minimal (Stuttgart, Germany: Werkbund Bayern; Axel Menges, 1995) 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: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 Roman, Matthew, and Tal Schori, ‘Perspecta 42: The Real Perspecta’ (Cambridge, Massachusets: The Yale School of Architecture, 2010), pp. 85–89 ‘Seattle Central Library’ <http://oma.eu/projects/seattle-central-library> [accessed 9 April 2017]

CONCEPTUALISATION

IMAGES: (Fig.1) Friedman, Yona, Study to incorporate agricultural uses within the urban Ville Spatiale: density and access of natural light., 1957 < http://www.yonafriedman.nl/?page_id=400&wppaalbum=133&wppa-occur=1&wppa-photo=1271> [Accessed 6 March 2017] (Fig.2) Friedman, Yona, Ville Spatiale, Perspective 3rd Phase, 1960-65, Friedman, Yona, and Manuel Orazi, Yona Friedman: The Dilution of Architecture, ed. by Nader Seraj (Zurich: Park Books, Editions Archizoom, 2015) p.56 (Fig.3-6) Untitled documentation photographs Cristobal Palma / Estudio Palma Courtesy of ELEMENTAL and Tadeuz Jalocha, Quinta Monroy / ELEMENTAL <http://www. archdaily.com/10775/quinta-monroy-elemental> [Accessed 6 March 2017] (Fig.7) Zaha Hadid Architects, Render, 2009 <http://www.zaha-hadid.com/architecture/ king-abdullah-petroleum-studies-and-research-centre/> [Accessed 16 March 2017] (Fig.8) Zaha Hadid Architects, Model Photography, 2009 <http://www.zaha-hadid.com/architecture/ king-abdullah-petroleum-studies-and-research-centre/> [Accessed 16 March 2017] (Fig.9) Dierichs, Karola, and Achim Menges, ‘Aggregate Structures: Material and Machine Computation of Designed Granular Substances’, Architectural Design, 82 (2012), 74–81 <http://dx.doi.org/10.1002/ad.1382> p. 78 (Fig.10) Dierichs, Karola, ‘Aggregate Structure, Stuttgart, 2014 - Institute for Computational Design’ <http://www.archilovers.com/projects/135599/aggregate-structure.html> [accessed 3 June 2017] (Fig.11-13) Otto, Frei and Gunther Behnisch <http://www.archdaily.com/109136/ad-classicsmunich-olympic-stadium-frei-otto-gunther-behnisch> [Accessed 28 March 2017] (Fig.14) (OMA Research and Innovation Parametrics Cell), Ottchen, Cynthia, ‘The Future of Information Modelling and the End of Theory: Less Is Limited, More Is Different’, Architectural Design, 79 (2009), 22–27 <http://dx.doi.org/10.1002/ad.845> p.26.

CONCEPTUALISATION 23

A.6.: APPENDIX

RIGHT: Loft from Week 1. I have included this as it was entertaining to loft, play with Rhino and Grasshopper, to play with materials, to remember Photoshop.

BELOW AND OPPOSITE: From Week 3, and trying to push my abilities in this software further than they were able to go. I think between the submission of Part A and next week, I will revisit some basic videos to improve my foundation knowledge (and get fewer error messages).

CONCEPTUALISATION

CRITERIA DESIGN

CRITERIA DESIGN CRITERIA DESIGN

B.1.: RESEARCH FIELD: PATTERNING

I would immediately associate ‘Patterning’ with ornamentation, and a derogatory Loosian interpretation of that word - featuring the architect(or designer) as a “mindless copying machine” 18. Patterning does allow for expression that relates the built object to it’s contextual site, time, and human community in image representation. Branding can be expressed, for example in the Prada Tokyo store, and the patterning can be used in turn to improve material performance.19 Applied pattern may emphasise some impressive aspect of the building, for example vertical height, or materiality. It could be used to incorporate elements to improve passive building performance, for instance ventilation or frits to reduce the heat load of the sun onto glass, in The Spot at the university of Melbourne. In the case of the William Barak apartments by ARM, a likeness - an image of the face of Indigenous Leader Wiliam Barak is translated into a pattern across the balconies that only registers as an image from a distance. The coloured swatches on the back are translated from braille20 I’m unsure of the significance or validity of creating such a tribute in superficial

imagery of a deceased leader on the site of historical massacres, in a for-profit private building. I do appreciate the dark humour21 of illegibly reproducing braille in a format that most braille users would not be able to experience to a sighted but illiterate majority. Although, an argument could be made that prompting some discourse (particularly using a private commerce-driven typology to do so) is important and valid and maybe a little punk. As well as referencing context, imbibing humour and increasing performance of the building envelope, Patterning can be derived from imitating nature(/biomimicry), for example the Voronoi component in Grasshopper, repeating Geometric forms. Or, perhaps less architecturally speaking, can be applied to create camouflage/disguise.

Adolf Loos, ‘The Old and the New Style’, in On Architecture: Studies in Austrian Literature, Culture and Thought (Riverside: Ariadne Press, 2007), p.32. 19 Farshid Moussavi, and Michael Kubo, eds (2006). The Function of Ornament (Barcelona: Actar), p.618 20 ‘University of Melbourne Arts West / ARM Architecture’ <http://armarchitecture.com.au/projects/university-of-melbourne-arts-west/> [accessed 9 April 2017]. 21 Anthony Dunne & Fiona Raby (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) 18

CRITERIA DESIGN

Fig.16 (ABOVE) Aerial biew of curved balconies on the completed apartment building. FIG.17 (LEFT) Process Image converting Image of Wiliam Barak to strips, or ‘isobars’.

CRITERIA DESIGN

B.2.: CASE STUDY B1.0 - ‘PATTERNING’ OMA IIT McCormick Tribune Campus Center 1997 - 2003 Chicago, USA The OMA IIT McCormick Tribune Campus Center utilises patterning internally to decorate interior spaces, reference the users of the study space and their activities, discretely visually divide areas of different use, and reference the history of the Institute. From OMA’s Project catalogue: The McCormick Tribune Campus Center seeks to reinvigorate the urbanism inherent – but long since neglected – in Mies van der Rohe’s 1940 masterplan for the Illinois Institute of Technology. The large singlestorey Campus Center provides a focal point for the previously sundered halves of the campus, and features a noise-absorbing steel tube wrapping the Elevated metro that runs directly over the building and, inside, a dense mosaic of programs including a bookstore, food court, café, auditorium, computer centre, and meeting spaces.22

The use of an image in this recursive way; creating a pattern to express another pattern, is an interesting way to add depth or layers of meaning, without overwhelming the senses of the users of the space - particularly within an educational setting, where there is a delicate balance of needing to have points of interest to engage the students without being overwhelmingly distracting.

OMA, ‘IIT McCormick Tribune Campus Center’ <http://oma.eu/projects/iit-mccormick-tribune-campus-center> [accessed 7 April 2017].

CRITERIA DESIGN

Fig.18 Image of interior screens - each image composed of smaller images.

CRITERIA DESIGN

B.2.: CASE STUDY 1.0 Species Parameters / Selection Criteria

COMPOSITION

ELEGANCE

DIFFERENCE (TO PREVIOUS FORMS)

CONTROL

CRITERIA DESIGN

ADJUSTING ‘SLIDER’ WHICH, MULTIPLIED WITH THE SAMPLE IMAGE, CREATES SET

ADJUSTING ‘SLIDER’ CONTROLLING COLUMNS of the SURFACE FRAME (base grid)

ADJUSTING ‘SLIDER’ CONTROLLING rows of the SURFACE FRAME (base grid)

CRITERIA DESIGN

SWITCHED MATH INPUTS - ALTERING SLIDER CONTROLLING ROWS

SWITCHED MATH INPUTS - ALTERING SLIDER CONTROLLING COLUMNS

ADJUSTING THE MATH USED TO CREATE OUR SET , AND ADJUSTING THE SLIDER INPUT WITH IT

CRITERIA DESIGN

MIRRORING GEOMETRY USING A NEW LOFTED SURFACE

CREATING A DIFFERENT BASE SURFACE - AN ODD LOFTED FORM

B.2.: CASE STUDY 1.0 - SUCCESSFUL ITERATIONS

control

composition

elegance

difference

This seems impossible to directly fabricate, but it is a strong deviation from

CRITERIA DESIGN

B.3.: CASE STUDY B2.0

ARM and Architectus, Arts West Building, University of Melbourne, 2016

Completed 2016, this campus building like case study 1.0 - references, to some extend, the University in imagery. An ancient Greek image from the University of Melbourne’s own antiquities collection was translated into an image, an applied pattern, in horizontally projecting ridges, or isobars, that from the human/nearrange perspective are illegible.

One outcome of this design that can be experiences and appreciated from the street level is the reflection of patterns of light that are cast on surrounding vertical surfaces, particularly on the western side which is otherwise just a thoroughfare area on campus (photograph below).

From the air, as in the image opposite, the full picture can be read, though from a normal/nearrange perspective the full image is only hinted to.

The striking façade features images of selected objects from the University’s 23 cultural collections. It also represents the concept of object-based learning. ... In short, we used innovative virtual modelling, adapated from software usually used for gaming to do just that.23

‘University of Melbourne Arts West / ARM Architecture’ <http://armarchitecture.com.au/ projects/university-of-melbourne-arts-west/> [accessed 9 April 2017

CRITERIA DESIGN

Fig.19: ARM and Architectus, Arts West Building, University of Melbourne, 2016

CRITERIA DESIGN

B.3.: CASE STUDY B2.0 - REVERSE ENGINEER ARM and Architectus, Arts West Building, University of Melbourne, 2016

Fig.20: Image from Lascaux Cave Paintings. Sample image is from the cave paintings at Lascaux, partly because I had them on my desktop but also because I feel that a 40,000-ish-year-old horse painting has as much business being on an Australian university’s liberal arts building facade as an ancient Greek ceramic artefact does. Any image with two or more colour values can be interchanged without destroying the definition. The step of extruding the contours to form 3D geometry would be unnecessary in fabrication - I imagine at this juncture I could just lay out the individual curves and have a sheet of material laser-cut to construct a model I think to further approximate the Arts West Building, I could apply ‘Evaluating Fields’ batteries in Grasshopper to cause a magnetic disruption.

CRITERIA DESIGN

B.3.: CASE STUDY B2.0 - REVERSE ENGINEER FAILURES

There were a number of attempts at first constructing a grid or frame as a base matrix, with the intention of breaking up the surface of the intended image and matching it to the points, and perhaps controlling the height (or depth) of the projection from these points by assigning a range of numbers to the range of colours in the image.

In this attempt, I was able to (heavily appropriating definitions from Grasshopper forum discussions) create a series of isobars around a curved rectangular frame, and control the increase or reduction in number of â&#x20AC;&#x2DC;floorsâ&#x20AC;&#x2122;... but was unable to alter or manipulate the depth of protruding curves to approximate an image.

CRITERIA DESIGN

Here, the contours were not truly closed curves due to an error in the initial construction of the two mesh surfaces, I think partially due to the depth of the backing mesh â&#x20AC;&#x2DC;open prismâ&#x20AC;&#x2122;. This caused errors with attempting to resolve the form and finalising the reverse engineer attempt. One solution was to fix the depth of the facing mesh, though this means the design is not truly parametric. Another was to find the end points and join these with a line, resulting in a messy patch-up job.

CRITERIA DESIGN

DIVIDE SURFACE

APPLY IMAGE TO SURFACE (CREATE MESH)

CRITERIA DESIGN

CREATE ‘BACKING’ EXTRUDED OPEN BOX

CONTOUR THROUGH SURFACE

(JOIN MESH)

(CREATE ISOBARS)

EXTRUDE + CAP CONTOURS

CRITERIA DESIGN

(kangaroo2) mesh stripped then unrolled.

PLAYING FURTHER WITH OFFSETTING ‘CONTOUR’ CURVES, Curves divided into points, put through Voronoi, further divided, and a surface grid created

DIVIDE (“CONTOUR”) CURVES AND APPLY DIFFERENT MENU ITEMS (INTERPOLATE, KINKY, ETC)

B.4.: TECHNIQUE DEVELOPMENT

(Above) Partly because they are ugly, but also because there was too much baking into Rhino and re-setting in Grasshopper for such a simple outcome. (BELOW) Altered choice of image sample, some surface parameters were not altered properly. As an image it’s interesting, but as a potential design it’s useless.

assorted failures

Using ‘Rebuilt surface” in previous column; delaunay edges; sum surface of these edges; voroinoi3 of sum surface; Patterning surface with attempts at applied 3D patterns.

Rebuilding the surface with identical changes in U and V values, pushed to extreme. Only significant change in edges of surface, particularly corners.

(ABOVE) Again, carried away with baking into Rhino and playing with exploring how to achieve what I wanted within the Grasshopper environment. These forms could be produced by vacuum forming, steam bending, or perhaps laser cutting with etched lines where the sheets are to bend. Perhaps could serve as a surface for projecting.

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(weaverbird) blur form without increasing face normals

(weaverbird) â&#x20AC;&#x153;pictureframeâ&#x20AC;?, mesh is quads not triangles

(weaverbird) Mesh Thicken - First, altering the offset types, then adjusting slider controlling the distance of internal vertices.

(kangaroo2) refined mesh - multiplication integer set at 2, 6, 10.

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ALTERED BASE SUFRACE (LOFT) - RESULTING GROTTO FORMS

Loft of altered curves which are bent and distorted (similar result to altering initial defined surface)

(weaverbird) stellate/cumulation - iterations of extremes of the ‘kis’. Final form curoiusly hairy. (top, down - distance integer at 5, 10, 20, 50, and 100.)

B.4.: SUCCESSFUL ITERATIONS

(LEFT) This iteration is a delightful little object visually, but is not terribly far removed in algorithmic modification steps from the reverse engineer. It could be applied as some extreme carpet tiling, or scaled up to the size of a wall as an installation one could become lost in.

(LEFT) Still a strange mesh surface, but the contours it produces are strange jagged forms (OPPOSITE: Detail, lower left.) Due to a re-organised points list, the lofted surface has a fluid, overlapping appearance.

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Final Iteration (ABOVE): I’m reminded of Benjamin Dillenburger and Michael Hansmeyer’s 2017 Centre Pompidou installation (fig.25, RIGHT); algorithm-created Digital Grotesque II, and enjoy the idea of a grotto or divisive space within the existing Sacred Heart Courtyard site at the Abbotsford Convent.

Fig.21: Benjamin Dillenburger and Michael Hansmeyer DIGITAL GROTESQUE II

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B.5.: TECHNIQUE: PROTOTYPE_1

To gain a practical experience of the digital fabrication process, I first created a model of the original â&#x20AC;&#x2DC;reverse engineerâ&#x20AC;&#x2122; project. I did cheat a little and alter the comb braces to hold the contoured isobars together (with the idea that it could be displayed horizontally perhaps) in Rhino, as well as manually alter the layout of each piece of geometry on the surface when Grasshopper attempts failed, so it is not a truly 100% parametric form or layout. (ABOVE, LEFT) Case Study 2.0 Reverse Engineer outcome (BELOW, LEFT) Prototype Outcome. (BELOW) Detail - one contour profile. (OPPOSITE) Prototype Detail. The burned edges look like bore water stains, not a desirable outcome, so further manual finishing is required to achieve a better finish.

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B.5.: TECHNIQUE: PROTOTYPE_2

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Following the Interim Presentations, further prototyping of the proposed design in foam (OPPOSITE; various densities). One of the foam segments was cast in plaster to see any difference in appearance and tactility (or, just, â&#x20AC;&#x2DC;feelingâ&#x20AC;&#x2122;) with an increased density (top image). The semi-porosity of Styrofoam and lack of release agent caused lead to the odd flocking along the surface, and in detail image (ABOVE) an odd waving surface which is the result of the use of tape as a mold edge.

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B.6.: TECHNIQUE - PROPOSAL

In researching the history of the site, one thing that stood out was the increased fracturing - from division for sale to white settlers, to the breaking up of the Sisters of the Good Shepherd estate into smaller, discrete zones (farm, studio, etc.).

What group B all noted on our site visit was that all visitors seemed to come for a specific reason or event, and that these events and small businesses do not overlap or spread.

If I can get this patterned, warped curve to wrap around - sometimes a grotto, sometimes a wall, sometimes a pathway - something to connect the site, provide singular projection areas, lead user from one area into another.

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B.7.: LEARNING OBJECTIVES AND OUTCOMES

I feel that my understanding of data structures and lists has improved, and that I have slightly more control and understanding of the parametric process. I can see a point in the â&#x20AC;&#x2DC;Technique Developmentâ&#x20AC;&#x2122; region of this project where I became a little stuck with the form I had made, and on reflection should have tried bolder definitions or sought more help, or feedback from other students, to push through. However, a few interesting things did happen. I have found some interesting elements in areas like patterning and in odd, organic forms. Additionally, I have unsuccessfully (so far) attempted packaging up my own components. In attempting new computational methods, I have started to be able to identify not only where I am struggling but how to communicate problems I face well enough to find answers or have them answered.

Additionally, though it is not an objective of this course, physical model making, instant Polaroid photography and hand sketching have found their ways into the work so far, and in the future I hope to be <digitally> skilled enough to work between the two, to work towards being able to incorporate physical/analogue processes with new digital ones. Outside of our brief to establish a new home for the Shadow Electric, I can see some of the very simple ways that I am able to make definitions now and the more complex ways I have been shown being appropriate to collaborations with old friends who work in different creative disciplines, perhaps.

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B.8.: APPENDIX - ALGORITHMIC SKETCHES

Above, Left (Perspective) and Right (Plan): Following Video ‘04a.01 Evaluating Fields’ Below, Left (Perspective) and Below, Right (Plan): Following Video ‘04a.04 Image Sampling’ I took fewer bakes from later weeks’ video tutorials, and though I didn’t really understand the python scripting/coding (opposite, typo notes), that it was a lot of fun and something I’d like to look at further, after this unit is complete.

CRITERIA DESIGN

In the area of recursive algorithms: (Above): after fixing typo pictured above while following the ‘Travelling Salesman’ python tutorial, the script worked until I tried to be clever and edit it. This was one of the more surprisingly interesting exercises thus far. (Above, Right): Sketch/collage following frustration at mirror/orient attempts in Grasshopper. (Below, Right): Attempt at MIRRORING and ORIENT components in Grasshopper. I need to find the edge or face of the core piece of geometry, perhaps, maybe finding them using points outputted in the list. (NOTE: Later weeks’ tutorials introduced a fractal method)

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REFERENCE LIST - PART B/Criteria Design TEXTS: Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45 Kolarevic, Branko and Kevin R. Klinger, eds (2008). Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge), pp. 6–24 Moussavi, Farshid and Michael Kubo, eds (2006). The Function of Ornament (Barcelona: Actar), pp. 5-14 OMA, ‘IIT McCormick Tribune Campus Center’ <http://oma.eu/projects/iitmccormick-tribune-campus-center> [accessed 7 April 2017] ‘University of Melbourne Arts West / ARM Architecture’ <http://armarchitecture.com. au/projects/university-of-melbourne-arts-west/> [accessed 9 April 2017]

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IMAGES: Fig.17-18 ARM William Barak Apartments <http://theconversation.com/melbournes-newwilliam-barak-building-is-a-cruel-juxtaposition-38983> [accessed 8 April 2017] Fig.19 OMA, ‘IIT McCormick Tribune Campus Center’ <http://oma.eu/projects/ iit-mccormick-tribune-campus-center> [accessed 7 April 2017]. Fig.20 ARM ‘Arts West Building’ <http://armarchitecture.com.au/projects/ university-of-melbourne-arts-west/> [accessed 9 April 2017]. Fig.21 LASCAUX CAVE PAINTINGS ‘The Cave Art Paintings of the Lascaux Cave’ <http:// www.bradshawfoundation.com/lascaux/index.php> [accessed 9 April 2017]. Fig.22 DIGITAL GROTESQUE II ‘Digital Grotesque II . Printing Architecture at Centre Pompidou on Vimeo’ <https://vimeo.com/208271056> [accessed 25 April 2017] Images used in Photomontages: VR Figures used in ‘Speculative Future’ montage: VIRTUAL REALITY IMAGE - WALKING MAN ‘Virtual Reality Is About to Change the World | Time.com’ <http://time.com/3987022/why-virtual-reality-is-about-to-change-the-world/> [accessed 21 April 2017]

VIRTUAL REALITY IMAGE - 1/2 WOMAN ‘Now Is the Time to Care about Virtual Reality | MNN - Mother Nature Network’ <http://www.mnn.com/green-tech/gadgetselectronics/stories/now-time-care-about-virtual-reality> [accessed 21 April 2017]

Rendered figures used in ‘Speculative Future’ montage: ‘Nonscandinavia’ <http://www.nonscandinavia.com/> [accessed 5 June 2017]

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DETAILED DESIGN*

* The work in the following section is collaborative work between students Verity Wells and Jan Julian. As such, it features imagery of the work of both students and is not presented as work of solo authorship. DETAILED DESIGN

C.1.: DESIGN CONCEPT This design is a mass, tessellated, structure built a small group of civilians - lead by two 60-year-olds- as an act of defiance and final celebration, 30-years into a cultural drought. Hosted by the decayed northern half of the Sacred Heart Courtyard at Abbotsford Convent (left to ruin by a total reduction of funding to cultural areas), and using elements from its site - the former buildings - as material, the structure provides a space for gathering and performance. At the end of the celebration, the structure provides for growth from its own decay. Following part B, Jan and I formed a group of two. We decided to further investigate the hypothetical future landscape of our site, and set the design event 30 years into the future. Headline ideas from both individual projects and the Interim Presentation were: mass

death

growth

lifespan

performance future/past.

We predicted a future - ‘time-line’ overleaf where consistent small decreases in funding to areas of art, craft, heritage and culture (further referred to as ‘the arts’) that we had observed in Australia and some other Western countries continued to the point of there being no funding. We saw it not as an explicit ‘Right’ attack on a superfluous area of human activity, rather as a slow and gradual carving away from fields that could be framed as superfluous, non-essential, something that people tend do anyway (for free), and as an attempt to keep the county’s economy and other industries propped up. In time, the act of making itself might become shameful or wasteful under these conditions, and philanthropy in these areas a cruel waste. Art galleries and libraries are already full, anyway.

This ‘future’ gave us a context to place ourselves into and respond to, in developing the design. Jan’s Part B project was a free-standing tessellated dome structure that mimicked Islamic architecture, and mine a sort of slouching wall. We looked at some works previously studied for mass and dome- or semi-dome-form; the Ġgantija Temples at Gozo, the temple of Atreus in Mycenae, Etienne-Louis Boullée’s “Cenotaph for Newton”, as well as the floor plan of Catholic Christian churches and the internal vaulting of the Muqarna element within Islamic architecture24. As for growth; we observed on-site that plants will just grow, and so to morally offset the act of building anything at all wanted to see if we could encourage this. ‘Weeds’, or ‘pioneer plants’ (depending on your mindset) are the first complex multi-cellular organisms to grow on new or disturbed ground - sometimes breaking through bitumen. They enrich the soil, sometimes catching more vegetation, which benefits the next generation of plant species and generally contain fewer defence mechanisms like spikes or poison (the energy cost of creating these isn’t worth it for them)25. We experimented with identifying and growing these, but with the winter season and time-frame had little luck, and moved on to observing and approximating existing growth.

‘Student Works: StalacTile, Tessellated Manifolds | Features | Archinect’ <http://archinect.com/features/ article/100296/student-works-stalactile-tessellated-manifolds> [accessed 6 June 2017]. 25 Adam Grubb and Annie Raser-Rowland, The Weed Forager’s Handbook (Melbourne: Hyland House Publishing, 2014). p. 11-12. 24

DETAILED DESIGN

If we were to come across a mound in the woods, six foot long by three foot wide, with soil piled up in a pyramid, a somber [sic]

mood would come over us and a voice inside us would say,

“There is someone buried here.” That is architecture.26 - Adolf Loos

Adolf Loos, ‘Architecture’, in On Architecture: Studies in Austrian Literature, Culture and Thought (Riverside: Ariadne Press, 2007), p.84. DETAILED DESIGN

(ALTERNATE) TIME-LINE TO 2047 DESIGN EVENT.

2009 GLOBAL FINANCIAL CRISIS FOLLOWING (MINING) BOOM 2012

QLD BUDGET: THE NEWMAN GOVERNMENT REMOVES $20 MILLION FROM ARTS GRANT PROGRAMS

2014

AUSTRALIA COUNCIL LOSES $10 MILLION FROM $222 MILLION ANNUAL BUDGET THIS YEAR (TOTAL $100 MILLION FROM THE ARTS) (FUTURE REDUCTION OF $6.4 MILLION FOR THE FOLLOWING THREE YEARS RESULTING IN A CUT JUST SHY OF $30 MILLION 28

2015

BUDGET: $105 MILLION CUT FROM AUSTRALIA COUNCIL FOR THE ARTS

2016

BUDGET: “THIS IS NOT A TIME TO BE SPLASHING MONEY AROUND OR INCREASING THE TAX BURDEN ON HARD WORKING AUSTRALIANS” -SCOTT MORRISON FUNDING AND STUDENT LOANS FOR ARTS DIPLOMAS (“LIFESTYLE CHOICES”) CUT TO SUPPORT “LEGITIMATE STUDENTS” 30 65 ARTS ORGANISATIONS LOSE FUNDING FROM AUSTRALIA COUNCIL 31 TAXATION RATES FOR MINING + MANUFACTURE INDUSTRY LEADERS UNCHANGED 32

2017

BUDGET: FUNDING STUDENT LOANS FOR ALL TERTIARY ARTS COURSES CEASES (AUSTERITY MEASURES) NATIONAL CAMPAIGN TO GENERATE ECONOMIC PRODUCTIVITY + REDUCE INESSENTIAL ACTIVITY

2019

PRIMARY AND SECONDARY EDUCTION CURRICULA STREAMLINED TO SHAPE FUTURE BUSINESS MINDS.

2021

FROZEN FUNDING TO ABBOTSFORD CONVENT REDEVELOPMENT RECLAIMED BY GOVERNMENT - TO CONTRIBUTE TO NATIONWIDE ECONOMIC STIMULUS

2035 FIRST YEAR 12 GRADUATING CLASS WITH NO ARTS/CRAFTS/DANCE EXPERIENCE THROUGH PRIMARY AND SECONDARY SCHOOL

2040 ALL FORMER “SINGLE-USE” ARTS VENUES RE-PURPOSED. HAMER HALL - CENTRAL NATIONAL CALL CENTRE. ALL MUSEUMS - RE-PURPOSED AS STORAGE FACILITIES. 2047 TWO DISILLUSIONED SIXTY-YEAR OLD CITIZENS NAMED VERITY AND JAN COME TOGETHER TO BUILD A FAREWELL TO ARTS IN AUSTRALIA...

DETAILED DESIGN

The time-line opposite is a composite of previous budgets (national and state applications), particularly the reporting on these and the language used around justifying a reduction of funds. Of course, some of these budget measures did not make it through the Senate intact, and for clarity of concept the parallel stripping of assistance to CSIRO, welfare recipients, refugees, and so on, were not included. The 2017 budget night coincided with our design development, but largely ignored arts and culture along with the climate so that became our point of departure into the realm of pure fantasy.

not the actions of one.

Overleaf is the initial concept montage, depicting how we envisioned the site would be in 2047 before the installation of our design.

‘Newman Budget Kills Queensland Creativity’, 2012 <http://www.abc.net.au/news/2012-09-18/crean-arts-funding-inqueensland/4267544> [accessed 4 May 2017]. 28 ‘Australia Council Cuts Six-Year Funding in Wake of Brandis Budget Cuts, Dance Protests Planned’ <http://www.smh.com.au/ entertainment/art-and-design/australia-council-cuts-sixyear-funding-in-wake-of-brandis-budget-cuts-dance-protests-planned-20150521gh7694.html> [accessed 4 May 2017]. 29 ‘$105m Budget Cut Caught Australia Council by Surprise, Emails Show’, 2016 <http://www.abc.net.au/news/2016-02-20/$105m-budgetcut-caught-australia-council-by-surprise:-emails/7185900> [accessed 22 April 2017]. 30 ‘Budget 2016 Delivered to Australian Parliament by Treasurer Scott Morrison | Daily Mail Online’ <http://www.dailymail.co.uk/news/ article-3570874/Budget-2016-delivered-Australian-parliament-Treasurer-Scott-Morrison.html> [accessed 4 May 2017]. 31 ‘VET FEE-HELP: Government Reveals 478 Courses That Won’t Be Eligible for Student Loans’ <http://www.news.com.au/finance/economy/ federal-budget/government-reveals-478-vet-courses-that-wont-be-eligible-for-student-loans/news-story/3cab635f03a11422698afdd86b81 eadf> [accessed 4 May 2017]. ‘Are the Creative Arts a “Lifestyle Choice”? - Hack - Triple J’ <http://www.abc.net.au/triplej/programs/hack/are-the-creative-arts-alifestyle-choice/7964662?fb_action_ids=10154044391907965&fb_action_types=og.comments> [accessed 4 May 2017]. 32 ‘65 Arts Organisations Lose Funding from Australia Council | ArtsHub Australia’ <http://www.artshub.com.au/news-article/news/grantsand-funding/deborah-stone/65-arts-organisations-lose-funding-from-australia-council-251271> [accessed 4 May 2017]. ‘Budget 2016: Company Tax Cuts, but No Relief for Those Earning under $80,000’ <http://www.smh.com.au/business/federal-budget/ budget-2016-company-tax-cuts--but-no-relief-for-those-earning-under-80000-20160501-gojif1.html>[accessed 4 May 2017]. ‘Budget 2016-17 - Making Our Tax System More Sustainable (Continued)’ <http://budget.gov.au/201617/content/glossies/tax_super/html/tax_super-04.htm> [accessed 4 May 2017]. 27

DETAILED DESIGN

C.1.: DESIGN CONCEPT - SITE CONTEXT

Location on site and aspect The north-east quadrant of the Sacred Heart courtyard was selected as the location for our design. After observing circulation on-site, it was noted that between the existing western entrance and eastern breezeway, this area was constantly visited. Itâ&#x20AC;&#x2122;s almost protected, like the leeward side of a ship at sea. We had in mind the plan of a cathedral as one conceptual cornerstone of the design, of which an east-west axial direction is of religious importance. On the following pages are the plan, two sections, and following that renders/montages of the design as it will be in 2047, thirty years and sixty years afterwards.

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SECTION AA

DETAILED DESIGN

SECTION BB

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2047 - PRESENT DAY OF DESIGN EVENT. DETAILED DESIGN

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2077 - 30 YEARS POST-DESIGN EVENT. DETAILED DESIGN

DETAILED DESIGN

2107 - 60 YEARS POST-DESIGN EVENT. DETAILED DESIGN

C.1.: DESIGN DEFINITION - PRECEDENT StalacTile, Tessellated Manifolds, Washington University, St Louis, 2011 and ‘Part B’, Jan Julian.

Fig.23 (ABOVE): ‘Part B’ Design by Jan Julian. The tessellating form of Jan’s ‘Part B’ was one of the primary sources for the Part C algorithm. Fig._ and _ opposite are an installation image and research diagram, respectively, of the StalacTile, Tessellated Manifolds project which was a source for the reverse-engineered source

DETAILED DESIGN

of this project. Our initial diagrams and designs (refer to pages 50 - 59 in ‘Algorithmic Sketchbook’ for these sketches) were quite far removed from this project, but the final design iteration circled back to being quite close to this project.

Fig.23 (ABOVE): Installation of StalacTile, Tessellated Manifolds Fig.24 (BELOW): Murquarna form analysis from StalacTile, Tessellated Manifolds research documentation

DETAILED DESIGN

C.1.: DESIGN DEFINITION - WORKFLOW

DRAW CIRCLE (OFFSET INWARDS)

DIVIDE CIRCLES

ROTATE POINTS ALONG CURVE OF CIRCLE (SPIN)

POLYLINES BETWEEN ROTATED POINTS

DETAILED DESIGN

CREATE VORONOI CELLS FROM THESE POINTS

SCALE + (DOME) - (SEATING) BY FACTOR SET BY SIZE OF CELL

DETAILED DESIGN

C.2.: TECTONIC ELEMENTS

base shape

subtractor

stepped puzzle piece

(ABOVE) Process of creating the tectonic element. (BELOW) The resulting ‘stepped’ form.

DETAILED DESIGN

(ABOVE) Primary, base tier of the dome. (BELOW) Secondary tier of the dome, as it sits within the stepping of the base dome

DETAILED DESIGN

C.2.: PROTOTYPES

GABION CELL: This first version of a gabion cell (LEFT) approximated the shape of the “cells” or “bricks” that formed an early iteration of the of the design (Rhino bake below). Our intention was to allow for some cells to be gabion, which would allow for reuse of the materials on-site in our given circumstance.

DETAILED DESIGN

(ABOVE) Experimenting with wedge-shaped cells, and an early protoype in the workshop that was the first to work as an arch form. (BELOW, RIGHT) Gabion cells were made in the same approximate dimensions to test the form visually and physically.

DETAILED DESIGN

C.2. CONTINUED: MATERIAL TESTS/CONCRETE 1_Release Agent: Control/null

Continuing with the wedge-shaped cell form, we trialled two different pre-mixed concrete products, while also testing release agents (and how successful concrete would be as a material for the final design. We elected to use pre-mix concrete to increase the chance of our material tests working. Further experimentation with mixing our own blend of aggregates and cement, and potentially adding colour may have resulted in the ideal outcome, though would have stolen time from other areas of development in the project. We ultimately decided to continue on with plaster, over concrete, as at this small scale visually represented the final full-scale outcome more cleanly.

DETAILED DESIGN

Test Group 1 trialled one selection of pre-mix concrete. At the same time, we tested what the resulting edge of no release agent (an attempt at â&#x20AC;&#x2DC;controlâ&#x20AC;&#x2122; group - though obviously flawed as different mixes were being tested at the same time) would be. There was some lifting in the base which left some traces on the base of each cell.

2_Release Agent: Vegetable oil

Test group 2 (above) was formed with vegetable oil as a release agent, which was more successful than Test group 1 with no release agent, in terms of saving both the object and the formwork. Pre-Mix # 2 was used here and while the aggregate is more visually apparent and representative of our narrative, it is just messy looking. Pre-mix # 2 was easier to manipulate and handle than #1. (Below) Images of the uneven base which still functioned perfectly for our purposes.

3_Release Agent: Petroleum Jelly

Test group 3 with Pre-Mix # 2 and Petroleum Jelly as a release agent was the easiest to release at the end. As a material petroleum jelly was the most unpleasant and, unfortunately, the most successful. There were some issues with the mold - human error in creating the formwork - but even with the erroneous dimensions, Tests 2 and 3 could be stacked together to form various successful structures (below)

DETAILED DESIGN

C.2. CONTINUED: MATERIAL TESTS/PLASTER

(Above) The CNC-Routed foam board with plaster setting. (Below) In order to achieve the design, the vertical walls of each cell/brick had to be parallel. Their being parallel meant that the formwork had to be destroyed to release each cell.

DETAILED DESIGN

(Above) A slightly-complicated numbering process evolved to keep the blocks in order from design - build and in transporting between locations (numbering as in box, below).

To manage the timing of production, and attempt to waste less material (particularly the foam mold), both versions of the full dome - the unstaggered “plain” version and final, staggered, “fancy” versions were CNC-milled and cast concurrently. Due to our use of CNC-milling in Styrodur, a textured edge somewhat reminiscent of boardformed concrete occurred (as visible in the image of the keystone, to the left). On the following two pages, images of this plaster prototype model as arranged, including with and without the keystone and as the final ‘semi-dome’ form. Also pictured are details of the pieces fitting together, and as they are with light shining through the spacing.

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100

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101

C.3.: FINAL DETAIL MODEL

102

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103

104

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105

(Previous two pages - final model and final 3D printed detail model). (ABOVE) View of model with lighting approximating Winter sun. (BELOW) Stair/step/seating detail (OPPOSITE) ‘Section’ view from breezeway on site.

106

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107

108

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109

C.4.: LEARNING OBJECTIVES AND OUTCOMES

The group-work in studio Air has been the first positive student-group-work experience I have had in this degree. In the final chapter, part C, constructing the narrative - a hypothetical slightly-dystopian future to shape the group brief - liberated something unnameable but oppressive and allowed us to play. It also allowed to consider and discard things that were interesting but not helpful or relevant with some perspective. (Things that, on balance, I am glad we considered but did not proceed with include casting the negative space between bricks like a fixed wall of mortar, the Charles Bukowski poem ‘for they had things to say’, candle light, reading Bukowski by candlelight, incense and relaxing audio during the presentation, a printed 1:1 scale section of the final form, a secret menu with stop-motion ‘bonus footage’ on the submitted DVD of every time we built the plaster dome and had to resort to pulling apart the Rhino model and visually identifying the pieces because the numbering system was too complicated, and the cartoon/ graphic novel of the narrative (though maybe

110

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that is an inter-semester project).) There needed to be a division of tasks to get the work done, so I stepped back from driving the Grasshopper modelling, but we did work in tandem and had constant consultation with changes and decisions. Following the final presentations, some of the research and grounding has been clarified, and the suite of design drawings (C.1) have been edited. On the page opposite, an image of a partial keystone cast with aggregate clearly protruding to show our intention more clearly. Also pictured is the application of ‘growth’, and a detail of the intended ‘stepping’ with an approximation of the light peering through. In relation to the explicit studio objectives, I can at a basic/simple level create/manipulate/ design using parametric modelling. I have also learned about (precedent) projects I would not have previously investigated further.

-Verity.

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111

REFERENCE LIST - PART C/Detailed Design TEXTS: ‘$105m Budget Cut Caught Australia Council by Surprise, Emails Show’, 2016 <http://www.abc.net.au/news/201602-20/$105m-budget-cut-caught-australia-council-by-surprise:-emails/7185900> [accessed 22 April 2017] ‘65 Arts Organisations Lose Funding from Australia Council | ArtsHub Australia’ <http:// www.artshub.com.au/news-article/news/grants-and-funding/deborah-stone/65-artsorganisations-lose-funding-from-australia-council-251271> [accessed 4 May 2017] ‘Are the Creative Arts a “Lifestyle Choice”? - Hack - Triple J’ <http://www.abc.net.au/ triplej/programs/hack/are-the-creative-arts-a-lifestyle-choice/7964662?fb_action_ ids=10154044391907965&fb_action_types=og.comments> [accessed 4 May 2017] ‘Australia Council Cuts Six-Year Funding in Wake of Brandis Budget Cuts, Dance Protests Planned’ <http:// www.smh.com.au/entertainment/art-and-design/australia-council-cuts-sixyear-funding-in-wake-ofbrandis-budget-cuts-dance-protests-planned-20150521-gh7694.html> [accessed 4 May 2017] ‘Budget 2016-17 - Making Our Tax System More Sustainable (Continued)’ <http://budget.gov. au/2016-17/content/glossies/tax_super/html/tax_super-04.htm> [accessed 4 May 2017] ‘Budget 2016: Company Tax Cuts, but No Relief for Those Earning under $80,000’ <http:// www.smh.com.au/business/federal-budget/budget-2016-company-tax-cuts--but-no-relieffor-those-earning-under-80000-20160501-gojif1.html> [accessed 4 May 2017] ‘Budget 2016 Delivered to Australian Parliament by Treasurer Scott Morrison | Daily Mail Online’ <http://www. dailymail.co.uk/news/article-3570874/Budget-2016-delivered-Australian-parliament-Treasurer-Scott-Morrison. html> [accessed 4 May 2017] Grubb, Adam, and Annie Raser-Rowland, The Weed Forager’s Handbook (Melbourne: Hyland House Publishing, 2014) Loos, Adolf, ‘Architecture’, in On Architecture: Studies in Austrian Literature, Culture and Thought (Riverside: Ariadne Press, 2007), pp. 73–85 —, ‘The Old and the New Style’, in On Architecture: Studies in Austrian Literature, Culture and Thought (Riverside: Ariadne Press, 2007), pp. 31–16 ‘Newman Budget Kills Queensland Creativity’, 2012 <http://www.abc.net.au/news/201209-18/crean-arts-funding-in-queensland/4267544> [accessed 4 May 2017] ‘Student Works: StalacTile, Tessellated Manifolds | Features | Archinect’ <http://archinect.com/ features/article/100296/student-works-stalactile-tessellated-manifolds> [accessed 3 June 2017] ‘VET FEE-HELP: Government Reveals 478 Courses That Won’t Be Eligible for Student Loans’ <http://www.news. com.au/finance/economy/federal-budget/government-reveals-478-vet-courses-that-wont-be-eligible-for-studentloans/news-story/3cab635f03a11422698afdd86b81eadf> [accessed 4 May 2017] 112

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IMAGES: Fig.22 ‘Part B Prototype’, Julian, Jan, University of Melbourne, 2017. Personal communication. Fig.23 - 24 ‘Student Works: StalacTile, Tessellated Manifolds | Features | Archinect’ <http://archinect. com/features/article/100296/student-works-stalactile-tessellated-manifolds> [accessed 6 June 2017] Photocomposite of ‘faceless politicians’: Julia Gillard ‘Gillard to Front Inquiry to Respond to Slush Fund Claims’, 2014 <http://www.abc.net.au/news/201409-10/gillard-to-respond-to-slush-fund-allegations-at-royal-commission/5732268> [accessed 8 May 2017] Malcolm Turnbull ‘Malcolm Turnbull Honours Australian of Year Finalists’ <http://www. news.com.au/national/politics/malcolm-turnbull-honours-australian-of-year-finalists/ news-story/688d0a27950d1dfdef814c3b0fb494f9> [accessed 8 May 2017] Peter Dutton ‘Cambodia Very Credible to Deal with: Dutton’, 2008 <http://www. abc.net.au/am/content/2015/s4164905.htm> [accessed 8 May 2017] Images used in Concept Montage and Rendered/Photomontages: ‘Bricks DEMOLITION | Apk Download’ <http://apkdownloadget.blogspot.com. au/2016/06/bricks-demolition.html> [accessed 6 May 2017] Demolished brick walls ‘Brick Building Under Demolition Stock Photography - Image: 17853392’ <https://www.dreamstime. com/stock-photography-brick-building-under-demolition-image17853392> [accessed 6 May 2017] Graffiti ‘Family Film: Bee Movie | National Library of Australia’ <https://www.nla. gov.au/event/family-film-bee-movie> [accessed 6 June 2017] Rendered figures ‘Nonscandinavia’ <http://www.nonscandinavia.com/> [accessed 5 June 2017]

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