Leong jenna 609357 finaljournal

jenna leong | semester 1 2015

studio air ARCHITECTURE DESIGN

architecture design studio air abpl30048 | semester 1 2015

jenna leong | 609357

studio 08 | bradley elias

introduction

about me and previous works

part a. conceptualisation

a.1. design futuringa.2. deign computationa.3. composition and generationa.4. conclusiona.5. learning objectievs and outcomesa.6. appendix - algorithmic sketches

part b. criteria design

b.1. research fieldb.2. case study 1.0b.3. case study 2.0b.4. technique: developmentb.5. technique: prototypesb.6. technique: proposal b.7. learning objectives and outcomesb.8. appendix - algorithmic sketches

part c. detailed design

c.1. design conceptc.2. tectonic elements and prototypesc.3. final detail modelc.4. learning objectives and outcomes

references

bibliographyimage references

CONTENTS 008

012 022 032 042 043 044

048 054 066 072 082 088 090 092 096 112 126 140

144 145

INTRODUCTION

9Hi, Im Jenna Leong. I am Chinese, by blood, and South African, by nationality, and was born and raised in the sunny city Johannesburg, South Africa. I am currently completing my final year of a Bachelor of Environments undergraduate degree with a major in architecture at the University of Melbourne.

Growing up in South Africa a country attempting to establish its identity as a Rainbow Nation whilst emerging from its harrowing journey to the end of apartheid exposed me to an exceptionally diverse range of cultures as well as the rapid development of a new nation. From a young age I was particularly intrigued and inspired by the on-going construction of new buildings and infrastructure that was needed to facilitate an emerging nation and how this development revealed the impact of the built environment on communities involved and the potential of the build environment to influence the social, economic and political state of society.

PROFILE AND PREVIOUS WORK

INTRODUCTION | ABOUT ME AND PREVIOUS WORK

Subsequently, my design philosophy has thus far been based on anthropocentric ideals where the final product is designed closely around its relationship with the end-user. This is demonstrated in my final design project for Virtual Environments - a digital design based module in first year - where the materiality, form and function of a second-skin product was based entirely on the desired experience of the user. The design process of this project was based on a section and profiling methodology applied in the digital modelling program Rhinoceros.

I currently have a basic understanding and technical knowledge of Rhinoceros and no experience in Grasshopper. I look forward to broadening my understanding of digital modelling tools and its role in architecture as it is a reasonably new topic to me and I am interested in its capabilities and potential to optimise and enhance the design process as well as the impact that it will have for the future of designing environments.

introduction

PART A. CONCEPTUALISATION

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DESIGN FUTURING HOW CAN A FUTURE ACTUALLY BE SECURED BY DESIGN?1

1. Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2009), 3.

A.1.

DESIGN FUTURING | CONCEPTUALISATION

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CONCEPTUALISATION | DESIGN FUTURING

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BARCLAYS CENTER | BROOKLYN, NEW YORK | SHoP ARCHITECTS | COMPLETED 2012precedent i

Barclays Center is an indoor multi-purpose arena based in Brooklyn, New York, and home to the NBA basketball team, the Brooklyn Nets. The building is a redesign of the Bankers Life Fieldhouse indoor arena, in Indianapolis, where the pre-ordered steel parts of this existing design, due to time and monetary constraints, required SHoP Architects to generate an entirely new design based on these existing components.2

SHoP Architects redesigned the existing project by cutting panels into the existing precut steel parts in order to form an entirely different structure that was able to achieve a striking balance between iconic form and performative engagement3 with its surrounding environment.

2. Gregg Pasquarelli, Out of Practice, Lecture, Deans Lecture Series from The University of Melbourne, Melbourne, 20133. Barclays Center,Unknown Author, ShoP Architects, n.d., http://www.shoparc.com/project/Barclays-Center.

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It is the consideration of the context, function and experience of the building in relation to its users and surrounding environment that make this design consider the idea of Design Futuring. This is because its function as an engaging design allows it to become sustainable to its users and its ability to thrive as an original design despite its initial limitations has additionally resulted in the avoidance of copious amounts of wasted steel allowing it to contribute to environmental sustainability.

Furthermore, the intentional exclusion of parking allocations pemits Barclays Center to become a place that prioritises those who come by public transport and consequently encourages a society that supports the ethics of environmental sustainability.5

The users experience throughout the arena and itsreaction to its surrounding residential community form the basis of its ability to have a performative engagement with its surrounding environment. This user experience is executed in the consideration of views outside and into the stadium with ribbons of glass windows wrapped around the face of the building, forming a conservatory effect, as well as a large oculus cantilevered from the front of the building, allowing those entering from the street and subway to look into the stadium and straight onto the scoreboard. The external screens of the stadium are placed along the internal ring of the oculus so that they do not impose on the residential setting of the stadium. The design further enhances the user experience by fitting the interior with a black box theatre theme creating a dramatic atmosphere that calls for performance.4


4. Pasquarelli, Out of Practice.5. Ibid.

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I believe that it is the designs ability to be sustainable to its community as well as its surrounding built and unbuilt environments that allow it to consider design futuring - a practice that considers the ethics of a design and its context. Additionally, this type of thinking that places emphasis on the process and techniques of how something is built rather than the final product itself instigates a Design Futuring practice as it gives us the opportunity to design buildings that consider sustainability from start to finish where the use of digital tools allow us to optimize as well as explore this process whilst expanding future possibilities.

Finally, the most fundamental factor of the design contributing to its sustainability is the design and construction process of the building, which allowed the design and fabrication of the arena to be as optimal and efficient as possible. This was the most fundamental factor of the design contributing to its sustainability is the design and considered from the very start where the design was digitally modelled and then reverse engineered into smaller components - panels that were digitally modelled, cut and labelled in order to optimize the production process. The labelling of all the design components were additionally able to be scanned by software developed by SHoP Architects in order to give all the parties involved the ability to identify each component in the design and access its corresponding location, 3D model, position in the design, fabrication and construction process as well as assembly instructions. A cloud scan was additionally used in order to align pieces to the digital model so as to ensure they were placed in their exact position and completely eavoid any misalignment that would result in many setbacks.6 This design and fabrication process was extremely innovative and made best use of the technology available that would allow the erection of this arena to be efficient and optimal.

6. Pasquarelli, Out of Practice.

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HIGH LINE PARK | MANHATTAN, NEW YORK | DILLER SCOFIFIO + RENFRO | COMPLETED 2014precedent ii

The HIgh Line is a 2.3km long linear park on on an abandoned elevated railway, called the West Side Line, based in Manhattan, New York City. The design is the winning proposal of landscape architects James Corner Field Operations and Architects Diller Scofidio + Renfro for a competition in 2004 that required the redevelopment of an abandoned, elevated freight-railway that spans 22 blocks through Manhattans west side. 7

The architects were able to refit this industrial conveyance into a melancholic post-industrial place of leisure by introducing a system that combines paving and planting, which allows various ratios of hard to soft surface that transition from high use areas (100% hard) to richly vegetated biotypes (100% soft)with a variety of experiential gradients in between. 8

7. The Highline by James Corner Field Operations and and Diller Scofidio + Renfro ,Brad Turner, Dezeen Magazine, 2009, http://www.dezeen.com/2009/06/15/the-high-line-by-james-corner-field-operations-and-diller-scofidio-renfro/8. Ibid.

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Similar to the design of the Barclays Center, it is the designs consideration of the context, function and expereince of the park in relation to its users and surrounding environment that make this design consider the idea of Design Future. This is because its function to restore life in an abandoned and dilapidated location, engage users with their surroundings and promote vegetation growth allows it to become sustainable to its users and the city as a whole. Furthermore the avoidance of the demolition of the abandoned relic has resulted in the design contributing to environmental sustainability through the conservation of a major historic site of the city in addition to the preservation of copious amounts of industrial steel which would otherwise require excessive amounts of energy to remove and be eventually be wasted.

The High Line redevelops what was once a harsh and heavy abandoned raill line into a green uban park, which is considered a place of refuge and an urban oasis amid the large citys sea of concrete and steel. The architects transformed the previously abandoned relic, consisting of wasted space that was either completely dilapidated or used as dumping grounds, into one of the most innovative and inviting public spaces in New York City. 9

The elevated park consists of a promenade, town square and botanical garden that creates a get away experience for those who walk along it. The design, which ultimately brings users to what was a previously useless space; places vegetation on what would have been deteriorated impervious surfaces and exposes users to the views and architecture of the surrounding city, is able to have performative engagement with its users and surrounding natural and built environment. . Eventually, supporters

9. Miracle Above Manhattan, Paul Goldberger, National Geographic, 2011, http://ngm.nationalgeographic.com/2011/04/ny-high-line/goldberger-text.

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This is evident in the effect that the development had on its surrounding environments where it has initiated more than 30 new projects in the nearby neighbourhood; iincreased the prices of property within close proximity of the development and encouraged the realisation of the surrounding environment along with introducing green opportunities.12

The effect of this design has attracted a significant amounf of more users to the site and its surrounding region, reviving an unsustainable space into one that is sustainable by creating use from dead space. This effect has additionally allowed the space to become sustainable to its environment and its users by carefully considering their respective futures and how it can adapt to and provide for their ever-changing demands and needs.

The design seeks to change the relationship between plant life and pedestrians with a strategy of agr-tecture that combines organic and building materials into a variety of changing ratios that accomodates the wild, the cultivated, the intimate, and teh hyper-social.10

This is deiplayed in the design features of peel-up typologies which provide leisure facilities to the users of the park whilst they interact with the design of the park, its exposure to the surrounding environment and the vegetation it provides. This undefined and unobtrusive environment allows the public to use and experience the park as they wish, further allowing the park to become sustainable to its users as it is adaptable to different users and uses which are a constantly changing factor.

The highline is described as an extraordinary gift to the citys future further reinforcing its consideration of Design Futuring.11

10. The High Line by James Corner Field Operations and Diller Scofidio + Renfro, Brad Turner, Dezeen, 2009, http://www.dezeen.com/2009/06/15/the-high-line-by-james-corner-field-operations-and-diller-scofidio-renfro/.11. The New York High Line is Officially Open, Karen Cilento, ArchDaily, 2009, http://www.archdaily.com/24362/the-new-york-high-line-officially-open/12. Miracle of Manhattan, Goldberger.

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COMPUTATION | CONCEPTUALISATION

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CONCEPTUALISATION | COMPUTATION

COMPUTATIONA.2.

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SMART MASONRY | DIA HOCHSCHULE ANHALT | ZAARCHITECTS | MASTER THESIS PROJECT 2015

precedent i

Smart Masonry is a research proposal developed by designers Dmytro Zhuikov and Arina Agieieva of ZAArchitects as a part of a masters thesis project. The concept proposes to revolutionise masonry construction, as we know it, and create oppotunities for digital fabrication techniques to be applied to heavy and massive materials such as stone and other previously antiquated materials. 13

The research proposal is both a structural design and construction method, based on traditional masonry techniques. The proposal exploits the digital optimization of a structure in order to minimize the dead-weight of the skeleton and adopts robotic construction techniques in order to assemble the complex geomerty.14

13. Digitized Stone: ZAarchitects Develop Smart Masonry, Evan Rawn, ArchDaily 2015, http://www.archdaily.com/609108/digitized-bricks-zaarchitects-devel-op-smart-masonry/.14. Smart Masonry, No Author, ZAArchitects, 2015, http://www.zaarchitects.com/en/public/125-smart-masonry.html.

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Above: Barclays Center Exterior and Oculus, Scott Norsworthy,

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Masonry is a construction method with roots deeply embedded in ancient history where the abundance of masonry building precedents offer contemporary architects a vast wealth of information to draw upon. Masonry structures provide great passive systems thermal and acoustic insulation in addition to the abiity to support great structural loads. However, challenges face this costruction method when configuring the minimization of building mass to encourage the flow of light and air whilst ensuring structural loading abilities.

The designers utilize digital software technologies to optimize and minimize dead-weight of the structure in order to achieve an incredibly light structural skeleton. Conventional building methodologies and digital fabrication technologies have previously limited the fabrication of this skeleton, up until the development of this construction technique.15

The basis of this method is linked to the program and location of the Building-Makers Center in Berlin, where

the machinery that will be used to construct the building will later be preserved at its core, symbolizing the origin of the building and its present functions. 16

The structural concept represents on seamless mesh in the place of separate structural elements such as walls, columns, beams, etc. The designs minimal surface consists of a stress-pattern that is optimized and materialized to be load-bearing. 17

This optimization of a structural skeleton illustrates how the use of digital computation in design can result in the generation of form that is unique, functional and efficient and can additionally fulfill its parametric and assimilated requirements with precision and accuracy.

The construction method combines the advantages of 3D printing and large prefabricated methods where a robotic construction station with robotic arm manipulators are able to build a complex geometry floor-by-floor. 18

15. Digitized Stone, Rawn.16. Smart Masonry, ZAArchitects.17. Ibid.18. Ibid.

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The structural designs overall form is generated from the manipulation of an initial basic mesh geometries to support points on Grasshopper. The mesh is then relaxed with Kangaroo and the stresses are anlaysed with the aid of Milipede. The form is then tesselated on Grasshopper and the thickness of the structure is analysied again with the aid of Milipede. Finally, the thickness and offset of the final form is applied. This technique is called positive casting conserve resources, produce the designs unique elements and geometries and achieve structural efficiency. 20

This shows the involvement of computational software in the design process of the design and its role in achieving the final form of the design.

This combination of construction methods seeks to maximize construction efficiency, further reducing cost and enhancing precision. In compairson to traditional methods, the robotic construction station is more compact and reduces labour costs throughout the entirity of the construction process. This process is additionally significantly faster than 3D printing.19

The advantages of this hybrid construction method further demonstrate how the involvement of computation methods in design processes as well as construction methods can optimize the costs, accuracy and efficiency of the process as well as produce unique and interesting forms unique to computational approaches.

19. Digitized Stone, Rawn.20. Smart Masonry, ZAArchitects.

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MuCEM | MARSEILLE, FRANCE | RUDY RICCIOTTI | COMPLETED 2013precedent ii

MuCEM is the Museum of European and Mediterranean Civilisations situated on the waterfront of Marseille in France. The museum is a civic building which is dedicated to the history and cultures of the Mediterranean region. 21 The design consists of a layer of ornamental concrete which cloaks the glazed facade of the museum, diffusing and directing the infiltration of natural light towards the buildings two exhibition floors. 22

An inclined walkway bridges out from the roof of the building to meet Fort Saint-Jean, a seventeenth-century stronghold that will also house museum exhibitions, before continuing on towards the Eglise Saint-Laurent church nearby. 23 The building is described as a vertical casbah by the architect where the arrangement of the design on the harbour as Open to the sea, it draws a horizon where the two shores of the Mediterranean can meet. 2421. MuCEM by Rudy Ricciotti photographed by Edmund Sumner, Amy Frearson, Dezeen, 2013, http://www.dezeen.com/2013/05/23/mucem-by-rudy-ricciotti-photographed-by-edmund-sumner/.22. Ibid.23. Ibid.24. Ibid.

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The design considers the tectonics of an exceptional concrete developed from the latest research by French Industry. This material system reduces the dimensions of the concrete structure to a minimal skin and bone system that will be supported by steel structural members. 25

The high-performance concrete is developed from a system of parametric molds, composed of unique and complex patterns that maintain particular fixed connection points that allow for reversability and interchangeability. This unique and highly refined design practice produces a monolithic facade with different configurations in order to avoid a completely repetitive and uniform pattern. This step in production is fundamental to the design process as the concrete that is poured into eight different molds creates a cellular patterned mantilla that forms the exterior facade. 26

Advancements in material technology and parametric design have allowed for the complex and unique lattice facade to be constructed.

This notion demonstrates how compution in design and production can allow for the optimization of masonry materials such as concrete and brick to take the form of ornamental facades of buildings. Rudy Ricciotti, the architect, defines his design as a composite sytem that is both ornamental and structural:

There is nothing purely decorative in the product. Everything is structural, in the style of a fishs skeleton. We move forward to a dematerialization of the concrete structure, which becomes delicate, spidly, fibrous like a coral rock cut. We dont know how far this material will carry us. We can reinvent the world. 27

25. MuCEM/Rudy Ricciotti, No Author, ArchDaily, 2013, http://www.archdaily.com/400727/mucem-rudy-ricciotti/26. The MuCEM Skin, No Author, Joran Briand, n.d., http://joranbriand.com/en/canape-tribune/27. Why Lattice Facade?, Yenetsky, Facadetic, 2014, http://www.facadetic.com/2014/11/16/why-lattice-facade/

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Furthermore, the facade and roof structure of the building consists of 384 high-performance planes that additionally aid in the diffusion and redirection of light and allow air to prevade the space. This mechanized system requires the aid of digital computations that not only generate the form of the design but control the performative funtion of the design. 28

As depicted above, computation and digital design has simplified the generation of architectural design and consequently the production of architectural and structural drawings. The formulation of design ideas in a computational context, results in the consideration of the fabrication and assembly of the building within the design process. This demonstrates the ability of computation in design to simplify and optimize the design, fabrication and assembly of the design.

28. MuCEM by rudy riccioti sports a delicate concrete filigree, Cat Garcia Menocal, Design Boom, 2013, http://www.designboom.com/architecture/mucem-by-rudy-riccioti-sports-a-delicate-concrete-filigree/ricciotti/

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COMPOSITION AND GENERATION | CONCEPTUALISATION

COMPOSITION AND GENERATIONA.3.

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CONCEPTUALISATION | COMPOSITION AND GENERATION

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FONDATION LOUIS VUITTON | BOIS DE BOULOGNE PARIS | GEHRY PARTNERS | 2014

precedent i

The Fondation Louis Vuitton building is an art museum and cultural center based in Bois de Boulogne, Paris.The design is characterized by its use of glazing that employs a method that allows the material to be curved according to milimeter specific requirements. 29 The design is influenced by the lightness and fluidity of 19th century glass and garden architecture.

I dream of designing, in Paris, a magnificent vessel symbolizing the cultural calling of France - Frank Gehry 30

Tha above quote encapsulates the design intention behind the complex composition of the buildings for which resembles the sails and structure of a vessel.

29. Fondation Louis Vuitton By Frank Gehry Takes Shape In Paris, Philip Stevens, Design Boom, 2014, http://www.designboom.com/architecture/frank-gehry-fondation-louis-vuitton-paris-05-09-2014/30. Ibid.

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Composition:

The twelve expansive sails of the design are composed of 3600 glass panes which provide a bright, transparent quality and are supported by wooden beams. The supporting structure below these glass panes is composed of an assemblage of white blocks, known as icebergs and are cladded in panels of fiber-reinforced concrete. 31 The design of the sails create a transparent composition that evokes a sense of movement while allowing the building to reflect the water, woods and garden that surround the building in addition to continually change with the light.

The consideration of user experience in the design is further reflected in its composition. The notion of integrating the landscape into the experience of the museum is produced by thelarge expanses of glass within the building provide picturesque views of the gardens, 32

Not only is the design successful in expressing its design intent but it also has been the catalyst for global innovation in digital design and construction, setting a new standard for the use of advanced digital and fabrication technologies.

The composition of the design required a large team of 400 people to provide design models, engineering rules and assembly constraints to a central web-hosted 3D digital model. This is an intelligent digital model that is able to adapt to design requirements. 33

The 3600 glass panels and 19000 concrete panels that form the composition of the buildings facade were simulated using matematical techniques and then molded using advanced industrial robots. This generation of design form and construction process was automated from the central digital model. Furthermore, the firm developed new software for sharing and collaborative working with the complex design. 34

31. Fondation Louis Vuitton/Frank Gehry, No Author ArchDaily, 2014, http://www.archdaily.com/555694/fondation-louis-vuitton-gehry-partners/32. Ibid.33. Ibid.34. Ibid.

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The unique composition of the design which was initially visualised through a napkin drawing was further refined to be the complex form that it is through the use of digital generative design. Gehry Technologies, a computer programming company under the direction of Gehry Partners has provided the digital means for architecture to realise irregular structural shapes (known as blob architecture) which were once only attainable through laborious skilled craftmanship. 35

This software has subsequently made the creation of eccentric buildings eonomically feasible. Furthermore, this has resulted in the transformative contribution to digital design in architecture which has now become an intrinsic part of present-day practice.

The advancement of digital technology has resulted in the complete revolution in the composition and generation of architectural design.

35. Architect Frank Gehry refines his art with the Fondation Louis Vuitton gallery in Paris, Martin Filler, The Australian Financial Review, 2015, http://www.afr.com/lifestyle/architect-frank-gehry-refines-his-art-with-the-fondation-louis-vuitton-gallery-in-paris-20150312-13m1gm

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HEYDAR ALIYEV CENTER | BAKU, AZERBAIJAN | ZAHA HADID ARCHITECTS | COMPLETED 2013precedent ii

The Heydar Aliyev Center is designed to become the primary building for Azerbiaijans cultural programs, diverting from the characteristically rigid and monumental architecture of the Soviet Union that is prevalent in Baku. The design aspires to express the sensibilities of the national culture and emphasize the optimism of a nation that looks to the future.36

The design of the center comprises of a continuous and fluid relationship between the interior of the building and its surrounding plaza. The composition of the design consists of the ground surface of the plaza, rising to envelop a public interior space as well as elaborate formations, sych as undulations, bifurcations, folds and inflections. These elements allow the plaza surface to take the form of an architectural landscape that performs a multitude of functions. 37

36. Heydar Aliyev Center / Zaha Hadid Architects, No Author, ArchDaily, 2013, http://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadid-architects/37. Ibid.

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The functions of the architectural landscape include the notions of welcoming, embracing and directing users through the different levels of the in buildings interior. This notion allows the composition of the building to blur the conventional differentiation between architectural object and urban landscape; building envelope and urban plaza; figure and ground; interior and exterior. 38

The composition of the form is informed by the concept of fluidity, which is common to the regions historical Islamic architecture. The design intention was to relate to the historical architecture context of the nation but not through the use of mimicry or iconography of the past, but rather through the development of a contermporary interpretation. 39

Furthermore, the composition of the design is based on the response to the topography of the site which exhibits a sheer drop that formerly split the site in two. This resulted in an accurately terraced landscape which

explores alternative connections and routes between the public plaza, building and underground parking. This solution, not only contributes to the compositional form of the design but is able to resolve the variance in topography that would otherwise require additional excavation and land fill. 40

The fundamental compositional component consisted of a surface that was so continuoust that it appears homogenous. This complex composition required a wide range of techinical systems, construction logics and different functions that are integrated into the form of the design. The use of advanced computing allowed for the continuous control and communication of these complexities by developing a central digiital models to be contributed to by numerous project participants.

The composition of design was visualised and generated through the use of digital technologies, which further demonstrate the ability of digital design to greatly

38. Heydar Aliyev Center, ArchDaily, 39. Ibid.40. Ibid.

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inform the composition of the design.

The simplistic looking yet complex in construction surface geometry required an extensive reationalization of the panels while maintaining continuity throughout the building and the landscape.

The fluidity of the geometry of this landscape offered a pragmatic solution to practical construction issues including manufcaturing, handling, transportation and assembly. With the aid of digial modelling tools the composition of the design can be generated in order to consider these issues and allow the building to become constructable. 41

The unique and interesting composition of the design was able to be realised through a process of generative design and rationalization in order to construct a building the would evoke the original intensions of the design in the final form of the building.

Similar approaches were taken when creating the interiors of the building, where folded forms expressed in a fluid style additionally exploit generative design to achieve these complex compositions.

41. Heydar Aliyev Center, ArchDaily,

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CONCLUSIONA.4.

These explored concepts look to optimize a design and its construction processes in order to produce the most efficient and best outcome that will be advantageous to the industry of architectural design. I intend to adopt this critical type of design thinking in order to produce a design that is high-performance and can efficiently be designed and fabricated whilst challenging the compositional and generative form of conventional design. This approach questions the limitations of present-day design making it innovative, which is significant in the advancement of architecture and the art of building.

The consideration of designing in order to be sustainable to its users, environment, amenities and technological processes encapsulates the fundamental principles of design futuring. It is this consideration that allows us conceive architectural designs that will encourage performative engagement between all stakeholders involved resulting in a design that can contribute to and sustain the everchanging state of all systems that interact with the design.

Compositonal and generative design in architecture further facilitates the incoporation of technological advancements in architectural design in order to realize and produce forms that are intricate and complex, which would be difficult to visualize or construct without the aid of digital tools. The incorporation of this software can further aid the construction process by incorporating the actualization of the form in the design process so that there is a simple transition from conception to construction without any discrepencies between design ideas and design form.

CONCLUSIONS | DESIGN CRITERIA

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LEARNING OBJECTIVESA.5.

The exploration of design conceptualization through means of design futuring, computation and compositional and generative design has exposed me to an innovative and critical approach to design thinking, which considers the most advanced concepts of present-day architectural design.

The investigation of computational design additionally broadened my knowledge base on the capabilities of digital and robotic systems in the design and fabrication of architecture. It is discovered that the use of digital technologies can optimise these processes and further increase the efficiency of design conceptualization, fabrication and construction.

It has also introduced me to design thinking, forms and methodologies that I was previously unaware of. The exposure to these ideas will inform my design thinking and how I will approach architectural design in order to further explore and experiment with these notions.

The consideration of these notions in many of past designs would improve the sustainability of the design to its impacted stakeholders as well as refine and further develop its form. Furthermore, the adaption of the techniques and methods studied to my designs could result in the optimisation of the design and fabrication of my projects as well as produce work of a higher calibre in terms of both presentation and critical thinking.

DESIGN CRITERIA | LEARNING OBJECTIVES

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APPENDIX A.6.

APPENDIX | CONCEPTUALISATION

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CONCEPTUALISATION | APPENDIX

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PART B. CRITERIA DESIGN

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RESEARCH FIELDSECTIONING AND INTERSECTION

B.1.

will be explored in the development of the design project where specific aesthetic and structural effects can be achieved by intersecting multiple objects. The latter is a method that can be explored in order to realise how the design project can be deconstructed into parts, fabricated and assembled into its final structural and aesthetic form.

Rhinoceros is able to perform actions that section objects in a planar approach as well as manually intersect multiple objects by overlaying or overlapping them and subesequently performing a split command in order to divide the objects along common intersecting paths. Furthermore, Grasshopper is able to apply intersection and section commands to algorithms that are able to produce these outcomes onto multiple input geometries and parameters.

The case studies and technique developments that follow will explore the visual and structural effect that sectioning and intersection in parametric modelling can produce as well as the different ways they can be actualised through the fabrication process which will additionally have an effect on the visual and structural aspects of the physical design.

The focus research field for the development for the design project is sectioning and intersection.

Intersection is the act of traversing two or more objects along a particular path. This is achieved by intersecting the two objects, a set of points that are common to the intersecting geometric configurartions. These points divide the objects into multiple parts or sections.

Sectioning is the slicing or cutting of a three dimensional object along a plane into multiple parts or sections. As a type of intersection, this is achieved by intersecting the object with a plane, producing divided sections of the original object that are able to represent the internal structure of the object. This is a common method used in the practice of architecture in order to represent the interior components of a building in architectural drawings. These drawings are referred to as plans or sections.

These methods are adopted in parametric design where three dimensional objects are intersected into multiple parts for a number of purposes. These purposes include intersecting objects in order to achieve specific outcomes that will express a desired structural or aesthetic effect or deconstructing the object in order to separate it into

RESEARCH FIELD | DESIGN CRITERIA

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DESIGN CRITERIA | RESEARCH FIELD

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driftwood pavilion twenty-eight layers of plywood which concealed the internal structural system that connects and supports the individual components of the design.

The design process of the pavilion was adapted to be re-engineered in Rhinoceros and Grasshopper. The process explored the field of intersection by intersecting a closed curve - that was offset in a radial direction and extruded in the z plane - with the forms basic geometery in order to produce the split surfaces that form the design.

These split surfaces were further unrolled into flat surfaces that would be supported by a concealed internal framework. This framework was generated from the intersection curves create by intersecting the split surfaces with additionaly surfaces arrayed along the overall path of the geometry. This produced curves that were used to create an accurate stepped framework that could support the structure whilst being concealed by its layers. In this case sectioning and intersection commands were used in an algorithm in order to produce the form of the design as well as the structural components which were both fabricated and assembled into the final form.

aa school of architecture

The Driftwood Pavilion is the winning design of Danecia Sibingo for the 2009 AA School of Architecture Summer Pavilion. The concept for the pavilion was manifested through a computer-generated script which manipulated the movement of lines in a continuous parallel fashion, creating line drawings which formed the basis of a plan. 42 The form of the pavilion was influenced by the notions of carving, eroding and layering. 42

The design was further informed by the fabrication and construction of the pavilion in order to ensure that creativity was expressed to remain within the bounds set by feasibility and todays cost effective and eco-friendly pre-requisities. 43 The final design was constructed from

42. Driftwood AA Summer Pavilion, London,AJ Welsh, E-Architect, 2012, http://www.e-architect.co.uk/london/driftwood-pavilion-design43. Ibid


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dECOi architects

banq restaurant The fabrication of the interior required plywood components to be milled by a single three-axis milling machine from CAD-CAM (computer aided design - computer aided manufacture). 45 The assembly of the ceiling design that hovers away from all interior surfaces required support in suspension from above. This resulted in the continous plywood components to be fastened to the main structural ribs running perpendicular to a lattice that traces the overall ceiling topography and steel suports of the base building. The spacing between the ribs vary in order to produce visual densities of the overall surface as seen from different angles. 46

This form was explored by re-engineering the design in Rhinoceros and Grasshopper with the use of a planar sectioning method that sectioned the geometry of the design on a linear axis with the output geometric of planar surfaces. This produced uniformly distanced planar surfaces that would create the illusion of a solid and fluid single form yet exist as multiple panels that are equally spaced apart in order to create a visual effect of interference from different angles.

The Banq Restaurant by dECOi Architects is located at the base of the old banking hall of Penny Savings Bank. The design of the project was established from the following three executions: [1] the combination of the properties of both solid and liquid to articulate a new substance that is hard, viscous, organic and inorganic; [2] the application of the material to the plane of both the floor and ceiling to disguise gravity itself - this additionally forms a subjective metaphysical space between the two planes by crafing an intuition of influence by a unique and invisible force; and finally [3] the fragmentation of the ceiling plane into a series of sectional cuts, forming slats that delineate the ceiling further from the nature of fluidity and wood. 44

44. Meta-Material fabrication | dECOI Architects, Geoff Eberle, Archi20, n.d., http://www.arch2o.com/meta-material-fabrication-decoi-architects/45. Ibid46. BanQ/ Office dA No Author, ArchDaily, 2009, http://www.archdaily.com/42581/banq-office-da


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CASE STUDY 01B.2.

SECTIONING AND INTERSECTION

Finally the algorithms produced section and intersection curves which were expressed as the following geometries: [1] open or closed curves; [2] extruded open or closed curves; and [3] lofted planar surfaces.

The exploration of how these algorithms can be adapted to produce different forms and subsequent different effects was fully exploited in case study 1.0. The outcomes of this case study, performed on relatively simple geometries, will later be explored in a technique development process that will apply these methods to a geometry appropriate to the design brief, site and a general form that expresses the design intent of the form. The outcomes of this case study will further be analysed according to its potential to create an expressive form and effect that can be used in the final design project.

The forms produced in this case study are a result of sectioning and intersection algorithms performed on particular geometries in Grasshopper.

The algorithms were applied to three input geometries: [1]a simple surface modelled in Rhinoceros; [2] a simple solid modelled in in Rhinoceros to replicate the basic form of the AA Driftwood Pavilion; and [3] a mesh relaxation produced by applying a physics simulation run in Kangaroo that applied the forces of spring components to a basic mesh form, that was modelled in Rhinceros.

The parameter of the algorithms were further altered to include intersecting the geometry with the following geometries: [1] XY, XZ and YZ planes; [2] extruded offset or arrayed curves along the Z axis; and [3] a hybrid of two of the outcomes produced from the intersections of geometries [1] and [2].

CASE STUDY 1.0 | DESIGN CRITERIA

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DESIGN CRITERIA | CASE STUDY 1.0

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Input GeometrySurface

Intersection GeometryXY Planes Offset/Array DirectionZ Ouput Geometry Curves


Intersection GeometryXZ Planes Offset/Array DirectionY Ouput Geometry Curves


Intersection GeometryYZ Planes Offset/Array DirectionX Ouput Geometry Curves


Intersection GeometryXY + YZ Planes Offset/Array DirectionZ + X Ouput Geometry Curves


Intersection GeometryXZ + YZ Planes Offset/Array DirectionY + X Ouput Geometry Curves


Intersection GeometryXY Plane + Extruded Open Curve

Extrusion DirectionZ Offset/Array DirectionLinear Ouput Geometry Curves


Intersection GeometryXY Planes Offset/Array DirectionZ Ouput Geometry Extruded Curves


Intersection GeometryXZ Planes Offset/Array DirectionY Ouput Geometry Extruded Curves


Intersection GeometryYZ Planes Offset/Array DirectionX Ouput Geometry Extruded Curves


Intersection GeometryXY + YZ Planes Offset/Array DirectionZ + X Ouput Geometry Extruded Curves


Intersection GeometryXZ + YZ Planes Offset/Array DirectionY + X Ouput Geometry Extruded Curves




Input GeometrySolid


Input GeometrySolid


Input GeometrySolid


Input GeometrySolid


Input GeometrySolid


Input GeometrySolid

Intersection GeometryXY Plane + Extruded Closed Curve

Extrusion DirectionZ Offset/Array DirectionRadial Ouput Geometry Curves


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Intersection GeometryExtruded Open Curve



Intersection GeometryXY + XZ Planes Offset/Array DirectionZ + Y Ouput Geometry Curves


Intersection Ge-ometryXZ Plane + Extruded Open Curve

Extrusion DirectionZ Offset/Array DirectionY + Linear


Intersection GeometryYZ Plane + Extruded Open Curve

Extrusion DirectionZ Offset/Array DirectionX + Linear Ouput Geometry Curves



Extrusion DirectionZ Offset/Array DirectionLinear Ouput Geometry Extruded Curves


Intersection GeometryXY + XZ Planes Offset/Array DirectionZ + Y Ouput Geometry Extruded Curves


Intersection GeometryXZ Plane + Extruded Open Curve

Extrusion DirectionZ Offset/Array DirectionY + Linear Ouput Geometry Extruded Curves



Extrusion DirectionZ Offset/Array DirectionX + Linear Ouput Geometry Extruded Curves

Input GeometrySolid

Intersection GeometryExtruded Closed Curve

Extrusion DirectionZ Offset/Array DirectionRadial Ouput Geometry Curves

Input GeometrySolid


Input GeometrySolid

Intersection GeometryXZ Plane + Extruded Closed Curve

Extrusion DirectionZ Offset/Array DirectionY + Radial Ouput Geometry Curves

Input GeometrySolid

Intersection GeometryYZ Plane + Extruded Closed Curve

Extrusion DirectionZ Offset/Array DirectionX + Radial Ouput Geometry Curves


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Input GeometrySolid


Input GeometrySolid


Input GeometrySolid


Input GeometrySolid


Input GeometrySolid


Input GeometrySolid


Extrusion DirectionZ Offset/Array DirectionRadial Ouput Geometry Extruded Curves

Input GeometrySolid

Intersection GeometryXY Planes Offset/Array DirectionZ Ouput Geometry Surfaces

Input GeometrySolid

Intersection GeometryXZ Planes Offset/Array DirectionY Ouput Geometry Surfaces

Input GeometrySolid

Intersection GeometryYZ Planes Offset/Array DirectionX Ouput Geometry Surfaces

Input GeometrySolid

Intersection GeometryXY + YZ Planes Offset/Array DirectionZ + X Ouput Geometry Surfaces

Input GeometrySolid

Intersection GeometryXZ + YZ Planes Offset/Array DirectionY + X Ouput Geometry Surfaces

Input GeometrySolid


Extrusion DirectionZ Offset/Array DirectionRadial Ouput Geometry Surfaces

Input GeometryMesh


Input GeometryMesh


Input GeometryMesh


Input GeometryMesh


Input GeometryMesh


Input GeometryMesh




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Input GeometrySolid


Extrusion DirectionZ Offset/Array DirectionRadial Ouput Geometry Extruded Curves

Input GeometrySolid


Input GeometrySolid


Extrusion DirectionZ Offset/Array DirectionY + Radial Ouput Geometry Extruded Curves

Input GeometrySolid


Extrusion DirectionZ Offset/Array DirectionX + Radial Ouput Geometry Extruded Curves

Input GeometrySolid


Extrusion DirectionZ Offset/Array DirectionRadial Ouput Geometry Surfaces

Input GeometrySolid

Intersection GeometryXY + XZ Planes Offset/Array DirectionZ + Y Ouput Geometry Surfaces

Input GeometrySolid


Extrusion DirectionZ Offset/Array DirectionY + Radial Ouput Geometry Surfaces

Input GeometrySolid


Extrusion DirectionZ Offset/Array DirectionX + Radial Ouput Geometry Surfaces

Input GeometryMesh



Input GeometryMesh


Input GeometryMesh


Extrusion DirectionZ Offset/Array DirectionY + Linear Ouput Geometry Curves

Input GeometryMesh




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Input GeometryMesh


Input GeometryMesh


Input GeometryMesh


Input GeometryMesh


Input GeometryMesh


Input GeometryMesh



Input GeometryMesh

Intersection GeometryXY Planes Offset/Array DirectionZ Ouput Geometry Surfaces

Input GeometryMesh

Intersection GeometryXZ Planes Offset/Array DirectionY Ouput Geometry Surfaces

Input GeometryMesh

Intersection GeometryYZ Planes Offset/Array DirectionX Ouput Geometry Surfaces

Input GeometryMesh

Intersection GeometryXY + YZ Planes Offset/Array DirectionZ + X Ouput Geometry Surfaces

Input GeometryMesh

Intersection GeometryXZ + YZ Planes Offset/Array DirectionY + X Ouput Geometry Surfaces

Input GeometryMesh


Extrusion DirectionZ Offset/Array DirectionLinear Ouput Geometry Surfaces


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Input GeometryMesh



Input GeometryMesh


Input GeometryMesh



Input GeometryMesh



Input GeometryMesh


Extrusion DirectionZ Offset/Array DirectionLinear Ouput Geometry Surfaces

Input GeometryMesh

Intersection GeometryXY + XZ Planes Offset/Array DirectionZ + Y Ouput Geometry Surfaces

Input GeometryMesh


Extrusion DirectionZ Offset/Array DirectionY + Linear Ouput Geometry Surfaces

Input GeometryMesh


Extrusion DirectionZ Offset/Array DirectionX + Linear Ouput Geometry Surfaces


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63

selection criteria CASE STUDY 1.0

Six of the most successful outcomes selected from the iteration produced in case study 1.0 were selected based on a selection criteria that was based on the overall physical form of the geometry, the compositional generation of the geometry and the requirements of the brief.

The selection criteria considers the success of the following:

1. the form of the output geometry;

2. the fluidity created by the sectioned components;

3. the visual effect or interference pattern produced by the sectioned components;

4. the relation of the form to the brief;

5. the complexity of the algorithm and;

6. the potential of the technique to further be developed.

The successful iterations are extrapolated on the following page.


64

This iteration was generated by intersecting a surface with multiple XZ planes that were offset on the Y axis. The sectioned curves were then extruded to produce the final outcome of this iteration.

This is a successful outcome, according to the selection criteria, where the form of each individual section is completely unique and the form of the sectioned components as a collective whole is fluid and forms, almost, the appearance of a single, flowing homogenous surface. Additionally the visual effect created by the spacings and the thickness of the components creates an interesting interference effect that changes according to the perspective angle. The form additionally fulfills brief requirements as it can be adapted to form a hamock form that can be suspended, where its fluid and organic geometry relate well to the notion of an organic and living architecture that is required by the brief. Furthermore, the algorithm is relatively simple to follow and can be applied to almost any input geometry where the technique can further be developed on multiple input geometries and a range of varied parameters.

This iteration was generated by intersecting a surface with an extruded closed curve that was offset, from the hole in the centre of the solid, outwards in a radial direction. The intersecting surfaces were then split from the form to produce the final outcome of this iteration.

This is a successful outcome, according to the selecion criteria where the curved forms create an interesting layering effect. The fluidity of this layering effect is further enhanced by the curved forms of these surfaces. The sectioned components and the spacing between them are able to create an interesting visual effect where the visibility of the subastance concealed behind some of the layers are affected by the angle of perspective. Additionally, the layered components evoke a sense of movement, similar to that of the ripple effect of water, where the form is able to relate to the water of the Merri Creek, relating the form of the design to the ecosystem, as requried by the brief. The algorithm is quite different to conventional techniques of section and intersection and requires a form with a hole in a centre to be effective, however these limitations could generate interesting forms that can be explored through technique development.

1. iteration 12 2. iteration 37 3. iteration 45This iteration is a hybrid of curves that were generated by intersecting a solid with multiple XZ and YZ planes that were offset in the Y and Z axes, respectively. The sectioned curves were then extruded to produce the final outcome of this iteration.

This is a successful outcome as it fulfills most of the selection criteria. The form of each individual section forms a closed curve that successfully depicts the gradient of the surface of the original form. This creates a sloping effect with the path of the curves seem to cascade into the centre of the form, creating a sense of movement and fluidity. The intersecting extrusions create an interesting visual effect where the junctions are formed by curved angles which create an interesting range of varied geometries in the negative spaces of this form. This results in a varied interference effect, even from only one angle. The unique visual effect created by the shadows that this form would produce would be similary to the shadows of a well-covered tree top, relating the well vegetated site, defined by the brief. Although the algorithm is more complex than the previous iteration it can similarly be adapted to any polysurface geometry allowing it to be a technique that can be developed with a range of inputs and parameters.


65

This iteration was generated by intersecting a relaxed mesh with multiple YZ planes that were offset on the X axis. The sectioned curves were then extruded to produce the final outcome of this iteration.

This is a successful outcome, according to the selection criteria, where the fluid forms of the sectioned geometry evoke a sense of movement that is easy for the eye to follow. Additionally the extruded curves all travel in the same direction, with uniform distances between them, allowing the individually sectioned components to take the form of a unified form. The direction and spacing of these extruded curves further creates an interesting visual effect where an intereference effect is created when looking into the form from multiple angles and light can be diffused, into the interior of the structure, in a linear fashion. The overall form of the iteration resembles that of an organism or substance that would exist in fresh-water ecosystems, relating the form to the living architecture brief. The algorithm used to generate this form involves a mesh relaxation in addition to section and extrusion components, limiting the input geometry to meshes. However, this technique development could be explored to create unrecognizable and interesting final forms.

4. iteration 63 5. iteration 68 6. iteration 71This iteration was generated by intersecting a relaxed mesh with multiple XY planes that were offset on the Z axis hybridized with an extruded open curve that was offset in a linear direction. The sectioned curves were then extruded to produce the final outcome of this iteration.

This outcome proved to be one of the most successful iterations as the form of the sectioned geometry as a collective whole has a strong aesthetic impact where the combination of two sets of intersection extrusions intersect to create a unified and solid form. The visual effect created by these intersecting extrusions additionally creates an interesting visual effect, similar to that of a lattice where the negative space between the extrusions form unique shapes that are organic and fluid. Similar to iteration 63, the forms resemblance of a living organism can be further developed to suit the living architecture brief. This technique is able to generate interesting forms that could result in an unconventional design for the final project. The algorithm for this technique can be applied to an input mesh that is the basis of the form of the final design that can be manipulated with different parameter to produce interesting final forms.

This iteration was generated by intersecting a relaxed mesh with multiple XY planes that were offset in the X axis. The sectioned curves were then lofted to produce the planar surfaces in the final outcome of this iteration.

This iteration was successful in a completely different way to the other iterations where the overall form of the collective whole was fluid and unified as result of the surfaces being planar and parallel. However, the individual components have a less fluid effect where the levelled surfaces create a stepped and jagged effect that could be further explored in the design process to produce interesting outcomes with a range of functions. The visual effect is less impactful than those of the previous iterations, however the transparency and opaqueness of the planes in combination with the spaces between the planes can be manipulated to create an interesting visual effect. The form has the potential to provide a space for habitat, responding to the concept of the brief and the algorithm can be adjusted to suit any geometry in the case where mesh geometries do not want to be used. The development of this technique could produce interesting results that could introduce more possibilities for the designs function.


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CASE STUDY 02MATTHIAS PLIESSNIG SINIO BENCH

B.3.

The construction of the bench consists of white oak vertical components that are fabricated from the digitally generated vertical sections in addition to strips of white oak that are bent to form the horizontal sections that curve along the suface of the bench. The bending process employs a labour intensive coopering that involves steam bending the thin, air-dried strips of wood to form the curvaceous form of the bench. 48

The final work straddles the concepts of art, craft and deisgn reflecting the craftmanship skills, time-honoured techniques and modern digital technologies adopted to bring this form to life.

The following case study seeks to re-engineer the form of this design by, similarly, sectioning a lofted surface with planes that are arrayed along the main curve of the form and then dividing the sectioned curves into points that can be interpolated in order to create the horizontal sections that wrap along the surface of the form. Finally, the material structure of the form is realised by sweeping the sectioned curves with a rectangular polygon section.

The Sinio Bench by Matthias Pliessnig is a work that is exemplary of Pliessnigs designs, which include an extensive range of seating and sculpture formed from strips of bent white oak. Pliessnig explains that his first influence is process, then human and space interaction. The outcomes are forms that meander through space, keeping in mind aerodynamics and hydrodynamics. 47

These influences are evident in the form, function and physics of Pliessnigs designs which dictate the aesthetic of the piece and more importantly reveal the artistry of how the form was designed and constructed.

The form of the design adopts an anthropocentric design where its peaks and valleys wrap loosely around the body of its user and the flowing form changes to provide its user with the opportunity to face multiple directions. The design, originating from Pliessnigs original sketches, was developed through modern digital technology that generated a final form consisting of vertical sections running along the main axis of the curved form and horizontal section components that wrap around the curved surface of the final form.

47. Matthias Pliessnig - Form, Function and Physics, Angelina Sciolla, SOMA MAgazine, 2011., http://www.somamagazine.com/matthias-pliessnig/48. Ibid.


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sinio bench APPLICATION OF ALGORITHMIC TECHNIQUES IN ORDER TO SIMULATE THE CASE STUDY FORM


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71


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TECHNIQUE DEVELOPMENTB.4.

TECHNIQUE DEVELOPMENT | DESIGN CRITERIA

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DESIGN CRITERIA | TECHNIQUE DEVELOPMENT

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Intersection GeometryXY Plan + Extruded Open Curve

Extrusion DirectionZ Offset/Array DirectionZ + Along Curve Ouput Geometry Curves


Intersection GeometryXZ Plan + Extruded Open Curve

Extrusion DirectionZ Offset/Array DirectionY + Along Curve Ouput Geometry Curves

Input GeometryPolysurface









Intersection GeometryXY + YZ Planes

Offset/Array DirectionZ + X Ouput Geometry Extruded Curves


Intersection GeometryXZ + YZ Planes

Offset/Array DirectionY + X Ouput Geometry Extruded Curves






Extrusion DirectionZ Offset/Array DirectionZ + Along Curve Ouput Geometry Extruded Curves



Extrusion DirectionZ Offset/Array DirectionY + Along Curve Ouput Geometry Extruded Curves


Intersection GeometryXY Planes Offset/Array DirectionZ Ouput Geometry Planes


Intersection GeometryXZ Planes Offset/Array DirectionY Ouput Geometry Planes


Intersection GeometryYZ Planes Offset/Array DirectionX Ouput Geometry Planes


Intersection GeometryXY + XZ Planes Offset/Array DirectionZ + Y Ouput Geometry Planes



Offset/Array DirectionZ + X Ouput Geometry Planes



Offset/Array DirectionY + X Ouput Geometry Planes











Offset/Array DirectionZ + X Ouput Geometry Curves



Offset/Array DirectionY + X Ouput Geometry Curves


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Intersection GeometryYZ Plan + Extruded Open Curve

Extrusion DirectionZ Offset/Array DirectionX + Along Curve Ouput Geometry Curves


Intersection GeometryExtruded Open Curves

Extrusion DirectionZ Offset/Array DirectionLinear + Along Curve Ouput Geometry Curves





Intersection GeometryExtruded Open Curve Offset/Array DirectionAlong Curve Ouput Geometry Extruded Curves


Intersection GeometryXY + Extruded Open Curve

Extrusion DirectionLinear Offset/Array DirectionZ + Linear Ouput Geometry Extruded Curves






Extrusion DirectionZ Offset/Array DirectionX + Along Curve Ouput Geometry Extruded Curves



Extrusion DirectionZ Offset/Array DirectionLinear + Along Curve Ouput Geometry Extruded Curves



Extrusion DirectionZ Offset/Array DirectionLinear Ouput Geometry Planes


Intersection GeometryExtruded Open Curve Offset/Array DirectionAlong Curve Ouput Geometry Planes



Extrusion DirectionLinear Offset/Array DirectionZ + Linear Ouput Geometry Planes



Extrusion DirectionZ Offset/Array DirectionY + Linear Ouput Geometry Planes





Intersection GeometryExtruded Open Curve Offset/Array DirectionAlong Curve Ouput Geometry Curves



Extrusion DirectionLinear Offset/Array DirectionZ + Linear Ouput Geometry Curves



Extrusion DirectionZ Offset/Array DirectionY + Linear Ouput Geometry Curves


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Extrusion DirectionZ Offset/Array DirectionX + Linear Ouput Geometry Planes



Extrusion DirectionZ Offset/Array DirectionZ + Along Curve Ouput Geometry Planes



Extrusion DirectionZ Offset/Array DirectionY + Along Curve Ouput Geometry Planes

Input GeometryXY Section Curves

Divided Points10 Interpolate DirectionAlong Curve Ouput Geometry Curves

Input GeometryXZ Section Curves


Input GeometryYZ Section Curves


Input GeometryXY Section Curves

Divided Points10 Interpolate DirectionFlip Matrix Ouput Geometry Curves

Input GeometryXZ Section Curves


Input GeometryYZ Section Curves



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Extrusion DirectionZ Offset/Array DirectionX + Along Curve Ouput Geometry Planes



Extrusion DirectionZ Offset/Array DirectionLinear + Along Curve Ouput Geometry Planes

Input GeometryLinear Array Section Curves


Input GeometryCurve Array Section Curves


Input GeometryLinear Array Section Curves


Input GeometryCurve Array Section Curves



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79

selection criteria TECHNIQUE DEVELOPMENT

Four of the most successful outcomes selected from the iteration produced in case study 1.0 were selected based on a selection criteria that was based on the requirements of the brief, nature of the site, capabilities of the algorithm, potential constructability of the geometry and the design intent at this stage of the design project.

The selection criteria states that:

1. the form is able to perform as a hammock, net, cocoon, web or canopy

2. the form is able to be suspended

3. the form is able to create a visual effect

4. the form has the potential to be constructed

5. the form is evokes fludity through its sectioned components

6. the form is able to relate to the site in either an organic or inorganic nature

7. the algorithm of the design is able to be applied to a variety of geometries

8. the form is able to evoke a sense of the design intent - which is to create a space that can be inobtrusively, integrated with the natural settings of the site.


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This iteration was generated by intersecting a solid with an extruded open curve that was offset in a linear direction. The sectioned curves for a variety of open and closed curves that are spaced uniformly apart.

This is a successful outcome as in an inelastic state, the form is able to function as a cocoon and in an elastic state the form is able to function as a web, net or a hammock. There is additionally a potential to extend linear components of the form to allow it to be suspended or to suspend the form from the linear components themselves however these methods both require the addition of connection components to unify the form. The form can further be developed in order to fabricate its sectioned components for construction or the use of a line-type materials, such as string, can be held into position to form this position. The sectioned components additionally create fluidity and dynamism as the curves run in the same direction. The overall form is based on a basic geometry that weaves in between the trees that it will be suspended from, in order to relate to the vegetation of the site through the organic lines that will run in between the negative space of the trees. The algorithm is able to applied to any form so that the form can be developed so that it can further suit the design intent to create a space that integrates with its natural surroundings.

1. iteration 4 2. iteration 23This iteration was generated by intersecting a solid with a hybrid of XZ and YZ planes that were offset in a linear direction. The sectioned curves were then extruded in order to produce the final form of this iteration.

This is a successful outcome as its intersecting extrusions enclose a space that is able to perform as a cocoon that can be suspended by elongating the extrusions or connecting suspension members to the lattice form created by the intersecting extrusions. This lattice form is additionally able to create an interesting interference pattern that changes according to the angle of perspective and creates interesting and unique forms in its negative spaces. Furthermore, the intersections of these extrusions allow the sectioned components to be connected and form one single form that can easily be constructed into a structurally sound form that evokes fluidity. Likewise, to iteration 4, the original form is modelled to weave in between its natural surroundings allowing it to relate to the context of its site through its organice forms. The algorithm is additionally able to be applied to all forms, allowing the original form to develop into a more interesting shape so that it can meet the requirements of the design intent.


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This iteration was generated by intersecting a solid with XY planes that were offset in a linear direction along the Z axis. The section curves were then lofted in order to produce the planar surfaces that form the final form of this iteration.

This iteration is a successful outcome as it suits the tutorial specific design brief in its ability to perform as a cocoon, where the form could be further developed to create a hollow, enclosing space. Although the form does not consist of intersections or strip elements that it can be suspended from, further investigation or the hybridization of this iteration with another technique will allow for the structure to be suspended. The visual effect created is an interesting concept where the notions of public vs. private spaces can be explored through the angles of perspectives that either provide a full view or completely blockthe spaces concealed behind they layers. Similar to the structure of the AA Driftwood Pavilion, this form has the potential to be constructed with the aid of an internal framework structure to connect and support the elements. The form is additionally based off an organic shaped input geometry that relates to the natural context of the site. Furthermore, the algorithm can be applied to any polysurface which can be adapted to create a space that is able to integrate well in its natural context without being obtrusive to the vegetation around it.

This iteration was generated by interpolating curves through a set amount of points generated by dividing sectioned curves. These sectioned curves were generated by arraying an extruded linear curve along a curvilinear axis that follows the predominant path of the original geometry.

This is the most successful outcome as it resembles the simplistic yet evocative curves of the original form, which can collectively function as a cocoon. The curves which run along the surface of the form, in the direction its path travels allow the form to easily be suspended by elongating these curves. Furthermore, these curves create a dynamic and soft visual effect that reflects the shape of the original form and the movement of the eye through this form. This visual effect and the form itself can be constructed with the aid of a supporting structure which can be developed from the sectioning curves that these curves were originally interpolated through. The combination of these components will collectively evoke the movement and fluidity of the form creating organic forms that will be able to reflect the organic and natural setting of the site. The algorithm is also adaptable to any form, allowing this technique to be even further developed to best suit the design intent and create a form that is potentially unrecognizable and interesting whilst still having an inobtrusive integration with its surroundings.

3. iteration 31 4. iteration 55


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TECHNIQUE: PROTOTYPESB.5.

The prototyping process will explore the sectioning method of simple geometries, similar to that of case study 1.0, in addition to materiality and the visual effects produced by constructing the prototypes according to these methods.

The prototypes were created by sectionsing simple ellipsoid forms in X and Y directions and then preparing the file for fabrication by unrolling the sectioned surfaces and detailing notches in them.

The prototypes had a simple assembly process of slotting the horizontal vertical components into one another and successfully explored materiality. This exploration revealed the interference effect created by intersecting section planes and how this affects the visibility through the design and creates a pattern with the form of the design.

Howerver, it must be noted that these prototypes lack sufficient suspension methods in addition to the exploration of interesting forms.

TECHNIQUE: PROTOTYPES | DESIGN CRITERIA

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DESIGN CRITERIA | TECHNIQUE: PROTOTYPES

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prototypes MODELLING AND PREPARATION FOR FABRICATION


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prototypesFABRICATION LAYOUT


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prototypes i-ivTESTING MATERIALITY


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prototype vTESTING VISUAL EFFECTS AND INTERFERENCE


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TECHNIQUE: PROPOSALB.6.

The notion of technique development and prototyping allowed me explore different methods of sectioning and intersection and how these can be actualised into a physical form. The variety outcomes from the technique development offer many possibilities for the project in addition to the exploration of materiality, fabrication and assembly through prototyping. This has provided me with a guage of how I will apply sectioning and intersection to my design however, I still have not selected a definite form.

The sectioning and intersecting technique will be used for the design, in order to generate a shell structure of the original geometry, which will resemble to form of a cocoon. This shell structure will be able to encase/house its users and will additionally be suspended by nearby trees.

This will create a design that allows people to interact with it and further allow its form to become an amenity to its users.

The target location of the site is directly adjacent to Merri Creek Primary school and slightly north of Georges Road Bridge. The location was chosen as it is a serene setting just off the juncture of major entrances, pathways and a school. This creates the opportunity to embrace high level of traffic as well as the target audience of school children that would be frequent in this area.

The design intent is to create a space that will encourage bystanders, users of this section of the Merri Creek and/or children to explore the form of the design in addition to the surrounding site. The design will express natures continuous relationship with culture by integrating the two and developing a space that will explore the environment and promote interaction with it.

The design form will offer this space an enclosure/shelter by the means of a shell structure produced by sectioned curves.

TECHNIQUE PROPOSAL | DESIGN CRITERIA

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DESIGN CRITERIA | TECHNIQUE PROPOSAL

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LEARNING OBJECTIVESB.7.

LEARNING OUTCOMES | DESIGN CRITERIA

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DESIGN CRITERIA | LEARNING OUTCOMES

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APPENDIX B. 8.

APPENDIX | DESIGN CRITERIA

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DESIGN CRITERIA | APPENDIX

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PART C. DETAILED DESIGN

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DESIGN CONCEPTCOLLABORATIVE WORK WITH JENNIFER PAYETTE

The presentation of the technique developments and proposals of part b revealed that Jennifer and I had not only selected the same site location and technique methodology, but also produced similar forms and similar design intentions. However, dispite the similarity of our design ideas, our approaches to sectioning and intersecting algorithms differed and it was decided that it would be beneficial for us to collaborate. This resulted in a more resolved design, which was able to develop a simple algorithmic method into a complex and interesting form with the ability to respond to the design brief.

Furthermore, the collaboration allowed Jennifer and I to investigate and develop the intensions of our design with the aid of two different perspectives allowing us to produce a design that was able to respond to many issues of the brief in addition to the context of our site.

The integration of our designs allowed for the incorporation of Jennifers sectioning methods - which intersected linear arrayed extrusions with a geometry - and my sectioning methods - which intersected linear

C.1.

and curvilinear arrayed extrusions with a geometry in addition to the exploration of sections along a surface through interpolated curves.

This resulted in our final design adopting both our sectioning and intersection methodologies in addition to the integration of our design ideas informing the form, structure and intentions of our design.

My feedback received is based on what I have presented in weekly studios. The main recommendations and guidances encouraged further exploration and development of the the design form and technique, as both were simple and needed to be further developed and resolved.

DESIGN CONCEPT| DETAILED DESIGN

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DETAILED DESIGN | DESIGN CONCEPT

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DESIGN CONCEPT | DETAILED DESIGN

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design briefRESPONSE TO THE DESIGN BRIEF | LIVING ARCHITECTURE | HAMMOCK NET COCOON WEB CANOPY

The design brief of the course called for the intervention of living systems that would express, support, amplify or question the continuous relationships between technical, cultural and living systems. This intervention should avoid harmful impact and consider graceful degredation or repurposing

The brief further encourages speculative design where the project should exploit all avenues of critical thinking, research and learning. The brief additionally required the response to and consideration of particular systems involved:

site within Merri Creek and linked eco systems: embankment adjacent to Merri Creek Primary School[refer to site map above and image on left] agents stakeholders: children (user) and surrounding trees (amenity)

activities and performances: learning, exercising, playing, observing and exploring

Documents

Leong jenna 609357 finaljournal