Passalaqua_Marney_587179_Studio Air final journal

STUDIOAIR

MARNEY PASSALAQUA 587179

Tutor: Canhui Chen

2 CONCEPTUALISATION

[ CONTENTS ]5 Introduction

Part A Conceptualising

6 A.1 Design Futuring8 A.2 Design Computation10 A.3 Design Generation12 A.4 Conclusion12 A.5. Learning Outcomes13 A.6. Appendix - Algorithmic Sketches

14 Endnotes

15 Bibliography

Part B Criteria Design

16 B.1 Research Field – Geometry 18 B.2 Case Study 1.0 – Green Void 24 B.3. Case Study 2.0 – ICD/ITKE Research Pavilion 2013-1430 B.4 Technique Development 34 B.5 Technique Prototype 38 B.6. Technique Proposal 40 B.7 Learning Objectives and Outcomes 42 B.8 Appendix – Algorithmic Sketches

50 Endnotes

51 Bibliography

Part C Detailed Design

52 C.1 Design Concept 58 C.2 Technique Elements & Prototypes 62 C.3 Final Detail Model80 C.4 Learning Objectives 83 Endnotes

4 CONCEPTUALISATION

Work by Marney Passalaqua, for Designing Environments, 2013

Work by marney Passalaqua, for Architecture Design Stu-dio: Earth, 2015

Work by marney passalaqua, for Architecture Design studio: Earth, 2015

CONCEPTUALISATION 5

MARNEY PASSALAQUA

Design and creativity has been a passion of mine of for many years which is why I have chosen to major in architecture in the Bachelor of Environments. However, the relisation that this was the course for me did not come imemeditely, as in my first two years of university I spent studying property. After completeing 2 years of this course and being utterly bored and uniterested by the prospects that lay ahead, I made the decisiong to change to architecture - a decision I have not regretted once. I have finally found what truly interests me and allows me to ignite my inner flair while challenging and stimulating me intellectually, a challenge which I am happy to take on with full entusiasm.

As I have only completed one semester as an architecture student, my experience with digital design programs is not extensive and my knowledge quite limited. I was exposed to Rhino3D for the first time in Architecure Design Studio: Air, a program which I found very interseting. My skills in using this program are limited, however I have a basic understanding of the program and I am therefore able to create basic models. I would beneifit greatly from a more in depth knowledge of how to use the program, which will be my goal throughout the semester.

The only other digital design programs I have had the chanec to use is Revit, for which I completed a weeks course over the mid year break. While this course was very helpful and gave me the basic skills required to use Revit, my ability here can also be greatly expanded.

For the most part througout my architecture major, I have relied upon physical model making and model photography for my design projects, which worked for me quite well. For me now however, I beleive it is time for me to extend my design skills to the digital world, to give me greater fleibillty throughout the design process and outcome, and t o prepare me for the digital world outside of university.

It is the endless design possibilities that interests me fisrt and foremost about digital design. I beleive it open up so many opportunities for design that would not be possible were it not for digital programs. In researching for my design studio last semester I came across a project which I was undeniably amazed by. This was the ‘3D Print Canal House’. This project involves a group of Dutch architects designing ahouse via digital program, after which it will be 3D printed and installed along the canals of Amsterdam. For me this is revolutionary, and has the ability to completely change the world of architecture, and our world in general. This is what makes me extremely ecited about digital design.

[ INTRODUCTION ]

6 CONCEPTUALISATION

A.1 DESIGNFuturingLE CORBUSIER’S VILLA SAVOYE

Le Corbusier’s Villa Savoye is a culmination of the ideas and themes expressed in his previous works, which ex-emplifies his ‘five points of a new architecture’. It is not however, a collage of pieces taken from his precedent works, but rather the creation of a new image, through which new possibilities of form and meaning were ex-pressed. It is Le Corbusier’s embracement of new tech-nologies which allows him to succeed in achieving the 5 points of new architecture in the Villa Savoye and thereby revolutionizing the common perceptions of architecture and its possibilities defined by historical conventions.

It was Le Corbusier’s belief that the 5 points of a new ar-chitecture would replace the 5 orders that governed the language of classical architecture, and would revolution-ize the traditional relationship between structure and liv-ing space in which the facade and interior space could be free and open without being dictated by structural ele-ments.2 In the Villa Savoye, the interior elements such as the stairs and the ramps are independent elements, free from and relationship to the walls.3 This was facilitated by the pilotis, which strongly dominated the language of the Villa Savoye at both the interior and exterior.4

In the Villa Savoye, these pilotis are not only structural, but also form part of the buildings aesthetic, and become a heavily used aesthetic of modern architecture.5 The re-sulting non-structural facade allowed for the long strip window, one of the 5 points, which allowed the penetra-tion of light into the interior and the vignette like snippets out countryside viewed from the inside.6 The maximiza-tion of space on the roof was an important part of Cor-busier’s 5 points of a new architecture, and is maximized in all its entirety in the villa Savoye. This too becomes a major feature of modern architecture.

The Villa Savoye was revolutionary in changing historical perceptions of architecture and its relationship between form and structure. The influence of Le Corbusier’s 5 points of architecture, as seen in this building, influenced many architects who followed, and the open plan, free facade, pilotis and strip windows are seen repeatedly thought modern architecture. An example of this is the Villa VPRO in Hilversum by MVRDV. This building employs Le Corbusier’s 5 points of architecture which can be seen clearly in the design, achieved through the separation of structure and form.7

Figure 1. Villa Savoye by Le Corbusier, Poissy, France, 19311

CONCEPTUALISATION 7

Alvar Aalto’s Saynatsalo Town Hall is an example of the architectural style of ‘New Regionalism’.9 The town hall is a re-imagination of peasant vernacular and indigenous building combined with modern language design. It shows respect for ‘place’ in reflecting local climate, cul-ture, topography and craftsmanship. In order to blend modern architecture with local topography, Aalto’s town hall displayed elements that became characteristic to his genuine style, of splayed volumes, stratification, layers of platforms and steps.10 This building with its site and the contours of the land, the direction of sunlight for ex-ample, to produce a sensitive appreciation of place.11

The town hall, with its centering around a courtyard is an expression of one of the archetypal building configura-tions Aalto believed expressed the basic forms of human society. This was formed by the inward-facing perimeter building on three sides, linked to its surroundings by a flow of levels and steps.12 The variation of fenestration and texture created through the offset of timber against brick, against slatted windows and smooth balconies be-came key to Aalto’s style, celebrating the local craft and materials.

The Saynatsalo town hall represents a revolutionary change in the concept of architecture. While modern ar-chitecture strove to achieve ‘universal’ prototypes that could be applied to any situation, Aalto strove to achieve an architecture which was marked by a unique response to place, client and human behavior.13 Although Aal-to’s design such as the town hall created a language of themes and typical forms, it was not the suggestion of a ‘type-form’ that could be used en masse, but rather one that had to be rethought and changed in respect to its local situation.14

Aalto’s ideas and themes influenced many, who most-ly reproduced the external mannerisms of his designs without understanding his underlying philosophy.15 This was not the case for all however, with some ex-tending Aalto’s principles and complexities, and rework-ing them in the own way. An example is The Otaniemi Chapel by Kaija and Heikki Siren, which demonstrates the tactility of timber and rural qualities or the Louisiana Museum of Modern Art by Jorgen Bo and Vilhelm Wol-hert which embodied Aalto’s sensitivity to topography with his splayed plan.16

Figure 2. Saynatsalo Town Hall by Alvar Aalto, Saynatsalo, 19518

ALVAR AALTO’S SYNATSALO TOWN HALL

8 CONCEPTUALISATION

Advancements in digital technologies is redefining the architectural world, and is largely based around design computation. This phenomenon defined a new age of architecture in which digital tools revolutionised the de-sign process and exploded the possibilities of design, fabrication and construction.18 While computers have aided architects for many years, the design process has remained analogue as computers merely aided the tran-sition of preconceived ideas and geometries into digital forms.19 Design computation however, is revolutionary to the design process as the generation of architectural form arrives through algorithmic logic.20

Digital technologies are changing architectural practice in unforeseen ways, not only in the designing stage, but also in the construction of architecture.21 With the ad-vancements in CAD and other digital technologies, archi-tectural firms are increasingly focused on digital design process, which has given rise to new architectonic pos-sibilities and increased complexity in construction pos-sibilities.22 Computation allows the architect to engage with highly complex situations, as it enables the design possibilities to extend past the designers intellect, and generated unexpected results.23

A significant medium of design computation is paramet-ric design, a design technology focused on the definition of algorithms, parameters and rules to dictate parts-and whole relationships and generate complex order, form and structure.24 This new form of design logic is sig-nificant in the advancement of architectural design, as it enables the capacity to modulate differentiation at large scales. A positive outcome of this is the ability for gradu-ation of building façade elements.25

Furthermore, the scripting of algorithms as seen in para-metric design was revolutionary in the design process, as it enabled research based experimental design. In the many examples of architecture that were founded upon experimental design, such as the Serpentine Pavil-ion by Toyo Ito, the form of the design was derived from performance.26 This ability for experimentation through instant generation and manipulation of forms dramati-cally improved the design process and allows aesthetic and tectonic outcomes that had not been possible before.

Material design was another benefit that arrived at the hands of Design Computation. This involved the integra-tion of research based design digital materiality, in which material qualities and characteristics became an integral part of the design process, as opposed to a consideration after a form had been generated. The ability to experi-ment and observe material performance throughout the design process gave rise to new material tectonics such as weaving, knitting braiding and knotting.27 The revolu-tion of design computation has left in its wake a mass of projects generated through digital processes. The Re-search Pavilion designed by ICD/ITKE at the University of Stuttgart is design produced through digital computa-tion. The pavilion’s construction was primarily conducted as a research project into biometric design and mate-rial and morphological principles, made possible through computational design and the ability to simulate material properties and discover their tectonic possibilities.28

The Bao’an International Airport Terminal 3 in Shenzhen, China, designed by Massimiliano Fuksas and Knippers Helbig Advanced Engineering, is an example of the com-plex form that can arise from design computation. The terminal’s structure is covered by a perforated cladding composed of 60,000 different façade elements and 400,000 individual members. The design of the complex structure was made possible through parametric mod-elling, which dictated the size and slope of all openings, which were defined by the requirements of daylight, solar gain and viewing angles.29 These buildings are charac-teristically complex and are united in that they embody new architectural tectonics due to digital design pro-cesses, exemplifying the possibilities of design computa-tion.30

A.2 DESIGNComputaion

Figure 3. Serpentine Gallery Pavillion by Toyo Ito, London, 200217

CONCEPTUALISATION 9

Figure 4. Bao’an International Aiport by Studio Fuksas, Shenzhen, 2013 31

Figure 6. Research Pavillion, ICD/ITKE, Stuttgart, 201232

10 CONCEPTUALISATION

Computation, as explored in A.2 has greatly increased architectural potential, by redefining the possibilities of design through digital processes. Generation, a form of design computation, is a tool used for capturing and communicating designs through the generation of un-expected results based on algorithms – a finite list of unambiguous rules that describe a process that is ap-plied mechanically by a computer, in the case of archi-tectural generation.34 There are many approaches to computer-based generative designs including Geometric constraints-based form generation, performance driven form generation or evolutionary methods.35

Generation has become an integral part of the design pro-cess for many firms, such as Foster + Partners, Herzog & de Meuron and MOS. These firms have shifted the design practice to become heavily dependent on incorporating generation into their design process, through the use of computer programs reliant on algorithms and scripts, from which outcomes are produced. Generation has many advantages for the design process over traditional design, namely its ability to provide inspiration for design outcomes that surpass the designer’s capability.36

The architect with the help of computational designers, can use computer programs, possibly written specifically for their design project, to solve design problems, and explore multitudes of options through simple modifica-tion to the algorithm in a short amount of time.37 This process of understanding the algorithms and the impli-cations of making modifications in order to explore and speculate on further design potentials is known as ‘Al-gorithmic thinking’.38 Furthermore, parametric design which has become increasingly popular with the emer-gence of CAD technologies, provides innovation and po-tential as a means of design and form generation.39

Parametric design is advantageous in the design pro-cess as it allows designers to explore and modify many design options through scripting.40 It has been argued that this is fundamental to the design process as it allows for design exploration during conceptualisation, and the variation of outcomes by altering parameters, topological relationships and algorithms.41

A.3 COMPUTAION/Generation

Figure 7. The British Petrol Headquarters, Sunbury, designed by Adams Kara Taylor form generation variations33

CONCEPTUALISATION 11

Despite the potential of design generation through al-gorithms and parametric design however, there are fall backs to this design process, most prominently as a re-sult of the lack of understanding for design strategies as-sociated with algorithmic sketching.43 This results in de-mand for practices to introduce specific training for the use of programs that can be costly, and in need of regular updating as technology advances.44

A further disadvantage arises due to the fact that com-plete multi-criteria (that is the entire building) generation is not possible as performance criteria can contradict it-self throughout the building. It therefore is mostly limited to the generation of the building envelope.45 The Fonda-tion Louis Vuitton Museum, Paris, by Gehry Partners ex-emplifies the possibilities of parametric modelling.

Parametric scripting was used not only to generate the structure and enclosure systems of the building were developed, dictated by system performance constraints, but also in the fabrication and installation process.46 The British Petrol Headquarters, Sunbury, designed by Adams Kara Taylor, demonstrates the advantages of parametric modelling as a tool for allowing exploration of many design solutions through the automatic and in-stantaneous generation multiple outcomes.47

As can be seen in figure 7 a parametric model was em-ployed and manipulated resulting in the generation of multiple variations of the form.48 Figure 7 is an example of these variations produced during exploration for the form of the roof structure. This process allowed the de-signers to easily update the overall design geometry.

Figure 8: Fondation Louis Vuitton Museum, Gehry Partners, Paris42


A.4 CONCLUSION

The advancements of digital texhnology is greatly shifting architectural practice to be heavily focused on computation. Many firms have shifted to generation as a means of form finding as a crucial part of the design process, through the use of computer programs dependent on algorithms and parametric models. Design generation has dramatically changed the pro-cess of design allowing designers greater exploration of possibilities and variations in a short amount. This allows for material experimentation and simulation, revolutionizing the design process to encorporate material properties from the intial stages. However while digital com-putaion has many benifits to architectural design, it still presents drawbacks in relation to the lack of understanding associated with new technologies.

After completing Part A of Design Studio: Air my knowledge and understanding of Design computation has expanded dramaticall. I am now aware of the digital process responsible for the creation of so many contemporary projects that rely on algorithmic scripting, genera-tion and parametric modelling as a means of form generation. The most interesting thing I have found through my exploration into design computation is that buildings created using digital programs may not aways be ‘digital architecture’, as the design process may still be analogue. The process of creating my algorithmic sketchbook has also helped in this under-stading by as I am becoming more knowledgeable of the program grasshoper, what it can be used for, how to use ie at and the possibilities for architectural dsign that it presents.

A.5 LEARNINGOutcomes


A.6 APPENDIXAlgorithmicSketches


1. http://www.fondationlecorbusier.fr/corbuweb/morpheus.aspx?sysId=13&IrisObjectId=7380&sysLanguage=fr-fr&itemPos=73&itemCount=78&sysParentName=&sysParentId=642. Marta Ubeda, “The new foundations of modern architecture: The representation of Le Corbusier’s 5 points and MVRDV’s last projects”, Revista De EGA, 9 (2004): 173 3. ibid4. William J.R. Curtis, Modern architecture since 1900, (New York: Phaidon Press Limited, 1996) 2765. Marta Ubeda, “The new foundations of modern architecture”, 1746. Curtis, Modern architecture, 1777. Marta Ubeda, “The new foundations of modern architecture”, 1768. Aalto, Alvar, Synatsalo Town Hall, 1951 <http://www.moma.org/interactives/exhibitions/1998/aalto/timeline/saynatsalo_thall_img.html> [accessed 9 August 2015]9. Curtis, Modern architecture. 45510. Curtis, Modern architecture, 45811. Curtis, Modern architecture, 45612. Curtis, Modern architecture, 45813. Curtis, Modern architecture, 45814. Curtis, Modern architecture, 45615. Curtis, Modern architecture, 45616. Curtis, Modern architecture, 46217. http://www.serpentinegalleries.org/exhibitions-events/serpentine-gallery-pavilion-2002-toyo-ito-and-cecil-bal-mond-arup18. Brady Peters, “Computation Works: The Building of algorithmic thought”, Architectural Design, 83 (2013): 1019. ibid20. Rivka Oxman and Robert Oxman, eds, Theories of the Digital in Architecture (London; New York: Routledge, 2014), 321. Branko Kolarevic, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), 322. ibid23. Peters “Computation Works” 1024. Oxman and Oxman, Theories of the Digital, 3; Peters “Computation Works” 1025. ibid26. Oxman and Oxman, Theories of the Digital, 427. Oxman and Oxman, Theories of the Digital, 528. “ICD/ITKE Research Pavillion”, Institute for Computational Design, University of Stuttgart, accessed 14 August 2015, http://icd.uni-stuttgart.de/?p=1296529. Kolarevic, Architecture in the Digital Age, 1530. Kolarevic, Architecture in the Digital Age, 431. http://archrecord.construction.com/projects/portfolio/2014/03/1403-Shenzhen-Bao-An-International-Air-port-Terminal-3-Studio-Fuksas-slideshow.asp?slide=432. http://icd.uni-stuttgart.de/?p=8807 33. Dino İpek Gürsel, “Creative design exploration by parametric generative systems in architecture”, METU Journal Of The Faculty Of Architecture, 29 (2012): 21134. Peters “Computation Works” 1135. Yasha Jacob Grobman, Abraham Yezioro, and Isaac Guedi Capeluto, “Computer-Based Form Generation in Archi-tectural Design -- a Critical Review.” International Journal Of Architectural Computing 7 (2009): 54236. Peters “Computation Works” 1137. Peters “Computation Works” 1138. Peters “Computation Works” 11 39. Lee JuHyun, Ning Gu and Anthony Williams, “Parametric design strategies for the generation of creative designs’, International Journal of 40. Architectural Computing”, 12 (2014): 26541. JuHyun, Gu and Williams,“Parametric design strategies”, 265

[ ENDNOTES ]


[ BIBLIOGRAPHY ]Alvar Aalto, Saynatsalo Town Hall, 1951 <http://www.moma.org/interactives/exhibitions/1998/aalto/timeline/saynatsalo_thall_img.html>

Brady Peters, “Computation Works: The Building of algorithmic thought”, Architectural Design, 83 (2013): 8-15.

Branko Kolarevic, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), p.3-62

Dino İpek Gürsel, “Creative design exploration by parametric generative systems in architecture”, METU Journal Of The Faculty Of Architecture, 29 (2012): 207.

Dusanka Popovska, “Integrated Computational Design: National Bank of Kuwait Headquarters.” Architectural Design, 83 (2013): 34-35

Lee JuHyun, Ning Gu and Anthony Williams, “Parametric design strategies for the generation of creative designs’, International Journal of Architectural Computing”, 12 (2014): 263-282

Marta Ubeda, “The new foundations of modern architecture: The representation of Le Corbusier’s 5 points and MVRDV’s last projects”, Revista De EGA, 9 (2004): 172-177

Rivka Oxman and Robert Oxman, eds, Theories of the Digital in Architecture (London; New York: Routledge, 2014), p. 1–10

Robert Wilson and Frank Keil, eds, Definition of ‘Algorithm’, The MIT Encyclopedia of the Cognitive Scences (Lon-don: MIT Press, 1999)

William J.R. Curtis, Modern architecture since 1900, (New York: Phaidon Press Limited, 1996)

Yasha Jacob Grobman, Abraham Yezioro, and Isaac Guedi Capeluto, “Computer-Based Form Generation in Archi-tectural Design -- a Critical Review.” International Journal Of Architectural Computing 7 (2009): 535-553


B.1 RESEARCHField [GEOMETRY]

Geometry forms the basis of the architectural design process. From the initial form finding design phase, to the construction of the project it is ever-present. With the advances in modern day technol-ogy, geometry now through the help of many digital tools, has the ability for efficient design, analysis and manufacture of complex architecture. The term computational geometry was initially used as a substitute term for model recognition 42. A formal definition was given by Forrest in 1971 as “com-puter based representation, analysis, synthesis (design) and computer-controlled manufacture of two and three dimensional shapes” 43. Computational geometry has two basic components, algorithms and data structures which allow the efficient solution of computational problems 44. Geometry has many opportunities for architecture, which can come in the form of ruled surfaces, paraboloids, minimal surface or relaxation and form finding to name a few. Until the age of digital architecture, the variety of geometrical shapes that could be produced by traditional geometric meth-ods was limited. This limitation has been eradicated thanks to digital computing technologies which have revolutionised the possibilities of architecture. However, with these new geometrical possibilities comes new difficulties and challenges in construction of these complex architectures. An example of geometry in a contemporary architectural project is the IMKZ in Cottbus by Herzog & de Meuron. The form of this building has arisen from the influence of the cylinder.


Figure 9. THE IMKZ IN COTTBUS BY HERZONG & DE MEURON - Bentley, Daril. Architectural geometry. n.p.: Exton, Pa. : Bentley Institute Press, c2007., 2007. UNIVERSITY OF MELBOURNE’s Catalogue, EBSCOhost (accessed September 25, 2015).


B.2. CASEStudy 1.0[GREEN VOID BY LAVA]

The green void installation is a digitally derived lightweight structure informed by the theory of minimal surface. LAVA explores this theory in relation to natu-ral geometries found in nature – in cells, crystals and soap bubbles. Through computational techniques, form finding methods generated the installations form, through the simulation of these natural geometries. Five boundary condi-tions corresponding to the five points of the atrium were input into this function, dictating the forms outcome and generating the distinct funnel like ‘branches’.

Figure 10. Green void’s relationship with building openings http://cubeme.com/green-void-by-lava/


‘A digital design, derived from nature, realised in lightweight fabric, using the latest digital fabrica-tion techniques to create more with less.’

- LAVA


SPECIES 1

SPECIES 2

SPECIES 3

SPECIES 4

ITERATION 1 ITERATION 2 ITERATION 3

[ ITERATIONS ]

ITERATION 4


ITERATION 3 ITERATION 4 ITERATION 5 ITERATION 6 ITERATION 7


LARGELY DIFFERENT TO STARTING GEOMETRY By changing the anchor points to the input mesh into kangaroo, the output mesh adopted a significantly dif-ferent form to the starting geometry. Instead of being anchored at all mesh edge points, the geometry now appears to be anchored by string like strucutres only at certain poitns.

ABILITY FOR FURTHER DEVELOPMENT This output mesh has the ability to be furthered devel-oped by varying more radically the anchor points or changing the curves that define the input mesh.

POTENTIAL FOR FABRICATION This outcome could potentially be fabricated by using a stretch material to reinact the tensile outcome and attaching this to certain anchor points.

DESIGN POTENTIAL IN RESPONSE TO THE BRIEFThis outcome has the potential to be a tensile shade structure, possibly made out of recycled materials found on site. It could also be interactive with the site with its geometry being determined by the site itself and where it is anchored, e.g. existing buildings and

LARGELY DIFFERENT TO STARTING GEOMETRY This iteration is dramatically differnt from the input geometry, a state acheived through radiacal changes made to the anchor points. The form has been com-pletely changed to lose all sense of rigid structure, and become completely tensile.

ABILITY FOR FURTHER DEVELOPMENT Further development can be achieved through chang-ing the goal length, anchor points and modifying the input mesh.

DESIGN POTENTIAL IN RESPONSE TO THE BRIEF Design potential is vast, with the ability to reflect the site in terms of anchor points, while also having great potential for structure that imporves the existing site by offereing shade or protection.

POTENTIAL FOR FABRICATIONSimilarly to the iteration above, this could potential be made out of stretch fabric, of rope like material to achieve the tensile affect.

[ SUCCESSFUL ITERATIONS ]


LARGELY DIFFERENT TO STARTING GEOMETRY By changing the curves to the input mesh, a vastly dif-ferent iteration was acheived.

ABILITY FOR FURTHER DEVELOPMENT The iteration has the ability for further progression and development by adding unary force to the kangaroo simulator to give volume to the planar component.

DESIGN POTENTIAL IN RESPONSE TO THE BRIEF The plan surface of this iteration has good potential to act as a shade strucutre, which is my desired design response to the brief.

POTENTIAL FOR FABRICATIONIn my opinion this outcome would best be fabricated using tensile strings, to anchor it to certain points, and achieve the twisted effect. The conglomeration of these multiple strings would provide a semi-opaque strucutre that would provide relief from the sun.

LARGELY DIFFERENT TO STARTING GEOMETRYBy changing the direction and length of the input curves to the mesh the resulting iteration varies greatly to the starting mesh.

ABILITY FOR FURTHER DEVELOPMENT The iteration could be further pushed by adding more curves to form the input mesh, or adding closed curves to produce planar outputs.

DESIGN POTENTIAL IN RESPONSE TO THE BRIEF As seen in the Green Void installation, this outcome could be anchored to different structures already pres-ent on site, to produce a site responsive outcome.

POTENTIAL FOR FABRICATIONThere are many possibilities for the fabrication of this outcome, including interlocking panels, fabric, strings or ropes, all of which would give vastly different but equally interesting outcomes.


B.3 CASEStudy 2.0


ICD/ITKE RESEARCH PAVILION 2013-14

The Research Pavilion 2013-14 created by the Institute for Computational Design (ICD) and the University of Stuttgart (ITKE), was constructed as a case study for new computational design and robotic fabrication principles with an overall goal to increase its performative capacity regard-ing material efficiency. Its structure was driven by the research and analysis of the functional principles of natural structures. Its primary focus was on the elytron, a shell that offers protection to the beetle’s wings and abdomen.

By investigating the structural composition of many different beetle species, a structural prin-ciple was recognised whose underlying arrange-ment consisted of natural fibre composites. These principles were taken and applied archi-tecturally to the pavilion, with the outcome being a lightweight structure reliant on the geometric morphology of a double skin system integrated with the properties of natural fibres. The design and construction of the ICD research pavilion was able to be achieved due to the use of com-putational design and robotic fabrication, which allowed for both the biometric principles and ro-botic characteristics to be upheld.45

Through the successful simulation of their structural performances, glass and fibre rein-forced polymers were chosen to be the ma-terials used to construct the pavilion, which were wound on a double skinned modular system.46 There are 36 individual modules in total that make up the pavilion, each being unique in their fibre layout. This project is successful in what it attempts to achieve – a materially efficient structure based on the biometric structural principles taken from the elytron. With the use of para-metric modelling allowing for comprehensive experimentation and computer simulation of material characteristics, the pavilion was able to achieve a modular system in which each module was derived as the most efficient load bearing geometry.47 This pavilion demon-strates the progress of fabrication technology and depended on form-finding, materials and structural design techniques for realisation.48

Figure 11. ICD research pavillion 2013-14 construction techniques: http://www.designboom.com/architecture/icd-itke-research-pavilion-2013-14-interview-08-18-2014/


[ REVERSE ENGINEER ]

STEP ONE: CREATE TWO CURVES STEP 2: CREATE VORONOI DIAGRAM

STEP 3: CREATE CURVES FROM VORNOI DIAGRAM

STEP 10: CREATE LINES FROM SECOND SET OF POINTS

STEP 11: COLOUR ONE SET OF LINES BLACK AND ONE SET OF LINES WHITE


STEP 4: CREATE MESH FROM CURVES

STEP 5: FIND THE NAKED VERTICES OF MESH

STEP 6: TURN MESH TO SPRING AND PULL TO CURVE USING KANGAROO

STEP 7: REPEAT PROCESS WITH SECOND CURVE TO CREATE DOUBLE SHELL

STEP 8: DIVIDE CURVES OUTPUT FROM KANGAROO IN TWO SEPARATE DIVISIONS AND SHIFT ONE LSIT

STEP 9: CREATE LINES FROM ONE SET OF POINTS


[ FINAL OUTCOME ]



B.4. TECHNIQUEDevelopment



LARGELY DIFFERENT TO STARTING GEOMETRY By changing curves input into the pull to curve com-ponent of the definition, the outcome was greatly changed from the result achieved in reverse engineer-ing.

ABILITY FOR FURTHER DEVELOPMENT This iteration has potential for further dovelement by again altering the curve input, of shifting the list from whcih the lines are drawn.

POTENTIAL FOR FABRICATION There are many possibilities for fabrication for this outcome, which could potentially involve fabricating the structural voronoi pattern from laser cut timber pieces, and atatching strings to different poitns ont these to produce the same effect.

DESIGN POTENTIAL IN RESPONSE TO THE BRIEFThe outcome already has great potential to act as a shade structure, and the small openings would inte-grate well into this by providing patches of light where necessary. These could be varied according to where sun is and isn’t wanted.

LARGELY DIFFERENT TO STARTING GEOMETRY By removing the double layer of the original outcome, the pattern created by the lines was greatly changed.

ABILITY FOR FURTHER DEVELOPMENT As with the iteration above, this can be futher devel-oped altering how the list is shifted which determines the line pattern, or by modifying the curves.

POTENTIAL FOR FABRICATION Fabrication for this iteration could again be acheived digitally by organising the structural components into parts that can be laser cut. These components could be made from a range of materials.

DESIGN POTENTIAL IN RESPONSE TO THE BRIEFThis iteration has the potential to respond directly to the brief by improving the site by adding a structure that protects visitors from the elements. The structure would also create a very interesting addition to CERES that would attract and interact with the visitors.

[ SUCCESSFUL ITERATIONS ]


LARGELY DIFFERENT TO STARTING GEOMETRY This iteration is vastly different to the reverse engi-neered outcome. This was achieved by running kanga-roo without the timer, preventing it from inflating to the full height.

ABILITY FOR FURTHER DEVELOPMENT Further development could be achieved by altering the input curve to the curve pull component, changing the input pattern which was voronoi in this case, and changing the way in whcih the curve division list is shifted. POTENTIAL FOR FABRICATION I think this iteration would run into difficulties when it comes to fabrication. While it could be achieved in the same manner as the two previous iterations, I feel it would be more difficult.

DESIGN POTENTIAL IN RESPONSE TO THE BRIEFIn terms of design potential this would be a very inter-esting strucutre that could be intetegrated into CERES with many possible uses such as a shade structure,

LARGELY DIFFERENT TO STARTING GEOMETRY By eliminating the line component of the starting geometry and replacing this with a weaverbird loop component, the outcome takes on a very different character.

ABILITY FOR FURTHER DEVELOPMENT This outcome could be changed ever more by chang-ing the input pattern into kangaroo or by increaing or decreasing the unary force.

POTENTIAL FOR FABRICATION This outcome has the potential to be fabricated very differently to the other iterations, through the use of digitally printed or cut interconnecting pannels.

DESIGN POTENTIAL IN RESPONSE TO THE BRIEFIn terms of design potential, this iteration could be an interative part of CERES, being a shade structure, a growing structure or potentially a kids space.


B5. TECHNIQUEPrototype

PROTOTYPE 1

The protoypes I had fabricated were focused on how the hexagonal cells of the proposal would join together, as i beleive this would be the most difficult part of fabrication. The first ptototype for these joints used 3D printed joints combined with laser cut wooden panels. The geometry was modelled so as to ensure the panels would fit precisely into the joints. This was acheived successful with all parts fitting tightly together with a strong hold. For further proto-typing, an aditional grove needs to be added to the 3D printed joint to form a three pronged joint as 0pposed to two, in order to alllow for a continuous joint system rather than jut one cell of the system. This was the most successful of the two prototypes



B5. TECHNIQUEPrototype

PROTOTYPE 2

The second prototype also used a joint system, however instead of being 3D printed joiints, these were laser cut. The joints involve a circular disk with notches cut out of them that correspond to the wooden panels which are to insert into these notches. These wooden panels are also laser cut, as seen in prototype one. In my opinion, these circular joints are not as aesthetically pleasing as the 3D printed joints and the resulting heaxagonal cell’s construction is not as strong and stable. This is due to slight inaccuracies which made the nothces slightly too big. As with protoype one, further protoyping would see a third notch being included on each disk, to alllow for a continuous construction system.



B6. TECHNIQUEProposal

In design a proposal for the interim submission, I wanted my design to satisfy 4 criterion that were developed in response to the brief. Firstly I wanted the outcome to be an inte-grative installation that was reflective of its surroundings and context. The second point I wanted to satisfy was to create something purposeful and useful. Thirdly, my design had to encourage interaction with CERES and other visitors of CERES and lastly as my design idea was a shade structure it needed to offer protection and shelter. In my oponion my design satisfys these criteria and responds directly to the brief. The final design I achieved is a shade strucutre with strong geometrical properties in its hexagonal patterning. However, in order to push the boundaries of what a shade structure could be, and to integrate this with CERES by reflective the values and relationships set fourth here, I wanted to integrate growth and nature into the deisng. From here the final design arose. It is most definitely an interactive installation encouraging visitors to pick and use the herbs growing in it and pro-motes self sustaining practices as seen at CERES.

The structure has great purpose to offer shade and protection to the visitors and its useful-ness is increaed by allowing it to become a growing place for plants as well. It promotes active engagement with the uses with each other and also with CERES as the herbs can be picked and bought at the already existing organic market. In terms of offering protection and shelter to users, it achieves this in a number of ways. Firstly, the hexagonal grid itself, as a result of its depth provides shading from the sun. This shading is amplified by the addition of plants which offers more protection from the sun while also providing a natural cooling effect due to the evapotranspiration of the plants. The structure is designed to have a strong relation to site, taking into account the local climate and direction of winds, Cold winterly winds from the north-west and the harsh west-setting sun are the main factors that are trying to be combatted, through throughtful orientation of the structure on site. This instal-lation is one that integrates the possibilties of compuatational design, with the values of nature and growth seen at CERES.



B.7 LEARNING OBJECTIVES/Outcomes

Objective 1. “Interrogat[ing] a brief” by considering the process of brief formation in the age of option-eering enabled by digital technologies

Throughout the semester, I have been able to explore the brief and the possibilities of design that can respond to its many components. The use of grasshopper has enabled optioneering in the design stage of the project, allow-ing me to explore many design options and examine these in relation to their success of failure in response to the brief. Initial brief formation came in the form of exploring the possibilities of grasshopper as this was still unknown to me (see algorithmic sketches). However once I began to grasp the ability and possibilities of grasshopper, I was able to form ideas of how and what I could design in response to the brief. My interim design proposal arose from responding to the brief, specifically in responding to designing an intervention that will express, support and amplify already existing relationships that will contribute to the site. I my proposal achieves this as it aims to amplify and emphasize the self-sustaining and interactive nature of CERES.

Objective 2. Developing “an ability to generate a variety of design possibilities for a given situation” by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive design-space exploration

I believe I have demonstrated an engagement with objective two and have succeeded in achieving this objective, evident by the outcomes I produced in both B.1. Case study 1.0 and B.4. Technique: Development. In both these sections I took a starting definition, and manipulated this in multiple ways to produce various outcomes. These outcomes demonstrate my ability to explore design potential and possibilities and to manipulate these possibilities quickly and easily using parametric methods. In both these iteration examples, one main way in which I produced the various outcomes was in the manipulation of the mesh input into kangaroo or the changing of anchor points. As the definition was parametric, these simple changes led to the whole output geometry being updated simultane-ously.

Objective 3. Developing “skills in various three dimensional media” and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication;

Over the course of the semester, I have developed a wide range of skills in three dimensional media through using grasshopper which, through completing the journal tasks and responding to the brief, have given me skills in under-standing and applying computational geometry, parametric modelling, analytic diagramming and digital fabrication. I feel I have grasped an understanding of the basic components of computational geometry – algorithms and data structures. While my knowledge here can still be expanded greatly, when working my way through a grasshopper definition I have an understanding of when to change data structures and what effect the data structure will have on the outcome.

Objective 4. Developing “an understanding of relationships between architecture and air” through in-terrogation of design proposal as physical models in atmosphere;

It is my opinion that my interim proposal demonstrates an understanding of relationships between architecture and air through its engagement with atmospheric elements and its effect on users. My design strongly focused on responding to its context in terms of sunlight, wind and seasonal attributes highlighting its awareness of a physical model with actual context and variables. It responds critically not only to the site in terms of the ground on which it sits, but also in terms of air.


Objective 5. Developing “the ability to make a case for proposals” by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary archi-tectural discourse.

My interim submission, while it lacked complexity due to limited ability with grasshopper, has strong case behind its proposal and reason behind why I proposed this particular design. My reasoning for this proposal was primarily influenced by contemporary projects I examined, and the discourse associated with these projects. Most prominent was the green walled living pavilion presented as a precedent in my interim presentation, whose connection with nature and natural processes combined with digital architectural possibilities inspired my final design.

Objective 6. Develop capabilities for conceptual, technical and design analyses of contemporary ar-chitectural projects;

In introducing case study projects such as Green Void (see B.2.) or ICD/ITKE research pavilion 2013-14 (see B.3.)I believe I have demonstrated the skills set out in objective 6. In analysing these projects, I have tried to evaluate them critically, looking into the concept that informed the design outcome, the technologies which made the construc-tion of these projects possible and the reasons and factors that lead to the final design outcome. In analysing con-temporary projects it was my goal to go beyond simply describing the project in terms of what meets the eye, but to uncover what was the driving forces behind the overall outcome in terms of design, fabrication and theoretical guidance in order to provide myself with ideas and precedents which could be carried through to my own designs.

Objective 7. Develop foundational understandings of computational geometry, data structures and types of programming;

As stated in response to objective 3, I feel I have developed and understanding of computational geometry and its basic components which has in turned provided me with the foundational knowledge in order to use grasshopper with some confidence of data structures. My knowledge here however can still be greatly improved upon as a still run into errors that a lot of the time come down to data structure.

Objective 8. Begin developing a personalised repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application.

In completing the exercise set forth in the journal, I have developed many computational techniques that I can apply in the design process, however this repertoire definitely needs expansions. By completing Case study one and case study two, one of the most useful tools I learnt was Kangaroo. I now have a good understanding of this physics simulators application and feel it is a very useful tool, especially when it comes to my designing of a shade struc-ture. Other techniques and skills I have acquired over the semester include patterning, shift list applications and cull pattern applications to name a few, which are all very useful techniques with a range of applications.


B.8. APPENDIXAlgorithmicsketches












[ENDNOTES ] 42. Bu-Qing, Su, and Liu Ding-yuan. Computational Geometry: Curve and Surface Modelling,(Burlington : Elsevier Science, 2014) 1 43. Bu-Qing, Su, and Liu Ding-yuan, Computational Geometry, 144. Franco Preparata and Michael Ian Shamos, Computational Geometry: an Introduction (New York, NY : Springer New York : Imprint, 1985) 645. Roberto Naboni and Ingrid Paoletti, Advanced Customization in Architectural Design and Construction, (Mian: Springer, 2015)46. Naboni and Paoletti, Advanced Customization 47. Naboni and Paoletti, Advanced Customization48. Naboni and Paoletti, Advanced Customization


[BIBLIOGRAPHY] Bentley, Daril. Architectural geometry. n.p.: Exton, Pa. : Bentley Institute Press, c2007., 2007. UNIVERSITY OF MEL BOURNE’s Catalogue, EBSCOhost (accessed September 25, 2015).

Bu-Qing, Su, and Liu Ding-yuan. Computational Geometry: Curve and Surface Modelling (Burlington : Elsevier Science, 2014)

Franco Preparata and Michael Ian Shamos, Computational Geometry: an Introduction (New York, NY : Springer New York : Imprint, 1985)

Roberto Naboni and Ingrid Paoletti, Advanced Customization in Architectural Design and Construction, (Mian: Springer, 2015)


C.1 DESIGNConcept

The feedback I received for my interim presentation was quite critical, as the critics did not believe there was strong purpose to the structure I was proposing and felt the form lacked meaning and depth. I can agree with this feedback as in producing the iterations in B.4 Technique develop-ment, the forms I produced were much more interesting than my interim proposal. However, due to a lack of skills in grasshopper I was not able to translate these forms into a fabricatable design. The critics also questioned the purpose and need for my herb shelter design, due to it being situated within a farm that also produced plants of this nature. While my aim in this design was to create an interactive structure that encouraged participation while also reflecting and contributing to its surroundings, I can see why the critics had these reservations.

In moving forward from the interim submission, and af-ter being put into groups, I had a new goal to adapt and create a design that would borrow from each of our de-signs, to create one collaborative design with a strong concept to inform it. As a group we decided to move for-ward with Jennifer’s ‘bug hotel’ design as it already had a strong concept and received positive feedback. From here, we then had to elaborate this design and cement the concept, site and design.

In choosing a site for the bug we visited CERES Commu-nity Environment Park to see if there would be any use for our concept. Here, we talked to the people who run the farm, including the farmers, nursery workers and propa-gation nursery as they have extensive knowledge of the insects present on site, and the benefits or disadvantag-es that these insect species may cause to the plant life. From these conversations and observations, it became apparent that the site had a problem with insect infesta-tions that was not being combatted due to the organic nature of the farm and the reluctance to use chemical pesticides. While there were a variety of pest insects the most damage was caused by aphids, which were present in large numbers and had catastrophic effects on plants by their eating habits.

From this information we arrived upon the concept of a bug hotel for lady bugs, as a natural pesticide to the aphid infestation.


CERES Community Environment Park [Site Map]


C.1 DESIGNConcept WHY LADYBUGS

During our site visit to CERES we were informed by a nursery worker that ladybugs would be a viable option for decreasing the aphid infes-tation as these insects are their main food source and are often en-couraged in gardens specifically for this reason. Ladybirds reproduce quickly producing hundreds of eggs and each ladybug may eat 5,000 aphids over its 3-6 week life. CERES however, did not currently have any methods in place to try and attract lady bugs to the site. This is why we would design our bug hotel to accommodate and attract lady bugs in order to try and increase their population on site. By creating a habitat that encourages ladybug nesting we will hopefully be able to optimise their benefits. In researching ladybugs and their habitats we discovered the following points that would be necessary for creating a successful lady bug habitat:

• Ladybugs main source of food is aphids as previously men tioned • They need space for flying, twigs leaves and petals• Needs places to hide such as hollow logs • Their habitat should provide opportunity to avoid direct sun light as this can burn lady bug • They need plenty of food to avoid them flying off being aphids, but also nectar and pollen sources – fruit trees

CREATION F DESIGN CRITERIA

From this research into ladbug habitats and precdent ladybug hotel projects <svg version=”1.1” xmlns=”http://www.w3.org/2000/svg” xmlns:xlink=”http://www.w3.org/1999/xlink” xmlns:a=”http://ns.adobe.com/AdobeS-VGViewerExtensions/3.0/” x=”0px” y=”0px” width=”559.6px” height=”419.7px” view-Box=”0 0 559.6 419.7” style=”overflow:scroll;enable-background:new 0 0 559.6 419.7;” xml:space=”preserve”><defs></defs><g> <defs> <circle id=”SVGID_1_” cx=”303.9” cy=”201.5” r=”201.5”/> </defs> <clipPath id=”SVGID_2_”> <use xlink:href=”#SVGID_1_” style=”overflow:visible;”/> </clipPath> <g style=”clip-path:url(#SVGID_2_);”> <image style=”overflow:visible;”


PRECEDENT LADYBUG HOTELS Figure 12. Arup Associates Insect Hotel


Brep

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TECHNIQUEDefinition

The definition below shows the technique we have adopted to create our design. From the brep input at the begin-ning of the definition, a reduced brep is generated through the use of using curves to create lofted surfaces which then trim the brep to the desired shape. At this point we used the curves to generate a form that responded to the tree that it would be located beneath on our site, around by curving and wrapping it. The components towards the end of the definition labelled Pattern making 1 and Pattern making two generate the patten on the outcome brep surfaces, which will create the panels of the design. This definition is flexible and will allow us to experiment with the brep form and pattern design until we find an outcome that is suitable for our design intent. Two patterning components are seen which produce separate outcomes, which give flexibitlity and choice to the the final pattern outcome. Once we are content with the outcome we will be able to move foward in our design and create the joints for the structure from the curves output as CRVS for joint.


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C.2 TECHTONIC ELEMENTS&Prototypes

PROTOTYPE ONE

For our first prototype, we had not yet finalised the pattern we would apply to the packing geometry, or the joint system we would employ to join the panels. It was therefore an initial prototype to test the panel geometry, the joint and pos-sible materials for both. MDF was chosen as the panel material due to its wood-like characteristics. We struggled in creating the joint system as there were many angles and different sized panel ‘prongs’ that had to be accounted for. For means of experimentation, we produced a conjoined spherical that would be 3D printed. The structure consists of three spheres which arise due to the meeting of three panel ‘prongs’ at the edge of each box where the joints would be situated. Each of these spheres have a notch in them to which the panel is inserted to create the angle necessary for the panels to form each box. In exploring this prototype we discovered several successes and failures that would influence our design. Firstly, in terms of its failures it was evident that 3D printing all of our joints was not a viable op-tion as it was extremely costly and time consuming. We also found the pattern we had used created small prongs that created unnecessary and unmanageable joints. The success of this prototype however was in the MDF used for the panels which we agreed was a suitable material and the colour of the joints. We agreed white was a good choice as it contrasted the MDF making the joints a distinguishable feature of the design.


PROTOTYPE TWO

The purpose of this prototype was to test the joints, both in the system used and in the material used, while also test-ing the panel shape output from the applied pattern. We had produced a pattern that we believed was suitable for our design, and now needed to test how these panels joined with the joint system we wanted to employ. The panels were again made from MDF as with the previous prototype. We decided for cost and time saving measures we would try laser cutting the joints as it had been previously discovered that 3D printed was not suitable. The joint system was created by inserting a circular disk at each point where two panel prongs met that was made large enough to intersect the panel endings. A notch was then cut out of both the panel and the circular joint, to enable an interlocking joint that could not move. In order to produce a strong, sturdy joint, we chose to create the joints from Perspex, in clear colour to provide a comparison to the previous white joints used. An interesting discovery from this prototype was that, despite both the joint and panel material being 3mm, the joint notch was slightly loose and didn’t not produce a tight joint. We put this down to a slight variation in the material thickness making it slightly more than 3mm. From this information, we modified the digital design so that the notch in the joints was now 2.9mm which would create a tighter lock between the two. Overall however, this system, once completed in full was successful in joining the panels in the way that we hoped.


C.2 TECHTONIC ELEMENTS&Prototypes

PROTOTYPE THREE

Our third prototype was an experiment of a joint system that took inspiration from a staple - having two holes, one at the end of each meeting point of the panel through which a tying band would be inserted. In this case a piece of flexible wire was used which we hoped would be replaced by metal cable ties. This system did provide a strong join between the panels, however it lacked the interest and complexity seen in the first and second prototypes that was achieved through the exaggeration of the joints and which made them not only a joining element, but also an element of the design itself. Furthermore, we decided this would not be a suitable joint system as it did not incorporate the benefits of digital fabrication nor reflect our ability to produce a set of parametric joints that could be digitally fabricated. As this was key to the learning objectives of Studio Air, we decided this would not be acceptable.


PROTOTYPE FOUR

Prototype four was created in response to the feedback received in final presentation in regards to the packing of our structure with the materials such as leafs and twigs, which was believed to be too sparse and not densely packed as seen in the precedents. In response to this, we changed the packing method, using mesh wire to hold the materials tightly together as opposed to free packing. This was successful in making it much more dense and also allowed these materials to be packed in the shape of the outside structure. We viewed this as very successful and this will be incorporated into the final model. We also experimented with changing the material of the panels to a clear Perspex as opposed to white. This allowed the inside material to be more visible and a prominent part of the design. We found however that the form of the structure was somewhat lost as the panels were no longer prominent and were lost due to their transparency.


C.3 FINAL DETAILModel

COMPUTER MODELLING PROCESS

The process of generating the digital form of our design began by creating a packed geometry using the Grasshopper plug-in Bullant as can be seen on the left. This geometry consists of three types of ‘boxes’ of varying shapes which are packed togeth-er in 3D tessellation. This particular packing was chosen over a geometry where all boxes were iden-tical as it will produce varying panel shapes once the pattern is applied.


Using the curves to trim the geometry as seen in the definition in C.1 the geometry is then modelled around the tree to produce the wrapping affect which gives our design a sense of place and strong connection and relationship to the site on which it will be placed. In doing so, our design will be inte-grated with the physical site.


The pattern is then applied to the surface of the geom-etry, as seen in figure. Edge surfaces are created from this panel which will form the panels of the structure. To make these fabricatable, however, these much be given a material thickness which corresponds to the 3mm thickness of the MDF that will be used in the final model. In order to avoid overlap once the thickness is applied and to allow space for joints to be inserted, the panels are scaled down slightly so as they no longer meet each other at their edges. The language of the structures pan-els and its interaction with the tree it will be located be-neath is evident in figure.

C.3 FINAL DETAILModel



FINAL DESIGNRender



PHYSICAL MODELConstruction

The physical model consists in its entirety of three panel types and 6 joint types which are joined togeth-er in different configurations to give the three ‘box’ types that form the overall structure. Over 500 joints and 300 panels were used in the construction of the model making it a length process.

The model was constructed box by box, referencing the digital model. Once one box was completed an ad-joining box would be added and so on until the model was complete. The construction process was made more complicated due to an error in labelling and lay-ing out the model which meant the labels on our laser cut panels did not match that of the 3D digital model. However, in having to construct the model by comput-er reference the importance of labelling correctly was realised, which will be useful for future model making.

It was imperative in the construction of the model that every joint was the correct joint and was oriented the correct way as a slight variation in the angle of the joint (which was the case from one joint to the other) would result in the model not fitting together or not holding together strongly.



PHYSICAL MODELConstruction



[ FINAL MODEL ]









C.3 LEARNINGObjective

CONSIDERATION OF FEEDBACK

After presenting our model for the final presentations, we received valuable feedback as to how our model could be improved. While the critics thought the narrative and concept driving our design was strong, they questioned our use of material, the joint system we employed and the packing of the internal materials.

In terms of materiality, they suggested a natural and/or sustainable material would be more reflective and suitable to our design intent, a statement with which I agree. If we were to continue developing this design, this aspect would defi-nitely be taken into account and employed to obtain a clearer and more focused design intent. Bamboo plywood would be a suitable alternative to replace the MDF used for the panels. This is an excellent material for laser cutting allowing us to maintain our method of fabrication and would bring many benefits to our design outcome. It’s sustainable, biode-gradable and non-toxic qualities however would be of greatest benefit to our design narrative, heightening the design’s aim to be an integrative part of CERES’ organic and sustainable practices. Our response to the critics’ reservations to the packing of our material, we aimed to address this in prototype 4 (see C.3) in creating a secondary structure made of mesh wire in which the internal materials were tightly packed. This was very successful and was implemented in our final model.

LEARNING OBJECTIVES

The flexibility of our grasshopper definition (see C.1 Technique Definition) allowed for the possibility of optioneering in the design phase. We explored many options for both the form of the geometry and the pattern applied to its sur-faces to create the panels in order to arrive upon a final design that responded to the brief. A few of these exploration otucomes are seen as prototypes one to four (see C.3 Technique elements and prototypes). In exploring these design possibilities, I believe we have demonstrated our ability to use parametric modelling as a means of exploration.

In my opinion I have developed and demonstrated the skills set out in objective three in completing the task set over the course of the semester. Computational geometry and parametric modelling have been employed in the work I have produced including the iterations seen in Part B and the final design produced for part C, all of which were generated through the use of grasshopper’s algorithms and data structures. Grasping these concepts and the fundamentals behind Grasshopper’s fundamentals such as data structures has been a great and challenging learning experiences. While my knowledge in this area was non-existent at the beginning, I now feel I have a strong grasp and foundational understanding, allowing me to successfully design in this way.

Our final model was successful in employing digital fabrication, as our model was transformed from a digital model to a physical model through the use of laser cutting. A small mistake in failing to label the digital and physical model correctly however led to many complications in the construction phase of our design - a skill that must be achieved for future success in digital fabrication.

The final design outcome was arrived upon after much research into precedent projects of the same nature, and char-acteristics and elements that were necessary for our design to be successful. In doing so, our ability to employ critical thinking and interrogation of our design intent in order to make a strong and convincing proposal case with substance and meaning to our decisions. The final design demonstrated many computational techniques learnt over the semes-ter that can now be employed in further designs such as patterning, packing and trimming. My personal development in computational techniques will be of great benefit as a progress through this course, allowing me to push the bound-aries of my designs, and design without limits.


Objective 1. “Interrogat[ing] a brief” by considering the process of brief formation in the age of option-eering enabled by digital technologies

Objective 2. Developing “an ability to generate a variety of design possibilities for a given situation” by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive design-space exploration

Objective 3. Developing “skills in various three dimensional media” and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication;

Objective 4. Developing “an understanding of relationships between architecture and air” through in-terrogation of design proposal as physical models in atmosphere;

Objective 5. Developing “the ability to make a case for proposals” by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary archi-tectural discourse.

Objective 6. Develop capabilities for conceptual, technical and design analyses of contemporary ar-chitectural projects;

Objective 7. Develop foundational understandings of computational geometry, data structures and types of programming;

Objective 8. Begin developing a personalised repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application.



[ ENDNOTES ]49. http://www.gwarlingo.com/2011/animal-architecture-a-bat-tower-a-bee-folly-a-five-star-hotel-for-bugs/50. http://www.learninglandscapesdesign.com/insect-hotels/51. http://www.learninglandscapesdesign.com/insect-hotels/52. http://www.hgtvgardens.com/crafts/dig-this-craft-a-ladybug-hotel


Thank to my group for their hardwork and dedication in creat-ing our final design

Passalaqua_Marney_587179_Studio Air final journal

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