Detachment.

Pattern is integral to life. Our capacity to feel, perceive, or experience subjective-ly to make sense of otherwise random data is made possible by weaving the threads of data into something we can conceive as order. In contention to this as pattern-seeking creatures, we may have a more fundamental relationship to ornament.1 Pattern recognition may be imbedded in our DNA and is in part the reason we are able to handle complexity, however, we as humans demand so much more than just an existence of survival. We seek to recognize different relationships among things, we make sense of what we see and we add layers to meaning that help us interpret our experiences. Artists and designers seek to tell a story of their experiences and encounters. They find truth through these complex situations and use ornament to trans-late their perception into an extension of their worlds.2 This can be demonstrated through the exterior carvings on the Hin-du temples at Khajuraho in India, they are intricate ornament that tell a story of the past and are ordered through pat-terning. Therefore the role of patterning and ornamentation is essential in archi-tecture to produce experiential and com-municative qualities to the user that can

ultimately enable the user to recognise their surroundings and the encountered interactions and experiences this may im-pact for society, culture and environment. Through computational design pattern has taken on a whole new dimension. This is due to algorithmic programs such as Grasshopper that can distinguish and work out complex patterns through the logic in parameters that work through the organ-isation of data trees. These complex lists enable new and more complex patterns to emerge in architecture. In relationship to pattern the meaning of ornament has changed to a focus that is not limited to representation but that becomes part of structure and material performance as well. Computation has therefore enabled pat-terning to develop further than thus an aesthetic means of storytelling but has evolved to create a rhythmic sensation through repetitious elements. Pattern has therefore transformed to become some-thing evocative due to its unified nature in creating a piece as a whole creating a new spatial awareness where pattern has be-come vital to lending character and a new complex atmosphere to architecture that hasn’t been able to be developed before.

Research FieldPatterning

1 “Ornament and pattern,” Susan Yelavich, 20/04/2016, http://camraleigh.org/exhibitions/2011deepsurface/ornament-and-pattern/ 2 Gianni Vattimo, The Transparent Society (Baltimore, Maryland: The Johns Hopkins University Press, 1992), 72. 3 10 Amazing Hindu Temples, Kanchipuram Temples, 2016, http://www.touropia.com/amazing-hindu-temples/ 4 Adolf Loos, “Ornament and Crime” [1906] in Ornament and Crime: Selected Essays, (Riverside, Ca., Ariadne Press, 1998),173.

B1

Research FieldPatterning

1 “Ornament and pattern,” Susan Yelavich, 20/04/2016, http://camraleigh.org/exhibitions/2011deepsurface/ornament-and-pattern/ 2 Gianni Vattimo, The Transparent Society (Baltimore, Maryland: The Johns Hopkins University Press, 1992), 72. 3 10 Amazing Hindu Temples, Kanchipuram Temples, 2016, http://www.touropia.com/amazing-hindu-temples/ 4 Adolf Loos, “Ornament and Crime” [1906] in Ornament and Crime: Selected Essays, (Riverside, Ca., Ariadne Press, 1998),173.

Exterior carvings on the Hindu temples at Khajuraho in India. 3

Case Study 01Herzog de Meuron - de Young Museum

Herzog de Meuron - de Young Museum is a Swiss architectural firm that uses computational technology as a design tool to push the limits of their buildings. In this project there is a strong focus on us-ing patterning on the museums exterior walls. This striking design feature was developed and enhanced using digital design tools and processes. The new design consists of a bold striking structure that is as much part of the exhibit as the art it contains. Its bold striking exterior features differing varieties of copper that are perforated and molded in certain complexities to give unique and individual pat-terns along the exterior walls. This project is a great example of how computational design can be used on a large scale to give a very clean and precise finishes. It also shows how through computation-al design very complex patterning details can be achieved relatively easily, which enables architects to begin to explore possibilities in a shorter amount of time. Here Herzog de Meuron have utilized the program to create a dynamic and bold façade that through the ele-ment of patterning have created an art piece of its own.

B2

Case Study 01

Iterations

UV and Radius Sampling

1. 2. 3. 4.

9. 10. 11. 12.

17. 18. 19. 20.

Variable: Number Slider

V=15 U=7, V=15, r=.254 U=23, V=7, r=.926U=100, V=50, r=.06

Heightmap SamplingRadian: Number Slider, Outer Circle: (x+y)+0.1Inner circle: (x*y)+0.1, tan (y)*(x+1)

Radian: .2 Radian: 4 Changed expression:(tan(y)*(x-0.4))

Detatched z conponent

x, z vector, image sampler

Image/graph Sampler & Surface Orientation

Applied uv output to r of circle and z vector

Graph mapper Graph mapper

5. 6. 7. 8.

13. 14. 15. 16.

21. 22. 23. 24.

U=23, V=7, r=.926 U=23, V=53, r=..064 U=64, V=4, r=1 U=8, V=4, r=1 U=8, V=4Expression; (x+y)*z

Height=10 Image sampler, Height=5 Image sampler, Height=5 Image sampler, Height=5

Graph mapper, applied to a curved surface

Surface orientation, geometry change

Surface orientation, geometry change

Inverted

25. 26.

27. 28. 29. 30.

Surface orientation, geometry change

Surface orientation, geometry change

Loft circles Oriente top circle along curve, loft

Orientate top circle and graft

Loft Circles

Divide loft for geometry

31. 32.

Divide loft for geometry Top circles orient, error Top circles orient, error, no graft

Successful Itorations

The outcomes from this exercise demon-strated that through alterations and adding additional data to a script that very unique and unforeseen outcomes can occur. It is interesting going through the process be-cause as the designer you still have to con-sider the alterations that are going to occur, however, it is interesting how no matter how much you try and control your script you can still end up with possibilities that you couldn’t foreshadow. I think this is a testa-ment to algorithmic design as it demon-strates limitless potentials that can occur. The advantages of this can be demonstrat-ed through my iterations, showing a large variety of completely different complex ge-ometries and forms. Through simple mod-ifications of the de Young Museum project script I managed to adapt and manipulate the parameters to find new inspiration in a reasonable short amount of time. For exam-ple, species two looks at image sampling, in comparison to species three

that has had the extra plug in of the image sampler effecting not only the height of the individual points but also its radius, high-lighting the simple changes that can have quite drastic effects.When in the process of experimenting with these iterations, I had a focus on how these iterations could potentially inspire my design or add detail to my final design for Merri Creek. The brief for Merri Creek focused on ‘how can one experience vastness? When all frontiers have been tamed and developed.’ For me this trans-lated through to exploring pattern in a way that articulated nature and the possibilities of mimicking it to potentially discover new life. As a result of this exploration, pat-terned geometries that had a complexity of growth or represented more organic systems were explored in greater detail. It was also noted what potential forms, surfaces and spaces these iterations could possess and the ability to fabricate them, thinking ahead in regards to Part C of the journal.

This iteration provides many opportunities for material and structural experimentation. The lofted circles and the bending in the lofts, asks some serious material tactile questions, which could really push the limits of material and structure. The results give an opportunity for potential shelter for patrons and at a smaller scale could be used as a silt depositor, that could rebuild potential eroding areas of Merri creek.

With the aid of surface extrusion, image sampling and a multitude of other variables this iteration, demonstrates a very complex pattern. The reason why I have chosen this iteration is because it has a lot of randomised data in terms of the height of the extrusion and the radius of each circle, however it has still managed to follow a pattern mapped by the image sampler. This has the potential to still be developed further with intentions of generating very complex but structured patterning.

This iteration has great potential to be useful for my design concept. The use of the box morph, as well as the vari-able inputs for the diameter of the top and bottom circles has created a very complex and unusual geometry. This geometry could be used to mimic current organic patterns growing at Merri creek and potentially aid the growth of fauna.

The use of the image sampler and the variable radius of the circle has offered a design that can offer lots of vari-ability. This geometry could have the potential to create a multitude of different lighting effects, that could be used for an installation piece within the site of Merri Creek..

No. 8 UV and radius sampling

No. 17 Image/graph Sampler

No. 28 Loft

No. 23 Surface Orientation

Case Study 02PS1 MOMA, ‘Reef’ by iwamotoscott

B3

REEF is a sculptural pavilion that combines the atmospheric, cloudy elements of the sky with those of the deep sea floor.

The proposal uses 1200 uniquely shaped fabric mesh modules hung from spacers that are attached to the bottom chord of cable trusses. Together, these elements cre-ate a tensile diaphragm that moves with the wind. The models are hung at varying heights to create different degrees of shade and atmospheric qualities. The varying models and the offset nature of the individual units was aided with para-metric software. This was also useful in modification of the design but also for fabri-cation.

The project was extremely successful in creating its design intend. This was due to its use of clever joinery and connection detailing that were both lightweight and sim-plistic to maintain, in order to uphold their agenda of a flowing and atmospherically space. This is important to highlight and take note of for further progression with my design and in particular the joineries.

Curve

Curve

Curve

Curve

TweenCrv

Range

Range

CCX

TweenCrv

PShift

Cull

Cull(Inverted)

0|true

1|false

Flip

Flip

Cull

Cull Crv CP (Graft) (Inverted)

Flip IntCrv (Flattern)

Cull

Cull

Crv CP (Graft)

PShift

Cull

Cull(Inverted)

0|true

1|false

Flip

Flip

Cull

Cull Crv CP (Graft) (Inverted)

Flip IntCrv (Flattern)

Cull

Cull

Crv CP (Graft)

Split point

Split point

0

Match

Reverse Engineering

1. 2. 3. 4.

Tween Curve Grid Lofted Cull Inverted Lofted Cull Offset Grid

MEdges

SrfSplit Join

Fillet

Area

Scale Project (Graft)

Curve Loft

Flip

RuleSrf

Shatter (Graft)

Shatter (Graft)

Loft (Graft)

Crv CP (Graft) (Inverted)

Shatter (Graft)

Shatter (Graft)

Loft (Graft)

Crv CP (Graft)

5. 6. 7.

Lofted Curves Projected Fillet Curves Ruled Surface (Loft Between Two Curves)

The outcome of the Reef project reverse engineering exercise was important for as it helped me to really think algorithmically and put all the exercise into proper use. When considering how to approach the reverse engineering design, I found myself breaking down the project and really thinking of all the objects as a whole and how they are all associated together to form the final geom-etry. I found that the final outcome from the original design are very similar in terms of the overall form and particular geometries. However, the grid that forms the structure for the projected fabric mesh wasn’t com-pletely correct in the weaving direction it takes,

which resulted in slight discrepancy with the cable trusses. In saying that, however the actual form was mimicking nature and had to some degrees a slight random pat-terned approach.

This form really inspires me, the program-matic and rigid details that form the de-sign are perfected. However what I really find interesting about this design is that although it is so rigid it still has a degree of flexibility depending on a number of varying factors. This degree of variability in algorithmic design could further contribute to a more engaging project for Merri Creek.

Outcome

1. 2. 3. 4.

9. 10. 11. 12.

17. 18. 19. 20.

Voronoi & Attractor points

IterationsCull Pattern & Radius SamplingVariable: PanelFillet Radius: Number slider

UV & Projection changeVariable: Number Slider

Change Cull pattern Fillet radius change

UV change Projected surface alteration

Voroni extrude, attractor line, strength 6

attractor points on grid, planar surface between two voronio points

Attractor points on grid, attractor point extrude 4

Attractor points on grid, extrude 4

5. 6. 7. 8.

13. 14. 15. 16.

21. 22. 23. 24.

B4

UV change, Projected surface change

Inverted Voronoi grid pipe

Voroni extrude, Weaver bird smoothing

Voroni extrude, Weaver bird smoothingAttractor point inverted

Voroni extrude, attractor line, strength 6, inverted

Voroni extrude, attractor line, strength 9

25. 26. 27. 28.

1. 2. 3. 4.

1. 2. 3. 4.

Box Morph & Attractor points

Attractor point Attractor point set to opening triangle

Move traingle to attractor point: Number slider

Move traingle to attractor point: Number slider

Box MorphGeometry: Curved SurfaceUV changeAttractor points, changing radius and height

Box MorphGeometry: offset squareAttractor points, changing inside diameter

Box MorphGeometry: offset squareAttractor points, error

Box MorphGeometry: FlowerAttractor points

Subtracting points Damping: Number Slider Rest Length: Number Slider Cut off: Number Slider

29. 30. 31. 32.

5. 6. 7. 8.

5. 6. 7. 8.

UV Change, reduce triangle size

Box MorphGeometry: Curved Surface

Box MorphGeometry: Curved SurfaceRemap Height of box morph

Box MorphGeometry: Curved SurfaceUV change

Box MorphGeometry: offset squareApplied to morphed surface

Cut off: Number Slider Applying New Mesh Damping: Number Slider Applying New Mesh Height change of circles

Kangaroo Mesh Kangaroo MeshHeight change of circle

Kangaroo MeshHeight change of circleRest length: Number Slider

Some of the key design considerations for my design direction looked at exploring pattern in a way that articulated nature and the possibilities of mimicking it to potentially uncover hidden attitudes supressed due to our over exploration and romanticised view of nature and specifically Merri Creek.

As a result of this exploration, geometric variation and its organic potential were extremely important as factors in the cho-sen iterations as they could activate certain outcomes that were not seen through our romanticised judgment of nature.

Furthermore, structural integrity and fabrica-tion was also a vital criteria. As the joinery of the potential structure quite possible could become part of the aesthetics, fabrication that was viable and could add to the struc-ture as ornament was important in depicting nature.

Successful Itorations

This iteration has the potential for complex patterning. If it was used as a surface and orientated with a geometry it could become more complex, which would then have the potential of incorporating light and the dynamic movement caused as a reaction to these geometries. The sensory engagement could potentially be quite dramatic as a result. This variation has the potential if the mesh became more dynamic.

This iteration provides a very intricate pattern and has the potential for some interest-ing textures. Therefore I can see a potential for further organic and geometric possibili-ties. Due to its organic and varying geometries it could potentially create a very intrigu-ing and differentiating environment. However, in terms of fabrication this design would be quite difficult to build, as structurally it is random.

While this iteration lacks the organic pattern structure of the previous iteration it does pose possible solutions to create a structurally sounds design. The design still has the potential to react with the atmosphere of Merri creek, in terms of light patterning and moveability, hence why I have chosen this iteration as it is a more viable option that offers similar effects to the previous iteration. It would be easier to fabricate due to its grid like structure where joints would be similar and mass made.

This iteration has the greatest potential as it successfully meets all of the above cri-teria. The cut out circles can be varied radius wise and height wise to create a more dramatic geometric variation. Along with the first variation this along with an orientat-ed mesh along the surface of the mesh would create a very varied membrane. De-pending on the material this form can take many shapes, which could be enhanced depending on the site to highlight or emphasis certain characteristic, such as elon-gating the circle cut outs to create an eye catching view. Due to the variability of this form and how it could aid in the above to criteria’s this form has the potential to create many different atmospheres. Finally depending on the right material, this geometry could be fabricated through unfolding the mesh into smaller planar components.

B5Technique: PrototypesThe relationship between computational design, material and fabrication techniques has become integral. Because we are so detached from the material properties in a program where generally there a no forces acting upon the design, we need to consis-tently test and retest our designs through prototyping. Prototyping gives us the tan-gible aspect to our designs that we would otherwise not experience through computa-tional programs.

Through prototyping and testing design outcomes I have really been surprised with the results. I was intrigued to discover that many prototypes that I believed would have worked actually failed and prototypes that I thought would fail actually worked. Through this process I picked up on subtleties in the material and the joints that I wouldn’t have

picked up on through the computer. There-fore I found myself modifying and altering my prototypes while in the process of mak-ing them. An example of this is the proto-type two, were my original joints failed and had to re-interpret how I would join them together. As a result of this the outcome of the prototype was more successful than originally thought. This is a testament to the fabrication process which highlights the importance of prototyping in developing design concepts.

Therefore I believe that fabrication tech-niques and material processes, are integral to the computational design process and that the more the line is blurred between the two the greater the possibilities in design are.

Prototype 1

Prototype 2

Prototype 3

Prototype 1 looked at the geometry and the joints to create a flexible membrane that could imitate life through expanding and contraction of the prototype. This has the potential to create organic possibilities that change depending on the wind or even the temperature.

Prototype 2 looks at the geometry itself and how it can contribute to organic possibilites. The folds create pockets of lights that could change depending on the sunlights direction and intensity. Pattern has been used to perforate these folds. Also playing with the possibility of different connections and how they can add a dynamic aspect to the membrane.

Prototype 3 plays with attractor points on the geometries to create a cresendo effect, allowing the pos-sibility for more light to enter into the membrane. It also looks at connections to a frame and a slotting mechanism for the joints. Attempting to create a holistic design that doesnt require an array of material. In this prototype i was also testing the tensile capabilities of the polypropylene, hence why the materials are attatched to a frame.

B5

“Photographs can only capture a fixed visual im-age, whereas for me architecture is about the whole experience of the space. This can include touch or smell - anything that offers a special connections.”

- Kengo Kuma

We have been deluded, we are told to believe we have tamed and developed everything but this gives us a romanticized ideal about everything, it makes us detached from the environment impairing our judgment about the truth behind our ‘scientifically investigated frontiers.’ We have become so alienated and so detached from the truth we reside with the fundamental principles of people who came before us because we don’t know what’s the truth anymore. This negligent conformity has not only disconnected us from the ‘hidden crannies’ but has unawaringly made us destroy them due to our romanticized judgments we have been sold.This architectural instillation seeks to symbolically represent our judgment towards a sys-tem we are disconnected from and highlight the damage this neglection has caused.The core concept of this instillation in terms of connection, or rather our disconnection, to Merri Creek is to pinch the consciousness through moral ambiguity. Much of the effect will come from the changing atmosphere as you move closer to the instillation. At first the tex-ture, colour and light are clearly defined and familiar, in touch with your romanticized ideal of the creek. Then under closer inspection you experience a new revelation one of shock and confusion, that this romanticized object is no longer what you originally perceived. This contrast and the change in tone of the instillation, heightens your awareness of judge-ment and invites you to speculate on your actions as a result.

Learning Outcomes

B6

The learning outcomes of Studio Air have been to understand what computational design can bring to architectural design, both in generative design outcomes and its parameters. Part B has helped me to better understand algorithmic design and the dif-fering applications it can enhance within the digital design world and in the real world. Af-ter completing Part A I was still very scepti-cal on how much you as a designer designs and how much the computer generates for you, and whether or not this takes designing out of the hands of the architect. However through Part B I have realised that when used right algorithmic design is just another tool in aiding the designer. This has helped me develop an understanding of the huge array of possibilities generative design has. Although I cannot call myself fluent, I can say that through this Studio I have learnt the fundamentals to help me utilise grasshop-per in a way were I can create a direction that will aid with my own design ideas. This is a really important point in the progression of my learning as I originally believed that algorithmic aided design put a design in the designers head. But this is far from the truth.

Through the reverse engineering exercise and the following iterations I managed to create outcomes through algorithms that were in a direction that aided my design agenda and which weren’t just ‘random’ generations but were beneficial towards my final project. My design proposal has been an interro-gation of society’s judgments towards the natural landscape and considering how our actions are effecting these environ-ments. This has lead me to focus my ideas around creating a sensory engagement through the tools of parametric design that focuses on creating contrasting at-mospheres through geometric patterning and articulation. The complexity of indi-vidual geometry in regards to the whole membrane and making the outcome as synthesized as possible in terms of join-ery and whole has meant that the design could only be done using grasshopper and a succinct process that helps you develop your design in a specific direction that ad-heres to your agenda and the original brief.

Algorithmic Sketches