AIR
ARCHITECTURE DESIGN STUDIO 2013 VINCENZO ARMENIA 540187
Contents A
CASE FOR INNOVATION About Me Architecture As A Discourse Discourse Precedents Computation In Architecture Computational Precedents Parametric Design Analysis Parametric Precedents Conclusion Learning outcomes References
B
DESIGN APPROACH Pattern Precedents Case Study 1.0 Case Study 2.0 Algorithmic Sketches Design Matrix Prototyping Technique Proposal Learning Outcomes
C
1 3 5 9 11 15 17 19 20 21
25 27 31 35 43 45 47 51 53
CONCEPT PROPOSAL Form Making Design Concept Site Conditions Design Evolution Perspectives Visual Effects Fabrication Process Pattern Evolution Construction Joints I Construction Joints II Material Choice Learning Objectives
59 61 63 65 69 71 73 81 83 85 87 89
PART A Case For Innovation
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INTRODUCTION
About Me My Name is Vince Armenia, I am 20 years old and I am a third year Bachelor of Environments student with Architecture as my major. Throughout my education I have always loved design orientated subjects so I was drawn to architecture as a future career because of the possibility to be creative and innovative and potentially change the spaces we live in for the better. I love sport so being active is a major part of life outside university. I have had experience with Rhino through Virtual environments in my first year of study but Grasshopper and Parametric design is a new concept to me that I am looking forward to learning about and improving my skills. I have also worked with SketchUp as another 3D modelling tool.
Past Projects
studley park boathouse master architect: richard meier architecture studio: water 2012
lantern theme: vine growth on foreign structure virtual environments 2011
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Architecture As A
Discourse "Buildings with no capacity to change can only become slums or ancient monuments" ARCHIGRAM
“[Architecture] encompasses all three categories: artefacts, knowledge and practices - all understood as communications that connect to each other in an ongoing recursive network”.1 Patrik Schumacher (Director of ZHA) As Schumacher explains above, to understand architecture as a discourse is to see it as a network of communications. By doing this we do not judge buildings merely as material entities and hence look at success and innovation in architectural practise solely through the physical construction of buildings. Instead success is measured through the debates, development of theories and generation of ideas that arise and contribute to the discourse. Richard Williams (Professor of Contemporary Visual Cultures at The University of Edinburgh) shares similar views to Schumacher in terms of discourse and communication being the best way to represent architecture. He argues that the construction of buildings only play a, “small part in the field of architecture”2 implying the ability to realise design concepts in it’s physical form is not the quintessential role of the architect. Instead the architect has a range of roles and responsibilities in reference to cultural, social and political factors and contributions to the evolution of architectural practise itself. This does not necessarily allude to the successful construction of buildings but may also manifest in the forms of design theories or development of new design techniques and processes.
I too feel that by looking at and judging architecture through built form we limit ourselves to possibilities of innovation. Why can’t a design concept deemed impossible to be build contribute to the discourse? Does this not offer us a chance to improve our design processes, generate new types of software and techniques and develop new ways of using our materials? In my eyes the discourse acts as a forum in which innovation can be strived for and where ideas can be challenged and defended leading to a refinement and improvement in architectural practice This idea of the discourse being a generative forum also ties in with Schumachers theory of architecture as a network of communications that is autopoietic. This essentially means a network that is ‘self producing’ through it’s ongoing flows of communications.3 The built form will always be a privileged type of architectural communication4 because of the needs of society for functional spaces to inhabit. However we must also consider the publications and research into design theory as important as the built form to effectively promote innovation in architectural practice. The next few pages will look at precedents that have in some way, contributed to the discourse and practice of architecture.
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Astana National Library Astana Kazakhstan
BIG (2008 - TO BE COMPLETED)
(Above) THERMAL MAPPING OF BUILDING ENVELOPE
The Astana National Library offers a unique sensory experience for the users of this space, not only as a visually dynamic structure but also through how an individual circulates through the building.
This single continuous skin transforms in function creating a sense of play in terms of how one interprets which parts of the facade are in fact acting as a wall, floor or roof.
The building’s form is based on a perfectly shaped circle that has been interlocked with what the project team of BIG call, the ‘public spiral’.5 This spiralling circulatory path has allowed for the functions and program of the building to seeminglessly flow into each other as the individual circumambulates the building, naturally moving from lower levels to higher levels and indoor spaces to outdoor spaces. Horizontally organised programs become vertically organised programs, stacked up upon each other as the individual naturally moves up the public spiral. This idea of circumambulation was an important design idea as to create a, ‘circular loop of
The differentiating pattern on the facade has been developed to respond to the impact of solar radiation on the building surface and internal spaces. An analysis of the thermal impact of the sun on the building envelope informed the patterning sequence of the differentiating openings. This variation allows for more or less direct sunlight to filter through the building depending on the amount of shade or light required in particular areas of the building.
knowledge’6,as described by BIG, referring to the way collections of books and archives were to be organised with the unique and innovative circulation path this library possesses. The second innovative design approach was through the building’s facade. The buildings facade has been based on a Mobius strip.
BIG have described the patterned facade as ‘ecological ornament’7 through its sustainable regulation of thermal requirements as well as its cultural references to the traditional patterns of the Yurt structure. The Astana National Library has created a new precedent for which modern facades or ornament can be manipulated to adapt and react to specific site conditions while still offering ties to culture and visual communication.
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The building’s form shies away from expressions of pronounced height and vertically organised programs to create a structural ‘loop’. This idea of a skyscraper as a loop effectively creates an interconnected program that incorporates the multi-staged processes of TV production into a single free flowing circuit. Vertically organised functions of the building are broken by the horizontally organised cantilevered level which connects the two opposing towers together. The design is not only structurally innovative but also innovative in respect to the way an individual circulates from one functional space to another, essentially moving in both the vertical and horizontal plane in one continuous loop.
OMA (2012)
The CCTV Tower has contributed greatly to the discourse of architecture in the way it has delineated itself from the common gestures of the skyscraper typology.
Because of this daring form a new structural element manifested. The idea of a ‘self supporting facade’8. The external glass panels are fixed between a diagrid of triangulated steel tubes. These tubes form an irregular and unique pattern on the facade as the pattern reacts to the different levels of stress experienced on specific areas of the facade. Areas of greater stress resulted in a denser pattern of diagrids while the pattern became looser in areas where less support was required.9 This allowed the facade to be attached to the main structural framework while exerting minimal amounts of stress onto it, as well becoming a visual representation of the buildings structural form. The CCTV Tower has perhaps reinvented and opened the discussion as to new ways our skyscrapers can be designed in terms of innovative forms, free flowing programs and structure.
(Right) MULTILAYERED ORGANISATION OF 'SELF-SUPPORTING' FACADE
CCTV Tower Beijing China
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Computation In Architecture
The potential to create new design typologies and continue to foster architecture as a discourse has never been so applicable than today. This is thanks to the rapid development of digital design tools and their ever growing capability to conceptualize, develop and fabricate design ideas. The integration of computation into the design process has conceived a new environment for architects and designers to explore the potential of a design idea. This is evident through the development of 3D modelling programs whereby the implications on performance or function of a structure can be analysed in real time allowing a design to be pushed to the very limits of possible fabrication. Furthermore designers are able to look beyond these limitations and move into the ‘unknown’ essentially developing unprecedented concepts that not only continue to push architecture as a discourse, but also push to develop software and digital design tools to perhaps one day rationalise design ideas once deemed impossible to construct. While the increased implementation of computerized processes seems to be more prevalent today, there is still objections to the idea of a digitally integrated design process. Likenesses to ‘fake creativity’10 and beliefs that design computation is merely a ‘tool’ and separate from creative design11 still exist in the architectural discourse. However these ideas are also strongly rebutted by many as well. Branko Kolarevic (Associate Dean, Professor and Chair in Integrated Design at University of Calgary) suggests contemporary digital architecture is not a tool for enhancing creativity but a new typology in itself.
A typology that rejects the urban morphology and historical styles and instead represents ideological and conceptually new ways of thinking.12 I feel this is how computation in architecture should be viewed and importantly be judged, as a new design typology. It is evident that the ability to continuously experiment and iterate during the design process has allowed for unprecedented complexities in terms of form and materiality, such as the implementation of the ‘Möbius strip’ as a new building form as suggested by Kolarevic and evident through the Astana National Library. The potential to push the discourse is exciting, particularly through the innovations possible in design concepts and design processes. Essentially computation in architecture allows for an amalgamation of representational processes with production processes through the idea of an integrated design process. A process whereby digital models are used to communicate and rationalise design intent as well as assist in the construction process, something that was required to comprehend the complex geometry of the Museo Soumaya. Digital design tools have shifted the focus away from the idea of “making form” toward the idea of, “Finding form”13. In this respect form is manifested through articulating an ‘internal generative logic’14 such as an algorithm, where it can be manipulated to generate a range of possible design solutions. This has led and continues to lead to fabrication of complex and innovative structures that persist to enrich the discourse.
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The complex and arbitrary form of the Museo Soumaya created numerous issues for the architect in terms of realising this unprecedented design and being able to construct and fabricate it effectively. It was evident that interior elements such as the roof structure could not be represented via traditional 2D methods because of the nature of the buildings form. This effectively led to custom made 3D modeling programs being produced (Geometrica) to design the interior and exterior skeletons of the building adorned by approximately 16,000 hexagonal panels. Every single panel being different and uniquely responsive to the angles of the local geometry.15 Laser topography was used in order to modify the geometry in certain sections of the facade. This five stage process grouped panels together based on their geometry giving the project team geometric data directly extracted from the 3D model that could be reapplied to the panels in order to manufacture each individual unit.16 It is not only the use of innovative design programs that pushed the boundaries of possibility but also how The Museo Soumaya is a product of an integrated and holistic design process which breaks away from the traditional and somewhat unflexible linear design process.
(ABOVE) FACADE DETAIL
Through the use of parametric design tools the digitally designed 3D model was not only used as a reference during the construction process but it was also modified regularly. This ability to constantly recalibrate the model and make iterations to it allowed the project team to see how various elements would interact with each other. This was fundamental in helping to understanding the complexity of the structure and effectively document it, such as how the hexagonal panels would differ in size and shape in reaction to the curvature of different sections of the building. This effectively allowed for decisions to be made instantaneously during the construction process. The ability to successfully construct a building of such complex form has not only proven what can be achieved through the use of parametric design tools, but also how an integrated design process is perhaps a more efficient way to design our buildings in the future.
(ABOVE) DIGITAL MODEL OF STRUCTURAL FRAMEWORK
FERNANDO ROMERO ENTERPRISE (2011)
Museo Soumaya
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Mexico City Mexico
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The Galaxy SOHO possesses the typical fluidity and dynamism of Zaha Hadid but it is the use of digital design tools, particularly the use of Material Computation that makes this project an innovation in architecture. Hadid’s design approach is unique as it does not use a ‘pre-rationalisation’ design approach, whereby geometric rules are used in order to create constructible proposals.17 Therefore construction constraints and manufacturablity are considered at the beginning of the design process. Nor does Hadid use a ‘post-rationalisation approach’18 whereby constructability solutions are developed to suit a pre-concieved design, a process successfully used by Gehry. Instead the Galaxy Soho was designed through a ‘co-rationalisation’ approach19. Unlike other integrated design processes this manipulation or experimentation of geometric definitions can be explored more freely because contractibility constraints are already embedded within the parametric model ensuring the proposal can always be fabricated. In the case of the Galaxy SOHO, the developable surface definition of the aluminium clad horizontal curves was embedded directly into the parametric models ensuring the building’s constructionibilty. Furthermore the use of layering parametric
(ABOVE) DIGITAL MODEL OF FACADE PANELS
models allowed for this modular plan to seamlessly connect. This is achieved as each parametric model essentially reads the geometry of the previous model, rationalising any changes made to the geometric function of that previous model and responding. This ‘Artificial Intelligence’ is achieved through decision-making nodes according to rules based on particular decision trees.20 The Galaxy SOHO is an example of the potential for the architect to break away from the label of the ‘design consultant’. The use of Material computation allows the architect, engineer and client to the be part of a more collaborative and flexible design process whereby the architect is far more aware of construction constraints at the start and during the design process and can freely explore design solutions with these parameters already embedded into the design.
Through the ma (Constructive so rial properties a embedded by a during the desig an integrated de definitions may ing for decisions tion process.
Galaxy Soho Beijing China
16
ZAHA HADID ARCHITECTS (2011)
anipulation of Maya and CSG olid geometry) Modelers, mateand construction restraints can be architects into a parametric model gn process. This essentially forms esign process whereby geometric be manipulated in real time allows to be made during the construc-
A
Parametricism
Parametric Design In Architecture
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It is interesting to observe how parametric design has been received in the discourse, especially by those such as Schumacher who see it as playing a significant role in the evolution of architectural practice.21 There is a sense of irony that the discourse is being pushed and evolved by a style derived from the use of parameters, essentially restrictions and limitations applied to a design concept. However it is important to recognise where these parameters have been applied to understand how and why such innovative and complex geometries can be achieved. Through the use of algorithms and scripting, parametric design tools have the capability to allow designers to explore the full potential and possibilities of a design concept for a set of given constructional constraints. By working with a defined set of parameters the designer can explore the possibilities of changing these variables with increased control, effectively allowing for materiality and form generation to be pushed to their absolute limits through reactive digital platforms such as Grasshopper. This has led to a ‘pre-rationalist’ design approach whereby constructional or material constraints are considered from the outset of the project ensuring any iteration made to a parametric model will only ever create a constructible structure22. This is in contrast to a traditional design process whereby elements of a design can be subject to change in terms of form, material choices or program in order to make the design concept constructible.
This is one of the reasons why Parametricism has highlighted the benefits of an integrated design process. It is through the embedding of analysed and proven algorithms that has allowed for potential design or construction issues to be rationalised through a generative and reactive design approach as opposed to a linear process of evolution. However it is also important to recognise the new challenges designers must face through parametric design. These include the need for consideration early in the design process of how elements will correlate with each other (front loading) as opposed to the gradual development of a ‘sketch design’. Furthermore the challenges of making significant changes to a complex parametric definition exist as well as the difficulties of being able to trace back changes to a parametric definition in its complicated digital form.23 Despite this the possibilities to enhance the discourse through parametricism still outweigh these challenges. Not only are we being exposed to new complex and reactive forms but we are also being exposed to a reactive and efficient design process, that is beginning to change contemporary architectural practice.
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(Above) Initial Sketch Design
The BMW Welt Building showcases the fluidity of form and responsive facades achievable through the use of parametric design tools. The eye is instantly drawn toward the double cone spiral that rises up from the ground to meet the floating ‘cloud roof’. It is this particular section of the structure where the capabilities of Parametricism shines. The steel framework and approximately 900 panels of glass that dominate the building’s facade respond to the complex twisting nature of this double cone structure.24 Through the use of parametric tools the size, shape and angles of these material elements have been rationalised in order for them to seaminglessly differentiate in accordance to the buildings desired form.
This has resulted in a structural facade of extremely complex geometries being able to correlate with each other and the adjoining roof structure in such a fluid manner. The double cone spiral also acts as a support for the adjoining roof structure via a ring beam at the top of the spiral that transfers the roofs load down along the steel tubes of the facade. The BMW Welt is a prime example of how simple sketch designs can be computerized and therefore rationalised. This has allowed for a free form structure whose structural elements and facade act interdependently and responsively to the given parametric definitions.
COOP HIMMELB(L)AU (2007)
BMW Welt
Munich Germany
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Conclusion Through the research and analysis of numerous architectural precedents undertaken in this journal, the benefits of computation in architecture has become more clear to me. The use of parametric design tools has proven to enhance the discourse immensely and has led to a great number of innovative designs. Designs that are highly responsive to a context determined by the designer in terms of form, materiality and aesthetic qualities. This is why a design based on parametric design will be the best way of realising the requirements of the Gateway Design Project. An integrated design process will be implemented whereby parametric models and definitions will be manipulated, offering the benefit of producing a range of possible design solutions efficiently. This process will not attempt to ‘produce’ the perfect form but attempt to ‘find’ it, allowing the model to react and respond to changing variables intuitively. It is through this generative process and responsive architecture that I see the possibility for an innovative design. A design that will respond uniquely to the site and provide Wyndham city with an architectural icon they desire.
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Learning Outcomes One of the most intriguing things I have learnt through researching about computation in architectural practice has been the contrasting methods of a traditional design process versus an integrated design process. I’ve always designed via a parti or sketch design and developed it to a stage where it could be fabricated. However the ability digital design tools have to deal with the issue of contractibility and form generation from the outset of the design process has led me to question the validity and efficiency of some aspects of the traditional linear design process. For me the Case for Innovation stage has been extremely valuable. It has exposed the potential and the possibilities of computation in architecture that I was slightly ignorant and dismissive of before undertaking an analysis of computation and it’s impact on the discourse.
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1. Patrik Schumacher ‘Introduction : Architecture as Autopoietic System’, in The Autopoiesis of Architecture (Chichester: J. Wiley, 2011) p. 1
12. Branko Kolarevic, Architecture in the Digital Age: Design and Manufacturing (New York; Lon don: Spon Press, 2003), p. 4.
2. Richard Williams, ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Con- cepts, Contexts (Edinburgh: Edinburgh Uni versity Press, 2005) p. 115
13. Kolarevic, p.13.
3. Schumacher, p. 2. 4. Schumacher, p. 3
14. Kolarevic, p. 13. 15. Fernando Romero and Armando Ramos, ‘Bridgi ng a Culture The Design of Museo Soumaya’ in Architectural Design Magazine Volume 83, Issue 2, March/April 2013, p. 68
5. DsgnWrld.com, ‘Copenhagen architects BIG 16. Romero & Ramos, p. 69. beat Foster and Hadid’ <http://www.dsgn wrld.com/copenhagen-architects-big-beat- 17. Cristiano Ceccato, ‘Material Articulation’ in Archi foster-and-hadid-8229/#more-8229> [ac tectural Design Magazine Volume 82, Issue cessed 18 March 2013] 2, March April p. 98. 6. DsgnWrld.com, [accessed 18 March 2013]
18. Ceccato, p. 99.
7. Bridgette Meinhold, ‘BIG Architects Unveil Massive Mobius Strip Library for Kazakhstan’ in inhabit.com < http://inhabitat.com/big-unveil massive-mobius-strip library -for-kazakhstan/> [accessed 18 March 2013]
19. Ceccato, p. 100.
8. arcspace.com, ‘CCTV Headquarters’ in arcspace. com < http://www.arcspace.com/features/ oma/cctv-headquarters/> [accessed 16 March 2013] 9. arcspace.com, [accessed 16 March 2013] 10. Lawson, Bryan (1999). ‘’Fake’ and ‘real’ creativity using computer Aided design: Some Lessons from herman hertzberger’, in Proceedings of the 3rd Conference on Creativity & Cognition, (new York: Acm press), pp. 174-179 11. Frazer, John h. (2006). ‘the generation of Virtual prototypes for performance optimization’, in GameSetAndMatch II: The Architecture Co-Laboratory on Computer Games, Advanced Geometries and Digital Technologies, (rotterdam: episode publishers), pp. 208-212
20. Ceccato, p100. 21. Patrik Schumacher, ‘Patrik Schumacher on parametricism - Let the style wars begin’ in architectsjournal.com.uk <http:// www.architectsjournal.co.uk/2011- stirling-prize/patrik-schumacher- on-parametricism-let-the-style-wars- begin/5217211.article> [accessed 28 March 2013] 22. Ceccato, p. 99. 23. Daniel Davis, ‘Introduction to Parametric Model ling’ lecture at University of Melbourne, 22 March 2013. 24. BMW Group, ‘The BMW Welt Architecture’ <http://www.bmw-welt.com/en/location/welt/ architecture.html> [accessed 31 March 2013]
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PART B Design Approach
B
Pattern Design Approach
The design approach that we believed would offer the greatest scope for experimentation and opportunities for an innovative design suitable for Wyndham city was Patternation. Historically pattern has not only acted as a decorative design element but has also been used to represent and communicate ideas through totemic identification in particular cultures or to conceal idea through camouflage1. This symbolic or representative quality is one that we believe will allow us to achieve an installation that is placemaking and communicative of ideas related to Wyndham city. Patrik Schumacher adds to this idea of pattern as a communicative design element describing it as a conveyor of â&#x20AC;&#x153;atmospheric valuesâ&#x20AC;? perceived in a mode of distraction2. Essentially the view that the articulation of ornamental pattern is not perceived in focused attention but can create atmospheric qualities through sub conscious behavioral priming3.
Being a roadside installation our audience will percieve the design whilst in motion, at high speeds and with divided attention. Therfore the idea of creating an experiential space through sub conscious perceptions is one that will allow for the greatest atmospheric value or impact to occur for a minimal amount of time and attention divers can direct toward the installation. Furthermore we feel movement can be exploited to derive a pattern orientated toward speed and movement. Through parametric design we see an opportunity to move away from using pattern simply as surface ornamentation or decoration but to create a pattern adaptive to form creating a transformative effect for the driver to experience. It is through these ideas that will help to culminate in an installation that creates an experience that is unique to the space and users.
1
Patrik Schumacher, Parametric Patterns, in Architectural Design Vol 79, No 6, Nov/ Dec 2009, accessed on PatrikSchum acher.com < http://www.patrikschum acher.com/Texts/Parametric%20Patterns. html> accessed on 25th April 2013 2 PatrikSchumacher.com accessed on 25th April 2013 3 PatrikSchumacher.com accessed on 25th April 2013
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The leaf Chapel is an example of how pattern can be amalgamated with a surface as opposed to being applied to a surface as a separate entity. This has been achieved through the perforation of the curved steel sheeting. The eye catching pattern is one whose visual impact is boosted through light. At night interior lights showcase the elaborate pattern while in the day light is filtered through to create a luminous ceiling. This is an advantage of developing a pattern as part of a surface compared to it acting as an outer skin or wallpaper. The perforations allow for the pattern to be seen from both inside and out side
the building and hence allows for interior and exterior effects of light and shadows. Furthermore the use of perforations to create pattern allows for different visual effects and aesthetic depending on the time of day, creating a pattern that is reactive to light conditions. While this is not a parametrically derived pattern this project is still relevant as a precedent for the integration of pattern and surface. This will be important for the development of the gateway as it provides a possible approach (perforation) of how to avoid treating patternation separate to form making.
KLEIN DYTHAM (2004)
Leaf Chapel
Tokyo Japan
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B
Blaze Sculpture
Middlesbrough England
IAN McCHESNEY (2007)
The Blaze sculpture is a precedent we have used to argue the potential of pattern to have an additional visual effect to simply act as decoration. The roadside installation is made up of a repeating series of anodized aluminium staves that have been set into the ground. Each stave differs from the one next to it in both height and angle. While stationary one may perceive the installation as a series of poles gesturing a flowing form. However once perceived in movement a different visual effect occurs. It is these small changes in length and angle that generates a sense of movement in the installation itself. As the driver circumambulates the poles seem to rise and fall and spin as if it were picked up by a tornado. This is an example of how pattern has been orientated towards the users movement. While the photographs on this page display a
dynamic sculptural form, the visual experience of seeing how the installation reacts to constantly changing views is not captured. This can only be experienced on site and while in motion, a deliberate design intent. While this is a simple pattern of repeating poles the idea of an experiential roadside design is one that we are aiming to achieve. We intend to develop are far more complex and meaningful pattern that relates to Wyndham city but we take away the gesture the Blaze sculpture projects. The way that it reacts to the way the space is used and perceived. How the designers have refused to simply drop in a sculptural piece of art on the side of the road. How they have embraced movement as a generator of ideas instead of a hinderance.
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B
Spanish Pavilion Nagoya Japan
Original Pattern
h
Explorations Vectors The pattern was transformed by changing the values of the Vector commands. This changed the direction of the lines making up the hexagons. This resulted in differently shaped polygons as opposed to the repeating hexagon.
Extrude The pattern was extruded creating a 3-Dimensional pattern with apertures. The second exploration had the apertures filled in creating a pattern based on a series of individual solids with no physical connection between them.
Offset The hexagonal units were offset by a circular curve creating rounded tiles. As a result the pattern has less of a geometric composition.
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B
Surface Morph
This series of iterations involves morphing the altered patterns and exploring how they would react on a curved surface. The first two morphs involved changing vector values of the hexagonal units. Unlike on the 2-Dimensional tests the individual units changed in shape and size adapting to the curvature of the surface. The pattern was therefore noticeably denser in some areas while being stretched in others. The last two morphs looked at changing grid values. This essentially changed the number of rows and columns of the pattern grid. Once again there was a different reaction on the curved surface as the depletion of rows led to the pattern being stretched out. This was due to the fact deleting rows of a pattern on a surface that has been morphed, will divide the surface by the amount of rows instead of simply removing it were a 2-Dimensional Grid.
Surface Morph with Extrusion
This series of iterations followed on from the last but extruded the patterns on the surface. The same techniques of changing vector values and grid values were used once again. The extrusion created a tessellating structure causing it to lose its smooth uniform curvature. Instead each individual extrusion is angled to create the curve. Despite the loss of smooth curvature this exploration did offer deeper apertures that created more intriguing shadow lines under the arch. As this was a curved surface this shadows varied across the surface creating an effect that changed depending on the position it was being viewed from
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B
The Airspace Tokyo building is an example of the application of a voronoi pattern in architecture as well as the generation of 3-Dimensional pattern through surface apertures. The voronoi pattern that adorns the building does not act as a wallpaper to a planar surface but instead creates a pattern through the perception of depth and changes in light and shade. Another intriguing element of the design is the way the pattern has been overlaid on one another. Each screen possesses a different pattern creating an interesting overlapping effect. While this effect in itself is eye catching the pattern also serves as a functional building element. Firstly the variation in openings is controlled and deliberate as to allow more light into the particular rooms by creating larger apertures. This is achieved by decreasing the density of the pattern in the chosen area, also minimising the overlapping effect allowing more light to filter through.
This also creates a dynamic shadow effect inside as light hits the multi-layered facade. Secondly the screens act as channels for water to run down via capillary action, keeping it away from the decking behind the screens. The idea behind the pattern was to imitate vegetation that had previously covered the building. The Airspace Tokyo is a great example of the representational quality of pattern as well as the aesthetic value and functionality. While utility may not be a significant factor for our design the aesthetic value of this building is one that has captivated us and is one of the approaches we have strongly considered, given the opportunities to control the amount of light filtering through as well where it is being filtered through. Something the Airspace Tokyo has achieved quite innovatively.--
FAULDERS STUDIO (2007)
Airspace Tokyo Tokyo Japan
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B
Reverse Engineering Process The element we attempted to reverse engineer was the Voronoi panelled facade of the Airspace Tokyo. The voronoi pattern was created firstly through referencing in a series of randomly placed points into the Voronoi command. This creates a geometric pattern based on the centres of the circumcircles of a delaunay triangulation.
In order to create the circular apertures curves were offset from the existing points with the polygons of the voronoi pattern acting as individual boundaries. The pattern was then extruded to create a 3-Dimensional panel.
Finally the perforations were achieved through the ‘SDiff’ command. This essentially references in two different ‘brep’ sets of data and performs a Solid Difference. In this case the voronoi pattern is referenced with a surface plane to create the perforated surface.
Final Voronoi Panel
The Final outcome is a 3-Dimensional voronoi pattern achieved through apertures defined by the offset of the series of polygons.
Grasshopper Definition
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B
+
+
= To achieve the differing layers of voronoi pattern a series of screens were developed. Each screen was varied in two ways. Firstly by referencing in additional points generating more polygons and effectively creating a denser pattern. Secondly the points were moved into different areas to the panel. Unlike the first method which created more polygons, this simply changed the shape and location of the polygons, stretching and shrinking each panel. Once variation in the density and location of the apertures was achieved the panels were layed over each other to generate the overlapping effect of the Airspace Tokyo. The overlaying of the voronoi pattern is one that we found intriguing. We liked the aesthetic qualities as the apertures created an airiness and spots for light to filter through and project an interesting shadow on the building surface.
However the patternation of our attempt was created through randomly placed points on a plane. The Airspace building on the other hand has openings that stretch and shrink in reference to the program of the building behind these layered panels. This allows for more light to filter through into selected rooms and provide more privacy into others. It is also important to note that the pattern has also been derived through environmental parameters. The screens also act to channel water away from the internal decking system through capillary action. As such it would be advantageous if we can develop a voronoi pattern based on a logical order or idea, effectively creating different densities, sizes for openings and apertures of our pattern. This will allow us to control the development of our pattern and then manipulate it to suit the opportunities or constraints of the site.
Final Outcome
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B
Case Study 2.0
Edithvale Seaford Wetlands Discovery Centre
Melbourne Australia
MVS ARCHITECTS (2012)
In addition to Airspace Tokyo we also attempted to reverse engineer the surface pattern of The Edithvale Seaford Wetlands Discovery centre. Through the use of the Nudibranch plugin we were able to imitate the rippled concrete panels of the building. The plugin allowed for numerous intriguing results, essentially creating patterns based on capturing the fluid nature of a wave ripple developed from a series of straight lines. While the patternation offered an interesting sense of fluidity and depth, we found ourselves focusing on using this process to generate a possible surface or form where we intended to create a secondary pattern to apply on to it. This was not only an inefficient way to generate a patterned surface but it also contradicted our desire not to use pattern simply as a means of decorating a surface but instead to generate a form through an adaptive pattern. As such it was an approach we did not develop any further. Effectively it was the opportunity of using light and shadows of an adaptive pattern based on apertures that we believed to be the best approach.
NUDIBRANCH Matrix
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B
Algorithmic Sketches
The First test explored variations in voronoi patterns by changing the order in which lines connected with the point grid. By alternating the ‘True’ or ‘False’ commands. This created a series of varying geometric patterns.
The Second test introduced attractor points to a series of cylinders. This created a variation in the diameters of the cylinders based on their proximity to the attractor point. This generated a pattern that seemed to disperse from corner to corner.
Attractor points were used to create vertical variations as well as the previous dispersal pattern. This created an interesting form that was generated by the pattern.
Attractor points were also used to create apertures in a possible tiling system. The openings varied in size depending on the proximity of the attractor point. A randomizer tool was also used to create randomly dictate the size of the openings.
Finally Lunchbox was used to generate different outcomes while using attractor points. Based on contours this created an organic looking pattern that we decided to explore further.
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Design Matrix
ITERATION WAVE ATTRACTOR LENGTH This had a direct impact on the density of the pattern, in turn affecting the shape and sizes of the voronoi cells. The increased density seemed to create similar shaped cells, lacking dynamism.
CONTOUR NUMBER This seemed to draw the voronoi cells toward a particular direction based on the chosen contour line.
CONTOUR DIVISION NUMBER This stage altered the size of the voronoi cells. While the higher divisions displayed the contour lines quite clearly, it seemed to be lost in the lower divisions leading to â&#x20AC;&#x2DC;pebble-likeâ&#x20AC;&#x2122; patterns.
OFFSET DISTANCE This dictated the spacing around each cell. While setting a low offset created connected cells, fabrication of such a pattern would be extremely difficult and tedious. On the other hand high offsets would restrict light if the cells were apertures.
GRID U-VALUE This changed the pattern lines dictated by the contours, effectively changing the orientation of the voronoi cells.
GRID V-VALUE This process led to a pattern that possessed a certain organic character, that could be interpreted as flower petals or leaves. The denser patternation on the edges helps to highlight the less dense central leaf-like shape.
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Prototype I
Four different patterns were fabricated into screens, essentially representing a possible tiling or panelling system on a given surface. While the organic patterns were quite interesting as individual panels, it was when these panels were lined up against one another where the pattern became more interesting and dynamic. By lining up the panels we noticed an overlapping effect whereby the patterns increased in complexity and richness as well as offering a sense of depth. As such this had a direct impact on the shadows we could generate through the layers of apertures in the screen. Once again the shadows seemed to be more
visually rousing and intriguing compared to when each panel was used individually. Through the fabrication process we observed a visual effect that was not captured through our computational work. It was only when could handle and physically interact with the panels where we discovered such a visual effect, highlighting the importance of prototyping in our design process. With the feedback we received supporting the overlapping effect as well with our own intrigue, we continued to explore this technique.
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Prototype I1 Prototype II was a test of how two similar patterned panels could react to movement when positioned closely together. The idea was to orientate the pattern to movement creating different views of the pattern until a certain point where the panels lined up. At this point the pattern could be perceived by the driver clearly at a particular point on the road. While there was still an overlapping effect it was considerably weaker than our first prototype because of the â&#x20AC;&#x2DC;lining upâ&#x20AC;&#x2122; effect we wanted to create. This was also commented on during our mid semester presentation with suggestions to persist with a more complex overlapping pattern similar to one of our precedents, Airspace Tokyo. While we were interested in creating clear framed views of our pattern orientated to drivers, it was clear this approach would lose the complexity and dynamism of the overlapping effects of our first prototype tests. As such we decided to go back to an approach that incorporated a layering effect with differentiating patterns that would overlap.
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Technique The patterning technique we have decided to persist with is the definition based on attractor points and Lunchbox’s Attractor Wave. Unlike other approaches we found that this method allowed for patterns with an organic character through the formation of leaf like voronoi cells. This would therefore be advantageous as by being a symbolic gesture and reference to the flora of Wyndam City’s cherished Wetlands. This would allow for a representative installation that draws attention toward one of the municipalities major attractions. As discussed previously the pattern we have developed is only part of our design intent. The ability for the gateway to be unique to the site is pivotal in order to make it a ‘place making’ installation. Therefore we will persist with achieving a visual effect or experience that is a result of perceiving the gateway in motion.
We intend to use an overlaying patternation technique similar to The Airspace Tokyo Building. Therefore pattern will influence the form of the gateway and will be created through perforating the surface. Given the feedback we have received and the outcomes of our prototypes we believe this would be the best way forward. This overlapping technique will allow for moments of light and shade that we intend to orientate toward the driver. Like the Blaze precedent we would argue that by creating a visual experience that is unique to the site conditions and users, our gateway will not just be a sculpture on the side of the road. Instead it will react to movement, drawing the eyes of the driver toward it. These are essentially the techniques and ideas we want to implement into our design and final outcome.
Definition
Contour Surface
Below is a test of the overlapping technique. While it is quite raw at the moment we intend to continue to refine the way we unify surface and pattern in order to achieve the visual effects we desire.
Final Pattern Outcome
Pattern Outcome
Algorithmic sketch of overlaid patterned Surface
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Learning Outcomes One of significant challenges I faced during my explorations and algorithmic explorations was justifying its potential for the project. Outcomes would simply look ‘dynamic’ and visually pleasing, however they were lacking in substance. This was evident in our mid semester presentation when we were asked to explain the process of deriving our pattern. While we have a clear idea of how the pattern works and will look like it is clear that understanding how it is derived and what it represents is as important as the aesthetic result. This also highlights previous arguments in this journal of pattern being capable of communicating ideas. This was something that we begun to develop towards the end of our refinement process but need to refine further to project a clear message of what this installation is about and why this will be ‘place making’ for Wyndham city. Through the analysis of precedents it is clear pattern has the potential to be quite an adaptive design approach, offering opportunities such as symbolism, visually appealing aesthetics and experiential visual effects as discussed throughout this journal.
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PART C Concept Proposal
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Form Making
Form Exploration Part B
Through the development of our design approach in Part B we had developed a technique of applying our generated pattern on a planar surface. As a result we felt that the natural progression was to create an innovative and exciting form in order to showcase our pattern. However this led to such arbitrarily contrived explorations of form (fig A) lacking in substance and any relation with the pattern itself. This was not surprisingly brought up in the feedback we received after the mid semester presentations whereby our form making process was deemed to be separate to our patterning process creating a disconnected integration of these two separate elements. We were encouraged to explore ways in which our pattern could dictate the form and positioning of the gateway on site. This culminated in a design that was strongly informed by our voronoi abstraction.
Selection of Voronoi Cell For Panels As a result we decided to move back toward a modular system based on panels allowing us to focus on the visual effect of our pattern without being distracted by generating a single form or structure. In order to integrate the pattern we appropriated the square panel prototypes to imitate the shapes of voronoi cells in the original pattern. While the overlay effect was strong and effective the repetitiveness and lack of variation of the installation was obvious. We explored selecting rows of differing cells to create variation. While this created a transitional effect and sense of movement while moving past the different sized panels the position, order and spacings between each panel were still being arbitrarily contrived with no reference to pattern. While we had found a viable panel form through pattern the positioning of these panels still needed development.
Single Voronoi Cell Based Panels
Multiple Voronoi Cell Based Panels
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Design Concept
Parametric design was reintroduced to the form making process whereby the parametrically generated pattern was overlaid on site to dictate the positioning of each panel. Furthermore the use of an attractor point at the centre of the pattern allowed for even more variation in the angles in which the panels rested, allowing us to control the variation parametrically as opposed to arbitrarily trying to generate variation through spacing or rotating panels for a visual effect.
As a result the design concept is essentially driven by pattern in reference to its visual effect, form and layout. This was a significant stage of the design process as pattern was reestablished as the driving factor of major design decisions.
Arrangement of Panels
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Site Conditions The Form the installation was strongly informed by the location of the roads next to each site. We had to consider how this would impact the way in which the pattern could be overlaid on site and ensure the visual effect was maximized. To ensure there be an overlay effect of pattern there needed to be several rows of panels and therefore required a wide site (eliminating the narrow site C). We considered placing the installation solely on site B as to follow the curvature of the road and have and therefore have the panels in the drivers line of vision well before driving through it. This would create a sense of anticipation and allow for the experiential approach required in the brief as to allow the pattern to gradually shift and react to the drivers perception whilst in motion. However after watching a video at a drivers perspective we noticed the eye would tend to follow the curvature of the road (toward the right). Taking this into consideration Site A was now an important space however we were fond of the sense of anticipation created by Site B. As a result the installation was split between the sites. The driver would therefore notice the installation at Site B in their approach before their eye begins to follow the curvature of the road in which the installation is showcased along the edges of Site A. Furthermore this allowed us to target the driver at a central location in which the reasons for doing so will be explained further in this journal.
Site B
Site A
Drivers Attention Drawn toward Site A due to curvature of road toward the Right
Drivers View of Gateway prior to passing through
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Design Evolution Surface Grid
Contour Overlay
Contour Projection
Voronoi Abstraction
As discussed in Part B (Design Approach) the voronoi pattern was derived through the projection of a contoured wave surface onto a surface grid by utilizing LunchBox. This left us with a voronoi abstraction of contours defined by individual cells. The next stage was to generate a form that would manifest from the pattern itself.
Centre Designation
Circle Crop
Road Throughway
Integration
As discussed previously the design concept was based on an arrangement of panels which would showcase the derived pattern. The dimensions of each panel corresponded with the dimensions of a corresponding voronoi cell. Not only was the form and dimensions of each panel derived from the voronoi cells of our pattern but the layout and positioning of these panels would also be dictated by the location of each cell once our pattern was overlaid flat onto the site. This ensured there was an inherent connection between pattern, form and layout of the panels.
We moved away from the square layout to a circular layout in which cells were culled in relation to their proximity to an attractor point at the centre of the pattern. This resulted in a circular layout ensuring the outer most panels would all be of equal distance away from the central attractor point creating a uniform plan and a visual effect that could be experienced at the true centre of the gateway. This will be discussed in detail later in this chapter.
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Design Evolution
Voronoi Abstraction
Attractor Point X
The circle was split to make way for the road and rotated to ensure the panels were orientated to the drivers view maximizing the overlay effect discussed throughout this journal. Finally the panels were raised. The degree to how high each panel was raised was dictated by their proximity to the central attractor point. The closer the proximity the higher the panel was raised. This culminated in the panels nearest to the road being the highest ensuring the overlay
effect would be strongest through the panels immediately next to the driver. Furthermore by positioning the panels and dictating their heights in accordance to a central attractor point, a single point on the road was generated whereby the visual effect was strongest at the centre of the gateway. This allowed for a variation in the overlay effect when one travelled through the gateway which was something we deliberately explored.
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Perspectives A
The variation in the panel heights and angles of repose also allowed for different interpretations of the gateway. From the drivers perspective the overlay effect and lining up of voronoi cells is prominent as it has been orientated to be viewed through movement. This creates an experiential approach and gesture of entry and transition through the gateway. On the other hand the views from the petrol station generate a more sculptural perspective. Viewing the installation while stationary allows one to appreciate the form and layout of the series of panels.
The panels themselves had been likened to dragonfly wings, fish scales or rose petals by our peers during the design process. These were representations that all seemed to be relevant to the nearby natural features of Wyndham such as the wetlands and State Rose Garden. However while the installation was interpreted in various ways we have not defined itâ&#x20AC;&#x2122;s symbolism. As a result we hope this will generate a discourse in the city of Wyndham and eventually become an iconic installation and talking point whose meaning will be derived and manifested by the people of Wyndham.
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Viewing Angles A. Princess Freeway North Bound B. Aerial C. Petrol Station D. Princess Freeway South Bound
D
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Visual Effects Through the fabrication of Prototype II during Part B we attempted to create a visual effect that could be experienced through movement. This involved the misaligned overlay of pattern eventually lining up and becoming uniform at a particular point. However the concept was originally designed for panels positioned overhead. As this was a pivotal element of our design the panels had to be appropriated to generate the same effect at ground level along the side of the road. Modification of Panel - Top View shift of facing to the side
X
frame angle aligned with attractor point
The modifications included offsetting the two facings of each individual panel as to misallign the pattern as opposed to being perfectly lined up as in Prototype II. The offset was once again orientated toward the central attractor point at the centre of the road. A loft between the two faces resulted in a diagonally angled frame to secure the faces together and form a single panel.
The orientation of the panels toward the attractor point generated a single point where the patterned faces would line up. This would effectively create a flash of clarity that could be differentiated from the heavily overlaid patternation leading up to the central attractor point (fig. a). The effect is deliberately subtle in order to generate a sense of intrigue. The driver may indeed recognise how the patterned facings line up but the driver may also just simply notice the flash of light or openness of the cells in his/her periphery. It is this flash in the drivers periphery which may generate a sense of intrigue as to what or how the panels and pattern are reacting to movement. The visual effect was also design to represent a threshold and sense of transition into a new space as to satisfy the briefâ&#x20AC;&#x2122;s requirement of providing an â&#x20AC;&#x2DC;experiential approachâ&#x20AC;&#x2122;. The misaligned patternation which leads toward a focal point in which a flash of clarity occurs is symbolic of a passing through a threshold. We felt this effect and experiential approach was appropriate for a gateway essentially representing a space of transition.
X Attractor Point
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Fabrication Process Site Model The site model was made to articulate the positioning and overall form of the gateway and hence only single facings were used to represent the panels. The panels were to be made of a frosted polypropylene so the overlapping visual effect would be easier to see. Ad hoc modifications had to be made to the laser cut panels in order to fix the pieces to the box board base. This involved creating tabs where the panels met the ground. The panels were fixed to the ground via these tabs. The panels were scored at the top of each tab allowing for the panel to be folded upward later on.
This process was repeated for either side of the road until all panels were in position. Once securely glued into position the panels were folded up. Using the digital model as a reference the panels were raised in accordance to their proximity to the central focal point at the centre of the road.
(Over Page - Site Model 1:100)
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Fabrication Process Panel Detail Model Once the Perforated box boards were cut out with the embedded pattern, the more malleable mount board was used to create the curved frame. Each strip was scored more heavily where greater curvature was required in order curve the material smoothly around the boundary of the panels. The strips were glued to one side of the panels and then spray painted with a metallic silver paint to represent the stainless steel finish of the final product. Once all facings were painted and dried the opposing facings were fixed to the other side of the strips to create a single overlaid panel.
In order to fix the panels to the foam board base split pins were used to penetrate through the panel and base and then simply folded back for support. This was also representative of the construction joint we proposed whereby bolts would be hidden inside the cavity of the panel and set into concrete pads. Despite the split pins ability to hold up the panels the correct angle of repose was hard to achieve as larger panels seemed to drop lower than desired. As a result temporary wedges were fabricated to prop up the panels into position. This would be an important foreshadowing to the feedback we received as to the viability of a single bolt being the primary structural element, particularly for the larger panels. However due to time constraints the wedges were a pragmatic solution and worked effectively.
(Over Page - Panel Detail Model 1:20)
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Pattern Evolution We received suggestions from the Final Presentation to explore varying the pattern across the arrangement of panels. We took this idea as an opportunity to further explore the concept of transition in our gateway. We still wanted to keep a sense of uniformity between the panels and hence only small iterations were made to the original pattern definition. By raising the contour line values at increments of 0.2 in the original definition small changes to the voronoi cells occurred. However over the span of the installation one is able to see the change from the first panel to the last quite clearly. It is this gradual change from one end of the panels to the other that is designed to be representative of transition from one environment to another. Being a gateway marking the end of Wyndham and beginning of Melbourne we felt this was a fitting to utilise our pattern in this way. Fig A shows the transformation of pattern from one of the earlier panels, one around the middle of the gateway and one near the exit. The pattern evolves from a group of voronoi cells that eventually change in size and density to form a leaf like element in the centre of the panel by the end of the drive through the gateway. As the driver passes through the formation of this oval element at the centre of the pattern becomes more obvious creating a sense of evolution and transition.
Fig. A Evolution of Pattern
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Construction Joints I
STAINLESS STEEL
STEEL BRACKET
ANCHOR BOLT CONCRETE PAD
I
ELEVATION
Initial Jointing Scheme
The Initial jointing system was composed of bolts set into individual concrete pads below the panels. The bolts would penetrate into the panel cavity and also be fixed to a steel bracket that would hold the panel in place.
0.3m
It was suggested that the panels would require additional support through the feedback we received during the final presentation. 4m
Furthermore it was suggested that parametric design could be utilized for additional support as well as contribute to the aesthetic as opposed to the pragmatic and strictly functional steel brackets fixed to the concrete pads.
DOWN LIGHT
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Construction Joints II
4m
Panel Fins
As a result â&#x20AC;&#x2DC;finsâ&#x20AC;&#x2122; were created to provide an additional structural element to the bolts of each panel.
Revised Jointing Scheme Steel Plate
The fins follow the curvature of the individual panel and have therefore been uniquely appropriated to suit the variety of panel forms. It was important that the fins did not block the overlay effect so a section of the steel sheet was cut out so the patternation could still be seen. U-Bolt
We were also asked to consider how the panels, joints and footings could be manufactured and how that would effect the design of each panel.
Concrete Pad
Therefore our solution was to use a series of U-Bolts with a fastening plate that would be used to fasten the panels to concrete pad footings. The U-Bolts would be set into the pre-cast pads and transported to site. This would mean prefabricated channels would have to created at the base of each panel in order to allow the bolt to enter the panel cavity. The panels could then be simply lifted up and placed over the protruding bolts via the prefabricated channels.
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Material Choice Stainless Steel was deemed the most appropriate material for the installation. The structural properties of steel would ensure the structural integrity of the angled panels would be maintained. Furthermore the panels themselves could be set in moulds and prefabricated off site which would minimize waste compared to perforating holes into individual steel sheets. Also a malleable material was required for the curved frame that would hold the panels together. Finally the slightly reflective finish of brushed steel would allow the panels to shimmer in the evening through the installation of floor lights at the base of each panel. This would ensure the installation possesses varying visual effects that are unique to the time of day and offers a difference in experience for the people of Wyndham.
Stainless Steel - Brushed Finish
Daytime
Evening
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Learning Objectives Looking back it was clear, that at the early stages of the development of the project much of the computational focus was placed on pattern generation. In one aspect this allowed us to develop our parametric skills in grasshopper without being tied down by form making or major constructional constraints. This gave us an environment to experiment and explore the possibilities of parametric design freely. As a result we achieved an extensive exploration of the opportunities offered by Grasshopper and parametrically designed patterns. However we soon found that all the energy and time used in creating a reactive pattern did not actually inform us or translate into achieving a suitable form for the gateway. We instead began to fall into the trap of creating pattern as surface ornamentation rather than allowing the pattern to inform the nature of the surface itself. It was only through feedback and our decision to amalgamate our pattern making process with our form making process through the utilisation of parametric tools where we produced our best design solutions. This was extremely important in our case as the arbitrarily contrived forms we had generated lacked substance and reasoning. Our pattern on the other hand had gone through an extensive developmental process and had been refined and enriched by our precedents. It was important that both form and pattern shared this sense of refinement in order to put forward a strong case for the gateway’s capabilities to enrich a municipality, become placemaking, iconic and something the people of Wyndham would be proud of.
In terms of the design concept itself I feel we were able to achieve this through the inherent connection we generated between pattern, form and layout for our gateway design. By doing this all elements of the installation share the same amount of development and refinement which one may argue adds to the character and integrity of the final product. The ability for pattern to not only catch one’s eye but also generate visual effects or be communicative of ideas was something we explored and achieved through the orientation of our panels and pattern toward motion. Instead of being ignorant of how the space would be used and choose to stubbornly continue to generate an ‘eye-catching’ design (as stated in the Wyndham city brief) the idea of motion, movement and speed were all taken into consideration. This I feel helped strengthen our case for the viability of a roadside installation that would offer an, ‘experiential approach’ and ‘gesture of entry’. In reflecting on this course and our final proposal I feel the evolution and transformation of our early ideas is representative of our own development and understanding of parametric design. While I understand this course only introduces and explores a small part of what is a highly complex and innovative process of design, from what I have explored and experienced in this subject, it is clear Parametricism continues to contribute to the discourse of architecture and will continue to have a significant impact on professional practice in the future.
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