Chesbrough Samuel 641048 Journal

1ARCHI-TECTURE

STUDIO:

AIRSAMUEL ALEXAN-DER WOLF CHES-BROUGH 2015

2My name is Samuel Alexander Wolf Chesbrough and Im currently in my third year of the Bachelor of Environments at the University of Melbourne with a planned major in Architecture. I have wanted to become an architect from an early age, when I decided I wanted a hand in shaping our buildings and cities. I have always found design of all forms very interesting, but architecture has always been my primary interest.

Digital architecture I see as an irreversible threshold in terms of design, in-volving the massive computational power of software allows for even more exciting design possibilities. Whilst I appreciate traditional techniques of generating ideas will always have their place, I really see computer-aided design as the way forward. Hence I see a studio like Air as extremely benefi-cial to my future employability.

In terms of digital design, I feel as if I have a lot of potential to learn.

I consider myself proficient with the Adobe Suite and have been drafting us-ing MicroStation, which I also feel very confident in.

Whilst I picked up drafting skills working for an architecture firm over the summer, I still have much to learn when it comes to other software, such as Rhino and Grasshopper. I may not have much of a background, but I find the prospect of being able to master Grasshopper very exciting.

INTRODUCTION

3E X P L O D E DWATER COLOUR AND SKETCH ILLUSTRATINGDIFFERENT COMPONENTS OF DESIGN, LIGHTERCOLOURS INDICATIVE OF MODIFIED LANDSCAPEAND DARKER COLOURS SHOWING CORE OFDESIGN.

P E R S P E C T I V E I NVIEW AS YOU WOULD LOOK INTO THE SPACE,MATERIALITY NOT SHOWN BUT RATHER THE FOCUS IS ON LIGHT, SHOWING THE DIALOGUEBETWEEN OPEN, ILLUMINATED SPACE AND THEDARK MYSTERY OF THE SECRET AREA.

P E R S P E C T I V E O U THOW THE DESIGN WILL BE SEEN BY MOST PEOPLE, AS ONLY A HINT TO THE SPACES BEHIND. THE STRUCTURE

UTILISES THIS HIDE AND REVEAL, THE VERTICAL ELEMENTS PIERCING THE HILL ARE ONLY AN INDICATOR

OF THE SECRET

A U D I T O R YA CONTIUAL LOOP OF AN AUDIO RECORDING

WILL REVEBERATE THROUGHOUT THE SPACE.BY MEANS OF TUNNELS WITH PERMEABLE

COVERING, THE SOUNDS WILL BE HEARD FROM OUTSIDE OF THE STRUCTURE, ALBEIT

FAINT AND MUFFLED.

I have included a number of previous projects, primarily from Architecture Studio Earth. Whilst I can look back on my projects and see much room for imoprovment, I am still confi-dent that the founding ideas for the desings remain strong, a focus that Earth taught me.

My computational skills may not be my strongest asset, but through my exploration I hope that design intent remains strong.

FIG. 1 Architecture Studio Earth: Conceptacle/ Concept of planar geometry intersecting to-pography to lead visitor to the secretFIG. 2 Architecture Studio Earth: Conceptacle / Rear view of concealed entrance to secretFIG. 3 Architecture Studio Earth: Final Model /Materiality (iron oxide coating) used to illus-trate patina of time that comes with secretFIG. 4 Architecture Studio Earth: Presentation / Faded watercolours used to demonstrate ephemeral nature of the secret.

PAST DESIGNS

4PART ADESIGN FUTURING 8A.1 DESIGN COMPUTATION 14A.2. COMPOSITION AND GENERATION 20A.3. CONCLUSION 28A.4. LEARNING OUTCOME 29A.5. APPENDIX 30

PART BPATTERNING 36 B.1. RESEARCH FIELD 38B.2. CASE STUDY 1.0 46 B.3. CASE STUDY 2.0 52B.4. TECHNIQUE: DEVELOPMENT 55B.5. TECHNIQUE: PROTOTYPES 63B.6. TECHNIQUE: PROPOSAL 67B.7. LEARNING OBJECTIVES AND OUTCOMES 73B.8. APPENDIX - ALOGRITHMIC SKETCHES 75

5PART C PROPOSAL FEEDBACK 84 PRECEDENTS 86 C.1. DESIGN CONCEPT 90C.2. TECTONIC PROTOTYPES 100C.3. FINAL DETAIL MODEL 110C.4. LEARNING OBJECTIVES AND OUTCOMES 120C.5. APPENDIX 122

7JOUR-NAL

PART A

DESIGN FU-TUR-ING

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The prospect of de-sign futuring comes across from a seemingly nihilistic basis. In order to sustain our current way of living, human beings as a species have been using increasing amounts of re-sources, with a very short-sighted vision. Design futur-ing acknowledges this perhaps apocalyptic scenario, but in do-ing so realigns the practice of de-sign to a more sustainable direction. Accepting our predicament is hardly pessimistic, to name and face the situation is not doomsaying but realism. 1

With the advent of more complex and more importantly, accessible software, design is being opened up to the people. Free from the trap-pings of territorial professionaliza-tion, expanding to multi-disciplinary perspectives, design as a practice can become more democratic and more holistic.

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Whilst some may argue that the con-cept of design futuring may be wholly underdeveloped and have no actual tangi-ble repercussions. However in challeng-ing fundamental concepts about creation, there is the basis for a definitive shift that will eventuate in physical results along the track. Tackling the idea that creation neces-sitates destruction, the omlette at the cost of the egg, the table at the cost of the tree, thbrough to fossiul fuel generated energy at the cost of the planets atmosphere 2, is one such stepping stone along the path of this realization.

1 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), p6

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The design of BanQ by Office DA utilises vectors, an often used component in parametric design. Involving a z-axis as the space be-tween the ceiling and the ground, the undulating form of the ceiling can be conceptualised as being dictated by specific formulae.

The actual concept of modelling vectors is hardly revolutionary, but is materialisation in architecture certainly is. Computer aided design of course is the means to facilitate such a design.

FIG. 6 http://www.archdaily.com/42581/banq-office-da/

P R E C E D E N T 1 . 0

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Minifie van Schaik Architects de-sign for the Victoria College Arts derives its design process di-rectly from algorithms employed in the Grasshopper plug in. Hence the structure becomes extremely rel-evant to parametric design, explic-itly naming the Voronoi function for generating the form of the Building.

As a physical embodiment of con-temporary software, the VCA Cen-tre for Ideas holds great relevance to digital architecture. Such dyna-mism in the structure is made pos-sible by the design process. Exploit-ing this software can lead to even more innovative forms, unable to be conceived by traditional design pro-cesses.

FIG. 9 http://www.peterbennetts.com/project/view/project/centre-for-ideas

P R E C E D E N T 2 . 0

13FIG. 10 http://www.mvsarchitects.com.au/doku.

DESIGN COM-PUTATION

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Computation has many far reaching consequences for the process of design, far beyond simple representation. Synthesis, fabrication and the actual design process itself can be changed markedly with the introduction of computers.

Design can be seen as a problem posed with multiple factors with many different solutions. There are various changes occurring both in the software and actual fabrica-tion involved with design com-putation. Software such as Rhino modelling with the Grasshopper are obvious developments.

DESIGN COM-PUTATION 3

D printing is one such development in design that is changing not only how de-

signs are modelled, but also how we think about production.

With the advantage of being able to print components

separately and at a relatively low cost, we can change how we think about a prod-ucts lifespan, with the option of replacing smaller parts which might normally require us to create an entirely new product.

15FIG. 12 Experiments with

Planar surfaces II

16

SHANGHAI 2010 BOULE-

VARD // SBA IN-TERNATIONAL +

KNIPPERS HELBIG ADVANCE ENGI-

NEERING

FIG. 13 http://architizer.com/projects/expo-axis-shanghai/

17FIG. 13 http://architizer.com/projects/expo-axis-shanghai/

A collaborative effort between SBA International and the engineering firm Knippers Helbig, the 2010 Shanghai Boulevard project showcases the potential for design computation.

The principal aim of the structure is a lightweight form which utilised con-cepts established in Buckminster Fullers work with the geodesic dome. However design computation was used in order to optimise the glass roof structure, reduce the number of pillars and adapt to changing of basic con-ditions.

FIG. 14 http://www.designboom.com/architecture/knippers-helbig-expo-boulevard-shanghai/

P R E C E D E N T 1 . 0

18 FIG. 15 http://architizer.com/projects/smithsonian-institution-national-FIG. 14 http://www.fosterandpartners.com/media/News/354/img0.jpg/por-trait-gallery/

19FIG. 15 http://architizer.com/projects/smithsonian-institution-national-

De v e l o p i n g further off ideas explored at the Great Court at the British Mu-seum, Foster + Partners generated a flowing form for the roof space to span the existing space. Foster + Part-ners are a key firm in analysing the real world implementation of de-sign computation. Namely how an in-house team of specialist can generate designs in tandem with architects, the two working together.

The Smithsonian Institution exhibits this coop-erative effort through use of parametric model-ling and the development of strategies for complex geometric forms - Foster and Partners website.

P R E C E D E N T 2 . 0

COMPOSITION AND GENERA-TION

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The role of the computer is becoming more then that of a virtu-al drafting board. Where as previously design originated from an idea which was then represented through models, drawings, etc, the computer now is another instrument in the architects toolkit.

How it might be used beyond any notion of fake creativity (i.e. com-plex structures generated for their own sake), is siginificant sortcom-ing as there is a greater focus on the use of the digital to drive design.

COMPOSITION AND GENERA-TION

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Manipulating software such as Grass-hopper and other parametric sys-tems can yield a whole range of geom-

etries that were not previously concievable. More importantly though this idea of comput-

er-generated design can respond to any num-ber of factors, as the precedent analysis should

indicate.

Developing algorithims that relate to placement, ele-ment configuraiton and relationships between elements

can yield multiple iterations of a design, making it more responsive to change as well (simply by modifiying the in-

puts, rather than reconstructing the entire design as a com-posistion based design would usually require).

3 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), p8

224 http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/doi/10.1002/ad.1876/epdf

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A series of projects conducted by students from across the world, the Scarcity and Creativity Studio bears particular relevance to the shift to-wards algorithmic thinking.

Consideration of harsh North Atlantic winds was crucial in the design of these two projects in Lofoten, Norway. The Floating Compression Canopy utilises a tensegreity system, whilst also paying homage to the boats that sustain the livelihood of the small town. Unfixed decking adapts to any large waves.

Shortcomings arose from material choice, something that was only ap-parent through the actual building process. Both the Floating Canopy and the Bathing Platform highlighted generative processes, specifically. Arising from geographical location (hence why each project is identified by its lati-tude)4.

FIG. 19 http://www.e-architect.co.uk/images/jpgs/america/smithson-ian_institute_f090808_nigelyoung_10.jpg

P R E C E D E N T 1 . 0

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DIGITAL TEA HOUSE // CO-LUMBIA UNIVERSITY GSAPP + AVERY DIGITAL FABRICA-

TION

FIG. 22 www.arch.columbia.edu/labs/.../tokyo-digital-tea-house FIG . 23 h t tp ://www.arch .co lumbia .edu/labs/laboratory-appl ied-bu i ld-

ing-sc ience/pro jects/fabricat ion-workshops/tokyo-digital-tea-house27

Whilst there has been an immense focus ion the role of the digital in idea generation, I feel that one important aspect of traditionaln design can be easily neglected, the personal connection one can have with a structure.

The Tokyo 2010: Digital Tea House Workshop had multiple iterations, I chose this paticular modular construction because of both its strong use of parametric modelling, but also its homage to cultural aspects of the Japanese Tea Ceremo-ny.

Using attractor points to model the design, the appearence of the structure is quite contemporary compared to most Japanese tea houses. These attractor points however were modelled off the posistion of the host and the two guests, citing the formalised nature of the ceremony. The inclusion of the tokonoma found in traditional Japanese architecture too is another connection to more tra-ditional ideas of having a spiritual aspect to a structure.

P R E C E D E N T 2 . 0

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My intended design ap-proach util ises all the generative processes I have explored. Data manipulation to generate forms is one technqiue paticularly adept to the Grasshop-per plug-in that I want to further util ise. Likewise adapting site-re-lated geometry to a planar surface is another possible option.

The concept of in-flatable architec-ture is one that hold a lot of po-tential, espeically as more and more advanced soft-ware can actually model and predict the behaviour of

inflatable surfaces. Where pavilions are the primary form of dem-onstrating upcoming architectural developments, I feel an inflat-able pavilion is a cost-efficient way to exhibit computer generated designs.

Whilst inflatable architecture has previously been explored, I would intened to explore climate-responsive design in tandem. As soft-ware and fabrication processes progress, the idea of a holistic de-sign that takes into account multiple factors, e.g. people flow, river flow, wind forces and sun exposure is becoming a much more ac-cesible reality.

CON-CLU-SION

LEARNING OUTCOME

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As someone who had little to no experience with either Rhinoceros or Grass-hopper, the past few weeks have been an incredibly steep learning curve. However my actual understanding of the software, primarily through simply ex-perimenting with the tools I was shown, has increased significiantly.

My actual understanding of compuation versus computerization was one of the more interesting revelations, as previously I had not seen the distinction. Now that I have read an researched on the topic of architectural computing, I have a much better understanding opf the potential for software in design.

One of my previous designs for Architecture Studio Earth involved mapping people flows around Herring Island, representing them as visual attractor points and translating this into a series of elements forming my structure (see below).

SITE MAP RELATIONSHIP SECRET1:100

FOCAL POINTS

POTENTIAL SITES

PATHWAYS

FINAL SITE

SITE VIEW

For my site I wanted a space that was part of the composition of Herring Island, where my conceptacle would form part of the relationship of elements of the Island.

Using several different maps, photographs as well as my own experiences of the Island both on and off of it I selected my site.

From an experiental standpoint I wanted my structure to have a strong relationship withthe surrounding elements, that which I havedubbed focal points.

The final site aligns itself on the island such that it does not impinge on the surrounding focal points, rather it joins the dialogue of elements that already have their place and communicate to each other.

I wanted my strcuture to explore the idea of asecret that hides in sight, where there ismore than meets the eye. This would require a site that is visually dominant with potentialfor hidden elements.

The chosen site is one of the more prominentpoints as you arrive at the island, especially for young children who are drawn to the topographical anomaly comparitive to the flatplain around it.

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BIBLIOGRAPHY

Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fic-tion, and Social Dreaming (MIT Press) pp. 1-9, 33-45

Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 11

Graduate School of Architecture, Planning and PReservation, Tokyo 2010: DIgital Tea House Workshop, GSAPP Projects (2010) < http://www.arch.columbia.edu/labs/laboratory-applied-building-science/projects/fabri-cation-workshops/tokyo-digital-tea-house> [accessed 20 March 2015]

Kalay, Yehuda E. (2004). Architectures New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25

Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Ar-chitecture (London; New York: Routledge), pp. 110

Peters, Brady. (2013) Computation Works: The Building of Algorithmic Thought, Architectural Design, 83, 2, pp. 08-15

Wilson, Robert A. and Kell, FrankC., Definition of Algorithm, The MIT Ency-clopedia of the Cognitive Sciences (London: MIT Press), pp. 11-12

A . 5 A P P E N D I X

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IMAGES

FIG. 1 John Horner, BanQ Office, 2009, photograph [accessed 02 March 2015]

FIG. 2 Peter Bennetts & Derek Swalwell,Centre for Ideas, 2001, photograph [accessed 02 March 2015]

FIG. 3 Architizer, Expo Axis Shanghai, 2010, photograph [accessed 09 March 2015]

FIG. 4 Architizer, Smithsonian Institution, National Portrait Gallery, 2007, photograph [accessed 09 March 2015]

FIG. 5 Unknown, Floating Compression Canopy, Nusfjord, Norway, 2013, photograph < http://www.rcat.no/index.php?option=com_content&view=article&id=60&Itemid=83> [accessed 18 March 2015]

FIG. 6 Unknown, 2x2 Bathing Platform, Nusfjord, Norway, 2013, photo-graph < http://www.rcat.no/images/rcat_web_nusford_site01_03.jpg> [accessed 18 March 2015]

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ALGORITHIC SKETCHES

Included are my most sucessful attempts on Grasshopper.

Below is an example of image sampling to modulate circles with a multi-plier to create a representation in Grasshopper. This could be usedful for my afformentioned previous project.

A . 5 A P P E N D I X

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JOUR-NAL PART B

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Ornamentation has long been a contested principle in architectural discourse. There are several arguments detailing how orna-ment may be an afterthought, something op-tional.

Adolf Loos took this argument even further in Ornament and Crime and extolled the use of ornament as something barbaric.

However ornament and patterning has deep historic sginficance, it is in all cases a histori-cally specific defintion[1].

Robert Venturi detailed how ornament can be used to communicate a sense of community, but more so in a sense that is indenependt of the structural form of the building, which may be seen to support part of Looss argu-ment of ornament being optional.

Ornament as it is more usually defined does seem to fall into the category of an applied afterthought and is far from intrinsic to de-sign.

However if we explore beyond architectural patterning and into the realm of natural or-namentation or patterning, we might be able to discover a more meaningful and funda-mental use for patterning in architecture.

As Dr Stanislav Roudavski noted in the form of a me-andering river, that there was a relationship driven by the flow of the river over time that creat-ed the unique shapes. Patterns in nature, however complex, are not generate by laborious piece-by-piece construction but by harnessing some of the organisational and pattern-forming phenomena we see in non-living world[2].

The aim for my project is to take patterning and express it as a dundamental element of my structure, derived from the forms generated in nature. Use of Grasshopper allows for me to simulate a number of chang-ing factors that will hopefully yield a number of patterns in the same way that factors in our non-living world influence the natural form of a sea shell, or a flower.

1 Rose, Peter Isaac (2004) . The Disspossesed2 Phi l l ip Ball , Natures Patterns - Shapes, Oxford University Press (Oxford)3 Moussavi , Frashid, and Daniel Lopez (2009)4 Phi l l ip Ball

P A T T E R N I N G

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1 Rose, Peter Isaac (2004) . The Disspossesed2 Phi l l ip Ball , Natures Patterns - Shapes, Oxford University Press (Oxford)3 Moussavi , Frashid, and Daniel Lopez (2009)4 Phi l l ip Ball

In general, self organised patterns can be regarded as a kind of computation - Phillip Ball

In prinicple, my work is inspired by the ICD/ITKE Resarch Pavilion 2012. As the patterning on this structure is in-trinsic to the form as well as the fabri-cation of the project. Ornament is the figure that emerges from the material substrate, the expression of embed-ded forces through processes of con-struction, assembly and growth.

It is through ornament that material transmits affects. Ornament is there-fore necessary and inseparable from the object[3], something I believe is demonstrated in the ICD/ITKE Pabilion.

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MOMA PS1 REEF

IWAMATO SCOTT

40

Iw z a -

m o t o Scotts MoMA/Ps1 Reef and CITRIS Lobby is one example which I saw as a seamless integration of the use of pattern-ing in response to the natural envi-ronemnt. The span of the Anenome was modelled using parametric software, where wach of the anenome clouds move with wind patterns and are hung at various heights in order to create multiple degrees of shade.

B . 1 . R E S E A R C H F I E L D

FIG. 3 https://www.flickr.com/photos/isar/sets/72157600023967187/

41FIG. 3 https://www.flickr.com/photos/isar/sets/72157600023967187/ FIG. 4 http://www.iwamotoscott.com/MOMA-PS1-REEF

FIG. 5 https://jcpteam.wordpress.com/2013/03/26/icd-itke-research-pavilion-2011-pre-cedence-study-01/

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Another ICD/ITKE Pavilion, this one from the University of Stuttgart in 2011, exemplies patterning as intrinsic to the fabrication process. There is an existing inclination for parametric modelling to be used to make visu-ally complex shapes with a primary focus on aesthetics.

The three plate structure always meets at one point, a principle which en-ables the transmission of normal and shear forces but no bending moment the joints. THe pavilion is a load optimised structure that uses structural constraints to form the patterning, hence making it intrinsic to the structure itself. Aside from patterning, ideas of biomimicry in the skelton morpho-loigy of the sand dollar sea urchin, and tesselation to are utilised for the structure.

B . 1 . R E S E A R C H F I E L D

FIG. 5 https://jcpteam.wordpress.com/2013/03/26/icd-itke-research-pavilion-2011-pre-cedence-study-01/

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ICD/ITKE RESEARCH PAVILION 2011 UNIVERSITY OF STUTT-

GART

45

DE YOUNG MUSEUM

HERZONG & DE MUERON

Exploration for surface pannelling geo-mertry led to interesting outcomes. Whilst the script used needs to tweak-ing such that it accomodate for all four sections of the surface, as opposed to just the one here, it does hold interest-ing possibilites.

The geometry can be tiled across the surface, here the geometry is randomly chosen. Parametrically modelling a ge-ometry though could yield more useful results

The script used ran a loft through curves modelled off the contours. From there the domain was sub-divided into four components, ran through an IsoTrim, resulting four points. From these a Brep mesh was created.

The mesh brep was referenced in and then put through a surface box. The surface was then tiled with randomly generated mesh geometry.

B . 2 . C A S E S T U D Y 1 . 0

FIG. 7 http://www.globalsiteplans.com/wp-content/uploads/2014/07/

002

003

001

003

005

Herzog and de Meuron was the basis for the first iteration of pat-terning. After the area dictated by the contours was divided into a surface with points, anrepresena-tion of the river flow was mapped as a vector image, from which circles of varying radii were mod-elled to produce a pattern that is reponsive to the natural environ-ment.

48

By combining elements from both of the previous explo-rations: the Brep surface and emulating the Herzog and De Mueron image sampling script, a unique patterning was achieved.

The chosen defintion still requires some reworking, the projections from the surface themselves could be tangent to cre-ate a more realistic surface. T

he explora-tions however

have proved sucess-ful. Panneling for the

shape chosen would be rela-tively easily with the consistent pla-

nar surfaces approximating the geom-etry and the patterning too being relatively

easily to construct.

001

002

003

A

B

B . 2 . C A S E S T U D Y 1 . 0

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The exploration of iterations was conducted by defining five different species, and producing five different iterations of each of those species by modifying parameters (listed in the matrix).

Using the given script, the surface patterning was determined by an image sampler which cre-ated circles of varying radii, according to the im-age sampler A. V and U curves, as well as circle radii were altered.

Used image sampler B, the script produced the circles as points along the surface, all in the same orientation. The number of points was one of the parameters varied.

Used the same image, B, but projected the cir-cles as tangents to the surface, deriving the nor-mal from each of the surfaces faces.The vector factor translating the circles away from the faces was varied.

Used spheres instead of circles to give the struc-ture a more interesting surface. Sphere radii were manipulated as the circle radii in previous tech-niques.

Used a modified image of a naturally pattern. In this case it was the scales of a snake. The script attempted to replicate this pattern, but instead of spheres, it utilised dimples. The outer and inner of radii of the dimples were the main parameters altered.

B

C

D

E

A

50

SPECIES

ASPECIES

B

SP A IT3 presents an adept form of biomimicry

SP C IT2 uses tangential projections (useful for projecting onto actual surface) with circular geometry that is not self-intersecting

SP E IT5 allows for more complex dimpling of a surface according to an image sam-pler. This idea could be explored further to maximise surface area while minimising material use.

ITERATION

4

TECHNIQUE

5

ITERATION

3

ITERATION

1

ITERATION

2

SPECIES

C

Reflecting on this process, there has been a marked understanding on how to change the surface patterning. Combining this knowledge with the Kangaroo component might al-low for finding the optimal structural form and combining this with surface patterning that might mimic natural patterns (psychological benefit), optimise structure (reducing excess material) or allow for easy fabrication (design according to material constraints).

51

SPECIES

BSPECIES

CSPECIES

DSPECIES

E

Reflecting on this process, there has been a marked understanding on how to change the surface patterning. Combining this knowledge with the Kangaroo component might al-low for finding the optimal structural form and combining this with surface patterning that might mimic natural patterns (psychological benefit), optimise structure (reducing excess material) or allow for easy fabrication (design according to material constraints).

52

CITRIS LOBBY // IWAMOTO SCOTT

The CITRIS lobby was con-structed with a consider-ation of lhow light might in-teract with the space. Reverse engineeering this structure could involve the Ladybug component which feeds in site conditions.

From these given conditions, the moving slits could be mod-elled using linear sections,, fixed in their loaction, but their orientation determined by a number of point charges, given by the natural light conditions.

AU OFFICE SPACE // ARCHI-UNION ARCHITECTS

A more complex pattern, the undulating surface could be mad e by constructing sqa-ure shapes overlapping each other in a running bond (offset by half the width of the block).

Given the direction the blocks are facing follows a relatively consistenly changing orienta-tion , a trignometric funciton could be used to model the orientation of each of the indi-vidual blocks.

FIG. 8 //ballistamagazine.com/features/studio-gang/

FIG. 9 http://www.archdaily.com/82251/au-office-and-exhibition-space-archi-union-

B . 3 . C A S E S T U D Y 2 . 0

DIOR SHINSAIBASHI // KU-MIKO UNUI

Using an image sample of the the building facade it-self, coupled with circular pro-jections , the building could be esaily modelled.

For added complexity, these circular projecitons could be mapped too structurally con-nect with the walls and steel framing behind them, using a rail component.

FIG. 10 http://www.inuiuni.com/projects/271/

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WATER TOWER // STUDIO GANG

Pattern could be modelled by creating a block struc-ture with lines spaced even-ly, then model the height of these lines using several point attractors placed around the surface.

The swells and flares (terms used by Studio Gang), relate also to the layout of the col-umns and the terraces and pools on the building. By feed-ing these in as constraints , the structure could be modelled in an even more realistic manner.

DIOR SHINSAIBASHI // KU-MIKO UNUI

Using an image sample of the the building facade it-self, coupled with circular pro-jections , the building could be esaily modelled.

For added complexity, these circular projecitons could be mapped too structurally con-nect with the walls and steel framing behind them, using a rail component.

ICD/ITKE RESEARCH PA-VILION // UNIVERSITY OF STUTTGART

The structural nature of each of these patteneded seg-ments would mean that the pavilion would require consid-eration in reverse engineering it.

Given that three panels maxi-mum meet at any one joint and the panels themselves are varieants of squares, pen-tagons and hexagons, these constraints could be fed into grasshopper.

FIG. 12 http://www.iwamotoscott.com/CITRIS-LOBBY

FIG. 10 http://www.inuiuni.com/projects/271/

FIG. 11 http://www.dezeen.com/2011/10/31/icditke-re-search-pavilion-at-the-univer-

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WAT E R TO W E R // S T U D I O G A N G

Whilst intially conieved as an exercise in point attractors, reverse engi-neering the Water Tower would become too heavily dependent on Rhinoceros in-puts. Constructing each of the points to vary the surface would require an excess of manually placed points, neglecting the use of Grasshopper.

Insteaad, a variant of the Herzog & de Meuron script was used, utilising the im-age sampler. Taking a manually photo-shopped image of the facade, a series of interpolated curves were modelled on the surface. However as the image was taken at an angle, the curves themselves became distorted.

To combat this, a graph mapper with a Bezier curve was added, to flatten out the curves such that they would more accurately mimic the surface of the Wa-ter Tower. These curves were lofted with the base surface, piping added on the curves and the window frames to better simulate the buildings actual structure.

B . 3 . C A S E S T U D Y 2 . 0

55FIG. 13 hhttp://www.artic.edu/sites/default/files/styles/slideshow_

Performance as a paradigm evokes the study of nature and the built environemnts as active agents, rather than as a passive con-text

001 002

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WATER TOWER // STUDIO GANG

The image sampler technique used for reverse engineering project could be concieved as possbily a crude method of idea generation.

However if used in a considered manner, as part of a greater process in generating ideas, it has potential to move beyond simple applicaitons.

Going beyond simply mapping an image onto a surface and actually mainupulating the data output of the given image sampler (in this case to replicate the form), proves that this technique is extremely capable.

Moving forward, the project should take into ac-count notions of performative design more, such that it can fully utilise the power of parametric design. Using patterning, aspects of material property and perfor-mance could be utilised - us-ing the design pricinple of patterning.

Square surface is created in Grass-hopper and divid-ed with points

Surface is sub-divided using a variable number of u and v curves

B . 3 . C A S E S T U D Y 2 . 0

003 004 005 006

57

Surface is sub-divided using a variable number of u and v curves

Image sampler is used to trans-pose horziontal lines varying dis-tances

Using a graph sam-pler, the extremities of these lines are varied so they more accurately match the actual building

Piping is added according to the actual building specification. Whilst not part of the actual design, varying the radii

The piping is then lofted with the original horizontal lines to produce the wave-effect

5 Hensel, Michael (2011),

58

Whilst parametric design affords great flexibility by its interchang-able nature, this can also lead to its downfall. If design intent is not firmly routed in a specific direction, projects may become mean-ingless exercises in the computational power of the software itself, and while these exercise may be impressive, they lack any real substance.

Hence when moving forward, the explorations will have a more specific focus on the Merri Creek project. Section B.4 will intends to exapnd upon the use of the image sampler , as well as number of other tools to further design exploration.

Basic considerations for the Merri Creek Project would be as follows; a pavilion, or a series of pavilions (Grid of Follies6). The pavilions, or pavil-ions, should be climate and site responsive. This means that the structure, whatever form it may take, should take in account: solar shading, the exist-ing ecology and the river itself.

As for the design principle of patterning, this will hopefully need to a proj-ect optimisation8. Aside from climate responsiveness, the structure should maximise material performance (ensuring minimal material wastage, as well as testing material to maximum strctural capability). Fabricational op-timisation (building structure in quickest, least time consuming and most inexpensive way) will be built into this material optimisation.

Having establsihed the design intent, this should lead to a more concise selection criteria, something to be employed not just after the creative process, but during as well.

B.4. DEVELOPMENT

B

C

D

E

A

BC

D

E

A

6Studio Air, Lecture 7, Phillip Belesky

In regards to the 50 iterations ex-ploring the technique of patterning, there will be five differing species, each with ten separate iterations.

Species a tiled a lofted surface onto a basic structure, the lofted surface derived from the image sampler used in B3.0.

Species b experimented with vari-ous simple geometries to tile the surface, as well scaling these geom-etries relative to a point , such that the patterning was responsive to an external factor.

Species c tiled the face of the surface with knits, fans and zigzag intersec-tions using triangular and square faces.

Species d used another patterning tool that allowed for open faces in the surface, essentially allowing for the construction of an exoskeleton of a structure.

Species e also used a patterning tool with triangular subdivision of a mesh surface, as well as offsetting this sub-division to create gaps within the pat-terning (i.e a second pattern)

Species f varied the form of ths struc-ture, using the script from B3.0, the image sampler being the primary tool. Varying fits of the loft were experiment-ed with. The species also experimented with an created an interpolated curve that ran through every poijt of the vary-ing circles. This interpolated curve was transformed into a rail such that it could represent a real life structure.

Species g manipulated the data being used from the image sampler determ-ing the nessentially the radii of the cir-cles which formed the surface of the pavilion.

Species h was perhaps one of the most complex. The varying circles (accord-ing to image sampler) were subdivided into points. Each of these points was then classified according to domain and seperated. A series of interpolat-ed curves ran through each of these domains and the points within them. From there a lofted surface wwas cre-ated, with minor adjustments to fit and seams, in order to produce a smooth flowing geometry.

Species i and j replicated real life forces to create an inflate form within the mesh exokskeleton, first explored in species d. Only a sample of the mesh was used in order to prove twhether the inflatable + mesh compoenent works.

G

H

I

J

F

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SPECIES SPECIES

ITERATION

4

TECHNIQUE

5

ITERATION

3

ITERATION

1

ITERATION

2

GEOMETRY LOFTED SURFACE

SPECIES

MESH

SPECIES

GEOMETRY

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SPECIES SPECIES SPECIES

MESH

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SPECIES SPECIES

ITERATION

4

TECHNIQUE

5

ITERATION

3

ITERATION

1

ITERATION

2

FORM FINDING (INFLATABLE)

SPECIES

COMPOSITE MESH

SPECIES

FORM FINDING (INFLATABLE)

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SPECIES SPECIES SPECIES

COMPOSITE MESH INFLATABLE

64

ME

SH

G

EO

ME

TR

Y

ME

SH

SP B IT5 utilises a scaling component relative to a point. If this point were related to external factors (people flow).

SP D IT3 creates an interesting window frame pattern, something that may facilitate interac-

SP E IT3 also utilises a window frame pattern, however the triangular forms would be struc-

65

FOR

M F

IND

ING

C

OM

PO

SIT

E

INF

LA

TAB

LE

SP H IT2 is a physical represenation of fully in-flatabe component within the exoskeleton.

SP H IT2 is a physical represenation of the exoskeleton in tan-dem with the inflatable component (uninflated) within. SP H is a composite species, representing a form derived from the script employed in B3.0, as well as mesh component to approximate this form with varying openings, for the inflatable component.

SP H IT2 is the most complex modelling of real life forces. In order to ascertain how an inflat-

66

FLEXIBLE PIN CONNECTION

PAVILION FORM OUTLINE

Use of the flexible connection can be easily fabricated by shearing each of the joints and at-taching a pin connection through both.

This method would allow for ex-pansion and contraction, useful for the inflatable component of the design,

The basic form of the structure was mapped out in this prototype with an in-flated component placed within, The purpose of this prototype is a basic exploration of constructing the structure itself, with the inflat-able inside.

B . 5 . P R O T O T Y P E S

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INFLATABE COMPONENT + EXOSKELETON

INFLATABLE GEODESIC COMPONENT

Whilst this prototype is under state of tension, it shows how an inflatable surface might respond to a curving restriction.

The form of

the geodesic dome, specifically

the structural proper-ties of a triangle were ex-

plored in this prototype. Whilst not a primary concern of the pavilion, it is an interesting ex-ploration to see how a geode-sic dome reacts to an inflatable form inside of it.

B . 5 . P R O T O T Y P E S

A 3D PRINTED MODEL REPRESENTING THE IN-TERIOR INFLATATED FORM. PROTOYPE IS USED TO MODEL HOW THE STRUCTURE MIGHT LOOK LIKE WITHOUT SURROUNDING EXOSKELETON

SEED SITE

Site analysis of Merri Creek revealead a number of factors for the propsal.Firstly the need for amentities for people travelling along the Merri Creek. Whilst the bike path affored some level of interactivty, there remained a distinct lack of visual break up going along the path between sites (e.g. Collingwood Childrens Farm, Dights falls, etc.). Whilst this is a difficult need to establish empirically , evidence from stakeholders sug-gests that is one that defintely exists.

In tandem with visual break up , would be the need for a level of interactivity for users along the Merri Creek.

As a number of the stakeholders are in fact children, the proposal aims to facilitae a simplifed level of interactivity.

Patterning is key in this proposal, as a repeition of elements in a relatively predicatable manner (what consitutes a pattern). is something visually co-herent and can be enjoyed by children.

Lastly is the expereience fo the river. Due to topographical reasons there is a certain level of disconnect between stakeholders and the river itself.

As there are m,ultiple instances where these need arise, a p[roposal of mul-tiple sites has been chosen. This alloows for a full utilisation of parametric software (being able to adapt to each of the sites topograhies and people flows) based off the same principles.

This repeption of varying pavilions is also a demonstation of pattern at a macro scale, further adding to the visual coherence afforded by each of the individual pavilions themselves.

The following proposal is made for the intial seed site, picture above, how-ever the flexibility affored by parametric design means it could be esaily adpated to any of the other sites.

B . 6 . P R O P O S A L

GR

ID O

F FO

LLIE

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SITE 01

SITE 02

GR

ID O

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SITE 03

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[1] LIVING SYSTEMS

The site proposal will emphasise ex-isting relationships between the Merri Creek Systems. The rich cultural en-vironment afforded by the many sites; the Collingwood Childrens Farm, CE-RES Environment Centre and even the Merri Creek itself will be enhanced by this architectural intervention.

[2] SPECULATIVE DESIGN-ING

This proposal does not cleanse the Merri Creek of pollutants. Neither does it generate energy, nor does it reduce greenhouse gas emissions.

[3] SITE/PLACE

This proposal uses pattern to high-light the interconnected nature of ecologies, how they vary greatly yet the pavilion itself can adapt to each of its multiple sites

[4] AGENTS AND STAKE-HOLDERS

Speaking to those along the Bike Path along Merri Creek, to those who row along the Yarra River, to those who work and interact at nearby sites such as the Collingwood Childrens Farm and cafe, it is clear any architec-tural interventions on the site could not disturb it.

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[5] ACTIVITIES AND PER-FORMANCE

The very nature of the prposal; a pa-vilion, leaves the possibilites for its function wide open. As its purpos-es include visual stimulation, repre-senations of ecological process and a place to faciliate interactions with stakeholders and nature there are possibilites for relaxation, meeting, contemplation and refleciton. For the younger agents, it is also possible to be a playground, a place of fun. For the older stakeholders, possibly a rest stop. As for the flora and fauna, it is hoped its form may lend itself over time to support natural processes. A frame for plants to grow on. A rudi-mentary shelter for wildlife. A roosting point for birds.

[6] FORM

The basic form from which the structure is derived is made possible through ma-nipulating data in paramtreic design, pro-ducing non-standard geometries. The mesh tat comprises the pattern element of the structure too is synonymous with parametrcisim, using a mathematically derived program to approximate the pat-tern to the surface.

[7] MATERIALITY

Materiality at this stage is a flexible series of pin connecitons using found wood/plywood, to form the flexible exoskele-ton structure. However there is a possib-lity to use different materials, and even to vary the materials between each of the site on the grid of follies.

B . 6 . P R O P O S A L

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[6] FORM

The basic form from which the structure is derived is made possible through ma-nipulating data in paramtreic design, pro-ducing non-standard geometries. The mesh tat comprises the pattern element of the structure too is synonymous with parametrcisim, using a mathematically derived program to approximate the pat-tern to the surface.

[7] MATERIALITY

Materiality at this stage is a flexible series of pin connecitons using found wood/plywood, to form the flexible exoskele-ton structure. However there is a possib-lity to use different materials, and even to vary the materials between each of the site on the grid of follies.

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[1] INTERROGATING A BRIEF

The introduction of Parametric Design I feel has allowed for certain qualities that were traditionally more felt, rather than measured, to be categorically stated as parameters. This would narrow the design process down more, as the subjective intuitions play less of a role to objective goals, set out in a brief.

[2] GENERATING DESIGN POSSIBILITIES

Idea generation is a process that has undeniably changed with the advent of computerisation. However it is the actual process of computation that has allowed visual programming to conquer previous hurdles of accuracy, repetition and more notably generation of previously inconceivable forms. Whilst introduction of these principles no doubt opens up a world of pos-sible design generation, it is the self-taught methodology that allows for the fullest knowledge of the design space.

[3] SKILLS IN THREE DIMENSIONAL MEDIA

Once again, it is only through the process of exploring these tools by your-self that the most comprehensive understanding of the power and process of parametric modelling/analytic diagramming/digital fabrication will be achieved.

[4] ARCHITECTURE AND AIR

It is through the more specific exploration of the inflatable and deflatable simulations in parametric modelling that an understanding of air could be achieved in relation to architecture.

B . 7 . L E A R N I N G O U T C O M E S

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[ 5 ] A C A S E F O R P R O P O S A L S

T h e c r i t i c a l t h i n k i n g e n c o u r a g e d i n m a t e r i a l s t h a t o u t -l i n e p r e c e d e n t s h e l p e d i n p e r s u a s i v e a r g u m e n t s . I t i s t h r o u g h s t u d y i n g t h e f o r m o f p r e v i o u s p a r a m e t r i c a l l y -d e s i g n e d s t r u c t u r e s a n d t h e i r s u b s e q u e n t f u n c t i o n s a n d p u r p o s e s t h a t t h e i r r e a s o n i n g c o u l d b e m o s t c o m p r e -h e n s i v e l y u n d e r s t o o d .

[ 6 ] A R C H I T E C T U R A L A N A LY S I S

I n - d e p t h a n a l y s i s o f a r c h i t e c t u r a l p r o j e c t s f a c i l i t a t e d a m o r e c r i t i c a l v i e w w h e n i t c o m e s t o t h e d e s i g n p r o c e s s . T h e d i s t i n c t i o n m a d e b e t w e e n c o m p u t e r i s a t i o n ( e . g . F r a n k G e h r y s w o r k b e i n g r e p r e s e n t e d i n d i g i t a l f o r m ) a n d c o m p u t a t i o n ( e . g . T h e m i n i m a l s u r f a c e o f L AVA s G r e e n Vo i d b e i n g u s e t o s h o w h o w c o m p u t e r s m i g h t o p -t i m i s e s u r f a c e s ) , w a s e s p e c i a l l y h e l p f u l i n t h i s r e g a r d .

[ 7 ] C O M P U TAT I O N A L G E O M E T R Y

P e r h a p s t h e m o s t i n t e r e s t i n g r e v e l a t i o n i n p a r a m e t r i c d e s i g n w o u l d b e s e e i n g d a t a r e p r e s e n t e d o n m u l t i p l e l e v e l s ( e . g . D a t a t r e e s ) .

[ 8 ] C O M P U TAT I O N A L T E C H N I Q U E S

T h e f o l l o w i n g a r e t h e k e y c o m p u t a t i o n a l t e c h n i q u e s o b -t a i n e d t h r o u g h t h e c o u r s e .

* P h y s i c s s i m u l a t i o n ( i n f l a t i o n , d e f l a t i o n , g r a v i t a t i o n a l a n d w i n d l o a d s , e t c . )

* O p t i m i s e d t e s s e l l a t i o n ( i n p u t t i n g c u r v e s a n d d e t e r -m i n i n g s h a p e s w h i c h m i g h t a p p r o x i m a t e s h a p e s w i t h a s i m p l e r e p e a t i n g g e o m e t r y ) .

* M a t h e m a t i c a l l y d e r i v e d m e s h i n g ( u s i n g a v a r i e t y o f d i f f e r e n t m e s h f a c e s , o p e n i n g s , e t c . )

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H O R I Z O N TA L SPIDER WEB

V E R T I C A L SPIDER WEB (WIND LOAD + GRAVITY S I T U A T I O N )

B . 8 . A P P E N D I X

79

WAFFLE GRID BENCH FABRICATION (LASER CUT/HAND CUT PRO-DUCITON METHOD)

INFLATION AND DELFATION OF INDI-VIDUAL FACE SUR-FACES OF BENCH USING PHYS-ICS SIMULATION

BACKGROUND IMAGES:

POINT CHARGE WEB USING SPIN FORCES AND VORONOI GENERATED WEB

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BIBLIOGRAPHY

Adriaenssens, Sigrid, Block Phillppe, Venendaak, Williams Chris. Shell Structures for Architecture: Form Finding and Optimization.(Routeledge, 2014)

Ball, Phillip, Natures Patterns - Shapes, Oxford University Press (Oxford)

Belesky, Phillip. Studio Air, Lecture 7 (14/04/15)

Graduate School of Architecture, Planning and Preservation, Tokyo 2010: DIgital Tea House Workshop, GSAPP Projects (2010) < http://www.arch.columbia.edu/labs/laboratory-applied-building-science/projects/fabri-cation-workshops/tokyo-digital-tea-house> [accessed 20 March 2015]

Hensel, Michael (2011), Performance-oriented Architecture. FORMaka-demisk. 3(1), 36-56

Moussavi, Frashid, and Daniel Lopez, The Function of Form (2009)

Kolarevic, Branko (2014). Computing the Performative, ed. by Rivka Oxman and Robert Oxman, pp. 103111

Matthews, Freya (2005). Reinhabiting Reality: Towards a Recovery of Cul-ture (Albany: State University of New York Press)

Peters, Brady. (2013) Computation Works: The Building of Algorithmic Thought, Architectural Design, 83, 2, pp. 08-15

Rose, Peter Isaac The Disspossesed(2004).

Roudaviski, Dr. Stansilav. Lecture 6 (07/14/15)

B . 8 . A P P E N D I X

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IMAGES

FIG. 1 Timothy Budd, Conformal Geometry in 2D Dynamic Triangulations [accessed 27 April 2015]

FIG. 2 ICD-ITKE, ICD-ITKE Research Pavilion 2014-14 / ICD-ITKE Univer-sity of Stuttgart, < http://www.archdaily.com/522408/icd-itke-research-pavilion-2015-icd-itke-university-of-stuttgart/53b21510c07a806b4b0001c8_icd-itke-research-pavilion-2015-icd-itke-university-of-stuttgart_icd-itke_rp13-14_process10-jpg/> [accessed 27 April 2015]

FIG. 3 cs@sf, ISAr PS1 REEF Anemone Cloud Model 1, https://www.flickr.com/photos/isar/sets/72157600023967187/ [accessed 27 April 2015]

FIG. 4 Iwamoto Scott Architecture, MoMA/OS1 REEF, http://www.iwamo-toscott.com/MOMA-PS1-REEF [accessed 28 April 2015]

FIG. 5 ArchDaily, ICD-ITKE Research Pavilion 2011, https://jcpteam.word-press.com/2013/03/26/icd-itke-research-pavilion-2011-precedence-study-01/ [accessed 30 April 2015]

FIG. 6 Unknown, MoMA/OS1 REEF http://cdn.archinect.net/images/1200x/ro/ro59iqtzla81flbi.jpg tp://www.iwamotoscott.com/MO-MA-PS1-REEF

FIG. 7 Unknown, Water Tower, http://www.globalsiteplans.com/wp-content/uploads/2014/07/IMG_0069.jpg[2] http://cdn.archinect.net/images/1200x/ro/ro59iqtzla81flbi.jpg

FIG. 8 Ballista Magazine, Water Tower, ttp://ballistamagazine.com/fea-tures/studio-gang/, [accessed 05 March 2015]

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JOUR-NAL

PART C

85

Responding to the feedback given for the design propos-al it was clear a number of changes needed to be made. Whilst the pavilion made full use of a variety of paramet-ric design methods, there was still a huge potential for the structure to utilise these tools further, more specifically to optimise the proposal.

Further site analysis, especially with agents and stakehold-ers was necessary to firmly establish a funciton for the de-sign proposal, to contribute to the system in a positive and meaningful manner.

The driving force behind the proposal also needed more direciton, and as such there has been a change in the pur-pose of the propsal, as well as a new site.

P R O P O S A L F E E D B AC K

FIG. 1 INFLATABLE PAVILION

86

The revised proposal will draw upon a number of precedents to establish a clear design intent and methodology.

The first precedent, MoMA/PS1 Reef by Iwamoto Scott was previously ref-erenced for its interesting use of para-metric design dictating the patterning. Developing this concept further, its cli-matic responsive design, specifically the solar component is of particular interest. Using real world data to gen-erate patterning on solar shade that responds to daylight is a particularly in-teresting concept for the proposal.

P R E C E D E N T S

FIG. 2 MoMA/PS1 REEF

89

The second precedent the revised pro-posal draws upon is the Gantenbein Vineyard.

The Gantenbien Vineyard utilises a pat-tern based off the shape of grapes, how-ever it is this manipulation of patterning to achieve solar optimisation that is the mostn interesting. The patterning has just enough opening to maintain a level of sodar radiation resulting in an optimum temperature for storing wine.

P R E C E D E N T S

FIG. 2 GANTENBEIN VINEYARD

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The proposal stems from an existing and very real need. Out of the possible sites, the Clif-ton Hill primary school stands out as one that needs a shading device, not a pavilion, not an interactive system that is representative of the new possibilities of life.

With that in mind, the site already has a ten-sile shade structure in the north playground. In contact with stakeholders, they explained how a sunshade was needed in the East courtyard above the downfall courts, that even half a sun-shade would be beneficial.

The proposal intends to be non-conventional, instead of reverting to traditional solar shad-ing devices, much like MoMA/PS1 Reef. Like Gantenbein Vineyard, the design should be re-sponsive to solar conditions. However the de-sign will be unique, only referencing these ex-amples at an ideological level.

The proposal for Clifton Hill Primary is a sun shading device that is fundamentally driven by parametric design. The issue at hand is that children of Australia suffer from a Vitamin D de-ficiency, mainly due to a lack of sunlight. On the other hand overexposure to harmful UV rays can result in skin cancer. The proposal intends to balance these two functions, in a form that is visually pleasing and is integrated into the site.

C O R E I D E A

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Even half a sunshade would be beneficial- Lauren, Teacher

3.0

21.3

15.6

4.56.5

38.0 5.0

4.5

C . 1 . D E S I G N C O N C E P T

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Clifton Hill Primary School

Sun shade/play device

To optimise sunlight penetration (combat widespread Vitamin D deficiency in Australian children) whilst simultaneously minimising harmful UV rays (reducing risk of skin cancer).

Structure placement according to site analysis of people flows and corresponding point attractors placed, to establish areas of mini-mal disturbance.

Heights of poles parametrically determined by optimal coverage in tandem with field strength de-termined by people flow.

Patterning of solar shade accord-ing to weather analysis. The shade will respond to summer solar ir-radiation and maximise openings where the sun has its lowest UV emittance (according to UV index analysis: 0:00 - 11:00 and 15:00 - 0:00).

SITE

TYPOLOGY

FUNCTION

PARAMETRICISM


MAPPING OF SITE MAGENTIC CHARGES CORRESPONDING TO PEOPLE

1 2

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The site itself is the downball courts where agents have identified that the area gathers excess heat during the summer months.

In addition there is fur-ther paved area outside of these constraints, as well as a grassy section. This area was consid-ered as the site, however due to the presence of trees, a solar shade for this area was deemed unnecessary.

SITE CONSTRAINTS

The total area sur-rounding the 4.5 x 4.5m courts is a 29.5 x 20m rectangle. There are no trees and green areas located around the downball courts and trees lining the pathway.

The trees provide shade for this playground, where we really need one is the downball courts - Amber, Teacher

MAGENTIC CHARGES CORRESPONDING TO PEOPLE OVERLAY OF MESH AT CONTROL POINTS

3

95

Thus by eval-uating the field and find-ing where it was weakest, the op-timum placement of a non obtrusive structure could be determined

SITE ANALYSIS

Each downball court was mod-elled as a seperate unit. These units were assigned a value ac-cording to the amount of children using it. This value correspond-ed to the relative strength of the magnetic value that surrounded the unit, the more the poeople, the higher the field strength.

The trees provide shade for this playground, where we really need one is the downball courts - Amber, Teacher

MESH IS TRIANGULATED TO FORM A GRID FOR PAT-


4 5

FORM FINDING USING PHYSICS SIMULATOR

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In addition triangles can be more easily fabricated than over-ly complex geom-etries.

The irregular shape of the sunshade too ensures that the des-ignated areas is cov-ered, whilst further-ing visual interest via its non conventional plan.

Patterning is the funda-mental concept driv-ing the Clifton Hill Prima-ry Sunshade. Patterning in a visually interesting and cohesive manner will appeal to the chil-dren, as a repeition of primary shapes can be easily understood.

Squares can lack this visual interest and ellipses are a possible trigger for tryo-phobia.

PATTERNING

FORM FINDING USING PHYSICS SIMULATOR MESH IS GIVEN A REAL WORLD THICKNESS

6

97

A physics simulator proved to be a useful tool in earlier explorations in order to replicate real life gravity forces on a tensile structure.

However tensile sun shades are in-credibly common, so by inverting the typical forces of gravity, a more interesting structure, that completes the same function with some of el-ement of self support would make full use of the parametric tools avail-able.

A B C D E

F G H I J

FORM FINDING SITE DATA

0-5 PEOPLE/HOUR

5-10 PEOPLE/HOUR

10-15 PEOPLE/HOUR

20-25 PEOPLE/HOUR

25+ PEOPLE/HOUR

DOWNBALL COURTS

N

In order to a c h i e v e a solar re-

sponsive design, specific weather plug-ins were used, ina this case, La-dybug. Using latitude and longitude, the site was created and this data was used to map the sun paths seen above [7].

INPUT OF REAL WORLD CLIMATE DATA

7


98

The specific solar points chosen were ascertained via Melbournes typical sum-mer and UV index. Using the range of hours from 0:00 - 11:00 and 15:00 - 24:00, sun-light during periods where the Melbourne UV index was be-low 4, or a moderate level.

CLIMATE

FRAME OPENINGS RESPOND TO ATTRACTOR

8

Once the climate data is obtained it is relatively easily to model where low UV sun intersects the topog-raphy of the structure and model this attractor points [8], i.e. the closer you are to these points the higher the given value.

FINAL FORMUsing math-ematically de-rived meshes, this simply triangulated mesh was broken down into individual faces, each of these faces responding to the distance it is from an attractor point. In short the closer a mesh face is to an attractor point, the greater its face and hence the more low UV sunlight it has the potential to let it. The mesh was then given a real world thickness, relating to its materiality [9].

9


100

Initial explorations in-volved using a hexag-onal pattern and based this pattern off solar radiation. This was of course rescinded, and a solar path diagram was used as a more accurate indicator

Of course the design pro-cess was not as smooth as depicted, may different it-erations were explored. The in-tial design concept focused on a tensile roof structure with a hexagonal pattern, but this did not serve to fully utilise para-metric tools (there already ex-isted a tensile sun shade on the site, parametric design was not required to build such a simple design).

Triangulation of the design was not cho-sen as a simple option. Rather it was se-lected through a design process exploring different patterns - the core principle of the proposal. Aside from the rudimentary explorations of hexagonal forms above, a circular pattern was also considered.

T h e l i g h t a n d t h e c u r v i n g , i t l o o k s l i k e a b r i d g e

- H a m i s h W a t s o n , Y e a r 6

This would have made fabrication re-laitvely easy - split the huge spans into several sections and by punctuating the span with supporting poles they would also rpovide the circular patterning as well. This proposal however did not eventuate, due mainly to stakeholder feedback. Aes-thetically and parametrically too, circles were not deemed a paticularly complex approach to the design.

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OR

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L D

RA

WIN

GS

3.6

2.75.

1

1.8

1:500 RIGHT

3.6

2.75.

1

1.8

1:500 FRONT

43.0

30.4

1:500 TOP

T h e l i g h t a n d t h e c u r v i n g , i t l o o k s l i k e a b r i d g e

- H a m i s h W a t s o n , Y e a r 6

C . 2 . T E C TO N I C P R OTOT Y P E S

FIG, 3

FIG, 4

102

0 1 2 3 4 5 6 7 8 9 10 11

12 13 14 15 16 17 18 19 20 21 22 23

24 25 26 27 28 29 30 31 32 33 34 35

36 37 38 39 40 41 42 43 44 45 46 47

48 49 50 51 52 53 54 55 56 57 58 59

60 61 62 63 64 65 66 67 68 69 70 71

72 73 74 75 76 77 78 79 80 81 82 83

84 85 86 87 88 89 90 91 92 93 94 95

96 97 98 99 100 101 102 103 104 105 106 107

108 109 110 Using the model a mesh of reinforcement bars (FIG. 3) can be easily specified, as well as exploding the sur-face faces and assembling them in a grid such that they can be easily labeled (FIG. 5.) and assembled as formwork for the concrete, as seen in FIG. 4. and in the following images

Beam depths of the concrete correspond to the minimum allowed for a simply sup-ported beam without rein-forcement, adding the steel mesh and arch nature of the shade, these huge concrete spans are actually quite fea-sible.

Having already inverted the traditional tensile shade structure form, the ma-teriality as well reflects this non-congeni-ality. The sun device is made out of con-crete.

FIG, 5

103


105

106



108

Following an analysis of the prototypes, a singular span punctuated by vary-ing triangles was clearly an invalid solution. Aside from the complex nature of the formwork, the structure would actually require another layer of formwork to support the design. So instead of the continuous span approach utilizing con-crete, another methodology was needed. In addition edge supports needed to be resolved, it was unrealistic to expect the structure to be singly supported on such a tiny point

109

111

GRACEFUL AGEING

By using a minimal concrete cover, it is hoped that the steel will be exposed and undergo minimal corrosion. In this way the structure undergoes a graceful degradation, accepting time and work-ing it into the design.

Using a two-part compound paint, an actual coating of iron oxide was formed and will continue to grow in strength as time goes on, just as in the real struc-ture

1 http://www.archdaily.com/200685/icditke-research-pavilion-icd-itke-university-of-stuttgart/

FIG. 6 https://jcpteam.wordpress.com/2013/03/26/icd-itke-research-pavilion-2011-prece-dence-study-01/

C . 3 . F I N A L D E TA I L

115

This is where previous precedents and literature on other works came into play. The ICD/ITKE Pavilion 2011 Pavilion was a previous example chosen for its in-teresting use of parametricism as well as the structural qualities of the pavilion. It was the actual morphology though that became of interest for the project. Within the ICD Pavilion, three plate edges al-ways meet at just one, a principle which enable the transmission of normal and shear forces but no bending moment between points1.

The corner detail shows not only the re-vised edge condition for greater struc-tural support (flattening the edges so the structure does not end in a point), but also the new modular construction. The series of triangles which make up the structure are extracted and exploded such that they can be easily fabricated.

The possibility of utilizing the same finger joints employed in the ICD/ITKE Pavilion was considered, yet due to the lightweight nature of the struc-ture, a high-strength adhesive was deemed more than sufficient in order to maintain a degree of structural in-tegrity.

In addition this single cell approach would allow for an interesting col-or range, if the structure was to be placed in a primary school, it has the potential for each individual part to be painted by the children before it is constructed. In this way the structure has a unique cultural response to the site.

The heterogenous nature of the cells is adept methodology for adapting to the local curvature and discontinuities. Much like the heterogeneous cells in

the ICD/ITKE Pavilion, the pro-posal utilizes non-standard triangles on edge bound-aries to maximize a con-sistent grid shape within the center of the struc-ture.

3 http://www.fastcodesign.com/3047350/this-robot-can-3-d-print-a-steel-bridge-in-mid-air#17

2 https://www.academia.edu/208933/Towards_Morphogen-esis_in_Architecture


Whilst not limited to a 3D print construc-tion, the immense variation between triangular modules suits a computer driven construction (without someone having to measure and cut each of the lengths). Using regular 3D printing the components could be joined using a simple adhesive; due to their lightweight nature overly complex connections are not required.

Alternatively, the MX3D looks to be a rela-tively cost-effective and large scale 3D printer that would actually allow for on site construction3, How-ever the triangular modules can be fabricated from any 3D printer with a given tolerance.

Using a pastel colour scheme, the cor-ner detail here (chosen because it highlights resolved elements of the de-sign), is exploded into its individual frag-ments.

The colourful scheme is also potentiall reflective of the individual modules being painted before assembly.

These individual elements can be fab-ricated in any number of ways due to their simplisitc, triangular nature. For the model, an extruded polymer 3D print was chosen because of its accurate nature. In addition the computer based produc-tion allows for the increasingly complex architectural arrangements2 of the pro-posals form.

FIG 7. http://www.tctmagazine.com/downloads/2834/download/MX3D.jpg?cb=e7fe2c8e2a23e6c7770f29011ab9ace8


118


122

C . 4 . L E A R N I N G O B J E C T I V E S

Given my almost non-existent knowledge of computational process in architecture, I am pleased to say I have learnt quite a lot.

Going from mainly watercolours as a presentation method to immers-ing myself in InDesign, Photoshop, Rhinoceros, VRay, Grasshopper and the many plug-ins that Grasshopper had to offer (physics simulators, pat-terning tools, climate analysis and structural form-finding to name a few) was a challenging, yet highly rewarding journey.

I have been encourage to look beyond parametric design and simply something that looks complex, and re-ally interrogate its core ideals.

The matrices of designs en-couraged me to construct ro-bust algorithms that could be pushed to their absolute limits.

The precedent analysis of each section, particularly in Part A, gave me an op-portunity to look at prominent architects work through a different lens, to see what they were trying to achieve and how (not just that the designs were aesthetically complex).

Certainly out of all the learning objectives, developing skills in various three dimen-sional media would be my greatest learn-ing outcome. Given a huge volume of what I learnt was from online tutorials (com-pared to other subjects), I also feel quite confident in my ability to teach myself

n e c e s s a r y skills.

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BIBLIOGRAPHY

Adriaenssens, Sigrid, Block Phillppe, Venendaak, Williams Chris. Shell Structures for Architecture: Form Finding and Optimization.(Routeledge, 2014)

Ball, Phillip, Natures Patterns - Shapes, Oxford University Press (Oxford)

Belesky, Phillip. Studio Air, Lecture 7 (14/04/15)

Graduate School of Architecture, Planning and Preservation, Tokyo 2010: DIgital Tea House Workshop, GSAPP Projects (2010) < http://www.arch.columbia.edu/labs/lab-oratory-applied-building-science/projects/fabrication-workshops/tokyo-digital-tea-house> [accessed 20 March 2015]

Hensel, Michael (2011), Performance-oriented Architecture. FORMakademisk. 3(1), 36-56

Moussavi, Frashid, and Daniel Lopez, The Function of Form (2009)

Kolarevic, Branko (2014). Computing the Performative, ed. by Rivka Oxman and Rob-ert Oxman, pp. 103111

Kolarevic, Branko (2004). Architecture in the Digital Age: Design and Manufacturing (London: Spon Press), p. 1-71.

Matthews, Freya (2005). Reinhabiting Reality: Towards a Recovery of Culture (Albany: State University of New York Press)

Peters, Brady. (2013) Computation Works: The Building of Algorithmic Thought, Archi-tectural Design, 83, 2, pp. 08-15

Rose, Peter Isaac The Disspossesed (2004).

Roudaviski, Dr. Stansilav. Lecture 6 (07/14/15)

Roudaviski, Dr. Stansilav (2009). Towards Morphogenesis in architecture (Multi-Sci-ence Publishing), pp. 1-4

Rudofsky, Bernard. Architecture without Architects. (New York: Museum of Modern Art, 1964).

C . 5 . A P P E N D I X

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IMAGES

FIG. 1. Inflatable Pavilion

FIG. 2. cs@sf, ISAr PS1 REEF Anemone Cloud Model 1, https://www.flickr.com/pho-tos/isar/sets/72157600023967187/ [accessed 27 April 2015]

FIG. 3. Steel Reinforcement for Corner Detail

FIG. 4. Concrete Corner Detail

FIG. 5 Formwork for Concrete Corner Detail

FIG. 6. http://www.archdaily.com/260612/winery-gantenbein-gramazio-kohler-bearth-deplazes-architekten/501f49e028ba0d024200004e_winery-gantenbein-gramazio-kohler-bearth-deplazes-architekten_060823_036_dokumentation_ralph-feiner_006_pr-jpg/

FIG. 7. ICD-ITKE, ICD-ITKE Research Pavilion 2014-14 / ICD-ITKE University of Stutt-gart, < http://www.archdaily.com/522408/icd-itke-research-pavilion-2015-icd-itke-university-of-stuttgart/53b21510c07a806b4b0001c8_icd-itke-research-pavilion-2015-icd-itke-university-of-stuttgart_icd-itke_rp13-14_process10-jpg/> [accessed 27 April 2015]

FIG. 8. https://jcpteam.wordpress.com/2013/03/26/icd-itke-research-pavilion-2011-precedence-study-01/

FIG. 9. . http://www.tctmagazine.com/downloads/2834/download/MX3D.jpg?cb=e7fe2c8e2a23e6c7770f29011ab9ace8

UNLESS OTHERWISE STATED ALL PHOTOGRAPHS ARE PROPERTY OF SAMUEL AELXANDER WOLF CHESBROUGH

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