STUDIO AIR

LAURen GRAnek

2015

CONTENTS.

PAGeS . 3-204-5 6-910-1314-171819

22-722324-2930-3132-3536-4748-5354-6162-656668-7071-72

73-9874-8788-9091-959698

COnTenT.

PART A - COnCePTUALISATIOnInTRODUCTIOnA.1 DeSIGn FUTURInGA.2 DeSIGn COMPUTATIOnA.3 COMPOSITIOn/GeneRATIOnA.4/A.5 COnCLUSIOn/LeARnInG OUTCOMeSAPPenDIXPART A ReFeRenCeS

PART B - CRITeRIA DeSIGnDeSIGn FOCUSB.1 ReSeARCH FIeLDB.2 CASe STUDY 1.0 CASe STUDY 1.1B.3 CASe STUDY 2.0B.4 TeCHnIQUe: DeVeLOPMenTB.5 TeCHnIQUe: PROTOTYPeSB.6 TeCHnIQUe: PROPOSALB.7 LeARnInG OBJeCTIVeS AnD OUTCOMeSB.8 APPenDIX - ALGORITHMIC SkeTCHeSPART B ReFeRenCeS

PART C C.1 DeSIGn COnCePT C.2 TeCTOnIC eLeMenTS & PROTOTYPeSC.3 FInAL DeTAIL MODeLC.4 LeARnInG OBJeCTIVeS AnD OUTCOMeSPART C ReFeRenCeS

PART ACONCEPTULIZATION

My name is Lauren Granek. I’m currently a Third year student at the University of Melbourne, studying the Bachelor of environments, majoring in architecture.

My passion for architecture arose from a interest in art and design from a young age. I grew up in an artistic household, exposed to various artistic forms and cultures. Whilst quite methodical in my approach to academia in school I was always interested in a range of subjects, from mathematics and biology to language, history and visual arts. I decided that architecture could provide me with the opportunity to combine both my methodical and creative mind, allowing for the prospective of a challenging, engaging, ever-evolving and rewarding career that could impact and contribute to society.

Passion and experiences in travel, art and sport come to fruition in the aesthetic, form and functionality of my designs. I see architecture as a medium for self expression, cultural identity, an outlet for creativity and a reciprocal pathway for societal, environmental and technological development. The past, present and future of architecture is all relevant and can be used as a source of both education and ideas.

InTRODUCTIOn.Personal Testimonial

[A]

4.

My existing knowledge of digital architecture has developed more from theoretical study than practical experience. In 2013 I commenced my first year of the degree in which I was introduced to computer-based digital design in the studio based subject ‘Virtual environments’. The studio involved the digitalization and fabrication of a wearable lantern using Rhinoceros, with it’s design based on the analysis of a dynamic process. I found this avenue of design to be engaging and to present exciting future potential, however it constrained my creativity due to my limited skills and competency with the digital system.

Beyond that first computer-based digital design subject I have only developed my knowledge in this area through literature. Various readings include James Steele’s Architecture and Computers: Action and Reaction in the Digital Design Revolution, 2011, and Branko kolarevic’s Architecture in the Digital Age: Design and Manufacturing, 2004. Both such works explore the paradigm shift in the profession due to the development of computer aided design, with a radical change in how architects design, produce and conceive buildings, and the endless potential for change and innovation of design for the future.

The architectural design studios I have undertaken beyond Virtual environments have all allowed me to develop my architectural design skills by hand. I found myself to be comfortable and creatively free to produce all my design plans, details, drawings and final 3D models in this way. This much more tactile approach permitted me to explore my personal design aesthetic and to refine my designing skills. With this greater sense of a design directive I look forward to being able to translate my established skills more competently through digitalization and be able to fabricate a more precise replication of a developed and refined design idea.

KNOWLEDGE.

[B]

[c]

DESIGN FUTURING.

Architecture is a practice that formulates, develops and contributes ideas to the ongoing disciplinary discourse, culture and civilization at large. Architecture is a form that we not only inhabit and utilize but an educatory device that reflects a social, historical and technological condition, whilst also having the ability to propose a future condition; a form of visual culture [1] and proposition. Design futuring can be described as an approach to design that is not limited in space and time [2], but rather is a continuous form that allows for development and future proposition and change. Design futuring is a design process that continuously defines the rules of a system, facilitating flow [3] and development, with a greater focus on the ever-changing and unpredictable future.

An example of an architectural design used as a device to alter and impact future social, cultural and environmental conditions is the Manuel Gea Gonzalez Hospital in Mexico City, designed by Manuel Villagrán, completed in 1942 [4]. Whilst providing a facility for helping the ill, the design in itself aims to address an environmental issue that contributes to humanity’s decline. The somewhat futuristic façade of the hospital, inspired by quasicrystal patterns, acts as an urban filter to the densely population, highly congested carbon emitting [4]. The façade composed of prosolve370e modules, three dimensional architectural modules with photocatalyric pollution fighting technology, not only diffuse pollution but the undulating shapes maximise the surface area of the active coating to disperse light, thus reducing solar gain, and diffuse air turbulence, contributing to the functionality and efficiency of the interior space[4].

The Manuel Gea Gonzalez Hospital is an example of architecture expanding future possibility through proposing the potential of architecture to not only act as a mere shell of a functioning interior space but to function within the context. The hospital’s sustainable design instigates change within both society and architectural practice itself as it effectively acts as a device to improve environmental conditions whilst also exemplifying the potential of the practice to assist the conditions of the future through the employment of advanced technology. This form of sustainable design thinking (design futuring) will continue to be appreciated due to its relevance and necessity. Redirection needs to be elicited through design in order for affirmative change to occur and redirect civilizations future path [8]. Design intelligence, such as the pollution diffusing faced of the Manuel Gea Gonzalez Hospital, can act as a directive force towards sustainment [5].

This integration of sustainability technology into the architectural design of the hospital was quite radical in 1942. Whilst it is becoming more and more prevalent in current day designs it need to be somewhat obligatory in order to proficiently use design as a device to contribute positively and effectively to our future. Villagrán’s design provides a precedent that can help drive the alteration of design education, as education is the pivotal element that determines societal norms and actions and thus determines the future of humanity.

[d]

6.

[E]

Right & Opposite Page: The NightingaleArchitects: Breathe ArchitectureDesign Proposal: 2015

Below: The Nightingale Architectural PlansArchitects: Breathe ArchitectureDesign Proposal: 2015

[F]

[F]

Nightingale is an architectural precedent that exemplifies the utilization of design to guide and contribute to the redirection of future social, cultural, economical and environmental conditions. The nightingale is a triple bottom line development proposal that has apartments that are simultaneously socially, economically and environmentally sustainable [6]. This proposal is on the forefront of design as it challenges existing social mindsets and industry practices of the current time. A simplified development model drives the architectural design, with the use of reductionism in the development process and the building itself, consequentially proving an affordable and quality urban housing option.

The building integrates sustainability technology into it’s design, with the use of solar panels, thermal-break double glazed windows and doors, internal light voids for natural lighting, grey water storage, a reticulation system and heavy insulation to reduce dependency on air-conditioning [7]. In terms of the facilities the firm has eliminated second bathrooms and created communal laundry and rooftop spaces[7]. This is quite an innovative and revolutionary approach to design as it not only utilizes advanced technology to aid in environmental sustainability and reduce living costs, but the architects have utilized communal space to reduce construction costs and thus provide a more financially plausible housing option for inner-city living, making this design both appealing to the market and environmentally beneficial.

Through considered design and community-oriented architecture, designers can hold the power to beneficially alter the urban environment in which in inhabit whilst simultaneously providing an option that is both financially and environmentally beneficial. This precedent is a powerful example, irrelevant of the fact is currently just a proposal, as it demonstrates the future potential of design to contribute to society and instigate change.

8.

[F]

DESIGN COMPUTATION.

Over the last decade computational architecture has become more prominent in the architectural practice, with the employment of computing techniques in the design process presenting a myriad of new opportunities. The development and application of computer technology in the design process, rather than simply a tool for representation, has challenged the boundaries of architecture and design, revolutionizing the process of design and its outcome, whilst also questioning and changing the role of an architect in the industry.

Computers provide the designer with an analytical engine that essentially hybridize and perfects a design idea, not just in terms of aesthetic but in the design’s efficiency, reliability, rigidity and functionality. Computation in design acts as an engine that can decipher vast quantifies of data, question and propose alternative solutions, analyze and compare a design to stored set of goals and constraints, inform the designer of the efficiency of their proposal, and then furthermore, once a solution has been designed, the computer can then represent it in a chosen medium of communication that can then be shared, from graphical and numerical representation, to fabrication and construction of a design [8]. Beyond this, a computer provides an ability to track progression, changes and updates and alert the designer to potential inconsistencies and errors [8], providing an added element of security and safety to a design.

The adoption of computation in architectural practice is not without its challenges though. Firstly a new way of design thinking is required, a mode of computational design thinking, as the capacities of computational design are only successfully utilized with the convergence of exercising both computational thinking and practice [8] The designer is conceived as the author of the rules as implicit descriptions for the development of the form [9]. Secondly computational architecture has created a gap between design and construction possibilities, with construction and manufacturing industries faced with the challenge to meet the new needs and capabilities proposed by new computational designs, thus requires the designer to think beyond their discipline and consider the actuality of their design choices.

The Helsinki Public Library, by Robert Stuart-Smith Design, is a design project that exemplifies the architectural potential that computational design provides to a designer. The project utilizes feedback between the algorithm and the resultant form to allow Robert Stuart-Smith Design to play with their guiding principle of tectonics. The structure is essentially a continuous post-tension timber surface that permeates throughout, mediating the division of spaces, inhabitant circulation, natural ventilation and lighting [10]. Such a form could not be generated manually, requiring specific computational methodology to guide the specific form, allowing for the post-tension mass to be on a continuous post-tension assemblage that shifts from operating as a self-supporting post-tension compression system to a cable-net suspension structure, whilst simultaneously performing as a non-structural ceiling and floor [10]. The production of such a form may be comprehensible in the mind of a designer, however to specifically define such a form requires the rigor and capability of computation. This emphasizes how design computation has re-defined the practice of architecture, allowing for innovative and unthinkable design to be brought into fruition. Parametric design in this example has acted as a facility for the control of topological relationships that enables for the creation and modulation of differentiation of an element (the timber surface) [11]

Robert Stuart-Smith Design also utilized computation as an analytical engine to test the social, environmental and financial outcome of the project. The library incorporates state of the art environmental systems that ensure a high level of user comfort with minimal environmental consequence and financial strain. Computation was further utilized to manipulate materiality, with the black timber exterior concealing black photovoltaic cells and thermal collectors on the rooftop, whilst also integrating a mechanical system into a low-energy consumption BIM system[10]. Computation has allowed for greater design capabilities in terms of integration of technology into a design that enhances social, environmental and financial sustainability, broadening the capability of architecture to act as a device to change the future.

[G]

10.

[G]

Right: The Smithsonian Institute Courtyard EnclosureArchitects: Foster and Partners2004

Below: Digitilized Design of the Smithsonian Institute Courtyard EnclosureArchitects: Foster and Partners2004

[H]

The courtyard enclosure of the Smithsonian Institute, designed by Foster and Partners in 2004, is a project that illustrates the resourceful use of computation as a device to enhance the functionality and efficiency of a space.

The team led by Brady peters, were guided by “structural and acoustic performance”[12] in their design of the roof geometry. “Structurally, the roof is composed of three interconnected vaults that flow into one another through softly curved valleys” [12 ]. The undulating roof structure is supported by eight columns arrange in three domes[13]. Computing allowed the design team to alter computer language to test new ideas through the computing tool ‘scripting’, allowing them to synthesize design ideas and test the limitations[13]. Using the set-out geometry and a set of parameter value the computer script gave the design team the ability to create a variety of detail roof components and adapt each one to its local conditions and, through a performance evaluation, allowed each component to respond to it’s context[13]. The computer-generated model gave very precise control over values and relationship within the roof system, allowing for the best design outcome in terms of structural and acoustic performance, as well as an aesthetically pleasing design.

Both the Smithsonian Courtyard enclosure and the Helsinki Library design exemplify the contribution and impact computation has on the design process. Computation provided both the design teams for these two precedents with unique opportunities and innovations to enhance their designs and make them quite revolutionary for the time. Computation is very relevant in architectural practice as it provides major opportunity in terms for the preceding architectural theory of using architecture as a device to aid in sustainability and changing the future of civilization. Through the ability to test, analyze and integrate various elements and technologies into a design through computation, the role of an architect becomes much more powerful and relevant to society.[H]

12.

[21]

[I]

[H]

COMPOSITION/GENERATION.

Architectural literature and practice have reacted to the shift from composition to generation. The power and availability of scripting language, such as Robert Mcneel & Associates’ Grasshopper visual programming language, has propelled the increased use of computational practice [14] Through the integration of computation into architectural practice architecture is no longer viewed as comprised of entities in static isolation, but rather a culmination of systems which interact with its context in matter, physicality and personal engagement [15]. Design potential, design outcomes, the designing process, the architect’s design thinking, the consequential architectural literature and finally, the architectural companies have all changed as a result of the conceptual changes instigated by computing,

The structure of architectural firms is changing in response to the work of computational designers. new structures within design companies, such as Foster & Partners and Owings & Merrill, are emerging, with four ways in which designer are organized: the internal specialist group, the external specialist consultancy, the computationally aware and integrated practice, and the lone software developer/designer [24]. Computational design is also integrated into the practice with the addition of a consultancy of computational designers [14]. In these newly developed firms, there is no separation between design intent and computational technique [14], computation becoming a more natural component of the designer process within the architectural practice. Computation has become a necessity in architectural practice to be able to build the largest projects in the world [15]. With the tendency towards complex form and the constrained time for construction architectural practice can almost not exist without the utilization of computation [14].

Beyond the practical effect computation has on the architectural practice, it also impacts and enables a new way of thinking, effecting architectural literature and the designer’s design thinking. Computation has led to a shift from an era where architects use software to one where they create software, using algorithmic thinking [14]. The computational way of working augments the designer’s intellect [14], requiring a greater connection between the designer and the construction process.

The advantages of generative approaches in design are most evident in analysing architectural projects. One architectural project that significantly exemplifies generative approach and its advantages is the Aqua Tower in Chicago, by Gang Architects. The employment of computation allowed for the creation of a series of undulating contours defined by outdoor terraces to form an 82-storey apartment building [16]. The terraces inflect based on criteria set within a computer program, basing inflection on criteria such as the view, solar shading and size and type of dwelling [16]. Using algorithmic thinking and computation the curvature of the structure could be configured to specifically improve the efficiency of the structure, in terms of improving the user comfort, integrating sustainability devices, increasing architectural efficiency, as well as enhancing aesthetic appeal. This highlights the relevance of computation in architectural discourse, allowing architecture to play a fundamental role in assisting society to achieve a sustainable lifestyle.

[I]

14.

[J]

Right: Bao’an International Airport Terminal 3, Shenzhen, ChinaArchitects: Studio Fukas2012

The Bao’an Internal aiport’s space structure, by Studio Fukas, was created through the use of parametric data modeling. The structure is completely covered by a perforated cladding that consists of 60,000 varying face elements and 400, 000 individual steel members [14] Computation allowed for the control and manipulation of the perforated cladding, allowing for the variation of the size and slope of the openings [14]. This variation depended upon certain constraints, set in the algorithm, including requirements of daylight, solar gain, viewing angles and aesthetic intentions.

Through the ability of the designer to control the cladding of the exterior through computation they were able to create an efficient, functional and energy-saving design that enhanced the sustainability of the building whilst also creating quite a spectacular visual. This precedent exemplifies the benefit of the shift to generation of composition in the architectural practice as designer are given an opportunity to design revolutionary structures within a plausible period of time, with a greater element of rigor, precision and success.

Whilst it can be argued that computation brings into question the role of an architect as a source of creativity and innovation, as they can simply be guided by the computer program, it is evident that such a rigorous analysis by computer can only be conducted when algorithmic thinking of a designer is applied. Data and restraints need to be efficiently entered for the computer to analyze and test a design, prior to the computer manipulation of the design, thus it is quite a reciprocal relationship between man and computer.

[K]

16.

[K]

[K]

PART ACONCLUSION.

Conclusion: Parametric design through computation has provided architects with a new device for designing and constructing that go beyond the creative and logical capabilities of the past. Computation has completely revolutionized the architectural practice, helping propel the practice as a device to drive sustainability through societal, cultural, economical and environmental change. Architectural innovation, such as the pollution fighting prosolve270e modules that make up the façade of the Manuel Geo Gonzalez Hospital and the computer generated acoustic and structurally efficient courtyard enclosure of the Smithsonian Institute, made possible by computation, are examples of the extraordinary capabilities and opportunities that computation provides. I intended to use computation as a way to integrate sustainability technology in a structure that uses computation to define its form in an innovative and sustainable way, which is successfully integrated in the context of Merri Creek. Precedents like the Helsinki Library and the Smithsonian Courtyard enclosure have provided key inspiration to design in a way that can benefit both the user and the surrounding environment, providing a pathway towards sustainability through computational innovation, something I will attempt in my design approach.

Learning Outcomes:Learning about the theory and practice of architectural computing has been both informative and inspiring. Studying and analysing both literature and precedents on computation has shown me the endless possibilities in architecture provided by computation and innovative architectural opportunities that lie ahead. Prior to this semester I only had a very superficial knowledge of computation and thought of it merely as a device that allowed for design fabrication, not a device that drove, tested, analysed and improved the design itself. I am now also aware of the shift in design thinking with a necessity to think algorithmically to be able to understand the process of computation and achieve the best result in terms of the design. I find it a fascinating shift in the architectural practice and can think of various ways in which I could of used computation to improve the efficiency of past designs, such as testing materiality and geometry to heighten acoustic and structural performance of a boathouse I designed in Design Studio: Water. I look forward to learning computational design skills and being able to apply them to future designs to achieve innovation and success in the field of architecture.

18.

APPENDIX.ALGORITHMIC SKETCHES

These algorithmic sketches exemplify my experimentation with the utilization of control techniques to determine a surface using Grasshopper. Various precedents and literary analyses in Part A have explored the effective use of computation to be able to define exact elements of a design, for example the use of computation in the Aqua Tower which allowed for the creation of a series of undulating contours to form the 82-story apartment building. The terraces were controlled to inflect based on criteria set within the computer program, basing inflection on criteria such as view, solar shading and size and type of dwelling. In this way computation and use of algorithmic thinking allowed for extensive control over the structure, resulting in the structure’s efficiency, in terms of improving the user comfort, integrating sustainability devices, increasing architectural efficiency, as well as enhancing aesthetic appeal. Whilst my algorithmic sketch explores a much more basic control over a surface, similarly I used very control elements to define each area of the surface, allowing for the creation of a very specific form and specific materialization applied to the form. This demonstrates a similar methodology to the much more complex designs that use algorithmic thinking and computation, such as the Aqua Tower and the Helsinki Public Library, and a good starting point to develop complexity from.

COnTROLLeD MATeRIALIZATIOn OF SURFACe

COnTROLLeD MAnIPULATIOn OF FORM

LITeRARY SOURCeS1. Williams, Richard. (2005) Architecture and Visual Culture in Exploring Visual Culture: Defintions, Concepts, Contexts. (Scotland, edinburg University Press) pp. 102-1152. Thackara, John. (2005). In the Bubble: Designing in a Complex World (Cambridge, MA: MIT Press), p.2243. Wood, John. (2007). Design for Micro-Utopias: Making the Unthinkable Possible (Uk, Ashgate Publishing Limited) 4. Zimmer, Lori. (2013) Mexico City’s Manuel Gea Gonzalez Hospital has an Ornate Double Skin that Filters Air Pollution <Http://inhabitat.com/mexico-citys-manuel-gea-gonzalez-hospital-has-an-ornate-double-skin-that-filters-air-pollution/> [Accessed 8/03/2015]5. Fry, Tony. (2008) Design Futuring: Sustainability, ethics and new Practice (Uk, Bloomsbury Academic)6. Green Magazine, ed. (Feb 2015) The nightingale: 2005 Design Proposal: Breathe Architecture7. Australian Design Review, (Jan 2015) Breathe Architecture Reveals new Plans for the nightingale< Http://www.australiandesignreview.com/news/51516-breathe-architecture-designs-a-new-model-for-apartment-living>[Accessed 7/03/2015]8. kalay, Yehuda e. (2004). Architecture’s new Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT press), pp. 5-259. kolarevic, Branko. (2003) Architecture in the Digital Age: Design and Manufacturing (new york; London: Spon press) pp. 3-6210. Robert Stuart-Smith Design – Helsinki Public Library I Finland http://www.robertstuart-smith.com/rs-sdesign-helsinki-public-library[Acessed 14/3/2015]11. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; new York: Routledge), pp. 1–1012. Peters, Brady. (2010) Acoustic Performance as a Design Driver: Sound Simulation and Parametric Modeling using Smartgeometry. Journal Article in International Journal of Architectural Computing, 8, 3. (Uk, Multi-Science) pp. 337-35813. Menges Achim. (2012) Instrumental Geometry in Fabricating Architecture: Select readings in Digital Design and Manufacturing. (USA, Chronicle Books) pp 22-3614. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, (Uk, Academy Press) pp. 08-1515. Menges, Achim and Ahlquist, Sean. (2011) Computation Design Thinking. (USA, John Wiley & Sons)16. Contemporist (2009) The Aqua Tower by Studio Gang Architects. http://www.contemporist.com/2009/11/24/the-aqua-tower-by-studio-gang-architects/[Acessed 16/3/2015]

IMAGe SOURCeSA. Lily Connor, 2015, PhotographB. Lauren Granek, 2013, Model/PhotographC. Lauren Granek, 2014, Model/PhotographD. Manuel Gea Gonzalez Hospital, Mexico City. Inhabitat Stock Photo.http://assets.inhabitat.com/wp-content/blogs.dir/1/files/2013/03/Prosolve-Torre-de-Especialidaes1.jpg.[Accessed 7/03/2015]e. Manuel Gea Gonzalez Hospital, Mexico City. Inhabitat Stock Image http://assets.inhabitat.com/wp-content/blogs.dir/1/files/2013/03/Prosolve-Torre-de-Especialidaes5.jpgF. The nightingale Design Proposal, Renders and Technical Drawingshttp://www.thefifthestate.com.au/business/innovators-fringe-elements/radical-apartments-after-the-commons-the-nightingale-keeps-ruffling-feathers/72333[Accessed 7/03/2015]G. The Helsinki Public Library Rendershttp://www.suckerpunchdaily.com/2014/02/05/helsinki-public-library/#more-35110[Accessed 14/3/2015]H. Smithsonian Institution Courtyard enclosure Project - Foster and Partners http://www.fosterandpartners.com/projects/smithsonian-institution/[Accessed 15/3/2015]I. Aqua Tower by Studio Gang Architects, Chicago. http://www.dailytonic.com/aqua-tower-by-gang-architects-chicago/[Accessed 16/3/2015]J. Aqua Tower by Studio Gang Architects, Chicago. Http://all-that-is-interesting.com/astounding-skyscrapers[Acessed 16/3/2015]k. Bao’an International Airport Terminal 3, Shenzhen, China by Studio Fukashttp://www.ideasgn.com/architecture/shenzhen-bao-an-international-airport-t3-expansion-studio-fuksas/

PART A REFERENCES.

20.

PART BCRITERIA DESIGN

22.

DESIGN FOCUS.

After extensive research into the realms of computational design that has infiltrated the field of architecture in recent years in Part A, it is clear that through computation, architecture can be used as a device to drive societal, cultural, economical and environmental change towards a more sustainable and viable future. explorations of various precedents have made it clear that for the Merrie Creek Project I want to create an experience through the device of architecture that alters the behavioural norms in the context whilst still being unobtrusive in the setting and providing some sort of contribution towards sustainability (in all it’s forms). Part B will involve a more in-depth focus on finding a technique that will foster a form that will be both functional and experiential for the user whilst also be geometrically flexible and easily adaptable due to the parametric designing process. Part B will act as an extensive research period that will inform my choices in material and form that are driven by the design ideas initiated in Part A.

BIOMIMICRY.

Biomimicry refers to design based on principles, processes and methodologies extracted and abstracted from nature [17]. Biomimicry uses nature as a source for innovation in an attempt to seek out sustainable solutions to human challenges [18]. Biometric designs conceptually reflect the functionality of an organism or an ecosystem [17] as a result of this source of design inspiration. There are two main approaches to biomimetic design: the first is defining a design problem and looking to nature for a resolution, and the other is defining a behaviour or function in an organism or ecosystem and extracting and/or abstracting it into a design [17].

An example of Biomimicry in architecture is ‘Trabeculae’ by architects Dave Pigram, Iain Maxwell, Brad Rothenberg and ezio Blasetti [19]. The design of Trabeculae is driven by Heliotropism, the growth or movement of a fixed organism in response to sunlight in order to maximize energy output [20]. The design team used a Heliotropic branching system to define the shape of the void that integrates itself through the floors of the building [19]. Mirroring the movement of a plant in response to the sun, the design team utilized algorithms that were based on the solar information of the context to define the void [19]. As a consequence of this algorithmic thinking the design team were able to design a void that directly reflects the solar conditions of the present site, creating both an aesthetically and intellectually stimulating design whilst also, more pragmatically in terms of design efficiency and functionality, allowing for the greatest amount of sunlight into the building. The team further utilized the void to incorporate a structural mesh that could then provide them the design opportunity to create bridges and various rooms embedded off the inner lining [19], maximizing the capabilities of the structure,

This biomimetic architectural precedent is a great example of the ability of computation to drive sustainable design, allowing for the utilization of natural light to not only influence the aesthetic design, but also improve the functionality and efficiency of the design in terms of sustainability.

Biomimicry is a brilliant design approach as nature provides one of the greatest and most sound sources of design resolution. By using the complex morphogenesis of an organism [19] as a source of guidance in design structure, function, spatial delineation and exterior and interior aesthetic this particular design team was able to create a mechanism “capable of engendering spatial and formal differentiation through multiple levels of internal and environmental feedback and negotiation” [19]. Computation and the use of algorithmic thinking, combined with nature’s influence and a desire for sustainable design is a concoction for success. Computation provides the opportunity to test out the various viable possibilities, as exemplified in the diagrammatic illustrations of the void exploration below, whilst the designer provides the creative source and the potential for sustainability.

Right: TrabeculaeArchitects: Dave Pigram, Iain Maxwell, Brad Rothenberg and ezio Blasetti

Below: Digitalized Void Explorations for TrabeculaeArchitects: Dave Pigram, Iain Maxwell, Brad Rothenberg and ezio Blasetti

[L]

[L]24.

[L]

Right: HygroScope - Centre for Pompidou, ParisDesigners: Steffen Reichert and Professor Achim Menges2012

Below: Computerized File of Geometry Control Dials of HygroScope - Centre for Pompidou, ParisDesigners: Steffen Reichert and Professor Achim Menges2012

Hygroscope in an installation developed by Steffen Reichert and Professor Achim Menges at the University of Stuggart [21]. The project explores a responsive architecture based on both material inherent behaviour and computational morphogenesis [21]. By factoring in the dimensional instability of wood in relation to moisture content both designers created an architectural model that responds to it’s environment due to material-innate movement [21]. The wooden structure is suspended within humidity-controlled glass, opening and closing in reaction to climatic changes within, with no technical/mechanical enhancement [21]. The design exhibits, and also emulates, a natural process that occurs in the uncontrolled setting of Mother nature. Through computation these designers were able to create sets of data that allowed for the creation of a parametric design that echoes that of the natural form of an organism. Designs like the HygroScope exemplify the potential of design to both seek out inspiration from nature and contribute to the sustainability of it, as with greater understanding of the natural functionality of material, less carbon-emitting, environmentally harming, technology, such as air conditioning, has to be employed, as we can break the boundaries between design and nature, and let nature be a source of design functionality. I want to similarly consider materiality as both a driver for and contributor to my design for Merrie Creek. I like the idea of material acting as both the structure and also a functioning element of a design, to aids in it’s efficiency.

[M]

[N]

26.

[M]

INFLATABLE ARCHITECTURE.

Inflatables structures provide an alternative approach to design that produce inventive, creative and groundbreaking solutions to a variety of situations. Inflatable architecture has been around since the 1960s but has more recently been re-established as an innovative pathway for design [22].

Inflatables offer numerous opportunities and benefits over traditionally built alternatives. They provide a more simplistic and elegant engineering solution that requires less mechanical and structural parts, offering a low-energy production alternative, like the use of recyclable fabrics, and furthermore are easily transportable and highly economical [22].

The Inflatable Pavilion by 2hD, commissioned by the Lille Métropole Museum of Modern Art exhibits [23], is a diaphanous inflatable textile structure that is an excellent example of the innovative and effective use of inflatable design as an alternative form to traditional building structure. 2hD designed a transient space within a lightweight translucent envelope, which did not overpower or compete with the surrounding buildings of the museum [23]. The benefit of the inflatable pavilion was not only that it was lightweight, economical and created an innovative and exciting aesthetic and experience, but that is was acoustically efficient, provided effective ventilation and was able to have a lighting system integrated within to transform the structure into a beacon of soft glowing light when the sun when down.

This utilization of inflatable materiality to enhance an experience of a space is something that would be interseting to incorporate into my design for Merrie Creek. not only can the structure be environmentally sustainable, acoustically efficient, impermanent and economical, but it provides an alternative experience for users within the context, however does not overpower or contradict the surrounds, which is essential when considering a natural context to implement a design.

[O]

Right: The Inflatable PavilionArchitects: 2hD2010

28.

[P]

CASE STUDY 1.0BIOMIMICY Voltadom - Skylar Tibbits

The Voltadom, for MIT’s 150th Anniversary Celebrations and FAST Arts Festival is an installation by Skylar Tibbits that lines the concrete and glass hallway with hundreds of vaults, abstractly reminiscent of the vaulted ceilings of historic cathedrals [24]. Voltadom attempts to extend the notion of the architectural “surface panel” through the intensification of the depth of doubly curved vaulted surfaces [24]. The design is a thickened surface articulation and spectrum of varying oculi that whilst complex, are intentionally easy to assemble and fabricate. This ease of fabrication and assembly is made possible through computation, with the transformation of complex curved vaults into developable strips[24].

The design is biomimetic as it exhibits growth and change through the patterning of the oculi across the surface. Through parametric control of various distances and proliferations of cones and the oculi of each cone, as well as the use of culling to create a broad spectrum of geometric variation, Tibbits was able to create a proliferating, abstract, and intricately controlled form.

Through the provided grasshopper file for Voltadom it is understood that Tibbits utilized culling to be able to create variation in form of the same geometry (the open cone). In addition to this variation of overall forms, Tibbits used grasshopper to change the radii of oculi, creating varying “apertures” that allow light to seep in and views out into the surrounds.

[R]

30.

VARIATIOn In COne HeIGHT RATIO PARAMeTeR

VARIATIOn In COne OCULI RADIUS PARAMeTeR

VARIATIOn In BOUnDInG BOX AnD POInT QUAnTITY AnD COMPOSITIOn

CASE STUDY 1.1Voussoir Cloud - IwamotoScott

Voussoir Cloud, located in the Southern California Institute of Architecture gallery in Los Angeles, is an architectural installation by American architects IwamotoScott, built in 2008[26]. Voussoir Cloud’s design is an exploration of the combination of potentially conflicting constructional logics; the paradigm of the compression of a vault with an ultra-light sheer material [26]. The vaults that fill the gallery can be experienced from both within and above and spatially migrate to form greater density at their edges [25].

Through the use of computation IwamotoScott were able to refine and adjust the model to structural and material perfection. They used computational models to refine and adjust the profile lines as pure catenaries and form finding programs to determine the purely compressive vault shapes, creating catenary curves centered around and supported by five vaults [26]. In terms of materiality, the surface of the structure is tessellated pattern of Delaunay triangles, with each petal (‘dished shape’) dependent on its adjacent voids [26]. There has also been a culling process, with some triangles left out, acting as a filter to allow for light to seep through [26]. A lightweight thin wood laminate material was utilized in order for simple and fast construction [25].

Computation allowed for every aspect of this installation to be effectively and efficiently designed and fabricated. Computation allowed for the analysis and trials to find the most rigid and ideal catenary curve and a computational script was developed for the rhino model that managed the petal edge plan curvation as a function of tangent offset [26]. Complete control over form and material patterning is made possible through computation and this precedent is a key example of the possibilities and opportunities that such advance technology allows. I have explored the degree of controls through the provided grasshopper file, trialing variations in a number of parameters and applying differing surfaces to the form.

1. Variation in scale and moving down the sbdivide curve along the vaults to creation variation to the base surface

2.Applying unary force to all vertices in the mesh, with ‘springs’ (internal mesh edges) set as ‘Rest Length’

3.Changing ‘Rest Length’ to ‘Damping” of Springs and altering scale and curve parameters

4. Application of Weaverbird’s topological commands a) Weaverbird’s stellulate/cumulation b) Weaverbird’s mesh window c) Weaverbird’s picture frame d) Weaverbird’s inner polygons subdivision

5. Created own boundary and points and application of Weaverbird a) Weaverbird’s picture frame b) Weaverbird’s offset mesh

[X]

32.

A. B. C. D.

B.A.

1.

2.

3.

4.

5.

The final experimentations with my own points, boundary and form construction were the most successful experimentations taken from the Voussoir Cloud grasshopper exploration. I chose these as they show a clear process utilizing kangaroo and Weaverbird in order to relax and explore the catenary curvature whilst also experimenting with Weaverbird’s topological commands, allowing for aesthetic (and potentially functional, if fabricated) enhancement. IwamotoScott desired to explore the coupling of the theoretically conflicting construction logics of the compression of a vault and a sheer ultra-light material. I also experimented with the “aperture” of the vaults, expanding the intricacy of the internal space whilst also perhaps adding a new element of aesthetic interest when viewed form above. This work could be extended to create an intricate pavilion in a more open space like parkland, with patterning influenced from topographical variation of the context or even surrounding flora. The free flowing form is quite visually appealing and could be extrapolated and extruded through further development, perhaps with incorporation of a diversity of materials to further explore the conflicting relationship between compression and lightweight materials. I think such a flowing lightweight form would work well in a natural context, as whilst it is intricate and fascinating, it is not obtrusive and ostentatious, with a sense of impermanence to it, which would not overwhelm or segregate itself from a natural setting. After studying inflatable architecture, it would be interesting to incorporate a membrane into the design, perhaps as a sort of cover over the opening of particular areas of the structure to create a different experience inside, with differing acoustic performance and lighting variation to that of another section of the structure.

34.

[T]

CASE STUDY 2.0ICD/ITKE Research PavilionUniversity of Stuttgart, 2011

Research Pavilion, a collaborative design by Institute of Computational Design (ICD) and Institute of Building Structure and Structural Design (ITke), located in Stuttgart Germany, is an example of the use of Biomimicry to inform and drive architecture structurally, functionally and aesthetically through the utilization of computational design.

The design project aims to integrate the performative capacity of biological structures into architectural design whilst testing the resulting spatial and structural material-systems in full scale [27]. The design team used the biological principles of a sea urchin’s plate skeleton morphology, in particular the sand dollar (a sub-species of the sea urchin), and transferred it into an architectural embodiment through the use of computation [27]. The developed modular system allows for a high degree of adaptability and performance as a result of the geometric differentiation of its plate components and robotically fabricated finger joints [27]. The design time used the skeletal shell of the sand dollar, which is a modular system of polygonal, hexagonal and trapezoid plates linked together at the edges by calcite protrusion, to create the principles of the bionic structure [27]. Through particular geometric arrangement of these plates and their intricate joining system, a high load bearing capacity was achieved.

[U]

The dome-like shell structure is made of extremely thin sheets of plywood and through the analysis of the plate structure applied on each tessellation panel the design team were able create a structure that enabled the transmission of normal and sheer forces with no bending moments between the joins, resulting in a ‘bending bearing but yet deformable structure’ [27].

This precedent exemplifies the potential of design when mimicking nature in both form and function, assisted through the use of computation. Computation has allowed for the possibility of materially realizing complex geometric organizational ideas that were previously unattainable [28]. Such complex geometries that are now “designable” through computation, can be obtained from looking to nature, as harnessing the generative potential of nature is one of the most effective methodologies of design, as nature produces maximum effect with minimum means [28]. Biomimicry holds great promise as a overarching generative driving force for contemporary architecture created via digitization. Biomimicry will not only assist me to guide the structure, functionality and aesthetic of my Merrie Creek design, like in the Research Pavilion, but I hope to be able to integrate the design into the natural context through this utilization of nature as a key source of inspiration, as to not obstruct the tranquillity of the surrounds with a stagnant object.

36.

[U]

CASE STUDY 2.0Reverse EngineeringICD/ITKE Research Pavilion

With the criteria for the Research Pavilion in mind, the reverse engineering of the ICD/ITke Research Pavilion has been divided into three main stages of design engineering. The first stage involves the creation of the base curvature for the overall form and the hexagonal/pentagonal/trapezoid pattern/grid, made of curves, for the pavilion pattern which will later be relaxed using kangaroo to “inflate” around the set curvature. The second stage of the process involves form manipulation , using the various parameter that have been set in grasshopper, to find a form the most accurately reflects the ICD/ITKE Research Pavilion. The final stage of the reverse engineering task involves the manipulation of the skin of the structure in order to best reflect the extruding hexagonal, pentagonal and trapezoid cells that populate the surface of the Research Pavilion. This process is documented on the proceeding pages, with the final selection analysed and critiqued.

CRITeRIA.

Biomimicry:The design team used Biomimicry to inform and drive the structure, function and aesthetic of the Pavilion. The design must use the biological principles of a sea urchin’s plate skeleton morphology, using modular systems of polygonal, hexagonal and trapezoid plate components linked together at the edges.

Dome-like Structure:The form of the pavilion is quite unique, creating a manipulated dome with a number of key openings. The form is made in such a way (and with particular materiality – which will later be explored) that it is enables the transmission of normal and sheer force with no bending moments between joints – creating a ‘bending bearing but yet deformable structure’ [27].

Heterogeneity:The size of the cells, both hexagonal, pentagonal and trapzoid, are dependent on the curvature; adapting in size as they move across the curved dome formation, adding an element of dynamism to the design. The centre of the structure has the largest and the least number of cells and as it continues towards the edges of the pavilion the cells reduce in size and become more compacted.

38.

FIRST STAGe:

Base Curvature.

Hexagonal/Pentagonal/Trapezoid Pattern.

Using the ICD/ITke Research Pavilion as a reference, curves were made in rhino in order to create the “bones” for the “skin” of the pavilion that would later be projects/lofted onto it. These curves were then referenced into grasshopper as the starting point of the algorithm.

A hexagonal, pentagonal and trapezium pattern was created through the utilization of ‘cull pattern’ in grasshopper. This allowed for the alternation between hexagonal, pentagonal and trapezoid cells and the proliferation of them as the pattern moves towards to edge.

CURVeS

CURVeS

eXTeRIOR OUTLIne

CURVe PAVILIOn COnSTRAInT OUTLIne

CURVe OPenInG COnSTRAInT

CULL InDeX

LIST ITeMInDeX (nUMBeR SLIDeR)

OPenInG COnSTRAInT VARIATIOn

SeCOnD STAGe:Form Manipulation

1. 2. 3.

4. 5. 6.

7. 8. 9.

CURVe PULLCURVe OPenInG COnSTRAInT

kAnGAROO (FORCe OBJeCTS - FLATTen)

50

200

65

1450

2000

3500

40.

FORM FInDInG USInG STRenGTH PARAMeTeR

50

200

65

1450

2000

3500

CURVe PAVILIOn COnSTRAInT OUTLIne

CURVe PULL kAnGAROO (FORCe OBJeCTS - FLATTen)

STRenGTH

MeSH SPRInG STIFFneSS

MeSH SPRInG ReST LenGTH

0.69

1.52

2.

75

500

1000

3000

CURVeMeSH FROM POLYLIneS

MeSH eDGeS LenGTH MULTIPLICATIOn SPRInGS kAnGAROO (FORCe OBJeCTS - FLATTen)

MeSH SPRInG STIFFneSS

CURVeMeSH FROM POLYLIneS

MeSH eDGeS LenGTH MULTIPLICATIOn SPRInGS kAnGAROO (FORCe OBJeCTS - FLATTen)

MeSH SPRInG ReST LenGTH

42.

CATenARY STRenGTH VARIATIOn

150

520

2500

UnIT X

UnIT Z

UnIT Y

150

520

2500

150

520

2500

ReMOVe DUPLICATe POInTS

MeSH DeCOMPOSe UnARY FORCe kAnGAROO (FORCe OBJeCTS - FLATTen)

CATenARY STRenGTH

THIRD STAGe:The Skin

0. 5. 15.

10. 20. 50.

Weaverbird Thicken Mesh

Weaverbird Stellute//Cumulation

kAnGAROO CURe (FLATTen + SIMPLIFY

eXPLODe

POLYGOn CenTRe

enD POInTS

4POInT SURFACe JOIn (FLATTen) MeSH

WeLD

WEAVERBIRD COMMAND

MeSH UnIFYnORMALS

44.

Mesh Thicken: 15Stellate: 10

Mesh Thicken: 15Stellate: 20

Mesh Thicken: 10Stellate: 50

Bevel edge: 20Mesh Thicken: 10

Bevel edge: 20Mesh Thicken: 20

Bevel edge: 20Mesh Thicken: 40

Weaverbird Mesh Window

1. 5. 10.

10. 20. 40.

Weaverbird Bevel edge

Outcome.

The reverse engineering task for the ICD/ ITke Research Pavilion (2011) was quite successful in replicating the Research Pavilion with a number of key similarities, keeping true to the project criteria. In each stage of the reverse engineering of the Pavilion design the project criteria and research done prior on the precedent were considering in order to most effectively and efficiently replicate the design.

The first stage involved creating the curves for the form of the design and also the hexagonal, pentagonal and trapezoid pattern (made out of curves). By using a photo of the pavilion as a reference in rhino, the curvature of the design was quite efficiently replicated, and is a key success of the reverse engineering task due to its similarity. The dome-like structure replicated stays true to the project’s criteria as it allowed for the creation of a sturdy “shell” to be projected onto the curves, mimicking that of an urchin’s shell (Biomimicry). Through the use of culling pattern, the base pattern, which was later lofted onto the surface, was quite successful as it replicated the various geometries of the Research Pavilion. However, a key difference is that the pattern of the geometry was not specifically scripted to change in relation to the curvature, but rather a random ordering, unlike that of the Research Pavilion.

The second stage of the reverse engineering task involved various explorations of parameter variations to try find a formation that best replicated the tensile structure of the Pavilion. This was an important stage as the Research Pavilion is quite rigid and it’s engineering is driven by the desire for a bending bearing but yet deformable structure [27].

The Final stage was the creation of the structure’s surface “skin”, this stage was the most difficult and resulted in the greatest disparity between the Research pavilion and reverse engineered version. Due to parametric design knowledge limitations I found it quite hard to be able to extrude the various geometries (hexagonal, pentagonal and trapezoid). Various explorations with grasshopper’s Weaverbird plugin provided me with the ability to tessellate the surface. The most successful outcome was produced using Weaverbird’s Thicken Mesh, resulting in a thick offset of the geometric pattern created in stage one. This thicker skin was most reminiscent of the shell created in the Research Pavilion, however this similarity is more a visual similarity than a structural similarity. This Weaverbird approach has also resulted in triangulated surfaces, which will make fabrication easier, however does not accurately reflect the approach of the ICD/ITke design team. Another dissimilarity is that the Research Pavilion has a dome within, creating two separate skins, a feature I was unable to replicate due to time and skill constraints. Despite this, the reverse engineering of the Research Pavilion was quite successful as it reflected the Pavilion’s Biomimetic principles, reflected it’s dome-like structure and features the various geometries that tessellate the Pavilion.

The reverse engineered design has great potential to be further developed in a number of ways. I’d like to test out different forms, opening constraints and surfaces whilst still continuing to use the surface geometry, which I found to be quite successful in replicating the tensile strength that the Research Pavilion exhibits. I think different forms could potentially create a different user experience within the dome, perhaps creating something with less openings and also less uniformity to change the ambience within.

46.

[U]

CASE STUDY 2.0Technique DevelopmentICD/ITKE Research Pavilion

This stage of technique development will primarily involve form manipulation in order to produce an outcome that enhances the user experience of the design whilst maintaining structural integrity and acoustic and light performance. Using the most successful iteration of the reverse engineer task, featured on the left, the various forms will be explored through constraint and algorithmic parameter manipulation in order to find a form that is suitable, structurally plausible, aseptically pleasing, and has the potential to enhance the design performativity in terms of user experience when interacting with it. Different tessellations will again be explored once form finding is achieved, to test what possibilities parametric design can create; testing whether it can enhance the design performativity and/or aesthetically. Whilst various manipulations of the design will be explored, the original geometric pattern that has been further triangulated will be maintained to reflect the biomimetic reference used for the Research Pavilion, as I think this is a integral part of the design and has great structural consequences and also the potential for interesting approaches to fabrication and joinery systems.

48.

STAGe One: FORM MAnIPULATIOnChanging exterior Constraint Curve

FORM MAnIPULATIOn:Catenary Strength Variation

Changing Opening Constraint Curve at High (4000) Catenary Strength

75.

800.

2000.

5000.

50.

STAGe TWO: SURFACe TeSSeLLATIOnWeaverbird’s Thicken Mesh

20.

40.

100.

200.

Weaverbird’s Bevel edge1.

4.

8.

10.

Weaverbird’s Inner Polygons

Weaverbird’s Inner Polygons + Thicken Mesh (80)

Weaverbird’s Thicken Mesh (80) + Bevel (10)

52.

FINAL DEVELOPMENT.

The most successful outcome of the technical development was the form with a simple Weaverbird Thicken Mesh of 20. After various form explorations I decided the most successful form would be a simple dome with one warped entry and an opening at the top of this entry. By reducing the number of opening of the Research Pavilion but keeping a somewhat dome-like shape I think the design has the potential to create a more intimate experience for the user while also maintaining the structural integrity and criteria of creating a tensile structure that reflects the rigidity of a urchin’s shell. A more closed structure may also have the potential to create interesting acoustic performativity whilst also being a greater haven for shelter, which could be essential and useful in the context of the Pavilion design.

The warped opening enhances the aesthetic of the structure, creating a more abstract interpretation of a dome, perhaps drawing users in to the obscure structure. As discussed previously, the original geometric pattern that has been further triangulated was maintained in order to reflect the biomimetic reference used for the research pavilion, as it is an integral part of the design and has great structure and aesthetic consequences for it.

The design has the potential to be integrated into a number of contexts as it is not ostentatious or overly evocative, but rather it’s curvature and lightweight form make it quite a simple unobtrusive design. The materiality of the design will be explored further, with the potential for a number of different materials to be applied to the form. To maintain the tensile structural form and keep true to the Pavilion design criteria a lightweight material will most likely be used for not only structural importance but for ease of construction and to create a adaptive design form.

TECHNIqUE:Prototypes.

Fig. V

Figure W

The ICD/ITKE team utilized tradition-finger joints (Fig. V), typically used as connection elements in carpentry, to connect the geometries of the Research Pavilion (2011). The team justified this connection approach as it is seen as the technical equivalent of the sand dollar’s calcite protrusions. The design team used the principle that three plate edges meet at a single point, enabling for the transmission of normal and shear forces but no bending moments between the joints (see figure W). I will endeavour to create a joinery system that enables for this principle to be applied. Due to triangulation of my geometries the joinery system will have another element of complexity as the triangulation of each hexagon, pentagon and trapezium will require a joinery system to create them and then each formed geometry will also need to be connected.

Ideally the lightweight material of plywood will be utilized, as it appears to be a very successful material in terms of ease of construction and structural performance. The Research Pavilion used only 6.5 mm thin plywood sheets to build the entire design, despite it significant size [27], thus is seems the best option economically as well. The use of recycled plywood would further drive the sustainable intentions of this project as well as presenting itself as an economical option. This use of recycled plywood will also work well with the integration of the design into a natural environment, as the soft wood is quite subtle and unobtrusive whilst it’s lightweight characteristic makes the construction and transportation of the structure easy, increasing the potential for the design to be placed in a number of contexts, such as the context of Merri Creek. This light weight, unobtrusive, curved design would easily integrate into the quite sparse environment of Merri Creek

54.

TECHNIqUE:Prototypes.Preliminary Joinery Exploration

Whilst research on the ICD/ITke Research Pavilion revealed they selected finger joints as the chosen system of construction, I thought exploring a plate/tabbing system as a mechanism of joining each cell would guide my thinking in how each piece is linked and the consequences it has on the overall structural performance of the design.

This exploration involved a tabbing system where each triangular sheet would have a tab on every side, each tab is then connected to the adjacent tabs of the triangular sheet to either side. Whilst this preliminary exploration was done in paper it was still clear that whilst it had some structural rigidity, with the assumption that each plate would be bolted together, the key flaw was that it assumed the material would allow for the ability to simply score the connection between with plate and it’s tabs, allowing for movement of the tabs on a particular angle. In reality this movement would not be possible, as perforation of plywood would simply weaken the material and thus not maintain the structural rigidity desired.

Perhaps this connection between the triangular plate and the tab could be developed further with some sort of hinge system or even a finger joint connection. This prototype has made it clear that each plate needs to be individually cut and detached, and also that simple a scoring methodology is not ideal or plausible for this design.

SePARATeD TRIAnGULAR PLATeS WITH TABS On eVeRY SIDe

COMBIneD TRIAnGULAR PLATeS WITH TABS COnneCTeD TO CReATe HeXAGOn CeLL

TECHNIqUE:Prototypes.Finger joints

Whilst this small prototype was successful I think creating two separate skins reduces that structural rigidity of my design as there is no centre connection between the first and the second skin, but simply a connection at the edges. This prototype could be developed further to include a centre connection, however I think this would decrease the ease of constructibility of the design, and so I will have decided to keep it a singular skin but with rectangular edges, creating a sort of enclosure as the edges turn in, with the removal of the second internal skin.

The second prototype looked at the connecting between two different cells, a hexagon cell and a pentagon cell. Both cells have been created by the connection of triangulated plates, utilizing the chosen finger joint system. This prototype shows the success of the finger joint system in creating a rigid “skin”. Perhaps a greater number of finger joints would increase the strength of the joins.

PROTOTYPe 1

PROTOTYPe 2

Prototype 1 resulted in a change in my design as a result of structural and design assembly consideration. The first prototype tested a singular hexagonal cell. This cell has two triangulated hexagons connected between a series of rectangular plates at each edge, all joined through a finger joint system. This layering of hexagons creates this ‘thicken skin’ structure that I created using Weaverbird in grasshopper.

In this prototype the edges of each cell have larger finger joints than the finger joints of the triangular plates. This prototype demonstrated that a smaller sized but greater quantity of finger joints is more successful structurally, with less movement, than that of the larger joints that connect the hexagonal, pentagonal and trapezium cells.

56.

Prototype three is the final development that has used my structurally findings from the previous three prototypes. A singular skin has been chosen with rectangular plates at only the edges of the structure. The triangular plates that make up the cells have continued to be joined with small finger joints, as this seemed to be the most successful system of joinery in terms of the strength of the connection. The connection points between the cells (hexagonal, pentagonal and trapezoid) have also been designed to be small finger joints as the larger finger joints created some structural fragility, as made evident in prototype 2.

This prototype exemplifies the three different cell types of the design’s skin - hexagon, pentagon and trapezium - and how they are formed in a system of triangulated faces with finger joint connections. Whilst box board has been used for prototyping, it is still quite representative of the recycled plywood material I would like to utilize for my design.

PROTOTYPe 3

The assembly process of my design will be a methodical process that mirrors that of the process utilized for the ICD / ITke Research Pavilion (picture above). each geometry cell (hexagon, pentagon or trapezium) will be individually created out of the interlocking triangulated plates (illustration 1-2). These triangulated geometries will then be joined to the corresponding adjacent geometry cells through the joining of the finger joints (illustration 3), like that of the sand dollar, who’s plates are linked together at the edges by calcite protrusions. The cells at the edge of structure will be enclosed with a rectangular plate, much like the structure of the Research Pavilion. The puzzle-like system allows for easy construction of the pre-fabricated pieces, and a system of numbers and spreadsheets would make this process quite clear and precise, allowing for easy assembly, disassembly and relocation of the structure. The finger joint system has not only allowed for a high load bearing capacity to be achieved but has also assisted this ease of construction. This constructibility supports the design idea of the impermanence of the design in order to avoid impacting the environment in which it is implemented, as can be easily transported and adapted to a new context. An assembly process like this also means that if a new context is chosen for the design that requires some adaptation of the structure, simple alterations of a piece or a particular set of geometries can be made via the computation design software and then can be implemented and joined to the other pieces, reducing material waste.

1.

2.

3.

TECHNIqUE:Prototypes.Assembly

60.

TECHNIqUE:Proposal.

The proposed pavilion, of which is informed and driven by Biomimicry, is an innovative design that aims to simultaneously enhance the site of Merri Creek by encouraging an engagement between man and nature, integrate into the natural surrounds, whilst also acting as a precedents for sustainability through architecture.

The pavilion uses the principles of the sand dollar to guide both its structural formation and it’s aesthetic. Through a rigid finger joint system the various geometries made of recycled plywood, that have been triangulated to enhance the structure’s rigidity, are interlocked in a formation that allows for the creation of a structure that transmits normal and sheer forces with no bending moments between joints. This geometric surface, whilst being structurally beneficial, also creates an interesting, distinct and unique visual aesthetic that draws users in. The Pavilion is not designed for a distinct demographic, but instead is quite a diverse design that can be applicable and useful for the wide demographic that frequently inhabit the parkland.

The design of the pavilion has also been influenced by a fundamental desire for adaptability. By creating a puzzle-like system of interlocking plates the pavilion can easily be constructed, disassembled, and altered to fit a number of contexts. This drives the idea of the pavilion’s impermanence as to not negatively impact on the environments in which it is implemented. This impermanence makes the design, in a way, an architectural installation.

In terms of the Merri Creek site, the pavilion aims to provide a space of intimacy and calm in which the user can engage with such a vast open environment. The design provides the opportunity for the user to take a moment to appreciate the natural surrounds, with a direct view of Merri Creek and the rich foliage of the surrounds. The site at Merri Creek is quite a tranquil quiet area that is quite separated from the busy roads and commercial area, taking the user away from the concerns of the urban world and allowing them to be enveloped by nature.

The form’s flowing curvature reflects that of the gentle topographic conditions of Merri Creek, making it an unobtrusive design in the context, helping enhance the idea of harmony between man and nature. In terms of functionality, the pavilion also provides a point of shelter, as users are quite exposed to the elements whilst on the site, with minimal opportunity for cover. The interlocking geometries in the dome-like formation with only one area of the design open to the elements, creates a wind barrier, which has the potential to draw users to the site in a number of weather conditions. The structure also acts as a meeting point on the site, reflecting that of a modern day rotunda.

The material choice of recycled plywood for the pavilion is not only an economical choice and a material that assists in the constructibility and adaptability of the structure, as it is a light weight material, but it also acts a precedents to exemplify the use of sustainable material in architecture and the major role architecture can play in driving societal change towards a sustainable future.

A drawback of the design is that is visually quite stagnant in terms of its form. In the next stages of the design process the form will be further developed to reflect the topographic conditions to a greater degree to enhance the designs integration into the surrounds. Another opportunity in terms of design development could be the use of an inflatable ground plane. This design development has the potential to create a greater element of user interest in the structure and provide the opportunity for the design to be physically integrated with Merri Creek. The membrane could also be illuminated with a lighting system which could allow for the design to be more accessible during the night, creating the opportunity for the space to be applicable to a greater number of uses.

62.

Learning Objectives and Outcomes.

The Part B module of Studio Air has developed not only my knowledge of the theory and concepts behind computational design but also the practical skills and application of computational design, which has subsequently developed my understanding of the process of architectural design in terms of simultaneously being driven by and consequentially impacting it’s relationship and integration into a given context - historical, environmental, social and cultural.

By using various precedents, most fundamentally the ICD/ ITke 2011 Research Pavilion (refer to Case Study 2.0), I have not only been able to grasp the concepts of both the computational process of design, with pivotal development in my ability to parametrically design a structure using computational geometry and data structuring in grasshopper and Rhino, but I have also gained an understanding of the power of computational design and the opportunities it provides in terms of the future of architecture and more speculatively the future of civilization as a result of the development of computational design..

Given I was completely unfamiliar with computational design software prior to this semester, the skills I have developed as a result of this module have been abundant, as I can now create, manipulate and design using parametric modelling

Using past computational design precedents I’ve learnt a lot about integrating a brief in order to inform and guide a design and thus form the ability to make a case for a design proposal. Through understanding computational design and it’s potential I have gained the ability to form a solid design proposal that goes beyond the superficial argument of design aesthetic; contextualizing a design and making it applicable, relevant and desirable in terms of the positively impacting the immediate context and more broadly the future state of humanity and the environment. During this process of beginning with the interrogation of a brief to the development of a case for a design proposal I have also gained and developed my abilities in various forms of three-dimensional media, such as the use of analytical diagramming and digital fabrication.

By understanding both the theory and practical skills of computational design as a result of Module B and the rigorous process that is required, I can now support my views of the power of architecture to impact society and sustainability more effectively.

66.

Appendix.

PATTeRnInG

PATTeRn ReLAXATIOn

68.

This grasshopper exploration explored the creation of a complex spider web pattern using the command of the Graph Mapper in Grasshopper. Using variation in the graph mapper and pattern culling the structural behaviours could be varied and explored. Physical simulation was achieved through exploding polylines into segments, transforming these into springs, setting anchor points and then using kangaroo simulation for relaxation. After gaining an understanding of springs, anchor points and unary force I was able to comprehend the steps required to develop my own pavilion design using kangaroo physics.

This exercise involved the use of the cull pattern and graph mapper command to control and vary the voronoi pattern produced. This exercise enabled me to create the base pattern from my pavilion design, creating a variation of hexagons, pentagons and trapeziums.

FABRICATIOn FUnDeMenTALS

Through the this exercise of unrolling a polysurface and tabbing the edges for fabrication I gained a much greater understanding of the process required to take what has been created through computation and replicate it in reality. This exercise also exhibited how tabbing works and informed my thinking about the joinery system that my own design would require to be assembled.

PART B REFERENCES.LITeRARY SOURCeS17. Badarnah, Lidia (2009) Bio-mimic to Realize! Biomimicry for Innovation in Architecture in The Architecture Annual 2007-2008. Delft University of Technology. (netherlands, 010 Publishers) pp 54-5918. Biomimicry Institute. A Sustainable World Already existshttp://biomimicry.org/what-is-biomimicry/[Accessed 24/03/2015]19. Mesghali, Ehsaan. (2010) Trabeculae: Not your Regular Office Building http://www.biomimetic-architecture.com/2010/trabeculae-not-your-regular-office-building/[Accessed 24/03/2015]20. Hart, J (1990) Plant Tropisms: and other Growth movements. (Germany, Springer Science & Business Media) pp. 10421. Biomimetric Architecture: HygroScope – Centre Pompidou Paris. (2012)http://www.biomimetic-architecture.com/2012/hygroscope-centre-pompidou-paris/[Accessed 24/03/2015]22. O’Dell, Holly (2009) The Advantages of Inflatable Structure in Fabric Architecture Magazinehttp://fabricarchitecturemag.com/articles/rv1009_f1_inflatable.html[Accessed 25/3/2015]23. 2hD Portfolio (2010) An Inflatable Event Spacehttp://www.2hd.co.uk/portfolio/inflatable-event-space[Accessed 25/3/2015]24. SJeT, VoltaDom (2011)http://sjet.us/MIT_VOLTADOM.html[Acessed 26/3/2015]25. Jahn, Gwyllim (2015) Parametric Modeling, Lecture 4, University of Melbourne26. IwamotoScott Architecture (2008) Voussoir Cloudhttp://www.iwamotoscott.com/VOUSSOIR-CLOUD[Accessed 28/03/2015]27. Institute for Computational Design: Faculty of Architecture and Urban Planning. ICD/ITke Research Pavilion, 2011http://icd.uni-stuttgart.de/?p=6553[Accessed 20/3/2015]28. kolarevic, Branko and kevin R. klinger, eds (2008). Manufacturing Material effects: Rethinking Design and Making in Architecture (new York; London: Routledge), pp. 6–24

IMAGe SOURCeSX. IwamotoScott Architecture (2008) Voussoir Cloudhttp://www.iwamotoscott.com/VOUSSOIR-CLOUD[Accessed 28/03/2015]L. Mesghali, Ehsaan. Trabeculae: Not your Regular Office Building http://www.biomimetic-architecture.com/2010/trabeculae-not-your-regular-office-building/[Accessed 24/03/2015]M. Achim Menges and Steffen Reichert from Biomimetric Architecture: HygroScope – Centre Pompidou Paris. (2012)http://www.biomimetic-architecture.com/2012/hygroscope-centre-pompidou-paris/[Accessed 24/03/2015]n. Boyan Mihaylov (2012). HygroScope: Gemoetry Control Dialshttp://www.grasshopper3d.com/photo/hygroscope-geometry-control-dials[Accessed 24/03/2015]O. 2hD Inflatable Pavilion in Inflatable Art, Architecture and Design http://www.wsj.com/articles/photos-inflatable-art-architecture-and-design-1404420162[Accessed 25/3/2015]P. 2hD Portfolio (2010) An Inflatable Event Spacehttp://www.2hd.co.uk/portfolio/inflatable-event-space[Accessed 25/3/2015]Q. 2hD Portfolio (2010) An Inflatable Event Spacehttp://www.2hd.co.uk/portfolio/inflatable-event-space[Accessed 25/3/2015]

70.

R. SJeT, VoltaDom (2011)http://sjet.us/MIT_VOLTADOM.html[Acessed 26/3/2015] T. IwamotoScott Architecture (2008) Voussoir Cloudhttp://followpics.me/voussoir-cloud-a-site-specific-installation-by-san-francisco-based-architecture-and-design-practice-iwamotoscott-in-collaboration-with-buro-happold-a-system-of-three-dimensional-modules-formed-b/[Accessed 28/03/2015]U. Institute for Computational Design: Faculty of Architecture and Urban Planning. ICD/ITke Research Pavilion, 2011http://icd.uni-stuttgart.de/?p=6553[Accessed 20/3/2015]W. ICD/ITke Research Pavilion, 2011 Connection Joint https://jcpteam.wordpress.com/2013/03/26/icd-itke-research-pavilion-2011-precedence-study-01/

PART CDETAILED DESIGN

DESIGN CONCEPT.Part B Analysis

Reflecting on the crit feedback received at the interim presentation, it is clear that a number of concerns with my pavilion design project need to be addressed. Firstly, a stronger argument for the design proposal needs to be formulated, which would be assisted with a more innovative and solid architectural intent. It is clear that my design needs to be developed beyond the generic use of a pavilion.

More extensive research and analysis of the Merri Creek Site will be carried out in order to enhance my knowledge of the site which will in turn enable me the develop my design to be able to more proficiently respond to the site’s needs and fundamentals. With a greater understanding of the site I will also be able to consider the users more effectively and extend my design to exemplify the ability of architecture to respond to a site whilst also being a driving force for sustainability.

There also needs to be a clearer link between the chosen technique of Biomimicry and a design concept/intent. Whilst the technical foundations of my design are apparent, the actual link between the technique and the purpose of the design were somewhat lost in the process of production. Biomimetic principles have been applied to my design, however their appropriate application is a step that needs to be further extrapolated and explored. Part C will be the final development stage in which the initial design will be fundamentally developed in order to incorporate the informative feedback received during the interim crit and consequentially create a design for Merri Creek that is relevant, appealing and innovative.

74.

Through more extensive research it was revealed there is a rich Aboriginal cultural significance associated with the Merri Creek Site. Not only is there a significant Aboriginal heritage associated with the stream but also a large number of known culturally significant sites and areas of sensitivity[29]. There is strong evidence that the Merri Creek and surrounding lands were important for food, shelter, travel and maintaining cultural traditions for Aboriginal people [29]. A particular site of significance is the confluence of Merri Creek and the Yarra River, which has been identified as a site of significance in terms of its Aboriginal and european heritage, as it was the site of an Aboriginal burial ground, meetings, ceremonies and encampments [29]. Dight falls is located in the area, just downstream of the junction of the Yarra River with Merri Creek, acting as another point of cultural significance in this area. Prior to european settlement, the indigenous Wurunjeri tribe of the kulin nation occupied this area, providing them with a natural crossing for hunting and also a meeting for place for clans where they would trade and interact.[30]

By creating a pavilion for Merri Creek as a point of gathering and contemplation in this area of Aboriginal culture significance, amongst the vase expanse of the Merri Creek Site, the pavilion can reflect, respect, nurture and promote public awareness and understanding of the Aboriginal culture heritage of the area by acting as a modern day gathering point and also an education platform for schools and public forums. I envisage it as a place where seminars and talks can be held by aboriginal elders or academics for students and the general public informing them of the history on the site in which they inhabit. The area is also naturally intimate and protected, which would enhance the pavilions ability to create a space for contemplation and education, whilst also providing a recognizable point of gathering on the large expansive parkland.

The Site

DIGHT FALLS

YARRA RIVER

MERRI CREEK

EASTERN FREEWAY

Design Development

The pavilion for Merri creek acts as a point of gathering and contemplation on the vast expanse of the Merri Creek Site that aims to reflect and promote public awareness and understanding of the Aboriginal cultural heritage of the area. The initial design, whilst providing an intimate location for contemplation, was not as inextricably link to the site and it’s significance as I would have liked. Aboriginal vernacular architecture is about the relationship between the land and the physical environment, linking space and landscape.[31] The form of the design has been developed to enhance the link to the site by re-designing the curvature of the pavilion to closely reflect the curvature of the stream, as well as the gentle topographic conditions. Aboriginal shelter types are often a dome structure (refer to Figure X & Y), which is reflected in the pavilion design with the creation of a tensile dome-like structure. By creating this link between design form and land the pavilion can reflect the architectural typological fundamentals of the aborigines. The intent of the design further enhances the link to the sites cultural heritage as it is a multi-purpose structure, providing a place for gathering, contemplation, education and shelter, which reflects the functional use of this particular site back when it was occupied by the indigenous Wurunjeri tribe of the kulin nation [30].

By creating a design with a flowing form that reflects the curvature of the stream, an adaptive structural system and with the use of the warm natural wood, the design can also simultaneously be integrated in the surrounds, without being obtrusive or ostentatious, whilst also acting as a shelter and a seating area. The form of the design also creates quite a unique aesthetic, creating an iconic place for gathering and draws users to this area, whether it is for an educational purpose, or simply to appreciate the rich natural surround, helping enhance an appreciation for the site whilst also respecting and nurturing it’s cultural heritage.

76.

Figure X: Dyirbal language group blady grass dome (Midja) c. 1901

Figure Y: Village at Bellenden ker in Yidinjdji country c. 1904

Design Development

The design work flow of the new design was continued in a similar manner as the previous design approach as it was not the technique that had flawed the previous design, by rather the lack of consideration of form in terms of guiding concepts and contextual analysis. The biomimetic technique, influenced by the 2011 Research Pavilion, is evident in the joinery system and materiality, which lay the fundamentals for my design, however the form is now crucially influenced by the site, in terms of it’s cultural significance and it’s physical and topological features.

BASe PATTeRn GRID

CReATe InTO MeSH

FORM - CURVATURe

SURFACe PeRFORATIOn

78.

MeSH TO SPRInGS

PReSSURe

ReLAX FORM - CReATInG A TenSILe STRUCTURe

PULL FORM In Z DIReCTIOn

STRenGTH OF MeSH FOLLOWInG THe FORM

Design Development

The design will continue to be made of lightweight recycled plywood as it as it appears to be a very successful material in terms of ease of construction and structural performance. The 2011 Research Pavilion used just 6.5 mm thin plywood sheets to build the entire design, despite it considerable size [27], thus is seems the best option economically as well. The use of recycled plywood would further drive the sustainable intentions of this project as well as presenting itself as an economical option. This use of recycled plywood will not only be environmentally friendly but also, due to it’s lightweight characteristics, makes the construction and transportation of the structure simple and easy, which in turn increases the potential for the design to be placed in various contexts, thus enforcing the idea of the impermanence of the structure as to not intrude on such a culturally significant site and it’s natural surrounds.

FROnT(SOUTHeRn VIeW)

BACk(nORTHeRn VIeW)

RIGHT SIDe(eASTeRn VIeW)

LeFT SIDe(WeSTeRn VIeW)

80.

Construction Process

FABRICATe

LABeL + SPReAD SHeeT

TRAnSPORTATIOn

In-SITUASSeMBLY

A

C

BA B C

A B

C

For ease of construction, each triangular plate will be labelled in accordance with the cell (hexagon, pentagon or trapezium) it creates and in correspondence to the adjacent cells it joins onto. This will vary dependent on the context as topography will dictate the edges that are necessary to touch the ground for structural stability.

each recycled plywood triangular plate will be laser cut. The nesting of these triangulated plates will be in a orderly and succinct fashion that was established in the first stage of labelling and spread sheets. each plate will be treated for weather resistance.

Sheets of laser cut plates transported to site via truck of van. Plates must be stuck to plywood sheets from which they are cut, and later removed on site.

Process of assembly of the pavilion will follow the process dictated during the labelling and spread sheet stage. each triangulated plate will connect to create the various cells, which then connect to the corresponding cells either side. The assembly will be most efficient beginning from base cells on the northern end and working upwards towards the arched opening on the southern end of the structure.

eXAMPLe

82.

84.

Elevations1:50

86.

SOUTH-eASTeRn eLeVATIOn

eASTeRn eLeVATIOn

WeSTeRn eLeVATIOn

TECTONIC ELEMENTS + PROTOTYPES.

In the primary stage of the pavilion design the joinery system utilized was a finger joint system, inspired by the ICD/ITke Research Pavilion, who looked to the Sand Dollar’s skeletal morphology for joinery inspiration. Whilst it was somewhat successful in the previous model (Refer to prototype 3), it is apparent that the finger joint system is not as applicable when the plates are not on such a obtuse angle, lacking the 90 degree angle for successful joint connection. The acute angles of the plates meant that the joints weren’t as rigid as desired as the small ‘fingers’ did not seamlessly lock together.

Whilst the finger joint system was ideal for the 2011 Research Pavilion pressure-based dome shape, a more angular finger joint type seems more suitable for the Pavilion design for Merri Creek. An angular joinery system would be more effective for the transmission of tensile forces and also allow for the design to be effectively self-supporting and adaptable, allowing for easy construction and de-construction, driving the idea of design’s impermanence, as to not impend upon the culturally significant site. 4 varying angular joints have been prototyped to experiment with structural rigidity of the triangular plate joins. The most successful was the fourth joint, which with only two plate connected (and therefore little to no tensile force) was still self supporting. The acute angled joints, which were self-designed in rhino, prohibited extensive joint movement of the four prototypes and thus exhibited the greatest joint strength.

As the structure was designed using the kangaroo simulation in grasshopper it is a tensile structure. The relaxed configuration will thus be self-supporting allowing for the joint system to work efficiently without the use of adhesive between joints. The tensilbility of the structure allows for the plates to effectively create the desired form without collapse. With the rigidity of the angle joint with this tensile structure fundamentals the structure will be rigid and successful.

AnGULAR JOInT PROTOTYPeS

1.

2.

3.

4.

88.

JOInT PROTOTYPe 4

The structure will be secured to the ground with a simple ground screw system. As indicated by the red outline areas on the pavilion below, particular plates will be ‘anchored’ to the ground through a steel plate and ground screw device [Figure Z]. This is quite a simple connection join as the design is intended to not impend on the natural, culturally significant environment in which it is situated. This physical implication of the pavilion on the site is intended to mirror that of the metaphorical implication of the pavilion on site’s cultural significance. With this simple ground connection mechanism little damage is done to the natural environment and the design is also easily removed, enhancing the idea of the design’s impermanence and adaptability to be culturally sensitive in the context whilst also reflecting on it’s history.

FIGURe Z

GROUnD COnneCTIOn JOInT

Ground Connection

90.

FINAL DETAIL MODEL.

For the final detail model strips of the back section of the pavilion design has been constructed at a scale of 1:20. This model aims to exhibit the tectonic of the structure, with the interlocking angular joint system linking the triangulated plates to create a dome-like formation. Luan Plywood has been used to reflect a similar materiality to that of the desired recycled plywood intended for the Merri Creek Pavilion.

The construction process is exhibited in the series of photos below, highlighting the very methodical and easy construction of the pavilion, with each strip laid out in order when fabricated and can be followed/referenced to during the construction process, with each cell joining to it’s corresponding plates, fitting perfectly to create a tensile structure.

92.

LEARNING OBJECTIVES AND OUTCOMES.

In the final project presentation of Studio Air there were a number of constructive critiques that informed me of the potential of my design and various adaptations and considerations that could enhance the pavilion structurally, and in turn help emphasize and support the conceptual ideas that had been established.

Whilst my concept exhibited a clear appreciation and consideration of the context, with research into the cultural heritage of the site, and using this to influence not only design placement, but help guide the design in terms of both function and form, the tectonics were not as developed as desired. Whilst kangaroo does create a tensile structure the angular joint need to have more reinforcement to stabilize the connection. It was clear upon reflection and discussion with the crits that I became mislead by my concept of impermanence and adaptability (as to remain sensitive to the culturally significant site) and the tectonics would be much more successful if I accepted the structure as a more permanent instalment on the site. For the future of the design the joints will be reinforced with the use of steel plate connectors that will ensure each plate is fastened together with the plate screw mechanism, as exemplified in the plate connection illustration. Whilst this makes the construction and de-construction of the structure more intricate, it is a necessity for structural rigidity.

It was suggested that since I envisaged my design as an educational platform that perhaps I should consider the acoustic performance of the structure more closely. Perhaps further development could involve the form returning back to be more a traditional dome structure which performativity would enhance the acoustics of the pavilion whilst also providing a larger area for the audience to inhabit within.

The process of the design project, in all its phases (Part A, B and C), was incredibly powerful in enhancing my knowledge of architecture and the roll of computation in the design process. Prior to Studio Air I had minimal computational knowledge and had never used Grasshopper as a means of designing. This design project enabled me to both utilize and gain an understanding of parametric design and what a powerful and innovative device computation is. In this computational design process I have become aware of this methodology of designing, and the opportunities and potential this particular process provides. I was able to quickly create various iterations of my design in a few simple clicks, allowing me to effectively and efficiently have a multitude of design options that I could analyze and scrutinize before producing a final outcome. The process developed my skills in various three-dimensional media, and allowed me to establish the foundations of knowledge in computational geometry, data structures and types of programming. The process also taught me to interrogate a brief and to utilize the site in a number of ways to influence and guide various aspects of the design process. By initially interrogating the brief and using computation to guide the primary conceptual ideas I was able to develop a solid proposal, as I felt confident with my thoroughly researched conceptual ideas. As computational design is quite a new process of design to me, I found many of the parametric processes quite difficult, and thus it limited a lot of my designing capabilities, as I simply could not produce some of ideas on the computer. In this way I found computational design to be quite a passive design process as my creativity was quite limited at this moment in time. However, I look forward to using computation and gaining a greater understanding of it in the future to enable me to more accurately and efficiently design.

The designing process also taught me about fabrication, another aspect of computational design I was new to. I learnt the vitality of fabrication as it allows you to quickly create prototypes that you can test various ideas and concepts with, further benefiting the final design as you can prove the success of your concept and tectonics, and how you came to such conclusions.

This design project of Studio Air, whilst challenging, was instrumental in exposing me to the world of computational design. It is clear that computational design is a powerful device that is pivotal in the future of architecture, architectural practice and, more broadly, society, with the potential for the creation of innovative and revolutionary architectural designs that can influence the future of civilization.

96.

PART C REFERENCES.LITeRARY SOURCeS

29. Merri Creek Management Committee (2009) Merri Creek and environs Strategy, 2009-2014. Merri Creek Management Committee http://www.mcmc.org.au/index.php?option=com_content&view=article&id=320:mces-2009-14-&catid=1:latest-news&Itemid=120[Accessed 5/05/2015

30. Yarra City Council. (2015) Dight Fallshttp://www.yarracity.vic.gov.au/environment/Parks-and-reserves/Dights-Falls/[Accessed 5/05/2015]

31. Goad, Phillip. “The Land: Indigenous Australians and the making of space” Lecture 1, ABPL20030: Foundations of Architecture. Parkville: The University of Melbourne, 22/4/2014.

IMAGe SOURCeS

X. Dyirbal language group blady grass dome (midja) constructed for rainy and windy weather, Tully River c.1901.http://architectureau.com/articles/indigenous-design-paradigms/[Accessed 14/05/2015]

Y. A.A. White, Village at Bellenden ker in Yidinjdji country c. 1904 http://www.australia.gov.au/about-australia/australian-story/austn-indigenous-architecture[Accessed 14/05/2015]

98.