design studio air mid sem submission

1541738 Monday 9-12 Chris and Rosie

Design Studio: Air

Elise Weavers 541738

2 3Design Studio Air Expression of Interest Elise Weavers


Introduction

Case for Innovation:

A1 Architecture as a Discourse

A2 Computational Architecture

A3 Parametric Modelling

A4 Parametric Exploration

Conclusion

Bibliography

Expression of Interest:

B1 Design Focus

B2 Case Study 1.0

B3 Case Study 2.0

B4 Technique: Developement

B5 Technique: Prototypes

B6: Technique: Proposal

B7 Algorthmic Sketches

3

4-9

10-15

16-26

28-30

31

32

33

My name is Elise Weav-ers and am currently a 3rd year Architecture student at the University of Mel-bourne. Design Studio Air will be my 6th design studio and my 3rd studio that will make use of the design program Rhino. Before Air I have complete Virtual Environments, 2nd semester, 1st year and taken the Rhino workshop that was made available in Visual Communications, 1st semester 2nd year. However, I would describe my Rhino skills as still quite basic and this de-

introduction of the Grass-hopper software.Although I have found working with Rhino quite challenging to say the least, I found Virtual Envi-ronments to be one of the most rewarding subjects, in terms of learning and satisfaction with my work, in the course to date. I look forward to another challenging semester of Rhino that hopefully will see my skills improve and result in an equally suprising and satisfying outcome as I found with Virtual.



Richard Williams’ ‘Architecture and Visual Culture’ (2005) introduces what I believe to be a very interesting discus-sion about the societal implications and power architecture has to shape and

-tecture is often viewed as an exclusive

-ing and formal training are compulsory prerequisites which without, do not

so exclusive, that just as other social ‘cliques’, it is not uncommon to come across double standards. Take the point raised by Williams; not all build-ings can be considered architecture,

however not all architecture must a building. Williams (2005) discusses

distinct, approaches to architecture: ar-chitecture as a form of art; architecture as a symbolic realm; and architecture as spatial experience. The main conclu-sion of the article as reinforced by Stan-islav in the lecture; ‘Architecture ought to be seen as a discourse.’ Architecture in it’s built form are just one element of

which is better regarded as a network of practices and debates about the built environment.’ (Williams, R., 2005).

02. De Stijl Cover, September, 1921.Source: Willis, J., 2013

01. ‘Relatively unseen forms or structures’ a design by Greg Lynn- The European Central Bank competition. 2003. source: http://glform.com/buildings/european-central-bank-competition



Figure 2. Pier and Ocean, Piet Mondrian, 1914Source: Willis, J., 2013

‘An immense amount of spectacu-lar new architecture has been built in the past two decades, a product of the de-sire on the part of social and political au-thority to update the public realm in the context of unprecedented prosperity.’ (Williams, R., 2005) This new architec-ture, with relatively unseen or imagined

sometimes described as “blobs”. This is discussed in Lynn’s ‘Blob Tectonics, or why Tectonics is square and Topology is Groovy’ (1998) challenges the pre-conceived idea a building, like a human must stand upwards and discusses that understanding these new forms requires a ‘reconsideration of identity as neither reducing toward primitives nor emerg-ing toward wholes’. In other words, from what I understand, a completely new way of thinking about architecture can-not be related back to a pre-existing theory. This brings me to my precedents of discussion that I believe, although approximately 100 years old, are exist-ing examples of what Williams and Lynn discuss- the coming of new ideas and developments in architecture. These

-ence and importance architecture, as a discourse rather than a built form, can have on the understanding or imagining of what architecture might be and the social impact this can have. I believe the De Stijl movement is a prime example of the successful and

through a discourse predominantly in the unbuilt form. I would particularly like to focus on the De Stijl journal published by the Dutch painter, designer, writer, and

02.)



The abstract imagining and analyisis of shape, form and composition unlike any-thing seen before is a strong example of the power de-signing in this way can have on creativity and the build-ings that were actually built were direct developments of the thought processes and artworks that preceded them.

Designs saw build-ings with no gravitational

or bottom, visual clues as to what something was (ie. The entrance) were removed. For example Gerrit Rietveld Schroeder House, Utrecht,

Another important development that occurred during the De Stijl movement, and my second precedent, was a new form of architec-tural representation. This new form being Axonometric drawings to represent forms

-ity in axonometric represen-tation grew after Doesburg published his drawing illus-trating his ideas on funda-mental building planes (Wilis, J., 2013). The way in which something is represented

way we understand some-thing, the way we envisage something and the way in which we conceptualize what some thing can be. The growing popularity of using

axonometric representa-tion could be seen, subtly perhaps, as the changing discourse and ideas of archi-tecture during this period of experimentation. I believe this is a relevant precedent to dis-cuss from the perspective of what we may learn in this course. For many of the students parametric design may be something relatively new to us. Using this new tool and knowledge we gain throughout the semester learning how to use rhino and grasshopper, will bring with it a new understanding and perception of what design and creativity is and how it may be represented or cre-ated through 3D modeling and parametric design.

Figure 3. Schroder house, Utretch, 1924. Gerrit RietveldSource: Willis, J., 2013

Figure 4. Above. Theo van Doesburg, Archi-tectural Analysis.Figure 5. Below. Theo van Doesburg and Cornelius van Eersteren, House Design, 1923. Source: Willis, J., 2013

The group’s principal members were the paint-ers Piet Mondrian, Vilmos Huszár, and Bart van der Leck, and the architects Gerrit Rietveld, Robert van ‘t Hoff, and J.J.P. Oud. (Wilis, J., Dutch Opposites: de Stijl and the Phantasts, 2013). Van Doesburg was heavily

Wright’s philosophy on or-ganic architecture and used this as the basis for the works produced in this era. During this time Doesburg and his associates took to analysing and reimagining;

of space and movement.

examples of this analyisis are the artworks. For ex-ample Modrian’s Pier and

eye view of the movements of the ocean into horizon-tal and vertical lines. This

represented as horizontal and vertical forms was a key development and motif of the reimagining of architecture done by De Stijl members. This work was abstract and unlike any of the architecture that preceded it.

It is important to note this movement occurred dur-ing the period of world war one, which heavily reduced architect’s and client’s ca-pacity to build, leaving a lot of the innovation and experimentation of De Stijl un-built (Wilis, J., 2013). As discussed in the lecture a new level of creativity can be reached when the precon-ceived ideas and constraints of what a built object or building should be are lifted from the design process.



The use of computers has been seen in the architecture industry for quite a while, however, until recently computers in architecture were mainly used to digitise existing procedures, such as virtual drafting. Innovative thinkers such as Brady Peters and Xavier de Kestelier of the Specialist Modelling Group (SMG) have been at the forefront of developing the way in which comput-ers are used within the industry. The

in the architectural industry shift from ‘computerisation’ (digitizing existing procedures) to ‘computation’. Computation is the utilization of the computer aided design to explore and innovate creative design potentials by combining the ability of computers

where ours fall short and use our abilities where computers fall short.- Computers will contribute rational and search abilities while we contribute the creativity and intuition needed to solve design problems (Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004). Computation not only allows us as designers to extend our abilities to deal with highly complex situations is also provides us with the opportunity to go beyond out own intel-lectual capabilities and provide inspira-tion through generating unexpected results in the design process.

Foster + Partners, Khan Shatyr Entertainment Centre, Astana, Kazakhstan, 2010: Computational design was used to make many itterations of the potential form of the cable-net structure.

Foster + Partners, Khan Shatyr Entertainment Centre, Astana, Kazakhstan, 2010. Source: plusmood.com.



5.The use of computerization in the architecture industry

an architect. Architects using computation are now also become programmers. A designer can customize de-sign environments by writing programs using visual pro-gramming language (rhino and grasshopper). Creating and Modifying the code to explore new options and speculating further design potentials. Computation not only works but has become necessary to build the larg-est projects in the world. Given the complexities of form and the compressed timescales of construction today, groups such as SMG have become essential aspects on the construction of many projects (Peters, B.,

& de Kestelier, Computation works: the building of algo-rithmic thought, 2013)Computation is closing the gap between the architects designing simply the form and aesthetics of a build-ing and the separate manu-facturing/structural design process. These tasks can now be done almost simul-taneously through the use of computation. This drasti-cally reduces the amount of time between initial design and the beginning of con-struction, making the entire

As David Davis spoke about in the lecture, it also gives the designer much greater control over design changes for a far longer period of time in the development of the project and also reduces

the impact these changes will have on the project until a later stage, making them much less costly than if a similar change were to be made if the project was being developed in a more traditional way. For example the Fabpod project David showed in the lecture which was still being designed up to 4 days before construc-tion commenced. (Davis, D., Studio Air Lecture 3: Para-metric Modeling, 2013). Or Foster and Partner’s Bejiing International Airport, one of the worlds largest buildings that was designed and built in 5 years. Without the utiliza-tion of computation neither of these projects could have been achieved in the time frame they were designed and built in.

FabPod, RMIT, 2013. Source: www.designresearch.rmit.edu.au

FabPod, RMIT, 2013. Source: Davis, D., Studio Air Lecture 3: Parametric Modeling, 2013



As mentioned above computation has the poten-tial to provide inspiration and go beyond the intellect of the designer and increases their capability to solve complex problems. It is programs such a Rhino and Grasshop-per that multiple iterations of a geometric form to be generated, analysed and

changes are updated in a visual 3D model instantly where as if a small change were to be made in a design that was being drawn by hand or even using compu-tation, it may take hours for

the update to be redrawn. Also the use of experimen-tation through computation can lead to the discovery of unpredicted results that may not have been the designer’s intentions at all, but could provide a design solution that may never have been considered or imagined by the designer. Design can be an open-ended search for new possibilities, not only prob-lem solving. As discussed in Woodbury’s ‘Whither design space” (Woodbury, R. and Burrow, A., ‘Whither design

for Engineering Design, Analysis and Manufactur-ing, 2006.) Discovering new possibilities and problem solving is aided by computa-tion. Computer support has the potential to provide rapid access to both a breadth of alternatives and depth of exploration. When looking at design possibilities cogni-tively, one is normally sac-

many options are looked at

looked at in detail. Computa-tion bridges this gap.

Foster + Partners, Beijing International Airport, Beijing, 2008, in Computation works: the building of algorithmic thought, 2013. For many problems including some phases of the architectural design process, knowledge of how to achieve a solution cannot exist prior to the search itself, since the sought-after solution is unique, and the process of

by missing information and uncertainty. (Kalay, Y., 2004).

-cient means of exploration to

-tion. In summary, computa-tion has become an integral part of modern design solu-

tions. Computation provides

exploring many variations of a design or solution and can be a source of inspiration itself, through the discovery of unexpected results. Com-putation is bridging the gap between the design and con-struction process of a project and drastically increasing

have as designers over the



Parametric modeling is a highly

Some strongly supporting it as the new way of designing, some strongly opposing it, seeing it as reducing the

as sketching and rendering. As with any process or technique parametric

-tages however it is not exempt from any downfalls either. Designers utilizing parametric design should be aware of its advantages and disadvantages to ensure they are designing in the most

Advantages of Parametric DesignExploration: Provides a new medium for

exploring, experimenting, represent-ing and communicating forms. New processes of designing lead to new processes of thinking, which can be creatively releasing for the designer. Experimentation free of preconceived results or goals can be explored in a way that is different from traditional design techniques.Analysis: Computation provides a much stronger analytical tool than a person on their own (Peters, B., & de Kestelier, Computation works: the building of algorithmic thought, 2013) Explorations can be easily and clearly visually docu-mented making evaluating different

Analytical capabilities of the program can be used to make the comparison and production of design options more

Designs can by updated and

parameters.(Woodbury, R., Elements of Parametric Design, 2010) New models do not have to be rebuilt or redrawn with every change. (Woodbury, R., 2010) Parameters can be set to ensure only relevant design solutions are produced, reducing time wasted exploring unviable options.Innovation: Similar to other techniques of designing, exploration can start or occur before a brief is provided. The

design is the control in which the designer has over making changes to the design once new/extra restrictions are placed on the project from the brief.

Lecture 3: Parametric Modeling, 2013).Collaboration: Parametric design is pushing innovation in design and structural technologies and encouraging multidis-ciplinary collaboration. With new forms being produced by designers, a much closer collaboration between engineer, manufacturer and designer is required to make these new forms a reality. This could also be seen as a disadvantage.

“Design is change, parametric modelling represents change.”Woodbury, R., 2013

Figure 1: Figure 2:



Disadvantages of Parametric Design:Computational parametric design requires an under-standing of programming and think algorithmically, to use it as an effective design tool, making it an exclusive

those who cannot. “…one misplaced character means that an algorithm likely w ill not work. You must work in a domain of textual instructions … algorithmic thinking differs from almost all other forms of thought. But the sheer distance between represen-tations familiar to designers and those needed for algorithms exacerbates the gap.” (Woodbury, R., 2010)However it can be learnt. As a beginner para-metric designer it is easy to see how the program may start to dictate my design due to my lack of skill and

knowledge, reducing my own creative input. Designers are restricted to the tools of the programs they are using and their design demands may not always be met. However this may encourage further development of the software. (Woodbury, R., 2010)New, complex forms that push the structural and technological knowledge of manufacturers may be more costly than they are

construction of parametri-cally designed buildings unaffordable or impractical. Some forms may simply be too complex to be built. The way in which models are produced using parametric design is quite complex. The more elements or detail a design has to it, the more complex the programming behind it is.

changes in a model can be -

ers themselves. Identifying the correct parameters to

change can be near impos-

D., 2013.)This is also a disadvantage if the design requires input from outsiders who come into the design process after the model has been made. The existing parameters and code would be extremely hard to understand. (Davis, D. 2013). Another disadvantage of modeling using parametrics and computation, due to it’s complexity, is that changes (sometimes critical or detrimental) can go unseen

4, Davis, D., 2013), as seen in Daniel Davis’ Responsive Acoustics Smart Geometry, 2010 example in the lecture (Davis, D. 2013).

Figure 3: Figure 4:



“One of the earliest (and effective!) demonstrations of parametric modeling in architecture was the International Terminal Waterloo by Nicholas Grimshaw & Partners. Lars Hesselgrcn crafted the original model in the I EMS system. More than 15 years later Robert Aish used a similar model to demonstrate the CustomObjects system (which later became Generative- ComponentsTM). A salient site condition is that the train track curves through the station. A parametric model need not be initially

location can be deferred.” (Woodbury, R., 2010) The International Terminal Waterloo is an example of a successful built project that provides a strong starting point for the discussion of the advantages of parametric design and architecture. Grimshaw & Partners took advantage of parametric design’s ability to update and manipulate their design without having a huge impact on the end result through the increased control this technique of design allows until a later stage in the design. If a more traditional design pro-cess was adopted to produce this de-sign, something like changing the width or the point in which the terminal curved any later than early design stages would have been detrimentally costly and time consuming. This strongly supports the points raised in the section outlining the advantages of parametric design. The increased adaptability and control parametric design provides as designer is a deliberate strategy to ensure design Grimshaw Architects, Internaional Terminal Waterloo, online, available: http://grimshaw-architects.com/project/

international-terminal-waterloo/, 2013.



However changing the order in which modeling and design decisions goes against almost all the studios we have undertaken in this degree. ‘The

design’ has almost become a studio mantra. Some would argue designing parametrically completely disregards the site and designs could literally be placed anywhere and have the same effect. Although in the case of the International Terminal Waterloo was modeled to the site later in the design process, some may argue the design

parametric design provides.However, does the ability to make updates or changes in the design until later in the design process leave more room for mishaps? There comes to a point in a project when the designer must stop designing and let the project progress. Making it possible to con-tinue to make changes to a design until much later in the design process could potentially be detrimental. If changes are made while it is still possible, but perhaps there is not enough time to test or prototype the change before it is implemented, it could do more damage than good.

“Changing the order in which modeling and design decisions can be made is both a major feature of and deliberate strategy for parametric design.”Woodbury, R., 2013

Grimshaw Architects, Internaional Terminal Waterloo, online, available: http://grimshaw-architects.com/project/international-terminal-waterloo/, 2013.



Working up until close to deadlines is something that happens more often than not in architecture, often cutting

example, parametric design can es-sentially “extend the deadline” on some of the design decisions. Daniel Davis showed an example of where the ad-vantage of parametric design’s ability to support rapid change late in the design process (Woodbury, R., 2010) actually

the joint alignment of sound resonating tiles. Responsive Acoustics project by SmartGeometry, 2010 used ‘emergent-parametric tools to search for doubly ruled surfaced forms that accentuate

others… The resulting designs will be prototyped at 1:5 using the hot-wire cut-ter, constraining the geometry to doubly ruled surfaces (the same vocabulary Gaudí used in his later years) and allows for the analysis of the parametric mod-els’ accuracy.’ (SmartGeometry 2012). Davis worked as a member on this project and in Lecture 03- Parametric Modelling, (2013) described how a small change to the parameters of the design another team member made to the

-ally caused a small gap to form between the joints of all the tiles. The change was that of only a few millimetres and went unnoticed until it came to physically assembling the pieces of a prototype model together. The gaps meant the

the structural integrity of the model was compromised to such a point it could not be completed. Responsive Acoustics, Smartgeometry,

Source: Davis, D. 2013.



This example highlights the importance of physical prototyping.-Not everything can be left in the virtual world until manufacturing. This could be a critical downfall of parametric design. Allowing changes to the design to be made, with too little time to be properly prototyped

small changes in models can lead to a potentially costly and time consuming manufacturing process. Although a small update to one part of a design in non parametric design may be far more time consuming and tedious as the entire model may have to be manu-ally updated, any effects the change has made to other elements of the model, will probably be highlighted to the designer during the updating. As

parametric design updates the model automatically with the change of one parameter, without close inspection implications of the change are easily unnoticed, as seen in the Responsive Acoustics example.

Parametric design exploration of Responsive Acoustics, Smartgeometry, Source: smartgeometry.org



Week 1 Algorithmic Explorations:Disney Tower Lofts

Week 2 Algorithmic Explorations:Dividing geometry into cells

Week 3 Algorithmic Explorations:Geodesics

Week 4 Algorithmic Explorations:Spiralling Phyllotaxis

Week 4 Algorithmic Explorations:Phyllotaxis cont’d

Expressions Field Fundamentals

Helixes



In conclusion I would like to highlight the capability of parametric design to enrich the design process in

engage in computation and parametric modeling to explore a broad range of possible design outcomes in an

experimenting with computational tools, rhino and grasshopper many expected and unexpected solutions will be explored. Considering unexpected results as valid design explorations provides opportunity for a design solution to be found that may have never been imagined if I were to limit myself to

and control in which parametric design provides during the design process makes it an innovative and exciting way to design. An exploration of form or structure can be explored before any real life parameters from a brief are placed on the design. The knowledge and outcomes from initial explorations of forms or possible structures or fabrication options can be adapted and updated to provide an appropriate solution to

design exploration process will not be limited by my own cognitive abilities and the rate at which the explorations and forms can be updated, explored and analysed makes it even more sig-

designing what I already can imagine, which is most likely something that has been seen before. Experimentation and exploration of parametric techniques

will aid in producing a design solution that is unique, innovative and relevant to the aim of the gateway project.

These algorithmic explorations were chosen for their informative qualities that informed my parametric design learning experience. The selection shows a variety of techniques that are concepts that I have not been exposed to before, therefore I found they challenged my computational skills and broadened my knowledge of the possibilities of the parametric design space.The new knowledge I have gained through experimenting with parametric design almost diagrammed in the explorations I have included. The explorations, similar to my knowledge, begin quite simple. As the weeks progress, the explorations gain more depth and complexity as my knowledge developed in the same way. The more in depth my understanding of the parametric design process became, I found the greater source of creative in-spiration it became. As I experimented with different techniques, I found the forms to become far more dynamic and interesting. The most exciting and satisfying explorations for me were the ones in which I found most challenging to complete. I also was able to see how these dynamic forms could be used inform a design that would provide an innovative response to the parametric design discourse and the Wyndham City Council competition. The explorations enabled me to get a real grasp of the capabilities of

argument proposing, that parametric design is a innovative design tool that allows a form to be generated ef-

experimented with and documented -

tion by the designer. `



My understanding of computation and parametric design has developed from what I thought I already knew about the

and informed understanding of the

provided by using these techniques. Initially I thought parametric design was being taught as it was the way all archi-tectural design was leading. However, it is clear the direction of architecture is a very debated topic. A topic which I now think should be debated. I see now, especially after reading many contrasting opinions in week 3’s read-ings, it is important to challenge new ideas and techniques as it can lead to change. Whether it is successful or not, a lesson will have been learnt or an observation can be made which could be used to inform decisions later on, and this is helpful. This is where I now see the most value in using parametric design. Not because it is the technique used to produce ‘new age’ architecture, but because it provides us with an opportunity to explore in a completely new way. This exploration will provide a result, whether it is successful or unsuccessful and we can make an observation or conclusion about why it resulted the way it did and learn from

unexpected we do not understand it, but it has given us a new perspective. At the beginning of the semester I also thought ‘blob’ architecture was simply a new style of architecture (which some controversially argue it is) however that view now seems a little uninformed. Parametric design is bridging the

technological gap between engineer-ing and manufacturing and design. Parametric design is making the designer a far more informed designer of the way forms and structures may perform, join together and be fabri-cated. ‘Blob’ architecture represents a

of design resulting in the possibility to construct new forms that have previ-ously been un-buildable. This new knowledge I have acquired

-lowed me to reevaluate how I may have approached my design development in the past and the way I may approach it now and into the future. I think the most useful knowledge and skills I have gained and will develop throughout the rest of this course is the importance of exploration. Exploring many options I believe will provide a more successful solution than following an initial idea loyally from beginning to end. Due to the nature of the projects in which we undertake as students I believe para-metric design is a very logical choice. We are very restricted by time and exploring many different paths may be time consuming, however parametric

and adaption and iterations that can be documented easily and analysed in a much shorter period of time. I think this is something that can be easily overlooked, parametric design is not replacing the designer with a computer, it is providing a new medium and therefore opportunity for designers to experiment and explore design options



Geometry such as ruled surfaces, paraboloids, minimal surfaces, geodesics,

booleans provide a very interesting and valid starting point for parametric exploration. Exploration of geometry demonstrated with techniques such as geodesics and minimal surfaces provides an opportunity to optimise and realise

is an extremely relevant and important element of current architectural discourse as social values favour ‘environmentally friendly’ or ‘green’ architecture. Parametric modelling of geometry has led to the realisation of some of architecture’s most recent developments in design,

performance, materiality and construction

adaption/optimization of lessons learnt from nature. Natural forms can be deemed as

itself through evolution and supported by research.One of the most interesting geometric explorations relevant to the architectural discourse for this project is the application of geodesics. Creating a form from geodesic elements is a very effective

aesthetic beauty as it allows the opportunity to create a structure that not only performs structural qualities but creates eye catching aesthetic qualities too.

01. ‘Relatively unseen forms or structures’ a design by Greg Lynn- The European Central Bank competition. 2003. source: http://glform.com/buildings/european-central-bank-competition



architecture such as LAVA’s Green Void, 2008 or Smart Geometry’s Gridshell installation and IBA’s Canton Tower provide established precedents supporting the success of the application of minimal surfaces, geodesics and

in this way. All three examples have utilised parametric modelling to explore and realise the aesthetic and structural opportunities of their projects, resulting

and minimise waste in all aspects of the design while producing a strong aesthetic presence. The results are three very different projects however they all adopt similar strategies.The Green Void and Canton Tower projects, while completely different in scale and function, both look to nature

structural principles in their architectural practice. “IBA strives towards coherence, the kind normally only found in nature” (http://www.iba-bv.com/).“LAVA explores frontiers that merge future technologies with the patterns of organisation found in nature and believes this will result in a smarter, friendlier, more socially and environmentally responsible future” (http://www.l-a-v-a.net/about-lava/)Similarly Smart Geometry uses the

bending parameters of the timber they

the form and structure of their design.

These examples provide evidence that producing architecture using geometries formed from parametric modelling is a very viable and interesting approach to designing in such a way that meets contemporary social and environmental



The Green Void installation shows a new way

space out of a lightweight material that requires minimal adjustments onsite to achieve a complete installation in an extremely short time.

The pavilion is easily transportable to any place in the world; can be quickly installed, and is fully reusable.” (http://www.archdaily.com/10233/green-void-lava/ 16TH DEC 2008, ETHEL BAROAONA POHL)

The dynamic and adaptable capabilities of the design make it a very important example in the architectural discourse, bringing up and making an example of the idea of reusable architecture.

all aspects of the design and building process,

reusable architecture.



1. Original:Integers list 1: 10list 2: 35Shift list list 1: 5list 3: -5

5.Integers list 1: -100list 2: -50Shift list list 1: -50list 3: -5

6.Integers list 1: -100list 2: -50Shift list list 1: 50list 3: -50

2.Integers list 1: 10list 2: 65Shiftlist 1: 10list 3: -5

3.Integers list 1: -10list 2: -35Shift list list1: -20list 3: -10

7.Integers list 1: -100list 2: -50Shift list list 1: -50list 3: -25

8.-3rd Geodesic added-2nd curve list set as start of shift list-3rd curve list set as end of shift list.Integers list 1: -100list 2: -50Shift list:list 1: 50list 2: -25list 3: 20

4.Integers list 1: -20list 2: -9Shift list list1: -20list 3: -30



9.-3rd Geodesic added-2nd curve list set as start of shift list-3rd curve list set as end of shift list.Integers list 1: -100list 2: -50Shift list:list 1: 50list 2: -5list 3: 90

13.-3D grid populated on rebuilt curvesInteger: 10-delaunay edges -applied

geodesic curve lists Curve Integerslist 1: 15list 2: -20Shift listlist 1: 10list 2: -20


geodesic curve lists Curve Integerslist 1: 10list 2: -15Shift listlist 1: 10list 2: -20

10.-3D grid populated on rebuilt curves

curve arcs-delaunay edges appliedIntegersAll 10

11.-3D grid populated on rebuilt curves

curve arcs-delaunay edges appliedIntegersAll 15


geodesic curve lists Curve Integerslist 1: 10list 2: 15Shift listlist 1: 20list 2: -10

16.-3D grid populated on rebuilt curvesInteger: 5 (for both)-delaunay edges-applied

geodesic curve lists -applied to third geodesic curve list Curve Integerslist 1: 10list 2: 15Shift listlist 1: 1list 2: -20list 3: 10


geodesic curve lists Curve Integerslist 1: 15list 2: 50Shift listlist 1: 50list 2: -5



17.-3D grid populated on rebuilt curvesInteger: 5 (for both)-delaunay edges

-applied

geodesic curve lists -applied to third geodesic curve listCurve Integerslist 1: 10list 2: 15Shift listlist 1: 1list 2: -20list 3: 10

21.-Brep mesh applied to original rebuilt and lofted curves-Mesh smoothed-Slider (to control degree of smoothing): 10


18.-3D grid populated on rebuilt curvesInteger: 10-delaunay edges

-applied to lofted surface of original list of rebuilt curves



The explicit design space explored in case study 1.0 was geometry,

produced in SmartGeometry’s Matsys installation 2012. This technique was chosen due it’s successful application observed in precedent architectural projects. Geodesics are an interesting technique to explore as they provide an opportunity to create a form that gains aesthetic appeal from its structure,

design, relevant to current architectural discourse.

Several strategies were used to extend the original algorithm to explore further design possibilities that could potentially be applied to a form that was suitable for the Wyndham City

Council project. These strategies included changing parameter such as the number of integers, hence increasing the number of geodesic arcs created through the lofted surface to create a more complete and dense pattern. The second strategy was changing the parameters of the shift list, altering the distance the geodesic curves were shifted around the curves. The further list was shifted the more exaggerated overlapping/crossing pattern occurred. Adding a third set of geodesic curves and altering the integer and shift list parameters was the third strategy. This strategy added another level of density and complexity to the model. .



The fourth strategy took a divergent path, keeping the original curves and integers they had initially been divided into, a 3D grid was populated and the Delaunay Edges function was applied. This strategy was explored through changing integer

strategy used to extend the base geodesic model was the Brep Mesh command. The degree of smoothing applied to the model was used as the manipulated parameter The iterations selected to illustrate the exploration and experimentation of geodesics were the ones that created a suprising,

element of parametic modelling) or one that informed the way in which geodesics could be manipulated that

When creating the sequences of geometric variation the ultimate goal was to produce a dynamic, exciting geometry that could be applied to an original form that would provide a

same time being aesthetically beautiful, that would provide an opportunity to create a design that was innovative and that would contribute to the parametric design discourse. Geodesics as seen in the precedents discussed in the previous section can be applied to architecture of a varying scale. Both SmartGeometry and IBA successfully apply the fundamental strategy to a small temporary architectural installation and a large scale permanent skyscraper/tower. These precedents show geodesics are suitable for use with varying materials with different

properties (steel and timber). The organisation of the geodesic pattern allows the form to be self supporting. The geodesics are the structure.

aesthetic needs of the design. From the manipulation of integers to control the density of the geodesic pattern it was immediately evident that there was opportunity to effect and control the light and views of the audience experiencing the architecture. By controlling the density and degree of overlap of the geodesics more or less light could be allowed to penetrate through the structure. The level of density throughout the structure could be varied to create different areas for the audience to experience light and shade. The same strategy could be used to control the degree of visibility of the surrounding landscape in a similar way to light. As the geodesic structure is self supporting it also presents the opportunity to span an elevated distance overhead. This provides the opportunity to create an immersive experience for the audience, being surrounded by a dynamic structure overhead and surrounding them. Another way geodesics could be used to create an important, but less aesthetic based, effect could

designing and building with geodesics

of structure and aesthetics it provides an opportunity to create a design that is a prototype/example of possible future design and construction methods.





The Canton Tower is the world’s tallest TV tower – reaching 600m in height. The result is a tower, very slender and tall, that bears similarities

reason that earned the nickname: ‘super-model‘.”The idea of the tower is simple. The form, volume and structure is generated by two ellipses, one at foundation level and the other at a horizontal plane at 450 metres. These two ellipses are rotated relative to another. The tightening caused by the rotation between the two ellipses forms

The structure consists of a open lattice-structure, built up from 1100 nodes and the same amount of connecting ring- and bracing pieces. Basically the tower can be seen as a giant 3 dimensional puzzle of which all 3300 pieces are

totally unique. Architect Mark Hemel comments: “Recent State of the Art fabrication and computerized analysis techniques allow designers to create much more complex structures then ever before. Not only do IBA implement the use of parametric design in their architectural practice, but base their design philosophy on nature as well. “IBA strives towards coherence, the kind normally only found in nature”. This is interesting to note as computation and nature are not really two concepts that would be seen to go together.Using the parametric modelling technique, Geodesics, it is evident a similar aesthetic is easily created between the built Canton Tower and the parametrically re-engineered Canton Tower. Two sets of geodesic curves have been “shifted around” three

As the steel members curve around and intersecting through each other in IBA’s Canton Tower so too do the geodesics applied in the re-engineered model. However in IBA’s Tower the geodesics have a 3D element adding to the aesthetics of the design. One set of curves has a larger diameter than the other set. The re-engineered model is made up of curves that all have the same diameter and really no 3D element to them. The intersecting geodesics in the re-engineered model run continuously between integer control points. After analysing the structure of IBA’s Canton Tower, in terms of realistic construction methods, the structural members of the curves with a narrower diameter would probably only span the distance between the larger diameter curve it intersects with.

If the form was unconstrained by the geometry of the Canton Tower it would be interesting to explore how geodesics can be applied to a form of geometry that is more dynamic, perhaps that curves over itself or spans across a distance as this could inform design ideas such as scale and location on site for the Wyndham City Council competition. It would also allow the idea of creating an effect by immersing the audience experiencing the architecture in the

exploration process of B2 and further inform our design ideas for future development of the project.



Reference curves (3) into grasshopper

Divide curves into a tree, N= 10

Create arcs through points using 3 point

arc

Explode tree- data matching

loft arcs together for geodesic curves:

-rebuild curves with 10 control points

-reloft -close loft

Connect geodesic to

For second geodesics:

-divide curves a 2nd time, N= 20

Explode tree- data matching

Shift list:-shift control points in

3rd curve-degree controlled by

slider-shift by 8

Turn on wrapping:-boolean true

Copy geodesic and connect to second

set of curves

Shift list of control

by 2



3 curves divided into 10 points10 arcs betweenAcs loftedGeodesic curves appliedCurve Integers:list 1: 10list 2: 10Shift list:list 1: 1list 2: 10

3 curves divided into 10 points10 arcs betweenAcs loftedGeodesic curves appliedCurve Integers:list 1: 10list 2: 10Shift list:list 1: 1list 2: 10Parameters above copied and applied to curves 1-13





3 curves divided into 10 points10 arcs betweenAcs loftedGeodesic curves appliedCurve Integers:list 1: 10list 2: 10Shift list:list 1: 1list 2: 10Parameters above copied and applied to curves 1-5 and 10-15







9 new curves divided into 8 points8 arcs betweenAcs loftedGeodesic curves appliedCurve Integers:list 1: 8list 2: 10Shift list:list 1: 1list 2: 15

3 curves divided into 10 points10 arcs betweenAcs loftedGeodesic curves appliedCurve Integers:list 1: 10list 2: 10Shift list:list 1: 1list 2: 10Parameters above copied and applied to 3 new curves in different formation

3 curves divided into 10 points10 arcs betweenAcs loftedGeodesic curves appliedCurve Integers:list 1: 10list 2: 50Shift list:list 1: 1list 2: 10Parameters above copied and applied to 3 new curves in different formation

3 curves divided into 10 points10 arcs betweenAcs loftedGeodesic curves appliedCurve Integers:list 1: 10list 2: 50Shift list:list 1: 10list 2: 5new curve formation

3 curves divided into 10 points10 arcs betweenAcs loftedGeodesic curves appliedCurve Integers:list 1: 10list 2: 20Shift list:list 1: 8list 2: 2new curve formation






9 curves divided into 15 points15 arcs betweenRotatedAcs loftedGeodesic curves appliedCurve Integers:list 1: 20list 2: 20Shift list:list 1: 10list 2: 10



9 new curves divided into 10 points10 arcs betweenAcs loftedRotatedGeodesic curves appliedCurve Integers:list 1: 10list 2: 10Shift list:list 1: 1list 2: 10




parameters from 33, copiedand applied to 3 new curves in different formation. Curve integers:list 1: 15list 2: 20

3 curves divided into 20 points.tree data explode, arc component and rebuild arc to create curves.geodesic curves applied to lofted surface.Shift Integers:List 1: 8List 2: 10SDivide Integer:U List: 10V List: 12Exoskeleton frame: R= 1.5

Parameter from 37 copied and applied to 3 new curves.Curve Integers:List 1: 15List 2: 40Shift Integers:List 1: 5List 2: 10SDivide Integers: U: 10, V: 17,Exoskeleton: R:1.2

Parameter from 37 copied to 3 new curves.Curve integers:List 1: 20List 2: 52SDivide Integers: U=10, V= 17Exoskeleton:R=1.2

3 curves divided into 10 points. Tree data exploded, arc component and rebuild arc to create curves, geodesic curve applied to lofted surface, closed loft

3 curves divided into 10 points. Tree data exploded, arc component and rebuild arc to create curves, geodesic curve applied to lofted surface.parameters applied to 3 new curvesSDivide (U=V=8), polyline and exoskeleton created (r=2)

3 curves divided into 10 points.tree data explode, arc component and rebuild arc to create curves.geodesic curves applied to lofted surface.curve Integers:List 1: 8List 2: 10SDivide Integer:U List: 7V List: 15Exoskeleton frame: R= 1.0

3 curves divided into 10 points.tree data explode, arc component and rebuild arc to create curves.geodesic curves applied to lofted surface.Parameters copied from 35.Curve Integers:List 1: 20List 2: 25SDivide Integer:U List: 7V List: 15Exoskeleton frame: R= 1.0



3 curve divided into 10 points, tree data explode, rebuild arc. geodesic curve applied to lofted surface of 3 new curves.Curve Integers:List 1: 20List 2: 52SDivide Integers:U= 7, V= 15Exoskeleton:R=2.0



3 curve divided into 10 points, tree data explode, rebuild arc. geodesic curve applied to lofted surface of curves.Curve Integers:List 1: 7List 2: 70SDivide Integers:U= 7, V= 9Exoskeleton:R=1.5



3 curve divided into 10 points, tree data explode, rebuild arc. geodesic curve applied to lofted surface of 3 new curves.Curve Integers:List 1: 20List 2: 52SDivide Integers:U= 10, V= 17Exoskeleton:R=1,3














The exploration of the application of geodesic curves has reiterated the techniques advantages and opportunities discussed in the B1 section of the Expression of Interest Journal. From these explorations it is evident geodesics curves can be applied in many different variations. The application is not restricted to a particular form and has the capacity to be bent and twisted. The main argument, that it is possible to create a structure that allows a form to supports itself while also providing an aesthetic value, is supported by these parametric explorations.

the argument that geodesic curves are

material and structural performance, construction and waste. The geodesic structure will provide a platform for further exploration as the project develops, with potential to extend the design through

choice of material, the way the structure

interacts with its environment/audience and the potential for it to change over time.The most successful iterations I believe are A,B and C. These models shows the successful application of geodesic curves to a model of varying forms that all have the potential to become a structure that could span a distance above the ground. They also show the ability geodesic curve have to adapt to different parameters for example, in A and C the twisted form gives a new element of dynamic movement to the model. B also emphasises the dynamic nature of the geodesic curves and the way in which density of curves could be manipulated throughout a model. In B a distinct aesthetic difference can be

curve is larger than at the top where the

A B C



Initial experimentation with fabrication made it clear that although the model looked interesting and dynamic in the 3D design space, the physical model lacked the same effect. The current precedents we were using to inform our model were static forms, however for the intention of our design (to contribute to the architectural discourse), the possibility of adding a new element that promoted innovation had to be considered. Learning from IBA’s design philosophy, inspiration drawn from nature was used as the starting point for a new technique or concept to extend our current design. It was during this research, important questions were considered, what could our design contribute to architectural discourse, to

inform and prompt a new discourse. In contemporary architectural discourse, simply a unique form is not enough to contribute. To actively contribute or begin a new conversation, innovation must be achieved that is relevant, interesting and exciting. Our further experimentation with fabrication and drawing inspiration began to inform the design in a new way. Our new design intent was to actively contribute to the architectural discourse by creating

and the way in which it’s aesthetic impact was achieved through the application of geodesics and innovation would be created through the use of moveable joints, that allowed the structure to ‘breath’.

The earthworm is used as an analogy for the design concept and process.

Source: instruct.uwo.ca

The reverb chair by Brodie Niell informed ideas concerning fabrication/construction methods and potential materiality for design protoypes.Source: minimalissimo.com/2012/10/reverb-wire-chair/



The idea of movement was informed by a new, precedent taken from nature, the earthworm. The earthworm was seen to be a relevant and informative precedent initially for its behaviour and contribution to its immediate environment. Through metabolic processes the

contributing to the surrounding area. This

from this precedent. If our design could

to the surrounding environment it would satisfy current social values concerning environmentally sustainable construction in an innovative way, more than simply

of inspiration the earthworm informed was the way in which movement could be applied to the structure of the design. The way in which a worm contracts and extends was analysed and used to inform further exploration of moveable joints which may allow this kind of movement. Taking these newly informed concepts and techniques back into the parametric modelling 3D space a new experimentation with the application of forces was explored. The manipulation of control points and curves to simulate a force the model may be subject to that could induce a movement and the effect it had on the form were analysed. The idea of expansion and compression explored in the fabrication process were also used to inform further parametric exploration.

The unrealised, Urban Earthworm Skyscraper, project gave precedent to the way in which the worm had been used as an analogy for other architectural design.Source: http://www.evolo.us/featured urban-earth-worm-skyscraper-cleans-air-and-soil-pollution-in-cities/







The concept that is being proposed to the Wyndham City Council employs lessons learned from established precedents and our own parametric and fabrication explorations to optimize and

The design draws inspiration from nature using the earthworm

its optimized movement and active contribution to it’s surrounding environment. Our design transcends standard static public sculpture by incorporating movement.



Moveable joints will create scope for innovation as well as an engaging form. Potential to occupy the entire site and span the freeway itself is enabled through the application of geodesic curves that will create a self-supporting form. This potential will be designed in such a way it will create an immersive affect on the

audience experiencing it that will create the feeling of being involved in/travelling through a living system/process, making the audience a part of the contribution to the environment. Our design will add to the current architectural discourse and create innovation in the

relevant to current social values concerning sustainable design.



Geodesic curves are a valid and interesting parametric exploration as they provide;

and construction. Geodesics allow; adaption/optimization of lessons learnt from nature. Lessons from nature are a relevant source of inspiration as naturally occurring

The application of geodesics incorporated into our design in such a way that is informed by nature will allow an architecture

that contributes to the current architecture discourse and meets social values concerning environmental sustainability. Exploration of geodesics has provided us with an opportunity to optimise and realise

an extremely important element of current architectural discourse as social values favour sustainable ‘environmentally friendly’ or ‘green’ designs. Social values are not something architecture can ignore, as we

to our consumers. Parametric modelling of geometry/geodesics has led to the realisation of some of architecture’s most recent developments in design, performance, materiality and

Inspiration from nature is adapted by current

that also utilise parametric design to create

beautiful designs. These techniques/strategies are supported by established precedents such as IBA’s Canton Tower and SmartGeometry’s Matsys Gridshell installation.

architecture such as Smart Geometry’s Gridshell installation and IBA’s Canton Tower provide established precedents supporting the success of the application of minimal,

take inspiration from nature on varying scales in this way.These precedents have utilised parametric modelling to explore and realise the aesthetic and structural opportunities of their

meet todays environmentally friendly social values. Both precedent’s intent are very

waste in all aspects of the design while producing a strong aesthetic presence. Both

exploration structural principles in their architectural practice. “IBA strives towards coherence, the kind normally only found in nature.” Similarly Smart Geometry uses

bending parameters of the timber they chose

and structure of their design.We have researched and taken inspiration from our own observation of natural systems.

surrounding environment, and taken this as an analogy for our design.The combination of this with the lessons we have learned from the precedents we have studied and our own parametric design

and aesthetic value. Unique innovative opportunities have been discovered through fabrication and modelling making experimentation. We have pushed our design and own abilities through combining parametric modelling and experimentation through fabrication to produce a technique inspired by a natural system that will actively contribute to the architectural discourse.



For the expression of interest segment of the course I used the individual parametric explorations to apply the new techniques being investigated as experimentation that would inform the design process.

forum that was experimented with to inform design ideas such as varying density and organisation of a mesh similar to that created by geodesics. The ability to increase of reduce the density in particular parts of the model was highly informative and inspired potential ideas about movement that may

compressing and extending. I further extended this idea with the second stream of explorations by creating my own curves and applying geodesic curves to them. I experimented with extending and compressing the curves to simulate forces that could be applied to the model that would create such a movement and the effect it had on geodesic curves. This is a

models presented at the midsemester presentation and photographed in B6, it can be seen this idea was successfully fabricated into a model that could be compressed and extended when a force was applied. The third stream was also a

discussion on the Grasshopper forum concerning the intersecting of pipes. I found this a relevant exploration into the way in which a potential material (hollow steel members) may be modelled parametrically.



Theoretical research of precedents in the Expression of Interest section of the journal have enriched my knowledge in different ways in which parametric design has the potential to inform architecture and the way in which establish/historical/natural precedents can be used to inform parametric design. An imaginable, or unimaginable form can be realised in the 3D virtual design space although for this form to be realised they must be informed, adapted and rationalised to meet the parameters of potential materials that could be used to construct them. For example SmartGeometry’s Matsys Gridshell design was restricted by the strength and bending properties of the timber they chose to construct the model out of. On the other hand, new forms being developed in the parametric design space are also encouraging innovative materiality and construction method development that is allowing these new designs to be realised.

points, I have come to the conclusion, when designing parametrically there must be a form of ‘open communication’ or ‘open feedback’ system in place during the design process that allows the designer to take lessons and information from both the virtual and physical design spaces and let both

Although I have merely scratched the surface with my parametric modelling explorations, the design potential and creativity it enables is overwhelming. Unexpected results, as discussed in the case for innovation section of the journal have been one of the main sources of

inspiration in the design process so far. Which is a very valid way of designing, as it has provided a greater spread of ideas/paths explored. This conclusion, reiterates

Innovation section of the journal. In a design studio context parametric modelling can be an invaluable tool to students to quickly, but vastly explore and document a design technique that can be analysed and learnt from and communicated to an audience. The skills I have developed so far have allowed me to successfully create, manipulate, design, assess and critically analyse models in the parametric design space while collaborating with and learning from other students. As I developed technical skills the potential to take lessons from precedents and apply them to a 3D model was also realised. Being able to combine parametric modelling techniques in a virtual design space with concepts or techniques observed from a physical design space or a naturally evolved system has enriched the design process and extended the possibility for the design. I believe this is one of the most

on the studio so far. No technique of designing should be considered the ultimate be all and end all. Parametric modelling or physical modelling or drawing inspiration from precedents applied in collaboration gives a much more vigorously explored and

one of these techniques alone.

Davis, D., Studio Air Lecture 3: Parametric Modeling, 2013.

Foster + Partners, Beijing International Airport, online, available: fostersand-partners.com, 2013.

Foster + Partners, Khan Shatyr Entertainment Centre, online, available: plus-mood.com, 2013

Grimshaw Architects, Internaional Terminal Waterloo, online, available: http://grimshaw-architects.com/project/international-terminal-waterloo/, 2013.

Kalay, Y., Architecture’s New Media : Principles, Theories, and Methods of

Computer-Aided Design, 2004.

Kiernan, J., Nervous System of a Worm, online, available: instruct.uwo.ca, 2008.

Lynn, G., Blob Tectonics, or why Tectonics is square and Topology is Groovy, .1998.

Niell, B., Reverb Wire Chair, online, available: minimalissimo.com/2012/10/reverb-wire-chair/, 2012.

Peters, B., & de Kestelier, Computation works: the building of algorithmic

thought, 2013

SmartGeometry, Responsive Acoustic Surfacing, online, available: http://smartgeometry.org/index.php?option=com_content&view=article&id=59%3Aresponsive-acoustic-surfacing&catid=37&Itemid=56, 2012

Suengsoo, L., Urban Earth Worm Skyscraper, online, available: http://www.evolo.us/featured urban-earth-worm-skyscraper-cleans-air-and-soil-pollution-in-cities/, 2013

Williams, R., Architecture and Visual Culture, 2005

Wilis, J., Momo to Pomo: Dutch Opposites: de Stijl and the Phantasts, 2013.

Woodbury, R., Elements of Parametric Design, 2010

for Engineering Design, Analysis and Manufacturing, 2006.

Documents

design studio air mid sem submission