Studio Air Journal_Matt Tibballs

S T UDIO A IRJ O U R N A L

MATTHEW TIBBALLS638803

Semester 2, 2015Tutor: Sonya Parton

Table of ContentsPart A: Conceptualisation

A1. Design Futuring

A2. Design Computation

A3. Composition/Generation

A4. Conclusion

A.5 Learning Outcomes

Appendix - Algorithmic Sketchbook

Part B: CRITERIA DESIGN

B1. Research FIeld

B2. Case Study 1.0

B3. Case Study 2.0

B4. Technique: Development

B5. Technique: Prototypes

B6. Technique: Proposal

B7. Learning Objectives and Outcomes

B8. Algorithmic Sketches

Part C: DETAILED DESIGN

C1. Design Concept

C2. Tectonic Elements and Prototypes

C3. Final Detail Model

C4. Learning Objectives and Outcomes

Metropol Parasol by J. Mayer H. Architects,

image source: http://www.bustler.net/index.php/article/j_mayer_h_completes_metropol_parasol_in_seville/

CONCEPTUALISATIONA.

My name is Matthew, and I am studying Architecture within the Bachelor of Environments at the University of Melbourne.

My architectural education has embraced a multitude of interdisciplinary notions on architecture both from a humanistic and technological standpoint. I began as an artistic drawer. Visualising architecture through hand-drawing and sketching but as I’ve progressed I’ve come to see the importance of technology as a determinism for communicating to society through architectural space.

I have extensive experience in digital tools and computer-generated modelling. I have an advanced understanding of Rhinoceros and digital theory through my work for the subject ‘Digital Design and Fabrication’ and in the Aditnalta Visiting School at the Architectural Association in London. Both these projects involved digital tools as a means of developing complex and

I evocative architectural forms, one for the body and one for the internet. Similarly, there was a focus on the transition from the digital to the physical through the precision and accuracy of fabrication technologies

Studio Air marks my first step into the realm of scripting. I am both excited to skill myself in technology at the forefront of architectural practice, but also to delve into a program with limitless potential.

For me, architecture is a language in itself with various forms of representation. For this reason, I have committed myself to understanding architecture as more than an image or a style, but as a means of engaging the user and creating a better world for living in. I have grown in an environmentally considerate and sustainability focused lifestyle, and it is my desire to develop and work with these architectural and technological methods to harmonize the built environment with the natural.

NTRODUCTION

Figure A- ‘Dimorphous Distortion’, Second Skin design for ‘Digital Design and Fabrication’ subject, 2015

Figure B - ‘Internet Delorean’, Digital Landscape design for Aditnalta Visiting School, 2015

Figure C - ‘Internet Delorean’, Digital Landscape design for Aditnalta Visiting School, 2015

In his 1863 essay “Darwin among the Machines”, Samuel Butler outlined technology as a living organism within itself.1 Technology then began its first association as a phenomenon inline with nature.

Unfortunately at present technology has been linked with environmental degradation for the sake of human supply and demand. However, we are entering a cultural paradigm shift as we enter into the digital age.2 This is coming about as a result of the development of the algorithm as a means of computational designing.

Computational designing through coding and scripting is redefining technology as one that works directly with natural forces and processes rather than against them, which is as a result of our growing awareness of the need

1. Dyson, G 1997, Darwin Among The Machines : The Evolution Of Global Intelligence, n.p.: Reading, Mass. : Addison-Wesley Pub. Co., c19972. Luebkeman, C, & Fisher, T 2015, ‘Welcome to the Third Industrial Revolution: The Mass-Customisation of Architecture, Practice and Education’, Architectural Design, 4, p. 403. Fry, T (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16

ESIGN FUTURINGD for design futuring and speculation on alternatives to the self-destructive path that humans are currently on. Architecture is in a pivotal moment where the design of the built environment can invoke change and begin to challenge our current unsustainable way of life.3 The spaces we occupy are a reflection of socio-cultural values and ethics over time, and it is for this reason, that computational processes can enable buildings to take on an adaptive and responsive approach to natural context.

The following projects are indicative of architecture’s ability to transform attitudes and states of mind within humanity. Through such precedence, we can begin to understand how architecture proposes change and understanding of our environment and consequently begin to explore new typologies and tectonics for future conditions.

A1.

Zaha Hadid Architects, Civil Courts – Madrid, 2007, Accentuating Environmentally Adaptive Façade

Image source: http://www.patrikschumacher.com/Texts/Parametric%20Patterns.html mayer_h_completes_metropol_parasol_in_seville/

Peter Zumthor’s ‘Therme Vals’ (1996) is a project which is indicative of architecture’s ability to transform ways of thinking. This built project is a hotel/spa complex in Vals, Switzerland that emphasised a new sensibility in architectural design, that of sensory and atmospheric thinking. It is built into the landscape utilising its context to express materiality and context through the layering of locally quarried Valser Quarzite slabs which combined with the contrasting play of light and shadow, acoustics and movement create a new type of phenomenological spatial qualities.1

I feel that this an exceptional project as it greatly expanded the manner in which architecture is conceived, as one of experience rather than image. This greatly contrasted with the modernist and post-modernist doctrines that pervaded the built environment and signifies an important turn in our understanding of architecture today. The Therme Vals

1. Zumthor, P. 2010. Thinking Architecture, Basel: Birkhauser, c2010

2. Pallasmaa, J 2012, The Eyes Of The Skin : Architecture And The Senses, n.p.: Chichester, West Sussex : Wiley, 2012.

3. Zumthor, P. 2010. Thinking Architecture, Basel: Birkhauser, c2010

Project :Therme ValsArchitect:Peter ZumthorDate: 1996Location: Vals, Switzerland

ASE STUDY 01Cdemonstrated a new type of architecture which succeeded in creating identity through expressive cultural context and haptic sensorial designing. For me, this embracing of the senses in an ocular-centric society has been fundamental to the development of humanistic architecture in a digital age, where one can be touched emotionally by the very atmosphere of a building. It also represents the moment when architecture as a profession and as a theory began to distance itself from compositional techniques.2

Such a project is integral to life-enhancing design, where one can influence the user and the way they feel. Thus, such precedence provide insight into how architecture can create better ways of living. The manner in which this project embraces the surrounding environment and equally enables a new found appreciation of space is testament to architecture’s role in instigating environmental change and designing for a new future.

Image Source: http://ideasgn.com/architecture/therme-vals-switzerland-peter-zumthor/

Image Source: http://www.creativeclass.com/_v3/creative_class/2008/08/28/therme-vals/

“L ife enhancing architecture has to address al l the senses s imultaneously and fuse our image of self with our exper ience of the wor ld... the sense of self that is strengthened by ar t and architecture, al lows us to engage ful ly in the mental dimensions of dream, imagination and desi re.”3

Architecture frequently manifests itself through means of critical thinking, as built forms designed to provoke change and instil thoughts for the future. Coop Himmelblau’s Rooftop Remodelling, Vienna 1985 heralded a new type of architecture which was a delibrate refutation of cultural convention and ideology in relation to the built environment.1

The portrayal of stark fragmentation and disjointedness in form had considerable implications for the design of architecture. Appearing in the Deconstructivist exhibition of 1988, this design was, as Anthony Vidler describes it (1992), one of discomfort and unease in order to provoke change.2 The design is revolutionary in its dynamic form which in itself seems to be able to capture a sense of movement and energy within its very structure. It is an exciting design which is able to show the ability of architectural form to invoke emotional response and instigate cultural and social changes.

This project pushed the boundaries of realizable architecture. Digital programs were integral to successful

construction, and through its irregular and unbalanced form, an important contribution was made to the development of architectural aesthetics that are now common-place nowaday. Anti-symmetry, fragmentation and irregularility as building typologies were greatly promoted and expanded by such deconstructivist works. Such chaotic forms were to condemn the anachronistic and unorthodox and pave the way for architectural form which became expressive not in historicity or sentimentality, but in its unpredictable and dynamic manner.3

For me, this project extenuates the idea that architecture is integral to future thinking. Here one can see architects critiquing the current inhospitable state of urban cities and looking to instigate change through architecture. We can conclude then that architects need to look to the future through speculative designing. By hypothesising and critiquing current states of living, designers will be able to come up with new ideas of engaging the user and responding to necessities of nature and society concomitantly4.

1. Johnson, P. & Wigley, M. 1988, Deconstructivist Architecture, New York: New York Graphic Society Books distributer, 16

2. Vidler, A. 1992, Architectural Uncanny, Essays in the Modern Unhomely, Cambridge, Mass: MIT Press

3. Werner, F. 2000, Covering + Exposing: the architecture of Coop Himmelblau, Boston: Princeton Architectural Press

Project :Rooftop Remodel l ingArchitect:Coop HimmelblauDate: 1985Location: Vienna, Austria

ASE STUDY 02C

Image sources: http://www.coop-himmelblau.at/architecture/projects/rooftop-remodeling-falkestrasse“We are fed up with

seeing Pal ladio and other

h i stor ical masks .... we want

architecture that has more

to of fer. Architecture that

b leeds, exhausts , that

turns and even breaks ...

Architecture must burn”

Coop H immelb lau, in Werner, F. 2000, Covering + Exposing: the architecture of Coop Himmelblau, Boston: Princeton Architectural Press

A2.

ESIGN COMPUTATIOND

Dongdaemun Design Plaza, South Korea, Zaha Hadid Architects

Image source: http://www.zaha-hadid.com/architecture/dongdaemun-design-park-plaza/

Our current conception of architecture has a ‘defuturing’ condition.1 An unsustainable belief that human occupation occurs at the cost of nature. It is only through the redefinition of technology from having a purely commerical or human-focused input, to developing a new type of designing that works with nature through human-computer symbiosis that humanity can survive.

This is where computation comes in as a necessary step in design futuring. The works here will explore how architectural computation will provide autonomy in the design of spaces in the present

1. Fry, T. 2008. Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16

2. Schumacher, P. (2011). The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley), pp. 1-28

3. Dunne, A. & Raby, F. 2013, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45

“The most impor tant question to ask about modern societies is therefore what understandings of human life is embodied in the prevailing technical arrangements.”1

1

A new typology of architectural design is emerging through computation. Projects which can be performative and respond to natural factors are beginning to typify new works sucha s the FAZ Pavillion by Achim Menges. Such works are conceptualised and fabricated through logical relationships and parameters that are set up within the computer. Computation is already having significant benefits for design through such new found techniques of embedding ecological processes into a structure. This is vital for architects who need to find and develop solutions for a future which will need to be able to adapt to respond to global warming and pollution. The architect is more a problem-solver than ever before.1

Computational design faciltiates formulative thinking which enables the designer to creating better and more advanced responses to complex situations, thus augmenting the human intellect as Engelbart puts it.2 Indeed, this shift to the algorithm as the principle

1. Kalay, Y. 2004. Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25

2. Engelbart, DC 1995, ‘Toward Augmenting the Human Intellect and Boosting our Collective IQ’, Communications Of The ACM, 38, 8, pp. 30-33, Computers & Applied Sciences Complete

3. Menges, A 2012, Material Computation : Higher Integration In Morphogenetic Design, n.p.: Hoboken,

Project :FAZ Pavi l ionArchitect: Achim Menges, Steffen Reichert + Scheffler + PartnerDate: 2010Location: Frankfurt

ASE STUDY 01Cmeans of designing provides numerous benefits for capturing the complexity of a project. For example, the FAZ pavillion makes use of computation to develop new systems of design which synthesis ecological systems and material behaviour with form-generation. Derived from biomimetic research which create responsive panels that open and close based on the surrounding ambient humidity, this sets the standard for climate responsive architecture, which when refined can completely improve the energy consumption of buildings in the future. This is material computation which facilitates an adaptive form of architecture that also enables for more efficient form-generation, one that is based on logic and performance rather than on mere imagery. From this, it is reasonable to conclude that computation is also paving the way for a shift from the mechanical towards a biological paradigm of ecological embedding and climate-responsiveness in design.3

FAZ Pavillion, Frankfurt, 2010. Achim Menges, Steffen Reichert and Scheffler + Partner,

Louisiana State Museum and Sports Hall of Fame. Natchitoches, Louisiana, United States. Trahan ArchitectsImage Sources: http://archinect.com/features/article/82064755/showcase-louisiana-state-museum-and-sports-hall-of-fame-by-trahan-architects

1.Kushner, M, & Krichels, J 2015, The Future Of Architecture In 100 Buildings, n.p.: New York, NY : TED Books/Simon & Schuster, 2015

2. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16

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

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

The new logic of algorithms and computation improves efficiency and performance of architecture, as well as facilitating incredible geometries and forms. Computation enables us to model the structures of material systems as tectonic systems which has revolutionised contemporary practice. This is evident in works such as the Louisiana State Museum and Sports Hall of Fame (Trahan Architects) whose sculptural form is made from 1,100 cast stone panels. This essentially shows how computational design has enabled materials to take on new forms that were not previously possible.1 Rhinoceros was used to develop the structural geometry while Grasshopper was used for creating automated steel framing definitions, which greatly quickened the design process and ensured accuracy of construction. Such projects represent the limitless potential of computation and digital technology for architecture, especially when we compare the digital models to the physical end result.

Computation enables for a new type of ecological designing also, where we can now envisage materials with modulating conditions of porosity, control of light

penetration and so on. These concepts are the basis for ecological design in response to environmental conditions and has become very common in contemporary practice, to simualte environmental conditions and design to maximise benefits of contextual factors. 2

Similarly, the shift from drawing and sketching as a 2-dimensional abstract means of representation has enabled designers to conceive 3-dimensionally prior to construction. The consequence of this is that we cna conceive far more complex spatial designs, something which can be seen in the Museum.3 This change in designing is promulgated further by the ease of fabricating and translating these virtual designs into reality via technologies such as the CNC Milling, Laser Cutter and 3D Printing means that designers are no longer restricted by what can be built.

This means that geometries, forms and spaces that were once inconceivable are now a reality, which in turn greatly expands design thinking4.

Project :Louis iana State Museum + Sports Hal lArchitect: Trahan ArchitectsDate: 2013Location: Natchitoches, Louisiana

ASE STUDY 03C

The most profound technologies are those that disappear. They weave themselves into the fabric of everyday life until they are indistinguishable from them.”

[Mark Weiser, ‘The computer for the 21st century’, in Scientific American, September 1991, pp. 94 - 104

OMPOSITION/GENERATIONDigital technologies been embraced by architectural practice

and academics in many ways for the workflow benefits and

accuracy for constructability. In practice, CAD and computer-

generative modelling processes have become integral to the

work. However, computation as distinguished from CAD has

not been as prevalent to date. Architects continue to utilise

computer programs as the translation of objects into buildings.

This is computerisation as opposed to computation.1

Computerisation has caused architects to distance themselves

from compositional techniques which have categorized traditional

geometry, to the programmatic and experiential thinking.

However, utilising these programs as the manufacturer intended

puts a cap on creative possibility. These predefined tools do not

promote the conceptual designing that comes with computational

processes. Computation involves understanding relationships,

systems and theory of geometries and mathematics. Additionally,

it provides designers with the ability to create their own custom

‘objects’ rather than the specified ones of CAD software. As a

whole though, there are practices and design research fields

which continue to explore algorithmic generations and explore

its possibilities.In large practices such as Herzog & de Meuron

and Zaha Hadid Architects for example, their organisational

structure have even been re-evaluated to accomodate

computation as a specialisation in design.2 Their complex

projects are made possible through the use of computation.

However, they also provide an example of the set-backs with

computation at present, which is in its isolation. Currently,

computation is not understood by all designers enough

for it to be utilised to its full potential. Despite the fact that

computation has the capacity to augment human intellect to

respond to complex situations there is poor understanding of the

computational designer’s role even amongst other architects.3

Understanding the ideological disposition of

computation at present within architecture is important

to overcome our inherent hesitations, and understand

that computation is limiting only in our ignorance.

1. Peters, B. & Peters, T 2013. Inside Smart Geometry: Expanding the architectural possibilitiesof computational design, chichester: john wiley & sons inc, 2013

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

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

4. Weiser, M. 1991, ‘The The computer for the 21st century’, in Scientific American, September 1991, pp. 94 - 104

A3.

C

Csemy/Kfrincic/Laska, Interiority Project - Masterclass Zaha Hadid, tutored by Guest Professors Patrik Schumacher & Ali Rahim, University of Applied Arts, Vienna 2009

Image source: http://www.patrikschumacher.com/Texts/Parametric%20Patterns.html

Generative designing can be seen in the ICD/ITKE Research

Pavillion at the University of Stuttgart, where explorations

in the possibiltiies of biomimetic structures can be fully

realised and explored through algorithm aided design.

The ongoing research within academic environments shows a

growing consideration of computation as become a normative

part of architecture design. The ICD/ITKE pavillion is a fiber-woven

pavillion that draws its inspirations from the morphological

principles of anthropod’s exoskeletons.1 The logic of this

biostructure functioned through variation in materials along

the cross section of the organism’s shell to enable for efficient

flow of forces. Such techniques were digitally programmed

in a similar process for the structure of the pavillion, whose

variation in stresses upon the shell causes its microscopic

fibers to migrate from parallel to perpendicular orientation.

The key thing to note here is that the whole design and

fabrication process was done through computation. Through

an information chain linking the input parameters, various

forms were tested and optimzied computationally to simulate

the best structure.2 This offers an innovative way to consider

the use of new materials in construction which are lightweight

and materially efficient due to computation and material

design which in time, will be common place in practice.

1. Brownell, B, & Swackhamer, M. 2015, Hypernatural : Architecture’s New Relationship With Nature, n.p.: New York : Princeton Architectural Press

2. Menges, A 2012, Material Computation : Higher Integration In Morphogenetic Design, n.p.: Hoboken, N.J. : Wiley ; Chichester : John Wiley

Project : ICD/ITKE Pavi l l ionArchitect: Achim MengesDate: 2012Location: University of Stuttgart

ASE STUDY 01C Project : ICD/ITKE Pavi l l ionArchitect: Achim MengesDate: 2012Location: University of Stuttgart

ASE STUDY 01C

Image Sources: http://www.designboom.com/architecture/robotically-fabricated-carbon-and-glass-fibre-pavilion-by-icd-itke/

In the case of Heatherwick Studio’s Seeds Cathedral, digital

technologies are utilised as a means of translation. As

an architect that takes priority in craft and hand-making

as a design process, it becomes clear that this was not

generative, yet made use of computer generative modelling

to realise the design. Digital technologies here were useful

for ensuring successful constructability but demonstrate

alternative methods of design using computers.1

One can collect data and generate form from it, or one can

follow intuitive and creative alternatives to achieve unqiue

designs. This project is presented for its ability to challenge

generation as a design technique. Here we have an extremely

succesful conceptually resolved design which was made possible

through making which can equally expose shortcomings to

computational generation, which some such as Juhani Palasmaa

would argue lacks the human creative input that comes from

our own intuition. He advocated in his work, ‘The Eyes of the

Skin’ that the ‘computer creates distance between the maker

and the object, whereas drawing by hand and mode-making put

the designer into a haptic contact with the object or space’.2

Conversely, it can also be debated that generative approaches

are enabling architects to be removed from superfluous stylistic

elegances and compositions to logical and intelligent forms that

are literally the best possible outcome within its own parameters.

Perhaps generative processes is the link to create a harmony

between human design, and logical necessity. Stan Allen notes

in his article “Artificial Ecologies” the practice of architecture

has always been in the paradoxical position of being invested

in the production of real, concrete matter yet working with tools

of abstract representation which in itself is a limitation.3

Perhaps algorithm-aided design’s greatest advantage also, is that

of simulation. To be able to simulate not only performance and

structural optimization, but also the experience of architecture

is fundamental to its success and possibly the best method for

creating meaning and communicating for future conditions. The

experience of the Seed Cathedral for example, while designed

not through generation, would have enabled the architects to

simulate its experience before construction to ensure that it is

exactly what it needs to be. For this reason, computation has much

to offer, but ensuring a mediation between human input and

computer output is integral to creating architecture of meaning.4

1. Heatherwick, T 2012, Thomas Heatherwick : Making, n.p.: New York : The Monacelli Press, 2012.

2. Pallasmaa, J 2012, The Eyes Of The Skin : Architecture And The Senses, n.p.: Chichester, West Sussex : Wiley, 2012.

3. . Bernstein, B., Dreamer, P., 2008, Building the Future: Recasting labor in Architecture, Princeton Architectural Press, New York, p. 38-42

Project :Seed CathedralArchitect: Heatherwick StudiosDate: 2010Location: Shanghai, China

ASE STUDY 02C

“Making is the most powerful way that we solve problems, express ideas and shape our world”Charny, D. 2012, ‘Thinking through Making’

in Design & Making, Danish Crafts

Photography by James Ewing, http://www.jamesewingphotography.com/index.php#mi=

2&pt=1&pi=10000&s=2&p=4&a=0&at=0

Seed Cathedral by Heatherwick Studios, UK Pavillion Expo, Shanghai

Part A explores architectural precedence and its various developments in relation to technology and computer development. From this, it can be ascertained that the development of the algorithmic and computational processes in architecture has completely transformed the way we design as architects. While the evident increase in workflows and accuracy has removed many limitations in the conception to construction phase, it is the very process of algorithmic thinking that is evolving the designer’s very way of thinking and problem-solving.

This shift in cultural paradigms both architectural and social means that we are entering an important phase in which we can develop present solutions which can enable for a sustainable future. In relation to the brief of Merri Creek, the need to understand the ecosystems and the interrelation of each system is integral to formulating an architectural intervention which can better inform and remediate the natural environment. This can be done via an algorithmic approach as we can begin to understand how systems work and how even new patterns can occur within eco-systems.1

I intend to design through information provided by natural systems. Biomimicry and epigenetic designs which can engage with biology, or react in real-time to the surrounding environment is integral to developing solutions to the insufficient infrastructure present along the creek. Through such engagement I propose to re-activate sites along the creek as a place for users to find new-found appreciation for the eco-systems around them, as well as decrease the impact of human footprints upon the bio-diversity. Such solutions, while complex, can be solved appropriately through scripting and parameters to develop a complex solution.

1. Tedeschi, A, Wirz, F, & Andreani, S 2014, AAD Algorithms-Aided Design : Parametric Strategies Using Grasshopper, n.p.: Brienza, Italy : Le Penseur Publisher, 2014.

ONCLUSION

A4.

C ONCLUSIONC

Seed Cathedral by Heatherwick Studios, UK Pavillion Expo, Shanghai

Image Source: http://vectroave.com/2010/05/uk-pavilion-heatherwick-studio-shanghai-expo2010/

My understanding of design and architecture as a discipline has been completely upturned. I feel that the possibilities opened up by algorithmic designing and computation via grasshopper offers many opportunities for better designing for the future and much better way of thinking. I have always thought of architecture as a discipline of many, it is necessary to understand so many other disciplines to design well. Algorithmic thinking enables one to tackle design problems through thinking via relationships However, the current limitations mean that only through further exploration and development can I really begin to understanding scripting and coding in design.

While grasshopper is certainly increasing my workflow in modelling, it is also enbaling me to think in terms of sets, lists and interconnected elements as opposed to a finished sculptural object. I feel that this will bring us

EARNING OUTCOMESL

A5.

closer to understanding nature as a consequence, and enabling for new buildings which will work with nature.

The concept of a ‘model’ is no longer to be understood as a translation or a representation of an already conceived design. Now I understand it to be the description of computation algorithms in a generative design process. This process makes use of rules, boundaries and parameters to define and create optimal solutions to very complex issues. I have learned a great deal about the current shift in design paradigms as a result of scripting cultures to the point that I do not see Grasshopper as simply a tool. For me, Grasshopper opens up new possibilities for design thinking, which will enable architects to think not in compositional forms and standards of beauty.

Form is now made by InFORMation and data,

LGORITHMIC SKETCHESA

A6.

CRITERIA DESIGNB.

The role of patterning and ornamentation in architecture is integral to producing experiential and communicative qualities to the user. However, the history of ornamentation documents very disparate ideological dispositions on its use and importance. Originally serving a decorative role of embellishing the built environment with culturally and religiously significant symbolism, ornamentation was palpable in early Christian and Islamic Churches and Mosques. These works were adorned with geometric patterns of recurring motifs that arise from the way their religions perceive the world, lending the patterns a powerfully spirtiual aesthetic. These patterns manifest in mosques such as the Palace of Alhambra, Granada, Spain (1238) which features stalactite geometric and natural calligraphic patterns of recursive and arabic script with no representation of the human body, as was required in Islamic religion.1 This is indicative of the role of pattern as communicative, but also alludes to the ability of pattern to create an effect, spiritually or otherwise.

Similar examples of patterning can be seen in christian churches, particularly Haggia Sophia, Istanbul, a former Christian patriarchal basilcia. The interior of this church demonstrates its Byzantine heritage through its interior decoration of flowers and birds in the spandrels of the gallery, as well as mosaics of angelic figures and relative christian symbolism before its conversion into a mosque. There is a common association throughout architecture’s history to associate pattern with nature.2 This is due to the similar principles that nature exhibits as a self-organising system of interrelated parts and organisms. Leon Battista Alberti defined ornamentation

as necessary for beauty, which can be found in nature.

“Beauty is a form of sympathy and consonance of the parts within a body... the absolute and fundamental rule in nature.”3 Here the relationships and associations he defines is of an abstracted nature, which creates pattern. Interestingly, pattern is also linked to art in its expression of directly perceivable form which communicates and manifests the ideas of the world in a given period.

Pattern and ornamentation has gone through a phase of denigrative dismissal through intellectual works of the modernist era which produced notable criticisms such as Adolf Loos’ ‘Ornament and Crime’ (1908).4 Here ornamentation was lowered to the level of an added unnecessary embellishment, which hindered the purism doctrines of the machine age. “... the evolution of culture marches with the elimination of ornament from useful objects.” While ornamentation has exhibited cultural analogies which make it specific to a time, This does not necessarily equate to ornamentation being anachronistic or ineffective in contemporary culture. Loos’ extreme stance has been contradicted by the supposed father of modernism, Frank Lloyd Wright also, whose works such as the Hollyhock house, Hollywood (1921) exhibit an appreciation for the patterns which materials in their honest state display. “Evidently then, this expression of structure, as a pattern true to the nature of the materials out of which it was made, may be taken much further along than physical need alone would dictate….. It is the expression of inner rhythm of form.”5

1. Cross, Alfred W. S. History of architecture. n.p.: London : International Correspondence Schools, [19--], 19092. Garcia, Mark. Patterns of architecture. n.p.: London : John Wiley, 2009.3. Alberti, Leon B. On The Art of Building in Ten Books, translated by Joseph Rykwert, Neil Leach, Robert Tavernor, The MIT Press, Cambridge, MA, 1472.

4.Masheck, Joseph. Adolf Loos. [electronic resource] : The Art of Archi-tecture. n.p.: London : I.B.Tauris, 2013., 2013. UNIVERSITY OF MELBOURNE’s Catalogue, EBSCOhost (accessed August 25, 2015).5. Frank Lloyd Wright: Monograph 1887-1901, vol. 1, Bruce Brooks Pfeiffer, A.D.A. Edita, Tokyo Co., Ltd, 1985

ATTERNP

B1.

Galleria di Diana in Venaria Royal Palace -http://www.archdaily.com/488929/a-theory-of-architecture-part-1-pattern-language-vs-form-language

Image left: Hagia Sophia, IstanbulPhoto by architecture.com

Image right: Digital Grotesquehttp://www.caad.arch.ethz.ch/blog/digital-grotesque-printing-architecture/

Image above: Palace of Alhambra, Muqarnas Chamber (photo Vaughan Williams)https://www.khanacademy.org/humanities/art-islam/islamic-art-medieval/a/the-alhambra

Image left: Palace of Alhambra, Muqarnas Chamber (photo Vaughan Williams)https://www.khanacademy.org/humanities/art-islam/islamic-art-medieval/a/the-alhambra

“I don’t want to undress architecture. I want to enrich it and add layers to it. Basically like in a gothic cathedral, where the ornament and the structure form an alliance.” [Cecil Balmond, in ‘Forming the Informal: A Conversation with Cecil Balmond’, Dialogue, March 2003, No. 67]

1. Schumacher, Patrik. The Autopoiesis of Architecture. [electronic resource] : A New Framework for Architecture. n.p.: Hoboken : Wiley, 2011., 2011. UNIVERSITY OF MELBOURNE’s Catalogue, EBSCOhost (accessed September 24, 2015).2. Deleuze, Gilles, et al. What Is Philosophy? chapter 7 ‘percept, affect and concept”, pp. 163 - 200] [electronic resource]. n.p.: New York : Columbia University Press, 2014., 2014. UNIVERSITY OF MELBOURNE’s Catalogue, EBSCOhost (accessed September 24, 2015).3. Moussavi, Farshid, and Michael Kubo. The function of ornament. n.p.: Barcelona : Actar, Harvard University, Graduate School of Design, 20064. Goldemberg, Eric. Pulsation in architecture. n.p.: Ft. Lauderdale, Fla. : J. Ross Pub., 2012., 2012. UNIVERSITY OF MELBOURNE’s Catalogue, EBSCOhost (accessed September 24, 2015).

surface. This was outlined by Moussavi et al., (2006) where he distinctly differentiates between decoration, which he labels as ‘contingent’ communication, and ornamentation which he heralds as necssary for its effects and resonance.3

Patterning takes on new roles and meaning through the logic of generative computational systems. This is because the algorithms of programs such as Grasshopper function through associative logic in parameters that work through interrelational data structures. These flowing relationships then enable for complex geometries upon a surface as a result, enabling for new and more complex patterns to emerge in architecture. In addition, patterning transcends its traditional role and becomes part of structural and material performance.

Computation has thus enabled patterning as an aesthetic to develop into an effect that resonates with the user rather than as a simple means of communication. Now, pattern has evolved to create effects and sensations through rhythmic articulations of geometries and repetitious elements. Pattern has become pulsation, developping a new spatial sensibility where pattern and ornamentation have become vital to lending character and atmosphere to architecture.4

Now in contemporary digital practices, a direct consequence of the shift from an economy of mass-production to one of mass-customization and individuality, sees the ethics of the machine (elimination of anomalies and universalisation) being replaced with that of design quality. This sees a redefinition of pattern, as integral to atmospheric quality in architecture.

Patrik Shumacher affirms this in his treatise which distinguishes architecture’s role as one of organisation, articulation and signification. Noticeably, articulation refers to the perception of space by sentient beings, and signification confirms that the user navigates space by acting on signs and semiology, which through methods such as ornamentation can enable the user to recognise one’s own society, culture and place in the world.1

The work of Deleuze and Guattari in ‘What is Philosophy’ (1994) show that the phenomenon of pattern is capable of relating to contemporary culture through its ability to create sensation and affect.2 As such, the inevitable conclusion is that through the dynamic expression of patterns, ornamentation in any form becomes more than decoration, or a mere addition to a

ASE STUDY 1.0C

B2.

Herzog & De Meuron is an architecture firm with a propensity towards computational technology as a design tool. Their focus on patterning is due to the emphasis on surfaces that comes about from the digital designing process. This can be seen in the De Young Museum, which features three different layers of copper with variations in perforations to create unique and differing patterns along every wall. The focus here is on the surface of the structure, which through the precision and control provided by computation and fabrication technology, ensures for exact detailing on a large scale. This project enabled architecture to begin to explore new concepts of boundaries as the very notion of a wall as solid is challenged. Here transparency of surface manifests itself through pattern, also distinctly not as a decoration, but as part of the very fabric of the architecture’s material skin.

De Young Museum/Herzog & De Meuronhttps://www.flickr.com/photos/tatyregis/galleries/72157623886902971/

De Young Museum/Herzog & De MeuronDuccio Malagamba, http://www.archdaily.com.br/br/01-60612/fotografia-e-arquitetura-duccio-malagamba

De Young Museum/Herzog & De Meuronhttps://www.flickr.com/photos/marcteer/5459099190

HEIGHTMAP SAMPLINGRadian = number slider, Outer Circle radius = (x*y) + 0.1Inner circle = (x*y) + 0.1, tan (y) * (x+1)

RADIUS IMAGE SAMPLINGVariable = number sliderExpression: (x*y) + 0.1

PERFORATION EXTRUSION & SURFACE ORIENTATION

ITERATIONS

Expression: (x*y)

Radius SamplingHeight Sampling

Height Factor= 4 Height Factor= 4

1.

9.

17. 18. 19. 20.

10. 11. 12.

2. 3. 4.

Negative Boundary Negative to Positive Boundary

Surface Division: 50,50

Height Factor= 4 Circle outer radius = 1Inner Circle Radius = 0.9

Boundaries removed Circle outer radius = 0.2Inner Circle radius = 1

Expression: (x*y) Expression: (x*y)*z Expression: (x*y)*z

21. 22. 23. 24.

13. 14. 15. 16.

5. 6. 7. 8.

SHAPE TRANSFORMATIONRotation steps = Number SliderGraph Mapper

GEOMETRY DIFFERENTIATION

Graph Mapper Domain = 0.6 to 1

Graph Mapper Domain = 0.9 to 1

Outer radius = 1Inner Radius = 0.1

Boundary: - 20 to 0

Outer radius = 1Inner Radius = 0.1Boundary: 0 to 20

Outer radius = 3Inner Radius = 1

Boundary: -20 to 0

Outer radius = 5Inner Radius =0.1

Boundary: -20 to 0

25.

33.

26.

34.

27.

35.

28.

36.

Domain: 0.2 to 0.8UV: 30, 30

Mesh Thickness: 1.000

Domain: 0.2 to 0.8UV: 30, 30

Mesh Thickness: 1.000

Curve normal: 0.3External Radius: 2Boundary: -20 to 0

Curve normal: 0.3External Radius: 2Boundary: -20 to 0

Outer circle radius = 1Inner Circle Radius = 0.3

Height Factor = 4 Y axis vectorRemapped Boundary 0 to 3

Y axis vectorRemapped Boundary 0 to 3

29.

27.

30

38.

31.

39.

32.

40.

SUCCESSFUL SPECIESThe variation produced through alterations and additions to this script is testament to the limitless potential of the algorithm in design. Perhaps the most interesting aspect of this process is the manner in which the designer has to consider in advance what changes are to be made. This in itself requires associative and interrelational thinking between the various components of data which I found, lead to variety of pattern.

These advantages permit large variations in forms and geometries through simple modifications. This was made clear in the development of multiple species types utilising the original script for the De Young Museum project. I adapted the patterning facade technique and manipulated the parameters to find new opportunities for architectural realisation. For example, when comparing the species of ‘geometry differentiation’ to that of the ‘perforation extrusion’, the only difference is whether the image sampling affects the radius or the height of the geometries on the surface. The result, however, creates new

typologies which are vastly different from its antecedent form.

When experimenting with the definition, I was looking at how I could create new types of patterning that could be applicable to an architectural design within the Merri Creek. This translated to exploring patterns which exhibited strong rhythmic articulations and interesting repetitious elements were favoured. For the design brief relating to Merri Creek, there are certain specifications which aid in the development of a design criteria when working computationally. The task at hand is to design an architectural intervention that will explore relationships between technology, culture and natural systems for the Merri Creek. As such, the patterned geometries which exhbited architectural qualities which bespoke natural and organic systems were seen as better suited. Even more so, if they created habitable and fabricatable spaces.

4 of the most succesful iterations produced were based on such a selection criteria. They are no. 38, no. 21, no. 13 and no .27.

No. 38 - Geometric Differentiation

This, as an iteration, has great potential to be appropriated to my own design project. The use of the image sampler to affect the radius of each geometry, as well as the distortion of the geometric pattern as it is placed along a curved surface creates a beatiful visual complexity. These geometries could be used for visual and functional purpose also, as the use of sun radiation analysis could inform the image sampler and thus control the amount and sun light and/or weather penetration.

No. 21 - Extrusion & Surface Orientation

This provides many directions for material experimentation. This is because the iteration itself does not offer much in terms of inhabitable space, but more on tactility and surface materials. It would create a very interesting effect when affected by wind movement for example. Its structure also could follow similar technique to the Seed Cathedral by Heatherwick Studios.

No. 13 - Heightmap Sampling

The surface extrusions when done in conjunction with a multitude of other variables, can create very interesting surface tectonics. Here, a wave like structure has been created, which if hollowed out, could make for a very unique shelter which could enable users to see up to the sky from underneath. At the same time, it could be adapted to serve as an interesting seating area.

No .27. - Shape Transformation

This species explored the possibility of a pattern transforming across its parameters from one shape into another. Architecturally, this could be very interesting as one could establish distance based transformations. This would enable a design to gradually transform from one type of pattern to a completely different one from end to another.

Ultimately, the iterations provide an insight into the many different applications in built works. These iterations exhibit great potential for new site tectonics within the Merri Creek especially.

Fermid is a kinetic sculpture by Behnez Babazadeh developed through parametric principles using woven tectonics for fabrication.

The project makes use of kinetic technology to enable the sculpture to move and undulate. This, in effect, creates the allusion that the design can ‘breath’. The patterned/tesselation effect of the geometries create a very unique effect which resonates powerfully with the user which when combined with movement, serves to engage the user. This creates new opportunities for new relations between movement and space within architecture.

Utilising Grasshopper, I have attempted to reverse-engineer ‘Fermid’ in an attempt to understand the project as a system and its interrelated components. This also enables me to explore how patterns can be created through new types of geometries, both visually as an effect, and spatially through tesselated geometries.

ASE STUDY 2.0C

B3.

1.

5.

9.

13.

17.

2.

6.

10.

14.

18.

3.

7.

11.

15.

19.

4.

8.

12.

16.

1. 2. 3.

SURFACE DIVISION

A NURBS surface is created through points.

After the lofting parameter have been

established, the surface is then divided so as

to create a series of points along its domain.

DIGITAL WEAVE

The defined points on the reparameterised

surface are translated vertically using a

recurring list of scalar factors multiplied by

surface normal unit vectors. This creates a

pattern of one up, one down points along the

U and V direction of the surface points. This

enables for a weaving effect to occur later on.

INTERPOLATION OF CURVE DATA

After points in U and V direction have

been moved in the positive and negative

direction, an interpolated curve is inputted

to create basis for surface geometry. This

is to be the start of the strips. The data

is unflattened to ensure the curves are

interpolated through each direction and not

defined as a single curve wrapping around.

EVERSE ENGINEERR

4. 6.5.

OFFSETING ON SURFACE

Next is to offset the curves and then loft

between the newly offset curve and the

original curve. ‘Offset on surface’ was

needed over the usual ‘offset’ command

so as to create a more flowing visual effect

that followed the normal of the surface.

GEOMETRIC PATTERN

To recreate the actual pattern itself, the Box

morph technique enabled me to create a single

geometry and then populate this along the

area of a surface. This depended upon the

division fo the surface, which I ensured was the

same for both the box morph and the strips.

BOX MORPH

The final step was to adjust the

height parameter of the box morph

so that the final design could best

replicate the ‘Fermid’ Case Study.

The outcome of this reverse-engineering exercise was extremely beneficial in allowing me to think algorithmically. When considering how to approach the redesign of ‘Fermid’, I found myself thinking about the logic of the associated and explicit geometries and the underlying data flow. I have found that the final outcome is very similar to the original ‘Fermid’. However, it was very hard to completely copy the flower like patterns which appear in the physical project, which resulted in some discrepencies.

It must also be taken into consideration that the Box Morph technique in grasshopper is innacurate to an extent, as it divides an individual geometry along a surface’s domain. This means that if the surface divisions are bigger or smaller in certain areas, then the geometry will be morphed to fit. This means that certain ‘flower’ components are bigger or stretched in certan directions as a result, rather than the uniform size that is in the real ‘Fermid’. Personally, I found the Box Morph to be very interesting as an aesthetic in spite of its inaccuracy. It merged the lines between patterning

and tesselation which is important for architecture, especially In considering the use of patterning as 3-dimensional elements which can create visually complex and stimulating results.

Furthermore, there is a fundamental difference between the two approaches and that is in the making of ‘Fermid’. There are many aspects to its appearance which are a result of the making process. For example, the pins which attach the petals to the strips are needed for structural purpose. This, however, adds to the effect and tactile presence of the design, which is not replicated in the grasshopper definition.

I am fascinated both by the complex pattern and conceptualisation of ‘Fermid’. This idea of a natural kinesthesia is very interesting in the context of changing human perceptions about the environment. To incorporate this type of movement into algorithmic patterning could contribute to a very unique and powerfully engaging architectural intervention for the Merri Creek.

UTCOMEO

The technique I have developed based on ‘Fermid’ has the potential to create an array of disparate geometries and forms when not conforming to the original design. This is because of the flexible arrangement of the algorithm. With my developed script the two major components are the box morphing technique and data manipulation of the surface itself. With these, there are numerous directions to take through the box morphing technique and within data manipulation of the surfaces itself.

By adjusting some very basic geometric parameters such as the geometry input for the box morph, the entire patterned form can be completely transformed.

Other alternatives involve data manipulation of the skin

ECHNIQUE DEVELOPMENTT

B4.

surface itself. Other inputs include creating a domain and boundary for the remap component which can allow for distance-based transformations around an attractor point. This would make it possible to redefine the uniform patterning into one that creates a dynamic rhythm and movement.

It is for these reasons that I would like to continue to develop this definition to explore its many potentials, and thus appropriate a successful parametric design for the Merri Creek. In particular, I am quite interested in the design possibilities behind pattern motion and movement as a means of engaging the user to reconsider their own presence within the context of the Merri Creek, developing a dialectic type of symbiosis between architecture and nature also.

1.

9.

17.

25.

18.

26.

19.

27.

20.

28.

10. 11. 12.

2. 3. 4.

UV Count = 10,10

UV Count = 10,10, Extrude = 5 UV Count = 10,10, Extrude = 13 UV Count = 10,10, Extrude = 13 UV Count = 15, 0, Extrude = 17

UV Count = 10,10 UV Count = 10,10 UV = 5,5. Offset on surface = 1 UV = 5,5. Offset on surface = 4

UV = 2,4. Offset on surface = 1 UV = 8,8. Offset on surface = 1 UV = 8,8. Offset on surface = 1 Remapped Domain = 0.2 - 3

Network Surface - Flattened Network Surface - Unflattened

Scale graft factor = 0.050, Offset normal multiplication = - 6

Scale graft factor = 1, Offset normal multiplication = - 6

Scale graft factor = 0.2, Offset normal multiplication = 0.5

Scale graft factor = 0.2, Offset normal multiplication = 0.5

Base surface modified

UV Count = 10,10 UV Count = 10,10. Offset = 4 UV Count = 10,10, Offset = 2

21.

29.

22.

30.

23.

31.

24.

32.

13. 14. 15. 16.

5. 6. 7. 8.

UV Count = 15,0, Offset on Surface UV Count = 15,10. Extrude = 17 UV Count = 15,10. Extrude = 10 UV Count = 10,10

UV = 1,10. Offset on surface = 2 UV = 10,10. Offset on surface = 1 Data Skin - Offset on surface = 1 UV = 8,8. Offset on surface = 1

Remapped Domain = 0.1 - 3 Box morphUV = 8,8. Height = 2Geometry = Cross

Box morphUV = 8,8,. Height = 2

Catmull Clark Subdivision = 1

Box morphUV = 4,4,. Height = 5

Catmull Clark Subdivision = 1

Network Surface - Flattened

Scale graft factor = 1, Offset normal multiplication = - 1



Scale graft factor = 0.3, Offset normal multiplication = -1

UV Count = 10,10, Offset = 6 UV Count = 10,10, Offset = 6 UV Count = 10,10, Pipe radius = 1.2 UV Count = 10,10, Pipe radius = 0.8

Unflattened Data

33.

41.

49.

34.

42.

50.

35..

43.

51.

36.

44.

Box morphUV = 25,25. Height = 5

Geometry = Petal

Box morphUV =8,8. Height = 30

Scale NU Remap = 0.1 to 10XZ Plane

Diamond PanelsUV =18, 23

Rotate Remap Domain = 100 to 10

Diamond PanelsUV =18, 23

Series Rotation = 1.22

Box Morph + StripsUV =10, 10

Rotate Remap Domain = 100 to 10YZ Plane


Scale NU Remap = - 10 to 10XZ Plane


Scale NU Remap = - 10 to 10Geometry = Box


Scale NU Remap = - 0 to -5Geometry = Box


Geometry = Petal


Geometry = Petal

Box morphUV = 8,8. Height = -120

Geometry = Petal

SELECTION CRITERIAI have developed a selection criteria that is specific to my design intention for the Merri Creek. Through such a selection criteria, I can logically analyse the iterations produced to see if they possess any relevent qualities that could be adapted for the brief.

Complex Patterning Does the iteration provide possibility for geometric variation and diversity that is sufficiently complex to complement the dynamic interconnected ecologies of the Merri Creek?

Kinetic Possibility Can the iteration have realistic kinetic application, such as in the form of rotation or translation?

Rhythm and Sensorial Engagement

Do the patterns created produce a rhythmic articulation and animate motion to their forms so as to engage the user’s sensorial experience?

Contextual Adaptation Can the iteration be contextually relevent within the Merri Creek by being retrofitted or adapted to specific sites along the Merri Creek?

Architectural and Spatial Form

Does the iteration possess inherent architectural qualites of space such as in the form of a shelter, bridge, seating, walkway and so on? Are there a wide range of architectural applications that can be created from an iteration?

37.

45

38.

46.

39.

47.

40.

48.

Box morphUV =8,8

Scale NU Remap = 0.01 to 1Box Height = 77

Box morphUV =8,8.

Scale NU Remap = 0.01 to 1Box Height = 1

Box morphUV =10,10, Box height = 0.2

Rotate Remap Domain = 40 to 30Geometry = Cylinder

YZ Plane

Box morphUV =10,10, Box height = 0.2

Rotate Remap Domain = 100 to 10Geometry = Cylinder

YZ Plane


Remap attractor domain = 0.001 to 5


Remap attractor domain = 0.001 to 1


Remap attractor domain = 1 to 0.001

Box morphUV = 8,8. Height = 30Rotation Plane = YZ

Rotate Remap domain = -60 - 190

From the selection criteria, 4 iterations were seen as the most succesful in terms of their potential as a design proposal.Some of the key considerations for my design focus on the fluid flowing motion of patterned geometries which respond to the user and engage them. This makes geometric artculation and complexity extremely important as a factor, as the effects created from these geometries could really activate certain neglected sites along the Creek. In addition, kinetic possibility is vital, meaning that the geometries themselves when fabricated need to have the capacity to move in some manner (i.e. rotation, opening/closing), without interfering with its surrounding patterns and without affecting structural integrity. Secondly, contextual adaptation is important as my chosen site involves a slight bend in the footpath, meaning that flexible curvature is a necessity.

Of all the iterations produced thus far, I have found the most succesful to be 29, 32, 48 and 50.

ECHNIQUE DEVELOPMENT(Continued)T

The circular patterns while simple in form, demonstrate the possibilities of individually rotating components. Its symmetry could ensure a full 360 degree rotation without clashing with surrounding geometries also. This iteration also shows how rotation can create complexity from uniform size patterns. Architecturallys speaking, this could be utilised as a pavilion of sorts, which can open and close through the rotation of its individual components.

This provides a very interesting texture which could be adapted to the frame for my patterns. The frustums of the geometry make for a more stimulating and textural form while the folds in the geometries would also lend rigidity to the structure, something which will be need to be considered for the curving aspects. While no kinetics is seen here, the geometries are square/rectangular, which means they could still be rotated about an axis. The folds could also be used to hide the mechanisms and structures also.

While a very beautiful patterned/tesselated form, it poses dififculties in fabrication as the appearance depends upon the whole thing appearing as a smooth, woven piece. It is certainly possible but fails to articulate the visual complexity that is obtained from unique individual geometries. However, kinetic translation could be possible if the design were flexible/made use of stretchy fabric.

This iteration succesfully meets the criteria in all areas. The diamond panels can be uniform or irregular in form, but through a sharp and strong geometry, can create interesting visual complexities. Secondly, the diamonds can be easily rotated, which would contribute to the motion and animate movement that I am trying to create for the Merri Creek. Thirdly, even when planar, the individual components can be applied onto a curved surface and can adapt to a myriad of locations along the Merri Creek, be that on the water, along footpaths, in open areas and so on. Structurally, the definition would need to be adopted further, but there is no reason why structural skins such as seen in (32.) could not be approprated to suit the diamond geometries. The structural logic behind this project will be of utmost importance in ensuring the kinetics can succesfully enhance the architectural purpose of the project along the Merri Creek.

32 - Pyramidal Frustum

48. Woven Tesselation

50. Diamond Rotation

29 - Circular Rotation

Complex Patterning 4/10

Kinetic Possibility 10/10

Rhythm and Sensorial Engagement 7/10

Contextual Adaptation 6/10

Architectural and Spatial Form 7/10

Score = 68%






Score = 76%






Score = 48%






Score = 80%

The relationship between architecture and material fabrication has always been of vital importance. The materials available and the technology facilitating its production have a direct input on the way in which we design. Considering the form and geometries of architecture pre-Digital era is indicative of this. Then, the designer managed the complexity of a building by breaking down components into individual parts and studying part to whole assembly strategies through scale models and drawings, which were then translated by suppliers and contractors. This placed many constraints both on the geometries which were produced and made, but also in the very forms which were conceived by the designer. There was a lack of capacity to respond to complex shapes and geometries in general.This has changed dramatically for the designer who is no

“Making is the most powerful way that we solve problems, express ideas and shape our world”

[Daniel Charny, ‘Thinking through Making’]

longer constrained but inspired and enhanced by fabrication and materialisation. Material processes and fabrication techniques have become integral to the computational design process, blurring the lines between conception and production. In considering these new technologies, I am able to effectively imbue material logic and real-time information into my grasshopper script. However, it is also very important to consider the materialisation and physical realisation of my design along the Merri Creek. As I am creating a kinetic patterned form, the tectonics behind its structure is necessary for a succesful response. I need to consider both the rotation and accesibility of wiring, motors and sensors as well as the framework and structural logic. This next stage is a documentation of various prototypes which explore structural possibilities for my concept.

ECHNIQUE: PROTOTYPEST

B5.

Diagrid Pattern - Lasercut Boxboard

Diagrid as a structure is very flexible and provides a viable option for diamond rotation. I would need to consider the joinery details at every intersection, but this is something that can be designed accurately and efficiently via computation.

Hexagonal Surface Frustum - Lasercut Mountboard

Having the shapes extend off the base using panel and fold techniques is quite efficient for creating a rigid and structural skin that can curve. These tabs could be substituted for nails and or other fabrication joints if necessary.

Diamond Structural Skin - Lasercut Boxboard

A diagrid structural skin option is shown here, however it does not offer great structural integrity. This is more beneficial as an overlay to a stronger structure if it were the intention to hide the structure.

Throughout prototyping, I was focusing on structural systems which would permit rotation of the panels without impeding on structural integrity. At the same time, the structure needed to be lightweight and porous so as to enable the design to open and close when the panels rotate. I experimented with structural skins through hexagons and diamond shapes and came to the conclusion that while they would enable surface curvature as a structure, the resulting aesthetic was heavy and cumbersome. I wanted to create an elegent, and almost ethereal structure which made the panels appeal to almost float. I began to explore how the structure could be offset from the panels then, separating them and connecting them through a connecting rod. This led to a type of diagrid structure taking place as a result of the diamond panel shape. The connections entailed one of complex design as up to 5 connections would occur between the diagrid and the connecting rod. This led me to consider 3D printing the joinery as modular nodes through the plug-in ‘Exoskeleton’ in Grasshopper. As a joinery system it is strong and efficient in fabrication as wooden dowl bars (or similar materials) can plug in to it and the form is created

as a result, offering accuracy and speed in the making process.The node was very succesful in achieving the desired affects of a lightweight porous structure, particularly when combined with timber dowels. The contrast between the two material’s colour and texture is beautiful which I feel would be very well suited to the context of the Merri Creek.

When implementing the mechanics of Arduino and the Servo motor on the prototype, I found several issues arise such as how and where to place the wiring and the servo motor. The servo motor needed to be aligned with the direction of the panel itself so as to create vertical rotation about an axis, however connection details for these will need to be developed in Grasshopper. Secondly, the length of the wires and the placement of an arduino will need to be considered also. I found that if slightly larger, there could be certain 3D Printed nodes which could hold the arduino behind, away from view. This is important because the design needs to move naturally, and appear as if in its own way, a living organism, this means hiding the mechanics.

3D Printed Nodes - Polymer + Pine Dowel bar wood

Rotation with Arduino + Servo Motor

3D Printed Node Joinery System

The brief for the Merri Creek requires an architectural intervention which explores the complex, interconnected and dynamic ecology of the Merri Creek. The site lays the foundations for new techniques for speculating on the current and future relationship between human culture, technology and nature and in the process propose new ways of habitation for the future.

Upon visiting the Merri Creek, one encounters very destitute areas featuring pollution and an abundance of litter in certain regions. This is particularly evident the further north one goes towards CERES environmental park. These areas extenuate the denigrative tendencies of human occupation. This becomes more so when one comes to areas that would have once been beautiful in its natural state such as this bend in the river (see photo). The perspective approaches here along the creek, coupled with the natural topography and dense vegetation should have provided for a beautiful landscape. However, this location was ruined by an an open-ended drainage which creates a constant

flow of litter downstream and onto the bank opposite. This particular bend can thus be seen as a demonstration of the consequences of human neglect upon the environment.Every user who walked down this route seemed to ignore the terrible conditions on the other side, content to stay on their artifically controlled landscape. An invisible barrier is here, extenuating the dichotomy between humans and nature, developing this social pattern of ignorance. There is a need to force people to ‘see’ the consequences of their actions.

Inspiration was drawn from a painting made in a similar location in 1882 titled ‘Evening’ by Julian Ashton. It is an impressionist painting done ‘en pleine’ air’, meaning to paint outside. This very process is unique in that it involves the inclusion of movement as the painter attempts to capture all qualities within an environment which is always in motion. Here nature is seen in all its beauty as a living, kinetic system. This is lost in human perception, however. Hence, the reason for patterning and motion being the developed technique for this site.

1. ‘Evening’, 1882 - Julian Ashton2. Circulation on Site Dark Blue = Cyclist Light Blue = Walking White = Litter3. Site Plan 1:5004. Urban Context 1:10005. Photograph, facing south (M Tibballs, 2015)

ECHNIQUE: PROPOSALT

B6.

MERRI CREEK 2015MERRI CREEK 2015

MERRI CREEK 1882MERRI CREEK 1882

EN PLEINE AIRMy proposal is to deconstruct human perception of the natural environment through a parametric kinetic promenade. A responsive design which through the event of occupation will insitigate a wave-like effect as each panel rotates based on the detection of users, be they joggers, cyclists or walkers. The design, inspired by the natural movement found in living organisms, proposes a new way of inhabiting the environment. A living architectural system which shows that humans shape their environment, even if only by their own presence. Each rotating panel then becomes a new ‘lens’ by which the user can see the environment, in all its motion, exposing destitute and neglected environments which other wise would have been ignored.

“The human eye has a readiness for patterns. Much is not seen simply because the mind is blind, not eyes. The eyes see in lines, curves, and patterns. Man himself works in patterns simple or complex, and such things are often evidence of man’s previous presence.”William Tell Sackett, Treasure Mountain

By Louis L’Amour, 1972

Panels supported by rods

Diagrid permits surface curvature and porous form Mechanism Diagram

NODE JOINERY SYSTEM

The learning objectives of Studio AIr have been to gain an understanding of the impact of computation on architectural design, both in form and in workflows and theory. Throughout Part B, my specialisation has enabled me to develop an understanding of algorithm aided design and the variety of differing architectural applications that can be made from visual programing and parametric modeling. Conceptually, in meeting the brief, the theory of systems and interrelatedness of the environment has come full circle when put parallel to my understanding of data processing in grasshopper. By being able to understand Scripting as a process of interrelated data structures, it has transformed my ability to see the world in terms of interrelated components. Developing an understanding of computation has also assisted in my own personal development as a designer, by opening my eyes to the generative capabilities of three dimensional media. While there is still so much to learn for me to become fluent in

EARNING OUTCOMESL

B7.

scripting language, I feel that the Studio has provided an excellent grounding for further education. This is certainly evident in my ability to reverse-engineer the case study of Fermid, and apply similar principles to my own project, which in its own way has become unique.My design proposal has been an interrogation of human presence in the natural environment and considering the links and relations between the two. For this, I have been focusing in particular on the sensorial engagement created by my parametric design and how the atmospheres created by the geometric articulations and patterns can enhance human perception of the environment. This, due to sheer complexity, would not have been possible without computational techniques. To add to this, I have demonstrated a good grasp on data structure and data flow through my ability to formulate a complex and detailed script which takes into account both aesthetics, user engagement, structure and rotational mechanisms.

LGORITHMIC SKETCHESA

B8.

DETAILED DESIGNC.

The feedback from the interim presentation centred around the function of the promenade. Debate arose over whether there was more potential in a promenade whose sole purpose at present was simply a lens. On its own, the promenade would have a strong visual and emotional impact on the user as it adapts and reacts to their presence. However some feedback centred on creating a more engaging project which involved a more direct improvement on the site. I.e. litter capturing, litter exposure etc. This stemmed from the design lacking palpability in concept.

Additionally, suggestions were made for the design to be transportable, which would in part extenuate the motion concept further. This is to consider whether the promenade, with its intention of creating a lens through which degaraded environments can be exposed, could be a portable structurre which can be errected everytime an area along the river is in need of remediation. I disagree with this proposal, mostly because the design’s potential is in its specificity to the chosen site. Also, there is more effect to be created from a permanent structure which focuses more on long-term impact on human thinking rather than short-term. This is also in support of my preference for a less direct approach to fixing issues such as litter. This is because it is an architecture which aims at transforming human perception in the long-term rather than simply picking up or displaying litter in the hopes that users will pick it up along their way. I also feel that if the structure became temporary and ephemeral, it would superimpose the effect of an architectural intervention which challenges the very fundamental nature of human presence by making it temporary and moveable. This

needs to be permanent and long-lasting. Similarly the indirect role of the promenade enables it to pose more questions about human-nature relationships, rather than being restricted to just one or two components.

Visually, the promenade needs more complexity in the patterns to really accentuate motion and movement within the patterns. Currently, there is a uniform pattern divided along a surface domain, which creates slight variation but ultimately a uniform pattern distribution. I will use vectors and field charges to distort the diamond diagrid at the beginning of the algorithm using distance-based transformations (attractor points) as a means of creating a more rhythmic and pulsating pattern along the promenade.

For clarity of concept, reflection has been considered as an interesting duality to the ‘lens’ aspect of the design. This is to suggest that users see themselves in their own artificial landscape, then see the degraded site on the other site. This aids in developing the materiality of the panels into something with reflective panels. I have also developed the definition so that now the panels do not rotate just 90 degrees when a user is detected, now the panels will rotate a full 180 degrees and ‘follow’/’taunt’ the user as they walk. This way rotation occurs from both directions and becomes more fluid and seamless with the users who move through the site. It also widens the ‘lens’ as more panels are angled towards the user, opening up more of the promande visually depending on the position of a certain user. This can be seen in the final algorithmic script.

ESIGN CONCEPTD

C1.

SURFACE

DIAMOND PANEL

AREA

Points

0.025

SCALE

MOVEMULTIPLICATIONPOINT CHARGE

FIELD EVALUATION SURFACE PLANARITYCreate Face polylines with

individual planes, then project 4 points of diamond onto

plane

Field charges distort points along surface domain to

create more variation

EVALUATE SURFACEReparameterize to find the

normal of each panel based on centre (0.5, 0.5)

List item component used to connect a line between data 0 + 1, and data 0 + 3

to create diagrid curves

Multiplication of surface normals as

a vector

Offsets each individual

panel from base surface

Distance based transformation by

remapping around multiple attractor

points. Constructed Domain = 0.4 to 0.8

LINE 2 POINT

MULTIPLE CURVE intersection

Explode Filleted Curve and using list

item to find mid point and vertical curve

along centre of shape. This creates a

curve which runs along vertical centre of Filleted Diamond

Degrees

Radius = 0.030 Brep Edges used to find 4 corner points

(Lunchbox Plug-in)

(Lofted NURBS Surface) Simplify, Graft

VERTICAL CURVE

FILLET

Centre point

EVALUATE CURVE

CURVESSPHERE to

create BREP/CURVE intersection

Perpendicular Frame +

POLYGON

DISTANCEsmaller than 10

DISPATCH

Cull Pattern

LINEANGLE ROTATE

FIT LINE

FIT LINE

PROJECT

BOUNDARY

DISCONTINUITY

DIAGRID CURVES

Simplify

Discontinuity

Offset Extrusions of Polygons

towards centre point of Sphere

SL HULL 3d - Incremental 3d

Convex Hull

WEAVERBIRD SUBDIVISION

Simple Mesh

Components merged then

joined and welded to make into one whole

mesh with unified normals

With defined pipe geometry

extrusions inside, capped and simplified with

Clean Tree

CONSTRUCT MESH

G

A

X

G

T

LGORITHMA

SURFACE

DIAMOND PANEL

AREA

Points

0.025

SCALE

MOVEMULTIPLICATIONPOINT CHARGE

FIELD EVALUATION SURFACE PLANARITYCreate Face polylines with

individual planes, then project 4 points of diamond onto

plane

Field charges distort points along surface domain to

create more variation

EVALUATE SURFACEReparameterize to find the

normal of each panel based on centre (0.5, 0.5)

List item component used to connect a line between data 0 + 1, and data 0 + 3

to create diagrid curves

Multiplication of surface normals as

a vector

Offsets each individual

panel from base surface

Distance based transformation by

remapping around multiple attractor

points. Constructed Domain = 0.4 to 0.8

LINE 2 POINT

MULTIPLE CURVE intersection

Explode Filleted Curve and using list

item to find mid point and vertical curve

along centre of shape. This creates a

curve which runs along vertical centre of Filleted Diamond

Degrees

Radius = 0.030 Brep Edges used to find 4 corner points

(Lunchbox Plug-in)

(Lofted NURBS Surface) Simplify, Graft

VERTICAL CURVE

FILLET

Centre point

EVALUATE CURVE

CURVESSPHERE to

create BREP/CURVE intersection

Perpendicular Frame +

POLYGON

DISTANCEsmaller than 10

DISPATCH

Cull Pattern

LINEANGLE ROTATE

FIT LINE

FIT LINE

PROJECT

BOUNDARY

DISCONTINUITY

DIAGRID CURVES

Simplify

Discontinuity

Offset Extrusions of Polygons

towards centre point of Sphere

SL HULL 3d - Incremental 3d

Convex Hull

WEAVERBIRD SUBDIVISION

Simple Mesh

Components merged then

joined and welded to make into one whole

mesh with unified normals

With defined pipe geometry

extrusions inside, capped and simplified with

Clean Tree

CONSTRUCT MESH

G

A

X

G

T

The construction of various prototypes has yielded various results which have further informed my design.

I experimented with double sided panels which contain the servo motor and its joinery detail inbetween. This seemed like a viable tectonic solution, but once made I found that because the motor detail was quite large, the double panels when rotated side on, fixated on the motor detail, while having just one panel made the design more transparent when rotated. This was fundamental to the concept.

3D printing the joinery has proven to be an economically efficient and structurally rigid joinery. As every node is individually created for every intersection along the promenade, it enables for curves to develop automatically and accurately based on the model in Rhino. However, I had to pay extra attention that the length of the timber dowel bars were accurate as otherwise the nodes would not fit with the angles.

ECTONIC ELEMENTST

C2.

After experimentation with various joinery, I created an accurate mesh node with a diameter of 8mm which enabled the timber dowels of Tasmanian Oak to fit in tightly. This created a very rigid joint/

Because every 3D printed node is custom designed and scripted for every individual connection of the diagrid in GRasshopper, once I connected them up with their respective length timber dowels the form was automatically created. In continueing this tradition I also 3D printed uniform connections for the vertical rotation axis that holds up the panels. As every panel is offset from the normal of the surface and held up by a rod perpendicular to the connecting curve, every joinery hrere is in fact the same. This made fabrication much simpler from here on.

Next part, which was perhaps the most difficult, was to fabricate a connection detail on the end of the vertical rod which could hold up the panel but also permit rotation.

ABRICATIONF This detail would be where the servo motor would be placed, and needed to be detailed based on the Servo motor’s size. I first tested this using the sub-micro servo. The joinery here was laser cut MDF with notches. The MDF was suitably rigid and could support the Panel, however the combined weight was too much for the tiny servo motor to actually rotate. This caused excessive jitter for the Arduino and resulted in a failed prototype.To overcome this, I have changed the final detailed model to have a standard size servo motor. While the size of these motors is much larger, the metal motors have high torque and can generate enough force to rotate panels much larger than what i am working with. This is ideal given that for the actual design, construction would be of recycled metal which would be much heavier to hold up and rotate in reality. For ease of fabrication I am sing white perspex for its lightweight and economic use, and because it offers slight reflectivity which alludes further to my concept of reflecting environments.

The final detailed model proved to be a succesful replica of my grasshopper model and design. Furthermore, the Servo motors when coded to rotate between 0 and 180 degrees created a fascinating motion effect which could be further developed and programmed to react based on a sensor. Unfortunately the code and processing required to develop a kinect based sensor is beyond my skill level, but I have succeeded in fabricating the necessary joinery and detail to facilitate further development. Overall, I am very pleased with the result.

INAL DETAILED MODELF

C3.

ROTATION 90 DEGREES CODED IN ARDUINO ROTATION CODED BACK TO 0 DEGREES IN ARDUINO

ROMENADEP

After the project presentation principal feedback was in the need for representation mediums which really captured the concept. As the promenade is an exploration of movement and motion in architecture and nature, I have devloped an animation demonstrating the wave-like effect that is created when users walk along it. The flowing rhythm of the patterns as they move along the parameters of the promenade were truly inspiring and have shown me just how far I have come since starting Studio Air.

My performance in Studio Air, I feel, has greatly encompassed the learning objectives within Studio Air, through the interrogation and speculation on design solutions through the use of digital technologies. Through parametric tools, I was able to document and generate a varierty of solutions and forms, all of which could be consistently transformed and altered within its parameters in grasshopper. While enhancing my workflow, computation enabled the design process to never be stuck, but in a constant state of fluidity as new ideas and new challenges were realised I could then adapt the script to meet this.

Moreover, my final design, through its exploration of contemporary theory regarding motion, pattern, and interactive/responsive technologies provides a platform for critical thinking in relation to future architectural systems. The promenade also poses very critical positions on human inhabitation within the built and natural environment, further pushing us to reconsider relationships between living, technology and nature. I am immensely proud of my work here, which is certainly indicative of my ability to design via parametric modelling and the ability to translate this to reality with fabricated tectonic assemblies. I do not pretend to be a master of scripting/parametrics, but I feel that I have a very firm ground both in its theory and practical application to fully exploit the tool to its limits in my future in architectural practice.

EARNING OUTCOMESL

C4.

Studio Air Journal_Matt Tibballs

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