STUDIO AIR 2016, SEMESTER 1, TUTOR: MATT M. YIQIAN CHUA 699137
Table of Contents
PART B
B1. RESEARCH FIELD: PATTERNING
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B1. RESEARCH FIELD: SECTIONING
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B2. CASE STUDY 1.0: PORTRAIT BUILDING Introduction Matrix of Iterations Selected Outcomes and Discussion
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B3. CASE STUDY 2.0: WEBB BRIDGE DOCKLANDS Introduction Reverse Engineering Log Process Diagram and Discussion
14 16 20
B4. Technique Development Matrix of Iterations Selected Outcomes and Discussion
22 31
B5. Prototype
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B6. DESIGN PROPOSAL Introduction and Concept Site and Surrounding Context Early Design
34 36 38
B7. LEARNING OUTCOMES
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B8. APPENDIX AND REFERENCE LIST
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“For the first time in history, architects are designing not the specific shape of the building but a set of principles encoded as a sequence of parametric equations by which specific instances of the design can be generated and varied in time as needed…” 1
Ravensbourne College, Foreign Office Architects Image: https://blog.quintinlake.com/2012/08/01/ravensbourne-college-tiling-by-foreign-office-architects/ 1 Branko Kolarevic, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pg. 12..
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B1. Research Introduction: Patterning
Spanish Pavilion, Foreign Office Architects
Madrid Civil Courts, Zaha Hadid Architects
Image: http://www.stylepark.com/en/ceramica-cumella/facadecovering-spanish-expo-pavilion-aichi-japan
Image: http://www.zaha-hadid.com/architecture/madrid-civil-courts-ofjustice/
Parametric Patterning Patterning is one of the most common parametric technique to achieve the modern impression of ornamentation,1 as it is argued that the interest in patterning is an effect of a necessity in modern culture to embody complexity through consistency.2 Multiple architectural firms have been at the forefront of developing patterning techniques or using specific patterning methods as a common language, including UNStudio, OMA Architects, Greg Lynn and, possibly most significantly, Foreign Office Architects. FOA has over the years employed parametric patterning to generate different forms of patterning in multiple projects, creating unfamiliar outcomes with each projects.
FOA’s enclosure patterning can be studied in precedent projects such as the Spanish Pavilion, John Lewis Building and Ravensbourne College in Greenwich. In their projects, while patterning is applied mostly on the building envelope, the role of patterning is far from insignificant. Patterning elements can achieve not only visual effects but also influence thermal and light performances of the building. Within a single building, the patterning on different facades or directions would differ depending on solar and weather exposure, views or structure shape, differentiating patterning application for them individually can be relatively easy to control through parametric design.3
1. Patrik Schumacer, ‘Patterns of Architecture’, Architectural Design,79,6,2009 (Wiley, 2009) pg. 30-41. 2. Alejandro Zaera-Polo, ‘Patterns of Architecture’, Architectural Design,79,6,2009 (Wiley, 2009) pg. 20. 3. Alejandro Zaera-Polo, ‘Patterns of Architecture’, Architectural Design,79,6,2009 (Wiley, 2009) pg. 25-27.
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“Parametric design calls for the rejection of fixed solutions and for an exploration of infinitely variable possibilities.� 1
Spanish Pavilion, Foreign Office Architects Image: https://www.yatzer.com/BANQ-restaurant-by-Office-dA 1 Branko Kolarevic, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pg. 12.
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B1. Research Introduction: Sectioning
Rest Hole in University of Seoul, UTAA
Driftwood Pavilion, AA Architecture
Image: http://www.archdaily.com/440719/rest-hole-in-the-universityof-seoul-utaa
Image: http://www.dezeen.com/2009/07/03/driftwood-pavilion-by-aaunit-2-opens/
Parametric Sectioning Sectioning, in contrast to patterning techniques, deals more commonly with the form of the design rather than the skin. It generally involves generating shapes or defining space through a series of flat sections aligned together. Sectioning allows for complex shapes and geometry to be simplified to almost two dimensional documentation and fabrication, as each of the sections in a common sectioning design can be cut from a sheet material. In this age of computational design, it is considered increasingly important for integration of fabricators within the design process , as it tends to inform the design itself in most cases.1
1. Brady Peters, ‘Realising the Architectural Intent: Computation at Herzog & De Meuron’, Architectural Design, 83, 2, (Wiley, 2013) pg. 61. 2
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„Portrait Building‟ – Swanston Street Apartments ARM ARCHITECTURE The ‘Portrait Building’ or William Barak Apartments, was to be a fairly typical apartment block building, aside from the obvious patterning of the panels which depict the face of the late aboriginal leader, William Barak. ARM architecture achieves this through changing the profile of the horizontal panels to reflect a monochrome image of Barak. The technique holds no great complexity, allowing constructability and works within typical performance of standard materials. While quite a simple patterning technique in terms of computational design, the social value and implications of this building is beyond significant as it became a tribute to a significant figure of history, immortalised in a painfully direct way and would be imprinted onto the urban picture of Melbourne for decades to come. It is argued that this technique address the human nature of pareidolia, where the human mind tends to perceive a familiar pattern as an image or face, literally in this case, thus allowing this particular technique to play a significant role in design and aesthetics of buildings.1
Image: http://assemblepapers.com.au/2015/05/28/remember-me-architecture-placemaking-and-aboriginal-identity-2/ 1. Sussman and Hollander, Cognitive Architecture (Routledge, 2014) pg. 13-14.
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B2. CASE STUDY 1.0: Portrait Building In this case study, the definition provided for the patterning technique is explored and tinkered to produce interesting outcomes. As I have yet to come up with a direction for my Part C project, this case study will take a more general stance and explore:
What are the most aesthetic or interesting ways of patterning an image on buildable forms? This selection criteria is a predominantly aesthetic one, as I try to produce outcomes where the image is not simply being presented in a straightforward manner but how it can be suggested or even partially concealed to achieve different potential design intents.
Image: http://www.australavianimages.com/gallery3/index.php/grebes/Hoary-headed-Grebe/SB_035697_Balldale_NSW_2875_800
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SET 01 The first set of iterations explore the provided definition by changing sliders that affect translations on the curves. The results are interesting to note as slight changes could create fairly different results.
The second set continues to push the provided definition further for more interesting outcomes. The same image being sampled can be patterned and presented differently through these changes.
SET 02 10
SET 03 The third set of iterations involve introducing new components that make circles around the translated points. This creates a completely different type of patterning that might be more or less desirable depending on design intents.
The fourth set of iterations give the curves a thickness each instead of lofting them together. This allows for the image to still be patterned while generally maintaining open faรงade.
SET 04 11
SET 05 The fourth set of iterations apply the same technique onto a pavilion-like structure. The pattern in this case is overhead instead of front-on, producing a more concealed or secretive approach rather than simply presenting the image.
The sixth and last set of iterations explore how the patterning technique could be used on a staircase. It is interesting to note how different ways this patterning is applied can inhibit the functionality of a staircase.
SET 06 12
B2. CASE STUDY 1.0: Portrait Building
This first selection is very similar to the original project, however, the image is presented here with a more striking contrast as the translations are set to greater amplitudes.
This second selection is my favourite one, where the image is not just presented but blurred and tend to blend into a less rigid form of patterning as a different type in itself.
This third selection is from the species of circular perforation, perhaps achieving the least imposing type of aesthetic patterning, which is fairly commonly adopted.
This last selection is interesting in its own right as it produces an outcome that has an illusory 3dimensional effect., while it is still projected from the same surface as the others.
DESIGN POTENTIAL The panelling patterning technique of the Portrait Building is, among other things, advantageous in its ease of fabrication, as it mostly involves cutting strips to the specific shapes. The selection criteria for this case study is kept fairly open as I would like to explore different ways of achieving patterning, and the selected iterations are all different to each other even though depicting the same image sample. The obvious advantage is therefore the potential for achieving patterning in tandem with other design considerations, such as perforating for ventilation or working with material properties. The flexibility that this technique provides allows for ease of resolution and can be employed in a wide range of contexts.
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Webb Bridge, Docklands DENTON CORKER MARSHALL / ROBERT OWEN The Webb Bridge in Docklands is a project designed by architects at Denton Corker Marshall and artist Robert Owen. It is a public area dedicated for pedestrians and cyclists, less so for bridging the waterfront of Docklands but more for leisure and recreational purposes. The design of the bridge, done by artist/sculptor Robert Owen is based on the Koori eel trap, which holds significant cultural value to the Australian community. The form is then realised through parametric tools and engineering, simplifying the elements into simpler units and uncomplicated joints. While not exactly reflecting the technique of sectioning in the common sense, the Webb Bridge design does indeed separate the single structure into a series of sections which can be individually designed for joints or connections, allowing for the continuous but varied semi-horizontal elements that span the interval, giving the structure the eel-trap design.
Image: http://www.docklandsisbeautiful.com.au/?portfolio=webb-bridge-3
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B3. CASE STUDY 2.0: Webb Bridge
Image: http://www.andreaperrin.com/wp-content/uploads/2013/01/Image-11.jpg
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STEP 01 The first step in the process of attempting the reverse engineer of the project is to draw two curves that define the path of the bridge. These two curves are then referenced into Grasshopper, divided into a series of points and then connected by top and bottom arcs to produce a similar frame as the Webb Bridge. The directions of these arcs does not follow the path of the bridge as I wished, though attempts at fixing this have not been successful.
STEP 02 The second step I took is to offset the arches inward to produce a vertical thickness to the circular rings. This process took a few trial and errors to find the right planes for the offset to achieve what I wanted. At the same time the average between the points on the curve is found and the tangent vector of these points are referenced. I attempted to use this result to fix the problem mentioned in step 01 but to no avail.
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B3. CASE STUDY 2.0: Webb Bridge
STEP 03 The number of points on the curve is increased and the list is then culled to separate the framed spaces from the gaps in between. The result is lofted to create the rings that become the frame for the bridge. A cull pattern is introduced to the vertical offset in step 02 to remove any offsets in the gaps. The base is also produced from lofting a series of lines that connect the curves together.
STEP 04 All faces of the rings are lofted with their respective curves to fully define the rings for the frame. The number of divisions on the curve is increased to make the rings and frame look less bulky as the original project would have been. Some minor problems emerge such as the ends of the bridge having unwanted extrusions, and the base not properly lofted at sharp corners.
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STEP 05 The process came to a standstill as I revisit the problem of trying to rationalise the angle of the rings relative to the path of the bridge as mentioned in step 01. This step involves mainly problem solving and attempting different methods to try and achieve greater resemblance to the original project. Different cull patterns are attempted to create thinner rings and wider gaps in between.
STEP 06 The previous problem is solved by instead only dividing the outside curve and using the closest point on curve component to define the points on the inner curve. This produces a result where the rings follow the tangent angle of the path at each point rather than a default axis. The cull patterns are further developed for more desirable results. One minor problem that arise from this new method is the wider or narrower areas where the bridge curve the most.
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B3. CASE STUDY 2.0: Webb Bridge
STEP 07 I arrived at a satisfactory cull pattern that reflect the original project the most, while also adding more divisions on the initial curve. The parts at both ends of the bridge is fixed to exclude unnecessary extrusions. Some minor tweaking is done to improve the frame.
STEP 08 Finally, the horizontal patterning in between the circular sections is created. The process involves using a random component with a series of seeds to evaluate different points in each of the section, whereby these points are then connected and offset to create these horizontal varying strips that run along the bridge. The Grasshopper definition is then ‘cleaned-up’ through removing useless components and tidying up the remaining definitions.
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Webb Bridge Reverse Engineering The reverse engineering of the Webb Bridge in Docklands is completed to a satisfactory results in my opinion. The project involves mainly a frame of circular rings that follow the path of the bridge, intersecting semi-horizontal components in the gaps of the frame and a base. In this sense the final outcome in this part achieves the main elements of the project to a certain degree. However, some minor and fairly significant differences exist. The pattern at which the horizontal strips vary across the length of the bridge is more random than the one generated in my attempt. The pattern for which they follow could not be picked up from the little information I have on the project. The frame itself also varies in some areas where the height or width might be translated higher or lower according to the original designer’s intent. Though subtle, these changes ultimately affect the visual and experiential value of the project and could not be reproduced without discerning the original intent of the designer. The gap in between the rings that make up the frame is also not constant contrary to my version, and this will be further investigated in the next part of this journal.
Drawing two curves that define the path of the bridge.
The outer curve is divided into points and mapped onto the inner curve.
These points are then connected through arcs both upward and downward.
The arcs are offset to achieve depth and lofted together.
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B3. CASE STUDY 2.0: Webb Bridge
DESIGN POTENTIAL The Webb Bridge project can be considered a sectioning example in computational design. While not so much a method of aesthetic generation, sectioning allows for ease of fabrication and construction. In this case, the bridge can be simplified into a series of sections for each of the circular rings and constructed individually. The details for joints between the rings and the horizontal strips can easily be detailed for each of the rings, fabricated and installed. Sectioning also removes the need for constructing large irregular loft surfaces if the product is a solid mesh. In terms of potential, using the same logic as mapping varying points on the rings to generate skewed lines that run across the bridge, some other patterning or design can be applied to these rings. These will be explored in the next part B4, including trying to map the image sampling onto this project to try and generate an outcome that makes use of both parametric processes. Another potential that I discovered in researching into this field is the potential of cull patterns. Sectioning in the most basic sense is about ‘slicing’ the geometry into sections and culling every second one with a True-False cull pattern. Introducing different cull patterns into the script can allow for control of openings or gaps that allow for exploring themes such as open and closed space, light and shadows et cetera. Additionally, doing so along with performing functions such as translation, scaling and rotation to the sections can also expand the possibilities of achieving varying outcomes.
The base for the bridge is then created through lofting.
The arcs are joined to make rings and the tween component is used to find the centre of each ring.
Horizontal strips that meet at different points on the centre rings are produced.
All the components are compiled for the final version of the reverse engineer.
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Technique Development Continuing on to further develop the technique that I have used in case study 2.0, the selection criteria is also amended based on my ideas for the project in Part C. One thing to note is that the sectioning technique that I have explored in this case study deals more with form along with aesthetics. This involves working more closely with defining and creating space, something which the previous case study did not explore in detail. Closely linked to what I have intended for the coming project, my selection criteria for this part is:
How do the different forms generated by iterations reflect either natural or artificial forms? As the original project has a fairly artificial form, the aim for the iterative generation in this part with seek to try and reverse the process of making the model more chaotic, uncontrolled and wild, as nature would tend to suggest.
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B4. TECHNIQUE DEVELOPMENT SET 01
The first set of iterations involve simply changing the cull pattern of the rings. A range of different pattern is input into the cull component to achieve some varied sectioning, although the results are more controlled and less chaotic than I wanted to achieve.
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SET 02
The second set of iterations explore how the form would change if the arcs were fed through a mid-point curve instead of a standard arc. This curve is then tinkered to change the general form of the bridge.
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B4. TECHNIQUE DEVELOPMENT SET 03
The third set of iterations introduce a group of components I developed as I was trying to engineer the patterning on the bridge. The result is an interpolated curve that wraps around the bridge. Trying to increase the number of points however resulted in chaotic results as the points are not interpolated in the right order.
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SET 04
The fourth set of iterations tinker with some of the sliders in the patterning script I developed. The first three on the left shows how either none or all of the segments are shifted depending on the number on the slider. The second set changes the domain in which the shift applies, achieving patterning that only applies to part of the bridge.
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B4. TECHNIQUE DEVELOPMENT SET 05
The fifth set of iterations also involve changing some sliders in the definition that changes the patterning. The three iterations on the right has an interpolation degree of 3 to achieve a more curvy patterning.
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SET 06
The sixth set of iterations is the preliminary attempt at combining the patterning technique from the previous case study onto the current one. The result is quite interesting in terms of aesthetic effects, however I did not have any luck with trying to have the translation follow the tangent vector for each individual ring instead of a standard world axis.
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B4. TECHNIQUE DEVELOPMENT SET 07
The seventh set of iterations explore the results of applying a cull pattern onto the result of set 06. Cull patterning yields more interesting results here than set 01, including some where the pattern for the bottom segments is different or inverse of the cull patterning on the top segments.
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SET 08
The eighth and last set of iterations introduce a rotation component to the definition from set 07, where each of the rings are rotated around their respective centre point. Despite not being able to have the rings rotate perfectly in the right axis, the results are still interesting and definitely contributing results that reflect the selection criteria.
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B4. TECHNIQUE DEVELOPMENT
The first selection I chose is an outcome of messing around with the patterning component of the definition. This outcome is particularly interesting as the tight knit curve pattern overhead creates a thick canopy that only allows thin rays of light to penetrate, in a more natural-like way mimicking green canopies.
The second selection departs a little from the criteria of presenting a ‘natural’ form or aesthetic. However this selection is made as it hints at an interesting ways of controlling patterned and clean areas using domains. While this is a fairly simple version, more complex ways of determining the pattern can be explored further.
This third selection is one which is less applicable but more so selected as an interesting result to note. The outcome came about almost unintentionally from fiddling with some components that map patterns onto the form. The intertwining elements that are spread in between the rings create an interesting wild and chaotic effect that could be applicable for potential design intents.
The fourth selection deals more with the form and sectioning technique, here with a cull pattern that spreads the rings in a more uneven manner. This, along with adding the panelling pattern from the first case study to the form, resulted in a more natural looking product which challenges uniformity and standard shapes and forms.
The last selection I chose to extract is a further developed version of the fourth. Here the top and bottom segments are culled inversely and rotated to start to break free from the original form. While the rotation did not go as controlled as expected, the outcome turned out to be more to the favour of the selection criteria of finding an aesthetic or form that is random and uncontrollable.
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B5. Prototype
The prototype I created for part B5 is a small scale model of the Webb Bridge explored in B3 and B4. The investigation involves testing how the structural frame of the bridge would perform under different directional loads, and how it resists rotation and bending. Through the prototype model, the role of the horizontal members to prevent bending is investigated. I intentionally used non-rigid joints for the arches in order to test the how much the horizontal members help support rotational force. As expected the structure is much more rigid and can withstand forces from all directions except a vertical force upwards.
A second variation to the prototype model was created as I was fiddling around with the materials for my prototype. The outcome is a sort of weaving of arches bearing some similarity to the rotated iteration I have in B4. What I found is that the capacity to withstand forces increase in this way, as the members tend to brace each other in different directions.
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Preliminary Consideration The form, function and resolution of the design stems primarily from an underlying objective, which is to invoke communal sense of concern for the preservation of nature and natural environments around the area of Merri Creek. As according to the brief, the project needs to be a temporary, pavilion-like structure, with considerations to material source, use and post-use. This temporary nature immediately suggests small to medium scale, with inherent simplicity to conception but retains enough complexity to exaggerate the aim of the design through computational techniques.
Client – Friends of Merri Creek Following the spirit of the subject and real world context, we had decided to commission ourselves to a local nature preservation group known as Friends of Merri Creek. Understanding the purpose of the group from their website, we simulated a potential case where we would be employed to design for the objective as described above.
Design Objective The design of the pavilion is aimed at invoking appreciation for nature. Beyond simply achieving the function of the pavilion itself, the structure hopes to be a carrier of the social subtext, where the role of nature, specifically that of trees, is represented for their provision of materials which we use everyday such as tables and benches. Through our design, we hope to remind the users of the importance of preserving the existence of trees and natural land.
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B6. Design Proposal Design Concept The concept of the design involves a pavilion structure that represents a linear flow of transformation which symbolises the ‘flow’ of wood harvesting to timber product. Our design concept draws from this idea of timber processing that bridges between a natural tree and a manufactured furniture, which our design seeks to embody. This concept also brings into consideration the post-use of the materials, where the disassembly of the pavilion results in components that become the ‘product’ of this process we mention. As such the single structure is almost a linear spectrum where one end represents the start of the mentioned ‘flow’ and the other represents the end. The form of this project have yet to be finalised, but will include a combination of traditional conception and generative techniques. One end of the spectrum (ABOVE) will be a shelter area whereas the middle part (BETWEEN) will be an overhead canopy over the walk path and the other end (BELOW) being exposed ‘benches’.
Function The function of the pavilion, as partially suggested above, will be fairly straightforward as ranging from a shelter area to a canopy to a seating. The purpose of the pavilion is not to confuse or even surprise users but to design a pavilion that is almost ‘natural’ to the surrounding but also noticeably standing out. Ultimately there will be no complexity to the function of the structure, but through the design we seek to capture the serene environment of the site and provoke reflection of the message it carries.
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Site and Potential Users The site which we have chosen is a medium sized walking path through a meadow that steeps towards the creek. The contour of the area is fairly flat at large, only becoming steeper towards the edges. The proposed design will be situated at the large open field, in part crossing through the walk path as an overhead canopy. The site itself is fairly serene with only a medium amount of public use at most times, therefore not intended to draw large crowds but rather to accommodate the occasional stroller or cyclist’s recreation. The site is also chosen to serve the community rather than the general public, as users are most likely be local residents.
Site Context The site is located on the southern bank of Merri Creek, just north of a residential dwelling area. It is an offshoot of the bike path that runs along the creek and is generally surrounded by fairly open and lowrise areas. While there is a train line a fair bit north of the site across the river, very little noise would actually get here. Access to this site is limited to the entrance and exits of the walking path, making the site quite sheltered away from any significant urban elements, which is ideal for our purposes.
Image retrieved from Google Maps 28/04/2016.
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B6. Design Proposal
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Early Design The early designs for this project involve generating a few preliminary forms as investigations into what the resolution of the design concepts could be. Using some of the techniques I have developed over the past case studies, these designs are meant to be early ideas which will be continually refined as I explore new techniques and document construction processes and joint detailing. We are also looking at generative form finding as we approach Part C to start parametrically devise the form of our structure.
Material selection For the purposes of this project, timber will be the predominant material for all elements of this pavilion. This is to reflect the objective of the project, with some steel joints or other features particularly towards the ‘artificial’ end of the flow.
Techniques The techniques that I have applied in my early design proposal involve panel patterning techniques and sectioning. These are culminations of my previous investigations and will be continually refined to achieve the design intents of this project.
Plan view
Sequential Construction As according to the requirements of the brief and our design intents, the construction process of this project will be simulated as a design element in itself. This is to reflect the spirit of a temporary structure and also to provide additional visualisation of the ‘cycle’ which underlies the form of this project. This will be carefully considered and documented, in particular relation to joint detailing.
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B6. Design Proposal
Front Elevation
Perspective
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B6. Design Proposal
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B7. Learning Outcomes
Through the course of Part B journal, I believe I have further developed my ability to engage in parametric design processes. Unlike before, as I look at case studies I can start to imagine and formulate the processes that lead to the generation of the results, a skill that I believe part B3 have really helped me to learn and understand. Through the tasks of generating iterations I have learnt to generate different design possibilities through the manipulation of Grasshopper definitions. While the techniques that I have explored is still a fairly limited scope, as I engage in more techniques and explore different projects in the future, I believe that the methodology of reverse engineering through developing pseudo-codes and also generating iterations in this part can help me grow my technical expertise in working with computational design.
In terms of objective 7 of the subject which is developing the ability to make a case for proposal, I believe I still require some more learning. Partly due to the little time I had to refine the proposal and partly my lack of experience in design conception and resolution of ideas. However, this will be carried through into Part C, which is the final project as I start to engage with the project in greater depth, especially through communication and working in tandem with my partner, I seek to develop this skill further. Overall I believe I have gain more than just an understanding in Grasshopper through these weekly exercises, but instead a greater underlying spirit of design within the computational context.
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B8. Appendix
Section Joints One of the things I explored throughout this second part of the subject course is joining of sections. The images in this page show one of my models where I explore how two elements can potentially be connected by simple joints. This might potentially be helpful as a resolution to details in the Part C project.
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B8. Appendix
Circular Rings Another interesting example from my algorithmic journal is a circular rings with varied rotation among each ring. This was an idea that I was thinking of including within my Part C project but is currently shelved unless I find it useful for our design intent.
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Reference List 1. Brady Peters, ‘Realising the Architectural Intent: Computation at Herzog & De Meuron’, Architectural Design, 83, 2, (John Wiley and Sons Ltd., 2013) pg. 61. 2. Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pg. 12. 3. Patrik Schumacer, ‘Patterns of Architecture’, Architectural Design,79,6,2009 (John Wiley and Sons Ltd., 2009) pg. 30-41. 4. Sussman, Ann and Hollander, Justin B, Cognitive Architecture (Routledge, 2014) pg. 13-14. 5. Zaera-Polo, Alejandro, ‘Patterns of Architecture’, Architectural Design,79,6,2009 (John Wiley and Sons Ltd., 2009) pg. 25-27.
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