Brogno_Cara_637369_Studio Air_Final Journal

Studio Air semester 1, 2015

Journal

Cara Brogno

637369

Cara Brogno3rd Year

Architecture Major

Melbourne University

Introduction:

1

My introduction to Computational design began with Virtual Environments in Semester 2, 2013, where I was a part of a partnership in which we produced an Inflating wearable Architecture. In essence, we designed using the Information of the virtual world of human responsiveness to a perceived threat, to create a transformable Physical scale model. The computational process was mainly used as the tool to optimize the model making process.

We were thus restricted by our lack of knowledge in Using Rhino and Grasshopper, to delve into the creative possibilities allowed by these Computational programs. I’d like to expand my knowledge of using these programs from a basic ability to transfer my pre-established ideas onto the computer, into expanding the creative potentials allowed by using the computer as the main tool for imaginative possibilities.

1

Part A: Conceptualization

The Kloppersbos Retreat project encourages new life to what was once an unused part of history through a very considerate approach. An existing kraal-like ruin was con-verted to form this retreat1. In effect the new retreat’s geographical point acts as a marker of history for gen-erations to come, whilst simultane-ously representing the progression in technologies and ways of living.The ‘retreat’ is used to remind hu-mans of how we used to live in a self-sufficient manner from the gifts of the land. Through these pro-gressions into modern times where humans are more technologically ad-vanced, less self-sufficient and more globally and locally connected with resources, it’s important to look back and acknowledge how we can still be environmentally resourceful and build a working relationship with nature as it will always exist.

The retreat’s thoughtful design incor-porates new human knowledge (ma-terials such as concrete, new tech-nology, controlled sun orientation devices), respect and understanding of the ever presence of nature and the site’s history and environmental context.2

The low energy requirements3 gen-erated by considerate and responsive design allow the structure to act as a ‘retreat’ from the consumerist nature of the city areas. The Kloppersbos Retreat quintes-sentially promotes a reminder of the past and its benefits to essentially move forward.

Kloppersbos retreat

metz + metz architects ccDinokeng Reserve, Pretoria, South Africa

2

1 Pieter Mathews, Contemporary Capital: An Architectural Journal, (Brooklyn Square: Visual Books, 2011), p.212.2 Mathews, p.212.3 Mathews, p.212.4 Figure 1: Fritz Metz (photographer), Contemporary Capital.5 Figure 2: Fritz Metz (photographer), Contemporary Capital.

Fig.1. Klopperbos Retreat Photo 14

Fig.2. Klopperbos Retreat Photo 25

A.0.Design FuturingRooiberg W Design Architecture StudioPortion Rooiberg, Limpopo, South Africa

This house was developed to pre-dominantly pay tribute to its sur-rounding context through its aim to provide a continuous unity with the immediate environment.1 The house is situated on a game farm close to this small town of Rooiberg in the foothills of the Waterberg Moun-tains.2 The endeavour for this project by its architectural and professional team was to have an attentiveness and recognition of being in a natu-rally beautiful place.3 The intention of this house’s architecture is to be lesser than its surrounding con-text so as to always predominantly enlighten the viewer to the environ-ment, more so than the structure.4 This engages the theory that archi-tecture does not necessarily aim to focus on itself but rather has the power to be used as a reflective piece to focus alternate matters.

3

1 Pieter Mathews, Contemporary Capital: An Architectural Journal, (Brooklyn Square: Visual Books, 2011), p.240.2 Mathews, p.240.3 Mathews, p.240.4 Mathews, p.240.5 Figure 3: David Ross (photographer) (courtesy VISI), Contemporary Capital.6 Figure 4: David Ross (photographer) (courtesy VISI), Contemporary Capital.

Fig.3. Rooiberg Photo 15

Fig.4. Rooiberg Photo 26

4

Shellstar Pavilion, Matsys, Hong Kong

Izmir Opera House (comp.), Nuvist Architecture & Design, Izmir, Tur-

Fig.5. Izmir Opera House Photo 11

Fig.6. Shellstar Pavillion Photo 12

1Figure 5: <http://www.tuvie.com/izmir-opera-house-by-nuvist-architecture-and-design/>, [accessed 15 March 2015].2 Figure 6: Dennis Lo, <http://matsysdesign.com/2013/02/27/shellstar-pavilion/> [accessed 14 March 2015]3 Figure 7: <http://www.tuvie.com/izmir-opera-house-by-nuvist-architecture-and-design/>, [accessed 15 March 2015].

Fig.7. Izmir Opera House Photo 23

A.1.Design Computation

5

Adaptive, Innovative, EfficientAs opposed to in past, computation now has the ability to generate new innovative ideas responding to the information we feed it instead of having a predetermined idea and playing around or simply copying it onto the computer until the de-signer is content. Computation is an apparatus that can tell us about the nature of a specific environment and how to change design into shakeable, analysable information.1 Design can in turn be produced as an expres-sion of this understanding rather than the usual parameters of cultural background, personal taste or in-come2 and thus overall may be seen as re-defining current practice.

Efficiency is a key concept allowed by computational practice. In the Shell-star Pavilion, the project focused on achieving maximum strength with minimal structure and material.3

3

Subsequently time efficiency was also achieved using advanced digital modelling techniques (form-finding; surface optimization; fabrication planning) for a result in just 6 weeks - design, fabrication and assembly.4

Computation presents many unique possibilities and innovations which read quite differently visually, from architectural history. As seen in the Opera Izmir which presents quite an obvious computerised design. This project’s intention was to create func-tion and inserted data regarding the environment, perceptual data, vista areas and meteorological factors.5

1 Rosemary Gunzburg and Stanislav Roudavski, Air Lecture 1, conducted University of Melbourne, 2015.2 Gunzburg and Roudavski, 2015.3 Matsys, Shellstar Pavillion, <http://matsysdesign.com/2013/02/27/shellstar-pavilion/> [accessed 14 March 2015].4 Matsys, Shellstar Pavillion5 Tuvie - Futuristic Technology, Izmir Opera House by Nuvist Architecture and Design, <http://www.tuvie.com/izmir-opera-house-by-nuvist-architecture-and-de-sign/>, [accessed 15 March 2015]. 6 Louis H. Sullivan, The Tall Office Building Artistically Considered, <http://academics.triton.edu/faculty/fheitzman/tallofficebuilding.html>, [18 March 2015].7 Figure 8: Dennis Lo, <http://matsysdesign.com/2013/02/27/shellstar-pavilion/> [accessed 14 March 2015]

Preceding Architectural theorist Louis Sullivan was adamant form ever follows function.6 We can somewhat appreciate this theory and adapt it into modern thought where function when related to people, flows, the environment and a general consideration of purpose does come first as algorithmic data and the computer can then with all informa-tion gathered, create a form.

Fig.8. Shellstar Pavillion Photo 27

Whilst many are hesitant to this new direction as they hold concern for the place of creativity and im-agination, Peters describes this new method as in fact an expansion of the designer’s knowledge and mind.2 He also believes once the digital is no longer conceived and discussed as a separate thing, then computation can truly receive its accreditation as a verified design method.3 With every method and material, such as a pen-cil, it will hold certain limitations, benefits and possibilities.4 The pres-ent needs of society match with the benefits of computational methods and these methods are able to tack-le the more complex issues of this time, which ironically have resulted by humans’ misuse of the planet as a limitless resource.5

Some of these benefits and limita-tions can be seen in these structures which utilize generation.

The shift from architectural compo-sition to generation is a recent one and may be seen as a gradual and natural progression from traditional practice and thought. The very na-ture of tradition suggests a relentless attachment to the past regardless of the relevance to the present day and can in the case of architecture have a negative effect if no progress is sought and agreed upon by a ma-jority. Architectural generation is the new form of thought and action in the design process and includes the aspects of algorithmic thinking, parametric modelling and scripting cultures. The focus and difference of genera-tion design is to design a componen-tial system to enable multiple varia-tions of a product.The shift to this approach has come with much reaction, particularly a sense of lament for the place of crea-tivity and old school imagination.1

Shenzhen Bao’an International Airport BuildingMassimiliano Fuksas ArchitectsBao’an, Shenzhen, China

1 Rosemary Gunzburg and Stanislav Roudavski, Air Lecture 2, conducted University of Melbourne, 2015.2 Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, (2013), 8-15 (p.15).3 Peters, p.15.4 Gunzburg and Roudavski, 2015.5 Tony Fry, Design Futuring: Sustainablilty, Ethics and New Practice, (Oxford: Berg, 2008), pp.1-16.6 Figure 9: Knippers Helbig, < http://www.e-architect.co.uk/hong-kong/shenzhen-airport>, [accessed 18 March 2015].7 Figure 10: Courtesy of ICD/ITKE University of Stuttgart, < http://www.architectureforfuture.com/blog/24/8/2014/interview-with-icditke-team-on-fiber-woven-research-pavilion-2013-14>, [accessed 18 March 2015]8 Figure 11: Leonardi Finotti, < http://archrecord.construction.com/projects/portfolio/2014/03/1403-shen-zhen-bao-an-international-airport-terminal-3-studio-fuksas.asp>, [acessed 18 March 2015].

Fig.9. Shenzen Baoán International Airport Building Photo 16

Fig.10. Fiber Woven Research Pavillion Photo 17Fig. 11. Shenzen Baoán International Airport Building Photo 18

A.2.Composition/Generation

Limitations•Lack of specific control over visual product•Limited to patterned style, less freedom

Benefits•The team was able to create a sense of dynamism – the 3D nature of the features allow them to look differ-ent from different positions of the viewer1

•Ability to analyse daylight and ener-gy input2

•Time efficiency – optimization could be repeated and tested very quickly allowing the primary design of the facade and structure to be completed in just a year and imme-diately passed on to other disciplines (engineering/ planning)3

7

Fibre Woven Research Pavilion ICD/ITKE teamUniversity of Stuttgart

Benefits•(Ability to be) Collaborative –collab-orating with biologists to explore novel and efficient strategies5

•Use of robots as part of construc-tion – time efficiency, automated and precise results, reduced manual labour and risk of error6

•Helps realise novel design and con-struction potentials that were formerly impossible7

•Exploring unique and new architec-tural solutions•Resource efficiency (calculated use of resources and use of robots for imple-mentation)8

Limitations•Performative morphology in nature can’t be transferred immediately to the design and construction – human inves-tigation is still needed and then can be applied to technical applications4

•In moving one element, the entity as a whole will shift – this may be undesired

(Using parametric software tools)(Parametric modelling & computer Simulation tools)

Shenzhen Bao’an International Airport BuildingMassimiliano Fuksas ArchitectsBao’an, Shenzhen, China

1 Architectural Record, Dodge Data & Analytics, Shenzhen Bao’an International Airport Terminal 3, < http://archrecord.construction.com/projects/portfolio/2014/03/1403-shenzhen-bao-an-international-air-port-terminal-3-studio-fuksas.asp>, [acessed 18 March 2015]. 2 AJ Welch, E-Architect, Shenzhen Bao’an International Airport, < http://www.e-architect.co.uk/hong-kong/shenzhen-airport>, [accessed 18 March 2015].3 Welch, E-Architect.4 Architecture for Future, Interview with ICD/ITKE, < http://www.architectureforfuture.com/blog/24/8/2014/interview-with-icditke-team-on-fiber-woven-research-pavilion-2013-14>, [accessed 18 March 2015].5 Architecture for Future.6 Architecture for Future.7 Architecture for Future.8 Architecture for Future.9 Figure 12: Courtesy of ICD/ITKE University of Stuttgart, < http://www.architectureforfuture.com/blog/24/8/2014/interview-with-icditke-team-on-fiber-woven-research-pavilion-2013-14>, [accessed 18 March 2015]

Fig.12. Fiber Woven Research Pavillion Photo 29

Fig.13. Chains representing linked systems Photo 11

1 Figure 13: Cara Brogno, Photo

A.3.Conclusion

9

Part A critically analyses current architectural thinking and ways of designing and explores the com-putational thinking and systems of the future at present. My intended design approach is to be contextually focused, be experimentative and try not to be predetermined with a par-ticular visual product but allow com-putational possibilities to originate an outcome. My approach is to build some sort of relationship between what is there and what could poten-tially be. It is significant to design in this way because it creates a shift in thinking and puts the emphasis on purpose. It is a very organised and literally methodological approach rather than being aesthetically focussed. It would be innovative to design something which may en-hance how someone lives or interacts as well as the method by which it’s designed. The users of this structure should be able to relate and interact, much like engaging happily with a new friend.

Fig.14. Chains representing linked systems Photo 21


10 Fig.15. Possibilities Photo11


A.4.Learning Outcomes

11

My experience learning about the theory and practice of architectur-al computing thus far has been a real challenge and extension of my breadth of knowledge but I have found aspects interesting and am starting to realise the beneficial nature of the new technologies being developed. From the beginning of the semester to now I’m a lot more aware of com-puting possibilities whereas before I had the preconception that com-puting was just a tool to compose your ideas faster. I realise now that it can act as a generator of things you hadn’t even thought of or may have been quite difficult to even conceive and then express. What interests me a lot is the multidisciplinary nature of sharing files and adapting to the surrounding environment therefore making each structure as self sus-tainable as possible and unique to their individual context rather than just artistically unique.

Fig.16. Possibilities Photo 21


12

A.5.Appendix - Algorithmic Sketches

13

How did reseach ex-tend the material in tutorial?

I used the search tool a lot in Rhino to find out more about the com-mands, their definitions, what they require and what they can produce. This helps a lot to increase user cre-ativity by providing the knowledge base and allowing the user to inter-weave their own ideas. When I turned it over, I wanted to enclose the roof so as to give a sense of closure and finished geometry. I researched into the ‘capping’ feature. Although very simple, it’s a com-mand now under my belt for future reference.

Why did I select these to include?

The image on the far left is the orig-inal product of what I thought was a loft gone haywire, but instead ended up being one of the most interesting geometries. When trying to com-prehend it in perspective I realised the obscurity and complexity of the inter-lapping curvature and that it actually made sense. Turning it up-side down, I discovered its possible use as a structure in this state. I think I appreciate the niches, its dynamic nature and the connected yet flow-ing sense it may give to a viewer as a pavilion - it would leave much to the viewer’s imagination and promote a mental and physical interaction.

How do they repre-sent some of the ar-guments made?

Much of the research I discussed relates to these examples and their process:

- Not having a predetermined idea can create something great

- The creation of unique possibilities

- The invention of something you may not even have comprehended or known how to visually represent

- Creating something amazing with-out working for hours on paper but commanding the computer within minutes to create various repre-sent-ions to share with others who can understand it.

What new knowledge/ Understanding/crea-tive ideas do they represent?

This primarily taught me that exper-imenting with the perspective can be extremely inspirational and useful and to not judge an execution by how it first comes out. It has made me a believer in the beauty of organic complexities. What I’m going by is that I don’t have to necessarily have to understand how everything will turn out, but to keep on trying and experimenting until I’m inspired.

14

ReferencesMathews, Pieter, Contemporary Capital: An Architectural Journal, (Brooklyn Square: Visual Books, 2011)

Gunzburg, Rosemary and Roudavski, Stanislav, Air Lecture 1, conducted University of Melbourne, 2015

Matsys, Shellstar Pavillion, <http://matsysdesign.com/2013/02/27/shellstar-pavilion/> [accessed 14 March 2015]

Tuvie - Futuristic Technology, Izmir Opera House by Nuvist Architecture and Design, <http://www.tuvie.com/izmir-opera-house-by-nuvist-architecture-and-design/>, [accessed 15 March 2015]

Sullivan, Louis H., The Tall Office Building Artistically Considered, <http://academics.triton.edu/faculty/fheitzman/tallofficebuilding.html>, [18 March 2015]

Gunzburg, Rosemary and Roudavski, Stanislav, Air Lecture 2, conducted University of Melbourne, 2015

Peters, Brady, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, (2013), 8-15

Fry, Tony, Design Futuring: Sustainablilty, Ethics and New Practice, (Oxford: Berg, 2008), 1-16

Architectural Record, Dodge Data & Analytics, Shenzhen Bao’an International Airport Terminal 3, < http://archrecord.construction.com/projects/portfolio/2014/03/1403-shen-zhen-bao-an-international-airport-terminal-3-studio-fuksas.asp>, [acessed 18 March 2015]

Welch, AJ, E-Architect, Shenzhen Bao’an International Airport, < http://www.e-architect.co.uk/hong-kong/shenzhen-airport>, [accessed 18 March 2015]

15

16 17

Part B: Criteria Design

Advantages for Designers:By using biomimicry parametrically the designers were able to create something which became:Interactive; experiential; visceral; not differentiated between narrative and fact1; educational; surprising; unexpected; creative; organic but following nature ; repre-sentative; testable; multi-layered information into one; an individual experience for various people at different angles.

The Morning LineAranda/ Lasch Arup AGU Mathew RitchieCAAC, Seville

1 Thyssen-Bornemisza Art Contemporary, (p. 25)Figure 1: Jakob Polacsek, < http://www.redbull.com/cs/Satellite/en_INT/Article/The-Morning-Line-Francesca-von-Habsburg-interview-021242879347997 >, accessed 30 March, 2015.

Figure 1: The Morning Line

B.1.Research Field: Boimimecry

19

Biomimecry/ Biomi-metics

The nature of biomomicry in architec-tural design implies the possibility to imitate nature and its various systems at different scales or, as this project in-spires, to combine multi-disciplines of thought or information about a particu-lar system into one diverse experience.The opportunities are thus extremely broad considering the endless amount of natural systems and so each project may be extremely individual and focus on a particular set of information which can be observed and interacted with by humans as an enlarged structural form.

This makes it a structure of multiple moments; of a dynamic cycle with loops and without a set beginning or end, entrance or exit1.

“The evolution of the universe as a story without beginning or end, only move-ment around multiple centres”2

‘There is no single way in or out, no final form. The surfaces, shapes and configurations were developed follow-ing information from the various fields including recent theories of cosmology and universal formation and famous 17th century poetry circulating the topic of the creation of the world3.

In this case what the technique does is essentially gives a meaning and response to a somewhat incomplete and unde-fined worldly question, thus giving form and a small sense of completeness to the not yet defined.

1 2 3

The Morning Line

The conceptual notions behind this contemporary art piece entitled ‘The Morning Line’ are really the basis and objective message of this project rather than satisfying the need for a pavilion to shelter people. It was created for the exhibition ‘Youni-verse’ celebrating the union of art, science and technology1. It is therefore quite relevant conceptual-ly to our project which seeks to connect architecture, nature and technology. It strongly emphasises the collaboration between fields of expertise from music to physics to cosmology2.

It uses parametric data to express the theories of different disciplines and combine them to create a universal the-ory of how the world was created. Geometrically it works by a very modu-lar system using one block with a fractal structure which is scaled, multiplied and made into structural rings3.

1 2 3

1 TBA21, Matthew Ritchie with Aranda/ Lasch and Arup GU – The Morning Line, <http://www.tba21.org/augarten_activities/49/page_2> [Accessed 7 April 2015]. 2 TBA21 3 Thyssen-Bornemisza Art Contemporary, Edited by Eva Ebersberger and Daniela Zyman, ‘The Morning Line – Matthew Ritchie Aranda\Lasch Arup AGU’, Issuu, <http://issuu.com/tba21/docs/the_morning_line_book_with_cover> [Accessed 7 April 2015], (p.27). 4 Thyssen-Bornemisza Art Contemporary, (p. 27) 5 TBA21 6 Thyssen-Bornemisza Art Contemporary, (p. 23)Figure 2: < http://ubiquarian.net/2012/12/the-morning-line-goes-to-zkm-in-karlsruhe-as-a-permanent-gift-by-the-tba21/ >, accessed 30 March, 2015.

Critical Analysis

I’m holding some concern over the pos-sibility of fabrication for my potential project. Many of the connections in this project would seem quite small and not particularly strong, if made at a smaller scale using lighter and weaker materials. What I am considering therefore is to make sure I maintain large enough con-nections and perhaps a limited amount of them, as well as visually approximat-ing the structural stability. This is one of the flaws in making without engineer-ing expertise. It is a process of testing though modelling which will establish its fate against physics.

Figure 2: The Morning Line Detail

Density Variation

Surface Variation

Pattern Variation

Opening Variation

Height Variation

B.2.Case Study 1.0: VoltaDom Iterations

21

Selection Criteria...

Requirements:

Brief Connect architecture, nature and technology.Be responsive to the specific site ‘Merri Creek’

Biomimicry Imitate/ utilise the laws/ systems of nature at different scales.

Overall Criteria/ ideas Be representative of the systems at play:Be adaptive in the modelling of the structure to the Merri Creek wildlife/ natural systems.Allow the structure to be accessible and used by humans:Allow the structure to progress from the ground plane to higher accessible levels.

Slight elevation of individual shapesOpen circular componentsHeight

Variation: Iteration 2

Biomimetic Relationship Qualities

Potential for Architectural Application

Potential for Use as Creative Effect

Spikes which alter in direction with a distorted surface.More pointed at ends.Height

Variation: Iteration 6

Pattern Variation: Iteration 3

Surface Variation: Iteration 2

Openning Variation: Iteration 5

Long-necked Tortoise

Something With a Fur Texture - Flora/ Fauna

Brown/ Common Snake

Echidna

Native Flower such as the Swamp Daisy/ Button Wrinklewort

Curved path pulling a pattern into itselfTextured

Densely packed forms

Bunch of intersecting circular extrusions.Extrusions expand outwards on an angle (not straight)

The surface base is easily altered whilst maintaining an equal pattern without stretching.Could be used as an inner/ outer shell structure

Echidnas are not native to the Merri Creek region but many have passed through and people are urged to inform the management committee. This structure could potentially be an awareness campaign for stray wildlife.

Snakes are common along any urban waterway. This structure would create awareness for humans that Merri Creek is for many species, a habitat.

Surface pattern

Surface pattern

Shell patternOpen circles could create a light/ shadow effect

High visual effect and interest potential.

The spike surface may be set back in places to look as though it’s been indented with something such as writing.

Pattern of a snake path.Extruding scales.

Surface pattern

Could add more patterns to resemble the flowers more or leave them with holes for a light and shadow effect.

http://www.mcmc.org.au/index.php?option=com_content&view=frontpage&Itemid=1

B.2.Case Study 1.0: Iteration Potential

23

Urban Alloy TowersAMLGMChad Kellogg & Matt BowlesNew York Proposition

Figure 3: < http://www.amlgmlabs.com/urban-alloy-towers/>, accessed 30 March, 2015.Figure 4: < http://www.amlgmlabs.com/urban-alloy-towers/>, accessed 30 March, 2015.

Figure 3: The Morning Line

Figure 4: Map of Bourough Connection

B.2.Case Study 1.0: Urban Alloy Towers

Design Intent

They describe the dynamic cities of the 21st century including New York as being dynamic anthropomorphic alloys, as machines for innovation and societal unity1. To insure New Yorks future as a leading global centre they believe they need continued growth in intelligent ways2. The project utilizes the oppor-tunity of connecting Manhattan with the other boroughs without disturbing existing land use3. The Urban Alloy suggests a residential typology in the free spaces or ‘air rights’ around and above an intersection of transport4. The aim is to create a set of highly linked yet heterogeneous living environments using different materials5. The blend of geometries along with site constraints produces a complex geometry requir-ing an optimizing façade6. At the grid intersections, the optimal solar shading and light transmitting requirements are analysed7. This analysis then creates fins to blend with the profile, both vertical and horizontal8.

1 2 3 4 5 6 7 8

Critical Analysis:

I think overall, looking at what it’s actu-ally achieved is that it is concentrating a lot more people and functions at a junc-tion of transport, thus essentially creat-ing a centralised district with excellent transport outwards and inwards. And all using an otherwise unutilised space. The primary concerns would be transport noise, movement and the disturbance of construction that it would bring to many major transport services. The analysis of solar shading and lighting needs is an intelligent aspect. I under-stand the idea of the shape as wrapping around like a skin but question the necessity of the grandness of scale in how much it covers if lighting efficiency is really such a factor. Although it makes a statement of the link of major paths, it’s more of a sculptural emphasis as the amount of people and functions it can host is limited.

1 AMLGM, Urban Alloy Towers, < http://www.amlgmlabs.com/project-desription/ > [Accessed 10 April 2015].2 AMLGM3 AMLGM4 AMLGM5 AMLGM6 AMLGM7 AMLGM8 AMLGMFigure 5:< http://www.amlgmlabs.com/urban-alloy-towers/>, accessed 30 March, 2015.Figure 6: < http://www.amlgmlabs.com/urban-alloy-towers/>, accessed 30 March, 2015.

Figure 5: Diagram of Functions

Figure 6 , Apartment Example

25

26

This section defines the shape by lofting the base as well as additional arms.

B.3.Case Study 2.0: Reverse Engineering

27

Final Grasshopper Definition

Kangaroo/ Spring force provides this smoothed effect, where the shape loosens and holds its posi-tion almost like an effect of gravity on all sides.

The addition of Weaverbird-Trian-gles provides an extra diagonal divi-sion resembling the Alloy Towers.

The thickening provides thickness to the pat-terned skin.

28


29

Process Imagery

30 pg

B.3.Case Study 2.0: Reverse EngineeringFinal Rhino Replica


pg

Final Rhino Replica

Density Variation

Shape Variation(Kangaroo)

Opening Variation

Quad Density

Variation

35

Mesh Variation

Mesh Variation

Even Quad DensityVariation

Stellation Density Variation

B.4.Technique: Development

36

Shape Variation: (Kangaroo)

Potential for Architectural Application

Stellation Density Varia-tion:

I found my definition limiting in some respects as I found that I was restricted by what forms I could pro-duce. I feel that kangaroo has an ability to create desirable forms for biomimecry because the smoothed effect it produces is common in many systems such as micro-organisms. For Part C I’d like to test kangaroo using a different definition and perhaps adapting forms of the micro-organisms found in the river to create my base form. Onto this I could adapt a type of skin, representative of a kind of flora or fauna.

In researching the wildlife and habitation of Merri Creek I have come across the echidna as being present even in the narrowest regions of Merri Creek . Although not native they are creatures of survival. With little fighting ability they depend on their spikes to detract threats and shield themselves from predators. In the barest sense the spikes created from the stellation tool form the extruded shape of an echidna’s spikes in defence and would be interesting to form the skin.

B.4.Technique: Development

37

Concept Of Prototype...

Inspired by the echidna, which is not native to the trail but are often sighted wan-dering through vulnerably and so in a way, endangered. The pavilion could act as an awareness message to promote the reporting sightings of passers by to environ-mental management. The focus is experimenting with how the skin can move and how the space and skin is experienced internally. The external skin is characterised by the echidnas reaction to a perceived threat in its defensive state, where it curls up, altering it’s surface state.

B.5.Technique: Prototypes

39

Selection Criteria...

Requirements:

Brief Connect architecture, nature and technology.Be responsive to the specific site ‘Merri Creek’

Biomimicry Imitate/ utilise the laws/ systems of nature at different scales.

Overall Criteria/ ideas Be representative of the systems at play:Be adaptive in the modelling of the structure to the Merri Creek wildlife/ natural systems.Allow the structure to be accessible and used by humans:Allow the structure to progress from the ground plane to higher accessible levels.Create a plastic structureStructure may be movable in some way or depict movement Movement should form changing visual effects Mimic principles of an animal skin Base form may imitate a natural system at a different level e.g. micro-organism

Updated Selection Criteria

B.5.Technique: PrototypesPhotos Testing Prototype Performance

41

42

Design Proposal...

To create an interactive pavilion whose parts are inspired by the natural systems associated with Merri Creek at different scales.It’s surface skin will have an affect of movement, be it just visual or also physical. The structure should progress upwards from the ground plane and be climb-able.

B.6.Technique: Proposal

43

Potential Site Application Decisions:

Reasoning:

Placement should be:Close to but off the main path or Over the main path

Positioned in the middle of the trail

At a safe distance from the creek

The pavilion/ Interactive Sculpture should:Not disrupt the flow of people, be up to the viewer to engage and interact

Act as a source of stimulation, be surprising to the passer by, by acting as a change from a repetitive scenery

Not be hazardous, but allow view to be a major feature

How is it Innovative:

It uses references of natural systems at dif-ferent scales all in one structure.The skin is mailable and interactive.People can interact and experience smaller scaled systems at an exploded scale; from underneath, on the surface itself as well as standing upon the surface.

44

B.7.Learning Objectives & Outcomes

45

OBJECTIVE 1 Interrogate Brief

OBJECTIVE 2Generate Variety of Design Possibilities

OBJECTIVE 3 Develop Various 3D Media Skills

OBJECTIVE 4Develop Understand-ing of Relationships Between Architecture and Air

A lot of these objectives have been satisfied or at-leased attempted and will be improved upon after the completion of Part C; some-what actively but also partly subconsciously. Although I know I have room for more detailed development and improvement, I think I’m on the right path at turning my conception and ideas into a translatable reality using computational techniques.I feel like my head may be running faster than my hands in terms of concepts and realistic technical abilities. Considering it’s a completely new system of design and thinking that I’m adapting to in a short time, the benefit of the growth that I’m achieving is worth the struggle.

I am able to manipulate using parametrics and I’m often seeing how I can potentially plug in new things and adjust definitions.

My research has opened my eyes to the potentials of computation in the design process. One of the common aspects which interests me is using design to achieve envi-ronmental sustainability, the incorporation of efficient materials to create an efficient overall system as well as the use of imitating pre-existing systems of nature.

OBJECTIVE 5Develop Ability to Make Case for Proposal

OBJECTIVE 6Develop Capabili-ties for Conceptual, Technical and Design Analyses for Contem-porary Projects

OBJECTIVE 7Develop Foundational Understandings of Computational Geometries, Data Structures and Types of Programming

OBJECTIVE 8Begin Developing Personalised Repertoire

What I’m looking forward to is making it more of my own thing (developing a personal signature repertoire). I think this can be achieved by developing a clearer concept and argument for the application of my design to the site to prove that my work is my own and unlike what has been done. I think this was always my intention in the conceptualisation phase but there is a world of designers and structures already utilising the foundational ideas of many concepts.

46

B.8.Appendix: Algorithmic Sketches

I really appreciate the free-flowing nature of the forms using kangaroo. They are quite abstract and show a good example of how designs can be created in little time and with a little thought they can become a reality. This would just be near impossible to approximate by hand drawing and showing how the shape looks from different perspectives.

47

pg


Although not a particularly attractive design, it taught me a few principles.This was made from editing the definition in a quad mesh state and moving the frequency of quad lines. This created an unexpected result as when the lines where moved, the positioning of the circles also moved randomly. This was because each was connected to a position in space con-nected to a number. This is a good example of how space can be num-bered and systematically organised.

49


From this close-up, I appreciate the sketched, human like nature of the repeated lines. It seems like an appealing composition due to level of detail and achievement of this accuracy in such a short period. I also really enjoy the photographic potential including the ability to go close up or inside a structure or com-position.

51

52

References

TBA21, Ritchie, Matthew with Aranda/ Lasch and Arup GU – The Morning Line, <http://www.tba21.org/augarten_activities/49/page_2> [Accessed 7 April 2015]

Thyssen-Bornemisza Art Contemporary, Edited by Ebersberger, Eva and Zyman, Daniela, ‘The Morning Line – Mat-thew Ritchie Aranda\Lasch Arup AGU’, Issuu, <http://issuu.com/tba21/docs/the_morning_line_book_with_cover> [Accessed 7 April 2015], (p.27)

Architecture for Future, Interview with ICD/ITKE, < http://www.architectureforfuture.com/blog/24/8/2014/interview-with-icditke-team-on-fiber-woven-research-pavil-ion-2013-14>, [accessed 18 March 2015].

AMLGM, Urban Alloy Towers, < http://www.amlgmlabs.com/project-desription/ >, [Accessed 10 April 2015].

53

Part C: Detailed Design

54 55

Order of Action

Group Meetings: Brought together group members’ ideas and opinions, sharing Information & uncovering personal strengths

Decided on a material/ construction process: cable ties

Looked for precedents

Formulated construction method and grasshopper files

Began prototype making

Visited site as group taking photos and deciding on basic shape of form and area, whilst formulating an appropriate criteria

Produced final form

*Each step continued, happening simultaneously to other steps, with different group members taking on various responsibilities

with each step, we discovered new problems, new opportunities and more ways of tweaking our process in order to make the best design possible, within the timeframe.

Group Members’ Iterations

56 57

52

Used as an everyday object Create various elliptical shapesCan be joined with each-otherExtremely secureEasy to useAdaptable to different lengthsLightweightCheapCome in a few colours, lengths and widthsAvailable as reusable in-case of errorFlexible when joined with othersCan be cut with scissors/ pliersVery strong

Cable Ties

59

52

CHRYSALIS - MARC FORNES & THEVERYMANY SHELLSTAR PAVILION - MATSYS DESIGN AUSTRALIAN WILDLIFE HEALTH CENTRE - CM

INSTALLATION 2001 - ERNESTO NETO GREEN VOID - LAVA STUDIOS LILAS PAVILION - ZAHA HADID

Looking at pre-existing projects, we researched the different techniques that each project used. This inspired us as to how we may formulate a shape, how it could be interacted with by the public as well as creating a shelter whilst allowing views from below, into the sky.

Precedence: Form

61

UNDER STRESS - MARC FORNES & THEVERYMANY

WORKSHOP INSTALLATION - MENGES (STUTTGART)

LOOM HYPERBOLIC - BARKOW LEIBINGER ARCHITECTS

NORTHGATE - SOFTLAB ZIP - STUDIO 400 TAPE - NUMEN

-----------

We looked at projects using various skins, including cable tie structures and what those projects had successfully achieved, including ‘zip’ by studio 400.This again inspired further possibilities for the shapes we could achieve. A common finding amongst the precedent projects was the need of an appropriate connection to hang or support the main body of the structure. Key to this is allowing it to provide its stabilising function as well as blending in seamlessly to the design. This was a key notion we took into our site visit, selecting an appropriate location and forming our shape based on the anchoring to suitable trees (distance, amount, width, strength, tree span, approx. structural weight).

Precedence: Skin

63

Prototype One

Our first prototype was used primarily to establish our technique, test its effectiveness and any changes we may need to make between our grasshopper definition. We also used it to test if the amount of connecting cable ties that were computer generated were sufficient. The first prototype we found lacked any major variation in the size of the cable ties. This may have also been due to the small scale of it. We tested how it looked with the tails pointing outwards & inwards. When we had connected the flat plane into a circular shape we pulled on it to test its elasticity.

Although this first stage did not reflect an immediate intricate and sophisticated shape, we were really excited by the ease of construction, success of the form in its elasticity, ability to hold a Completely symmetrical shape & the way that the connection of the shape became immediately untraceable.

46 65

Prototype TwoOur second prototype we used to further solidify our understanding of the construction process, this time really seeking to increase the complexity and create a more refined form.we did this by testing a shape where the funnels go up and down using the same planes. One critical discovery that we made at this point was that at a larger scale, there are some gaps formed in the structure’s fabric and when we were filling in these with extra connection points, the more you added, the more tensile it became. The form became more curvaceous and defined. We increased this sense of clarity we’d began to achieve by cutting off the tie tales really close to the connection.

In terms of efficiency, we improved from the first prototype by using small pieces of tape onto the paper so that the ties would not move.

66 67

68

strips before connecting

strips after being connected into funnel

papers remain as they are labelled

Prototype Three

At this point we had become really confident with our construction technique, deciding to make a funnel using the spare white ties we’d accumulated. This prototype was made primarily to test the construction of the internal waterproof membrane.

The sheet could be really easily attached to the cable ties outer structure with the use of shorter and thinner cable ties attached through small perforations in the fabric.

To improve efficiency we began cutting off the tail before we laid them down on the paper to make it quicker and easier to handle.

70

Plastic Sheet

Mould-able

Available in variety of thicknesses & types

Flexible

Waterproof

Able to be connected and watertight

Long-lasting

Transparent

*Its transparency allows for the shape of the cable tie body to be seen more clearly. The effect of water catching on the surface is also quite beautiful.

Waterproof

Interesting pattern for water flow

Everyday material - alike CERES Park where common everyday materials are

recycled into different uses

Able to be connected and watertight

Long-lasting

Opaque

Available in very large amounts- lightweight & cheap

thin, would need to be protected by another layer

Bubble Wrap

72 73

Construction of Internal Lining

Unlined Funnel Funnel, then plastic Funnel, then plastic, then bubble-wrap

Lay out the same paper cut outs as those used for the cable ties, onto the plastic sheet.

Secure down with scotch tape (or any temporary adhesive which will not leave a residue & will come off easily)

Cut out plastic shapes,ensuring they are correctly placed next to corresponding pieces. Label if necessary.

Place the edges of two corresponding shapes on top of and in line with each-other. Use a piece of cardboard or wooden ruler as a guide as to where to solder.Solder so that the two sheets have formed their own edge, free of any openings. Pull off or cut excess fabric, if excessive amount remains.

Using this piece of now two connected sheets, unfold and continue connecting the plastic shapes. The finished plastic form should be slightly smaller to fit into the cable tie structure due to the soldering process, where some material is cut off. It can be moulded to the structure slightly using heat.

*We found in this last stage, it may be easier using laser cut thin card/ cardboard shapes to make the process faster, more precise and easier.

74 75

<CERES ENVIRONMENTAL PARK

BRUNSWICK

NORTHCOTE

Site Visit Findings

USAGE:Family friendlyHigh use by young childrenEnvironmental staff Including farmers (curious & eager about our ideas)A place of learning, Exploration and fun

PHYSICAL ENVIRONMENT:Like a hidden green city amongst the suburbs Recycled materials formed into new functions or Interactive art piecesNot many places of shelter although the site is prone to a lot of rainfall and visitorsSeveral makeshift water-catching devicesLots of open, bare areasDam surrounded by plentiful amount of trees

46 77

A

B

C

DAM

COMMUNAL GARDENS

LEARNING CENTRE

AREA OF INTEREST

A

B

C

Site Analysis: Photographic Mapping

47

CERES MISSION OBJECTIVESAddress the causes of climate change

Promote social wellbeing and connectionBuild local and global equity

CERES AIMS TO:Prompt actions that will reduce water usage

To appreciate water as a precious natural resourceTo educate the whole CERES community about ways to reduce water usage both indoors and outdoors

SITE PROGRAMSGardening

Animal WelfareStudent learning classes

Environmental Research and ProjectsEnergy conusmption and Water Management

Community orientated events surrounding social and cultural trends

ENCOURAGE AND INCREASE SUSTAINABLE PRACTICES ON THE SITE

SHOWCASES AND EDUCATES THE COMMUNITY/VISITING PUBLIC, THE BENEFITS OF AN INTEGRATED DESIGN WHICH BENEFITS EXISTING SITE USAGE

which...

IMPLEMENTING A WATER MANAGEMENT SYSTEM

by...

Agenda Formulation

80 81

Form Finding

The more the funnels are lowered, the more interactive and appealing the structure becomes for the site users.

82 83

Final Form

INTERACTIVEFunnels feature at various heights & are transparent, displaying the rain as it is collected and falls

EDUCATIONAL The structure itself functions as a sustainable water management practice. This will be a great learning tool for children as naturally visual and visceral learners, to learn through sight and touch, whilst being amused. It may even be used for the promotion of environmental architecture through computerised design.Well positioned between the dam and learning centre, the structure will become a part of the educational journey taken by school children and the community.

SHELTERINGThe structure catches and redirects the rain into drainage systems through the ground. (Recycled rain)The structure has a sheltering form.

APPEALINGThe cable tie structure will catch people’s attention through its innovation, complex shape and educational function.

BLENDING INTO EXISTING SITEIt’s function and materials directly relate to the current site’s environmental education role & re-existing recycling of materials into new functions.

BEAUTIFULIt should promote water as a beautiful source and one to be cherished, as the rainwa-ter pattern falls through the transparent fabric.

The final form meant a satisfaction of the following elements:

84 85

A

BC

D

E

GH

F

I

J

START

END

E X P L O D E F O R M

R E - A T T A C H F O R M

Construction Methodology

A0 A1A2

A3

A4

A5

A6

A7

A8A9A10

A0.1

A0.2

A0.3

A0.4

A0.5

C---ASSEMBLE CABLE TIES

87

7.0

6.05.04.0

3.02.01.00.0 9.0

7.0 8.0 9.0

6.05.0

4.03.02.01.0

0.0

0.0 1.0 2.0 3.04.0 5.

0

6.0

7.0 8.0 9.010.0 11.0

15.0

14.013.012.011.0

10.09.08.07.06.05.04.03.02.01.00.0

11.0

10.0

9.0

8.07.0

6.0

5.04.03.02.0

1.0

0.0

8.07.0 11.0

6.0

10.09.05.04.03.02.01.00.0

3 4

56 7

20.0

1

0.0

2.0

1.0

3.0

4.0

5.0

6.0 7.0 8.0 9.0

9.08.0

7.06.0

5.03.02.01.00.0 4.

0

0.0

1.0 2.0

3.0 4.05.0

6.0 7.0

8.0

9.0

9.0

8.0

7.0

6.05.04.03.02.01.0

0.0

5.01.00.0 2.0 3.0 4.0 8.0

9.0

7.0

6.0

3 4 5 67

1.0

20.0

10.0

12.09.0

8

8.0

7.0

6.05.04.0

3.02.01.00.0 9.0

7.0 8.0 9.0

6.05.0

4.03.02.01.0

0.0

0.0 1.0 2.0 3.04.0 5.

0

6.0

7.0 8.0 9.010.0 11.0

15.0

14.013.012.011.0

10.09.08.07.06.05.04.03.02.01.00.0

11.0

10.0

9.0

8.07.0

6.0

5.04.03.02.0

1.0

0.0

8.07.0 11.0

6.0

10.09.05.04.03.02.01.00.0

3 4

56 7

20.0

1

0.0

2.0

1.0

3.0

4.0

5.0

6.0 7.0 8.0 9.0

9.08.0

7.06.0

5.03.02.01.00.0 4.

0

0.0

1.0 2.0

3.0 4.0

5.06.0 7.0

8.0

9.0

9.0

8.07.0

6.05.04.03.02.01.0

0.0

5.01.00.0 2.0 3.0 4.0 8.0

9.0

7.0

6.0

3 4 5 67

1.0

20.0

10.0

12.09.0

8

8.0

E X P L O D E F O R M

88 89

ASSEMBLE CABLE TIES

90 91

cut out paper strip and check the labelling is

clear (Letter and number)

take an appropriately sized cable tie and pull

to secure.

Fit cable tie to the size of the triangular line drawing, folding or

rotating the cable tie, if neccessary.

Cut off excess tail and tape down, if neccessary.

secure where marked with connection dots between cable ties, using smaller

connection ties.

ensure ties are stuck to paper with enough tape to not detach. Keep the same letter groups together.

Once all of the same letter strips have been made, fit them to their corresponding neighbours and attach at connection dot points, using smaller connection cable ties.

ASSEMBLE CABLE TIES

R E - A T T A C H F O R M

92 93

Final Stages of Construction

Some of the gaps in the cable tie fabric as computerised are highlighted in the image at left.

In order to enhance the clarity of the form, we removed the tails of the cable ties in the funnels and areas of major curvature. We also increased the amount of connections, thus filling in gaps and increasing the clarity of the form and the structure’s tensile strength.

94 95

Group Members:TIM ALLAMBY 587964

CARA BROGNO 637369 DEREK HUYNH 640183

DANIEL KELLETT 635876

DRIP TIE

Final Model

46 47

Group Members:TIM ALLAMBY 587964

CARA BROGNO 637369 DEREK HUYNH 640183

DANIEL KELLETT 635876

DRIP TIE

Overall, I’m really pleased with the outcome of the final design and model. Part C, as well as this subject as a whole was really eye-opening, disregarding the desire of my eyes to close a lot of the time. It also shed a lot of light on my personal strengths and potential. It solidified my love of model-making and using my hands as well as the hardship I faced in applying myself to a completely new system of design thinking. I’m happy to have pushed myself out of my comfort zone of hand drawing and although slow at times, I feel that over a short period I have made a lot of progress and achieved more than what I would have expected at the start of the subject. I think it was the satisfaction of achieving interesting outcomes that fed my ongoing willingness to keep trying.

Working in a group always has its stresses, but I was glad to have been in a group in which everybody had the same wants and level of commitment.

The change between part b and c that effected me most included a real focus on construction and materialisation. Beginning with a great product or idea and taking it to the limit.

The subject as a whole taught me that every way of designing has its freedoms & setbacks, but to not be intimidated by new things, as the more you have under your belt, the more experience and possibilities you can offer in different design or life situations; the more that you’re exposed to and take on, the more appealing you will be in terms of employment and adapting to future work and phases in the design industry.

Reflection on ‘Drip Tie’, Air Studio & Self

102101

Brogno_Cara_637369_Studio Air_Final Journal

Documents