STUDIO AIR JOURNAL

JENNIFER GREALY661521

PART A: CONCEPTUALISATION

A.0 INTRODUCTION -------------------------------------------------------------------------4A.1 DESIGN FUTURING ----------------------------------------------------------------------6A.2 DESIGN COMPUTATION -------------------------------------------------------------12A.3 DESIGN GENERATION -----------------------------------------------------------------18A.4 CONCLUSION ---------------------------------------------------------------------------25A.5 REFLECTION------------------------------------------------------------27A.6 ALGORITMIC SKETCHES------------------------------------------------------------28A.7 REFERENCES------------------------------------------------------------32

FROM ALGORITHMIC SKETCH BOOK

CONTENTS PART A: CONCEPTUALISATION

A.0--INTRODUCTION --------------------------------4A.1--DESIGN FUTURING -----------------------------6

A.2--DESIGN COMPUTATION -----------------------12A.3--DESIGN GENERATION ------------------------18

A.4--CONCLUSION --------------------------------25A.5--REFLECTIONN--------------------------------27

A.6--ALGORITMIC SKETCHES---------------------28A.7--REFERENCES--------------------------------32

PART B: CRITERIA DESIGN

B.0--CONCEPT-------------------------------36B.1--RESEARCH FIELD -----------------------------38

B.2 -- CASE STUDY 1.0 ------------------------------40B.3--CASE STUDY 2.0 -----------------------------46

AB.4--2.0 ITERATIONS ------------------------------52B.5--PROTOTYPING-------------------------------56

B.6--DESIGN PROPOSAL -------------------------70B.7--REFLECTION--------------------------------74

B.8--ALGORITMIC SKETCHES---------------------75B.9--REFERENCES-----------------------------76

A.0 INTRODUCTIONA.0 PAST WORK

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T-shirt design for Lonely Goat. Mixture of hand and computational techniques.

3D printing excersize for studio Earth. First experience of Rhino.

Previous studio model: Earth.

INTR

OD

UCTIO

NWHO AM I AND WHY AM I HERE?

There has always been a constant force in my life pulling me towards creative expression. I feel quite fervent when engaging in playful design and have always believed that this passion has defined me. In school I was “that chick who hangs in the art room” and amongst my friends I am known as the “artsy” one.

So naturally after graduating high school, I pursued the most crazily creative, hands on and imaginative career path: a bachelor of Commerce. That description was all sarcasm, obviously. After one semester, I realised how much I missed my daily serve of creative juice and looked for other options.

And here I am today. A twenty year old, third year Bach-elor of Environments student at the University of Mel-bourne, looking to find a future in Architecture.

Outside of uni, I am a co-founder and the Design Leader of a street wear label called Lonely Goat (www.lonely-goat.com.au). I design by hand and using Adobe Creative Cloud software. I am confident using Photoshop and Illustrator.

Upon commencing Studio Air, I realised that my familiari-ty with Rhino was relatively low. I have used the rudimen-tary Rhino functions for studios in the past and have dab-bled with basic 3D printing in my last studio, Studio Earth. At this early stage in the semester, complicated modelling and grasshopper algorithms are new and often confusing for me. However they present a learning challenge that I am keen to embrace.

A.0 INTRODUCTION

5

“ ”...engage the complexity of design as a

world changing force...

6

-Tony Fry 1

A.1 DESIGN FUTURING

7

Given that the past informs the present which itself in turn fa-

thers the future, a backward look can often lead the way forward,

yielding instructive information not only about the process of future-for-

ward architectural design, but also its content, effect and application.

Collectively as human beings, our population has aided the destruction or ‘defuturing’ of the

planet through our anthropocentric viewpoint and selfish, unsustainable practices. It is our duty

to seize what chances we have to optimise our exis-tence and work towards a better future for our world.

Design is vitally important to our success; design acts as a cycle spurring on further design and we must change our attitude as to the process and product of our creation, as we have exceeded the limits for nature to support us1. If communally, we perceive design to be a tool to be utilised in creating sustainable solutions, we will be witnesses to positive transformational action.

In this time of increased knowledge about the state of our world, actions count more than ever. We must design for sustainability. Design to incorporate natural elements as much as possible. Design so as not to inhibit natural fauna and flora. De-sign as a community, not just one single building at a time, but as a network of supporting designs.

8 Sketches of Plan Voisin 3

PLAN VOISON, 1925LE CORBUSIER

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The early years of the 20th century were a time of renewal and change due to the First World War and technological advances. In the field of architecture, Le Corbus-ier (1887-1965) “proclaimed democracy and equality through the built environment” 2, believing that orderly, scientific urban design would give everybody equal access to quality of life2. His future- ready thinking saw architecture as an essential element of urban planning and vertical cities as blue prints for the future. His state of the art project, Plan Voisin, idealistically intended as a re-birth of a dying, squalid area of Paris, promoted a then-futuristic plan of office, residential and green space areas. Le Corbusier based his design on concrete statistics, the proved reliability of certain materials, a new form of social and economic organization, and a more rational ex-ploitation of real property 3. As a vision for the future, Plan Voisin was seen as too radical and was rejected. Saved from the skyscrapers, that same area is now vibrant, fashionable and architecturally significant, representing the triumph of organic regen-eration over imposed urban behemoth development, which, since the 1960s has been seen as having a detrimental, rather than beneficial, effect4.

What remains is Le Corbusier’s vision, which introduced many of today’s architec-tural elements such as modular/mass construction, concrete slabs, piloti stilts, free flowing floor plans and roof gardens, but there is much discussion over his failures, examining them for flaws in theory, practice or application, thus generating new ways of thinking and doing 5. As such it would appear that LeCorbusier’s contribution to modern architecture is derived as much from his failures as from his successes.

Thus today, the concept of zoning introduced by Plan Voisin is still being debated. Mixed-use or active, flexible spaces could be either creative or all too predictable; defined areas could be confining or conversely, liberating if specialising maximises spatial effect, identity and output, contributing to a rich diversity6. There is a similar paradox in the notion of democratic planning, which is self-defeating if is paternalisti-cally imposed, without any public input or consultation6. The close relationship be-tween architecture and the city is another area that is still evolving: today, singularity of design is preferred to homogeneity, but with the condition that it engages with its circumstances – the urban setting with its opportunities, limitations, needs and attri-butes. An architectural dialogue with the city’s imperatives of space, location, culture and society can be a catalyst for cooperative, intelligent, inventive, meaningful, pro-ductive and future-enhancing design solutions.

Sketches of Plan Voisin 3

10Card Board Cathedral8

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CARDBOARD CATHEDRALSHIGERU BAN

The February 2011 Christchurch earthquake devasted the city; killing close to 200 people, injuring thousands and damaging up to 100 000 buildings, including the 19th century neo-Gothic Cathedral, which remains mired in debate over restoration, re-building or destruction choices.

Against a similar background of controversy, Shigeru Ban’s cardboard cathedral (dubbed CaCa in ChCh) was quickly and sustainably built within two years, spiritually spearheading the city’s regeneration. The cathedral stood as a symbol of hope and rebirth, and as an iconic tourist attraction, whilst still portraying its religious function7. Yet its real value lies in the future forward thinking behind the design.

Shigeru Ban’s inspiring vision of finding strength in instability by looking for the lim-itations and taking advantage of them8 has universal application at all levels at all times, but especially in this current climate of world-wide environmental, political, social and economic uncertainty, upheaval and change.

The cardboard cathedral literally demonstrates the strength of Ban’s ability to make a virtue out of necessity. Because simple forms and readily available materials are economical and quick to build especially in emergency situations, the building’s de-sign (an A-frame of cardboard tubes over shipping containers), necessarily conveys a ‘temporary quality’ that is however not necessarily related to strength or longevity of construction. Originally designed to last 20 years, a change in brief, accompa-nied by appropriate engineering of the original plan to provide for locally sourced LVL wood inserts in the cardboard tubes, has extended the life of the building to 50 years or more. Thus ordinary cardboard was manipulated into a structure strong enough to withstand earthquake conditions, justifying the claim that the strength of the build-ing was not associated with the material. This is a good demonstration of the viable alternatives to concrete and steel paves the way for future innovation and design possibilities aimed at sustainability, recycling, and savings in construction costs and scarce materials.

Given it’s genesis as a survival response to environmental or social disasters, Shigeru Ban’s architectural vision has already confronted the future – namely, its natural di-saster aspect - and his flexible, hybrid approach can generate a groundswell of pro-gressive thinking.. His cardboard cathedral ticks all the right boxes – it is sustainable, using environmentally friendly, vernacular, recyclable materials; it is economical in cost, material and build-time; it is truthful in form, function and identity; it is beautiful, inspiring and innovative. If there is any hope at all for ensuring an autopoietic antidote to man’s destructive tendencies It would surely be to adopt or adapt these future-af-firming signposts into pathways to a ‘probable/ plausible/ possible/ preferable’ fu-ture9.

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Cartoon10 n

A.2 DESIGN COMPUTATION

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Gone is the perception of an architectur-al firm to be filled with black turtle-neck

wearing workers sitting behind drafting ta-bles, laboriously hand sketching plans and

sections. Rather, when we think of an archi-tectural practice, we see state of the art comput-

ers with the latest technology being tooled by de-signers to reshape preconceptions of the built world.

Though the turtle neck stereotype is sadly still present.

The presence of technology in architecture has spurred great innovation. Technology has altered the design pro-

cess- from pre-renaissance times when buildings were con-structed not planned11. Design processes have changed; para-

metric programs allow for quick adaptations of forms and the methods of precedent projects to be studied and easily modified.

Computer technology and human sense are a perfect relationship. Com-puters do not experience humanistic flaws such tiring and making mathe-matical errors. Computers are unbiased, analytical machines that provide

deep insight and appraisal into the information they are presented with11. These evaluations are incredibly useful for judging performance crite-ria and producing optimal results for given data. However, not all in-

formation can be analysed quantitatively. Human senses that add value to the expression and atmosphere are complex process-

es that cannot be fully rationalised and robotically reproduced.

In this age of rapid technological advancement, there is a greater requirement for architects to have up to date

computational skills. Technology plays a large hand in modern society’s pattern of mass customisation,

and offers solutions as to how to accomplish dif-ferentiated design in responding to the needs of

our rapid and large-scale urbanisation 12. It is our responsibility as architects, how we em-

brace the revolutionary advancements de-veloping in the world of architecture.

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Gehry Guggenheim sketch15

Guggenheim Museum, Bilbao 16

15

In this transitional stage when computation is still being explored for its design pos-sibilities, the relationship between architect and computation is still being negotiated. One of the most iconic buildings, Gehry’s Guggenheim Museum in Bilbao, represents the current best case relationship between architect and computer design program, in this case, CATIA. Gehry’s sketches, developed from a basic concept and based on a plan, were transferred and completed on CATIA, but at each stage Gehry directed the approach, remaining in control of the process and staying true to his concept and plan13.

Integration of computers in the design process allows for problem analysis of a design. The capacity to produce extremely complex forms in intricately interactive shapes makes it imperative that physical elements be considered: what building ma-terial will be used, how will it be constructed, and how will it be manufactured. The design of the Guggenheim Bilbao originally envisaged a series of reinforced concrete shells, but the physical elements of concrete would have caused problems in forming the complex free form design, so steel was chosen to create the structural grid, mim-icking the properties of the original concrete shell, but without the construction com-plications14.

Computers were vital to information sharing among the team involved in the design, manufacture and build. The complex geometry of the Guggenheim Museum Bilbao necessitated intensive computer modelling and information sharing between the architects in Los Angeles, the engineers in Chicago and the steel fabricators in Spain to successfully achieve the design, fabrication and construction of the Museum in Bilbao14.

GUGGENHEIM MUSEUMFRANK GEHRY

Beijing National Stadium 20

The Beijing National Stadium project utilised computation from the earliest stage, when the use of a 3D parametric model was deemed essential to the design process if the project bid was success-ful. The software package CATIA, developed by Dassault Systems and used in airplane and auto-mobile design, was selected17.

CATIA was used to model complex geometry, which was then imported into specially adapted, iterative structural-analysis package18. The ability to tailor software to a particular project need was used to achieve the specific requirements of an Olympic stadium, including the precise geometric requirements of Olympic tracks and facilities18.

It was also used to achieve other more open-ended goals by translating the goal into specific pa-rameters. Thus the provision of an outstanding Olympic spectator atmosphere was achievable if the seating was as close to the action as possible. Specially created parametric software, Micro-Station, helped with the provision of the optimum universal proximity to the arena by enabling the comparison and analysis of 33 different seating options in mere days, rather than the weeks it would have taken to draw the necessary sections by hand18.

Computation was instrumental in achieving the exactingly high level of information sharing and communication that would be key to the success of the project. Integrated software forged a close, and unified working relationship between the architects, engineers and construction team18.

Computers were also used for problem solving to meet project requirements. A request for reduc-tion of project costs midway through construction created a problem that was solved by analysing the design and deciding on the removal of the retractable roof. The domino effect on the rest of the design and construction would have presented huge implementation difficulties however compu-tational design systems not only negated those issues, it turned them into positives since changes could be easily made and explored. Overall, savings were made as the roofless section (kept small for retraction) could be enlarged, further reducing weight and support requirements and thus cut-ting down the amount of steel used, as well as enhancing the appearance of the building17.

Computers were also used as an interface method with key stake holders and the public. At state level, the project was a public relations and marketing opportunity showcasing China; it was also an opportunity to acquire overseas management concepts and skills. The design therefore had to in-corporate Chinese culture and creativity, train high-level Chinese personnel and adhere to standards of openness, efficiency and innovation, and ultimately, create a new image of Beijing and China. At project level, the expected outcomes were to meet the requirements of Olympic stadia while also being cost effective and profitable19. In order to achieve all these objectives, state-of-the art tech-nology was required and involved in every stage and aspect of the project.

BEIJING NATIONAL STADIUMJACQUES HERZOG, PIERRE DE MEURON, LI XINGGANG & OTHERS

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“

”

When architects have a sufficient UNderstanding of algorithmic \\

concepts, when the digitalis no longer viewed as different, then Computation can become A

true method of design..

-Brady Peters21

A.3 GENERATIVE DESIGN

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n

Design computation involves processing data and connections between interrelated elements of a sys-

tem which produce a specific result21. Computational simulation software allows for the generation of more re-

sponsive designs and efficient analysis of design possibili-ties at a rate impossible by human composition.

Parametrics in computational design has had several connota-tions over the years. First coming into popularity in the seventies,

the term described curves through parametric equations22. The term has since evolved, incorporating the recognition of structural compo-

nents, mathematical equations and the use of numeric data that can be modified and controlled.

But it is not the definition of the word that is important, rather the possibilities that such technological advancement presents. Parametric design goes beyond simply

designing the form of a building; instead it calls for the assembly of principles gov-erning form. This allows for quick and efficient iteration of design ideas, which using

previous methods such processes would take lengthy periods of time. Parametric sys-tems are constantly developing. The proposed production of ongoing digital models that

use parametric information creates opportunity for continuing analysis of a buildings life that incorporates situational changes over time21.

Like any transition, the progression from human composition to parametric design has its admirers and its doubters. Patrick Schumacher for example, believes that parametricism is a useful tool with the potential to organise and articulate the increasing diversity and complexity of architectural systems

and reshape the constraints of design through the creation of dynamic, animate design entities23. Others stand to caution such enthusiasm: Daniel Davis warns against the complexity and scale of parametric modelling, asserting that we have a limited understanding of such systems22.

These views are spread throughout the architectural community on various spectrums and can b the demand for computation experts. The integration of computational knowl-

edge into architectural firms has four different approaches according to Brady Peters: Computational design specialists, computational design consultants, designing

with fully integrated computation practices and software engineer/designers21. The different approaches implement by firms when adopting computational

techniques describes the value each firm places on such knowledge. A full integration of design computation into the design process shows a high regard for the advancements of such technology.

The accessibility of scripts and templates online through sharing platforms such as the Grasshopper Community, present an op-

portunity to engage in the sharing of ideas that are a gold mine to harness. Yet such opportunity and the limited nature of

scripting (in terms of requiring certain elements for a script to work) poses questions: At what point do we cross from designer to software engineer? Are we still designing

when it is the script that produces the end product?

20

Subdivision in 3D modelling refers to the representation of a smooth surface through a piecewise linear polygon mesh. Essential-ly, this breaks a polygonal face into smaller divisions that as an entity represent a smooth surface. Hansmeyer explored the process of subdivi-sion and the embellishment of ornament. He used an abstracted column as an input form and tagged components, allowing the subdi-vision process to define separate elements25. The parameters are allowed to vary according to different forms, creating an elaborate aes-thetic.

“A NEW ORDER”SUBDIVIDED COLUMNMICHAEL HENSMYER (2010)

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A.3

GEN

ERA

TIVE

DES

IGN

This design process focuses on the produc-tion of a column, rather than the design of a column. Iterations can be easily produced, creating several highly detailed columns, highlighting not a single column, but the col-lection as a whole.

Computer generated design is complemented by the complexity, and intricate nature of the columns appearances. Such variance and de-tail would be extremely laborious if generated through human conception.

Subdivided Column 25

2222Kokkugia Project: Experimentations with publiic spaces26

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SWARM ARCHITECTUREKOKKUGIA PROJECTLED BY ROLAND SNOOKS AND

ROBERT STUART-SMITH

Swarm Information is based on the formation of movement vectors within a distributed system od various interacting elements (e.g, people, animals, substances etc.). Swarm modelling steps beyond the generative values of spline modelling and parametric design. In parametric design, the com-mencing condition governs possibility, whilst with emergent design follows non-linear systems and influences order from the smallest component26.

The Kokkugia project is an architectural research collaborative who explore generative formation26. Their experimentations are the expressions of growths from the processes of complex systems. In application, these projects are demonstrative meth-od of understanding the emergent nature of public spaces.

Such a design process takes the architect’s control away from the end result. Rather, the beautifully organic and fluid nature of the works arise from the interactions of its own elements; a process which is impossible for humans to wholly recreate.

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Part A has encouraged thinking on the innovative and progressive changes occurring in the current design world. The future direc-tion of architectural design is governed by how we react to these

changes, and their outcomes becomes our responsibility.

The topic ‘Design Furturing’ addressed issues that are now more serious than ever. In human kind’s short existence on this plan-

et, we have managed vast and devastating destruction. With this knowledge, it is our obligation to demonstrate better practices

through design.

Design computation technology provide unparralled advance-ments in the nature and course of design. We now have a great

ability to rationally analyse solutions and work to optimal perfor-mance of materials and form.

Taking a step above design computation, design generation uses algorithms and parameters to control and influence the creative

process. Great work efficiency can be achieved with humanly im-possible precision and detail.

My own design approach will hopefully reflect the knowledge I have gained studying these topics. I aim to better the existence of my Merri Creek site, in a way that respects the context and I will experiment with computation and generation to create possible

solutions for my design.

A.4 CONCLUSION

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“”

I am always doing that which I cannot do, in order that I may learn how to do it.

-Pablo Picasso

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Immersing myself within the theory and practice of architectural computing has broadened my perspective on the possibilities of the design world. I once believed that the pen and paper were the most important tools for design, however learning about computer aided strategies has changed my view. Generative processes have endless value, allowing for design formation in ways that would not be wholly possible without such technology. It is interesting to learn that some architectural projects that I have always thought were original imaginative ideas arose through these methods.

The most significant hurdle of such software is learning to use it. At the beginning of the semester I felt extremely daunted when faced with Rhino and Grasshopper. Algorithms and script formations of-ten confused me, and to be honest I felt that I would be better off doing everything by hand. However as this unit has progressed, I feel a growing appreciation for the parametric manipulations and adjustability offered by such software. I feel that such knowledge would have given me better results for past studios; allowing me to quickly and easily experiment with design variations and create realistic 3D renders.

I still feel rather intimidated by some aspects of this software, as my computational techniques and knowledge are still lacking. I feel that this lack of knowledge will give my designs an unpredictable nature as their results would most likely be through a misconstrued algorithm. Yet I acknowledge that this subject delves into experi-mentation and I am keen to learn and better my techniques.

A.5 REFLECTION

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TOPOGRAPHYFOR EASIER FABRICATION

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A.6 ALGORITHMIC SKETCHESA SELECTION FROM MY ONGOING ALGORITMIC SKETCHBOOK

TRIANGULATIONALGORITHIMSEXPERIMENTATION WITH DIFFERENT CURVES

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GEODESICALGORITHIMSEXPERIMENTATION WITH DIFFERENT FORMS AND CHANGING X & Y INPUTS

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The algorithmic sketchbook is my favourite component of the Stu-dio Air assessments. Documenting experimentations with algo-rithms is incredibly useful as it allows me to reflect on what forms I feel compelled to and how I may manipulate them further.

I found that the process of compiling these sketches gave me a first hand experience of the theory content taught in the lectures, tutorials and readings. Although these sketches demonstrate more basic algorithms, they present the possibilities of computation. I chose these sketches as they show how computation can be used to make quick variables in designs and how a form can be manip-ulated for easier fabrication.

OCTREEEXPERIMENTATION WITH FORM, VOIDS AND OFFSET

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1. Fry,Tony, Design FuturingL Sustainability, Ethics and New Practice (Ox-ford: Berg, 2008), p. 1-16

2. Almeida ,Teresa, Le Corbusier: How a Utopic Vision Became Patho-logical In Practice (Orange Ticker, 2013) < https://orangeticker.wordpress.com/2013/03/05/le-corbusier-how-a-utopic-vision-became-pathologi-cal-in-practic/> [accessed 4 August 2015]

3. Foundation LeCorbusier, Plan Voisin, Paris, France, 1925 (Foundataion Le Corbusier) < http://www.fondationlecorbusier.fr/corbuweb/morpheus.aspx?sysId=13&IrisObjectId=6159&sysLanguage=en-en&itemPos=2&item-Count=2&sysParentName=Home&sysParentId=65> [accessed 6 August 2015]

4. Lubin, Gus, Why Architect Le Corbusier Wanted to Demolish Down-town Paris (Business Insider, 2013) < http://www.businessinsider.com.au/le-corbusiers-plan-voisin-for-paris-2013-7 4> [accessed 6 August 2015]

5. Minthorn,David,‘ExhibitSurveysEarly InfluencesonTitanofModernArchitecture’, The Canadian Press, 16 January 2013

6. Eisenschmidt, Alexander, Importing the City into Architecture An in-terview with Bernard Tschumi <http://eds.b.ebscohost.com.ezp.lib.unimelb.edu.au/eds/pdfviewer/pdfviewer?sid=01303c38-56cc-4b06-8ab9-7c7843ce3b08%40sessionmgr113&vid=0&hid=103> [accessed 8 August 2015]

7. Bridge, Adrian, ‘From Natural Disaster to Divine Inspiration’, The Daily Telegraph (London), 12 May, 2012

8. Barrie, Andrew, Shigeru Ban: Cardboard Cathedral, (Auckland Uni-versity Press 2014)

9 Dunne, Anthony & Raby, Fiona, Speculative Everything: Design Fiction and Social Dreaming (MIT Press 2013).

10. cartoon: Architects then, Architects now < http://www.dwll.in/> [ac-cessed 10 August 2015]

11. Kalay, Yehuda E. Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004)

12. Oxman, Rivka and Robert Oxman, eds. Theories of the Digital in Archi-tecture (London; New York: Routledge, 2014),

-END PART A- REFERENCES

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13. Jehlen, Myra, ‘Guggenehim in Bilbao”, Raritan 18.4 (1999)

14. Iyengar, Hal, Novak, Lawrence, Sinn, Robert & Zils, John, ‘Framing a Work of Art’, Civil Engineering (08857024) 68.3 (1998)

15. Gehry,GuggenheimMuseumSketch<http://www.detnk.com/files/node_images/161e252e902cc5b9.jpg>

16 Guggenheim Museum, Bilbao , Guggenheim Museum, Bilbao < http://www.telegraph.co.uk/luxury/travel/1241/guggenheim-museum-bil-bao-guide-director-favourites.html>

17. ‘Carrying the Torch’, Civil Engineering (088557024) 78.8 (2008)

18. Cobb, Fiona, Dissecting the Bird;s Nest, Architects’ Journal (00038466), 227.17 (2008)

19. Yu Wen Liu, Guo Fu Zhao & Shou Qing Wang Tsinghua University, Many Hands, Much Politics, Multiple Risks- The Case of the 2008 Beijing Olympics Stadium,The Australian Journal of Public Administration 69.1

20. Christian Berleie Gonzalez, Beijing National Stadium, < https://www.flickr.com/photos/yushimoto_02/6896611382>

21. Peters, Brady, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2 (2013)

22.

23. Davis, Daniel, ‘Quantatively analysing Parametric Modeling’ Interna-tional Journal of Architectural Computing,12. 3 (2014)

24. Schuchmacher, Patrick, ‘Let The Style Wars Begin’, Architects’ Jour-nal, 231.16 (2010)

25. Hansmeyer, Michael, <http://www.michael-hansmeyer.com/proj-ects/columns_info4.html?screenSize=1&color=1#undefined> [accessed 12August 2015]

26. Vehlken, Sebastian, Computational Swarming: A Cultural Technique for Generative Architecture, Dynamics of Data-Driven Design (2014)

B

C R I T E R I AD E S I G N

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A HOTELFOR BUGSpart bCriteria design

B.0 conceptUpon visiting the Merri Creek site, I was drawn to the orchard and vegie patches of the Collingwood Children’s farm (photo to the right). I decided that my chosen concept could provide a function that supports nature without uncontrolled, unwanted intervention into natural processes.

Having grown up in a farming town, I am not squeamish when it comes to bugs. Though their appearance may be off putting to some, like every component of nature, they play a vital part in the health and function of our environment.

I propose to design a temporary bug hotel that can be positioned near vegie patches or fruit trees. Certain bug species enhance growth in plants and some species act to repel unwanted pests. The bug hotel will be a container that caters to the bugs; it will provide spaces to be filled with the appropriate nesting habitats of the desired insect. For example, if a tree was ridden with aphids, leaf matter may be contained in the bug hotel to encourage ladybird nesting.

Image 0.1 Image 0.2

I intend on expanding on these vernacular, home made bug hotels (Image 1 and Image 2) and the Insect house de-signed by architects B3 Designers (Image 3) by exploring form and function. I aim on creatinig a form that is unsual and uncommon.

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Google Maps

Image 0.2 Image 0.3

I intend on expanding on these vernacular, home made bug hotels (Image 1 and Image 2) and the Insect house de-signed by architects B3 Designers (Image 3) by exploring form and function. I aim on creatinig a form that is unsual and uncommon.

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B.1 research field

Tessellation in compu-tationally designed architecture re-

fers to digitally defined mesh patterns and systems2. Traditionally, tessellation in design can

be seen as shapes and tiles that combine in fitted for-mation2 . We can easily recall examples of tessellation, such

as the stained glass windows of gothic cathedrals and the de-scriptive mosaics of ancient Rome. In such examples, tessellation

has been hand crafted, however the advancements of digital technol-ogy have refreshed the use of tessellation. It is now easier to manipu-

late and fabricate tessellated surfaces through the creation of polygonal meshes. Complicated, curving forms that would be expensive and diffi-cult to produce are able to be manufactured through standardisation of components2. Tessellation can be generated at different resolutions to create different textures, from faceted to smooth.

In my project, I plan to experiment with panelising elements through tessellation systems. I feel compelled to tessellation as

a research field as I appreciate how complex surfaces can be portrayed through division and repetition of compo-

nents. I believe that such techniques can illustrate interesting textures, forms and patterns in

each constituent as well as the cre-ation as a whole.

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Image 1: Examples of how tessellation may be constructed1

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B.2 case study 1.0A site specific installation, the Voussoir Cloud examines structural stability through compression. The architects explored catena-ry curves through computational generations of hanging chain models and form finding programs to control the structures form. Delaunay tessellation exploits the structure and creates a set of conjoining petals. As each curved petal is influenced by its neigh-bour, its edges are determined by its end points and a set of tangents that refer to the central point of each cell. A computational script managed the petal edge plan curvature as a function of tangent offset to adjust each of the 2,300 petals unique shape to fit the overall geometry3. The Voussoir Cloud is a great example of computer driven tessellation that describes how tessellation can form and define a structure.

A site specific installation, the Voussoir Cloud examines structural stability through compression. The architects explored catena-ry curves through computational generations of hanging chain models and form finding programs to control the structures form. Delaunay tessellation exploits the structure and creates a set of conjoining petals. As each curved petal is influenced by its neigh-bour, its edges are determined by its end points and a set of tangents that refer to the central point of each cell. A computational script managed the petal edge plan curvature as a function of tangent offset to adjust each of the 2,300 petals unique shape to fit the overall geometry3. The Voussoir Cloud is a great example of computer driven tessellation that describes how tessellation can form and define a structure.

Image 2 and 3, digital composition of Vouissoir Cloud3

Vouissoir Cloud 3

1. Experimentation with base geometry, exploding elements and framing types. (Mesh Explode, Picture Frame, Delaunay Mesh, Distances & Scale)

3. Experimentation with form and physics. (Anchor Points, Forces. Strength, base geometry changes )

4. Experimentation with planes and direction. (Delaunay Triangulation, changing planes, Parallogram Subdivision, Stellate Culmination, Bevel edges, Offset)

6. Experimentation with spikes and smoothing. (Smooth Mesh, Diagonalize, ,

B.2 case study 1.0 iterations

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7. Experimentation with cutting form (Planes, Cull Pattern, Debrep, Explode, Delaunay Mesh, Mesh Thicken)

5. Experimentation with surface impressions and subdivision. (Cull Pattern, Catmull Clark Subdivision, Constant Quads, Sierpinski Triangles, Split Polygons, Split Triangles)

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A B

C D

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B.2 selection criteria

The Bug Hotel should provide spaces for bugs to inhabit - it should have entrances and areas that can be filled with different materials to facilitate insect nesting.

The chosen responses provide possibili-ties for a bug hotel. I felt that these iter-ations addressed the selection criteria in different ways, that if incorporated to-gether could create a complex, multifac-eted solution to a bug hotel.

A - Long extrusions provide deep habitat for deep burrowing insects. Leaf matter can be woven through extrusions, but oth-er habitat material may be hard to place.

B- arched design incorporates hollows at different heights which will attract low dwelling as well as climbing insects.

C- Long singular pod is reminiscint in form to a termite or bullant mound. From the form alone, it is connotative of vernac-ular insect habitats.

D - Sharp, triangular extrusions may ward off predators to insects to help ensure the bug hotel guests do not meet an unfortu-nate fate.

The Voussoir Cloud definition provided a good basis for exploring computer gen-erated physics simulations. However in creating a bug hotel, I found that my it-erations were quite limited. The results created didn’t provide many useable caverns for bug nesting. Perhaps I could resolve this by researching pod and module driven design.

B.2 selection criteriaThe Bug Hotel should provide spaces for bugs to inhabit - it should have entrances and areas that can be filled with different materials to facilitate insect nesting.

The chosen responses provide possibili-ties for a bug hotel. I felt that these iter-ations addressed the selection criteria in different ways, that if incorporated to-gether could create a complex, multifac-eted solution to a bug hotel.

A - Long extrusions provide deep habitat for deep burrowing insects. Leaf matter can be woven through extrusions, but oth-er habitat material may be hard to place.

B- arched design incorporates hollows at different heights which will attract low dwelling as well as climbing insects.

C- Long singular pod is reminiscint in form to a termite or bullant mound. From the form alone, it is connotative of vernac-ular insect habitats.

D - Sharp, triangular extrusions may ward off predators to insects to help ensure the bug hotel guests do not meet an unfortu-nate fate.

The Voussoir Cloud definition provided a good basis for exploring computer gen-erated physics simulations. However in creating a bug hotel, I found that my it-erations were quite limited. The results created didn’t provide many useable caverns for bug nesting. Perhaps I could resolve this by researching pod and module driven design.

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B.3 case study 2.0Tomas Saraceno, is an exhibition artist who specialises in installation artwork. Cloud City is an interactive, rooftop exhibition on top of the Metropolitian Museum of Art4. The artwork, consisting of polyhedrons incorporates solid, reflective and negative faces that provide a sequence of dazzling mirrors and interpenetrating elements.

Although the computational technique behind this installation is relatively simple (a voronoi based algorithm with culled faces and frames), I chose this as my second case study due to its pod like formation. In creating a bug hotel, modular elements that are separated, yet part of the same overall structure would be useful in encouraging and maintaining the inheritance of bug species.

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Tomas Saraceno, is an exhibition artist who specialises in installation artwork. Cloud City is an interactive, rooftop exhibition on top of the Metropolitian Museum of Art4. The artwork, consisting of polyhedrons incorporates solid, reflective and negative faces that provide a sequence of dazzling mirrors and interpenetrating elements.

Although the computational technique behind this installation is relatively simple (a voronoi based algorithm with culled faces and frames), I chose this as my second case study due to its pod like formation. In creating a bug hotel, modular elements that are separated, yet part of the same overall structure would be useful in encouraging and maintaining the inheritance of bug species.

Image 5 and 6, Cloud City by Thomas Saraceno 447

1. Create curves for base geometry 2. Divide curve and locate closest points

4. Cull faces 5. Loft and fillet curves to create frames

B.3 case study 2.0 process diAGRAM

&

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2. Divide curve and locate closest points 3. Create Voronoi influenced by located points

5. Loft and fillet curves to create frames

Dead ends - using Weaverbird

Issues with framing due to mesh faces not being exploded properly

Issues with triangulating frames due to use of weaverbird pictureframe component

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B. CASE STUDY 2.0The final outcome is similar in form to Cloud City. I feel that this process has giv-en me a good understanding as to how the artist would have generated the form. It is similar in the use of culled faces and its filleted frames, however differences in-clude its overall form. Due to the distrib-uted structure of point generation using Pop3d and the nature of voronoi, the pods themselves will not align exactly to those created by Thomas Saraceno.

I plan on further developing the design by experimenting with frame forms, pattern-ing and geometry.

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B.4 case study 2.0 iterationsOverall form(Base curves, smoothing, spheres, weldmesh, piping, polylines)

Frames(Piping, laplician smoothing, diameter changes, stellate, picture frame, sierpinski triangle subdivision)

Surfaces(cull pattern, split polygon subdivision, sierpinski triangle subdivision, stellate culmination, changing Booleans, debrep, laplican smoothing,)

Patterning(Offset, shift paths, move points, vector 2pt, adding points, amplitude, planes, extrusions, cull faces)

Point Distribution and vectors(Point distribution, scale,, loop subdivision, construct domain, remap, unit vector)

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A B

C D

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B.2 selection criteriaThe Bug Hotel should provide spaces for bugs to inhabit - it should have entrances and areas that can be filled with different materials to facilitate insect nesting.

The chosen responses reflect this criteria. Each possibility provides a basis that can be expanded upon to create a more suit-able design.. However, these iterations is may cause issues in how habitat matter may be placed in the structure. This is an area that needs further exploration.

A - Amplitude and direction gives an in-teresting dimension to a patterned face. Curved surfaces however may be hard to fabricate.

B- A conglomerate of curved surfaces provides another area of form that could be explored. The combination of circu-lar and spiked is reminicent of chestnut shells, which once fallen insects inhabit. May provide a literal analogy.

C- Spiked form gives protection, and is re-minicient of natural occuring forms (such as leaf build up or spikey beetles).

D - Flat bottom provides a clear base for standing and spiked top repels wildlife from feeding on the insect nest.

Cloud City provided a model to explore voronoi tessellation. As a beginner I feel that it is usefull to explore recreation of more basic computatioinal form as it provides a basis for gaining clearer understanding of the function of each component in a computational script.

Although the complexity of the definition was limited, it provided a good starting point for processes that could expand and extrapolate on form.

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B.5 prototype proposal

A HOTEL FOR BUGSPROTOTYPE

I expanded on selected iteration A. I experimented with using polylines in patterning rather than interpolated curves. This removed curved elements from the design, making it easier for fabrication. I also explored different base geometry, point distributions, point numbers, moving patterning points and face culling. I believe this geometry will respond well to the brief, creating spaces where garden matter can be poked through holes forbugs can inhabit.

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I expanded on selected iteration A. I experimented with using polylines in patterning rather than interpolated curves. This removed curved elements from the design, making it easier for fabrication. I also explored different base geometry, point distributions, point numbers, moving patterning points and face culling. I believe this geometry will respond well to the brief, creating spaces where garden matter can be poked through holes forbugs can inhabit.

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B.5 prototype fabricationA. STYROFOAM MILLINGCNC milling is a method of cutting styrofoam with high speed milling machines. The process consists of programming the machine to cut a negative of a part out of a block of foam.

Faces of prototype are nested onto foam sheet and cutting is simulated. Colour coding and numbering provides for easy assembly.

Cutting styrofoam Assembling model, using Araldyte glue to joine edges

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A. STYROFOAM MILLINGCNC milling is a method of cutting styrofoam with high speed milling machines. The process consists of programming the machine to cut a negative of a part out of a block of foam.

Faces of prototype are nested onto foam sheet and cutting is simulated. Colour coding and numbering provides for easy assembly.

Cutting styrofoam Assembling model, using Araldyte glue to joine edges

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B.5 prototype

This prototype explored the composition of a singular pod. Now that I can see and feel the model to my inteded scale, I feel that it is perhaps a little too big. I also think that the overal form of the pod is still quite basic and I would like to explore more intricate forms of patterning.

The compressed styrofoam has suitable material qualities for a bug hotel. Styrofoam insulates well, meaning insects will be prevent-ed from harsh frosts and weather conditions, it is light weight and easy to transport and can be coated in several ways to increase strength and aesthetics. This styrofoam however can be brittle, meaning that it is quite delicate to assemble. This may not be suitable for use in the Collingwood Childrens farm due to the presence of children and animals.

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This prototype explored the composition of a singular pod. Now that I can see and feel the model to my inteded scale, I feel that it is perhaps a little too big. I also think that the overal form of the pod is still quite basic and I would like to explore more intricate forms of patterning.

The compressed styrofoam has suitable material qualities for a bug hotel. Styrofoam insulates well, meaning insects will be prevent-ed from harsh frosts and weather conditions, it is light weight and easy to transport and can be coated in several ways to increase strength and aesthetics. This styrofoam however can be brittle, meaning that it is quite delicate to assemble. This may not be suitable for use in the Collingwood Childrens farm due to the presence of children and animals.

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B.5 prototype fabricationA. LASER CUTTING:Laser cutting is a method of cutting or etching material by directing a high powered laser beam at a precise spot on a given material. Vector files fed to the machine govern what is cut and what is etched.

A. CARD

B. ACRYLIC

Tabs were cut and the triangles were scored to create joints for glue.

Tabs could not be cut into the acrylic, as it is a brittle material. Thickness of matterial caused raised edges at joints. 62

A. LASER CUTTING:Laser cutting is a method of cutting or etching material by directing a high powered laser beam at a precise spot on a given material. Vector files fed to the machine govern what is cut and what is etched.

Tabs were cut and the triangles were scored to create joints for glue.

Tabs could not be cut into the acrylic, as it is a brittle material. Thickness of matterial caused raised edges at joints. 63

B.5 prototype analysis

This prototype tested the addition of tabs. Adding tabs made the construction of the prototype very easy, as well as giving the geom-etry extra strength. The material chosen, card, however would not be suitable for the use of a bug house. It would weather and dete-riorate and the card cannot stand heavy forces. When puushed, it flexes and deforms. I coulld incorporate this flexing into my design, to make it interactive or I could look into different coatings to strengthen card. However for a more long term approach, a different material should be used.

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This prototype tested the addition of tabs. Adding tabs made the construction of the prototype very easy, as well as giving the geom-etry extra strength. The material chosen, card, however would not be suitable for the use of a bug house. It would weather and dete-riorate and the card cannot stand heavy forces. When puushed, it flexes and deforms. I coulld incorporate this flexing into my design, to make it interactive or I could look into different coatings to strengthen card. However for a more long term approach, a different material should be used.

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B.5 prototype analysis

I knew before I started this prototype that the joints would not align properly due to the thickness of material. However, as I was at a laser cutter and had some acrylic spare from another project, I decided to give it a try. The acrylic model does have some admirable qualities; the water resistance and smooth surface of the material will be suitable outdoors. The shine of the material is quite attractive and the aesthetic of the prototype would be quite pleasing had the thickness of the material been accounted for prior to cutting.

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I knew before I started this prototype that the joints would not align properly due to the thickness of material. However, as I was at a laser cutter and had some acrylic spare from another project, I decided to give it a try. The acrylic model does have some admirable qualities; the water resistance and smooth surface of the material will be suitable outdoors. The shine of the material is quite attractive and the aesthetic of the prototype would be quite pleasing had the thickness of the material been accounted for prior to cutting.

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After experimenting with my prototype, I decided that I would like to examine addiing extra complexity to the pattern. I expermented further with culling faces, pattern inputs and determining points.

I have also reconsidered my use of materials. I am considering metal cutting techin-ques as this will allow for strong , intricate patterns without overcomplicating assem-bly. I would also like to consider using natural materials such as twigs for the structure itsellf, however this is an idea i need to further research.

I have found a form that I like, and responds well to my brief. I intend on improving it further in part C.

B.5 modifications

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B.6 design proposal

A HOTEL FOR BUGS

FRONT

BACK SIDE

Singular pod with bark inserted

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I intend on creating a temporary bug hotel that can be positioned near the

fruit trees or vegie patches of the Colling-wood Children’s Farm, to facilitate plant growth

through the presence of insects. The aim of my project is to create a structure that provides a basis

for insect inhabitation through the filling of plant matter.

The patterned faces of the bug house provide areas of entry for bugs, water and sunlight whilst the faces create frames to

keep out birds and other threats to insects. Certain faces can be re-moved to add plant matter and twigs for nesting. The varying heights

and spikes of the faces allow for various standing positions, so that the bug hotel can be placed adequately in several different sites in the orchard.

I have considered the vernacular Bug Hotel (generally a home made stacked pallet crate structure filled bark and leaves) and have

expanded on it by experimenting with forms and uses. My Bug Ho-tel has an attractive aesthetic as well as the ability to be trans-

ported to different plants and filled according to their needs.

I would like to develop this concept further; perhaps ex-amining geometries that are specific to a singular

space in the orchard, rather than the orchard in general. I would also like to further into specific

bugs and their specific habitats and needs.

B.6 Design Proposal

Singular pod with bark inserted

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Trying my hand at computational design has given me a clearer appreciation of the techniques and possibilities avail-

able. The process of analysing and learning from case studies has allowed me to investigate compositional techniques used by leading designers and gain an understanding as to the processes followed in

creating a script to form a desired outcome. I feel that I now have a firmer grasp on scripting- that I can analyse and break down how a form has been

created and what components may have been used. The course has enlightened my view towards modern architecture as I am becoming more aware as to how designs may develop and how fabrication techniques come into play. I found the

prototyping process to be the most educative section of part B, as it allowed me to take a hands on approach to digital fabrication, something which I have never done

before (It was my first time using a laser cutter and I was very excited to learn how to function it by myself).

I feel that I have been tackling the brief appropriately. I am keeping myself realistic by aiming to accomplish what I believe is possible given certain constraints, rath-er than attempting what may not eventuate. Although this mindset allows me to

approach the project from a practical stance, I must be careful not to limit my designs by not investigating processes further.

Although hectic and often overwhelming, I have ultimately found the workload of studio air to be enjoyable. I think when you really struggle

with something, you appreciate the end product the most.

B.7 REFLECTION

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B.8 sample sketches

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Image Sampling

Evaluating fields

BUG HOUSES: 1. Crafthubs, Bug Hotel, < http://www.crafthubs.com/bug-hotel/38979 > [visited 20 September 2015]

2. Friends of the Woods, Bug hotel ,http://www.friendsofdkhwood.org/wordpress/wp-content/uploads/2011/06/bug_hotel.jpg > [visited 20 Sep-tember 2015]

3. B3 Designers, The Insect Hotel, < http://www.b3designers.co.uk/com-petition/> [20 September 2015]

B.9 REferences

1. Oracara, Olivia, Tessella, Photograph, < https://oarcara.wordpress.com/tessellation/> [accessed 22 September 2015]

2. Iwamoto, Lisa, ‘Digittal Fabrications: Architectural Material and Tech-niques’, Princton Architectural Press New York, p. 36-56

3. Iwamotoscott Architecture, Voussoir Cloud, < http://www.iwamo-toscott.com/VOUSSOIR-CLOUD> [accessed 22 September 2015] 4. The Metropolitian Museum of Art, Tomas Saraceno Cloud City, < http://www.metmuseum.org/exhibitions/listings/2012/tomas-saraceno> [accessed 23 September 2015].